If your point of reference to recorder music is the more staid Renaissance music, Verbruggen’s performance will stand such notions on their head. She propelled the Sammartini forward with the vivacity and exuberance that makes this music seem like such a gift.

Despite being a more overt comedy, Williams doesn’t shy away from his serious recurring motifs of familiar dysfunction, homosexuality and sexual repression.

L. Peter Callender has such compelling physical presence that he could probably make folding the laundry mesmerizing. With a quality of motion comparable to Ben Vareen, he’s fascinating to watch even when he removes himself from the action to linger by the entrance.

All I could think was: Holy crap. Holy crap! Holy...crrrrrap!! Rod Gnapp is most assuredly, along with James Carpenter, one of the Bay Area's greatest, working stage actors.

In addition to the talent on stage, the material works because it is honest. There are no black and whites, and certainly no triumphant HAIR-like, balls-to-the-walls jumping jacks.

As performed by the SFSYO, this first movement is pure gold, especially the end that fakes you out – much like a contemporary vocalist – only to deliver the most majestic of crescendos at the end

...perhaps the most apt, figurative description one can give this delightful production would be that it makes one feel as if one has been invited to a fantastical, wonderfully entertaining cocktail party.

"Parents, if you love your children, do not take them backstage at Disneyland." - A wise man.

Throw in a bit of sex and age discrimination, a dash of offensive language and Mamet gives the audience reprieve from affirmative action.

How interesting that the cycle renews. Many of the themes -- identity, freedom, rebellion -- are dominating today's headlines as the economy continues to struggle.