Monday, November 30, 2009

Artistic Differences captures radio

Lucas Blair and Christina Day
Photo by Divino San Pedro
c/o Artistic Differences Company

If there’s an award for the most remarkable Christmas show of the season, the likeliest candidate this year would be Artistic Differences’ production of “The 1940’s Radio Hour.” It opened on Saturday, November 28, to a sellout crowd, a rarity for the Studio Theatre in Sacramento. A happy touch was a chorus singing Christmas songs in the festive lobby.

In every way it can, the show defies custom. First of all, the show defies definition. You might call it a musical, but a musical is upbeat and brings us a page full of original songs. Instead Radio Hour relies exclusively on 19 old favorites (including the tune for the old Pepsi-Cola commercial), and satirizes the genre. If it requires a label, we’d have to call it a “mocksical.”

Set in the Hotel Astor’s Algonquin Room on December 21, 1942, it offers a “Special Xmas” radio show by the “Mutual Manhattan Variety Cavalcade.” The show is broadcast over the fictional station WOV, an echo of a real New York station, WOR. Backed by a 5-piece band, the show offers lots of singing and some dancing, visible only to the studio audience in those days before TV.

The defiance of orthodoxy begins with the show’s beginning. We don’t get the usual introduction, with a company leader asking us to turn off cell phones and pointing out the location of exits and toilets. (A staff member appeared shortly afterward to supply that ritual and to remind us that cell phones weren’t available in the forties.) Instead we get an unidentified Pops Bailey (Jes Gonzalez) fussing with an offstage phone and Stanley (Devon Allen), part of the crew, climbing a ladder to slip gels into spotlights. For a while we don’t know whether we’re watching the show or not.

Soon, after backstage managers get finished yelling at each other, we get a five-piece band taking seats in the background as the performers appear, often getting in each other’s way. After much nervous twitching beforehand, the crowd on stage suddenly assumes glowing self-confidence once the show goes on the air. And we in the audience become the studio audience, coached to respond when a flashing “applause” sign gives the signal. Much of the humor comes from seeing how the performers relate to each other when on the air and, in contrast, when not.

Among the lead performers are Martin Beal as a Sinatra-esque Johnny Cantone, moaning “Love is Here to Stay.” Bevin Bell-Hall, as the buxom Ginger Brooks, appears first in her slip. Among her numbers is a soulful “Blues in the Night.” Christina Day, as the diminutive Connie Miller, give us “Daddy” and joins the youthful Lucas Blair (as B.J. Gibson) in “How About You.” There’s also the stately Maggie Hollinbeck (also the Artistic Differences’ Artistic Director) as Ann, delivering among others “That Old Black Magic.”

As Ann, Hollinbeck also joins Wally (Benjamin T. Ismail), Neal (Scott Woodard) and Geneva (Naomi Powell) in a sprightly “Ain’t She Sweet.” At one point in the show Neal’s romantic voice fails him when he drops his pants. Biff Baker (Byron Roope) joins the Cavalcade in “Jingle Bells.”

Among the non-singing cast are Richanne Baldridge as Zoot, as well as band conductor and Musical Director; Jeffrey Lloyd Heatherly as the officious Clifton; and Ed Gyles Jr. as the bullying Lou Cohn.

None of the cast was even born 67 years ago, in the middle of the last popular war our country fought. But those of us, particularly we who lived in New York at the time, recognize the amazing authenticity of the show. It exudes a “feel” for the times, especially with radio’s sentimental expressions of sympathy for the bathroom and kitchen needs of listeners.

The concern, though, inevitably leads into commercials for products like Cashmere Bouquet soap, Sal Hepatica, Eskimo Pie and Maxwell House Coffee. All that’s missing is Bob Hope singing the praises of Pepsodent toothpaste. Yet for all the folly there’s a serious note, barely touched when one of the characters quits the show to join the military. It was a time when we could demand unconditional surrender from the enemy, not a timetable for returning the troops home.

Additional credit goes to Director Graham S. Green and Choreographer Gino Platina, along with Michael McElroy and Jason McDowell for a simple and effective set.

A cautionary note: this full-length show provides no intermission, probably because the illusion is that we’re “on the air.”

“The 1940’s Radio Hour” continues at The Studio Theatre, 1028 R Street, through December 27. Performances are Thursdays at 7 p.m., Fridays and Saturdays at 8 p.m., Sundays at 2 p.m. and 7 p.m. (No shows on 12/24 and 12/25) Tickets are $18-$20 general, $15-$17 student and senior (65+). Call 916-708-3449 or go to

Tuesday, November 24, 2009

Matt Miller: fully committed to Fully Committed

Seven years ago the Sacramento Theatre Company introduced us to “Fully Committed,” with a dazzling performance by one of the company’s favorite actors, Matt Miller, who shined in this one-man show. With Miller reprising the role, STC brings back this lengthy one-act, if anything better than ever.

Written by Becky Mode, who lived the life the play describes, the story unfolds in the basement of a “four-star multiple-award-winning ridiculously trendy Upper East Side Manhattan restaurant.” Though the one in the play is unnamed, these restaurants are for real. Sardi’s, for instance, has been in the theater district for 82 years.

Satirizing pretension and would-be pretension, the play is also a showcase for Miller’s comic sense and versatility. As Sam, he’s an aspiring actor, who moonlights at the restaurant’s reservation desk in its basement. His main task is to field calls from would-be diners. He’s often forced to tell them that the time in question is “fully committed,” the snobbish term for “booked up.” The term is well-chosen, with an implied double-entendre. “Committed” is often used to describe a psychotic forcibly confined to a mental institution.

What astonishes us is that Miller plays not only Sam but all the people who call him on the three phones he races among. And he does so by a simple change of voice and posture, so that he’s talking and listening back and forth during a single phone call. Though initially confused, we quickly accept the convention. What’s astonishing is that he can vividly create a whole room full of characters all by himself.

What we get is a broad range willing to spend big bucks to hobnob with celebrities. They even include real celebrities, like Diane Sawyer. Typical is an Asian lady who explains that her name begins with a “W,” as in “Wisconsin.” But she doesn’t understand terms like “day of the week” or “time to reserve.”

Also calling are his father and Bob, his alternate and relief, who claims to be stranded on a freeway. Thus Sam is trapped, urgently needing food and a bathroom break. He’s also eager to get away so he can attend an important audition. After a while we get to recognize (and visualize) all these personalities just through the voice Miller assumes.

Finally there are his superiors, the chef plus Jean Claude, maitre d’. He uses them to duck impossible callers and they also call him with outrageous demands. Because “it’s part of the job,” he’s forced to pick up a mop and bucket to clean up the mess in a ladies’ room.

Also noteworthy is the way the play is staged and directed, originally by Glenn Casale with additional direction by Gary Alan Wright. It’s performed on the intimate Pollock stage, with its shallow but wide playing area. For “Fully Committed” the reservation desk is front and center, with one phone. But there are two other phones, one at each end of the stage. Thus Miller has to race back and forth to catch or deliver calls. The activity, though, allows the audience to share close-up and distant perspectives.

“Fully Committed” runs through December 20 at the Wells Fargo Complex, 1419 H Street. Performances are Wednesday at 12:30 and 6:30 p.m., Thursday through Saturday at 8 p.m., Saturday and Sunday at 2 p.m. Tickets are $15-$36. No late seating and not suitable for children. Call the box office at (916) 443-6722 or (888) 4-STC-TIX, or visit

At B Street, British farce celebrates Christmas

For its twelfth holiday world premiere, Sacramento’s B Street Theatre takes a bold step: an original British farce, written especially for the occasion. What’s more, it’s written and directed by the B Street’s producing artistic director, Buck Busfield. Farce, by the way, is an exaggerated form of comedy, with caricatures for characters, horseplay and ridiculous situations. What’s more, British farce has its own special conventions, as witness Sacramento Theatre Company’s “Noises Off,” which recently closed at The Wells Fargo main stage.

At the risk of condescension, let me say that Busfield, an American native, actually pulled it off. Though the accents are slightly off here and there, a solid cast captures the conventions and capers that delight our British brothers. The story revolves around a catastrophic Christmas party, thrown by Kipling Pillaker (Michael Stevenson) for his son Percy (Stephanie Altholz), who lives with his estranged wife, Belinda (Kristin Wolf).

The action includes a whole army of screwy characters, with a sprinkle of normal ones, who display the virtuosity of B Street’s popular regulars. They include Stephanie McVay, John Lamb, Peter Story, Greg Alexander, Kurt Johnson and David Pierini.

The story, though a propos, may not be an immortal classic but it’s good for a couple of hours of uninhibited laughter. For details and a review, go to

Monday, November 23, 2009

A Catechism Instead of a Carol


California Musical Theatre will present the one-woman interactive comedy “SISTER’S CHRISTMAS CATECHISM: The Mystery of the Magi’s Gold” beginning November 24, 2009, at The Cosmopolitan Cabaret theatre at 1000 K Street. The play will follow the currently running “Late Nite Catechism: ’Til Death Do Us Part,” which closes November 22. Both productions star Nonie Newton-Breen as “Sister,” the tough-talking nun who helps audience members relive their childhoods in Catholic school – even if they’ve never attended.

Tickets for “SISTER’S CHRISTMAS CATECHISM” are on sale now and are available at the Wells Fargo Pavilion Box Office, at 1419 H Street, by phone at (916) 557-1999 or online at The limited six-week run will close January 4. Tickets start at just $32. Discounts for groups of 12 or more are available by calling (916) 557-1198.

Written by Maripat Donovan with Marc Silvia and Jane Morris, “SISTER’S CHRISTMAS CATECHISM” tackles the question, “Whatever happened to the Three King’s gold?” It’s CSI: Bethlehem when sister invites her audience to be characters in a living nativity/crime scene! A hilarious new way to celebrate the holidays, local choirs will join Sister on stage with Christmas carols. Audiences should bring along their cameras; Sister’s waiting with a sleigh full of gifts and a bundle of laughs.

“SISTER’S CHRISTMAS CATECHISM: The Mystery of the Magi’s Gold” stars Nonie Newton-Breen as Sister. For eight years Newton-Breen has appeared across the country in the “Catechism” plays. From a large Irish-Catholic family in Chicago, she herself attended Catholic school where she studied under the raised ruler of a Sister Regina Therese. Newton-Breen is a veteran of Chicago’s famed Second City Theatre, where she learned to “write on her feet.” She toured clubs and colleges as part of an improvisation troupe and earned an Emmy Award for writing and performing as a part of a career that includes appearing on soaps and sitcoms and writing for various shows including “Candid Camera.”

The Cosmopolitan Cabaret, at 1000 K Street in Sacramento (K Street at 10th), is a 203-seat theatre featuring table seating and tiered seating at beverage counters, adjacent to the Cosmo Café. Presented by California Musical Theatre, producer of Broadway Sacramento and Music Circus, The Cosmopolitan Cabaret is the newest entertainment experience in Downtown Sacramento, having just completed its first year.

Performances are Tuesday through Sunday at 8 p.m., Sunday at 7:30 p.m. and Saturday and Sunday at 2 p.m. Additional matinee performances are available Thursday, December 10 and Thursday, December 24. There will be evening performances on Thursday, December 24 and Sunday, December 13. Please note, there will be no performances on Thanksgiving, Thursday, November 26 or on Christmas, Friday, December 25.

Tickets for “SISTER’S CHRISTMAS CATECHISM: The Mystery of the Magi’s Gold” are $32 for Tuesday, Wednesday, Thursday and Sunday evenings and Thursday matinees ($42 for front row premium table seating) and $37 for Friday and Saturday evenings and Saturday and Sunday matinees ($47 for front row premium table seating).

Tickets are available at the Wells Fargo Pavilion Box Office, 1419 H Street, or by phone at (916) 557-1999. The Cosmopolitan Cabaret box office will open two hours before show time. Tickets are also available online at, all outlets or by calling (800) 225-2277. Group orders (minimum 12 or more) may be placed by calling (916) 557-1198.

For more information, visit

A Wilder Xmas at Stage 9 Theatre -- Garbeau's

Photo: l-r Sage Innerarity, Monique Lonegan
Photographer: Allen Schmeltz Productions

Stage 9 Theatre – Garbeau’s Opens “A Laura Ingalls Wilder Christmas”

What: “A Laura Ingalls Wilder Christmas”
By Laurie Brooks
Directed by Allen Schmeltz
Playing December 5 – December 28

Details: This original play presents the poignant story of the "missing" two years in the life of the Ingalls family—the only substantial period that Laura chose not to write about in her Little House books. Told with period songs, humor and depth of character, "A Laura Ingalls Wilder Christmas" tells a story of healing that celebrates the importance of enduring family bonds.

When: Saturday and Sunday, plus extra performances December 21, 22, 24, 24 & 28.

All shows at 1 p.m.

Tickets: $15 general, $13 seniors & SARTA, $12 children – Group Rates Available

Reservations: Call (916) 353-1001

Stage 9 Theatre – Garbeau’s
717 Sutter Street
Historic Folsom 95630

For further information contact Allen Schmeltz at or (916) 646-9459.

Allen Schmeltz Productions

Sunday, November 22, 2009

"Reindeer in Wonderland" at Chautauqua

Top row from left: Ellen Anderson, Shelley Walker, Linda Arnold. Middle row from left: Nancy Becker, Candace Adams, Kelli Cosgrove. Bottom: Bob Nannini

Chautauqua Children’s Theatre presents “Reindeer in Wonderland” an original script written by Marie Raymond based on characters created by Kent Miller. Directed by Marie Raymond, “Reindeer in Wonderland” is the Christmas tale of the adventures of Santa’s reindeer, who find themselves not at the North Pole for Christmas but in a fantasy land of talking flowers, smiling cats and very scary Red Queens!

“Reindeer in Wonderland” begins December 5th and runs through December 19th. Performances are at 1 and 3 p.m. Tickets are $7 for adults and children.

Chautauqua Playhouse is located at 5325 Engle Road #110 in Carmichael. Tickets can be ordered by phone: 916.489.7529 or on the web:

Thursday, November 19, 2009

B Steet Family Series Season


The B Street Theatre is pleased to present its seventh Family Series season for young audiences.

The Family Series begins with an original adaptation of Pinocchio from the famous Italian folktale by Carlo Collodi. Featuring highly stylized theatrical movement, Pinocchio follows the plight of wood carver Gepetto, whose latest creation, a pine puppet, mysteriously comes to life. Pinocchio is written by B Street actor, director and writer David Pierini. Elisabeth Nunziato directs.

The second show of the season is The Conductor: Harriet Tubman and the Underground Railroad. Adapted from a variety of source material by Jerry R. Montoya, The Conductor tells the thrilling story of Harriet Tubman, African-American abolitionist, humanitarian, and Union spy during the American Civil War, and her successful efforts to rescue over seventy slaves using the network of anti-slavery activists and safe houses known as the Underground Railroad

The final offering of our 2009-2010 season is Beauty and the Beast. Loosely based on the classic French Fairy tale: La Belle et la Bête, Beauty and the Beast will retell the tale of Belle’s captivity at the hands of the Beast, and her quest to understand the true nature of love. Using original music, Beauty and the Beast will retell this popular children’s tale in the humorous fashion of the French Farce. Beauty and the Beast will be written and directed by B Street artistic director Buck Busfield.

All plays will be original adaptations written by B Street Theatre staff.
Veteran actor, writer and director David Pierini will handle the writing assignment for Pinocchio; associate producer Jerry Montoya for The Conductor, and B Street artistic director Buck Busfield will pen Beauty and the Beast.

The B Street Theatre Family Series is California’s only fully professional, resident series for young audiences, based outside of Los Angeles. Opened in 2003 with Lilly’s Purple Plastic Purse, the Family Series has produced 24 plays, 13 of which have been original plays or original adaptations.

Schedule & Tickets

Previews: November 21 @1:00 p.m.
Opens: November 21 @ 4:00 p.m.
Runs: Saturdays & Sundays at 1:00 p.m. & 4:00 p.m. through January 4, 2010.
Additional Public Performances: November 27 @ 11:00 a.m. & 1:00 p.m.; December 22 & 23 @ 1:00 a.m. & 4:00 p.m., & December 24 @ 11:00 a.m. & 2:00 p.m; December 29, 30 & 31 @ 1:00 p.m.

The Conductor: Harriet Tubman and the Underground Railroad
Previews: January 30 @ 1:00 p.m. Opens: January 30 @ 4:00 p.m. Runs: Saturdays & Sunday at 1:00 p.m. & 4:00 p.m. through March 14.

Beauty and the Beast
Previews: April 10 at 1:00 p.m.; Opens: April 10 @ 4:00 p.m. Runs: Saturdays and Sundays at 1:00 p.m. & 4:00 p.m. through May 23rd.

Children (18 and under): $15.00 Adults: $22.00
Box Office: (916)443-5300.

All B Street Theatre Family Series shows will be at the B Street Theatre’s B-2 Space. 2727 B Street behind Stanford Park Baseball Field at 27th and C Streets.

Wednesday, November 18, 2009

Stage 9 Theatre – Garbeau’s Opens Its Annual “Holiday in the Hills”

l to r: Mike Jimena, Joanna Rehwald, Connie Mockenhaupt, Brady Tait.
Photography by Allen Schmeltz Productions.

Stage 9 Theatre – Garbeau’s Historic District location takes center stage in its fourth annual holiday celebration, “Holiday in the Hills,” by Mike Jimena and Connie Mockenhaupt. Set in late 1800’s in Folsom, this show features musical favorites of the season with many historically accurate characters. (Musical Direction by Susan Mason, Choreography by Connie Mockenhaupt)

The show is appropriate for all ages and sure to put you in the holiday spirit!

Dates: November 27 – December 20
Times: Friday and Saturday at 8 p.m., Sunday at 4 p.m.
Tickets: $22 general, $20 seniors & SARTA, $15 children – group rates available!
Reservations: (916) 353-1001.

Stage 9 Theatre – Garbeau’s
717 Sutter Street
Historic Folsom 95630

For further information contact Connie Mockenhaupt at or (916) 353-1001.

Chautauqua Celebrates 30th Year for Scrooge

From (L): Rodger Hoopman, Chris Lamb


Northern California’s favorite holiday musical, SCROOGE, will be presented at the Chautauqua Playhouse, 5325 Engle Road in the La Sierra Community Center in Carmichael. This is the 30th year that SCROOGE will be presented during the holiday season. Scrooge will open with a performance at 8 p.m. on Friday, Dec. 4th and will continue to play on Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. through Dec. 23. Additional performances will be held at 7 p.m. on Sunday Dec. 13 and 20; on Monday, Tuesday and Wednesday, Dec. 21, 22 and 23 at 7 p.m.; and on Thursday, December 17 at 7 p.m. Admission is $15 general and $7 for children age 12 and under. Visit the theatre website at for ticket information and reservations or call the Chautauqua Playhouse at 916 489-7529. Group rates are available.

The original production of SCROOGE opened in 1978 in Cal Expo’s Golden Bear Playhouse, directed by Gary McFadyen and featuring Rodger Hoopman as Scrooge. Since then, SCROOGE has played each holiday season to enthusiastic audiences throughout Northern California.

The current production of SCROOGE, directed by Warren Harrison, will feature a company of local favorites including Chris Lamb, Warren Harrison, Boots Martin and many other local actors, with Rodger Hoopman in the title role for his 30th year.

Sacramento Bee Arts Critic Robert Masullo wrote: "His Scrooge is singular. He’s irascible, inarticulate and mean. Nevertheless and remarkably, he creates something close to sympathy for Scrooge." Bee Arts critic Alfred Kay scribed..."like Carol Channing as Dolly Levi or Yul Brynner as the King of Siam, the local director and actor has made the role his own. He handles it with a depth of fury and bitterness that makes you wonder how Bob Cratchit ever showed up for work." Sacramento Union critic Richard Simon wrote: "Hoopman has polished his conception of Scrooge so the character glows with a patina akin to that of rubbed mahogany. He makes his points both as the misanthrope and miser of Christmas Eve and the philanthropist of Christmas Day with utmost simplicity and directness of speech and gesture." Patricia Beach Smith, Bee Arts Critic, said: "Rodger Hoopman, as the unlikable yet redeemable title character, was a convincing Scrooge in a tour de force part, honed over many years of practice. His transformation from a persnickety old money-grabber to a generous, almost giddy everybody’s uncle, proved his mettle."

The production includes an original musical score by Hoopman and Rob Knable which "weaves about a dozen clever songs through the threads of the original story...making the holiday musical a delight." (Joanne Burkett, Roseville Press Tribune).

“The set captures Dickens' time, place and ambiance. The narrow houses line a narrow street, and though they are rendered on flat canvas, the scene evokes the comforting feeling of an advent calendar and makes one want to open the small windows for the prizes within." (Alfred Kay, Sacramento Bee)

For additional information contact the Chautauqua Playhouse at or call the theatre at (916) 489-7529.

St. Louis comes to Folsom

The haunting yet challenging musical “Meet Me In St. Louis” comes brilliantly to life at Sacramento’s 24th Street Theatre. Produced by Runaway Stage it tells the story of the Smith family, who plan to leave St. Louis for New York just before the 1904 World’s Fair. The two oldest girls, Rose and Esther, are especially distressed because they’re in love and planning to marry.

Backed by a 19-piece resident orchestra, the show offers, among others, these ever-popular numbers: Meet Me In St. Louis, The Boy Next Door, Skip To My Lou, Under The Bamboo Tree, The Trolley Song, Wasn’t It Fun?, and Have Yourself A Merry Little Christmas. All this, and more, delivered by seemingly inspired professional-level performers. The set, the choreography and the special effects are likewise stunning.

For details and a full review, go to

Monday, November 16, 2009

At Big Idea Theatre: An American Pygmalion

Photo: Melissa Rae Frago, Scott Divine

The New York Times just reported a new scandal: teachers are selling their lesson plans at places like Craigslist and eBay. The activity raises the question: Who owns the plans?

By ironic coincidence the story makes a footnote to George Bernard Shaw’s “Pygmalion,” now staged by Sacramento’s Big Idea Theatre, in an American version by Melissa Rae Frago, who also plays the lead female role.

The story was inspired by a Greek myth. Pygmalion, a sculptor, creates an ideally beautiful female statue he names Galatea and falls in love with her. Aphrodite, goddess of love, rewards him by bringing the statue to life. Shaw modernized the tale in 1916 by having Henry Higgins, a phonetics professor, perform an experiment on a poorly educated cockney, Eliza Doolittle, by transforming her into a lady. Shaw’s popular play was later developed into the musical “My Fair Lady.”

Shaw’s version works because a century ago England’s leaders, in politics and business, came from the upper classes. But in today’s more-or-less egalitarian America, the remnants of an upper class have become virtually irrelevant. In the Frago version we do get a brief glance at the upper-crust Hill family, who include Mrs. Higgins (Susan Madden), Henry’s mother. Mainly they’re distinguished by their taste for “The New Small Talk.”

The story opens on a street where Eliza, a lowbrow diva, is singing for money. In a spirited exchange with Henry (Scott Divine), who’s accompanied by his pal “Cole” Pickering (Gregory Smith), she discovers that he teaches people how to refine their speech. Later she comes to his office and insists on hiring him to teach her to refine her own speech. Instead he decides to use her for an experiment and turns her over to his assistant, Ms. Pearce (Sierra Hersek), to begin by changing her tacky wardrobe.

During the lengthy process of transformation, Henry receives an unexpected visitor, a shabby Alfred Doolittle (James Roberts). He announces that he’s her father and insinuates that he has a lively interest in the proceedings and wants to capitalize on her good fortune. In the second act, in fashionable clothes, he returns, lamenting that he’s been “delivered into middle-class morality.”

The end product is a mixture of success and failure. Eliza becomes a successful nightclub singer and maintains an ambiguous relationship with Henry, who is clearly not the marrying kind.

With a capable cast, director Shannon Mahoney keeps up a brisk pace on the spare stage, except for one glaring flaw. At a piano in the second act Eliza, now a star, demonstrates her newly developed singing abilities. Other actors, though, in the foreground with backs turned, screen her from many in the audience.

All in all, Frago’s interesting experiment doesn’t quite come off believable as something that could happen in today’s America. Today’s Higgins would probably send Eliza to a community college. Why not give us Shaw unabridged?

“Pygmalion” continues through December 5 at Big Idea Theatre, 1616 Del Paso Boulevard. Performances are Fridays and Saturdays at 8 p.m., Sundays at 2:30 p.m. Tickets are $12 and $15, with group rates available. Call 916-960-3036 or see

Saturday, November 14, 2009

Elf Confesses All Live On Stage

Message from Capital Stage, Sacramento
Photo Credit: Charr Crail

Capital Stage Presents THE SANTALAND DIARIES

November 27 - December 27, 2009
(Opening night: Friday, December 4 at 8 p.m.)

This holiday season Capital Stage presents the wickedly funny and wryly hilarious writing of NPR commentator David Sedaris. He's represented with the one-elf tour de force production of The SantaLand Diaries, adapted by Joe Mantello.

The story is based on the outlandish yet true chronicles of the best-selling author's stint as Crumpet the Elf in Macy's holiday display. It follows David, a would be soap opera writer, as he struggles to make it in New York. Unemployed and low on cash, he takes the "full-time Elf job" and soon zeros in on inane workplace policies, his fellow dispirited imps and the not-so-jolly revolving Santas. And what would SantaLand be without a gaggle of exasperated holiday shoppers?

Witty, sardonic and unpredictable, Sedaris mercilessly cuts through the Christmas spirit to point out the insane things we do during that most wonderful time of the year.

"...laced with priceless observations, both outrageous and subtle" - The New York Times

Performances for The SantaLand Diaries begin with five previews: Friday, November 27 at 8 p.m.; Saturday, November 28 at 7 p.m.; Sunday, November 29 at 2 p.m.; Wednesday, December 2 at 7 p.m.; and Thursday, December 3 at 8 p.m.

The show will open on Friday, December 4, 2009 at 8 p.m. Performances continue through December 27. Showtimes will be Wednesdays and Saturdays at 7 p.m., Thursdays and Fridays at 8 p.m. and Sundays at 2 p.m.. Added performances will be on Saturday, December 12 at 2 p.m.; Sunday, December 13 at 7 p.m.; Saturday December 19 at 2 p.m.; Sunday, December 20 at 7 p.m.; and Tuesday, December 22 at 7 p.m.

A performance on Christmas Eve (Thursday, December 24) will be at 7 p.m.. There will be no performance on Christmas Day.

Tickets range from $27-$34. Discount tickets are available as follows: Preview Tickets: $15; Student Tickets Wednesday, Thursday and Saturday Matinee: $13; Senior Tickets Sunday Matinee: $22; Group Rates available for 12 or more.

Tickets are currently available at the Capital Stage Box Office, by phone at 916-995-5464 or online at The Pilothouse Restaurant offers a specially priced menu for theatre patrons, who can make Pilothouse reservations through the box office.

THE AUTHOR David Sedaris is a Grammy Award-nominated humorist, writer, comedian, bestselling author, and radio contributor. Sedaris was first publicly recognized in 1992 when National Public Radio broadcast his essay The SantaLand Diaries. He published his first collection of essays and short stories, Barrel Fever, in 1994. Each of his five subsequent essay collections have become New York Times Best Sellers. His books have collectively sold seven million copies. Much of Sedaris's humor is autobiographical and self-deprecating, and often concerns his family life, his middle class upbringing in the suburbs of Raleigh, North Carolina, Greek heritage, various jobs, education, drug use, and his life in France.

Capital Stage Artistic Associate Janis Stevens (American Buffalo, Fool for Love) will direct long-time Foothill Theatre Company member Gary Alan Wright in this one-man tour de force.

The SantaLand Diaries is underwritten by Downey Brand Attorneys LLP.

Recommendation: For Mature Elves Only.

Tuesday, November 10, 2009

From EDH: a Wonderful Wizard of Oz

It’s hard to believe that a company of youngsters, high school age and younger, could produce a show that rivals a Broadway musical. But El Dorado Musical Theatre of El Dorado Hills manages that feat, and on a regular basis. What’s more, this is an “amateur” company—in the best sense: made of volunteers who contribute for the love of doing so.

“The Wizard of Oz,” which follows the film closely and with interesting additions, continues the pattern. Two casts, dubbed Ruby and Emerald, of over 50 performers apiece and of the same age range, offer superlative performances as actors, singers and dancers. What’s more, they’re braced with stunning scenery and special effects, including a green-faced witch flying around the ceiling, plus singing apple trees.

For a comprehensive review and performance details, go the

Monday, November 9, 2009

Audition Notice for "Into the Woods"

From Stage 9 - Garbeau's

Subject: Audition Notice “Into The Woods” at Stage 9 Theatre – Garbeau’s


Playwright: Music and Lyrics by Stephen Sondheim, Book by James Lapine

Audition dates: Monday, December 7, 7:00 p.m. to 10:00 p.m.

callback dates: Tuesday, December 8, 7:00 p.m. to 10:00 p.m.

rehearsals: February 15 through April 8. Sunday through Thursday evenings, 7:00 p.m. to 10:00 p.m.

performances: April 9 to May 16. Fridays and Saturdays 8 p.m., Sundays 4 p.m.

theatre address: 717 Sutter Street, Historic Folsom

web site:

directions to theatre: Hwy 50 to Folsom Blvd. into Folsom. Take the Sutter St. exit.

phone number: (916) 353-1001

director & music director: Susan Mason
choreographer: Connie Mockenhaupt

plot summary: When a baker and his wife learn they've been cursed with childlessness by the witch next door, they embark on a quest for the special objects required to break the spell: swindling, lying to and stealing from Cinderella, Little Red, Rapunzel, Jack and other fairy tale characters. Everyone's wish is granted at the end of Act One, but the consequences of their actions return to haunt them later, with disastrous results. What begins a lively irreverent fantasy becomes a moving lesson about community responsibility and the stories we tell our children.

what to bring: Photo and resume. One memorized monologue no longer than one minute. A song from a musical (preferably by Sondheim) with sheet music for accompanist. A song from INTO THE WOODS may be used. An accompanist will be provided.

special skills: Ability to part sing

types needed:
Baker's Wife / female / mezzo / 26 - 38
The Witch / female / mezzo / 25 - 99
Jack's Mother / female / soprano / 40 - 55
Stepmother / female / mezzo / 40 - 55
Rapunzel / female / soprano / 18 - 30
Cinderella / female / soprano / 17 - 26
Cinderella's Mother / female / mezzo
Granny / femaleFlorinda / female / mezzo / 18 - 25
Lucinda / female / mezzo / 18 - 25
Red Ridinghood / female / mezzo / 13 - 18
Snow White / female / spoken / 18 - 30
Sleeping Beauty / female / spoken / 18 - 30
Baker / male / baritone / 28 - 40
Narrator & Mysterious Man / male / baritone / 30 - 60
Wolf / male / baritone / 25 - 50
Cinderella's Prince / male / baritone / 23 - 32
Rapunzel's Prince / male / baritone / 23 - 32
Steward / male / baritone
Jack / male / tenor / 15 - 24

paid position: no

Allen Schmeltz Productions

A Tuna Christmas comes to Jackson

Shawn O'Neal (left) and Scott Adams
Courtesy photo

“A Tuna Christmas,” produced by Main Street Theatre Works and now on stage in Jackson, is one of several sequels to the perennially popular “Greater Tuna.” The original first appeared in 1981 and the sequel in 1989. Both plays were, in fact, so popular that they were performed in the White House for the first President Bush and First Lady Barbara.

The MSTW production is about as good as it can get. Both plays require two actors to play 23 roles between them. Under Julie Anchor’s fast-paced direction Scott Adams and Shawn O’Neal become an ideal cast, the mountainous O’Neal pairing with the small and slender Adams. Between them they play characters of all dimensions, sizes and sexes with unflagging élan.

Both plays were written by the same witty team: Jaston Williams, Joe Sears and Ed Howard. But now, twenty years after the plays first appeared, they seem considerably dated and the satire rarely stings. Set in the fictional Tuna, Texas, “where the Lions Club is too liberal, and Patsy Cline never dies,” the town’s radio station, OKKK, doesn’t rate a snigger. These days, when even the Taliban exploit the internet, the insular small town seems a relic of the past.

But for youngsters and city folks, what we see in the plays had plenty of bite a generation ago. The two acts of “A Tuna Christmas” cover the 24 hours before Christmas. In Act I, after the opening announcements from Station OKKK, the scene shifts to the Bumiller home, where Bertha (O’Neal), the mother, is frustrated because she can’t get the kids to help her decorate the tree and Hank, her husband, hasn’t been home in days.

She remains impatient with her three kids, Jody and the twins, Charlene and Stanley. She barks at Stanley (Adams), still on probation for a past crime, “Stanley, dammit, don’t cuss on Christmas!” But there’s plenty of piety around town, where one enterprising citizen is writing a cleaned-up “Deuteronomy.”

Meanwhile Tuna’s Little Theatre’s production of “A Christmas Carol” may be aborted if Dixie Deberry (Adams) shuts off the lights because the electric bill hasn’t been paid. The theater, incidentally, is considering an all-white production of “A Raisin in the Sun.” Other tensions involve the “Christmas Phantom.” Will he sabotage the Annual Yard Decorating Contest and thus prevent Vera Carp (Adams) from winning again for the 18th year in a row?

But not all are distressed as they await the traditional OKKK Christmas party. Didi Snavely (Adams) continues to prosper in her used weapons business. Her motto is “If we can’t kill it, it’s immortal.” Yet she’s still critical of her home town. “What,” she asks, “do you think of a place that has elk hunting season but no elk?”

There are lots of laughs, though the show tends to drag on a little too long for even the most patient in the audience. But the new winter venue, Thomi’s Banquet Room in Jackson, has much to recommend it, with an excellent buffet dinner that offers a choice of beef and chicken. Dessert is served at the table. Unlike the theater company’s former home, where you had to bring your own bottle, Thomi’s offers wine by the glass.

“A Tuna Christmas” continues through November 28 at Thomi’s Banquet Room, 627 S. State Highway 49, Jackson (a half-mile south of the intersection with Main Street). Dinner performances are Friday and Saturday. Doors open at 6:15 p.m., with dinner served at 6:30, show starting at 7:45. Sunday lunch matinees (November 15 and 22 only) open doors at 12:15 p.m., with lunch served at 12:30 p.m., show starting at 1:45 p.m.

Ticket prices are $40 for dinner, $28 for lunch. Tickets are available at or by phone at (209) 304-6690. See website (above) for more information.

Saturday, November 7, 2009

King Henry V holds court in Folsom

l to r: Dominique Jones, George Sanford, John Riley Saunders

Courtesy photo

Not one to be daunted by challenges, producer and director David Harris takes on the awesome task of staging one of Shakespeare’s most popular histories, Henry V. Artistic director for the Falcon’s Eye Theatre at Folsom Lake College, Harris is well qualified to manage this challenging project.

Henry V is arguably England’s most idealized king. To most Americans he’s just another Henry, but to the English he’s a fusion of the elements making up the English character, a blend of nobility and commonness. A wastrel in youth, he achieved glory in later life with a conquest over the French at Agincourt in 1415. Shakespeare somehow manages to embody this blend in his play.

An anecdote, possibly apocryphal, is illustrative. It tells us about a production in England during WWII, with Laurence Olivier in the title role. A pacifist, Olivier had little stomach for the title role. “You are England!” Winston Churchill, rising out of his seat in the audience, bellowed at Olivier, who immediately changed his interpretation.

Though many of the parts in Harris’ production are played by Harris’ students, the roles have been cast through open audition. In addition, some heavy duty professionals, like Jonathan Williams from Sacramento’s Capital Stage, bring added strength to the show.

The story line begins when the King of France (John Reilly Saunders) mocks Henry (George Sanford) with a gift of tennis balls. After some elaborate legal advice, Henry raises an army and sets off to conquer France. Before leaving he establishes his seriousness by punishing several courtiers who plotted against him.

Shakespeare also recognizes the common folk who participate in the venture. They often provide comic relief, as with Pistol (Stephen Miller), Bardolph (Nick Heacock), Nym (Tim Yancey) and Mistress Quickly (Molly Miller). Most of the actors assume multiple roles.

The show gets off to a somewhat rocky start when Harris falls into a common trap that snares many directors struggling to do something original with Shakespeare. Traditionally the action begins with Shakespeare’s prologue (“O for a muse of fire…”) delivered by a lone actor, called the “Chorus,” as if he were the bard himself. When he says, “Think, when we talk of horses, that you see them / printing their proud hoofs i’ th’ receiving earth,” how can we resist visualizing the image?

Harris, however, breaks up the prologue, having each cast member dash on, then off, the stage after delivering one line. The result, to borrow a quip from Gertrude Stein, is that “there’s no there there.” When each line introduces a new actor, the underlying voice, the persona, disappears.

Adding to a somewhat rocky start, a rather nervous cast on opening night seemed to try tickling the audience by playing some scenes for unintended laughs. There are plenty of laughs in the play, but not all the scenes are supposed to be funny. Luckily, the actors seemed to enjoy an enthusiastic cheering section in the audience.

After intermission the cast appeared to restore its self-confidence and we got some brilliant moments. One highlight is a delightful scene when the French Princess Katherine (Dominique Jones) is tutored in English by Alice (Katherine Folsom), her attendant. The princess eloquently mispronounces the words as she touches various parts of her body. We also get more delightful comedy with the addition of the Welsh blowhard Captain Fluellen (Saunders).

But the action is dominated by a brave and principled King Henry, sparing his captives when he conquers the city of Harfleur and rivaling the eloquence of the chorus with his pep talk to his troops before the famous victory at Agincourt. “Once more into the breach, dear friends, once more,” he begins, and ends with “Cry ‘Harry, England, and Saint George!’” There is also a sweet wooing scene between Henry, the novice lover, and the skeptical Katherine.

There is plenty of sword play, choreographed by Williams, who also acts as technical director and lighting designer. Some original music and sound design come from Clyde Patterson, and costumes are by Rebecca Redmond. Scenic director Stephen C. Jones augments the show with large background scenes suggesting locale and projected on side panels,

By the time of this writing, the cast should have shaken off the nervousness they experienced at the opening. And audiences in Folsom should be thoroughly enjoying Shakespeare’s magic.

“Henry V” continues through November 22 at Oak Hills Church, 1100 Blue Ravine Road, Folsom. Performances are Friday and Saturday at 8 p.m., Sunday at 2 p.m., with one Thursday night performance on November 19 at 8 p.m. There will be no performance November 14.

Tickets are $15 general; $10 for students, seniors, SARTA and LOST members, $7.50 for Los Rios employees and Oak Hills church members and staff. There is no advanced sale of tickets. Tickets may be purchased only at the door of the theatre an hour before the start of the performance, in cash or by check only. You may guarantee a seat by calling the box office at (916) 608-6800 and making a reservation.

Thursday, November 5, 2009

Spring Awakening Shocks and Sings

Christy Altomare and Jake Epstein
Courtesy photos

If you want to relive adolescence, its joys and agonies, you’ll probably love “Spring Awakening,” brought to the Community Center Theatre by California Musical Theatre. The musical, featuring rock and alternative rock, delivers a shock, like sticking a finger in a hot light socket.

The story is based on a long-suppressed 1891 play by German playwright Frank Wedekind. It’s set in the repressive, authoritarian climate of 19th century German culture, yet expressed through today’s rebellious music and attitudes. It starts with a pubescent Wendla (Christy Altomare) singing “Mama Who Bore Me” to her mother (Angela Reed, who plays all the adult women). The song is the inevitable child’s question about where babies come from and receives an evasive answer.

We’re then introduced to the boys in a classroom, where they’re stiffly at military attention as the tyrannical teacher (John Wojda, who plays all the adult men) cracks them with a stick if they fail to parrot, in Latin, lines from Virgil’s Aeneid. The chief victim is Moritz Stiefel (Taylor Trensch, photo at right), whose defender is the forthright Melchior Gabor (Jake Epstein).

As the story progresses we meet other youngsters, four girls and four boys plus ensemble, struggling with their newfound sexuality, with scenes of masturbation and homosexual experimentation, plus mention of pregnancy, abortion and death. There is, though, no nudity except for a glimpse of male buttocks during a copulation scene. The first act deals with discovery; the second with consequences.

The producers alert us that “Spring Awakening” is “recommended for theatergoers 17 and over,” presumably because those younger haven’t finished going through what we see on stage. Yet, even for adults, there’s a dazzled uneasiness we experience when memories of our early vulnerability resurface during a spectacular production.

“Spring Awakening” won eight Tony Awards in 2007, including Best Musical, Best Director (Michael Mayer), Best Book (Steven Sater), Best Choreography (Bill T. Jones), Best Orchestrations (Duncan Sheik), and Best Lighting Design (Kevin Adams).

The scenic design, by Christine Jones, along with the lighting design, deserves special attention. We, as audience, seem to enter the stage because actors occupy two galleries of seats, one on each side wall. The eleven-piece band, led by Jared Stein, plays in front of the rear wall, which is indefinable but made colorful with lights. In fact the dynamic lighting heightens many of the scenes.

“Spring Awakening” continues through November 15 at the Community Center Theatre at 1301 L Street in downtown Sacramento. Performances are at 8 p.m. Tuesday through Saturday and 2 p.m. Sundays. There will be an additional performance on Sunday, November 8, at 7:30 p.m.

Tickets, ranging from $18 to $65, are on sale at the Community Center Box Office, the Wells Fargo Pavilion Box Office (1419 H Street), outlets and online at You can order by phone at (916) 557-1999, (916) 808-5181, or (800) 225-2277. Group orders for 12 or more are available by calling (916) 557-1198.

For more information visit or

Wednesday, November 4, 2009

A Fairy Tale with a Twist

Announcement from Oak Ridge High School


Oak Ridge Drama will be presenting “Once Upon A Mattress,” directed by Mrs. Janet Henke. All performances will be at 7:00 pm on Thursday, Friday and Saturday nights from November 5th through November 21st, 2009. Musical direction by Natalie Miller with pianist Shaun Manley and a group of harmonious Oak Ridge student musicians, and choreography contributed by Erica Wilens.

If you thought you knew the story of "The Princess and The Pea," you may be in for a walloping surprise! Did you know, for instance, that Princess Winnifred the Woebegone actually swam the moat to reach Prince Dauntless the Drab? Or that Lady Larken's love for Sir Harry provided a rather compelling reason that she reach the bridal altar post haste? Or that, in fact, it wasn't the pea at all that caused the princess a sleepless night? Add this to a scheming, son-smothering Queen Aggravain, you will be carried away on a wave of wonderful songs, by hilarious and raucous, romantic and melodic turn-of-events. This rollicking spin on the familiar classic of royal courtship and comeuppance provides for some side-splitting shenanigans. Chances are you'll never look at fairy tales quite the same way again!

Don’t miss this amusing and entertaining show featuring talented Oak Ridge High School students Sean Biggs, Zack Brown, Alexandra Chavez, Aly Chavez, Alexandra Curewitz, Lauren Day, Annie Geraghty, Jacque Geraghty, Divya Golconda, Jacob Goodyear, Rachelle Hull, Devin Holliman, Kerri Hossack, Brandon James, Jake Jones, Sean Kille, Chelsea Kopp, Nicki Latini, Nick Lawson, Ayesha Mazumdar, Christopher Meissner, Andre Mercer, Daniella Nasello, Kristyn Nolasco, Ryan Norton, Firenza Rodriguez, Sean Rumery, Lauren Sharp, and Mackenzie Spradlin. Crew and tech support provided by David Eitel, Kyler Killips, Kate Rolls, Jenna Dees, Jeff Woo, Cameron Green, Sydney O’Shea, Windham Magden, Forrest Wilkins, Joshua Jones, and the Oak Ridge Tech Team.

Check out this hilarious and witty satire by ordering your tickets now! Call the Oak Ridge Box Office hotline at (916) 833-8884. For open seating-General Admission: $10; Students: $8 Reserved Seating is also available for $15.
November 5th, 6th, 7th, 12th, 13th, 14th, 19th, 20th, and 21st; all performances at 7:00 pm.
Oak Ridge High School Performing Arts Theatre, 1120 Harvard Way, El Dorado Hills, CA.

Tuesday, November 3, 2009

Atwater Fixin' to Leave Sacramento

“Atwater is Fixin’ to Die,” the sadly under-publicized gem, is scheduled to close at the Three Penny playhouse in Sacramento this weekend. A one-actor show by playwright Robert Myers, it features Eric Baldwin mainly as the unscrupulous Lee Atwater, advisor to two presidents and former chairman of the Republican National Committee. Under Vada Russell’s sensitive direction, Baldwin reveals Atwater’s Machiavellian fangs. In a tragic twist at the end, though, Atwater inwardly reforms and apologizes to his victims before his early death from cancer.

A work of both artistry and moral sensitivity, the play is scheduled to close Sunday, November 8, barring a late extension. Those who can manage to see it this weekend will be glad they did.

For a full review and details about the play, go to

Big Idea Theatre opens Shaw's Pygmalion

Melissa Rae Frago, Scott Divine
Courtesy photo

From Big Idea Theatre:

The Big Idea Theatre is pleased to announce the opening of Pygmalion on Friday, November 6, 2009. We are proud to present a modern look at this classic George Bernard Shaw masterpiece, as adapted by Melissa Rae Frago. In this pop-culture-informed production, Eliza aims to reach diva-level stardom through the coaching she receives from Henry Higgins and his friend "Cole" Pickering.

This show is not a musical but features two pieces of original music that highlight Eliza's on-stage debut. Shannon Mahoney directs, and BIT company members Scott Divine and Melissa Rae Frago head up the cast as Henry and Eliza, joined by the talents of Christian St. Croix (renowned as Claude Bukowski in Artistic Differences' 2007 production of Hair), Stephen Dowdy, Deborah Forester, Sierra Hersek, Susan Madden, James Roberts and more.

Performances of Pygmalion are at 8 p.m. Fridays and Saturdays, November 6 through December 5, 2009. Sunday matinees are at 2:30 p.m. (November 15, 22, 29 only). General admission tickets are $15. SARTA/League/Seniors $12. All second weekend tickets are $10 (November 13, 14, 15 only). Call (916) 960-3036 or go to

Monday, November 2, 2009

"Grease" Fact Sheet from EDMT

Fact Sheet for El Dorado Musical Theatre’s Production of:

With Music, Lyrics and Book by Jim Jacobs and Warren Casey
Director - Debbie Wilson
Vocal Director – Jennifer Martin
Costumer – Christine Martorana
Featuring El Dorado Musical Theatre’s Encore performers between the ages of 13-22.

Show Overview
GREASE is the all-American musical, based on the sub-cultures of high school life in the 1950’s. It’s 1959 and Rydell High School’s rebellious, happy, thrill-loving students start a new year. Sweet Sandy Dumbrowski transfers to Rydell High, where she quickly wins the affection of Danny Zuko, a member of the “Burger Palace Boys,” a tough-talking but harmless gang of youngsters who are known as greasers because of their slicked down hair. When Danny refuses to conform to Sandy’s wholesome good girl image, she dons tight jeans, changes to a bouffant hairdo, and is determined to win back her one true love. GREASE is the classic “boy meets/loses/regains” girl tale along with social conflict thrown in for interest. In 1978, GREASE became ‘the word’ with a popular feature film adaptation starring John Travolta and Olivia Newton-John as the lovelorn leads. A Broadway revival played from 1996-1998. Come join Sandy, Danny, the Pink Ladies and the Burger Palace Boys as they take us back to a simpler time in life. Get prepared to sing along and start practicing your hand jive.

Performances February 5-21, 2010
Oak Ridge High School Theatre
1120 Harvard Way, El Dorado Hills, CA

Ticket Prices
$20 adults and $16 students/seniors. Group discounts available.

Show Dates and Times
Friday, February 5 10:40 am School Show
Friday, February 5 7:00 pm
Saturday, February 6 2:00pm
Sunday, February 7 2:00 pm and 6:00 pm
Thursday, February 11 10:40am School Show
Thursday, February 11 7:00 pm
Friday, February 12 10:40am School Show
Friday, February 12 7:00 pm
Saturday, February 13 2:00 pm and 7:00 pm
Sunday, February 14 2:00 pm
Thursday, February 18 7:00pm
Friday, February 19 10:40am School Show
Friday, February 19 7:00 pm
Saturday, February 20 2:00 pm and 7:00 pm
Sunday, February 21 2:00 pm

El Dorado Musical Theatre
5011 Golden Foothill Parkway #4, El Dorado Hills, CA
(916) 941-SING

Stage 9 Theatre – Garbeau’s Three Year Celebration.

Memo From Stage 9 -- Garbeau's:

Subject: Stage 9 Theatre – Garbeau’s presents a special celebration of three years of performances. On Friday, Nov. 20, Saturday, Nov. 21, at 8 p.m., and Sunday, Nov. 22, at 4 p.m., Stage 9 Theatre – Garbeau’s will be presenting excerpts from our award winning shows of the past three years. Come and hear songs and see scenes from Tell Me on a Sunday, Hats, Snow White and the Seven Dwarfs, The Carsino Show, Forum, Escanaba in Da Moonlight, Rumpelstilskin, and many more! Hosted by Johnny Carsino and Eddie Marinara, this promises to be a fantastic evening! Reservations can be made by calling 916-353-1001.


“The Best of Stage 9 – Garbeau’s”
Directed by Connie Mockenhaupt & Susan Mason
November 20 – 22 (One Weekend Only)
Friday & Saturday at 8:00pm, Sunday at 4:00pm
Tickets: $22 general, $20 seniors & SARTA, $15 children
Reservations: Call (916) 353-1001
Stage 9 Theatre – Garbeau’s
717 Sutter Street
Historic Folsom 95630