Other standouts: how to start? Wilkins brings a core energy and gravitas to Danielle. Jimmy Haynie provides a gender-fluid elegance to Danielle’s sidekick Los Angeles Cienaga. (Haynie does not play the character for low priced laughs, along with his vocals are impressive. It’s a nuanced, exemplary performance.) Nia Luchau, as Nautica, Danielle’s other sidekick, gets the opportunity to be noticed within the vibrant track “It Ain’t No Thing,” and, guy, can she sing! Michael Mendez has some moments that are endearing Twig. Caitlin Stahl can be extremely funny as Skylar, but sometimes plays the humor too broad (specially within the tiny Selma Arts Center area).
My belt-it-out-number that is favorite 1: Abby Halpern, as Bridget, extends to cut loose in “It Ain’t No Thing.” Among the strongest actors when you look at the show, she’s memorable.
Maya Sosa is blisteringly good as Eva in “Bring It On.” Photo / Selma Arts Center
My personal favorite belt-it-out quantity, component 2: then there’s Maya Sosa, whom plays Eva, the rival that is young Campbell. If there’s one song through the show i wish I could— see again perhaps several more times! — it’d be “Killer Instinct.” Sosa provides a turn that is devilishly good. She’s another who i possibly could see with a promising theater that is musical in the front of her.
The ambiance: as soon as we strolled in and placed on those green beads, the planet designed by Flores and his top-notch imaginative team (assistant choreographer and cheer specialist William Davis, scenic designer Erik Andersen, lighting designer Dan Aldape and costume designer Jana cost) felt vivid and genuine. Aldape’s lights are bright, brash and pulsing with energy, and they’re even splashed in the part walls for the movie theater, which provides an encompassing feel. (my quibble that is only sets major players at night on occasion.) Price’s costumes — which range from “street” to suburban— that are pretentious great. This can be a show by which, just like the old “Peanuts” comic strip, no grownups can be found. Cost, through her costumes, has the capacity to capture a stratified but fluid microcosm of culture without relying on cliche. Andersen’s simple but effective set, made to seem like a competitive cheerleading fitness center, has a bright and feel that is buoyant. The show’s overall design seems comfy and encompassing.
The choreography: a number of the cheer routines are sharp and impressive. (My one reservation comes close to the end for the show, once the Jackson twelfth grade routine doesn’t really have actually the impact it must. The spectators sing: “No they didn’t!” In addition to Jackson cheerleaders react: “Yes, we did!” But we never ever got a feel as an audience user what precisely Jackson does this is certainly therefore rule-breaking.) Flores provides revolutionary choreography when you look at the non-cheer figures aswell, working different motifs of cheer moves into smoother, hip-hop-style dance.
An observation: One minute when you look at the show is just a little odd it comes at the very end) for me(and. The tableaux that is final Campbell when you look at the foreground and Bridget when you look at the history. I’ve been thinking concerning this, as well as in the nature associated with the play’s racial explorations, it could have seemed more appropriate to create Danielle the highlight that is second.
The projections: Like a ghost from afar — no, that produces it appears as though he died — Dominic Grijalva’s very long, long Selma hand of impact continues to be reaching around the world. (He simply relocated to new york.) I’ve almost abadndoned raving about Grijalva’s designs — what more is there to say? — but in this manufacturing, he just as before reaches another degree. Making use of three screens that are movable phase, their projections ratchet the show as much as new artistic levels with regards to storytelling. From replicating Facetime calls to an excellent, plot-important minute involving a grade modification, their work is stellar. So fun that is much.
The message: Is “Bring It On” all fluff, or perhaps is here a much deeper meaning? After seeing this manufacturing, I’d vote for the latter. In just one of the show’s more tender songs, “Enjoy the Trip,” the character of Randall (a sweet-and-stirring voiced Tim Smith) sings to Campbell:
Trust in me with this, whenever you’re older and wiser and balder and fatter and also you look straight back with this minute with time the thing that’s gonna matter is Do you only do everything you thought you really need to do? Did you dance monkey dance cause you were told by the man to? Or do you spend time doing just what brings joy for your requirements?