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The Best is Yet to Come

My Way: a Musical Tribute to Frank Sinatra

Created by David Grapes
and Todd Olson
Music Director Cesar Cancino
Stage Director Jennifer King
Stage Manager Ross Tiffany Brown
Scenic Designer Wayne Hovey
Costume Designer Ellen Howes
Lighting Designer Peter Parish

$38/$45 at the door  General Admission
$35/$40 at the door  Seniors age 62 and up
$30/$35 at the door  Under 30 & Military
$25/$30 at the door  Youth under 18
$69 in advance / $75 at the door  New Year's Eve general admission
$66 in advance / $75 at the door  New Year's Eve seniors 62 and older
$61 in advance / $65 at the door  New Year's Eve 18-30
$56 in advance / $60 at the door  New Year's Eve under 18
$70 advance sales only  VIP: includes Reserved Seating,
  Glass of Wine, Dessert
  & Ticket Insurance (ability to change the date w/o a service fee)

“His songs will never sound old-fashioned. He always sang quality songs . . . no matter what year they’d be played in, they would never sound out of date.”   − Tony Bennett

My Way is Sold Out! Thank you, Dear Cinnabar Patrons, for your overwhelming support!

Here’s a taste of our show. Enjoy!

Funding provided by Executive Producers Circle Member Larry Russo with Producers Circle Members Karen & Mike Bergin. Additional support provided by Buffington Clay-Miller


Man #1

Rocky Blumhagen

Woman #1

Desiree Goyette-Bogas

Man #2

Mark Robinson

Woman #2

Carolyn Bacon



Cesar Cancino


Jan Martinelli


Randy Hood

BaconBased in San Francisco, Carolyn Bacon (Woman #2) is known for her imagination, intelligence, and versatility as an opera and musical theater performer. She is active throughout the Bay Area, recently performing with Opera San Jose (Barbarina, Le nozze di Figaro; Frasquita, Carmen), West Bay Opera (Barbarina, Le nozze di Figaro; Kate Pinkerton, Madama Butterfly), TheatreWorks (New Works Festival, Something Wicked This Way Comes), Pocket Opera (Giulietta, Un giorno di regno; La baronne, La Vie Parisienne), Opera Parallèle (world premiere My Head Is Full of ColorsDead Man Walking), and others. She was highlighted in Pacific Coast Repertory Theater’s Evita for her “sweet voice with a melodic air much like a bird in flight that drew the audience’s sustained applause”. A skilled performer in multiple genres, Carolyn was a 2017 semi-finalist in the Kurt Weill Institute’s Lotte Lenya Competition in New York. As a Festival Artist with the Utah Festival Opera, Carolyn covered the roles of Musetta in La Bohème and Julie Jordan in Carousel. She was also highlighted as a principal dancer in both Carousel and How to Succeed in Business Without Really Trying. Training programs include the Opera Academy of California, where she sang Susanna (Le nozze di Figaro) under Austrian conductor Niels Muus, and the prestigious Oregon Bach Festival, lead by Anton Armstrong and Helmut Rilling. An active dancer, Carolyn has trained with the Donna Morris Ballet School, Alonzo King LINES Dance Center, SF Academy of Ballet, and SF Circus Center. Carolyn holds her MM in Vocal Performance from the San Francisco Conservatory of Music, where she studied with Jane Randolph. She also earned her BA in Neuroscience from Pomona College, where she originally prepared to pursue a career in medicine.

Blumhagen copyRocky Blumhagen (Man #1) is a versatile singer in musical theater, cabaret, big band, and a symphony soloist. Rocky has created several fundraising shows that include tributes to Cole Porter, the Gershwin Brothers, Broadway lyricists Comden & Green and, most recently, Irving Berlin.  Check out his website; for more information on available shows. His CD “Easy to Love” is all about Cole Porter and was recorded with the Portland Chamber Orchestra. For the past decade Rocky has performed and raised money to grow the “Siletz Bay Music Festival” on the Oregon coast. This two-week chamber music festival encompasses Classical, Jazz and Broadway.  Rocky holds a BA in vocal performance from Lewis & Clark College and lives in San Francisco and the Oregon coast. He is a nationally certified Yoga instructor who you may find at the Marina’s Zazen studio in a downward facing dog!

Cancino Cesar Cancino (Music Director, Piano) enjoys a musically diverse career as pianist, musical director and conductor. He was for many years the musical director/pianist for “Teatro Zinzanni” and toured with singer/songwriter Joan Baez as her musical director and pianist. Most recently, he was the Musical Director/Pianist for Life Without Makeup starring the legendary Rita Moreno at Berkeley Rep. Mr. Cancino has performed throughout North America, Europe and Australia in such venues as Montreux Jazz Festival, Carnegie Hall, Int’l Music Festival of Mexico City, Atlanta Summer Pops Symphony and the New Orleans Jazz and Heritage Festival. Local credits include Rrazz Room, Lorraine Hansberry Theatre, 42nd St. Moon and others. He has appeared with such diverse artists as Florence Henderson, Paula West and Maria Muldaur.

Goyette Vocalist, composer, arranger, voice-over actor Désirée Goyette (Woman #1) is probably best known for her musical contributions to the Charlie Brown and Garfield the Cat television shows. Over the course of ten years, Desiree and her fellow Grammy-nominated partner Ed Bogas co-wrote music for over one-hundred TV episodes and specials. In 1990 she performed at Carnegie Hall with David Benoit and other jazz greats in a 40th Anniversary tribute to the Peanuts comic-strip. Desiree received two Grammy nominations for her creative contributions to the Disney Records’ release titled Flashbeagle, and the CBS/Epic recording Here Comes Garfield. Other commercial recordings provided the opportunity to share equal billing with Patti La Belle, The Pointer Sisters, Natalie Cole, Lou Rawls, B.B. King, Diane Schuur, The Temptations, and David Benoit. Désirée’s vocal artistry can be heard on various motion picture soundtracks and trailers including  Spykids, The Mimic, Forces of Nature, Night Falls, High Crimes, Little Mermaid II, Hellboy, Ghostwriter, the remake of Casino Royale and Pirates of the Caribbean IV. She is a magna cum laude graduate of The San Francisco Conservatory of Music.

HoodRandy Hood (Drums) has been playing drums in the Bay Area for over 25 years, working in Orchestra Pits for various theatrical companies. Recent credits include Bay Area Musicals (BAM) 42nd Street, Contra Costa Musical Theater Grease, Berkeley Playhouse Assassins, Tri-Valley Repertoire Theater Wizard of Oz, A.C.T. Rocky Horror, Broadway by the Bay Guys and Dolls, and many other Bay Area venues. Randy says, “… After 10 years of working the club, resort, and hotel circuits, I found a niche in musical theater. I like the variety musical theater offers, and every show is fresh though you may have worked it before. From classic Sinatra to Sweeney Todd, (my favorite), musical theater is such a rewarding experience. I’m thrilled to be a part of this production …”

HoveyWayne Hovey (Scenic Designer) has been working in the technical side of theater for more than 40 years, doing everything from backstage work to set, sound and lighting design and stage management. He has provided set design for Cinnabar’s Jacques Brel is Alive and Well, The Marriage of Figaro, Bad Dates, Mahalia Jackson, The Most Happy Fella, and this season’s opener, Man of La Mancha. He’s provided light design for more than 15 shows at Cinnabar, including The Magic Flute, as well as last season’s The Odd Couple, Pagliacci, and the world premiere of Trevor Allen’s One Stone (Einstein). Wayne serves as Cinnabar’s Technical Director.

HowesEllen Howes (Costume Designer) has worked in film, theater, dance, and fashion. While she primarily works as a costume designer, she often designs the props and sets for the projects she works on as well. As a costume designer particularly interested in subtle parody and satire, Ellen hopes to someday work for a sketch comedy series, but has been primarily working in live theater and fashion photo-shoots as of late. An eccentric soul with eclectic tastes, it was only natural that Ellen was drawn to design, a career that allows her to continue to learn and create well after her educational career.

King copyJennifer King (Director) is a theater artist based in the San Francisco Bay Area.  She divides her time between Europe and America, performing, directing and creating work in the UK, Germany, Poland, and the Czech Republic, where she directs for the Prague Shakespeare Company. US acting, directing and teaching credits include work for the California Shakespeare Theater, Dallas Theater Center, Aurora Theatre Company, Shakespeare Napa Valley, SF PlayGround, Berkeley Playhouse, Sonoma County Repertory Theater, 6th Street Playhouse, Cinnabar Theater, Symmetry Theater, the Dallas Institute of Humanities and Culture, Napa Valley College, Sonoma State University and UC Davis, among others.  Locally, she was the Executive/Artistic Director of Sonoma County Repertory Theater and is now a tenured Professor of Theater at Napa Valley College, where she founded and runs Shakespeare Napa Valley.  This is her fourth production at Cinnabar, directing The Odd Couple last season, starring in Bad Dates in 2016 and directing I Am My Own Wife in 2015. Jennifer will return to Cinnabar to direct Amadeus in the spring.

MartinelliA native San Franciscan, Jan Martinelli (bass) has toured and performed with numerous bands and artists at major festivals and performance halls throughout the country. Known for her stylistic range from Latin, jazz, and funk to blues and folk, her soulful approach to the bass can be heard on more than 30 albums. Jan appeared on the cover of Southwest Airline’s inflight magazine, Spirit, in an article “Women & Jazz” and has played major jazz festivals such as Aspen, Barbados, Monterey, San Francisco, and the Kennedy Center for the Performing Arts. Jan most recently played bass in Cinnabar Theater’s productions Edith Piaf: Under Paris Skies and Jacques Brel is Alive and Well and Living in Paris. Jan currently performs with two French music combos: Un Deux Trois and SonoMusette, and has been touring nationally with Holly Near since 2012.

Parish copyBorn and raised in Northern California, Peter Q. Parish (Lighting Designer) has worked with several companies in the San Francisco Bay Area designing sets, lights, masks and puppets. Peter attained his MFA in Stage Design and Lighting from the Lir Academy, National Academy of Dramatic Art, Trinity College, Dublin IRL.  Most recently, Pete designed sets for Dead Man’s Cell Phone at The Lir,  Abraham Lincoln’s Big Gay Dance Party at Sonoma State University, Man of La Mancha and Sophocles’ The Birds at Cinnabar Theater, and Twelfth Night for Ensemble Production Company in Larkspur.  Peter’s most recent lighting designs have been seen in Pippin at St. Patrick’s College, DCU in Dublin,  and lighting Liz Roche’s Dance Company.  Peter’s wife, Sarah McKereghan, is a playwright, actor and director, and they have two beautiful girls, Cordelia and Kalliope.

Robinson copy Jazz singer Mark Robinson (Man #2) draws his major inspiration from the Great American Songbook. For the last decade he has been performing widely in the Bay Area, appearing frequently at San Francisco’s premier jazz club, Black Cat. His album, Some Small Dive, drew praise from critics. As Dan McClenaghan from All About Jazz put it, “Like the very best in this game—Sinatra or Tony Bennett—Robinson makes it all sound so effortless on this truly superb vocal jazz outing.” Given such praise, his appeal to live audiences isn’t hard to understand. His style is elegant and refined, but always swinging. He’s dedicated now to the wonders of jazz and mid-century pop music, but he began his career at 16 as a classical singer, studying voice and music theory with a San Francisco Opera baritone. In 2012 he dipped a toe back into the opera world, playing the Radio/Band Singer in Opera Parallele’s production of The Great Gatsby. “I always figured that in my next life, I’d be a crooner,” he says. “I’m glad I didn’t have to wait that long.”

Tiffany BrownRoss Tiffany Brown (Stage Manager) has been working on all facets of technical theater in Sonoma County for the past decade. He received his Bachelors Degree from Sonoma State University. You may have seen him Stage Managing, Set Building, Light Hanging, Sound Crunching, Wall Painting, Note Taking, and Button Pushing for productions at Cinnabar Theater in Petaluma, Spreckels Performing Arts Center in Rohnert Park, The Green Music Center and Sonoma State University’s Department of Performing Arts, Main Stage West in Sebastopol, and various other community theaters.


Smooth Sinatra in “My Way” at Cinnabar

I spent an enjoyable Saturday afternoon immersed in the musical world of Frank Sinatra, courtesy of Cinnabar Theater. Four fine performers backed by a live trio deliver a significant number of Sinatra’s greatest hits from the American standard canon. Organized and given connectivity by David Grapes and Todd Olson, “My Way: a Musical Tribute to Frank Sinatra” regales us with classic tunes spanning Sinatra’s five-decade career, as well as dipping into some lesser-known tunes from the 1300+ songs he recorded.

There’s no celebrity impersonation in this revue, which I was grateful for– too often those turn out cringe-worthy, suffering comparison with our glowing memory of the real personage. Instead, four talented vocalists– Carolyn Bacon, Rocky Blumhagen, Desiree Goyette-Bogas, and Mark Robinson– give us their own renditions of these favorites, paying homage to Sinatra but not trying to imitate him or his style. Song stylists in their own right, they sometimes take turns within a song, sometimes perform solo, and sometimes surprise us with a duet or quartet, rendering much-loved tunes in beautiful, blended harmony. At first I wasn’t sure I was going to like the harmony treatment– but the judicious arrangements and the blended voices are so pleasing the effect is a delightful enhancement of the tunes.

L-R: Mark Robinson, Carolyn Bacon, Desiree Goyette-Bogas, and Rocky Blumhagen

After some initial perkiness that smacks a bit too much of over-the-top musical theatre, the performers fall into the more relaxed, cool-jazz style of smooth standards, as if we are in a smoky cafe in Manhattan or L.A.  Indeed, the Cinnabar stage area is transformed into a semblance of such a cafe (without the smoke), and the house includes small drink tables every few seats– presumably a concept engineered by director Jennifer King and scenic designer Wayne Hovey, to good effect.

The first act includes more lesser-known songs, and they’re a lot of fun, and then ends with a nice nod to Sinatra’s later career. Act two packs a wallop with more of the big blockbuster hits, given great arrangements appropriate to the numbers. Oddly enough, as you hear these contemporary performers knocking out a song, you feel somehow transported, as if hearing Sinatra’s voice simultaneously in your head– being reminded of what a great song it was when Sinatra recorded it for posterity and not feeling in the least cheated. It’s a strange kind of stereo magic, and totally works.

No review of the show would be complete without mentioning the trio of musicians playing backup– Cesar Cancino, who is also the show’s music director, does a mean jazz piano; teamed with Jan Martinelli on bass and Randy Hood on drums. Seamless, unobtrusive and yet standout. Would love to hear them any time…

Set by Hovey and lighting by Peter Parish work well together, and provide opportunities for movement and isolation. Costuming by Ellen Howes is better in Act Two than Act One, but always suitable for the style of the show. Director King does a nice job keeping the show moving and varied, for visual interest and focus.

As I exited into the waning afternoon sunshine, I overheard one patron saying to her friend, “That was the best entertainment I’ve ever seen in my life.” I’d wager the content, of those terrific songs and the context of Sinatra’s career, had a lot to do with that remark– but the performers certainly brought it alive with verve and finesse, making for a thoroughly satisfying experience.

I hear it’s selling out for its final weekend– don’t delay.

— Jeanie Smith, TBA Critic at Large

‘My Way’ is “Sultry” and “Charismatic”

Step into an era of glamour, sultry romance and electrifying glances from across the room. Cinnabar Theater has been transformed into an upscale night club, with rich textured walls blending into sapphire velvet surrounding a trio of piano, bass and drums. Arranged in cabaret style with tables — for a Jack on the Rocks or glass of wine to enjoy during the performance — the mood-lit intimacy is ideal for a memorable date to ring in the New Year.

“My Way: A Musical Tribute to Frank Sinatra” was created by David Grapes and Todd Olson to capture his essence through song, walking a fine line between concert piece and theater. Director Jennifer King, Professor of Theater at Napa Valley College, joined the production after initial concept design and casting, which placed her in a difficult position of incorporating her vision without compromising the timeline. Her dream of a glittering Las Vegas lounge and the original grunge urban club with brick accents was balanced into a luxurious, simple set from Wayne Hovey and evening attire of dinner jackets and shimmering gowns by Ellen Howes.

Working with Olson’s limited book, King chose to gather the actors in a living room to workshop the subtext underneath their characters, crafting subtle interactions and relationships that become an unspoken play-within-a-play that is fascinating to watch. Lyrics are conversations between the singers, who pause to toss out intriguing insights into Sinatra’s exploits and musical career.

King strives for an immersive, textured piece that delves into the feelings evoked by Sinatra’s artistry, rather than a linear plot. Covering over fifty songs throughout the evening, they are arranged into concept medleys, such as survivors, mature love affairs and the seasons. A grouping of city favorites, including “I Love Paris” and “L.A. is My Lady” is interrupted by an earnest tribute to “Chicago” by Man #2 (Mark Robinson), a native of the Windy City. The trio, led by Cesar Cancino, maintains the flow and pacing, offering sizzling jazz and haunting ballad accompaniment. Lighting design by Peter Q. Parish creates lazy summer afternoons or an eerie moonlit rendezvous through projections and color.

The cast was chosen for Sinatra’s particular sound and rakish charm, drawn from Marin and San Francisco cabaret and opera singers. Easy-going Rocky Blumhagen (Man #1) is a natural fit for the relaxed, entertaining tone. Carolyn Bacon (Woman #2) captures the flirty, light-hearted songs, like “The Best Is Yet To Come” while Désirée Goyette (Woman #1) slides into languid, dreamy serenades. Mark Robinson (Man #2) is riveting in his ability to turn songs into comedy with well-timed, expressive reactions. “Should !?” becomes a genuine question of revealing his affection for Woman #2. The ensemble plays off each other with glorious harmony and a moving rendition of “It Was a Very Good Year” passing verses back and forth with elegant transitions, moving into a toe-tapping gospel style chorus for “That’s Life.”

Infused with poetic passion, Cinnabar’s production is, as Sinatra would say, “the good life, full of fun.”

— Alexia Chipman, Argus Courier


Mark Robinson, Carolyn Bacon, Desiree Goyette and Rocky Blumhagen


Mark Robinson


Carolyn Bacon


Mark Robinson, Carolyn Bacon, Desiree Goyette and Rocky Blumhagen


Rocky Blumhagen, Desiree Goyette, Mark Robinson and Carolyn Bacon


Desiree Goyette


Cesar Cancino and Rocky Blumhagen


Rocky Blumhagen and Mark Robinson

Photos by Victoria Von Thal

Ring in the New Year with this exciting tribute to Frank Sinatra. Hand-crafted specialty desserts and cocktails, champagne and party favors at midnight, and a grand time will be had by all! Get your tickets early – New Year’s eve always sells out! A Cinnabar tradition not to be missed.