Felix – He’s Got a Backbeat You Can’t Lose It – Another Westco R N R Blast

WPCNR Rockola. By KKIX THE BIG 1440’S Big Melvin Mead “The Rock Daddy Show With All the Hits You Need”. May 5, 2008: He shows up minutes before concert time.  Bounces on stage dressed in black, hits the keyboard with the seductive good time individual  signature dum dum plunk diddee plunk plunk plunk, dum dum plunk diddee plunk plunk plunk of Lonely Too Long and you know it’s been  way too long since you’ve heard that Felix Cavaliere’s Rascals sound since the 60s.



Fasten your seatbelts, rock and roll turbulence ahead! Felix Cavaliere and His Rascals Blasted the 60-Somethings at Irvington Town Hall — the latest in the White Plains Westco Gold Star “Tour” Saturday night. Irvington Town Hall Theatre will never be the same!




Felix Cavaliere and Susie The K After the Rascals Blast — White Plains own Susan Katz, founder of Westco Productions — rapidly assuming the title of “Westchester’s First Lady of Rock N Roll.


Like rocking a coin solidly into the slot – you get a big round mound of sound and all hits all the time—from the first note Mr. Cavaliere plays. Felix Cavalier’s  Rascals – the latest rockologists to emerge from White Plains Westco Productions “DynamicVeebleVetzer Time Machine”  they call the Gold Star Series — laid down a wall of sound of Felix’s Rascals hits splashing the sound canvas of the seething shoulder to shoulder Town Hall Theater with Jackson Pollack madness in sound, with slashing, driving, get-into-your-body and make-you-bob-to-the-beat rock and roll the way a rock and roll party should be.


Whoever coined the term rock concert got that wrong. Rock’s not a concert, man, it’s a zone – the good time zone — a party, man.



 That’s what Felix Cavaliere turned the Irvington Town Hall into Saturday night.  Westco Productions continued their uncanny stroke-of-genius programming: the Westco Gold Star series. Each 60s  and 70s rock group they have brought back to “sophisticated Westchesta”  have opened up tapped into a secret outlet, a yearning, a craving for rock-n-rollers too old too rock and roll no more, but they kinda like the music.  


A sellout crowd  streamed in, beeping the hand-held scanners at the rate of a supermarket cash register on Super Bowl Sunday Saturday night. The Lettermen, Judy Collins, The 5th Dimension, Gary Puckett, The Association, The Kingston Trio have all brought out different audiences, Susan Katz and Peter Katz the promoters say, and the series has struck a loyal following in Westchester County, Saturday night kept the hits coming back – sounding better than ever



Felix, working up a sweat in minutes, pounding the Hammond and making it a living, rockin thing.


Mr. Cavaliere – no stranger to playing the metro area – showed why: he delivered just the great Rascals music man – the straight ahead, fidgety, signature rock and roll keyboard style that opens up your party spirit and makes you feel “Good Lovin’” all night. Well, at least for an hour and 30 minutes, Cavaliere and his three sidemen  overmodulated raucously enough to wake up Rip Van Winkle from his siesta on the Town Hall lawn.



The Pyschedlic Medley


It was all Racals there – the punctuated contrapuntal organ keys to start Lonely too Long, the swells of organ crescendos – not heard since The Happy Organ – flowing like a flood of wine across a picnic blanket on “Good Lovin”.



Cavaliere’s side men, Mark Prentice’s bass (left) sounded like a power drill. Lead guitarist Mike Severs (right) laid in clear, aggressive nasty licks like a chain saw over Mr. Cavalieri’s signature organ segues. Severs  recreated the essence of  psychedelia in a medley in the second half of the show, His lead guitar lent a power dimension to the Rascals hits that sounded better, danceable, and thumped into you from the feet up through the body, with the Roadway Truck backbeat of drummer Vince Santoro.


The sold-out hall bobbed  its  heads in sync throughout the spontaneous big beat mayhem on stage.



Cavaliere was a pied piper – an icon preaching  the old time beat and exposing the rock roots of the audience with an attitude. Felix recreated the old time rebel look tonight, coming on stage and doing his thing. No anecdotes – just the hits man. The crowd was in rock and roll shock –  they bobbed heads, clapped hands, but were not moved to dance as if they were awed in reverence by the sweaty, grinding crescendos of tightly tracked, pounding songs dominating the hall – not heard this way in sometime – and sounding better than records. 


From Lonely Too Long, Felix and his beatmasters, Prentice and Severs mixed in those dance staples – including Midnight Hour – handled by drummer Santoro – cooling down to Groovin –getting to the heart of teen love pain on Do What You Know You Should – made all the more harsh by Felix’s full-swells of Hammond glory. His medleys were things of rock and roll genius mixing his hits with other gotcha songs.



In the second half,  with little time inbetween songs, the group’s highlights included What You tryin’ to do to my Heart where the drums shook your bones – and the snarling, Ain’t Gonna be Your Clown No more. The recognition of  old feelings in these songs is just right made possible by the way Felix and the Rascals confront you with the sound.


A long version of Good Lovin in the second half – complete with sing-a-along was just enough audience relationship. To tell you the truth,  the audience appeared stunned by the big ball of rock and roll Felix, Mike, Mike and Vinnie throw out there Saturday night.


The slow songs, which yours truly never really liked when they were hits, were better with a little soul – How Can I Be Sure was a winner the way Felix sings it today – and the one song that Cavalieri got sentimental on, People Got to Be Free  he dedicated to our servicemen and willing, expressing the thought that he hoped their sacrifices would not be in vain. A telling thought.


My favorite was Felix’s working the organ into the classic medley of  Good Lovin’ into La Bamba, Bo Diddley and Mustang Sally, — topped by a pyschedelic medley, featuring Led Zepp and Jimmy Hendrix tunes. All that was missing was incense in the air.


Your rock and roll pal, Big Mel Mead has to say that the hits being recreated by the original artists on the Westco Gold Star “Tour” never sounded this good when I was spinning them on my Rock Daddy Show 1440, KKIX Hit Music Radio Clear Channel the Rock of the Midway.



There is no such thing as an old rock and roller. Felix Cavaliere and His Rascals proved rockers just rock better the older they get!  Here Felix Says Good Bye to the fans, but not before he stayed for an hour meeting and signing autographs for the aficionados.



 


The faithful should check in at www.westcoproductions.com for a peek at the just-released Gold Star Tour this autumn.

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Should the School Budget Be Voted Down This Year?

WPCNR MR. & MRS. & Ms. White Plains Poll. May 4, 2008: The recent poll on taxes has indicated that 93% of 346 respondents feel the present 7% annual increase in city and school taxes combined cannot be sustained. The school tax increase is 8.6%  (not 6% as reported by the district newsletter) thanks to the secret BASIC STAR Cut and Enhanced STAR cuts the legisature passed quietly April 14 (and still after three weeks, no other media other than WPCNR has reported this legislative sleight of hand). In their newsletter the school district describes the tax rate increase as 5.98%, failing to mention that the amount of your taxes for a median home is a fat 8.6%.  The $15,000 Assessed home paid $7012 in school taxes this year, and in 2008-2009 will pay $7,618.


Since the people have no control over the city budget, but can vote on whether to approve the school budget, we’d like to know how the public feels. Should White Plains send the school district a message to cut by voting down the school budget, effectively cutting the budget about $700,000 according to the School District newsletter, holding the budget to a 3.36% increase? .


The vote comes up May 20. There will be a public hearing on the School Budget May 12, 2008.

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You’re Now Leaving the USA – German School’s Katharina on Skyliners Gold

 


WPCNR RINKSIDE By Katharina Devitofranceshi, The German School, White Plains. May 4, 2008: Synchronized Skating: Those are two words you don’t hear very often and most likely tell you nothing (that is unless you’re in the 10th grade of German School New York in White Plains, then you know all about it.)






The Skyliners of New York, the Tri-State Area’s Zagreb Snowflake Trophy Junior Gold Medal Winners, skating in the Frasier, Michigan  Syncrhonized Skating Junior Qualifier in January. The Junior team holds tryouts tonight in Rye, and here a member of the team, attending the German School here in White Plains, Katharina Devitofranceschi reflects on the team’s unforgettable journey, representing the USA in Croatia in March.


 


 



Skyliners 2008 Juniors skating their Short Program in Frasier, Michigan in January.



The basic gist of it is, sixteen girls skate together as a unit and (most of the time) synchronized to complete a short program (2 and  ½ minutes), and a long program (4 minutes), each program is jam-packed with a series of difficult elements showing skill, strength and flexibility.


Sounds easy? It’s not. It’s hours of hard work both on ice and off, laden with sweat, lots of yelling, tears and blood, and I’m not over-exaggerating either. Most of us have the scars to prove it.


But, as a team with an incredibly close bound, we are always there for one another.


Being on The Skyliners is much like eating candy: We bit through the hard candy coating and are rewarded with a yummy, soft center.


 


 


In this case, the chewy center was an international assignment from United States Figure Skating to skate in Croatia and the title TEAM USA.


So overseas we flew in March to compete in the Zagreb Snowflake Trophy Competition March 9-14, a first flight abroad for most girls on our team, and 12 hours later we made it all the way to Zagreb. We all agreed that it was a surreal sensation to finally be there, after all the anticipation which had built up since August.


 


 



Katherina is third from left, front row — posing with the Juniors at the 2008 Eastern Regional Synchronized Skating Championship in February when the team finished second.


Photo, Courtesy, Lawrence H. Cooke


 


We spent most of the days leading into the competition having extra practices, fine-tuning the programs to perfection and listening to our coaches’ (Josh Babb and Jenny Gibson) and parents’ “motivational speeches.” (They got old fast, trust me.)


When the Zagreb Snowflake Trophy Competition actually began, it was absolutely nerve-wracking, knees shaking and jitters, all that good stuff. Our first shock came when we got our scores. They were much lower than anticipated. Dissappointed and heads hung low, we made our way to the locker room in silence, despite the fact we were in first place. But it didn’t mean anything because the favorite-to-win had yet to skate.


But our biggest surprise came when we found out, we, the underdogs, had won! Twenty of the loudest screeches erupted simultaneously. Naturally, celebrating and partying (with the awesome Aussies) ensued.


This year (2007-2008) has undoubtedly been the most trying year, what with juggling school and skating constantly, but our parents’, coaches’ and teachers’ support made everything that much easier. Those last moments in Croatia, standing up on the podium, were unforgettable. The Skyliners’ organization is still pretty young, so to have won the gold at our first international assignment (an accomplishment in itself, was unexpectedly incredible!


I know no matter what happens next year internationally, for good or bad, nothing can make me forget that unimaginable sense of accomplishment as a team.


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Disney Pixie Dust Blesses WBT Beauty with Soaring Belle, Sympatico Beast

WPCNR CENTERSTAGE. Theatrical Review by John F. Bailey. May 3, 2008 Updated with Pix: Children of all ages will thrill to Westchester Broadway Theatre production of Beauty and The Beast, which opened this week, bringing the classic Disney movie and Broadway show  to close-up and personal life. All it takes is a liberal sprinkling of Disney Pixie Dust from Tinkerbell  to coax  new pyrotechnics and heights to the dinner theatre that has been giving its own unique stagings of Broadway classics in the round for 34 years.  Thursday evening the Disney magic – if not the  Broadway magic – recreated anew the enchantment of Beauty and The Beast.



A Love for a Once and Future Time: Rena Strober as Belle. Joseph Mahowald as The Beast make everyone’s favorite fairy tale new again at Westchester Broadway Theatre. All Photos, Courtesy, Westchester Broadway Theatre, by John Vecchiolla





Rena Strober is a strong, spunky Belle  who touches your heart, brings on the tears, and uplifts the spirit with her articulated, up-and-down-the-scale mastery of Belle’s reach-inside-and-make-you-feel songs : Home (We Are Where We Shall be Forever) with Maurice (her father), and the splendid song that delivers the essence of falling in love, A Change in Me . `



Joseph Mahowald’s Beast is simpathetic, human, though the book does not give Mr. Mahowald much dialogue to do so, he becomes more human in Act II.  The spunky, spirited heroine who stands on her own,  Belle, first vexes him, then charms him.  His grouchiness and temper come under control. 


Mahowald’s body language as the Beast conveys power and fierceness with a visage that will not terrorize the children – though in fairness to Mahowald he does not have much time in Act One to allow audience to see the good within or feel sympathetic to him.



Mahowald’s rich baritone fills the tiered hall on the Beast’s signature song in Act I – How Long Must This Go On?


Mahowald absolutely delivers  How Long Must This go On? portraying painfully the heartbreak within over his fate (doomed to a Beast’s existence for his treatment of an enchantress in the distant past).


The scene of his transformation opens the show – and electrifies the audience  — not as techno-ed up as Broadway can did  it – but the darkness, the lighting flashes and the explosive pops of flame are loud enough and bright enough to show magic is going on without scaring the young ones. The magic continues!


When Mahowald closes Act I, singing If I Can’t Love Her – you wonder why no one has never made a commercial recording of this song, the regret tears you up.  Mahowald’s vulnerable delivery in that big Riatt-like voice of his brings forth pity for the Beast and makes you root for him. But then, I am a sentimentalist.



Driving the forces of evil in a most devilish and entertaining way is whom I consider to be the ultimate Gaston, Jonathan Burgard – muscled, striding, bigger than life he seems to have stepped out of The Beauty and The Beast movie – into life.  Here he cavorts with admiring ladies, left to right, Jessica Dillan, Floryn Glass, and Katie Sina in the village square singing Gaston, his personal theme song.


A lot of others think so, too. He has played Gaston five times in productions up and down the East Coast. Thursday night he showed why. His preening and superior self-confidence was chuckle-heavy offensive. His comic delivery, clear. Voice deep and macho, and no actor sings about himself better on Gaston’s star-turns in Act One – Me  and Gaston in a marvelous scene. Burgard is aided in his cavorting by Adolpho Blaire as his Lefou whose acrobatics and sychophantic palling around with Gaston is a human recreation of the attitudes of the two  in the movie.`


 



The endearing, comic, daffy Beast Castle Staff — Left to right, Talana Deshaies as Babette, the elegant Lumiere (Rick Hilsabeck), William Hartery as the punctual, proper Cogsworth, Stacia Fernandez as Mrs. Potts and Marguerite Willbanks as Madame de la Grand Bouche — whose tricks with the dresser she is slowly turning into — will delight the children, and of course, Chip, the teacup, Michael Herwitz. 


 Belle’s beginning of captivity in the Beast’s castle is softened by Cogsworth  (solidly characterized by William Hartery as the butler turned into a clock by the enchantress, and Lumiere (played by Rick Hilsabeck with the perfect j’ne sais quoi) the chef, whose hands have become candlesticks which actually light – you have to see this. Hartery and Hilsabeck pick the dark tone of the opening and kick the enchantment up another notch.



The Pixie Dust magic casts its spell capturing you for the rest of the night with the staging of Be Our Guest. 


Be Our Guest, with plates dancing, the set expanding, opening up  to multi-levels before your eyes will make your jaw drop as the small stage gains depth and turns into a magnificent dining hall with the ensemble delivering a spectacularly choreographed number combining costumes and steps and pacing that is beyond Vegas. It is easily the best full-cast dance spectacular WBT has ever staged in the eight years this reporter has been reviewing their productions. Kudus to Director and Choreographer Richard Stafford on this number alone.


However Belle fleas the Beast’s lair when she invades the forbidden West Wing of the Castle. As The Beast dispairs, singing If I Can’t Love Her to end the hour and 20 minute first act – with the haunting lines “So little is left of me… “ and “Long ago I should have seen all the things I could have been…” The way Mr. Mahowald delivers this song will break your heart. He makes his hurt inside, hurt inside you.


The Second Act builds on the first, heightening dramatic intensity – but is so well acted – you even though you know the story – you are worried about the Beast and Belle.


Of course, when Belle flees the castle, wolves (a frightening bunch) attack her and The Beast viewing the action in a magic mirror, comes to her rescue. Romance then blossoms. A touching scene of her aiding his wounds, is followed by his gift of his library.


Two numbers by the terrific entourage of actors and actresses move the romance along in believable fashion, singing “Something There,” and Mrs. Potts (Stacia Fernandez) delivering the title song Beauty and The Beast – that tells you what is happening between the odd couple who dote more and more on each other.  Again the WBT set opens up to the stars magically, creating a grand romantic vista.


At this juncture Belle delivers her knockout love song – A Change in Me. Ms.Strober does not sing this, she  shimmers it exquisitely  endowing it with a grace that renders in melody blossoming love in bloom. It is exactly how a person in love feels.  Strober handles the Belle songs superbly and is every bit the Belle of the movie, wholesome, spirited, plucky.



Of particular note is Strober’s duet with David Titus, playing her father, Maurice. Their duet No Matter What” when his invention of an automated log splitter (hilarious at best) is a marvelous statement of how fathers and daughters feel about each other.  Titus gets the most out of his lines, too. His Rodney Dangerfield eyes bring instant merriment.


 Belle comes to aid her father, about to be asylumed due to a dastardly blackmail plot by Gaston.  The Beast is put in danger as Gaston leads a mob to the castle to kill him.


In the denouement, a duel between Gaston and the Beast, on a castle tower that rises up out of the stage, you almost think it is not going to end happily – preserving suspense to the end.


 


The famous final scene produces a magic happy moment producing bravos for Lumiere, Cogsworth, Gaston, Beauty and Beast, good triumphing!


The larger than normal live orchestra does not deliver the Big Broadway sound – however it stays under the singers so all words are not drowned out.


The sets are detailed and employ ingenious creative use of the WBT’s mechanical abilities. Rising turrets out of nowhere. Lurking wolves. Magnificent costumes create the Disney enchantment WBT style. The set design, through the magic of rotating arches turns the little stage into the illusion of a vast brooding castle.


Give me some of that pixie dust!


The Disney dream never fails.


Beauty and The Beast runs 2 hours and 20 minutes. It began at 8:20 and ended at 10:45 with a thirty minute intermission.


It runs through August 9. For information, contact www.broadwaytheatre.com.

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