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Yahoo
23-07-2025
- Entertainment
- Yahoo
Stage Notes in shipshape for 'Anything Goes' this weekend
Jul. 22—WATERTOWN — When the classical musical comedy "Anything Goes" was updated for contemporary sensibilities three years ago, Stage Notes founder Ticia K. Aumell, and her husband and co-director Kyle Aumell, knew they had to launch it one day. "We knew it was just a matter of time before Stage Notes would add it to our list of productions," Ticia said. "We have the largest group of students we have ever had, so a big musical with lots of roles and an ensemble fits us this year." Stage Notes will present "Anything Goes" Thursday, Friday and Saturday at the Dulles State Office Building auditorium. "Anything Goes" premiered on Broadway on Nov. 21, 1934, at the Alvin Theatre, where it ran for 420 performances, becoming the fourth longest-running musical of the 1930s. The music and lyrics are by Cole Porter. The original book was by P.G. Wodehouse, Guy Bolton, Howard Lindsay & Russel Crouse. The book was revised by Timothy Crouse and John Weidman. "Anything Goes" is a musical set aboard the ocean liner S.S. American, where nightclub singer Reno Sweeney is traveling from New York to England. Her friend Billy Crocker stows away to be near his love, Hope Harcourt, who is engaged to the wealthy Lord Evelyn Oakleigh. The story unfolds with a series of romantic escapades, misunderstandings and comedic antics among the eccentric passengers, culminating in a lively and entertaining journey filled with Cole Porter's classic songs, such as "You're the Top," "It's De-Lovely," "Anything Goes" and "I Get a Kick Out of You." Stage Notes has 31 students in the production, representing eight different high schools: Alexandria Bay, General Brown, LaFargeville, Liberty University online, Lowville, Lyme, South Jefferson and Watertown. Proceeds from "Anything Goes" will support the David Simmons Scholarship Fund through the Northern New York Community Foundation. The scholarship supports students from Jefferson County who participated in the performing arts during high school. "In this way, it will help extend the support and encouragement David shared with arts and theater students during his life," Ticia said. "The first scholarships will be awarded this year, with recipients being announced soon." Simmons, known for teaching self-worth and confidence, died in September 2023 at the age of 60. The self-taught, volunteer choreographer began a 26-year, 50-show relationship with Watertown High School and its Select Choir in the fall of 1988 with a production of "Guys & Dolls." He also shared his choreography skills with Stage Notes, He's credited with raising Stage Notes to a "triple arts program" — offering training that combined the disciplines of acting, singing and dancing. 'pivotal' performances Stage Notes is a nonprofit youth theater group for exceptional theater students founded in 2009 by Ticia. Proceeds from its shows have allowed the nonprofit to donate thousands of dollars to local community groups. The organization's motto is "Performance With a Purpose," and the benefits it brings to its performers also go well beyond the stage. For example, Mia Mouaikel, who graduated in June from South Jefferson Central School, plays main character Reno Sweeney in "Anything Goes." This will be the fourth Stage Notes show for Mouaikel, daughter of Cyril and Dr. Marlene Mouaikel. "The experience has been great for my leadership skills, and I've brought in a lot of those skills to other areas of life, like the clubs I'm in and organizations that I'm a part of," Mouaikel said. "It's also taught me a lot about just being a team member. It's great to work with a large group of people from different age groups and to collaborate. It's definitely helped me with every aspect of my life throughout high school. It's been very pivotal." In the fall, Mouaikel will attend Cornell University, Ithaca, to major in biology. "I will also be pursing a theater minor," she said. Mouaikel's character, Reno, is a charismatic nightclub singer and former evangelist. Reno is clever, funny, persuasive and extremely confident. "It's very comedic," Mouaikel said of "Anything Goes." "Pretty much every scene, including the songs and dances, are full of comedy and very witty jokes." Shipbuilding The set for this year's musical is a "big build," Ticia explained. "Our team is very excited. They are building the deck of the S.S American on the stage. Each production brings its own needs. For 'Guys and Dolls' we used backdrops with set pieces to enhance the scenes. Last year, for 'The Prom,' it was the first time that we delved into the world of projections, while also having set pieces to add to the scenes. This year, we are excited to be building a static set after several years of smaller set pieces." The Stage Notes Orchestra returns for the show. It's made up of professional musicians, music educators, Stage Notes alumni and exceptional high school musicians. Andrea Wischerath, a recently retired instrumental music teacher from Watertown High School, coordinates the orchestra. Josh Marra, Stage Notes alum from 2022 (middle son to Ticia and Kyle), returns this summer as "Anything Goes" choreographer. He is studying television and film arts at Buffalo State University. Guest choreographer is Lisa Boulter. "Lisa has been teaching the students how to tap dance and helping with the big dance numbers in the show," Ticia said. "It's been a thrill to be working with her. Lisa choreographed 'Anything Goes' at Watertown High School for Russ Faunce back in 1987, with Kyle and I both in the production." A few years later, Boulter starred as Reno Sweeney in a Watertown Lyric Theater production of "Anything Goes." "I was one of her Angels (backup singers)," Ticia said. "Kyle and I couldn't do this show without Lisa involved. 'Anything Goes' and Lisa go hand in hand in our hearts. It's a thrill to have her working with our students and on our team this year." Collin Zehr, vocal music teacher at Thousand Islands Central, is new to the Stage Notes production team this year. "He brings refreshing, youthful energy and ideas to Stage Notes," Ticia said. "Just one of many examples is that he appointed three social media ambassadors to help with our marketing of the show. It's fun to watch the students engage with Mr. Zehr and to watch him support their ideas on how to make their peers interested in what we are doing." nonprofit mission Stage Notes shows are held at the Dulles State Office Building auditorium. However, increasing rental fees by the state for use of the space has hampered what Stage Notes can give back to the community. For example, in 2023, Stage Notes paid $1,641 to use the theater for rehearsals and show weekend for "Guys and Dolls." Last summer, the nonprofit paid the state $5,641 and used the building for less time than the previous year for its "The Prom" musical. "Stage Notes students are fortunate to have amazing supporters who value it, not only for the entertainment we bring to our community, but also the education in theater and philanthropy that is the cornerstone of our organization," Ticia said. She said that Stage Notes students are obligated to fundraise, as they learn the challenges of financially supporting a nonprofit organization and advocating for the arts. "The annual sponsorship campaign is our biggest fundraiser, and this year our students raised over $32,000 for our budget," Ticia said. "Stage Notes is incredibly fortunate to have a community that chooses to support our students and our mission, as we receive no other outside funding." Stage Notes budgets, on average, approximately $1,000 per student for its productions. "So our students have made it possible for us to pay for the show by opening night, ensuring that ticket sales can go back into the community, fulfilling our motto of 'Performance with a Purpose,'" Ticia said. Ticia has a self-commitment of 20 years in managing Stage Notes. "Anything Goes" marks its 17th season and its 19th production. "The freshman class this year will be our seniors in our 20th season," she said. "We're already thinking about what that will look like, and it's fun to know the students who will be celebrating that milestone with us." All aboard The cast of "Anything Goes": Reno Sweeney, played by: Mia Mouaikel Reno's Angels: Kelsee Donato, Frances Weir, Hazel Coughlin and Felicity DelGranado. Hope Harcourt: Finley Swartz. Evangeline Harcourt: Lillian Exford. Lord Evelyn Oakleigh: Rhett Beuttenmuller. Elisa Whitney: Andy Merryman. Billy Crocker: Jack Bickel. Moonface Martin: Trey Urf. Erma: Mia Kelly. Spit: Arianna Dyer. Dippy: Willow Terrell. The Captain: Camden Haynes. Purser: Ira Blauvelt. —Brady Horton plays the bartender, an FBI agent, newspaper photographer, the "young swell," a sailor and is a featured dancer. —Aiden Cain also plays the above roles, with the exception of the bartender. Rev. Henry T. Dobson: played by Leon Kelsey. Featured passengers and dancers: Natalie DiFabion and Julianne Goodenbery. Featured passenger: Michaela Adsit. Featured passenger and old lady: Isabella Davies. Passengers: Madison Bennett, Jade Coughlin, Lucy Johnson, Nevaeh Kelsey, Abigail King, Evangeline Lane, Noelle Voss and Paige Widrick. Solve the daily Crossword
The National
09-03-2025
- Entertainment
- The National
All of Lady Gaga's albums ranked, from Mayhem to The Fame Monster
About two decades ago, Lady Gaga shook up the music landscape with her brash, uncompromising brand of maximalist pop – heavy on anthems and attitude. Now, with the release of Mayhem, her first solo album since 2020's Chromatica, the US singer attempts to reclaim her status as queen of the dance floor after years of sonic exploration that's ranged from folk and rock to the Great American Songbook. It has been a remarkable journey, showcasing a restless creative spirit enamoured with sounds spanning various genres and generations – making her far more than a typical pop star. From collaborative albums with Tony Bennett to the high-energy pop early in her career, here's how Gaga's albums rank within her storied career. An unlikely pairing, perhaps, but vintage crooners such as the late Tony Bennett, Tom Jones and Engelbert Humperdinck have openly expressed their admiration for Lady Gaga, praising her iron-willed determination to entertain. In a 2012 interview with The National, Engelbert described Gaga's approach as the essence of show business: 'I know she is a bit wild but very talented – [artists like Gaga] are keeping the business fresh and much talked about". That same charm and showmanship come together in her two collaborative albums with Bennett. Though released seven years apart, they can be seen as one lively and affectionate tribute to the Great American Songbook, featuring interpretations that range from playful (I Get a Kick Out of You) to reverent (I Can't Give You Anything But Love). Initially considered an outlier in her catalogue, both albums ultimately underscored how Gaga's music and artistic approach are deeply rooted in pop music's rich heritage. There are two ways to think about Chromatica – either as a solid pop album whose reception was stymied by the Covid pandemic or as a misfire that was later course-corrected with Mayhem. Either way, at the time, it was seen as a welcome return to dance-pop after the folk and roots-driven sound of its predecessor, Joanne. In Chromatica, the ebullient synths were back, as were the big hooks, evident in tracks such as Stupid Love and 911. Yet, failing to resonate beyond Gaga's core fanbase, Chromatica eventually disappeared without a whimper. Viewed as Gaga's first commercial setback, Artpop had a relatively tepid reception – despite selling more than 2.3 million copies within a year of its release. This may have been due to oversaturation, as Gaga had released a steady stream of hits, two albums, and an EP in the years leading up to it. Fortunately, the album has been receiving renewed recognition in recent years. While messy and at times lacking cohesion, many of its tracks remain high-concept and cutting-edge pop. Songs such as Applause and Guy feature some of the singer's most theatrical and sensuous vocal performances to date. Though Artpop marked a commercial chink in her armour, it may well serve as an inspiration for future pop stars. Those who viewed Gaga's embrace of a stripped-down folk and rock approach on Joanne as a complete left turn weren't paying close attention. She had been performing stripped-down versions of her songs since 2009, including well-received sets for BBC Radio 1's Live Lounge and piano renditions of Poker Face and Speechless during The Monster Ball Tour. Joanne felt like a natural evolution. It was a welcome break from the high-energy pop sound of her past, which – as Artpop proved – was beginning to yield diminishing returns. Named after her late aunt and produced by Mark Ronson, Joanne features some of her most heartfelt songs, including Come to Mama and Hey Girl, the latter a striking collaboration with Florence Welch. Despite its analogue-inspired influences – ranging from 1970s R&B to folk and rock – it remains unmistakably a Lady Gaga record, and a very good one at that. Welcome back, Gaga. Ever since the release of the hit single Abracadabra – a return to the high-energy, synth-fueled sound that defined her rise – fans hoped it wasn't just a one-off. Fortunately, Gaga's journey leads back to her roots with an album packed with electronic pop bangers – noisy, glamorous and unapologetically bold. There are references to disco and 1980s funk, such as in The Garden of Eden, while Killah provides a thrilling fusion of drum and bass and strident funk. Fun and with nothing to prove, Gaga's return to her signature sound places her alongside releases from Chappell Roan and Sabrina Carpenter in ushering in a bold new era of pop music. It is a confident sound best described as "peak Gaga". After staking her claim to the pop throne – a move that sparked much-publicised tension with Madonna – Gaga doubled down with Born This Way. Loud, proud and with energy to burn, it delivered euphoric and cathartic anthems that wouldn't resurface until Dua Lipa's arrival on the music scene years later. The crunching riffs of The Edge of Glory and You and I had Gaga embracing more rock elements, while the album's garish cover and its era-defining music videos cemented her status as a pop trailblazer in full command of her craft. Now, this is how you make an entrance. After introducing herself to the world – and the dance floor – with the pitch-perfect electro-pop of The Fame in 2008, Gaga returned less than a year later with The Fame Monster. The album was a reissue of her debut album and featured eight new tracks, including hits Bad Romance and Alejandro. Combining them, The Fame Monster has 17 tracks that span 73 minutes – leading to some of the most scintillating pop music released this century. The relentless energy, shape-shifting lyricism embracing everything from joy to trauma, and Gaga's chameleonic vocal ability – sensitive one moment, uncompromisingly forceful the next – solidify The Fame Monster as one of the greatest modern pop albums of all time.
