Tag: Orpheus Musical Theatre 2014

Fidler on the Roof: This Production is a Splendid Anniversary gift.

Fidler on the Roof: This Production is a Splendid Anniversary gift.

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Orpheus Musical Theatre Society has given Fidler on the Roof a splendid 50th anniversary gift with its current production.

One of the best loved musicals of all time, Fidler on the Roof by Joseph Stein, with music by Jerry Bock and lyrics by Sheldon Harnick is based on the stories about Tevye the milkman by Sholem Aleichem, first published in 1894. The focus of the stories, the musical and the 1971 movie is on Tevye’s vain attempt to maintain Jewish tradition in a changing world. In addition to dealing with each of his three oldest daughters moving further away from the accepted custom of their father selecting appropriate husbands for them, he and his fellow villagers face expulsion from their home during a pogrom.

As directed by Michael Gareau, the Orpheus production is particularly noteworthy for its clarity, attention to detail and respect for the traditions that are Fiddler’s raison d’être. From the simplicity of the opening and the purity of the sound from Danny Albert’s violin through strong characterizations, fine ensemble work, assorted musical highlights and spectacular visuals, this Fiddler has a magical quality.

While the heaviest responsibility falls on the lead character — and Christopher Mallory brings a fine singing voice and a robust characterization to his Tevye — this production is marked by a number of high quality dramatic and musical performances, as well as by an interesting and suitably spare set design from Cindy Bindhardt and fine lighting effects from David Magladry.

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9 to 5 : An Orpheus production of a musical that is sadly passé.

9 to 5 : An Orpheus production of a musical that is sadly passé.

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Photo: Valleywind Productions

9 to 5, The Musical is a reminder of the social restrictions of a past era, but sadly, much about this musical, with music and lyrics by Dolly Parton and book by Patricia Resnick, is passé too.

In its first incarnation as a 1980 movie starring Parton, Jane Fonda and Lily Tomlin, it worked better than it does as a stage show full of short sequences and abrupt scene changes that recall the style of film. Little wonder that the recycled musical had only a very short run on Broadway in 2009.

While Parton’s autobiographical Backwoods Barbie and the title song are catchy, most of the rest of the music fades from memory as quickly as does the weak book by Resnick (who also wrote the movie screenplay).

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Spamalot: A Musical that glows with silliness, lovingly produced by the immense talent of the Orpheus Company.

Spamalot: A Musical that glows with silliness, lovingly produced by the immense talent of the Orpheus Company.

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Photo. Kichissipi Times  On the French Ramparts!

IT seems that the talents coming from the Orpheus Musical Theatre Society are particularly well suited to outrageous musical comedy because not since their side splitting production of Mel Brooks’ The Producers , have we seen such a perfectly orchestrated show. Artistic director Bob Lackey, musical director John Terry Duncan and their whole team have  done wonders with the show based on  Eric Idle’s book and the music by John Du Prez.  From the moment Thomas Franzky as the mission-driven King of the Britons appears on stage with his faithful, bumbling Patsy a very sympathetic Rejean Mayer (we can’t help but feel this is a Python twist on Don Quixote and his not always appreciated servant Panza – I’m not chopped liver he snorts which is the first hint of his ethnic background) Spamalot was an absolute delight from beginning to end. Adapted from the Monty Python motion picture “Monty Python and the Holy Grail”, the story essentially involves King Arthur going out trying to recruit new knights for his Round table, as he begins his quest for the Holy Grail.

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Into The Woods: A Stellar Production By The Orpheus Musical Theatre Society

Into The Woods: A Stellar Production By The Orpheus Musical Theatre Society

“Living happily ever after” was never Stephen Sondheim’s favoured style. So when he latched onto some of the fairy tales of the brothers Grimm and he and book writer James Lapine headed into the woods in 1986, it was almost certain that the resulting musical would be closer to the W.W. Jacobs story of The Monkey’s Paw (a classic illustration that we should be careful what we wish for) than to riding off into a sunset filled with joy.

It is also worth remembering the theory that fairy tales are frequently seen as a projection of children’s fears and that many of the Grimm classics are horror stories filled with violence and evil. (The early editions of the 19th-century stories were criticized as being unsuitable for children.)

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