Tom Williams

Better this work is defined in traditional Japanese formats with Asian actors without all the contradictory style elements. I’d get rid of the terrible songs and I’d trim at least 40 minutes off the script. Me and most of the audience members in the production I saw became restless and bored with this redundant and wordy work.

The strong, articulate and disciplined performance by Lance Newton is impressive. Christopher Hart’s nice guy and truthful take on friendship is winning. The work of these two covers for the lack of details as to how Julian can actually be transformed into a tree and Peter’s finding a cure if Julian decides to revert back. To Tree is a sly little work that creeps up and stimulates us into reexamining our meaning of life and what the essence of being human is about

Tharp’s choreography reminds me of Bob Fosse meets classical ballet in that arm movements, sensual body language work together with jumps, twirls, kicks and lifts. These wonderful and sexy dances were executed with precession and a smoothness that was magical…Besides doing Sinatra, this expert orchestra deftly nailed Count Basie’s “Jumpin’ at the Woodside” as well as channeling Dave Brubeck and Paul Desmond in the haunting “Take Five” jazz classic. I felt like I was at the Sands in Vegas seeing Sinatra again. Brings back found memories.

My other problem with In The Heights is in its story that has for its central problem–will Nina go back to Stanford (why not just get student loans?) and will Vanessa get her Bronx apartment and how will Abuela Claudia spend her $96,000 lotto winnings? The closest In The Heights gets to conflict is the racism from Nina’s family toward the African-American Benny. This is a sugar-coated, idealized and sanitary depiction of the modern big city barrio that plays as fantasy and becomes a parody of Latino barrio life.

Jack helps rescue children lost in the woods, escapes from bully goats, and aids the three bears among other adventures Jack encounters on his fast-paced 55 minute journey toward finding his way and helping his parents become “normal” again. Jack restores the traditional ending that becomes “Happily Ever After” for his parents, himself and everyone.

You’ll need to stretch your imagination and exude much empathy to fully appreciate this strange work. The multilayer performances by Goeden and Keberlein make seeing this show worth the time. The folks at Oracle Productions don’t charge for tickets depending on donations from audiences after the performance. They bank on you enjoying their shows. Ironmistress’ acting makes this show jell. If you’re an adventurous theatre patron and want to see something different-catch Ironmistress and then make a suitable donation.

The Addams Family features a marvelous score and witty/funny lyrics by Andrew Lippa whose score has everything from vaudeville, to power ballads, to tango/fandango, to patter songs, to a pop/rock pastiches that deftly tell the story and enrich the characters. Lippa score is the vehicle that drives this show–it has humor, panache and loads of heart. There are hummable take-home songs here such as the opening “When You’re an Addams” and dance tune “Just Around the Corner.”