Top 20: From Brad Myers’ last Fresno State show to drunken ‘Julius Caesar,’ it was a memorable 2024

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Myers’ most powerful and profound shows at Fresno State over the decades, according to him, include “12th Night,” “The Laramie Project,” “The Private Life of the Master Race,” “Who’s Happy Now,” “Rhinoceros” and “Urinetown.”

“Red Velvet” also belongs on that list. The production becomes a rare double honoree on The Munro Review’s Top 20, in fact, thanks to Haynie’s stellar performance in the show. (See below.)

Related stories: DONALD’S TOP 20 CULTURAL EVENTS OF 2023
And: DONALD’S TOP 20 CULTURAL EVENTS OF 2022
And: DONALD’S TOP 20 CULTURAL EVENTS OF 2021
And: DONALD’S TOP 20 CULTURAL EVENTS OF 2020
And: DONALD’S TOP 20 CULTURAL EVENTS OF 2019
And: DONALD’S TOP 20 CULTURAL EVENTS OF 2018
And: DONALD’S TOP 20 CULTURAL EVENTS OF 2017

Let’s get to the rest of the Top 20 list, which in this installment also includes some honorable mentions. (Note that besides the top position on the list, the rest does not reflect any other kind of ranking.)

The full title of this list, I guess, would be “Donald and Heather’s Top 20 Cultural Events of the Year in the Central San Joaquin Valley.” Granted, we can’t get to every event in the greater Fresno area. But we try our best.

“Cultural” is a pretty broad term, and we have to narrow that down a bit, too: In this case think of it as shorthand for “theater-classical-music-opera-dance-visual-arts.” As in years past, I declare up-front that The Munro Review covers more theater events than anything else because they’re the most likely to have repeat performances.

Now let’s get to the rest of the list.

Haynie excelled in ‘Red Velvet’ at Fresno State.

In his commanding portrayal of 19th-century actor Ira Aldridge in “Red Velvet,” Jimmy Haynie delivered a compelling performance that anchored the production. With a voice and presence that fills the stage, Haynie illuminated Aldridge’s complex blend of dignity, frustration, and resilience, capturing the emotional turbulence of an artist thwarted by racial prejudice. Haynie’s performance struck a deep chord, highlighting the pressure on exceptional talents to conform and compromise in a world that frequently fails to recognize their value. Haynie’s embodiment of Aldridge’s legacy was nothing short of astonishing, and his work was the cornerstone of a powerful and thought-provoking production directed by Brad Myers at Fresno State. (HP)

[Read Heather’s review of “Red Velvet”]

{Read Miguel Gastelum’s “Five Things to Know” about the production]

In a final Fresno performance, the Alexander String Quartet left a lasting legacy.

The San Francisco-based quartet was a longtime favorite of Fresno chamber music fans, enlightening audiences at the Philip Lorenz International Keyboard Concerts series and the California State University Summer Arts program over the years. The quartet is officially disbanding in 2025, which means that its October concert at the Fresno State Concert Hall was the last time that fans of the quartet got to hear it perform in Fresno.

The best piece on the program was an early Haydn quartet that unfolded with the precision and in-sync intensity you’d expect from accomplished chamber musicians. What set the ASQ players apart was how they were able to ratchet up that intensity just a touch — enough to make a slow burn suddenly turn hot. The Beethoven that followed likewise offered a hint of a gallop several times, but always teasing — promising a spillover of full abandon but never quite losing all restraint. Just sublime. We’ll miss you, ASQ. (DM)

[Read Donald’s story about the concert]

Maruyama exhibition soars at the Fresno Art Museum.

Visitors take a close look at “Poston, from the Tag Project” (2011) by Wendy Maruyama. Photo by Heather Parish / The Munro Review

The “Wendy Maruyama: A Sculptural Survey: Craft, Material, Process, 1972–2024” exhibition at FAM (which closes Sunday, Jan. 5) is a beautiful retrospective of a five-decade career by one of the most influential figures in postmodern artistic furniture and woodworking. Curated by Michele Ellis Pracy, the show highlights Maruyama’s diverse body of work, spanning wood, metal, textiles, photography, and digital media. Through a chronological presentation, the exhibition traces Maruyama’s artistic evolution, each piece connecting to the one before until the narrative of her thematic concerns comes full circle. I particularly admired how both Maruyama’s work and Ellis Pracy’s curation were so approachable and accessible for diverse audiences and for people who may be new to appreciating sculpture and visual arts. (HP)

[Read Heather’s overview story about the fall/winter exhibitions at the Fresno Art Museum]

Krysta Nielsen and Allison Larsen of Soli Deo Gloria.

Soli Deo Gloria celebrated its ‘Stories’ with a gorgeously sung spring concert.

We all come from somewhere. Soli Deo Gloria artistic director Julie Carter used an interesting premise to construct the through-line of her women’s vocal ensemble: She saluted the ancestral roots of her singers. The concert featured a variety of works by composers from different lands, including Sweden, Mexico, Italy and Scotland. (I loved Ellen Gilson Voth’s “The Harbor and the Sea,” telling the story of a Syrian refugee.) A concert highlight was the premiere of a new arrangement of Woody Guthrie’s “The Great Dust Storm” by SDG accompanist Walter Saul. The piece opened with a vocal depiction of a dust storm and then the human aftermath. My favorite of the lineup: the plaintive “Loch Lomond,” of course, bringing me back to my own Scottish roots. (DM)

[Read Donald’s interview with longtime choir member Krysta Nielsen about her own family story]

We’d never seen ‘Alice in Wonderland’ like this.

If not for the stellar efforts of Lively Arts Foundation’s artistic director, Diane K. Mosier, the greater Fresno area would not experience many of the world’s great dance companies. One of them was MOMIX, the brainchild of acclaimed choreographer Moses Pendleton, which brought one of its newest pieces, “Alice,” to the Saroyan Theatre in October. The result was like modern dance meets Cirque du Soleil: There were selections of the Lewis Carroll tale told in strange, hard-to-describe ways: spinning heads, limbs jutting at impossible angles, gravity-defying leaps and stunning illusions. At one point, in a dance involving a stained-glass-style lighting design projected onto sheets of fabric, it was impossible to tell just how many dancers were writhing underneath. For all the spectacle of AI and CGI in our movies, it’s hard to visually stun an audience anymore. But with live theater, there is a sense of a defined time and place — a constricted rulebook that requires the use of theatricality and illusion, not just a bigger hard drive. “Alice” made me gape in wonder, and that’s hard to do. (DM)

[Read Donald’s preview interview with MOMIX founder Moses Pendleton]

Juliana Harris gave us grace and nuance at Fig Tree Gallery.

You can lose yourself in the skies of Juliana Harris, which weren’t so much displayed at Fig Tree Gallery in February but seemed tethered there, as if the works themselves were faint, wispy cirrus clouds streaking past.. Harris, who enjoys living under the wide open skies of Academy (about 25 miles from Fresno), has a lot of practice tracking clouds, so it’s no wonder they’ve permeated her consciousness. She called her most recent exhibition “Cloud Ponds,” remarking how these paintings were a call to express form and formlessness. You could fall into (or would it be float up to?) these ethereal, beautiful works. (DM)

[Read Donald’s ArtHop picks for February]

‘Shakespeare (Abridged)’ tickled all the bones, not just the funny ones, at 2nd Space.

“The Complete Works of William Shakespeare (Abridged)” at Good Company Players’ 2nd Space was a hilarious romp through the Bard’s canon, delivered with infectious energy and wit. Under the direction of Mark Standriff, the show featured a double cast, with each ensemble contributing a distinct comedic interpretation of the same script. The Avon cast (R.L. Preheim, Casey Ballard, and Noah Miranda) leaned into chaotic, broad humor with a playful, improvisational flair, while the Stratford cast (Henry Montelongo, Alex Vaux, and Michael Fidalgo) sharpened the pace and wordplay with a Monty Python-esque subversion. Both casts excelled at physical comedy, clever wordplay, and pop culture references, a testament to their skill and Standriff’s direction. The combination made Shakespeare accessible and uproariously humorous for all audiences. – HP

[Read Heather’s review of “The Complete Works of William Shakespeare (Abridged”]

[Read Doug Hoagland’s in-depth profile on “Abridged” star Michael Fidalgo]

“Matilda, the Musical” made its mark in Selma.

Selma Arts Center’s “Matilda, the Musical” was a delightful surprise; it transformed a musical I wasn’t initially excited about into a lovely experience. Directed by Nicolette C. Anderson and Adrian Oceguera, the children’s ensemble was especially dynamic, with standout moments in group numbers like “The Smell of Rebellion” and “Bruce.” The show’s clever writing, sharp music, and earnest performances warmed my heart, proving that this charming and heartfelt musical has something special to offer even for the skeptical. (HP)

[Read Heather’s review of “Matilda the Musical”]

‘Come From Away’ retained its Broadway impact.

The cast of the recent national tour of “Come From Away.” Photo: Evan Zimmerman

Stirring and healing, this show’s sharp cast and a strong resemblance to the original look and feel of the Broadway original made this Broadway in Fresno production a profound experience. The unlikely premise (a musical about a tiny town in Canada that for a week after 9/11 became home to dozens of grounded jumbo jets not allowed to reenter U.S. airspace) and the sensitive approach to the subject matter helped create a catharsis that paid homage to one of the singular events of past history while avoiding the grim political context.  Late in the show, after the “plane people” have departed and the town goes back to its sleepy ways, one of the characters sings this truism: “We all looked the same, but we’re different than we were.” A profound and memorable show. (DM)

[Read Donald’s preview interview for “Come From Away”]

[Read Donald’s review of “Come From Away”]

Dan Aldape killed it as the Pharaoh in CenterStage’s ‘Joseph.’ But his real star turn: his lighting and projections.

As far as top-of-the-second-act big reveals are concerned, it’s hard to top the impact (and sheer silliness) of the Pharaoh’s entrance in “Joseph and the Amazing Technicolor Dreamcoat.” Dan Aldape, who is much better known behind the scenes as a lighting, sound and projection guru for several local theater companies, showed he can play with the big Elvises in a predictably over-the-top, three-spangles-north-of gaudy turn in the CenterStage Clovis Community Theatre production of “Joseph and the Amazing Technicolor Dreamcoat.” Still, Aldape’s even greater impact is in his production design. Aldape’s tech prowess took a leap even from last year’s production of “Once.” Using moving panels and a dizzying array of moving and still images, the show pulsed with a hard-driving forward momentum that never lost its visual vigor. (DM)

[Read Donald’s review of “Joseph and the Amazing Technicolor Dreamcoat”]

Fresno Master Chorale’s ‘Creation’ birthed some joy into this world.

I’ve had a soft spot for composer Dan Forrest ever since I heard the Fresno Master Chorale perform his zesty “Requiem for the Living” in 2017. Seven years later, the ensemble brought that same kind of joy with “Creation,” which the chorale performed in a California premiere in November. In 12 movements (and as a rough homage to Haydn’s 1798 oratorio), music director Anna Hamre unlocked the musical-mathematical precision of the stars and planets, all liberally doused in Forrest’s buoyant harmonies and sophisticated four-part canons that showed the great complexity of the solar system with all the planets moving in sync. I responded to the various movements with a real-time, stream-of-consciousness torrent of words in my notebook, including the below during the fourth movement, known as “The Light.” My thoughts about what the music made me “see”:

“I see the sun setting as I head home from work west on Shaw Avenue. Not because squinting at a red light at First Street is the most beatific example of pure light, but because of its it captures the sheer power of the physical phenomenon — the ability of the light to wrench me from my (boring) post-workplace thoughts and make me fend for my survival, even if it’s just staying alive in traffic.”

Something tells me that no one else in Shaghoian Hall had a brain even remotely chugging down the same tracks. But isn’t that the beauty of live music — that it can prompt such singularity in a listener.  (DM)

[Read Donald’s preview interview about “The Creation”]

Teddy Maldonado brought to mind Mandy Patinkin in ‘The Secret Garden.’

In a masterful portrayal of Archibald Craven, the anguished lord of Misselthwaite Manor, Teddy Maldonado injected heart and emotion into Good Company Players’ “The Secret Garden” at Roger Rocka’s. Maldonado’s performance, strikingly reminiscent of Mandy Patinkin’s iconic turn in the original Broadway cast, was skillful and deeply touching. From the delicate emotion of “A Bit of Earth” to the intense passion of “Where in the World,” his portrayal was poignant and among his very best. (HP)

[Read Heather’s review of “The Secret Garden”]

Cal Opera’s ‘Dido & Aeneas’ featured some graceful dancing.

Leave it to Edna Garabedian to bring the operatic version of Book IV of Virgil’s Aeneid to Fresno. Garabedian’s California Opera offered a charming staged version of Henry Purcell’s “Dido & Aeneas” at Fresno City College in July. One of the best aspects of the production was the graceful dancing. Another highlight was longtime Cal Opera singer Alexandra Jerinic, who found some nice emotional textures in her scenes with the he’s-gotta-move-on Aeneas (particularly when he breaks with her). It’s nice to see a performer such as Jerinic grow professionally in return performances. (DM)

[Read Donald’s preview of California Opera’s “Dido & Aeneas”]

‘Dracula’ bit off a feminist twist.

Fresno State’s production of “Dracula: A Feminist Revenge Fantasy, Really” makes my list for its off-kilter reimagining of Bram Stoker’s classic performed by a talented cast of student actors. Kate Hamill’s adaptation infuses the gothic tale with humor, horror, and a sharp feminist edge, while the direction by J. Daniel Herring created a chilling, atmospheric world. Key to the production’s success were the dynamic female characters, with standout portrayals by Chloé Mae Tabor, Paris Elise Richards, Molly Smith, and Paulina Marín Contreras, adding a fresh perspective on power and agency. From gripping physicality to impeccable comedic timing, the cast delivered an electrifying experience, balancing tension, wit, and great fun. (HP)

[Watch Donald’s CMAC interview with J. Daniel Herring and the cast of “Dracula”]

[Read Heather’s review of “Dracula: A Feminist Revenge Fantasy, Really”]

At Selma Arts Center, the motto was let there be blood. Lots of it.

All hail the blood ninjas in “Evil Dead: The Musical.” In the Selma Arts Center production, three menacing individuals (James Anderson, Morgan Blackburn and P.J. Clausing) were charged with spraying copious amounts of fake blood onto those audience members willing to pay for the premium seats. This outrageous musical, brought to fine form by co-directors Claudio Laso and Summer S. Session, isn’t the most subtle offering in the musical-theater canon (seeing as it includes a decapitated hand), but the zealous star power of Chris Ortiz-Belcher as a soon-to-be demon and the technical prowess of Elizabeth Heinrichs — who catered all that blood — made for a good time measured in buckets. (DM)

[Watch Donald’s CMAC interview with director Claudio Laso — and see Donald get doused in blood by the ninjas]

[Read Donald’s review of “Evil Dead: The Musical”]

‘Mean Girls times two — could a local teen version rival a Broadway national tour? The answer was yes.

The musical version of “Mean Girls” stopped in Fresno on a national tour. Children’s Musical Theaterworks performed its own version not long after. Though it may come as a shock, I actually enjoyed the local version better. One reason was the age-appropriate actors. When 20-somethings and even 30-somethings try to play 16- and 17-year-olds, you just get a different, harder vibe. But the age of the performers wasn’t the only reason I liked CMT’s version so much. Director Josh Montgomery put together an assured, smart, buoyant production that gave the national tour a run for its money. Sharing the role of Janis in alternate casts, Dani George and Vega Ankrum both nailed my favorite song, “I’d Rather Be Me.” Months later, I’m still humming it. (DM)

[Read Donald’s preview interview with Aiden Flores of CMT’s “Mean Girls” ]

[Read Donald’s musings on CMT’s “Mean Girls”]

From John Adams to Brahms: Fresno Philharmonic put it in one package

Sometimes a classical-music program is all about the contrast. In the Fresno Philharmonic’s buoyant “A Symphony Supreme,” guest saxophonist Timothy McAllister offered a heck of a trill in French composer Guillaume Connesson’s “A Kind of Trane.” (Along with his virtuosic sounds, the classical-sax master brought a pleasing visual aesthetic to the performance with his tall, lean presence and exquisitely tailored black suit a proportionally pleasing relationship to the brassy shine of his instrument.) The music — inspired by John Coltrane but not a piece of jazz — was edified by its placement in the program, sandwiched between John Adams’ “The Chairman Dances,” and the big Brahms Symphony No. 3. The Adams piece reminded me of a teeming city, raucous and exciting, winding down in the final movement to a trickle of silence (as the weary salarymen finally put heads to their pillows. The Brahms, of course, felt completely different, lush and pastoral, as far from a cityscape as you can get. I enjoyed all of the orchestra’s 2024 concerts, but there was something about this that felt especially whole and pleasing. (DM)

[Read Donald’s preview interview with Timothy McAllister]

Meg Clark helped make a ‘Beautiful’ production.

One of the charming things about putting together a list like this is the opportunity to revisit some of my own writing memories. I’m taken with this paragraph that I wrote about Meg Clark’s turn in Good Company Players’ “Beautiful: The Carole King Musical,” so I’m sharing it with you again:

Clark plays Carole King with – well, I can only describe it as with the “Meg Clarkness” that we’ve come to know and love. Sometimes I feel that Clark could have teleported here from the 1940s; she can project a brassy innocence and vivacious enthusiasm that could sell war bonds. In “Beautiful,” she is sunny and stormy and sad in the leading role. And her vocals are so, so good. When she sang “Will You Still Love Me Tomorrow” at the performance I saw, I was struck by how similar the experience was for me compared to her beautiful, boundless Belle in “Beauty and the Beast.” They’re entirely different roles, of course, but there’s something in the way she sang (sings) both songs that gave me deja vu. It’s as if her vocals consume the moment: filling every crevice of it, expanding past its borders, letting you for a few seconds forget everything beyond the power and emotion of her voice.

You’ll get the opportunity to reprise the “Beautiful” experience with Clark when the show reopens (due to popular demand) on Jan. 17. (DM)

[Read Donald’s appreciation of “Beautiful”]

‘S’WILL 24’ didn’t exactly hail Caesar as much as give him a Breathalyzer.

Last and certainly least (according to Shakespeare purists, I’m sure), The Fools Collaborative once again turned to a cheap gimmick to make a mark at the Rogue Festival. And I, for one, couldn’t have been more pleased. This installment of the “S’will” series” picked on “Julius Caesar” by larding it up with local references about Adventure Church and contemporizing it (“pizza-pizza,” anyone?). The gimmick: Pick one actor shortly before curtain and make them drink. A lot. (In this case, the drinking-game bit was just another drop in a sea of silliness.) Haley White, who adapted the script, and Miguel Gastelum, who directed the endeavor, found lots of ways to make me laugh. A lot. And I wasn’t even drinking. (DM)

[Read Donald’s review of “S’will 24”]

Honorable mentions

• Veteran performances at Good Company Players’ Second Space: In the local theater community, we often underestimate the skill and mastery our veterans consistently bring to the stage. We assume they will give accomplished performances and we risk overlooking their work. In 2024, attention must be paid to the performances of Dan Pessano as the Stage Manager in “Our Town” and Mark Standriff as Salieri in “Amadeus.” They were two very different performances from two quite different actors, yet both were full of deft language use, buoyant stage presence, and generous rapport with the audience. Intentional performances like these only come with years of experience and practiced technique. (HP)

• Corbin Itsuko Callaway at Fresno State’s Phebe Conley Art Gallery: This Fresno State graduate student show in ceramics, titled “Coming Home,” explored the path from darkness to light in terms of personal health and emotional resurgence. The pieces, which included birds and nature, resonated with feeling and purpose. (DM)

• Fresno Master Chorale’s “DaVinci” concert: The local premiere of Jocelyn Hagen’s “The Notebooks of Leonardo da Vinci” featured live singers and instrumentalists along with pre-programmed projected visuals that included photos, video and animation. You don’t usually think of choral music and cutting-edge technology ending up in the same sentence. (DM)

• Robert Ogata’s 90th birthday: The celebrated visual artist attracted a robust crowd (including a who’s who of the Fresno arts scene) in a wonderful tribute to his wonderfully thoughtful and impassioned works. (DM)

• The ensemble cast of Selma Arts Center’s local premiere of “Jersey Boys.” It’s all about the voices, and the Four Seasons sounded great. (DM)

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