Reviews are by Donald Munro; NR = not reviewed.
The Addams Family: Playhouse Merced opens the musical inspired by the TV show and comic classic. (Opens Friday, Oct. 7)
But Why Bump Off Barnaby?: Tulare’s Encore Theatre opens a farce about a man murdered at a family gathering. (Opens Friday, Oct. 7)
The Rocky Horror Show: Porterville’s Barn Theatre opens the October favorite. (Opens Friday, Oct. 7)
Tartuffe: Visalia’s College of the Sequoias opens the play by Moliere. Chris Mangels directs. (Opens Friday, Oct. 7)
Camelot: The Good Company Players production at Roger Rocka’s Dinner Theater is a fine showcase for a classic, gorgeously melodic score that comes from a time when Broadway tunes still played on the radio. But the musical’s book (about Arthur, Guinevere, Lancelot and the Round Table). is creaky and old-school, and Elizabeth Fiester’s direction and the design of the show feels passive. Jeff Dinmore is a standout as Pellinore, the harumphing older acquaintance who moves into Arthur’s castle. Through Nov. 6.
Hands Up: 7 Playwrights. 7 Testaments: Fresno State opens a production written by seven emerging African American playwrights exploring the harsh complexities of the relationship between black Americans and law enforcement. Thomas-Whit Ellis directs. See review, Page XX. Closes Saturday, Oct. 8.
The Phantom of the Opera: The reimagined national tour of Andrew Lloyd Webber’s long-running musical, complete with chandelier, arrives at the Saroyan Theatre. Look for an online review Saturday at www.fresnobeehive.com/entertainment. Through Oct. 16.
Waiting for Lefty: Fresno City College opens the 1935 drama by Clifford Odets framed by the meeting of cab drivers who are planning a labor strike. Janine Christl directs. Look for an online review Friday at http://www.fresnobee.com/entertainment.
Witness for the Prosecution: In this Good Company Players production of the Agatha Christie classic at the 2nd Space Theatre, you’ll get an old-fashioned whodunit romp complete with stuffy English barristers (David Otero and Noel Adams) wearing wigs. They’re battling over the guilt of the amiable defendant (Alex Vaux in a nice performance) accused of killing an older woman he befriended. But where does his enigmatic German wife (Erica Riggs, mysterious and ambiguous) fit into this? Director Karan Johnson offers a brisk pace and a solid sense of courtroom intrigue, though the big “reveal” could have used more dramatic spark. Through Oct. 9.
NEXT WEEK’S OPENINGS
Brighton Beach Memoirs: The Selma Arts Center opens the nostalgic play by Neil Simon. (Opens Friday, Oct. 14)