BAAY builds a better Mousetrap
by Christopher Key

Legendary British mystery writer Agatha Christie was known as “The Mistress of Mayhem.” Her works have inspired so many theatrical take-offs that they could be an industry unto themselves. None of her plays is more famous than The Mousetrap, which has been running in London’s West End continuously since 1952 and has surpassed 24,000 performances. It was originally titled Three Blind Mice, but was renamed after some obscure author of a play by the same name made a thoroughly undignified fuss.

That maddening musical theme pervades the production opening this week at Bellingham Arts Academy for Youth and may be in my head for weeks. I’ll forgive director David Post only because he has done his usual stellar job of helping young actors shine onstage. BAAY’s production of The Mousetrap begins with a stunning set, designed and built by Mike Schackel. He also is responsible for the wonderful props and, I suspect, at least two of the actors.

Ordinarily, when I review a BAAY show, I recognize some of the names from previous shows. This production highlights some actors I have only seen in minor roles, if at all. That’s a good thing. It means a new group of actors is coming to the fore and that’s theatre, baby.

Zoe Schackel (name sound familiar?) owns the stage with a powerful performance as Detective Sergeant Trotter. Her voice, accent and physicality bode well for future starring roles. As I have mentioned before, BAAY does an excellent job coaching accents and all of these young actors do it better than many who are far more experienced.

As the formidable Mrs. Boyle, Alyniece Siemion is wonderfully annoying with an icy stage presence that would freeze Tahiti. The owners of the spooky old inn where the action takes place are played by Maya Abbott-Smith and Hannah Carpenter with total commitment.

Ben Daniels delivers an outrageously over-the-top performance as Christopher Wren (not THAT Christopher Wren), who is somewhat less than he seems. The mysterious Mr. Paravencini is played delightfully, if not always intelligibly, by Alex Schneider. Another Schackel, Nick by name, is veddy, veddy British as Major Metcalf.

One of the long-established rules about The Mousetrap is that audiences are sternly warned not to give away whodunit. Far be it from me to break that tradition. So go find out for yourself. The Mousetrap plays at the BAAY Studio, 1059 North State Street, March 19, 20, 26 and 27 at 7:30 p.m.; March 21 and 28 at 2:00 p.m. All seats are $10 and may be reserved at www.brownpapertickets.com.

# # #

Blakesley wows the PAC
by Christopher Key

I’ve never reviewed a vocal performance recital before and I couldn’t have picked a better one to start with. Deborah Blakesley is a junior in the Western Washington University program and her performance at the Performing Arts Center this afternoon couldn’t have been more impressive.

There’s just a wee bit of pressure involved since it’s a final exam as well as a performance. If Blakesley felt that pressure, she certainly didn’t show it. Of course, she’s been onstage since she was knee-high to a gnat and knows a thing or three about handling pressure.

I have been fortunate enough to act with and direct her in theatrical performances and have always been enchanted by her incredible voice. In her recital she tackled a cornucopia of compositions ranging from tragic to whimsical and from Handel to Barber. The program enabled her to truly strut her stuff and was very well thought-out.

Blakesley is technically classified as a mezzo-soprano, meaning she has the range to go upward or downward with seeming ease. Her voice is rich and powerful, but wherever she takes it, she makes it look easy. That richness isn’t lost when she heads for the soprano stratosphere. Some mezzos get screechy in the upper registers, but not Blakesley.

Her power is tempered by exquisite control, as she demonstrated in the softer passages. The stage presence I mentioned before means that she does more than just sing beautifully, she sells each song with her face and her body.

This was Blakesley’s show, but her accompanist, Michael Revfem, gave her rock-solid support. He’s having his senior recital on May 9 and it should be something pretty special given what he showed this afternoon.

We should all be grateful that Blakesley is going to be around at least one more year before she sets off to conquer new worlds. It means we get to see and hear this local treasure a few more times.

# # #

Please make a note/correction that Dance Gallery’s final weekend of performances do begin at 7:30pm 3/19 and 3/20
with a Matinee performance on Sunday 3/21 at 5:00 (not 2:30 as previously noted).

Ad astra per WSO
by Christopher Key

I’m not sure whether it’s appropriate to review a classical concert by saying, “Far out!,” but the Whatcom Symphony Orchestra certainly earned that encomium today. It all started with the premiere of Maestro Roger Briggs latest composition, Pulsars. The maestro seems to be something of an astronomy buff since he prefaced the work by explaining what pulsars are: stellar sources of powerful and rhythmic electromagnetic radiation. Briggs’ brilliant composition evokes both the power and strangeness of this phenomenon. My only gripe was that I wanted it to last much longer than it did. He dedicated the work to the WSO and their performance justified it.

Fitting Edvard Grieg into this program required a bit of convoluted reasoning on Briggs’ part, but it didn’t really matter. Grieg’s celestial music achieves escape velocity on its own. Internationally renowned pianist Dan Sabo makes his home in a place called Bellingham on planet Earth and we’re much the richer for it. He and his wife Victoria, who is also a gifted pianist, operate a private music studio. Sabo is perhaps best known for his dedication to the work of Olivier Messiaen and studied in Paris with the composer’s wife, Yvonne Loriad-Messiaen.

He proved himself to be a master at interpreting Grieg, as well. The Norwegian composer’s Piano Concerto in A minor, Op. 16, is one of the most beloved works for that instrument. The usually well-disciplined WSO audience couldn’t restrain itself until the end of the piece, bursting into spontaneous applause at the thunderous end to the first movement. Well-deserved, and a totally understandable breach of concert etiquette. Sabo received a standing ovation in the appropriate place and thanked the audience with a brief encore.

Following intermission, the WSO boldly went where few have gone before, performing Gustav Holst’s orchestral suite The Planets. Excerpts from this work, most notably Mars and Jupiter, are performed fairly often. The complete work, not so much. That’s a shame because it’s an amazing Grand Tour of the Solar System. It’s also a work of daunting complexity involving an augmented orchestra and an offstage vocal sextet.

The WSO beamed us all up with brilliant work from the brasses. Concertmaster Grant Donellan got to show off his soloist chops in Venus and Mercury and the percussion section demonstrated that warp drive isn’t confined to science fiction. Fortunately, Pluto hadn’t been discovered when Holst wrote the piece, so there’s no need for any awkwardness regarding that body’s recent downsizing. That’s probably a good thing, since the ethereal ending of Neptune would be a hard act to follow. Briggs and the orchestra earned another standing ovation and, frankly, I may not come back to Earth for a while.

The Mount Baker Theatre was nearly sold out and that’s a very gratifying sign that the economy may be recovering. The next world that the orchestra plans to conquer comes on April 24 with an evening performance called “Songs of Humanity.” Metropolitan Opera star Erin Wall will join the orchestra in a program of works by Dvorak and Gorecki.

An insert in the program informed us that the WSO will add a performance on May 8 at the Blaine Performing Arts Center. It’s presented by the Pacific Arts Association and is billed as “…a march, a marriage and a mystery for Mother’s Day.” The march is by Sousa, the marriage is from Mozart’s Figaro, and the mystery is a Lemony Snicket concoction called The Composer is Dead. Beethoven, Briggs, Sibelius and Cole Porter are also involved. For more information, see www.whatcomsymphony.com and www.pacificartsassoc.org.

# # #

Fabulous fantasy at Fairhaven
by Christopher Key

If there is anything that can tame a blustery Northwest March, it’s the Fairhaven Theatre Company’s production of Shakespeare’s A Midsummer Night’s Dream. Fairhaven College’s theatre program may have descended into the doldrums over the past couple of years, but it has been resurrected with a vengeance. Last week, it was the rollicking Reefer Madness. This week, it’s the Bard’s enchanting fantasy.

I had a chance to chat with Midsummer director Michael Burnett during intermission and found that we share a directorial philosophy. Cast the best actors available, then get the hell out of the way and let their creativity take over. It usually results in a sensational show and the director, who has done little but make wise casting choices, can sit back and take all the credit. It’s not quite that simple, but I don’t want to give away too many theatrical secrets.

This production doesn’t try to get clever by setting the play in some other time frame than what was originally intended. It’s a straightforward and honest interpretation that will delight Bard purists, but may try the patience of those who have come to expect versions that cater to reduced attention spans. Get over it. This is Bard as he is spoke.

The cast is rock-solid and everyone deserves a mention. As usual, space limitations and the fact that I have to go to my day job in the morning prevent me from carrying on too long, so I apologize to those who didn’t make the highlight reel.

If played properly, the character of Puck should own this show. Rachel Chapman fulfills those expectations with manic energy and outstanding physicality. Her supposed boss, Oberon, is portrayed with put-upon patience by Benjamin Chambers. Their efforts to match the correct lovers are what drive the plot. Kiki Penoyer somehow manages to be both elegant and powerful as Oberon’s paramour Titania.

Puck and Oberon plot mischief in the Fairhaven College production of A Midsummer Night's Dream. Photo credit - Christopher Key

The sub-plot involves a very amateur production of Pyramus and Thisbe, coordinated to demented perfection by Roland C. Carette-Myers as Peter Quince. His lead actor is Nick Bottom, one of Shakespeare’s consummate fools, played by Brian Toews. He somehow brings an unassailable dignity to the role, even when playing an ass.

There are two sets of lovers, often star-crossed, who are victimized by Oberon, Puck and the denizens of the faerie forest. Lysander and Demetrius, the masculine rivals, are played by Spencer Kovacevich and Kristien Ruggiero-Upton. They inspire the lines comparing lovers with madmen.

Their distaff foils, Hermia and Helena, give them a battle of the sexes that the women seem to win. Anna Hashman is particularly strong as Helena and Katelynn Walker is delightfully innocent as Hermia.

No production of Midsummer would be complete without some young actors portraying Peaseblossom, Cobweb, Mustardseed, The Changeling Boy and Moth. In this case, they are Jane Nelson, Naomi Burnett, Jake Nelson, Callum McAllister and Melloy Nelson. They are enchanting and remarkably professional in their stage presence.

Director Burnett has chosen to stage this production in the round and it works like magic. Not to mention the evocative lighting by Kate Moore and Kiana Hamilton. Evie Danger Shepherd designed the wonderful costumes.

A Midsummer Night’s Dream plays Thursday – Saturday, March 11-13 at 7:30 p.m. at the Fairhaven College Theatre. There are 2:00 p.m. matinees on Saturday, March 13 and Sunday, March 14. Admission is by donation and that’s a bargain at twice the price.

# # #

Grammy-nominated conductor leads Skagit Opera
by Dr. Mitchell Kahn

The Skagit Opera opened its two week run of Puccini’s beloved opera, Madam Butterfly, at McIntyre Hall led by its rising international star conductor, Alastair Willis, 2009 Grammy nominee for “Best Classical Recording.” Willis’ dramatic conducting produced a fine, nuanced performance of electrifying intensity.

Madam Butterfly, one of the all-time favorite operas, full of passion and pathos, tells the story of the love between an American sailor and a Japanese Geisha during the opening of Japan at the beginning of the 20th century. Leading an international star cast, German soprano Christina Kowalski singing the demanding title role for the first time in the United States, portrayed a character of extraordinary complexity, dramatic and poignant. Tenor Stephen Rumph, the handsome and rakish Pinkerton, produced a lovely legato that was both soaring and unspeakably tender. New York City Opera veteran baritone, Charles Robert Stephen sang gorgeously and acted flawlessly as the sympathetic counsel, Sharpless. Seattle Opera regulars, Sarah Mattox and Karl Marx Reyes gave polished and idiomatic performances of Suzuki and Goro, equal to any on the national opera scene today.

The beautiful set, evocative of an old Japan, redolent with cherry blossoms, shoji screens and pale moonlight, provides a admirable frame for the unfolding drama.

Photo credit - John Janson

Skagit Opera performs in Mt Vernon at McIntyre Hall, a beautiful, intimate venue noted for its excellent acoustics, designed by the same firm that designed Benaroya Hall in Seattle. With ticket prices one-quarter that of the Seattle Opera, the Skagit Opera is an amazing bargain. Their performances should not be missed by any anyone who appreciates live classical vocal music. Remaining tickets at the box office http://www.skagitopera.org.

# # #

Reefer rampant in Fairhaven
by Christopher Key

Somewhere in the second act of Reefer Madness: The Musical, I realized that my face hurt. That’s from grinning like a Cheshire cat from the very beginning. In fact, I had what used to be referred to as “an illegal smile.” Only this time, there were no controlled substances involved. The Fairhaven Student Theatre Group production is a thoroughly uncontrolled substance and a perfectly legal high.

This musical satire of the 1936 film debuted in 1998 with book and lyrics by Kevin Murphy and music by Dan Studney. The original was a propaganda piece worthy of Leni Riefenstahl and promoted by America’s first drug czar, Harry Anslinger. It became something of a cult classic in the 1960s when marijuana became the drug of choice among my generation.

Bellingham’s theatrical Renaissance Woman Lacey Anne Oleson directs this racy romp with a sure hand and an obvious delight in the material. It’s the senior project of the stunningly talented Vanessa Mills and if she doesn’t get an A+, there ain’t no justice.

Vanessa Mills' senior project is the sensational Reefer Madness at Fairhaven College. Photo credit- Christopher Key

There are very few shows that manage to blow me away from beginning to end, but this is one of them. The cast is smashing, the choreography is sensational, the costumes are titillating and the music is magical. Everybody involved deserves a mention, but I have to go to work tomorrow and will have to highlight only a few.

Reefer Madness features fabulous choreography by Becca Orlowski. Photo credit - Christopher Key

The aforementioned Ms. Mills perfectly personifies innocence and corruption as she is seduced into the netherworld of drug abuse. Her boyfriend, manically portrayed by Andy Reinhardt, mirrors both the innocence and corruption with frightening accuracy. Matt Frye, as The Lecturer, is as serious as a felony bust and doubles a couple of minor parts.

Zach Wymore is as sleazy as Glenn Beck in his role as the corrupter of the nation’s youth. His partner in crime is played with both brassiness and sensitivity by Amalia Larson. One of the highlights of the production is Kyle Mitchell’s show-stopping performance as the most demented denizen of the Drug Den. Genevieve Dunn convincingly channels Betty Boop as a nymphomaniacal pothead, a rather impressive achievement.

The original film was financed by a religious group, so it should not be surprising that both Jesus and the Devil have prominent roles. Joe Homes gives us a rather jovial Jesus who might be suspected of indulging in…nahhhh. Melissa Schenter is perfect as the loyal opposition. You may think of Joan of Arc as an innocent, but the sexy Kiki Penoyer presents another point of view. The manager of the local lunch counter where the good kids hang out has a dark side, nicely embodied by Hannah Crichton. No production set in this era should be without a placard girl and Jana Gueck makes the role sing.

Jana Gueck offers a pointed reminder to certain members of my generation. Photo credit - Christopher Key

There has been a lot of buzz about this production and, as a result, it is nearly sold out. What few seats are left can be reserved by e-mailing reefermadnessmusical420@gmail.com. Do it right now, because this show packs the punch of BC Bud and is as much fun as you can have without…well, you know.

There is adult language and content, not recommended for young children.

# # #

Students strut their stuff
by Christopher Key

Whatcom Community College always seems to be seething with young talent ready to take on the world. The Second Annual Student Showcase, playing March 3 – 6 at the Syre Student Center Black Box Theatre, is a sort of post-modern Chautauqua that offers something for everyone.

The festivities start with I Am Not Batman, a four-part piece written by Marco Ramerez and directed by Todd Gibbs, WCC’s answer to Tim Burton. Interwoven among the other acts, Ramerez’s script examines some of the subliminal aspects of the Dark Knight that the movies left out. Actors Rodney DeJager, Maddy Gold, Christina Canton and Katie Dec take us on a sometimes giddy and often touching exploration of the pop culture hero’s id.

Taking Shape is a modern dance and movement work choreographed by the imaginative Hannah Lindberg. Dancers Elsa Mansfield, Janell Murphy, Alyssa Hamilton, Michelle MacLean, Jake Martin, Jen Skaer, Glenn Clark, Danielle Comchoc, Danielly Boylen and Jeremy Larsen are both energetic and hypnotic. They weave an enchanting tapestry about the stage, freezing briefly into lovely tableaux.

Photo credit - Christopher Key

Hip-hop dance has evolved from individual showboating into a legitimate art form, as evidenced by the WCC Hip-Hop Club. Exuberant and frequently witty, dancers Jake Martin, Felix Li, Kyuha Lee, Elaine Cheung, Makaila MacLean, Stan Hui, Mary Thai, Taka Namiki and Ariel Smith lead us on a merry chase through the urban jungle.

Anger management, or the lack thereof, is the theme of Untitled Play. Directed by Brooke Minkler and Colleen Ames, this a brief vignette in which Danielle Comchoc and Selina Flannery play roommates who know how to take the fun out of dysfunctional.

Tim Greger shows off some impressive writing and directing chops with a delightful confection called Further Ado. It boldly goes where Noises Off has never gone before. I won’t spoil the fun for you by getting too specific. Two of my fave WCC actors, Emily Lester and Trevor Van Houten, own the stage as usual, but Nick Twietmeyer, Stephane Potter and Alice Despopoulos give them a serious run for their money.

The whole shebang runs about an hour and you’ll wish it went on much longer. Tickets are $5 and can be reserved by calling (360) 383-3852.

# # #

BHS owns South Pacific
by Christopher Key

Rodgers and Hammerstein’s South Pacific is one of the iconic musicals in American theatre. Based on James Michener’s Tales of the South Pacific, the production is a daunting challenge, both because of the large cast and because of the complex technical requirements. Bellingham High School and director Teri Grimes pull it off with the aplomb expected from a program of this caliber.

If you’ve never seen South Pacific, you need to add it to your bucket list. If you have seen it before, this production won’t disappoint in the slightest. It delivers all the power and charm of the story in one of the best venues Whatcom County has to offer.

April Hoag is as corny as Kansas in August, just the way Ensign Nellie Forbush is supposed to be. Her surprisingly mature voice will blow you away. Her paramour, Emile DeBecque, is played to perfection by Adam Bigelow. He is totally believable as an older man and his French accent is flawless.

April Hoag and Adam Bigelow star in South Pacific, opening this week at Bellingham High School. Photo credit - Christopher Key

No bartender could concoct a spicier Bloody Mary than Olivia Shrum. Her powerful voice and astonishing stage presence are riveting. Brad Anderson honed his talents at Bellingham Arts Academy for Youth and that training serves him well in his role as the consummate con-man Luther Billis. He also looks pretty good in a cocoanut bra. The rather naïve Lt. Joseph Cable is portrayed with subtlety by Finnegan Hopper. His object of love interest is Liat, Bloody Mary’s daughter. Danielle DeLisle is both innocent and seductive in the role

Andreas Hewitt demonstrates an amazing vocal range as Stewpot. The two military officers trying to hold a chaotic base together are played to parade-ground perfection by Will Lewis and Kell Brauer. Of course, there are two totally enchanting children in the show who play DeBecque’s kids. Kayla Marianis and Ashton Toctocan prove that W.C. Fields was right in refusing to share the stage with such scene-stealers.

There are way too many outstanding performances in this production to list them all and that’s a shame because this show goes way beyond what is expected from a high school show. The choral numbers are thrilling thanks to Vocal Director Linda Short. Maestro Mark Schlichting conducts the orchestra that sounds like something beyond high school expectations.

Teri Grimes not only trains fabulous actors, but fabulous techies, as well. The lighting, sound and set design are up to her usual standards. Grimes admits that the fabulous backdrop was rented at great expense. It’s worth it. It’s totally seductive and helps make the show rock. The BHS theatre program should be appreciated as one of the best in the nation and nothing will drive that home more than seeing South Pacific.

South Pacific plays February 25 through March 7. Tickets are $8 and available at the door or at the ASB office. See http://bellingham.bellinghamschools.org/ for more information.

Don’t miss this Enchanted Evening.

# # #

Oh, the things you will see
by Sally Lubetich

Almost every Dr. Seuss character comes to life as 18 talented children fill the Bellingham Arts Academy for Youth stage with joyful enthusiasm, dancing and singing. Seussical, the Musical features thirty-two songs and over forty different characters light up the stage in this whimsical telling of Horton the Elephant, directed by Mattie Wheeler.

Horton, played by Hailey Chrysler, is on a mission to rescue the Whos, hatch the egg and save the day. That’s a tall order for one elephant. Along the way he meets plenty of helpful friends and encounters quite a few hindrances too. Hailey is wonderful as our 100 percent faithful hero.

Some standout performances include Madicyn McCallum as Cat, Cat In The Hat, that is. The Cat starts off the show and always seems to be around when trouble is brewing. Elsie Dank is wonderful as JoJo Who, the wide-eyed child with the big imagination. Melissa Burke-Manwaring plays Gertrude McFuzz, a very sweet little bird who just wants Horton to notice her. Anaya Seegers is amazing as Amazing Mayzie. Her jazzy song and dance routines and interactions with the other characters are vampishly funny. The Bird Girls, Emma Ritchie, Liliana Peau, and Alyssa Walters are a delight to watch. Edie Braimes is great as the Sour Kangaroo, who, along with the Wickersham Brothers, MacKenzie Knapp, Kyle Wayne, and Shanny Hujei, are always making trouble for Horton.

A rainbow of cute costumes and clever set pieces add vivid color and Seussian style to this delightful journey through some very familiar places such as McElligott’s Pool, Circus McGurkus, the Jungle of Drool and the deep blue sea.

With musical direction by Steve Barnes and Aaron Pernell, and choreography by Mary Evans, it’s easy to see that the months of hard work have paid off.

Seussical, The Musical. is sure to please kids of all ages who always seem to love Dr. Seuss.

Seussical, The Musical runs from February 19th through 28th at BAAY, 1059 N. State Street. Shows at 6:30 p.m. on Fridays and Saturdays, February 19, 20, 26 and 27. 2:00 matinees on Saturday and Sundays, February 20, 21, 27, and 28. $10 tickets available through www.brownpapertickets.com or take your chance at the door. A wild and wacky – and fully working – brass Seuss instrument has been donated to BAAY for raffle during the run of the show.

# # #