An Evening with Saturday Night Live’s Seth Meyers

Performance at Zellerbach Hall, UC Berkeley

Since 2003 Seth Meyers has been a full time cast member of sketch comedy show, Saturday Night Live, a popular late night programme broadcast on America’s NBC channel. In 2006 he was promoted to weekend co-anchor, eventually becoming the sole anchor, and is crrentlyin his sixth season as head writer. Most recently Seth headlined the 2011 White House Correspondences’ Association Dinner.

 
Meyers’ experience in getting his viewers to throw their heads back with unabashed and uncontrollable laughter was evident in his stand-up show at UC Berkeley on Tuesday night (02/21). His acute perceptiveness of human behaviour and an ability to turn something simple into something completely hilarious made him a hit with all who were in his audience; this enjoyment was indisputable due to the multiple rounds of emphatic applause that followed his ingenious punch lines. The honesty and blunt sarcasm of his jokes accompanied by flawless comedic timing made for a terrific performance and most certainly gained him a copious amount of new fans. I would include myself in that category (I have only ever seen one SNL sketch in full as, being from the UK, it hasn’t been a very prominent show on my television radar). However, after this experience, that will definitely change.

It would be fantastic for Seth Meyers to continue with live stand-up, as well as with his career as SNL’s longest running cast member. If he ever comes to a city near you, it is strongly recommended that you attend his show- hilarity from start to finish.

Legally Blonde: The Musical

Presented by the Diablo Theatre Company at the Lesher Center for the Arts, Walnut Creek.

Directed by Gia Solari

Musical Director- Sean Kana

Music and Lyrics by Laurence O’Keefe and Nell Benjamin

Book by Heather Hach

Based on the novel by Amanda Brown and the Metro Goldwyn-Mayer Motion Picture

Choreography by Renee DeWeese and Gia Solari

Cast: Bailey Hanks, Ian Leonard, Frankie Mulcahy, Lynda DiVito, Brenna Wahl, Mary Kalita, Tom Reardon, Lital Abrahams, Riley Krull, Taylor Jones.

Full cast list can be found here: http://diablotheatre.org/blog/legally-blonde-cast

“Being true to yourself never goes out of style.”

Sassy Blonde Elle Woods (Bailey Hanks) decides to follow her heart all the way from UCLA, and her Delta Nu sorority sisters, to Harvard Law School and its bright and ambitious lawyers in training. Her goal is to convince ex –boyfriend, Warner (Frankie Mulcahy), who is also matriculating at Harvard, that they are in fact perfect together and meant to be. It’s not until she is thrown out of her very first class that she realises the hard work that comes with the territory of attending a prestigious Ivy League school. What she also comes to learn, however, is that books can’t teach us everything, and that trusting your instincts can prove to be your smartest move.

Featuring original, soon-to-be stuck in your head songs such as Omigod You Guys, What You Want, and Bend and Snap, Legally Blonde: The Musical, is a girly rom-com with plenty of references to love, fashion and the strength of sisterhood. With perfectly coiffed blonde hair and her pet Chihuahua, Bruiser, by her side, Miss Woods shows those who pre-judged her that even though her interests may lie outside the world of academics, it does not mean she is incapable of achievement.

 Leading this cast is Bailey Hanks, who has previously played the role of Elle on Broadway, and whose voice was so crystal clear, and very well suited to the character’s vivacious personality. Another character that was well cast was the part of Ireland loving Paulette, portrayed by Lynda DiVito. Hairdresser Paulette almost instantly becomes friends with Elle, as they both have stories of being unlucky in love, and they both offer each other helpful advice. DiVito had excellent comedic timing and her voice was also was one of the strongest in the company. The kind hearted and shy Emmett (Ian Leonard) was a slight disappointment, not because the actor lacked talent, but because his portrayal wasn’t quite dorky or endearing enough; it’s not as easy to adore him as expected. (Spoiler alert) His romance with Elle at the end was nice, but nothing more.

The ensemble was energetic, but not faultless. The choreography and execution of steps in the first act were at times disjointed, but the routine for What You Want was sharp, clean, and enjoyable to watch. The dancing in the second act was of a much better quality; there were some excellent moves especially from a couple of the male performers. The skipping rope routine carried out on mini trampolines was very creative; although it wasn’t perfect, it was still impressive to see.

There were a couple of actors whose voices were slightly muffled and it was difficult to hear and understand what they were saying, during both speech and song. Some of the microphones in general were not in good working order, so it was a good job that the theatre itself was not any bigger, otherwise those towards the back of the auditorium would have been left very unsatisfied.

The two furry additions to the cast- Bam Bam and Lucy (Bruiser and Rufus respectively) were well behaved and there were no noticeable mishaps, although Lucy sometimes seemed nervous to be on stage, and could be seen struggling to go in a different direction to the way the actor with the lead was trying to take her. Overall, however, they were both very precious and gained a few laughs from the audience.

Legally Blonde: The Musical’s story line is not exactly demanding on the intellect, and nor is it intended to be; this show is all about the entertainment, and entertained you shall certainly be. “Get ready for some pink!” (Artistic Director, Daren A.C. Carollo).

Family friendly, suitable for ages 12 and up (suggested age by the Diablo Theatre Company).

NB: UK residents, the West End version of this show closes on April 7^th 2012, so if you are intending to watch it, book your tickets ASAP.

Ghost Light

Directed by Jonathan Moscone

Written by Tony Taccone

Scenic Design by Todd Rosenthal

Lighting Design by Christopher Akerlind

Casting by Nicole Arbusto/ Joy Dickson/ Amy Potozkin

Cast: Christopher Liam Moore, Danforth Comins, Robynn Rodriguez, Ted Deasy, Peter Frechette, Bill Geisslinger, Peter Macon, Isaac Kosydar, Tyler James Myers, Sarita Ocon.

It’s November 17^th 1978, and the mayor of San Francisco, George Moscone, is about to attend a press conference to announce the newest member to join his board of supervisors. Dan White, who resigned the board and was now being replaced, enters the City Hall through a basement window and makes his way to Moscone’s office. After a heated argument, White shoots Moscone four times, twice in the head, and then proceeds to murder liberal city leader, Harvey Milk.

‘Ghost Light’ opens with George’s teenage son, Jon, finding out about his father’s death via news bulletin on the television. Adult Jon is struggling to move forward; he cannot close the doors on the ghosts that have been haunting him since the day his father died, and this is complicating all aspects of an upcoming production of ‘Hamlet’ that he is partly responsible for, as well as his social life and his job as an acting coach.

The real Jonathan Moscone approached Tony Taccone to help him create this production on his father; it’s a story for which an entire generation of San Francisco-ians have their own memories, thoughts and emotions. The audience are invited into Jon’s eccentric world and they watch as he goes through the motions of daily life, while being haunted by unusual spirits from the afterlife.  However, there wasn’t a very distinct story line, and there were many elements of the production that were confusing and unclear. For example, we witness the haunting of a spirit, who goes by the name of ‘Loverboy’, by another spirit who is dressed like a prison guard and who mocks and terrifies the former and demands he pass on a message to Jon, but it is never explained why he specifically choose to haunt another ghost instead of going directly to Jon like he does later on in the play. We also never find out if these spirits only appear in Jon’s dreams, if they are a memory, a series of hallucinations, or a combination of the above. Taccone’s witty and intelligent writing will keep you interested, but expect a very dream like production that doesn’t always make complete sense.

Christopher Liam Moore is such a detailed performer and his portrayal of Jon was humorous and captivating; the final scene especially was very moving. During the instances where he interacts with the audience, who temporarily take on the role of the students in his acting class, Moore was fearless, and it is highly noticeable that he has great energy on stage. He was supported by a strong cast, and the lighting and staging was fluid and effective.

A brave and thought provoking piece, slow at times, but enjoyable.

Performed at the Berkeley Repertoire Theatre

The Woman in Black

Directed by James Watkins

Original book by Susan Hill

Screenplay by Jane Goldman

Starring: Daniel Radcliffe, Liz White, Ciaran Hinds, Janet McTeer, Sophie Stuckey, Misha Handley, Alisa Khazanova, Shaun Dooley.

Full list of cast and crew- http://www.imdb.com/title/tt1596365/fullcredits#cast

“During afternoon tea, there’s a shift in the air; a bone trembling chill that tells you she’s there. There are those who believe the whole town is cursed, but the house and the marsh is by far the worst. What she wants is unknown, but she always comes back; the spectre of darkness, the Woman in Black.”

Three young girls sit in the attic of their home, playing with dolls and a china tea set.

They see something, or someone, out of the corner of their eyes.

They abandon their game of make believe, walk towards three windows, and step up onto the ledge…

So begins the most recent film adaptation of the 1983 Victorian-set horror novel, written by Susan Hill: The Woman in Black. A scorned spirit of a mother who lost her young son under tragic circumstances is haunting the remote, fictional town of Crythin Gifford. A sighting of the Woman in Black by an adult foreshadows the death of a child belonging to any one of the families living in fear of the vengeful figure. She is able to manipulate the children, however, and causes them to commit an apparent suicide.

Daniel Radcliffe takes the part of the young lawyer and single father, Arthur Kipps, who visits the town to deal with the paperwork of a recently deceased widow, Alice Drablow (Alisa Khazanova). The fearful attitude of the town’s residents may come across as very unwelcoming, but Kipps is in for a chilling surprise upon entering the grounds of Eel Marsh.

Radcliffe’s performance is commendable and he successfully carries the film as a protagonist whose eyes and ears are the main insight into the supernatural goings on. There were one or two line deliveries which came across as a ‘Potterism’, but overall he was impressive, especially with his facial expressions and reactions. His idea of casting his real life Godson, Misha Handley, as his adorable on-screen son, Joseph Kipps, was a good one, as the chemistry between them came across very well.  Despite the small amount of screen time, it is apparent that Misha has promising talent and that he is comfortable in front of the cameras.

Radcliffe is not the only well-known name to be involved with this motion picture; Ciaran Hinds (Calendar Girls, The Phantom of the Opera) plays Kipps’ only friend in the town, Sam Daily. Daily, whose only son drowned, and whose wife believes their son’s spirit often tries to speak through her, offers Kipps a place to stay and drives him to the house when others do not dare.

The variation of the camera angles were creative- either enabling the audience to see through Kipps’ eyes or to observe what he cannot see, for example, that the Woman in Black (Liz White) is standing right behind him. Cinematographer, Tim Maurice-Jones, also deserves some credit for his shots of the isolating marsh lands, which add to the bleakness and Arthur’s sense of being completely alone while facing this terrifying ghost with an immortal grudge.

So many ‘scary’ films depend too much on the gore and have too much fun smearing fake blood everywhere in order for their film to be affiliated with the horror genre. Hill’s story, on the other hand, is as frightening as the ghostly faces and screams, and there were many moments of suspense to keep the adrenaline going throughout. The script itself is fairly simplistic, but that is hardly noticeable and well covered up behind the tension. Lovers of old school horror will especially enjoy this one.

(If you are prone to nightmares or night terrors, I would probably give this one a miss, as there is some footage which will only serve to make them worse. Then again if you feel up to the challenge you should go along, but take a cushion)!

Jersey Boys

WINNER OF 53 AWARDS WORLDWIDE

Directed by- Des Mcanuff

Book by- Marshall Brickman and Rick Elice

Composer- Bob Gaudio

Lyricist- Bob Crewe

Choreographer- Sergio Trujillo

Starring: Ryan Molloy, Jon Boydon, Matthew Wycliffe, Eugene McCoy, Jon Lee, Wayne Smith, Mark Isherwood, Tom Oakley, Michael Conway, Carl Au, Charlie Bull, Mark Carroll, Chris Gardner, Lucinda Gill, Lauren Hall, Trina Hill, Paul Iveson, Stuart Milligan, Jake Samuels, Jo Servi, Ben Wheeler, Rachael Wooding.

Current London cast, L-R: Eugene McCoy, Ryan Molloy, Matthew Wycliffe, Jon Boydon. Photo from the Jersey Boys London website.

David Beckham has seen it 10 times, Strictly Come Dancing’s Natalie Lowe has seen it 6 times, I myself have seen it 3 times, Cilla Black has seen it at least twice, and I have seen on Facebook and Twitter a few people mention that they have just watched their 100^th performance.

I am talking, as always, about the West End’s Jersey Boys- the story of the rise to fame of the rock n’ roll group Frankie Valli and the Four Seasons. I can almost guarantee that you’ve heard of them, if not (my condolences), it is more than likely that you will recognise at least one of their songs; you just would not have primarily attributed it to them. A popular reaction to this show, aside from ‘that was incredible’, is ‘I had no idea they wrote that song!’ Well believe it or not, with the exception of the first couple of toe tapping tunes, all of the songs featured in this show can be traced back to the writing talents of one Bob Gaudio, who, as well as being an original and vital Four Seasons member, was also involved in the production of this multi award winning musical.

Originally opening on Broadway in 2005, Jersey Boys exudes sophistication, charm, and swagger, while opening your eyes to nitty-grity 1960’s Belville, New Jersey- a town which offers no easy life for those who reside there. Despite all they were faced with, four young guys from the mean streets came together and created pure magic; Frankie Valli and the Four Seasons became one of the greatest pop sensations in music history. Their achievements were astonishing, one of the most prominent being their induction into the Rock n’ Roll Hall of Fame, and yet no one could have predicted it considering at least of half of the band members were in and out of jail like it was a supermarket because of affiliations with tough gangs. After seeing this show, the names Frankie, Bob, Tommy, and Nick will make a permanent mark on your memory.

Each and every cast member in the London version deserves recognition for their talent. It’s common to begin with the leads, but I’d first like to highlight the hard work of the three female cast members, who between them take on around fifty roles throughout the show.  Although playing minor characters, if they came onto the stage and accidentally portrayed the wrong personality, it could affect and/or ruin the whole dynamic of the scene, so their ability to take on all those parts and successfully act out such a wide range of characteristics just shows how talented they are. The other swing members also show this diversity and I congratulate them all as they do make the show what it is.

Now for the four male leads. I have seen both Ryan Molloy and Jon Lee as Frankie Valli, and both are fantastic and play the role in their own way, so it is worth catching both of them in the part if you decide to see it more than once (which I would be willing to put money on that you will). Tom Oakley and Michael Conway have also played the ‘V-man’ and I’ve been told they are also ones to watch, although I have not yet had the pleasure. There is just something about Ryan’s portrayal that is breath-taking, and the fact that a large proportion of female audience members are left swooning over him does not hurt either. His falsetto is pitch perfect, and he is as believable as 16 year old Frankie as he is as 30 something year old Frankie. He was definitely meant to play this role, and I imagine the casting directors are aware their lucky stars were in line when they found him.

Next we have Jon Boydon who has absolute control over the part of Tommy DeVito; the guy who likes to take the credit for bringing the band together. He is slick, and he is clever in many ways, but like a lot of human beings he makes mistakes, some graver than others. Jon, who has recently released a solo album that I would also recommend, has a powerful and charismatic voice, and I don’t think even the meanest critics could find much fault with his acting ability no matter how hard they may try. Eugene McCoy offers a lot of humour to the show as the harmony genius Nick Massi- this guy is probably like someone you know who usually doesn’t say much or complain often but, when they do say something, it’s memorable for one reason or another. Eugene’s delivery of lines was one of my favourite elements of the show and he does have a unique tone to his singing voice that you can’t get from lessons. Lastly we have Matt Wycliffe as Bob Gaudio, without whom the simple yet stunningly catchy melodies of hits such as Oh what a night, Sherry and Can’t take my eyes off of you would not exist. Matt is no stranger to portraying extremely successful singer/songwriters as he previously took on the role of Buddy Holly in The Buddy Holly Story. Perhaps the most innocent of the group members, Bob is charming, talented, and you adore him for the songs he brought into this world. Matt is as close to perfect for this role as anyone can get- I could listen to his suave singing all day, and his cheeky grin is utterly endearing.

Jersey Boys has since been shown around the world with various casts, including places such as Las Vegas, New Zealand, and Australia, and is still going strong in both New York and London. I cannot recommend this show enough; not only will the music blow you away, the story is fascinating and inspiring. Unlike a lot of musicals, where the characters just sing their lives to you as though it is the norm and because it is expected from the genre, in this show you get to find out the backstory of the songs; you find out how the lyrics came to be, what the songs are really about, and with this they hit you emotionally as well as make you want to get up out of your chair and claim the aisle as your dance floor. It is, in a word, sensational.  Learn more and get yourself a ticket here- http://jerseyboyslondon.com/default.asp

Photo from the Jersey Boys London website

NB: Don’t be shy of the seats in the bottom left hand corner of the seating plan; they are usually green coloured and cost around £45. The ticket website says that their view is restricted due to set, however I have sat in seats E3 and E4 on my last two visits, and the total time of action that you are unable to see due to set obstruction is only around ten seconds. If you are on a budget I would suggest these seats (rows E and F especially)- the majority of the show happens centre stage and they do provide a great view, yet you’re paying around £20 less than the person sat two seats to your left.

http://www.jerseyboysinfo.com/watch/ < this is not the London cast, but I like this trailer!