The Bee's Marcus Crowder suggests performances worth seeing.

There’s nothing quite like an emergency to stimulate the senses and test one’s poise. About 20 minutes into a weekend staging of the funny and poignant “4000 Miles” at Capital Stage, an audience member had a medical situation and paramedics were called. Someone actually asked if there was a doctor in the house.

As a childhood aficionado of Sir Arthur Conan Doyle’s Sherlock Holmes, I have always had great affection for the famously eccentric character and good mystery stories as well.

One-woman show ‘Tied Up in Knotts’ incorporates show business, family stories

Dee Maaske has the skills to comfortably slip into the intricately layered Vera Joseph in “4000 Miles.”

Tony-winning dancer, choreographer and actor Savion Glover brings his “STePz” show to the Gallo Center for the Arts March 15. The acclaimed tap dancer speaks with The Bee about honoring the art of stair dancing.

The Tony award-nominated “Bring It On: The Musical” had a five-month run on Broadway before it closed in December 2012, and the touring cast started cheering its way throughout the United States this year. The show hits the Harris Center this weekend, ready with high ponies, short skirts and loads of spirit.

The Bee's Marcus Crowder suggests performances worth seeing.

Clever comedy is a pleasing fit for the intimacy of B Street Theatre.

Shakespeare in general and “Romeo and Juliet” in particular has stood up to numerous “interpretations” as inspired or ill-conceived as they may be. The young “star cross’d lovers” are easily believable and usually compelling in any time or place. Sacramento Theatre Company’s current production puts an early-1930s, mobbed-up New Jersey spin on the story, offering not only two warring clans but different faiths as well. The strongly performed production fares well for the most part, sprinting through a cohesive, entertaining first act before sputtering with a muted, anti-climactic ending in the episodic second act.

The Bee’s Marcus Crowder suggests a look at Steinbeck productions.

Actor Andrew Perez envisions a fresh physicality in Shakespeare’s leading man.

Stephen Sondheim’s intense “Passion” at New Helvetia Theatre for the next two weekends combines new and old worlds of musical theater into a demanding but satisfying work of art.

The Oregon Shakespeare Festival knows a good thing when it produces it. Two years ago the festival had a critical and audience hit with its extremely funny production of the Marx Brothers’ “Animal Crackers.” This season Groucho is back.

Four plays are being staged now in Ashland.

Chita Rivera can say she’s been “a lucky gal,” but that luck thing only goes so far. Her extraordinary record of achievement in musical theater speaks for itself. She was in the room when Jerome Robbins, Leonard Bernstein, and Stephen Sondheim were figuring out “West Side Story” and asked her to originate the essential character Anita. Bob Fosse made sure she was on board to partner with Gwen Verdon when he, Fred Ebb and John Kander were putting together “Chicago.”

Sacramento’s Music Circus created a unique theater experience that has endured.

The Bee’s Marcus Crowder suggests performances worth seeing.

There’s some sort of kismet in B Street Theatre taking its “Around the World in 80 Days” on its first international tour.

You may ask, “What’s it all about?” but you won’t need to wonder what it all means when you see the Sacramento Ballet’s new production, “Wild Sweet Love.”

Muriel Johnson, Sandy Smoley and the late Jean Runyon are influential Sacramento women who have an unlikely and little-known connection. Each participated as a volunteer actress in the Sacramento Children’s Theater program presented by the Junior League, a nonprofit service organization.

“Flashdance The Musical” is one of those stories you know.

It’s “a world made of steel, made of stone” – as the lyrics go – populated by athletic, dancing, singing young people.

The Bee's Marcus Crowder suggests performances worth seeing.

With a writer as the central subject, and absolute standards in art and love as a central theme, Tom Stoppard’s “The Real Thing” may be the celebrated playwright’s most intimately personal play.

The 1905 masterpiece “Major Barbara,” now running at San Francisco’s American Conservatory Theater, shows George Bernard Shaw at his finest.

The tribute to the Chicano poet, artist and activist will include UFW co-founder Dolores Huerta.

STC’s ‘Closer Than Ever’ has its charms but also its misses.

A hectoring comedy examines the differences between the haves and have-nots.

California Musical Theatre is still listening to its Music Circus audience. Similar to the last two seasons, the new schedule of productions is heavily influenced by patron choices.

Molly Smith Metzler’s ‘Elemeno Pea’ is a cautionary tale for any time or place.

With the holidays behind us, the winter theater season pushes on.

Several shows deserve recognition for 2013.

A national touring production brings “Buddy — The Buddy Holly Musical,” to Sacramento’s Community Center Theater.

Synonymous with the holiday season, “The Nutcracker” is the Sacramento Ballet’s best-known production.

David Sedaris’ acerbic observations in “The SantaLand Diaries” may not be everyone’s idea of Christmas spirit, but that’s actually the point. “Keep Christmas in your own way, and let me keep it in mine,” a man once said. And what better way to keep Christmas than to be working on the inside of the biggest holiday display of them all, Macy’s SantaLand?

The Sacramento Ballet unwrapped this season’s version of the holiday classic “The Nutcracker” on Saturday. The show, which runs through Dec. 23 at the Community Center Theater, quickly grabbed the audience of children and adults and swept them up in a holiday tradition with notable changes from last year’s production.

Composer and pianist John Bucchino may want to make Sacramento his second home after this weekend.

When we first meet George Bailey in the painfully sentimental “It’s a Wonderful Life – The Musical” he’s a bit chagrined and a little bemused.

There are the theatrical gifts we’ve come to expect this time of year – productions of “A Christmas Carol,” “A Charlie Brown Christmas” and “A Christmas Story” (complete with the eye-injurying Red Ryder BB gun). But area theater companies have also wrapped up some surprises for yuletide patrons, including a send-up of the holiday season featuring a dissatisfied Macy’s elf and an urban pageant about undocumented workers that counts Lucifer as a character.

Written and directed by B Street artistic director Buck Busfield, “Not In the Stars” debuted as a one-act showcase featuring interns including Kurt Johnson. Busfield revived the play the next year with Johnson and two other actors who would become B Street veterans, Elisabeth Nunziato and David Pierini.

“Not In the Stars” continues the B Street tradition of a new holiday play written each year by Busfield.

The B Street Family Series creates a lean, funny, heartfelt fable that both children and adults can enjoy.

Sacramento city officials and arts groups agree that the Community Center Theater could use some upgrading. The 2,400-seat facility across L Street from the Capitol hasn’t had a significant renovation since opening its doors nearly 40 years ago.

Richard Falcon’s Teatro Nagual brings another drama by playwright Rubén Amavizca-Murúa (“Frida Kahlo” and “Women of Juarez”) to Sacramento with the new production of “Soldaderas” now at California Stage.

In March, Capital Stage announced that its co-founding artistic director, Stephanie Gularte, would be stepping down at the end of the 2013-14 season and the company would begin a national search for her replacement.

Dr. Roberto Pomo’s new play, “Che Guevara and the Dispossessed,” has been a long time in the making. In some ways, the production, which had its world premiere this week at California State University, Sacramento, has been forming in Pomo’s mind for most of his life.

It’s tempting to call Jon George’s new play, “Crazy Horse and Custer,” a dramatic reading with costumes and props. That would imply the world premiere at the Sacramento Theatre Company’s intimate Pollock Stage was in fact dramatic. It is not.

In 2008, theater writer-director Jason Neulander was about the get the break of a lifetime. His live-action graphic-novel project “Intergalactic Nemesis” was on its way to getting a production on Broadway.

There is a moment in “Priscilla Queen of the Desert the Musical” when all would not necessarily be forgiven as much as it would be forgotten.

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