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Desert Foothills Theater Pokes Fun at Romance With
 I Love You, You’re Perfect, Now Change

 Desert Foothills Theater (DFT), a division of the Foothills Community Foundation, continues its season in February with its Main Stage Show, I Love You, You’re Perfect, Now Change. The schedule follows:

 Written by playwright/lyricist Joe DiPietro and composer Jimmy Roberts, the show was a surprise hit of the 1996-97 Broadway Theater season. DFT’s production is directed by Sara Bernstein with musical direction by Flora Mogerman. Although there is no plotline per se, the songs and sketches nonetheless trace the evolution of male-female relationships, from caveman days in the prologue to the joys of single life in Act One, and then the rather different joys of married life in Act Two. This production includes adult topics and language.

 Now in its 33rd year, Desert Foothills Theater has been honored with 64 ariZoni award Nominations (five in 2006-2007 for A Grand Night for Singing).  For information, visit www.desertfoothillstheater.com , or call 480-488-1981.

 At the Cactus Shadows Fine Arts Center, 33606 N. 60th Street, in North Scottsdale (60th Street south of the Carefree Highway). Now through Sun., Feb. 17th, 2008: Main Stage Show: I Love You, You’re Perfect, Now Change at 7:30 p.m. and 2 p.m. depending on show date. Tickets range from $7 to $18 depending on show date.

The Oldest Profession Review Opening Night Jan 5, 2008

By LeeAnn Sharpe

The Algonquin Theater Company presents “The Oldest Profession”, Paula Vogel’s pert and passionate play, directed by Robert Harper at Phoenix Theatre’s Little Theatre, January 4-20, 2008, Thursday, Friday, Saturday and Sunday matinees.

 First, I must be honest and qualify myself as a lifetime fan of Ms.Gaston. So know I will be biased about anything she does. But from what I hear and see, I’m not the only one. A lifetime of acting, directing and teaching reveal a professional performance, second only to her charisma and beauty, now more pronounced than ever.

 Pulitzer Prize winning Playwright Vogel describes “The Oldest Profession” as her only pattern play. She is successful in the overlay of painful experiences with humor.  Five acts set in a New York City park in the early 1980’s follows the lives of five over-the-hill hookers sitting on a bench near the Broadway and 72nd Street subway station. Their enterprise not only continues to lose customers, but its own members. And so, the five "blackbirds" become four, then three, then two until only one is left, and the park bench scenes end with a song from the last departed, reminiscent of their New Orleans bordello days long past. Costumes slip back to cinched up bordello bustiers and sexy stockings, a wardrobe that took guts for these actresses to wear, especially in such and intimate theatre setting.    

 The award winning cast of five thoroughly professional actresses, who manage to be funny and emerge as real people who tug at our heartstrings, include Mae (Sharon Collar), Edna (Jacqueline Gaston), Ursula (Barbara McGrath), Lillian (Judy Rollings), Vera (Jo Ann Yeoman) and Piano Man (Toby Yatso).  Director is Robert Kolby Harper.

Scene One: A sunny day in October, one week before the election of Ronald Reagan in 1980 features "Love for Sale" by Cole Porter sung by Lillian (Judy Rollings). Scene Two: A week later, a day with a hint of winter and "I Am Built for Comfort, I Am Not Built for Speed" by Chester Burnett sung by Mae (Sharon Collar).  After Intermission, Scene Three: Three months later, a chilly winter's day "If I Can't Sell It, I'll Sit on it, 'Cause I'm not Going to Give it Away" by Hill/Razaf sung by Ursula (Barbara McGrath).  Scene Four: A crisp day in summer, several months later. And last Scene Five: Many months later with "Come Up and See Me Sometime" by Johnny Mercer and Robert Emmett Dolan sung by Edna (Jacqueline Gaston). And the finale is "On the Sunny Side of the Street" by Jimmy McHugh and Dorothy Fields sung by Vera (Jo Ann Yeoman).
Photo L-R Jacqueline Gaston, JoAnn Yeoman, Sharon Collar, Judy Rollings, & Barbara McGrath.

Sharon Collar (Mae) has a long and varied career in theatre, film and television. Her professionalism served her well when opening night flubs, she confessed, resulted in “minor on the fly rewrites to the script.” This reviewer never noticed, and the mark of a great actress was it never showed in the performance and her fellow actresses never revealed the rewrites either.  Mae is the Madam at the start of the show and manages the finances of all the ladies, who plied their trade above Zabar’s on the Upper West Side of Manhattan. Collar portrays her as a caring madam concerned for her ladies long term safety and well being. They live pretty well under her wing, but regret their diminishing clientele, as the old gents die or move to Florida. They consider advertising in The Village Voice or getting the AARP Mailing List. In the end, Mae must cope with Alzheimer’s.

 Judy Rollings (Lillian) Judy is a founding member of Actors Theatre of Phoenix and served as its Artistic Director for nine years. She is presently Director of the Lunch Time Theatre at the Herberger Theater Center. Lillian an aspiring actress, is the first to die, surprising the other ladies as they never expected her to be the first to go. She reappears in spirit as the others follow. Rollings has a great voice and kicks off the first musical number in the show "Love for Sale".

 Barbara McGrath (Ursula) first acting at age nine, has been acting, teaching, and directing in the Valley for over thirty years, and has received four ariZoni awards. Her character Ursula is Mae’s antagonist, and is thrilled to take over when Mae departs. Her investment scheme has Edna and Vera irate, knowing their retirement is lost.  McGrath portrays Ursula’s all business know it all ambition well.    

 Jacqueline Gaston (Edna) an actress since age three with over 200 shows in the Valley, a Charter Member of the Algonquin Company. She says, “I thought I was auditioning for a different part. When I learned I would be singing and dancing at my age… well I figured it's my last shot.”  Gaston’s portrayal of Edna brought balance and stability to the production. Edna played off each character, especially when the cast had been whittled down to just Edna and Vera. Their interaction was truly sad and bittersweet; seeing even McDonald’s had no place for an old hooker when the manager finds her "May I help you?" too seductive.

 JoAnn Yeoman (Vera) Yeoman is a Professor of Practice and Musical Theater Specialist at ASU and also works with the Arizona AGMA ensemble, the Sonoran Desert Chorale. and can be heard as co-host of KBAQ's ASU in Concert.  Vera is the slower quiet one of the group, but the last to go. Her life reaches the depths of poverty and brings to light the plight of the homeless and unappreciated in society. Yeoman brings a deep and beautiful tenderness to a woman whose life had been hard and desperate in the end. She had chances for stability when she gets a proposal, but makes the mistake of inviting the man’s daughters to the ceremony. They quickly whisk him into a retirement home.  Yeoman’s beautiful powerful and sensitive voice was the perfect finale.   

Toby Yatso (Piano Man) recently finished graduate work in musical theatre, music theory and bassoon performance at ASU. His piano and few lines carried the production well from scene to scene.

 Vogel uses the characters to send a message of elderly prostitutes as a way to talk of the economic situation of women in a male society, the need for security in old age, the fears of death and change, and the age-old notion that a woman's best, and sometimes only, bargaining chip is her body. The characters reminisce about their past in New Orleans’ famed red-light district, Storyville, when courtesy and elegant houses with piano players were the order of the day. They lived well and cared for one another. But now they needed to be responsible for themselves and the result of not doing so was the sad desperation of an elderly homeless woman. 

I very much enjoyed this production of The Algonquin Theater Company’s “The Oldest Profession” and encourage all to attend. Rated for “adults” subject matter.

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Review of COYOTE DREAMS: A VERY ARIZONA CHRISTMAS
By LeeAnn Sharpe
Last Christmas I enjoyed "Coyotes Dreams: A Very Arizona Christmas" and wrote my review here  Story Link Once again husband and wife team of playwright Alexx Stuart and director Diedre Kaye re-launch their successful holiday show, “Coyote Dreams: A VERY Arizona Christmas” about a Minnesota couple who contemplate a move to Arizona. Alexx and Diedre are both from Minnesota, so Alexx wrote 20 song parodies of popular carols to tell humorous stories about Arizona from the perspective of newcomers.   Music Direction by Kevin Glenn. Special Performance on Thursday, December 11^th in Carefree at Los Portales Mall – 7:30 PM (doors open at 7:00 – caroling at 7:15)  Show only.  Tickets are $15.00  General seating. All remaining performances in The Encore Room at Arizona Broadway Theatre, 7701 W. Paradise Lane, Peoria.  Dinner, show, tax, gratuities – all inclusive for $48.50. Reservations required at 623-776-8400 or online at www.azbroadwaytheatre.com (additional fee for internet sales) 

• Saturday, December 13^th at 7:00 PM

• Sunday, December 14^th at 12:30 PM

•  Friday, December 26^th at 6:30 PM

• Saturday, December 27^th at 12:30 PM

• Saturday, December 27^th at 6:30 PM

• Sunday, December 28^th at 12:30 PM

The laughs are non-stop with every aspect of Arizona covered. The six actors take on various roles and take us on a journey around the state. Stuart wrote some very creative lyrics to traditional holiday tunes including, “Have Yourself a Tacky Tombstone Christmas”, “Oh Little Town Built by Del Webb”, “Santa Baby” sung by a jail bird inviting Sheriff Joe Arpaio to “come on down to my cell tonight”. And Sun City seniors would enjoy "Silver Hairs," to the tune of Silver Bells. Arizona students can appreciate "All I Want for Christmas is No AIMS Testing." He takes plenty of swings at Arizona sports as well. Attend only if you are ready for good laughs!

Review of Alice Cooper’s 7^th Annual Christmas Pudding Concert
a fund raiser for the Rock Teen Center
by LeeAnn Sharpe
 It’s almost 1am and I just got home from the 7^th Annual Christmas Pudding Concert by Alice Cooper. What a show! Alice calls all of his friends and they turn out for what has to be one of the best rock shows in Phoenix this year! Starting at 7:30pm it was over 4 hours of incredible jams. My hands are sore from clapping so much!

 The finale with Alice Cooper & Band had the place hopping, but then when he brought out all of the performers to sing “Santa Claus is Coming to Town”, the crowd went wild.

Jordin Sparks, the 2007 American Idol Winner, and her band (two guitarists and back up singers) shared her hit “Tattoo” and a new song she wrote “Virginia is for Lovers”  as well as the duet from her album, “No Air” she says will be her next single release.

CTA with Danny Seraphin & Marc Bonilla belted out all of the top hits from Chicago days.  Danny’s drum solos were an example of how years of experience can out perform youthful exuberance. I remember hearing him years ago and he is so much more exciting now!

Roger Clyne and the Peacemakers rocked the joint with hit after hit. You can see why this Tempe band is the only independent band to have five consecutive top-10 albums on the Billboard Internet Sales Chart.

Flo & Eddie of The Turtles flooded the audience with memories of “Happy Together” and “She’d Rather Be with Me” and more. The generational gap was evident as the parents all knew the lyrics and the kids giggled at their parent’s enthusiasm. By the end they had the entire audience on their feet singing along.

Whiskey Falls provided al little country. "Proof is in the Pudding" Winners Brewed to Perfection and Shaun Patrick Moe performed with the hope that their future will follow the footsteps of former “Pudding” winner Jordin Sparks.

Rock Demarco "The World's Fastest Painter" demonstrated his talent and creating a work of art in minutes on stage. The painting was latter sold along with an autographed guitar for $13,000. Two other guitars sold for $8,000 each.

Destiny Dancers led by Cheryl Cooper opened the show with a variety of talented dancers showcasing their dance styles.

Videos were shown, as the stage was being reset for each act, highlighted past “Christmas Puddings” with each year raising more and more bucks for the Solid Rock Foundation. Last year Funds are slated for the Rock, a Teen Center. Groundbreaking is anticipated for the coming year at the present rate of fund acquisition. The website www.alicecoopersolidrock.com tells the entire story of how Solid Rock needs to raise 7.3 million for the 29,000 sq ft facility which will be located on the campus of Grand Canyon University at 33rd Avenue and Camelback. It will reach out to youth and teenagers in the surrounding community and throughout the whole valley. Panorama Hills Newspaper will have continuing articles about the Rock’s progress and how you can help with not only donations of cash and equipment, but mentoring skills as well.

Review of Andre Bocelli Glendale Jobbing.com Arena Dec 14, 2007
by LeeAnn Sharpe
Glendale’s Jobbing.com Arena was the venue for Andre Bocelli December 14^th, 2007.

 What a voice. He filled the arena with such a bold and emotional tenor that it didn’t matter if it was in Italian, and the majority of the audience were unfamiliar with most of the arias from operas he performed. The passion came through with such force as to bring tears to your eyes anyway.

 Bocelli, a disciple of Luciano Pavarotti, spoke of the great loss of his friend and dedicated his performance to the memory of his mentor and sang "Nessum Dorma", Pavarotti’s signature song.  He said, “Tonight he is with us.” It was so beautiful and heart felt. You could feel the love he put into that song.  

And for additional motivation for a magnificent performance, Bocelli said he was performing for his personal hero and special guest in the front row. To the audience’s surprise, Muhammad Ali, former three-time World Heavyweight Champion stood up to wave. As the camera came into focus on his face on the big screens, a roar of applause filled the arena. Bocelli ended the concert donning a pair of boxing gloves autographed by the Champ.

 There has been much criticism of this concert tour where most dates are booked into large arenas or venues not particularly suited to the esthetic sounds of opera. But they are the only places large enough to accommodate the massive audiences who rush to see this charismatic singer. Glendale’s  Jobbing.com Arena was no exception to the criticism depending on where you were seated. On the floor near the stage sound and lighting were pretty good. The only complaint was the cold. With ice under the flooring it’s bound to be pretty chilly. On the upper levels the concourse noise was surprisingly loud and freezing air from doors open to the outside made the distractions pretty annoying. 

 But the voices and music were still incredibly amazing. The New West Symphony Conducted by Maestro Steven Mercurio was perfection. Mercurio opened with Verdi’s “Overture from I vespri siciliani”.  And for an arena, the sound system of the nearly new Glendale arena is state of the art providing the best possible sound in the cavernous area.

 Bocelli opened with "La donna e mobile" from Verdi's Rigoletto, which has great popular appeal and is even familiar to non-opera aficionados.  Baritone Luis Ledesma joined Bocelli onstage in the duet “In un coup” from Puccini’s La Boheme. Next Soprano Daniela Bruera took the stage with Verdi's “Ah, Fors'e Lui, Sempre Libera” from La Traviata.  Bocelli joined on stage for another aria from La Traviata “Brindisi”.

 Maestro Mercurio conducted “Intermezzo” from Manon Lescaut by Giacomo Puccini.

 Ledesma returned with a beautifully intense performance of Puccini’s “Te Deum” from Tosca. Bocelli followed with the famous aria from Tosca’s violent conclusion “E Lucevan le Stelle”. The first act was concluded with a rather long Madama Butterfly’s “Viene la sera” with Bocelli and Bruera. The scenes from the opera were played on a large screen behind the orchestra. It was beautifully sung, but a little long for the restless audience.

 One couple I spoke to said, “We were expecting a show with more "popera" than opera.” The same was echoed by several others who knew Bocelli more from his pop performances on PBS and on Pop radio stations and television, than from his operatic career for which he is celebrated the world over.

 After the Intermission they got their wish for some pop.

Mercurio opened the second act with “Overture from Russian and Ludmilla” by composer Mikhail Glinka, often called the father of Russian classical music.  

Then Bocelli gave the gift of his beautiful “Ave Maria” by Schubert, followed by the sacred aria “Panis Angelicus” holding the final note in a mood of veneration for a small eternity.  
Daniela Bruera brought a bit of German opera to the stage with “Meine Lippen, Sie Kussen So Heiss” from Franz Lehár's Giuditta.

“Musica Proibita”, “Aranjuez”, and “Mattinata” all by Bocelli followed.

At this point Andrea returned to the stage wearing the white jacket saying it was time for a change of pace. He played the flute at the beginning of the “Melodramma”. Then Heather Headley joined him on stage for “Canto della terre” and “The Prayer”.

The finale was “Time to Say Goodbye” with Daniela Bruera. It is considered Bocelli's signature song and what was obviously what the audience wanted to hear from the beginning. A long and appreciative standing ovation followed. 

I can not say enough about Maestro Steven Mercurio and his devoted attention and obvious friendship he bestows on Andrea leading him onto stage and together delivering a most memorable performance. Ticket Prices: $81-$281

 Bocelli recently issued “The Best of Andrea Bocelli: Vivire”, his first hits collection. It features his signature “Time to Say Goodbye”.

Review of COYOTE DREAMS: A VERY ARIZONA CHRISTMAS
By LeeAnn Sharpe
It’s amazing how much laughter 6 actors can bring into a room. That’s just what happens when Darknight Productions “Coyote Dreams: A VERY Arizona Christmas” is performed at Grimaldi’s Pizzaria in Scottsdale or Arizona Broadway Theatre in Peoria. Attendance has been so good, the show has been extended until January 5th at the Encore Room at Arizona Broadway Theatre.

 Husband and wife team of playwright Alexx Stuart and director Diedre Kaye relaunch their successful holiday show, “Coyote Dreams: A VERY Arizona Christmas” about a Minnesota couple who contemplate a move to Arizona. Alexx and Diedre are both from Minnesota, so Alexx wrote 20 song parodies of popular carols to tell humorous stories about Arizona from the perspective of newcomers.   

The laughs are non-stop with every aspect of Arizona covered. The six actors take on various roles and take us on a journey around the state. Stuart wrote some very creative lyrics to traditional holiday tunes including, “Have Yourself a Tacky Tombstone Christmas”, “Oh Little Town Built by Del Webb”, “Santa Baby” sung by a jail bird inviting Sheriff Joe Arpaio to “come on down to my cell tonight”. And Sun City seniors would enjoy "Silver Hairs," to the tune of Silver Bells. Arizona students can appreciate "All I Want for Christmas is No AIMS Testing." He takes plenty of swings at Arizona sports as well.

 The intimate setting and abundant food and drink put the audience into a jovial frame of mind and the laughter is so infectious outsiders might think the room was tipsy. Not a dry eye is simply the result of hilarious puns and cracks at familiar institutions and personalities. Kaye and Stuart have this dinner show routine fine tuned to a smooth running machine with every moment falling perfectly into place. Music, dialogue, and food all choreographed perfectly. They are more than writer and director. They are the perfect hosts for a lovely evening.  

 Cast include Barbara McGrath (Ahwatukee), Dan Stroud (Phoenix), Barb Ellis (Tempe), Fernando Duran (Mesa), Denise Kelleher (Fountain Hills), Wade Moran (Tempe).

 Coyote Dreams  East - Grimaldi's in Old Town  4000 N. Scottsdale Road, Scottsdale doors open at 6:30 PM December 8th, 22nd, 23rd & 27th West-Encore Room at Arizona Broadway Theatre at 7701 W. Paradise Lane, Peoria  December 2nd, 9th and 30th  For details, visit www.darknightproductions.us or call 480-595-7346.  Tickets for dinner, show and gratuity are $41.25 plus tax.  Reservations are required. 

Review of Ballet Arizona The Nutcracker

By LeeAnn Sharpe

 It has been a holiday tradition to go see the Nutcracker. So year after year I go and enjoy it immensely. This year was extra special. I was privileged to introduce my niece Stephanie to her first ballet and what is more perfect for a young girl than the Nutcracker.

 Opening night was cold and rain made driving treacherous. Downtown traffic was in gridlock as every venue seemed to have major events. Parking seemed impossible and we found what may have been the last parking spot in the city! The downtown was sparkling with colors and lights reflected in the rain, limos and cabs unloaded gloriously garbed men and women along with young boys and girls in party dresses and suits. Umbrellas bumped as the crowds moved briskly to various destinations. Honks and traffic cops whistles above the traffic noise completed the picture of a big city at full throttle. You could as easily been in London or New York. Phoenix has truly become a big city, although perhaps on a smaller scale.   

 But the scale of this production of the Nutcracker is anything but small. A spectacular world is created with such beauty and imagination it brings tears to the eye. The mastery of design and execution is flawless. From director to dancers this production is the finest that can be found anywhere in the world.   

 Ib Andersen has once again chosen a team of top designers from throughout the theater world to create a magical, grand-scale Nutcracker exploding with holiday charm and wonder. Choreographed by Ib Andersen , Set Design by Carey Wong and Ib Andersen, Costume Design by Fabio Toblini,  and Lighting Design by Michael Korsch, the best found anywhere.

 The lavish new sets and magnificent costumes from around the world make this magical holiday event such a joy. And the talent of these dancers is so incredible to watch. The leaps and lifts and twirls make your head spin.  

 The costumes of Herr and Frau von Stahlbaum and their children, Clara and Fritz and their party guests are more realistic of German families of the era. They provide a stronger contrast with the colorful costumes of Clara’s dreams. There are 260 costumes in The Nutcracker, requiring more than 6,500 yards of fabric. The costumes were created in 17 shops across America, including Ballet Arizona’s, with final assembly by Ballet Arizona’s costume shop personnel. During the run of the show Ballet Arizona dancers will use up to 300 pairs of pointe shoes. Most pairs of shoes last one performance. The budget for pointe shoes for  December alone is $45,000.

 The set design and transformation as the Christmas tree grows gigantic and the furniture disappears, leaving a huge, empty room that will soon become a battleground for an army of toy soldiers is magical. More than 100,000 Austrian Swarovski crystals were used to create the Snow scene. The production uses 25 different backdrops.

My niece gasped and then giggled as all the mice in the house have grown to enormous size. Costume designer Toblini didn’t want the mice to be too cute, so he modeled them after New York City subway rats. The Mouse King is 9 feet tall without his crown.

When the Nutcracker is revealed to be a prince who gives Clara a crown, the fantasy of every young girl is born. The Snow Queen and King and a magical journey to the Land of the Sugar Plum Fairy plant the seed of beautiful dreams. The dancers among the falling snow and twinkling stars transport you to a place where you wonder am I dreaming or is this real?

 As always the music of the Phoenix Symphony is perfect.  I was shocked to learn my niece’s elementary school’s limited music program does not teach Tchaikovsky, but they do learn rap and hip hop. That’s all the more reason to expose the next generation to as much classical music as possible. 

 Ib Andersen’s The Nutcracker cost $1.8 million to create, involving more than 300 people. The production was made possible with a $1.3 million grant from the Sybil B. Harrington Trust. Revenue from The Nutcracker accounts for 30 percent of Ballet Arizona’s annual income with ticket sales of more than 50,000 seats. 

“Local Color” Movie Review
By LeeAnn Sharpe   

“Local Color touched my heart!” is a quote heard often from audiences in Scottsdale’s previewing of this beautiful movie in limited release at the Harkins Camelview 5 this weekend.

 Director/Writer George Gallo says the film is autobiographical and a personal passion project that he had to do even when the big financial backers dropped out and he had to mortgage his home to get it done.  

 Gallo knows how make a film with plenty of successful films in his resume including “Wise Guys” and “Midnight Run”. His recent projects include the soon to be released “My Mom’s New Boyfriend” with Meg Ryan and Antonio Banderas.

 “Local Color” is the story of a young painter John Talia, Jr. (Trevor Morgan) finding a mentor in an elderly Russian master Nicholi Seroff (Armin Mueller-Stahl) living in his New York town in 1974. Frame Shop owner Yammi (Charles Durning) helps instigate an introduction with the vodka guzzling artist who has blocked out the world. Against the wishes of his overbearing homophobic father, John Talia, Sr. (Ray Liotta), John runs off for a summer in the country to learn the artist’s techniques, but the cantankerous alcoholic artist ends up teaching him more about life than painting. The imagery is a feast for the soul with beautiful landscapes and vibrant paintings.   

Nicholi Seroff's wisdom and concern about the direction of art in the world is discussed in long dinner conversations with art critic Curtis Sunday (Ron Perlman) and his wife Sandra (Julie Lott), where Seroff’s colorful dialogue is punctuated with an abundance of profanity, true to the personality of the artist. The use of the “F” word earned the film an “R” rating, even though there is absolutely no violence, sex or nudity. Gallo said he couldn’t whitewash his character’s language anymore than he did without losing the essence of the man.

 Carla (Samantha Mathis) is a beautiful young woman and neighbor friend of Seroff’s who awakens passion in young John. Knowing Seroff is jealous of the attention, John engages her in the purest of big screen romances and earns the scorn of his mentor at the end of the summer. Still they end up each learning from the other and all the better for the passion ignited. John sees the world through the eyes of the master, and the master sees the world through the eyes of innocence once again.    

 Gallo spoke to the audience after a local screening and told how important it was he make this film, and make it his way, because it’s the story of his own youth and the mentor who guided him in his dreams. Working without major studio support, taking out loans against his home, as well as several producers doing the same, he managed to create a poignantly moving portrait of a glimpse of a moment in his life that many of us experience when inspiration takes hold and sets the course of your life. Gallo shot the entire film in only 18 days, in what he called keystone cops shooting technique, setting up and tearing down lights and cameras so fast as to be ridiculous. But he got it done and the end product defies you to find where he cut corners. The top notch cast and beautiful score, by Academy Award nominated composer Chris Boardman, accent this masterpiece of film making.

As a young man, Gallo attended college as a Graphic Arts major. After seeing Martin Scorsese's film “Mean Streets”, he was inspired to become a Film major instead. When the school informed him that he couldn't switch majors without repeating his first year's studies, he decided to drop out and ended up writing his first film, “Wise Guys”.

Gallo was quoted as saying, "Eventually, I came to understand that all of the arts are intertwined. That composition in painting is the same as structure in storytelling; that characters are the same as colors; that colors are the same as chords in music."

Armin Mueller-Stahl came out of retirement for his portrayal of Nicholi Seroff.  He received an Oscar nomination for Best Supporting Actor for his performance in “Shine” (1996) and more recently had appeared in four episode of The West Wing. Much has been made of Seroff’s use of profanity in “Local Color” but Mueller-Stahl made it a natural part of the foul mouthed artist’s personality, to the extent it was no longer profane, but simply the way he spoke. We’ve all known people cut from this cloth, especially old men who have been through much horror and have limited ability to express themselves and their frustration through language. They generally ask to be excused when speaking in the presence of ladies, but Seroff’s frustration with life has reduced his attention social niceties to nil. Gallo was brilliant to cast Mueller-Stahl in this role. The accent, the facial expressions, the body language, all spoke of this old man’s frustration with life. And Mueller-Stahl is a painter. Bravo for a wonderful job in painting this character.

 Trevor Morgan wasn’t the first choice for the role of John Talia, Jr. Gallo’s wife Julie Lott explained how their first choice had a conflict and Trevor Morgan fell into his place. It was the best thing to happen because he was perfect. With years of acting experience since the age of six, the 21-year old actor was especially good in expressing fear when his homophobic father’s predictions haunted him as the old man opens his bedroom door to check in. Morgan was an excellent choice. The big movie studios wanted a sex scene added to the romance but Gallo insisted in real life it had only been a kiss and that was what he wanted in the story. Morgan made that kiss express more than any sex scene.

 Ray Liotta as John Talia, Sr. provided the humor and quirkiness we all see in our own families. He’s a loving father and husband trying to hold on to a son ready to fly the nest. Liotta brings his usual professionalism to the role and gives us the chance to hate him and love him. It didn’t hurt that he was a family friend who actually knew Gallo’s father.    

 Samantha Mathis as Carla took the character right where she belonged, as the fuel to the fire that ignited between Nicoli and John. Mathis has acted since the age of three, (daughter of actress Bibi Besch). Mathis was quoted, “During the kissing scene it started to rain, which was perfect. And during the raining scene we were using hoses to simulate rain - and it started raining for real. It was as if God was saying, "Make this film." I loved the experience of working on the film and all the collaboration and encouragement. Gallo was open to suggestions and that sort of enthusiasm makes everyone want to work for him.”

 The film won a Director's Choice Award at the Sedona Film Festival. That’s where the connection to Harkin’s came into play. “It's a true story,” Dan Harkins says. “We ran to each other in slow motion. We made a film deal in front of a full theater. My children loved the film and wanted to see it again.”  The limited release at Harkins has been a big success.

 A week after production wrapped, most of the locations used in the film were destroyed by Hurricane Katrina.

 Idealism created an impressive piece of work with its heart in the right place. It will touch your heart, mind and soul with a shared experience of anyone with a passion.

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Movin' Out

By LeeAnn Sharpe

First you take the music of Billy Joel, which is so woven into the American landscape it’s imbedded deep into your memory, as a fan or not. Then you take the talent of Twyla Tharp who conceived, directed, and choreographed “Movin' Out”, for which she won the 2003 Tony Award. Next a voice that takes Joel’s lyrics and music into a storyline with emotion. Finally, add the energy of a troupe of young dancers who seem to float and fly across the stage, using their bodies to tell the story. It’s a magical combination that had the audience captivated and cheering super human feats of endurance on Opening Night of “Movin' Out” at Sun City’s Maricopa County Event Center.

“Movin' Out” isn’t a musical in the sense that there are not actors speaking roles, but dancers, dancing to the music telling the story. There are characters and a story line which tells the story of five friends coming of age over three decades from the 60’s to the 80’s. And there's live music with an incredible band singing about 30 Billy Joel songs. “Movin' Out” is more a ballet, an extraordinary dance, rock, theatre infusion, thoroughly entertaining.

The dancing is non-stop and amazingly energetic for nearly two hours. The incredible energy, especially Eddie (Drew Heflin) and Tony (John Corsa), are like the energizer bunnies doing unbelievable feats of gymnastics, jumps, spins and lifts. These are superhuman dancers! “Movin' Out” has definitely been well cast with incredible talent.

Given an amazing catalog of music from Joel, the band took it to new heights with an inspired sax and the fabulous voice of Kyle Martin.

The only fault I can find is in the lighting throwing maximum wattage into the eyes of the audience, blinding this recent cataract removed reviewer into painful squinting to see several times, especially in the opening scene. My companion also commented he wished the lighting hadn’t been so extreme. The theatre also seemed to echo and on more than one occasion I turned around to see who was singing in the back of the theatre a step behind.  

The storyline follows five characters from their 1960’s high school graduation, love found and lost, becoming soldiers, off the Vietnam where James dies in battle, the sadness of a soldiers funeral and the girlfriend left to mourn, the pain of vets readjusting to life at home, the nightmare of war haunting them, a drunken brawl, and finally their reunion years later. Read the plot synopsis in the Playbill, as there’s almost no spoken dialogue to help you follow the story and characters.

The long legs of Tony (John Corsa) in Scene 2: Tony Move Out, caught my attention and his legs and leaps kept me captivated throughout. Especially in Scene 10, when he danced to “Shameless” with Brenda (Amanda Kay).  The sweetly sentimental pair of James (Eric Bourne) and Judy (Karolina Blonski) were delightful as they danced Scene 3: James and Judy are Forever to “Just the Way Your Are.” It wasn’t until Act II that Eddie (Drew Heflin),  came to the forefront with his amazing gymnastic feats at an unbelievable pace that had the audience applauding during several numbers. How does he keep it up night after night? Actually there are 4 dancers in the program who take turns on different nights as Eddie.

The real star is the Piano Man Lead Vocalist Kyle Martin who gave voice to every scene almost non-stop. What stamina to sing at such a level emoting feeling and enthusiasm to propel the dancers and storyline forward for almost two hours. His voice is comfortable and embracing, with full definition of every word as it must to make the story understood. He has a beautiful voice that brings everything required to make this show a great success. The rest of the band is excellent with kudos to the sax men Tim McNamara and John Isley.

“Movin' Out” is entertaining and musically satisfying leaving the audience uplifted and wishing they could bottle some of that energy!  Movin' Out ran for 1331 performances on Broadway.

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Starlight Community Theater Honored with ZONI Nomination
Anthem’s Sherry Henderson Receives Prestigious Nomination
Starlight Community Theatre’s Director of Choreography, Sherry Henderson, has been nominated for an ariZoni Theatre Award of Excellence (ZONI) for her choreography of Starlight’s production of “High School Musical” last February.  Nominees were just announced, and the final winners will be named in September.

 “I am very excited to be nominated,” said Henderson.  “It makes me proud when choreographers are recognized for their hard work, especially when we are having a blast doing it.”

 Henderson, an Anthem resident and original Starlight Board Member, is currently choreographing her seventh Starlight production, “Fiddler On The Roof”, which opens in September. A veteran of the stage, Henderson started her career at the age of seven in the Broadway production of “Annie”. This was followed with musicals such as “42nd Street”, the “King and I”, and the “Wizard of Oz”. She has performed at Radio City Music Hall with Liza Minnelli and toured the U.S. and Europe with her show “Steppin’ Out”. She has been teaching dance and choreographing for over 17 years, and is currently teaching at Anthem’s Dynamic Motion Dance Academy.   Story Continues

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West Valley Arts are Shining Bright!
 After years of people thinking they had to go elsewhere for great entertainment, theaters in the West Valley are shining bright after receiving the results of the ZONI nominations last Tuesday.   Story Continues

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Ballet Arizona presents one of the most elaborate productions of The Nutcracker---enlisting the help of over 100 young students of not only The School of Ballet Arizona, but from kids across the far reaches of the Valley.Every year, there are auditions held at Ballet Arizona to cast the parts of Clara, Fritz, and an array of youth roles in The Nutcracker. Just the thought of performing on stage at Symphony Hall surrounded by talented company dancers is enough to excite any child. This is one of the many reasons why this show is such a family favorite.

With so much opportunity to shine in this full-length and kid-friendly production, the youth are centerstage. Roles include Clara, the star of The Nutcracker, who dreams of giant mice and The Sugar Plum Fairy; as well as her brother Fritz, Drosselmeyer’s prince, party boys and girls, toy soldiers, angels, and Mother Ginger’s children.Not only is The Nutcracker one of the most imaginative and exciting shows for children to perform, it is also amazing to see. Every season, in addition to our community outreach program Angel Night, Ballet Arizona presents Student Matinees, in which schools and other youth organizations visit Symphony Hall to view these performances. The 2008 Student Matinee performances are December 17, and 18; tickets are always in high-demand, selling for only $4 per student. Teachers are offered an in-depth study guide for their students to prepare them for the magical holiday tale. This year’s Angel Night and Student Matinee performances are expected to turn out a full-house at Phoenix Symphony Hall. Keeping with the spirit of family fun and community youth outreach, Ballet Arizona is dedicated to making The Nutcracker the most enchanting, and enjoyable experience in the Valley. Before every show, a special guest reads the story of The Nutcracker, and kids can also enter in the Guest Soldier drawing, for a chance to appear on stage in the first act of the show. Ballet Arizona is proud to have so many Arizona children perform, attend, and delight in this celebration of holiday magic and imagination. The Nutcracker opens this Friday, December 12th at 7:30 pm! Ballet Arizona Ib Andersen’s The Nutcracker Phoenix Symphony Hall December 12-28, 2008 TICKETS/ INFO:Available at Ballet Arizona Box Office602- 381- 1096 www.balletaz.org   3645 E. Indian School Rd Phoenix, AZ 85018 www.ticketmaster.com/baz