This one (you can just call it The Farndale Christmas Carol) features an all-female cast (with Kyle Rideout in drag) struggling to bring Bob and all the Crachits to life. have penned upwards of a dozen comedies about stalwart British amateurs and the plays they produce, dreadfully. 1, Pacific Theatre, 60): David McGillivray and Walter Zerlin Jr. The Farndale Avenue Housing Estate Townwomen's Guild Dramatic Society's Production of A Christmas Carol (Dec.
2 to 31, Waterfront Theatre, 60): Neverland awaits as Stephen Holmes stars in Carousel Theatre's adaptation by Jeff Pitcher of the James M. Amy Wallis is Belle, Warren Kimmel is the Beast and Jonathan Winsby is Gaston, with musical direction by Bruce Kellett and choreography by Valerie Easton. 15, Stanley Industrial Alliance Stage, 60 or 60): Belle meets Beast as Arts Club Theatre artistic producer Bill Millerd directs the Disney cartoon brought to life on stage. And if the sap flows a little too freely in such family fare as the Arts Club Theatre's production of Disney's Beauty and the Beast, note that the Playhouse aims for more grown-up pleasures with its holiday production of Stephen Sondheim's sexy and elegant A Little Night Music. There are endless delights to be seen on area stages, most of it all-ages fun for everyone from the post-toddler ready for his or her first pantomime to seniors in search of a good holiday laugh. She does demand, however, that Westcoast Life readers be brought up to speed on what's coming for Christmas.
On stage at the Shadbolt Centre for the Arts until November 15.Christmas is coming, but my vegan editor isn't interested in some old goose that's getting fat. It is a good-natured, quality entertainment that fully accomplishes its goal: simply to entertain. It is not complex, nor particularly thought-provoking, but it doesn’t mean to be. The Marvelous Wonderettes is built to entertain and it does just that. The four leads are a perfect balance of acting chops and musicality with the former embodied by Katherine Alpen’s comedic sensibilities and Carolyn Bergstrang’s commitment to character, and the latter by Sabrielle McCurdy-Foreman’s chameleon vocals mixed with Stefania Wheelhouse’s supple alto tones. The live band adds an oomph that brings an air of authenticity to the shenanigans playing out on stage and the set styling by Steve Draper efficiently evokes the time period without being clichéd. The Marvelous Wonderettes is a cute show that will appeal to both those who delight in the nostalgia of “the good old days”, and those who love a good classic quartet. Hairstyles have changed, relationships have progressed, but the comedy and musical talent remain the same as the girls end the show right back where they started. Act two sees the girls reunited ten years later at their 1968 reunion. The first act follows the four friends through romantic revelations and classic hits such as The Chordettes’ “Lollipop”, Bobby Darin’s “Dream Lover”, and “Lipstick on Your Collar” as made famous by Connie Francis. The quartet is made up of shy Missy, bubbly Suzy, spotlight-coveting Cindy Lou, and her best friend the sassy BJ (Betty Jean). Singing at their 1958 prom, the Wonderettes, a high school girl group, excitedly announce that they have been selected to take over from the all-male glee club as this year’s entertainment. The Marvelous Wonderettes begins with a flurry of giggles and taffeta during a pitch perfect rendition of “Mr. It is classic entertainment that lingers only in its sense of warmth – like a hug from an old friend. But there is an oft overlooked category of shows that seek simply to entertain, like The Marvelous Wonderettes.įrom the typos in the yearbook/program, to the championship banners hanging from the rafters, Footlight Theatre’s production of The Marvelous Wonderettes manages to achieve a perfect balance of sweet not saccharine, smart not pointed, and fun without seeming brainless. Some shows try to make you think, others try to make you feel, and still others try to change your perception of the world.
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