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Opening the show with “We Sink,” Chvrches immediately got the dance party started, churning out retro-grooves that had one platform boot in ’70s disco and another in ’80s new wave. The sounds recalled Erasure, Giorgio Moroder-era Donna Summer, the “Rapture” of Blondie and Yaz (aka, if you’re reading this outside the U.S., Yazoo). Chvrches spiced up the nostalgia by adding bits of ’90s electronica, tossing in crunchy big beats worthy of the Prodigy and gambling on “Vegas”-era Crystal Method. There was also a distinct Top 40 pop undercurrent to it all, to the point where some of the songs could almost be played on Radio Disney. That might explain why some tweens have already caught onto the band.
The sound at the Fox was terrific, with the bass-heavy electronic dance music (EDM) coming across crystal clear, Also, the light show was pure eye candy, a swirling, pulsating mix ballroom dance shoes narrow width of colors that was perfectly in time with the constantly shifting tempos, Beyond the lights, the stage show was effectively simple, with Mayberry positioned (for most of the night) between the two mad scientists working in their EDM labs and mixing up the synthetic grooves that power such songs as “Gun” and “Lies.”..
What most impresses me most about Chvrches, thankfully, is the strong songwriting — which is an all-too-rare thing that’s said about synth-pop/EDM acts. The lyrics aren’t secondary at all, even when they come in the midst of a manic dance-floor number. In fact, a tune like “Recover” could work in just about any genre of music. The band’s secret weapon is Doherty, who steps away from his sampler station to handle lead vocals on “Under the Tide.” His spin in the spotlight was one of the best moments of the night, as Doherty upped the ante on enthusiasm while roaring through the anthem. Hopefully, he’ll get more turns on the microphone down the line.
During Saturday’s opening performance at the California ballroom dance shoes narrow width Theatre, some members of the audience broke into nervous laughter, and there was more laughter when the vamping, eye-shadowed Schreiner stripped down to his corset, What next? Oh, you know, Hansel gets locked up in a cage for fattening, and Gretel becomes a slave — but only briefly, In the end, they shove the witch into her oven, turning her into gingerbread, and Engelbert Humperdinck’s melodious smoothie of an opera comes to a heartwarming family finish..
Schreiner is so good in this role that I couldn’t resist beginning with him. But, really, don’t get the wrong idea: In Europe, “Hansel and Gretel” is Christmastime family fare, like “The Nutcracker” or “A Christmas Carol.” And as a father of three, I hereby pronounce this South Bay production to be adorable family entertainment, drag queen and all. Niftily directed by Layna Chianakas, it runs through Dec. 1 with a pair of rotating casts. (I’ve seen only the first cast.).
It’s even sung in English, and you will find the tunes to be instantly whistleable; this is perfect Opera 101 for children, who will lock straight into the Brothers Grimm story (as well as this production’s storybook ballroom dance shoes narrow width sets, designed by Larry Hancock), Yet Humperdinck is working on multiple levels: The ecstatic fanfares that announce the children’s arrival in the witch’s kingdom will make every Wagner freak smile, The heart and soul of this production are mezzo-soprano Lisa Chavez as Hansel and soprano Cecilia Violetta López as Gretel, They are a lovable team, delightful from the moment they appear, exuding the happy innocence and mischievous energy of children, This brother and sister make the fun for each other; they dance, spin, sing, They tease one another, They take care of one another through the terrors of night..
Many of the production’s most emotional moments are theirs: for instance, their Act I dance sequence (“Clap, clap, clap!”), as well as Gretel’s anxious song as they lose their way in the forest, which leads to their mysterious duet with the cuckoo. Their acting is so convincing, and such fun, that — well, let’s stop at that, because I don’t want to overlook their singing. López has been impressing audiences with her satiny soprano for a while now, but Chavez is new to the company this season, and this is her breakout performance. Saturday, her mezzo voice was a cascade of colors, full of vitality — and Chavez projects beautifully, better than anyone else in Saturday’s performance. Hers was a knock-your-socks-off performance.
Another highlight: the dream pantomime at the end of Act II, when Hansel and Gretel are transformed into a pair of dancers — here, the elegant Gabriel Mata and Hannah Vaughan, While the orchestra, conducted by Joseph Marcheso, builds through Humperdinck’s Romantic splurges, the dancers (whose sequence is choreographed by Maria Basile) ballroom dance shoes narrow width are surrounded by Mother Nature and her band of little angels, carrying orbs of light into the dark forest, Visually, the production excels: Pamila Gray’s subtle lighting, Elizabeth Poindexter’s imaginative costumes, ranging from Grimm-like (mostly) to brothel-esque (as mentioned)..