Tag Archives: Musical Theater

Column Review: OKLAHOMA!

Here is the review published today by John Garcia’s The Column.  Congratulations to my amazing cast.  This is a testament of your outstanding work.  Thanks for an incredible show.  ~Brad   

Theater review: Oklahoma! at Artisan Center Theater in Hurst

by Lyle Huchton of John Garcia’s The Column  

The energy and spirit of this cast of ACT’s Oklahoma! produced an end result that was miraculous. 

Editor’s note: The press photos provided have Amanda Gupton and Zeke Branim as Laurey and Curly, respectively. However, in the reviewed performance, Brad Stephens played Curly.


In the early spring of 1943 opened a new musical that would make its mark on theater history. Based on the play “Green Grow the Lilacs” by Lynn Riggs, this American “Folk Opera” pushed realism and reality to the forefront. It refused using the popular stage tactics of sight gags and scantily clad dancers. It instead focused on ballet by employing one of the leading choreographers of the time, Agnes De Mille. Producers held their breath on opening night almost positive that they had a flop on their hands. But the inspired music by Richard Rodgers and the fresh words of Oscar Hammerstein II won over audiences and critics alike. Lucky for us here in the metroplex we have Artisan Center Theater in Hurst to take aim at the target and mostly hit the mark with their version of Oklahoma! (playing through June 19). 

Director Dennis Canright did exactly what he should have with this script. He let it speak for itself. And judging from the response it got from an almost-packed house on Saturday night, he did the right thing. I am convinced this Oklahoma would ring a pure note if compared to that first premiere over 60 years ago. 

Aunt Eller (Linda Much) is on the porch of her homestead churning butter when we overhear someone singing, “Oh What a Beautiful Morning.” It is no other than Curly McLain (Brad Stephens) happening by to invite Laurey (Amanda Gupton) to be his date to the picnic box gathering. I have to be honest that I am no fan of a music track for a musical. I understand the practicality of one, especially this form of “canned music” in a theater as small as Artisan’s. There is no place to put an orchestra. But a music track always presents a problem with timing and that is exactly what happened here.   

In that first number and the one to follow, “The Surrey with the Fringe on Top,” I was tapping my foot in hopes that it would somehow help increase the tempo. Not only was it too slow but the track was so loud that it overpowered the singer. Not a very good way to start. 

However … all that was about to change. Bursting onto the stage like a pack of wild broncos is Will Parker (Drew Davis) and the rest of the male dance ensemble which included Nathan Smith, Tevin Cates, and Edward Ciaran Masen. 

Whoopin’ and hollarin’ and doing more hitch-kicks than The Kilgore Rangerettes, these boys with the help of Eddie Floresca’s lively choreography, pumped up the life back into this production with an energetic performance in the number, “Kansas City.”   

Drew Davis is excellent here in his role as Will. With controlled abandonment, he throws himself into the part and brings to light what I feel is Will’s message: Finding out the difference between a man’s worth and his value. 

Delivering one of the musicals most well known songs is Lacy Lambert as Ado Annie Carnes with “I Can’t Say No.” Lamenting over her inability to deny a man anything he asks for. She can’t seem to make up her mind over Will or her present suitor the peddler Ali Hakim (Jason Leyva). Miss Lambert brings such an innocence to Ado Annie you can’t help but fall in love with her.   

Mr. Leyva’s Ali Hakim is an example of the supporting cast’s commitment and talent. His characterization is completely fleshed out and believable. 

Now it is the girls’ dance and voice ensemble to take their turn at bat. Lead here by Miss Gupton (Laurey) the ladies hit a home run with a lovely rendition of “Many a New Day.”   

Curly and Laurey now decide that maybe they should go to the social together but need to be discreet as to not cause others to talk. They express their sentiments clearly in “People Will Say We’re in Love.” This upbeat and flirtatious song ended on a sad note that left me perplexed. 

Curly has to go inform Jud Fry (David Plybon) that he has lost his date to the gathering. Mr. Plybon plays against type and delivers a nicely understated, misunderstood Jud. Plybon and Stephens produce some of the best vocals of the evening with “Poor Jud” and “Lonely Room.”   

Closing out the end of the first act is a dance sequence famously known as “The Dream Ballet,” in which Laurie falls sleep and dreams of what her future would be like if she married Curly. 

Most productions use a dancer or “Dream Laurey” to perform this ballet. Miss Gupton was cast to dance this role. This decision helped clear up what is actually going on in this number. However I felt that this was one of the few places in this production that either needs to be tightened up or shaved down. There was no real focus and it played way too long.   

Act two starts off with another spirited song and dance number “The Farmer and the Cowmen” that also kicks off the auction of the food boxes for the picnic. The ensemble pulls out all the stops and shows once again that they are the driving force behind this production. Not before mentioned, there are other outstanding performances within this cast that include Linda Much as Aunt Eller, Gale McCray as Andrew Carnes, Meredith Stowe as Gertie Cummings, and Oliva Lamke for her dancing in “The Dream Ballet.” 

And of course, to top off the this well known R&H classic was the rousing title song “Oklahoma!” which was sung with full gusto by the full company.   

When I first sat down and got a good look at the set I was astounded. I was surrounded by a large expanse of blue sky with gold and green pastures all around me. It was like as if some one plopped me down in the middle of a field, next to a farmhouse, by a water tower. Scenic designers Dennis Canright and Jason Leyva smartly placed the larger pieces of the set in the corners. This allowed the center of the playing area to remain open for the action and the dancing. The design was enhanced by the beautiful scenic painting of Lilly Strapp and Michelle McElree. 

The daunting task of having to costume not only one cast but two (Artisan tends to double cast their productions) fell upon costume designer Nita Cadenhead. Just to let some of you know who do not pay attention to costumes as I do exactly what she was facing.   

*Editor’s full disclosure: Mr. Huchton is an award-winning costume designer who has designed for many companies, such as for the Dallas Opera and the Dallas Children’s Theater. For television he has earned two Emmy Award nominations for costume design for the TV series Barney

Take a cast of 30 times two — that would make 60 costumes to create. Then add two other changes for Laurey (including a bustle wedding dress) another change for Curly and Aunt Eller and about six or more for the ballet number and the total would be around 70 plus any added accessories. That’s quite a lot, huh?   

I am getting on my soap box a bit here because I can not help as to wonder why the costumes in this musical production looked like an afterthought in compassion to the other design elements (i.e. scenic, lighting, sound, etc.). Just something to think about… 

The second cast of ACT’s Oklahoma! may produce an altogether different experience. But if the same energy and spirit are brought to the table as the cast I observed Saturday night, then the end result will be as miraculous as the one I watched. 

Brad Stephens performs Tuesday, Thrusday and Saturday evenings.

I will be performing every Tuesday, Thursday and Saturday evening of the run through June 26, 2010.  Performances are subject to change so keep an eye on my event calendar for my up-to-the-minute schedule.  However, both casts are wonderful so come out and see the show when you can!  In fact, why not see it twice? 

Showtimes are Monday, Tuesday and Thursday through Saturday evenings at 7:30 PM with Saturday matinees at 3:00 PM (see calendar at right).  Click here for a map to the theater as Mapquest and Google Maps may mislead you.  Tickets are available at the box-office or by calling (817) 284-1200.  You may also buy tickets online at the Artisan Center Theater website – www.artisanct.com.  Coupons for discounts on tickets can be acquired by clicking the Feature Actor Card below.  Print them out and distribute them to your friends!

Get discounts on tickets!

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

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OKLAHOMA! Opens at Artisan

Brad Stephens (Curly) and Amanda Gupton (Laurey) in OKLAHOMA! at Artisan Center Theater

The wind comes sweepin’ down the plain this week as the highly anticipated Artisan Center Theater production of Rodgers and Hammerstein’s Oklahoma! opens Friday night.  Presented through special arrangement with R&H Theatricals, this classic of American musical theater is directed by Dennis Canright with choreography by Eddie Floresca.  Boasting two casts of talented actors, singers and dancers performing six shows a week, the double-cast production will premier Friday, May 14th and run through Saturday, June 26th, 2010. 

Alternating as Cowman Curly McLain is Zeke Branim and 2010 Column Award-winning actor Brad Stephens.  They are blessed to share the stage with two graceful actresses – Amanda Gupton and Michelle Carrillo sharing the role of Laurey Williams.  Other notable performers include Linda Much and Jenny Tucker (Aunt Eller); 2010 Column Award-winner Jason Leyva and Randy Sarver (Ali Hakim); Drew Davis and Michael Spencer (Will Parker); Lacey Lambert and Stephanie Carrillo (Ado Annie); with David Plybon and Neil Rogers as Jud Fry. 

Brad Stephens performs Tuesday, Thursday and Saturday evenings.

I will be performing every Tuesday, Thursday and Saturday evening of the run beginning Saturday, May 15, 2010.  Performances are subject to change so keep an eye on my event calendar for my up-to-the-minute schedule.  However, both casts are wonderful so come out and see the show when you can!  In fact, why not see it twice? 

Showtimes are Monday, Tuesday and Thursday through Saturday evenings at 7:30 PM with Saturday matinees at 3:00 PM (see calendar at right).  Click here for a map to the theater as Mapquest and Google Maps may mislead you.  Tickets are available at the box-office or by calling (817) 284-1200.  You may also buy tickets online at the Artisan Center Theater website – www.artisanct.com.  Coupons for discounts on tickets can be acquired by clicking the Feature Actor Card below.  Print them out and distribute them to your friends! 

Get discounts on tickets!

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

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Brad Turns Curly in OKLAHOMA!

I have gladly accepted the role of Curly in Artisan Center Theater’s upcoming production of Rodgers and Hammerstein’s Oklahoma!  Directed by Dennis Canright with choreography by Eddie Floresca, this musical will run May 14 – June 26, 2010.  Oklahoma! is presented through special arrangement with R & H Theatricals

Based on the 1931 play Green Grow the Lilacs by Lynn Riggs, Oklahoma! set the standard for the classic American musical.  Set in Oklahoma Territory outside the town of Claremore in 1906, it tells the story of cowboy Curly McLain and his romance with farm girl Laurey Williams. A secondary romance concerns flirtatious Ado Annie and her long-suffering fiancé Will Parker. 

The original Broadway production opened on March 31, 1943. It was a box-office smash and ran for an unprecedented 2,212 performances, later enjoying award-winning revivals, national tours, foreign productions and an Academy Award-winning 1955 film adaptation. It has long been a popular choice for school and community productions. 

My thanks go out to Dennis Canright, DeeAnn Blair and Richard Blair for the honor they have bestowed upon me in offering the role. 

Rehearsals begin Monday.  The show will be double-cast.  Check my event calendar for my performances if so inclined but feel free to see either cast as Oklahoma! promises to be a spectacular event!

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Column Review: BRIGADOON

Theater review: Brigadoon at Artisan Theater Center in Hurst 

by Clyde Berry of John Garcia’s The Column 
Brigadoon may not be the best show in the world, but Artisan’s production is solid. 

Brigadoon is one of those classic musicals from the “Golden Age”. Made even more famous by a movie version a few years after the success of the Broadway run, there’s a few standards that are still used in auditions.

For a Gen Xer, the show may seem a bit dated and stale, and for good reason. The story is pretty cookie cutter: there’s the lead guy and his sidekick, they meet two girls, complication, resolution. Was there any doubt how it would end? Still, as someone who loves a good musical, cheese or no, the getting there is the fun part. Give me some good story telling, punctuated with some lovely singing, a creative dance break, and I’ll easily overlook a stale book and go along for the ride. For folks that don’t like musicals, the gratuitous dance breaks, and the pretty songs that don’t advance the plot; it could drive you nuts.

I’m not a huge fan of Brigadoon in particular, the show has lots of challenges, especially for a space like Artisan that stages in the round. There are numerous locations, making it a set intense show in a place where you can’t have walls. There’s lots of dance, which requires space. Fortunately, these potential problems are solved by an inventive design by Jason Leyva and John Wilkerson. The basic set is a group of rocks that are shifted between scenes, with a few corner spaces that get redressed during the show. In addition, the entire wall space behind the audience is covered in beautiful murals by Michelle McElree and Lilly Strapp. This solves what could be a technical nightmare as far as far as sightlines and shift time, and the shifts go smoothly, without interrupting the flow of the show.

In addition, Leyva’s lighting design also dresses the space nicely, providing enough fantasy and reality where needed, in the appropriate places.

Jason Walker’s sound design does well, keeping voices clear and louder than the tracked music used during the production. Several mics suspended from the grid pick up anyone without a body mike effectively. I was curious though why a pre-recorded bit of chorus music was used at then end of the show.

Nita Cadenhead’s costumes provide a clear picture of the appropriate attire for the village, complete with family plaids. The “modern” clothes are also nice and give us some colors otherwise not seen. There do seem to be though some various socks masquerading as period amongst the Brigadoon gentleman.

As far as the performances, Director John Wilkerson has assembled a cast of leads that all deliver a solid level of consistent performance. His pacing of the show is good, and it never drags. The blocking is effective, especially keeping the chorus (and everyone else) out of sightlines during large group scenes. There are times in the large scenes where everyone stops what they are doing to eavesdrop on conversations. But in some places within the show there could have been more ensemble/crowd ad-libs to fill the silence, or enthusiastic cheering, like during a dance, where the energy from the ensemble was needed.

Playing the Americans that stumble into the mythical town of Brigadoon that appears only once every 100 years are Timm Zitz and Brad Stephens, as Tommy Albright and Jeff Douglas, respectively. Stereotypical American tourists, I thought they were too much like each other in character, until the show progressed and I saw how Zitz creates a nice arc for his romantic Tommy, while Jeff remains the cynic. The guys are sharp, and as unbelievable as the plot is, manage to bring a certain grounded reality to the show.

The bonnie lasses that are paired off with the guys, for sincere love, or comedy are Collen Hall as Fiona MacLaren, and Jenny Tucker as Meg Brockie. Both ladies sing well. Hall gets the leading lady ballads, which she delivers nicely in “Waitin’ For My Dearie” while Meg has the comedic and spirited “My Mother’s Weddin’ Day” that brings a lot of energy to Act II.

Charlie Dalrymple is brought to life by Brian Sears, who nails the Irish Ballad that starts the best sequence of Act I (scene five). His voice navigates the upper notes of the song comfortably, and made folks sit up in “Come to Me, Bend to Me”.

This is followed up by the first of several poetic dance sequences by Eddie Floresca. Bonnie Jean’s dance is executed by Victoria Minton with beauty, subtlety, and honest reactions.

We then move into the conditional ballad “Almost Like Being in Love” sung by Fiona (Hall) and Tommy (Zitz), which continues the magic that has just been created.

Zach Wooster has the thankless role of Harry, the “villain” of the piece, who provides the only conflict or tension in the plot. He broods appropriately, and has a nice dance solo at the start of the Sword Dance.

Kristin DiFrancesco also delivers a delightful mourners dance in Act II.

Evan Faris, as Mr. Lundie provides a stable character even though he only has two brief scenes.

Brigadoon may not be the best show in the world, but Artisan’s production is solid. If you’re looking to see a classic that likely won’t be done again anytime soon, there are only a few weeks left to catch it. This multiple COLUMN award winning theater runs this show through April 10.

Book and Lyrics by Alan Jay Lerner, Music by Frederick Loewe
Through April 10, 2010

Artisan Center Theater

Theater is located in the old historic Belaire Plaza at 420 East Pipeline Road, Husrt, TX 76053.  The daytime box office is located at same address.

Performances are at 7:30pm on Monday, Tuesday, Thursday, Friday, and Saturday with 3 pm matinees on Saturdays.  Reserved seating tickets are $16.00 for adults, $14.00 for students and seniors, and $9.00 for children 12 and under. Monday through Thursday tixs are $12.00.  Box office number: 817-284-1200. More info: www.ArtisanCT.com

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A Fellow With My Potentialities

BRIGADOON at Artisan Center TheaterThis weekend sees the opening of Artisan Center Theater’s production of Brigadoon, Lerner & Loewe’s classic musical set in the highlands of Scotland.  Enjoy a magical story about a village that appears once every hundred years and what happens to the travelers who stumble upon it.  Visit a place where love and magic are one and the same.  Swinging kilts, bagpipes and bonnie lassies will fill the stage with marvelous singing and dancing from start to finish.

BRIGADOON CalendarBrigadoon – opening Friday, March 5 and running through Saturday, April 10, 2010 – is double-cast.  I will be performing the role of Jeff Douglas every Tuesday, Thursday and Saturday evening of the run, my opening performance taking place this Saturday, March 6, 2010.  Performances are subject to change so keep an eye on my event calendar for my up-to-the-minute schedule.  However, both casts are wonderful so come out and see the show when you can!  In fact, why not see it twice?

Showtimes are Monday, Tuesday and Thursday through Saturday evenings at 7:30 PM with Saturday matinees at 3:00 PM (see calendar at right).  Click here for a map to the theater as Mapquest and Google Maps may mislead you.  Tickets are available at the box-office or by calling (817) 284-1200.  You may also buy tickets online at the Artisan Center Theater website – www.artisanct.com.

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Musical Theatre: The Mikado at Artisan Center Theater

Musical Theatre: The Mikado at Artisan Center Theater

by Christopher Soden

Ah the lofty hi-jinks of Gilbert and Sullivan. The insouciant erudition. The crafty wink and tongue set firmly in cheek. Certainly these two brought comic opera to new heights, spoofing grandiosity and tortured melodrama. They had a flair for poking fun at the pompous and the precious, the vain and the quaint. Their genius lay in their ability to celebrate and yet deflate their subjects, all with a completely straight face, and all in good fun. Their operettas felt light, and yet something nudged them to realms beyond cleverness. Not that they ever lacked for wit. Perhaps it was the simple strategy that each character took themselves seriously, with gusto, even in the context of a world that makes them seem absurd.

A possible exception is the “Three Little Maids” from The Mikado who understand their role in society includes : “girlish glee” and the detachment of a line like : “Life is a joke that has just begun.” While they gamely understand that life is far too important to be taken at face value, they too, understand their function is key. Even if that function is to be wise and foolish (the definition of sophomoric). After admittedly seeing The Mikado for the first time, I wasn’t altogether sure that Japanese culture and Gilbert & Sullivan were a neat fit. To put it differently, you don’t always know where G & S are coming from (those sly boys) and they probably loved it that way.

It’s one thing to exploit the foibles of your own culture, quite another to risk condescension towards one that may seem (in some ways) inexplicable. I’m not suggesting xenophobia here, only that Gilbert & Sullivan’s habit of working up the eccentricities of a character or culture might not work as well here. Seems when you give your characters names like Nanki-Poo, Yum-Yum and Pish, Tush and Pooh-Bah you’re sending signals to the audience, but again, G & S were certainly never hesitant to skewer British culture in shows like H.M.S. Pinafore and The Pirates of Penzance. The Mikado then would seem to be a concoction comprised of fantasia, congenial musical comedy and social whimsy. Trust me, I’m just trying to keep score.

As I have tried to explain, G & S often transcends the genre of comic opera, but every component : delivery, demeanor, tone, orchestration, has to be meticulous and contingent on the others. It’s a lot more difficult than it appears. There is a lot to enjoy and appreciate in ACT’s Mikado, the staging (and choreography?) by Director John Wilkerson, the playful, sometimes lavish, humor is fun and the proceedings are kept lively, jaunty and personable. The canned music (used for practical reasons I’m sure) is not successful here, though the timing of the performers is fine. I got the impression some of the cast members had a more intuitive grasp of the loopy, deadpan content. I daresay even when the waters are choppy Mr. Wilkerson’s instincts are good.

Artisan Center Theater’s production of The Mikado has been double cast, so I will list the actors I saw Saturday night, September 5th, below. (Illness has kept me from providing them with a prompt review and for this I am humbly begging their pardon.) The Mikado features a valiant, diligent cast. Especially noteworthy were Lauren Morgan (Yum-Yum), Amira Sharif (Pitti-Sing), Bob Beck (Pish) and Jonathan Kennedy (The Mikado). Brian Hales as Ko-Ko, The Lord High Executioner and Chelsea Duncan as Katisha, were quite delightful, bringing lots of wry gumption and mastery to their characters.

The set design, by John Wilkerson and Jason Leyva was practical, but still imaginative and eloquent, with a bridge, brook and fountain, a palace and turntable stage, as well as delicate, tranquil murals. Jennifer and Nita Cadenhead’s costumes were wonderfully varied and appealing to the eye, whether using elaborate weaves and patterns, or bold, striking monochromatic fabrics. These ladies knew how to incorporate the outlandish and other-worldly in their designs, which only enhanced the jubilant aspects of the show. Special praise must go to Ryan Smith for the hair and make-up design. Considering the need for numerous wigs and exotic cosmetic creations, Mr. Smith’s job must be painstaking indeed.

Artisan Center Theater of Hurst presents; Gilbert and Sullivan’s The Mikado, playing September 4th – October 10th. 418 East Pipeline Road, Hurst, Texas, 76053. 817-284-1200. http://www.artisanct.com. Box Office Hours: Monday-Friday : 10AM – 6 PM, Saturday : 10 AM – 2 PM.

Directed by John Wilkerson, The Mikado stars : Brad Stephens (Nanki-Poo), Lauren Morgan (Yum-Yum), Amira Sharif (Pitti-Sing), Arlette Morgan (Peep-Bo), Bob Beck (Pish), David Priddy (Tush), Gary Payne (Pooh-Bah), Jonathan Kennedy (The Mikado), Brian Hales (Ko-Ko, The Lord High Executioner), Chelsea Duncan (Katisha), and The Chorus : Jessica Peterson, Jennifer Cadenhead, Randal Jones, Mary Kreeger, Amy Jones, Lori Jones, and Traysa Waak. Set Design : John Wilkerson and Jason Leyna, Costume Design: Jennifer Cadenhead and Nita Cadenhead, Hair and Makeup Design, and Set Dressing : Ryan Smith. Lighting Design : Jason Leyva

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Theater Review: The MIKADO

Theater Review: The Mikado

by Clyde Berry of John Garcia’s The Column

Jonathan Kennedy, Lauren Morgan, Brad Stephens, Chelsea Duncan

Having been out of town all summer, I was excited to return to the Metroplex for a brief period where I was able to review Seven Brides for Seven Brothers in Denton. I was equally excited to be able to return to the Artisan Theater Center in Hurst. Sadly, I was not back in time to be able to see what I heard was a very good West Side Story. So it was with delight that I requested to review their The Mikado.

I admire Artisan for their company’s mission principles, and do think they are successful in producing an incredibly full season of programming for both adults and kids, of both musicals and straight plays. After all, there I was, sitting in a space that a week earlier had been a completely different production. That sort of turnaround is not easy. I also rarely see empty seats at Artisan when I go there.

While I’m not convinced that their double casting really works, I do appreciate the fact they’re doing it offers opportunities to a great deal more folks to be involved on stage, which I do like. I’m also not a fan of scrubbing a script for content, but am very cognizant that you have to grow your target audience and not offend them with content that is not the family friendly programming you guarantee that you have.

That’s why The Mikado is an excellent choice of show for Artisan. This operetta by Gilbert and Sullivan is a delightful tale full of witty banter and lovely singing. There is no content that is offensive, and there are lots of great messages to be found. The Mikado was written to satirize English politics and manners. By setting their tale in Japan, the authors made it safe to poke fun at their own society without offending. You’ll also recognize many of the tunes, such as “Three Little Maids,” “Tit-willow,” and “A Wand’ring Minstrel I.”

In Mikado, Nanki-Poo, the heir to the throne of Japan, has fled the royal court and an arranged marriage. He ends up in Titipu where he falls in love with Yum-Yum, who is already engaged to Ko-Ko. Ko-Ko is the town executioner, also condemned himself to be executed for flirting. Unable to kill himself first, he cannot execute anyone else, therefore keeping the town safe. When Ko-Ko receives word from the Emperor that he must carry out an execution, or the town is doomed, complications emerge. Who will get executed? Will Nanki-Poo and Yum-Yum get together?

This is a beautifully designed production! The entire space has been lovingly covered in murals by Michelle McElree and Lilly Strapp. Their color pallet and images are quite striking and do well to set the scene and generate excitement about where we will be transported to in the story. Jennifer Cadenhead, Nita Cadenhead, and Ryan Smith have the daunting task of creating numerous elaborate Japanese period costumes, which they successfully accomplish. Each performer looks wonderful in their outfit, and the choices of color and character touches are entirely appropriate and fun. No one seems to have received the bad or leftover pieces, a testament to a thorough design.

Ryan Smith’s hair and make-up designs are well researched, period appropriate, and quite delightful. I’m sure his wigs have to serve multiple performers, no easy design task. His make up design, as fun as it is, could use a supervisor on sight, as there was not uniformity in its execution amongst the cast members.

John Wilkerson and Jason Levya’s set and light designs are simple and fun. The Artisan challenge is, as always, staging in the round. This is never easy, and these gentlemen have put together an effective design that should serve the production well. There are two buildings in corners, a lovely garden bridge in another, and a simple circular platform unit at center. This unit also works when it was used as a revolver a few times within the show.

As to the execution of the story, I was disappointed. While I am not a fan of musicals done to tracks, I understand the inability to afford a pit. I don’t understand the lack of a musical director for an operetta. One was neither listed in the program, website, nor acknowledged as being overlooked in the curtain and intermission speeches. Almost every song had difficulty, mostly with performers missing the first line of a song and coming in late. Diction was also inconsistent. There were also several instances where folks were ahead or behind the track, or forgot lyrics altogether. That is not to say there were not good vocal performances in the piece, but a great deal of cleanup, would really help sharpen things.

A decision could also have been made for folks to either affect British accents or not, since there’s a mix of British and Texas accents.

There were questions I had about John Wilkerson’s direction. The overall production struck me as an opportunity to show off “bits.” We move throughout the evening from bit to bit at the sake of the overall story. In fact, during the intermission raffle, the staff person running the raffle spent a great deal of time bantering with the young raffle ticket puller about how it took him numerous times to figure out what the story is, and that he still wasn’t sure. (Joking or not, I’m not sure I’d want the audience to think about that too much.)

These bits often interrupt songs, bringing them to a grinding halt for a moment of shtick. Any sense of pacing is lost for the sake of these bits, which more often than not, are not successfully pulled off. The best example of this was the audience participation madrigal in Act II. Three volunteers were brought out of the audience to sing. No one readily volunteered to go, and those that did couldn’t read the music and did not know the song. So we awkwardly watch them stand and politely smile until the number is over.

The overall pace of the show is just slow enough to prevent laughs from the witty back and forth in the dialog, and many scripted jokes are lost, or not set up properly because of inserted material. Odd that for a show that has so much inserted into it, I was surprised that no significant changes were made to “As Some Day It May Happen” the “list song,” especially with the current political craziness. Then again, the style of presentation had little to do with making this a mock play of manners, which again, was the author’s intent.

For example a line about “The Japanese don’t use pocket handkerchiefs!” is said after several cast members have been using them to blot their faces, and someone is holding one at that exact moment. The cast, however, is able to move along without problems. They jump in and out of the songs as best they can, not letting frustration show for late vocal entrances or synching problems. They execute the bits they are staged to do, and could pull off many more of them, getting the laughs they are shooting for, by speeding up. People seem to be enjoying themselves and having a good time.

While there was no men’s chorus (two men does not a chorus make), several leads sing the opening number “If You Want to Know Who We Are.” Why not have the double cast male leads serve as chorus on their non-lead nights? The ladies of the women’s chorus are quite good at being enthusiastic and attentive. They move through their repetitive blocking (there was no choreographer) energetically and their “Comes a Train of Little Ladies” was one of the best numbers in Act I. They also do well reacting to the events around them in the end of each act.

For a production that was severely short of men, I was curious as to why the character of Pish-Tush was split into two roles: Pish and Tush. The men were neither “twins,” nor spoke in unison, thought they did split lines occasionally in quick succession. Bob Beck as Pish and David Priddy as Tush go above the call of duty filling in chorus singing and completing business that a gentleman like Pish-Tush would never do in other productions. Their pitching in gives them a lot more to do in this show, and they do it well.

As the Mikado, Jonathan Kennedy leers and sneers as he should. Chelsea Duncan’s Katisha is well matched to Kennedy, however it would have been more fun to see more of the rivalry between their two characters, especially during their joint entrance. Duncan sounds nice, and is well prepared for her solos.

Playing two of the three maids are Amira Sharif as Pitti-Sing and Arlette Morgan as Peep-Bo. These ladies are bright and work nicely as a group with Yum-Yum. They have some cute moments teasing Pooh-Bah and the other men.

On my evening Bill Sizemore played the officious Pooh-Bah. Sizemore is well cast in this role and has created a nice all around performance. His low voice was fun to listen to, and he is solid as the snob. He has some challenging dialogue, rolling off all his titles, and this will likely become a scene stealing moment by the end of the run.

Playing the lovers Nanki-Poo and Yum-Yum are Craig Moody and Lauren Morgan. There is good chemistry between them, and they do well capturing their character’s youthful innocence. Morgan does a particularly fine job in her Act II solo “The Sun, Whose Rays Are All Ablaze,” bringing a nice moment of simple solid characterization.

Brian Hales plays Ko-Ko at every performance. His Ko-Ko is a lovable doddering goof. Hales is comfortable as the anchor in this production; and his standout moment in this production is the hilarious and desperate proposal of marriage to Katisha.

If you’re keeping a little list of shows to see at the end of your summer, The Mikado runs at the Artisan Center Theater through October 10.

The Column

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The MIKADO Review

The Mikado at Artisan Center Theater

John Wilkerson

John Wilkerson

by  Joy Donovan

John Wilkerson takes his bow, a deep Japanese bow, as Artisan Center Theater’s new artistic director by successfully bringing “The Mikado” to the Hurst theater for a multi-week run.

Wilkerson has assembled a talented lineup of actors to play an array of Japanese parts in this famed musical operetta written by Gilbert and Sullivan. Set in the town of Titipu, “The Mikado” features characters with such fanciful names as Yum-Yum, Ko-Ko and Peep-Bo.

Brian Hales as Ko-Ko“The Mikado” centers on Nanki-Poo, a young man who has banished himself from the town of Titipu. Nanki-Poo has fallen in love with Yum-Yum, a beautiful young lady unfortunately engaged to be married to her guardian, the tailor Ko-Ko. The plot twists and turns through circumstances that could only happen in a town where flirting is considered a capital crime.

Stealing the show is Brian Hales, who deftly plays Ko-Ko as a breathless buffoon in the mold of the late comedian Red Skelton. Artisan Center Theater’s production is double cast, but every audience will be treated to Hales’ droll wit since he takes the part for both casts.

Katisha and Nanki-PooAlso a bright spot was Gary Payne in the role of Pooh-Bah. For a character who defends his personality with the line “I can’t help it; I was born sneering,” Payne is appropriately and amusingly haughty. Other standouts were the strong-voiced Brad Stephens as Nanki-Poo, the soprano Lauren Morgan as Yum-Yum and the droll Jonathan Kennedy as The Mikado.

In addition to the comedy that borders on a delightful silliness, highlights included musical numbers, especially the very feminine “Three Little Maids From School are We,” featuring the trio of Yum-Yum, Peep-Bo and Pitti-Sing, and the amusing “I am So Proud,” spotlighting a humorous male quartet. The two-act operetta features dozens of songs, so casting requires strong vocalists to carry the show. For the most part this worked well, but occasionally voices were overwhelmed by the musical accompaniment, and that musical track presented some distracting technical problems.

CostumesCostumes featuring kimonos, kabuki-style makeup, Asian wigs and pretty parisols help transport the story to another time and place. The set features Asian images, too, surrounding the Artisan’s theater-in-the-round with this foreign culture.

“The Mikado” is an old, old tale. The show premiered in March of 1885 in London, and it opened later that same year same year in New York. But the humor stands up well, even more than 100 years later. Artisan Center Theater’s current production, continuing through Oct. 10, will bring a smile to your face, and that’s worth a Japanese bow or two.

Bill Sizemore (Pooh-Bah), David Priddy (Tush)

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The MIKADO Opens


The Artisan Center Theater opened its production of The Mikado over the weekend.  Tonight I make my debut as Nanki-Poo in the Gilbert & Sullivan operetta.  My wife, Arlette Morgan, is making her musical theater debut this production as well, playing the part of Peep-Bo.  Thankfully, we are in the same cast so we have actually gotten to spend a little time together during the hectic rehearsal process.  Come on out and see us!

Take a whimsical trip to far-away Japan and enjoy The Mikado, a deliciously tangled love story which is actually a satire of senseless laws, self-important officials, and political “spin.” The Mikado features those favorite G&S characters, Yum-Yum, Nanki-Poo, and Ko-Ko, the Lord High Executioner with his “little list” of potential victims, not to mention the fearsome Katisha, the hilariously ridiculous Pooh-Bah, and the emperor himself, with his own list of punishments to fit the crime.

Gilbert’s lyrics and Sullivan’s melodies have delighted over one hundred years of operetta lovers but they are still as fresh as “the flowers that bloom in the spring.”  Widely agreed to be Gilbert and Sullivan’s masterpiece, The Mikado is said to be the most popular operetta ever written.

After practicing his craft in New York City for many years, Broadway veteran and Mikado director John Wilkerson, along with his wife Margaret Shafer, relocated to Dallas to be closer to family. He completed his graduate work in vocal performance at the State University of New York and place third in the Metropolitan Opera competition. In working with some of the finest performers, directors, choreographers, musical directors, and technicians from the Broadway and British stages, he has worked at every level of performance from major concert halls to cruise ships, Broadway shows, national tours, Las Vegas, and overseas.

Running through October 10, this production is double-cast so I trade off performances with Craig Moody, a splendid talent whom has been a joy with which to work.  I generally perform in all Tuesday, Thursday and Saturday evening shows.  Please check my event calendar to confirm my performance dates.  Tickets may be purchased online at www.artisanct.com.

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Brad Accepts Role in The MIKADO

The MikadoLast week I had the pleasure of meeting with John Wilkerson, Artistic Director at the Artisan Center Theater in Hurst.  I am pleased to announce I have accepted the role of Nanki-Poo in his upcoming production of Gilbert & Sullivan’s The Mikado, running September 4 through October 10, 2009.

Widely agreed to be Gilbert and Sullivan’s masterpiece, The Mikado is said to be the most popular operetta ever written.  Mr. Wilkerson directed My Fair Lady at the Artisan earlier this year, toured with the Three Redneck Tenors, and was recently featured on America’s Got Talent.  He owns and operates the Musical Theater Institute of Dallas, a private vocal and acting academy, with his wife, Margaret Shafer.

I attended my first rehearsal on Saturday which went exceedingly well.  We got along great and there are many talented people working in this production, including my lovely wife, Arlette Morgan.  The show is double-cast so I got to meet my doppelganger who was gracious enough to help me get up to speed.  A lot of work ahead of us but I’m looking forward to being a part of what promises to be a fantastic show.

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