3 great opportunities for theater lovers

Improvisation classes at The Torch Theatre:

Have you always wanted to try acting lessons? The Torch offers a variety of improv classes taught by professionals who “have studied and performed with masters of longform improvisation all over the country.” And the theater is excited to be training a “community of funny, passionate and interesting players right here in Phoenix, Ariz.”

Classes include drop-in improv classes as well as master and ensemble classes. Some classes are free, others are only $10 and some go up to $195. A list of classes and registration information can be found at the Torch Theatre site.

Playwriting Workshops at Space 55:

On the third Sunday of each month, Space 55 holds a workshop where local playwrights can have their work read and receive feedback from an audience. The workshop is meant to help support and improve local writers with real, constructive advice.

There are also a few performance opportunities for those who aren’t writers. There are multiple regular shows that accept new talent and encourage original performances.

Information on both opportunities can be found at the Space 55 website.

New York City or London with Arizona Theatre Company:

Not an actor or a writer but still love everything about theater? You can join Arizona Theatre Company on a trip to see a Broadway musical in New York or hop a plane to London and see four productions while traveling abroad and sightseeing. Both trips have a fun and extensive itinerary.

More information can be requested here.

Phoenix Theatre brings magic to the stage with ‘Pippin’

The cast of Pippin. Photos by Phoenix Theatre

The cast of Pippin.
Photos by Phoenix Theatre

“Pippin”: A tale of family, love, war, betrayal, travel and searching for your true purpose in life. It’s a story of following your heart and learning from your mistakes. There are also a lot of really catchy show tunes and acrobatics.

“Pippin” is a wonderful contradiction. Taking place during Charlemagne’s reign in France, it has a wonderful cirque du soleil atmosphere that, along with the ’70s pop/rock score, is before its time. But that’s what makes it fascinating.

Watching Phoenix Theatre’s production of “Pippin” is like watching a Shakespearean play fused with the musical ”Chicago.” It shouldn’t work together, but in this case, it really, really does.

The story of “Pippin” follows, well, Pippin — the 20-something prince and son of King Charlemagne who has just finished college and is trying to find his place in the world, who comes across heartbreak, love and adventure along the way.

It’s witty, innovative, funny and thought-provoking, and the cast of Phoenix Theatre does an incredible job of making the idiosyncratic, eccentric, circus-like musical come to life on the stage.

The songs are entertaining, the lights are striking, the sets are artistic, the costumes are imaginative and the cast is talented and enthusiastic. It’s one of those shows that keeps you smiling the whole time and wishing you could be on stage, too.

Originally written by Roger O. Hirson with music and lyrics by Stephen Schwartz, “Pippin” is directed and choreographed by Phoenix Theatre’s Michael Barnard.

Paul Oakley Stovall as Pippin and Anthony Johnson as Pippin.

Paul Oakley Stovall as the Leading Player and Anthony Johnson as Pippin.

In “Pippin” you’ll see aerial acrobatics, tumbling and exciting dance numbers by the gifted cast, but there are definitely some stand-out actors who really elevate the show.

Naturally, one of those actors played the title character of the show. Anthony Johnson, who portrayed Pippin, is an extremely talented singer and actor. Johnson, undoubtedly, made his Phoenix Theatre debut with the leading role in one of the best shows of the season.

Johnson’s renditions of “Corner of the Sky” and “Extraordinary” are some of the greatest songs the show has to offer and were performed exceptionally. Both songs earned an enthusiastic applause from the audience.

Another crowd favorite was Paul Oakley Stovall, who acted the part of the Leading Player, akin to a circus ringmaster, who led the ensemble in telling the story of Pippin’s journey and nitpicking the characters along the way.

Stovall’s character is the comic relief of the musical and is naturally entertaining. He played the part perfectly with his amusing interpretation of his character. He was sassy, a bit raunchy and hilariously irate throughout the show. His song “Simple Joys” was a crowd-pleaser.

A couple of other songs that stood out were “And There He Was” by Pippin’s love interest Catherine, played by Trisha Hart Ditsworth, and “Finale/Magic Shows and Miracles,” sung by the whole ensemble.

Ditsworth has an enchanting voice that really captivates an audience, and the cast as a whole shined in the “Finale” song, proving that you don’t have to go to a Broadway show to see great singing and dancing at the same time.

And perhaps my favorite part of the show — and what might be yours, too — was that after all of the glitz and the glam and the lights and the ostentatious nature of the musical, the ending was incredibly realistic. Touching, but unexpectedly realistic.

I never would have guessed it.

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“Pippin” is being performed at Phoenix Theatre through March 30. Tickets can be bought at http://phoenixtheatre.com/ or at the box office. Tickets start at $46.

ASU Prep’s first production engaging, inspiring

Youth theater can be difficult to appreciate. The low-budget sets and costumes, the lack of experience, the simple plots — we’ve all been there.

Often, what makes a high school production shine is the spirit of the actors themselves. If they enjoy what they’re doing, the audience does, too.

That was definitely true of ASU Preparatory Academy’s production of the musical “In and Out of Shadows,” but there’s more to it than that. Many of the student actors related to the storyline, which depicts the struggles of undocumented students who have immigrated to California from Mexico and Asia.

One of the reasons the students enjoy being on stage so much was that this is a new experience for them. This is ASU Prep’s first ever theater production put on by its first ever drama class. The class was so popular this year that the teacher, Andrea Enger, is being brought on to teach drama full-time next year.

The students band together to attend a conference on AB 540, which would allow them to attend college in California and pay resident tuition despite their undocumented status.
Photos by Alexandra Scoville

The students also appreciated the transformative power of theater. One actor told me about how his character has two sides — there’s the respectful momma’s boy, and then there’s the tough, cool teen. Playing this character allowed him to express himself more and be less shy, even offstage.

Another student is undocumented. He had a lot of experiences in common between his own life and that of the character he portrayed on the stage. Being able to share his story with his classmates and the audience was cathartic, he said.

But even without that background, the production was good. It had its little flaws — it was difficult to hear the solo singers sometimes, the set changes were constant and a little tedious, there was a clear range of acting ability. But those are small details, and the big-picture things — generally solid acting, strong writing and pace, a clear message — were all present.

The play was written by famous poet and young adult author Gary Soto at the request of a San Francisco theater director. He went through extensive research and 37 drafts in order to properly capture the controversial topic and unique youth stories.

Although many of the characters are Mexican-American, the play also features characters of other races, such as a Filipino family and a Chinese-American student. The actors tried to represent this diversity by matching themselves to characters with similar backgrounds.

In plays that are also musicals, the songs tend to make it or break it. Although simple, the seven songs of “In & Out of Shadows” were all strong and integrated well with the story.

ASU Prep student Nieves Noriega played the role of Juan Two, a comical character and audience favorite.

My favorites were “Camilla,” performed by Nieves Noriega, who played the character Juan Two, and “Clouds,” featuring the Filipino mother, played by Alina Cao. Noriega and Cao are both strong singers; in addition to demonstrating vocal talent, both were able to command the stage and project their voice and emotions.

The group ensemble songs were also good and featured simple dance choreography as well. They highlighted key plot points and themes.

Juan Two was also my favorite character in the play. He was the comic relief in both solo and group scenes but also a source of strong emotion, such as when he got his papers after years of living undocumented.

Noriega gave off a strong sense of charisma and confidence that suggests previous acting experience; either way, Juan Two was immediately likable and, I expect, very relatable for most teens. Soto did a great job painting an accurate picture of teenagers in both their day-to-day lives and in their struggles with documentation.

Although “In & Out of Shadows” only ran for one weekend, stay tuned for more theater offerings from ASU Prep. Expect to see another production before the end of the semester, as well as several more plays in the fall.

Theater volunteer opportunities in Phoenix

Photo by morgueFile

If you love the theater, there are ways to get involved. You don’t have to be a talented actor or singer. You don’t have to be an aspiring director, producer or choreographer either. You don’t have to know how to manage the lights on the catwalk or know where to find stage props.

Phoenix is a thriving source of live theater, and every week there are plays and musicals being performed around the city. If you want to get involved and give back to the community in a fun way, there are multiple theaters that could use your help.

No auditions required.

Below are links to volunteer opportunities for theaters and companies all over downtown Phoenix!

Volunteer with ARIZONA THEATRE COMPANY.

Volunteer with the HERBERGER THEATER CENTER.

Volunteer with BALLET ARIZONA.

Volunteer with ARIZONA OPERA.

Volunteer with the BLACK THEATRE TROUPE.

Volunteer with ACTORS THEATRE.

‘Other Desert Cities’ a bit dry, despite attempts at humor

I didn’t know much about “Other Desert Cities” headed into Arizona Theatre Company’s production of the play at the Herberger Theater Center. The descriptions online were notably vague, sharing only that it was about a family and their conflicts after the daughter reveals she is working on a memoir about her family.

I think not knowing more than that is beneficial, because discovering the specific details of the family and their twisty political influences is the best part of the play. The writing and execution falls flat, leaving audiences left with just the story.

The best part of “Other Desert Cities” was my first impression of the set, which was so quintessentially upper-middle-class-living-in-Palm-Springs that I couldn’t picture the house being anywhere else. It was open and airy, with large glass windows framed by brown and tan wood paneling that matched the furniture. There was even a small pool along the edge of the stage for characters to dip their feet into.

The characters’ entrance fit this image, too, as they bounded in after an early morning of playing tennis, dressed in expensive and stylish athletic clothes and already bickering with each other.

The problem with the set, though, is that it was severely underutilized. The structure of glass and wood gave it the illusion of depth, but even factoring that in, the characters only really engaged with the couch and chairs in the living room. The rest of the space just existed around them, rarely even playing a part in character entrances and exits.

ODC1

Will Mobley and Paige Lindsey White in Arizona Theatre Company’s “Other Desert Cities.” Photos by Tim Fuller/Arizona Theatre Company.

The play is set over the course of a day, which adds to the feeling that nothing actually happens. It is almost entirely made up of dialogue, the only actions being characters walking around the living room, pouring a drink, smoking and occasionally walking “outside.”

And when the characters argue with each other, they rehash the same arguments again and again, which is tiring to be a part of in real life but even more tiring to observe other people doing.

The play attempts to lighten this with a combination of dark humor and oddly offensive comments from Brooke’s parents. The dark humor is mostly successful, especially when coming from Brooke’s brother, Trip, played by Will Mobley, and her aunt, Silda, played by Robin Moseley.

The other jokes, though — not so much. The audience of older adults laughed at many of these attempts at humor, but they came off as very uncomfortable to me. Most of the jokes were critical of conservative, Republican views, but in a way that seemed to let those same people in on the joke. It was like pointing out a problem but then excusing it in the same breath.

I’ve seen a lot of plays featuring quietly suffering, weak-willed, hard-to-love leading ladies. This archetype is abundant across the stage and even in many less-than-mainstream films, despite how difficult it is to pull it off.

Will Mobley, Robin Moseley, Paige Lindsey White, Anne Allgood and Lawrence Pressman in Arizona Theatre Company’s “Other Desert Cities.”

Unsympathetic characters are typically either extremely likable due to some redeeming quality or just thoroughly annoying and frustrating. But Brooke, the main character of “Other Desert Cities,” somehow manages to fall between the two, bouncing between the two extremes like a ping-pong ball being hit back and forth by the other characters.

Brooke is played by Paige Lindsey White, who does a fair job of capturing the character as I assume she was written. Some of the acting is overwrought — from all of the characters — and some of it is just a bit off, such as when Brooke is discussing her experiences with depression with her family. At least some of this is due to Brooke’s characterization.

She’s at her most sympathetic when pleading with her family to tell her the truth about her brother’s death and arguing her right to publish what she’s discovered. The secondary family conflicts feel overly dramatic, though; there’s a lot of yelling and arguing and a distinct sense that no progress is being made.

Overall, “Other Desert Cities” was a fun experience for the small moments that were successful, but the major issues of character portrayal, pace and off-putting humor made the rest of the play less than enjoyable.

“Other Desert Cities” runs through March 2 at the Herberger Theater Center. Tickets can be purchased online or at the box office.

‘Respect – A Musical Journey of Women’ is an inspiring, comedic must-see

From left: Carlita Victoria, Rachel Richards, Sarah Shahinian, anf Heather Paton. Photos by Steve Carr

From left: Carlita Victoria, Rachel Richards, Sarah Shahinian and Heather Paton.
Photo by Steve Carr

“Respect – A Musical Journey of Women” is not your average hit musical. There are no extravagant set designs, elaborate lighting schemes, numerous costume changes or even intricate musical numbers involving a colossal cast.

There were no scenic backdrops and at no point did glitter or fake precipitation rain down from the ceiling, causing the audience to gasp in wonder.

But the show is incredible.

While it was simple, it is easily now one of my favorites. It may not be as complex as most musicals, but it makes up for it in the talent of the cast, song choice, comedic effect, topic and the feeling you get when you are leaving the theater — it’s that rare feeling you got in school when you attended a class, actually learned something and had the time of your life doing it.

Because “Respect” is much more than a musical, it’s the best and most hilarious educational lesson on women’s history you’ll ever take, and I suggest every woman go see it while they can. (Men should go see it, too, but especially women.)

Respect is now being performed at the Herberger Theater, and as the site advertises, the show is a “funny exuberant look at the lives of women as told through 50 of your favorite Top 40 songs of the last 100 years.”

The show features many hit songs, and while not every age group may know every song, the show does an excellent job of picking songs so that everyone in the theater knows a large number of them.

I had never heard “Whatever Lola Wants” before I saw the musical, but it was hugely entertaining to watch the small cast of four women sing “These Boots Are Made for Walking” and Britney Spears’ “Oops! I Did it Again.”

They also performed hits such as “Diamonds Are A Girl’s Best Friend,” “Sixteen Going On Seventeen,” “At Seventeen,” “I Will Survive” and, of course, the song the show was named after, “R.E.S.P.E.C.T.”

One of the best aspects about the show is that it portrays issues almost every woman goes through or has gone through, such as waiting by the phone for a guy to call, job equality, wanting to be seen as more than a housewife, relationships and break ups, making it a highly relatable musical and not just one the audience enjoys purely because it’s fun to watch.

The four women starring in the show — Heather Paton, Rachel Richards, Carlita Victoria and Sarah Shahinian, who is also the director — portrayed different famous women throughout history, women who were known for their strength, talent, motivation and accomplishments in different aspects of life.

Marilyn Monroe, Rosa Parks, Coco Chanel and Michelle Obama are just a small number of the many women either portrayed or discussed in the show.

“Respect – A Musical Journey of Women” is an important show. And it’s not because it’s hilarious and has a talented cast of singers and actresses. It’s because no matter how smart you are or how much you know about women’s history, you’ll leave the theater knowing something new.

And you’ll also leave the theater proud to be a woman after witnessing years of incredible and talented women making history and overcoming obstacles. This inspiring of a show should not be missed.

“Respect” will be performed through March 2 and tickets can be purchased online at the Herberger’s site or at the Herberger Theater box office. Tickets start at $53, but some discounts may be available.

‘Bastian Bachman’ a captivating experience

Stephen Kass as the Doctor and Katie Sample as one of the incarnations of Bastian Bachman performed a song during Bachman’s surgery — one of the most expansive scenes in the show. (Alexandra Scoville/DD)

“The Seven Layers of Bastian Bachman” is a performance that draws its power from the little moments.

Its immersive nature elevates it from play to production, but the intimate connections formed between characters and audience members make it more than just an experience.

The first time I saw it, one of the characters pulled me into a scene, holding my hand and speaking to me as if I were one of her patients. The third time, I spent 10 minutes singing and humming lullabies with a character who had dementia.

I saw “Bastian Bachman” a total of four times and each experience was completely different. It cheapens the power of the show to liken it to a choose-your-own-adventure book, but that’s the best way to describe it to someone who hasn’t seen it.

Staged at the Icehouse by ASU Herberger Institute students, the production places audience members inside the mind of Bastian Bachman, a famous composer with a brain tumor in his last hours of life.

The audience members literally become memories inside Bachman’s head, wandering around the Icehouse’s three floors along with the other characters, which include family members, neighbors, creepy nurses and a spectacularly dramatic doctor as well as four separate incarnations of Bachman.

One of the most powerful things about the play is that no matter what their role in the storyline is, each character experiences at least one moment of humanity.

The production’s intensity runs the gamut from goth rock operas to mournful acoustic guitar-accompanied soliloquies. Sound and silence are critical to both its message and the general experience itself, and no scene is complete without music of some sort, whether its characters pounding piano keys or humming in synchronization.

The original songs were catchy and well-performed, anything but grating, something a lot of musical-esque performances struggle with.

Zachary Scot Johnson as one of the incarnations of Bastian Bachman and Rina Hajra as Bachman’s wife, Marie. (Alexandra Scoville/DD)

 

Beyond their musical talents, the cast had remarkable acting range as well. Working inside a conceptual framework director Megan Weaver and three other students came up with after a class prompt, the cast wrote the script themselves.

The process consisted of essentially placing random characters in a room with basic directions again and again until a scene that worked with the narrative came out of it.

The dialogue and plot was inspired by a variety of artists such as Andy Warhol, David Bowie and Philip Glass and the sets, relying on medical, musical and botanical motifs, were as compelling as the storyline.

Some of the best performances were the simplest, somehow finding within Bachman’s memories a home they’d be hard-pressed to find in any other production. Oscar, the character with dementia, did little more than hum and wander around asking people where his glass of water was, but his character still managed to be sweet, heartbreaking and kind.

One of the incarnations of Bachman spent the entire performance expressionless, walking in slow motion around a room lit with candles.

The character of the Doctor, played by Stephen Kass, was one of the most compelling simply due to how energetic and erratic he was. The Doctor was the closest human source of evil the play had, and his overly dramatic mannerisms seemed to be a product of how Bachman saw his role in his life and the decline of his memories.

Kass’ acting was at times physical as he jumped halfway out windows and onto and off of platforms, shouting or singing the entire time, and at times expressive — he, like most of the actors, would hold eye contact with audience members during scenes or as he walked by.

“The Seven Layers of Bastian Bachman” was easily the most unique performance I’ve ever seen. It was incredibly beautiful and moving, something I wish everyone could experience and something I wish I could continue experiencing.

It’s exciting to see such high-quality, intensive productions coming from the Herberger Institute. As “Bastian Bachman” marks their second immersive performance at the Icehouse, I hope to see more experimental pieces at that venue in the future.

Ain’t Misbehavin’ now at Phoenix Theatre

Photos by Phoenix Theatre

I had never watched someone get high on marijuana until I went to “Ain’t Misbehavin’” at Phoenix Theatre. Obviously, it wasn’t real (I hope), but the smoke twisting through the green spotlight certainly made it very realistic. That was one of the great moments of the show.

“Ain’t Misbehavin’” is a musical comedy that pushes boundaries and received many laughs from the audience because of the pure audacity as well as ridiculousness of the show. Unfortunately, despite my love for Phoenix Theatre productions, there were very few parts of the show I actually enjoyed.

“Ain’t Misbehavin’” is a unique musical with few spoken words. Instead, it pays homage to some of the great black musicians during the 1920s and 1930s. The Tony Award-winning musical features song after song of catchy, often humorous and raunchy hits that were popular during the Harlem Renaissance, a cultural movement that took place during that time.

There were love songs, songs made to dance to, Broadway-style songs and even songs written purely for laughs, such as “Your Feet’s Too Big.” All of the songs were performed by a cast of five — two men and three women.

While the show is intended to be comical, a bit crude and even outrageous, it felt a tad off to me. The acting choices and facials seemed too extreme, and at times, I felt as if the actors were trying so hard to be funny that they missed the mark completely. It often felt like more of a musical comedy spoof than a musical comedy.

I found that the parts of the show I truly did enjoy were the few parts that weren’t intended to be funny — just good singing and wonderful lighting and set design. All the members of the cast were extremely talented singers and dancers, and I enjoyed the wonderful harmonies in “Off-Time” as well as the songs “Black and Blue” and “I’ve Got a Feeling I’m Falling.”

However, it’s the lighting director, Mike Eddy, and scenic director, Yoon Bae, who really deserve a standing ovation. The lighting and set designs were perfect and enhanced the songs and show as a whole. The large piano lining the wall of the theater was incredible and the gorgeous lighting for every number really saved some of the less popular scenes. The hundreds of colorful bottles of liquor lining the shelves of the bar were a nice touch, too.

But despite my criticism and personal distaste for the interpretation of parts of the show, the majority of the audience at Phoenix Theatre really seemed to enjoy themselves, and it’s not too late to see if you will join the ranks of those who loved the show. It will be performed through Feb. 16, and tickets are currently available at the Phoenix Theatre box office on www.phoenixtheatre.com.

Get your tickets early: theater highlights for the spring semester

With so many theaters near the Downtown campus, there are many productions to look forward to that will sell out quickly and are almost guaranteed to be exceptional shows. Here are some of the must-sees:

Avenue Q

Photo by Phoenix Theatre

 

Cirque D’Or at the Herberger Theater Center
Jan. 24 – 25
Many people have heard of Cirque du Soleil. Cirque D’Or may best be compared as a scaled-down version that is much less expensive. The show features a cast of talented acrobats, contortionists and aerial artists from around the world and is a great family show. The award-winning production is known for its beautiful costumes and lighting, and the Herberger calls it “one of the most spellbinding shows you will ever see.” Tickets are $28 – $63.

La Bayadère by Ballet Arizona and the Phoenix Symphony
Feb. 13-16
La Bayadère isn’t extremely well-known, but it certainly looks promising. The production tells the story of a temple dancer and a young warrior who, unable to be together in life, are united in death. Ballet Arizona promises lavish set designs, “which conjure up exotic locales like The Arabian Nights” and that the ballet will “transport you with dream-like sequences to a world of noble warriors, cruel princesses and beautiful temple dancers.” Tickets are $39 – $135.

Around The World In 80 Days by Arizona Theatre Company
March 27-April 13
Also the name of a popular film featuring Jackie Chan, the plot of this show isn’t hard to guess. It takes place in 1872 London, where a man named Phileas Fogg believes that, with modern transportation, he can travel around the world in 80 days. What isn’t as easy to guess is how this show will manage to take its audience on a journey across seven continents and make them feel as if it’s actually happening. That’s a lot of set changes, a lot of costume changes and a lot of countries. Plus, it can’t be easy to make the “modern transportation” look convincing. It should be a great deal of fun just to see how this show progresses. Tickets are $44 – $67.

Snow White and the Seven Dwarfs by Valley Youth Theatre
April 4 – 20
This theater is known for its family-friendly shows and tendency toward beloved children’s classics. Snow White is a much-loved story and film and should be an enchanting production. Ticket information will be available closer to the date.

Avenue Q
April 10 – May 18
Avenue Q is puppet theater for adults, but it’s far from Sesame Street, so even though the puppets would make the kids laugh, it’s probably best to leave them at home. Phoenix Theatre describes the show as R-Rated, saying its “outrageous and irreverent humor comes at you like a freight train.” They call it “hysterical, fast-paced and fun, fun, FUN!” It’s most definitely guaranteed to produce a night full of laughter.  Tickets start at $46.

With all of these shows, make sure to inquire about student discounts and get your tickets before they’re gone!

‘White Christmas’ a must-see holiday classic

christmaspic

Photo by Phoenix Theatre

‘Tis the season for pretty lights, eggnog, caroling and all things Christmas in preparation for one of the greatest — if not the best — holidays there is.

And while some individuals can seamlessly transition into the Christmas spirit as soon as the Thanksgiving dishes are washed and the Black Friday shopping is done, others may need some assistance.

“White Christmas” is the perfect musical to put you in the feel-good Christmas spirit, and you’re in luck, because it will be performed on the Phoenix Theatre stage through Christmas Eve.

“White Christmas” is everything Christmas should be about: the gift of giving, love, friendship, laughter, family, helping others in need and counting your blessings instead of thinking about all of the things you wish you had.

The musical, directed by Michael Barnard, is based on the 1954 film of the same title, with music and lyrics by Irving Berlin, and it tells the story of  a pair of World War II veterans who have gone on to become a very successful song-and-dance act during the 1950s.

The two meet two sisters, who also have a talent for singing and dancing, just before the girls are about to catch their train for their Christmas show at a Vermont inn, which just happens to be owned by the men’s former army commander.

After that, of course, passion, chaos, romance, misunderstandings and show business ensue to guarantee a humorous, thought-provoking, and heartwarming Christmas tale that will have you wishing you knew what radio station played the Christmas songs on your way home.

The entire cast is astounding and the production crew deserves its praise as well. Throughout the show, you will see beautiful Christmas lights, wonderful scenery and sets and, at one point, real snow. There’s not a moment when your eyes aren’t drawn to the stage, and after a while, you may even forget it’s a stage you’re looking at.

The show is filled with wonderful songs masterfully sung, but my favorites have to be the duets that were sung by Debby Rosenthal and Joseph Cannon, who portrayed Betty and Bob, the two characters who never expected they’d find someone to call their own, let alone each other.

Together they sing “Count Your Blessings Instead of Sheep” and “How Deep is the Ocean.” Both are beautiful, harmonious duets, and their voices fit each other so well. One or both of these songs may even bring tears to your eyes, which you will be able to covertly wipe away in the dark theater.

Some other songs I love include “White Christmas” by the entire ensemble, “Love and the Weather” and “The Best Things Happen While You’re Dancing.” So, if you’re looking for a enjoyable Christmas activity for you and your family, this would be a show to see.

Tickets are currently on sale and some discounts may be available. You can buy tickets by calling the box office at 602-254-2151 or online at the Phoenix Theatre website.

Happy holidays!