OLD GLOBE THEATRE PRESENTS A DAZZLING COMEDY GEM

Shakespeare’s classic comedy tale of mistaken identity – long a staple arrow in the quiver of Playwrights ranging from Greeks and Romans to no less a savvy pilferer of stories and plots, than the Bard himself – is playfully, zanily, and brilliantly staged, in the Outdoor Lowell Davies Festival Theatre, by eight time-Tony Award nominee Scott Ellis, along with an inspired cast and ensemble.

The venerable Old Globe Theatre, in Balboa Park, is celebrating its 80 birthday. And what a celebration party they’ve been serving up to their many loyal patrons. The eclectic season of plays selected for the year-long 80th celebration by Artistic Director Barry Edelstein has been a series of winners for San Diego audiences and all true patrons of the arts.

Glenn Howerton as Antipholus of Ephesus/Antipholus of Syracuse and Rory O’Malley as Dromio of Ephesus/Dromio of Syracuse with (background) Nathan Whitmer   Photo by Jim Cox.

Book-ended with the traditional Old Globe Christmas production of ‘How the Grinch Stole Christmas’ to “Murder for Two”, “The Twenty-Seventh Man”, ‘The White Snake” “Buyer & Cellar”, “Arms and the Man”. “Rich Girl”, “Baskerville: A Sherlock Holmes Mystery” to the Outdoor Summer Shakespeare Festival featuring the plays: “Twelfth Night”, “Kiss Me, Kate” and “The Comedy of Errors”, in repertory, brings to a close another highly successful and entertaining season of quality theatre at the great Tony Award-winning Regional Theatre in Balboa Park.

“The Comedy of Errors” is a crafty selection, by Edelstein, to close out the ‘summer season’ at The Old Globe. Under Director Ellis’ creative staging, the masterful production, has been moved up in time from an Elizabethan setting to the jazz-age, sexy, wide-open, ‘laissez les bon temps rouler’ lifestyle of 1920’s New Orleans (NOLA).

The text, however, with its zany narrative and sharply executed shenanigans along with Shakespearean accented speeches, are still in place, but now there is an insouciance and a cultural overlay in this production that compliments the NOLA of then as well as today. The comic farce resonates in 2015 just as effectively as did the Abbott and Costello baseball routine of mistaken identity in “Who’s on First” did back in the 1940’s.

The cast of The Old Globe’s 2015 Summer Shakespeare Festival production of The Comedy of Errors, directed by Scott Ellis, Aug. 16 – Sept. 20, 2015. Photo by Jim Cox.

It’s a given that when a story centers around two pairs of identical twins, (in this case, boys each a mirror image of the other separated at birth by their parents and sent to live and be raised in different cities), that the possibilities for comedy scenarios are endless, especially when they constantly keep missing one another only to finally meet at the end. It’s a credit to this wonderfully talented cast of actors and dancers that the hilarity of mistaken identity in one of Shakespeare’s greatest comedies is so entertainingly presented with style, wit, imagination, and high-octane energy.

Portraying the very confused sets of twins are gifted actors Glenn Howerton as Antipholus of Ephesus/Antipholus of Syracuse and Tony Award nominee Rory O’Malley as Dromio of Ephesus/Dromio of Syracuse. Megan Dodds as Adriana and Barrett Doss as Luciana score as the love interests of the twins. Strong support also comes from Austin Durant as Duke Solinus and as Doctor Pinch and from Garth Schilling as the Courtesan, each delivering show-stopper moments along with San Diego favorite Deborah Taylor as Emelia, and Patrick Kerr as Egeon the father of the twin boys and the person responsible for setting all of this entertaining silliness in motion.

The Old Globe Theatre has few equals when it comes to technical disciplines. Director Ellis masterfully orchestrates the gifts that Scenic Designer Alexander Dodge provides in recreating a New Orleans we all have seen and know.

The colorful costumes for the ‘ladies of the night’ and those playing the locals, by designer Linda Cho are picture-perfect in style and period authenticity. And thanks to a lighting design by Philip S. Rosenberg, we get to see and enjoy the impeccable timing and pacing taking place on-stage.

Ellis even manages to squeeze in a traveling group of street musicians at the proper moments which greatly enhances the on-stage action and the overall production. I was ready for a hearty, delicious-tasting, bowl of gumbo following the 90 minute, no-intermission show.

“The Comedy of Errors” production, now performing in the Lowell Davies Outdoor Festival Theatre is a splendid evening in the theatre that runs through September 20, 2015.

OLD GLOBE PREMIERES KEN LUDWIG’S NEWEST HILARIOUS COMEDY

Although he winces when people refer to his comedy plays as “farces” there is no doubt that he is one of America’s finest practitioners of the genre.  Most famous for his Tony Award-winning plays “Lend Me a Tenor” and “Moon Over Buffalo,” prolific playwright Ken Ludwig once again scores with his latest inventive and zany comedy “Baskerville: A Sherlock Holmes Mystery.”

Let it be known that when a playwright takes on the chore of adapting a story as famous as “The Hound of the Baskervilles” from the pen of Sir Arthur Conan Doyle and the creator of Sherlock Holmes, one of English literature’s most iconic detectives – Hercule Poirot created by Dame Agatha Christie, being the other – it’s a given that special care and handling has be observed.

Euan Morton as Sherlock Holmes - All cast photos by Jim Cox

The task of insuring fidelity to the original story, yet helm Ludwig’s adaptation, falls to director Josh Rhodes who is more than equal to the challenge. Rhodes has a firm creative grasp of his material and the inventive skills to stage a warp-speed mystery/comedy with an absolutely inspired cast of five talented actor/farceurs.

The Old Globe’s Sheryl and Harvey White Stage is where the dastardly deeds take place and to quote the idiosyncratic Holmes, “Patience Watson, all will be revealed”! is the watchword for the evening’s hilarity.

The story is set near the turn of the 20th century on the moors of Devonshire, England, where the famed detective played by Euan Morton along with his trusted companion Dr. John Watson played by Usman Ally, have been commissioned to investigate the mysterious murder of Sir Charles Baskerville, one of a long line of Baskervilles that allegedly have died as a result of a long standing family curse.

To assist in the telling of the heavily plotted and well known tale, director Rhodes has the good fortune, in addition to Morton as Homes and Ally as Watson, of having three gifted actors: one woman (Liz Wisan) and two men (Blake Segal as Man One and Andrew Kolber as Man Two) play over 45 parts in all. The energy, character, costume, and voice changes; all performed in a series of on-stage moments requiring split-second precision and timing is thing of beauty to behold. It’s a visually a stunning accomplishment reminiscent of the play “The 39 Steps” which also takes place in England where four actors play almost 50 roles (It must be all that tea they drink in England that give their actors all that energy).



The enjoyment of this stellar ensemble cast and production, however, is in the details of their performances;  the many clever, comedic, and innovative directorial touches in this highly entertaining production are due to the personal vision brought by director Rhodes. It’s a slam-dunk winning production.

The technical credits at the Globe are always first rate, and this production is no exception. The creative team led by director Rhodes includes: Scenic Designer Wilson Chin who provides a most unique set and space for the actors to perform their magic. Who would have thought of having the actors work with on-stage miniatures as a way of telling the story as well as allowing the actors to become interactive with the audience?

Lighting Designer Austin R. Smith provides the right amount of mood-lighting for the mystery aspects and the proper full up comedy lighting which allows the audience to see the many costumes designed by Shirley Pierson required for quick changes and period authenticity. Bart Fasbender created the original music and sound design.

During the curtain call, the cast took the last on-stage call with the back-stage crew. It was a well-deserved thank you by the cast to stage manager Annette Ye and her crew for those who help make the on stage magic happen night after night. It was a very classy gesture.

“Baskerville: A Sherlock Holmes Mystery” performs at the Sheryl and Harvey White Stage at The Old Globe and runs through August 30, 2015. Don’t miss it!

NORTH COAST REPERTORY THEATRE DOES SONDHEIM PROUD

Angelina Réaux and Rena Strober
All photos by Aaron Rumley

Stephen Sondheim is arguably the most influential American lyricist over the last 50 years; forever changing the face of the American musical genre.

Learning the craft at the knee of the great Oscar Hammerstein II as a young teenager, Sondheim became the face and the force of the modern American musical audience over the years. He captivated audiences and performers alike with his brilliant innovative and fresh approach on how to tell a theatrical story in words and music. Performers lined up to be cast in his shows. His supporters are legion. His canon is enormous.

The North Coast Repertory Theatre production of “Side By Side By Sondheim”, does Mr. Sondheim proud! That enormous canon is selectively and lovingly brought to life by four gifted and talented singer/actors in a 90 minute free flowing tribute to his genius under the inspired direction of North Coast artistic director David Ellenstein. With over 30 numbers that capture the memories, the moods, and the full range of the human experience, Ellenstein’s sensational cast just sizzle and shine on stage, both in solo turns and in two and three-part harmony ensemble numbers.

Rena Strober, Randall Dodge, and Angelina Réaux

The four Equity artists bring a wealth of performing experience ranging from East Coast theatres, including Broadway, to West Coast stages and in between, with a dash of the international opera scene in the bargain.

Nicholas Mongiardo-Cooper as Narrator, Randall Dodge as the Man, Angelina Reaux as Woman 1, and Rena Strober as Woman 2, are accompanied by onstage pianist 1 and Musical Director Alby Potts and Pianist 2 Tom Abruzzo. It’s an ensemble group made in heaven for aficionados of Sondheim music and lyrics.

It’s really a treat to hear and see singers diaphragmatically breathe while performing. The tone and clarity of the lyrics is enhanced as well as the music when artists employ their training. Alas, we don’t see enough that these days. If one sings in the shower and their friends tell them how great they sounded last night in the bar that apparently is all of the training they want to endure. Pity. Many a short career lies ahead for tyros.

Not so with this wonderful group of pros. There are so many beautiful, poignant, and memory-inducing moments in this dazzling production that it is difficult to list them all. However, there are always favorite numbers that hit their emotional marks and are felt by all audiences.

Angelina Réaux, Nicholas Mongiardo Cooper,
Randall Dodge and Rena Strober

My personal favs in this show were: “If Momma Was Married” sung in two-part harmony by Angelina Reaux and Rena Strober; “Getting Married Today” by Rena Strober is the breath-challenging number that never fails to get applause at its conclusion; “Can That Boy Foxtrot” by Reaux and Strober is a clever little ditty of double entendres that bring smiles to the faces of the singers as well as the audience. “Barcelona” by Dodge and Strober hit a chord with many in the audience if the knowing laughs I heard from the audience were any indication.

Angelina Reaux’s rendition of “I Never Do Anything Twice”, with more trills than a bird aviary, plus her emotionally-haunting “Send in the Clowns” number were two show stoppers among many. Mongiardo-Cooper and Dodge made the number “Beautiful Girls” from Follies come alive once more. Reaux and Strober’s electrifying “A Boy Like That” from “Westside Story” makes the hair on one’s nape of the neck quiver with emotion. Mongiardo-Cooper’s rendition of “Being Alive” is powerful and moving. Strober’s “Losing My Mind” is another love song that goes to the core of love and marriage relationships; a leitmotif present in many of Sondheim scores and shows. It’s great stuff not to be missed!

The creative team led by director Ellenstein includes the North Coast Rep Company’s one-two punch duo of Set designer Marty Burnett, and Lighting designer Matt Novotny, along with costume design by Renetta Lloyd, and Sound design by Melanie Chen; with Props by Benjamin Cole; and projection designs by Aaron Lumley. As usual the technical credits are first rate at North Coast.

It’s a splendid and entertaining evening of theatre that will last in one’s memory throughout the entire summer. “Side by Side By Sondheim” performs at North Coast Repertory Theatre through August 16, 2015.

WORLD PREMIERE MUSICAL “GIRLFRIEND” AT CTG’S KIRK DOUGLAS THEATRE

Gay teenage angst may not be a mainstream issue for a lot of people but times are a-changin’. Growing up in America, or anywhere else for that matter, was never a picnic; however, growing up gay was definitely a private matter that led to a lot of alienation and confusion producing hurtful, harmful, and ambiguous situations for many sons, daughters, parents, and friends.

Ryder Bach and Curt Hansen - Photo by Craig Schwartz

Todd Almond’s new rock musical “Girlfriend”, with music and lyrics by Matthew Sweet, is a vanguard production that addresses the issues of understanding and acceptance, as well as the hopes and dreams of two gay teenage boys who discover one another in rural Nebraska in the summer of 1993.

Tenderly and sensitively directed by Les Waters, artistic director of Actors Theatre of Louisville (ATL) KY, “Girlfriend” is a perfect fit for Waters, who directed “Marjorie Prime” at the Taper last October which I reviewed, and who is also scheduled to direct “The Christians” at the Taper in January of 2016. I attended the Louisville Humana Festival in 2014 and reviewed the play “The Christians”, directed by Waters who blew me away with its brilliant inventiveness. Audiences at the Taper are in for a real treat come January of 2016.

“Girlfriend” is a compelling two-hander that stars Ryder Bach as Will and Curt Hansen as Mike. Will, acts as his and our Greek chorus. He sets the stage as to his own sexuality, pondering how he will ever survive another hot, dusty, Midwest summer of being miserable without any “real” friends to share the vexing issues of growing up in a predetermined, socially rigid America.

Ryder Bach and Curt Hansen - Photo by Craig Schwartz

Mike outwardly is a jock. A star baseball player, a popular man on campus and well liked with a girlfriend. But he too isn’t fully integrated and ready for full entry into the fabric of American life.

Their first short and sweet encounters as classmates at school are guarded and cautious. No one wants to make a false assumption about the other. Eventually, there is a crack in the ice and two begin a journey of discovery. As in life, choices must be made with decisions that are painful.

The performances of Bach and Hansen are riveting and mesmerizing to watch. Two young men at the height of their powers who have the talent to attack any situation the characters find themselves in and draw their audience right along with them. The youthful audience was noisy at first, but immediately quieted when the highly charged on stage moments arrived. One could hear a pin drop from an audience of over 300 rapt patrons as the two young actors exchanged their first kiss.

The narrative and action of the story is punctuated by a red hot, four-piece rock band lead by Musical Director Julie Wolf, featuring guitarists Vivi Rama and Janet Robin, and the Buddy Rich performance style of drummer Jyn Yates who really rocks the auditorium.

Waters’ low key, unseen directorial hand overall is right on. However, if I had to be picky about the production it would come in the area of the glacial pacing and pauses between Will and Mike in the scenes where each makes a decision to close the gap and space that guardedly separates them from full commitment to each other. The production which is performed without an intermission, could easily lose a full ten minutes from its current running time of 90 minutes.

Director Waters leads a creative team of scenic and costume design by David Zinn, a snappy lighting design by Ben Stanton and an appropriate sound design by Jake Rodriguez.

“Girlfriend” performs at the Kirk Douglas Theatre and runs through August 9, 2015.

BAD JEWS - THOUGHT PROVOKING COMEDY AT GEFFEN PLAYHOUSE HAS AUDIENCES TALKING

Nothing gets conversation started as quickly and passionately as aficionados of sports, or the divisiveness of political discourse or the radio-active subject of religion with its deep-seated tenets, even among families, let alone the general public.

Which brings us to the highly entertaining but prickly subject matter embedded in the premise and dialogue of “Bad Jews,” a new modern comedy written by acclaimed young playwright Joshua Harmon. The ambiguously titled and talky play currently on stage at the Geffen Playhouse is directed by Matt Shakman, who helms his production with one directorial foot planted in tradition and the other directorial foot solidly rooted in the secular 21st century. What’s a young, talented, cast to do when faced with the dichotomy of a comedy/mellow-drama with such parameters? Why, just act the hell out of it and let the chips fall where they may.

 Raviv Ullman and Molly Ephraim in Bad Jews. Photo by Michael Lamont.

The story revolves around ”good Jew” Daphna Feygenbaum (Molly Ephraim) who swears to one and all that she is the most devout Jew in her family. However, when her less than observant “bad Jew”cousin Liam Haber (Ari Brand), arrives to claim a treasured family heirloom – a chai – a religious symbol from their late grandfather and Holocaust survivor, Daphna employs her considerable skills of persuasion and intimidation on her two male cousins that she should have the chai which then develops into a screeching, funny battle of Old Testament proportions.

We’re not talking Neil Simon comedy zingers here. We’re dealing with a brainy, savvy, envious, irritating, and mean-spirited young know-it-all Vassar senior who is taking on her older, highly educated, high-strung cousin Liam who gives her more Biblical quotes, sociology lessons and philosophical food for thought than she bargained for. It is delicious confrontational dialogue and theatrical craftsmanship at its finest. It is talky but everything that needs to be said is accomplished in 87 minutes. There is no intermission.

One doesn’t have to be Jewish either in order to relate to the verbal fisticuffs and comedic poison-tipped darts being hurled by a proactive Daphna toward a non-receptive Liam and his girlfriend Melody (Lili Fuller). We’ve all seen relatives, husbands and wives (Albee’s George and Martha come to mind) and friends perform their comic and sad verbal dances of animus. Self-destructive comedy can be entertaining at times but only when viewing it from outside the war zone.

Ari Brand, Raviv Ullman in Bad Jews - Photo by Michael Lamont

One character Jonah Haber (Raviv Ullman), the younger cousin, is calmly and emotionally detached from the heated, invective-filled debate – lots of f-bombs being tossed – between his brother and Daphna. “I do not want to become involved at this time,” Jonah frequently says while resisting the urge to be drawn into the family squabbles when asked for his opinion.

Raviv Ullman, Molly Ephraim, Ari Brand,
Lili Fuller in Bad Jews - Photo by Michael Lamont

“Bad Jews” is an off-putting title and it’s misleading as well. It may dissuade some from attending a crackling energetic production. That would be a pity, because one would the miss seeing four fantastic actors performing at the top of their games: Molly Ephraim is maddeningly effective as Daphna, despite that high-pitched screeching delivery. Ari Brand is a controlled IED device just waiting to be stepped on. Both Ephraim and Brand deliver exquisite performance gems. Also, Lili Fuller shines in her understated girlfriend portrayal caught between the feuding Ari and his cousin Daphna. Raviv Ullman is a bit of the mystery man in the proceedings but he has a very special moment just before the curtain comes down.

In the technical department the creative team, led by director Shakman, has his set designer John Arone render a one-set, messy apartment; strewn with bed-sheets, blankets, and clothing, it provides the look that twenty somethings just seem to relish. Lights by designer Elizabeth Harper deliver just the right amount of light in order to see the onstage action and the costumes of designer E.B. Brooks.

If I had to be picky about one aspect of this stellar production it would be to ask the director to lower the volume and modulate the vocal delivery of Daphna and Liam. When one begins the play with everyone at the top of the decibel ceiling it’s tough for the actors to grow; the narrative flow begins to sound like a Johnny one-note performance with everyone yelling.

On exiting the theatre, one could hear snatches of patron conversation. From “Did you think the young Jewish girl was right?” to “I thought the quiet brother was really involved without saying much.” I spoke to a patron who said “Boy, the young actress was really a despicable person, but that’s what the playwright wanted her to be I guess.” When plays produce comments like these, one knows the actors are doing their job in spades and loving every minute of it.

“Bad Jews” performs at the Geffen Playhouse and runs through July 19, 2015.

INSPIRING WORLD PREMIERE MUSICAL AT LA JOLLA PLAYHOUSE

One never knows where the next small, exquisite gem of a play or musical will come from. Story ideas are all around us just waiting to be discovered by talented and creative people. Whenever the La Jolla Playhouse Artistic Director Christopher Ashley gets wind of a new and fresh project, it’s a pretty safe bet that Playhouse audiences are going to be in for a special treat.

The musical “Come From Away,” by the Canadian husband-and-wife team of Irene Sankoff and David Hein and directed by Ashley, made its World Premiere debut at the Sheila and Hughes Potiker Theatre last weekend to thunderous applause and standing ovations.

Astrid Van Wieren, Caesar Samayoa and Chad Kimball. Photo by Kevin Berne

Big things often have small beginnings. For America, nothing was bigger and more horrifying than the terrorist attacks of September 11, 2001. It’s been a defining moment in modern American history. How to expiate the demons of that day, and its immediate aftermath, hasn’t really been addressed by many American writers yet. The scars are too deep. Yet, there are stories to be told and some, no doubt, with an unexpected or particular point of view.

In “Come From Away” the story informs the audience in song, dance, and narrative about the generosity and compassion of our Canadian neighbors north of the 45th parallel. When the first-ever national “ground stop” of all aviation in US airspace took place, 38 jetliners were diverted to Gander, Newfoundland, along with 7,000 passengers from countries all over the world, all left sitting for five days in an airport that most had probably never heard of.
One of the most interesting aspects of this unique production is that the show is chock full of adult singer-actors, many of a certain age. One also gets the feeling of Canadian verisimilitude the minute the curtain goes up. The song "Welcome to Newfoundland" gives one insight into the warm and winning character of our Canadian cousins.

The splendid ensemble cast of twelve performers, who portray multiple characters, immediately lays out the story plot in their musical intros and dialogue exchanges. Toe-tapping, Celtic-infused musical accompaniment from the eight-person onstage orchestra, led by musical director and conductor Ian Eisendrath, is a plus in helping to propel the somber backstory toward an uplifting conclusion employing the healing elements that come at times with humor.

The cast of "Come From Away" - Photo by Kevin Berne

The inspired cast, led by Joel Hatch playing the Mayor, generate enough energy to light the city of La Jolla and surrounding areas. Large casts are not always conducive to naming each performer, but this excellent ensemble cast deserves the honor: The aforementioned Joel Hatch; Jenn Colella; Petrina Bromley; Rodney Hicks; Lee MacDonald; Allison Spratt Pearce; Caesar Samoya; O. Smith; Sharon Wheatley and Astrid Van Wieren, are nothing short of terrific. Such musical numbers as “Stop the World," “Somewhere in the Middle of Nowhere” and the finale by Hatch and the company are proof that our society, despite its uglier sides and moments, just might be worth saving after all.

“Come From Away” performs at the La Jolla Playhouse Potiker Theatre and runs through July 12, 2015.

ROALD DAHL'S BELOVED CLASSIC "MATILDA THE MUSICAL" ENERGIZES THE AHMANSON

It’s a huge cast show that is colorfully uber-produced beyond belief. More than 30 actors, singers, dancers and performers, plus a world-class technical team of gifted, talented, and incredibly inventive theatrical wizards, all come together in support of one little girl: Matilda, who has a love and passion for books, words, and storytelling that transcends logic.

The company of “Matilda The Musical” National Tour. Photo by Joan Marcus

That’s why it is one of world’s most beloved children’s book and now a musical that will be seen by thousands across the country as its National Tour is launched. “Matilda: The Musical” is based on the novel ‘Matilda’ by the late British author Roald Dahl. Dahl was a writer who understood the power of imagination and the belief in magic when it came to entertaining young children.

The production now on stage at the Ahmanson Theatre (part of Center Theatre Group) in Los Angeles, was awash in tween and teen excitement to such a level that the adults at the opening on Sunday, June 7, probably thought the 2200 seat Ahmanson Theatre was going to explode due to all of the pent-up energy packed into the auditorium. Once the house lights dim, however, and the music begins, all one sees are rapt faces of sons and daughters, along with their parents, with all eyes glued to the stage.

Mabel Tyler, Jennifer Blood in
"Matilda the Musical" - Photo by
Joan Marcus

The story revolves around Matilda Wormwood (Mia Sinclair Jenness, at the performance I attended; Gabby Gutierrez and Mabel Tyler, along with Jenness will alternate the role during the run), an extraordinary little girl who dreams of a better life than the one she is living at home with her non-caring, self- absorbed parents and dull brother. Armed with a vivid imagination and a sharp mind, Matilda dares to take a stand and change her destiny. The first step in her journey toward change begins at her school.

The bullying and fearsome Headmistress Miss Trunchbull (a brilliant and inventive Bryce Ryness), is determined to teach Matilda not to interfere with her rules and regulations concerning any of her students. The edicts of Miss Trunchbull sound suspiciously like those of Miss Hannigan in “Annie” (another musical about young children). However Matilda’s teacher Miss Honey (a caring and sensitive Jennifer Blood) helps the young girl not only survive in her encounters with Headmistress Trunchbull, but helps her at home with her parents played by Quinn Mattfeld as Mr. Wormwood and Cassie Silva as Mrs. Wormwood. The comic relief character of Mrs. Phelps, the school Librarian (Ora Jones), charms as the storytelling ally and listener to all of Matilda’s stories in a warm and sympathetic portrayal, and sports a lovely lilting Jamaican accent in the process.

The company of “Matilda The Musical” National Tour. Photo by Joan Marcus

One of the most entertaining aspects of this production is the talent and energy of the “children ensemble”. Their athleticism, stage presence, poise, and performances are astonishing in actors of such a young age. They make it look easy and lots of fun. One can only imagine, however, the hectic backstage activity taking place with such a large cast of actors, singers, dancers, and technicians all working to make the magic of “Matilda” happen. The special effects in the production are spectacular in their execution; along with the high octane choreography of Peter Darling, giving featured dancer Jaquez Andre Sims as Rudolpho, a chance to strut his stuff.
The production written by Dennis Kelly, with music and lyrics by Tim Minchin is under the inspired direction of Tony Award winner Matthew Warchus. He has tons of experience and awards and it shows with this highly entertaining and visually impressive musical.
“Matilda: The Musical” performs at the Ahmanson Theatre and runs through July 12, 2015.