CRITIC'S PICK!
"In the iconoclastic show's Southern California premiere, director Trevor Biship,
a fearless cast, and
an inspired design team
achieve a riveting production,
not soon to be forgotten."
-- Back Stage

CRITIC'S CHOICE!
"You will know if this is
a show for you. If it is, then there is a bit of everything.
A remarkable sense of ensemble makes even
the most scurrilous bits of
Jerry Springer oddly lovable. Kelly Todd’s choreography
is exhilarating."
-- Los Angeles Times

“BRILLIANTLY OUTRAGEOUS!
This production is another
in a long line of outstanding, elaborately staged musicals
by Chance Theater,
whose well-deserved reputation can only
continue to grow.”
-- Orange County Register

“One of the most
eyebrow-raising satires
I’ve seen in years. For anyone who appreciates blistering,
no-holds-and no-words-barred content alongside strangely luxurious singing,
it’s well worth the drive
to Anaheim Hills.”
-- LA Stage Times

“This is, by any measure, a hilarious satire of the cult of Springer, something that gleefully impales all targets.
The Chance should be applauded for possessing
the balls to mount this show
in the face of thousands
of people who want it condemned to hell.”
-- OC Weekly

WOW!
“A sensational Chance Theater production which once again proves that for controversial, intimate-stage excellence
in the OC, nobody does it
better than the Chance.“
-- StageSceneLA

WINNER - BEST MUSICAL
Laurence Olivier Award
Critics Circle Award
Evening Standard Award
What's On Stage Award

GOOD FOR AGES 18 AND UP

EXTENDED! Must close August 14th

July 1 - August 14, 2011
Jerry Springer:
The Opera
Music by Richard Thomas
Book and Lyrics by Stewart Lee & Richard Thomas
Directed by Trevor Biship
Musical Direction by Mike Wilkins
Choreographed by Kelly Todd

• 06/28/11 ARTICLE: Los Angeles Times
• 06/28/11 ARTICLE: Orange County Register
• 07/08/11 ARTICLE: OC Music Scene
• 07/10/11 REVIEW: Los Angeles Times CRITIC'S CHOICE!
• 07/11/11 REVIEW: Back Stage CRITIC'S PICK!
• 07/11/11 REVIEW: StageSceneLA WOW!
• 07/12/11 REVIEW: LA Stage Times
• 07/14/11 REVIEW: OC Weekly
• 07/14/11 REVIEW: Orange County Register
• 07/20/11 REVIEW: OC Arts & Culture
• 07/22/11 REVIEW: Coast Magazine EDITOR'S PICK!
• 07/30/11 REVIEW: Stage and Cinema
• 07/30/11 REVIEW: Buena Park Independent
• 08/01/11 ARTICLE: Orange County Register
• 08/05/11 REVIEW: Broadway World

• Read Patron Reviews

• More Press on The Chance

 

 

 

 

 

 

 

 

 

THEATER ARTICLE

Catholic group protests 'Jerry Springer: The Opera' in Orange County
by David Ng, Los Angeles Times

[ Link to Los Angeles Times ]

Jovani McCleary, Matthew Ballestero, Warren Draper and David McCormick Photo by Chance Theater

"Jerry Springer: The Opera," the tongue-in-cheek musical comedy about the notorious talk-show host, has been turning heads and ruffling feathers ever since it was first produced in London in 2003. In anticipation of the show's belated Southern California debut in July, some Catholics are protesting what they regard as a blasphemous stage production that disrespects God and the Catholic faith.

The musical, written by Richard Thomas and Stewart Lee, is scheduled to begin performances July 9 at the small Chance Theater in Anaheim. The show follows a fictionalized Springer as he interviews an array of grotesque guests on his TV show. After he's accidentally shot, Springer travels through the afterlife, where he meets a variety of religious figures including Satan, Jesus and God.

A national group called the American Society for the Defense of Tradition, Family and Property has launched an email campaign against the production in Orange County, encouraging people to send emails to the theater. On its website, the group objects to the musical's "profanity, nudity and blasphemous content." It also objects to the show's description of Jesus as "the hypocrite son of the fascist tyrant on high," as well as its treatment of the crucifixion and the Eucharist.

The Chance Theater said it has so far received more than 1,500 emails protesting the musical production (Chance Update: As of July 9th, we've received 18,875 emails). Oanh Nguyen, the Chance's artistic director, said that the company was expecting to see some form of protest. "I don't really think the musical is in any way blasphemous," he said. "It's not a commentary on religion at all.... It's much more a commentary on Americans and American television."

Nguyen said that most of the protest emails have come in the last four days. Most of the emails seem to have been spurred by the American Society for the Defense of Tradition, Family and Property. (The religious group runs the site America Needs Fatima.)

"Jerry Springer" has fomented protest in productions around the world. The Catholic League condemned the musical when it was produced at Carnegie Hall in New York in 2008. The BBC received a barrage of emails and phone calls when it aired the show in 2005.

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THEATER ARTICLE

Catholic group encourages protest against O.C. musical
National group takes issue with 'Jerry Springer: The Opera' at Chance Theater in Anaheim Hills
by Paul Hodgins, Orange County Register

[ Link to Los Angeles Times ]

Jessie Withers and Kyle Cooper Photo by Chance Theater

An Orange County theater company's planned production of "Jerry Springer: The Opera" is taking some heat from protesters even though it hasn't opened yet.

The controversial and award-winning musical, which debuted in London in 2003 and makes its local debut July 9 at The Chance Theater in Anaheim Hills, depicts TV talk show host Jerry Springer interviewing Jesus Christ, God, racists, strippers and other sacred and profane figures. Previews begin Friday.

Productions of "Jerry Springer" have frequently met with opposition. A staging of the musical earlier this year in Ohio drew a line of protesters carrying signs such as "Stop Blaspheming Our Lord Now!"

The Chance Theater has received a flurry of phone calls and e-mails over the last four days. "We've gotten about 1,500 e-mails so far," said Chance managing director Casey Long. (Chance update: As of July 9th, we've received 18,875 emails.)

Protests against "Jerry Springer" have been encouraged by The American Society for the Defense of Tradition, Family and Property, a Pennsylvania-based Catholic organization that, according to its website, is "concerned about the moral crisis shaking the remnants of Christian civilization."

Various American productions of "Jerry Springer" have been followed closely on the group's website over the last few years; Long suspects it is encouraging its members to contact his theater.

"Nobody from that group has contacted us, but the e-mails and phone calls seem to be coming in from other parts of the country. The closest (complaint) so far has come from San Jose."

A June 24 article posted on the group's website urged members to protest the Orange County production: "Catholics are encouraged to send an instant e-protest message to the Chance Center in Anaheim, California – because they're showing the Southern California premiere of 'Jerry Springer: The Opera,' which is full of profanity, nudity and blasphemous content." A link is provided in the story for those who want to send an e-mail.

Long said his theater's staff expected some backlash and is planning what to do in the event of protests.

"We have discussed contacting the police. People have the right to protest, of course, but we want to make sure our actors and audience members are safe."

Long said his theater has attracted complaints before, but not on this scale.

"It's sad, because the show in my opinion is not trying to be blasphemous. It's really a satire about the nature of modern sensationalism and reality TV and talk shows."

"Is this real, or just a bunch of bluster from people outside of the state? We'll see."

Chance update: On July 1st, twenty-seven protesters arrived at Chance Theater to pray for our souls and seek support from passing traffic. Here's two pictures of the protest:

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THEATER ARTICLE

Jer-ree! Jer-ree! Jer-ree! Chance Theater
Artistic Director Oanh Nguyen Brings
Jerry Springer: The Opera to Orange County
by Alan Corcoran, OC Music Scene

[ Link to OC Music Scene ]

Erika C. Miller, Jared Pugh and Katie Kitani Photo by Chance Theater

Q: How long has The Chance been in operation?
Oanh Nguyen: The Chance has been offering Orange County an alternative theatre experience since 1999.

?Q: Is Jerry Springer the first production to attract bona fide protestors? Oanh Nguyen: Springer is our first production to actually have a mass of protestors (with props) in front of our theater during a performance (praying for our souls), not to mention the phone calls and emails asking us to please stop this "blasphemous" production. We've received over 20,000 emails and still counting. We've had push back for past productions, but nothing on this scale. Though Jesus Hates Me did have a couple of occasions during intermission, where someone would park in front of our lobby, blast christian music, and scream at our audiences from inside their car. Mostly, people vote with their butts and their pocket books. We have lost audience members and donors because of controversial work. We have also gained audience and donors because of it. Ultimately, we stand by the work on our stage and we hope it'll resonate with others.

Q: Last summer you did The Who's Tommy and the year before, Hair: The American Tribal Love-Rock Musical. Is Jerry a departure from your usual fare?
Oanh Nguyen: Our summer offerings tend to be large scale musicals reconceptualized for the Chance stage. Sometimes they're revivals of well known contemporary musicals and other times they're premieres of major new works like Jerry Springer. However, they are always stories that we feel are passionate, exciting and a little fierce. ?

Q: In an era marked by low cost, small cast shows, Jerry has no less than nineteen actors, a huge technical staff and a live orchestra. How can you afford to mount such an ambitious effort in a 49 seat venue?
Oanh Nguyen: That credit goes to a couple of wonderful friends and supporters of the Chance, Scott and Georgia Well, our honorary producers for this production. Along with their generous donation, they've assisted on many aspects of the production from lending us much of the sound equipment used in the show to having their son, Sam, playing 2nd piano in the band.

Q: To date, you've received nearly 20,000 e-mails protesting the production. Are you concerned at all about your personal safety or that of the cast?
Oanh Nguyen: We have taken some extra safety precautions for the cast and crew. So far it has been a matter of free speech. We have not received any threats or messages of potential criminal acts. The police are aware of the situation and have been present for the protestors.

Q: When you staged the Hair revival in '09, Michael Butler, the show's original producer, came out, saw the show and posed with the cast. Any interest from Jerry's camp?
Oanh Nguyen: We were in touch with Jerry Springer's publicist for a little while, but he's currently out of the country. Maybe if he gets back in time... As for the show's creators, they're in England so it's not very likely, although we'd be glad to host them if they decided to drop in.

Q: Your wife, Erika Miller, appears in, among other things, a baby doll dominatrix outfit complete with a whip. Any worries she'll get lost in her character?
Oanh Nguyen: I'm (sort of) hoping she will. At least on Tuesdays.

Q: The original London staging won four Lawrence Olivier awards, including Best Musical, and a host of other prestigious West End awards. How do you think the Chance's production will fare critically?
Oanh Nguyen: We're very proud of the production. Everyone involved is doing an outstanding job. The critics will decide for themselves.

Q: The Chance has featured child-rapist murderers, full cast nudity and a sex-crazed reindeer-abusing Santa. How does Jerry stack up controversy-wise?
Oanh Nguyen: Based on the response so far, Jerry has tightened up many more buttocks.

Q: What's next for the Chance?
Oanh Nguyen: The California premiere of Up by Bridget Carpenter, which is a quirky, bittersweet play loosely based on Larry Walters, the infamous man from San Pedro, California that took flight to altitudes of over 15,000 feet via a lawnchair with 45 helium-filled balloons attached to it. It's a great new play that premiered at Chicago's Steppenwolf Theatre in 2009. We're very proud to be able to bring it here. Who knows, maybe airline pilots will take offense.

-Alan Corcoran

Jerry Springer: The Opera opens at The Chance Theater in Anaheim Hills Saturday, July 9th and runs through August 7th. For tickets call 714.777.3033 or visit the Chance Theater's website.

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THEATER REVIEW

'Jerry Springer': Lots of naughty fun
by Mark Swed, Los Angeles Times

CRITIC'S CHOICE!

[ Link to Los Angeles Times ]

Jared Pugh, Erika C. Miller, David McCormick and Katie Kitani Photo by Chance Theater

“Jerry Springer: The Opera,” which won the 2004 Olivier Award in London for best new musical and which opened Saturday night at the Chance Theater in Anaheim Hills, is hardly an opera, but neither is it a musical. It is something new. It is a religious operetta posing as anti-opera, silly words and music working hand in hand in pseudo-sacrilege.

A parody of a panoply of biblical figures, the show is clearly blasphemous. But it does not commit blasphemy. There is a difference. Springerian salvation is not out of the question.

Even so, everywhere it goes, this Jerry Springer satire generates disapproval from religious groups. To protest its Southern California premiere, two women somberly stood in lonely prayer by the side of East La Palma Avenue as Saturday night traffic whizzed by. The daring, unprepossessing, small theater is in an industrial strip mall next to a BMW repair shop.

The authors of the potty-mouthed book and lyrics, Stewart Lee and Richard Thomas (who was also composer of the occasionally inventive score and is also librettist for the opera "Anna Nicole"), gleefully (and “Glee”-fully, what with all-American choristers whooping it up) wallow in puerile profanity. But they do not create truly profane theater. Again there is a difference.

A catechism of obscenities and four-letter-word patter songs provides a facade of filth, but nothing is actually revealed. Beneath a sullied scatological surface lies a curious prudishness.

Nothing about this operetta — which is through-composed (with only Jerry Springer as a spoken role) and which includes clever, convoluted burlesques of opera and Broadway — is quite what it seems.

And little about the modest Chance Theater is modest. Its dazzling production of “Jerry Springer,” directed by Trevor Biship, requires more than 50 credits in the program book. That is more than half the house’s capacity. But the intimate theater, with the audience on three sides, has the feel of Springer’s television studio.

Such goings on! Dwight (Jovani McCleary) is cheating on Peaches (Erika C. Miller) with Zandra (Laura M. Hathaway) and the transsexual Tremont (Matthew Ballestero). Montel (Jared Pugh) wears diapers and cheats on Andrea (Katie Kitani) with Baby Jane (Miller). Chucky (Kyle Cooper) is in the Ku Klux Klan and his wife, Shawntel (Jessie Withers), exposes her inner stripper.

A chorus of Springer’s fervid fans joins us as our seatmates, egging everyone on. Jonathan (David Laffey) is warm-up man with an edge. Steve (David McCormick) deals with security, which means breaking up fighting female guests.

All of this is shown as good, clean fun with dirty words. Crude Americans are the putative target, but this is pure British parody in a tradition from Gilbert and Sullivan to Monty Python.

Things then get out of hand.

David Laffey and Warren Draper Photo by Chance Theater

The second half is surrealistic. In a state of delirium, Jerry, who in the best of times has an issue with his inner Valkyries, finds himself hosting his show in hell. Jonathan has become the devil, and his lunatic guests have now morphed into God, Jesus, Adam and Eve. This is where the show has gotten into trouble. But fantasies are fantasies. People have dreams they can’t control.

Jerry finds his soul. “Jerry Eleison” is sung. It’s a cheap revelation, but what do you expect? He’s Jerry Springer, and this is operetta. Music here offers no transformation, merely more excuses for making merry with a chorus line.

But what an irresistible chorus line that is. And what fun this company has making merry.

You will know if this is a show for you. If it is, then there is a bit of everything. The singing is uneven, but some of it is splendid, and everyone is funny. A remarkable sense of ensemble that makes even the most scurrilous bits of “Jerry Springer” oddly lovable. Kelly Todd’s choreography is exhilarating.

For all its naughtiness, “Jerry Springer” is not untouched by schmaltz. Fetishists, after all, are deep down just like us (or at least the British). Jerry is misunderstood. And so, maybe, are the show’s creators with their make-believe blasphemy.

When he saw the show, Jerry Springer is reported to have said, “Why didn’t I think of that?” Maybe because a real-life television host is not as besotted with the Bible as you would have to be to invent the genre of religious operetta.

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THEATER REVIEW

'Jerry Springer: The Opera'
by Les Spindle, Back Stage

CRITIC'S PICK!

[ Link to Back Stage ]

Laura M. Hathaway, David McCormick and Matthew Ballestero Photo by Chance Theater

Though you've possibly heard plenty about this controversial but heavily awarded 2003 British-bred musical, there's probably no way to adequately prepare yourself for its audacity and brilliance. Beyond the expected shock humor, this envelope-pushing show offers thoughtful ruminations on human desperation and longing as well as provocative theological themes. In the iconoclastic show's Southern California premiere, director Trevor Biship, a fearless cast, and an inspired design team achieve a riveting production, not soon to be forgotten.

In 1991, Jerry Springer pioneered the sleazy genre of television talk shows featuring lowlifes publicly airing their filthy laundry as they crave a moment of fame on nationwide TV. Parlaying this milieu into an operatic-styled entertainment with irreverent biblical undercurrents sounds like a peculiar proposition. Yet, composer-librettist-lyricist Richard Thomas and his co-librettist-lyricist Stewart Lee have fashioned an eloquent piece that's musically rich, thought-provoking, and at times even wistful. The superb score, ranging from Broadway to operetta to grand opera, is witty and stirring, beautifully sung here. Music director Mike Wilkins and choreographer Kelly Todd elicit sterling results.

The intimate Chance space seems the ideal place to re-create the ambiance of a raucous television studio. Via the magic of Caitlin Lainoff's scenic design, Brian S. Shevelenko's lighting, Casey Long's sound, Lianne Arnold's projected video images, and Biship's crackling staging, the spell is immediately cast. Actors seated among us, portraying rowdy members of the studio audience, add to the visceral excitement.

In short order, we meet the bizarre guests from a typically smarmy "Springer" episode, fervently singing their hearts out and constantly ready to engage in physical altercations (magnificently staged by fight choreographer Chance Dean), keeping bald-headed security guard Steve Wilkos (David McCormick) on his toes. Among the needy eccentrics are a philandering lout (Jovani McCleary) who cheats on his wife (Erika C. Miller) with a floozy (Laura M. Hathaway) and a transsexual (Matthew Ballestero); a raunchy youth (Jared Pugh) in diapers who has a perverse scatological fetish and is having an affair with equally deranged Baby Jane (Miller); and a secretive Ku Klux Klan thug (Kyle Cooper), startled to discover that his wife (Jessie Withers) yearns to be a pole dancer. David Laffey excels as the assertive warm-up man. Warren Draper gives a drolly hilarious portrayal of Springer, capturing the showman's deadpan sarcasm.

What happens after intermission is best kept a surprise, but the episode turns into a surrealistic fantasy brimming with ingenious nuances. One of the best songs reveals the high hopes that Springer's guests place on experiencing their "Jerry Springer moment." Happily, this continually fascinating show offers about 150 minutes' worth of them.

Presented by and at the Chance Theater, 5552 E. La Palma Ave., Anaheim Hills. July 9–Aug. 7. Thu.–Fri., 8 p.m.; Sat., 3 & 8 p.m.; Sun., 2 & 7 p.m. (714) 777-3303. www.chancetheater.com.

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THEATER REVIEW

'Jerry Springer: The Opera'
by Steven Stanley, StageSceneLA

WOW!

[ Link to StageSceneLA ]

The KKK does a kickline Photo by Chance Theater

Jerry Springer has arrived in Anaheim Hills, and some of the natives are up in arms. Open-minded theatergoers, on the other hand, will be lining up in droves to catch the Southern California Premiere of Jerry Springer: The Opera, a sensational Chance Theater production which once again proves that for controversial, intimate-stage excellence in the OC, nobody does it better than the Chance.

Enraged churchgoers have been flooding the theater’s mailbox with email after email promising eternal damnation for what they call blasphemous Jerry-Show appearances by Jesus, Mary, Adam, Eve, the Devil, and God himself—though someone should have clued them in on the difference between the previous week’s highly protested previews and last night’s Gala Opening Night, which attracted only a lonely-looking pair standing forlornly on the sidewalk overlooking the theater parking lot.

My best guess is that the OC protesters don’t have Jerry’s still-running shock-talk show on their Must See TV lists, or else they would realize that Biblical figures with an ax to grind might indeed find themselves slugging it out amidst shouts of “Jerry! Jerry! Jerry!” on a real life Springer Show.

The brilliance of Jerry Springer: The Opera is its juxtaposition of foul language and even fouler human specimens with gorgeously composed and sung operatic songs. (The show features music by Richard Thomas, book and lyrics by Stewart Lee and Thomas.) It’s not every day that a trashily-dressed soprano hits glorious high notes with “Mama gimmee smack on the a**hole!” or a diaper-clad tenor soars with “I just wanna sh*t my pants.” (If you feel that either of these lyrics, or constant use of the F-word aren’t your thing, then feel free to pass on Jerry. There’ll be plenty willing to fill your seat.)

Did I mention that there’s a production number featuring the Ku Klux Klan alternately tapping and goose-stepping to “This Is My Jerry Springer Moment”?

Since the original London production is said to have featured a cast of thirty-plus accompanied by a fifty-piece orchestra, let me reassure you that even with a considerably smaller cast of nineteen and orchestra of six, the Chance has filled the 50ish-seat theater with thrilling vocals and splendid instrumental accompaniment. Even without a single Equity member in the cast (unfortunately AE’s 99-seat plan does not extend to Orange County), there’s not a weak voice onstage, and each performer has acting and dance chops to match. As for Trevor Biship’s expert direction, it simply couldn’t be better.

Act One features several segments a la the real Jerry Springer show. In the first, a big burly guy named Dwight reveals to his wife Peaches that he’s been cheating on her with her best friend Zandra, then shocks them both with the news that he’s also been having sex with Tremont, a Rubenesque male-to-female pre-op transsexual. After (tongue-in-cheek) commercials, a bearded blond Montel confesses to his girlfriend Andrea that he just wants to poop in his Calvin Kleins with the help of a grown-up Baby Jane. Finally, redneck Chucky learns that his wife Shawntel dreams of becoming an exotic pole dancer who just wants to “f***ing dance,” Shawntel then demonstrating said talent to her mother Irene’s and Chucky’s horror.

As to how Jerry ends up in Hell, well for that you’ll just have to see the show.

Jerry (a spot-on Warren Draper) is virtually the only character who doesn’t sing, though he does come up with some delicious understatements: Dwight (singing): I've been seeing, seeing someone! Someone, seeing someone else! Peaches (singing): What the fuck? What the fuck? What the fucking fucking fuck? Jerry (spoken): Peaches, you seem surprised.

Otherwise, the cast is jam-packed with some of the best vocalists I’ve heard in a Chance production, as rich and powerful as any I’ve enjoyed in larger, more “prestigious” venues.

Erika C. Miller, Jared Pugh and Katie Kitani Photo by Chance Theater

It’s hard to find enough superlatives to describe the work of David Laffey (Jerry’s warm-up guy and Satan), Jovani McCleary (Dwight and God), Erika C. Miller (Peaches and Baby Jane), Laura M. Hathaway (Zandra, Irene, and the Virgin Mary), Matthew Ballestero (Tremont and the Angel Gabriel), Jared Pugh (Montel and Jesus), Katie Kitani (Andrea and Angel Michael), Kyle Cooper (Chucky/Adam), and Jessie Withers (Shawntel and Eve). Only time and space limitations prevent me from going on and on about each and every one of these triple threats, but I’d be remiss not to salute Withers’ showstopping rendition of “I Just Wanna Dance.” (All that’s missing is one of the song’s irresistible dance remixes.) David McCormick as real-life Jerry Springer head of security Steve Wilkos has a mostly non-singing role, but he gets special mention for the physicality of his performance, including some fight choreography that looks like it must hurt as much as it dazzles.

The ensemble (Travis Ammann, Stephanie Bull, Israel Cortez, Rebecca Fondiler, Kelly Spill, Ryan Spindel, Andrea Paquin, and Nathan Willingham) appear as (singing) audience members and various other characters, and they are all phenomenal.

Vocally, the cast performs to perfection under Mike Wilkins’ impeccable music direction. As for their dance prowess, not all may have been trained dancers when they met choreographer extraordinaire Kelly Todd, but by opening night, all were executing dance number after dance number—including a one-two punch grand finale—as if they’d been tap dancing and high kicking all their lives.

Visually, Jerry Springer: The Opera is a knockout, from Caitlin Lainoff’s thrust stage scenic design, which has us imagining we’re at a real Jerry Springer taping, to Brian S. Shevelenko’s vibrant lighting design, to Lianne Arnold’s imaginative projection design, to Casey Long’s expert sound design, to Julie Wilkins’ wild-and-crazy hair and make-up design, to Chance Dean’s authentic looking fight choreography. Anthony Tran’s costumes deserve special mention for their imagination and trashy flair. Courtny Greenough is stage manager.

You don’t have to be a Jerry Springer lover to love Jerry Springer The Opera, though does help if you’ve enjoyed an episode or two, even though you may not have approved of the panelists’ bad language and behavior. At the risk of raising the ire of the show’s self-righteous protesters, I’d venture to say that their Lord and Savior might well have preferred the show’s open-armed acceptance of all kinds of people to the self-appointed finger-pointing outside the theater.

I daresay most avid theatergoers will be giving this oh-so unusual summer treat a big thumbs up, and its naysayers a different digit of the hand.

The Chance Theater, 5552 E. La Palma Ave., Anaheim Hills. Through August 7. Thursdays and Fridays at 8:00. Saturdays at 3:00 and 8:00. Sundays at 2:00 and 7:00. (Sunday July 10 at 5:00 only.) Reservations: 714 777-3033 www.chancetheater.com

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THEATER REVIEW

Chance's Jerry Springer Opera
by Don Shirley, LA Stage Times

[ Link to LA Stage Times ]

Warren Draper and David McCormick Photo by Chance Theater

Chance Theater is certainly fulfilling the promise of its name this summer. It’s taking the big chance of producing Jerry Springer: The Opera, which draws protests wherever it’s staged.

This is the prize-winning British musical’s first appearance in Southern California. That it’s at the Chance’s small storefront theater in an Anaheim Hills strip mall should buy a least a year of forbearance by LA theater fans who usually turn down their noses at OC theater’s sense of adventure.

Most of the first act depicts a typically rowdy Springer show, in which vulgar guests reveal supposedly shocking “secrets” and insult each other while the (actor-infiltrated) audience cheers or jeers. But the most shocking thing about this display isn’t the profanity overload or the rampant hostility. It’s the fact that most of these tawdry words are sung, not shouted, in operatic-style voices. The juxtaposition of the elegant sounds of Richard Thomas’s score and the crudely graphic lyrics by Thomas and Stewart Lee creates a compelling clash of sensibilities.

At the intermission, after we’ve seen Springer fire his warm-up guy, after a quintet of Ku Klux Klansmen invades the stage for a song and dance, and finally after someone shoots Springer from the sidelines, I still didn’t quite understand why the American Society for the Defense of Tradition, Family and Property – a group of Catholic cultural warriors based in Pennsylvania – is so riled by the show that it organizes protests of each new American production. However, the second act offered a better explanation.

The wounded Springer enters an hallucinatory state in which the guests who were on his show merge with Western religious and cultural touchstones – Satan, Jesus, Mary, Adam, Eve and finally God These high-and-mighty figures are played by the same actors who depicted the low-lifers in the first act. As Satan forces Springer to conduct a new episode of his show in hell, these celestial visitors behave (and dress) about as badly as their counterparts did in the first act.

The satire doesn’t target only the low-lifers and the religious personalities. The show’s joke is also on the liberal, live-and-let-live Springer (Warren Draper). As the only character who consistently speaks without singing, he leaves most of the emotional tempests to his guests and tries to play the role of reasonable moderator, even as he’s quite aware that he’s exploiting his guests more than he’s healing them. Yet as the heavenly and hellish forces tug at him during his hallucination, he finally comes up with magically reconciling words that bring the two sides together in recognition of their common humanity. Of course when he leaves his dreams and returns to “reality,” such as it is, he still dies – but at least the two sides are singing more or less in unison. This, however, is still part of the joke, or at least that’s my assumption. The creators of the show are mocking everything in it.

Trevor Biship’s staging is sharply cast and sung and blocked, except for one small detail. At the end of the first act, amid all the activity on a small stage, I didn’t spot the set-up of the shooting. Maybe I was simply looking in the wrong place at the wrong time, but I learned more about the shooting from reading the script than I did from watching the production. I also felt that Lee and Thomas didn’t quite figure out how or when to end their script. Not that it goes on too long, but it doesn’t have the kind of devastating final gesture that I would have expected from this script.

Regardless, this is one of the most eyebrow-raising satires I’ve seen in years. For anyone who appreciates blistering, no-holds-and no-words-barred content alongside strangely luxurious singing, it’s well worth the drive to Anaheim Hills.

Only two lonely protestors showed up curbside on opening night, after two dozen had shown up for the first preview. But the management kindly posted excerpts from a few of the 19,000-plus protesting emails in the lobby. It’s revivifying to see people protesting a work of theater these days, in the same way that Gordon Davidson’s early work at the Taper attracted so much public concern in the late ‘60s. I’m glad that the American Society for the Defense of Tradition, Family and Property has so viscerally demonstrated that theater still matters in the 21st century.

When will we see Jerry Springer: The Opera in LA?

Jerry Springer: The Opera, Chance Theater, 5552 E. La Palma Ave., Anaheim Hills (just north of the 91 freeway). Thur-Fri 8 pm; Sat 3 and 8 pm, Sun 2 and 7 pm. 714-777-3033. www.chancetheater.com.

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THEATER REVIEW
'Jerry Springer: The Opera' Is Very Merry!
by Joel Beers, OC Weekly

[ Link to OC Weekly ]

Things get out of hand Photo by Chance Theater

As of last Sunday, the Chance Theater had received more than 19,000 emails and letters from outraged Catholic-leaning citizens protesting its production of Jerry Springer: The Opera. Apparently, none of these people has actually seen the show, since what they should be protesting isn't Jesus Christ dressed in a diaper or Mother Mary walking onstage to a chorus of "Raped by an angel." For what's truly offensive isn't the tongue-firmly-lodged-in-cheek "blasphemy," but a feeble second act that wanders and meanders through half-baked metaphysics and hangs on with all the tenacity of a pit bull's jaws clamped on a kitty's neck.

The lame second half nearly squanders an explosively irreverent and belly-laugh-inducing first half—but not quite. This is, by any measure, a hilarious satire of the cult of Springer, something that gleefully impales all targets, from, yes, the rock that God's holy church was built upon to the KKK, transsexuals and coprophagiacs (look it up—it's worth it!). An outrageously talented cast enthusiastically devours the show's 45 musical numbers—the only cast member who doesn't sing is Warren Draper's eerily Springer-like Springer—and director Trevor Biship skillfully guides his enormous ensemble through everything from tap-dancing Klansmen routines to paeans to fecal obsession.

True, the vast majority of the truly perverse and wickedly funny stuff is found in the first act. But the fault for the disappointing second half goes to the guys who wrote it: Stewart Lee and Richard Thomas, two Brits who conceived the idea in 2003. After the BBC broadcast a filmed version of the show in 2005, a massive throng of protesters chimed in, something that has afflicted nearly every subsequent production from the U.K. to San Francisco.

Humorless Catholics and other assorted Christians have every right to protest, but all they're really doing is giving more publicity to a show that doesn't need it. Deliciously salacious and brilliant in a beautifully corrupt way, the show is as brain-dead and tawdry as the long-running talk show it's based upon. And using the conceit of an opera (there is scant dialogue; nearly every word not uttered by Springer is sung) somehow manages to add a sheen of class to even the sickest behavior.

The first act is basically an episode of The Jerry Springer Show, complete with the requisite tackiness, profanity, hair-pulling and chair-hurling. Guests show up before an amped-up, ready-to-rumble studio audience to confess their basest secrets—from cheating on their fiances with crack whores and transsexuals to their closet fetishes. It all ends with Springer being shot. The second act follows Springer on his descent into hell, where an irate Satan (David Laffey) enlists a reluctant Springer to helm a show in Hades that he hopes will prod an apology from Jesus (Jared Pugh) and/or God (Jovani McCleary).

Jovani McCleary, Matthew Ballestero, Warren Draper, and David McCormick Photo by Chance Theater

That section is kind of a mess, and while the creators' attempt at elevating the doctrine of dualism to a rational guiding principle of life might appeal to your inner Manichean, it comes off as forced and simplistic as Springer's "final thought" that ended every broadcast of his real TV show (and which South Park has gleefully incorporated into its structure). The point, one supposes, is don't blame the messenger. Those who castigate Springer (whose influence on popular culture, sadly, probably trumps the collective pull of the Pope and Oprah Winfrey; would reality TV even exist were it not for his trailblazing path?) and his kind conveniently forget that there was—and still is—an enormous audience for the freaks he paraded onscreen. His show, and the opera based on it, was pure entertainment, even if it trafficked in the most outrageous of human behaviors. And if either is truly offensive, it's not because of any overt appeals to the lowest common denominator, but rather the reality that sick shit like this really exists.

And devout, outraged Catholics, consider this as you finger your rosaries in horror and humbly bow to your image of a crucified redeemer: The Catholic Church has withstood the Roman Empire, barbarian invasions, infidel Turks and Arabs, the Western Schism, the Black Death, a Borgia pope, the Renaissance and Enlightenment, the Third Reich, an astonishingly pervasive pedophilia scandal, even Christopher Hitchens. So it's highly unlikely a deliriously funny show produced in a small theater in Anaheim Hills truly poses much of a threat. The Chance should be applauded for possessing the balls to mount this show in the face of thousands of people who want it condemned to hell.

But even more, the theater should be applauded for assembling such a ridiculously talented cast and producing something that, for the first hour at least, is more entertaining than an Olympic-sized swimming pool filled with cross-eyed hermaphrodite dwarves getting fucked up the ass with barbed wire.

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THEATER REVIEW
'Jerry Springer' in Anaheim Hills is brillianty outrageous
by Eric Marchese, Orange County Register

[ Link to Orange County Register ]

Jessie Withers and Kyle Cooper Photo by Chance Theater

For those who admit to ever watching "The Jerry Springer Show," that staple of daytime TV must be categorized as a guilty pleasure, viewed with a mixture of surprise, amazement and disbelief at the depths to which the show's guests will stoop.

Not that making a musical out of this three-ring circus of the worst of human nature is an unworkable concept, but using opera as the preferred musical form? Yet that's just what "Jerry Springer: The Opera" does, and does magnificently.

The show's British creators, Richard Thomas (music and lyrics) and Stewart Lee (libretto and lyrics), have meshed the musical style of opera with that of rock 'n' roll. The result is a salty, explicit, jarringly funny look, with religious overtones, at sensationalism and reality TV.

The 2003 show's Southern California premiere at Chance Theater is a bizarre, surreal, always brilliant hoot thanks to Trevor Biship's direction, Mike Wilkins' music direction and an overall production design which, chiefly due to Lianne Arnold's ingenious video designs and Brian Shevelenko's lighting scheme, creates the sensation that we're part of the studio audience during a taping of what must be the sleaziest tabloid show in television history.

The show's warm-up artist (David Laffey) coaches us on the show's rules before shouting "Welcome the host of the greatest TV show ever!," Jerry Springer (Warren Draper).

The guests of today's segment include a trailer trash guy (Jovani McCleary) cheating not only on his fiancée (Erika C. Miller) but also on his slutty, drug-addict mistress (Laura M. Hathaway) with a transvestite (Matthew Ballestero); a pink-clad dominatrix in high black boots (Miller); a diaper-wearing guy (Jared Pugh) with a fetish for being treated like a baby; and a tall, leggy brunette (Jessie Withers) who aspires to a career as a pole dancer.

The show's second act takes an unexpected turn, as guests from the first half reappear as spectral, near-Brechtian figures with white faces and dark black eye circles. Among its sights are Springer being led around in a dog collar on a leash, the diaper man (Pugh) as Jesus, and a smackdown between Jesus and Eve (Withers).

Images of the show's various "guests" are transmitted from a closed-circuit system to a large monitor upstage that offers us many a revealing close-up of the show's circus of oddball humans. Two segments of the show feature hilarious "adverts," weirdly funny, highly creative spoofs of TV ads, replete with opera music.

The idea that operatic music and the typical Springer trailer trash guests are incongruous is quickly put to rest by Lee and Thomas' energetic, varied and exciting score and lyrics that are sharp and pointed, as direct and blunt as any of Springer's guests.

Jared Pugh, Erika C. Miller, David McCormick and Katie Kitani Photo by Chance Theater

With the songs, prosaic moments of the TV-show taping are transformed into full-blown production numbers, expertly choreographed by Kelly Todd and elaborately lit by Shevelenko. Most memorable are a singing, tap-dancing kickline of Ku Klux Klan members and an over-the-top Broadway musical-style finale sure to send audiences home singing the show's praises.

As so much of the story is told in song, the lyrics cannot be discounted. All are laudable for their inventiveness. While hearing them, we realize we're seeing (and living in) a world where no behavior or speech is considered "wrong," every type of outrageous conduct is acceptable, and the mass media has come to dominate the lives of everyday people.

Though he doesn't much resemble the real Springer, Warren Draper's persona is calm, inquisitive and dispassionate, often throwing quizzical looks at his guests, the camera or the studio audience. As he calmly beams at his guests, Springer cheerily spouts platitudes, his remarks almost always hilariously understated (such as "I sense some hostility from you" to someone clearly seething with anger).

At Draper's side through most of Springer's tribulations is David McCormick as Steve Wilkos, the bald-pated "security head" who tries to exert a calming influence upon Springer's guests, meaning he often acts as a bouncer.

Tenor McCleary delivers some of the most stirring vocal work, and the show features gorgeous choral work by all 11 principal cast members and its eight-person ensemble. Wilkins augments his finely tuned music direction with spot-on work at the keyboard backstage, well complemented by musicians Sam Well (keyboard #2), Chris Luebeck (guitar), Jonathan Proctor (woodwinds) and Jorge Zuniga (drums and percussion).

Helping to create the illusion of an in-progress studio TV taping are Arnold's video designed screen projections, a complex, varied visual enhancement that includes a glimpse of some of the protestors this staging generated.

This production is yet another in a long line of outstanding, elaborately staged musicals by Chance Theater, whose well-deserved reputation can only continue to grow.

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THEATER REVIEW
Welcome to the Chance, Jerry
by Hannah Petrak, OC Arts & Culture

David Laffey and Warren Draper Photo by Chance Theater

When there’s enough controversial hype surrounding a show, you are probably curious to see what all the fuss is about. When there are thousands of e-mails protesting the only opera ever to win all four Best Musical awards in London, you probably already bought your ticket.

“Jerry Springer: The Opera,” directed by Trevor Biship, made its southern California premier in Anaheim at The Chance Theater last weekend to an excited house who seemed to thrive off the two Catholic protesters outside. With The Chance’s most hostile messages they received posted in the lobby, and a chalk-inscribed total count above, the crowd became more anxious and anticipated a shocking show.

The original “Jerry Springer” television show is shocking in itself. But the opera is also almost entirely sung and neglects to bleep...anything. The biggest difference, though, between the televised chaos that you pretend you don’t enjoy and the onstage, selfproclaimed “tongue-in-cheek” musical is the quality of choreography. And the opera’s expletives rhyme once in a while.

The show, written by English comedians Stewart Lee and Richard Thomas, starts with several lewd guests on “The Jerry Springer Show” then brings Jerry through purgatory and hell for him to host a similar show, but the characters are now celestial and demonic beings. Needless to say, it is a bit awkward for a Christian like myself to watch someone portray Jesus as a diapering-wearing gay man, looking weak and mocking the crucifixion. But I wasn’t exactly offended. I was more offended by moments of tastelessness. (See Montel’s song about why he wants to wear the diaper. Or don’t, rather.) Despite those times, when I was just glad I wasn’t sitting next to my mother, the show was hilarious.

The girl who played Eve and Shawntel, Jessie Withers, was a personal favorite out of the guests. Her voice was awesome and her “talk to the ass” thing, which is still stuck in my head, was hilarious. Here’s a nod to Satan/Jonathan Weirus, played by David Laffey, as the best male vocalist. He really shined in the first half, as did the entire show. And the ensemble didn’t have an “in the shadows” role because their songs and choreography was some of the funniest material, and they lived up to it.

Warren Draper, who played Jerry, had the perfect dry voice and “Welcome to the show, _____” refrain in his emulation of the talk show host. His ending monologue, surprisingly enough, was the most explicit part of the whole show, in terms of clearly developed and expressed ideas. Rather than parodying around the stage in “trailer trash” costumes, Jerry just came right out and said, “history defines us by what we do and what we choose not do to.” What’s interesting is The Chance Theater chose to include in my packet an often-overlooked biography of the real deal Mr. Springer. Now, it may not have been The Chance’s intent, but to me the bio seemed to say, “Look, Jerry Springer wasn’t a shallow sap! He went to law school and served as the Cincinnati mayor!” As fascinating as that is, that is not what history will remember him by, but rather by his infamous television show that is either a nationally beneficial, lowbrow social experiment or an exploitation of adulterine Americans who don’t know that swear words actually have designated parts of speech. But that, after all, is the question. His show is distasteful—but has it become essential to understanding certain parts of our culture?

The Chance Theater should feel lucky to host this premier in this neck of the woods. This isn’t just a “Saturday Night Live” type show that is funny without reason. It makes you think about things, believe it or not, as well as having some perfect moments, like Jerry admitting, “You know, I never wanted to be a talk show host.” It will make you laugh. And hopefully it will embarrass you a little. Maybe that’s what good theater, and reality television, is supposed to do.

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THEATER REVIEW
Chance Theater hosts some hullabaloo with
'Jerry Springer: The Opera'
by Lee Runnels, Coast Magazine

[ Link to Coast Magazine ]

Erika C. Miller, Jared Pugh and Katie Kitani Photo by Chance Theater

Sometimes a little controversy is helpful to keep us on our toes. Sometimes it can be thought-provoking or offensive and other times, it can simply offer up a fun diversion. If you are looking for a show to conjure up some of those feelings this summer, we have one for you with Jerry Springer: The Opera at the Chance Theater in Anaheim. You will be lucky to get a seat to see this one in this intimate under 100-seat theater, which for this performance is staged with the ticket holders included in the talk show audience and warmed up with the cultish chant: “Jerr-y, Jerr-y, Jerr-y!”

Born out of the mind of British writer Richard Thomas, this show premiered in London in 2003, when "The Jerry Springer Show" was at the height of talk show infamy. The show has a cult following in the UK, as the Brits share in our fascination with this underbelly of US society. Jerry Springer: The Opera ran for 609 performances in London from April 2003 to February 2005 before touring the UK in 2006. The production won the Laurence Olivier, Critic’s Circle, Evening Standard, and What’s On Stage Awards for Best Musical, quite a resume for this crazy show! It came to America in 2007 in Las Vegas, visited Carnegie Hall in 2008, with Harvey Keitel donning the cue cards as Jerry.

I was very curious to see what this show was all about, as Jerry Springer is not really on my reality show radar these days. I visited his website, and he is celebrating his 20th year on the air, still stirring it up with his low brow and trashily dressed guests. You can watch episodes online, should you want a refresher course. With the technological advancements over the last two decades, there are now countless reality shows on TV, radio and Internet, and we have gotten a bit desensitized to the drama of it all. However, 20 years ago, Springer really was the groundbreaker – the Oprah or the Phil (not the doctor, the Donahue!) of this particular genre of reality. I admit it, many years ago, my TV landed on that station around that time to witness some chick fights, lots of bleeped out dialog and chair throwing. Back then, there was nothing like it on TV and I was intrigued by those behaving badly.

This American cultural phenomenon prompted Thomas and writing partner Stewart Lee to come up with their own creation, another genre – a highly original piece of work, claiming to be an opera, not a musical, which in a sick and twisted way, pays homage to the former Mayor of Cincinnati and his tacky constituents. It is satirical, offensive, raunchy, and cheerfully blasphemous. You cannot help but laugh at its ridiculousness.

But much like the beginning of Springer’s show, this is for mature audiences and is not for everyone. This show has stirred up a lot of controversy with a few religious groups offended by the fun poking at saints and God. If that bugs you, don’t see this one. There are a lot of safer choices this summer in the OC that you might prefer. At the time of our visit, the Chance had already received 19,376 e-mails and letters condemning them for producing this show, and there were a myriad of picketers outside the doors. They have a running count posted in the lobby of the theater. It is all part of the experience, and I give credit to the Chance for taking one with this provocative show.

Warren Draper and David McCormick Photo by Chance Theater

Directed by Trevor Biship, the Chance version cast is scaled down from the original production’s troupe of 30 to 19, but the cast is perfectly proportioned for the intimate venue. There is a lot of talent in this show. Warren Draper is Jerry Springer, and gives the only spoken word in the show (it is an opera, remember) and he is spot on. Security guard Jonathan is played earnestly and later devilishly by David Laffey. Other principals include Jovani McCleary (Dwight/God) who has a voice that could blow fuses. The Chance’s own Erika Miller (Peaches/Baby Jane) transforms from a prudish fiancee to a foul-mouthed Dominitrix and she does it well.

Mad props go out to the rest of the terrific cast: Laura Hathaway (Zandra/Irene/Mary), Matthew Ballestero (Tremont and the Angel Gabriel), Jared Pugh (Montel and Jesus), Katie Kitani (Andrea and Angel Michael), Kyle Cooper (Chucky/Adam), and Jessie Withers (Shawntel and Eve). The ensemble, which pumps fists and chants “Jerr-y” with the rest of the audience, includes Travis Ammann, Stephanie Bull, Israel Cortez, Rebecca Fondiler, Kellie Spill, Ryan Spindel, Andrea Paquin, and Nathan Willingham. The entire lot has the vocal chops to sing this operetta, and sing they do...

The score, written by Thomas and lyrics by Lee and Thomas is naughty and nasty, riddled with foul language and a lot of f-bombs. Music Director Mike Wilkins brings it on, and there is no bleeping out in this episode. It is satirical and silly, and if you are the type of person who enjoys that kind of thing, you are going to laugh your “bleep” off in Act One, when the “situations” explode on the show. Act Two is where it gets dicey: Jerry goes to Hell and must host a show featuring Jesus, Adam and Eve, Mary, God, and a whole lot of Angels. Yes, it is inappropriate at best, but in some ways, it is good clean fun, riddled with a bunch of bad words. One can only say “oh my!”, shake her head and giggle.

Although the Chance is a small venue, there are impressive dance numbers with some complex choreography, skillfully put together by Kelly Todd. Tap dancing KKK members with a Busby Berkeley vibe – priceless. The entire cast is tight and you can tell that they are having a good time in this show. Fight choreography – wonderful, with the requisite chairs and chicks… bravo to David McCormick, who plays Jerry’s Head of Security Steve Wilkos. He pulls off some puppet-esque choreography and performs some crazy flips brilliantly.

Am I glad I went to see Jerry Springer: The Opera? I will say this – I admit that I enjoyed this highly original and daring production and was thoroughly amused by all the controversy… yet, I kinda feel guilty about it… I guess I can take that up with my therapist later. In that session, I suppose I will need to discuss my desire to cash in some frequent flier miles and head to the West End to see Thomas’ latest creation, Anna Nicole: The Opera. Really, the sensible thing to do is to wait until the Chance Theater brings it here to OC.

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THEATER REVIEW
Sing to the Hand
by Sarah Taylor Ellis, Stage and Cinema

[ Link to Stage and Cinema ]

Laura M. Hathaway, David McCormick, and Matthew Ballestero Photo by Chance Theater

A literally damning critique of American popular culture, Jerry Springer: The Opera soars in the Chance Theater’s Southern California premiere. An opera this critical could have only originated across the Atlantic. British duo Stewart Lee (book and lyrics) and Richard Thomas (book, lyrics, and music) incisively lambast our culture’s quest for stardom and our questionable idols in this perversely delightful opera.

Mounting Jerry Springer: The Opera is no small feat. Of course, there are the political hurdles to leap. If Act I shocks and offends with a raucous musical version of the popular TV show, then Act II is downright blasphemous in its epic battle between God and the Devil for Jerry Springer’s soul.

The Chance Theater has developed a reputation, though, for skillfully conquering such risky productions; their 2010 production of the infamous flop Merrily We Roll Along was a revelation for Sondheim devotees, and their carefully-crafted production of the cult classic The Who’s Tommy even transferred to Segerstrom Center in a welcome collaboration between Orange County venues. The Chance has taken the religious protests against Jerry Springer: The Opera in playful stride. (There is no such thing as bad press, right?) And as always, the Chance backs up their chancy artistic choices with innovative, quality productions.

In Jerry Springer, a youthful and obscenely talented cast of nineteen tackles Thomas’ challenging harmonies and counterpoint, as well as his exhilarating arias, with verve. Their vocal blend as an ensemble is stunning and articulation is always precise, thanks to music director Mike Wilkins. Trevor Biship’s direction of the show is comic and crisp, although the brief spoken scenes sometimes sink in comparison to such dramatic musical numbers.

As Jerry hosts his TV show in Act I, each of his guests indulges in a heightened and emotional “Jerry Springer moment,” their Warholian 15 minutes of fame. Shawntel (the outstanding Jessie Withers) erupts into an aspirational ballad “I Just Wanna Dance” – the “What I Did for Love” of poledancing. Jared Pugh comically cavorts about the stage as an oversized baby in “Diaper Man.” And the Ku Klux Klan tap dances, taking into their own bodies a dance style of notable African-American origins. This is a bitter and disturbing irony, indeed. The ensemble sits among the audience, encouraging participation in the chants for “Jerry!” – and implicating the audience in their own adulation of pop culture.

The Ku Klux Klan Dancers Photo by Chance Theater

Kelly Todd’s buoyant choreography, from set numbers like the KKK tap dance to the ensemble’s physical interjections from the audience, helps to create an immersive and engaging “live TV” atmosphere. While the incorporation of video technology to amplify the “Jerry Springer moments” is appropriate, the transition to using this technology is sometimes a little disjunctive.

Yet the final projected close-up of Jerry Springer’s face is worth a thousand words. Act II’s epic trial of Jerry Springer would like to hold this magnified television idol accountable for a world of sins. But however pervasive Jerry’s name may be throughout the show and however compelling Warren Draper’s performance, this is not ultimately an opera about Jerry Springer. The amorality in American pop culture must ultimately come down on the ruthless guests clamoring for fame as well as the attentive audience members themselves. If you enjoyed Act I, then take heart: you are equally to blame for a politically-disengaged, perversely idolatrous society.

Certain references throughout Jerry Springer: The Opera may feel dated (like the phrase “talk to the hand”), and the TV show itself no longer holds the shock and draw that it did in the 90s. Yet this opera’s searing critique of American pop culture is still relevant, and the Chance Theater offers an endlessly entertaining and thought-provoking production. I would love to see this show make its way to LA one day, piercing the heart of the Hollywood mythology. But for now, I highly recommend taking a break from Jersey Shore and the Kardashians for a weekend trek to Anaheim Hills.

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THEATER REVIEW
Chance Theater delivers top theatrical energy per square foot this season
by Joseph Sirota, Buena Park Independent

Erika C. Miller, Jared Pugh and Katie Kitani Photo by Chance Theater

History may find 2011 as a year of slow California growth economy-wise, but O.C.’s small in size, but explosive in energy and risk-taking, Chance Theater Group, shows no signs or intentions of slowing or shrinking. Talented, smart & clever, these rascals have challenged us again, to buy (an affordable) ticket and take a “Chance” at seeing a live theater work, that will have you thinking, reevaluating, reliving and very likely debating with your co-theater goers as to the meaning, values and impact of their latest powerful production, Jerry Springer The Opera. Upon hearing the concept of a comedic satire centered on the life of Jerry Springer (“Patriarch-Supreme” of Exposure/Insult/Destruction TV) -- not only set to music, but in a rock-Opera style, I had two immediate thoughts: (1) What the Heck kind of Crazy Idea is That? & (2) Why the Heck Didn’t I Think Of It, First !!…It can’t miss being a Hoot laugh-wise, and if the music, lyrics, choreography and cast are up to the challenge, here comes a possible Cult-favorite. Happily, Chance’s production more that meets all these “ifs”.

The magic key to the concept is: how can a comedic satire “miss” when it’s about a well known, curiously complex man whose whole real life may itself be a comic satire, seasoned with operatic tragic subplots? Like Tom Wolff’s The Right Stuff delving into surely daringly heroic test pilots, turned astronauts, risking their lives in previously un-probed space was a shoe-in, so Jerry Springer’s life story, daringly uncloaked with a bang (& often TV pushing matches), seedy tales of previously secret cheating, lying, abusing revelations of rocky relationship partners (& co-conspirators) somehow willing, and excited to expose their “dirty-laundry” saga to millions of equally anxious viewers of Springer’s TV show. What a daring job, indeed is Jerry Springer’s role as Ringmaster to this “dirt” circus, of spilling emotional garbage then, a holler, a curse & a fight. Ole!

Two major sections in the play/opera occupy two acts. The first section, more unexpectedly, but still very funny, very over-the-top, & sans societal ethics limits, is tossed in our faces in a dare-ya-to-flinch style). We’re blasted with sizzling samples of Springer’s TV shows’ road to fame & fortune. His self-centered TV guests lie/cheat/backstab. “Dirty/kinky”, describes typical Springer volunteer folks. Their uncloaked sins, hurt each other (mainly sex escapades, so be forewarned language is as kinky as can be), but it’s quite cleverly written so we clearly “comprehend” the years of Springer (and his many copycats followers) amazing success and popularity with millions. Watchers can’t seem to get enough! (indeed, the Play/Opera opens with crazed fans worshiping, singing, dancing, & adoring Springer while a typical episode “warms up” for his Royal entrance). Promise delivered-- it is “a true Hoot” (if you can dig sharp, uncensored street humor). The second act’s area of exploration is far more philosophical, mystical & spiritual with a smart intellectual tug-of-war (yet still rough & funny with hitting below the belt a-plenty). Unexpectedly, spiritual figures appear, including the very most powerful (Adam, Eve, Angels…and even highest of the high). I’ll not give away the surreal arguments that ensue, but as for Springer, the question arises as to is Jerry perhaps, not all as horrid as we thought (headed surely to Hell for his path to notoriety), or is he simply the voice of imperfect mankind.

Warren Draper and David McCormick Photo by Chance Theater

Granted, this wildly funny but intense show may be too bawdy for some tastes, but all involved in this show are clearly talented, sharp and daring to the hilt, in pushing the envelope to uncharted provocative entertainment. Book & Lyrics by Stewart L. Lee & Richard Thomas reach beyond well-trodden comedic paths. Music, also by Thomas admirably spans a range from Hair infectiousness, to Broadway theme-based, to wild-eyed sketch comedy & to powerful Operatic depths. Direction by Trevor Bishop, Music Direction by Mike Wilkins, & Choreography by Kelly Todd each glisten with creativity in its own right and combine impressively to make the entire show one of the most powerful and memorable of a season. Similarly, each actor, shines brightly in his/her acting, singing, dancing, comedy & physical/inner stage presence, plus mesh into an exceptional ensemble feast. Praise is due each hard-working actor individually, but space is so limited and their number and energy so large that I must salute them all as one, as fine a team as you’ll ever come across in live theater.

Here are a few, brief special kudos for some leading roles – Warren Draper is so fabulous as Springer—I almost like real-Jerry now. As both Springer’s assistant & Satan, David Laffey sings, talks & dances into top Big Apple Broadway caliber. David McCormick keeps the peace when the loony guests collide, and exudes strong acting skills when speaking, or moving. Jovani McCleary shows his comic acting licks as a truly dysfunctional guest, then, really blows us away with true (no-kidding) operatic skills in the spiritual Act 2. Jared Pugh stands out as “humorously sickest” guest in Act-1, then spins 180 degrees, impressively singing & reasoning as a holy man of great renown in Act-2. Erika C.Miller is another lightning bolt, zigging/zagging from hysterically weird Springer guest in Act-1, to operatic singer galore in Act-2. Again, bravos to all the delightful, dedicated cast members in this as fine an ensemble as a challenging Musical Comedy could hope for. Also meriting salutes--the Chance’s fine behind the scene production team & 5 musicians who sound like twice that. Great Work!

--- Jerry Springer The Opera -Chance Theatre 5552 E. La Palma Ave, Anaheim Hills, CA 92807 Thurs-to-Sat eves @ 8 pm. Matinees Sat @ 3pm & Sun @ 2 pm. Also Sun @ 7:pm. Held over due to demand to Aug 14. Tkts: $30 to $45(senior/students Discounts) Info: Call: (714) 777-3033 Internet: www.chancetheater.com

See why The Chance Theater has been nominated for & won many top awards (L.A.Drama Critics Circle, Ovation …etc.)

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THEATER ARTICLE
Springer too good to close now
by Frank Mickadeit, Orange County Register

[ Link to Orange County Register ]

The cast turns against Jerry (Warren Draper) Photo by Chance Theater

Just when you thought the ever-edgy Chance Theater in Anaheim couldn't raise the risk bar and still pull in a consistent, profitable Orange County audience, it puts on "Jerry Springer: The Opera," and does enough critic and word-of-mouth-driven business to make it a hit. The one-month run that was scheduled to end Aug. 7 has been extended to Aug. 14, Chance co-founder Casey Long told me Friday.

This gives another 594 people the opportunity to partake in a live O.C. theater experience it is hard to imagine ever has been topped for the combination of audacious writing and prodigious talent that had to be brought to bear to pull it off. I mean, along with the belly-laugh-producing script, there really is operatic singing.

"Words cannot describe," I heard one man say, shaking his head after the first act, which is set on the set of "The Jerry Springer Show." I'll just say this: Tap-dancing Klansmen.

In the title role, is Warren Draper, a 52-year-old Orange resident who had all but left acting to spend time with his wife and work in his family's food-broker business. I did a little Q&A with Draper, who grew up in Los Alamitos and studied acting at Long Beach City College.

Q. You've always acted?
A. I put on a play myself when I was 7. I sang on stage when I was 14. I did "Bye Bye Birdie." I love to sing, so it's kind of weird that in "Springer," I'm the only player who doesn't.

Q. You've done a bunch of films. Looks like a lot of horror stuff.
A. My wife calls me a B-movie actor. Most of the stuff was never bought. Or goes straight to HBO – junk.

Q: How did this role come about?
A: I was retired from theater for two years, and I saw (artistic director) Oanh (Nguyen) at a wedding, and he said I had to audition for "Springer." He's a genius. So I said yes.

Q: Before you auditioned, had you ever watched "The Jerry Springer Show"?
A: Start to finish, never, but I was very familiar with it, and I knew he was almost embarrassed to get wealthy on this crazy show.

Q: After you decided to audition, how much "Springer" did you watch?
A: Over dinner every night for three months. You watch enough and you realize it's a sad, sad state of affairs. You feel sad for those people.

Q: What's the key characteristic of Springer that you tried to capture?
A: His silence. His listening. He just stands there and crosses his arms and listens while this craziness goes on all around him. He also speaks a lot slower than I do. There's a humility there. It's like he really cares. The toughest part (to convey) is when he starts questioning what he is doing. I reach for that every night.

Contact: 714-796-4994 or fmickadeit@ocregister.com

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THEATER REVIEW
Chance Theater stages racy JERRY SPRINGER:
THE OPERA
by Michael L. Quintos, Broadway World

[ Link to Broadway World ]

Jovani McCleary, Matthew Ballestero, Warren Draper and David McCormick Photo by Chance Theater

Though most people tend to avoid airing their "dirty laundry," so to speak, to the general public, there exists a segment of the population who brazenly do so with no regard for personal privacy — consequences be damned — for the sole purpose of being in front of the camera. As these guys get embroiled in televised catfights, humiliating shenanigans, and even some hair (weave)-pulling, there also exists an inherent, guilty pleasure within many of us to watch it all unravel for our own escapist needs.

It's not difficult to admit, then, that many of us do subconsciously slow down to look at a fender bender on the freeway. Many of us will likely eavesdrop when a couple in the next table are in the middle of a heated argument. And some of us—thanks to countless reality shows or web videos hilariously dissected by Daniel Tosh or Joel McHale—even feel better about ourselves by watching the comeuppance of people who do stupid things.

Every now and then, we find bliss experiencing a bit of schadenfreude—which is defined, as the residents of Avenue Q have so eloquently put it in song, as the feeling of happiness in the misfortune of others. As much as our culture has a tendency to prop up both celebrities and even everyday folks when they do well or do something extraordinary, we also tend to be just as fascinated—if not more—in watching their public scandals and failures, whether it be on online gossip sites, "reality" programs, or, yes, on daytime talk shows.

At one point in time, there was one particular television show that was a hit with those seeking this type of mindless, salacious entertainment. At the height of its popularity, The Jerry Springer Show cornered the market in shocking reveals, loud on-stage brawls, and outrageous fringe parades. The complete opposite of Oprah Winfrey's own eponymous, more life-enhancing talk show, Springer's talk show-slash-circus sideshow oozed nothing but controversy, allowing chaos to break out instead of calm, rational conversation. It became the place where shameless, oddball folks of a slightly lower educational and financial facility to come and air their grievances, speak their truths, and confront their adversaries—verbally and physically. By giving these aggressive, over-the-top people an open forum to dispel their drama, Springer's show became a fixture within the genre of "trainwreck" television.

So the idea that this low-brow talk show has somehow been immortalized into a musical theater piece—specifically an Opera, perhaps the most high-brow of the Arts—attracts nothing less than amusing curiosity. Long before felt puppets had on-stage sex and long before Mormons clashed with cussing Ugandans, there was JERRY SPRINGER: THE OPERA, a joyously foul-mouthed stage musical that's as much of a hilarious guilty pleasure as its title suggests. The Chance Theater in Anaheim Hills is the latest American regional theater to take on this racy, over-the-top show. Due to popular demand—and, frankly, rightly so—this surreal musical's run has been extended through August 14.

Jessie Withers and Kyle Cooper Photo by Chance Theater

First produced on the London stage in 2003, JERRY SPRINGER: THE OPERA ignited instant controversy during its initial run and its subsequent UK tour, eventually winning four Oliviers including Best New Musical. Further complaints and protests were exacerbated when the musical aired on UK television and later during transplants to Las Vegas and New York (the Carnegie Hall debut starred Harvey Keitel as Jerry).

The shock and chatter are, of course, not a surprise, considering the show—a faithful, borderline reverent parody that also skewers its source material—is about as out there as it can get. The short list of the musical's eyebrow-raising traits include explicit language, the blasphemous depictions of Christian icons, a gender-bender, a stripper-wannabe, a diaper-wearing adult, and, of course, tap-dancing KKK members. This may sound like an odd mix, but, really, this sounds like a typical week's worth of episodes of Springer's talk show (which, if you can believe it, is still on the air in syndication).

The first half of the sung-through musical takes place in the tabloid talk show's brick wall-lined studio, where the warm-up guy, Jonathan (David Laffey) stirs the audience into a feverish uproar. On stage, Jerry's head of security turned mini-celebrity Steve Wilkos (David McCormick) is keeping a watchful eye of the fervor. Before long, that familiar chant of "Jerry! Jerry! Jerry!" fills the intimate space of the Chance Theater, where some theatergoers and actors are mixed together for an added air of authenticity and uncertainty.

Right from the start, there's already a palpable energy spinning wildly across the room that rarely ebbs. By the time Jerry (Warren Draper) himself makes an almost deified entrance, the excitement is at a piercing level. The ensemble produces stirring (albeit loud) operatic harmonies—only, they're laced with enough cuss words to make even the surliest of sailors blush. To butcher a familiar sci-fi phrase: resistance to laughter... is futile.

As the musical unfolds, Jerry hastily fires an irate Jonathan for apparent incompetence. Excitement resumes when the studio audience learns that today's particular show topic is a recurring theme in most of the talk show's episodes: people with hidden secrets. It soon dawns on us that this feels like a mashup of several typical episodes, but here is given an all-inclusive theme in order to feature as many cray-cray guests as possible.

The show is bursting at the seams with exaggeratedly funny bits. In between segments, the musical even breaks for some hilariously integrated "commercials" shown on the monitors, touting some demographically-appropriate products for the typical Springer home viewer. We also see Jerry intermittently consult with his "inner Valkyrie"—a winking nod to its Operatic tendencies.

Jared Pugh, Erika C. Miller, David McCormick, and Katie Kitani Photo by Chance Theater

Much like the Jerry we see on the talk show, this Jerry just nonchalantly stands back and let the fireworks explode all around him. He sums up his talk show's raison d'etre pretty succinctly: "I don't solve problems, I just televise them!" thereby absolving himself of any kind of need to fix his guests. Conflict... now there's a ratings grabber!

Up first is Dwight (Jovani McCleary) who is cheating on girlfriend Peaches (Erika C. Miller) with Zandra (Laura M. Hathaway)... and sassy transsexual Tremont (Matthew Ballestero). Next, Montel (Jared Pugh) confesses to his lover Andrea (Katie Kitani) that he like to dress up like a baby (complete with diaper and pacifier), and that he's found a kindred spirit in Baby Jane (Miller, again), who also happens to like dressing like a toddler.

Finally, there's Shawntel (Jessie Withers) who admits to her hick-trash husband Chucky (Kyle Cooper) that she longs to become a stripper, even going as far as providing a live demo on a pole, which angers Shawntel's very surprised mother, Irene (Hathaway, again). But then, it also turns out—thanks to some secretly-acquired Jerry-Cam footage—that Chucky is not only a frequent customer of his town's local strip clubs, but is also an active member of the violently racist Ku Klux Klan. In a surreal but funny moment that apparently requires no sense of logic, members of Chucky's KKK sect make a surprise appearance that turns the studio into absolute mayhem. Disgruntled ex-employee Jonathan reemerges with a pistol for Montel, who in the midst of the pandemonium accidentally shoots Jerry.

The show's even more surreal second half takes an unexpected, outrageously avant-garde turn—perhaps yet another acknowledgment of the show's ties to legit Opera. In it, we find an ailing Jerry pleading for his life in purgatory with Satan, who alarmingly resembles Jonathan the fired ex-warm-up guy. To save himself, Jerry reluctantly agrees to host a Special Edition of his show in Hell, where Satan seeks to get an apology from the Man Upstairs for banishing him away from Heaven. Guests that parade into the fiery studio include Jesus (who resembles diaper-loving Montel), Adam and Eve (who resemble trailer trash couple Chucky and Shawntel), and Jesus' mother Mary (who resembles Irene). For a lack of a better description... all Hell breaks loose.

Unabashedly giddy in its cavalcade of trash-tastic, bottom-dwelling behavior without a hint of irony or the slightest glint of remorse, Chance Theater's production of JERRY SPRINGER: THE OPERA is just the kind of guilty pleasure stage presentation that straddles the fine line between wickedly outrageous and charmingly low-brow, but is handled with a great amount of wit. From the start, the show captures one of pop culture's most secretly-watched phenomenons with a tuneful bacchanal fit for the show itself. I often found myself—along with many audience members surrounding me—caught in rollicking fits of laughter, while simultaneously shaking my head in disbelief at the sheer audacity of this musical's cleverly spun use of raunchy lyrics, written by Stewart Lee and Richard Thomas.

Along with its outlandish guests that include everything from a stripper, to a transsexual, and even a random Very Special Appearance by tap dancing members of the KKK, this "Opera" revels in its naughtiness much like a little kid with a verboten stash of extra Halloween candy. I can certainly understand why the show—both the original production and Chance Theater's production—provoked a lot of passionate protests. It's not a show for the easily offended or for those who can't take jokes at the unfortunate expense of an entire segment of belief. But to summarily reject the show as just another excuse to celebrate depravity is an unfounded, closed-minded dismissal. Yes, the cussing and the bad behavior come early and repetitively. But those who appreciate a well-thought-out parody will find it absolutely enjoyable. If you walk in ready to accept that the show is a musicalized lampooning of the extreme excess of the TV show it's based on, then you'll have a really, really, good time.

Under the direction of Trevor Biship, the show zips along with great comedic timing, and the staging makes great use of the Chance Theater's store-front black box space, enveloping the "studio audience" with the look and feel of Jerry's famous chatfest. Again, the Chance Theater proves to be the most technologically-advanced of the smaller, intimate theaters with its great use of projection screens and LED panels.

Though it sort of stalls a bit during the beginning of the second half (where the cast is, ironically enough, in purgatory), the musical never really loses its ability to throw out a zinger. Kelly Todd's impressive choreography is also worth noting, particularly the show's rousing finale that finds almost the entire cast tap-dancing in beautiful unison.

Laura M. Hathaway, David McCormick and Matthew Ballestero Photo by Chance Theater

And here's something that really surprised me about the show: the presence of cuss words wrapped around impressively arranged harmonies. The fact that such wretched, foul language is delivered via some incredibly strong, expressive voices makes this show all the more intriguing. The show's principal actors are all talented, wonderfully-voiced performers, but two actors really stood out amongst the ensemble: There's Ballestero—who plays transsexual Tremont—whose strong high-pitched tenor and confident dance moves matched his character's own personality prowess; and Withers—as stripper-to-be Shawntel—whose amazing vocal work on perhaps the show's most well-known tune "I Just Wanna F***ing Dance" is a show-stopping highlight.

As for Jerry himself, lead actor Draper—the sole member of the company that does not sing at all in the entire show—is authentically deadpan, mirroring the "aw-shucks, I'm just a passive bystander" demeanor his real-life counterpart often displays... despite the fact that he does not look at all like the real life Jerry. But, every time Draper interjects with a sentence or two, he elicits much chuckling as he delivers Jerry's bon mots with an almost zen-like calmness amidst the chaos. Together, when the entire ensemble sings, it's quite a joy to take in. The cast even sings every "commercial break" which play out as actual video segments that pipe into the show's side monitors and the main projection screen in the stage's back wall. Seriously? Brilliant.

Just like the TV program that inspired it, JERRY SPRINGER: THE OPERA may, on the surface, feel like entertainment that simply caters to our deepest id, piquing our basest desires in musical comedy form. To which, I ask, is there anything wrong with that? I see nothing wrong with having a little harmless, albeit raunchy fun, and laughing your ass off in the most guttural way. While, still, much of it is head-scratchingly surreal, you'll be too busy laughing out loud to really give its overall significance a, well... a "final thought" (as Jerry would put it). Despite angry emails, phone calls and letters—and a sad, paltry showing of protesters outside—Chance Theater's bravery in mounting this unique, one-of-a-kind theater piece all the more makes it deserving of your own judgment. Oh, and look! That dude's wearing nothing but a diaper!

Follow this reviewer on Twitter: @cre8ivemlq

Photos from JERRY SPRINGER: THE OPERA by The Chance Theater. From top to bottom: Jerry Springer (Warren Draper) looks on as his hairless head of security Steve Wilkos (David McCormick) has his back; Dwight (Jovani McCleary) considers a proposal from Tremont (Matthew Ballestero); a riot erupts in the studio; a rousing Klan dance number breaks out.

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Due to overwhelming ticket demand, Chance Theater's Southern California Premiere Production of JERRY SPRINGER: THE OPERA has been extended through Sunday, August 14, 2011. Originally set to close August 7, the extension adds an additional six performances to the run: Thursday, August 11 at 8 p.m.; Friday, August 12 at 8 p.m.; Saturday, August 13 at 3 and 8 p.m.; and Sunday, August 14 at 2 and 7 p.m.

JERRY SPRINGER: THE OPERA contains graphic language and adult situations. The show is recommended for mature audiences.

Tickets are priced from $30 to $45 with additional discounts to Seniors and College Students.

The Chance Theater is located at 5552 E. La Palma Ave., Anaheim Hills, CA 92807.

For more information or to purchase tickets, call (714) 777-3033 or visit www.chancetheater.com.

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PATRON REVIEWS

Another CHANCE hit!
posted by Laura Young on 07/31/11

Another CHANCE hit! An amazing cast, with wonderful vocal and dancing skills, and Warren's "Jerry" was right on. And, of course, the choreography, staging, sound, lighting, and audience participation were great. It is great theater, and despite its subject matter (the lure of 15 minutes of fame and human frailties), it was great entertainment. There is lots to laugh about and the music stays with you, whether you want it to or not. Go see this play!

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Almost as good as "Book of Mormon"
posted by Carole on 07/30/11

Almost as good as "Book of Mormon"! Fabulous show and cast! thanks!

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An amazing production
posted by Brent Swanson on 07/30/11

A couple Fridays ago I saw "Jerry Springer: The Opera" at the Chance Theater in Orange County. This was an amazing production, and I say this from the perspective of someone who isn't an opera fan. God knows I've tried. I really don't live in an area that provides fertile ground for raising opera fans (a city in southeastern Idaho that has no university of its own). I've watched some televised operas and endured some locally produced attempts. I somehow or other gained an appreciation of Gilbert & Sullivan, though like Robert Benchley, I've heard a bit too much of "Dear Little Buttercup" as rendered by the real estate salesman's wife, amid audiences of people who smell of cedar chips and don't get out very much except when the real estate salesman's wife is holding forth. I have recordings of highlights from Rossini and Wagner. However, I'm at a point in life where if I have to choose between seeing all of Shakespeare or else all of Wagner's Ring, the Bard is going to win out, because time isn't as plentiful as it once was.

I'd heard of "Jerry Springer: The Opera," probably by way of a magazine article, and I'd assumed it was more or less a musical, perhaps a hybrid like "Les Miserables." This seemed all the more likely for a venue like the "Chance Theatre," which has a capacity of somewhere around 80 or 90 (and less when a musical ensemble and chorus need to fill some of that space). So I was more than a little surprised to discover that "Jerry Springer" is a modern grand opera, albeit one that has room for a couple tap dance interludes. The choral work was among the best I've heard recently from a small company. There were beautifully rendered choruses as well as arias and solos giving voice to heartfelt sentiment such as "F*ck!" and "F*ck you!" and "You cheating g*dd*mn b*st*rd!" and other emotional exchanges you might see bleeped on Jerry Springer's show. There was the touching scene of a man confessing to his fiance that he not only had been cheating with her cracked addled best friend, but also with a transvestite. The angst came to a brief halt (intermissision) when Jerry was shot by a disgruntled person; this is a speculative drama. As Act II opens, Jerry is in Hell and his services are requested by Satan, who is in need of a Jerry Springer session so he can settle a long-running grudge fight with Jesus Christ and his Father.

What's not to like? This is a show that is literally of Biblical proportions featuring iconic characters locked in personal and interpersonal battles between good and evil. Next to "Jerry Springer," Wagner's "Ring" is a cowardly retreat to pagan mythology. Okay, that might be a going a bit too far, but there are plenty of people who think that this show and even this particular production went a bit too far (the Chance Theater claims to have received at least 19,000 letters and e-mails of complaint). Publicity value aside, this is too bad, because "Jerry Springer" is an incisive and hilarious chunk of theater, played and sung for all it's worth. The work done by Trevor Biship, Mike Wilkins, and Kelly Todd (director, musical director, and choreographer, respectively) is every bit as professional and breathtaking as what you'll see downtown in the much more expensive (and alas, predictable) revival of "Les Miserables." The entire ensemble would be perfectly at home in any Puccini opera, but I'm grateful they're doing this show instead.

There may have been a time when "The Jerry Springer Show" was merely the lunatic fringe of the talk show genre. But of late, and particularly during election years with their "town hall meetings," and the Dante-esque budget battles going on in Washington D.C., this opera may have been a harbinger of things to come. What was once confined to the Springer Show is now becoming the norm not just on tv, but in our national dialogue.

I might add that, a couple months earlier, I saw a production of another modern operatic piece called "Children of Eden," and it too had amazing choral work, and dealt with Biblical themes and characters, and was billed as a "family show." And what a sad, cynical thing it was, based on a very dead-ended and depressing reading of the Book of Genesis, featuring a God who creates man, gets p.o.'d, and more or less says "To hell with you!" I would no more take a child to that than I would to "Jerry Springer." But there were a couple teenagers in the "Springer" audience, and from their reactions in the post-performance Q&A, I think they got the point of the show, as well as the excitement of what good, vigorous theater is all about.

I hope that a few more tourists besides me (and locals too) will take some time away from the Magic Kingdom and follow La Palma Avenue out to the Chance Theatre for this amazing, funny, and veryhuman show. If I were there now, I'd do it again.

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It not only met my expectations, it surpassed them
posted by John King on 07/29/11

I have wanted to see a production of "Jerry Springer, the Opera" for several years but had never gotten the opportunity until the Chance Theater finally brought it to Southern California. I was not disappointed. Their staging did justice to the brilliance of this piece, and it not only met my expectations, it surpassed them. The entire cast was superb, the direction, choreography and design were all exceptional, and the professionalism of the entire production was evident from the first moments of the evening. Bravo to the Chance for having the courage to mount this brilliant work, and kudos to them as well for having the talent to do it right!

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This show is truly just incredible
posted by Brandice Brenning on 07/27/11

This show is truly just incredible. The cast is phenomenal. The singing, dancing, and acting is just electric. It will make you laugh until your insides hurt, possibly even cry at times, make you wanna stand up and dance, and also really make you just think about things in a different way. IT'S A MUST SEE!! Truly refreshing. These are some of the most talented people you may ever see on stage.

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Vile & disgusting - I loved it!
posted by Hess on 07/26/11

Vile & disgusting - I loved it!

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Yorba Linda needs more of this!!!!!
posted by Kelly Marzano on 07/26/11

GREAT FUNNY YORBA LINDA NEEDS MORE OF THIS!!!!!

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Not for the faint of heart
posted by Rob Stewart on 07/26/11

I'll say it again, SUPPORT THIS COMPANY! Springer is not for the Faint of heart of the spiritually retarded, buy its great art and deserves all of its high praise. if you're part of the silly catholic school of salmon thats been told to protest this, SHAME ON YOU! Instead of going after Art and Artists in a free society, maybe you should, I don't know, fix your priest problem? Thanks Chance, to you and all who are Arts engine!

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Wonderfully done!
posted by Bill Oberholzer on 07/25/11

Wonderfully done! very entertaining! Looked like the ensemble had been working together for years!

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One of the best times I've had in the theatre
posted by Bob on 07/25/11

That was one of the best times I've had in the theatre. It stayed in my head for 2 weeks after the performance. I have to say that my favorite scene was "Foursome Guests," especially Erika Miller as Peaches with her Uh-huhs as she rides the roller coaster of emotions from joy to anxiety to outrage, shock and furious anger. That was beautiful. It was immersion theatre at its finest. Just love the whole cast. Loved Jerry.

Another thing that wowed me was the choreography in the way the performers came in and out in that tight space culminating that big KKK tap dance!

My only disappointment was not seeing the band come out and take a bow, but I'm sure it's a logistical thing.

Great work guys! If I had more time, I'd definitely see it again.

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Fast paced and had terrific humor
posted by Richard Dolnick on 07/25/11

I have looked forward to seeing this and was very happy to her that Chance was going to do it. It was a terrific production and we enjoyed the show very much. The acting and singing was great as in all your shows. It was fast paced and had terrific humor as well. I'm glad that you didn't give into the god fearing paranoids and also pleased to see that there is an audience for this in the OC as well.

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Most amazing piece of live theatre I've seen in
a very long time
posted by Haiyan Liu on 07/25/11

This is the most amazing piece of live theatre I've seen in a very long time. The cast is dead-on perfect. The space is literally the Springer studio. The music is heavenly, the libretto irreverent and hold-your-sides-hysterical. This is something you just HAVE to see.

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Too funny for words
posted by Marsha Lindsey on 07/25/11

The first half is funnier, I won't ever get that image just before the break out of my head, too funny for words. The second half relies on a most unusual proposition, funny and yet thought provoking, too.

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Laugh out loud riot
posted by Vincent Rose on 07/25/11

A laugh out loud riot from beginning to end!

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This show was great
posted by Margie Ybarra on 07/25/11

This show was great.... so much talent overall I seen a Saturday Matinee today is Monday I and it still put's a smile on my face.

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The cast was flawless and very talented
posted by Raymond Barcelo on 07/18/11

I highly enjoyed this production. I attended the show during previews, and I thought the cast was fantastic. I LOVED act one very much, I felt act 2 dragged a bit book wise. But the cast was flawless and very talented. Over all I enjoyed the production. It was my first time seeing something at The Chance Theatre and I look forward to returning.

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Fantastic show
posted by Arlyne Reccia on 07/16/11

What a fantastic show.  The energy of the cast was amazing!

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Hysterical
posted by Christine Hayes on 07/15/11

The language was a bit much for me, but the concept was hysterical.  The second act was rather blasphemous, but entertaining.  I wouldn't see it again.

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The Chance at its best!
posted by Fran Riggs on 07/15/11

Everything the Chance takes on is good or even great, but this is the Chance at its best. A fast-paced, elegantly lyrical (if scatological and profane), satirical operetta performed by amazing cast.  The voices are terrific, the choreography is fabulous, and the tap-dancing Klan will sock your knocks off!  I can't wait to see it again!

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One of the best musicals I've seen
posted by Eddie on 07/15/11

Though I am not big on musicals (I am an avid opera watcher), this has to rate as one of the best musicals I have seen. And this is probably one of the best performances of any musical I have seen (and I have seen lots in NY, London, Chicago).

I think that the Chance Theater should make a deal with all those that have sent in complaints about heresy by the theater (>20,000).  If everyone that has complained sends in a dollar, the Chance Theater will not show the last performance. (How 'bout this for a fund raiser??)

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Great cast and audience participation
posted by Marshall Bull on 07/15/11

Fun show with a great cast and the audience participation (your actor planted in audience) made it that much more enjoyable.

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Enjoyed the performance thoroughly
posted by Bruce Wilkinson on 07/14/11

Enjoyed the performance thoroughly. The dancing and singing were excellent.  The dialogue was somewhat limited in that the word f--k was, in our opinion, overused.  We understand that you have to follow the script as written and we think that it was executed excellently.

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Another most excellent conversation piece
posted by The Tom on 07/14/11

Blasphemy ... not really

X rated .... don't think so

Anti-church .... in the minds of some (who no doubt haven't even see the play)

Funny ... you bet your festerous it is

Great cast .... hey, it's the Chance, of course it is

Sound, set design, lighting, choreograpy, costuming, make-up ..... absolutely marvelous

Miss it and "with rue your heart will be laden"

Congratulations to the Chance for another most excellent conversation piece ......

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