Heisenberg at Left Edge Theater (Aired: January 22, 2020)

Santa Rosa’s Left Edge Theatre kicks off the New Year with Simon Stephens’s Heisenberg. The two-character dramedy about a May – December romance runs through February 2.

The title does not refer to either character, but to German physicist Werner Heisenberg. The Nobel Prize winner is best known for his 1927 uncertainty principle that, in its simplest definition, states that there’s a limit to what you can know with certainty about one thing at any one time.

What’s that got to do with a 42-year-old American single mother and a 75-year-old Irish butcher in London? Everything.

Alex Priest (John Craven) is sitting in a London railway station minding his own business when Georgie Burns (Shannon Rider) approaches him from behind and kisses him on the neck. She quickly apologizes to Alex and explains that he reminded her of someone she recently lost. The uber-extroverted Georgie then initiates a lengthy one-sided conversation in which she repeatedly contradicts herself. The ultra-introverted Alex finds himself caught like a deer in headlights, eventually sputtering “Why are you talking to me?”

It’s not giving too much away to say that these two disparate characters will end up together, but credit playwright Stephens (The Curious Incident of the Dog in the Night-time) for never giving us any sense of certainty about their long-term prospects. Motormouth Georgie makes us wonder if the two have any prospects at all with her repeated verbal barrages of inconsistencies and outright lies about who she is, but Alex’s interest in Georgie is piqued, as is the audience’s for the show’s 85 intermissionless minutes.

The great leveler between these two is loneliness, and nobody plays world a world-weary soul better in these parts than John Craven. Rider’s challenge is to bring vulnerability to a character who comes on like a runaway train. She succeeds in letting us see what Alex sees. They venture into an uncertain future together, each on their own terms.

The Carla Spindt-directed performances are complimented with some strong technical work. Lighting by April George and sound by Joe Winkler allow Argo Thompson’s minimalist set to easily transform from a train station to a butcher shop to a bedroom to Hackensack, NJ.

At one point in the show Georgie asks Alex “Do you find me exhausting, yet captivating?” The same question could be asked of this show, and the answer would be a resounding “yes”.

‘Heisenberg’ runs through February 2 at Left Edge Theatre in the Luther Burbank Center for the Arts in Santa Rosa. Thursday through Saturday evening performances are at 8pm; there’s a Sunday matinee at  2pm.

For more information, go to leftedgetheatre.com

Harry’s Top Torn Tickets of 2019, Part 2 – The Plays (Aired: January 15, 2020)

Comedies and dramas occupied North Bay stages for the bulk of 2019. Here, in alphabetical order, are my Top Torn Tickets, the best and/or most interesting comedic and dramatic stage work done in Sonoma and Napa counties in the past year:

After Miss Julie (Main Stage West) Just one of several outstanding productions at this little theatre dynamo, this tale of a classic love triangle set during a time of political upheaval was brutal in its portrayal of what people are willing to do to get what they want.

Eureka Day (Spreckels Theatre Company) This dark comedy about a charter school and the issue of vaccinations was hysterically funny but may have hit too close to home for some.

Faceless (6th Street Playhouse) Expatriate Craig Miller returned to direct this crackling courtroom drama whose combination of religious, political, personal, and legal conflicts made for a gripping evening of theatre.

Hamlet (Spreckels Theatre Company) Most theatre companies try to contemporize Shakespeare to appeal to a modern audience. Director Sheri Lee Miller and company proved it works just fine as-is.

The Laramie Project (Raven Players) Another show whose run was cut short by fire and PG&E power outages, this beautifully staged documentation of a community’s reaction to a horrendous crime was a stern and too-oft-needed reminder to those who think ‘it can’t happen here’ that it can.

Luna Gale (Cinnabar Theater) Liz Jahren’s towering performance as a social worker at the end of her rope and great ensemble work allowed this show to get past its directorial idiosyncrasies.

Miss Bennet: Christmas at Pemberley (Spreckels Theatre Company) Who knew that an extension of Jane Austin’s Pride and Prejudice would turn out to be the best Christmas show of the season?

Of Mice and Men (Cloverdale Performing Arts Center) An American classic presented in a stripped-down version that retained all the power of Steinbeck’s original takedown of the American Dream.

Rapture, Blister, Burn (Lucky Penny Productions) Venturing out of their usual comfort zone of family-friendly musicals and boisterous comedies, this Napa company scored a hat trick with this contemporary look at gender roles – terrific script, strong direction, and superb acting. They should produce more like this and audiences should go see it.

This Random World (Left Edge Theatre) – This collection of vignettes about the randomness of human connections had everything from laugh-out-loud comedy to touching drama. Everything, that is, but an ending.

Congratulations to the entire North Bay theatre community for a great year on-stage and Happy New Year to all!

(Photo: Liz Jahren plays Caroline in Cinnabar’s Luna Gale; one of Harry’s Top Torn Tickets of 2019 – Eric Chazankin/Courtesy of  North Bay Bohemian)

Harry’s Top Torn Tickets: The Musicals (Aired: January 8, 2020)

After having attended over one hundred Bay Area theatrical productions in 2019, it’s time to clear out the file cabinet of a year’s worth of theatre programs and select my Top Torn Tickets. Here, in alphabetical order, is my list of the best and/or most interesting work done in the musical genre by wine country theatre artists in the past year:  

‘Cinderella’ (Spreckels Theatre Company) I had a problem with the story line (a bit too much Prince Charming for my taste) but this production had great voices and clever stagecraft. 

‘Forever Plaid’ (Lucky Penny Productions) Get past the hokey pretense and you’ll find that as jukebox musicals go, this was a pretty darn entertaining one.

‘A Gentleman’s Guide to Love and Murder’ (Spreckels Theatre Company) This macabre musical ended up a casualty of the Kincade fire and PG&E Public Safety Power Shutoffs with its run cut short. A true shame that more folks didn’t get a chance to see it and Tim Setzer’s tour-de-force performance.

‘Jesus Christ Superstar’ (Santa Rosa Junior College) Thank God Andrew Lloyd Webber’s first musical was the last musical that the SRJC theatre folk had to do in a high school auditorium.

‘Little Shop of Horrors’ (Cinnabar Theater) One of the most entertaining musicals of the last half-century got a terrific staging in Petaluma and had audiences clamoring to see more Seymour, proving that you can’t keep a bad plant down.

‘Matilda the Musical’ (Napa Valley College) This delightful production showed that the youth talent pool in Napa is deep.

‘Merman’s Apprentice’ (Sonoma Arts Live) This original musical featuring Dani Beem and Emma Sutherland as the title characters got its first full staging in Sonoma and, with a few rewrites, just might have legs.

‘Million Dollar Quartet’ (6th Street Playhouse) This fictional look at the gathering of four musical giants with an impressive set and imported talent was the closest thing to a touring production this area has seen in a while. And oh, that music.

‘My Fair Lady’ (Sonoma Arts Live) A charming lead performance from Sarah Wintermeyer anchored a luverly show with some stellar supporting work by Chad Yarish and the ubiquitous Tim Setzer.

‘The Sound of Music’ (Santa Rosa Junior College/Sonoma State University) The hills of Rohnert Park came alive with the sounds of this musical, a harbinger of good things to come when the SRJC’s Burbank Auditorium reopens in the spring.

Next week: Top Torn Tickets: The Plays! 

Cinnabar’s The World Goes ‘Round and 6th Street’s Fully Committed (Aired: January 1, 2020)

North Bay theatres ring out the old and welcome in the New Year with music and comedy. The World Goes ‘Round to the beat of Broadway showtunes at Petaluma’s Cinnabar Theater while Santa Rosa’s 6th Street Playhouse is Fully Committed to bringing the laughs. Both shows run through January 5.

You’re probably more familiar with the works of the songwriting team of John Kander and Fred Ebb than you think. Responsible for the lyrics and music for Broadway hits like Cabaret and Chicago, The World Goes ‘Round is a musical revue featuring most of their best-known works.

There’s no plot, just five performers (Aja Gianola-Norris, Anna Joham, Adam Niemann, Brandy Noveh, and Kevin Singer) and three musicians (musical director Mike Greensill, Steven Hoffman, and John Shebalin) performing two dozen or so Kander and Ebb songs. Each song is a story unto itself, with director/choreographer Clark Sterling bringing a light touch and inventive movement to songs that range from the amusing (“Sara Lee”) to the melancholy (“Mr. Cellophane”) to the rousing (“New York, New York”).

Delivered in an intimate, cabaret-style setting via a talented ensemble that’s fully committed to entertaining their audience, it’s a very pleasant evening of musical theatre full of delightful characterizations and terrific vocals.

Fully Committed is also the high-falutin term a toney Manhattan restaurant prefers to use when telling potential patrons they’re totally booked.  

Meet Sam (Patrick Varner), a struggling New York actor whose daytime job consists of taking reservations from the hoi polloi hoping to get a good table at a New York eatery known for its “molecular gastronomy”. It’s the type of restaurant that serves “smoked cuttlefish risotto in a cloud of dry ice infused with pipe tobacco”.

Tucked in the basement, Sam juggles the reservation lines, a staff intercom, a “hot” line to the chef, and his cell phone while he engages in conversations with the crème-de-la-crème of New York society, his absent co-worker, his demanding boss, and his father who’s hoping he can come home for Christmas. 

Varner is a whirling dervish as he takes on 40-some characters and gives them each a personality and a voice. It takes a bit of getting used to visually, but buy into it and it’s a fun 90 minutes.

‘The World Goes ‘Round’ runs through January 5 at Cinnabar Theater in Petaluma. Friday and Saturday evening performances are at 7:30pm; the Sunday matinee is at 2pm.

For more information, go to cinnabartheater.com.

‘Fully Committed ‘ also runs through January 5 on the Monroe Stage at 6th Street Playhouse in Santa Rosa. Thursday through Saturday evening performances are at 7:30pm; there are Saturday and Sunday matinees at 2pm.

For more information, go to 6thstreetplayhouse.com

Summer: The Donna Summer Musical (Aired: December 25, 2019)

North Bay residents seeking refuge from a rainy and cold December might find it worth their while to head over the bridge and spend a Summer afternoon or evening in the city. Donna Summer, that is, as BroadwaySF hosts the touring company of Summer: The Donna Summer Musical.  It runs through December 29 at San Francisco’s Golden Gate Theatre.

Summer, who died at the age of 63 in 2012, was the undisputed queen of disco when that style of music dominated the charts. How she ascended to that throne and what she did when musical tastes changed is the basis for this jukebox musical that lasted eight months on Broadway in 2018.

Three incarnations of Summer tell the story. ‘Diva Donna’ (Dan’yelle Williamson) opens the show and welcomes the audience with “The Queen is Back”. ‘Duckling Donna’ (De’Ja Simone, filling in for Olivia Elease Hardy) covers Summer’s formulative years while ‘Disco Donna’ (Alex Hairston) gives us Summer in her prime.

Summer’s life is an interesting one but the devil is in the details and you don’t get many of those in the paper-thin book by Colman Domingo, Robert Cary, and director Des McAnuff (Jersey Boys).

What you do get is 100 intermission-less minutes of Summer’s greatest hits tenuously tied to the high and low moments in Summer’s life. The end of an abusive marriage is the cue for “No More Tears (Enough is Enough)”. Breaking a record company’s contract for their ‘creative accountancy’ is proof “She Works Hard for the Money”. The show ends, of course, with the Oscar and Grammy-winning “Last Dance” in a massive production number set at New York’s Studio 54 featuring what may be the world’s largest disco ball.  

No one goes to a show like Summer for gritty drama or complex characterizations. Audiences flock to jukebox musicals for the music and Summer does not disappoint in that area. The opening night audience applauded at the first notes of many tunes and the vocals by Williamson, Simone, and Hairston captured the essence and power of Donna Summer without resorting to impersonation.

Summer: The Donna Summer Musical is as cookie-cutter as musicals come these days. By no means a great show, it is an entertaining one that’s best appreciated by those who lived through the ‘70’s and for whom the thump, thump, thump, thump of a four-on-the-floor bass drum beat is met with a smile.  

‘Summer: The Donna Summer Musical’ runs Tuesday through Sunday through December 29 at the Golden Gate Theatre in San Francisco. Weekday evening performances are at 7:30 pm, weekend evening performance are at 8:00 pm, and there are weekday and weekend matinees at 2:00 pm.

For specific date, time, and ticketing information, go to broadwaysf.com

Two Musicals: A Christmas Story and Miracle on 34th Street (Aired: December 18, 2019)

Musical adaptations of Christmas movie classics close out the year with two shows running through Dec. 22. Sonoma Arts Live presents A Christmas Story, The Musical while Lucky Penny Productions brings Miracle on 34th Street, The Musical to Napa.

Bob Clark’s A Christmas Story was a moderate film success back in 1983. Based on the writings of humorist Jean Shepherd, repeated TV airings made it a holiday staple which means, of course, it had to be turned into a musical.

All young Ralphie Parker (Tuolumne Bunter) wants for Christmas is an official Red Ryder, carbine action, 200-shot, range model air rifle, with a compass in the stock and this thing that tells time. Thwarted by his mother (Morgan Harrington), his teacher (ScharyPearl Fugitt), and even Santa Claus, things don’t look promising on Christmas morn. Will his Old Man (Rick Love) come through?

The script follows the film fairly closely, with key moments converted to musical numbers by Benj Pasek and Justin Paul (Dear Evan Hansen). The Old Man’s infamous leg lamp becomes “A Major Award”, the tongue-on-the-flag pole bit is “A Sticky Situation”, and the standard admonition to any child desirous of a BB gun is turned into the show-stopping, Michella Snider-choreographed tap dancing extravaganza “You’ll Shoot Your Eye Out”.

Turning a 90-minute film into a full-blown musical leads to padding and there’s way too much focus on the parents, but Bunter is very good as Ralphie and the show does retain a lot of the film’s charm.

The same cannot be said for Miracle on 34th Street, the Musical.

How Meredith Willson (The Music Man) managed to strip an Oscar-winning story of most of its charm and turn the leads into two very unlikeable people is something of a miracle in itself.

The tale of a little girl (Ava Reynolds, alternating with Grace Martin) who doesn’t believe in Santa Claus and the romance between her mother (Alison Quin) and a neighbor (F. James Raasche) misses on almost every count.

The cast tries hard, with Tim Setzer’s Kris Kringle and Jill Wagoner’s prosecuting attorney coming off best, but there’s zero chemistry between the leads and there’s little love evident in a show whose original title was Here’s Love.   

A Christmas Story: The Musical’ runs through December 22 at Andrews Hall in the Sonoma Community Center in Sonoma. Thursday through Saturday evening performances are at 7:30pm; the Sunday matinee is at 2pm.

For more information go to sonomaartslive.org.

‘Miracle on 34th Street: The Musical’ plays through December 22 at the Lucky Penny Community Arts Center in Napa. There are Thursday through Saturday evening performances at 7pm and Saturday and Sunday matinees at 2pm.

For more information, go to luckypennynapa.com.

Miss Bennet: Christmas at Pemberley by the Spreckels Theater Company (Aired: December 11, 2019)

Miss Bennet: Christmas at Pemberley, Lauren Gunderson and Margot Melcon’s “continuation” of Jane Austen’s Pride and Prejudice, made quite a splash at the Marin Theatre Company in 2016 and since then has become a staple of holiday theatre programs. The Spreckels Theatre Company brings it to Rohnert Park with a production running through December 15.

It’s Christmas time at Pemberley Manor, where Fitzwilliam and Elizabeth Darcy (Matt Cadigan & Ilana Niernberger) are hosting a reunion of the Bennet sisters – Elizabeth’s expectant sister Jane (Alie Nordby) and her husband Charles (Evan Held), precocious and flirtatious sister Lydia (Ella Park), and their somewhat neglected sibling Mary (Karina Pugh). Mary sees little future for herself but the caretaking of her aging parents. Her chances of finding love are as limited as her chances of exploring the world outside of books.

Enter Arthur de Bourgh (Zane Walters), a somewhat nebbish neighbor who has come into his own estate. His interests align with Mary’s and there’s definite interest in Mary, but Arthur’s experience with women is severely limited.

Heeding the advice of the gentlemen of the house, Arthur writes a letter expressing his feelings which, of course, gets in the hands of the wrong person. As that misunderstanding plays out, in swoops Anne de Bourgh (Taylor Diffenderfer), Arthur’s cousin and self-declared fiancé. Will everything work out for Mary and Arthur or are they doomed to lives of spinsterhood and loveless marriage?

C’mon, it’s a Christmas play.

And a charming one at that. Director Sheri Lee Miller brings the right touch and the perfect cast to the material. The writing is so good and the characters so clearly defined that you really don’t need to know a thing about Pride and Prejudice to ‘get it’. Everything you need to know comes from the characters and the cast surely ‘gets it’ with each member delivering a strong and delightful characterization via Gunderson and Melcon’s witty dialogue. 

The show’s humor is rooted in the characters and their relationships. Pugh’s Mary is a tower of strength and vulnerability who’s met her match in Walters’ spot-on bumbling and loveable Arthur. Niernberger, Nordby, and Park’s sisters all seem like sisters and Cadigan and Held’s gentlemen lovingly exist in their world. Diffenderfer’s Anne is a great villain whose need for security leads her to say and do some awful, terrible and very amusing things.

Ah, but love conquers all and it will conquer you should you decide to spend some time at Pemberley Manor.

‘Miss Bennet: Christmas at Pemberley’ runs through December 15 at the Spreckels Performing Arts Center in Rohnert Park. Friday and Saturday evening performances are at 7:30pm; the Sunday matinee is at 2pm.

For more information, go to spreckelsonline.com

Marin Theater Company’s “Mother of the Maid” (Aired: December 4, 2019)

What’s a mother to do when her daughter says she hears the voice of an angel instructing her to lead an army to war? ‘Love her unconditionally’ is the short answer provided by playwright Jane Anderson in Mother of the Maid, running at Marin Theatre Company through December 15.

The tale of Joan of Arc has been told by poets, authors, playwrights and filmmakers for close to six centuries now and one wouldn’t think there’s much more to say on the subject. Playwright Anderson moves the focus of the story to Joan’s family and turns what is often treated as a religious or historical treatise into part situation comedy/part medieval family drama. 

Joan (Rosie Hallett) confesses to her mother Isabelle (Sherman Fracher) that the voice of Saint Catherine has informed her that Joan is destined to lead a great French army and cast the English from her country.  When Joan’s father Jacques (Scott Coopwood) finds out, he tries to beat the effrontery out of her. Thinking a trip to the local vicar will rid Joan of the idea, the family is surprised when Father Gilbert (Robert Sicular) finds Joan’s claim credible. Under the escort of her brother Pierre (Brennan Pickman-Thoon), Joan is soon off to the palace of the Dauphin to meet her destiny.

Much of that ‘destiny’ occurs off-stage as the focus remains on the impact of Joan’s decisions on those around her. Her brother first attaches himself to Joan as a protector but soon sees the circumstances as a way out of the peasant life. Her father trusts no one and senses things will not end well, and her mother does what mothers do – she stands by her child through thick and thin and tries to keep the family together.

Anderson tackles a lot of themes here: faith, class, power, sexism, and familial relationships. The universality of these themes is expressed through the use of anachronistic dialogue which, while occasionally jarring, does make the material more accessible.

Director Jasson Minadakis and a quality cast do a fine job in bringing balance to Anderson’s sometimes odd mixture of comedy and drama. The scenic design by Sean Fanning and lighting design by Chris Lundhal is superb with breathtaking visuals. Sara Huddleston’s sound design in conjunction with Penina Biddle-Gottesman’s delivery of Chris Houston’s compositions aurally transport us between the worldly and the other-worldly.  

Yes, you know how the story ends, but remember – it’s not the destination, it’s the journey.

‘Mother of the Maid’ runs Tuesday through Sunday through December 15 at Marin Theatre Company, in Mill Valley. Tuesday through Saturday evening performances are at 7:30pm; there are Saturday and Sunday matinees at 2pm.

For more information, go to marintheatre.org.

(Photo: Isabelle Arc (Sherman Fracher) and her daughter, Joan Arc (Rosie Hallett) – Kevin Berne)

Mountain Play and the Ross Valley Players Present “She Loves Me” (Aired: November 27, 2019)

It’s been almost 85 years since two of Marin’s oldest theatre companies joined forces to present a full theatrical production. Apparently, it worked so well that the Mountain Play and the Ross Valley Players have decided to do it again. Their co-production of She Loves Me, the 1963 musical adaptation of the 1937 Hungarian play Parfumerie, runs through December 22 at The Barn theatre in Ross.

The original Miklós László play is the tale of two combative co-workers who, unbeknownst to them, have been exchanging lonely-hearts letters. Does that plotline sound familiar? It’s the basis for Hollywood’s 1940 Jimmy Stewart/Margaret Sullivan film The Shop Around the Corner, 1949’s In the Good Old Summertime with Judy Garland and Van Johnson, and 1998’s You’ve Got Mail with Tom Hanks and Meg Ryan.  

With a book by Joe Masteroff (who did Cabaret) and music and lyrics by Jerry Bock and Sheldon Harnick (who did Fiddler on the Roof), She Loves Me returns to the original play’s setting of a perfumery and its staff. Chief Clerk Georg Nowack (Max Kligman) leads a staff that includes the perpetually-afraid-to-lose his-job Ladislov (Patrick Barr), the looking-for-love Ilona (Chelsey Ristaino), the shop lothario Steven (Anthony Maglio), and the wanting-to-be-more-than-a-delivery boy Arpad (Alex Cook). Soon they’re joined by Amalia Bosch (Marah Sotelo) who, much to Georg’s consternation, is hired by shop owner Mr. Maraczek (Ron Dritz) after impressing him with her salesmanship. Georg and Amalia don’t like each other very much which means, of course, they’ll be embracing by the end of the second act.

Director Nicole Helfer and her team deliver the very definition of a pleasant show. The story is uncomplicated, the cast and their characters are (mostly) charming, and the music is agreeable and pleasing – if unmemorable when compared to Fiddler.

Budgetary constraints and venue limitations were no doubt a factor in the decision to utilize a music track – under the on-stage control of vocal director Jake Gale – in place of a live orchestra. It works fine, but the richness of live music is sorely missed as was the amplification of the vocals.

The experienced cast does well with the energy and enthusiasm that young Mr. Cook brings to Arpad worthy of note.

There’s a Christmas connection to the story which is why it’s often programmed in the holiday season. Not quite a complete package, it makes for a nice theatrical stocking stuffer.

‘She Loves Me’ runs Wednesday through Sunday through December 22 at the Barn Theatre at the Marin Art and Garden Center in Ross. Wednesday and Thursday evening performances are at 7:30pm, the Friday and Saturday evening performances are at 8:00 pm, and the Sunday matinee is at 2:00 pm. For more information and ticketing, go to mountainplay.org.

Oliver! at the 6th Street Playhouse (Aired: November 20, 2019)

North Bay theatre patrons are well aware of the numerous performances cancelled because of the Kincade fire and PG&E power shutoffs. What they may not know is the impact those factors had on shows in the middle of their rehearsals. 

There’s no doubt that loss of critical time can be attributed to some – but not all – of the raggedness evident in the 6th Street Playhouse production of Oliver!, running through December 22. Odd directorial choices and horrible sound mixing also contributed to a less-than-satisfactory opening night performance of this classic musical.

Charles Dickens’ Oliver Twist is a dark look at the underbelly of a 19th century England full of orphanages, workhouses, and crime. British writer/composer Lionel Bart managed to turn it into a somewhat family-friendly musical that had a very successful West End debut and Tony-winning Broadway run followed by a multi-Oscar-winning film adaptation.  

Orphan boy Oliver (an under-rehearsed Cecilia Brenner) is living the hard-knock life when he’s sold to a local undertaker. He runs away to London and is taken in by a young pickpocket known as the Artful Dodger (a personable Mario Herrera). The Dodger introduces him to Fagin (David Yen, strong), the “mentor” to a gang of youthful thieves who have a beer hall lass named Nancy (Brittany Law, excellent) as a mother figure. Circumstances soon find Oliver in a good home, but Nancy’s mate Bill Sikes (a sinister Zachary Hasbany) sees Oliver as threat. A violent end is in store for someone.

The show requires a large cast and while director Patrick Nims has 24 performers on stage, more than half of them are kids. Consequently, the adult actors essay multiple roles (Dwayne Stincelli as the undertaker and a curly-locked housemaid; Maureen O’Neill as the undertaker’s wife and a ridiculously mutton-chopped Mr. Bedwin, etc.) as well as inanimate objects like doors and window blinds, while the kids play street urchins, the occasional adult, and animals. This gave the show a strange tone and led to the evening’s oddest moment when the violent bludgeoning death of a character was immediately followed by the sound of the audience’s “Aw!” at the sight of a child playing a dog.

Conceptual issues aside, poor sound work off stage repeatedly undermined quality performances on stage. I’m starting to sound like a broken record here, but sound really matters in a musical.

At some point, could no one step forward and say, “Please sir, I want some more… rehearsal?”

‘Oliver!’ runs through December 15 in the GK Hardt Theatre at 6th Street Playhouse in Santa Rosa. Friday and Saturday evening performances are at 7:30pm; there are Saturday and Sunday matinees at 2pm.

For more information, go to 6thstreetplayhouse.com