Be Sad You Missed This “Dog’s” Tricks
Erik Scott, Sean Hesketh, Chelsea Caracoza, & Jamie Sowers
By Thom deMartino
Orange County Tribune
Published: 17 April 2018
The show had plenty of laughs and social commentary; but the real crime, if you didn’t see it, was missing the stellar acting and comic timing of the cast — four players, each distinct, unforgettable, and easily empathized with...
And while every performance in the show was stand-out, major kudos must be given to Sowers’ Diane: her comic monologues framing the action, setting the mood, and establishing her as a shark in an ocean of pitiable prey. She will do anything to reach her goals, make any sacrifice — even at the cost of those around her — and is perfectly conscious and accepting of her choices, regardless how amoral.
Orange County Tribune
Published: 17 April 2018
The show had plenty of laughs and social commentary; but the real crime, if you didn’t see it, was missing the stellar acting and comic timing of the cast — four players, each distinct, unforgettable, and easily empathized with...
And while every performance in the show was stand-out, major kudos must be given to Sowers’ Diane: her comic monologues framing the action, setting the mood, and establishing her as a shark in an ocean of pitiable prey. She will do anything to reach her goals, make any sacrifice — even at the cost of those around her — and is perfectly conscious and accepting of her choices, regardless how amoral.
Best Theatrical Ensemble: Moon Over Buffalo
Emily Lappi, Brian J. Cook, Jamie Sowers, & Michael Koorstad
By OC Weekly Staff
OC Weekly
Published: 19 October, 2017
There wasn’t a weak link in the eight-person cast of director Amanda DeMaio’s staging of Ken Ludwig’s door-clamming farce, set in 1953 at a theater in Buffalo, New York. Whether called upon to shamelessly overact (these are actors playing actors, for crissakes), desperately try to plug the holes threatening to sink the traveling troupe, or merely reacting to the madness caused in large part by the roaring ego of the impresario at its center (a masterful Brian J. Cook), the cast excelled at working-together by not-so-quietly ripping apart at the individual seams. It was a fun STAGEStheatre show made even more enjoyable by such committed, fearless performers.
OC Weekly
Published: 19 October, 2017
There wasn’t a weak link in the eight-person cast of director Amanda DeMaio’s staging of Ken Ludwig’s door-clamming farce, set in 1953 at a theater in Buffalo, New York. Whether called upon to shamelessly overact (these are actors playing actors, for crissakes), desperately try to plug the holes threatening to sink the traveling troupe, or merely reacting to the madness caused in large part by the roaring ego of the impresario at its center (a masterful Brian J. Cook), the cast excelled at working-together by not-so-quietly ripping apart at the individual seams. It was a fun STAGEStheatre show made even more enjoyable by such committed, fearless performers.
The 39 Steps is a Galloping Good Time
Colton Dillion, Sean Hesketh, Jamie Sowers, & Richard Burnes
By Scotty Keister
The Orange Curtain Review
Published: 26 October, 2015
Hannay has been wrongly accused of a murder so he spends the whole story on the run, trying to get to the bottom of it to prove his innocence. He basically never stops running. He gets himself mixed up with a number of attractive women, all played with a variety of accents, some silly and some just British, by Jamie Sowers. Sowers does an all-star job, effortlessly sliding from one character to the next, sometimes appearing only as a portrait in a frame.
The Orange Curtain Review
Published: 26 October, 2015
Hannay has been wrongly accused of a murder so he spends the whole story on the run, trying to get to the bottom of it to prove his innocence. He basically never stops running. He gets himself mixed up with a number of attractive women, all played with a variety of accents, some silly and some just British, by Jamie Sowers. Sowers does an all-star job, effortlessly sliding from one character to the next, sometimes appearing only as a portrait in a frame.
The 39 Steps at Stages
Sean Hesketh, Jamie Sowers, & Colton Dillion
By Mark Rosier
FULLERTON OBSERVER
Published: Mid October, 2015
Jamie Sowers who was more than up to the challenge of playing three of the female featured characters, Anabella Schmidt, Pamela and Margaret, brings about a seductive, sultry confidence, a wealth of skillful comic timing and mastering of various accents throughout the span of her characters.
FULLERTON OBSERVER
Published: Mid October, 2015
Jamie Sowers who was more than up to the challenge of playing three of the female featured characters, Anabella Schmidt, Pamela and Margaret, brings about a seductive, sultry confidence, a wealth of skillful comic timing and mastering of various accents throughout the span of her characters.
Theater Review: Murder on the Nile at Long Beach Playhouse
Jamie Sowers & Kellee Cullingham
By Vicki Paris Goodman, Culture Writer
SIGNAL HILL TRIBUNE
Published: January 23, 2015
There are no weak links in director Sharyn Case’s winning cast. But there are stand-outs. Sowers’ Jackie manages to seem both disinterested and desperate, alternating between the two extremes on a dime. Her fiendish laugh at first gives her away, and then we’re not sure. She seems a poor second to the lovely Kay but is, on second thought, more interesting and engaging.
SIGNAL HILL TRIBUNE
Published: January 23, 2015
There are no weak links in director Sharyn Case’s winning cast. But there are stand-outs. Sowers’ Jackie manages to seem both disinterested and desperate, alternating between the two extremes on a dime. Her fiendish laugh at first gives her away, and then we’re not sure. She seems a poor second to the lovely Kay but is, on second thought, more interesting and engaging.
Pace only major issue in Whittier Community Theater’s ‘The Lion in Winter’
Jamie Sowers, Candy Beck, & William Crisp
By Frances Baum Nicholson
SAN GABRIEL VALLEY TRIBUNE
Published: November 10, 2014
Jamie Sowers proves on par with these two powerful, and powerfully played, characters as the young Alais, sister to the King of France, raised at Henry’s court to be the next queen but who becomes Henry’s mistress. Her subtle strength makes her less of a pawn than often played, leading to a particular inclusion in this fascinating trio.
SAN GABRIEL VALLEY TRIBUNE
Published: November 10, 2014
Jamie Sowers proves on par with these two powerful, and powerfully played, characters as the young Alais, sister to the King of France, raised at Henry’s court to be the next queen but who becomes Henry’s mistress. Her subtle strength makes her less of a pawn than often played, leading to a particular inclusion in this fascinating trio.
Lioness Rules in "Lion in Winter"
Candy Beck & Jamie Sowers
By Tom Titus
INTERMISSION... WITH TOM TITUS
Published: November 9, 2014
Henry’s young mistress, elder sister of the visiting king of France, who worships Henry and tearfully rails against a marriage to one of his sons, is beautifully rendered by Jamie Sowers. Her impact grows as the play progresses, as does her love-hate relationship with Eleanor.
INTERMISSION... WITH TOM TITUS
Published: November 9, 2014
Henry’s young mistress, elder sister of the visiting king of France, who worships Henry and tearfully rails against a marriage to one of his sons, is beautifully rendered by Jamie Sowers. Her impact grows as the play progresses, as does her love-hate relationship with Eleanor.
Love, Marriage, & Hilarity in Stages’ production of Bedroom Farce
Mike Martin & Jamie Sowers
By Mark Rosier
FULLERTON OBSERVER
Published: Early September, 2013
Malcom (Mike Martin) and Kate (Jamie Sowers) are an easily excitable couple throwing a house-warming shindig. Their unfounded fear of losing one another sets the table for comic gold.
The performances throughout are strong and vivid. If stealing scenes were a crime Jamie Sowers and Mike Martin would be up for parole in the year 2096.
FULLERTON OBSERVER
Published: Early September, 2013
Malcom (Mike Martin) and Kate (Jamie Sowers) are an easily excitable couple throwing a house-warming shindig. Their unfounded fear of losing one another sets the table for comic gold.
The performances throughout are strong and vivid. If stealing scenes were a crime Jamie Sowers and Mike Martin would be up for parole in the year 2096.
'Bedroom Farce' lays out the state of four marriages
By Eric Marchese
ORANGE COUNTY REGISTER
Published: August 21, 2013
Martin shows Malcolm’s insecurity, practical joker streak and his intense dislike of Trevor. Sowers neatly evinces Kate’s chafing over Malcolm’s suggestion that she’s “Miss Normal” in terms of sex appeal. She and Martin also show that Malcolm can dish out hurtfully candid comments to Kate but can’t take them from her.
ORANGE COUNTY REGISTER
Published: August 21, 2013
Martin shows Malcolm’s insecurity, practical joker streak and his intense dislike of Trevor. Sowers neatly evinces Kate’s chafing over Malcolm’s suggestion that she’s “Miss Normal” in terms of sex appeal. She and Martin also show that Malcolm can dish out hurtfully candid comments to Kate but can’t take them from her.
Chance revives "Andrew Jackson" musical, "Americana" at Stages
Jamie Sowers as Sandra Larson
By Jordan R. Young
EXAMINER.COM
Published: July 12th, 2013
It isn’t until the finale, “No Salesman Will Call,” that Macaray’s oddball stew really sizzles, with Jason Sutton and Jamie Sowers both hilarious as an alleged survey taker and his housewife prey...
EXAMINER.COM
Published: July 12th, 2013
It isn’t until the finale, “No Salesman Will Call,” that Macaray’s oddball stew really sizzles, with Jason Sutton and Jamie Sowers both hilarious as an alleged survey taker and his housewife prey...
'Americana' delves into human relationships
Jason Sutton & Jamie Sowers
By Angela Matcher
ORANGE COUNTY NEWS & WESTMINSTER JOURNAL
Published July 11th, 2013
Act III, "No Salesman Will Call" is a shining example of the "hard sell" before you know what hit you. This hilarious vignette is worth the price of admission and is magnificently performed by Jamie Sowers (very Molly Shannon-esque) as Sandra and charismatic Jason Sutton as Willoughby....
ORANGE COUNTY NEWS & WESTMINSTER JOURNAL
Published July 11th, 2013
Act III, "No Salesman Will Call" is a shining example of the "hard sell" before you know what hit you. This hilarious vignette is worth the price of admission and is magnificently performed by Jamie Sowers (very Molly Shannon-esque) as Sandra and charismatic Jason Sutton as Willoughby....
Three Delicious Staged Pieces of "Americana" at Stages Theatre
Jason Sutton & Jamie Sowers
By Marc Rosier
OC THEATRE REVIEWS!
Published: July 6th, 2013
The final one act on the evening's itinerary titled "No Salesman Will Call" centers around Sandra (Jamie Sowers) a ridiculously engaging married housewife who spends a great deal of time and money on the purchase of junk consumer items without having to leave her home. A knock on the door brings Willoughby, played with a subtle and understated magnetism by Jason Sutton, who claims to not be a salesman but soon gains entry into her house and proceeds to ask her a series of questions regarding her spending habits. With the revelations of her many a purchased product we learn much about Sandra and she learns that with technological advancements that make acquiring consumer products to one's heart contentment easier, an invasive price may be paid. "No Salesman Will Call" is a delightful commentary on consumerism in a technologically dominated modern day society.
OC THEATRE REVIEWS!
Published: July 6th, 2013
The final one act on the evening's itinerary titled "No Salesman Will Call" centers around Sandra (Jamie Sowers) a ridiculously engaging married housewife who spends a great deal of time and money on the purchase of junk consumer items without having to leave her home. A knock on the door brings Willoughby, played with a subtle and understated magnetism by Jason Sutton, who claims to not be a salesman but soon gains entry into her house and proceeds to ask her a series of questions regarding her spending habits. With the revelations of her many a purchased product we learn much about Sandra and she learns that with technological advancements that make acquiring consumer products to one's heart contentment easier, an invasive price may be paid. "No Salesman Will Call" is a delightful commentary on consumerism in a technologically dominated modern day society.
Shakespeare Academics Prove They Can Act Well Too
John William Curtis & Jamie Sowers
By Sandy Holt
STRATFORD-UPON-AVON HERALD
Published: July 26th, 2012
IT is often painstaking to watch a production of one of Shakespeare’s plays done by an amateur group—they are often far too long and lose all the nuances of the great poet’s work, and after all we do have the Royal Shakespeare Company on our doorstep to show us (usually) how it should be done.
But not so the Shakespeare Institute Players, who pulled off, from what I’ve seen, its best performance to date when the company staged As You Like It at the institute at the weekend.
You would expect Shakespeare scholars to understand the themes of the Bard’s work, so usually a good interpretation follows, sometimes lacking in artistic flare.
However, director Beth Roznowski made this play “more sweet” with the introduction of simple, yet versatile staging, a strong cast and wonderful musical interludes.
From the start, even before the play began, music echoed around the hall setting the scene for what was to come. Two back panels, which quickly changed from court to forest, provided the back drop for the ensemble, whose performances were exemplary throughout.
Jamie Sowers provided a convincing Rosalind who worked well with a strongly cast Cecilia Kendall White as Celia. These two offered the audience just the right balance of heroine, quaintness, determination and grace.
Charlie Morton’s geekish Orlando was a treat, one could almost feel the bond he had with his dead father and he oozed chivalry and romance, and Jose Alberto Perez Diez did a sterling job creating two opposite characters while playing both Duke Senior and Duke Frederick.
But the two stars of the show were Peter Malin and John Curtis as Jaques and Touchstone respectively. These two key characters both sparred magnificently as they mock the court and what it stands for.
Mr Malin (who also doubled up reading the role of Le Beau) was comically satirical as the melancholy Jacques and Mr Curtis gave tears-in-the-eyes humour as the superhero fool.
Finally, this production would not have been such a hit without the talented musicianship of Jen Waghorn, a newcomer to the players, who will no doubt prove to be a shining star in future productions.
STRATFORD-UPON-AVON HERALD
Published: July 26th, 2012
IT is often painstaking to watch a production of one of Shakespeare’s plays done by an amateur group—they are often far too long and lose all the nuances of the great poet’s work, and after all we do have the Royal Shakespeare Company on our doorstep to show us (usually) how it should be done.
But not so the Shakespeare Institute Players, who pulled off, from what I’ve seen, its best performance to date when the company staged As You Like It at the institute at the weekend.
You would expect Shakespeare scholars to understand the themes of the Bard’s work, so usually a good interpretation follows, sometimes lacking in artistic flare.
However, director Beth Roznowski made this play “more sweet” with the introduction of simple, yet versatile staging, a strong cast and wonderful musical interludes.
From the start, even before the play began, music echoed around the hall setting the scene for what was to come. Two back panels, which quickly changed from court to forest, provided the back drop for the ensemble, whose performances were exemplary throughout.
Jamie Sowers provided a convincing Rosalind who worked well with a strongly cast Cecilia Kendall White as Celia. These two offered the audience just the right balance of heroine, quaintness, determination and grace.
Charlie Morton’s geekish Orlando was a treat, one could almost feel the bond he had with his dead father and he oozed chivalry and romance, and Jose Alberto Perez Diez did a sterling job creating two opposite characters while playing both Duke Senior and Duke Frederick.
But the two stars of the show were Peter Malin and John Curtis as Jaques and Touchstone respectively. These two key characters both sparred magnificently as they mock the court and what it stands for.
Mr Malin (who also doubled up reading the role of Le Beau) was comically satirical as the melancholy Jacques and Mr Curtis gave tears-in-the-eyes humour as the superhero fool.
Finally, this production would not have been such a hit without the talented musicianship of Jen Waghorn, a newcomer to the players, who will no doubt prove to be a shining star in future productions.
Rosencrantz and Guildenstern are a Charming Double Act!
Jamie Sowers & Charlie Morton
By Sandy Holt
STRATFORD-UPON-AVON HERALD
Published: February 17th, 2012
Charlie Morton as the love-struck Rosencrantz, desperate for Ophelia's (Helen Osbourne) attentions, and Jamie Sowers' Guildenstern gave a charming double act as they worked together very much in the style of Mulder and Scully from television's popular 1990s sci-fi series X-Files, trying to determine what unexplained forces were causing Hamlet's distress.
STRATFORD-UPON-AVON HERALD
Published: February 17th, 2012
Charlie Morton as the love-struck Rosencrantz, desperate for Ophelia's (Helen Osbourne) attentions, and Jamie Sowers' Guildenstern gave a charming double act as they worked together very much in the style of Mulder and Scully from television's popular 1990s sci-fi series X-Files, trying to determine what unexplained forces were causing Hamlet's distress.
Playing Outside the Box at Write Act
By Bonnie Priever
THE TOLUCAN TIMES
Published: May 12, 2011
The final scene, Chili Con Carnage, by Ann L. Gibbs, starring Nancy Lantis and Jamie Sowers, is like Sweeney Todd, done Southern style. Rickie Jean (Sowers) keeps talking about putting animals and people in her recipes; meanwhile she’s almost eviscerated by her abusive husband. Her vixen Hollywood mom (Lantis) is all primped up and pouty, while her daughter (Sowers) looks like a ragged, battered piece of toast — hard to believe they are flesh and blood.
Overall, these one-acts are poignant portrayals of attempted love, and family relations. The choice of music and lyrics was perfectly chosen to fit each theme. Playwright, actress and publicist Marina Palmier is an amazing explosion of theatrical brilliance.
THE TOLUCAN TIMES
Published: May 12, 2011
The final scene, Chili Con Carnage, by Ann L. Gibbs, starring Nancy Lantis and Jamie Sowers, is like Sweeney Todd, done Southern style. Rickie Jean (Sowers) keeps talking about putting animals and people in her recipes; meanwhile she’s almost eviscerated by her abusive husband. Her vixen Hollywood mom (Lantis) is all primped up and pouty, while her daughter (Sowers) looks like a ragged, battered piece of toast — hard to believe they are flesh and blood.
Overall, these one-acts are poignant portrayals of attempted love, and family relations. The choice of music and lyrics was perfectly chosen to fit each theme. Playwright, actress and publicist Marina Palmier is an amazing explosion of theatrical brilliance.
Play in Santa Ana chronicles gay 14th century king
Jamie Sowers & Katherine Curci (Prenovost)
By Eric Marchese
ORANGE COUNTY REGISTER
Published: May 24, 2010
Unlike Shakespeare's dense monarch histories, "Edward II" is sparsely populated. TO's staging uses just eight actors – the principals and a second quartet who fill all remaining roles. Of these, only Jamie Sowers has her moments as the king's hapless niece, whom Edward orders to marry Gaveston in a ploy to establish his lover's legitimacy.
ORANGE COUNTY REGISTER
Published: May 24, 2010
Unlike Shakespeare's dense monarch histories, "Edward II" is sparsely populated. TO's staging uses just eight actors – the principals and a second quartet who fill all remaining roles. Of these, only Jamie Sowers has her moments as the king's hapless niece, whom Edward orders to marry Gaveston in a ploy to establish his lover's legitimacy.
Charming and polished, 'Almost, Maine' shines in Whittier
Jamie Sowers as Sandrine in 'Almost, Maine'
By Frances Baum Nicholson Correspondent
WHITTIER DAILY NEWS / SGV Tribune / PASADENA STAR NEWS
Published: February 25th, 2010
The solid ensemble of Cruz Castillo, Jamie Sowers, Matt Pick and Jennie Silva-Villa play the broad spectrum of the denizens of Almost. The excellence is everywhere, especially in Castillo's patient young man sitting in the cold with a snowball, or gloomy bar denizen, and in Pick's blustery (and apparently smelly) bumpkin, disillusioned by the dating scene.
Similar polish is available in Silva-Villa's never-been-kissed tough girl, and Sowers' wistful city woman hoping to make up for lost time. These and other characters, and their gently adult emotional conundrums, keep audience attention and make the comparatively short play zip by.
WHITTIER DAILY NEWS / SGV Tribune / PASADENA STAR NEWS
Published: February 25th, 2010
The solid ensemble of Cruz Castillo, Jamie Sowers, Matt Pick and Jennie Silva-Villa play the broad spectrum of the denizens of Almost. The excellence is everywhere, especially in Castillo's patient young man sitting in the cold with a snowball, or gloomy bar denizen, and in Pick's blustery (and apparently smelly) bumpkin, disillusioned by the dating scene.
Similar polish is available in Silva-Villa's never-been-kissed tough girl, and Sowers' wistful city woman hoping to make up for lost time. These and other characters, and their gently adult emotional conundrums, keep audience attention and make the comparatively short play zip by.
'Almost Maine' completes expectations
Cruz Castillo & Jamie Sowers
By Ashliee DeLaCruz
EL PASO ISSUE in Entertainment
Published: February 26th, 2010
Cruz and Jamie are an amazing duo as their emotions as a couple really persuades you that the arguments and affection is true.
EL PASO ISSUE in Entertainment
Published: February 26th, 2010
Cruz and Jamie are an amazing duo as their emotions as a couple really persuades you that the arguments and affection is true.
"Radio Hour" Cures Holiday Blues
Jamie Sowers as Peggy Beaudette
By James Scarborough
GRUNION GAZETTE
Published: December 23rd, 2009
A play about pending layoffs as a radio station makes way for this newfangled thing called television might seem like an odd holiday staging choice, but in the hands of Andrew Vonderschmitt, it becomes the perfect medicine for the characters’ — and our — holiday blues.
Written by Alex Golson and the OCC Repertory, performed at the Long Beach Playhouse’s Mainstage Theatre, “Lutz Radio Hour” is set at Christmas Eve 1947 in Hollywood.
Tim Forsyth plays Mr. Lutz, whose sponsorship requires the hosts and personalities to hawk all sorts of his household goods. He’s not really into radio as an art form; if he can make more money with a TV show, then so be it.
The cast knows the end is near. Do they make this the best radio hour ever? Do they torpedo it out of spite?
Neither.
In spite of themselves, they make it the funniest sign-off show imaginable.
Cue a calamitous cacophony of chaos, all of which occur, live, on air, in the station’s broadcast room.
At the heart of this radio riot are personality clashes fueled by ego, desperation because of uncertain futures and, yes, a lot of holiday spirits. Skip Blas is Orson Heller, the pompous lead. Stately, not a little full of himself, and used to having his way, he’s at odds with Mitchell Nunn’s William Lasoulle, who does the sound effects. Lasoulle is cheeky and bitter, a lethal combination, given the circumstances.
David Cramer is Rudolph Mandrake, a divo (a male diva). He croons songs that the likes of Elvis Presley were about to blast into the stratosphere, but that doesn’t stop him from strutting about the station like a prince.
There’s effective support from Avery Grant (Michelle Murphy), Heller’s mistress, Bob Fetes, the Director who tries with unintended success to make the show look telegenic so to impress TV bigwigs in the audience, and Anna Kate Mohler’s Honey Lou Carmichael, who dressed up like a cowgirl and sang fantastically funny home on the range songs.
One way or another, you relate to all of the characters not so much for their getting laid off at Christmas but because the harder each tries to hold their act together, the more comically things go awry.
Avery isn’t one of the main characters, but to watch Murphy scurry around the stage trying to place the wired microphone in front of whoever’s talking is a joy to behold. You could spend the entire evening watching Nunn’s Lasoulle give the various skits and commercials the right sound effects as he slowly, hilariously loses his mind. Kohler’s Honey Lou is exquisite as the western singer whose face beams radiance while everything disintegrates around her.
And, chaos-wise, Kalindra Gray’s Sugar Faye is priceless as the increasingly drunk singer who spends most of the second act tossing the pages of “A Christmas Carol” script around the room, prompting one of the most insane, improvised renditions of the holiday classic you’ll ever see.
GRUNION GAZETTE
Published: December 23rd, 2009
A play about pending layoffs as a radio station makes way for this newfangled thing called television might seem like an odd holiday staging choice, but in the hands of Andrew Vonderschmitt, it becomes the perfect medicine for the characters’ — and our — holiday blues.
Written by Alex Golson and the OCC Repertory, performed at the Long Beach Playhouse’s Mainstage Theatre, “Lutz Radio Hour” is set at Christmas Eve 1947 in Hollywood.
Tim Forsyth plays Mr. Lutz, whose sponsorship requires the hosts and personalities to hawk all sorts of his household goods. He’s not really into radio as an art form; if he can make more money with a TV show, then so be it.
The cast knows the end is near. Do they make this the best radio hour ever? Do they torpedo it out of spite?
Neither.
In spite of themselves, they make it the funniest sign-off show imaginable.
Cue a calamitous cacophony of chaos, all of which occur, live, on air, in the station’s broadcast room.
At the heart of this radio riot are personality clashes fueled by ego, desperation because of uncertain futures and, yes, a lot of holiday spirits. Skip Blas is Orson Heller, the pompous lead. Stately, not a little full of himself, and used to having his way, he’s at odds with Mitchell Nunn’s William Lasoulle, who does the sound effects. Lasoulle is cheeky and bitter, a lethal combination, given the circumstances.
David Cramer is Rudolph Mandrake, a divo (a male diva). He croons songs that the likes of Elvis Presley were about to blast into the stratosphere, but that doesn’t stop him from strutting about the station like a prince.
There’s effective support from Avery Grant (Michelle Murphy), Heller’s mistress, Bob Fetes, the Director who tries with unintended success to make the show look telegenic so to impress TV bigwigs in the audience, and Anna Kate Mohler’s Honey Lou Carmichael, who dressed up like a cowgirl and sang fantastically funny home on the range songs.
One way or another, you relate to all of the characters not so much for their getting laid off at Christmas but because the harder each tries to hold their act together, the more comically things go awry.
Avery isn’t one of the main characters, but to watch Murphy scurry around the stage trying to place the wired microphone in front of whoever’s talking is a joy to behold. You could spend the entire evening watching Nunn’s Lasoulle give the various skits and commercials the right sound effects as he slowly, hilariously loses his mind. Kohler’s Honey Lou is exquisite as the western singer whose face beams radiance while everything disintegrates around her.
And, chaos-wise, Kalindra Gray’s Sugar Faye is priceless as the increasingly drunk singer who spends most of the second act tossing the pages of “A Christmas Carol” script around the room, prompting one of the most insane, improvised renditions of the holiday classic you’ll ever see.
Nostalgia comes alive in 'Lutz Radio Hour'
Jamie Sowers as Peggy Beaudette
By Joe Segura Staff Writer
LONG BEACH PRESS TELEGRAM
Published: 12 December 2009
Radio's waning heyday - a time when the broadcast medium linked people to the world - comes alive in "Lutz Radio Hour."
The play, by Alex Golson and the OCC Repertory Theatre Company of Orange Coast College, is being staged at the Long Beach Playhouse Mainstage Theatre through Dec. 27.
Set in the Lutz radio station in Los Angeles in 1947, the play provides a nostalgic return to the hectic live world of radio - the theater of voice and imagination.
It's Christmas Eve, and the station crew gets the chilling news that this will be their last performance - unless they can convince some visiting producers to pick up the show for television.
The play is about the crew's response to the challenge.
Long Beach Playhouse artistic director Andrew Vonderschmitt directs this production, while providing the scenic and lighting design. Sound design is by Sean Gray and costumes are by Donna Fritsche.
Skip Blas (as Orson Heller) and Mitchell Nunn (as William Lasoulle) head up an energetic cast, which also includes Michelle Murphy, Bob Fetes, Tim Forsyth, Derek Bulger, Dolores Kimble, Scott T. Finn, Jamie Sowers, Anna Kate Mohler, Kalinda Gray and David Cramer.
There's also plenty of audience participation - with theatergoers playing the role of a live-show audience, faithfully following directions of flashed "Applause" and "Laugh" signs.
"Lutz Radio Hour" sparks the imagination with sound effects, radio commercials and a mix of laughs and drama - like the real McCoy. It is tailored for the entire family, with a touch of the excitement of being in a radio show audience.
The measure of the play's success, one might conclude, is that it ends with one wanting more.
LONG BEACH PRESS TELEGRAM
Published: 12 December 2009
Radio's waning heyday - a time when the broadcast medium linked people to the world - comes alive in "Lutz Radio Hour."
The play, by Alex Golson and the OCC Repertory Theatre Company of Orange Coast College, is being staged at the Long Beach Playhouse Mainstage Theatre through Dec. 27.
Set in the Lutz radio station in Los Angeles in 1947, the play provides a nostalgic return to the hectic live world of radio - the theater of voice and imagination.
It's Christmas Eve, and the station crew gets the chilling news that this will be their last performance - unless they can convince some visiting producers to pick up the show for television.
The play is about the crew's response to the challenge.
Long Beach Playhouse artistic director Andrew Vonderschmitt directs this production, while providing the scenic and lighting design. Sound design is by Sean Gray and costumes are by Donna Fritsche.
Skip Blas (as Orson Heller) and Mitchell Nunn (as William Lasoulle) head up an energetic cast, which also includes Michelle Murphy, Bob Fetes, Tim Forsyth, Derek Bulger, Dolores Kimble, Scott T. Finn, Jamie Sowers, Anna Kate Mohler, Kalinda Gray and David Cramer.
There's also plenty of audience participation - with theatergoers playing the role of a live-show audience, faithfully following directions of flashed "Applause" and "Laugh" signs.
"Lutz Radio Hour" sparks the imagination with sound effects, radio commercials and a mix of laughs and drama - like the real McCoy. It is tailored for the entire family, with a touch of the excitement of being in a radio show audience.
The measure of the play's success, one might conclude, is that it ends with one wanting more.
5th Annual Redlands Shakespeare Festival
Ron Milts, Jamie Sowers, & Nick Zaharopoulos
RSF PRESS RELEASE
Published: April 17th, 2009
Actress Jamie Sowers of Long Beach returns for her second year with the festival after portraying Viola in last season’s production of “Twelfth Night,” as well as a witch in “Macbeth,” and several roles in “Antony and Cleopatra.” This season she will continue her position as a leading lady in the role of Isabella in “Measure For Measure.” She will also portray the ethereal spirit, Ariel, in “The Tempest.”
Sowers is a graduate of Chapman University with a bachelor’s degree in theatre performance. She is a veteran Shakespearean actress who has performed in productions of “The Taming of the Shrew,” “Two Gentlemen of Verona,” “The Winter’s Tale,” “The Merchant of Venice,” and “Love’s Labours Lost.” She has performed at the Wilshire Theater, the Rose Center Theatre, and the Milliken Theatre, among others.
“Jamie Sowers is a consummate professional and joy to work with. We are thrilled that she has returned for her second year as a company member,” said Steven Sabel.
Published: April 17th, 2009
Actress Jamie Sowers of Long Beach returns for her second year with the festival after portraying Viola in last season’s production of “Twelfth Night,” as well as a witch in “Macbeth,” and several roles in “Antony and Cleopatra.” This season she will continue her position as a leading lady in the role of Isabella in “Measure For Measure.” She will also portray the ethereal spirit, Ariel, in “The Tempest.”
Sowers is a graduate of Chapman University with a bachelor’s degree in theatre performance. She is a veteran Shakespearean actress who has performed in productions of “The Taming of the Shrew,” “Two Gentlemen of Verona,” “The Winter’s Tale,” “The Merchant of Venice,” and “Love’s Labours Lost.” She has performed at the Wilshire Theater, the Rose Center Theatre, and the Milliken Theatre, among others.
“Jamie Sowers is a consummate professional and joy to work with. We are thrilled that she has returned for her second year as a company member,” said Steven Sabel.
'Season of Power' ready to roll at the Redlands Bowl
Jamie Sowers as Witch 3
By Michel Nolan, Staff Writer
THE SUN
Article Launched: 05/06/2008 07:39:12 PM PDT
New to the festival is Jamie Sowers, who comes to Redlands from the theater department at Chapman University. "This play is high physical comedy - I crack myself up," Sowers said of "Twelfth Night," the comedic tale of mistaken identity in the mysterious land of Illyria. She will join veteran character actor Bill Greeley, who portrays Sir Toby Belch. Sowers also stirs up a mean cauldron as one of the "double double, toil and trouble" witches in "Macbeth."
THE SUN
Article Launched: 05/06/2008 07:39:12 PM PDT
New to the festival is Jamie Sowers, who comes to Redlands from the theater department at Chapman University. "This play is high physical comedy - I crack myself up," Sowers said of "Twelfth Night," the comedic tale of mistaken identity in the mysterious land of Illyria. She will join veteran character actor Bill Greeley, who portrays Sir Toby Belch. Sowers also stirs up a mean cauldron as one of the "double double, toil and trouble" witches in "Macbeth."
La Habra Residents Cast in Murder Mystery Drama
Jerad Callen & Jamie Sowers
By Andy Nagle
LHD PRESS RELEASE
Published: December 21st, 2007
La Habra residents Jamie Sowers, Todd Rew and Jennifer Rieu have been cast in
the La Habra Depot Theatre's production of Rehearsal for Murder. The drama runs
from January 18 – February 10, 2008. The play is directed by Philip Brickey.
Jamie has been cast in the lead role of Monica Welles, a rising Broadway star
who was murdered in this modern whodunit. Suspicious of the circumstances
surrounding her death, her fiancé creates a new play as part of a scheme to
flush out the killer. A series of reenactments and flashbacks reveal clues,
establish motives, and provide alibis – all set in a dark, ominous theatre. No
stranger to the stage, Jamie who lives in La Habra Heights, has appeared in more
than 20 productions. Her favorite roles include Frenchy in Grease, Peggy in The
Women, and Dion in The Winter's Tale. She is a senior at Chapman University,
majoring in Theatre Performance. She graduated from the Academy of Academic Arts
at Fullerton High School...
"Not only will the show keep you guessing until the very end, but you will have a mysterious and unforgettable night at the theatre that will leave you wanting more," added Jamie.
LHD PRESS RELEASE
Published: December 21st, 2007
La Habra residents Jamie Sowers, Todd Rew and Jennifer Rieu have been cast in
the La Habra Depot Theatre's production of Rehearsal for Murder. The drama runs
from January 18 – February 10, 2008. The play is directed by Philip Brickey.
Jamie has been cast in the lead role of Monica Welles, a rising Broadway star
who was murdered in this modern whodunit. Suspicious of the circumstances
surrounding her death, her fiancé creates a new play as part of a scheme to
flush out the killer. A series of reenactments and flashbacks reveal clues,
establish motives, and provide alibis – all set in a dark, ominous theatre. No
stranger to the stage, Jamie who lives in La Habra Heights, has appeared in more
than 20 productions. Her favorite roles include Frenchy in Grease, Peggy in The
Women, and Dion in The Winter's Tale. She is a senior at Chapman University,
majoring in Theatre Performance. She graduated from the Academy of Academic Arts
at Fullerton High School...
"Not only will the show keep you guessing until the very end, but you will have a mysterious and unforgettable night at the theatre that will leave you wanting more," added Jamie.
A slapstick-heavy 'Shrew'
The Taming of the Shrew, SOC 2007
The Taming of the Shrew, SOC 2007
Review: Set in 1948, Shakespeare Orange County piles on the physical comedy for an uproarious evening.
By Eric Marchese; Special to the OCR
ORANGE COUNTY REGISTER
Published: July 17th, 2007
Among the most popular of Shakespeare's comedies, there seems little Shakespeare Orange County could do with "The Taming of the Shrew" to make it fresh and new for audiences who have likely seen previous stagings.
Changing the play's setting isn't an especially original idea. In fact, it's overused with respect to the Bard's many works. But in this case, moving the action from the Italy of Shakespeare's time to that of the postwar years – specifically, 1948 – is an inspired concept on the part of director Carl Reggiardo.
Within the context of that time and place and the action of the play, Reggiardo gives his actors license to slap one another silly. They also punch, gouge, bite, poke, strangle, kick, pinch and choke, turning a balmy evening of under-the-stars theater into a slapstick slugfest.
You might actually term it "slappy shtick," and the effect it has on one of the most famous battle-of-the-sexes comedies is electrifying. Without going over the top, Reggiardo's cast pushes the physical aspects of "Shrew" to their logical limits, creating an uproariously funny evening in the process. And yet, the horseplay is good-natured, never mean-spirited.
Kathryn Wilson's costumes creating a studied look of stylishly casual elegance, and seeing the characters in more-or-less contemporary as opposed to Elizabethan garb somehow makes their savagery easier to relate to. The fashions of the mid-20th century aren't terribly different from those of today, reminding us of universal themes expounded upon by Shakespeare.
For the uninitiated, "Shrew" depicts wealthy Paduan Baptista's (John-Frederick Jones) decision to refrain from allowing his comely daughter Bianca (Stephanie Robinson) from marrying until her older sister, the merciless scold Katherine (Katie Amanda Keane), is first married. Enter Petruchio (David Denman), a hale and hearty fellow from Verona, who's up for a challenge – and who'd love to get his hands on the sizable dowry – and the battle is on.
Denman, who has the recurring role of Roy on TV's "The Office," is a physically imposing actor who plays Petruchio as a mixture of unruly youngster and loud, devil-may-care adventurer. His Petruchio has a razor-sharp wit to match with Katherine's insults, and he's smart enough to mask his romantic ardor until her too-high spirits can be broken.
Denman can sit casually, chomping on an apple, enjoying the mayhem around him or, clearly avaricious, licking his lips at the prospect of marrying into wealth. He teases and mocks Kate while wooing her with the macho of Russell Crowe and the light comic style of Cary Grant, and with his Dickensian servants corps, he's peevish and scowling.
The willowy, auburn-haired Keane may not at first appear a Kate who can stand up to Denman's Petruchio. Using broad comedic gestures and explosions of ill temper, she creates a frosty, formidable shrew less the classic portrayal of a hellcat than a spoiled heiress – a high-strung neurotic, albeit of the most dangerous kind. Keane's depth makes credible Kate's transformation from explosive scold to a warm, loyal, dignified wife.
Reggiardo's staging has plenty of high points, including Petruchio's first encounter with Katherine, a sustained battle that combines verbal jousting with wrestling match, and Petruchio's late arrival to his own wedding in leather coat, aviator cap and goggles, riding a grease-soaked motorcycle.
All-around, the performances are finely tuned to Reggiardo's vision. Robinson is of shorter stature than Keane, with longer hair, a sweet, agreeable persona and a comic side that has touches of Megan Mullalley. Her Bianca is paired with John DiAntonio's slim, earnest Lucentio, a dandy with a light Italian accent who wears a white hat and two-tone shoes.
Jeremy Schaeg's "Licio" (Hortensio in disguise) is a hot-blooded, demented little Italian. Edgar Landa's Grumio is a smart-alecky little guy who bears the brunt of Petruchio's fits of temper. As Tranio, Neil Moutrey gets laughs with his eccentric, forced erudition, and Jones' Baptista has the deadpan style of Jack Benny.Shing Yin Kor's multi-level scenic design give the cast plenty of doors, windows, stairs and landings to use as props for their comedic antics.
Freelance writer Eric Marchese has covered entertainment for the Register since 1984.
Review: Set in 1948, Shakespeare Orange County piles on the physical comedy for an uproarious evening.
By Eric Marchese; Special to the OCR
ORANGE COUNTY REGISTER
Published: July 17th, 2007
Among the most popular of Shakespeare's comedies, there seems little Shakespeare Orange County could do with "The Taming of the Shrew" to make it fresh and new for audiences who have likely seen previous stagings.
Changing the play's setting isn't an especially original idea. In fact, it's overused with respect to the Bard's many works. But in this case, moving the action from the Italy of Shakespeare's time to that of the postwar years – specifically, 1948 – is an inspired concept on the part of director Carl Reggiardo.
Within the context of that time and place and the action of the play, Reggiardo gives his actors license to slap one another silly. They also punch, gouge, bite, poke, strangle, kick, pinch and choke, turning a balmy evening of under-the-stars theater into a slapstick slugfest.
You might actually term it "slappy shtick," and the effect it has on one of the most famous battle-of-the-sexes comedies is electrifying. Without going over the top, Reggiardo's cast pushes the physical aspects of "Shrew" to their logical limits, creating an uproariously funny evening in the process. And yet, the horseplay is good-natured, never mean-spirited.
Kathryn Wilson's costumes creating a studied look of stylishly casual elegance, and seeing the characters in more-or-less contemporary as opposed to Elizabethan garb somehow makes their savagery easier to relate to. The fashions of the mid-20th century aren't terribly different from those of today, reminding us of universal themes expounded upon by Shakespeare.
For the uninitiated, "Shrew" depicts wealthy Paduan Baptista's (John-Frederick Jones) decision to refrain from allowing his comely daughter Bianca (Stephanie Robinson) from marrying until her older sister, the merciless scold Katherine (Katie Amanda Keane), is first married. Enter Petruchio (David Denman), a hale and hearty fellow from Verona, who's up for a challenge – and who'd love to get his hands on the sizable dowry – and the battle is on.
Denman, who has the recurring role of Roy on TV's "The Office," is a physically imposing actor who plays Petruchio as a mixture of unruly youngster and loud, devil-may-care adventurer. His Petruchio has a razor-sharp wit to match with Katherine's insults, and he's smart enough to mask his romantic ardor until her too-high spirits can be broken.
Denman can sit casually, chomping on an apple, enjoying the mayhem around him or, clearly avaricious, licking his lips at the prospect of marrying into wealth. He teases and mocks Kate while wooing her with the macho of Russell Crowe and the light comic style of Cary Grant, and with his Dickensian servants corps, he's peevish and scowling.
The willowy, auburn-haired Keane may not at first appear a Kate who can stand up to Denman's Petruchio. Using broad comedic gestures and explosions of ill temper, she creates a frosty, formidable shrew less the classic portrayal of a hellcat than a spoiled heiress – a high-strung neurotic, albeit of the most dangerous kind. Keane's depth makes credible Kate's transformation from explosive scold to a warm, loyal, dignified wife.
Reggiardo's staging has plenty of high points, including Petruchio's first encounter with Katherine, a sustained battle that combines verbal jousting with wrestling match, and Petruchio's late arrival to his own wedding in leather coat, aviator cap and goggles, riding a grease-soaked motorcycle.
All-around, the performances are finely tuned to Reggiardo's vision. Robinson is of shorter stature than Keane, with longer hair, a sweet, agreeable persona and a comic side that has touches of Megan Mullalley. Her Bianca is paired with John DiAntonio's slim, earnest Lucentio, a dandy with a light Italian accent who wears a white hat and two-tone shoes.
Jeremy Schaeg's "Licio" (Hortensio in disguise) is a hot-blooded, demented little Italian. Edgar Landa's Grumio is a smart-alecky little guy who bears the brunt of Petruchio's fits of temper. As Tranio, Neil Moutrey gets laughs with his eccentric, forced erudition, and Jones' Baptista has the deadpan style of Jack Benny.Shing Yin Kor's multi-level scenic design give the cast plenty of doors, windows, stairs and landings to use as props for their comedic antics.
Freelance writer Eric Marchese has covered entertainment for the Register since 1984.
