#townhalltheatrecompany

[brothermarc7theatre]

"The Song of the Nightingale" show #672

Town Hall Theatre Company is kicking off their new season with local playwright/composer Min Kahng’s, enchanting musical adaptation, The Song of the Nightingale, based on Hans Christian Andersen’s "The Nightingale." This light and breezy musical fairytale follows a young fisherwoman on her journey to being hired into China’s Royal Court by the thick-headed Emperor. She brings with her the knowledge of where a beautiful Nightingale resides and how to meet this song bird. With themes of greed, ignorance, love, and determination, this beautiful story receives a marvelous facelift for the musical stage.

Isabel Anne To plays our heroine fisherwoman, Mei Lin. Miss To’s interpretation of the princess-esque, rags-to-riches girl is a genuine, heartfelt, and at times vulnerable performance. Miss To’s whimsical outlook on life comes through in her beautiful turns of the “Nightingale Anthem,” “Make Room,” and solo bits in “Dressing Song.” Miss To does well in the all-call Act One finale, “Regret,” but is done a disservice by a lack of swelling orchestrations backing her up her more timid high notes. The three-piece band is sufficient for the more intimate numbers, especially where the Nightingale dance turns are the focus; but the few times where there is a script-based need for a giant sound, the stripped-down band doesn’t deliver. DC Scarpelli is a stalwart Emperor, making every line he is given a gem of comedic delivery, every dramatic take or swoon of the body a memorable staging bit, and he does justice to his two big numbers, “Never Have I Heard” and “Lonely at the Top.” Mr. Scarpelli and Miss To team up with Lisa Woo (Madame Wu) and Matt Ono (Xiao Hai) for a gloriously written and perfectly staged Act Two quartet-lament, “Honest.” It is this song that gives the audience the final bit of “traditional” musical theatre structure that Mr. Kahng’s score promises to deliver.

(DC Scarpelli (Emperor) and Isabel Anne To (Mei Lin); Photo credit: Stu Selland)

Miss Woo’s performance as the Emperor’s sister, Madame Wu, is filled with a steadfast presence that sets up her autonomous, empowering decision to eventually go against her brother’s wishes while being justified in doing so. Miss Woo’s torch number, “Wu’s Soliloquy” and the subsequent Part II are effective turns for her to show emotional turmoil in the stomach-writhing decision she has to make; however, it does come at the expense of a solid vocal turn. Mr. Ono delivers a dynamite performance as fellow fisherman, Xiao Hai. Mr. Ono has the advantage of playing leading man to Miss To’s Mei Lin, while also leading a rebellion against the Emperor because of the limited food rations due to the Emperor’s frivolous banquets. Mr. Ono’s journey as Xiao Hai is a slow burn of ever-growing intrigue and rooting for the underdog, setting up a hands down show-stopping performance of “The Girl I Know.” Mr. Ono’s gorgeous, steady vocals and emotionally driven inflection elevates what is easily Mr. Kahng’s best-written song of the show, one sure to be a song worthy for cabaret acts and solo album covers. Full disclosure: my hands may still be sore from how hard I applauded Mr. Ono’s performance.

 (Matt Ono (Xiao Hai) and Isabel Anne To (Mei Lin); Photo credit: Jay Yamada)

One standout performance comes from a hilariously jovial Ted V. Bigornia as the Emperor’s clothing designer/right-hand-man, Bing Wen. Mr. Bigornia rocks the runway in the Act One romp, “Brown Is In” and kicks off Act Two with just the right amount of camp and energy in “Full Speed Ahead.” Pauli N. Amornkul triumphantly dances her way as the Nightingale with flourishing ballet turns, and a storyteller’s knack for facial and physical expression. Christopher Juan is a ridiculously awesome Fake Nightingale, dancing, thrusting, and riffing his way through several renditions of the pleasantly pulsating “Song of the Fake Nightingale.” Finally, Kenneth Greenwell delivers a scene-stealing performance as Tai Yun, Xiao Hai’s younger brother. One of the big praises I have for Mr. Kahng’s script and Michael Mohammed’s well-paced and efficient direction is how well they use Mr. Greenwell in the sole child-age role. It is refreshing to see a supporting role written for a child that actually has moments of genuine comedy and earnest exposition to it; two elements that are completely apparent in Mr. Greenwell’s performance.

  (Christopher Juan (pictured as Fake Nightingale) and Pauli N. Amornkul (Nightingale); Photo credit: Jay Yamada)

Overall, Mr. Kahng should be proud of what Town Hall Theatre has done with his work. Mr. Mohammed has found all the right moments to make a community of dancers help tell the story, juxtaposing nicely when a simpler number calls for park-and-bark staging. Mr. Mohammed’s Nightingale choreography is executed brilliantly by the more-than-capable Miss Amornkul, allowing her to show the audience exactly why she, as the Nightingale, is the most valuable entity to the fishing town and the Royal Court. Martin Flynn’s scenic design accomplishes the element of escaping into this fairy tale while simultaneously creating fluid transitions between locales. Hope Birdwell’s costume design is both flashy and appropriate, bringing the right level of animation to aid the visual aesthetics younger audience members will find alluring.

  (Front L to R: Lisa Woo (Madame Wu), Pauli N. Amornkul (Nightingale), Ted V. Bigornia (Bing Wen), flanked by the Ensemble; Photo credit: Jay Yamada)

In all, this is a very well-calibrated production of a treasured story. Mr. Kahng and Mr. Mohammed have allowed for just the right doses of legitimate musical theatre to couple the campiness and charm that transcends audiences of all ages. It is a rare breed of original musical that makes you feel good while not beating you over the head with morals and lessons. If you have the desire to have a couple of hours of light hearted, well-sung, and very well-performed entertainment, Town Hall Theatre’s The Song of the Nightingale is the ticket for you.

Details:

Runs through October 21st

Town Hall Theatre in Lafayette, CA

www.townhalltheatre.com

[brothermarc7theatre]

Season Announcement Wednesday...errr....Thursday

Hello and welcome to another season announcement! This week’s company has been an East Bay area favorite of mine for a few seasons now. Even though I have moved back to Fresno, you better believe I will continue to see their shows when the calendar allows. With that, let’s take a peek at what Town Hall Theatre Company is offering audiences in 2019/2020!

Shows/Dates: The Legend of Georgia McBride (September 28th - October 19th); Cinderella: A Fairy Tale (December 7th - 21st); The Cherry Orchard (February 29th, 2020 - March 21st, 2020); Violet (May 30th - June 20th)

Venue/Address: Town Hall Theatre @ 3535 School Street, Lafayette 94549

Website: www.townhalltheatre.com

Facebook: “Like” them at- Town Hall Theatre

Twitter: “Follow” them at- @TownHallTheatre

Description: Over the years, I have had the pleasure of seeing Town Hall Theatre’s productions of The Mystery of Edwin Drood, Smokey Joe’s Cafe, An Ideal Husband, The Song of the Nightingale, and Sense and Sensibility, among others. They have grown in their community events and outreach, holding Literary events, talk backs, and other various events for artistic involvement for its audiences and artists. Do yourself a favor and begin putting your dates for Town Hall Theatre attendance on your calendar now. Go see a show! 

[brothermarc7theatre]

Season Announcement Wednesday

What gives me joy about highlighting this week’s company is that even pre-COVID-19 regulations, this group of artists made audience education and variety in entertainment a priority. In addition to some wonderful productions, their community events, pre-show activities, and education program were staples of their mission as a theatre group with love for serving their community. Their work continues in an adapted form while SIP is a reality. So, I am quite pleased to highlight the 2020-2021 season at Town Hall Theatre Company!

Shows/Dates: The Grown-Up (September 26th - October 17th); Coney Island Christmas (December 5th - 20th); The Trip to Bountiful (February 27th, 2021 - March 20th, 2021); Peter and the Starcatcher (May 29th - June 19th)

Venue/Address: Town Hall Theatre @ 3535 School St., Lafayette 94549

Website: www.townhalltheatre.com

Facebook: “Like” them at-Town Hall Theatre

Twitter: “Follow” them at- @TownHallTheatre 

Description: Town Hall Theatre Company has been a source for excellent theatre in the East Bay area. I have enjoyed their productions of The Mystery of Edwin Drood, The Man Who Shot Liberty Valance, Smokey Joe’s Cafe, An Ideal Husband, Sense and Sensibility, The Song of the Nightingale, and The Revolutionists, among others. In addition to their main stage season, Town Hall provides literary events, writing events, lobby events, and all sorts of interactive activities for audiences of all ages. Head to their website to check out the details and make your plans to support this company big time once we can congregate in their house again! 

[brothermarc7theatre]

"The Revolutionists" show #759

“I mean, sometimes a revolution needs a woman’s touch.” This line, the thesis around which Lauren Gunderson has revolved her play, The Revolutionists, is all too close to today’s trying political climate. Whether it be 1793 rebellious France or 2018 volatile America, the themes Ms. Gunderson explores in her play strike many chords, regardless of race, ethnicity, or age. Town Hall Theatre Company has given this play a well-staged production, even amidst the weaknesses of the script, and is a champion comedy for women’s empowerment and powerful voice.

Director Susan E. Evans has helmed The Revolutionists with smooth staging that combats the script’s pacing issues. What works in Ms. Evans’ favor is her keen sense of when to give focus to the vital moments/lines in the play. Both acts have some very heartrending bits of dialogue, all of which are given due prominence. Unfortunately, not even the seasoned director and a very capable quartet of actresses can overcome the clunkily written preface that begins the play. Ms. Gunderson goes on for a few too many minutes of precious script in a valiant attempt to combine comedy with a meta-theatrical awareness. The “meta” aspect is understood much earlier than Ms. Gunderson expects, and becomes a device rather that hinders the choice of writing style. The lines begin to tell the audience that it is aware of itself being aware of itself, diluting the impact the script could have. The plot isn’t pushed, and the play is bookended with a rushed ending that doesn’t quite fasten a button on what the audience is supposed to feel. However, where Ms. Gunderson excels is in her structure of when certain revelations are made, and how the characters relate to one another, whether in monologue, all-call scenes, or two-person conversations. There’s enough modern speech mixed with historical references to be engaging and not overly convoluted.

(L to R: Sarah Mitchell (Olympe), Suzie Shepard (Marie-Antoinette), Kimberly Ridgeway (Marianne), Heather Kellogg (Charlotte); Photo credit: Jay Yamada)

Leading the charge is writer, Olympe de Gouges, based on the real-life Ms. De Gouges. Played by Sarah Mitchell, Olympe is a spitfire playwright, who struggles with elevating a woman’s place and voice in the revolution while trying to help the other characters out. Each lady has a mission to accomplish, but all roads lead to Olympe’s help with writing. Ms. Mitchell gives Olympe a realistically animated demeanor and is consistently conscious of where the laugh lines reside. Her performance is pinpoint portrayal of the scatterbrained focus that plagues/blesses many writers, especially in the theatre. Her thoughts move 80 miles-a-minute, and Ms. Mitchell is able to convey Olympe’s journey with true gravitas. Heather Kellogg delivers a wonderful performance as Charlotte Corday, assassin of French journalist, Jean-Paul Marat. Ms. Kellogg exudes youthful, determined assassin-like qualities, and is first of the four ladies to face the guillotine, but not before leaving a dramatic impression upon the audience through her stellar performance.

(Sarah Mitchell (Olympe) and Kimberly Ridgeway (Marianne); Photo credit: Jay Yamada)

Kimberley Ridgeway, as true revolutionary, Marianne Angelle, has the toughest hole to climb out of in her role. Easily the least developed in Ms. Gunderson’s script, the majority of Marianne’s comedy comes in her being mistaken as a servant, or being annoyed by the other three women at various times. The role is written as a stagnant, one-dimensional character with very little room to wiggle out of the emotional box Ms. Gunderson has trapped her in. The snarky, too-preachy dialogue causes Ms. Ridgeway to do more of a recitation of her lines rather than give any real nuance or inflection to her dialogue. Unfortunately, this undercuts the impact of her more dramatically grievous moments. Suzie Shepard rounds out the cast in scene stealing fashion as the Queen herself, Marie-Antoinette. Ms. Shepard’s bubbly ditzy-ness upon entrance palpably contrasts her sprinkling of profound “pearls” of wisdom (and boy, are her pearls shiny!). Partnered with her great physicality and comedic timing is a whimsical, diverse timbre when speaking, whether as unaware royalty or giving a powerful ending speech before facing her demise at the guillotine.

(Suzie Shepard (Marie-Antoinette) and Sarah Mitchell (Olympe); Photo credit: Jay Yamada)

Framing the action is one of the best sets I have seen in a Town Hall Theatre production, thanks to scenic designer, Liliana Duque Pineiro. Her design has a beautiful couple of walls with gorgeous illustrations of men and women in the heat of revolutionary battle, while imposing a series of mirrored slats onto the stage, allowing the cast to have some wonderful staging moments of reflective pensiveness. Hope Birdwell dresses the ladies in bright or appropriately-dingy garbs. The costumes speak for the characters almost as much as the lines do, and Ms. Birdwell’s detail is exquisite. Major kudos allotted to Linda Nye Wigs for providing the wig designer with some stellar wigs. Lana Palmer’s sound design is subtle, used sparingly and being very effective when audible, as it adds a delightful tension when underscoring specific dialogue and scene transitions.

This play, through its triumphs and hiccups, is a masterly comedy that has a lot of important things to say, and not just for women. This play is a perfectly timed piece of theatre, speaking to a generation in an era of politics and social rights movements with no immediate end in sight. There needs to be conversation, there needs to be accountability, and there certainly needs to be tenacity in fighting for equality. The Revolutionists is a worthwhile contribution to that fight.

Details:

The Revolutionists plays through October 20th

Town Hall Theatre Company in Lafayette, CA

www.townhalltheatre.com

[brothermarc7theatre]

Season Announcement Wednesday

This week's highlighted season comes from a theatre company that is relatively new in my rotation of theaters to frequent, but they have continually impressed me with how they stage classic titles and newer/lesser-known works with the same level of entertainment values across the board. Their 2017/2018 season kicks off in just a few weeks, so what better time to highlight their season than now, huh?!

Shows/Dates: The Song of the Nightingale (September 28th - October 21st);  A Civil War Christmas (November 30th - December 16th); Woman in Mind (March 1st, 2018 - March 24th, 2018); Sense and Sensibility (May 31st - June 23rd)

Venue/Address: 3535 School Street, Lafayette 95459

Website: www.townhalltheatre.com

Facebook: "Like" them at- Town Hall Theatre

Twitter: "Follow" them at- @townhalltheatre

Description: Now, it is rare for a theatre company I follow to provide a season of titles that I have never seen, but leave it to Town Hall Theatre to further expose me to works I have yet to be introduced to. Located in the beautiful downtown Lafayette area, this theatre company has plenty of events and outreaches for youth in addition to their main stage season, so don't hesitate to peruse all their offerings. I'll be attending opening night of their first show, The Song of the Nightingale, and I hope to see you at the theater too!

[brothermarc7theatre]

"An Ideal Husband" show #632

When Oscar Wilde’s An Ideal Husband premiered on Broadway in 1895, he may not have thought it would become an applicable piece of comedic, romantic theatre for those of us living in 2017; but his themes of forgiveness, societal norms, conscious objections to and acceptance of relationship and gender roles and expected behaviors are all embedded in this charming play, one that is absolutely relatable to modern audiences. A play where love and honor prevail, but not at the expense of juicy plots and great twists, Town Hall Theatre Company has a fantastic production of An Ideal Husband playing. Under the direction of Susan Hovey, this cast is pitch-perfect at delivering the style of the upper class English-set comedy, nailing the postures, dialects, and overall grand demeanor that is appropriate. Miss Hovey’s beautiful touches illustrate how the ladies sit and how the gentlemen exit and enter a room, and they are crafted with a precise look that is consistently comedic gold. The cast’s flawless adherence to Miss Hovey’s direction has made this production an absolute must-see.

(DC Scarpelli (Lord Goring) and Amanda Leigh (Miss Mabel); Photo Credit: Jay Yamada)

DC Scarpelli’s performance as Lord Goring is a lesson in leading man charisma and physical comedy. A raise of the eyebrow, a nod to a scene partner, or a double take are all effortless turns for Mr. Scarpelli that earn him many laughs and much love from the audience. His performance is a most enjoyable slow burn of a young(ish) man who prides himself on being witty, quick, and a no-holds barred bachelor (except when desiring the one young woman he truly loves). From cynical bachelor to insightful betrothed, Mr. Scarpelli hits all the comedic and romantic notes needed to succeed in this debonair role. Playing the ole’ chap opposite Mr. Scarpelli is Dennis Markam in a strong performance as Sir Robert Chiltern. Mr. Markam’s gentleman-liked demeanor starts him off coolly and calmly, making the inevitable reveal of his 22-year old political stain on an otherwise impeccable career and reputation all the better to watch unravel. In Act Three, Mr. Markam and Mr. Scarpelli team up for a gloriously staged and nuanced scene of mistaken identity mixed with gentlemanly manners that is a show highlight.

(Dana Lewenthal (Mrs. Cheveley) and DC Scarpelli (Lord Goring); Photo Credit: Jay Yamada)

Dana Lewenthal delivers a masterly performance as Mrs. Cheveley, detested among the ladies and the closest person to a villain the plays has. Miss Lewenthal’s Cheshire cat-like smile when plotting contrasts her moments of worry and angst in Act Three, showing the talent and diversity she brings to the role. Heather Kellogg exudes the power of her politeness and determined grit in the role of Lady Chiltern, Sir Robert’s wife. Her chemistry opposite Mr. Markam is magnetic, realistic, and altogether endearing to see unfold. Miss Kellogg holds her own in her Act Two standoff with Miss Lewenthal when Mrs. Chiltern’s welfare as Sir Robert’s wife is put into question as well his reputation. Amanda Leigh delivers a standout supporting performance as Miss Mabel Chiltern, the young lady who eventually snags Lord Goring. Her coy demeanor and sly delivery of the sensual undertones Miss Mabel feels when she is in the presence of the handsome Lord Goring are enhanced by her youthful inflection and twinkle in the eye.  Miss Leigh’s pacing for the comedic quips Miss Mabel hurls at Lord Goring is excellent and hits the mark each time.

John Blytt and Alan Coyne both deliver memorable performances as Lord Caversham (Lord Goring’s father) and Phipps (Lord Goring’s butler), respectively. Both have the cadence and inflection of seasoned veterans of the stage, never mugging a scene but certainly earning their keep with the bits they are given.

(Heather Kellogg (Lady Chiltern) and Dennis Markam (Sir Robert Chiltern); Photo Credit: Jay Yamada)

Oscar Wilde has a very specific rhythm and inflection to his beats and lines, a device that the cast as a whole nails every single time. Miss Hovey has created a pleasantly palpable tension throughout the play consisting of masking smiles, layered manners, intuitive inflection, and an overall understanding of the English upper class that is comedic but not offensive. Even the details in the consistency of silent reactions, looks, and changes in facial expression speak volumes in what the character is really saying, an attribute that each actor in the company delivers with flair.

Harnessing all this action is a multi-unit scenic design that is altogether grand and functional, created by Brian Watson. Mr. Watson’s consistent look for the opening Octagon Room, Sir Robert’s Morning Room, and Lord Goring’s House set the tone for the style and commonality members of the English upper class would have while instilling each’s own taste and preference for home leisure. Hamilton Guillen’s lighting design is wonderful at illuminating the multi-character scenes, and setting the mood for the more intimate dialogues.  Sandy Small’s modern sound design choices for the in-between act songs and tunes are very effective at reminding the audience that this late 1800s play is something that is completely relatable to today’s relationships. Hope Birdwell’s stunning costume design has the women not only matching the period and English upper class requirements, but shades them beautifully in different palettes of bright, beautiful washes. The men don dashing suits, enhancing the posture and physical nuances each man utilizes for their characterization.

By the curtain call, one must beg the question—is there ever really an ideal husband one can look for or hope to wed? The world may never know. The men who Oscar Wilde has created in this play are all very different, but certainly please the women who have taken vows to be with them. Miss Hovey and cast have certainly done their job in providing all the possible answers that can be found in Mr. Wilde’s work; it’s up to you to go and see what they have done. An Ideal Husband runs through 24th; do not miss this excellent production.

[brothermarc7theatre]

Interview--Susan Hovey, "An Ideal Husband" at Town Hall Theatre Company

When it comes to relatable, timeless comedies, Oscar Wilde is one of the top playwrights that comes to mind. This week, Town Hall Theatre Company opens their production of Mr. Wilde's very popular, An Ideal Husband. This title has seen four Broadway runs, the last being in 1996 when it was nominated for three Tony Awards, including Best Revival of a Play. I had the opportunity to pose some questions to Town Hall's director of An Ideal Husband, Susan Hovey, to gather some insight into the rehearsal process, personal attachments to the title and playwright, as well as some interesting fun facts about Miss Hovey's career thus far. An Ideal Husband runs through June 24th so ensure that you go see this show!

1.       Why did you accept directing An Ideal Husband?

I started working with Town Hall in 2008, and it’s always a pleasure to work at the theatre with the talented staff and actors in the community. When they asked me to direct for them this season I was honored. When An Ideal Husband was selected as the production I was elated; it is my favorite Oscar Wilde show personally.

2.       What part of this production makes it your own?

Every theatre piece you put on really is a labor of love. It’s amazing how much it is always a unique and different experience -- even if all the people and elements stay the same! For An Ideal Husband, we decided to keep this show in its original Victorian setting as we felt it best showcased what is still a very modern play. But we are playing with the idea of a few modern nods for the audience, which will hopefully highlight its contemporary relevance.

3.       Why do you think audiences love An Ideal Husband so much? What makes it a worthwhile play in 2017?

An Ideal Husband is pertinent to the modern audience because, in the end, all great plays are about people and, fundamentally, people have not changed. We are still flawed and seeking compassion. This message is still very alive and well in this timeless piece.

4.       Why is An Ideal Husband perfect for Town Hall Theatre audiences?

I think An Ideal Husband is perfect for any audience member who wants a smart and stylish show full of wit, fun and entertainment. If you like your entertainment a little smart, a little scathing -- but always delightful -- then this is it! If you had something else in mind...well, then perhaps you wouldn’t enjoy it...

5.       Past history with An Ideal Husband, or Oscar Wilde, or is this your first time working on a Wilde show in any capacity?

I actually designed a set for a student production of Wilde’s The Importance of Being Earnest many years ago but this is my first chance to direct one of his shows. An Ideal Husband, being my favorite of his, has been an amazing opportunity.

6.       What is the one thought/impression/feeling you, your team, and your cast want audiences to leave with?

We want the audiences to join us join us for our celebration of wit, charm and above all, love with a theme of compassionate tolerance that these wonderful actors and creative team have created.

7.       Other than staging, how are the costume, lighting, and set elements fitting in with your overall vision of this An Ideal Husband?

The design elements provided by the creative team for this production are the perfect complement to my vision. This group of rock stars are finding amazing ways to enhance and modernize this piece, all while creating the perfect homage to this late Victorian-era piece. It is authentic and true to the time in which this social comedy was written, while also ever-so-slightly adapted for a contemporary audience, plus a few extra surprises for the audience. It has been such a honor and privilege to get to work with this beyond talented crew here at Town Hall Theater.

8.       Where have your inspirations come from?

In theatre I have been lucky enough to work all throughout the Bay Area over the years, and I find I have been inspired by almost everyone with whom I have worked with. My mother, who has been a Drama teacher for high school for over 30 years, was my first and is probably still the most influential inspiration. She guided me into community theatre at a young age and helped me develop my love for it. In addition, every actor and designer I work with on a piece truly inspire the creation of different moments and ideas throughout the process. They are truly inspiring in every sense of the word and the essence of collaboration -- which is the part I love the most about getting to continue to work in community theater in the Bay Area.

[brothermarc7theatre]

Interview--Lauren Rosi, "Smokey Joe's Café" at Town Hall Theatre Company

Jukebox musicals and musical revues tend to get a bad rep in the theatre community. "It's just recycled music." "I'd rather hear the original artist sing the hits." Yada, yada, yada. The thing is, Broadway has had a slew of revues and jukebox musicals that were genuine hits, paying homage to the artist/writer while providing a more accessible way for a new generation to experience that iconic music. Such is the case for Smokey Joe's Café, which had a nearly 5-year run on Broadway, totaling 2,036 performances, and received 7 Tony nominations, including Best Musical. Plus, Smokey Joe's Café has become a staple revue for theatres across the country to stage. I had the chance to interview Lauren Rosi, director of Town Hall Theatre Company's upcoming production of Smokey Joe's Café to get her insight on the show, the rehearsal process, and what audiences can look forward to seeing when they come to the show.

  1.       Why did you accept directing Smokey Joe’s Café?

I think one of the factors that drew me to this show is the music, in particular, the opening number, “Neighborhood”. I live in Jack London Square, a part of Oakland that seems to change every week. Every chance I have to walk around my neighborhood the song "Neighborhood" plays in my head, like a soundtrack to the battle between gentrification and history that I’m watching unfold.

 2.       The songs of Leiber and Stoller are iconic both musically and lyrically. What about your production pays tribute to their writing/sound, and what part of your production makes it your own?

Leiber and Stoller’s sound is so memorable and has the power to transport audiences to the time when it was written. The music speaks for itself, and our production honors that while developing new characters and relationships that have been created uniquely because of the artists involved. There is also room for the audience to identify with whichever songs and characters resonate with them. We’ve made the piece more personal to our “Neighborhood.” 

3.       With this being one of the more successful, long-running Broadway revues, why do you think audiences love Smokey Joe’s Café so much? What makes it a worthwhile revue?

Smokey Joe’s Café takes us on a journey through time and relationships. Every number is a ride in itself, and the energy is electric from the very beginning. Really, there’s nothing not to love. It’s one of the better constructed revues or song cycles in the musical theater cannon- you get both catharsis and a party.  

4.       How has your cast embraced/taken on the variety of ballads, dance numbers, stylistic songs and vocal demands, and company numbers?

We’ve worked carefully to keep the natural dynamic arc of the revue alive, but this cast of actors is unbelievably versatile and has been able to tackle every style and moment in the show with pure aplomb. They have paid respect to the original recording artists and  the Broadway cast while bringing in their own styles and sensibilities. 

5.     Why is Smokey Joe’s Café perfect for Town Hall Theatre audiences?

I think this show is a fantastic marriage of Town Hall's 3 pillars- main stage, music, and education. It is a show that appeals to all ages and a story that is told entirely through music.   

6.       What is your personal history with Leiber and Stoller as writers; how do their songs fit into your childhood/youth/adult life? Past history with Smokey Joe’s Café, or is this your first time working on the show in any capacity?

I had the privilege to grow up with parents who strictly raised me on the music of the 50's and 60's. A lot of the original recording artists relocated to the Bay Area in the 60's, giving my parents access to this music in their teens and 20’s, which they passed down to me. I have never worked on this show before but when I discovered it was being produced at my hometown theater, all the pieces came together.  

7.       Other than staging, how are the costume, lighting, and set elements fitting in with your overall vision of this Smokey Joe’s Café?

The biggest challenge is that there is no script, the lyrics of each song are the story itself. But with this challenge also creates a great opportunity for the designers and actors. We all get to create a story that is completely our own during the rehearsal process and production process. Our brilliant design team has embraced the journey through time that this show takes place and each brought their own artistry to that journey.  

8.       How have rehearsals been going? How have the team and cast been bonding? Challenges in learning the music, choreography, etc.?

It’s a gift to have 8 artists who are not only exceptional musicians, dancers and actors, but who also bring creativity and playfulness to the rehearsal process. The vibe in the room from the beginning has been that of a strong and energetic ensemble.

9.       Where have the staging and choreography inspirations come from? i.e. Music videos, records, knowledge of the dances and moves from personal experience, reaching out to others who have directed/performed Smokey Joe’s Café before, etc.?

It’s really been a combination of so many things! Inspiration can come from random research in the depths of the internet, old movies, or just bouncing ideas off of each other. The co-choreographer and I started off with a pretty good grasp on the styles of each of the pieces but with 40 numbers to put together, it’s definitely been an exciting journey to come up with something original at every turn in the show.

 Smokey Joe's Café will play at Town Hall Theatre Company from March 4th through the 25th, with Previews on the 2nd and 3rd of March. Head on over to their website,

www.townhalltheatre.com

for tickets and any more info you may need. It sure sounds like Miss Rosi, her team, and the cast are cooking up a mighty fun production of Smokey Joe's Café. Don't miss it!                    

[brothermarc7theatre]

Season Announcement Wednesday...errr...Thursday

Hello, howdy, and welcome! This week's highlighted company has become one of my absolute favorites in the Bay Area. They consistently raise the bar with new titles or fresh takes on established classics. Whether a musical or straight play, you can always count on Town Hall Theatre Company to produce excellent work; here is their 2018/2019 season!

Shows/Dates: The Revolutionists (September 29th - October 20th); Great Expectations (December 1st - December 16th); Brooklyn Bridge (March 2nd, 2019 - March 23rd, 2019); Women on the Verge of a Nervous Breakdown (June 1st - June 22nd)

Venue/Address: Town Hall Theatre @ 3535 School Street, Lafayette 94549

Website: www.townhalltheatre.com

Facebook: "Like" them at- Town Hall Theatre

Twitter: "Follow" them at- @TownHallTheatre

Description: Town Hall Theatre Company provides high-quality theatre for its East bay audiences. Period. Not just a community theatre group, they also have numerous events throughout the season which get the community and youth involved. Over the past few seasons I have had the pleasure of seeing their productions of The Mystery of Edwin Drood, The Man Who Shot Liberty Valance, An Ideal Husband, and Song of the Nightingale, among others. This upcoming season promises to be an exciting one, filled with premieres, adaptations of classic works, and a rarely-done musical. See you at Town Hall!