Uncategorized

When my daughter was very young and the first drops of rain began to fall, she would scramble for her rain boots and slicker, and run out the door. Most of us view a rainy day as time to hunker down, but Vanessa knew it was a perfect occasion to play outdoors. Count on the wisdom of youth to turn a rainy day into an opportunity for adventure.

When it comes to history, I’m always entertained by uncovering the surprising chain of connections that link the past with the present. To illustrate this game of connect the historic dots, let’s take this year’s centennial celebration of Silicon Valley’s Villa Montalvo estate and connect it, along a winding avenue, to the reign of the great Holy Roman Emperor Charlemagne.

John Barbara and Brooke JuLyn Pletcher are engaged to be

This is a new version of this grand old chestnut that opened to rave reviews  and awards in London in 1986 and on Broadway in 1988. With the same music by Andrew Lloyd Weber and based on the novel “LaFantome de L’opera” by Gaston Leroux, the production at the Orpheum Theatre in San Francisco is directed by Laurence Conner with a gusto and drive that keeps everything moving at a fast pace.Producer Cameron Mackintosh decided to bring a new "Phantom” theatrically to the stage, and he has succeeded with new magnificent sets by Paul Brown and a little different take on the story line, which still ends the same way.This updated “Phantom” still has the marvelous music, and the basics stay the same. The story moves on the same path as the original but sets, costumes, choreography and a younger Phantom and Christine are offered in a faster moving story.The chandelier still hovers and flashes and intimidates, the Phantom still creates havoc, and the new steep and almost invisible stairs that take Christine and the Phantom to his lair under the Opera House is fascinating. The huge production number “Masquerade” number that opens the second act replaces the sweeping staircases in the older production with mirrors. The cast seems to be a little cramped, but the costumes by the late Maria Bjornson overwhelm with color and design. All are well lit by Paule Constable and made clearly audible by Mick Potter and, most importantly, a fine orchestra under the baton of Dale Rieling.I felt Chris Mann’s Phantom lacked the chemistry and bravado that other Phantoms have delivered, and his voice didn’t seem to have the punch that should have been there (perhaps he was not well.)  Katie Travis’ Christine was full and clear with a fine sound. The rest of the cast gave a smooth supporting performance.There is an old adage that says, “If it ain’t broken don’t fix it.”I don’t think the original “Phantom” was broken, but I guess we must go with the times. A new generation will see this production and probably shake their heads the next time it changes 30 years from now.All in all, this "Phantom” will entertain.

Anyone who can remember "Let The Sun Shine In", "Aquarius" and "Good Morning Starshine" will remember the intensity of the '60s. It was defined by anti-Vietnam war sentiments, burning draft cards, the hippie revolution, flower children, sex, drugs and free love - just to get started.

There is something happening at Gavilan College. What it is, is pretty clear.