Just what will you find an undetermined number of leagues under the sea? Ariel is charming, and she and her “mer-sisters” offer sweet voices and brisk comedy. Prince Eric has the ruddy, seaworthy charm of a gung-ho master mariner. With her dialed-up-Disney-villain powerhouse vocals, Ursula the Sea Witch relishes the chance to get all twitchy-evil on us. Sebastian, always near the boiling point, frets with the best of them. Even Mr. Fussypants himself, King Triton, the clueless father who’s both too stern and too indulgent in terms of spoiling his teenage daughter — he shouldn’t let her go by herself to the mall, much less the surface! — redeems himself with a memorably regal stage presence.
It’s splashy fun.
Nicolette C. Andersen and Adam Chavez, co-directors of the new Selma Arts Center production, run a (mostly) tight ship in terms of creativity, production design, acting and singing. While the ambitiously staged show does have some wobbles and inconsistent moments, you (and your children) will find much to admire.
Observations from the opening-night performance I attended:
The projections are amazing. They deserve top billing here. Designer Dominic Grijalva breaks new ground locally with effects that feel as if we’re in the water with the performers. From a swirling opening storm to a spectacular dive to the murky depths of Ursula’s zip code, I found myself thoroughly entranced. My favorite part is the way Grijalva gives a stylized, boldly graphic design to the ubiquitous waves; they’re more abstract than literal, and their near constant motion gives the whole production a “be careful or you’ll get seasick” sensibility.
It’s our most ambitious episode of “The Munro Review” yet! The May edition features three guest segments, including a musical song-and-dance number. (Not by me. Although that would have been a sight.)
Here’s what you can catch in this chock-full episode:
♦ Kathleen McKinley, director of the new Fresno State production of “A Streetcar Named Desire,” fills us in on this ambitious and cutting-edge experience, which opens Friday, May 4. She’s joined by William Ramirez, a student in my Fresno State journalism class, who drops in to talk about our special class project covering “Streetcar” from a number of story angles. (It’ll be unveiled later this week.)
Provocative production offers a fresh and inspired take on the 2006 Broadway musical
Are these the days of “Purple Summer” for the Selma Arts Center?
They very well could be. The company’s current production of “Spring Awakening” is inspired. It crackles with a sense of creative energy and cohesion that suggests art at the highest level. Even in those occasional moments when the sense of assuredness falters — whether by individual performances, creative decisions that don’t quite work or technical flaws — the overriding feeling is one of focus and intensity that gives the provocative material an added sizzle.
I opened the doors of the theater after the opening-weekend performance I attended and marveled to myself: I can’t believe a production this edgy and this good is happening on sleepy High Street in downtown Selma.
As the Selma Arts Center production of the provocative musical opens, the current discussion about sexual harassment casts an interesting shadow
Theater doesn’t exist in a vacuum. As a live art form, it instantly becomes part of the time in which it’s performed. Cultural context matters. A play presented five years ago might resonate quite differently in the social environment of the here and now.
Think, then, of the new Selma Arts Center production of the musical “Spring Awakening” with the present in mind. There have been many versions of this show produced since its Broadway debut in 2006, but only those opening in the past few months have been performed against the backdrop we find today: an unprecedented national discussion about sexual harassment. And add to that a broader debate about the dynamics of consent in sexual relationships.
Those who know the show are aware of a key plot point: an explicit sexual encounter between a young teen girl and a boy a few years older whom she’s known for a long time. (Note: Much of this story focuses on this plot point, so consider this a spoiler alert for what’s ahead.)
Is the encounter consensual?
Ah, that’s a tough one.
“Yes and no,” says Kindle Lynn Cowger, who plays Wendla, a naive girl of about 15 growing up in a 19th Century town in Germany.
With “Spring Awakening,” this might be director Dominic Grijalva’s final opening weekend at the Selma Arts Center. Which is a sad thing for Selma, but a great opportunity for wherever his new adventures might take him. Over the last few years, the talented Grijalva has done much to raise the profile and level of productions in Selma. He’s even gotten some big-name help from a friend of his — none other than “Hamilton’s” Lin-Manuel Miranda — to help make “Spring Awakening” happen.
In my main preview piece about the show, I talk with Grijalva and actor Kindle Cowger about a specific theme: how the provocative sexual storyline fits in with the current #MeToo movement. But I also want to share with you some of the other interesting topics I covered with Grijalva about “Spring Awakening,” including getting down to the bottom of the story of that very famous sponsor.
Q: Books and knowledge play a fascinating role in your concept for the show. Tell me how they fit in.
A: A lot of the misfortunes that come to each character in the play steam from a lack of exposure, and some from the overwhelming presence and dictatorship-like control the grownups have over the children. In developing a concept for this production, the one image that kept coming to mind was that of a huge library where the kids felt prisoner to the rules and regulations that the adults force upon them.
A special thanks to the cast of Selma Arts Center’s “Spring Awakening” for being my January guests on “The Munro Review,” produced by the Community Media Access Collaborative (CMAC). I interview director Dominic Grijalva and actors Kindle Lynn Cowger and Kai DiMino about the production, which opens Jan. 26, and host two musical performances from the entire cast. They sound great. You don’t want to miss it.
Plus, I recap my coverage of Good Company’s “A Christmas Carol,” Fresno State’s “Two Gentlemen of Verona,” CMT’s “Annie,” Good Company’s “Breaking Up is Hard to Do,” and Audra McDonald’s upcoming concert with the Fresno Philharmonic. And I preview Good Company’s “Sense and Sensibility” and “Annie,” tell you about a quirky little show called “Calculus: The Musical,” discuss the upcoming national tour of “Kinky Boots,” and give a shout-out to the Fresno Art Museum’s winter exhibitions.
You can watch the episode on demand on YouTube (above). And you can see it on broadcast TV on CMAC 1 (Comcast 93, AT&T 99) the following dates:
Monday, January 1 – 8:00 pm
Wednesday, January 3 – 8:00 pm
Friday, January 5 – 2:30 pm
Sunday, January 7 – 12:30 pm
To subscribe to the email newsletter for The Munro Review, go to this link:
Selma Arts Center offers an accomplished production of “The Hunchback of Notre Dame”
He becomes a hunchback before our eyes. One instant Thomas Hayes is standing straight, tall and unblemished, and then, in a few measures of song and with a few key costume additions, including a strapped-on hump that looks as if he’s slinging on a small backback, and some smears of black makeup, we are introduced to Quasimodo.
I like this moment of theatricality in the ambitious and sensitive new production of “The Hunchback of Notre Dame” at the Selma Arts Center. The transformation reinforces the lyrics: “Who is the monster and who is the man?”
Indeed, who is the “monster” in this classic tale? The disfigured and physically impaired young man with a pure heart and a longing to commune with others? Or the preening and pious “man of God,” the archdeacon of none other than the great cathedral of Notre Dame, whose unbridled lust and cruelty destroys lives?
Medieval Paris is built on stage in new production of “The Hunchback of Notre Dame”
The Selma Arts Center has recreated many settings in the world for its plays and musicals. But one of the most challenging has to be Paris’ iconic Notre Dame Cathedral. That’s the main location for the company’s new offering of “The Hunchback of Notre Dame,” which opens Friday, Nov. 17, in an ambitious production.
There’s a lot to unpack about this Disney musical featuring songs by Alan Menken, which is loosely based on the 1996 film. The title has recently been made available to community theaters. Children’s Musical Theaterworks offered the premiere youth production in July; now Selma tackles the title with an all-ages cast. I checked in with directors Dominic Grijalva and Juan Luis Guzmán, who collaborated on their answers, to come up with 10 Things You Should Know About “Hunchback.”
The set is a biggie.
Designed by Erik and Nicolette Andersen and built by Erik Andersen and Ken Grey, the set posed many challenges.