Stage Reviews
Blood Brothers In City Theatre’s production of Blood Brothers, by playwright Willy Russell, author of Educating Rita and Shirley Valentine, we find the answers to the question of what happens when two brothers are separated at birth, finally meet and become best friends and then fall in love with the same girl. The answers are not pretty, but they are intriguing. Set in Liverpool, England, between 1965 and 1989, Blood Brothers is a classic British rock musical, incorporating a live, three-piece onstage band. With traces of Jesus Christ Superstar and early 1980s pop music creeping their way through the Liverpool-textured sound, each song takes the audience one more step in a journey through working-class England as the story follows the two boys as they battle the twists and turns of fate that their mothers have set them on. Outstanding performances, live music and excellent choreography make this a production worth venturing out into the cold to see. Directed by Luther Hanson, with David Holmes, Jason Stevens, Phoenix Vaughn, Martha Omiyo Kight and Monica May. City Theatre, 8pm F, Sa; 2pm Su. $10. Sacramento City College Art Court Theatre, 3835 Freeport Blvd. 558-2228. Through Dec. 9. M.B.C.
The Boys Next Door Norman loves his donuts and keys. Arnold frets over Russia and rugs. Lucian has a library card but can’t read, and Barry gives golf tips for a quarter. And watching over this foursome is their mental aid counselor, Jack, whose patience is waning while his caring goes into overdrive. In this Tom Griffin comedy, we are introduced to four roommates of various mental capacities who are trying to negotiate through the many land mines of everyday life. With much of the first half played for humor, the illogical seems logical and the simplest tasks are bungled badly. There is an uncomfortable feeling in witnessing all this, though, which leaves you unsure whether you are laughing at the boys next door or with them. It’s only the strong performances by the entire cast and a second half that gives the characters more depth that brings a tender, bittersweet warmth to the play. Director Bill Voorhees gets credit for clever staging and a well-chosen cast. Thistle Dew Dessert Gallery, 8pm F, Sa. $10-$17. 1901 P St., 444-8209. Through Dec. 16. P.R.
A Christmas Carol If you’re expecting a scene from merry old England, proper costumes and traditional sets from this year’s version of A Christmas Carol presented by the River Stage Theater, you’re in for a shock—or a pleasant surprise—when half the actors are dressed as clowns and the stage is all but bare, save for a wooden bed that assembles and disassembles right before your eyes. Performed in the style of classic Commedia dell’arte (a colorful 16th-century Italian style of improv-oriented traveling comedy) this version of A Christmas Carol incorporates jugglers, musicians, singers and tumblers to create a magical and fun-filled twist to a time-tested Christmas treasure. Directed by Frank Condon, the production features quick-paced scenes with never a dull moment, perfect for keeping the children’s interest. The production also shows what can be done with a little imagination, using a minimalist set, dramatic lighting and properly timed smoke effects. The sounds of Marley’s mournful, ghostly wails echoing through the theater are enough to send a shiver up anyone’s back. River Stage, 7:30pm Th, 8pm F, Sa, 2pm Su. $12. Cosumnes River College, 8401 Center Parkway. 691-7364. Through Dec. 17. M.B.C.
Cinderella Sacramento Theatre Company’s non-holiday holiday offering Cinderella is a delight from start to finish. This musical version of the glass slipper caper has something for everyone and delivers what it promises—entertainment for both adults and children. For the purists, there’s the romantic true-love fairy tale; for the children, there’s enough silliness and magic to keep them enthralled, and for the “elders,” there are naughty double entendres galore. What makes this production particularly fun is the audience participation portions, which the kids enthusiastically embrace. The show is mercifully nonsaccharine, saved by sly ribald humor and endearing characters. And not a sugarplum to be seen. The schedule is kid-friendly with lots of matinees and early evening start times. STC, various times and days. $10-$32. 1419 H. St., 443-6722. Through Dec. 24. P.R.
Shirley Valentine This one-woman show stars Aviva Jane Carlin, who endeared herself to Sacramento Theatre Company audiences last season with her solo performance of Jodie’s Body. Carlin has the wonderful ability to sink into her characters, filling them with a kaleidoscope of emotions that make us really care for them. She certainly has everyone pulling for Shirley Valentine—she who talks to the wall about her various disappointments—from the moment she starts to speak until we witness a dream fulfilled.
STC , various times and days, $10-$35. 1419 H St. 443-6722. Through Dec. 10. P.R.
Six Women with Brain Death The longest-running theatrical production in Sacramento has seen more than 25 cast members, been through two divorces, a marriage and assorted high school and college graduations. Boasting more than 700 performances, the show is continuously updated and rewritten to keep its biting edge on current events and pop-culture punch lines. Reminiscent of Mad-TV and early Saturday Night Live, the 10 skits that make up the production don’t always seem to have any rhyme or reason, but people don’t seem to notice because they are rolling with laughter. Written predominantly from the female perspective, without attempting to make the expected in-your-face social statement or feminist standpoint, Six Women with Brain Death is a great show for men as well.
The Studio Theatre , 8pm Th-Sa; 7pm Su. $15-$18. 1028 R St. 446-2668. Runs indefinitely. M.B.C.
Stop Kiss In what should be a dramatic, emotionally charged presentation, the well-meaning cast of Stop Kiss gives an uninspired performance. The story—the tale of a budding friendship between two New York City women (Theresa Huntington and Fusako Yokotobi) that veers toward romance only to end in tragedy—is an exciting departure for the multicultural troupe, but good intentions are not enough to overcome poorly delivered dialogue and weak technical direction. Nonetheless, it’s a delight to see theater companies such as InterACT branching out to experiment with non-standard formula productions that challenge traditional female societal roles.
InterACT , 8pm F, Sa; 3pm Su. $10-$12. 4010 El Camino Way. 452-6174. M.B.C.
Valley Song Veronica longs to leave the family farm in the Karroo Valley of South Africa to pursue her dream of a singing career in Johannesburg. Her aging grandfather, Buks, in a misguided effort to keep her from the same fate her mother met when she ran away from home, is determined to keep her in the valley, where he can make certain she is safe. Native South Africans of mixed race, their story is narrated by the character of the Author, a white man who is buying the farm they have spent their lives working. One of the many interesting twists of Valley Song is the stipulation by its author, Athol Fugard, that the characters of “Buks” and “Author” must be played by the same actor. Under the direction of Nancy Martis, Actor’s Workshop cofounder Edward Claudio tackles the dual role of Buks and the Author, bringing unexpected life and powerful emotion to the character of Buks. In what may be considered delicate subject matter (a white man playing a native South African man who still bears the scars of apartheid), Claudio manages to transcend race and prejudice and deliver a heart-wrenchingly emotional performance. In the part of Veronica is local actress Erinn Anova in her first production with the Actor’s Workshop. Known for her work at the Sacramento Theatre Company and Celebration Arts Theater, Anova shines in the role of the 17-year-old girl determined to dream big and to follow those dreams no matter what.
Actor’s Workshop, 8pm F, Sa; 2pm Su. $10-$14. 1616 Del Paso Blvd. 925-6579. Through Dec. 3. M.B.C.
