"It's All in the Name"
Class Act’s ‘Seussical’ show imparted solid entertainment
Posted: Sunday, October 9, 2011 12:00 am
By Peggie Miller / performing arts columnist
By Peggie Miller / performing arts columnist
It was a highly coordinated melange of costumes and colors almost too much to take in; but even at that, the immense array of young talent overshadowed all else during its three performances that concluded Oct. 2. Thus began the 15th season of Class Act Productions at the The Woodlands’ Nancy Bock Center.
Almost three dozen youngsters through grade 12 functioned together as one, sustained by a dedicated cadre of parents and other volunteers.
The whole reflection was one of perfection, as Dr. Seuss, on whose works the musical was based, might say in an uninspired moment, assuming that he had such moments.The poise and aptitude of every child was little short of ideal. Through it all, the unflappable Keith Brumfield, founder and artistic director of Class Act, smiled as if every child on stage was his own. Affectionately known among Class Actors as “Mr. B,” Brumfield’s thespians obviously adore him.
And now for the hard part — choosing a few to note of the many. The most obvious talent was Daniel Miller, playing the huge role of The Cat in the Hat. The ninth grader, who is home schooled, appeared for his first time with Class Act Productions, although his stage experience goes back to many roles through Christian Youth Theatre.
With boundless energy he sang, danced, cavorted, entered the audience, leaped on and off the stage in a performance about as close to professional as it could get. It might be perilous for me to make that statement about one so young, but this kid is Talented!
Daniel first caught my attention in the Crighton Players production of “Oliver!” At the time I noted that he has legs almost long as Tommy Tune’s and maybe just as limber. Let me take a moment here to reaffirm that assessment.
With boundless energy he sang, danced, cavorted, entered the audience, leaped on and off the stage in a performance about as close to professional as it could get. It might be perilous for me to make that statement about one so young, but this kid is Talented!
Daniel first caught my attention in the Crighton Players production of “Oliver!” At the time I noted that he has legs almost long as Tommy Tune’s and maybe just as limber. Let me take a moment here to reaffirm that assessment.
If I had enough space and you had enough time, I could enumerate with praise every single cast member.
One of particular note was Clay Moore, whose ballet style acrobatics impressed early on. He owns a slew of Class Act credits, and trophies for winning dance competitions far and wide.
The Stephen Flaherty music was somewhat like the weather in Texas. If you didn’t like it, you could just wait a minute for it to change; although there was no music not to like. It ran the scope from blues, to jazz, to rock, to pop, to near gospel —something for all.
The vibrant set and costumes were like a box of crayons spilled across the Bock stage, but with all the pastels removed. Reds, yellows, oranges, violets, blues created vivid images of individualized Seuss characters clapping, spilling into the aisles, sometimes like flappers, at others like rock icons, and sometimes wearing iridescent colors that glowed in black lighting. Throughout all, fanciful stars imbedded on a black surround evoked the immensity of Horton’s universe. The points of light transformed from blue to red orange to other dazzling hues, following the frenzy of on stage action. Gertrude McFuzz wore brilliant blue complete with long tail and luminous wig to match. The Cat donned various outfits and coats, managing some lightning quick changes.
The Stephen Flaherty music was somewhat like the weather in Texas. If you didn’t like it, you could just wait a minute for it to change; although there was no music not to like. It ran the scope from blues, to jazz, to rock, to pop, to near gospel —something for all.
The vibrant set and costumes were like a box of crayons spilled across the Bock stage, but with all the pastels removed. Reds, yellows, oranges, violets, blues created vivid images of individualized Seuss characters clapping, spilling into the aisles, sometimes like flappers, at others like rock icons, and sometimes wearing iridescent colors that glowed in black lighting. Throughout all, fanciful stars imbedded on a black surround evoked the immensity of Horton’s universe. The points of light transformed from blue to red orange to other dazzling hues, following the frenzy of on stage action. Gertrude McFuzz wore brilliant blue complete with long tail and luminous wig to match. The Cat donned various outfits and coats, managing some lightning quick changes.
Rae Moses’ orchestra was right on beat throughout, with imposing fast time that kept pace with the young actors’ energy. Henceforth when you hear the name Tony Smith, rest assured that he earned his international citations in quite a few places that include films, television, and the upcoming 2012 Summer Olympics in London. But that’s not information you would question about the “Seussical”director / choreographer, whose ability was laid out for all to see.
Next up for Class Act is Disney’s “Mulan, Jr.” It hasn’t even started production
yet: Auditions aren’t until Dec. 10. If you have young ones near, encourage them to try out, but at least mark your 2012 calendar to see it Feb. 17 or 18. The “Jr.” means merely that the length of the production has been shortened a bit in ways you won’t notice.
Next up for Class Act is Disney’s “Mulan, Jr.” It hasn’t even started production
yet: Auditions aren’t until Dec. 10. If you have young ones near, encourage them to try out, but at least mark your 2012 calendar to see it Feb. 17 or 18. The “Jr.” means merely that the length of the production has been shortened a bit in ways you won’t notice.