Tag Archives: Arts

READY TEDDY to Bare Bones

Ready Teddy will slice through Muskogee, Oklahoma later this month when it screens at the Bare Bones International Film Festival.  Writer/director Jerod Costa announced recently that his bloody opus has been nominated in the Best Horror/Sci-Fi Micro category at the festival which champions small-budget filmmakers.  Ready Teddy is scheduled to run Saturday, April 30th at 2 PM.

Elvis is kidnapped by four Liverpudlian lunatics seeking to extract the secret of That-Which-All-Men-Desire. Caught in a trap and can’t walk out, will our hero get all shook up? That’ll be the day! Not for the squeamish, Ready Teddy is a tale of blood, guts and peanut-butter-banana cuisine.

Brad Stephens stars as a sinister Paul McCartney in the film.  Shot in the Dallas area, Ready Teddy made its début last year at the Trail Dance Film Festival, winning two awards including Best Dark Comedy.  It then went on to claim the Best Short Film award at Blood Bath 2: The Film Festival in November.

The Bare Bones International Film Festival was created for filmmakers, screenwriters and actors involved in independent motion picture projects anywhere in the world.  Movie Maker Magazine named the festival one of their “25 Festivals Worth The Entry Fee” in 2010.  The festival run April 25–May 1, 2011 in Muskogee, Oklahoma.

For more information, visit The Bare Bones International Film Festival website.

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JEKYLL & HYDE Alive with Column Nominations!

Nominations for the 12th Annual Column Awards were streamed live over the Internet yesterday afternoon from the Irving Arts Center in Irving, Texas.  Brad Stephens received a nomination in the category of Best Actor in a Musical, Non-equity for his performance in last October’s Jekyll & Hyde: The Musical at Greater Lewisville Community Theatre.  This is his second Column Award nomination after winning Best Supporting Actor in a Play, Non-equity last year (All My Sons, ICT).

Stephens received the news via text message from good friend and fellow J&H cast-mate Diane Powell while attending a matinee performance of Othello in Albuquerque where his wife, Arlette Morgan, performs as Desdemona.  Powell relayed that Morgan had also received a Best Featured Actress nod for the role of Jane Ashton in Brigadoon at Artisan Center Theater.  In addition, both Jekyll & Hyde female leads, Courtney Sikora (Lucy Harris) and Michelle Foard (Emma Carew), received nominations as Best Actress and Best Supporting Actress, respectively.  Jaceson Barrus also earned an nomination for Best Lighting Design.

“I’m delighted to find myself in the company of some of the most talented performers in Dallas/Fort Worth,” Stephens said upon receiving the news.  “Jekyll & Hyde was the most demanding role I’ve yet tackled and I’m humbled and grateful to receive such recognition.  I’m especially happy for my co-stars who truly deserve this honor as does my gifted and supportive wife.”

Jekyll & Hyde was named one of DFW’s best productions of 2010 by John Garcia, Senior Chief Theater Critic and founder of The Column Online.  “I was completely blown away by how Director Sharon Veselic and her highly talented cast actually created a fantastic, thrilling, and visually exciting production,” he exclaimed.  Garcia also named Stephens, Sikora and Foard among his Breakthrough Performers of the Year.  “The trio of leads tore into the score with vocal finesse with a hard working ensemble cresting right along with them in commitment and talent.”

The Column is the creation of professional actor/part time theater critic John Garcia.  What began a little over a decade ago as a small email group of theater friends has grown into a major daily entertainment related column with over 19,000 subscribers.  The Column Awards annually honors excellence in local theater productions.  Additionally, The Column Awards strives to raise funds for the fight against AIDS by primarily contributing to Broadway Cares/Equity Fights AIDS.  Finally, The Column Awards is dedicated to developing a love of theater in local youth.

Nominees were selected from a list of eligible productions and individuals by the collective subscribers of the Column throughout the month of January.  Subscribers will vote on the nominees in a secondary round of voting beginning today.  Winners will be announced at the annual Column Awards Gala on March 14th in the Carpenter Theater at the Irving Arts Center.

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Out of the Loop

Brad Stephens has accepted the male lead role in a new musical, The Great White Way, premiering at WaterTower Theatre’s Out of the Loop Fringe Festival, March 3–13, 2011 in Addison, Texas.  The show will have two performances during the annual theater festival – Saturday, March 5th at 2:00 PM and Wednesday, March 9th at 7:30 PM.

Written by David Parr and composed by Rebecca Cordes, The Great White Way is a comedic backstage musical about second chances, finding inspiration in unlikely places and following your heart, no matter where it may lead.

In the basement of The Music Box Theatre, John “Average” Worth, an aspiring writer/composer, irons shirts for a blockbuster Broadway musical featuring a great white shark that terrorizes a sleepy beach community.  John’s pedestrian life suddenly changes when he falls for Estrella Proxima, a taciturn night dresser on the production who has long-since abandoned her own ambition of making it as a performer.  Inspired by Estrella’s journey and the legacy of his deceased idol, eccentric Broadway legend Izzy Freeman, John begins his own heartfelt musical about the wacky road to The Great White Way, proving that you can fully realize your dreams at any age and beyond any obstacle.

For the past nine years, WaterTower Theatre’s Out of the Loop Fringe Festival has wowed audiences with an exciting and unmatched artistic lineup. Featuring some of the best acts in theater, music, dance and art from around the region, Out of the Loop continues to bring all three spaces of the Addison Theatre Centre alive with exciting, contemporary work.

Out of the Loop Festival Passes are on sale now.  Single tickets for Out of the Loop shows will go on sale February 15th at 12:00 PM.  Contact the WaterTower Theatre Box Office for more information and to buy tickets.

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Opening Knight, New Year’s Eve

The sword is drawn from the stone tonight as Artisan Center Theater presents a special performance of Lerner & Loewe’s Camelot during their New Year’s Eve gala, ringing out the old year and officially opening their 2011 season.  

Established as a nonprofit community theater in 2003, Artisan Center Theater is home to a 150-seat theater in the round, producing up to ten shows per year.  Camelot will run through January 29, 2011 at 418 East Pipeline Road in Hurst, Texas.  Performances begin at 7:30 p.m. on Monday, Tuesday, Thursday, Friday and Saturday evenings, and 3:00 p.m. on Saturday matinees.  Tickets may be purchased online at www.artisanct.com or by calling the box-office at 817-284-1200. 

Directed by Dennis Canright and produced by DeeAnn Blair, Camelot utilizes two highly talented casts performing six shows a week.  Sharing duties as King Arthur are Neil Rogers and award-winning actor Brad Stephens in his fourth Artisan appearance.  Meredith Browning and Amanda Gupton perform as Queen Guenevere with Joel Lagrone and Kyle Holt in the role of Lancelot.  Both casts are amazing so come see the show twice! 

Click here, print these out and give them to your friends for ticket discounts!

Named one of John Garcia’s breakthrough performances of 2010, Brad Stephens will perform Monday and Friday evenings and Saturday Matinees.  Casts are subject to change so be sure to check his upcoming events calendar for updated performances.  You may recieve a discount on tickets by printing out a sheet of Feature Actor Cards and presenting one upon arrival at the theater.  Please feel free to give the rest to your friends! 

A classic of American musical theater, Camelot is based on the King Arthur legend as adapted from the T. H. White tetralogy novel The Once and Future King.  The original 1960 production ran on Broadway for 873 performances, winning four Tony Awards and spawning several revivals, foreign productions and a 1967 film version. The original cast album was America’s top-selling LP for 60 weeks.

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JEKYLL & HYDE Among DFW’s Best!

The Column Online released its annual Best In Dallas/Fort Worth Theater list today and Greater Lewisville’s Jekyll & Hyde: The Musical was among those listed by Senior Chief Theater Critic John Garcia as one of the best productions of 2010.  Jekyll/Hyde lead and Column Award-winning actor Brad Stephens was also listed among Garcia’s list of Breakthrough Performers of the Year. 

“My staff of Associate Theater Critics and myself has been working on our picks for what we considered was the best in theater within the DFW area since October,” wrote Garcia.  “In making my decisions for what were the best in musicals and plays, I seriously thought of a long list of rules, factors, and theories within my mind in picking what I considered to be listed as the ‘best’.  After all, I saw so many shows both as a critic and as a simple theatergoer.” 

Of Jekyll & Hyde, Garcia exclaimed, “I was completely blown away by how Director Sharon Veselic and her highly talented cast actually created a fantastic, thrilling, and visually exciting production.  The trio of leads tore into the score with vocal finesse with a hard working ensemble cresting right along with them in commitment and talent.” 

In addition, all three Jekyll & Hyde leads – Brad Stephens (Jekyll/Hyde), Courtney Sikora (Lucy) and Michelle Foard (Emma) – were listed in Garcia’s 2010 Breakthrough Performances of the Year.  “For me a ‘breakthrough’ performance is one in which I do not see whatsoever the common tics or the ‘usual’ acting craft or tools that an actor has used before in previous performances,” stated Garcia.  “I sit in the dark watching an actor go so out of the box and create a performance that I have not see them do before that it leaves me speechless.  That’s a break-through performance in my book.”

In his Special Achievement/Recognition category, Garcia named Foard and Sikora as Best Female Vocal Duet for their performance of In His Eyes and praised Sikora as Best Female Vocal Performance with A New Life.  “Sikora belted, soared, and glided with extra-ordinary vocal beauty within this solo,” he said.  The Frank Wildhorn musical also garnered a nod for Best Scenic & Lighting Design.

Jekyll & Hyde shares honors with six other productions: Flaming Guns of the Purple Sage (Theatre Too at Theatre Three); Give It Up (Dallas Theater Center); Into the Woods (Plaza Theatre Company); Lend Me A Tenor (ICT MainStage); The Dixie Swim Club (Pocket Sandwich Theatre); and Reckless (Sideman Productions). 

Read by nearly 19,000 subscribers worldwide, The Column is the only organization recognizing excellence in the Dallas/Fort Worth theater community.  The Column engages the contributions of fifteen critics and distributes reviews via e-mail to over 18,450 subscribers worldwide.  The Column Awards annually honors excellence in local theatre productions.  Additionally, The organization strives to raise funds for the fight against AIDS by primarily contributing to Broadway Cares/Equity Fights AIDS and dedicates itself to developing a love of theatre in local youth.

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READY TEDDY Bathes in Gory

Ready Teddy took home Best Short Film honors at Blood Bath 2: The Film Festival tonight.  In the film, Brad Stephens plays Paul McCartney in a story filled with action, dark humor and enough blood to bathe in.  Shot in the Dallas area, the film made its début earlier this year at the Trail Dance Film Festival, winning two awards including Best Dark Comedy. 

The six-minute short screened earlier today to a very eager crowd of horror enthusiasts.  In attendance were writer/director Jerod Costa and actors Mickey Finn (Elvis), Scott Barber (John) and Brad Stephens (Paul).  Awards were presented this evening at the Texas Theatre in Oak Cliff, Texas.

The King of Rock-N-Roll is kidnapped by four Liverpudlian lunatics seeking the secret of That-Which-All-Men-Desire. Caught in a trap and can’t walk out, will our hero get all shook up? That’ll be the day! Not for the squeamish, Ready Teddy is a tale of blood, guts and peanut-butter-banana cuisine. 

Blood Bath 2: The Film Festival is the 4th film festival organized and hosted by DOA Blood Bath Entertainment. This two-day event is a celebration of independent cinema in the horror and dark comedy genres. Details, trailers, posters, tickets, and much more can be found at http://www.doabloodbath.com.

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It’s Good To Be The King

I am pleased to announce I have accepted the role of King Arthur in the upcoming Artisan Center Theater production of Lerner & Loewe’s Camelot

This will be my fourth production with Artisan after performances as Nanki-Poo in Gilbert & Sullivan’s The Mikado; Jeff Douglass in Lerner & Loewe’s Brigadoon; and Curly McClain in Rodgers & Hammerstein’s Oklahoma!  It will also be my second collaboration with director Dennis Canright who directed me in Oklahoma! 

Based on The Once and Future King by T.H. White, Camelot is one of theater’s most beloved musicals. Relive the legend of King Arthur in an enchanting fable of chivalry and honor. Dazzling with romance, history and glorious music, it is a tale to be relived for all time. 

Camelot will open on December 31, 2010 and run through January 29, 2011.  The show is double-cast so check back soon for details on when I will be performing.  For more information, visit www.artisanct.com.

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READY TEDDY at Blood Bath

Ready Teddy will hit the big screen in Dallas this weekend as DOA Blood Bath Entertainment will screen the Jerod Costa film at the Blood Bath 2 Film Festival in the Texas Theatre.  Brad Stephens channels the darker side of Paul McCartney in the award-winning six-minute short filled with action, dark humor and enough blood to bathe in. 

Elvis is kidnapped by four Liverpudlian lunatics seeking to extract the secret of That-Which-All-Men-Desire. Caught in a trap and can’t walk out, will our hero get all shook up? That’ll be the day! Not for the squeamish, Ready Teddy is a tale of blood, guts and peanut-butter-banana cuisine. 

Shot in the Dallas area, the film made its début earlier this year at the Trail Dance Film Festival, winning two awards including Best Dark Comedy.  Ready Teddy runs during the second day of this year’s Blood Bath Film Festival, November 14th at the Texas Theatre, 231 W. Jefferson Blvd. in Dallas.  It is currently scheduled to run shortly after 1 PM. 

Blood Bath 2: The Film Festival is the 4th film festival organized and hosted by DOA Blood Bath Entertainment. This two-day event is a celebration of independent cinema in the horror and dark comedy genres.  Details, trailers, posters, tickets, and much more can be found at http://www.doabloodbath.com.

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This Is the Moment

Courtney Sikora as "Lucy"

Why does a wise man take leave of his senses?  Where is that fine line where sanity melts?  When does intelligence give way to madness?  These questions and more are explored in Greater Lewisville CT’s production of Jekyll & Hyde: The Musical, now playing weekends through Hallowe’en.    

The production sees Brad Stephens in the dual role of Dr. Henry Jekyll, a brilliant scientist whose experiments unwittingly unleash his own dark side, wreaking havoc in the streets of late 19-century London as the savage, maniacal Edward Hyde.  Stephens co-stars with a talented cast including Courtney Sikora as Lucy, Michelle Foard as Emma, Damon Wadyko as Utterson and E. Scott Arnold as Danvers.    

Michelle Foard as "Emma"

Directed by Sharon Veselic with musical direction by John Norine and choreography by Joshua Scott Hancock, the show performs Friday and Saturday nights at 8 PM with Sunday matinees at 3 PM through October 31st.  Greater Lewisville Community Theatre is located at 160 W. Main Street in Lewisville, TX.  Tickets are $18 for adults and $15 for seniors (65+) and juniors (18 and under).  All shows have reserved seating.  Visit www.glct.org to make reservations.    

Based on the novel Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson, the musical was conceived by Steve Cuden and Frank Wildhorn.  The music is by Wildhorn and the lyrics and book are by Leslie Bricusse.  The show ran on Broadway for 1,543 performances in 1997 through 2001.  

Special thanks to Michelle Mokry of Michi’s Hair Design for donating her time and considerable skills to the design of Jekyll/Hyde’s hair and make-up.  Visit her at www.michishair.com

 

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SOUND OF MUSIC: The Column Review

THE SOUND OF MUSIC

Reviewed by Carol Anne Gordon, Associate Theatre Critic for John Garcia’s THE COLUMN

 

“Rorschach! Get me a complete file on everyone who’s seen THE SOUND OF MUSIC more than four times!” – William Shatner, AIRPLANE II, THE SEQUEL.

Um, I resemble that remark. Four times? More like four hundred times. Easily.

Growing up, my parents had the original Broadway cast album of this show,featuring Mary Martin, who was too old (46!), too alto (in her duet with Theodore Bikel, they sounded like two male tenors), and too vibrato-y to play Maria, but we still played that album until it wore out, and sang the whole score on long road trips to Louisiana during the holidays. My mother had seen the actual Trapp Family Singers in concert when she was young, and my father had read the real Maria’s book.

So now you know, if you hadn’t guessed it before, that I come naturally – byboth nature and nurture – to my musical theatre geekiness.

When the show came to the Dallas Summer Musicals at Fair Park Music Hall in the early 1960’s, we couldn’t wait to get our usual seats in the top row of the third balcony in nosebleed Heaven. Initially, though, I was disappointed: the curtain rose, and we saw Maria, in her black & white postulant outfit, in a tight spot center stage.

Since all we had waaaay back then was a black & white TV, & since we were seated sooooo far away, I asked my parents, “Is this a cartoon?”Happily, the spot grew larger and the color staging appeared, and I was thrilled to see (finally!), instead of just imagining, the show played out before me in all its syrupy goodness.

And then, 1965 came, with the divine, sublime, enshrined Julie Andrews, who took the part of Maria and made it her own forever. The movie ran at the Inwood Theatre for two years straight, and every weekend, as long as I had completed my homework and chores, I was allowed to ride my bike up to the Inwood and watch at least one showing. My tenth birthday party was just one more excuse to go see it again, this time with all my friends.

So before I reached the age of 11, I had seen THE SOUND OF MUSIC well over one hundred times. It would be impossible to see any stage production of THE SOUND OF MUSIC and not compare it to the iconic movie, but I, the ultimate SOM fan, am here to tell you that this production measures up supremely well and does not disappoint.

Wanting to get a younger person’s view on the show, I took a 6 year old friend as my guest. Luckily, her parents also love the movie, so the story wasn’t new to her, but I was eager to get her take on the live performance, since she,unlike me, has only seen the movie, and not every local production that has ever appeared in the Metroplex since 1965.

Ironically, the last time I had been to Casa Mañana was when I was in junior high school, and it was to see – you guessed it – THE SOUND OF MUSIC. I felt a lot of nostalgia approaching the familiar silver dome, and was very impressed by what I found inside. Back in the day, Casa was a huge theatre-in-the round, but in 2004 it was completely renovated, and now features a proscenium thrust stage,with an actual backstage for entrances and exits. That disappointed me at first,because I remembered how much fun it used to be when the actors came and went byway of the aisles throughout the audience.

I’m happy to report that Casa has not abandoned that old tradition, and that it still works incredibly well. In the opening scene, just the Mother Abbess was onstage, singing the Dixit Dominus in Latin, while most of the nuns were lined up the aisles singing along. These holy sisters were indeed divine – on pitch, acapella, and perfectly in sync with beautiful round tones. A wonderfully auspicious start to a very enjoyable afternoon.

Throughout the show, actors continued to come and go via the aisles, always but always staying in character the whole time. Kudos to Director Alan Coats and the entire cast for this: it would have been very easy for the actors just to walk down the aisles in a leisurely manner, not being “on”, not acting out their parts, until they climbed the steps to get under the lights on stage, but not one of them took the easy way out. If they were under the dome, they were their characters.

Lighting Designer John Bartenstein and Scenic Designer Mark Halpin have done a fantastic job. For the first time in my boundless experience with this show, the familiar giant center stage staircase of the von Trapp mansion entryway, which splits into two high balconies, was no where to be found. All the scenes but one took place in front of the beautiful background of the Alps, with subtle set pieces of furniture, architecture, and landscaping creating the Nonnberg Abbey,Maria’s room, and the terrace of the von Trapp villa. Only in the next to last scene, when the family is onstage at the Salzburg Festival, does the suddenly enclosed space, decorated with huge Nazi banners, give the audience the claustrophobic feeling of impending doom promised by the Third Reich.

Tammy Spencer’s costumes were perfection, as was Coats’ choreography.I especially loved how he had the party guests marking the Laendler in place upstage while Maria and the Captain danced it expansively downstage.

The two second leads, Dennis Yslas as Max and Diana Sheehan as Elsa, were absolutely charming and always good comic relief. I’ve heard raves about Dennis Yslas in the past, but have never seen him perform until now. And now I understand what all the raves are about.

Sheehan also accomplished something that even one of my dearest friends, who played Elsa in the Lewisville production a few years ago, wasn’t able to do: she made me not hate….okay, she actually made me LIKE…the character of Elsa. She brought a warmth and comic layer to it that truly made me feel sorry for her when she called off her engagement to the Captain.

Sorry, should I have put a spoiler warning there? Surely not; how can anyone not know by now that Maria and the Captain end up together? And there lies the obstacle that the Casa crew had looming before them: how to put on this beloved musical in a way that was fresh enough to gain it new fans, not just bring in the old groupies like me.

They’ve surmounted this obstacle and succeeded. More than a third of the audience was children, and not all of them were girls, either. I sat in front of two tween boys who were having the time of their lives. My young guest knew every song already (from the movie), and sang along quietly on them, as I heard other children nearby doing.

Speaking of children singing: Bravi to the seven children onstage! What a beautiful blended sound, from Marty McElree as Liesl to Cosette Cook (who turned five years old opening day!) as Gretl.

Caitlin Hale Daniels, as Louisa, has a set of pipes that rings beautifully from the dome on her solo lines, but still blends perfectly in the ensembles.

And as Friedrich, Cooper Rodgers has a soprano that could have made him a star of the Vienna Boys’ Choir.

The surname Rodgers makes me ponder the composer of this wonderful musical –Richard Rodgers. Together, he and Oscar Hammerstein II wrote the music and lyrics, respectively, for this and several other famous musicals

But Hammerstein had died by the time the movie came out & Hollywood wanted some new songs for the film. As a result, Rodgers approved cutting three songs from the original Broadway production (“How Can Love Survive?”, “An Ordinary Couple”, and “No Way to Stop It”), and adding two new ones (“I Have Confidence” and “Something Good”).

When I first saw the movie, I missed the old songs, all though I did recognize “How Can Love Survive” being played instrumentally in the ballroom scene, and I was only lukewarm about the addition of “I Have Confidence”.

But “Something Good” – ugh. More like Something Awful. Great tune – that’s what Rodgers was famous for – but abysmal lyrics, because Rodgers wrote them instead of Hammerstein. Rodgers should have asked some other famous lyricist to help him out, because there were still plenty of them around then – Ira Gershwin, Alan Jay Lerner, the Sherman Brothers – heck, I was only 9 years old and I could’ve come up with something better than “nothing comes from nothing, nothing ever could”! Alas, ever since the movie premiered, stage productions have cut the same three original songs and added the two new ones from the movie.

Try, then, to imagine my excitement when I looked at the program for this performance and saw that the three original songs from the Broadway opening were going to be in this show, and that the two new ones from the film were not!Except….that’s not what happened.

Evidently whoever put the program together got the list of songs from Wikipedia’s list from the original show, instead of checking with the music director to see which songs were actually going to be performed.

“How Can Love Survive” was re-added to this show, and that was a welcome addition, especially since it gave a duet to Yslas and Sheehan. Note to Casa’s proofreaders: next time, run the program by the music director before you put it to bed.

We all need to be thankful that there was a music director, Edward G. Robinson,and a real live excellent orchestra. Musical theatre needs live music, and if we all want to see more of good musical theatre, we need to support the houses that have live music. This orchestra was excellent, never overpowering the singers,and subtly slowing their tempi a couple of times when a lead singer fell a bit behind the beat. The orchestra even garnered applause from the exiting guests as they played us all out of the theatre.

Patty Goble as Mother Abbess brought a warm rich voice to her leading of the nuns in three very different numbers, and really nailed the big finish of “Climb Ev’ry Mountain” at the end of Act I. Hers is not the hard to de-code contralto of the past that has traditionally played this part – instead she is intelligible and accessible, right up to her chill-inducing conclusion of this beautiful, inspiring ballad.

As Maria, Jacquelyn Piro Donovan had her work cut out for her. She’s miles better than Mary Martin ever was (which is a very good thing), and different from Julie Andrews (whom imitating would be an impossible thing). Her voice is more pop than I’ve usually heard in this role, but she conveys a genuine warmth and sincerity in her singing and dialogue, and to my surprise and delight, she also turned lines with which I’m very familiar into comic ones. Her voice was a perfect blend for that of Steve Blanchard, who played Captain von Trapp in an innovative way, as well – less cold and stuffy, more trying to hide his fragility with bluster.

My one complaint about this production would be something I have disliked about every live performance I have ever seen of this show: everyone is speaking with American accents, or maybe a little hint of a British or Austrian accent,until….zee evil Nazis ah-rrive. Und zen zeir accents are zo wery Cherman zat zey are praktiklee unintelligible.

This must be something in the stage directions, but it is ridiculous and always initiates unintentional laughter. The Nazis’ appearance in this happy house hold are supposed to imply the impending horror with which they were about to envelope the world, but instead they end up sounding like bad extras on a repeat of Hogan’s Heroes, and jolting the audience out of their previous suspension of disbelief until they (mercifully) exit the stage.

This show is a perfect family outing, worth the cost for the memories you will take with you. My only regret is that I won’t be able to go back again, with a whole bunch of children, to the closing night performance on September 19th,when the audience will be invited to sing along. You will regret it if you don’t take the opportunity to see this show, with as many family members, young and old, as you can, before its too-short run ends next weekend.

Reviewed by Carol Anne Gordon, Associate Theatre Critic for John Garcia’s THE COLUMN

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THE SOUND OF MUSIC Casa Mañana Through September 19, 2010

Special sing-along performance Sunday, September 19th at 7 pm Tuesday, Wednesday, and Thursday nights at 7:30 pm Friday and Saturday nights at 8:00 pm Saturday and Sunday matinees at 2:00 pm Sunday nights at 7:00 pm

Tickets / Reservations / Box Office: (817) 332-2272

http://www.ticketmaster.com/Casa-Manana-tickets-Fort-Worth/venue/98310

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