#selmaartscenter

[brothermarc7theatre]

“Head Over Heels” show #816

A couple of years ago, Head Over Heels received its pre-Broadway run in San Francisco and I was tempted to see it. However, in those pre-COVID days, free time was near-non-existent, so I chose to simply wait to see it, knowing it was headed to Broadway. In the 2018-2019 season it opened and, unfortunately, closed before my annual NYC trip, but I feared not. I remember telling whomever would listen, “I’m good; I know Selma’s gonna do it.” I was right, and I am happy that Selma Arts Center’s production, helmed by Michael Christopher Flores, was my first time seeing The Go-Go’s done theatrically. A production that is perfectly-suited for an outdoor venue, Selma’s Head Over Heels is the right dose of post(ish)-pandemic musical medicine we’ve been craving.

Loosely based on 16th century’s The Countess of Pembroke’s Arcadia by Sir Philip Sydney, the music of the Go-Go’s meets literature in the style of your basic jukebox musical. All the foundations are there: multiple love stories, mistaken identities/misunderstandings, a nerdy guy ya’ love to root for, and lots of dancing. Where Head Over Heels rises above most is that audiences aren’t wading through scenes just to get to the next song. Rather, the songs complement the depth of the character’s emotion(s), and, at times, forward the plot. Head Over Heels’ weakness is that its book, originally conceived by Jeff Whitty and then James Magruder, does nearly nothing to serve the production as a whole. And unless you’re a diehard fan of The Go-Go’s, you probably know about four-and-a-half of their hits, and you will find yourself muttering, “Oh! I didn’t know The Go-Go’s sang that!” However, in the exceptional hands of Flores’ direction and choreography, and Mindy Ramos’ stellar vocal direction, this production rises above the material in a way that will have you getting the beat from the show’s opening moments.

Flores astutely makes the show’s jokes and love plots clear, allowing the few gems in the book to come through to audiences. Where Flores’ direction shines is how he calibrates a heightened delivery of the scenes while taking the songs seriously, whether they be seriously-fun, seriously-romantic, seriously-comedic, etc. Troy Sloan delivers an affable Musidorus/Cleophila, whose fluid allure becomes the fixation of three different characters in the play. Sloan’s early solo, “Mad About You,” is a triumph and he never relinquishes the cheering we give him as an audience. Opposite Sloan is a pitch-perfect Annelise Escobedo Lyman as Philoclea, the true apple of Musidorus’ eye. Lyman shines in her leading of the trio, “Good Girl,” delivering innocence and genuine love for her beloved while giving dynamite vibrato. Her ongoing snippets of duet and solos are welcomed turns among a, honestly, fantastic vocal company. Playing Pamela, sister to Philoclea, is Julia Prieto, who gives not only a vocally dominating performance, but one which delivers on the comedy, romance, and drama the role requires. “Beautiful” is a wonderful solo turn for Prieto, and “How Much More,” is a gem. Prieto and Jessica Meredith, playing Pamela’s maid/eventual lover, deliver a show-stopping duet in “Automatic Rainy Day,” and nail the delivery of their romantic arc, the most solidly written in the show.

(Company of Head Over Heels; Photo credit: Kyle Lowe)

William Bishop, as King Basilius, and Ellie West, as Queen Gynecia, give wonderful, appropriately juxtaposing performances of royal buffoonery (the King) and royal intelligence and duty (the Queen). With solid vocal and acting work throughout, their highlight is in their act two duet, “This Old Feeling,” complete with a memorable comedic performance by Sloan, balancing the two’s source of affection. Both West and Bishop lead a wonderful “Heaven is a Place on Earth,” a nice upbeat moment amongst the act two drama. Nwachukwu is a dominating force, both vocally and physically, as the oracle-delivering Pythio. Partnered with I Adeficha’s Snake-puppetry/Pit singing, Nwachukwu gives the musical a grounded focus, a standout performance which truly benefits from their flawless execution of the old theatre note, “less is more.” With engaging crouching, a few sliding stair units, and featured choreography, Nwachukwu’s turns at “A Vision of Nowness,” a few reprises, and “Our Lips are Sealed” are gold. Juan Luis Guzman delivers a scene-stealing turn as Dametas, father to Mopsa. It’s never an easy job to be the comedic relief in a musical comedy, but with Guzman’s physical antics and eloquent delivery of several plot-serving asides, he comes through with aplomb.

(Front center-right: Nwachukwu (Pythio), Up on stairs: I Adeficha (Snake/Pit Singer); The Arcadian ensemble of Head Over Heels; Photo credit: Kyle Lowe)

Now, the Arcadian ensemble. For those who don’t know, “jukebox musical” almost never equates to “easy singing,” and this ensemble delivers on all fronts. The ensemble is truly a unit in voice and in movement. With Flores having a very specific storytelling style while still creating formations and aesthetics which don’t bore, the movement and dance breaks in the score are filled without overdoing. The ensemble is giving it all, in the heat, outside, on a not-cushy stage, and you would have no idea because their execution appears effortless and fun. Flores choreographs the entire company with intelligent vision, always serving the script. I found his (without spoiling it) context of a lift that Sloan receives in act one’s “Mad About You” to have a wonderfully tender meaning when reprised after act two’s “Here You Are.”

Within an intentionally stripped-down tech, it is Damen Pardo’s costume designs which take center focus, and rightly so. The entire company is dressed with enthusiasm in color palettes to complement the company numbers and individual journeys the principal characters take. Head Over Heels is a show that I never have to see again because I’ve seen a peak production. Many bravos and bravas to Flores, Ramos, team, and cast for putting on a highly entertaining show, one which is progressive in bringing to light the importance of understanding pronouns, gender fluidity, and societal norms. These topics are given discussion, and explored through question, in a responsible manner, both in the show and in Selma Arts Center’s program excerpt. It’s not often, or ever really, that one will receive entertainment and education at a jukebox musical. Selma Arts Center has nailed it, so head out and go see this show!

[kylelowe]

Last night, I went to the final dress rehearsal for Selma Arts Center’s Bring It On The Musical and shot some photos and video clips. A bunch of the clips got turned into GIFs to promote the show. The photos can be found on the Selma Arts Center’s Instagram.

[flymobfashion]

[youmeandthebabies]

When Jackson 💚 shows up to a Truman 💔 party. Full video on the @selmaartscenter Facebook page! Buy your tickets now!!! #sacbringiton #bringitonthemusical #selmaartscenter

[yourghosthost]

It's a world according to Chris, and we're just living in it. CARRIE THE MUSICAL opens next week! #carrie #carriethemusical #chrishargensen #selmacarrie #selmaartscenter (at Selma Arts Center)

[brothermarc7theatre]

“Cabaret” show #806

Seven Cabarets. As of this past Saturday, I have attended seven productions of Cabaret on my road to 1,000 shows. To say that I’m a fan of this heavy, always-timely piece would be an understatement. However, it is with full confidence and complete conviction that I can report that Selma Arts Center is the most ambitiously produced, staged, and performed production I have seen. It all stems from three specific efforts, them being from Abigail Nolte as the Emcee; director/choreographer Michael Flores; and Meg Clark as Sally Bowles. This is not to negate the impact the rest of the cast, design team, and band have--and believe me, we’ll get to them--but this production would not reach the level of theatrical integrity it does without the sterling work of these three individuals. Welcome to this review of the Kit Kat Klub; do leave your troubles outside. 

(Abigail Nolte (Emcee); Photo credit: Kyle Lowe)

From the start, the aesthetics this production delivers are remarkable, easily some of the best I have ever seen from a Selma Arts Center production. Dan Aldape’s lighting design is stunning, mood-setting, and balanced in the use of specials when called for. The lighting heightens each scene and song to a level of intrigue and commitment that makes Joe Masteroff’s script and the Kander/Ebb score even more fresh and alive than before. Erik Andersen and Nicolette C. Andersen’s scenic design is wonderful, comprised of a unit set with sliding doors and two levels, and a few chairs and set pieces down stage indicating different apartments and trains and such. The cast is dressed sexily, alluringly, and well in-tune with the aesthetic concept Mr. Flores has set. Damon Pardo’s costumes, though at times not obviously logical for the number with regards to the ensemble, certainly convey the message of what the Kit Kat Klub or the specific number is trying to communicate. Matthew Smoke’s musical direction of the Kit Kat Klub band is absolute fire, the score never losing its push and dynamic impact. And the triumph of the show begins with Ms. Nolte’s performance as the Emcee. Traditionally cast as a male-identifying actor, Ms. Nolte’s vocals are perfectly suited in the key and spirit of these iconic songs. Her back-and-forth between feminine hostess and butch narrator make her journey an endless, on-your-feet experience of trying to figure out the Emcee’s goal in all of this. However, Ms. Nolte’s performance of the Act Two heart wrenching “I Don’t Care Much” will patch up any reservations you may have seeing a female identifying actress in the role. The final scene, literally in the last moments of the show, will reveal just how much you care about this Emcee.

(Center: Meg Clark (Sally), surrounded by the Kit Kat Klub ensemble; Photo credit: Kyle Lowe)

Ms. Clark is absolutely flawless in her performance as Sally. This role, carrying with it already a heavy load of expectation, vocal demand, and sexy legacy is daunting enough. However, Ms. Clark won’t just satisfy your expectations, she will exceed them with abundance. Her leadership of “Don’t Tell Mama” and “Mein Herr” are fabulous, supported by a hardworking, precise ensemble. However, Ms. Clark’s turn at “Maybe This Time” is her best number, and rightly so. Sally’s entire back story, and eventual journey for the rest of the play, are indicated in this number, and Ms. Clark doesn’t disappoint in delivering the story and the vocal power. Her turn at the title number in Act Two is a performance worthy of a standing ovation, as she not only sings it marvelously, but acts the ever-loving snot out if it. Ms. Clark’s Sally is a fully-realized, exceptional performance which Central Valley audiences dare not miss.

(Adam Chavez (Cliff) and Meg Clark (Sally); Photo credit: Kyle Lowe)

Adam Chavez does very well as Cliff, delivering heightened moments of intrigue and risk to an otherwise dull role when engaged with other super-personalities in Masteroff’s script. His vocals don’t disappoint in his sole musical time to shine opposite Ms. Clark in the bouncy duet, “Perfectly Marvelous.” Amelia Ryan and Juan Luis Guzman are wonderful as Fraulein Schneider and Herr Schultz, respectively. Their turns at “It Couldn’t Please More” and “Married” are endearing, charming, and lovingly honest as they depict the true love that can bring together two older singles. Ms. Ryan does justice to her opening ‘So What?” and completely nails her turn at “What Would You Do?,” complete with pensive determination and grit which support her excellent timbre. Mr. Guzman excels not just in singing, but in how true and humorous his Schultz is. Without ever mugging or falling into schtick, Mr. Guzman adds so much humor and charm to Schultz that it makes his culminating goodbye scene all the more heartbreaking to watch. Casey Ballard and Joshua Plowman are standouts in their featured performances as Fraulein Kost and Ernst, respectively, by giving purpose and depth to their roles.

(Amelia Ryan (Fraulein Schneider) and Juan Luis Guzman (Herr Schultz); Photo credit: Kyle Lowe)

And then there’s the ensemble, each with moments of brilliance that one can’t help but be jealous of the fun and (appropriately) difficult work they have in this demanding production. Jacob Moon, as the “Tomorrow Belongs to Me” soloist, delivers a remarkable performance, a simply staged and brilliantly sung piece with a dance formation flanking him indicating what this song is truly praising. Nia Luchau and Alex Figueroa are hilariously delightful partners with Ms. Nolte in “Two Ladies,” executed finely with Mr. Flores’ smart and raunchy choreography. Altogether, Mr. Flores has found his niche with this Cabaret. His concept is clear, uninterrupted, and precise in its delivery and execution. If you are a Cabaret veteran like me, you will see choreography in places that you’ve never seen before. However, trust that at no point does Mr. Flores’ directorial choices or choreography placement distract from the message he and the script deliver to the audience. So now go get your tickets and go see the message for yourself. Forget your troubles. Do not miss this show.

[brothermarc7theatre]

Season Announcement Wednesday

Hello! How are you? Good, I'm glad you're happy it's Hump Day. This week's highlighted season announcement takes us down to the Central Valley at a company I have grown very fond of. They continually increase their production values and are constantly producing relevant, new titles, and exciting takes on classic shows. With a several Valley premieres coming your way, a ticket to the Selma Arts Center 2019 season is what you need to plan for!

Shows/Dates: The Curious Incident of the Dog in the Night-time (February 15th - 24th); A Gentleman's Guide to Love and Murder (March 22nd - 31st); Wait Until Dark (May 17th - 26th); Be More Chill (July 19th - 28th); Disney's Beauty and the Beast (September 27th - October 13th); Cabaret (November 14th - 24th)

Venue/Address: Selma Arts Center @ 1935 High Street, Selma 93662

Website: www.selmaartscenter.com

Facebook: "Like" them at- Selma Arts Center

Twitter: "Follow" them at- @selmaartscenter

Description: For the past few years, Selma Arts Center has solidified their reputation as a theatre hub for those seeking lesser-done titles, new works, or to see a classic musical with a fresh take. I have had the pleasure of seeing their productions of In the Heights, Heathers, Big Fish, and 35MM..., among others. They are currently running a production of Real Women Wear Curves, followed by A Midsummer Night's Dream to close out their season. They have added an exciting two-night, special engagement fundraising production of The Rocky Horror Show (October 26th - 27th), which I already have my tickets to, and I hope you do, too! With a strong social media presence, youth programs, and a clear trajectory of growth with each new season, Selma Arts Center is not just a valuable contributor to the Valley theatre scene, but is a source for artistic growth and entertainment that is community-based, enriching and helping grow the Selma area. Hope to see you at the Center!

[brothermarc7theatre]

"35mm,  A Musical Exhibition" show #647

If there’s anything 35MM, A Musical Exhibition has taught me, it’s to embrace the weird. Weird does not have a negative connotation in this context, simply a derivative of “normal,” traditional musical theatre. This song cycle is based on an extremely creative concept that probably makes most composers scratch their heads as to why they haven’t thought about this before: a picture is displayed and a song is written about it. This concept is structurally sound for the duration of the musical, an exploration of people’s struggles, triumphs, romances, and individual journeys based on a simple photograph that can be interpreted a number of ways. Co-directors Dominic Grijalva and Michael Flores waste no time trying to shoehorn a through line into the show, but rather stage each number with purposeful intent, illustrating the lyrics through movement, true dance, or simply park-and-bark moments that deliver in a compelling manner. 35MM… is a non-traditional musical worthy of your time and investment and interest.

(Cast of 35mm; Photo credit: Kyle Lowe)

Ryan Scott Oliver composed the song cycle that is 35mm, A Musical Exhibition based on his partner, Matthew Murphy’s, photographs. Mr. Grijlava’s projections effectively project the image/parts of the image on several screens, making it a puzzle to be figured out while the vocalist/s and dancer/s bring the image and concept to life. Among the vocally-talented cast there are several who standout without drawing focus from their fellow cast mates. Jeremy Hitch delivers a vocally stunning “The Seraph,” with one of the most breathtaking pieces of musical staging I have ever seen thanks to Michael Flores’ exceptional choreography, performed with fluid excellence by Shawn Williams and Mr. Flores himself, with Sabrina Lopez and Will Bishop adding nuanced acting turns and harmonies.

(With guitar: Cameron Briggs, Standing on Chair: Kindle Cowger, Sitting on Floor: Will Bishop, and cast of 35mm; Photo credit: Kyle Lowe)

Sabrina Lopez and Shawn Williams duet in an outstandingly dark-comedic performance of “Make Me Happy.” Cameron Briggs comes out from the top-notch band to lead (both vocally and on guitar) a stirring “Leave Luanne,” with Kindle Cowger delivering an outstanding acting performance alongside Mr. Bishop. Miguel Gastelum is outstanding in “The Caralee” and exudes tragic warmth in a fantastic turn in “Cut You a Piece,” a standout showing among the ensemble performances. Among these performers are Brandon Valdez who paints and sings gloriously in “Why Must We Tell Them Why?” and Jessica Meredith who leads a strong “The Party Goes With You.” Mr. Flores and Mr. Grijalva’s staging and choreography of these numbers add to the beauty within this score.

(Cast of 35mm; Photo credit: Kyle Lowe)

Again, there are some weird moments but not at the expense of a compelling, thought-provoking song cycle that has all the creative ingredients culminating in a unique, most enjoyable time at the theater. 35mm, A Musical Exhibition closes this Saturday at the Selma Arts Center. Do yourself a favor, challenge/fulfill your theatrical curiosity and go see this show.

[brothermarc7theatre]

2019 Wrap-up; Looking Ahead to 2020

Hello! Vacation has been treating me very well. Currently blogging from Escondido at the relaxing, lovely Lawrence Welk resort, I find that this is a perfect setting to reflect on all the wonderful theatre experiences 2019 has provided me. From the shows I was able to do, the shows I was able to see, and the classes I was able to teach, I consider myself one lucky thespian. 

I was able to finish out my time living in the Bay Area by choreographing a fantastic production of Heathers, the Musical at Pacifica Spindrift Players. This was a musical I wanted to get my hands on in some capacity for a few years, and I couldn’t have been involved with a better, more supportive, talented, and fun group and production. I then got to dance the music of ABBA in StageWorks Fresno’s production of Mamma Mia!, which also marked my return to Fresno theater! Finally, I kicked off my high school teaching career and had the opportunity to direct my first play, Boeing Boeing. The students were fantastic, I learned so much, and now that I have my directorial debut out of the way, I look very forward to learning and growing as a Theatre teacher and director in the years to come. 

Teaching high school Theatre has been one of the most singularly growing experiences in my life as a thespian. The students, the material, the fellow teachers and administration have been such a positive experience as I grow into being an effective teacher of the arts. I feel as if I’ve made as many “ah-ha” moments as my students have, and the times I get to read their work, hear their opinions/stories, and see them perform are rewards that supersede any applause or paycheck I’ve ever received. 

Lastly, I have had the pleasure of seeing some seriously great theatre. My New York trip this year allowed me the chance to really go with the flow in terms of seeing shows I hadn’t planned to see, but was surprisingly happy to watch. I also went with my wife for the first ever in our relationship history, so experiencing New York through her eyes was incredible. Seeing shows like Tootsie and The Cher Show reminded me of how fun a musical comedy and bio-musical can be, and shows like To Kill A Mockingbird and Frankie and Johnny in the Clair de Lune reminded me of how timely some stories are. The Rogue Festival was a featured highlight, as it always is. The Festival does such a great job of allowing artists to test new work, develop works in-progress, and bring back favorites and talents audiences are sure to love. And, I got to reach the next plateau The Road to 1,000 with my 800th show, thanks to StageWorks Fresno’s beautiful production of La Cage aux Folles. Below is the list and some of my favorite picks from the year. Enjoy!

Come From Away-2019-National Tour (San Francisco)

Frost/Nixon-2019-TheatreWorks    

Spending the End of the World on OK Cupid-2019-Pear Theatre

Shakespeare in Love-2019-Palo Alto Players

Cat on a Hot Tin Roof-2019-San Jose Stage Company

The Eulogy-2019-Rogue Festival      

Miss Fits-2019-Rogue Festival

Klondike Kate’s Sourdough Reunion Show-2019-Rogue Festival

S’Will 2: Romeo and Juliet-2019-Rogue Festival/The Fools Collaborative

The Do-Over-2019-Rogue Festival

A Chorus Line-2019-Sierra Repertory Theatre

The Great Leap-2019-American Conservatory Theatre

Falsettos-2019-National Tour (San Francisco)

Mamma Mia-2019-Hillbarn Theatre

American Psycho-2019-Ray of Light Theatre

Woody Sez-2019-Center Repertory Theatre

Next to Normal-2019-Los Altos Stage Company

Present Laughter-2019-Pear Theatre

Tootsie-2019-Broadway (Marquis Theater)

Be More Chill-2019-Broadway (Lyceum Theater)

Frankie and Johnny in the Clair de Lune-2019-Broadway (Broadhurst Theater)

To Kill a Mockingbird-2019-Broadway (Shubert Theater)

The Cher Show-2019-Broadway (Neil Simon Theater)

The Play That Goes Wrong-2019-New World Stages

Rock of Ages-2019-New World Stages

Legally Blonde-2019-CenterStage Clovis

La Cage aux Folles-2019-StageWorks Fresno

Ripcord-2019-Sierra Repertory Theatre

The Book of Will-2019-StageWorks Fresno

Anastasia-2019-National Tour (San Francisco)

Cabaret-2019-Sierra Repertory Theatre

Fat Pig-2019-Fresno State University

Cabaret-2019-Selma Arts Center

Grease-2019-Sierra Repertory Theatre

The Great American Trailer Park Christmas Musical-2019-Sierra Repertory Theatre

Number of Shows I Saw in 2019: 35

Favorite National Tour production of 2019: Come From Away in San Francisco 

Favorite Broadway production of 2019: Tootsie at the Marquis Theatre

Favorite Professional/Regional production of 2019: The Great Leap at American Conservatory Theatre

Favorite Central Valley Theatre production of 2019: Cabaret at Selma Arts Center

Favorite Bay Area Theatre production of 2019: Frost/Nixon at TheatreWorks

Favorite Youth or College production of 2019: Fat Pig at Fresno State University 

Even though it was my lowest number of show-seeing since 2009, this decade in total has been an incredible journey in theatre, and this past year was no different. In 2020, I am already gearing up for three productions; I will be making my solo show in my first-ever written play, Merely a Player, at the Rogue Festival. I am working mightily on my final draft, getting off-book, and prepping for all the stresses and excitements that come with doing a one-man show. Also, my high school is doing Violet, which will mark my first my musical directorial debut. Auditions are the first week of school after Winter Break is complete, and we run at the end of February; I can’t wait to work on this beautiful piece. Lastly, I get to go back to the woods and choreograph Into the Woods for Costal Repertory Theatre, and I am quite excited to have some Sondheim in my life. 

Hopefully next year will bring more chances for me to see more shows, and I hope the same goes for you and yours. Peace and love wished to you in this New Year! 

[brothermarc7theatre]

Season Announcement Wednesday...errr...Saturday

Hello and welcome to this week’s Season Announcement Wednesday! The company being featured this week is one that I am so excited to be near again. Their shows are always adventurous, always challenging, and always worth the price of admission. Enough banter, let’s get to the 2020 season at Selma Arts Center!

Shows/Dates: Puffs (February 14th - 29th); Tarzan (April 17th - May 2nd); Head Over Heels (June 12th - 27th); Hair (August 14th - 29th); Little Shop of Horrors (September 18th - October 3rd); The Rocky Horror Show (October 23rd - 31st); Zoot Suit (November 20th - December 5th)

Venue/Address: Selma Arts Center @ 1935 High Street, Selma 93662

Website: www.selmaartscenter.com

Facebook: “Like” them at- Selma Arts Center

Twitter: “Follow” them at- @SelmaArtsCenter

Description: Over the years, Selma Arts Center has continued to impress and grow into a theatre company that is deserving of your attention and attendance. I have had the pleasure of seeing their productions of In the Heights; Heathers, Big Fish; 35MM: A Musical Exhibition; and The Rocky Horror Show, among others. This upcoming season brings several Valley premieres, and is chalk full of exciting titles. Hope to see you down in Selma checking out a show!

[kylelowe]

Spring Awakening For the last month or so, my life (aside from work at CMAC) had been consumed by working on Selma Art Center’s Spring Awakening. Dominic directed it and I helped with photo, video, and music for the show. Here’s a BTS vlog I made throughout the run! Week 2: https://vimeo.com/254415659 Week 3: https://vimeo.com/256534659 And here’s some GIFs that we’re made rom my photos and videos: https://giphy.com/selmaartscenter

[youmeandthebabies]

Dying to finally see Spring Awakening this weekend at the @selmaartscenter 🌸 #springawakening #brushlettering #procreate

[brothermarc7theatre]

"Big Fish" show #585

When Daniel Wallace’s novel, Big Fish, was adapted for film and then for the stage, many were skeptical as to how it would succeed on Broadway. Though it didn’t even hit 100 performances, it has now garnered a well-deserved rep in the regional and community theatre circuit, and Selma Arts Center is currently taking it on. Andrew Lippa’s score pairs very well with John August’s book, making the stage musical of Big Fish a resonant, nostalgic look into Edward Bloom’s life. Charged with the difficult job of playing a range of ages from childhood to senior citizen, the leading actors deliver resounding performances, bolstered by the solid staging and conceptualization of co-directors Dominic Grijalva and Nicolette C. Andersen. It is with thanks to them and their technical achievements that Selma’s Big Fish is swimming just fine in the Central Valley pond.

(Tyler Jarrett (Edward) kissing Lesley Ogle (Sandra), flanked by cast members of Big Fish; Photo Credit: Juan L. Guzman)

Tyler Jarrett takes on the leading role of Edward Bloom; performing it with well-displayed physicality in his various ages throughout the play and delivers some well-developed acting. Though his vocals were a bit shaky on the Sunday matinee I attended, his duet with Lesley Ogle, “Time Stop,” was absolutely pitch-perfect, and not just vocally. The connection these two instantly develop in this lovely ballad, one of Lippa’s best songs in the musical, has musical energy and flow to it, which Jarret and Ogle nail in emoting the surge of attraction and feelings they develop during the duet. Jarret’s overall warm presence brings the audience into his imagination and passion, making his performance a strong leading turn. Ogle, in addition to the aforementioned duet, delivers a gorgeous performance as Sandra Bloom, Edward’s wife. Her ever clear Southern belle dialect, beautiful vocals, and alluring stage presence elevate her performance to one of the best I have seen in a leading lady in recent time. Ogle plays the fun, bouncy flirt in “Little Lamb from Alabama,” alongside equally entertaining Lambs, Angelica Evangelista and Andrea Ruiz, who perform Kendra Collins’ fun choreography in stellar fashion. However, it is in Act Two where Ogle absolutely brings down the house and draws out the tears in a stunning performance of “I Don’t Need a Roof.” Rounding out the Bloom bloodline is a flawless Marcus Cardenas, playing Edward and Sandra’s son, Will. The frustration Will has towards Edward drives Cardenas’ performance, especially as Edward declines physically and mentally, and the love he shows is transparent the whole way through all the conversations and arguments he has with Jarret. Cardenas’ sterling vocals are on ripe display in a triumphant “Stranger,” and with added gusto in the Act Two finale “Be the Hero (reprise).”

(Grace Marrow (Josephine) and Marcus Cardenas (Will); Photo Credit: Juan L. Guzman)

The beauty about Big Fish is that the journey of the Blooms, as beautifully heartbreaking as it is to watch, is enhanced by the well-written characters that come into contact with them. Kicking it off, Camille Gaston enters Act One with a show-stopping performance as the Witch in “I Know What You Want.” Kendra Collins’ choreography is great as it complements the score, Gaston’s vocals, and the ensemble’s talents all in one. Jeremy Hitch and Adam Chavez deliver top-notch performances as the jerks around town, Don and Zacky Price, making for some great comedy moments and utilizing the character-actor talents they have. Maddie Williams makes for a scene-stealing turn as the adorable Jenny Hill, one of Edward Bloom’s girls who fell madly in love with him even when he didn’t stay to reciprocate. Williams’ connection to Jarret is well-developed, filled with enough subtext to keep the audience as intrigued as Will is in finding out the truth behind these two. Finally, both Brandon Cleveland and Grace Marrow make memorable turns as Karl the Giant and Josephine Bloom, respectively.

  (Center-Camille Gaston (Witch), flanked by Ensemble Members of Big Fish; Photo Credit: Juan L. Guzman)

Filling out this cast is a connected, totally gelled ensemble, who makes for some great moments as a group, especially when they are playing the townsfolk. Songs like the opening number, “Be the Hero” (interjected with a well-choreographed and nicely-performed ‘Alabama Stomp’), “Closer to Her,” and “Showdown,” are great numbers because of how vocally and physically in sync the ensemble is as a unit. All these, coupled with David Esquivel’s excellent lighting design and Grijalva’s fluid projection designs, make this Big Fish a refreshing splash of musical theatre.

Big Fish closes this Saturday so if you haven’t made it over to the Selma Arts Center to see it, I suggest you grab your imagination, hike up your boots, and swim on down to check out this show!

(Members of the Big Fish cast; Photo Credit: Juan L. Guzman)