Hard acts to follow

Claude Giroux, left, artistic director, and Jerry Deal, marketing and development director, of Playhouse Merced are leaving the organization this October.

By Patricia Jiayi Ho
PHO@MERCEDSUN-STAR.COM
Last Updated: August 23, 2005,

Two curtains are coming down at Playhouse Merced. The start of the 2005-06 theater season will bid adieu to both Claude Giroux, artistic director, and Jerry Deal, marketing and development director.
"I'm proud of the facility improvements, proud of the family that we've created here and proud of our growth," Giroux said.

Giroux joined the theater in August 2001 and will be leaving to be the artistic director at Theatre New Brunswick in Canada. His last day is Oct. 1.

Deal came to Merced in January 2003 and will relocate to San Francisco to work on a screenplay. His last day is Sept. 15.

Giroux helped steer the theater from 170 subscribers four years ago to 600 today. Annual single ticket sales have also increased from about 8,000 to almost 30,000.

Giroux and Deal will be missed, say members of the theater and theater-going community.

"We are very sorry to see the both of them go," said David Zacharias, president of the Playhouse board of directors. "Claude has been a fantastic director as far as taking the theater from basically a bare building to a wonderful space."

When Giroux took over, the theater had remnants from its past as a nightclub more than 10 years ago.

It even had "old disco lighting" and a Volkswagen bus perched on a concrete pillar, in which DJs would spin records, Giroux said.

He had set about gutting and refurbishing the theater, replacing everything from toilets in the bathroom to the blue plastic lawn chairs audience members had to sit on. What is now the front half of the theater, where the Main Street entrance is, used to be a dress shop.

In addition, Black Box Theatre replaced Beverly Fabrics around the back of the building in the fall of last year.

The Black Box will be used for the theater's conservatory program. Enrollment in the program has grown from 37 students, ages 6 to 18, to 160.

"(Giroux) is tremendous with the students," said Amy Velasquez, parent of Sophie Kanabay, a Golden Valley High School senior who has taken part in the program for three years. "He's great at getting kids involved in things and at problem solving. Kids at that age can get pretty catty ... he can handle all the drama."

The theater now has 17 employees, including six paid interns, whereas it had only one full-time employee in 2001.

Another change Giroux made was to have his office and the theater's administrative office face Main Street with large windows. It was part of his goal to create greater visibility for the theater, he said.

"People walking by can see us through the windows and see me at work as someone who is approachable," Giroux said. "Before we were just this back alley thing. Now we're a presence in downtown Merced."

The Playhouse was founded by Noble and Sandra Dinse, who left the theater about a year-and-a-half before Giroux was hired.

Heike Hambley, artistic director of the Shakespearfest, said she appreciates the environment Giroux and Deal helped bring to Merced.

"(They) have a good heart for things that are modern and edgy," Hambley said, referring to plays such as "The Laramie Project" and "Cabaret" that the theater put on during their tenure. "They are interested in not only the normal theater fare, but things that would push the envelope. They brought sort of a fresh wind."

Hambley also credits Giroux for cultivating cooperation in the local theater scene.

"He really created a network of artists. He stopped the ugly competition that was happening in Merced before," she said, adding that the Playhouse often let her organization borrow costumes and props, and rehearse at the theater.

Deal said one of the theater's strengths was the variety of shows it offers.

"I think we've done this community a great justice by offering the different types of shows," Deal said. "Some shows may have upset the apple cart, but ... I hope these shows have opened the mind a little bit."

Deal will be working on getting his screenplay, "A Normal Life," produced. The play's protagonist is a gay man who inherits a dairy farm from his estranged parents, under the condition he runs the farm and leads "a normal life."

While the Playhouse's programming continues to be heavy on musical theater, Giroux said audiences were becoming more accepting of heavy-hitting dramas.

"Drama is starting to find a place in our programming," he said, adding that "The Glass Menagerie" outsold some more lighthearted musicals. "I'm proud to have evolved that taste in our community."

Beyond the selection of plays and physical improvements, Giroux said he takes most pride in helping to define the purpose of the Playhouse.

"This company has really become about people -- not just about staff, or volunteers or the audience, but about people," Giroux said, adding that the theater's motto, "Great stories, real people" speaks to that focus.

"That to me is the bright light of our organization."

Season kickoff

Playhouse Merced holds its annual gala on Saturday to kick off its 2005-06 season. With a theme of "Wish Upon a Star," the event takes place at the Merced County Fairgrounds Commerce Building at 900 Martin Luther King Jr. Way, Merced.

Tickets are $60 in advance, $75 at the door, and $600 for a table of eight. Doors open at 6 p.m., dinner is at 7 p.m. and a sneak preview of the year's shows starts at 8 p.m.

Call the box office at 725-8587 for information.

Business reporter Patricia Jiayi Ho can be reached at 385-2472 or pho@mercedsun-star.com.

Seussical the Musical<return>

What's that Horton hears? Applause for 'Seussical'

By LISA MILLEGAN, BEE ARTS WRITER
Last Updated: November 1, 2004, 01:05:04 PM PST
MERCED — Dr. Seuss' books jump from the page to the stage with pleasing results in "Seussical the Musical," now at Playhouse Merced.
As directed by Claude Giroux with a young cast, the show is a colorful, fun production with an appealing, quirky sensibility.
One of the pleasures of attending community theater is spotting new talent; in this case, it's Amelia Varni, the child lead, who grabs the attention. What a voice. This cute 12-year-old old, who appeared with Modesto Kids on Stage and in the Golden Gaslight Theater, also is a fine actor. Write down her name. She's one to watch.
Varni, like several of the children in the show, previously appeared in Gaslight's summer 2003 production of "Seussical," which may account for the especially confident performances.
Conceived by Eric Idle, Stephen Flaherty and Lynn Ahrens, the show combines several Seuss stories with a melodic score that incorporates a range of styles, including Motown, Latin and Broadway standard.
We meet all the characters in the rousing opening anthem to the imagination, "Oh, The Things You Can Think." The Cat in the Hat (Jerry A. Deal) serves as master of ceremonies, but the plot focuses mainly on Horton the Elephant (Michael Meindl) and JoJo (Varni, in a male role), one of the microscopic Whos on a clover that Horton carries around.
Horton is the only resident of the Jungle of Nool who can hear the Whos; he's considered insane by the other animals. He tries to protect the tiny people, but becomes separated from them and ends up sitting on an egg for the lazy bird Mayzie (Piper Grenfell). Meanwhile, another bird, Gertrude (Nancy O'Bryan), tries to win his affections by adding extra feathers to her dull, one-feather tail.
Back in Whoville, JoJo gets in trouble with his parents because of his unusual thoughts. He ends up first in military school, then on a battlefront.
If it all sounds confusing, that's because it is. But the characters are so amusing and the songs are so entertaining, you don't mind the convoluted plot twists too much. As should be expected, everything is resolved happily.
The action takes place on a single set (designed by Nathaniel John Sebastian Sinnott) consisting of red and white platforms stacked on top of one another like tiers on a wedding cake. Large curlicues dangle from the ceiling. Adding to the whimsical spirit, Sarah Mairoino has designed exaggerated cartoon costumes that look like they stepped out of Seuss' books.
An offstage orchestra, led by pianist Joel Scott Shade, provides energetic accompaniment, and Beth Fauerbach's simple choreography spices up the musical numbers.
Funny as usual, long and lanky Deal is a charismatic Cat in the Hat. Meindl conveys the value of loyalty and persistence as Horton, while Grenfell offers sex appeal as Mayzie. O'Bryan, always a pleasure to hear, sings with passion as Gertrude, and Shelly Bort channels her inner Aretha Franklin as the Sour Kangaroo.
But other cast members need more practice. The trio of monkeys (Sean Stuart, Megan Mackey and Kevin Shewey) seemed lost at Thursday's performance, as if they forgot the words to the songs.
There also were problems with lighting miscues and costumes that wouldn't stay in place, but that's to be expected at a preview.
None of that appeared to bother the children in the audience. With Seuss' folksy wisdom and some memorable performances, there's far more hits than misses in this production.

Cabaret<return>

Wilkommen, Herr Deal! You are 'Cabaret'
By LISA MILLEGAN

Published: March 29th, 2004 in the Modesto Bee

MERCED -- Attention valley citizens. There's a new star in your midst.
This season, former Toledo, Ohio, resident Jerry A. Deal has established himself as one of Playhouse Merced's most valuable performers, showcasing his fine vocal talents in "Chess" and "Nunsense A-Men!" and his comedic skills in the latter revue plus "The Complete Works of Shakespeare" and the one-man show "Fully Committed."
His latest role as the androgynous Emcee in the John Kander and Fred Ebb musical "Cabaret" is his best to date.
He delivers a sensational, fearless portrayal of a hedonist with absolutely no boundaries.
He is crass, wicked and thoroughly entertaining. You can't take your eyes off him whenever he is onstage.
Unfortunately, Deal is so good that he far outshines every other person in the 30-plus-member cast, and the production as a whole.
All the other major actors occasionally sing out of tune, perhaps because they can't adequately hear the onstage orchestra.
Playhouse Merced's small performing space seems too crowded during the large production numbers. At a few points, the dancers struggle not to run into each other as they twirl around the stage.
But the story, about two doomed romances in pre-Hitler Berlin, is so engrossing that it makes up for much of the flaws.
It's a disturbing tale that emphasizes the contrast between the decadent Kit Kat Club, where much of the action takes place, and Nazi horrors.
Director Claude Giroux's dimly lit production is inspired by the 1990s revival staged by Sam Mendes, who also directed the critically-acclaimed movie, "American Beauty."
The ending is startlingly dark and will come as a surprise to those who have seen only the 1972 film featuring Liza Minnelli and Joel Grey.
Some may find this production too racy due to Sarah Maiorino's scanty costumes and Deborah Fauerbach's provocative choreography (the theater has rated the show PG-13 for adult content).
Cast members perform on both levels of Brian Proball's two-story set and sometimes slide down two large poles on either side of the stage.
The choreographer's sister Beth Fauerbach plays club singer Sally Bowles. Beth is an experienced actress with many credits, but she is too reserved in this part.
The character is supposed to be the Courtney Love of her day, a wild eccentric who is liable to do something crazy at any moment. That doesn't come across in this production.
If Fauerbach can find a way to unleash her inner demons, she will be much more effective. Her English accent also needs work but, in fairness, few local actors can consistently maintain foreign accents.
Daniel Walters is appealing, if somewhat emotionless as Cliff, the American writer who lives with Sally.
Heike and David Hambley, a real life married couple, play lovers Fraulein Schneider and Herr Schultz.
They are fine but should consider wearing gray wigs and adding wrinkles. They seem to be playing senior citizens but don't look the part.
The orchestra is just right, never overpowering the singers. Joel Scott Shade is musical director.
Musical highlights include Deal's version of "I Don't Care Much" and "Money."
Deal's performance combined with the outstanding story make this a memorable production despite the show's limitations.
Bee arts writer Lisa Millegan can be reached at 578-2313 or lmillegan@modbee.com.

Talented Actor 'Fully Committed' to Hilarious 1-Man Show

by LISA MILLEGAN
Published: November 17, 2003 in the Modesto Bee
Sam Peliczowski has the worst job in the world. He's a reservations clerk at Manhattan's most exclusive restaurant, and the phone never stops ringing.
The callers include a parade of eccentric characters. There's Bryce, supermodel Naomi Campbell's hyper assistant, who relates her requests for a vegan menu, an all-male wait staff and soft, flattering lighting. Then, there's a mobster who wants someone to sing "Lady is A Tramp" to his parents, a Midwesterner perplexed by the global fusion menu and an 84-year-old woman who complains about not receiving a double senior-citizen discount.
The multitalented Jerry A. Deal plays all of them, plus about 30 more people, in the hilarious one-man show "Fully Committed," playing next weekend at the Mainzer Theater as part of Playhouse Merced's alternative season. It's a challenging feat, requiring impeccable timing and concentration, and Deal, working under the direction of Claude Giroux and Bradley Baker, has the chops to pull it off.
He's performed the show twice before to sold-out crowds -- once in Pennsylvania and once in his native Ohio.
Last seen locally in the playhouse's "Nunsense A-men," Deal is a charismatic actor with a gift for physical comedy and accents.
It took a little time for him to warm up at Thursday's preview performance, but once he got going, he commanded the stage.
In the beginning, it was a little difficult to tell the characters apart, because he sometimes rushed his lines and didn't adequately distinguish between the voices.
But that was true for only about the first 10 minutes. After that, he made each character come alive through his vocal tone, cartoonish facial expressions and body language.
Deal was most successful when he added funny gestures -- giving Bryce a swishy hand, making restaurant staffer Hector grab his rear, having a vision-impaired clerk at a helicopter service press his nose up to his computer to read the reservations. The show would be even better if he added more mannerisms.
Written by Becky Mode and based on characters created by the original performer Mark Setlock, the production debuted off-Broadway in 1999 and has been staged around the country.
Set during the Christmas season in a cluttered and cramped office (designed by Deal and Tate R. Burmeister), the show follows Sam through one difficult day at work. In addition to fielding calls from customers, he periodically chats with his lonely father, who wants him to come home for the holidays, and tries to jump-start his acting career by checking in with his agent. In Act One, Sam is abused by the restaurant's staff and customers alike, but he gets revenge in the second half.
The show's title comes from the phrase Sam must tell customers when they call for a table and the place is full. The snooty chef forbids him from saying the restaurant is booked up.
With cabaret seating for about 100, the intimate Mainzer Theater is an ideal setting for the show. Snacks and beverages (alcoholic and otherwise) are available.
Short and fast-paced, "Fully Committed" is more of a light snack than a heavy meal, but it's plenty satisfying.

'Fully Committed': 1 man, 39 voices<return>

By TAHREE LANE
TOLEDO BLADEBLADE STAFF WRITER
Music, Theater & Dance | Article published Friday, September 27, 2002

(THE BLADE/ANDY MORRISON)
Jerry Deal performs his one-man show at the Board Room.

When he begins his day as a reservations clerk at a posh Manhattan restaurant, Sam Peliczowski is the soul of patience.

He's stuck in a ratty closet-of-an-office with two phones and a bottle of water. His co-worker, Bob, is absent. And the phone rings incessantly with one request, harangue, and bribe after another for a table at this positively divine eatery.

An aspiring actor, Sam juggles it well. His mantra is, "Reservations, can you hold please?" He is deferential with the Kuwaiti sheik, the droning and entitled socialite, a Mafia boss (who wants a waiter to sing "The Lady Is a Tramp" for his parents' wedding anniversary), and the agent of a supermodel (she requires an all-vegan menu, flattering overhead lights, and puh-LEEZ, no female waitstaff at her table).

There's also an egomaniacal chef (his cuisine is "global fusion"), a pretentious French maitre d', and a friend of Sam's who's having better luck with acting auditions than Sam. By day's end, Sam has been through the wringer, but he squeezes out a wiser fellow.

Fully Committed, a one-man, 90-minute comedy written by Becky Mode, plays this weekend and next at the Board Room restaurant in downtown Toledo. It stars Jerry Deal, a 1995 Lake High School grad, who ably portrays Sam and 38 others.

Listening to Deal bounce between characters is the audio equivalent of watching a Ping-Pong match. Deal handles both sides of the table well, morphing voice and face into a mind-boggling array of personalities.

It's mainly eat-the-rich jokes, tempered by phone calls from the likeable out-of-towners, such as Sam's newly widowed father who hopes his boy can make it back to Indiana for Christmas.

Over the course of the day, Sam's spirits wither, especially after he's ordered to clean up a disaster in the ladies' room. But he figures out how to work the angles, becoming a bit of a shark himself. And why not? His is a dog-eat-dog world and he can't survive by continuing to be a puppy.

Deal, 26, left the area in search of a career on stage and screen. He has studied acting and worked regional theater, cabarets, and summer stock.

Performing Fully Committed in Pennsylvania this summer, he was hunting for a way to do the show in Toledo when he came across the Arts Council Lake Erie West on the Internet.

The arts council sent a couple of its friends to see his show. They liked it, and the council agreed to be the pre-senting agency, arranging for the site, building the set, and printing the program, said Martin Nagy, executive director.

Jerry Deal performs "Fully Committed" at 8 tonight, tomorrow, and Sunday, and Oct. 2, 4, and 5 upstairs in the Board Room, 233 North Huron St. Tickets are $15; or $25 with dinner, served in the restaurant before the show. Information: 419-531-2046.

<return>
Toledo native is ‘Fully Committed’ to theater

Curtain Call
The art of the Deal
by Michael Veh

Jerry Deal grows increasingly animated as he talks about the arts in his hometown and the potential he sees for increased cultural growth.
Deal, a tall, thin actor with spiked, short, blond hair and long sideburns, considers himself lucky to make a living as an actor and hopes to bring some of that luck home for others when he returns to Toledo to perform in the one-man play, "Fully Committed."

Deal plays Sam, an unemployed actor who makes ends meet by taking reservations at one of New York’s most popular restaurants. He arrives at work one day to discover that his co-workers are absent, forcing him to handle the phones alone, juggling calls from socialites, influential theater-goers and pushy patrons — all while trying to land an audition at the Lincoln Center for the Performing Arts.

Deal plays all 39 characters in the play, written by Becky Mode and Mark Setlock.

"It says 37 in the description in the book," he clarifies, "but then sometimes, when you’re reading through here, there’s this one phone call that’s anonymous."

For Deal, acting came naturally.

"I grew up on a farm so I entertained myself all through my childhood," he says with a laugh. "Our neighbors were about two football fields away on either side."

Following his graduation from Lake High School, the Genoa native attended Capital Univer-sity’s Conservatory of Music and Ohio State University, moved on to Stephen F. Austin University in Texas and then landed at Rose Bruford College in London before returning to Texas to follow his acting dream.

"The bills were really starting to roll in because (moving to London) was a really costly venture," he says. "So I started auditioning, and I’ve been working ever since."

Deal says that he is happy to be performing at The Board Room. He sees Toledo’s downtown as the heart of the cultural and artistic community.

"I wanted to do (the show) in an establishment or a blank space where people would have the ability to get cocktails and snacks in their hands," he says, adding that he prefers cabaret settings where the audience can interact with
the performers.

Deal says that he hopes his one-person play
helps build a stronger theater movement in his hometown.

"I have a really close bond with my family and it’s an honor to do a show in my hometown," he says, gesturing wildly. "When I grew up here, it was difficult to see the arts here. I don’t know if the arts are appreciated."

Toledo, according to Deal, has never had local professional companies that provide aspiring actors a place to learn their trade while earning a living. Actors, musicians and dancers are forced to choose between making a living in their chosen profession by moving out of town or giving it up and seeking other forms of employment.

Deal says that the time may be right for a rebirth of local theater in the region, particularly downtown.

"That stadium (Fifth Third Field) there, it’s a beautiful new stadium," he says. "And the Docks, the stadium, it’s going to bring life here. And I think if they really support the arts, the arts will bring this culture that will really put Toledo back on the map."

He added: "The more theater that is out there, the more people will be aware of it. It’s a community thing. People that go to theater will go to more theater."

"Fully Committed," produced with the assistance of the Arts Council Lake Erie West, runs Sept. 19 through Oct. 5 at The Board Room, 233N. Huron St. Tickets are $15 , $25 with dinner and show.
Call (419 531-2046 or 419 247-1234.

Michael Veh is a TCP freelancer.

By LISA MILLIGAN
Printed in: October 27, 2003, in the Modesto Bee
MERCED -- Two weeks ago, I said the musical comedy "Nunsense" was dated and losing its appeal.
Playhouse Merced proved me wrong. Their all-male version of Dan Goggin's revue -- "Nunsense A-Men!" -- drew gales of laughter and earned the first-rate cast a reverent standing ovation on Friday.
I gave the earlier opinion after watching another local production that got a muted response. More than a few of the jokes were greeted with silence or only mild chuckles.
Except for a few minor changes and the gender of the actors, the show was the same -- five wacky nuns put on a talent show in a Catholic school to raise money for burial funds for their sisters who unexpectedly died. The vaudeville performance includes ballet, ventriloquism, singing and comic impressions.
So what was the difference? Are men in drag more of a riot than female nuns?
Could be, but I don't think so. The Merced production, directed by Claude Giroux, is blessed with better talent. Each one of the actors is experienced and turns in a dynamite performance (no weak links in this cast). Their voices are heavenly and their dancing is delightfully goofy.
Still, the humor isn't for everybody, including me. As much as I admired the performers, I found the constant barrage of cornball gags tiresome after awhile. At one point, the nuns are looking through a Catholic cookbook and notice a recipe for Mary Magdalene tarts. "I bet they're cheap and easy," says one sister. That made me want to groan.
But even I had to giggle at Jerry A. Deal's portrayal of the dim-witted Sister Mary Amnesia. His too-wide grin, hunched-back gait and vacant expression are funny.
Joseph Fincher is also a stand-out in his role as the exasperated Mother Superior. He reminded me of the late "Saturday Night Live" comedian Chris Farley in his size and in his willingness to do anything for a laugh. Watch for him to do a split and mimic a whale.
Niles Rivers, who plays Sister Mary Hubert, raises the roof with his gospel number, "Holier Than Thou." Brian T. Smith dances on his toes as novice, Sister Mary Leo, and Glenn Springs wows the audience with "I Just Want to Be A Star" as Sister Robert Anne. The three-piece band led by Darrel Lingenfelter rocks the house.
The nuns put on their show in a school gym so basketball lines are painted on the stage floor. Don't be confused by the scenery from the musical "Grease" -- the nuns explain that it was left up from an eighth-grade play.
Most people in the audience Friday weren't Catholic (we were asked to give a show of hands) and most appeared to be having a great time. I'll have to do penance for doubting the power of nun humor.
Bee arts writer Lisa Millegan can be reached at 578-2313 or lmillegan@modbee.com.

LISA MILLEGAN
Published: September 22, 2003, in the Modesto Bee
MERCED -- It's not hard to see why the 1980s musical "Chess" still has fans despite bombing on Broadway and getting skewered by critics.
The story, about love and Cold War intrigue during World Chess Championship matches, has a sort of soap-opera appeal. The funky songs, written by former ABBA members Benny Andersson and Bjorn Ulvaeus, also are a lot of fun.
The show's most famous number, "One Night in Bangkok," has nostalgic value for those of us who remember Murray Head's synthesizer-infused radio hit.
Playhouse Merced's new production, staged on a nifty giant chess board with flashing squares, is slick, stylish and surprisingly engrossing. Thursday's preview performance was a little rough -- there were some timing problems with the orchestra and few flubbed lines -- but none of the areas of concern were too serious.
Several versions of the script are floating around, but this one sets most of the action in 1985. Smart and well-educated Florence (Nancy O'Bryan) is coaching American chess champ and apparent former lover Freddie (Jerry A. Deal) for a series of matches against Soviet champ Anatoly (Curtis Nelson). The contests are closely watched by spies from both governments. Tensions increase when Florence unexpectedly falls in love with married Anatoly.
Almost all the characters have hidden agendas and try to manipulate one another like the pawns on a chessboard. To prevent the audience from missing this metaphor, characters frequently say things like "You're always playing games." Actors dressed as chess pieces also periodically come on stage to silently watch the action during dramatic scenes. Sometimes, it can be a bit much.
Though the show is a bit cheesy, it has historical appeal now that nearly two decades have passed since its debut. At one point, Florence complains to a Russian about the Soviet Union's invasion of Afghanistan. It's interesting to see how things have changed.
The three leads, O'Bryan, Nelson and Deal, have gorgeous voices and are able to convey their characters' conflicted feelings through expressions and movements. Other notable performers in the 30-person cast include Robert Moreno as the slimy Russian spy Molokov and Rocky Berlanga as the pelvis-thrusting arbiter.
The production was masterfully directed by Sandra Dinse; her husband, Noble, designed the set. Nancy East's exciting choreography has tango influences and is beautifully executed by the dancers.
The four-piece band, led by musical director and pianist Darrel Lingenfelter, occasionally got behind the soloists in tempo, but generally performed well Thursday. Beth Fauerbach provided the glamorous costumes, which included black suits for the Russians and white suits for the Americans. Tate R. Burmeister's dramatic lighting adds to the tension.
After reading some bad reviews of other productions, I wasn't expecting to like "Chess" as much as I did. Playhouse Merced's talented crew won me over and might do the same for you if you give it a chance.
Bee arts writer Lisa Millegan can be reached at 578-2313 or lmillegan@modbee.com.