Thanks so much for your excellent review...it was both encouraging and insightful! Again, thanks for attending, and for your kind words.

I attach some info for you regarding our insertion (or "turning up the volume") of some of the philosophical/religious elements of the The Hobbit. As an adaptation, we felt justified in making these inclusions, as they helped bridge us into the finale especially, where due to time limitations we had to end with The Battle of the Five Armies, as opposed to getting Bilbo "There and back again!"

I'm not sure how deeply you've researched Prof. Tolkein spiritual background...it's fascinating reading to be sure. His influence on C.S. Lewis and a group of Oxford dons and their friends known as the Inklings was profound. Also profound were the spiritual underpinnings of his work, as he confesses in the following excerpt from a letter in which he tries to explain why specific references to his theology are seemingly lacking:

"As Tolkien, who died in 1973 in England at the age of 81, wrote in 1953 to Father Robert Murray, a Jesuit priest:

' 'The Lord of the Rings' is of course a fundamentally religious and Catholic work; unconsciously so at first, but consciously in the revision. That is why I have not put in, or have cut out, practically all references to anything like 'religion,' to cults or practices, in the imaginary world. For the religious element is absorbed into the story and the symbolism.' "

Some of the info I've attached expresses some of Tolkein's deep personal Catholic/Christian faith, some attempts to explain why he perhaps, as mentioned above, said very little "specifically" in The Hobbit, although his underlying philoshopies became more clear in later works.

At any rate, we felt the good prof wouldn't mind too much if we "highlighted" those philosophies a bit to help us "wrap things up" - a directorial leap, to be sure, but hey, leaping is what director's are best at.

I'd love to get together for tea some time to discuss some of this further...who knows, we could start the Yuba-Sutter branch of the Inklings!

By the way, I have a little "day timer" which you left in the theatre...I'll give it to Linda tomorrow, to return to you!

Thanks again, and many blessings upon you!

Yours, Paul

First, forget the book. Whole sections of “The Hobbit” are left out, characters are added and religious philosophies inconsistent with author J.R.R. Tolkien’s repeated statements of his personal world view are inserted for reasons best known to the producers.

Second, be prepared to enjoy the Faith Christian School summer players’ stage production of the now classic fable for the extraordinary energy and talent that went into it.

The CFCS show is based on the musical adaptation of the novel by Ruth Perry (book), Alan Jay Friedman (music) and David Rogers (lyrics).

Third, tonight’s your last chance. If you miss it – well, too bad for you. The company’s excellent rendering of the tale was a delight from start to finish.

Performances and the technical backup provided by a skilled crew made the roughly two-hour production quite entertaining for the audience of some 180 people who packed FCS theater Friday.

The directorial and production skills displayed in a show that sometimes had as many as 40 or 50 kids on the stage made it even more impressive for those familiar with how difficult it is to mount A Big Show.

Producer Paul DeMeritt, who has a high school version of “Les Miserables” in his sights was modest in his description the summer players’ hobbit endeavor. Summer productions are seen more as exercises in enjoyment for the actors, that as thespian training experiences, DeMeritt said.

“We try to make summer shows fun. During the school year it’s more of a training experience,” he explained.

The directorial and production element of the play was a family affair, with director Paul DeMeritt being joined by his daughter, Lindsay (who also helped add some original music). Costume design was by Anne DeMeritt. Paul DeMeritt also collaborated with technical director Matthew Timoszyk on the lighting effects which played such an important role in creating atmosphere and facilitating scene transitions.

K.J. Pereira and Susan Van Hal did a admirable job of musical direction, with overall sound design aided by Larry Badger.

That said, we come to the issue of casting, direction and performances that proved to be the highlight of the play.

The cast of some 50 kids appeared to range in age from six to 16 years old – a mix that can be difficult to juggle.

Amazing was the animation the director was able to extract from the players, especially so from the youngest of the actors, such as Bittles Harmon and Alexandrea Moore – Frodo and Frieda Baggins, respectively.

Lead actors Ryan Ruzich as Thorin Oakenshield, king of the dwarves, and Ryan Schmall, “burglar hobbit” were standouts.

Childrens theater – that is to say, theater for children – requires considerable over-acting (but not too much). Director Lindsay DeMeritt and the two Ryans were able to balance these well.

With 40 or 50 kids on the stage, with some playing double and even triple roles it was hard to keep track of who’s who.

But special mention should be given to Alex Cesena for his cackling performance of Gollum in a slithery outfit that emphasized his lantern fish eyes. A mere bystander familiar with the original book would wager Cesena had read the book and absorbed the essential character of the villainous creature.

Notable form his size and voice characterization was Tim Van Hal, who played Gandalf, the wizard who sets everything in motion and liberally salts the story with ominous predictions and deux ex machina appearances. The beard and the wizard hat did him a disservice only in that they effectively disguised him from the future recognition he deserves.

Then , too, there was Dwalin of the dwarves, a red-haired girl who brought a strong voice and energetic expression to her role. It turned out she was Katie DeMeritt, Paul DeMeritt’s youngest daughter.

Nonetheless, the premiere talent on display was Dahni Trujillo, who played a variety of roles from a Hobbiton resident to leader of the trolls to Smaug the (almost) invincible dragon.

Trujillo, as Helga, and her three troll sisters, Hildegard, Brunhilda and Gertrude – Aimele Heinberger, Allyson Carlson and Beverly Galusha, respectively, delivered the First Act blue-ribbon number, “Eating” – although the athletic Schmall gave them a close run for it with his “No, Thank you!” answer to Gandalf’s invitation to “Adventure.”

But the real piece de resistance of the entire show was the scene between Trujillo as Smaug and Schmall as Baggins. Their by-play, her acting, her Broadway make-up and 10-foot costume and, most of all, her sinuous rendition of the bluesy “Breathin’ Fire” was the showstopper.

Dahni Trujillo is going places.

And the place you should be going is to see her tonight at the FCS Theater at the First Methodist Church at the intersection of Highway 20 and George Washington Boulevard, Yuba City. Tickets are $7 for adults, $5 for children – if any are available. The show was oversold last night.

All but one of the starring roles in the all-kids musical comedy "Bugsy Malone Jr." have been cast, with rehearsals to start Monday, director Pierrette Jensen said.

The play is adapted from the 1976 motion picture box office smash of the same name. It starred Jodi Foster and Scott Baio, both 14 at the time.

"Bugsy" is another ambitious project by Jensen, who previously directed "Sound of Music," "Oliver" and other largescale musicals for The Acting Company.

The show provides dozens of roles for youngsters and a host of technical challenges in music, choreography, sets, costumes and props, Jensen said.

Among other demands, it calls for a big cast, multiple period costumes and some 14 different locations, Jensen said.

"I don't like lengthy scene changes, so I've devised a lighting scheme to shift the locations without stopping the flow of the show," Jensen said.

Set in a mythical big city not unlike New York, the play chronicles Bugsy Malone's infatuation with Blousey Brown during a mob war between opposing gangs led by Dandy Dan and Fat Sam.

Debonair Dandy Dan acquires a super secret "splurge gun" which gives him an edge over rival chieftain Fat Sam, who presides over "Fat Sam's Grand Slam," an ice cream soda and banana split cabaret with a hot jazz chorus line fronted by torch singer Tallulah.

Jensen picked Jason Hopkins, 13, to play Bugsy, a raffish underworld character with a heart of gold,

Ayla Clark, 13, plays Blousey, a singer trying to break into show business. Clark won the role after a flawless performance of the national anthem during two days of auditions last week.

Veteran Yuba-Sutter stage star Kenni Fayette, 13, secured the role of cabaret vamp Tallulah. The public last saw Fayette as Baby June in Ponderosa Theater Company's recent production of "Gypsy."

Kyle Jensen, 10 nabbed the role of elegant villain Dandy Dan.

In musical theater, actors covet roles for the solos they provide, as well as the number of spoken lines.

Alexandria Mazerolle, 11, captured the role of Lena Marelli, a brash vaudeville star with a rousing song to prove it.

Jensen said two important roles remain uncast, including the key parts of Fat Sam and Fizzy.

Fat Sam has plenty of punch lines to deliver and Fizzy performs a touching solo about facing life with only a pair of tap shoes and a rain check for tomorrow's audition.

The first rehearsal starts 1 p.m. Monday at TAC, 815 B Street, Yuba City, but there is still time for more actors - especially boys - to try out for Fat Sam, Fizzy and other uncast parts, Jensen said.

Other key production personnel include assistant director Patty Fayette and stage manager Randy Fayette.

"Bugsy Malone Jr." opens Aug. 2.