WADING IN

WHY I AM GOING TO VOTE FOR JOHN MRAZ by Toe Knee Weighed

 

With his keys, cell phone, and 357 magnum already in there, I have no idea how Fairfield Vice-Mayor, up for re-election on Tuesday, managed to fit my brother Kelvin in his pocket, but somehow he did.

I kid.

This full-page ad ran both Saturday and Sunday in the Daily Republic.

I actually have to concur with my brothers suggestion that Mraz is the right fit for the City Council. Not for the reasons that Kelvin highlights:

 

 
 

I think this is one of the best political ads ever. Not simply because my brother is featured in it, but because Mraz's campaign used it so prominently. 

I mean, if I am reading this correctly, John Mraz is a prickly curmudgeon pit bull who rubs people the wrong way and is likely to call you fat (if you are).

None of those are particularly endearing qualities and yet they seem to work in the ad. Brilliant!
 

Coupled with that fact that Mraz recently shot a rattler in a neighbor's yard, what more do you need to know?

"THIS IS IT" IS IT

By Kelvin 'Byg Datty' Wade

            “Michael Jackson’s This Is It” (PG, 112 minutes) delivers the goods.

            The film begins with auditions for dancers. Their interviews reveal just how special and emotional the opportunity they feel to audition for Michael Jackson is.

            The rehearsals get off to a rousing start with the first two smoking hot numbers, “Wanna Be Starting Something” from the Thriller album and “Jam” from Dangerous. When you see the pyro, feel that thumping beat and watch the effortless moves, you feel privileged to be able to peek behind the curtain and see what the King of Pop had in store.

            It is amazing to see a 50 year old man holding his own with very fit, athletic dancers in their twenties. After being bombarded with tabloid stories about Jackson’s use of downers, one wonders where such a thin man gets the energy to perform at this level.

            The performances are culled from several different rehearsals as Jackson appears in many different costumes. Some reviewers found this distracting as there would be cutaways to a different rehearsal of the same song, mid-song but it’s edited so fluidly, it comes across like what you’d see in a video on MTV.

            “The Way You Make Me Feel” is staged in such a meticulous way, with Michael pushing the band to “let it simmer” and get it just right. The choreography and set pieces for the song breathes new life into the 22 year old hit.

            Jackson doesn’t always sing every line in a song, choosing to conserve his voice. But he can’t help himself in “I Just Can’t Stop Loving You” and delivers a breathtaking duet to the delight of the stagehands, technicians and dancers comprising the audience.

            The background videos were often stunning. In one, what appears to be thousands of dancers dance behind Jackson. “Thriller” is re-imagined both visually (Jackson emerges from a giant spider) and musically (a new rocking ending to the song keeps it fresh).

            “Earth Song” is a song I’d never really cared for but it was beautifully performed in “This Is It” with an amazing video and onstage special effects.

            The tight backing band is a special effect themselves. The band consisted of Alfred Dunbar (bass), Michael Bearden and Mo Pleasure (keyboards), Bashiri Johnson (percussion), Tommy Organ (rhythm guitar), Orianthi Panagaris (lead guitar), and Jonathan “Sugarfoot” Moffett anchoring the beat on drums. These talented players have played for a who’s who in music: The Jacksons, Prince, Madonna, Stevie Wonder, Paul Simon, Cameo, Carlos Santana and so on.

            What you see is that Michael Jackson was in control of these rehearsals. One walks into the theater expecting to see a drugged, skeletal pop star going through the motions of a rehearsal for concerts he didn’t want to do, if you believe the tabloids. But what you see is an energetic, mastermind who is intricately involved in all aspects of the production. He’s a driven taskmaster who instructs with kindness.

            It’s obviously a poignant film because the viewer realizes that the man on the screen will never have the opportunity to perform what would have been (from all we see here) an amazing concert. While the film doesn’t have the best production values, camera angles and segues, that’s because this was never meant to be released to the public. But still, director Kenny Ortega has managed to put together something that gives us a delicious taste of what was to come.

            The best thing about “This Is It” is it strips away all the tabloid stories, rumors and freak show that we’ve come to expect from Michael Jackson over the years and shows us what an immensely talented artistic genius he was. What a loss.

FAIRFIELD CIVIC THEATRE'S "GREASE" IS A ROCKIN' TREAT by Toe Knee Weighed

FAIRFIELD----Barbara McFadden, director of Fairfield Civic Theatre’s production of “Grease”, had a dilemma when the 1950’s era vehicle she rented for the “Greased Lightning” number did not arrive on time for opening night.

Matt Larson as Danny Zuko—the role made famous by John Travolta in the 1978 film version of the play—did not know about her solution to the problem until McFadden’s convertible 1993 Mazda Miata rolled onto the stage.

 

That moment could have shattered the audience’s suspension of disbelief that it was 1959 and derailed the play, but Larson’s training as a member of the local improvisational comedy troupe Rats in the Alley kicked in.

 

Without missing a beat he said to Kenickie (fellow RITA member Adam Serafino) “What’s with this…futuristic hunk o’ junk?” The audience roared.

 

As the saying goes, the show must go on.

 

FCT’s “Grease” was driven by great casting, catchy songs, and eye-popping choreography. Larson as Danny had appropriate swagger, projected a confident stage presence, and showed off a strong singing voice.

 

Kat McFadden was splendid as Sandy Dumbrowski. The script calls for her to be either frustrated or sad for most of the play and then confident and sexy at the end and McFadden deftly handled it all. Plus, she’s got serious pipes to boot.

 

Kim Doppe was perfect as the rather overbearing teacher Ms. Lynch. Cady Dillman aptly portrayed self-obsessed cheerleader Patty Simcox. Camille Roybal infused the role of Rizzo with spunky sexiness.

 

A lot of the truly comic relief was added by Matt King as the nerdy Eugene

and Danielle Morris as the constantly eating Pink Lady Jan.

 

The sets were Spartan but effective as the characters and music carried the show. The sound design nicely incorporated period music like Elvis’s “Hound Dog” as well as fifties-style radio DJs in-between scenes.

 

The talented band consisted of Jennifer Hobbs on keyboard, Richard Kmieciak on bass, Nate Rivard on guitar, Jennifer Muller on percussion and Bill Aron and Davis Henderson on saxophone. They ripped through the Eisenhower-era jams with precision and flair.

 

Some of the memorable musical numbers included “Summer Nights”, “Greased Lightning” and “We Go Together.” The lively dance contest during “Born to Hand Jive” underscored the brilliant choreography of Lori Babington and John Rivard.

 

Two of the best musical highlights of the play were Teen Angel (Frank Salamone) singing a sublime version of “Beauty School  Dropout” to purple-haired Frenchy (Caitlyn Gunderson-Lytal) and Burger Palace Boy Doody (Jake Saenz)’s note-perfect run-through of “Those Magic Changes.”

 

While the original Broadway musical was a Tony award-winning hit, the movie version was such a smash that later stage productions added songs from the film. FCT was no exception.

 

The Barry Gibb-penned title song is so identified with the play that leaving it out would be unthinkable. “Hopelessly Devoted to You” (belted out by Kat McFadden) and “ Sandy” (which Larson handled nicely) were other welcome additions.

Following the climactic scene when Sandy transforms herself from goody two-shoes bobby soxer to black-clad vixen, I was disappointed that the song chosen was “All Choked Up” from the play and not “You’re the One That I Want” from the movie.

Thankfully, after the curtain call Larson got down on his knees and announced he had multiplying chills, that he was losing control, and that the power Sandy was supplying was electrifying. All was then right in my greasy world.

The only problem I have with ‘Grease” is not with FCT’s production but the play itself. It’s the perception that Sandywas somehow in the wrong for being “lousy with virginity.” It appears that the message is that the way to get the guy who treated you like he didn’t know you in front of his friends is to be a tramp. Still, the characters are mostly caricatures, and maybe I’m just thinking too much.

Hot on the heels of their spring spectacular “The Wizard of Oz” Fairfield Civic Theatre has another winner on their hands. “Grease” is a rockin’ and rollin’ treat. 3 stars out of 4

Where The Wild Things Are

By Kelvin 'Byg Datty' Wade

      

            Spike Jonze’s movie version of the classic Maurice Sendak book, “Where The Wild Things Are” (PG, 101 minutes) is compelling, funny, disturbing and sad.

            Max (Max Records) is an alienated, impulsive, confused boy who goes from having his igloo crushed by his sister’s friends to having a fight with his (single) mother.   His escape into fantasy is depicted as him running away from home and escaping via a harrowing boat ride across the ocean to a mysterious island populated by the Wild Things.

            The themes are such that they’re likely to float right over the heads of little children. Carol, a reckless creature voiced by James Gandolfini, becomes fast friends with Max. It’s easy to see they are kindred spirits, both having difficulty getting along in their environments.

            When Max almost becomes dinner for the creatures upon first meeting them, the creative, energetic boy spins a tall tale of being a king with secret powers that most of the Wild Things buy into.

            The Wild Things are a discontent group of creatures voiced by Catherine O’Hara, Forest Whitaker, Chris Cooper, Paul Dano, and Lauren Ambrose.

            Though Max promises to stave off sadness and have nothing but fun with his new tribe (“Let the wild rumpus start!), he soon finds that he’s no better at keeping the peace than he is at home with his family. They suffer from the same arguments, alienation and resentments.

It certainly isn’t the fun, exciting romp that some think it will be. The Wild Things’ experience mirror that of childhood. Yes, we see the frolicking play, and the recklessness of youth. But we also  see the same resentment in Carol towards an old friend, KW, who has picked up new friends as we do in Max, who is disturbed that his sister has her own group of new friends.

            Some parents have criticized the movie for being too dark and too scary for little kids. Warner Brothers hasn’t gone out of their way to market the film to toddlers. The book it’s based on is a classic that adults remember from their childhood. The themes the movie deals with are actually more appropriate for a 12 year old than a 4 year old. But of course, little kids are going to want to see the movie because of the Jim Henson Company  created creatures they’ve seen in the previews.

            The movie actually works better for adults than children. A child is just not going to ‘get it.’ With that said, I took my 4 year old grandson to see it. He loved it. Ninety percent of the movies themes sailed over his head but he enjoyed it on the level of giant talking monsters. That worked for him.

            As for the movie being scary, it’s a subjective thing. Some children are easily frightened. I tend to side with the author, Maurice Sendak, who dismissed parental fears. When you’re chased by a 9 foot monster that wants to eat you, then fear is the appropriate response.

            The bottom line is Spike Jonze, Maurice Sendak and Dave Eggers have turned a ten sentence classic into a thought-provoking feature length movie that will probably please adults remembering the book more than little kids looking for pure escapism. If you’re just looking for funny, exciting comedy, then “Cloudy with a Chance of Meatballs” is the movie you’re looking for.

           

EVEN THOUGH HE SMASHED MY DREAM HOUSE, HERE'S A BIRTHDAY BLOG FOR KELVIN by Toe Knee Weighed

My brudda Kelvin turns 43 on October 16^th and traditionally me and my brothers have “given” each other Raiders victories as presents. So, in other words, none of us have received birthday gifts for 7 years.

 

When our oldest brother Orvis turned 50 last month, Kelvin and I did a blog which poked fun at him, but I decided to take the high road this time and even be a little artistic. I’ve created a cross between blog and an acrostic (a poem where the first letters spell out something) which may not seem like much because it isn’t.

 

K is for Killjoy: On Christmas Day 1975 I was overjoyed with the Planet of the Apes tree house I got. I carefully assembled it and went to get my Cornelius action figure when to my horror I saw Kelvin back down the hallway with a stupid remote controlled horse and fall on top of my tree house smashing it to smithereens.  There was no hope of an extreme home makeover.

 

E is for Ewwwww!:. Once when we were at the home of friends of the family, the Clarks, Kelvin swiped a hot dog out of their collie Chico’s dish and ate it.

L is for Lucky: Lisa, our next door neighbor and Kelvin’s playmate, got behind the wheel of her parent’s station wagon with Kelvin in the back seat and asked him where he wanted to go. He said to get some ice cream and I guess the car was in gear when she pulled the emergency brake. It rolled out into the street and thankfully no one was hurt.

 

V is for Violent: Take your pick: Kelvin cracking me in the head with my own Fisher-Price wooden clock when I told him to give it back to me because he had dropped his down the sewer or him throwing a comb at me on Christmas Day and hitting me less than an inch from my eye and causing me to get stitches and a scar I still have. Okay, I was pestering him in his room when he threw the comb, but for the record I was leaving.

 

I is for Ingenius: My dad would give us beatings with a belt when we got into trouble and with five boys we got into trouble a lot so we were constantly trying to find ways to outfox him.

 The best way was to wear corduroy pants at all times and if you suspected trouble to surreptitiously stick a giant-sized comic book in the seat of your pants. But one time Kelvin ran from my dad, came around behind him between his legs, and bit him on the ankle. When my dad yelped in pain Kelvin ran to the bathroom and locked the door. I ‘m two years older and didn’t have the chutzpah to try that.

 

N is for Naïve: I once convinced Kelvin that the ice cream man was accepting rocks as payment. He was skeptical at first, but I was enjoying a  popsicle (from my mom’s freezer) and he took the bait and chased the ice cream man down the street. He ordered a Nutty Buddy and the ice cream man opened his frozen chamber of delights and handed one to him. Kelvin ripped it open with a practiced hand and took a bite. When he tried to pay with a rock, the ice cream man gave him a loud earful and I cracked up.

 

Still, looking back on it now, even though he was near tears after being screamed at by the neighborhood ice cream professional, he did manage to get treats with no money.

 

So there you have it. It should be noted that I deliberately didn’t include the story of when Kelvin and I were in Sunday School and he loudly expelled gas and then started contagious giggles which got us both in trouble.

 

Happy Birthday Kelvin, you are an amazing brother. I mean that in the colloquial African-American way as well as the familial way.

 

I’m still a little mad about my tree house though.

"STAR WARS IN CONCERT" REVIEW by Toe Knee Weighed

SACRAMENTO-Amidst the sounds of the usual tuning up of cellos and violins at the groundbreaking “Star Wars in Concert” show last weekend, there were also other familiar sounds on the PA: pod racers roaring, Wookie growls, and the squeals of a certain fireplug-like droid.

The crowd was full of Star Wars enthusiasts ranging from the casual watcher to those bedecked in Princess Leia or Luke Skywalker costumes and wielding light sabers.

The unique show paired “Star Wars” creator George Lucas’s stunning visuals from his six iconic films with a live symphony orchestra playing the works of composer John Williams.

It was pleasing that the show began with the familiar THX drone and was followed by the martial drumming and regal horns of the 20^th Century Fox fanfare. Then came the title sequence and main theme and I immediately was transported back to 1977 to the downtown theater (now Pepperbelly’s Comedy Club) where I was first exposed to “Star Wars.”

The earthshaking and unmistakable voice of Darth Vader, James Earl Jones, introduced the narrator, actor Anthony Daniels who played C3PO in the series. The story was broken into several video segments which ingeniously combined elements from all the films while seamlessly telling the story from “The Phantom Menace” to “Return of the Jedi.”

The symphony was simply marvelous and the live synchronization with the video screens was mesmerizing. In addition, special effects like smoke, fireballs and impressive lighting techniques were utilized for maximum theatrical effect. After the intermission, smoke was laid down and green lasers were added eliciting “oohs” and “aahs” from the audience.

Daniels was engaging, charming, funny and theatrical. He even did a brief C3PO bit to the shrieking delight of the crowd. Daniels was the obvious choice to be the narrator and, in fact, in Return of the Jedi, there is a scene where his character retold the story of his adventures, with recorded sound effects, to the teddy bear-like Ewoks.

The show was basically a communal love fest. When Daniels would introduce characters in the story like for example Yoda, there would be uproarious applause. Loud laughter erupted at funny scenes that probably everyone present had seen 100 times. Yet none of that mattered. The interaction at “Star Wars in Concert” was much more “real” than simply applauding after one of the movies in a theater. After all, one of the stars was onstage!

      The story of Annakin Skywalker/Darth Vader was told with mastery and style. The glory, the horror, and ultimately the redemption of the little Jedi who went bad where projected on huge screens and accompanied by heavenly music. The 12 plus hours it would take to watch all sextet of films was whittled down to just two and it didn’t feel like anything had been missed.

“Star Wars in Concert” could start a whole new genre. Imitation is the most sincere form of flattery so here’s hoping that the “Star Trek”, “Indiana Jones”, and “Lord of the Rings” franchises offer up some flattery to the genius of George Lucas real soon.

WHAT'S IN A NAME? COULD BE A FAIRFIELD CITY COUNCIL MEMBER By Toe Knee Weighed

 

 

A couple of weeks ago I wrote about the mayoral forum and this week I want to focus on the city council. I received my sample ballot and carefully read each candidate’s qualifications and pitches to be elected.

 

If you do not have the time to peruse the voter information pamphlet, I’ve devised a simpler method. You can simply choose your next Fairfield City Council members on the basis of their names alone.

 

Here then, in no particular order, are reasons to vote for each candidate using that criterion.

 

Pam Bertani—Pam shares the name of one of the greatest inventions of the 20^th century: Pam nonstick cooking spray. How many hours of soaking and scrubbing pots and pans have been eliminated due to this wonderful product?

I haven’t done any etymological research on Pam’s last name, but suspect it is simply the Italian pronunciation of my two favorite Sesame Street characters: Bert’n’Ernie.

 

 

 

Teresa Courtemanche—First and last names together we’re talking six, count ‘em, six syllables. That’s nothing to sneeze at. That’s almost as impressive

as Raiders’ kicker Sebastian Janikowski (who’s not on the ballot, by the way).

 

 

 

 

 

 

 

 

 

 

 

 

Brian Travis: A military man with the same last name of the military base in Fairfield? You can’t make that stuff up!

 

 

 

 

 

 

 

 

 

Jamie Johnson—First off, her alliterative name sounds like a Marvel super hero’s secret identity (Peter Parker, Bruce Banner, Matt Murdock) which is too cool. But the real reason you should vote for Jamie are her initials.

Not that some of other candidates have bad ones. Pam Bertani’s makes me think of peanut butter. German Lopez’s are what I type in the chat box before whipping an opponent in online Scrabble (“good luck”). And Brian Travis‘s reminds me of an old school band I used to like, B.T. Express ("Do It ('Til You're Satisfied”)).

But J.J? Fuggedaboutit! That’s a keeper. Don’t be surprised if you see “Good Times’’s Jimmy “J.J.” Walker in all his Kid Dyn-o-mite glory appearing on her campaign signs soon.

 

 

German Lopez:

Merging diverse cultures is what America is all about and his moniker is a symbol of European and Latin American unity. Can sauerkraut and cilantro coexist peacefully? If possible, would Ludwig Van Beethoven and Tito Puente have jammed together? Do lederhosen go with a Panama hat? Can’t we all just get along? German Lopez says yes.

                      

 

 

 

Gino VanGundy: His first name conjures images of an old-fashioned

pizza parlor while his last is similar to past NBA head coach Jeff Van Gundy and his brother, present NBA head coach Stan Van Gundy. If your name alone can make people think about eating hot pepperoni slices while watching the NBA Finals, you’re halfway home!

 

 

 

 

 

 

 

 

Catherine Moy:

She can and does shorten her first name down to “Cat.” Images that come to mind are purring, soft, devotion. Very cool. My given name, Anthony, shortens down to Ant. Images that come to mind are infestation, Raid, Terminix. Not so cool.

 

 

 

 

 

 

 

 

John Mraz:

I ran all the candidates’ last names through the 1964 hit “The Name Game” and the “r” following the “m” sound in the Vice-mayor’s surname is the most compelling.

 

Mraz, Mraz, bo braz

banana fanana fo fraz

fee fie mo raz

Mraz

 

 

Oh, and by way of warning, please don’t try it with Courtemanche or you’ll hurt yourself.

I Swear

By Kelvin 'Byg Datty' Wade

     There was no cursing in the Wade house when my brothers and I were growing up. My parents wouldn’t allow us to say words like ‘darn.’ A “friggin’” probably would’ve resulted in us getting our friggin’ teeth smacked out. We were raised to say ‘yes, sir’ and ‘yes, ma’am’ and be respectful and polite, and that carries over until this day.

     My brothers and I would be astonished when we saw friends cuss in front of their parents.  Some parents are cool with it. What really blew my mind was when I witnessed a friend cussing AT his mom. If I’d cussed at my mom, you wouldn’t be reading these words right now. I never would’ve made it out of the 70’s.

I’m no prude. There’s a time and place for everything. When you accidentally hit your thumb with a hammer or stub your toe, sometimes those words are going to fly out of your mouth without even thinking. Private conversations, conversations in locker rooms, bar rooms and trash talking while playing ball are scenarios where I can understand the use of profanity.

     Loudly using profanity in public or while jawing on a cell phone is just inconsiderate.

     Our parents rarely used profanity.  They would have to be really upset for that to happen. And out of respect, even when my brothers and I became adults, we never used profanity in front of our parents.

     That’s carried over to how I deal with my grandkids. I try not to use profanity in their presence. I tell them they should have a large enough vocabulary to be able to express themselves without resorting to swearing.

     I pride myself on being able to keep a civil tongue and be an example to these kids. Well, most of the time, at least.    

     Last weekend, Cathi and I took our grandkids, 12 year old Lauryn and 4 year old Vika out for breakfast.  After breakfast, we stopped at Best Buy because Lauryn needed a pair of drumsticks. Cathi and Lauryn went in while Vika and I remained in the car.

     After checking email and Facebook on my iPhone, I noticed that we’d been sitting there a good while. And Vika was being uncharacteristically quiet in the back seat. He was so quiet, that I must have forgotten that he was in the car with me. So I started talking to myself. Don’t laugh like I’m the only one who does it.

     I said, “How long does it take to buy some drumsticks? Either they have them or they don’t. You just buy them and get the @#%* out.”

     From the back seat I was startled to hear, “Oooooooh! Don’t say that word! I heard you. If you say that again, I’m telling Gamma!”

     Darn.

           

SCT'S "THE PRODUCERS" HITS ALL THE RIGHT NOTES By Toe Knee Weighed

 

FAIRFIELD—Ideally I like to attend a local theatrical production I’m going to review knowing absolutely nothing about it. In the case of Solano College Theatre’s “The Producers” this wasn’t the case as I had seen Mel Brooks’ 1968 movie a number of years ago. I also had sneak peeks at some of SCT costumes from the dozens of backstage photos posted by cast member Molly Millett on Facebook.

“The Producers” as stated before was a movie by legendary actor/writer/director Mel Brooks (“Blazing Saddles”, “Spaceballs”) which he adapted into a stage musical in 2001. It was wildly successful and the Broadway production starring Nathan Lane and Matthew Broderick, earned a record-breaking 12 Tony Awards and was made into a 2005 film.

 

Even though I knew the premise and had gotten some sneak peeks via online social networking, I was still completely blown away. SCT’s version was big, gaudy, hilarious and kinda naughty. I pride myself on having a rather large vocabulary, but during a couple of incredible numbers all I could do was turn to my wife and stupidly mouth “Wow!”

 

If you know nothing about the play and like me would prefer to keep the slate clean before seeing it, stop reading now. It’s better to experience it live than in newsprint. Just check out the times in the review box, note that I gave it three and a half stars out of four and be on your merry way. Otherwise, read on.

 

A brief synopsis: failed theatrical director Max Bialystock  (Edward Hightower) consults with his accountant Leo Bloom (Brian Herndon) after a bombed Broadway show. Bloom discovers that under the right circumstances, a director could actually make more money if a show bombed than if it was a hit.

 

Bialystock then conceives of a plan to find the worst play ever written, hire the worst director, raise two million dollars, hire the worst actors and take their two million and go to Rio de Janeiro.

Hightower and Herndon are fabulous in their respective roles and together are pure magic. Their intensity, comedic timing, and attention to detail were spot on.

The pair soon find the worst play ever: “Springtime for Hitler: A Gay Romp With Eva and Adolf at Berchtesgaden” written by a fanatic Nazi Franz Liebkind (in German “lovechild” or “bastard”).

Craig G. Neibaur was frenetic and side-splittingly hilarious as the Nazi playwright. Do we have to make him wait until next September to give him his Arty Award for Best Supporting Actor in a Musical?

 

Bialystock and Bloom’s worst director was flamboyant homosexual Roger DeBris (Peter Del Fiorentino) who, with his “common law assistant” Carmen Ghia (Cristhian Ayvar), agree to direct the play as long as the subject matter is lightened up a little. So they sing “Keep it Gay.”

 

Bialystock raises the two million dollars by “hookin’ up” with several old women who write him checks for sexual favors. Jessica Knudsen delivered her part as Swedish blonde bombshell Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson or just Ulla with equal parts sexiness and silliness.

 

The cast was rounded out by a large ensemble featuring local theatrical luminaries like Staci Arriaga (who also served as assistant choreographer), John Rivard, Kat McFadden, Kristin Martin, Michael Doppe, Chekara Brooks and many others.

A few highlights of the eye-popping musical numbers (big kudos to choreographer Lisa Clark Schmeling):

 

* “I Wanna Be a Producer” where Leo indulges his dream of abandoning his boring bean-counting professional for Broadway glory was delightful. The bevy of scantily-clad beauties and the huge illuminated “BLOOM” sign (reminiscent of the KISS logo) accompanying the number made it spectacular.

 

* “Along Came Bialy” featured an expertly choreographed dance routine with the old ladies Bialystock seduced swirling and striding atop walkers.

 

* “Springtime for Hitler”--Hilarious lyrics, an enormous Nazi-themed stage, and showgirl costumes decorated with German staples like beer, sausage and pretzels. Need I say more?

 

Everything about this show was right. The sets were dynamic, the lighting and special effects superb, the costumes terrific and the choreography was gripping. Also compelling was the music provided by a15 piece band lead by venerable multiple-Arty winner Joseph Anderson.

 

“The Producers” was fast-paced, feverishly funny, and absolutely flawless. Hats off to director Ken Sonkin.

 

Mel Brooks’ farce pokes fun at everybody and typically is refreshingly politically incorrect. You gotta see this show. Heil SCT!

 

SIGNS, SIGNS, EVERYWHERE THERE'S SIGNS by Toe Knee Weighed

So the political season is upon us ("Duck Season!" "Political Season!") and the candidates have their signs all over the place. The following is not an endorsement for any candidate, but simply a critique of their signage. If one looks better or worse than the other, it was not intentional. I'm not a photographer and took them from my truck when it was too flippin' hot to get out and get a decent shot. The candidates are in alphabetical order. I do know a couple of them but I'm going to call them all by their first names because it's easier.

 

PAM BERTANI-FAIRFIELD CITY COUNCIL-A couple of things jump out from Pam's sign. She used the tried and true method of putting a picture of yourself which can help you in a number of ways. It helps that she is attractive, but candidates can still get away with posting their pic even if they look like Ernest Borgnine (if under 40 Google him). If a candidate is not blessed with good looks but still presents their mug all blown up for the world to see it says "I'm ugly, but I'm honest!"

One of my pet peeves is using a lower case "I" when it should be upper case. Maybe it's not a big deal, but it kinda irks me. I'll get over it.

Pam also uses the method of framing her campaign with a three word slogan. Unfortunately, "Envision, Unite, Thrive" doesn't exactly roll of the tongue. I suggest she try the Oakland Raiders' slogan "Just Win, Baby!" Heaven knows they sure aren't using it.

 

 

TERESA COURTEMANCHE--FAIRFIELD CITY COUNCIL-- I really like the design of Teresa's signs. I think it was a great move to associate her name with a "brand" Fairfielders are familiar with and feel affinity for. I read on the Daily Republic website where someone took umbrage at the nerve of her to put her first name on the sign like she's Cher or Madonna and we should all know her by her first name. Someone replied that if she put both her names on it it would be 12 feet long. Hilarious.

I think future candidates should use the Jelly Belly man or the Budweiser logo.

 

 

DAVE GAUT--FAIRFIELD-SUISUN SCHOOL BOARD--I hate to do it, but I have to give Dave's sign a big thumbs down. It looks like it was made using clip art from the 1990s or slapped together in Microsoft Publisher in half an hour.My feelings on this sign have absolutely nothing to do with the fact that I may have been miffed that I never made Dave's Wall of Fame in his Biology class at Grange in the late seventies either.

 

 

ANNE GRIFFIN--FAIRFIELD-SUISUN SCHOOL BOARD--Now there is something to be said for simplicity. Anne's sign is pure and no-nonsense. Her brevity says more than some signs with more verbiage. Still, the only issue I have is the color scheme. Some may be reminded of yellowjackets, but with the simple message it makes me think of generic food.

 

 

JAMIE JOHNSON--FAIRFIELD CITY COUNCIL--Like Pam Bertani, Jamie's sign uses a nice photo of her. She is attractive and it works. Unfortunately it's almost like her sign seems to be saying  "I'm Jamie, vote for me because I'm cute." A slogan or something would be helpful. I do like the swirly banner thingy and the tree. They are visually appealing although I'm not sure what they mean. The banner looks kind of like the one they use in rhythmic gymnastics but I've never seen someone use a tree in competition.

 

 

 GERMAN LOPEZ--FAIRFIELD CITY COUNCIL--Simple, clean, I kinda like it. Five stars would have been better than six, but that's quibbling.The motto "STEP UP!" is a little confusing. Is he going to "STEP UP!" on the council or are we "STEP (PING) UP!" by voting for him? You shouldn't have to think that hard about a campaign sign.

 

JOHN McAULIFFE--MAYOR OF FAIRFIELD--Kinda confused by McAuliffe's sign. Save our city from what? Being hit by a meteorite? And what's up with using "4" instead of "for"? Perhaps it's an homage to Prince who has been known to name his songs using the number. ("I Would Die 4 U")

 

CATHERINE MOY--FAIRFIELD CITY COUNCIL--Catherine's sign is visually appealing mainly because the design in the "O" looks like a design made with a spirograph. Ah, the nostalgia.I also like that she is the only one who used an exclamation point. "SAFE NEIGHBORHOODS NOW!" "VOTE FOR ME NOW!" "VOTE FOR ME AGAIN NOW!"

 

JOHN MRAZ--FAIRFIELD CITY COUNCIL--I like the simple design of John's sign coupled with the simple and direct message conveyed by both the words and the picture. I think the better image would have been this one though.

 

 

HARRY PRICE--MAYOR OF FAIRFIELD--I like the color scheme of Harry's sign but unfortuately the whole "Price is Right" thing is really cornball. It's like Arnold doing lame movie lines. Plus again, this looks like something I could come up myself. It's like modern art: if I can do it, then it don't cut it.

 

RAY REYFF--MAYOR OF FAIRFIELD--Okay, I get it. Elections are expensive. But if you don't have the money as some of the heavy hitters who can raise the big bucks, at least give it a good try. These signs look like they were made in someone's garage. I ain't mad at Reyff for trying , but c'mon. They appear to be first drafts, not the finished product. I don't contribute to political campaigns, but seriously considered it just to help bring up the quality of Reyff's poor signs a bit.

 

 

GEORGE RIVERA--MAYOR OF FAIRFIELD--Okay, I ain't mad at George for throwing his hat in the ring but...um...his signs are like one eighth the size of all the others and it's hard to read them. I thought his was like one of those signs for people who sell your house for you at first. I hope no one makes their decision for mayor based on the size of the a candidate's sign but you do need to be able to read it.

 

 

BRIAN TRAVIS--FAIRFIELD CITY COUNCIL--I like the military theme and the nice slogan. The only issue I have is my mind went to two images immediately:  "A Few Good Men" and "Gomer Pyle USMC." The former? Cool. The latter? Not so much.

 

 

 

CHARLES B. WOOD--FAIRFIELD-SUISUN SCHOOL BOARD--Like Anne Griffin, Charles B. Wood employs the whole simplicity thing but by changing the color scheme (to an homage to the old colors of the Los Angeles Rams) he avoids the generic thing. Also using the middle initial is a good move. Not only does it add a a touch of class, but also differentiates from all the other Charles Woods running for the school board.