"Those who stand for nothing fall for anything."

Kobara’s ability to look stunning even as makeup runs down her face is a swift trick that I’d love to pull off.

Not having drunk the blue kool-aid, I was ready to dismiss it as a techno version of Gallagher watermelon-smashing. Little did I know that this was merely one step in the BMG experience as the group slowly built the tension.

Fair warning. The first clue you're possibly in for a big night of drinking, debauchery and partying (and a few gun shots): the instigator will likely appear bearing simple tap water.

All attention was focused upon Jeffrey Van Sciver, a mesmerizing black dancer with impossibly long arms and legs. Transitioning from sharply articulated moves to movements as liquid as a long string of pearls, Sciver nearly stole the show.

Without missing a stroke he exhausts the crowd with Tchaikovsky’s Allego Con Fuoco and then after the second standing ovation of the night presents an encore performance.

Set as a murder mystery in Boston in the late ‘50s, this musical within a musical is an amusing send up and romp through a series of behind the scenes shenanigans.

It’s been twenty years since the fall of the Iron Curtain, and despite its undeniable shortcomings, capitalism as an economic model has been widely embraced by the former “Red” nation-states.

If an overweight, overwrought, middle-aged, whiny nebbish can be an oracle, Lopez has it down as he expounds at length on the action on the other side of the stage.

The Palo Alto Players’ 80-year tradition of bringing exceptional theatre to the South Bay has never been more entertaining.