“Big Fish” makes impressive splash on Lamb’s intimate stage.

In “Big Fish” The Musical, based on Daniel Wallace’s novel and the Tim Burton film now in a splendid production at Lamb’s Players Theater through July 30^th, the lead character Edward Bloom (Brandon Joel Maier), a traveling salesman shares with his young son, Will (Gavin Reed August) that being on the road is not about the destination. “The road is something that’s in you-you don’t drive it, it drives you.”

“Big Fish made it to the Broadway stage in 2013 but had a very short shelf life, managing only 34 previews and 98 regular performances.  It was nominated for the Drama Desk Outer Critics nominations. Unfortunately it’s the one that got away from Broadway audiences.

The show and story has had some adjustments away from the original Broadway production with new songs added and a smaller cast version (for 12 actors), which is up and running on Lamb’s intimate stage.

Gavin Reed August and Brandon Joel Maier

Yours truly found the stage play, having seen it twice in the past two or so years, charming, insightful, rather delightful, and with a message for the ages: children will always challenge their parents and parents being parents want what they think is best for their children.

In this case Edward finds way to express his love, hopes and desires for his only son by repeating his fantastical stories that in the end will find a connecting thread. 

Edward Bloom is an ordinary guy with an extraordinary imagination. He fills his son Will’s head with stories from his heroic playbook; stories of adventure, of dreams and visions, people and places.

His tales rich in imagination are a turnoff for young and later older Will (Michael Cusimano) who would rather have had his father around for his soccer and baseball games than on the road. Later he implores his father not to make a speech at his wedding. See how that plays out.

Michael Cusimano 

When Will discovers that his father is dying of cancer and he and his wife Josephine (a supporting Catie Grady) are about to become parents themselves; and a boy at that, Will takes his own journey into the past events of his life only to discover that love lives in the heart of his father’s dream world.

It begins with a giant ‘fish story’ and takes on a life of its own; adventures shown in flashback, (“If you give a man a fish, you feed him for a day. If you show a man how to fish, you feed him for a lifetime.”) too inconceivable to believe yet with enough tease to know that something lies beneath the surface. (“Be The Hero” and “Fight The Dragons”.)

Edward’s stories take him and his young friends deep into the woods where they meet up with a witch (Anise Ritchie) who tells Edward how and when he will die.  He comes across a Giant named Karl (Donny Gersonde) in the woods (sound familiar?) whom he befriends, a friendship that will later pay dividends.

John Rosen and Brandon Joel Maier at the circus

He finds work in the circus and becomes under the spell of the circus master Amos Calloway (John Rosen) Rosen is a standout as several characters including the town’s doctor, sheriff, circus ring master and werewolf. 

And the adventures go on. He befriends a mermaid (Mary Joe Duggan), discovers his first kiss and girlfriend, Jenny Hill (Megan Carmitchel). His tales are enough to stagger anyone’s imagination, but in Lamb’s intimate space I found myself more of a participant than an onlooker; somehow I identified with both young Will and the stories my own Dad used to tell me. (He was a clown in a circus. He loved the circus. I believed him.)

Back for a reunion of sorts, both Maier and Kelsey Ventner (Sandra Bloom) appeared together in the award winning production of “Les Miz” at Lamb’s a few years ago. (He played Jean Valjean and she Fantine)

Kelsey Venter and Brandon Joel Maier

In ‘Fish’ she is the devoted wife who, in a sense grounds the family and softens the father son/push me, pull you saga that will eventually send grown Will to live outside his birthplace in rural Ashton, Alabama (“Two Men in my Life” and “Time Stops”, “I Don’t Need a Roof”) to the big city and away from his father’s storytelling. She will also be the impetuous that bring him back home.

Maier on the other hand is in just about every scene and his beautiful voice is still as rich as ever. He’s also a good story- teller and a credible one at that. His devotion to both wife and son has a removed yet sincere feel to it.  

 The small cast is charged with playing multiple characters and makeup the ensemble. They include Charles Evan’s. JR., Jordan Miller, Siri Hafso, Anise Ritchie, Mary Joe Duggan, Jenny Hill, Jack French to name a few. 

Gavin Reid August and Brandon Joel Maier with cast.

Michael Cusimano is the perfect fit as the older Will. Both acting and musical skills show through and his performance as annoyed son, loving husband and later concerned son ring true. (“Be The Hero”, reprieve) His character really came into its own in the second act.

As young Will Gavin Reed August is a find and a future star. Enthusiasm, concentration and immersion in everything he did on opening night blew me away. He’s outstanding.

Musical director G. Scott Lacy and his seven-piece band played on even with a faulty keyboard (we later learned). That’s live theatre for you.

Yours truly was completely unaware, so the band played on with some help from Patrick Duffy’s sound design. It was all-good.

Javier Velasco’s choreography was put to good use by a talented and energetic ensemble all who sing and dance admirably. Director Deborah Gilmour Smyth leads with a sure hand that resonates heart.

Mike Buckley’s simple set is helped along by Nathan Peirson’s lighting and Michael McKeon and Patrick Duffy’s projections especially ‘The Fish’.

Anise Ritchie as The Witch

Ms. Ritchie is awesome as the witch dressed to the witches with Jeanne Reith’s eclectic costumes, a cross between whimsical and period. Susie Ferguson and Melissa Jellyman complement most of the costumes with an assortment of wigs.

“So what do you do when you’re swallowed by a fish in the middle of a river all alone? It’s yours to find out.

See you at the theatre.

Dates: Through July 30th

Organization: Lamb’s Players Theatre

Phone: 619.437.6000

Production Type: Musical

Where: 1142 Orange Ave, Coronado, CA. 92118

Ticket Prices: Start at $24.00

Web: lambsplayers.org

Photo: Lamb's Players Theatre

“Withering Heights”, Mr. Toads Wild Ride through Emily Brontë’s ‘love and love’s labor lost’.

If you’ve ever been on ‘Mr. Toads Wild Ride’ at Disneyland you can imagine the trip founding father Phil Johnson of the newly minted Roustabouts Theatre Co. and his sidekick in arms Omri Schein are able to spin on Emily Brontë’s Gothic love story, and only novel (I might add)“Wuthering Heights”? Don’t ask!

“It’s gothic; it’s depressing. Everyone dies. It’s perfect for a comedy” (Schein)

To believe what yours truly actually saw in this world premiere production (written by Johnson and Schein) that just recently opened at Diversionary Theatre is one that needs to be seen to be believed. And that’s no joke.

Omri Schein as Catherine and Phil Johnson as Nelly

Fear not though’, it is a wild and bumpy road; 120 minute tour de force that takes the audience through more doors/curtains than are required for any Disneyland ride. So sit back, fasten your seat belts and hang on!

I will attempt to fill you in on some of the memorable details since much of the dialogue and shtick was lost in translation due to laughing out loud by so many of the audience in this relatively small venue. Not placing the blame anywhere, yours truly was as guilty as the rest. At times I found myself laughing into the next set of the Heathcliff - Catherine on again of again love affair.

Schein as Isabella Johnson as Heathcliff

The gags and character changes come fast and furious. The two actors on stage (Phil taking on six characters and Omri, seven) simply go behind a curtained picture frame (Scott Amiotte) and came out as another character with a minimum or no costume change (Elsa Benzoni). Oft times they come through the picture frame with a slight change in tone or an affectation or inflection of any one of the 13 characters that is established from the start.

Sound effects come are by Melanie Chen indicating a storm, horses approaching, location etc. Lighting by Curtis Mueller, wigs by Peter Herman and Bonnie Durban’s props help create the overall look, tone and period.    

Both wear the same wigs throughout. For Phil, a reddish longer than shoulder length bob, frame his smiling or frowning face depending on which character he is at the time. The schmata around his waist is used for an apron when he takes on the role of Nelly, the narrator/maid, or that same flowered cloth is draped over his head as a shawl when playing young Catherine or the older Catherine and as a fashion statement when he is Heathclif.

Phil as Heathcliff 

Phil as most of you know is the consummate funny man so when he put his sock dog puppet on his arm, barking and attacking whatever dogs bark at or he attacks Heathcliff, it’s side splitting craziness. And lest we forget the fart stuff, I guess that comes with the territory.

Phil and mad dog

Omri has a few more subtle looks; a bow in his cropped black wig, a pair of glasses, a codpiece, well you get the picture. Omri is the perfect foil for Phil’s antics.

Not to be outdone, Schein has a few or more tricks up sleeve as well. His thicker than fog accent and those crossed eyes take some practice. Lets not forget his manly struts especially when he comes out as Joseph, the pipe smoking servant barely understood or his feminine shuffles as Cathy Earnshaw, ‘a beautiful heroine’.   

Nelly sums it up

The funny thing (and I say that in all earnestness) is that they follow Brontë’s tale through to the end. And I might add lovingly, like the story, it goes on a bit too long. 

David Ellenstein, artistic director of North Coast Repertory Theatre in Solana Beach, directed. What fun that must have been; I can only imagine. Suffice to say, both men are deliciously and decidedly  coo coo.

For some summer madness this one might just end up being the Pièce de Résistance.

Enjoy!

See you at the theatre.

Dates: Through July 9th

Organization: Roustabouts Theatre co

Phone: 619.278.7820

Production Type: Comedy

Where: 4545 Park Blvd. City heights 92116

Ticket Prices: $38.00 + $4.50 ticket fee.

Web: theroustabouts.org

Venue: Diversionary Theatre

Photo: Daren Scott

Daebroen Poiema soars as “Aida” in Season Opener at Moonlight.

Moonlight Stage Productions kicked off its 37^th summer with the Elton John (music)/Tim Rice (lyrics) and Linda Woolverton, David Henry Hwang and Robert Falls (book) pop musical “Aid- The Timeless Love Story”.  It is based (loosely) on Giuseppe Verdi’s beautiful Grand Opera of the same name.

Winner of four 2000 Tony Awards, “Aida -The Timeless Love Story” opened on Broadway in May of that year where it ran for 1,852 performances. It was performed here in 2007 by the now defunct Starlight and is finally making its way back north to enthusiastic crowds in Vista.

“Aida-The Timeless Love Story” follows Verdi’s opera without the high drama, beautiful arias and elegant pageantry (think the Triumphant March that lasts well…forever in my mind) that is so much a part of that stylish and magnificent grand piece.

Richard Bermudez and Daebreon Poiema

What’s not missing in this highly charged love triangle at Moonlight is the chemistry between Daebroen Poiema’s Aida and Richard Bermudez’ Radames. It sizzles on stage (“Enchantment Passing Through”) and right under the nose of the self indulgent Amneris (Bets Malone) who takes Aida as her own personal possession while confiding in her on the side. (“My Strongest Suit”)

Bets Malone as Amneris

The musical opens with Amneris (“Every Story is a Love Story”) high above in ancient Egypt while below tourists are roaming through a contemporary art museum with statues of Egyptian gods. Two young people cross paths and one can only assume they are today’s star crossed lovers. It also closes the same way.

What makes the love triangle between the high priestess Amneris, next in line to rule Egypt and Radames, (engaged for 9 years) the victorious Captain who captured Nubia, and Aida the slave girl from Nubia so convincing is Amneris’ conceit that she is the only person in the room that counts. (“Elaborate Lives”)

Daebreon and Bets 

Later Radames learns Aida is the daughter of Amonasro, King of Ethiopia (strong voiced Morie Williams) and is otherwise known as the Nubian Princess. By this time the love affair has gone too far and both lives are in danger of imminent death. (“Enchantment Passing Through”)

The story is somewhat contemporary and somewhat dated (if that’s possible in the same breath) as played by both Poiema and Bermudez.  It will and does attract the younger set. Both leads are young and appealing, sexy and attractive and are a great fit. What’s not to like. “(Every Story is a Love Story”)

The company of Aida

With musical beats and rhythms taken from Reggae, Motown and Gospel, typical of The Elton John /Tim Rice collaboration almost all genres are captured.  It is also one of the many pop musicals that parody other opera’s such as “Rent” and “Carmen” that premiered at the La Jolla Playhouse so many moons ago.

“Aida” plays out in typical dramatic style. It is laced with morsels of humor, satire and (if you know the opera) predictability when Amneris learns of RAdames' love for Aida and his refusal to marry her. Even as his father, Zoser (Bill Ledesma) claims responsibility for Pharaoh’s sudden illness and a rush to a hastily arranged wedding Radames is an unwilling conspirator in his father's plot. 

Under director and choreographer John Vaughn’s capable direction, and musical director/conductor Lyndon Peguda, Aida hums along with a competent cast of no less than 26 young and vigorous ensemble members and excellent performances by the leads.  

Daebreon Poiema and cast

Last season’s “Sister Act” starred Ms. Poiema and she’s no less amazing, no exquisite, in “Aida”. The music is not easy to navigate. It soars from highs to lows and each 'aria'  has its its own set of obstacles. Singing opposite her as the celebrated hero, Bermudez is no one to take a back seat. Both score high in the navigating through John’s musical score.

Bets Malone, a Moonlight favorite and regular throughout the ages traverses many incarnations of her character going from self indulged fashion queen to next in line to become Queen of a People with humor and agility. Her voice, still powerful enough to belt out “Every Story is a Love Story”, she did struggle in the higher registers sounding too loud and somewhat shrill.  

As usual Moonlight has always attracted great dancers and for this production choreographer Vaughn and his ensemble continue their high standards whether in “Dance of the Robe”, “Like Father Like Son”. Bill Ledsema’s Zoser, Terrance Spencer’s Mereb lend support and Gabriell Jackson’s Nehebka stand out as part of the slave brigade.

Richard Bermudez as Radames

While yours truly didn’t exit the theatre humming a tune from the rock musical she was satisfied that the story line followed through to the end, albeit it seemed a bit rushed.  (“Elaborate Lives”/ reprieve.)

Costumes and sets provided by Music Theatre of Wichita and coordinated by Carlotta Malone, Roslyn Lehman and Renetta Lloyd are a combination of contemporary and, what we’ve come to believe as typical rags worn by the slaves.  

Credit to lighting designer Jean-Yves Tessier, Jim Zadai, sound, Gabe Nunez, makeup and Peter Herman, wigs.

Coming up next in the season is Disney’s “The Little Mermaid”. No doubt all the little mermaids will be there in full fashion. Dress warm it does get chilly after 9.

See you at the theatre.

Dates: Through July 1st

Organization: Moonlight Stage Productions

Phone: 760.724.2110

Production Type: Musical

Where: Brengle Terrace Park, 1200 Vale Terrace Drive, Vista, CA

Ticket Prices: Start at $23.00

Web: moonlightstage.com

Venue: Moonlight Amphitheatre.

Photo: Ken Jacques Photography