Elvis: Shaken and Stirred

By Gabriel Morales
For the Real Critics Blog

Performance Riverside continues its tradition of producing some of the best musical theatre in the IE with "All Shook Up," the initial offering of its 2009-10 season.

Joe DiPietro (of "I Love You, You're Perfect, Now Change" fame) authors this fun, thoroughly entertaining musical inspired by and featuring the songs of Elvis Presley: think "Mamma Mia," with the King instead of ABBA.


Warming into the tunes as the show progressed, Rob Thompson (Chad) plays well the Elvis caricature: the young, leather-clad "roustabout" riding into a nowhere conservative town to miraculously fix their jukebox (conveniently filled with outlawed tunes), and enlighten unto them the philosophies of pop/rock/"devil" music, bright-colored garb, dirty dancing and love that leaps the chasms of race, social mores and moralistic oppression.

The Priscilla-esque role is a demanding one, accentuated by DiPietro's inclusion of a Shakespearen cross-dressing, two-person-three-persona love triangle, ably played by Alyssa Marie (Natalie) as she bounces between lovelorn tomboy mechanic and suede-shoed motorcycling playboy.

With strong voices all around, the production is at its best when the twenty-person cast busts out pitch-perfect choruses during elaborate dance numbers by director/choreographer John Vaughan.

As far as the acting -- one-third of the triple threat quota -- goes, the production's most naturalistic moments come from Vonetta Mixson (Sylvia) and Melodie Slaughter (Lorraine), who between wonderfully soulful renderings of King hits and roar-inducing punchlines, deliver truthful moments as they struggle through life and love as the town's only ethnic characters.

Despite the simple, predictable storyline -- which slumps a bit during the second half with Elvis's lesser known melancholy ballads and at the end dissolves into a bit of judge-not preachiness -- "All Shook Up" is sure to leave you smiling as you sing the King's enduring verses all the way home.

For more information visit www.performanceriverside.org

Delightful Parade of Dialects

By Gabriel Morales
For the Real Critics Blog

"Deanne and Robert, a May-December couple, have just returned from their honeymoon, and Deanne is shocked to find that Robert has unwittingly bought the very same apartment that she used to live in with her ex-husband, Skip. Not only that, but Skip has also bought the apartment right next door to theirs. It becomes apparent in time that Deanne and Skip are still in love, and getting the couple back together is facilitated by Robert falling for Deanne’s mother, Louella. All ends right in this swift-moving romantic comedy from master comic writer Ron Clark." Thus reads the publisher's plot description.

Not mentioned is the real gold of Clark's sit-com style offering: the revolving cavalcade of ethnic characters bringing high-energy entertainment and skilled comedic choices to the party. At least, that's how it plays in Riverside Community Player's production, directed by Rory Dyer.

Leading the cameo parade are acclaimed RCP mainstays Michael Truelock (Boris) and Arthur Wilson (Jovan), who bring the show's biggest laughs with their zany portrayals of a dim Russian furniture mover and effeminate Jamaican gossip, respectively. Truelock breathes life and empathy into another hulking yet gentle character, rife with expertly-timed, cheer-inducing one-liners. Wilson, a certified theatrical triple-threat, channels his Broadway showstopping energy into the zany, animated, albeit light-skinned islander with graceful ease. Even newcomer Madelyn Garcia (Jeannine, Inga, Gina) brings some entertaining moments with her neverending wig supply and variety of sultry European accents.

If for no other reason, stop at number 4 Beekman Street to catch the cameos -- they'll floor you.

Theater Deconstructed: A Recipe for Success

By Gabriel Morales
For the Real Theater Critics Blog

Lifehouse Theater closes its fifteenth season with an excellent offering in "Noah," a dynamic, fast-paced, thoroughly enjoyable retelling of the classic Hebrew story.

Deconstructed: a popular culinary style wherein a dish's ingredients are presented separately to accentuate their individual appearance and flavor. Lifehouse's "Noah" is the theatrical equivalent.

Part biography, part homage, with dashes of parodic timewarp, Dustin Ceithamer's original script and the talented young cast lay out every element of the production for the audience to relish. While the patrons find their seats with aid of Lifehouse's smiley, gregarious volunteers, the eight young players -- decked head-to-new-Converse-toes in their own primary color -- mills about on stage, chatting, handstanding and Facebook-statusing.

Once the the show begins, the wingless stage design simultaneously pulls the audience to both center and backstage; as one may watch a touching monologue or duet number, while the remaining players sift through props or slip tunics over their jeans and T's. (Thankfully, haphazard animal costumes made of painted cotton balls are nowhere to be seen.) Ladders and chairs make for versatile stage elements as they're utilized for everything from levels, to an altar and the ark itself.

Overall the production value is top-notch. From the fluid lighting, to the crisp sound and abstract set design -- every department harmonizes to create a show short on kinks and long on what can only be attributed to joyful, whole-hearted dedication to text and craft. Individually, and as a harmonizing collective, the cast is solid. Each rises to the task of switching characters, song and dance styles, and endless props without missing a beat. Two particularly enjoyable segments where the cast dazzles are when Noah goes on the "Non-committal Relationship [Dating] Game" to find a wife, and later when the Patriarch and family channel the rhythmic stylings of "Stomp" while constructing the ark.

"Noah" is a wonderfully realized, wholesome, inspirational must-experience romp for the whole family!

Rip-roarin' Boot-scootin' Fun at TVP

By Gabriel Morales
For the Real Critics Blog

Temecula Valley Players' 09-10 Season is off to a galloping start with a joyous, high-energy production of "Seven Brides for Seven Brothers."

Based on MGM's beloved Oscar-winning musical and "The Sobbin' Women" by Stephen Vincent Benet, this light-hearted stage musical version (directed by J. Scott Lapp) holds up well after fifty years. Themes of love and understanding, strength and compassion abound in the soaring melodies and comedic turns of a large cast populated with burly, headstrong mountain men and sassy, no-nonsense pioneer women.

Leads Paul Kehler ("Adam Ponitpee") and Kellen Allen ("Milly") play off each other's strengths to strike an interesting yin-yang balance. Kehler plays well to the audience with powerhouse singing and operatic enunciation; while Allen gives heart-tugging glimpses of nineteenth-century frontier femininity.

The ensemble of brothers and sisters proves itself strong in song and dance -- especially when the brothers let loose with their amazing, sextuplet harmonies. Kaitlyn Terrill ("Sarah") and Tara Lynn Gillfillan ("Alice") provide big laughs with their skilled comedic portrayals of the family's youngest sisters.

At the heart of the show's energy is the praiseworthy work of the musical director/conductor, teenage wunderkind Taylor Peckham; as well as the enthralling, whirlwind choreography of Gary Iversen and associate Monica Iversen -- particularly during the twenty-one person "Social Dance" number. What a spectacle to behold!

With such a satisfyingly entertaining opener, TVP's upcoming year promises to be its best yet.

For more information on the Temecula Valley Players season visit www.temeculavalleyplayers.com.