Tickets On Sale November 30 for Disney's The Lion King

 

Disney Theatrical Productions and the Fox Cities Performing Arts Center announced today that tickets for the long-awaited return engagement of Disney’s The Lion King will go on sale to the public on Friday, November 30 at 7:00 a.m.!

The Fox Cities’ most eagerly awaited return will once again leap onto the Fox Cities Performing Arts Center’s stage on Tuesday, April 9 for a limited engagement of four weeks through Sunday, May 5. The opening night is Thursday, April 11 at 7:30 p.m. The show’s six-week premiere engagement in 2007 played a sold-out run at the Fox Cities P.A.C. 

Beginning Friday, November 30, tickets will be available in-person only at the Center’s ticket office from 7:00 a.m. to 10:00 a.m. The first 100 ticket buyers will receive a free gift with purchase, and parking will be available in the Washington Street Ramp for $2 (cash only). Tickets for The Lion King will be available online at foxcitiespac.com and ticketmaster.com starting at 10:00 a.m. To charge tickets, call Ticketmaster at (866)870-2717. There is an eight ticket limit for all ticket buyers. Additional fees may apply. Additionally, VIP Ticket Packages, which include a prime seat location, a commemorative souvenir program and an exclusive merchandise item, are also available. 

GROUPS CAN ORDER NOW!

Did you know that groups of 15 or more can order tickets before the public on sale event? Orders for groups of fifteen or more may be placed now by calling (920)730-3786. If you have a group of friends or family, co-workers or a social group who you know would love Disney's The Lion King, consider going together and secure your seats today!

The performance schedule for The Lion King is Tuesday - Friday evenings at 7:30 p.m., Saturdays at 2:00 p.m. and 7:30 p.m., and Sundays at 1:00 p.m. and 6:30 p.m. There will also be a special matinee performance on Thursday, May 2 at 2:00 p.m. The Fox Cities P.A.C. is located at 400 West College Avenue, Appleton, WI.

BEWARE OF THIRD PARTY TICKETS

Please remember that Ticketmaster is the only official retail ticket outlet for all performances at the Fox Cities Performing Arts Center. Tickets purchased from other ticket retailers such as secondary ticket agencies or brokers may be more expensive and may not be valid. For more information about the dangers of third party ticket purchases, visit foxcitiespac.com/events.

Show & Tell Review: West Side Story

Transport the classic romance and tragedy of Romeo and Juliet to 1950s New York amidst the rag-tag gangs who clashed over rights to their territory, and you find West Side Story. The association is purposeful, the original creators intended for their story to emulate Shakespeare’s beloved classic.

Last night, West Side Story made its way to the Fox Cities P.A.C. and was warmly welcomed by an eager audience. The cast was superb, the costumes and set were first-class, and the music was outstanding. The Fox Cities was privileged to be presented with an updated version of the classic musical, revived onstage in 2009. This adaptation was Arthur Laurents’ (the author of the book for the original 1957 production) attempt at making the story more modern and authentic. To do so, choreography was slightly modified and more of the script has been translated into Spanish.

The story’s tension was felt as soon as the curtain rose. The story of two conflicting gangs, the Jets and the Sharks, whose rivalry was born not just from wanting control of the same streets, but from the ignorance and racism between Puerto Ricans and Americans in New York at that time, was portrayed swiftly and effectively. The Center’s audience was immediately pulled into the clash and responded with a full range of emotions as well as enthusiastic applause.

Leonard Bernstein's and Stephen Sondheim’s original score is an absolute masterpiece.

When it was first being produced Bernstein was told that West Side Story was an impossible project, that no one would be able to sing the complicated rhythms and wide ranging songs. Not only has that supposition been disproved time and again over the decades, but last night in the Fox Cities Performing Arts Center the current cast of West Side Story demonstrated just how wrong those nay-sayers were. The difficult songs were played and sung masterfully, making it appear to an unsuspecting audience as if this musical’s score were easy and not the truth behind it: that they were performing musical acrobatics.

Tony and Maria, West Side Story’s Romeo and Juliet, portrayed their love story beautifully. During the scene depicting Tony (played by Matthew Hydzik) and Maria’s (played by Evy Ortiz) first meeting, the audience was spellbound, completely drawn into the young couple’s ignited love. As they sang the duet “Tonight” on Maria’s balcony, their immediate and consuming love for each other was practically palpable. Later in the show, when the two were reunited after the Jets and Sharks ill-fated rumble, a spell-binding ballet accompanied their beautiful exchange of “Somewhere”.

Other characters drew strong reactions from the audience as well. Officer Krupke and Lieutenant Schrank (Wally Dunn and Mike Boland) played their judgmental, bigoted parts so well; the audience hated them just as much as the Jets did. Anita (played by Michelle Aravena) on the other hand, pulled on viewer’s hearts as she displayed raw and real emotions when her character was pulled between love for Bernardo, the leader of the Sharks, and a more level-headed understanding of love and life than her cohorts. Anita kept many laughing and crying right along with her through her passionate dialogue and songs telling the tumultuous tale.

Every piece of West Side Story’s presentation enhanced their telling of the romance of Tony and Maria, fixed within the drama between the Jets and the Sharks. The sets effectively created the mood of each scene. The music, both performed to and as background, drew watchers into the emotion of every character. The choreography, most of it unchanged from the original production, was masterful and exact and successfully depicted the abundance of action.

**Spoiler Alert!**

As the musical reached its climax, you could almost feel the audience collectively holding their breath. When Tony sought out Bernardo’s assistant, Chino, in the streets, believing his beloved Maria to be dead, his passionate screams were heart-wrenching. A momentary sigh of relief was felt as Tony spotted Maria, and realized her being shot by Chino was all a lie. And as they ran to each other, the audience gasped as one being when Chino fired his gun, killing Tony in cold blood.

When the musical quickly came to its close on the final scene last night, it was as if the viewers were afraid to move from their seats. The beautiful love story of Tony and Maria, surrounded by tension, and ending in heartache for so many, seemed almost more than they could bear. If you love to be drawn into a story heart and soul, if you don’t mind your laughter being followed by tears; you will love West Side Story.

Parental Note:

Parents should be forewarned that, if this musical were a movie, it would have a PG-13 rating, due to suggestive lyrics, crude gestures, sensuality, and racist slurs. It is much more risqué and provocative than the film version.

Show & Tell Review: STOMP

If I ever find the proverbial "genie in a bottle" my first wish, without hesitation, would be to have musical talent. I admire people that have that gift, I really admire them. Suffice it to say, I completely admire and was awed by the cast of STOMP. The performers in STOMP are among some of the most gifted musicians I've ever seen; it's a different talent that someone on "American Idol" or in the New York Philharmonic, but wow, these guys rock!

If you're not familiar with STOMP, the basis for the show is rhythm. There are eight performers in the cast, and they make some incredible sounds with everyday items, things you'd never associate with music. Who would have guessed that music can be created from items like brooms, match boxes, basketballs, folding chairs, newspapers or tractor tire tubes - to name just a few. The show also incorporates some dance and an incredibly funny comedy vibe. There are no lines or speaking parts in the show but the characters still have roles. The audience was constantly laughing as the actors carried out their "dialogue" using actions, props and very powerful facial expressions.

Having seen STOMP twice before, I knew what I was in for. I also knew my boys would love it. Friday just happened to be Ethan's tenth birthday, so our entire family headed to the Fox Cities P.A.C. for some family fun. I didn't prepare them for the show or tell them much about it at all; I wanted them to experience it for themselves. As the show began, there were many questions, things like, "Mom, why is that guy sweeping?," "Is he going to say something?," "What is he doing?," and "Was that supposed to happen?" To each question I replied, "Just watch and see." As the show went on their eyes grew wider and the smiles never left their faces. They were amazed by the sounds coming from the stage. I think both of them gained a new appreciation for what music is and for where it comes from.

One thing that becomes quickly apparent to anyone watching STOMP ... music comes from the heart. It flows from people that have the gift and manifests itself in some of the most beautiful and unique ways imaginable.

STOMP is a beautiful show filled with extremely talented musicians. I have a hard time imagining the individual that would not enjoy this performance. For my boys, this was there first professional performance. They both loved STOMP, and I guarantee with an experience like this under their belts they will be long-time lovers of theater and of music!

Show & Tell Review: Doubt: A Parable

True to its name, Doubt: A Parable leaves its audience with plenty to think about when the night is over. It’s a simple story with no clear answers. Set in the fictional St. Nicholas Church School, in the Bronx, in the early 1960s, John Patrick Shanley’s Doubt delivers an intense 90-minute story that keeps the audience almost breathless in anticipation of what is to come.

When the iron-fisted school principal, Sister Aloysius, learns from a younger nun and teacher, Sister James, that Father Brendan Flynn has had a one-on-one meeting with the school’s only African American student, Donald Muller, she immediately jumps to the conclusion that Father Flynn’s intentions were less than pure. When confronted, Father Flynn denies any wrongdoing saying that he caught the boy drinking the communion wine and was trying to save him the embarrassment of being removed from the altar boys.

Sister James is relieved by Father Flynn’s explanation and believes him. Sister Aloysius, however, is not satisfied and calls Donald’s mother in for a conference. Donald’s mother reveals to Sister Aloysius that the boy is continuously beaten while at home and expresses her desire to get him through the school year when he will move on to the high school. She begs Sister Aloysius to let him be.

When Father Flynn threatens to have Sister Aloysius removed if she doesn’t back down, she tells him that she has called his last parish and has learned of past infringements. Again, Father Flynn declares his innocence. When she refuses to believe him, Father Flynn calls the bishop asking for a transfer. He receives a transfer and a promotion. Learning this, Sister Aloysius reveals to Sister James that her phone call was a lie, and she is left with nothing but doubt.

Sister Aloysius is not the only one left with doubt. Since no clear answers are given, the audience is left to make its own assumptions. Was Sister Aloysius the iron-fisted, unchangeable cold person we thought she was … or was she a hero, protecting and defending the children in her school? Was Father Flynn the gentle, kind-hearted pastor … or was he a monster and a child molester?

The minimal cast of four is perfectly suited for their roles and delivers the story as if there were dozens of characters in the production. As serious as this topic is, the performance was peppered with small doses of humor that contributed to the believability of the characters. Additionally, the simple set and lack of scenery changes allowed the audience to focus on the story without distraction. The clever use of lighting contributed to the feel of the stage and gave the impression that scenery was changing even when things barely moved.

My initial reaction to this play and its simplistic nature was that it was lacking the “wow” factor. And, if you compare it to a musical like Cats or Phantom of the Opera, I suppose it was. I didn’t leave the Center exhilarated and over stimulated. I left deep in thought – and I’m still thinking about it today. The bottom line is the cast of Doubt delivered a flawless and powerful performance that left me with far more to think about than any other production I’ve seen. The more I think about it, it didn’t lack that “wow” factor. It was there. I just needed to see it for what it was. And, if there is one thing I learned from Doubt … don’t jump to conclusions or make premature judgments.

Show & Tell: Dailey & Vincent

Last night I had the pleasure of attending the Dailey & Vincent concert at the Fox Cities P.A.C. It wasn't one of my scheduled shows to review; I filled in last minute for another reviewer who was sick. As a result I didn't have the normal prep time before I would usually have before a show. I took a few minutes to check out a few websites so I knew what I was walking into. The websites and reviews didn't do the show justice. I must say, I sort of liked not knowing exactly what I was going to experience, I think it made it that much more enjoyable.

If you aren't familiar with Dailey & Vincent, they are award-winning bluegrass entertainers. And entertainers are exactly what they are! Aside from being fantastic musicians, the group uses just the right amount of humor and improv to keep their audience engaged. One of my favorite aspects of the show was how the entire group - but especially Jamie Dailey and Darrin Vincent - personally connected with the audience. Before the performance, Jamie and Darrin were available for a question and answer session. Sitting in on this extra session gave the audience the chance to ask questions in a very casual setting. Dailey and Vincent talked about preparing for their performances, the songs that they sing, members of the group, and the act itself.

Once they were onstage they continued to connect with their audience in many ways. They sang a special anniversary song to a couple in the audience, took song requests and at one point, Joe Dean, the banjo player even sat in the audience with an adoring fan.

Aside from their larger-than-life personalities, the members of Dailey & Vincent all possess amazing musical talent. I was especially impressed with Jesse Stockman on the fiddle and Joe Dean on the banjo. I never realized fingers could move that fast! Christian Davis and his beautiful bass voice was also a treat to listen to. He entertained the audience effortlessly with his low voice that actually made my belly rumble! I loved the rich sound of the Statler Brothers style quartet music, and I was amazed by the musical talent of every member of the group. It's no wonder they had their fans on their feet multiple times throughout the evening.

Thank you to all the members of Dailey & Vincent, I had a toe-tapping, hand-clapping good time. You most definitely have a new fan in me!

Show & Tell: Les Miserables is an Emotional Masterpiece

I’ve seen many musicals over the past twenty years, and I must say that last night’s opening performance of Les Miserables at the Fox Cities P.A.C was among my favorites. Having never seen the show before and, admittedly, not knowing much beyond the basic storyline, what I experienced was nothing short of spectacular.


Upon entering the theater, my husband and I were both impressed by the elaborate and beautiful set. The scenery was stunning. Because this is the 25th anniversary of the show, the producers have reworked much of the scenery and added special effects like none I’ve seen before. The projected backdrops added color, motion and depth to the stage making it easy to forget you were watching a live performance. The special effects and lighting added to the mood and feel of the performance perfectly. One high point for me was the battle scene at the barricade where the sounds and flashes of gun fire made me jump in my seat and duck for cover. As awesome as the set and effects for the performance were, the talent of the cast was equally impressive.


Fear, misery, despair, sacrifice, greed, betrayal, passion, joy, and love are only a handful of the emotions executed perfectly by the cast throughout the two-and-a-half hour performance. The story of Les Miserables is an emotional whirlwind that begins with ex-con Jean Valjean serving time on the chain gang. After his release Valjean is bitter with society and returns to a life of crime. When he is about to be arrested again, a bishop lies to a police officer, Javert, to save him. Astonished, Valjean swears to turn his life around for the better. Throughout the next ten years, Valjean repays the acts of kindness shown to him including sparing the life of Javert after he has been exposed as a spy.


Emotions grow stronger as the story grows darker. When a revolution breaks out the audience is bombarded with rage, upheaval, despair, longing, and worry. But underneath it all there is a thread of love. As the revolution mounts and Valjean realizes that his daughter is in love with Marius, who is fighting at the barricade, Valjean prays to God to keep Marius safe. The prayer scene is arguably one of the best of the entire show. The pure emotion and power behind the music brought tears to my eyes.


The love between Marius and Cossette culminates in their marriage. At the wedding, Marius learns the truth about Valjean and how he rescued him from the revolution and from death. Marius and Cossette go immediately to Valjean where she learns the truth about her life before Valjean passes away. My absolute favorite part about the ending of the play was that Valjean was allowed to die with forgiveness, honor and dignity – something he could not achieve years earlier. 


At its heart, I found Les Miserables to be an uplifting story about the survival of the spirit and the power of forgiveness. It is a testament to the power that one person has to change when given the opportunity to do so.

A Note About Jersey Boys from Shirley

Jersey Boys was an energetic and fun theater experience.  It was one great song after another. Going into the show, my knowledge of The Four Seasons was limited but the show was very entertaining and transformed me into a Four Seasons fan.  I can't wait to download some songs to my iPod. 

I was very impressed with what such a small cast could accomplish.

Jay Johnson: The Two and Only!

The audience was treated to an afternoon of  ventriloquism and history.  The history part consisted of witchcraft, sorcerers and magicians and the tricks that they would play on unsuspecting villages by throwing their voices.  We also got an understanding of how Jay became a ventriloquist and his life long dedication to the art. 

He introduced us to his entertaining "cast of characters" and YES, even Bob made an appearance.  Since it was in such a intimate setting I felt like Bob was talking directly to me and brought me back to my childhood. 

My only "thumbs down" was to the person in the theater who neglected to turn off their cell phone. During the most moving part of Jay's life story, yup you guessed it, had their phone ring with some sort of country song.  They then took their phone out and silenced the ringer.  It bother the audience and unfortunately ruined the moment for Jay.  My deepest apologies Jay for that person's rudeness but we thank you for a great show.

Thanks for supporting your Fox Cities P.A.C., and as always, I welcome your comments.

The Two and Only - A Review

Once again I went to show at the Fox Cities Performing Arts Center expecting one thing and getting something else completely. And what I got was definitely much better than what I was anticipating.

What I was expecting was more of a stand-up comic style of performance. Jay Johnson’s The Two and Only, however, is much more than that. It’s a Tony-award-winning show that Johnson is currently taking on tour across America. He and his “family” came to Appleton through the Boldt Arts Alive! Series and performed in the Kimberly-Clark Theater.

As usual, there wasn’t a bad seat in the house, and the smaller theater provided for a more intimate performance. It kinda made me feel like I was hanging out at Jay’s house… that the show was just happenstance, not something planned out. The show itself helped create that atmosphere as well. Johnson worked successfully to create an off-the-cuff, casual feel.

This show wasn’t a ventriloquist standing in the middle of the stage doing standup ala Jeff Dunham and Peanut (though they’re funny and entertaining in their own right). This show was so much more. The Two and Only is about the art of ventriloquism and its history, Jay Johnson and how he got started, the puppets and their history, and of course, making people laugh.

Throughout the performance, Johnson deftly maneuvers between giving history lessons on ventriloquism, to his personal life and his love for performing, to doing comedy routines with his “dummies.” Sometimes poignant and sad, other times laugh out loud funny, Johnson keeps the show moving with a delicate balance and seamless transitions.

As much as I enjoyed the history lesson (very compelling, really) and as interesting as his life stories were (Seriously? 917 shows in one summer at the age of 17??? That’s just crazy.), where Johnson excels is, of course, with his ventriloquism and the characters he creates. In this 95 minute show, Johnson brings out ten different characters:

• Amigo, the Snake
• Long John LaFeat, the disembodied head
• Spaulding, the tennis ball with eyes
• Nethernore, the vulture (or “Bird of Death!” as Nethernore reminds the audience repeatedly, though he doesn’t hunt or kill… he waits)
• Jackie and Gaga, the imaginary friends on the telephone
• Squeaky, Jay’s first “real” ventriloquist dummy
• Bob, the dummy from Jay’s time on the sitcom “Soap”
• Arthur Drew, the dry-erase board
• Darwin the Jazz monkey (he’s a MONKEY! He tells MONKEY JOKES!)

Each has his/her own look, personality, and voice. And that Johnson can keep them all straight is quite impressive. Plus, three of them actually sing: Nethernore about waiting for people to die so he can eat, in a takeoff of “My Way”; Arthur Drew with “I Ain’t Got Nobody (he’s just a head), and a “very sad song” by Darwin the Jazz Monkey in his native tongue (lots of “Ooo-Ooo’s and Ah-Ah’s and other monkey noises… cuz he’s a MONKEY!).

The whole show was enjoyable, but my favorites were Darwin, Arthur, and Spaulding. Darwin because he was loud and obnoxious, and it was with his character where Johnson really seems to come alive and interacts with the audience. He’s also the character that is most animated. His habit of reminding people he’s a MONKEY! and that he does MONKEY JOKES! kept me chuckling. Arthur was cool because he’s essentially just a head and he sings “I Ain’t Got Nobody” (I never said my sense of humor was anything remotely close to high-brow). And Spaulding because there’s just something inherently funny about a tennis ball with eyes and a sad mouth… that talks.

The only negative I can bring up is that occasionally the voices of the characters seemed rushed, almost slurred together and a bit difficult to understand. This only happened a few times, and it was when the dialogue was moving very quickly. Nothing that took away from the performance really, but it did make me turn to my wife and whisper, “What did he say?” Had I not been asked to write a review of the show, I probably would have never even noticed those brief moments, much less given them a second thought.

Overall, the The Two and Only was an excellent show. It was fun and informative. If given the opportunity, I would definitely see it again. As with many comic performances, so many jokes happen so fast, you have a tendency to forget exactly what you were laughing at or why. But that’s not a bad thing. That just means there was a lot of material, and it was good.

The show made me laugh, it taught me about a subject I really knew nothing about, and it made me think back to the days when I was a kid and imagination, rather than technology, governed a child’s playtime. Nice work Jay.

Lakota Sioux Indian Dance Theatre - A Review

In all honesty, I really had no idea what to expect last night from the Lakota Sioux Indian Dance Theatre. What I ended up seeing was equal parts history lesson, religion, music, and dance.

Giving a review on this performance is difficult. Not so much because I don’t know what to say or where to start or what to mention, but because so much of the performance was so much more than just a performance. It was a small glimpse into the culture of people. Like any performance, when a “number” was finished the audience would applaud. However, there were times when I felt I shouldn’t be clapping because it somehow lessened what the dancers/singers had done. I don’t know… it’s hard to describe. Maybe it was just me. The performance was something different from anything else I’ve seen, and it seemed so much more than just a “show.” And I don’t mean that to be taken as a negative by any means. It stems purely from respect.

All that being said, to quote my nine-year-old son, “That show was so cool!”

The performance was broken into two parts. Part 1 being “Birth of A Nation: Creation Story” and Part 2 “Death and Rebirth of A Nation.” A brief narrative, said over the sounds of rather hypnotic flute, began the performance. From that point forward it was dance after dance to rhythmic drums and traditional singing.
(Quick side note: I can’t begin to fathom the size of the lungs singers Gerimiah Holy Bull and Adrian Cross have! Throughout the entire show, those two singers kept up a constant stream of singing with practically no rest… especially Gerimiah Holy Bull who moved back and forth between singing and dancing. Both were very impressive.)

The costumes filled the stage with color in nearly every dance. And when the color wasn’t there, it was replaced by functionality or just plain ol’ cool design, such as in the Eagle Dance where a lone dancer was fitted with the “wings of an eagle.” At first glance, the costumes seem random, almost haphazardly put together. As the dancers move about it is easy to see that each piece was designed for great visual effect.

For the most part, the music consisted of a drumbeat and singers performing what could best be described by this culturally-challenged person, as the basic “chanting” song style often associated with Native American cultures. The rhythm was easy to fall into, and many audience members could be seen bouncing a foot, head or torso to the steady beat. During narratives and the “Flute Song – Kahomine” a flute was also brought into play that was equally as melodic.

Some of the most powerful music and dancing came just before intermission in what I believe was the “Inter-Tribal Dance.” The numerous dancers flying around the stage were lit from the floor, projecting large shadows onto a white screen behind them. On that same white screen, video played of dancers as well (I believe they were doing the same dance). The combination of dancers, their shadows, and the video gave the feeling of dozens of men and women performing all at once. Combined with the steadily increasing speed of the drumbeat, the dance, and Part 1 of the show, came to a rather climatic finish.

My son really enjoyed the “Shield and Spear Dance.” Probably because shields and spears were involved, but also because, in his words, he liked how they “pretend fought and challenged each other.” I have to admit I agree with him. Maybe it’s a guy thing.

The performance was not without its issues, mostly of the technical kind. Too often the lighting seemed misaligned or would shut off completely, and a microphone cut out during one of the narratives. I also suspect some video didn’t make it to big screen. The performers did well to ignore the technical glitches and keep the show moving as planned. No small feat.

The only area I think the Lakota Sioux Indian Dance Theatre could improve is in the realm of information. Helping the audience understand what is happening on stage would be a relatively easy, but significant improvement. More often than not, a dance was started but never introduced. Some were preceded by a brief narrative, but most were not. It would have been nice to know exactly what dance was being performed. A simple name projected onto the video screen would have been enough.

Taking it a small step further… the reasoning or purpose behind the dances would have been interesting too. Why were these dances performed? When? By who? (I would love to know the significance of the Hoop Dance and the aforementioned “Shield and Spear Dance.”) Of course, all the info I’m suggesting could easily move the show closer to a lecture than theater, and maintaining any type of flow would be difficult. But I think it could be done and this cultural presentation would benefit from it.

All in all, the issues I mention about the performance are extremely minor. I think addressing them would make a good show even better, but leaving things as is, still allows for engaging and well worthwhile entertainment.

Throughout this review I have used words like “show,” “performance” and “entertainment.” None of those words capture what the Lakota Sioux Indian Dance Theatre does. It was more than just a show at the Fox Cities Performing Arts Center. Ultimately, a people provided an audience with a small window to their culture. My son and I were lucky enough to be a part of it.

American Legacies: Review

It all started with the toes.  They would slowly tap along with the music respectfully, being sure not to get out of hand (after all this is the Fox Cities P.A.C.).  Then the knee and the rest of the leg would join the beat, moving up and down, getting stronger with every note. Your hand couldn't help but take part in the action. They would slap the knee that was already in motion, forming a cymbal type effect. Before you knew what hit you the head bob started, almost on it's own. Nodding in agreement to every beat. Then you just sat back and let the music take you wherever it wanted to. 

That is what I experienced last night at "American Legacies."  My hands hurt at the end because we clapped so often for so many reasons. For solo performances, to keep with the beat, and sometimes because I just couldn't help myself. I found it incredibly difficult to stay in my seat. Our row of seats were moving so much I thought the supports below us were going to snap off, but that would've just given us a reason to stand up and dance. 

Finally when the encore came we got our chance to dance around the theater (and out to the lobby, I might add) to "When the Saints Go Marching In."  It was perfect timing. My feet were ready for dancing and my hands were still clapping, so we joined the procession and finished the night with smiles on our faces.

Enchanting Night at Beauty and The Beast

Last night, at the opening of Disney’s Beauty and the Beast it was an enchanting night. At the moment we walked in we were transported into a magical world. The set was amazing. The voices and instrumentation beautiful, the acting well done. We loved the costuming. It was incredible! From the moment Emily Behny (Belle) rise into her first big number there’s no question that the production is above and beyond. An excellent clean sound and a stable mix are as necessary to the hit of a musical as the endowment of the performers.


Dane Agostinis (Beast) lives up to expectations in all matter. Logan Denninghoff (Gaston) is wonderful on all view playing the pretentious and terminally vain scoundrel of the story. Andrew Kruep (Lefou) brings humor to the role of Gaston’s frequently abused assistant.


Merritt David Janes (Lumiere) leads absolutely over a wonderfully staged “Be Our Guest” number that has dancing plates and kitchen gadgets filling the stage. Keith Kirkwood (Cogsworth), Erin Elizabeth Coors (Babette) and Sabina Petra (Mrs. Potts) join as remarkable members of the charming and enchanted castle’s staff.


A must see!

Disney's Beauty and the Beast - A Review

Disney’s Beauty and the Beast was, in a word, fun.

A few other words that could be used to describe the production: amazing costumes, a set design that is nothing short of brilliant, excellent use of lighting, great acting, and lively music.

If you’ve enjoyed the Disney movie, you are familiar with the story and will recognize your favorite scenes and songs (my personal favorite being the song “Gaston” and its respective pub scene). If this musical is your introduction to Disney’s version of the story, well, you will absolutely enjoy your first taste of Disney’s Beauty and the Beast.

Rob Roth, the director who originally brought the production to the stage where it enjoyed a 13-year run, is back for this slightly updated rendition. Featuring seven new songs, along with six classics, the musical makes me want to go back and watch the Disney movie to find the differences (it’s been a while). I recognize the biggies - "Gaston," "Be Our Guest," and "Beauty and the Beast" – and they are all sung beautifully (Belle, played by Emily Behny, has a particularly wonderful and strong voice). But for the life of me, I can’t discern exactly what is new… and that’s a credit to the production. The new material is weaved in so well and stays so true to the feel of the original, it’s difficult to tell what’s been added.

As I stated earlier, the costumes were amazing. Bringing cartoon characters like the candelabra Lumiere, Cogsworth the clock, Mrs. Potts, the goofy Lefou, and of course, the Beast, to life has a lot to do with the actors. But the human actors can take those characters only so far. The costumes do the rest. From Lumiere’s candle hands (constantly popping alive with “flames”) to the Beast’s mane and fangs, costume designer Ann Hould-Ward does an excellent job of maintaining the cartoonish fun, while allowing the actors to become the character.

Most impressive to me, however, is the set design. I was curious as to how the production would be able to pull off creating a “sprawling” town, a spooky woods, and a large, empty castle all contained on the same stage. The solution is brilliant. Using a variety of small, mobile set pieces and an array of curtains, it’s very easy to forget that the whole show takes place on a 103’ x 50’ stage. The choreography is such that it works in perfect harmony with the movement of the pieces. The set design and its usage are nearly as intriguing and entertaining as the musical itself. The result is the illusion of a larger world that is easy to fall into as a viewer.

And, I think, I would be remiss if I didn’t mention the mug-clinking dance during Gaston’s pub scene. As I mentioned above, this scene and song is one of my favorite parts of Disney’s story, and the addition of the mug-clinking dance only made it that much more so. Judging from the audience’s reaction, I am not the only one who enjoyed it. It seems so German, so perfect for Wisconsin. Plus, it is just downright cool. Twenty or so people, each armed with two mugs of “beer,” dance through the pub while collectively banging their mugs against those of the pub patrons next to them. Behind the back, under the legs, lying/sitting down, arm and arm. Together, in rhythm, and on cue. Truly, no one can mug-clink like the egotistical, self-centered Gaston.

But there is so much more… life-sized dancing plates, knives, salt and pepper shakers, and, one of my personal favorites, the welcome mat. Horribly painful puns between Cogsworth and Lumiere (I laughed at every one of them!). Streamers launching into the audience. The use of puppetry for the wolves. The live orchestra. The transformation of the Beast into a man. All of it is enjoyable. I could go on and on (I know, I know, too late).

Last night’s audience was made up of dozens of little boys and girls (a number of the girls showing up in their princess outfits), just as many octogenarians, and everyone between. And, as near as I could tell, age didn’t matter… they all enjoyed Disney’s Beauty and the Beast.

How could they not? It was just so fun.

Beauty and the Beast: Edge of Seat Entertainment

The Center never fails to entertain, and Disney's Beauty and the Beast is no exception! From the opening sets, colorful and intriguing, to the grand finale, the show is magnificent! Everyone in the family will enjoy this much-beloved classic.

Opening night is a special event, of course, but this production is a special event on its own.
The sets are gorgeous and fascinating. The acting is top-notch with outstanding acoustics in the entire Fox Cities P.A.C. The colors and motion are riveting, moving the plot along flawlessly, while enaging the audience in the antics. The costuming is perfect, colorful, and eye-pleasing and unique.

The live orchestra is a treat! The music familiar and emotional, wafts out of the orchestra pit engulfing the listeners in nostalgia. The sound is as special as the compelling storyline. This is entertainment at its best!

Disney's Beauty and the Beast is a spellbinding production filled with talented players, an acrobatic sensation, surprising special effects involving the audience, and choreography beyond the imagination. The entire production is staged to a backdrop of double entendre and a play on words that keeps it fresh and lively.

The audience response was genuine and spontaneous throughout. There were chuckles, groans, and full out laughs as the troupe presented its original interpretation of the ageless story of the beauty and the beast. Great entertainment!

Community Review: Acoustic Africa

Last night’s Acoustic Africa concert featured some extraordinary musicians playing instruments that we almost never see in the U.S.  One, a mbira, was like a small piano played with just the thumbs; and another, the ndjurkle, looked like a half coconut with a stick coming out of it and a guitar string.  It was all quite unusual and interesting.

Certain aspects of the evening were excellent.  The slow song where Oliver Mtukudzi played and sang with only some percussion was thrilling. Also, a recorder solo was spectacular, and the dancing throughout the night was much fun.  Most of all, when the musicians sang multi-part harmonies I got goose bumps. The show could have used much more of these beautiful harmonies.

Unfortunately I had some trouble enjoying most of it. Almost all of the songs ran a little long, as did the show itself.  And while the featured musicians all seemed friendly and fun, I could only understand about half of what they said so I was somewhat lost.

Worst of all for me was the repeating electric (I thought this was Acoustic?!) bass parts.  About half the songs included repeating background music that was only three or four beats over and over and over and over and over again. It was somewhat hypnotic, and prevented me from enjoying the rest of the musicians.

However, this didn’t seem to bother most of the audience, who seemed to enjoy the concert. Certainly Acoustic Africa was worth going to just to experience a taste of a different culture and to see some excellent musicianship.

Community Review: Acoustic Africa Review

Acoustic Africa was an evening of exciting African music. The performers used a Njarka (traditional violin) and a Jdjurkle (monochord).  The sound was incredible, fun and unusual. The performers paid tribute to the plight of women, men "the head of the household," and even took us on a journey to the desert, which made me laugh because this was the eve of snowstorm Ethan. It was nice to feel warm, if only for a little while. 

The laughs of the evening came when the performers waged a polite battle between Zimbabwe and Mali. They brought out the differences between normal every day life, music and customs, but in the end they both "shared" their favorite song with us.

Community Review: An African Night at the Fox Cities P.A.C.

Last night was a warm night at the Fox Cities P.A.C. I asked my friend to accompany me to Acoustic Africa. I hadn’t heard from this group before, but, being a fan of African music I was enthused and decided to go with her.

The evening started well. We were warmly greeted at the door by the very efficient volunteers, given a program, and ushered to our seats. The venue was packed with a very diverse public of all ages and origins, and there was an atmosphere of excitement. 

After an introduction by a Fox Cities P.A.C. staff member, the group appeared on stage. There were many diverse instruments, but the main feature were guitars. The musicians started the performance with a lovely ballad-like song and followed that with music inspired by the traditional music of Mali in Western Africa, homeland of Habib Koité, the talented guitarist and composer, and Zimbabwe, homeland of “Tuku” Mtukudzi, whose raspy voice contributes greatly to the characteristic sound of this group. Also featured was Malian guitarist, singer and composer Afel Bocoum, who did a wonderful dance in the Tuareg style, to a song sung in Tamashek by “Tuku” and Habib. 

The other featured musicians of this band’s second edition (as Koité informed us) were Souleymane Ann, percussion and vocals; Abdoul Wahab Berthe, N’goni (plucked lute), bass and vocals; Yoro Cisse, Ndjurkle (monochord) and Njarka (small fiddle made from a gourd, with one gut string); Mamadou Kelly, guitar and vocals; and Phillip Tzikirai, Mbira (thumb piano), percussion and vocals. 

The concert, that was supposed to last 90 minutes without an intermission, and ended after 30 minutes of encore, seemed short. The music was entrancing and exciting. Every new song was received with applause and the audience clapped enthusiastically during the performance. 

It was indeed a wonderful night and the cold of the winter seemed to melt away for a while.

Wicked at the Fox Cities P.A.C.

I find it difficult to sum up in a few words how great Wicked was.  Awesome, spectacular, moving, powerful, incredible, hilarious and amazing all come to mind.  

Everything I believed, as a child, to be true about OZ has just been turned upside down.  This show takes you on a journey of twists, turns and surprises from the opening scene to the jaw dropping, tear provoking ending, as the "true" story of OZ is revealed.

I encourage you all to put aside some time, grab a loved one, buy your tickets and experience the amazing vocal talents that Wicked has to offer. Keep your eyes open for a cameo appearance from Dorothy and never count out the Tin Man, Scarecrow and Cowardly Lion.

Enjoy the show, and I encourage your feedback.
Shirley

Cirque Dreams Illumination: Wow!

A few years ago I was given the opportunity to go down to Milwaukee to see another Cirque production and turned it down. I now realize what a mistake that was. The performance of Cirque Dreams Illumination at the Fox Cities Performing Arts Center was outstanding! The amount of talent and choreography involved was awe-inspiring and kept me on the edge of my seat for the entire performance.

I caught myself with my mouth wide-open and hands over my eyes constantly throughout the show. I was in awe, and many times fear, of what the performers were able to do. The creativity of the setting of scenes and characters flowed flawlessly together. The occasional bit of humor was a great touch to the performance as it let me take a deep breath after witnessing a daring stunt.


My favorite parts of the show included the Sailor’s balancing act and the four gymnasts’ amazing show of flexibility and strength. Balancing on numerous stacked chairs while being upside down on one hand was incredible. I thought over and over that he was going to fall but obviously, he never did. The gymnasts’ performance was indescribable. I can’t even imagine how they learned to balance 10 feet in the air, with their head while holding another person on their feet! It just amazes me.


Cirque Dreams Illumination is definitely a must-see. This jaw-dropping performance will keep anyone entertained and can really change your perception of what humans are capable of.

Rankin File: ** Cirque Dreams Illumination

The Fox Cities P.A.C. featured Cirque Dreams Illumination this weekend with the billing that the ordinary would be transformed into the extraordinary. There is nothing ordinary about the skill of the company’s participants including a wirewalker, magician, cube aerialists chair climber, people hanging by their feet, a strap flyer, hand balancers, dancers, vaudevillian, all accompanied by a saxophonist and singer.

The performances; “Drenched” (the bathtub scene) with the strap flyer & dancer as well as the performance “Daily Trash & Grind” with shredded waist paper clothed hand balancers, delivered the promise of transforming the ordinary into the extraordinary. Although all the performances were extraordinary in skill the premise of transforming everyday life into something extraordinary didn’t really come across in most other cases. This was after all the kind of entertainment that has been around for hundreds of years and whose emphasis was on the skill of the performers and not the atmosphere in which it is performed. The entire show with the exception of the vignette that included people in the audience was accompanied by music that was in the vain that could best be described as a cross between hip hop, burlesque and the stuff that would accompany the dish twirlers during the Ed Sullivan show 50 years ago, and always a bit too loud.