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Regional Reviews: San Francisco Carrie, Warrior Class and Also see Jeanie's review of The Elaborate Entrance of Chad Deity
The Ray of Light production, directed by Jason Hoover, is based on the same authors' 2012 rewrite, which ran for a month Off-Broadway last year. Lawrence D. Cohen, who adapted the Stephen King novel for the original Brian De Palma movie, reshaped his musical script to make it more intimate. Composer Michael Gore and lyricist Dean Pitchford threw out and replaced a half-dozen songs to make the musical a more fast-paced energy-driven two-hour production. The score is perfectly acceptable with sometimes stirring '80s era pop rock. This Carrie is definitely worth having and much of it is surprising good. For those who don't know the plot, Carrie White is an eccentric high school teen, over-protected by her religious-fanatic mother, and the school laughingstock when she freaks out in the gym at having her first period. She uses her telekinetic powers to get back at the bullies. In the climactic prom scene, in which she is covered in pig's blood as a prank, she responds by turning the school into a disaster zone. This is no camp musical since most of the camp excess that flawed the original has been removed. This new version is more realistic and sober-minded, taking very seriously the reverberating story about high school harassment and the venomous mother-daughter relationship. High school junior Cristina Ann Oeschger is outstanding as Carrie. She gives a wonderful performance of the internal struggles of a shy teenager struggling to break free of the guilt instilled by her fundamentalist religious mother played fabulously by Heather Orth. The score works best in the operatic intensity of Heather Orth, especially the duet between the two, "Stay Here Instead," and the strong vocal chops of Ms. Orth in her rendition of "When There's No One." Riley Krull as Chris exemplifies the term "bitch from hell," a selfish, vicious spoiled brat who can date anyone she wishes. Courtney Merrell is perfect with the complex nature of Sue who regrets making fun of Carrie and tries to make things right by asking her boyfriend Tommy to accompany Carrie to the homecoming dance. Tommy is played entrancingly by Nikita Burshteyn. He displays a strong dynamic voice in his rendition of "Dreamer in Disguise" and "You Shine," and handles the multi-faceted role with precision. Jessica Coker is totally convincing as gym teacher Miss Gardner, who tries to befriend Carrie and stop students from provoking her. Dan Hurst does not have a major role but he successfully portrays George, a student. Samantha Cardenas as Norma, Chloe Condon as Frieda, Danny Cunningham, Olivia Hytha, Sean Libiran, Forest Neikirk, Matt Ono, Danny Quezada, Maurice Andre San-Chez and Kathryn Sullivan all give effective performances. Choreographer Amanda Folena's dances are filled with vitality and oscillating with hormone energy. The work of scenic designer Kelly James Tighe is excellent. Projections by Erik Scanlon against a blank wall are beautifully accomplished especially in the last scene when all hell breaks loose on the stage. Jason Hoover's direction is fast paced, bringing out the horror of that last scene. Carrie: the Musical plays through November 2nd at the Victoria Theatre, 2961 16th Street, San Francisco. For tickets go to www.rayoflighttheatre.com.
Chinese-American assemblyman Julius Lee (Pun Bandhu) has gained national attention when one of his speeches has gone viral. He is called "the Republican Obama." He now wants to run for Congress. Party boss Nathan (Robert Sicular) comes to vet Julius as a candidate and discovers he had an ex-girlfriend in college, Holly (Delia MacDougall), who holds some secrets that could wreck his campaign, saying he was a stalker ("he scared the hell out of us, my family, my dorm. We didn't know what he was going to do. It was the worst time of my entire life"). Nathan attempts to smooth over any long-harbored bitterness while remaining oblique over his involvement in Julius' planned candidacy. Pun Bandhu gives the character Julius an air of polish and authority. His physicality and speech patterns are impressive. He is particularly excellent in his confrontations with Delia MacDougall who gives a riveting performance as Holly. It's an etched performance that makes her the honest and passionate anchor of the play. Robert Sicular is also quite good as he radiates hard-gained self-assurance and great gamesmanship as Nathan. ("The party backs whoever attracts the money, and I'm the money guy. What I do is find guys with bright futures, guys like Julius, and I lead them to the money and find out if they can drink.") Eric Flatmo has designed some outstanding sets, especially the detailed ritzy restaurant and Julius' upscale kitchen. The production is skillfully directed by Leslie Martinson. Warrior Class runs through November 3rd at the Mountain View Center for the Performing Arts, 500 Castro Street, Mountain View. For tickets call 650-463-1960 or visit www.theatreworks.org. Coming up next is the Jason Howland/Mindi Dickstein musical Little Women opening on December 4th and running through January 4th, 2014.
Veteran gender illusionist Randy Roberts has made a return visit to San Francisco where he is currently appearing at the Alcove Theatre. Roberts has performed mostly on the East Coast, from Key West to Provincetown. The New York Times described his portrayals of Bette Midler, "Consuela, the Latin Showgirl" and Cher as "spot on." This female impersonator does not lip sync to records but actually has the amazing voice of these celebrities. Roberts takes on the guise of the celebrities through a series of fantastic quick-change costumes in this one hour and 10 minute piece. Opening the show, he comes out in a crazy Bette Midler costume singing "The Show Must Go On" and "Otto Titsling." This is the weakest of the group. As Bette Midler, he imitates the legendary Sophie Tucker with a series of shaggy dog stories. Roberts disappears behind a screen and in almost a moment he reappears as "Consuela, the Latin Showgirl." He gives a hilarious performance speaking in a heavy accented voice that is a cross between Charo and Desi Arnaz, wearing a dress that is straight out of a Carmen Miranda musical. He beautifully mangles the song "Manana" and then asks the audience to join in by singing the word "rolling" in "Proud Mary." Once again disappearing behind a screen Roberts comes out as Cher, wearing a stunning black sequinned gown. He morphs astonishingly in both voice and manner to sing "If I Could Turn Back Time" and "Walking in Memphis" along with a medley of Cher hits like "Take Me Home," "Half Breed" and "The Way of Love." This impersonation is probably the best of the celebrity impressions. Roberts could do a whole show of this fabulous superstar. The last part of the act is the illusionist coming out in full drag as Randy Roberts. Only when he finally forsakes the tributes and undertakes his regular stage persona does the act take on a high degree of spirit and zest. He has a full-throated dynamic voice singing "Better," "Live Alone and Like It" and "If I Can't Sell It." He sings "All That Jazz" from Chicago and ends the show with the invigorating "San Francisco." You can see that his best assets are on display when he's just being himself. Randy Roberts Live! plays through October 26th at the Alcove Theatre, 414 Mason Street, 5th floor, San Francisco. Tickets are available at thealcovetheater.com.
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