Rosencrantz and Guildenstern are dead, but you probably don’t even care.

Playwright Tom Stoppard has given these two minor characters from arguably William Shakespeare’s greatest play, “Hamlet”, a stage of their own to argue about destiny, fate, life, death, to be and not to be.

Director Anthony Galleran brings Stoppard’s 1966 play “Rosencrantz and Guildenstern are Dead” to the Hunger Artists Theater in Fullerton and made the production seem larger than it actually is. The theater, a dinky place, expanded with visual simplicity and heavy themes. Rosencrantz and Guildenstern debuted their actual feelings toward the great tragic hero, Hamlet, who weaved in and out of the scenes and seamlessly displayed his own story to the abysmal few who have to yet to read it.

Yes, Hamlet is a great character. And yes, he is a hard one to play. Ryan Knight, playing Hamlet, did not have much to work with: a few scenes spliced in with out of context emotions and an abnormally long time to hide in a box. To be frank, Knight was a fine Hamlet. And his cohorts represented the other well-known characters just as well, although the audience failed to laugh or snigger at Claudius’ contrived funny moments. But whenever the famous story got stage time, even the snippets seemed too long. Rosencrantz and Guildenstern were the only characters to care about.

It wasn’t just their comedy, which was rapid yet perfectly timed. It wasn’t just their soliloquies on destiny, which carried out nicely and were always welcome. The best part about watching those two was their relationship.

Topher Mauerhan, as Rosencrantz, was dumb, but in the most perfect amount. He did not overdo it, as so many actors tend to do when playing the idiot. He was vulnerable and loveable and laughable all at the same time. Though his character was an absolute dunce, Mauerhan did not let Rosencrantz die as one. His monologue was honest and his dialogues were thoughtful, a fine example of a character who is the source of unexpected truths: “What’s the point of living if you’re not happy?”

But it was Guildenstern, played by Gregory Spradlin, who illuminated his relationship with Rosencrantz. Spradlin could have ignored Maurehan’s silliness and denseness. Instead, he was patient. They are together in this little quest to unveil the source of Hamlet’s curious behavior. When they realize they are on a much larger, cosmological quest and must ask the hard questions, Guildenstern does not lash out at his dimmer friend’s inability to keep up. They share an understanding and Guildenstern’s restraint and visible annoyance is endearing. It seemed the two had been friends for ages.

Spradlin, noticeably present on stage, had a remarkable voice. It’s rare to find an actor these days whose voice is the thing you remember. But there was something about the way he controlled it and still let emotion come through.

Another character worth mentioning is The Player, played by Mark Coyan, a man who was probably born to entertain. He was big and engaging and led his sorry squad well. Only the audience did not seem to appreciate his or any other actor’s energy—this is the same audience that doesn’t find scene change applause part of their own fate. The lack of energy from the seats, though, was made up for on the stage. Again, Galleran knew how to make the most of his space.

“Rosencrantz and Guildenstern are Dead”, which had nearly no plot, was an interesting spin-off and offers an opportunity to ask earnest questions. The Hunger Artists Theater’s rendition did more to emphasize the relationships of those asking. While their word games and Abbott and Costello rapidity were fun, neither Rosencrantz nor Guildenstern would have come to any conclusion without being alongside the other. Guildenstern’s simple look at the blacked out Rosencrantz said more than their monologues ever could have.

You might not care that Rosencrantz and Guildenstern have met their fate; but their journey to it is what will make you think and care about your own.

Rosencrantz and Guildenstern are Dead runs Aug. 27th – Sep. 19th 2010

Fri. & Sat. – 8:00 pm

Sun. – 7:00 pm

General Admission: $18

Students/Seniors (with ID): $15

Images courtesy of the Hunger Artists Theater

Be prepared–I am going to use several songs from The Lion King as part of my review. Oh what? I already have used one? Muahaha.

Disney’s The Lion King is currently performing at Orange County Performing Arts Center, until June 13. Most everyone knows the plot, but in case you don’t, or just forgot I’ll give you a quick summary: In case you missed it, The Lion King began as a 1994 Disney animated film. The story is about a lion cub, Simba developing into the next King of the Jungle. Along the way, tragedy strikes his father, Mufasa, caused by Mufasa’s brother (Simba’s uncle), Scar, but he puts the blame on Simba, allowing Scar to become the new King. Simba leaves Pride Rock and hides in the jungle, where he meets and befriends the meerkat, Timon and warthog, Pumbaa. Simba’s childhood friend, Nala shows up, convinces him to come back (well, Rafiki, the wise baboon and a vision of his father help out too), where he claims his rightful throne.

The story is funny, sweet and touching, but the real magic lies in the puppetry and staging. As soon as the play opens you instantly are thrilled for not only are there incredible animals on stage but coming from all directions to welcome the birth of the new cub. The circle of life begins on a breath-taking note. The thing is, Julie Taymor, the director, designer and genius behind the staging does something interesting–she doesn’t hide the actors and actresses, doesn’t try to make us think there are really animals up there–she instead shows the people behind them, more suggesting the animal that’s being represented in the costume, masks, puppetry and the sheer movement the actors make. I couldn’t take my eyes off the cheetah particularly–anytime she was onstage my eyes were glued to her–her movements were so cat-like and graceful.

Then there were the masks of Mufasa and Scar which generally sat upon their head, rather than hiding their faces, yet had the ability to move forward over their face when the actor chose to do so, creating a dramatic effect suited for the specific scene. No wonder Simba just can’t wait to be king. Although, he never does get one like their’s–I presumed it was to show he wasn’t quite there–he was no longer the young cub, now a young man, but not the wise king like his father…yet. (Or wonderfully evil villain like his uncle.) But, hakuna matata, I’m sure he’ll get one in due time.

The music was also an essential part of the show–and I don’t just mean the songs from the movie (which are all there), but the constant background music that set the tone. On either side of the stage were musicians, which predominantly played drums, which created a steady, repetitive rhythm throughout, and there was also the almost haunting solos that were added to the show, that were sung by the ensemble, both inspired by traditional African and South African music. The repetition and sound of drums always causes a more physical feeling–I’m not sure how to express it. It’s primal, soothing, yet suspenseful as well.

I’m sure many people come to see the Disney’s Lion King because they love the animated film, and that’s great. But it’s the beauty of the scenes, the grace of the costumes, and the impressive mastery of the puppetry that has kept people coming back. It’s a whole experience–a feast for your eyes and ears. Can you feel the love tonight? Yes, I think you can.

Photos courtesy of Disney/Joan Marcus

Doctor Cerberus was performed at South Coast Repertory from April 11-May 2 and I had the wonderful fortune of seeing it.

It takes place in the suburbs of Washington, D.C. in the mid 1980’s, focusing on the coming-of-age of Franklin Robertson (Brett Ryback), an overweight teenager who finds solace in the horror films he watches, introduced every Saturday by Doctor Cerberus. (Similar to L.A’s own Vampira of the 50’s…anyone see Ed Wood? Just think campy in general.) Franklin’s dream is to become Doctor Cerberus’ co-host–he’s been writing to him for years, awaiting a response. He also dreams of becoming a writer, working on pieces of science fiction/horror, and later his own horror of a life. Well, as any teenage imagines it is. His parents, Lawrence (Steven Culp) and Lydia(Candy Buckley), are overprotective and his older brother, Rodney (Jarrett Sleeper) is the jock and bully.

Now that I’ve gotten the basic premise over with I can get into my take on it. I loved it. I absolutely loved it. I was sad it was over and actually had planned on returning and seeing it again before it closed, but life has been a little hectic lately.

When I read the original premise, I thought it was going to be as campy as the horror films Franklin watches, but far from it. Something I wasn’t aware of until I actually was sitting there watching it was the fact that Franklin is gay. He’s not only dealing with everything else I mentioned above but he’s also sorting out his sexuality. Or more how to deal with telling his parents (or trying not to tell them). That element adds a whole new level of complexity to the play, especially once we meet Franklin’s Uncle Jack (Jamison Jones, who is also Doctor Cerberus and other miscellaneous characters) who is the only supportive family member, and shares Franklin’s interest in men–except sadly he never gets to connect with him on that level because Lydia, kicks him out of the house, afraid he’d contaminate her children or something. Oh, and does it need to be added that he’s her brother? Yeah she’s that kind of sweetheart.

I heard someone after the play discussing it and commenting that he felt the play was from the perspective of a thirteen year old–in the sense that everything is seen in a certain way, that one’s parents are seen worse than maybe they really were/are. It was an interesting concept I hadn’t taken into consideration but is food for thought.

The actors were truly what brought the characters to life (ha, well if that isn’t a little too “duh”) but my point is that these characters could have been portrayed as too exaggerated, too over the top, just too. Yet they weren’t. As awful as the parents could be, they still seemed real to me. Buckley did a wonderful portrayal as the controlling mother, delivering some great lines, and she redeems herself a bit at the end, the audience seeing there is a heart in her. The stand out was of course Ryback–you related to Franklin, and even if you don’t have a love of horror films, you understood the idea of escaping, of finding that place, that thing that can transport you to somewhere outside the real world. For his father it was history and music, for Rodney it was the Washington Redskins, for his mother, well, perhaps it’s the lack of one that has left her bitter and unfulfilled.

The play begins as a comedy and is sold as a comedy, but there is this dark, tragic drama throughout, but the two are so wonderfully mixed together (which not every play can pull off) that you find yourself crying and laughing, sometimes within moments of each other. It’s about everyone’s favorite topic: family dysfunction. And it covers other things other plays have dealt with: the “odd” teenager who feels lost and unsure of where he belongs in the world. But it feels new and fresh with Roberto Aguirre-Sacasa’s writing and Bart DeLorenzo’s directing.

If you get a chance, SEE IT. And tell me where it’s playing so I can get there!

Photos taken by  Henry DiRocco and courtesy of South Coast Repertory

Several weeks ago, STAGEStheatre presented two one-act plays, Bringing Up Baby and Freud and the Android, which were written by local talent, David Macaray, which is the third time his work has been presented at STAGEStheatre–his previous works were Larva Boy in 2008 and Borneo Bob in 2009.

Bringing Up Baby shows how one man, Ray decides to spends the last 40 minutes of his life before he is taken to prison for 8 years for dealing drugs–with his family. And it’s far from peachy. It’s a delightfully dysfunctional portrayal of a family. It’s something a family doesn’t deal with on a regular basis, so to say I know that situation would be a lie, yet it felt so real and realistic that you could see the situation going like this. The mother, Janelle (Rose London) deals by drinking, the father, Hank (Todd Rew) tries to rationalize it all, offering “helpful” advice, and the daughter , Megan (Adrienne Mueller) is more concerned which of Ray’s (Jeffrey Larson) belongings she’ll get, and making phone calls with her boyfriend. Ray himself sees rather–a forced one, that one often puts on when trying to convince others and yourself, that you’re not scared out of your mind. As a one-act, it’s short, but we’re shown a wide range of emotions. The mother can be cruel and melodramatic, yet also human. It definitely is Rose London who steals the show in this play.

Freud and the Android is about a magician, and self-proclaimed android, Mandrake (Peter Miller) who along with performing card tricks, makes predictions for people. All for a price, of course. Random characters come across the stage, each interacting with Mandrake to varying levels, some in more humorous moments than others. Unlike the first play which struck not only a humorous note, but a very realistic, serious side, this play fell flat for me. I kept wondering “ok, so what?” His predictions are slightly bizarre, yet some don’t seem that improbable, which I’m sure is the idea. And who was that priest? I felt there was some meaning from his role, since he appears several times in the play, yet he never really does or says anything that meaningful, other than laugh randomly. It ends with a teenaged girl coming over to Mandrake, calling him dad and pleading him to stop. So, he does this to avoid reality? Or does he truly believe what he’s saying and it’s more a mental issue? Perhaps the play is supposed to provoke such questions, but I just left feeling baffled as to what it was I just witnessed.

I do appreciate that STAGEStheatre is using local talent. It provides a fresh view and also gives new writers a chance to show their talent and have it performed for an audience–getting your foot in the door is often the hardest part.

Photos courtesy of STAGEStheater

The idea of something going from film to Broadway always intrigues me–they’re such different formats, that I get a bit nervous, and wonder will it really work? It’s been done the opposite way as well (see Phantom of the Opera as an example–one where I feel the movie pales in comparison to the live theatre version. But then I also think any version without Michael Crawford is always going to be lacking) but to me the fact that Broadway goes “Yeah that movie would be such a hit as a musical!” sometimes makes me wonder “why?”.

Yet, with Hairspray it DOES work.

The basic premise goes like this: It’s 1962 in Baltimore, Maryland, and Tracy Turnblad (Danielle Arci) is a chubby high school girl who never misses the The Corny Collins Show (Benjamin J. McHugh), a dance show, and when she hears they’re having open auditions to be on it, she thinks this is her chance of her dream come true. Although she’s ridiculed, especially by Amber Von Tussle (Erin Sullivan) she gets on the show, and becomes the surprise hit over night, even with her crush, Link Larkin (Ryan Rubek). It tells of not only her struggle with people judging her because of her weight, but also about the racial barriers of the time, and how Tracy wants to integrate The Corny Collins Show.

And of course, there’s music, being a musical and all.

Quite the upbeat, catchy music too! I had never listened to the Hairspray soundtrack, nor have seen all of the original movie, so I was a newcomer to it all, but it definitely sucks you in. From the opening with Tracy waking up in bed, singing her good mornings, to the almost too sweet ending (I wasn’t expecting things to get quite so neatly tied up and for everyone to become best friends, but hey, it’s a musical, so I was willing to concede their ending.)

This production was quite bouncy in their performances, capturing the energy needed to pull off this musical. Arci was cheerful but not gratingly so–her performance wasn’t as strong as it could’ve been, but Tracy’s is a character that is crowd-pleaser (everyone loves the underdog) so one was able to over look that. There’s also the always fun role of Tracy’s mom, Edna, this time played by Greg London, playing up the laughs especially when he would drop lines in the lower register, reminding us (in case you really would forget) that it’s a man playing the role. It’s another one of those concepts that makes me scratch my head, yet when actually witnessing it, see that it does play well. One of the surprisingly funny and stand out roles for me was Tracy’s friend, Penny Pingleton (Amber Rees). From what I’ve heard is that that role isn’t normally as funny, but the way Rees plays the role is delightfully awkward yet relatable, that I instantly loved the character. She was kinda my favorite–well other than the teen idol, Link Larkin–he’s not the sharpest tool in the shed, but he’s got a heart of the gold, which always wins me over. Sigh.

So if you’re looking for a night filled with swingin’ 60’s inspired music, a positive message, and energetic cast, you should see Hairspray–either one of the movies, but better yet, see it live if/when you can.

Oh, and did I mention that Matthew Morrison aka Mr. Schuester from Glee originated the Broadway role of Link Larkin? Yeah. Now you gotta see it.

The Language Archive tells the story of George (Leo Marks), a linguist, who is truly in love with language, yet is finding it difficult to communicate with his wife, Mary (Betsy Brandt). Somewhere along the way they stopped understanding each other and all he gets now are clues and hints from her (although she denies writing them) tucked away in his books, shirts, shoes and other nooks.

On the work front, he is expecting a visit from an elderly couple, Resten (Tony Amendala) and Alta (Linda Gebringer) who are the last speakers of Elloway, a dying language, but upon their arrival discovers they’re no longer speaking to each other. Well, at least not in Elloway. Add into the mix his assistant , Emma (Laura Heisler) who is madly in love with him (unknown to him though), attempting to learn Esperanto to impress George, and you have a huge failure to communicate.

The two main themes of the play are language and love, how we need language to communicate our love to people, yet how it often can be quite lacking in the right words to express how we feel.

An interesting feature of the play is its mix of realism and surreal moments; it’s something that in theory seems good but I don’t feel was executed well. Characters from the play sometimes address the audience–breaking the fourth wall is always a tricky thing, and only few plays do I feel accomplish it well–and here it seems to be used in the beginning, then forgotten for awhile so when it is used again, I was put-off by it. There is also a scene on the train between Emma and L. L. Zamenhof, the creator of Esperanto, that perhaps depending on your perspective and general feelings toward magical realism either works or seems too bizarre.

It’s also hard to pinpoint if the play is a drama or a comedy–it deals with serious issues, but generally in a light-hearted matter, but the humor is rather hit-or-miss, and the play is a bit bumpy. The ideas behind it are wonderful, and there are truly some great moments, but it feels that too much is going on at once; it’s a bit ambitious for its own good. It tries to make grand statements, or present things with purple prose, when just letting them be simply stated would have had a much more profound impact.

But everyone takes a misstep, and you can only learn from your mistakes, so although the play has a few rough spots, I think it’s better to be ambitious than to be stagnant. As a lover of words myself, and having those moments of frustration because nothing you say is quite right, the themes hit the right nerve.

Photos taken by Henry DiRocco for the South Coast Repertory

Last week I went to a Beatles concert.

Ok, not really. But I did see Rain perform. And obviously I don’t have the firsthand experience of knowing how similar they are to the Beatles performing live, but I can say from what I have seen and heard of the Beatles this is the best experience for those of us who didn’t get the chance to see them. Not only do they sound very similar, the performance they give feels very authentic. Going to see Rain is different from going to other concerts because it’s more than them just playing the music–it’s a multimedia experience. There were six costume changes, showing the change was in attire, along with their music, from the matching suit and tie beginnings, to the much more hippie-esque look, and the wonderful Sgt. Pepper Lonely Hearts Band uniforms in-between.

Along with Rain being onstage and performing all of the music live, (and there were a lot of songs! I tried to keep count but lost track, but definitely close to 30, maybe more) they also have giant television screens that show important historical moments (such as, JFK’s assassination), clips from screaming girls at the Beatles’ concerts (and you thought the Jonas Brothers’ tweens were bad!) to commercials from the period (man they were wacky–the Flinstone’s smoking, and why don’t they still include a pair of stockings in with our laundry detergent?!).

It was one of the best concert experiences I’ve ever had! I even sang and danced along, and let me tell you, that NEVER happens. Personal highlights for me were “While My Guitar Gently Weeps”–man can George Bithorn (George Harrison) wail on that guitar. It was incredible. “I Am the Walrus”–normally not one of my favorite songs, but performed live it was so incredibly trippy; it made me feel like I was on psychedelic drugs (drug free is the way to be kids), and of course, “Hey Jude”–they tricked me at first! They said goodbye and I was sad they hadn’t played it since it’s my favorite Beatles’ song, but it was only to save it for their encore song, and that’s when everyone sang along. Generally the audience was more interactive in the second act,; I think we all needed that first act to loosen up and get into the groove.

All four performers, Steve Landes (John Lennon), Joey Curatolo (Paul McCartney), Ralph Castelli (Ringo Starr), and Joe Bithorn (George Harrison) were stellar and completely took on their respective roles. I had the chance to interview Ralph, and he is such a Beatles and Ringo enthusiast, which was what originally got me pumped for their performance; it’s so great to see performers in love with what they do, especially after three decades of doing it. When I spoke with him after the show to tell him how awesome it was, he was genuinely appreciative.

I have to say the worst part for me was that it ended. I wanted them to just go through and play every song in the Beatles’ repertoire. I have to admit, I’m not the biggest Beatles fan. Before you stone me, I LOVE them, but I’m mostly familiar with their more popular, well-known songs, but I’m a Believer, now. Wait. wrong band. Seriously, though, if you get a chance (again) to see them, do it. Whether you’re a die hard fan or less experienced fan, you’ll be glad you did.

The Tony Award winning musical, Hairspray is coming to the OC soon, at the Orange County Performing Arts Center. The cast is on tour, but Teanna Berry, who plays Peaches, was able to take a break from visiting Mount Rushmore, to give me a quick interview.

Liesl Prentice: So give me a little background info on yourself and how you got your start in Hairspray.

Teanna Berry: I was born in Kansas City, then moved to southern California when I was three. I went to the Orange County High School of the Arts, where I started singing, then afterward moved to New York City.

I had done a lot of shows in high school, so I thought “why not get paid for what I love?” So I did productions out here, then when I moved to NYC and went to school, then started working. Last August Hairspray was nice enough to cast me. I found out about it from a friend of mine who was in it and I’ve been wanting to do the show for awhile, and I was finally in NYC and got lucky.

LP: Tell us a bit about the play.

TB: Hairspray is about a young girl named Tracy, who is trying to fit in. She is a little chubby so she is having problems. The musical focuses mainly on her and tells a message about integration, and about a chubby girl trying to fit in a skinny world, and how all she wants is to sing and dance.

I play Peaches who is part of the Motormouth Ensemble. My big number is “Welcome to the 60’s”–at the time African Americans weren’t perceived as glamourous but in that number they are.

LP: Can you relate to the story, and if so how or why?

TB: Yes being an African American sometimes it’s hard to fit in; there’s a lot more opportunities for other people. My family is from Louisiana and I can relate to the story since my ancestors went through it.

LP: What’s it been like touring?

TB: It’s been a lot of fun; it’s a big cast and I’ve made a lot of friends. I wouldn’t have gotten to South Dakota any other way! Definitely opportunities I might not have had.

LP: What attracted you to this play?

TB: I like the music and I like the message. One of my idols, Camelia Martin, originated the role on Broadway, so I wanted to be like her. She went to my high school, and my script even has her name in it since she originated the part.

LP: What’s your favorite part about the play?

TB:My favorite is the number “Welcome to the 60’s.” I feel pretty and glamorous, like a show girl, which isn’t often in the show.

LP: Do you think the public here (in Orange County) is going to like it?

TB: I think they’ll love it! When we were in the south it was kinda scary and a little uncomfortable performing there, since racism is still prevalent. What I love about the OC is that it’s more of a melting pot, a more diverse crowd. It’ll be great!

LP: Any advice to people seeing it for the first time?

TB: Just have fun with it! Don’t be afraid to laugh out loud; it’s a funny show, so laugh, we love it when they laugh. So please just let loose and enjoy the show!

LP: Any final thoughts?

TB: This has been a dream of mine and it’s so awesome to be living it. I’m so glad to be a part of the Hairspray family.

For more information on Hairspray at the Orange County Performing Arts Center go here!

Photos taken by Chris Bennion and Phil Martin

“There’s something wrong between the two of you. Something not compatible. Like chalk and cheese.” –Dodge

The Hunger Artists continue to astound me with their ability to perform such a wide variety of plays, and all with aplomb.

Buried Child is a pulitzer winning play, written by Sam Shepard. Its basic theme is the slow death and disillusionment with family and the American dream. More specifically, it tells of this family’s secret that haunts them and is eating away at them, mentally, emotionally and physically. The truth of it all is unearthed when Vince, their son/grandson and his girlfriend, Shelly, pay a visit.

Trying to accurately describe the play is difficult, for it feels as if nothing happens, yet at the same time everything happens. It all takes place in the family’s farmhouse in Illinois. The father, Dodge (Ken Dalena) is a sick, older man, who spends most his time watching TV (which on that note, I enjoyed the blue light emanating from the TV–it was a great effect, making it appear he was actually watching it and also adding a realistic light effect on him) who also has a supply of alcohol hidden under the couch cushion. The mother, Halie (Sandra Mahanna) spends most her time either rambling on from upstairs, or is out with Father Dewis (Tyler Campbell), a Protestant preacher, who she not so secretly is having an affair with. There’s also their three sons: Tilden (Anthony Galleran), who mentally doesn’t seem all there and emotionally seems to be dealing with a lot, Bradley (Robert Tully), who physically is missing a leg because of a chainsaw accident, and Ansel, a third child who is dead, yet holds a strong place in Halie’s heart, idolizing him, seeing what could have been. Enter Vince (Eric Satterberg), the son/grandson whom no one seems to remember and his girlfriend, Shelly (Kelly Sue Eder). There also seems to be something strange going on with their farm–corn and other vegetables haven’t grown in thirty years, yet Tilden returns every time with another armful of crops.

It’s an intelligent and heavy drama–definitely not one goes to see when you’re looking to cheer yourself up. Although maybe if you’re thinking your family is extremely dysfunctional seeing Buried Child will at least let you rethink that. It’s a mix of genres–at heart it’s a realism, since it’s a portrait of a dysfunctional family, however there is use of symbolism at times feels a bit dream-like, and there is humor, but of the dark and sardonic kind.

The acting is stellar as usual–this is the third time I’ve seen Anthony Galleran in a production and it’s wonderful to see his range, since none of his character’s are alike, yet he embodies each of them. The title gives the audience a hint as to what the secret is, but it wasn’t until the end of the second act that you truly know the whole truth and I’m pretty sure I was holding my breath towards the end, having now started to piece the puzzle together yet not quite believing it.

The play originally was performed in 1978, however it doesn’t seem dated; it’s just as relevant now as then. Which is perhaps why Hunger Artists picked to perform it–Buried Child is a timeless piece, and with the economic struggles going on now, we can relate to trying to get by in anyway we can. And no matter what’s going on in the world, we all have secrets we want to stay buried.

To find out more on Hunger Artists Theater please visit their website at http://hungerartists.com/

Photos taken by Thai Chau

Rain, the wonderful Beatles tribute band is coming to the Orange County Performing Arts Center starting March 23. Their show is more than just a band playing–they offer a whole multi-media and multi-dimensional experience, a mix of historical footage, TV commercials, along with the band going through the Beatles’ repertoire, a history through song if you will. They look like them, sound like and is the next best thing to seeing the Beatles’ themselves (especially for those of us who weren’t around to witness it for ourselves.) Ralph Castelli, “Ringo”, took time away from his busy touring schedule to let me know more about himself, the band, and the whole experience.

Liesl Prentice: Where did you all meet?

Ralph Castelli: We all met in the broadway show, Beatlemania. We all decided to stay together since we made beautiful music, and all got along well,  and you have to get along to withstand the length of time together. It’s more than just a band, it’s a brotherhood.

LP: Where are you from originally and how did you get started with Beatlemania?

RC: I grew up in San Gabriel Valley and Pasadena during my childhood and teenage years. The show opened on Broadway and it was so successful so they decided to open up a second company. There were ads in newspapers, theatrical magazines looking for look a-likes and sound a-likes, so after 4 or 5 call backs I won the part for Beatlemnia and at 21 years old, was on the road to Broadway. We went on a world tour, starting in the west coast and Canada, then went on to Asia, Australia, and other countries.

LP: So tell me about your current tour and concerts.

RC: Well, we play the Beatles, and built sets that look like the album covers. There’s six costume changes and it’s a multi-media experience with theatrical lighting. Along with that we play TV commercials from the period, and news clips showing important events, such as JFK’s assassination, so it’s very nostalgic. We recreate the Ed Sullivan performance, even having it be in black and white, and eventually it progresses to color during the show, and when we get to Sgt. Pepper it’s really psychedelic, then after the intermission we come out on the All You Need is Love set, wearing flower power outfits, then we bring out the acoustic guitars, changing the mood a bit. It’s just a great night of rock n roll, with three generations coming to see the show, all singing and dancing having a good ol’ time. It began with parents taking the kids and now the kids take their parents.

LP: How has touring been?

RC: Touring has its ups and downs. There’s so many cities but we just pass through town so don’t see much because we’re so quick; have to get to the next city. But when you love performing, it’s part of what it takes to get there.

LP: How long have you been touring?

RC: Three decades; it’s a non-stop tour. Sometimes we take a break in the summer.

LP: How did you first get interested in music and specifically, playing the drums?

RC: I had three older brothers who were all musicians and my parents loved and played music all the time. Conveniently, there was a drum set in the house, and when I saw the Beatles on the Ed Sullivan show that was the night I knew what I wanted to do for the rest of my life. I put Meet the Beatles on, put on my headset and played along, and just went from there.

LP: Have you played in Orange County before?

RC: We played here last year, two nights in the OC and were at the Pantages also, where we did 8 shows.

LP: So I have to ask, who is your favorite Beatles? Ringo?

RC: Bottom line is that I’m a Beatles fan, and especially a Ringo fan. I’d like to thank the Beatles for playing such wonderful music and to thank Ringo Starr for teaching me to play an instrument. And to thank them for being the music for generations.

For more information on Rain please visit the Orange County Performing Arts Center here!