By Rebecca Kaplan, Oakland City Councilmember At-Large–

The city of Oakland’s February 7 Finance Committee approved Vice Mayor Kaplan and Councilmember Fife’s item to begin discussions of options to revitalize the city-owned parcel at 7th and Broadway, with a new mixed-use development that would include affordable housing and ground floor activation ( such as retail, café) that would better connect this major corridor and improve pedestrian safety and access, connecting downtown, old Oakland, Chinatown, and Jack London.

This large, publicly-owned site on the major Broadway corridor is in bad condition, and the workers who currently work in the building and members of the public who come to it are subjected to bad conditions. Additionally, it is an ineffective use of this location that is near BART and many job centers, and would be better used as housing and mixed-use.

The services that have been housed in the building, including police administration, a crime lab, and more would be more effective in a new modern building that could provide the needed amenities along with other public services, which would be located in East Oakland and provide for more, effective services and improved accessibility.

According to the 2017 feasibility study, in their assessment of the PAB’s (Police Administration Building) condition, they found the building’s envelope, HVAC system, lighting, electrical and plumbing, ADA compliance, fire protection, and elevators were all in need of major capital improvements or replacements.

At the same time, the city is in serious need of housing and commercial space. From the city’s Housing Element Annual Progress Report for 2020, Oakland has met only 43% of its Regional Housing Needs Allocation (RHNA) goals for very low-income housing, 25% of its RHNA goals for low-income housing, 3% of its RHNA goals for moderate income housing, and 22% of its overall affordable housing goals.

This resolution directs the Oakland City Administrator to make a concerted effort to ensure contracts are awarded with an equity framework so that small, BIPOC, and women-owned firms are able to participate in the development of this project, and that the project be designed and planned in a manner to meet community needs. And to revitalize this large, centrally located public land in a way that connects our major corridor, is more welcoming, and provides for a new improved public service facility with state of the art labs and training facilities at the coliseum site.

Councilmember At-Large and Council President Rebecca Kaplan, who is the Vice Mayor of Oakland, was elected in 2008 to serve as Oakland’s citywide Councilmember; she was re-elected in 2016 and 2020. She also serves on the Alameda County Transportation Commission (ACTC). Follow Councilmember Kaplan on Twitter @Kaplan4Oakland (https://twitter.com/Kaplan4Oakland) and Facebook (https://www.facebook.com/Kaplan4Oakland/).

Published on February 24, 2022

The post Revitalizing Broadway in Oakland, Together with New Reasonably priced Housing – San Francisco Bay Instances appeared first on Los Gatos News And Events.

Nicolas Dromard has worked his way up from the ensemble to the lead role in two high-profile musicals: Wicked, in which he jumped from swing on the first national tour to an acclaimed run as Fiyero in the San Francisco production, and Mary Poppins, in which he jumped from swing in the original Broadway cast to a star-turn as Mary’s chimney sweep buddy Bert. When the show ends on March 3, Broadway.com had a chat with the Canadian-born actor about his emerging career and dream role.

How does it feel to come full circle with Mary Poppins and end the Broadway run as Bert?
Great! It’s such an honor. At first we were shocked and saddened that the show was coming to an end, but six and a half years on Broadway is a great run. The show has an incredible message and it makes the audience so happy. It’s a privilege to say I was the last Bert on Broadway.

What is fun about playing Bert?
I think Bert is one of the best male roles on Broadway. He is the narrator, he sets the mood and he is omnipresent – he is constantly on stage and dancing. What other role can you dance on the ceiling in?

To the right! What is this moment like?
It’s a roller coaster ride. “Step In Time” is my favorite part of the show. There’s an adrenaline rush and I get butterflies in my stomach every time. They trap me and I just do it. It’s such an impressive stunt: I go up a wall and 30 seconds later I’m back down. It’s over so fast! I wish it was longer.

You danced on ceilings all over America. Does the New Amsterdam Theater feel different?
The set is different on tour – the Banks house opens up like a pop-up book, unlike the Broadway set which is a three story house! But coming back to New York was like riding a bike again.

What memories do you have of playing Fiyero in Wicked’s San Francisco Company?
It was so much fun. In 2009 I left Poppins on Broadway to join Wicked. Fiyero is a dream role because you can kiss the blonde, kiss the green, swing on a rope and bow! Bert is a beast compared to Fiyero. It’s very physical.

You were also on The Boy From Oz ten years ago. Any good Hugh Jackman stories for us?
He’s just great and I want to work with him again. He’s so excited; I’ve never seen anyone work that hard before. And his dressing room was always open – when your mom and dad came backstage after the show, he chatted with them.

You were born and raised in Ottawa, Canada and didn’t speak English until you were seven. Are you still fluent in French?
Oh yes, with my family. My grandmother doesn’t speak a word of English, but my parents do. You translated for the Canadian government.

At what age did you lose your French accent?
I still have a slight French accent, but I can hide it. It still comes out when I’m tired or have had a glass or two of wine.

You’ve played squeaky clean roles for quite a while now. Desire to be bad?
Naturally! I would love to play in Jersey Boys and play Tommy DeVito.

The post What’s Up, Nicolas Dromard? Mary Poppins’ Last Bert on Kissing Depraved Witches and Dancing on the Ceiling | Broadway Buzz appeared first on Los Gatos News And Events.

Disney has set a high bar for spectacle on Broadway. Whether we see an elephant marching down the aisle in The Lion King, a chimney sweep dancing upside down on the proscenium in Mary Poppins or a magic carpet fly in Aladdin, our jaws can often be found on the floor at a Disney show. So I’m disappointed to report that my newest version for Disney’s was firmly anchored: Frozen at the St. James Theater. Frozen is a wonderful Broadway musical by any other producer, but we’re going to a Disney show and wanting a star for more. Have our inquiries become too extreme?

Granted, my expectations for Frozen may have been too high. Based on the 2013 blockbuster that marked a comeback for Disney animation (in a landscape long dominated by Pixar), it is the story of two princesses in the Nordic kingdom of Arendelle. The young Elsa (a correspondingly fearful Ayla Schwartz) is the enchanted heiress. Her younger sister Anna (the spunky Mattea Conforti) loves her older sister and her magical powers. Elsa’s parents, however, let her wear long gloves to suppress her supernatural urges.

Once she comes of age, Elsa (Caissie Levy, who portrays a convincingly low-key adult version of the sad little girl we met) nervously prepares for her coronation. Anna (the delightfully quirky Patti Murin) is looking forward to finally opening the palace to other people. She immediately falls in love with Prince Hans (John Riddle), a lovely visitor from the Southern Isles. But when Elsa refuses her request to marry, this triggers a confrontation that causes Elsa to unleash her magic and run away from Arendelle and plunge the kingdom into eternal winter.

Patti Murin plays Anna and John Riddle plays Hans in Frozen on Broadway.
(© Deen var Meer)

This is bad news for ice cream merchant Kristoff (a stage jelani Alladin who raises his voice in forced excitement). He helps Anna find her sister with the help of his loyal reindeer Sven (hidden under Michael Curry’s gorgeous full-body doll, Andrew Pirozzi gives the most impressive performance of the night; his eerie physicality will likely remind many viewers of a great family dog). On the way they meet a walking, talking snowman named Olaf (Greg Hildreth with a Permasmile wearing a modified version of the Timon doll from the Lion King).

Director Michael Grandage borrows the tried and tested Disney canon without moving the goalposts. Special effects designer Jeremy Chernick creates Elsa’s magic in close collaboration with video designer Finn Ross, who projects icicles throughout the theater. At some point they even seem to freeze the proscenium, which was reinterpreted by the set designer Christopher Oram as a mammoth wooden arch decorated in runes. Oram’s massive set includes some beautifully painted details for the audience to see, depending on Natasha Katz’s subdued but focused lighting. Oram also made the costumes that reference the film without resorting to facsimile. A quick change in particular receives the most sustained applause of the entire show.

Jennifer Lee, who wrote the script, also wrote the book, which skilfully adapted the story for the stage along with Robert Lopez and Kristen Anderson-Lopez’s expanded score. The couple have added several new songs, including “Dangerous to Dream,” which lets us in on Elsa’s inner monologue during the coronation. The funny Kevin Del Aguila, who plays shopkeeper Oaken, brings us back from the break with “Hygge”, an exuberant production number about the Scandinavian concept of the cozy time (a current lifestyle trend). Arrangers Stephen Oremus and David Chase wrote a fun dance break in “Fixer Upper”, a second act number for the faun-like “Hidden Folk” who replace the film’s trolls. Everyone in the cast is committed to Rob Ashford’s joyous choreography.

Jelani Alladin (center) leads the cast of Frozen on “Fixer Upper”.
(© Deen var Meer)

Of course, none of these songs has the effect of the surefire show stopper “Let It Go”, which of course serves as the first act finale. Levy delivers a heartfelt rendition without reinventing the wheel, wrapping the song with a superficial note of glory. It really doesn’t matter how well she sings the final chorus because you can’t hear her over the sound of the audience going mad over the most magical quick change on Broadway that hits the moment Elsa finally hugs her inner Ice queen.

Frozen is nothing groundbreaking. It is a beautiful adaptation of a beloved film. Kids will love seeing their favorite characters on stage, and if they can sit still during the 2 hour and 20 minute run, they will be rewarded with the kind of atmospheric indoor environment that has become too common to spoil on Broadway to apply. Snow from the stage, marks of fame and an unforgettable quick change. What more could you want from a Broadway show? Maybe it is really dangerous to dream of more.

Caissie Levy (center) directs the cast of Disney’s Frozen on Broadway.
(© Deen var Meer)

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