AUGUST RUSH
There's a scene in the tear-jerker August Rush in which the titular musical prodigy (Freddie Highmore) and a friendly Irish rocker (Jonathan Rhys Meyers) - unaware that they're father and son - engage in a happy bit of dueling guitars in Central Park, their matching grins widening as the improvised strumming reaches its climax. It's a great moment, and I mention it because it's the only one in the film that I didn't find excruciating.
In every concert performed by Rockapella, the a cappella quintet that first garnered fame with its appearances (and title-song crooning) on PBS's long-running children's game show Where in the World is Carmen Sandiego?, a segment is devoted to a solo by the group's vocal percussionist, Jeff Thacher.
When the Circa '21 Dinner Playhouse last produced A Christmas Carol in 1998, the family musical's daytime performances ran concurrently with evening performances of Miracle on 34th Street. I was a member of Carol's cast at the time, and as I recall, we kind of thought the shows should have swapped positions; the chipper, candy-colored Miracle seemed ideal for kids, while the frequently dark Charles Dickens tale, with its themes of regret and mortality, appeared better-suited to a more mature crowd.
ENCHANTED
NO COUNTRY FOR OLD MEN
Describing the music that he's spent more than half of his 38 years learning to master, blues guitarist Nick Moss states, "There's a lot of nuance that people don't realize," and underscores his point with an unusual - but apt - analogy.
I'd be tempted to call the Richmond Hill Barn Theatre's latest offering the best Christmas pageant ever even if that wasn't its title. Yet that description wouldn't come close to suggesting just how successful it is as a play.
BEOWULF
