“Around The World in 80 Days” Hits Just The Right Stride at North Coast Rep.

If your idea of a perfect traveling experience is sitting in you favorite seat at North Coast Repertory Theatre and avoid all the pitfalls traveling affords, join those who on opening night traveled the world in 80 days (on trains, steamers and elephant, and fraught with danger, adventure and outrageous happenings) with Richard Baird, Loren Lester, Omri Schein, Lovlee Carroll and Will Vought, who plays 19 characters, and together with the rest of the cast play 40 characters by shows end.

Forget about the balloon and put on your imagination caps for a journey with some folks you will get to know in that time frame, and more importantly, some you will probably want to meet up with on your next trip or not.  

Loren Lester and Omri Schein

Jules Vern’s 1780 classic adventure “Around The world in 80 Days” has been made into a motion picture and adapted to several play versions most following the speedy journey around the world and stopping off for a quick look- see in different countries, continents and hotel lobbies usually with a cast larger than seen at NCR.

This particular version, somewhat resembling Alfred Hitchcock’s “The 39 Steps”, was adapted by Mark Brown and deftly directed by Allison Bibicoff and is in a San Diego Premiere running through Feb. 4^th.  It is a hoot and a howl.

Briefly, our central character Phileas Fogg (Baird is a perfect fit as the mysterious, meticulous and methodical Fogg) is at his Reform Club where his whist partners are discussing a recent bank robbery. The robber got away scot-free with fifty thousand pounds from the Bank of London.

Omri Schein, Richard Baird and Loren Lester

They argue back and forth about how this robber could or not, get away with the crime. It is now 1872 and Fogg pipes in that the world has grown smaller (than it was 100 years ago) because of the completion of the new Great Indian Peninsular Railway, making it much easier to make it around the world in 80 days (a mathematical fact according to Fogg) thereby eluding the law. 

By making this statement he contradicts some of his friends who insist that it would take three months. At this time, a twenty thousand pound wager is agreed upon that sets this tale into motion.

If he’s to win the bet, he must make all the right connections. However even without airline delays that are so much a part of our now daily lives, unexpected trials and tribulations will get in the way of our fellow travelers.  

Fogg, whose routine is exactly the same everyday, summons his Parisian valet Passepartout (Omri Schein is one hell of an actor doing the almost impossible). He is perfect as the versatile decoy and does yeoman’s work as the over the top clown and do all -be all servant to Baird’s steady as she goes gentlemanly aura.  

Omri’s Passepartout claims to have been a singer, horse rider, trapeze artist, tight ropewalker and goat herder as he tumbles on to the stage and does a head stand. 

Loren Lester and Will Vought  

He is ordered by Fogg to take “two carpet bags with the bare essentials” along with the Bradshaw Guide that contains timetables of every steamer and railway in the world, and be prepared for some travel.

And the trek begins on the train with the first stop in Brindisi and from there to Bombay via Suez. It is here we meet up with Inspector Fix (Loren Lester). He follows Fogg throughout the journey, resembling Colombo in a long trench coat, convinced that Fogg is the thief that mastermind the bank robbery.

If you combined Colombo, Inspectors Clouseau and Poirot, Fix is the embodiment of the classic bumbling detective. He hides behind newspapers, peeks around corners and is, in general a royal pain in the arse. 

His goal is to stop Fogg at his own game, slow him down in anticipation of an arrest before he sets foot back on British soil. Unfortunately for him, as ‘twas not the case, he was outwitted by Fogg and company at every turn.

Cast of "Around The World in 80 Days"

One of the most interesting characters we meet up is Kamana Aouda in the person of Lovlee Carroll daughter of a wealthy merchant and recent widow.  In India, Fogg rescues her after a near death mishap and the two become traveling companions, which in turn puts a little zip in Foggs step. I’ll let you watch that one play out because Carroll is so convincing, and yes a bit coy as the sought after and beautiful Aouda.

Thanks to set designer Marty Burnett’s clever (a la ‘Laugh In’ type set) with the map of the world as a backdrop, drawers that pull out for various and sundry uses; a step up pyramid for the ship’s deck, 4 chairs for train travel, a chest with again, miscellaneous ‘stuff’ and in what is the most clever, two umbrellas representing elephant ears, doors leading to other doors for the coming and going of the various characters that come and go. Baird, for the most part, stays in character throughout.

Loren Lester (front) Will Vought, Omri Schein, Ruchard Baird and Lovlee Carroll

Holly Gillard’s props are exceptional and Kimberly DeShazo’ costumes are worth noting for their (for lack of a better word) flexibility and originality. Dave Mickey’s sound design gives credence to the type of travel, say fog horn, train whistle, etc., and Matt Novotny’s lighting puts everything into perspective.

Allison Bibicoff’s hits all the right strides with enough mystery to have you shaking your collective heads on the way out wondering how they managed to make it all come together and finish their game of whist at the end of 80 days.

NCR’s “Around The World in 80 Days” is a whimsical, theatrical, magical, capricious, playful, you name it, romp. It’s well worth the trip to Solana Beach. Enjoy.

“Oh! The places you’ll GO! You’ll be on your way up! You’ll be seeing great sights! You’ll join the high flyers who soar to great heights!” You will be traveling to Mongolia, Hong Kong, Bombay, Calcutta, the Suez Canal and Egypt, Singapore, Yokohama, the American West and New York. (Dr. Seuss)

See you at the theatre.

Dates: Through Feb. 4^th

Organization: North Coast Repertory Theatre

Phone: 858-481-1055

Production Type:

Where: 987 Lomas Santa Fe Drive Suite D

Ticket Prices: Start at $42.00

Web: northcoastrep.org

Photo: Aaron Rumley

National Tour Of “Hamilton” Lands In San Diego And Is Nothing Less Than Awesome

What more can be said about the hip hoppin’, jazz, blues, rap centric, R&B mega hit “Hamilton” that hasn’t been said already? Winner of the Pulitzer Prize for Drama, and eleven Tony Awards including Best Musical, the life and times of Alexander Hamilton comes full circle for over two hours in Lin-Manuel Miranda’s historical unfolding of America’s beginnings

Alexander Hamilton

As one who is, let’s say a virgin “Hamilton” apprentice, well except for listening endless hours on my CD, to reading the making of the show, to watching clips on YouTube, to watching him bring “Hamilton” to the White House, to memorizing some of the lyrics, I was finally in the lobby of the Civic Theatre where one might have expected another revolution to break out, the energy ran so high.

Everyone with umbrellas, to soggy haired patrons carrying tickets with the famous “Hamilton” logo on them (I wanted one) showed up en mass at the Civic Center the night I attended all looking to have the experience of a lifetime and relieved that THIS moment in San Diego theatre had finally arrived. The national tour of “Hamilton” through Jan. 28^th with last minute changes in casting (that could have fooled me) was about to happen

Cast of Hamilton

Da dada da da dada da dada da da

Curtain Up!

“Alexander Hamilton”, (“How does a bastard, orphan son of a whore -And Scotsman, dropped in the middle of a forgotten spot in the Caribbean by providence impoverished -In squalor, grow up to be hero and a scholar?”) was the very first number that went from my CD straight to David Korins’ open stage design with a slow moving turntable and room to fill any necessary props, brought in by cast members. It was awesome and the audience went mad!

Scene from Hamilton

In retrospect, the show exceeded my expectations and the entire production blew my mind away. The fact that it is the most talked about, featured and bragged about from those who paid up to a thousand dollars to see the original production with Lin-Manuel Miranda in New York several years ago, to those who have seen it more than once (I would see it again in a heartbeat) to yours truly who has nothing to compare it with, deserves all the hype afforded it.

Inspired by the 2004 biography Alexander Hamilton by historian Ron Chernow, “Hamilton: An American Musical” with music, lyrics and book by Lin-Manuel Miranda, the story traces the life of one America’s Founding Fathers, Alexander Hamilton; statesman, Secretary of the Treasury, author of economic policies under George Washington, immigrant from the Caribbean, born ‘out of wedlock’ and brought to New York as a teenager to pursue his education, became a representative to the Congress of the Confederate and, his likeness appears on our U.S. $10.00 bill.

His back -story is more interesting than his credentials as played out in the musical. Miranda puts a face on the young patriot who steadfastly pushed his way into the making of a country as vulnerable as he, writing a majority of articles and or essays called the Federalist Papers defending the ratification to the U.S. Constitution.

King George III as portrayed by Rory O'Malley

With a cast as colorful (read multi ethnic), and somewhat as diverse as our founding father’s, Alexander Hamilton is played by he talented and charismatic Austin Scott. When he isn’t going face to face to face with his nemesis (“I’m Not Throwin Away My Shot”) Aaron Burr, (Ryan Vasques who was brought in on opening night to replace Nicholas Christopher, and nailed it… “The Room Where It Happened”), he tests the waters by supporting the revolution to break away from the Mother Land and Monarch King George III, played with scrumptious wit and snooty arrogance by Rory O’Malley (“You’ll Be Back”).

Even though the women in most bios of the founding fathers get short -changed, Hamilton was as much a romantic and a rogue that he almost threw away his marriage while engaging in an outside affair. Early on he met and married, the love of his life, one of the Schuyler Sisters, Angelica “I’ll never forget the first time I saw your face”, Sabrina Sloan “Satisfied”) who introduced him to her sister Eliza (Raven Thomas) at the Winters Ball

The Schuyler Sisters

The women in his life played a large part and Miranda, equal opportunity master that he is, gives the women some of the most compelling lyrics and music with which to express themselves. (“The Shuyler Sisters”, “Wrek”, “Helpless”, “Who Lives, Who Dies, Who Tells Your Story.”)

On the battlefield and in the planning of the revolution, Hamilton won the respect of George Washington (the full voiced Isaiah Johnson “Right Hand Man”) much to the chagrin, consternation, and I might add jealousy of Burr. As long as Washington stayed in power, Hamilton was protected from his enemies.

Jordan Donica as Thomas Jefferson

The minute Washington stepped down after the battle and independence a reality, with the help of the Marquis de Lafayette (Jordan Donica who also plays the dandy Thomas Jefferson to perfection), Hamilton was open game and Burr was clearly out to break the man. Unfortunately, Burr’s claim to fame was that he shot and killed Alexander Hamilton. (“It’s Quiet Uptown”).   

Scene from Alexander Hamilton

“Hamilton” is such an ensemble piece that it’s difficult to pick out some that caught our attention although Amber Iman as Maria Reynolds (She also played a short time as sister Peggy) whose affair with Hamilton almost wrecked his life, is devastated when he breaks it off-  “Say No To This”) does show up as an important piece of the puzzle in Hamilton's life. Later it will be her husband, James Reynolds (Desmond Newson) and Burr that will bring Hamilton down almost ending his marriage and deepening his rivalry with Burr.

Overall the large cast with precision choreograph by Andy Blankenbuehler is in a category by itself with some beautiful and muscle bound bodies making this spectacular another reason to be there.

With outstanding conducting by Julian Reeve’s, musical supervision and orchestrations by Alex Lacamoire (more than appreciated in the large Civic Theatre thanks to Nevin Steinberg’s sound design) and deftly directed by Thomas Kail, and outfitted by Paul Tazewell, and with Howell Binkley’s dazzling lighting, beg borrow or sign up for the lottery to have an experience of a lifetime.  

Do listen to the music and clever lyrics and try to familiarize yourselves to have the full understanding of what’s being said. One such outburst in the show “Immigrant’s we get the job done!” is cheered by an audience that understands that each of us has a stake in the prosperity of this great nation of ours.

Enjoy

See you at the theatre.

Dates: Through Jan. 28th

Organization: Broadway San Diego

Phone: 619-570-1100

Production Type: Musical

Where: 1100 Third Ave., San Diego, CA. 92101

Ticket Prices: Check with Box Office or enter lottery @hamiltonmusical.com/lottery 

Web: Broadwaysd.com

Venue: Civic Theatre

Photo: Joan Marcus

 

SECRET’S OUT OF THE BAG ! NOMINANTIONS ANNOUNCED

The San Diego Theatre Critics Circle has announced the nominations for its 16^th annual Craig Noel Awards for Theatrical Excellence, which will be presented in a ceremony on Feb. 12, 2018, at the Jacobs Center for Neighborhood Innovation in San Diego.

     Named for the late founding artistic director of San Diego’s longest-established theater, The Old Globe, the Craig Noel Awards honor the top achievements in San Diego professional theater.

For more information on the Critics Circle and the Craig Noel Awards, visit sdcriticscircle.org

The 2017 Craig Noel Nominations:

Outstanding Dramatic Production

“Blue Door” – Moxie Theatre

“Awake and Sing” – New Village Arts

 “Ballast” – Diversionary Theatre

“The Ballad of Emmett Till” – ion theatre

“Father Comes Home from the Wars, Parts 1, 2 & 3” – Intrepid Theatre

Outstanding New Musical

“Freaky Friday” – La Jolla Playhouse

“Benny & Joon” – The Old Globe

 “SUMMER: The Donna Summer Musical” – La Jolla Playhouse

 “Tarrytown” – Backyard Renaissance Theatre Company

Festival of Christmas:  “North of Normal”– Lamb’s Players Theatre

Outstanding Resident Musical

“On the 20th Century” –  Cygnet Theatre

“Shockheaded Peter” – Cygnet Theatre

“Guys and Dolls” – The Old Globe

“Billy Elliot” – San Diego Musical Theatre & California Ballet

“In The Heights” – Moonlight Stage Productions

 “Spring Awakening” – OnStage Playhouse

Outstanding New Play

Hershey Felder – ”Our Great Tchaikovsky,” San Diego Repertory Theatre

Will Cooper – “Margin of Error,” The Roustabouts Theatre Co.

Georgette Kelly – “Ballast,” Diversionary Theatre

Mat Smart – “Kill Local,” La Jolla Playhouse

Hansol Jung – “Wild Goose Dreams,” La Jolla Playhouse

Outstanding Touring Production

“The Old Man and The Old Moon” – PigPen Theatre Co. at The Old Globe

“An American in Paris” – Broadway/San Diego

“The Absolute Brightness of Leonard Pelkey” – The Old Globe

“Matilda the Musical” – Broadway San Diego

“Flight” – Curbside (Long Beach) at San Diego International Fringe Festival

Outstanding Ensemble

 “Awake and Sing” –New Village Arts

“Ballast” – Diversionary Theatre

“The Ballad of Emmett Till” –  ion theatre

“A Piece of My Heart” – OnStage Playhouse

“Tarrytown” – Backyard Renaissance Theatre Company

Outstanding Solo Performance

Hershey Felder – “Our Great Tchaikovsky,” San Diego Repertory Theatre

Linda Libby – “An Iliad,” New Village Arts

Shana Wride – “2.5 Minute Ride,” Diversionary Theatre

James Lecesne – “The Absolute Brightness of Leonard Pelkey,” The Old Globe

Claudio Raygoza – “Sex, Drugs, Rock & Roll,” ion theatre

Outstanding Lead Performance in a Musical, Male

David S. Humphrey – “The Music Man,” Welk Resort Theatre

Paul Swenson Eddy – “Buddy: The Buddy Holly Story,” Intrepid Theatre &  New Village Arts

Richard Bermudez – “Kiss of the Spider Woman,” Welk Resort Theatre

Bryce Pinkham – “Benny and Joon,” The Old Globe

Tom Zohar – “Tarrytown,” Backyard Renaissance Theatre Company

Outstanding Lead Performance in a Musical, Female

Heidi Blickenstaff – “Freaky Friday,” La Jolla Playhouse

Hannah Elless – “Benny and Joon,” The Old Globe

LaChanze – “SUMMER: The Donna Summer Musical,” La Jolla Playhouse

Minka Wiltz – “Black Pearl Sings,” San Diego Repertory Theatre

Kay McNellen – “Tarrytown,” Backyard Renaissance Theatre Company

Outstanding Featured Performance in a Musical, Female

Veronica J. Kuehn - “Guys and Dolls,” The Old Globe

Joy Yandell – “Billy Elliot,” San Diego Musical Theatre & City Ballet

Cashae Monya – “Cabaret,” ion theatre

Caitlyn Calfas – “In the Heights,” Moonlight Stage Productions

Katie Sapper – “Damn Yankees,” San Diego Musical Theatre

Outstanding Featured Performance in a Musical, Male

Michael Cusimano – “On the 20th Century,” Cygnet Theatre

Steve Gouveia – “Shockheaded Peter,” Cygnet Theatre

Randall Hickman – “The Little Mermaid,” Moonlight Stage Productions

Rudy Martinez  – “In the Heights,” Moonlight Stage Productions

Bryan Banville – “Tarrytown,” Backyard Renaissance Theatre Company

Outstanding Lead Performance in a Play, Female

Jessica John – “Les Liaisons Dangereuses,” New Fortune Theatre Company

Milena Phillips – “Having Our Say,” New Village Arts

Sylvia M’Lafi Thompson – “Having Our Say,” New Village Arts

DeAnna Driscoll – “The Effect of Gamma Rays on Man-in-the-Moon Marigolds,” Cygnet Theatre

Jacque Wilke – “Ironbound,” Moxie Theatre

Outstanding Lead Performance in a Play, Male

Vimel Sephus – “Blue Door,” Moxie Theatre

Cortez L. Johnson – “The Ballad of Emmett Till,” ion theatre

Steven Lone – “Roz and Ray,” San Diego Repertory Theatre

Caleb Foote – “Hand to God,” San Diego Repertory Theatre

Robert Malave – “Falling,” InnerMission Productions

Outstanding  Featured Performance in a Play, Female

Sandy Campbell – “Beau Jest,” Lamb’s Players Theatre

Amanda Schaar – “Les Liaisons Dangereuses,” New Fortune Theatre Company

Annie Hinton – “Well,” Diversionary Theatre

Candy Buckley – “Kill Local,” La Jolla Playhouse

Jennifer Paredes – “Into the Beautiful North,” San Diego Repertory Theatre

Outstanding  Featured Performance in a Play, Male

Omri Schein – “Beau Jest,” Lamb’s Players Theatre

Andrew Ableson – “The Illusion,” North Coast Repertory Theatre

Francis Jue  – “Wild Goose Dreams,” La Jolla Playhouse

Tom Stephenson – “Father Comes Home from the Wars, Parts 1, 2 & 3,” Intrepid Theatre

David McBean – “The Legend of Georgia McBride,” Cygnet Theatre

Outstanding Scenic Design

Sean Fanning – “On the 20^th Century,” Cygnet Theatre

Tim Mackabee – “Ken Ludwig’s Robin Hood!,” The Old Globe

Mike Buckley – “The Explorers Club,” Lamb’s Players Theatre

Charles Murdock Lucas – “The Effect of Gamma Rays on Man-in-the-Moon Marigolds,” Cygnet Theatre

Marty Burnett – “Of Mice and Men,” North Coast Repertory Theatre

Outstanding Sound Design

Joanna Lynne Staub – “Wild Goose Dreams,” La Jolla Playhouse

Matt Lescault-Wood – “Roz & Ray,” San Diego Repertory Theatre

Kevin Anthenill – “Homos, or Everyone in America,” Diversionary Theatre

Gareth Owen – “SUMMER: The Donna Summer Musical,” La Jolla Playhouse

Melanie Chen – “At the Old Place,” La Jolla Playhouse

Outstanding Costume Design

Jennifer Brawn Gittings – “The Revolutionists,” Moxie Theatre

Shirley Pierson – “Shockheaded Peter,” Cygnet Theatre

Jeanne Reith – “The Explorers Club,” Lamb’s Players Theatre

Renetta Lloyd – “Sunset Boulevard,” Moonlight Stage Productions

Jennifer Brawn Gittings – “The Legend of Georgia McBride,” Cygnet Theatre

Outstanding Lighting Design

A.J. Paulin – “Les Liaisons Dangereuses,” New Fortune Theatre Company

Sherrice Mojgani – “Blue Door,” Moxie Theatre

Stephen Strawbridge – “Hamlet,” The Old Globe

Conor Mulligan – “The Effect of Gamma Rays on Man-in-the-Moon Marigolds,” Cygnet Theatre

Jennifer Edwards – “Kiss of the Spider Woman,” Welk Resort Theatre

Outstanding Projection Design

Christopher Ash – “Our Great Tchaikovsky,” San Diego Repertory Theatre

Michael McKeon – “Silent Sky,” Lamb’s Players Theatre

Victoria Petrovich – “Black Pearl Sings!,” San Diego Repertory Theatre

Sean Nieuwenhuis – “SUMMER: The Donna Summer Musical,” La Jolla Playhouse

Blake McCarty – “On the 20^th Century,” Cygnet Theatre

Outstanding Direction of a Play

Delicia Turner Sonnenberg – “Blue Door,” Moxie Theatre

Yolanda Marie Franklin & Claudio Raygoza – “The Ballad of Emmett Till,” ion theatre

Christy Yael-Cox – “Father Comes Home from the Wars, Parts 1, 2 & 3,” Intrepid Theatre

Richard Baird – “Of Mice and Men,” North Coast Repertory Theatre

Samantha Ginn – “Falling,” InnerMission Productions

Outstanding Direction of a Musical

Sean Murray – “On the 20^th Century,” Cygnet Theatre

Rob Lutfy – “Shockheaded Peter,” Cygnet Theatre

Josh Rhodes –“Guys and Dolls,” The Old Globe

James Vasquez – “In the Heights,” Moonlight Stage Productions

Claudio Raygoza – “Cabaret,” ion theatre

Outstanding Musical Direction

Terry O’Donnell – “On the 20^th Century,” Cygnet Theatre

Patrick Marion – “Shockheaded Peter,” Cygnet Theatre

Elan McMahan – “In the Heights,” Moonlight Stage Productions

Morgan Carberry – “Cabaret” – ion theatre

Jon Lorenz – Festival of Christmas: North of Normal,” Lambs Players Theatre

Outstanding Choreography

Jill Gorrie – “Damn Yankees,” San Diego Musical Theatre

Josh Rhodes  –  “Guys and Dolls,” The Old Globe

Javier Velasco – “Evita,” San Diego Repertory Theatre

Carlos Mendoza – “In the Heights,” Moonlight Stage Productions

Ray Limon – “Kiss of the Spider Woman,” Welk Resort Theatre

Special Award categories that will be announced from the Stage:

Don Braunagel Award for Outstanding Achievement by a Small Theater

Actor of the Year, Male and Female

Outstanding Young Artist – Sandra Ellis-Troy Award

Outstanding Special Event

 See you at the Awards Ceremony

Dates: Feb. 12^TH 2018

Organization: San Diego Theatre Critics Circle

Phone: Check e-mail for your invitation

Production Type: Fun and Celebration

When:  Monday, February 12th from 6:00 PM to 10:00 PM

Where: Jacobs Center For Neighborhood Innovation 404 Euclid Ave, San Diego, CA

Price: Free

“Motown The Musical” Returns to Enthusiastic San Diego Crowds.

It wasn’t that long ago that “Motown The Musical”, the Jukebox musical, made its National tour on stage at the Civic Theatre. It’s back again for a short run through Dec. 31^st and well worth seeing, even for a second look.  

Quiana Holmes (center) as Mary Wilson

With book by Berry Gordy and music and lyrics taken straight from ‘The Legendary Motown Catalog” (there are about 50 in the show) and based on Gordy’s book, “The Book To Be loved: The Music, The Magic, The Memories of Motown”, the musical stays true the times as well as the rise of the Motown label not to mention the incredible story of Berry Gordy who is played by the talented and versatile Kenneth Mosley.

Unfortunately the book, which as a memoir and reads like a diary doesn’t leave much to the imagination fencing Mosley in to do the best he can to bring us Gordy’s story beginning in 1983 when Gordy is invited to attend a reunion at the Pasadena Auditorium that will bring together most of his famous stars. Gordy has been burnt by most of them and refuses to attend.

Kenneth Mosley and cast of "Motown The Musical"

It then segues back in time to the Joe Lewis -Max Schmeling match that Louis won. In the beginning he wanted to become the next Joe Louis. When he gives up that dream he manages to talk his parents back in their Detroit home, into a loan to start up his recording company, Hitsville, USA. From there the show takes off with one new up-and-comer after another followed by one recognizable tune after another, some in part and others in large production numbers.

The live Motown orchestra in the pit boasts five musicians under the baton of Matthew Croft with arrangements and orchestrations by Ethan Popp and Bryan Harlan Crook.  Add another ten plus musicians and you have a big, almost too big, sound. (Peter Hylenski)

Marvelette Nya Trysha (center)

 Add to that the period costumes that reflect the span of the musical (Emilio Sosa), throughout the 60’s and into the 70’s’ are a reminder not to throw anything away. Outstanding projections (Daniel Brodie) showing actual historical footage of events that coincided with the rise of R&B like the assassination of President Kennedy, Martin Luther King and Bobby Kennedy. They brought memories of painful days.

Cartreze Tucker as Stevie Wonder

 The times were also a constant reminder once again of the stain on our history as segregation reared its ugly head before, during and after Martin Luther King’s “I Had A Dream” speech, that prevented Black artists the same recognition as whites. Some things have changed for the better, others not so much.

An all-star cast with the dynamic 7^th grader Kai Calhoun as the younger Michael Jackson brought the audience to its collective feet when he first came on stage to shows end and the love story betwen Dianna Ross and Gordy (with oodles of chemestry) plays out to its predictable ending; he being a control freak and she taking a contract with RCA for more control over her shows and more money than Motown Records was worth at the time.    

Brazen and eye popping scenic designs (David Korins), lit with more eye popping flashes of colors by Natasha Katz, an endless supply of dancing, with Patricia Wilcox and Warren Adams, choreographing,  that went on throughout the curtain call. An all-star cast with Charles Randolph-Wright directing brings home the bacon.  

Trenyce and Kenneth Mosley

The list of now famous R&B stars reads like the Whose Who in the Motown Hall of Fame, names Berry put on the map. They include of course Dianna Ross (a spunky and personable and talented Trenyce) “Reach Out And Touch, and The Supremes, The Marvelette’s (“Please Mr. Postman”), Marvin Gaye (a sturdy and strong voiced Matt Manuel) and Stevie Wonder (Cartreze Tucker), The Jackson Five, Gladys Night, Rick James (Erick Patrick), Smokey Robinson (an amazing Justin Reynolds), The Temptations and the list goes on with almost all of singer/actors stepping into many roles over the course of the two plus hour show.  

But it’s the music that has everyone lip-syncing: “Where Did Our Love Go”,   “I Hear A Symphony”, “Ain’t No Mountain High Enough”, “I Heard It Through The Grapevine”, “I’ll Be There”, “Mercy, Mercy” Me”, “Please Mr. Postman”, “Stop In The Name Of Love”, “ My Girl”, My Guy”.  59 (by my count) and it was about as stimulating and entertaining as one would wish for a night out on the (mo)  town.

Jasmine Maslanova -Brown (Center)

Motown premiered on Broadway in 2013 and ran for 738 regular performances. Those familiar with Motown and the music it generated will be more than pleased with the music and the performances and will most likely overlook the choppy narrative and the abbreviated tunes.  

It’s lively and a piece of musical history worth remembering.

See you at the theatre.

Dates: Through Dec. 31st

Organization: Broadway San Diego

Phone: 619-570-1100

Production Type: Musical

Where: 3^rd and B Street Downtown San Diego, 92101

Ticket Prices: Check with Box Office

Web: broadwaysd.com

Venue: Civic Theatre

Photo: Joan Marcus