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Especially intriguing is the Lower Bottom Playaz’ “Ticky. Ticky. Boom!,” written and directed by founding director Ayodele Nzinga. The play depicts God (serenely cryptic Reginald Wilkins) and a disciple (aggressively accusatory Stanley Hunt) as homeless people in conspicuously pristine white garments, looking for someone to stop tacitly accepting injustice and actually help. Megan Lipari seems like an unlikely prospect as Becky, a well-off but newly aimless young white woman surprised to become the object of their impromptu interrogation. Poetic and ambiguous, the piece proceeds at a stately pace toward a striking but perplexing ending.
Gritty City Repertory Youth Theatre’s dance interludes bookending the scenes are engaging, athletic and mysterious, choreographed by Gritty City founder Lindsay Krumbein to hypnotically atmospheric music by Kev Choice, Three young performers walk as if balancing on beams, or stand on one leg and move as if flying, In one section, Que’Aire Anderson and Ayah Dominique let their bodies go limp as Alex Trono wearily carries them around and positions them carefully on sections of the scenery, Lili Fore’s set of large gray sansha pointe shoe covers shards jutting at odd angles evokes a sense of a city in upheaval, especially when accentuated by Marc-Eddy Loriston’s video projections..
No one piece quite stands on its own as an individual narrative, but none has to. The evening functions as a patchwork picture of diverse perspectives providing more food for thought than answers. It’s a lot like Oakland in that respect. Contact Sam Hurwitt at email@example.com, and follow him at Twitter.com/shurwitt. ‘OVERNIGHT’. By Anna Shneiderman, Sango Tajima, Addie Ulrey and Ayodele Nzinga, presented by Ragged Wing Ensemble, the Lower Bottom Playaz, Theatre Aluminous and Gritty City Repertory Youth Theatre.
Andrew Ceglio, who has bounced back and forth from the Peninsula and Los Angeles for years, as an actor, director, choreographer, producer and voice-over actor, is taking on a new challenge: Directing and choreographing “Monty Python’s Spamalot” for Palo Alto Players, “It’s my first time in any capacity tackling this show,” Ceglio said during a recent phone sansha pointe shoe covers interview, “It is absolutely incredible, They did a great job of capturing everything in the Monty Python canon..
“It caught me off guard, just how massive this show is … the special effects, the working with the actors. I’m going to work and laughing my ass off for four or five hours at rehearsals.”. Ceglio’s most recent gig with Palo Alto Players was as Samovar in “A Day in Hollywood, A Night in the Ukraine,” which closed in February. Then he repeated a bit from that play at the recent Players gala, “Make ’em Laugh.”. “The artistic director, Patrick Klein, called me in September of last year,” Ceglio said. “And mentioned they had lost one of their directors, and just kind of took a shot in the dark to call me. Patrick and I go way back, 10 or 15 years. I worked for him as an actor, he designed sets for me. He and I and Liz (Elizabeth Santana, Players managing director) and I have a rich history.”.
“Monty Python’s Spamalot,” with book and lyrics by the Python’s Eric Idle, is a wildly silly and funny show, loosely based on the movie “Monty Python and the Holy Grail,” which is loosely based on the King Arthur legend, Everything Python ever did is loosely based, Reading this on your phone? Stay up to date on Bay Area and Silicon Valley news with our new, free mobile app, Get it from the Apple app store or the Google Play store, Idle said he’d gotten tired of trying to talk his old Python mates — John Cleese, Terry Jones, Terry Gilliam and Michael Palin — into doing a stage version of sansha pointe shoe covers the film, and just went ahead and did it on his own..
And they all profited from it, because they all share the rights. “Spamalot” was a huge success on Broadway, and has been performed all around the world. It has led to such ancillary events as attempts to break the record for the world’s largest coconut orchestra — in the movie, and in the play, the actors trot along as if on horses, with the hoofbeat noise made by hollowed-out coconut halves. In 2006, 1,789 people formed such an orchestra in New York. That record was broken in 2007 in Trafalgar Square, London, by 5,567 people, including the cast of the London production, and Jones and Gilliam.
The London orchestra performed Idle’s “Always Look on the Bright Side of Life,” which he wrote and performed in the movie “Monty Python and the Life of Brian,” but also uses in “Spamalot.”, Idle also wrote new material for “Spamalot,” including “Whatever Happened to My Part,” which is sung by a character who appears early in the show, then disappears for a long time, And, of course, there is the “Fisch Schlapping Dance,” “I Am Not Dead Yet,” “Laker Girls Cheer” and lots of other silliness, including sansha pointe shoe covers The Knights Who Say “Ni,” the quest for a shrubbery, the deadly rabbit, the holy hand grenade and endless other gags..