Beauty and the Beast at the Garden Theater

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Beauty and the Beast with music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and book by Linda Woolverton is at the Garden Theater through May 22, 2022.

Trapped in her provincial life, an intelligent young woman risks everything to save her father from a terrifying Beast in an enchanted castle. Belle becomes the heroine of her own story as she discovers the power in daring to be different and breaks free from the expectations of her quiet village. Filled with dancing teapots, gorgeous costumes, and theatre magic, this international best-selling sensation has been re-imagined like never before for the Garden stage.

What I love about this production, which is produced in the Don’t Say Gay and Anti-Woke Bill state, is that the theatre selected a diverse cast, including Belle, a white role in the Disney movie, instead as powerful woman of color. The show also ignored conventional gender roles or identities, as well as infused African design motifs into the elegant costuming. The wardrobe in particular was fabulously dressed and knew how to belt out the tunes. The dusters in the castle wore tight red corseted costumes as they performed their Rockettes style kick dance routines. Chip managed to steal every scene he was in riding around the stage on a small tricycle. I am delighted the the show likely ruffled a few feathers in Winter Garden.

I sketched the show from the nose bleed section shoulder to shoulder with the tech crew. I was quite relived that all the theater staff wore masks and took every COVID precaution including  clear plastic shields in front of the tech equipment. From what I saw in the lobby, the audience was mostly unmasked and the show was close to being sold out. A fog machine demonstrated the movement of aerosol particles through the theater.

Another nice touch is that the Garden Theater will present an American Sign Language-interpreted performance and a Sensory Friendly performance for families that have members (both children and adults) with Sensory Processing Disorders (SPD), Autism Spectrum Disorders (ASD), and special needs.

Evita at the Shakes

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Evita is a musical based on the book and lyrics by Tim Rice and music by Andrew Lloyd Webber. It charts the young and ambitious Eva Duarte’s meteoric rise to sainthood. The play opened with an audience trying to watch a film, which is interrupted by the news flash that Eva Perón had died.The blood curdling screams made it clear that a great and beloved soul had been lost.

The set by scenic designer Jim Hunter made the rise to the iconic balcony scene accessible via a spiral staircase. Pam had a good laugh because I was blocking in the set in my sketch, when all of the pieces of staging on casters were rolled to new locations up stage.

Evita (Yael Reich) had a passion for life and she went through a revolving door of lovers, each of which brought her rising fame. She was a humble actress who wanted to rise above her middle class upbringing.

Juan Perón (Rodrigo
Ignacio Cruz) was also rising in power through the ranks of the military. Generals played a game of musical rocking chairs to see who lasted on the way to the top. When he and Eva met they were the perfect fit. Eva marched into his home and kicked out his young mistress.

Since she was from the streets, the people loved her but the elite snubbed her. Despite not being accepted into the ruling class, she initiated reforms that would help the people of Argentina.

Che (Dan Domenech) was a true revolutionary who saw her reforms as ways to win the love of the public instead of truly offering the people the power of democracy.  Evita’s passionate life was lived as a candle burning from both ends. Under her bold impassioned pleas there was a delicate frame. For one song she stood beside me in the aisle and belted out her song. I was amazed at the purity and strength of her voice in such a small frame.

Evita runs through October 6, 2019 

TICKET INFORMATION

PRICING

Wednesdays – Saturdays
at 7:30 p.m. and every Sunday and select Saturdays at 2:00 p.m. – starting at
$35

Preview Performances and
Senior Matinees – starting at $25

DISCOUNTS (May not be combined
with any other offers)

Group Sales: 20% off
groups of 10+

Student Rush: $25 – 30
minutes prior to show w/ valid student ID

Student and
Active/Retired Military: $10 off single ticket prices w/ valid ID (Only available
in Price Levels A and B)

$25 Under 35: Patrons
under 35 years old can purchase $25 tickets for evening and weekend matinee
performances during September 18-22. Call the Box Office at (407) 447-1700 ext.
1 or purchase online with code word: 25UNDER35 (Only available in Price Levels
B and C.)

Senior Matinees: September 18, &
25 and October 2 at 2:00 p.m.

Talk Back Performance: September 29 at 2:00
p.m.

Aida splashes onto the Dr. Phillips Center stage.

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Encore! Cast Performing Arts presents Elton John and Tim Rice‘s Aida at the Dr. Phillips Center for the Performing Arts  (155 East Anderson Street Orlando FL). Alice Ramadan from the Dr. Phillips center had invited me to sketch the dress rehearsal on July 14th. More than 160 cast, chorus and orchestra appear on stage. Juan Torres the shows production manager welcomed me when I got to the Disney Theater. Tech was still in full swing with stage hands checking lights and sound. At the security check some core cast were taking a break since they had been rehearsing all day. I realized that the actresses who signed out were slave girls in the show.

The chorus entered the theater and entered the theater filling up the front rows. They looked around in amazement at the new theater and took selfies to prove they were there. This was the first time everyone had a chance to experience the space and perform on the set. Alice got on stage and welcomed everyone. which caused enthusiastic whoop from the huge chorus! She thanked everyone for believing in the arts center and she got choked up as she told us it was our theater now. Her love for the place could soften any heart.

There were a few sound problems that stopped the rehearsal at several points. All the core cast had microphone headsets and they didn’t always work but that is why there are rehearsals, to work out the kinks. When Aida’s mic needed to be adjusted, she had to lean forward while a stage hand adjusted the electronics at her hips. Some of the chorus laughed since her pose was rather provocative. She heard this and coyly rotated her hips and arched her back which heightened the irony and soon everyone was laughing.

At the Nile’s edge, the enslaved Nubian princess, Aida (Jerusha Cavazos) becomes
romantically entangled with the Egyptian captain, Radames (Natale Pirrotta), who is
betrothed to the Pharaoh’s
daughter, Amneris (Hannah Berry Matthews). As their forbidden love grows deeper, Aida is forced
to find balance between her heart’s
yearning for Radames, and
her responsibility to lead her people.  Aida and Radames’s love for one
another becomes a shining
example of true devotion
that ultimately transcends the vast cultural differences between their
warring nations, heralding a time of
unprecedented peace and
prosperity. Elton John and Tim Rice‘s Aida is a timeless love story,
featuring an award-winning pop/rock score
from the seasoned pop duo
who brought musical life to Disney’s The Lion King. Rousing rock numbers
and heart-wrenching ballads bring
the ill-fated lovers into a
new era.

I’ve seen one other production of Aida, so I knew the music and story. I love many of the musical numbers in this show so I was swaying to the beats while I sketched. Having this many voices singing gives the show a power I hadn’t experienced before. Amneris’s song “My Strongest Suit” is a hilarious take on living a life of fashion and splendor. It is clearly an ironic look at spoiled Hollywood brats of today and the digital age’s superficial fixation on youth and fashion. It is the shows “Sex in the City” fashion runway moment. Despite having it all there is a yearning for connection that fashion doesn’t provide. The show is entertaining and often inspired.

Mark Your Calendar!

The final performance of Aida is tonight, Thursday, July 16, 2015.

Show time is 7:30 PM.

Tickets start at $33.75

Jesus Christ Superstar rehearses on the front porch of a Maitland Law Firm.

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Sylvia Katherine Viles is directing Jesus Christ Superstar. I met Sylvia at a casting call for the Petrified Forest this last year. She insisted I get in costume and get ghoulish make up so that I blended in with the cast. As I arrivedat the Jesus Christ Superstar rehearsal, the cast was on the porch stretching. Sylvia was her warm bubbly self and gave me a warm hug. She explained that, “JCS has been a bucket list show since I was a child. Since my singing
voice and gender have combined forces against me and the role of Judas
will alas never be mine, directing the show is my dream come true. Add
to the mix being able to do it at Bay Street Players, my home theater
and the excitement is literally bursting out of me.  For you
younger performers this was my “RENT” or “Spring Awakening”, “BARE”
etc., it was a show that spoke to me. It still speaks today.” As a child Sylvia grew up loving this show. Judas is portrayed as a caring person Who tried to save Jesus. It is a roll reversal similar to what you see in “Wicked”.

The cast was going to practice choreography on the steps to the porch. The final set will have a series of ascending steps so this was a perfect opportunity. They usually rehearse inside the building but there was some sort of open house going on.  Jesus was late. He thought the rehearsal was at 3pm. They needed to rehearse a musical number called “what’s the buzz“. Sylvia stepped in for Jesus and descended the steps as the cast knelt down beside her. Her shirt said “Bite me” on one of those candied hearts. She improvised her lines about how great her dad was and then the cast danced, doing hand slaps and then circling Jesus singing and clapping. Steven Johnson (aka Tim Gunn) did the choreography. New movements were worked in with each run through of the scene. A car leaving the parking lot broke up the action. I shouted “Car on stage!” and everyone scrambled up the steps to get out of the way. I think they should leave the car in the final stage production.

The cast then broke into groups and sang “When will we ride into Jerusalem?”  “What’s the buzz, tell me whats a happening.” They sang to each other as they sought gossip. The final run through was flawless and they cheered for having nailed down the blocking while maintaining spontaneity. The Sun had burst through the the trees heating up the porch steps, so Sylvia called a break and the next guerrilla rehearsal spot was on the driveway beside the house in the shade. I stayed behind and finished putting washes on the sketch. It was a gorgeous house and a beautiful, if hot day. I saw on a Facebook post later in the week a group photo of the cast that said, “The Cast of Jesus Christ Superstar doesn’t sweat, we sparkle!” You have to love such youthful exuberance. I’m a bit sad that I can’t see the final production because in a week ill be in Istanbul in Turkey which is a Middle Eastern country much like where these gospel stories first began.


Mark Your Calendars! Jesus Christ Superstar with music by Andrew Lloyd Webber and lyrics by Tim Rice will be performed at Bay Street Players (109 North Bay Street

Eustis, FL)  from April 10 to May 3, 2015. Get your tickets now.

AIDA

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Years ago I saw the opera “AIDA” at the Bob Carr Performing Arts Center. It was an excruciating experience with a Nubian princess singing endlessly about her impending death. She would pause for a long moment and I would think, “Finally.” But then she would start singing again and I would be thinking “Die already!” I dug my fingernails into my palms to stay awake. This new Clandestine ARTS production with music by Elton John and Tim Rice, is a refreshing new take on the story.

 On the banks of the
Nile, unfolds the triumphant tale of love that transcends warring
nations and brings a country together. A contemporary musical take on
the classic tale of timeless love. An enslaved Nubian princess, Aida (LaDawn Taylor), finds her heart
entangled with Radames (Tony Flaherty), an Egyptian soldier who is betrothed to the
Pharaoh’s daughter, Amneris (Emily Grainger). As their forbidden love blossoms, Aida is
forced to weigh her heart against the responsibility she faces as leader
of her people. Aida and Radames’s love for one another proves
transcendent of cultural differences and ushers in a time of
unprecedented peace between the warring nations.

Before the run through of the show, Emily had to rehearse several frantic costume changes. She was the first actor to arrive at The Venue and she was singing and dancing as she entered. Two seamstresses were at there sewing machines completing costumes during the rehearsal. In the scene, Emily sang a song about her strongest suit which happened to be her looks and fashion sense. In the final moments of the scene, she ripped off her red dress with the help of two slaves and then she was showered with golden pedals. The dress was held on with Velcro and it was a challenge to fling the garment behind her fast enough. The scene had to be rehearsed again and again which gave me extra time to sketch. The song is hip and seems to perfectly apply to today’s selfie generation. 

The music kept reminding me of the Disney Animated Features I worked on in the 1990s. The princess singing about he lack of freedom reminded me of Jasmin from Aladdin. LaDawn’s strong African American chiseled features made her a perfect fit as AIDA and she sang beautifully. Tony as Radames had some strong chemistry in his love scenes with AIDA. As in the Opera, the two lovers were destined to die yet their love softened the heart of Pharaoh’s daughter. Produced and directed by Derek Critzer, this is a huge extravagant production with projections offering exotic settings. Derek keeps the production hip and playful, like a scene in which a male dancer comes out in a costume covered in plastic bubbles. A runway was built up the center isle allowing the cast to walk out into the audience. At times, the chorus sang from the back of the theater giving a full surround sound experience. This is a huge, fresh, yet intimate production with strong singing and dancing, who could ask for more!


Mark your calendar! Show times…
June 14,16,19,20,21,22,26,28 @ 8:00 PM
June 27 @ 7:00 PM
June 29 @ 3:00 PM

Performances are held at “The Venue” located at 511 Virginia Drive, Orlando FL.
Tickets are $20.00 and may be purchased at www.clandestineorlando.com
Industry Night Special Offer Monday June 16th @ 8:00 PM
Tickets will be $15.00 Each!