Taylor Jones as Mimi and Robert Lopez as Roger in CCMT's "RENT"

Two big rock musicals in one week bring high energy music to the local audiences with Dream Girls in San Francisco and Rent in Walnut Creek, while a community in the park theater does a tongue in cheek children’s story fit for all ages, with Wind in the Willows, in Orinda.

The Contra Costa Musical Theater is currently producing an outstanding, exhilarating, exciting, professional level revival of the rock musical, Rent. This 1996 smash Broadway hit focuses on a group of impoverished young people who live the artist’s life, barely surviving in artistic colonies amid the social and economic squalor of lower east side New York.

In 1988, playwright Billy Aronson wanted to create "a musical based on Puccini’s La Bohème, in which the splendor of Puccini's world would be replaced with the cacophony of a modern New York City.” In 1989, Aronson connected with Jonathan Larson, a 29-year-old composer, and they began collaborating on this project. It was Larson who suggested the New York setting, simplifying the storyline and even the ultimate title, “Rent”. Aronson did not like the title, until Larson explained that the word “rent” also meant, “To tear apart”. A major underlying theme in the storyline developed around the HIV/Aids epidemic which was prevalent at this time in New York City, and it was the Aid’s illness and destruction of lives and friendships that replaced the theme of tuberculosis central to Puccini’s La Bohème.

The original La Bohème was first written and first produced for the public almost exactly 100 years earlier by Puccini. In fact, it was the happy coincidence of the 100 year anniversary that drew the interest of New York Time’s music critic Anthony Tommasini and secured the show’s musical creator, Jonathan Larson, his first and only interview. Larson, the show’s creator, died suddenly as the result of an aortic aneurism the night before the off-Broadway premier. Larson’s untimely death generated a buzz that translated into a very rapid interest in the show, which quickly outsold the 150 seat accommodations available in the New York Theatre Workshop where it began and in April of the same year it moved to the previously derelict Nederlander Theater on 41st, where it took off like a rocket.

On Broadway, Rent gained boisterous critical acclaim and won a Tony Award for Best Musical among several other awards. The Broadway production closed on September 7, 2008, after a 12-year run and 5,124 performances, making it the eighth-longest-running Broadway history as of December 2009. The production grossed over $280 million.

The current production examines the relationships of lovers and friends and how much time and events can change those relationships. Benjamin “Benny” Coffin III, a former roommate of Mark and Roger, has greatly benefitted from a fortuitous marriage and the financial support of wealthy in-laws. He subsequently purchased the derelict building in which his old friends, Roger (Robert Lopez) and Mark (Will Skrip) now live. He plans to renovate the building and to do so, his plans require that he remove or evict its tenants and homeless squatters. This musical rock opera also examines the lives, hopes and frailties of the building’s other inhabitants. In so doing, the show examines Mark’s relationship with former girlfriend Maureen (Meghann Reynolds) and Roger’s relationship with new girlfriend Mimi (Taylor Jones). Tom Collins (C.R. Lewis), a gay guy, is involved with a homosexual transvestite who goes by the name of Angel Schunard (Alex Rodriquez). Angel is adversely affected by Aids. There are many different relationships in this little community that are beautifully intertwined and poignantly correlated, stories and relationships that bring a bittersweet and sad recognition to the realities of the lives of the poor in modern America, in our times.

The broad range of talent who comprise this production are truly extraordinary and if I didn’t know better, I would swear that this show had to be a professional traveling show mounted by a major New York company, a big budget company that could afford to find the very best talent available. The voices, the acting abilities, the choreography by Devon LaRusa, the beautiful set design by Kelly Tighe, the lighting design by Paul Miller, the costumes by Marianna Ford, and the many elements of this production combined under the artistic direction of Jasen Jeffrey, musical direction of Matt Smart and production management of Scott Strain, culminate in an outstanding production. While most of the actors deserve kudos for their individual performances, Alex Rodrigues is truly brilliant as the transvestite, Angel.

This high energy, often very loud (you might want to bring some soft earplugs to tone it down a bit) and boisterous production of “Rent”, will truly be a long remembered standout for this remarkable company. Contra Costa Musical Theater deserves a standing ovation for this production. This is a very limited engagement and only continues this Thursday, Friday and Saturday, closing on September 4th in the Dean Lesher Regional Center for the Arts at 1601 Civic Drive in Walnut Creek. Tickets range between $40 and $45 each, with discounts available for seniors. Call 943-SHOW (7469) for ticket and reservation information, or purchased on their website at http://www.lesherartscenter.org/.

Dreamgirls Rocks the Soul!

In San Francisco, the SHN (Shorenstein Hays Nederlander) organization has brought the touring company production of the 1980’s musical hit, “Dreamgirls”, to the Curran Theatre for a spectacular four week run. Similar to the previously discussed revived musical, “Rent”, Dreamgirls is a revival of a hit Broadway Musical that stormed the Broadway scene in the early 1980’s. Dreamgirls, under the direction of Robert Longbottom and co-choroegrapher Shane Sparks, SHN brings a spectacular, technologically stunning, brilliantly staged theatrical event to San Francisco.

This fictional rock musical story tells about the hopes, heartbreaks and heartthrobs of a young group of black women, hoping to break into the world of entertainment, a group remarkably similar to and perhaps modeled after the highly successful “Supremes”. Bringing the musical talent and the rhythm and blues inherent in the black culture of America to the awareness of mainstream America was the marvelous heritage and opportunity provided hundreds of talented entertainers via the stage of the Apollo Theater in Harlem, New York. This highly entertaining musical is vibrant with spectacular staging and enhanced with modern computerized backdrops used to amplify the performing talent and color and poignancy woven into the fabric of this story.

Dreamgirls introduces Moya Angela as Effie White as the original lead singer for a group who called themselves “The Dreams”, a group which also included the talents of Syesha Mercado as future lead singer Deena Jones, Adrienne Warren as Lorrell Robinson and Margaret Hoffman as Michelle Morris. The original “Dream” girls story is recounted as they first appear on the Apollo Stage and through that appearance find the opportunity to develop their showmanship by working as a backup group for established singer, James “Thunder” Early (Chester Gregory). The story is rife with backstage drama, illicit love affairs, management wars, money made and money lost, love made and love lost, and most importantly, friendships made, lost and eventually restored.

There are a number of stellar actors and performers in this show in addition to the ladies in the Dreamgirls group, especially the very talented Chester Gregory who plays the rockin’ sockin’ mind blowin’ James “Thunder” Early. This man is perhaps one of the best things in the entire show. What a performer. In addition, the “Cadillac Man” and conniving second manager of the “Dreamgirls” is a superb actor who deliverd a remarkable character. The ladies themselves have beautiful voices.

The staging is almost overwhelming with hundreds of costume changes, most of which are made in an incredibly short time (one in 3 to 4 seconds), a plethora of wigs and wig changes, and eye popping, colorful costumes that re-create the theatrical excesses and eccentricities of the times. While there are a number of great songs delivered by beautiful voices, the unique style of black singing, bordering on theatrically exaggerated choir style, greatly excessive in vocal trills and shouting exercises, became an annoyance and a headache to me by the second act. The sound system is on steroids and you might want to bring ear plugs to this show as well.

The story brings back memories of the Supremes and similar groups that I truly enjoyed and still enjoy when I hear their old recordings today. The blues and soul aspect is entertaining and enjoyable for the most part, but if the blaring sound were not turned down, I would not go back to see it again.

This production of “Dreamgirls” continues Tuesdays through Saturdays at 8 p.m., with matinees on Wednesdays, Saturdays and Sundays at 2 p.m., now through Sunday the 26th of September. Tickets may be purchased online at http://www.shnsf.com/ or by calling (888) SHN (746) 1799 or by visiting the Orpheum Theatre Box office at 1192 Market Street in San Francisco. Ticket prices range in cost between $30 and $99 depending on seating location and date of performance. The Curran Theatre is located at 445 Geary Street in San Francisco. I usually take BART to San Francisco, exit at the Powell Street Station and walk the few blocks to the Curran Theater.

The Wind in the Willows opens on a very windy evening in Orinda!

Sometimes I actually prefer the simple aura of community theatre staged by amateur and aspiring actors of promise. The Starlight Village Players Theatre that performs in the Orinda Community Center Amphitheater, next to the park, is one of my favorites. Local director John Butterfield is currently directing a very silly and fun-filled production of “The Wind in the Willows”, a version adapted by theatre director Charlotte Meyer from the book by Kenneth Grahame.

The story tells of a wealthy gentleman Toad who is spoiled and has a tendency to do whatever moves him, whether it is good, bad or just plain foolish. “Toady”, as he is called by his friends, is always enamored by everything new, be it sailing boats, horse carriages or horseless carriages. Once he sets eyes and ears upon the hypnotizing sights and sounds accompanying the put-putting bouncing motorcar, chugging down his country lane, he is determined to have one, even if it means stealing one. Which he does and he finds himself in a great deal of trouble, eventually ending up in jail, sentenced for a very long stay. He bribes his way out of the prison, makes his way home only to find that his home has been taken over by a band of Weasels. Unable to gain control of his residence, he turns to his band of friends who come to his aid and find a way to dislodge the brigands.

This production is wonderfully simple! It is the acting skill and adept direction that makes this absurd little story come to life. Leading everyone in this bit of theatrical madness, Malcolm Cowler takes top honors as the unmanageable, irascible but beloved Toad! John Chapin is an absolute delight as the frequently somnambulistic Rat and Patricia Inabnet is purely brilliant in her portrayal of the playful, trustworthy and endearing Mole! A number of other local talents fulfill the characters and local citizenry. Geotty Chapple plays the wise, stern and lordly Badger and Al Guaraglia plays a plethora of characters, while Kelly Hansen tackles the role of the Otter and Washerwoman. Laura Matin-Chapin steps up to the role of policeman and gypsy woman, among others; Natalie Chapin, Claire Stevenson, Stephanie Stratman and Ken Sollazo fill in where necessary, all important to making this show a silly, fun-filled engagement. Charles Guitron provides some guitar accompaniment as a strolling minstrel throughout the show and at intermission.

This is a fun way to spend the evening and a show you can take the children or grandchildren to. I have to warn you to dress warmly in layers as the theater can become very cold when the fog rolls over the Orinda hills and permeates the theatre. The seating consists of wooden benches without backs and is not the most comfortable. The theatre does provide cushions for your derriere and back, but you might want to bring a folding chair to be a bit more comfortable. The tickets are only $16 for adults and 8$ for seniors and children. The Orinda Community Center is directly across the street from the Rite Aid Drug store and Orinda Post Office. It is not necessary to make reservations and the tickets can be purchased at the ticket booth at the theatre prior to the show. If you need more information, call 528-9225 or email to www.info@orsvp.org . Wind in the Willows continues on Fridays and Saturdays at 8:30 p.m., with performances at 4 p.m. on September 12th and 19th, and on Thursday, September 23rd at 8 p.m., closing on September 25th . There will be no performance on September 4th.