The Book of Mormon 2018

---

 Yes, the young men in white short-sleeve shirts and ties have returned to Broadway Sacramento for a second engagement, so if you missed this hot ticket two years ago, now is your chance to see this landmark show. The original Book of Mormon opened in 2011 on Broadway, and quickly became the latest can’t-miss show, following the phenomenon that started with Phantom of the Opera, Cats, Les Miserables, and on to today’s Hamilton. Trey Parker and Matt Stone, then best known for the politically incorrect animated series South Park, enlisted musical genius Robert Lopez, who they knew from the musical Avenue Q and from his television work, like the musical episode of Scrubs, to help them create this satirical look at Mormon missionaries at work. (Lopez just won his second Oscar with his wife Kristen for “Remember Me” from Coco, and now has two Emmys, three Tonys, and three Grammys to go with his two Oscars.)

Parker and Stone used the sensibilities they perfected in South Park to craft a humorous look at the Mormon practice of sending their young people out on missions when they reach adulthood, complete with the great biting satire and crudeness, but also with a certain degree of heart. And though they target the Mormons, the show would work just as well with Evangelicals, Jehovah’s Witnesses, Scientologists, good old-fashioned Catholics, or—for that matter—Amway salespeople. You’d just have to change the details a bit. And the Church of Jesus Christ of Latter Day Saints (the Mormons) reacted to the show as good sports, while encouraging people to actually read the Book of Mormon after having a good laugh—they often take out ads in the playbills of the various productions, as they did with Broadway Sacramento, stating “Our version is sliiiightly different” and offering a free copy.

The show is a rousing high-energy production that gets off to a great start with the songs “Hello,” when the young men practice ringing doorbells and sharing their faith with strangers, and “Two By Two,” as they all pair up and get their mission assignments. Trouble starts when the supremely self-confident “Elder” Price (we never learn their actual first names) gets paired up with the fumbling Elder Cunningham, who has a problem learning the standard script, and has a tendency to just make things up. Worse yet for Price, they are sent, not to Orlando, Florida, but to Uganda. Undaunted, Price, played by Kevin Clay, is sure he is bound to do something incredible, while Cunningham (Connor Pierson) is happy to follow along with his new (and first) best friend. They share the hilarious song “You and Me (But Mostly Me).” Josh Gad played Cunningham in the original Broadway production in a part that seemed made for his comic looks and timing, and Pierson channels him perfectly.

Once the pair arrive in Africa, they meet the people they are bound to bring their faith to, with the rousing song “Hasa Diga Eebowai,” which despite its cheerful mood is actually a very crude rejection of God and the life he has given them. But until they find out what it means, Price and Cunningham enthusiastically join in and feel like they’ve found a home. They soon find out they’re quite mistaken when they meet the rest of the missionary group. But the guys there, all still wearing their white shirts and dark ties, have found a way to simply defeat any negative feelings with the song “Turn It Off,” another great and hilarious production number featuring Price, Cunningham, and the rest of the Mormon Boys, led by Elder McKinley (Andy Huntington Jones), who can even suppress his attraction to men by just “turning it off!” 

 The rest of the show deals with the various successes and failures of Price and Cunningham, with more terrific song and dance numbers featuring the Ugandans and the Mormon Boys, including the other-worldly “Spooky Mormon Hell Dream,” a scene that could be right out of an episode of South Park. It features an engaging performance by Kevin Clay, who has a great singing voice to go along with his dynamic comic acting style. And Kayla Pecchioni plays Nabulungi, the daughter of the leader of the village, who likes the Mormon Boys, and is open to their message. She has a wonderful voice, as shown in the song “Sal Tlay Ka City” as she dreams of the promises the missionaries have shared (say that title a few times and you’ll get it…) Another highlight of the show comes when she agrees to be baptized, and she and Cunningham share a very sexy, yet also innocent, baptism in the number “Baptize Me.” Try to keep track of all the versions of her name Cunningham comes up with as they grow closer.

If you don’t mind the crude humor, and won’t take offense at the satirical look at Mormonism, and all religion for that matter, The Book of Mormon is constantly fun and surprising, with great musical numbers throughout. The performance of the entire company is terrific, and they are backed by a pretty good rock band, led by Andrew Graham. And there is a message in there as well—that religion can be all well and good, and bring people together, as long as you don’t get too hung up about the details of the stories. After all, why not have a few hobbits and Darth Vader mixed in with the Nephites and Joseph Smith?

The Book of Mormon, directed by Casey Nicholaw and Trey Parker, is playing through Sunday, March 18th at the Community Center Theater in downtown Sacramento. The show is suitable for adults and older teens, but there is some strong and suggestive language and situations, so it’s not for the younger ones.  For more information and tickets, see www.BroadwaySacramento.com. The next show in the current season will be Finding Neverland, running from April 10–15.

Ken Kiunke  3/09/2018

Originally published in GoldCountryMarketing.com. Reprintable with attribution to Gold Country Marketing and Ken Kiunke

It took four men in late 1950’s New Jersey to create a sound that would make them one of the biggest musical acts in America, and one of only two who could challenge the Beatles as the dominant rock group in the early 60’s U.S. (the other being the Beach Boys.) And it takes four men to tell the story of their rise, fall, and redemption.

Jersey Boys is the story of Frankie Valli and the Four Seasons, and in the 2005 musical created by one of the members, Bob Gaudio, each of the men narrate their version, in line with an actual season of the year. Gaudio enlisted the writing team of Marshall Brickman and Rick Elice to create the form of the story based on interviews with the members of the Four Seasons. He also brought in director Des McAnuff to create the production, which won many awards, including the Tony Award for best musical in 2006. McAnuff is back directing this production, which premiered at Broadway Sacramento on Tuesday, January 30. (Clint Eastwood directed a film version of the musical in 2014.)

The story opens with “Spring,” as indicated by the projection screen at the top of the set, which is also used for some other graphics, often with comic book style images to help tell the story. Tommy DeVito, played by Corey Greenan, tells his story, of starting a group with various names and members, how he discovered and nurtured young Frankie Castellucio and “taught him everything he knows.” The band was a sort of proto-punk rock group, as most of them were also small-time crooks who were in and out of jail, and had connections with the local mobsters. But their music was based on the four-part doo-wop harmonies, which Frankie’s signature falsetto fit into perfectly. Tommy was the undisputed leader, but the band, who had become known as the Four Lovers, were going nowhere. And with one of the members doing time, they needed a fourth voice.

 Joe Pesci (yes, that Joe Pesci, but played by Sean Burns) convinces Tommy to bring in singer/songwriter Bobby Gaudio, who had already had a hit song as a teenager, that annoying ditty “(Who Wears) Short Shorts.” Gaudio, played by Tommaso Antico, takes over the narration for the “Summer” segment, when the newly named Four Seasons, featuring the newly christened Frankie Valli, really take off, thanks to his songs “Sherry,” “Big Girls Don’t Cry,” and “Walk Like A Man.” And the show really comes alive, thanks to those great songs and the performance by the group, also starring Jonny Wexler as Frankie Valli, who duplicates that distinct falsetto, and Chris Stevens as bass playing and bass singing Nick Massi. They also connect with Bob Crewe, played by Wade Dooley, a record producer who hires them first to sing back-up vocals, before getting their new songs released, which all go to number one on the charts. Crewe actually was the lyricist on many of Gaudio’s songs, and most of the hits featured in this show. As the suddenly successful group plays bigger and bigger shows, one striking effect shows them from behind in the spotlights of the stage, while the crowd screams for more.

While the summer section shows the young group reaching early heights of stardom, they’re also sowing the seeds of troubles to come that will tear the band apart. Frankie and Bob make an agreement between them that insures their success, while leaving Tommy and Nick out. Tommy is seen to have mis-managed the band, and is also in financial trouble that will strain his relationship with the others. As Nick narrates the “Fall” section, he sees himself as unappreciated and ready to give up. Bob and Frankie try to hold it together, as shown in the song “Let’s Hang On (To What We’ve Got).” But as many groups have shown before and after the Four Seasons, when certain members get all the stardom and/or creative (and financial) control, the others can build resentment and feel left out. As Nick says, “It could have been an ego thing, everybody wants to be up front. But if there is four guys, and you're Ringo? Better I should spend some time with my kids.”

The final section, “Winter” of course, is narrated by Wexler as Frankie, as he goes through many changes, including a new band backing him up as “Frankie Valli and the Four Seasons,” and finding new success with songs like “Working My Way Back To You” and the huge hit “Can’t Take My Eyes Off You.” But he also deals with tragedy and loneliness, and reflects on his relationship with Tommy from their early days as real “Jersey boys” singing under a street lamp, to the troubles that tore them apart.

The finale brings the Four Seasons back together for their induction into the Rock and Roll Hall of Fame, and the old magic is back as they sing “Rag Doll” and “Who Loves You?” The entire show mixes a fascinating and humorous look at the history of these working class guys, with the remarkable collection of songs that will stay with you long after you leave the theater. The songs are greatly helped by the backing band that plays on stage behind the actors, led by Michael Gonzalez. The supporting cast, who all play multiple roles, are terrific as well, highlighted by The Angels, a girl group who does the hit song “My Boyfriend’s Back.”

Jersey Boys is playing through Sunday, February 3rd at the Community Center Theater in downtown Sacramento. If you’re not into the Super Bowl, the 2:00 show on Sunday afternoon would be a great alternative! The show is suitable for adults and older teens, but there is some strong and suggestive language, so it’s not for the younger ones. For more information and tickets, see www.BroadwaySacramento.com. The next show in the current season will be the return of The Book Of Mormon, running from March 7–18.

Ken Kiunke  1/31/2018

Originally published in GoldCountryMarketing.com. Reprintable with attribution to Gold Country Marketing and Ken Kiunke