REVIEWS
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READ AN ARTICLE ABOUT JOHN IN
Aliso Viejo News
John was "Howard Cunningham" in
HAPPY DAYS - A NEW MUSICAL
"Tracy Lore and John Richard Petersen offer hilariously on-target
portrayals of Richie's sitcom-standard parents."
http://www.backstage.com/bso/reviews-la-theatre/happy-days-the-musical-1004124404.story
"John Richard Petersen’s warm and wonderful performance as Howard Cunningham serves as a great tribute to the late Tom Bosley, who created the role."
http://stagescenela.com/html/happy_days1.html
"Tracy Lore is just great as mom Marion, as are Tessa Grady as Joanie and John Richard Petersen as father Howard."
http://grigware.blogspot.com/2010/10/review-happy-days-new-musical.html?spref=fb
The show is full of great one-liners that are wonderfully executed. The show’s final line is the best in the show. Right before sending Ritchie off to college Howard Cunningham (John Richard Petersen) says to his wife, “What could be more stable than a college dorm room in the 1960s.”? It is such a simple line, but the irony of it and the naïve look on Petersen’s face makes the line especially zingy.
http://www.neontommy.com/news/2010/10/happy-days-are-here-again
With the Amazing Paul Williams!
1776: 100% – SweetColin Mitchell | Jul 14,
2010
Photo by Ken Jacques SWEET
And if the tone seems a bit self-congratulatory or historically reductive
for some tastes, credit director Nick DeGruccio’s impeccable production and
a flawless ensemble for so ably selling Stone’s long-winded book and
Edward’s mos...tly
undistinguished songs.
Bill Raden – LA Weekly
SWEET
Opening less than a week past Independence Day, this powerful revisit to
Sherman Edwards’ stirring historical musical provides a perfect celebration
of the patriotic holiday. The librettist-songwriter’s 1969 opus is as much a
play as a musical in its meticulously researched dramatization of the final
days leading to the U.S. Congress’ drafting, approval, and signing of the
Declaration of Independence. Director Nick DeGruccio’s magnificent rendition
demonstrates that fine acting is a crucial requirement in certain musicals.
Les Spindle – Backstage
SWEET
American history comes to life on the musical theater stage as never before
in 1776, the Broadway smash now getting a splendid star-studded revival at
Musical Theatre West. With Steven Glaudini reprising his 2004
Ovation-winning performance, Tami Tappan Damiano making a rare return to the
musical theater stage, a cast filled with Broadway and regional theater vets
and several talented newcomers, and direction by the brilliant Nick
DeGruccio, this production is so all-around stupendous that all it lacks is
the intimacy that a smaller venue would provide.
Steven Stanley – StageSceneLA
SWEET
But yet, almost immediately, those fearful first impressions wonderfully
faded away as soon as the curtain rose to reveal a stage full of men, of
varying shapes and sizes, dressed in impeccable 18th-Century period garb.
That feeling of wonder and euphoria never once went away for the rest of the
evening. What could have been a long, excruciating theatrical exercise, is
instead a riveting, edge-of-your-seat drama with plenty of heart and soul
and a generous amount of genuinely comical moments. Musical Theatre West’s
production of ’1776′ (with performances running through July 25) is
unquestionably brilliant, intensely affecting, and deeply moving—from its
rousing beginning to its glorious end. This is one thrilling stage
experience that must be seen and heard, and is a fitting season finale to
this regional theater’s incredible 57th season.
Michael L. Quintos – BroadwayWorld
SWEET
With nary a flaw the production pirouetted with agility between the sublime
and the ridiculous. The result was a compelling, thoroughly enjoyable story
that fills out what we know from third-grade history classes, namely, the
men convened in Philadelphia were just as much Joe Sixpacks as they were
Founding Fathers. Though politics may have supplanted baseball as our
national pastime, the production’s cheeky tone and racy revelations recall
Jim Bouton’s groundbreaking book, Ball Four, that came out about the same
time the production debuted, a book that told the real story of Major League
baseball. The correlations between Congress President John Hancock and
Baseball Commissioner, Bud Selig feel more than coincidental.
James Scarborough – What the Butler Saw
Carpenter Performing Arts Center, 6200 Atherton St., Long Beach;
Thurs.-Fri., 8 p.m.; Sat., 2 & 8 p.m.;
Sun., July 18, 2 & 7 p.m.; Sun., July 25, 2 p.m.; through July 25. (562)
985-7000. A Musical Theatre West production.
John Equality Niedbalski-Petersen
In 16 years of reviewing theater, I’ve given no more than three standing
ovations. Well, I stood without hesitation at the conclusion of 1776,
Musical Theatre West’s phenomenal musical dramatizing the events leading up
to the signing of the Declaration of Independence.
A highly entertaining history lesson that follows a...ctual
events far more closely than our children’s school textbooks do, 1776
depicts the vision and passion of the abrasive John Adams, our country’s
second president. It was Adams’s foresight and dedication that prompted the
break from Great Britain and the establishment of the United States of
America.
Mostly set in Philadelphia’s Continental Congress chamber– the commanding
room displaying fine stately detail– the show features a roster of
representatives of the original 13 colonies, with John Hancock presiding
over the body.
With book by Peter Stone, music and lyrics by Sherman Edwards, 1776 pits the
visionary against the safety-seeking, the North against the South, and the
boat rockers against those willing to accept the status quo. Yes, at least
half the Congress had to be convinced that independence from England was the
right course.
Nick Degruccio directs a 26-member cast that is utterly astounding in terms
of dramatic power, comic precision and vocal quality. A more talented
ensemble could not have been assembled, even on Broadway. And every word of
dialogue is easily heard, to boot. Pinch me, please!
MTW Artistic Director Steven Glaudini stars as John Adams. He is forceful,
dynamic and, at the same time, surprisingly winning. With so much of the
show’s dialogue devoted to Adams’s coarseness and unpopularity, I couldn’t
help liking him immensely. The irony struck me as intensely funny. I don’t
think my smiling face relaxed for the entire first act, which lasted a
fleeting hour and three quarters.
The first musical number, “Sit Down, John,” featuring Adams and the
Congress, sets the tone for the entertaining legislative battles to come.
Congressional arguments are interrupted frequently by trivial business for
which Adams, of course, has no patience.
Favorite scenes are too numerous to mention. Some are those in which Adams
seeks the advice and assistance of his wife Abigail. Tami Tappan Damiano’s
Abby is centered and practical and has a softening effect on her husband.
Their interchanges are endearing, and they expose a vulnerability in Adams
that doesn’t appear elsewhere.
Richard Henry Lee, played by none other than Davis Gaines of Broadway
Phantom fame, had the audience in stitches performing “The Lees of Old
Virginia.”
In yet another rousing segment, Martha Jefferson (Jessica Bernard) charms
Adams and Ben Franklin (Stephen Vinovich) in a fabulous scene in which she
gushes over her husband’s violin playing.
In a number reminiscent of musical chairs, no one on the “declaration
committee” wishes to write the document. The hysterical “But, Mr. Adams”
features Adams, Franklin, Thomas Jefferson (John Bisom), Robert Livingston
(Jason Webb) and Roger Sherman (James May) singing and dancing in what
amounts to “the musical quill.” (Jefferson, of course, winds up with the
pen.)
The more serious second act comes to a head over Jefferson’s paragraph
abolishing slavery. As Edward Rutledge of South Carolina, Robert J. Townsend
brings the house down with his haunting performance of the stirring
“Molasses to Rum.”
Musical director Matthew Smedal conducts a first-rate pit orchestra. Yolanda
Rowell’s fantastic 18th-Century costumes, along with Cliff Senior’s wigs,
are true to life and represent fantastic variation of color and style.
Other than its depiction of Adams’s dedication to the cause of independence,
the show teaches us that our country’s founding also required the military
acumen, against all odds, of General George Washington, as well as the
literary talent of Jefferson and the considerable and patient wisdom of
Franklin. In addition, we should not minimize the eventual courage of the
other members of the Continental Congress, for all of these men literally
risked their lives, their property and the welfare of their families to set
our nation in motion. Had the experiment proved unsuccessful, King George
would surely have hanged them all, and they knew it. It is against this very
serious backdrop that the delightful 1776 takes place.
Musical Theatre West’s production of 1776 continues at the Carpenter
Performing Arts Center, located on the campus of Cal State Long Beach
through July 25. Performances are Thursday (7/22) at 8pm, Fridays (7/16,
7/23) at 8pm, Saturdays (7/17, 7/24) at 2pm and 8pm, Sundays (7/18, 7/25) at
2pm and Sunday (7/18) at 7pm. Tickets range from $30 to $80 and can be
purchased through the MTW Box Office at (562) 856-1999 x4 or online at
musical.org.
1776 When composer-lyricist Sherman Edwards and librettist Peter Stone's feel-good, cartoon history became the surprise hit of the 1968-69 Broadway season, the country was mired in an unpopular war, riven by social discord and rocked by the suspicion that maybe we weren't the moral leaders of "the free world" after all.... Forty years later, surprisingly little has changed, so what better time to roll out this amiable, musical reminder of our erstwhile nobility? And if the tone seems a bit self-congratulatory or historically reductive for some tastes, credit director Nick DeGruccio's impeccable production and a flawless ensemble for so ably selling Stone's long-winded book and Edward's mostly undistinguished songs. The story is, of course, the debates leading to the signing of the Declaration of Independence, wherein we learn that the Founding Fathers liked to have sex but didn't necessarily like one another, and that they sold out the rights of African-Americans for the sake of consensus. Steven Glaudini delivers an uncanny impersonation of William Daniels as John Adams; Stephen Vinovich is appropriately bawdy and avuncular as scene-stealer Benjamin Franklin; and Robert J. Townsend, as South Carolina slaver Edward Rutledge, electrifies the house with his stirring rendition of "Molasses to Rum." Costumer Yolanda Rowell provides the eye candy with her sumptuous collection of frock coats and lace; Steven Young's lights lend it all a John Trumbull elegance; and Musical Director Matthew Smedal tops it off with admirable pitch-perfection. Carpenter Performing Arts Center, 6200 Atherton St., Long Beach; Thurs.-Fri., 8 p.m.; Sat., 2 & 8 p.m.; Sun., July 18, 2 & 7 p.m.; Sun., July 25, 2 p.m.; through July 25. (562) 985-7000. A Musical Theatre West production. (Bill Raden)
VIDEO CLIPS!
Another FABULOUS REVIEW!
John Equality Niedbalski-Petersen
See a few glimpses of me and the cast
rehearsing our 1776!!! Preview Performance THIS FRIDAY - OPENS ON SATURDAY!
Wait Until Dark - The Ira Fistell Show, KABC Radio 790 AM Review
A Dark Play Lights Up the Lounge
By Cynthia Citron The Ira Fistell Show, KABC Radio 790 AM
If Cate Caplin were a three-year-old horse she would be well on her way to
winning the Triple Crown. An award-winning dancer, a creative choreographer, and
a dynamic director, Caplin runs on many turfs. Currently, she is directing
Frederick Knott’s “Wait Until Dark” at the Lounge Theater in Hollywood. Stephen
Sondheim’s “Into the Woods”, which she choreographed, has only recently closed.
“Wait Until Dark” is well-remembered as a scary 1967 movie starring Audrey
Hepburn, Alan Arkin, and Richard Crenna. So you wouldn’t think a local
production on a stage about the size of a kitchen table would be something to
write home about. But you would be wrong. This production has you literally
jumping out of your seat.
As the blind heroine terrorized by thugs, Veronique Ory will have you convinced
that she is really blind. As she maneuvers around her basement apartment,
glassy-eyed and arms outstretched, her mounting terror is palpable. Jon Emm, as
the “sympathetic thug” offers her a brief respite until she sees through him.
But Lorin McCraley, playing multiple roles, veers from the ridiculous to the
truly menacing. These two are aided
by John Richard Petersen, the phony police sergeant who gives credibility to the
plot. At least, Ory believes him.
The plot is a silly mishmash about a doll stuffed with drugs that her husband
(Tim Maloney) has carried home from a recent trip to Canada. The drugs have a
street value of $50,000, which hardly seems worth all the sturm und drang and
the multiple murders perpetrated in its name. But this is Greenwich Village in
1966, so it’ll be another 40 years before we start talking about illicit money
by the billions.
This is a dark drama, in more ways than one. The darkness in which the heroine
lives becomes very real. Especially in the final scene, which is played with no
lights. And set designer Jennifer Fulmer has managed to fill the tiny stage with
a full array of kitchen furnishings, plus a washing machine, a staircase, a
small photography studio, and several doors. How the nine actors manage to
maneuver around all this without knocking each other over is yet another
testament to the directing skill of Cate Caplin.
“Wait Until Dark” is a
worthy production of the Athena Theatre Company; it is gripping and well acted,
and highly recommended for a cold, rainy night.
The Lounge Theatre is located at 6201 Santa Monica Blvd. in Hollywood. “Wait
Until Dark” will run Thursdays, Fridays, and Saturdays through March 25th.
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"WAIT UNTIL DARK is engaging, excellent entertainment"
The Tolucan Times ~ Canyon Crier
February 22, 2006
"a natural John Richard Petersen"
"an evening of excellent entertainment. Recommended"
"Wait Until Dark"
Entertainment Today
February 24, 2006
"Athena Theatre's current production of this classic is a crowd pleaser, with well-defined blocking
and tuned-in characterizations under the direction of Cate Caplin."
a comedy by Tom Dudzick
"Over the Tavern" in Long Beach, as fun as it sounds
Seal Beach Sun
June 30, 2005
"Under warmhearted direction by David Colwell, a capable cast of seven and some mighty creative staging by Daniel Wheeler, Ron Wyand, Donna Fritsche and Laura Tesson transform the intimate, small, upstairs Studio Theatre stage into the busy Pazinski apartment."
"John Petersen and Karen Bukolt deliver moving insights as 1959 parents following the paths they grew up with, who now must deal with the fact that times have changed and their children aren't as willing to "buy into the old rules."
"So, while "Over the Tavern" serves up a lighthearted evening of warm reminisces, old TV Show references and plentiful humor, it's more than an evening of guffaws. Don't be surprised if you recall the misty-eyed moments even more than the punch lines."
Click image to read the entire review:
Perfect Balance Achieved In "Tavern"
Grunion Gazette
June 30, 2005
"It's an exceptionally well-cast play. The way Eddie, gawky, hormone-maniacal, doesn't like Ellen (believe he means Annie - the sister) but then creams the boy who saw her undress one night in front of her window is touching and true to mark. So are the ups and down of Ellen and Chet, their romantic beginning, to which they often refer, the morass into which they sometimes sink, their chemistry is dead-on."
"Levy reminded me of the guy in "Wonder Years," with eyes so wide open at so young an age. And you can read the clipped wing tragedy in Petersen's eyes."
Click image to read the entire review:
Young actors lead in Studio Theatre's Over the Tavern
by Vicki Paris Goodman
SIGNAL TRIBUNE
June 30, 2005
"David Colwell directs the strong cast in this production"
"Over the Tavern is chock full of entertaining moments, some moving, others hysterically funny. Levy and Pinchot achieve a remarkable chemistry. Overall, Over the Tavern is well worth the price of admission."
Click image to read the entire review:
Struggles of a blue-collar '50s family
by Kimberly O'Gorman
PRESS TELEGRAM
June 24, 2005
"Directed by David Colwell, "Over the Tavern" features a strong cast of characters in a play that is funny, sad and touching." "The strongest aspects of this show are the actors who carry their characters with such authority and sincerity. It is, to be sure, an exceptional cast. The family dynamic is real - with all the baggage that comes with being a family. At first, Chet feels the least fleshed out, but his character goes through its own growth so that by the end of the show even he is a little more sympathetic."
"Petersen is loud, obnoxious and unreasonable as Chet. Oh, and uncommunicative, unless they're talking about the tavern, which is perfect for this character. Throughout the play he struggles with relating to his wife and kids, and he comes to some insight about his limitations and his relationship with his father."
Click image to read the entire review:
'Over the Tavern' at Long Beach Playhouse
by Marchelle Hammack
BEACHCOMBER
June 24, 2005
"Lots of love and laughs permeate this comedy"
"All in all, this is a fine romp, with a lot of potential to be a big hit with the entire family."
As Charlie Davenport in the Lawrence Welk Resort Production of
ANNIE GET YOUR GUN
"Strong leads, chemistry make Welk's 'Get Your Gun' a winner"
"Yandell and Husmann lead a strong cast. And Susan M. Bell and John Richard Petersen add spice as the sparring show people Dolly Tate and Charlie Davenport." Pam Kragan, North County Times, September 3, 2003
Click Here To Read The Entire Review
“The most successful musical in the careers of both legendary Irving Berlin and Ethel Merman explodes on stage at the Welk Resort Theatre. This production is solid gold, glorious in every aspect – and chock full of fun, fun, fun! Memorable performances are abundant – including those by…John Richard Petersen (Charlie Davenport). …this exhilarating work of art is judged to be 100- percent flawless. A must see adventure suited for the entire family – filled with whimsical choreography, song after song, fabulous sets and costumes and
a highly gifted – totally energized ensemble.
Bruce J. Singer, Entertainment Roundup, October 2003
Click Here To Read The Entire Review
"Director/Choreographer Jon Engstrom brings to the Welk Resort Theatre a fantastic cast that delivers comically, musically, and dancingly, headed by the stellar performance of Joy Yandell as Annie. Other highlights include Annie and Wild Bill’s marketing guru Charlie Davenport (John Richard Petersen) giving a hard time to the delightfully obnoxious Dolly Tate
(Frank’s assistant and his wannabe bride) played by Susan M. Bell."
Rob Hopper, San Diego Playbill, September 2003
Click Here To Read The Entire Review
Pat Launer's Don't Miss List and Review on San Diego Theatre Scene
with Jeffrey Arnold Wolf as Chief Sitting Bull and Susan M. Bell as Dolly Tate
The cast of ANNIE GET YOUR GUN performs the Star Spangled Banner
in front of thousands at the San Diego Padres Game!
as Amos Babcock Bellomy in
"FANTASTICKS LIVES UP TO NAME"
"As the sires, Jason Wesley Green (Hucklebee) and John Richard Petersen (Bellomy) lend fun and appropriate gravitas to their characterizations. Green and Petersen create a delightful duet in one of the staging's musical highlights, -'Plant a Radish."
Ben Miles, SUN NEWSPAPERS, July 3, 2003
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"The two fathers are classic geezers, and Jason Wesley Green and John Richard Petersen embody the mentality of small town, small time, small thinking rurals who believe they're doing the best for their children....The play moves fast, it's fun and the food and grog are above average. This will definitely be a unique evening for anyone who enjoys dinner shows, and no doubt you'll go home humming a couple of the tunes in the show."
Jose Ruiz, WWW.REVIEWPLAYS.COM, June 24, 2003
Read the full review - click here to go to REVIEWPLAYS.com
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"Gentle and fantastic is THE FANTASTICKS at the WestEnd....The Fantasticks seems designed for the warmth and intimacy of The WestEnd Dinner Theatre. The production is unpretentious, direct, charming and winning. The cast of eight....performs with pitch and tune, and lilt and lilt(ch), and fun."
Al Randall, News-Enterprise, June 25, 2003
Read the full review - click here
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"Look, the biggest thrill for someone who has been doing community theater is the money," said John Richard Petersen, a Chicago native and hard-working local stage actor whose TV credits include "MURPHY BROWN," "BLOSSOM," 'and "THE LARRY SANDERS SHOW," "When you finally get paid for doing your craft the feeling of self-respect is immeasurable."
Paul Hodgins, Orange County REGISTER, Sunday, June 29, 2003
click here to read the article
in The Laguna Playhouse Production of
THE ADVENTURES OF TOM SAWYER
"'Sawyer' is faithful to original"
"...Other adults contributing impressive performances are ... and John Richard Petersen, doubling as the sheriff and the local clergyman."
Tom Titus, COASTLINE PILOT, (www.latimes.com)
May 15, 2003
in THE LAGUNA PLAYHOUSE production of
THE WIZARD OF OZ
"John Petersen nicely interprets the squeamish gate guard in Oz (he also does a strong Uncle Henry in Kansas)."
Tom
Titus, COASTLINE PILOT (www.latimes.com) 12/13/2002
THE LAGUNA PLAYHOUSE production of
ANASTASIA KRUPNIK
"Anastasia Krupnik Splendid"
Anastasia's often-erratic flights of fancy."
Tom Titus, Coastline Pilot (www.latimes.com) 10/18/02
As Max Detweiler in The Saddleback Civic Light Opera Production of
THE SOUND OF MUSIC
"The
rest of the cast was also excellent in their roles, leaving the audience feeling
extremely
pleased
with the production as a whole.
Special note should be made of ... Petersen (Max),
who was
delightful in every scene he appeared and was the embodiment of his character. He just
took over the stage and sucked you in with his enthusiasm,
reminding you much of Nathan Lane."
Darren Danforth and Kristy Bratton, www.CityofAngel.com
(The official ANGEL television show fan website!)
"John Richard Petersen plays the ultimate finagler, mooching off his rich friends and loving every minute of it..."
Peggy Blizzard, IRVINE WORLD NEWS, 08/08/02
"The glib, seemingly unscrupulous Max Detweiler (John Richard Petersen)...
Petersen's characterization also avoids stereotype, his Max's moral ambivalence [is] played for light comic relief rather than sinister potential."
Eric Marchese, ORANGE COUNTY REGISTER, 08/09/02
As Mr. MacAfee in
"John Petersen is SUPERBLY FUNNY as Kim's Father"
Michael Rydzynski, IRVINE WORLD NEWS, 03/18/99
"Other amusing moments come from John Petersen as Mr. MacAfee”
Mark Chalon Smith, LOS ANGELES TIMES, 03/20/99
as Peter Patrone in
THE HEIDI CHRONICLES
"Petersen has a comfortable, solid quality that fits Peter's personality to perfection"
T. H. McCulloch, LOS ANGELES TIMES 02/09/95
"Peter Patrone, Heidi's gay pediatrician friend and confidant, is broadly though compassionately drawn by John Richard Petersen"
Sy Wellikson, ALISO VIEJO NEWS
02/09/95
as Jean in
MISS JULIE
"Petersen offers a stoic Jean who is very moral-minded and loyal...he's romantic"
Michael
Rydzynski, SADDLEBACK VALLEY
VOICE, 11/15/97
as Dromio of Syracuse in
THE BOYS FROM SYRACUSE
"Style also comes naturally to ...Dromio, John Petersen....
Petersen knows his way around physical humor that comes out of character."
T. H. McCulloch, LOS ANGELES TIMES, 03/16/94
"and John Petersen (Dromio of Syracuse) provided the comic relief of the evening."
Janet Vick, LARIAT 03/07/94
as Rhoda's father in
THE BAD SEED
"a competent cast of supporting players: John Petersen, as Rhoda's father"
Joan Ray, THE SUN POST NEWS 01/06/1994
"Silver's cast does it's best to lend a natural tone...generate skilled turns as does John Petersen in his one crucial scene."
Eric Marchese, THE ORANGE COUNTY
REGISTER, 01/09/94
"...and John Richard Petersen as Pig Pen all bring their cartoon characters to life,
making [them] believable, fun and colorful"
Kacey Jordan, THE SUN POST NEWS, 07/30/93