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Opera San Jose begins its illustrious 32nd season with "Tosca," Puccini’s most melodramatic opera. “Tosca” is based on Victorian Sardou’s 1887 French language dramatic play La Tosca. The play starred Sarah Bernhardt, who played the lead in over 3,000 performances.  Puccini became obsessed with turning the play into an opera. Librettist Luigi Illica advised Puccini against trying to turn the play into an opera because he felt it could not be adapted to a musical form and was too violent.

Like every parent, I worry about the health of my children. In my case, my worry is colored by the fact that I was obese as a teenager. One of the first questions I asked my pediatrician was how to prevent the same from happening to my child. And my child wasn’t even 2 weeks old.

Kevin Heath and the Limelight Actors Theater continually bring well done, enjoyable theater to Gilroy. “Other Desert Cities” is a comedy-drama and not an easy piece to deliver, yet Heath and his company of top Limelight alumni actors bring in a first-class production.

 Anyone who is familiar with and enjoys Russian playwright Anton Checkhov’s work will become fascinated with the parallels of the characters in Pulitzer Prize winner Donald Margulies’ homage to the writer with his play “The Country House.”

Just yesterday, I received a text from a very old friend reminding me that on this very day, 51 years ago, I saw the Beatles at the Cow Palace.

This is a new version of this grand old chestnut that opened to rave reviews  and awards in London in 1986 and on Broadway in 1988. With the same music by Andrew Lloyd Weber and based on the novel “LaFantome de L’opera” by Gaston Leroux, the production at the Orpheum Theatre in San Francisco is directed by Laurence Conner with a gusto and drive that keeps everything moving at a fast pace.Producer Cameron Mackintosh decided to bring a new "Phantom” theatrically to the stage, and he has succeeded with new magnificent sets by Paul Brown and a little different take on the story line, which still ends the same way.This updated “Phantom” still has the marvelous music, and the basics stay the same. The story moves on the same path as the original but sets, costumes, choreography and a younger Phantom and Christine are offered in a faster moving story.The chandelier still hovers and flashes and intimidates, the Phantom still creates havoc, and the new steep and almost invisible stairs that take Christine and the Phantom to his lair under the Opera House is fascinating. The huge production number “Masquerade” number that opens the second act replaces the sweeping staircases in the older production with mirrors. The cast seems to be a little cramped, but the costumes by the late Maria Bjornson overwhelm with color and design. All are well lit by Paule Constable and made clearly audible by Mick Potter and, most importantly, a fine orchestra under the baton of Dale Rieling.I felt Chris Mann’s Phantom lacked the chemistry and bravado that other Phantoms have delivered, and his voice didn’t seem to have the punch that should have been there (perhaps he was not well.)  Katie Travis’s Christine was full and clear with a fine sound. The rest of the cast gave a smooth supporting performance.There is an old adage that says, “If it ain’t broken don’t fix it.”I don’t think the original “Phantom” was broken, but I guess we must go with the times. A new generation will see this production and probably shake their heads the next time it changes 30 years from now.All in all, this "Phantom” will entertain.