Category Archives: Reviews

Songs For A New World (Review)

Sometimes less really is more.  Songs For A New World, presented by Not Another Musical Co-op, is an extremely minimalist production.  It’s a small four-person cast, there is little in the way of a set, and the stories told on stage are often left up to the interpretations of the audience.  That simplicity allows the actors and Jason Robert Brown’s music and lyrics (Parade, The Last Five Years) to soar, and they do.

Although there is no plot, the show is bound together with overarching and entwining themes, and while the actors do not play the same characters throughout the show, they do develop and grow.  The complexities of the music and of the human experience are always at the forefront and make for a captivating experience.

new world

Jennifer Neumann, Jonathan Winsby, Daren Herbert and Alison MacDonald; the cast of Songs For A New World

The cast have all been seen in recent Vancouver productions.  Daren Herbert (Man 1) and Jennifer Neumann (Woman 1) played Richie and Maggie respectively in Royal City’s A Chorus Line in the spring.  Neumann also shared the stage with Alison MacDonald (Woman 2) and Jonathan Winsby (Man 2) in the recent Arts Club smash hit Les Misérables.

Herbert’s softer falsetto contrasts beautifully with Winsby’s powerful baritone and both Neumann and MacDonald are in equally fine form vocally.  Each one has the chance shows off in their solos and yet still come together to complement each other in the many harmonies.

The ever-charismatic Jonathan Winsby demonstrates his prowess as a leading man in both “The World Was Dancing” and “She Cries.”  Jennifer Neumann is fearless yet guarded in “I’m Not Afraid;” then she lets loose in her duet with Winsby, “I’d Give it All For You.”

Alison MacDonald is a bundle of neuroses threatening to jump out of an apartment window in “Just One Step” and then is a fierce and romantically-frustrated Mrs. Claus in “Surabaya Santa.”  Daren Herbert shows off in “Steam Train” and then is a dynamo of raw emotion in “King of the World.”

I find something new in Brown’s score on each and every listen, but my favourite has always been the oft-recorded “Stars and the Moon.”  Alison MacDonald embraces the song with open arms and hits all the right notes, emotionally and musically.

The ubiquitous and multi-talented Sara-Jeanne Hosie co-directs and co-choreographs with Shane Snow.  Their synchronised choreography worked well in “The Steam Train” but in other numbers, was far too distracting.  Brown’s score is piano-centric and the three piece band receives almost as much attention as the actors.  Pianist Sean Bayntun, percussionist Sam Hutchison and bassist Hugh Macdonald make beautiful music together.

Songs For A New World is a work of art and should be contemplated and savoured.  Come for both the amazing talent and the sumptuous score and you won’t be disappointed.

Songs For A New World is playing August 12th – 29th, 2009 at Pacific Theatre, located at 1440 West 12th Avenue. The show runs Wednesday – Saturday at 8pm, with matinees on August 22nd and 29th at 2pm.  Tickets are available online or by calling 604-684-2787.

SHINE: A Burlesque Musical (Review)

SHINE: A Burlesque Musical is not so much a traditional musical as it is a bawdy version of TV’s old variety shows.  Think of a cross between burlesque and an adult-only Muppet show.  The show is a reworked version of an improvised one-act, originally known as By the Seat of Our Panties, presented at the Vancouver International Burlesque Festival in 2008.

The book by Sam Dulmage and The Wet Spots is thin, but works nevertheless.  Theatre owner Shine Mionne (Cass King) and her troupe of burlesque performers are approached by a producer who promises to revitalise the ailing show with buckets of money.  Various hijinks, gags, and word-play ensue.

shine-flare

Cass King as Shine Mionne in SHINE: A Burlesque Musical

The original music by first-time musical theatre writers the Wet Spots (John Woods and Cass King) has some bright spots and a tonne of potential, but isn’t given the full opportunity to shine as brightly as it should.

The female cast is full of incredibly strong personalities and they almost completely overwhelm the male contingent of the show. Michael Smith as wealthy producer Richard Suit is nowhere nearly up to the challenge of matching the stage presence or vocal abilities of his female co-stars.  Both of Smith’s songs, “When You Deal With A Suit” and “Matinee Crowd” fell unfortunate victim to his weak singing voice and weren’t given a fair airing.

The tempo of certain songs (“Everybody Wants to be A Star” and “Rocky Horror”) could also use some reworking to better steady the pace of the overall show.  There were too many slow numbers.  SHINE’s score would also be better served by the use of live music as opposed to the current pre-taped backing tracks.

None of these criticisms should take away from the overwhelming positives of SHINE.  I went in not knowing what to expect, but was completely won over.

Cass King is a natural performer and brings to life the “Perversions of Yesteryear.”  Her speaking delivery is peppered with shades of Katharine Hepburn and she periodically channels various other classic stars of the silver screen.

“Broadway Love Song” wryly spoofs a musical-theatre ballad and makes for a strong closer to the first act.

The chorus/ensemble comprised of Violet Femme, April O’Peel, Calamity Kate and Sister Madly, Keri Horton and Fairlith Harvey provide a rock-solid backing to SHINE; there’s not a single weak link in the bunch.  Choreography by April O’Peel and Melody Mangler is inspired and sinfully fun.

Gemma Isaac as an overeager grad student and Teddy Smooth as an aspiring young actor make wild and dirty magic in “The Nasty.”  Noelle Pilon as Lulu Von Doozy, the resident diva, is a force of nature and sells all of her numbers with relative ease.

SHINE is chockfull of clever moments and snappy dialogue; it will absolutely and thoroughly entertain you and leave you wanting more.

SHINE: A Burlesque Musical is presented by Screaming Chicken Theatrical Society and The Wet Spots and plays from August 12-22, 2009; Wed-Sat @ 8 PM, at the Waterfront Theatre, 1412 Cartwright St, Granville Island.  Tickets are available online or call 1-800-838-3006.  SHINE is an adult-oriented show which contains nudity and themes of healthy sexuality and is not suitable for those under the age of 18. Age restriction strictly enforced.

Rent; Fighting Chance (Review)

The Rent phenomenon may be thirteen years old, but it shows no signs of slowing down.  Fighting Chance Productions’ version proudly continued the tradition with Thursday night’s Canadian regional theatre premiere of Rent.  Bohemia is alive and well and has taken up residence in a North Vancouver theatre.

Some theatres seem custom-built for certain shows but many others have limitations which theatre companies must work around.  I’d heard some initial concerns about the choice of Presentation House Theatre as the venue for Rent.  And to be honest, I wasn’t sure the smallish space would be a good match for the rock opera.

The closeness of the stage did make for a fundamentally different experience, but overall it was a success.  It’s readily clear, from the earnest enthusiasm permanently etched into their faces, that most of the cast members are die-hard Rent fans.  That kind of passion translates into a high-energy and vibrant production.

Trying to pick the high point of the show is near-impossible, as there are so many from which to choose.  Jonathan Larson’s music and lyrics are just as poignant as they were when they debuted off-Broadway in 1996.  Based on the Puccini opera La Boheme, Rent is the story of a group of New York starving artists who struggle while dealing with the effects of AIDS.

Fighting Chance Production's cast of Rent; Clockwise from top left, Craig Decarlo, Christine Quintana, Jacqueline Breakwell, Anton Lipovetsky, Nick Fontaine and Cesar Erba.

Fighting Chance Production's cast of Rent; Clockwise from top left, Craig Decarlo, Christine Quintana, Jacqueline Breakwell, Anton Lipovetsky, Nick Fontaine and Cesar Erba.

Jacqueline Breakwell’s Maureen is fiery hot and oozes sex appeal. My theatre companion was completely and utterly enamoured with her.  Jenn Suratos as Maureen’s current girlfriend is a great foil to Maureen’s ex-boyfriend Mark in “Tango Maureen.”

Anton Lipovetsky is boyish and likeable as Mark and Kholby Wardell drips attitude as Mark’s yuppified ex-roommate Benny.

Craig DeCarlo as Roger has a voice made for rock and easily powers through his multiple numbers. His chemistry with Christine Quintana’s sultry Mimi is somewhat hit or miss, but ultimately pulls together in the end.

Nick Fontaine’s Tom Collins and Cesar Erba’s Angel are an adorable couple, and their voices are perfectly complementary in “I’ll Cover You.”

Rielle Braid, one of the ensemble swings on the second night I saw the show, was a standout as sleazy television producer Alexi Darling.

Most of the cast’s solo vocals are strong but the show is truly at its best in the full company numbers “La Vie Boheme” and “Seasons of Love.”

There were some issues with the sound.  Some actors’ mikes were far too loud and others not loud enough. Several bits of Erba’s dialogue were lost at key moments.

One of Rent’s stronger points is that its gay characters aren’t tokens to the centre stage heterosexual romance between Mimi and Roger.  Joanne and Maureen’s onstage pairing is every bit as volatile and crazy as Maureen’s dream-inspired performance art.  Collins and Angel’s loving relationship is also given equal billing and held up as the ideal to which the others aspire.

Rent’s positive tone, amidst darker themes of poverty and the AIDS epidemic, chooses to emphasise love and living live to the fullest. It’s that message which continues to strike such a personal chord with actors and audiences alike.

Seating is general admission, so make sure you arrive early to stake out a good seat.  Both performances I attended were sold out and by opening night Fighting Chance had already added an extra week to the tail end of their run.  It doesn’t take a stretch of the imagination to say that Rent will be a smash hit here in Vancouver.

Ryan Mooney and Fighting Chance Productions are persistently making a name for themselves as real contenders in local theatre and Rent will only further that cause.

Fighting Chance Productions’ Rent plays through August 23rd at Presentation House Theatre.  Tickets are available online.

Piaf: Love Conquers All (Review)

My first memory of Edith Piaf was in a grade seven French immersion classroom.  Our teacher bribed us with prizes to make us memorize the words to different French language songs.  Among them were the warblings of Mme. Piaf’s “Non, Je Ne Regrette Rien.”  It amused us to no end to try and mimic her distinctive sound.

Piaf: Love Conquers All is a one-woman powerhouse performance that tells Piaf’s story; from the lows of her humble beginnings to the heights of international stardom and all the joys and the sorrows that entailed.

Naomi Emmerson as Piaf speaks to the audience as if they are guests in her Parisian apartment.  It is an intimate conversation, as if between new friends, and Emmerson is very much at home in the role.

Naomi Emmerson as Edith Piaf in Piaf: Love Conquers All. Photo by Larry Auerbach.

Naomi Emmerson as Edith Piaf in Piaf: Love Conquers All. Photo by Larry Auerbach.

Emmerson is a dynamic performer and effortlessly recounts her first romantic experiences and singing for money on the streets.  The memories are often dark, but Piaf does not linger on the bad times.  She wants nothing more to be happy and she is happy when she sings.  As the show progresses, we learn that to sing, she must be in love.

Pianist Yan Li ably plays Piaf’s music to provide the backdrop to her life and when the last of the 13 songs is done, so is the story.  Along with her most famous song “La Vie En Rose,” the other 12 are beautifully rendered by Emmerson.

That the songs are in French, is no barrier to the audience.  Less important than the actual lyrics of the music, is Emmerson’s emotional delivery.  Her voice communicates that which is truly important, the humanity behind the music.

The black and white simplicity of the angled set gives the impression of an unfinished canvas, and Piaf attempts to fill in the details with the colour of her memories.  Accents of red are haphazardly placed around as well, and these elements artfully come together to finish Piaf’s account.

It’s not a fairy-tale story with a happy ending, being based in reality, but Emmerson never falls into the trap of trying to play a martyr.  She wears her flaws proudly on her sleeve, unfinished or not.  Emmerson’s portrayal is moving and true.

The search for love is definitely the theme of both the show and of Piaf’s life.  She was involved with many men, but only laid claim to loving a select few.  That her loves always seemed to end in tragedy is not relevant.  She has lived her life fully, made some terrible choices, but in the end she regrets nothing.

Piaf: Love Conquers All plays through August 2nd at the Firehall Arts CentreTickets are available online.

Thoroughly Modern Millie; Theatre Under the Stars (Review)

Thoroughly Modern Millie is Theatre Under the Stars’ second offering this summer, and what a show!  Adapted from the 1967 musical film of the same name which starred Julie Andrews, Mary Tyler Moore and Carol Channing, the 2002 stage version won the Tony Award for Best Musical.

The book is by Richard Morris (the original 1967 screenwriter) and Dick Scanlan.  The stage musical borrows some of its score from the movie as well as from Tchaikovsky, Al Jolson, Victor Herbert, and Gilbert & Sullivan’s Ruddigore.  The new music is by Jeanine Tesori (Caroline, or Change, Shrek the Musical) and new lyrics are by Dick Scanlan.

Set in New York City in 1922, it’s the story of a small-town Kansas girl Millie Dilmount who’s afraid to end up “old and grey at 29.” She comes to the big city to seek her fortune in the modern way; she wants to marry her future boss. Millie is enthusiastically played by local actor Diana Kaarina, who not that long ago returned from Broadway (Rent, Les Misérables) and touring productions in the US (Thoroughly Modern Millie).

Diana Kaarina as Millie in TUTS' production of Thoroughly Modern Millie.  Photo by Tim Matheson

Diana Kaarina as Millie in TUTS' production of Thoroughly Modern Millie. Photo by Tim Matheson

Kaarina is definitely a triple threat and she owns the role, singing, tapping, and acting her heart out.  The opening number “Not For The Life of Me/Thoroughly Modern Millie” crackles with energy and choreographer Shelley Stewart Hunt’s choreography really spotlights the talented cast.

I’ve been enamoured with Meghan Anderssen since she stole the show last year as Annie Oakley at TUTS.  This summer she plays the aspiring actress Miss Dorothy Brown and once again she tries to steal the show at every turn.  And if not for the incredibly strong cast of leads, she undoubtedly would have succeeded.

Anderssen’s comic timing is perfection in everything that she does.  Her introductory duet with Kaarina, “How the Other Half Lives,” has some great moments between the pair.  To her credit, Anderssen has chemistry with all of the actors she is paired with over the evening.

Seth Drabinsky, who wowed local audiences a few years back in Hedwig and the Angry Inch (Pickled Productions), makes his TUTS debut as Millie’s tightly-wound boss Trevor Graydon.  Drabinsky displays his operatic training in a masterful quick-tongued homage to the Gilbert & Sullivan patter song with “The Speed Test.”  He and Anderssen deftly show off their joint romantic and comedic chops in “Ah Sweet Mystery of Life” and “Falling in Love.”

Composer Tesori’s new score falters a bit with her songs for Millie’s love interest Jimmy Smith.  “What Do I Need With Love” and “I Turned The Corner” are largely forgettable as performed by the woefully miscast Danny Balkwill.  Balkwill lacks the easy charm and onstage charisma necessary to win over the audience.

Sarah Rodgers returns to the musical stage after a prolonged absence and gleefully relishes in the character part of Mrs. Meers.  As the failed-actress turned white-slave trader, she does a bang-up job of self-promoting herself as a star in “They Don’t Know.”

Mrs Meers spends the entire show hiding in yellow-face and sporting an atrociously terrible accent, masquerading as the Chinese matron of the Priscilla Hotel. The original 1967 film cast Asians in the roles of the villainous henchmen in a less-than-subtle display of racist stereotyping.  When the musical was adapted for the stage in 2002, the henchmen were changed into Mrs. Meers’ unwilling accomplices.

The characters Ching Ho and Bun Foo, played by Aaron Lau and DaeYoung Danny Kim, are the only ones who have a clue about what’s actually going at the Priscilla Hotel.  But they’re unable to warn anyone since they only speak (and sing) in Chinese.  Through the clever use of subtitled laundry, the audience is able to understand the dialogue.  Lau and Kim do a great version of Jolson’s “Mammy” redone in Chinese as “Muquin.”

Nancy Herb certainly has the right sultry nightclub sound for socialite Muzzy Van Hossmere, and vocally I have no complaints about her.  But I wanted so much more from her that just wasn’t anywhere to be found.  I’ve always seen Muzzy as sassy, campy and a bit of a diva.  The role has previously been played by Carol Channing, Sheryl Lee Ralph and Leslie Uggams, all of whom made the role their own, essentially by playing themselves.  Even though she has two starring numbers in the show, “Only in New York” and “Long As I’m Here With You,” Herb faded into the background.  I’d love to see her bring some attitude and life into the character.

Chris Sinosich’s costumes are modern and jazzy and I loved her take on Muzzy Van Hossmere’s over-the-top nightclub get-ups.

Kaarina opens the second act strongly with the powerhouse “Forget About The Boy” and the resulting extravaganza of romantically frustrated tap-dancing office workers is pure satisfaction.

Music Director Christopher King’s orchestra is near-perfect and the music is definitely what makes the show shine in the wide open spaces of the Malkin Bowl. The bright resounding tones of the brass especially give the beautiful score its vintage happy-go-lucky feel.

Shel Piercy’s directions are always top-notch and this is no exception.  Thoroughly Modern Millie’s cast is thoroughly bursting with talent and it’s a sensational must-see for the summer.  I already can’t wait to see it again.  Tickets are still available through Tickets Tonight. Thoroughly Modern Millie plays every other night at the Malkin Bowl in Stanley Park at 8 pm until August 22nd.

Annie; Theatre Under the Stars (Review)

I love the inherent charm and romanticism in Theatre Under the Stars.  Something about watching live musical-theatre performers under an open sky on a cool summer night brings back the notion of a simpler time.  Where the flights of fantasy we see on stage no longer seem so implausible.

Going back to reality however, begs the question whether simpler times ever actually existed, or if they’re merely childhood memories artfully framed by nostalgic wishing.  The good old days surely don’t apply to the years in the 30s during the Great Depression.

It’s in that unlikely setting that TUTS first feel-good musical of the season takes place.  The family classic Annie opens with a group of orphans gathered around the radio, listening to the opening overtures of Charles Strouse’s score.

With lyrics by Martin Charnin and book by Thomas Meehan, Annie has been a family favourite for the last 32 years and unfortunately its age is showing.  The story is peppered with cultural references from the 30s as remembered from the 70s.  Mentions of Jack Dempsey or Don Budge don’t exactly hit home with a contemporary crowd.  It also doesn’t help that the show’s most memorable songs are all in the first act.

Luckily, the TUTS cast has talent enough to gloss over the show’s weaknesses.  Nine-year-old Michelle Creber plays the titular orphan as well any seasoned veteran.  Actual seasoned veteran David Adams, who plays Oliver Warbucks, has some great chemistry with Creber.  His Warbucks is somewhat human compared to how others have played the role and his affection for his young ward is therefore more believable.

David Adams, Michelle Creber, and Dana Luccock in TUTS' production of Annie.  Photo by Tim Matheson

David Adams, Michelle Creber, and Dana Luccock in TUTS' production of Annie. Photo by Tim Matheson

The orphan chorus, as played by Sophie Leroux, Loritta Lin, Eve O’Dea, Christina Peluso, Roan Shankaruk, Nicol Spinola, Olivia Steele-Falconer, Sophie Visscher-Lubinizki and Allison Wall, is charming and brimming with talent.  Their spunky version of “Hard Knock Life” gets the show off and running on a high note.

I never envy the job of the actor who is cast as Miss Hannigan.  Carol Burnett’s cinematic turn as the boozy orphanage director is a hard act for anyone to follow.  Theoretically, Miss Hannigan has some of the best one-liners in the show, and Colleen Winton plays them up for all they’re worth.  But they didn’t get much response from the audience; which says more about the audience and the show itself than it does about Winton’s performance.  Many of the lines just aren’t as funny when you know they’re coming.

Todd Talbot and Carolyn Bergstrand as Rooster Hannigan and Lily St-Regis liven up the show with their brand of comedic villainy.  Winton, Talbot and Bergstrand are smooth as butter with “Easy Street.”

Not everything in Annie hits the mark.  Dana Luccock’s portrayal of Warbucks’ secretary Grace Farrell is flat and somewhat one-noted.  There were also a few problems with the sound, but nothing that can’t be ironed out.

Kudos to Francesca Albertazzi for her set design.  It is both pretty and practical and works well within the limitations of the Malkin Bowl.  Former Playhouse Artistic Director Glynis Leyshon makes her TUTS directing debut and has crafted a solid show.

Though the musical itself may be getting a bit tired, it’s a great choice for the family-friendly TUTS.  Tickets are still available through Tickets Tonight. Annie plays every other night at the Malkin Bowl in Stanley Park at 8 pm until August 21st.

Les Misérables (Review)

I saw Les Misérables at the Stanley last night for a second time, and here is my review as promised.  But before that, I’d like to begin with a brief disclaimer.

I know a lot of people will vehemently disagree, but I’ll start off by saying that I’m not a huge Les Mis fan.  It doesn’t rank among my favourite musicals, and I take issue with what I consider to be some major faults (which I’ll address).   But, I also recognise that much of my animosity/indifference towards Les Misérables is due to its unwavering popularity and not because it’s actually a terrible show.

That being said, the Arts Club production of Les Misérables is not to be missed.  The Arts Club rarely disappoints, and as I’ve written before, this past season has been full of some great shows.  I’ve seen the touring version of Les Mis several times, and this one blows them all out of the water.

There isn’t a weak link to be found in this cast.  Kieran Martin Murphy (Jean Valjean) and Réjean Cournoyer (Javert) are credibly locked in a life-long battle of wills and neither wavers in their resolve.  Murphy’s plaintive “Bring Him Home” is a veritable font of emotion.

Rejean Cournoyer in the Arts Club Theatre Company’s production of Les Misérables. Photo by David Cooper.

Réjean Cournoyer in the Arts Club Theatre Company’s production of Les Misérables. Photo by David Cooper.

Les Mis may have some definitive lead roles in Jean Valjean and Inspector Javert, but it isn’t stingy with the spotlight and gives multiple performers the chance to be showcased.  Les Misérables doesn’t have one signature song; it has a half dozen or more.

Sara-Jeanne Hosie takes on the double-edged role of Fantine, unenviable only in the inevitable comparisons between hers and YouTube sensation Susan Boyle’s rendition of “I Dreamed a Dream.”  Thankfully, Hosie’s performance is all her own and makes Boyle’s a distant memory.

Jonathan Winsby’s voice in “Do You Hear the People Sing” and “Red and Black” is in its usual powerful form and  believably communicates his character Enjolras’ charismatic convictions needed to lead the revolution.

The real revelation came to me in the beautiful singing of Rebecca Talbot’s Éponine.  During her first speaking lines I was apprehensive about her slightly rough-sounding voice.  Those concerns were completely allayed when she began to sing.  Talbot’s “On My Own” was emotional, heart-wrenching, and completely crush-worthy.

Jeffrey Victor as Marius and Kaylee Hardwood as Cosette make up the final two points with Éponine in the requisite love-triangle.  But I found myself siding with the doomed Éponine, all the more so in her dying duet with Marius “A Little Fall of Rain.”

John Mann and Nicola Lipman as the villainous Thénardiers add some much needed levity, albeit black humour, to the otherwise unending tragedies and deaths that befall almost every major character in the play.  Mann is deliciously ghoulish and Lipman is more than his match in every way.  What Lipman lacks in vocal skills, she more than makes up for with strong acting and a razor-sharp delivery.

Nicola Lipman and John Mann in the Arts Club Theatre Company’s production of  Les Misérables. Photo by Emily Cooper.

Nicola Lipman and John Mann in the Arts Club Theatre Company’s production of Les Misérables. Photo by Emily Cooper.

Les Misérables was adapted into musical form from Victor Hugo’s classic French novel of the same name and has been translated into English at various time as The Miserable Ones, The Wretched, The Poor Ones, The Wretched Poor, and The Victims.  I’m partial to The Wretched myself.

All kidding aside, Les Misérables does have a beautiful score and multiple deservedly memorable songs, which count in its favour.  On the other hand the book is long, unwieldy, short on character development, and attempts to cram far too many characters and events into one show.  The end result can be hard to follow and it’s easy to miss plot points or details that explain character histories or motivations.  The poor character development along with the über-tragic storyline makes for many missed opportunities to really flesh out some of the emotions and stories behind the show.

None of this applies to those of who have seen the show multiple times and who have probably had more than a few listens to any of the cast albums, but I wisely advise any Les Mis virgins to read the synopsis while waiting for the show to start so as not to be left confused halfway through.

My only other complaint is the small orchestra.  I understand that it’s both an economic and a logistical problem, but the epic scale of Alain Boublil’s and Claude-Michel Schönberg’s music and lyrics really does require a full scale orchestra to do it justice.  Even so, Musical Director Bruce Kellett has done a great job of making the most of the six-man pit.

The Arts Club production of Les Misérables directed by Bill Millerd is the best I’ve seen and if you haven’t seen it yet, I can’t recommend it enough.  Despite my criticisms, I’ve seen it twice and I’m likely to catch it once more before it closes on August 2nd.

Les Misérables runs through August 2nd at the Stanley Industrial Alliance Stage (2750 Granville Street).

Altar Boyz (Updated Review)

I know that I’d promised you my updated take on Altar Boyz last week, but I didn’t get a chance to see it again at the Granville Island Stage until this weekend.

The show has definitely accrued more polish, since when I first saw it in previews.  My original concern about missed comedic timing and line deliveries has been completely rectified.

All of the actors have settled comfortably into their roles, and are pitch-perfect, dancing machines.

David Hurwitz plays it up for laughs as the closeted Catholic Mark and balances the fine line between character and caricature.  I’m rarely comfortable with the fallback of using gays or other minorities as comic relief, but Hurwitz carries it off smoothly.  Hurwitz’s “Epiphany” had the audience cheering and I especially appreciated his over the top boy band style riffs.

The original cast of the Arts Club Theatre Company’s production of Altar Boyz. Photo by David Cooper.

The original cast of the Arts Club Theatre Company’s production of Altar Boyz. Photo by David Cooper.

Jeremy Crittenden (Matthew), Jak Barradell (Luke), and Geoff Stevens (Abraham) each have multiple shining moments.  Crittenden has the classic boy band idol look and plenty of onstage charisma to back it up.  His rendition of “Something About You” is a guaranteed charmer.

Barradell gives a solid performance and really shows off in his solo in “Body, Mind & Soul!”

Stevens’ “I Believe” solo is crystal clear in its simple melody and sets the stage for the inevitable happy ending.

Originally I highlighted Vincent Tong, and once again I have nothing but praise for his performance as Juan.  “La Vida Eternal” both pokes fun at the short-lived Ricky Martin and Enrique Iglesias Latin music trend and shows off Tong’s vocals and strong dance moves.

Whether you loved them or hated them, 90s boy bands were ubiquitous for a reason.  Yes, they were attractive to the tween and teen set and their in-formation dance steps set many a straight female and gay male fan heart aflutter.  But the icing on the carefully pre-packaged cake was the infectious music and the catchy hooks.

If comparing the Altar Boyz as a musical against standard Broadway (classic or modern), the show doesn’t really have a prayer.  No one’s going to mistake the score for Sondheim.  But as a spoof of the boy band phenomenon, the score achieves the intent of composers Gary Adler and Michael Patrick Walker.  Adler and Walker have crafted a score that could have easily topped the pop charts a decade ago (minus the humor-laden lyrics).

In that regard Altar Boyz hits its mark.  The songs seem to be staying with me, whether I want them to or not.

The show’s book is practically non-existent; a Christian boy band attempting to cleanse the souls of every audience member before their concert is done.  The barely-there plot really doesn’t matter though, as the show consistently entertains with strong laughs, high energy vocals and  smooth dance moves.

A big part of the show’s success should be attributed to the four-piece band under Musical Director Sasha Niechoda.  Much of the show’s energy comes directly from the live music.

Sara-Jeanne Hosie’s choreography is even sharper than before if possible.  There’s really no excuse to miss this show, if you haven’t already seen it.  The Arts Club has set itself a high bar to pass for next season’s musicals.  But, if past experience is any indication, they’ll do it with flying colours.

Running at 90 minutes with no intermission, Altar Boyz runs until August 1st at the Granville Island Stage (1585 Johnston Street) in Vancouver.

Altar Boyz Preview (Review)

The Arts Club has been right on the mark with their musical productions this season, and Altar Boyz is no exception.  Previews began tonight and continue until opening night on June 24th.

The original cast of the Arts Club Theatre Company’s production of Altar Boyz. Photo by David Cooper.

The original cast of the Arts Club Theatre Company’s production of Altar Boyz. Photo by David Cooper.

I wasn’t familiar with the show before tonight but was quickly taken in by the clever spoofing of boy bands and Christian music. The plot does play a little thin at times but the enthusiastic audience was far too busy laughing to notice.

Matthew (Jeremy Crittenden), Mark (David Hurwitz), Luke (Jak Barradell), Juan (Vincent Tong), and Abraham (Geoff Stevens) dance and sing as a well-oiled machine with a mission to save souls.  Commanded by the Lord to gel their hair with product and gird their loins with pleather lest they skew to the detestable older demographic, the Altar Boyz are on the final show of their “Raise the Praise” concert tour.

The entire quintet of actors shines in each of their respective roles as teen heartthrobs, but I have to single out Tong for his acrobatics, both literal and vocal.  He was also extremely memorable last Christmas as LeFou in Beauty and the Beast (Arts Club).

Choreographer Sara-Jeanne Hosie (currently playing Fantine in Les Misérables) pays homage to the most memorable of cheesy boy band dance moves.  The Boyz’ dancing is crisp, clean and often downright hilarious.

I have to confess that I attended several boy band concerts in the late 90s, and I saw more than a few evocations of classic Backstreet Boys and *NSync steps on the Granville Island stage tonight.

Some of the lines delivered could use a little tightening, but the preview performance was divine and hopefully I’ll be back after the opening to see how the show improves.  It’s looking like Director Bill Millerd is going to have yet another hit on his hands.

Running at 90 minutes with no intermission, Altar Boyz runs until August 1st at the Granville Island Stage (1585 Johnston Street).

The Supermusical (Review)

It’s a busy week for musicals on Granville Island.  A New Brain previewed last night, and tomorrow is the preview of Altar Boyz.  But tonight was all about the opening of The Supermusical.

The Handbagler (Angela Towndrow) is armed and dangerous.

The Handbagler (Angela Towndrow) is armed and dangerous.

The plot revolves around a city of super-heroes and super-villains who must come together to foil an extra-terrestrial plot to destroy the planet.

The Broadway Chorus uses songs from existing popular movie, TV, and stage musicals and fits them into an original script.  The tricky part is making show-specific lyrics work anew without making major changes.  This particular production borrows from fan favourites Spamalot, The Drowsy Chaperone and Hairspray, to mention only a few.

The best moments are in novel interpretations of well-known songs. ” A Whole New World” (Aladdin) is re-imagined by malevolent aliens viewing Earth from outer space.  “Welcome to the 60s” (Hairspray) becomes current again after some super-heroic time travel.

Extra marks go to cleverly working in the song “96,000” (In The Heights), even though many of its lyrics deal with how winning the lottery would benefit the residents of an urban multi-racial neighbourhood.

Two original songs by wife and husband team, Sarah and Gil Jaysmith are also featured, and seamlessly fit in with the rest of the catalogue.

A couple of the featured singers didn’t quite pull off some of their numbers (“Big Best Shoes” and “You Gotta Have a Gimmick”), as I strained to hear them, even from the second row.  The energy was also hit-or-miss, with some chorus members fully embracing their onstage personae and others seeming like they’d rather be somewhere else.

For ardent fans of the musical-genre, this show is worth seeing, but isn’t likely to be appreciated by the unconverted.

The Supermusical plays at 8 p.m. through June 20th at the Waterfront Theatre on Granville Island.  To reserve tickets, call 778-322-7182.