REVIEWS

Noises Off, Oregon Cabaret 2017

From Lee Juillerat of the Klamath Falls Herald & News:

“Fasten the seatbelts. Get ready for a rollercoaster ride of laughs and hilarity with Noises Off, this year’s season opening production at the Oregon Cabaret Theatre.”

“The relatively intimate Cabaret is also the perfect venue because it connects the audience with the players. Ironically, “Noises Off” was performed several years ago at the Oregon Shakespeare Festival, but that production never generated the same sense of energy, wit and fun because its too large theater didn’t provide a real sense of connection.”

From Jeffrey Gillespie from the Ashland Daily Tidings:

Noises Off at Oregon Cabaret Theatre is a near-perfect night of robust screwball comedy. It is suggested that you get your seat now, while there’s still a seat to be had.”

“In a raucously funny and unrelentingly harefooted race to the finish, nine actors who are clearly in far better physical shape than any of us could attest to be race through eight doors, up and down stairs, backstage, downstage and upstage, spewing line after line of comedic dialogue with the sort of giddy fortitude that could only leave an audience reeling with laughter and delight.

From Katherine Hannon of the Medford Mail Tribune:

“While the fictional actors flounder, the OCT actors shine. “Noises Off” is a funny, funny show with a strong cast. ”

“In the end, the motley cast finds a shabby nobility of purpose. The play is a mess, but they’ll see this mess through to its ridiculous finale. OCT’s deft production becomes not just a farce but an affectionate tribute to those who (sometimes inelegantly) tread the boards.”

From Edith Decker of the Grants Pass Daily Courier:

“If the winter doldrums have you by the throat, forget light therapy and happy pills. Go to “Noises Off.””

“Director Valerie Rachelle doesn’t disappoint in preparing this wild ride to start strong, clearly rehearsing the professional cast until they were spot on.”

Pine Mountain Lodge, (World Premiere) Oregon Cabaret Theatre 2016

“Oregon Cabaret Theatre has decided to slow down, kick off its shoes, and give us a charming new holiday musical, a work conceived and written by OCT’s managing director, Rick Robinson. Interspersed with songs by Irving Berlin, Robinson’s “Pine Mountain Lodge” is a sweet little love story.”

“With classic songs, tap-dancing, and a costuming and style that creates an authentic and pleasing 1940s vibe, “Pine Mountain Lodge” is a story of romance that is made all the more sweet by the fact that it also acts as a love letter from Robinson to Rachelle; his affection for her is sunk into the bones of this show…”

JEFFREY GILLESPIE – Ashland Daily Tidings

Ragtime, Utah Festival Opera, 2016

To say that the quality of the production, directed by Valerie Rachelle, is worth the drive up the canyon to Logan would certainly be true. But aside from that, I would be remiss if I didn’t suggest that the subject matter is important enough to inspire a trip. Certain lines of dialogue from Terrance McNalley‘s script and Lynn Ahrens‘s lyrics will stay with me.

ELISE C. HANSEN, Utah Theatre Bloggers

Ring of Fire, Oregon Cabaret Theatre 2016

“As a whole, “Ring Of Fire” is a loving tribute to one of the most influential musicians of the 20th century. With a tight-knit group of musicians and a responsive audience working hard to honor his legacy, Johnny Cash can continue to happily roll around heaven, all day.”

JEFFREY GILLESPIE – Ashland Daily Tidings

“This was an evening with five extremely talented musicians running through Cash’s life and music. They harmonized wonderfully together, played all their own music to sing to and brought us along for the ride. It felt a bit like we’d stumbled into a great, great jam session… And I dare you to try to keep from tapping your toes”

KATHLEEN ALAKS – Grants Pass Daily Courier

“[a] vibrant, five-person show… What emerges from all this is an expansive portrait of Cash’s America, a place of poverty and chance, humor and pathos, sin and redemption… It’s a poet’s vision and Cash was the poet, an American original.”

BILL VARBLE – Medford Mail Tribune

Cabaret, Oregon Cabaret Theatre 2015

“Do not miss — I repeat, do not miss — Oregon Cabaret Theatre’s brilliant production of the multiple award-winning 1966 Broadway musical, “Cabaret.” This is the Oregon Cabaret Theatre as you’ve never seen it before.  Cabaret Artistic Director Valerie Rachelle co-directs and co-choreographs this production with Michael Jenkinson. Together, they pull no punches with Joe Masteroff’s bluntly political script and have fashioned precise and explicit choreography to underline Fred Ebb’s in-your-face lyrics and John Kander’s edgy music.  Up until now, OCT has always done well-written and amusing productions, heavy on musical skill and generally suitable for your sheltered maiden aunt. This production of “Cabaret” breaks that mold. It is substantive, sophisticated and contemporary.  “Wilkommen” to the new Cabaret, my friends. Come to the Cabaret.”

ROBERTA KENT – Mail Tribune

“The production is unforgettable and mesmerizing.  One of its scenes, “Mein Herr,” starts carefully then explodes into possibly the most dynamic, visually enthralling pieces of musical theater in 30 years of viewing Cabaret productions.  Rachelle and Michael Jenkinson, who share the directing and choreography, have created a scorching production…”

LEE  JUILLERAT – Herald and News

“It gives me great pleasure to say that the current production being offered by the Oregon Cabaret Theatre, the classic Kander and Ebbs musical Cabaret, is a complete triumph, an all around winner, as good a theater experience, if not better, than any other show on stage in Southern Oregon this season.

And the acting was just the tip of the iceberg, of the superlatives incorporated in this show. The choreography was a treat – numbers like “Two Ladies” and “Money” were lively, well-coordinated and memorable – kudos to choreographers Valerie Rachelle and Michael Jenkinson.”

LEE GREENE – Jacksonville Review

“Dancing, sex, and Nazis—and kind of in that order, actually. Ahh Cabaret. Whether it was the scantily-dressed women, the dancing gorilla, or those damn rascally Nazis, the early June audience was so captivated by the performance of Cabaret that a pin drop could be heard during those pregnant theatrical pauses. Seriously, it was excellent.  That being said, the acting, by all members, was by far the standout aspect of the production. Cabaret takes on very charged themes which are occasionally watered down by the often ridiculous Kit Kat Club setting and tawdry euphemisms the characters employ to lighten the mood of an otherwise morosely-themed play. These talented stage performers know how to sing, prove they can dance, and will likely continue to fill most, if not all of the seats, for the months to come.”

MIKE DICKENSON – Rogue Valley Messenger

“”Cabaret” is one the best things to hit the OCT stage in a long time.  As the song says, “Come hear the music play.” In the case of Oregon Cabaret Theatre’s new production of “Cabaret,” that’s not just an invitation. It’s an order.”

KATHLEEN ALAKS – Grants Pass Courier

How to Succeed in Business Without Really Trying, Utah Festival Opera and Musical Theatre 2015

How to Succeed in Business Without Really Trying has become an iconic look at the 1960’s workplace through the lens of musical theatre. It’s satirical, stereotypical, and sexist. Instead of resisting the temptation to tone down the now-obvious social faux pas and political incorrectness, director Valerie Rachelle embraced all the charm and wit this show has to offer (“pas” and all), making it a rousing night at the theatre and a successful production for Utah Festival Opera.  Utah Festival Opera & Musical Theatre’s How to Succeed in Business Without Really Tryingis a well directed, well acted show that was simply a joy the entire evening. From the leads, to the ensemble, to the set, to the sound, all aspects of the production came together to create its own version of success—and succeed it did.”

ANDY FOREE – Utah Theater Bloggers Association

Musical of Musicals, Oregon Cabaret Theatre 2015

“…Oregon Cabaret Theatre’s production, The Musical of Musicals (the Musical!) is so much fun. It takes the basic plot of a Snidely Whiplash melodrama and serves it up in the styles of five very different writers of musical theater.  So if you’re a die hard musical theatre buff, you have to see this show. But even if you can’t tell one writer from the other, you’re bound to enjoy the acting, singing, and silliness of this production.”

STEPHANIE BARTLETT – Ashland Sneak Preview

“Whether you have stacks of musicals in your record collection or just enjoy a musical film based on a Broadway hit now and then, you’ll definitely enjoy “The Musical of Musicals (the Musical)” which just opened at Oregon Cabaret this weekend.

The exceptional cast, accompanied only by pianist Sarah Russow, also the musical director for the show, is worth watching no matter what they’re performing. In this hilarious lampoon, it’s pure fun.”

EDITH DECKER – Daily Courier

Dames at Sea, Oregon Cabaret Theatre 2015

“It’s hard to imagine a better vehicle to introduce new Cabaret Artistic Director Valerie Rachelle, the shows Director and Choreographer…breathless yet seamless pacing, intricate tap routines, and a sweetly sentimental storyline.  Not an easy feat to pull off.  Rachelle…nails it.”

EDITH DECKER – Ashland Daily Tidings

“It’s nice to know that some things stand the test of time, and Dames is one of them. Director Valerie Rachelle, OCT’s new artistic director, has brought new life to this parody of 1930s musicals with a multi-talented cast and crew in this season’s opening production.”

“For this reviewer, there’s something very satisfying about reviewing OCT’s first show back in 1986 and reviewing it again now. Whether you’re a long time fan or new to OCT’s zany brand of fun, Dames at Sea is sure to please.”

STEPHANIE BARTLETT – Ashland Sneak Preview

It’s a Wonderful Life,Oregon Cabaret Theatre 2014

“If you’re up for a fresh take on [It’s A Wonderful Life], though, you couldn’t do better than this radio play version.  It’s easy to get caught up in both the magic of live performance and the touching story of It’s a Wonderful Life.”

EDITH DECKER – Ashland Daily Tidings

“At OCT, It’s a Wonderful Life is a wonderful show!”

STEPHANIE BARTLETT – Ashland Sneak Preview

Die Fledermaus, Syracuse Opera 2014

“If you attend Sunday’s final production of Die Fledermaus, don’t come expecting anything even remotely serious. This isn’t Don Giovanni. It’s more like Dom Perignon. But if you’re looking for a good time, you’re headed for the right place. The present production by Syracuse Opera is, in essence, a three-act bottle of champagne that when popped open spurts a bubbly potpourri of tunes, dances — and continuous laughter. The fun is augmented by an endless parade of irresistible dance music such as waltzes and polkas, and tunes you’ll be humming long after leaving the theater. Add to the mix some handsome sets, delightful singing, clever comedic acting and solid support from the orchestra pit, and you’ve a taste of Vienna right here in Syracuse.

Of course, musical comedy demands more than just good tunes and clever one-liners to sustain some three hours of listener attention. It requires a strong cast of singing actors with sufficient chemistry to connect the musical and comedic elements convincingly. Stage Director Valerie Rachelle managed a fine cast of young musicians who not only blended well, but also made it clear that they were having fun doing it.

Rachelle’s staging of the party scenes were as effervescent as Strauss’s polkas. She proved she’s a good traffic cop, too — managing to keep the dancing couples from running into one-another during the crowded waltz scenes.”

DAVID ABRAMS – CNY Cafe Momus

 

“Popping corks, opulent sets, stunning costumes and soaring talent herald Syracuse Opera’s 40th anniversary season, launched Friday with “Die Fledermaus,” Johann Strauss Jr.’s merry romp of smoke and mirrors. The performance was effervescent, with the cast spinning magic as they sang Strauss’s intricate vocal lines, engaged in witty discourse, and performed the stylish scenes in which privileged people play frivolous games.

Like all good art, “Die Fledermaus” has staying power. The Syracuse Opera production, directed by Valerie Rachelle in her debut with the company, delights with its campy interpretation and hints at contemporary culture–a few bars from “Frozen” and references to “white collar prison,” for example. At curtain call, the audience offered a standing ovation in appreciation of a few hours of magic in this intoxicating season opener.”

– LINDA LOOMIS, Syracuse.com

 

Les Misérables, Utah Festival Opera and Musical Theater 2014

“Even professional nit-pickers would have an extremely hard time finding fault with this nearly perfect “Les Miserables.” It is as close to flawless in both production and performances as could be witnessed. In fact, the UFOMT company is, according to founder Michael Ballam, the first opera company in the United States to be granted permission to perform the famed musical by Alain Boublil and Claude-Michel Schonberg, which is based on the time-honored novel by Victor Hugo. And that opportunity has not been wasted.

Considerable credit goes to director Valerie Rachelle and conductor Karen Keltner for their inspired and almost relentless pacing of the production. This staging of a very involved production moves quickly and actively, and passions are high in both movements and voice by all involved. The powerful opening scene is an attention-getter, and the attention of the audience is riveted to the Ellen Eccles Stage from that point on.”

– JAY WAMSLEY, Deseret News

 

“It took the Utah Festival Opera 18 years to gain the rights to perform Les Misérables, making it the first opera company in the world to present the show. The company gave a powerful, emotional performance, making the 18 years worth the wait. Each member of the cast had the vocals and presence of a regular production’s lead.

There’s not enough room here to list each member of the cast, but suffice it to say that the numbers featuring the entire cast blew me away—and nearly took the roof off the theater in the process.”

– KATIE ROUNDY – Utah Theater Bloggers Association

 

“Not surprisingly, “Les Misérables” is the crown jewel of the UFOMT’s 2014 season.

The English version of this operatic musical has been an audience favorite since its debut in London nearly three decades ago. The capacity crowd at the Ellen Eccles Theatre on opening night was no exception to that rule, giving the UFOMT performers a thunderous and well-deserved standing ovation.

The supporting and ensemble performers not only gave uniformly convincing characterizations, but also sang electrifying choral renditions of the play’s production numbers.”

CHARLIE SCHILL – Herald Journal

Music Man, Glendale Centre Theatre 2014

“Director-Choreographer Valerie Rachelle and a couldn’t be better cast get everything right in Glendale Centre Theatre’s crowd-delighting revival of Meredith Willson’s 1957 classic The Music Man, an in the round production well worth a 76-trombone salute.

Refreshingly sophisticated, surprisingly deep, and more than a tad acidic at times…(Music Man) turns out to be far from the saccharine musical some have accused it of being…

Then there are the show’s dance numbers…brought to in-the-round life by the oh-so talented Rachelle…

It’s also one of Glendale Centre Theatre’s best…

Quite simply, Meredith Willson’s Greatest Hit does everything right, and with Valerie Rachelle directing and choreographing the parade, Glendale Centre Theatre’s splendid revival does everything right as well.”

– A “WOW” – STEVEN STANLEY, Stage Scene LA

 

“With fast-paced direction from Valerie Rachelle and a terrific cast led by Brent Schindele, The Music Man offers a refreshing look at the way life should be.

Under Valerie Rachelle’s skilled choreographic and directorial hand, everyone does terrific work, seen especially in the “Marian the Librarian” number as well as “Shipoopi”, “Trouble” and of course, “Seventy-Six Trombones”.

– “Critics Pick” – DON GRIGWARE, Grigware Reviews

Spring Awakening, PCPA Theaterfest 2014

“Directed and Choreographed by Valerie Rachelle…(the cast with) their strong acting, singing and dancing skills bode well for the future of theater.  The characters are beautifully drawn, and the tragic story is touching.

All of the acting is excellent, and the intimacy of the small Severson Theatre brings the emotions up close.

The subject matter shouldn’t turn any adults away from this memorable musical. Its themes of coming of age and adult and youth relationships are timeless, and the music is as fresh and contemporary as its performers.”

– JANE CROWDER, SAN LUIS OBISPO TRIBUNE

Save Me, Lucid By Proxy 2013

“Rachelle breaks the realistic surface of the action with brief interludes in which Hedda — and sometimes other characters — wordlessly move to the sounds of Aretha and others, non-verbally expressing what’s going on inside their brains. You can think of these as very short daydreams, appropriately set off with more concentrated lighting. The stifling repression that’s apparent in most of the play is momentarily broken…

For those of us who have seen it more than once, these additions provide an unexpected and lively portal into the subconscious and the subtext. And, when the final climax occurred on Saturday night, I still found my jaw dropping as if in shock — even though I knew exactly what was going to happen.

Rachelle’s staging has a gut-wrenching effectiveness, aided immeasurably by an incendiary performance as Hedda by Shannon Nelson.”

– DON SHIRLEY, LA STAGE TIMES

 

“Save Me, Valerie Rachelle’s modern interpretation of Henrik Ibsen’s late 19th-Century classic, directed with style and flair by Rachelle…

Aretha Franklin’s “Save Me” not only provides Rachelle’s adaptation with its catchy title but transports us inside Hedda’s soul in the first of a series of reality-meets-fantasy sequences, strikingly choreographed by Rachelle.

Rachelle has conceived these dance-like sequences as a way of “embodying Hedda’s subtext,” and they are Save Me’s most daring move, one that pays off quite excitingly, and never more so than when they involve not just Hedda alone…(Evan joins and it) becomes a sensuous pas de deux, or when later on a pas de trois adds Thea to the mix.”

-A “WOW!” – STEVEN STANLEY, Stage Scene LA

Joseph and the Amazing Technicolor Dreamcoat, Utah Festival Opera and Musical Theater 2013

“The Utah Festival Opera & Musical Theatre’s ongoing production of “Joseph and the Amazing Technicolor Dreamcoat” is a light-hearted, fast-paced show that totally captivated its opening night audience.

With the support of a talented and enthusiastic cast, director Valerie Rachelle makes the most of every one of those opportunities, including a high-energy curtain call as engaging as the rest of the production.

Ms. Rachelle and co-choreographer Keenon Hooks share well-deserved kudos for inspiring the spirited dance performances throughout the production.”

-CHARLIE SCHILL, The Hearld Journal

 

” …of all the classics, Joseph and the Amazing Technicolor Dreamcoat was my mother’s favorite—which means I have seen it dozens of times, and even performed in it myself. With this kind of background, it was with a great deal of nostalgia and excitement I entered the Ellen Eccles Theatre for the Utah Festival Opera & Musical Theatre’s production of Joseph. Despite my familiarity with the show, I was soon pleasantly surprised by the subtle additions and artistic approach of this production.

Director and co-choreographer Valerie Rachelle…took advantage of every opportunity to showcase the talent of every member of the cast.

The ensemble as a whole did a phenomenal job bringing this story to life and stole the show. Their boundless energy, strong vocals, and intricate choreography kept my full attention.

Come see the Utah Festival Opera & Musical Theatre breathe new life into this beloved classic, experience the artistic spin, and relive the story all over again.”

-KATIE ROUNDY, Utah Theater Bloggers

 

“…In UFOMT’s humorous retelling of the biblical story of Joseph, there is no one person who steals the show.

“Joseph” is one of the most-often performed musicals by Andrew Lloyd Webber. So it’s natural for director Valerie Rachelle to add a few twists to make the UFOMT production her own. She has given the show a modern, even urban, feel with a scaffolding set and the blaring electric lights lining the sides of the stage. Costumes are mixed between traditional biblical and modern — including dreadlock-wearing, skateboard-wielding Ishmaelites.”

-ROBERT COLEMAN, Salt Lake Tribune

 

” Just as it is supposed be, the UFOMT production of “Joseph and the Technicolor Dreamcoat” is lively and non-stop.

Each major shift in genres is generally accompanied by a big dance number and the stage is always full and a visual delight. “Joseph” is to watch as much as it is to listen to. Costumes are changed at the drop of several hats.

Standout numbers opening night included an ensemble number by Jacob (Jason Stearns) and the 11 remaining brothers as they lament — in French ballad style — “Those Canaan Days,” when Joseph was still in the fold. The country-western dance number by the brothers early on (“One More Angel in Heaven”) is also spot-on.”

-JAY WAMSLEY, Deseret News

South Pacific, Glendale Centre Theatre 2013

“Director-choreographer Valerie Rachelle makes a stellar Glendale Centre Theatre debut with as fine an in-the-round production of the legendary Rodgers & Hammerstein classic South Pacific as you will likely ever see, one that strips away the cobwebs to reveal just why the legendary team’s third Broadway smash remains one of the greatest musicals ever.

Having already impressed this reviewer with her Scenie-winning direction of Urinetown, The 25th Annual Putnam County Spelling Bee, and Sweeney Todd at Santa Monica’s Morgan-Wixson Theatre, director-choreographer Rachelle now gets to show Glendale Centre Theatre regulars what all that Scenie love was about, the UC Irvine MFA grad demonstrating her mastery at directing and choreographing in-the-round. (No matter which of four sides you sit on, you will not be shortchanged.)

Rachelle gives these triple-threats plenty to do in a larger-than-usual number of choreographed sequences, the men showcased in “Bloody Mary” and “There Is Nothing Like A Dame,” the women in “A Wonderful Guy,” and the entire bunch in “Honey Bun” and a particularly imaginative “Thanksgiving Follies” sequence, all of the above clearly staged with theater-in-the-round in mind.

With Rachelle in the director-choreographer’s seat and a cast reflecting the caliber of performers being turned out by SoCal musical theater schools… I can’t help feeling that this must be GCT’s best South Pacific ever.”

A Wow! From

– STEVEN STANLEY, Stage Scene LA

Into the Woods, Performance Riverside 2012

“Performance Riverside’s production of the 1986 Stephen Sondheim musical “Into the Woods” abounds with questions about the human condition, but leaves no question about the phenomenal quality of the players’ singing and acting and the provocative and magical quality of the show.

The acting was equally spectacular, with every role rich with possibilities.

Come to be provoked by the questions, come to be entertained by such visual treats as Riding Hood and her Grandmother erupting from the Wolf’s stomach, come to be treated to the best singing you will hear anywhere, but come you must. Performance Riverside’s “Into the Woods” ranks at the top of any performance list, anywhere.”

-SHERLI LEONARD, Press Enterprise

My Fair Lady, Utah Festival Opera and Musical Theater 2012

“Henry Higgins is a misogynistic, quick-tempered, stubborn man. So why does he still charm audiences? At UFOMT, it was baritone Kyle Pfortmiller whose compelling performance brought down the house.  Stage director Valerie Rachelle with choreographer Keenon Hooks and costume designer Tommy Macon gave the show Broadway polish, leaving no detail unaddressed.  The Ascot horse race scene was especially memorable.”

-ROBERT COLEMAN, Salt Lake Tribune

 

“The play as a whole was visually beautiful — the costumes were vibrant, especially Eliza’s dresses, as only to be expected…The dancing was top-notch and there was much of it.  Any “My Fair Lady” lover has no need to be disappointed by this production. It brought out everything that can be enjoyed about this classic musical and more.”

-MICHELLE GARRETT, Desert News

 

“The organizers of this season of the Utah Festival Opera & Musical Theatre saved their best for last, premiering a glorious production of Learner and Lowe’s “My Fair Lady”…This UFOMT production is pure magic for the eye and ear, capturing both the charm of the original musical and the intelligence of its source material by George Bernard Shaw.”

-CHARLIE SCHILL, The Hearld Journal

Sweeney Todd, Morgan Wixson Theater 2012

“…given direction as imaginative as Valerie Rachelle’s,  (Her) highly original vision is evident from the production’s opening scene…”

A Wow! From

– STEVEN STANLEY, Stage Scene LA

My Fair Lady, Performance Riverside 2012

“Performance Riverside’s production of “My Fair Lady” is anything but fair in the ordinary sense; extraordinary would be a fitting description.  The whole package — acting, dancing, singing, orchestra, sets, lighting — glowed with a polish usually achieved after multiple performances.  Performance Riverside gave an absolutely, positively, stop-at-nothing, fabulous show.The show could very well be the highlight of the season.”

– SHERLI LEONARD, InlandSoCal.com

The Mikado, Performance Riverside 2011

“Crisp, quick and agile, the performers’ delivery of the very irreverent story set in a mythical Japan grabbed the audience from the opening ensemble entrance down the auditorium aisles and never let go. I was still trying to undo the smile plastered on my face as I drove home. Director Neves and choreographer Valerie Rachelle created perpetual motion, stopped only for the visually stunning ensemble poses at the ends of the songs, with impeccable timing and seamless interactions among ensemble and leads.”

– SHERLI LEONARD, InlandSoCal.com

School of Jesus Fish, Lucid by Proxy, 2003

“The setting is so real and the performances, under Valerie Rachelle’s direction, are so believable that this rather fantastic story soon seems entirely plausible…”

– DARYL H. MILLER – LA Times

“…this outing is made thoroughly involving by a company of extremely talented actors who, under Valerie Rachelle’s direction, give knockout performances…”

– JENNIE WEBB – Backstage West

“Director Valerie Rachelle heads a cast that turns in gripping, convincing performances.”

– LOVELL ESTELL III – LA Weekly

25th Annual…Spelling Bee, Morgan Wixson Theatre, 2011

“As she did with last year’s Urinetown The Musical, Rachelle proves herself a director of vision and imagination, capable of taking material that’s been done again and again and making it seem fresh and new… “
“I concluded my review of last year’s Urinetown thusly: “One can only hope that director Rachelle’s return to Los Angeles for Urinetown The Musical will be the first of many collaborations with choreographer Hooks.” This year’s equally splendid production of The 25th Annual Putnam County Spelling Bee proves that wishes can indeed come true.”

– Steven Stanley, Stage Scene LA

“The Morgan-Wixson Theatre’s production of “Putnam County Spelling Bee” brings together some of the strongest talent from this company’s regulars: direction by Valerie Rachelle…”

– Lynne Bronstein, Santa Monica Mirror

White Christmas, PCPA Theaterfest, 2008

“Nicely directed by Valerie Rachelle, White Christmas the stage production is good enough to become a holiday tradition just like the movie. The only problem now is convincing PCPA to put it on each year.”

– Brad Memberto, Santa Maria Times

Oklahoma!, Performance Riverside, 2011

“…what choreographer Valerie Rachelle called the “triple threat” — of each performer. The actors delivered. Smart, lusty and infused with energy, the dances throughout fit naturally into the story, serving as neat parts of the whole rather than story-stopping entities. Leads and ensemble members alike performed the complex routines as smoothly as if they were on the fourth month of a year-long tour.”

– SHERLI LEONARD, InlandSoCal.com