When I startedAisle Seat Review almost a decade ago, I wasn’t at all sure how long our run would be. But I was damned determined that we would give it our absolute best. And now, after all this time and over five hundred posts, it’s time to “Turn off the ghost light” and wrap the show.
Across the years, the content we produced is, in my humble opinion of course, as good as almost any on the web. I am particularly proud of the content we produced during COVID. When 99% of theaters in the greater San Francisco Bay Area were closed, we pivoted to interviewing the people who make the Bay Area one of the top five theater destinations in America.
As for me, I left the Bay Area and moved to Spokane, Washington, over four years ago. And yet we continued to produce ASR until this very day. And if I may in a point of personal privilege, that’s because I genuinely love The City by The Bay – and the theater.
I won’t burden you with why we’ve retired from publication.
I will say that ASR had dedicated writers and readers, and I valued almost every one. We had the occasional misfire, as any publication does, but our content stood the test of time.
So, here’s a special “Thank you and Farewell” to all the ASR editorial staff.
A hot day in Harlem is the setting for Jocelyn Bioh’s Tony-nominated Jaja’s African Hair Braiding at Berkeley Rep’s Peet’s Theatre. The incisive ensemble comedy runs through December 15.
Delightfully written and beautifully performed, this Whitney White-directed one-act is both a lovingly hilarious depiction of a small slice of life in an African immigrant community and a cautionary tale about their plight. Performed by an almost entirely female cast, the show is both an examination of relationships among an assertive group of mostly West Africans and a handful of New York City natives.
A deservedly standing-ovation performance, its story is both unique and universal. People always come together around a common interest, an occurrence that almost always results in disagreements and in-fighting. So it is for the workers and clients at Jaja’s – they bicker and snipe at each other, hijack each other’s customers, and complain tremendously about nearly everything, but we never doubt for an instant that they are united. It’s a simply gorgeous and stunningly well-paced show.
And it’s one that, having been covered in detail elsewhere, probably doesn’t need further analysis from us other than to give it our highest recommendation. Do not miss this great production!
Ticket information: berkeleyrep.org
AND IN CLOSING…..
This is almost certainly one of the final posts to Aisle Seat Review.
We have worked long and hard to cover the performing arts in the Bay Area and we thank all our loyal readers, and the entire theater community that has been so supportive over the past 9-plus years ASR has been in publication. We hope that we have been supportive in return.
We wish to thank all our contributors – Sue Morgan, Cari Lynn Pace, Woody Weingarten, Susan Dunn, Jeff Dunn, Mitchell Field, George Maguire, and Nicole Singley.
Above all, we wish to thank ASR owner and publisher Kris Neely for his tireless work and devotion to this site over its long lifespan. Thank you, Kris!
The jarring election news earlier this month seems to reflect the Russian influence erupting in Palo Alto Players’ fine production of Fiddler on the Roof in the 1905 village of Anatevka. It runs through Nov. 24 at Palo Alto’s Lucie Stern Theater and is already nearly sold out.
Based on stories by Sholem Aleihem, Fiddler was made into a stage play (book by Joseph Stein, music by Jerry Bock and lyrics by Sheldon Harnick) and was first produced on Broadway in 1964 where it ran for more than 3,000 performances.
Finely etched performances here by Joey McDaniel as Tevye, Brittney Mignano as his tart-tongued wife Golde, and several actors as his five daughters bring Aleihem’s story of the poor milkman come to life. The show is rife with many wonderful songs like “Matchmaker, Matchmaker,” “Tradition,” “If I Were a Rich Man” and “Sunrise, Sunset.”
Photo by Christian Pizzirani – (Center, L-R) Tevye (Joey McDaniel), Lazar Wolf (Doug Brook) and the company celebrate Lazar’s engagement to Tevye’s eldest daughter Tzeitel in FIDDLER ON THE ROOF.
For PAP’s production, musical director/conductor Amanda Ku and her 10-piece orchestra are strewn across the entire back of the Lucie Stern stage. Soft lighting and strategic scenery make them almost invisible as the story unfolds.
And what a story it is! It centers on Tevye, a poor Jewish milkman with five daughters, who has to resort to pulling his own cart to deliver milk when his old horse becomes lame. As he arrives home, Golde chastises him to wash up while yelling at her daughters to get everything ready for the Sabbath meal.
In those days, the village matchmaker was a powerful person. Here, Marsha van Broek as Yente, the matchmaker, adroitly shows her sway over families as she tells Golde that she has found a perfect match for Tzeidel (Gabrielle Goodman): Lasar Wolfe (Doug Brook), the village’s butcher who is older than Tzeidel’s father but has a lot of money.
Both Golde and Tevye are excited about the butcher’s intentions because they know their eldest daughter will be well cared for – and the entire family will benefit when Lasar says he’ll throw in some extra money for Tzeidel’s family.
Photo by Christian Pizzirani — Tevye (Joey McDaniel) and his wife Golde (Brittney Mignano) in FIDDLER ON THE ROOF, the classic Tony Award-winning musical that features a timeless score and a universal story of family, love, loss, and resilience.
The hitch? Tzeidel and her childhood friend, Motel (an earnest Joe Steely), made a “pact” a year earlier that they would marry when they got older.
Tevye and Golde are strongly opposed to their union both because Motel is practically penniless (he’s a tailor who sews clothes by hand) and because “tradition” says the head of a household makes the decision of who his daughters marry.
. . . eventually Tevye grudgingly gives his blessing to … marriage . . .
Act 1 ends with the song “Wedding Dance” where the happy bride and groom have a traditional wedding officiated by the village rabbi (a rather bland Richard Brandi). But as Tevye’s family and friends all join in the celebration, a constable (Matt Regan) shows up with his soldiers to break up the happy event.
Director/choreographer Jennifer Copaken has her hands full with the large cast (30+), but she and the efficient stage crew keep things moving smoothly. Counting a 15-minute intermission, the whole production runs just over 2 ½ hours.
In Act 2, daughters two and three (Madelyn Davis Haddad as Hodel and Teagan Murphy as Chava) get their moments in the sun. Hodel follows her heart and falls in love with itinerant scholar Perchik (Sam Kruger) who has been giving school lessons to Tevye’s two youngest daughters. They want to marry – again not what her parents want for her – but Tevye gives in when he sees their love for each other.
Ditto with daughter No. 3: Chava (Teagan Murphy). By this time, Tevye is coming around to the idea that “Love – it’s the new style.”
Photo by Christian Pizzirani – Tevye (Joey McDaniel) and the villagers of Anatevka in FIDDLER ON THE ROOF at PAP.
While PAP’s Fiddler is charming in so many ways, this reviewer found one character, Fiddler Eliya played by Chava Roy, a tiny bit tiresome as she repeatedly climbs up the stairway to a small balcony and then pretends to play on her “fiddle.”
But that’s just a trifle. Saturday night’s audience gave the production a standing ovation. PAP has just announced it’s added an extra performance to accommodate all the people hoping to get tickets.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
For some people, the title Wait Until Dark conjures up memories of the scary 1967 movie starring Audrey Hepburn. But it was a play before it was a hit movie – written in 1966 by Frederick Knott.
The theatrical version opened at Hillbarn Theatre on Oct. 18 and runs through Nov. 3 at the Foster City theater, the second of Hillbarn’s 84th season. Sadly, though several of the actors make valiant efforts to keep things suspenseful, this reviewer found the presentation to be a tad more confusing than it needs to be.
” … Ed Hunter’s lighting is almost flawless …
Many in the audience likely never saw the film (it came out 57 years ago!), so they must decipher the storyline from what happens on the Hillbarn stage. With so many characters walking into the apartment occupied by Sam (Sahil Singh) and his blind wife, Susan (Sarah Jiang), it becomes increasingly difficult to figure out who is who, what they want – and why.
Scott Coopwood* as Roat and Sarah Jiang as Susan in the thriller “Wait Until Dark” at Hillbarn Theatre. Photo Credit: Tracy Martin
Knott’s play, which takes place in 1944, is a bit long-winded IMHO providing exposition (background information). Here’s the gist:
Before returning from a business trip to Canada to his home in New York, Sam is asked by a woman to take a doll with him to give to someone. What he doesn’t know is that the doll is actually filled with heroin.
This prompts three bad guys including the treacherous Roat (Scott Coopwood) to track down the doll with the intent of selling the heroin and getting rich. Roat’s plans to eliminate his two partners once he gets his hands on the drugs.
As Susan, Sarah Jiang makes a valiant effort to play a blind person. That she succeeds some of the time is to her credit, but to this reviewer’s eyes she seems to play Susan like a bit of a breakable doll, moving stiffly and jerking her body around a bit. Jiang gets a real workout in Dark as she walks up and down a short flight of stairs at the back of the stage at least 20 times.
This is a production that needs the lighting to work impeccably, and fortunately Ed Hunter’s lighting is almost flawless. Jeff Mockus’ sound also works well. Courtney Middleditch-Morgan’s costumes – especially for the bad guys – strike an appropriate note. And “props” to the properties designer, Stephanie Dittbern. Watching Susan frantically flip each switch in the authentic-looking light box added authenticity.
Mike (Ryan Tasker) and Susan (Sarah Jiang) in the thriller “Wait Until Dark” at Hillbarn Theatre on stage Oct. 17 – Nov. 3, 2024. Photo Credit: Tracy Martin
An actor who deserves special note for making his good guy/bad guy credible. As Mike, Ryan Tasker brought a good deal of warmth to his portrayal. His story of knowing Susan’s husband in the war rang true, and it was easy to tell that Mike wavered in his efforts to find out where the doll is hidden. He came close to admitting he didn’t want Susan to get hurt.
But finally, in this reviewer’s opinion, director Vickie Rozell might have let this mystery get away from her a bit. I think she needed to step back and concentrate on making her characters more dimensional.
Then perhaps, Hillbarn’s Wait Until Dark might have been more menacing.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
It doesn’t matter whether you know nothing about basketball – or are a rabid fan. It does help if you know that “King James” refers to LeBron James and not the King James Bible.
Playwright Rajiv Joseph has created a jewel of a play that is far more about relationships, growth, and friendship between two young men as it ebbs and flows over 12 years. Christopher Fitzer’s thoroughly researched and exquisitely detailed sets add an essential layer to this production, as does Giovanna Sardelli’s steady, level-headed direction.
” … the talents of (the) actors …make this production of James …”
But because there are just two characters in King James and both are on stage almost 100% of the time, the talents of actors Kenny Scott as Shawn and Jordan Lane Shappell as Matt make this production of James. Did they succeed? How about a standing ovation at the play’s end – not on opening night but at a 2 p.m. matinee on a Sunday?!
Shawn (Kenny Scott) and Matt (Jordan Lane Shappell) pantomime a basketball game in TheatreWorks Silicon Valley’s “King James,” performing thru Nov 3rd at Mountain View Center for the Performing Arts. Photo Credit: Kevin Berne
One of the clever concepts Joseph came up with in James is to give his play four scenes – representing the four quarters of a basketball game. Scene 1 occurs in 2004 in a small, handsomely furnished bar in Cleveland Heights, Ohio, where Matt works. A diehard Cavaliers fan, Matt has to sell his coveted tickets to the remainder of the Cavalier games because he’s short on money.
That’s when Shawn shows up, literally drooling to buy the tickets, though the amount he can afford to pay is far below what Matt expects to sell them for. Matt tells Shawn that another person is coming in shortly to buy the tickets for face value –- but when a phone call reveals the other buyer has dropped out, Shawn wheedles Matt down and eventually gets the tickets.
Then Matt asks Shawn who he’s taking with him to see the games, something Shawn hadn’t considered. He realizes no one would appreciate going to them more than Matt – thus, a basketball friendship develops between the two men.
Scene 2 of this intriguing dramedy is six years later. Matt’s still working at the same bar when Shawn, a writer intent on going to Hollywood to “make it big,” walks in wearing a red Cleveland Cavalier shirt – of course with “23” emblazoned on it.
Once more, the two men chat about their lives, hopes, and plans. Both seem to anticipate each other’s move, much like a basketball player. At times, they effortlessly weave and duck across the theatre’s wide stage.
Shawn (Kenny Scott) shares a drink with Matt (Jordan Lane Shappell) in TheatreWorks Silicon Valley’s “King James.” Photo Credit: Kevin Berne
Joseph cleverly gives his play the same cadence as a basketball game. Intermission takes the place of the half-time break. Before the play begins –- and at the start of each scene — Steven Mannshardt’s lighting bounces around the large theatre, coupled with stadium sounds during scene changes.
Several years pass between scenes, so each time Matt and Shawn meet up again, they have changed — sometimes for the better. They also appear to mature somewhat, although their maturity and fortunes ebb and flow.
In Act 2, Shawn has moved to Hollywood and is a writer on a sitcom. But, he admits to Matt, it sometimes feels like he’s the token Black person who doesn’t get much chance to contribute.
Whether this is true or a skewed perception, Shawn ends up back in Cleveland Heights and becomes closer to Matt’s parents than Matt. The “antique/junk” store they own is the setting for Act 2. Theatergoers could spend hours looking at all the cute/bizarre/valuable/useless items on the set.
Symbolic of the store is a leather armadillo that has been in the store forever. The store itself is called “Armaads,” so there’s that. Another unique antique is the giant globe that, when the top half is lifted off, houses a classy array of alcoholic bottles.
Fitzer does double duty, designing both the sets and costumes. Though there aren’t many costumes, each one here seems matched with what’s happening to the character wearing it.
In short, like a smooth basketball player at his peak, King James moves along effortlessly until the play comes to a logical, if perhaps expected, end.
In this reviewer’s opinion, it’s too bad the play doesn’t cover James’ decision to get out of his second stint in Cleveland to accept a big, fat contract with the LA Lakers (where King James still resides).
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
I couldn’t getmy fill of the regiment in Donizetti’s opera La fille du régiment. Why? Because Livermore Valley Opera’s regimental chorus was such a scene-stealer. Whenever the outstanding cast of principals had gloriously sung one bel canto aria too many, this eight-man posse of protectors would pop in and provide welcome comic relief. Kudos to chorusmaster Bruce Olstad and stage director Marc Jacobs!
Who is the octet protecting? The Daughter (Marie) is a foundling raised by the regiment she addresses as her “fathers.” We are in the Tyrol of 1809, and the French are battling Austrian sympathizers in an area then under Napoleonic control. The French occupiers are the good guys since Donizetti penned his tuneful theater piece for the Paris Opéra-Comique. No surprise that local boy Tonio changes sides and enlists in the regiment to go after his squeeze Marie. But it turns out she’s the child of the Marquise of Berkenfield, who wants her to marry into nobility.
” … highly recommended …”
Véronique Filloux warmed quickly into her demanding role as Marie, hitting her high notes with power and accuracy, but more importantly, conveying an impish sense of fun as a soldiers’ pal in Act 1 and as a would-be trainee in aristocracy in Act 2. Chris Mosz brought a uniquely sugary voice to the character of Tonio, effortlessly hitting all eight high Cs in Tonio’s famous Act 1 Ah! mes ami … aria, and even adding a higher-than-high C to the unwritten (by Donizetti) ninth one.
Marie and her Protectors. Photo Livermore Opera.
Eugene Brancoveanu’s rich and venue-filling voice and acting were perfect for his role as Sulpice, the sergeant in charge of the octo-posse. Finally, mezzo-soprano Lisa Chavez’ lovely voice was a joy to hear as she negotiated her Marquise’s character change from a snobby fussbudget to a woman who begins to display caring for her once-abandoned child at the cost of her reputation.
Jean-François Revon’s sets and projection designs were a marvel–simple, colorful, effective, and surprising when cannon-blast lighting effects popped out in distant background hills. Linda Pisano’s beautiful costumes, initially designed for the Utah Opera, were a pleasure to examine in detail during the more extended arias.
Music director Alexander Katsman’s tempos and dynamics were managed with aplomb in Francis Griffin’s reduced-orchestra score displaying little emaciation. This reviewer thought the horn section had a bit of difficulty handling the highly exposed overture opening in the September 28th performance, but the cello section was wonderful for the lead-in to the Par le rang et par l’opulence aria in Act 2.
Tonio and Marie at work at the Livermore Opera. Photo Livermore Opera.
The many laughs, endless melodies, outstanding voices, costumes, and sets make Livermore Opera’s version of La fille a highly recommended and inexpensive way to experience great opera. If you go before it closes on Sunday, October 6th, see if you can hear the clever reference to Rossini’s William Tell overture in Donizetti’s overture. Both operas take place in the Alps.
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ASR’s Classical Music Section Editor Jeff Dunn is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.Contact:[email protected]
Production
Daughter of the Regiment
Music by
Gaetano Donizetti
Libretto by
Jules-Henri Vernoy de Saint-Georges &
Jean-François Bayard
Director
Marc Jacobs
Producing Company
Livermore Valley Opera
Production Dates
Thru Oct 6th
Production Address
Bankhead Theater
2400 First St, Livermore, CA 94551
No, No, Nanettewas first produced on Broadway in 1925, so it’s somewhat surprising that South Bay Musical Theatre chose this “Roaring 20s”-era show to open its 2024-25 season. Turns out it was a good choice.
What makes it so surprising that No, No Nanette was such a hit on Broadway is the fact that its storyline (written by Otto Harbach and Frank Mandel) is, in this reviewer’s opinion, so just plain silly.
Cast members of “No No Nanette!” at work. Photo: South Bay Musical Theatre
And to that SBMT added some strong acting performances, fine set designs by Brett Carlson, and gorgeous costumes by Amanda Seguin. Plus, music director George Yefchak conducts a large, melodious orchestra that makes audiences remember the Roaring 20s with songs like “I Want to be Happy,” “Tea for Two,” “Take a Little One-Step” and –- naturally: “No, No Nanette.”
The standout number is “I Want to be Happy,” which is not only sung but tapped by several of the main characters, plus the hard-working ensemble members. Here, Christina Bolognini as Sue Smith stands out with her fine tap performance. It goes to show that, as a truism, whenever there’s a tap number, the whole show gets better.
Judith Miller as Pauline in “No No Nanette!” Photo: SBMT
Nanette opens in the large living room of Jimmy Smith (a fine characterization by Michael Paul Hirsch). The scene-stealing maid Pauline (a hilarious Judith Miller) clomps around angrily as she declares she’s quitting soon (she never does).
What makes life unbearable for Pauline is that a vacuum cleaner follows her around and spooks her when she least expects it to show up. The mysterious moving vacuum cleaner is almost a character in itself!
“…just don’t try to make sense of the plot! …”
Smith is a millionaire Bible publisher who enjoys throwing his money around – for a lot of worthy causes. But his wife Sue (Christina Bolognini) is an entrenched penny-pincher. Her best friend Lucille Early (a standout performance by Jessica Whittemore) is just the opposite. She loves spending money on herself – and her wardrobe shows it. Lucille is married to Jimmy’s lawyer Billy Early (a nice turn by Michael Rhone) who enjoys making his wife happy.
So where does the “Nanette” in the title fit in? Jimmy and Sue are Nanette’s guardians, and they’ve tried their best to shield her from anyone who might be after her for her money. Melissa Momboisse, as Nanette, certainly appears a tad spoiled and a lot sheltered. She mostly does what her guardians tell her to do—up to a point.
They’ve found a fine young man for her: Tom Trainer (Ryan Liu), but Nanette stubbornly declares that she needs to live it up a little before settling down. Her bestie Lucille agrees, so she and Nanette plot a trip – supposedly to visit Nanette’s grandmother but, actually, to big, bustling Atlantic City.
To try to fathom the subterfuge and shenanigans that take place from there on is too difficult to describe. Best to just enjoy the performances, the singing and dancing and the nostalgia that wafts out everywhere.
The Three Ladies (and a Bible Salesman!) from “No No Nanette!”. Photo: SBMT
Mention must be made of the three charming but eccentric ladies referred to as Betty from Boston (Heather Mae Steffan), Flora from Frisco (Lauren Jiang) and Winnie from Washington (Beth McClelland). Who they are and why they’re such a big part of the plot is left to the audience to decide – but they are a delightful diversion.
As charming and winsome as she is, Momboisse, as Nanette, seems to have been given a rather… interesting …stage direction: to hold both her arms in an “L” shape—sometimes when she’s talking and at times when she’s singing. Well, OK. And on with the show…
There’s also the rather unbelievable plot twist of Jim, the Bible-publishing billionaire, “keeping” the aforesaid feminine trio—not for the usual reason of extramarital fun but because he’s altruistically helping each of them further their chosen career pursuits. (And if you believe that, there’s a bridge in Brooklyn that’s available for sale at a great price!)
Nevertheless, all’s well that ends well. No, No Nanette is full of silly, infectious fun with some fine performances, songs, dances and costumes.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
San Francisco Playhouse brings the house down — literally and figuratively — with the hilarious comedy The Play That Goes Wrong.
Henry Lewis, Henry Shields, and Jonathan Sayer wrote this award-winning farce for the London stage before transferring to Broadway. Kudos to Director Susi Damilano for lending her sharp talents for comedy to this fast-paced farce.
Actors (l to r: Joe Ayers, Phil Wong, Renee Rogoff, Patrick Russell) try to keep the show on track in “The Play That Goes Wrong.” Photo Credit: Jessica Palopoli
The Play That Goes Wrong cleverly starts even before the lights go up with pre-show hijinks of an usher handing out incorrect programs to the audience. Offstage, the sound and tech guy (Tasi Alabastro) forgets to turn off his mike, and the stage manager (Renee Rogoff) tries to remedy faulty scenery before the curtain goes up. No such luck.
“ … Don’t miss this three-ring circus of comedic chaos …”
When the show-within-a-show actually begins, it’s an impressive setting for The Murder at the Haversham Manor, produced by a dedicated theatre troupe. The laughs tumble over one another when doors don’t open, props are misplaced, something falls off a wall, and a corpse can’t lie still when his hand is accidentally stepped on. Still, the amateur actors bravely soldier on, hoping to fulfill their roles and pull off a successful performance.
Jonathan (Adam Griffith) watches as Robert (Patrick Russell) and Chris (Phil Wong) lose footing in “The Play That Goes Wrong,” presented by SF Playhouse thru Nov 9th. Photo Credit: Jessica Palopoli
This troupe’s “Who done it?” mystery has the requisite characters: a murdered fiancé (Adam Griffith), his grandstanding brother (Joe Ayers), a drama queen fiancée (Erin Rose Solorio), her take-charge brother (Patrick Russell) and of course, the obsequious butler (Greg Ayers.) The final arrival is the hapless inspector (Phil Wong), who tries to put it all together. Each actor is so good at their roles that they make it easy to appear inept amidst the frantic antics.
The cast (l to r: Greg Ayers, Erin Rose Solorio, Adam Griffith, Renee Rogoff) devolves into chaos in “The Play That Goes Wrong,” in The City thru Nov. 9th. Photo Credit: Jessica Palopoli
Comedy is a highly skilled talent, and in The Play That Goes Wrong, everything goes absolutely right for the laughs. Don’t miss this three-ring circus of chaos, playing Tuesdays through Sundays through November 9, 2024. If this production has a credo, it should be “The show must go on!”
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: [email protected]
How many times do you go to a symphony concert where at least one of the pieces is boring or has issues of execution or interpretation, no matter how good the rest of it is?
If you’re an old, feisty music critic like me, it’s almost always. But last weekend’s SF Symphony concert, masterfully assembled by music director Essa-Pekka Salonen, was perfect in every respect, with enthralling, varied, and integrated repertoire giving all orchestra sections a chance to shine.
And shine, they did! To top it off, Salonen’s superb conducting maximized the selections’ inherent drama and dynamic ranges, leading to one standing ovation after another.
” … perfect in every respect … “
What integrated the four pieces performed was their consistent references to baroque composers set in the respective styles of the Romantic, Modernist, and 21st-Century composers Edward Elgar, Paul Hindemith, and Nico Muhly. The result was a splendid survey of many glories of the last 300 years of music history.
Muhly’s work was an SF symphony-commissioned premiere of his 2024 piano concerto. This was the most impressive of his works I’ve heard so far, one immediately pleasurable and worth many future listenings when recordings become available. Its three movements were played without pause over 25 minutes.
The first showed orchestrational evidence of Muhly’s eight years as an assistant to Philip Glass, along with tads of John Adams’ postminimalism. But the second conjured unique sounds, including eerie glissandi and a shattering central climax. The third is a brisk toccata. All movements successfully exuded touches of the baroque composers Rameau and Couperin in a thoroughly contemporary and dazzling orchestral setting.
Muhly, admittedly obsessed by soloist Alexandre Tharaud, designed the concerto around his unique pianistic skills: lightning-fast fingers, ultra-high energy, and masterful control (except for his left foot, which periodically shot out to the side as if kicking away a cuff-chewing dog–but this added to, not subtracted from the excitement).
The first piece after intermission was Elgar’s orchestration of Bach’s Fantasia and Fugue in C minor, BWV 537, a superlative example of what became a fad with Leopold Stokowski’s transcriptions later in the 1920s. Elgar’s over-the-top conclusion to the end of the Fugue goes beyond anything Stokowski attempted. Even Richard Strauss, Mr. Excess himself, thought it went too far, but it’s a thrilling example of the Romantic spirit emanating from Berlioz.
The first and last works were Hindemith’s. When he died in 1963, he was considered one of the greatest 20th-century composers, along with Stravinsky, Bartok, and Schoenberg. That’s no longer true today, and in this reviewer’s opinion, it’s a shame.
Hindemith ~1936
His four-minute Ragtime (Well-Tempered) (1920) is full of robust good humor, immersing the theme of Bach’s C-minor Well Tempered Clavier tune in a sea of obstreperous fox trots, rags, and brass raspberries. And the concluding work, his masterpiece, Symphony, Mathis Der Maler, brought the audience to their feet for three long curtain calls. It’s incredible to this reviewer that symphony programmers have neglected this tremendous staple of music history for more than 36 years. How many lesser works have we heard countless times in that interval?
Compared to Mahler even, Hindemith’s symphony surpasses when you consider greatness per minute. The whole program, less than an hour of music, makes it a champion by that measure. Perfect!
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ASR’s Classical Music Section Editor Jeff Dunn is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.
Production
SF Symphony cornucopia
Producing Company
San Francisco Symphony
Production Dates
Thru Sept 28th
Production Address
Davies Symphony Hall
201 Van Ness Ave, SF CA 94012
Attraction and repulsion are equal opposites in Noel Coward’s classic Private Lives at American Conservatory Theater through October 6.
On a veranda at a seaside villa, newlyweds Elyot and Sibyl prepare to enjoy the first night of their honeymoon when Elyot spies his previous wife Amanda just over the hedge separating their rooms. It’s hate at first sight, soon yielding to a passionate, guilt-ridden reunion that they must hide from their new spouses — Amanda’s being an innocent fellow named Victor.
” … Private Lives is a riotous, enormously satisfying season opener …”
Have Elyot and Amanda made a serious mistake in getting divorced? So it appears to them as they get reacquainted, but as soon as they do, their irresolvable differences come roaring back. They flirt and frolic, then fight like two rabid cats in a sack while trying to keep the whole distasteful business hidden from Sybil and Victor.
Sarita Ocón, Hugo E Carbajal, Gianna DiGregorio Rivera, and Brady Morales-Woolery in Noël Coward’s “Private Lives,” performing at A.C.T.’s Toni Rembe Theater now through October 6, 2024. Photo by Kevin Berne.
It’s a fantastic setup for one of the greatest romantic comedies ever written. Private Lives has lost no relevance in the approximately 100 years since it first appeared. Human nature and obsessive relationships are permanent conditions, as ACT makes abundantly clear in a gorgeously presented and beautifully paced production directed by KJ Sanchez.
Gianna DiGregorio Rivera & Hugo E Carbajal in “Private Lives,” at ACT in The City. Photo: Kevin Berne.
Hugo E. Carbajal stars as the urbane, self-indulgent Elyot, with Sarita Ocon opposite him as his volatile ex-wife and potential new lover, Amanda. The pair have extraordinary energy together—and extraordinary comedic skills, pushing their characters against each other and apart again in a spectacular pas de deux, one that includes a pitched battle using palm fronds as cudgels.
Brady Morales-Woolery appears as the upright, gentlemanly Victor, with Gianna DiGregorio Rivera as the bright-eyed, eager, innocent Sibyl. It would be hard to imagine four more compatible actors in this show.
It’s a brilliant bit of casting by director Sanchez, who mentions in the playbill having worked with the quartet in previous productions.
Sarita Ocón & Brady Morales-Woolery in Noël Coward’s “Private Lives.” Photo: Kevin Berne.
Their combined history is a tremendous asset for ticket buyers. Pacing, elocution, projection, character interaction, and choreography flow seamlessly in a delightful production hampered only by a too-short run.
Private Lives is further enhanced by spectacular set design from Tanya Orellana, whose two sets are glorious homages to the Art Deco era, right down to the Erté sculptures gracing the second one. Orellana’s sets are so ingeniously conceived that they blend perfectly with the Toni Rembe Theater’s ornate interior, to such an extent that the entire theater seems to be an extension of the stage.
(L-R) Hugo E Carbajal, Gianna DiGregorio Rivera, & Brady Morales-Woolery at work at ACT in The City. Photo: Kevin Berne.
The sound design from Jake Rodiguez couldn’t be better. He knows exactly the sound of an old Victola and emulates it perfectly. Sanchez took the liberty of resetting Coward’s seaside villa from the south of France to Argentina and Amanda’s apartment from Paris to Montevideo, Uruguay—choosing the Argentine angle for its sense of “forced gaiety,” reinforced by a tango choreographed by Lisette Perelle.
This Private Lives is a riotous and enormously satisfying season opener for ACT. Executive Director Jennifer Bielstein acknowledged the show’s universality in a brief post-show chat. “We’ve all lived through that,” she nodded.
Anyone who’s endured an obsessive, contentious relationship will find Private Lives a welcome comedic catharsis.
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ASR NorCal Executive Editor Barry Willis is an American Theatre Critics Association member and SF Bay Area Theatre Critics Circle president. Contact him at [email protected]
(September, 2024) San Francisco’s PlayGround has announced the 6th annual Innovators Showcase, a three-week festival of new works by the 2024 Innovator Incubator cohort.
The Innovators Showcase runs November 4-24, 2024, and all performances are free to attend or can be viewed via simulcast or on-demand.
Launched in 2019, PlayGround’s Innovator Incubator fosters new innovative theatre companies and productions that present a commitment to historically marginalized or excluded communities.
According to media dispatches, the 6th annual Innovators Showcase will include the following:
UNPLANNED — an anthology of shorts about reproductive health. Network Effects Theater Company, Nov 4 at 7 pm, Nov 5 at & 7 pm. This event will explore reproductive health through the lens of four short plays written by four writers and expressed through an ensemble local cast. The anthology will raise money for organizations serving family planning across the country.
ABBY NORMAL — a world premiere musical. House Theater, Nov 9 at 7 pm, Nov 10 at 2 pm & 7 pm. Abby Normal is a musical about epilepsy. With 70 million people worldwide suffering from epilepsy, it is one of the least researched or understood brain disorders in this country. “This musical plans to change that. In the play, Abigail battles it out with Seizure to find her community with a brain disorder that at present has no Cure. It will uplift and enlighten you, and the songs will stay with you long after you leave the theater.”
FOUR SEASONS IN THE POLITICAL LANDSCAPE — readings of four plays focusing on politics, civil rights, and governance. Oakland Public Theater, Nov 15 at 7 pm, Nov 16 at 2 pm.Four Seasons in the Political Landscape is a collection of staged readings of short plays from local writers, including:
Judicial Process by Reg Clay — a Kafkaesque look at ICE officers and judicial tampering.
Cinquo de Mayo Compared to What by Richard Talavera — a city council debates ethnic holidays.
The Stick and the Ballby Neil Harkins — global warming, extreme polarization, and the so-called “Overton window.”
And Untitled by Kristi Lin Billun.
DESERT WIND— the story of a Yemenite Jewish couple caught in the violence of the Houthi uprising in Yemen. The American Jewish Theatre, Nov 23 at 7 pm, Nov 24 at 2 pm & 7 pm. In this Houthi takeover, a husband is thrown into prison, while his wife is forced to flee through the desert on foot because they are Jews. In the delirium of his torture, the husband reaches out to his wife, and — with her soul — she connects with him.
About the Innovator Incubator
PlayGround’s multi-year intensive incubation program provides access and opportunity for emerging theatre companies by offering financial support, fiscal sponsorship, free space, and mentorship to bolster the diverse voices of participating organizations.
To date, more than 14 companies have been launched through the Innovator Incubator, helping to employ more than 400 local theatre artists and fostering the development of over 30 new works for the stage. Last year’s initiative supported nine production companies and provided more than $50,000 in tools and resources, including fiscal sponsorship, one-on-one mentoring, support for free and discounted performances, rehearsal space, and co-marketing.
Past participants of the Innovator Incubator include Juneteenth Theatre Justice Project, Theatre Cultura, Native Writers’ Theater, Epic Party Theatre, The Forum Collective, Kunoichi Productions, The Moonrisers, and Queer Cat Productions.
About PlayGround
Founded in 1994 by Jim Kleinmann, Brighde Mullins, and Denise Shama, PlayGround has grown into one of this nation’s leading playwright incubators and theatre community hubs, with a core commitment to diversity, equity, and inclusion, helping to uplift and center artists from historically underrepresented communities.
Over three decades, PlayGround has supported more than 300 early-career playwrights, developing and staging over 1,500 of their original short plays through PlayGround’s signature programs, Monday Night PlayGround and the PlayGround Festival of New Works. PlayGround has also commissioned 100 new full-length plays by 60 of these writers through its Commissioning Initiative and has directly facilitated the premiere of 36 of those works through its innovative New Play Production Fund.
Additionally, PlayGround has developed a unique model for identifying and nurturing some of this country’s best new writers, while helping them to build a significant body of original work and lasting connections with the artistic collaborators they need to know to ensure their success. PlayGround expanded to Los Angeles in 2012, NYC in 2021, and Chicago in 2022.
PlayGround’s alums have gone on to win local, national, and international honors for their short and full-length work, including recognition at the Steinberg Awards, Glickman Awards (including 6 of the last 10), Humana Festival, O’Neill National Playwrights Conference, Bay Area Playwrights Festival, New York International Fringe Festival, and others. PlayGround received the 2009 Paine Knickerbocker Award for outstanding contributions to Bay Area theatre, 3 BATCC Awards for Best Original Script for PlayGround commissions, a 2014 National Theatre Company Grant from the American Theatre Wing (founder of the Tony Awards®) and a 2016 Edgerton Foundation New Play Award.
For more information about PlayGround, visit https://playground-sf.org.
(September 2024) AGMA Choristers of the San Francisco Symphony have officially gone on strike, effective September 19th, 2024.
On September 16, AGMA leadership and the AGMA members of the San Francisco Symphony Chorus voted overwhelmingly to authorize a strike. The Choristers voted 100% in favor of the authorization. 98.1% of eligible members participated in the vote, and 81.1% of the unpaid singers from the Verdi Requiem chorus have pledged to honor an AGMA picket line.
” … I cannot recall the last time AGMA went on strike.” — AGMA President Ned Hanlon …
“The AGMA Board of Governors and Artists around the country stand firmly behind all the Choristers of the San Francisco Symphony,” said AGMA President Ned Hanlon. “I cannot recall the last time AGMA went on strike. We urge (both parties) to … work toward a real solution that honors the work of these dedicated artists and gets everyone back to creating beautiful music.”
The AGMA Negotiating Committee also issued a statement: “We did not take the decision to strike lightly. We would much rather be opening the season. Our goal has always been to protect the rights of the AGMA Choristers and secure a contract that allows us to continue to thrive artistically and financially.”
The AGMA Choristers of the SF Symphony invite interested parties to join them on the picket line Friday (tonight, 9/20) and Saturday night (9/21) at 6:00 p.m. PT along Grove Street in front of Davies Symphony Hall.
If you’re in the mood for a well-done dose of despondency, Poul Ruder’s The Handmaid’s Tale, now playing at the San Francisco Opera, is just the ticket. Prepare with a quick re-read of 1984 and Animal Farm. Then, you’ll be ready to show up and experience an impressive array of artists doing their very best to show you some of the very worst that could happen to this country.
Margaret Atwood’s 1985 novel posits a future (2014 in the book, 2030 in the current opera production) where a worldwide infertility disease, environmental degradations, and nuclear disasters have created enough social instability to allow a puritanical cult to mastermind a coup of the U.S. government. As a result, a “Republic of Gilead” is created and put under martial law.
Lindsay Ammann as Serena Joy (at left and projection) and Irene Roberts as Offred in “The Handmaid’s Tale.” Photo: Cory Weaver.
Next, claiming that infertility is God’s punishment for women’s sinfulness, women are progressively deprived of most of their rights, including reading and writing, and forcibly separated into classes depending on their ability to procreate and other factors. Fertile women are designated as “Handmaids,” forced to have intercourse with upper-class men whose wives have been unable to produce children — and then forced to surrender their babies.
Irene Roberts at work in “The Handmaid’s Tale” at SF opera. Photo: Cory Weaver.
Ruder’s music is utterly appropriate to this dismal situation. Written from 1996 to 1998 in a late Modernist orchestral style, with drone bass lines, accretionary tone clusters, and periodic fusillades from the brass. Vocal lines are relatively simple in comparison, but nothing you’d want to sing in the shower.
A cultural icon of melody (“Indian’s Farewell,” now known as “Amazing Grace”) can be detected in several instances, where it adds a bitter irony to the cult’s pseudoreligion. For some, the music may become as hard to bear as the gross indignities and devasting losses suffered by the opera’s characters.
Irene Roberts as Offred and John Relyea as The Commander in Poul Ruders and Paul Bentley’s “The Handmaid’s Tale.” Photo: Cory Weaver.
Mezzo-soprano Irene Roberts portrays the central Handmaid sufferer “Offred.” In such a production I cannot imagine a better performance than the way she passes on her anguish, travails, failing hopes, and powerlessness to listeners. Bass John Relyea adds a rich sound and complexity to the bad-guy role of Offred’s Commander and would-be impregnator.
Mezzo-soprano Lindsay Ammann adds a special poignancy to her portrayal of the Commander’s jealous wife. Soprano Rhoslyn Jones’ sweetness is a welcome contribution to her part as Offred’s shopping partner Ofglen. And soprano Sarah Cambidge’s fearful stridency is perfect in her projection of how, given a little power, oppressed women are happy to subjugate other women.
Conductor Karen Kamensek carefully handled the score’s complexities and did not stint at providing a full dynamic range of occasionally terrifying sounds. Chloe Lamford’s sets were spare and utilitarian in foreground, but massive where needed in portraying the huge “Hanging Wall” where traitors’ bodies remind viewers of the cost of cult disobedience. Will Duke’s large projections were especially apt in personalizing the loss of Offred’s pre-coup daughter.
Sarah Cambidge as Aunt Lydia, Irene Roberts as Offred (bottom row, right) and members of the SF Opera Chorus at work. Photo: Cory Weaver.
The Handmaid’s Tale serves as a very unpleasant object lesson on the perversion of authority and psychology. San Francisco Opera’s production is true to Atwood’s vision. Fortunately, since the United States is still a free country, attendance is optional.
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ASR’s Classical Music Section Editor Jeff Dunn is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.
If magic is the art of making the impossible possible, the libretto for The Magic Flute opera is the Mission Impossible of believability.
Librettist Emanuel Schikaneder left posterity an impossible scenario: A Japanese prince in a deep forest in Egypt, thinking he’s been saved from a giant serpent by a rustic dressed as a giant bird, finds himself in a war between a screaming queen and a basso pharaoh running a Masonic cult. That artist-magicians strive to overcome this hodgepodge is a testament to one of the greatest of all musicians, Mozart.
” … Many in the cast contributed their … sorcery to the occasion …”
Thanks to Opera San Jose’s fine set of magicians, the hand they received from last Saturday’s audience was not at all slight–a standing ovation. Foremost among the magicians was Ricardo José Rivera as bird-man Papageno, whose rich baritone and superb comic acting thrilled the crowd.
But even more magical was conductor Alma Deutscher, fresh out of the Hogwarts of conservatories, the University of Music and Performing Arts of Vienna. She’s 19 and has already written two lengthy concertos and three operas. Her bare-armed conducting was fluid and passionate and a joy to witness.
Many in the cast contributed their own bits of sorcery to the occasion. Tenor Sergio González was outstanding as the what’s-he-doing-in-Egypt prince Tamino. Emily Misch as the Queen of the Night pulled out high-F rabbits from her hat with aplomb in her famous aria. Her henchwomen Maria Brea, Melissa Bonetti Luna and Mariya Kaganskaya cast a delicious spell in their trios.
Melissa Sondhi paired expressively with Gonzáles as his love interest Pamina. Nicole Koh distributed a lot of delightful fairy dust as Papageno’s squeeze Papagena. The redoubtable Philip Skinner was imposing as the Speaker of the Temple. As Monostatos, tenor Nicolas Vasquez-Gerst was a master of the black arts and flip-flopping loyalties. Was there kryptonite in the large lollypop sun-staff that he had to keep holding that diminished Youngwang Park’s magic and vocal penetration as the pharaoh Sarastro?
Stage magic was most effective at the outset, when an elaborate serpent-dragon was carried about Chinese-style, replete with smoke from its jaws. Ryan McGettigan’s pyramid and palm stage-design motifs provided consistency, but this reviewer felt the neon-looking palms smacked more of 20th-century Las Vegas than 18th-century Vienna. Alyssa Oania’s costumes, however, were fascinating, and David Lee Cuthbert’s lighting interacted very effectively with stage structures.
A special bit of prestidigitation was accomplished by stage director Brad Dalton. The overture began with lots of action on stage as Tamino, dressed as an 18th-century aristocrat, is placed by servants and playful children in front of a proscenium to see a play in his honor. Tamino gets sucked into the action, and eventually the proscenium disappears, realizing the alternative reality of the opera. Strangely, while I admired the concept, I felt all the action interfered with the pleasure of listening to the overture. Is this yet another example of today’s fashion of elevating dramaturgy above music in opera?
Mozart and The Magic Flute represents the best kind of magic, the kind that lasts, so that generation after generation of artists can ride on its dragon’s back, and see if new tricks can woo the human heart.
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ASR’s Classical Music Section Editor Jeff Dunn is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.
Production
Innocence
Libretto by
Emanuel Schikaneder
Stage Direction
Brad Dalton
Conducted by
Alma Deutscher
Producing Company
Opera San Jose
Production Dates
Thru Sept 29th
Production Address
California Theater -
345 S First St, San Jose, CA 95113
Sometimes we need a simple story with archetypal and eccentric characters to raise our spirits and whisk us from pesky daily issues.
Crossing Delancey by Susan Sandler is just such a vehicle. Eminently so! It surrounds us with a New York Jewish world where home cooking, kugel and tagelach, and occasional bottled spirits put better faces on loneliness and bonding.
Its mission is to solve Grandma Bubbie’s dilemma. How can she lead her reluctant granddaughter Isabel (Lisa Morse), who has left the Lower East Side for the more upscale and cosmopolitan atmosphere of Uptown, into a normal Jewish marriage? Bubbie and her henchwoman, Hannah, the matchmaker (Jennifer S. McGeorge), and Sam, the pickle-vendor (Mark P. Robinson), are up to the job.
” … a marvelously oiled feel-good machine …”
As stage lights come up, Isabel is performing a comedic hair-plucking surgery on her grousing Bubbie. With a theatrical vanity that emerges and re-emerges through the play, Bubbie – thanks to the raucous and inspired acting of Tamar Cohn – continues to entertain us, initially to the detriment of her subdued, intellectual, and prosaically attired granddaughter.
Bubbie’s wiles and maneuvers are well-intended but romantically cool — Isabelle has visions of a different and more culturally independent life, which we quickly learn is based only on fantasy. Well played and embodied by Lisa Morse, Isabelle lives alone and works in an uptown bookstore where her daydreams can explode on desirable-looking local authors who have a stake in visiting the bookstore. The more Bubbie and Hannah scheme and push, the more Isabelle becomes entrenched in her author du jour.
(L-R) Mark Robinson as Sam, Tamar Cohn as Bubbie, Lisa Morse as Izzy in “Crossing Delancy”.
In a stand-out scene, Isabelle finds such entrenchment in Tyler, a pseudo-British-accented Steve Price, who is stopping by the bookstore. He finds she has read his latest book three times and is immensely flattered. The narrative morphs from their casual banter into a lights-dimmed fantasy world of Isabelle’s imaginings, where she is dancing with and is suddenly the object of Tyler’s affections. As the scene returns to normalcy, Isabelle is inspired to pursue Tyler with her own schemes for winning this impressive man.
Meanwhile matchmaker Hannah is pushing a very different romantic candidate, Sam, who has inherited his father’s pickle-vending business. In a first meeting, Sam is ignored or outright put down by Isabelle despite his attempts to soften her resistance. The pickles are a downer in Isabelle’s hierarchical world, but Sam has outstanding charm, patience and attractiveness that win everyone over. He also gives her advice on changing her perspective, and despite being rejected, he gifts her with an impressive purchase and ultimately the ability to see her world from a broader perspective.
This reviewer worried that the program’s extensive glossary of Jewish words and phrases meant the dialogue was going to leave me in an ethnic lurch, but the story unfolds seamlessly through impeccable acting, gestures, props, songs and the occasional breaking of the 4th wall. The Jewishness of the characters comes across with a real authenticity leavened with humor.
The set is ingeniously used for swapping scenes between Bubbie’s house, the bookstore and side scenes of engagement, with choreography that keeps the action fluid and cogent. Costuming changes are continuous and keep the visual action lively with each character defined by clothes, especially Isabelle, who wears the same rather dowdy outfit into Act 2 and verges on tempting us to run up and rip it off her.
(L-R) Jennifer McGeorge as Hannah, Mark Robinson as Sam, Tamar Cohn as Bubbie at RVP.
Kudos go to Hannah’s mod-Jewish matchmaker ensembles which echo her brassy voice and in-your-face personality. Lighting by Jim Cave helps change scene moods, and spontaneous Jewish songs and other background standards (sound design by Billie Cox) help pave the way for love to flower.
With superb acting all around, and exceptional range, force and truth in lead-character Bubbie, this is a comedy to treasure. From start to end, director Adrian Elfenbaum has crafted a marvelously oiled feel-good machine in Crossing Delancey.
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ASR Senior Contributor Susan Dunn has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected]
Production
Crossing Delancy
Written by
Susan Sandler
Directed by
Adrian Elfenbaum
Producing Company
Ross Valley Players
Production Dates
Thru Oct 13th
Production Address
Ross Valley Players
"The Barn"
30 Sir Francis Drake Blvd, Greenbrae, CA 94904
Five zany nuns concoct an urgent plan to hold a fundraiser in Nunsense, the latest production of the Novato Theater Company. Dan Goggin’s musical comedy began as a line of greeting cards featuring nuns with a wicked slant. It grew into an off-Broadway production that ran for ten years, the second-longest-running show to date.
“ … Whether or not you enjoyed a Catholic school experience, these nuns will make you laugh out loud …”
Do you have any experience with Catholic school nuns? It matters not for this laugh-out-loud comedy. The Little Sisters of Hoboken are indeed a motley crew. The cadre of Nunsense actors is talented and well-cast, though somewhat difficult to recognize beneath their full black-and-white habits.
L-R: Lauren Sutton-Beattie, Tina Smith, Nicole Thordsen, Kristine Ann Lowry.
Reverend Mother (Jane Harrington) is in charge, ever vigilant to keep order in the order. Sister Mary Hubert (Kristine Ann Lowry) awaits her chance to take over while supervising the fundraiser’s progress. Sister Leo (Lauren Sutton-Beattie) practices her long-lost ballet skills. Sister Mary Amnesia (Nicole Thordsen) brings her operatic voice and a faulty memory to the stage. Sister Robert Anne (Tina Smith) is quick with the jokes as she seeks more of the limelight.
These nuns are praying toraise money, and soon, despite a conflict with the school’s current stage set of Grease. What they lack in skills they make up for in heaven-sent enthusiasm, and the show must go on.
L-R: Tina Smith, Lauren Sutton-Beattie, Kristine Ann Lowry, Nicole Thordsen.
Director Lisa Morse brings the laughter out of this cast of characters, while Marilyn Izdebski crafted choreography to match Nick Brown’s musical direction. That said, this reviewer felt that the band at times overpowered the humorous lyrics and voices onstage. Two dozen songs range from serene (“Veni Creator Spiritus,”) to witty (“The Biggest Ain’t the Best”,) to silly (“Clean Out the Freezer”) all in great fun.
Nunsense offers a collection plate full of high jinks, something you don’t usually see in a habit. Don’t miss it!
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: [email protected]
Production
Nunsense
Written by
Dan Goggin
Directed by
Lisa Morse
Producing Company
Novato Theater Company
Production Dates
Thru Oct 6th, 2024
Production Address
Novato Theater Company
5420 Nave Drive, Novato 94949
In a dark theatre, figures in hooded cloaks file past the audience and up the stairs to the stage. There’s a black-and-white video of a gloomy-looking village – could this be Transylvania, the town terrorized by Frankenstein’s monster?
Surprise! The cloaks are abruptly shed revealing gaily dressed townspeople who sing happily of the end of the monster’s reign. Thus begins the sharply crafted musical Young Frankenstein, Mel Brooks’ hilarious take-off on the classic horror story. The casting is perfect, a continuing hallmark of productions at Sonoma Arts Live. No wonder this show sells out!
” … The large cast has a terrific time onstage …”
Michael Bauer plays the young Dr. Frankenstein as a normal physician reluctant to admit his macabre family connections. His role contrasts the other zany characters, all parodies of the original horror film.
The young doctor’s fiancée, gorgeous Joanna Lynn Bert, is outrageous with her preening and socialite affectations. Frau Bucher, the mysterious and intimidating housekeeper, is a delightfully deadpan Kim Williams. Igor, the smarmy hunchback, is helpfully acted out by Pat Barr. Inga, the sexpot assistant, couldn’t be funnier than the role done by Emma Sutherland.
In a surprise cameo, Director Larry Williams, an award-winning veteran of successful comedies, pops onstage singing “Join the Family Business” to the young doctor.
Todd Krish delights the audience when he awakens on the operating table as the Monster. Krish, at 6’2”, wore clodhopper boots that brought him to a height of 7’ with makeup so unbelievably green it would make Kermit the Frog envious. His “Deep Love” duet with (spoiler alert) his new love was worth the price of admission to this laugh-out-loud show.
The large cast has a terrific time onstage, with zippy songs under musical direction by Justin Pyne. The choreography by Liz Andrews and amusing costumes by Allison Sutherland created this monstrously good production., Producer Jamie Love enthuses about veterans and newbies too: “I’m thrilled that many of my young students had a chance to work on the lights and sound, and did such a great job!”
Director Williams had the last word: “We had so much fun bringing Young Frankenstein back to life!”
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: [email protected]
Production
Young Frankenstein -- The Musical
Book by
Thomas Meehan and Mel Brooks
Directed by
Larry Williams
Producing Company
Sonoma Arts Live
Production Dates
Thru Sept 22nd
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Four college friends gather for an alcohol-fueled reunion in Will Arbery’s 2019 drama Heroes of the Fourth Turning at Left Edge Theatre in downtown Santa Rosa through September 21.
Directed by Skylar Evans on a simple thrust stage, the setup includes four graduates of a little Catholic college in Wyoming. They have returned for the inauguration of the school’s new president, Gina (Lisa Flato), who mentored one of the group’s most conservative members and is the mother of another. All the action takes place in the backyard of Justin (Brandon Kraus), a former Marine sharpshooter who introduces himself to the audience by dispatching a deer and field-dressing it outside his back door, which looks very much as if it belongs on a mobile home (set designer, Argo Thompson).
Justin’s friends include Teresa (Jessica Headington), a hard-core Trumper steeped in Catholic theory; Emily (Allie Nordby), a less-conservative classmate with some undefined ailment; and Kevin (Logan Witthaus), a blackout drunk with deep personal issues. An impending full moon and a noisy generator work their way into the plot, with supernatural implications but no consequences.
“ . . . well-performed . . . “
At nearly three hours, Heroes has a lengthy introduction where we get schooled on Catholic theory, education, and the current political climate. The friends also get amicably reacquainted and have some polite disagreements about what policies best serve the people of the United States. Headington is quite convincing as the uber-conservative Teresa, and Kraus brings some serious gravitas to the role of Justin, who proves to be an increasingly substantial character as the play rolls out. Norby gives her Emily just the right amount of self-doubt and self-pity, with an inexplicable outburst in the final act. Witthauss’ Kevin is an insufferable loudmouth drunk of the type we all recognize and do our best to avoid.
Gina, the new school president, appears in the last act and holds forth on conservative theory, in the process revealing that she gave birth to eight children—each of them by life-threatening C-section. She abruptly announces that she’s hiring Kevin as the school’s new Dean of Admissions. He hasn’t shown any redeeming qualities but somehow she thinks he can rise to the challenge, assuming he can get up off the floor and wipe the vomit off his shirt. It’s not a flattering portrait of college administration.
This reviewer found that plot point is just about as nonsensical as most of the rest of Heroes of the Fourth Turning, but the show is well-performed even if the story is confounding. At nearly three hours, it’s badly in need of an edit—especially the inexplicable closing act—but it probes plenty of issues that bedevil us today. Imagine that The Big Chill and Agnes of God had a love child and you’ll have some idea what you’re in for.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Palo Alto Players loves to produce technicolor musicals full of dancing, cute little actors, and a happy ending. That’s a good description of its current show, Charlie and the Chocolate Factory, running through Sept. 22 at Lucy Stern Theater in Palo Alto.
Director Patrick Klein’s best move was to select the absolutely spellbinding Brandon Savage as his Willy Wonka. And though he’s supported by a winning cast of old and young performers and a live orchestra, this reviewer thought the production ran a bit too long with a few too many over-the-top projections.
But along the way, audiences – both children and adults alike – get to enjoy a gobstopper full of little treats like the short burst of breakdancing performed by tiny mite Ryan Segal or the diminutive and neon-wigged Oompa Loompas, who dance and sing delightfully.
Photo by Scott Lasky The Oompa Loompas teach the golden ticket winners a lesson after Violet Beauregard behaves badly in CHARLIE AND THE CHOCOLATE FACTORY.
Based on the 1964 book by British author Roald Dahl, Charlie has had many iterations since that time. In 1971, it became a motion picture called Willy Wonka & the Chocolate Factory, and 33 years later, a highly successful film version (Charlie and the Chocolate Factory) starred Johnny Depp as Willy Wonka.
But it wasn’t until 2013 that a musical version premiered in London and ran for more than three years. It was reworked in 2017 and opened on Broadway that year. That’s the version PAP is offering Peninsula theatregoers.
Opening night started off promisingly enough when PAP Managing Director Elizabeth Santana told the audience it was sitting on brand-new seats. While the seats are visually an improvement, they’re so hard that sitting on them for a couple of hours isn’t an entirely pleasant experience.
“…the Candy Man can….”
The overture began with the conductor enthusiastically waving his arms – but suddenly he left the pit and climbed up onto the stage! Surprise! It’s Willy Wonka himself who begins singing “The Candy Man” to start the show. That certainly got the audience’s attention!
But when Charlie Bucket (an appealing Russell Nakagawa) shows up and starts singing “Willy Wonka! Willy Wonka!” with the ensemble, his words were a bit overtaken by the orchestration. Happily, music director Richard Hall quickly got all into better form as the show progressed.
Photo by Scott Lasky — Willy Wonka (Brandon Savage) disguised as a candy shop owner alongside the ensemble in CHARLIE AND THE CHOCOLATE FACTORY in production at Palo Alto Players.
Nakagawa, who played Winthrop in PAP’s production of The Music Man last season, shares the role with Falcon Franco. (For the purposes of this review, Nakagawa is the Charlie being reviewed.)
As Charlie’s Grandpa Joe, Steven Guire Knight was the perfect foil for Charlie. It was a joy to watch him get out of bed – for the first time in 40 years!! – stretch his legs and join his grandson on this once-in-a-lifetime adventure.
When five “lucky” children find a “Golden Ticket” in their Wonka bar one real standout was Joshua Parecki as Mike Teevee. He and his “mother” Mrs. Teevee (an over-the-top Kristina Nakagawa) found small ways to scene steal themselves from the other parent-child couples.
Photo by Scott Lasky — Willy Wonka (Brandon Savage) disguised as a candy shop owner meets Charlie Bucket (Falcon Franco) in CHARLIE AND THE CHOCOLATE FACTORY, in Palo Alto.
This reviewer found that some of the rooms in Willy Wonka’s factory were fun to explore while others were a bit lukewarm. But the machine that ended up making Mike Teevee into a teeny-tiny person got a hearty laugh!
Savage does his best to keep a lot of balls afloat with his charisma and adroit actions. (He also makes a few quick costume changes offstage to play the owner of the local candy store where Charlie goes to lust after candy and where he eventually buys the special Wonka bar.)
One of the things that PAP does really well is create technicolor magic – and this production is no exception. Last Saturday’s audience – youngsters and adults alike – gave it a hearty standing “O.”
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
Who knew that Samuel Beckett’s Waiting for Godot – ostensibly a play about almost nothing – could be a play about everything when put into the hands of two fine actors like Evan Winet and David Scott?
Los Altos Stage Company’s extraordinary production, directed by LASC’s executive artistic director Gary Landis, runs through Sept. 29 at Bus Barn Theater in Los Altos.
There are two opposing camps about Beckett: Those who think he’s a genius and those who find him, well, a bit of a bore. While the latter can, at times, be true, when left in the hands of Winet, Scott, and Landis, it most certainly is not.
” … Los Altos Stage Company’s extraordinary production …”
The play as presented has a rather unique format: it seems to start as the two key actors walk onstage and, 2 ½ hours later (including a 15-minute intermission), it ends when they meander offstage.
The actor’s catchphrase is “Nothing to be done,” which describes their attitude toward much during the play. Scott’s facial machinations are always in play – and meant to definitely steal focus from whatever else is happening. He’s by far the most interesting character to watch in Act 1. But Winet gets his chance to shine in Act 2.
Actors Evan Winet and David Scott at work in “Waiting for Godot.”
By the play’s end, the two are both equally praiseworthy and equally charismatic.
Along the way the audience learns that the two wanderers have known each other for about 50 years. And one wonders if maybe they’ve been meandering and probably making the same tired statements for that long as well.
Act 1’s basic premise centers around the fact that Estragon (Scott) is wearing shoes that are too tight for him and they’re making his feet hurt. He sits on a rock (kind of his own special resting place), then pulls and tugs to get the too-small shoes off his sweaty, smelly feet.
For his part, Vladimir (Winet) is more interested in making sure that the nearby tree is the one where they are supposed to meet Godot. But it’s made very clear that he doesn’t know if this is the day they’re supposed to meet up with him – or even whether they’re supposed to meet with him at all.
Two other secondary characters are introduced into Act 1 (they make a shorter appearance in Act 2): Pozzo and Lucky. Pozzo (John Stephen King) is a wealthy, noticeably unfeeling man, who has his servant, Lucky (a stoic Marc Berman) tethered to him by a rope. Poor Lucky is carrying so many things for Pozzo that he has to carry a few forward, then go back, pick up more of Pozzo’s possessions, and then carry them forward.
Pozzo tells the two men that he’s on his way to market to sell the hapless Lucky for a profit. For his part, Lucky is mute the entire time until he suddenly comes to life by doing a rather fanciful dance and then unleashing a torrent of words that are a combination of nonsense, Biblical references, and educated reality.
“Waiting for Godot” is an absurdist play that takes place while waiting for a mysterious man named Godot — who never arrives. The play was written in 1953 by Samuel Beckett.
At play’s end, appreciate the nuanced acting, the fine scenic designs (especially when daylight is gone and a big, beautiful moon lights up the outside world) and the fact that 2 ½ hours have passed by rather quickly.
As for meaning?
Perhaps the best way to think about Beckett’s play is to realize that “…when everything is important, nothing is important.”
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
Why do we keep going to see Waiting for Godot? Why is it a classic? Is it a comedy or tragedy?
Irish playwright Samuel Beckett himself called it a “tragicomedy.” First written in French in 1948 after the tragedy of WWII, he rewrote it in English, and the new version premiered in 1953 in Paris. In 1998-99, it was voted “most significant English-language play of the 20th century.” (See Wikipedia https://en.wikipedia.org/wiki/Waiting_for_Godot)
How can a classic play begin with the ordeal of taking off a tight boot? Thus do our two protagonists, Estragon and Vladimir, affectionately known to each other as Gogo and Didi—with subtle resonances to Ego and ID—welcome us to their world. Immediately, we see how this inseparable pair weaves their totally disparate personalities into a fragile whole.
“… we sit in rapt wonder …”
Estragon (David Scott) is a man of few words but full of grimaces, contortions, moods and physical needs. He beckons help from Vladimir (ably performed by Evan Winet) with the boot, only to be met with his partner’s distractions, dissertations, memories, mental musings, and questions.
David Scott and Evan Winet in “Waiting for Godot”.
The pair’s interactions are conversational banalities, passing time until they can achieve their main objective. They must meet with a man called Godot, whom they may have met before, or not, whose persona is never fully described. What Godot will do for them when they meet is a mystery. Their lives are circumscribed by their poor physical conditions. Vladimir has urinary distress issues which can be triggered by mentions of a French brothel, and Estragon is always looking for a good sleep to make up for being beaten in his bed in a ditch.
The pair meet up with a slave driver, Pozzo, driving his luckless vassal Lucky with a long rope and whip. They are off to the market where capitalist Pozzo wants to sell his menial for profit. Lucky remains mute until Pozzo commands him to think. This command unleashes a stream of strange movements and phrases which sound impressive but devolve into nonsense. As they depart, Vladimir and Estragon continue their time-killing repartees until a messager boy appears and reveals that Godot is not coming that day. Thus ends Act I and sets us up for a near repeat of this drama in Act II.
The cast of “Waiting for Godot” at work at Los Altos Stage theater.
Productions of Waiting for Godot are variously treated on a continuum between comedy and tragedy. Los Altos Stage has an irrepressive comic in David Scott, who simply cannot stop his various mannerisms and moods, removing clothes, eating vegetables with panache and reaching out to the bemused Vladimir with impish delight and affection.
His physicality is matched by the continual stream of mental outlay of trivia from his more subdued partner, Vladimir, ably performed by Evan Winet. There is a Keystone Cops charm about this duo that masks some of the angst of the unknowing and disappointment that Godot hasn’t seen them that is at the heart of the play. Vladimir yearns to know and be known by Godot so that his existence can be validated and understood, so that life is not totally random and meaningless.
The iconic set of a bare tree and a rock—one of the barest stage sets in theater—is also a revelation at Los Altos Stage. Ringed with stark geometric structural frames, it pulls us into a tight barren place that could be a desert, but lit behind by the moon and clouds, its charm is a huge world of beauty and space.
There is often a moment, or perhaps many moments, when we wonder “Why are we here? Nothing is going on.” This play is a shrine to the human condition of wanting to know the elusive meaning of existence and who controls it. And like the moth who is about to be consumed by the flame, we sit in rapt wonder, waiting for that meaning, that we think only Godot can reveal, all the time knowing that it is the waiting itself that is meaningful.
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ASR Sr. Contributor Susan Dunn has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected]
Oakland, CA (Aug 2024) – Oakland Theater Project is thrilled to continue its 2024 Season with Tony Kushner’s Pulitzer Prize-winning Angels in America, Parts I & II, directed by OTP Co-Artistic Director Michael Socrates Moran at Marin Shakespeare Co’s new indoor
theater in San Rafael from Sep 27—Oct 27.
Set in New York City in 1985, amid the AIDS crisis, two couples
struggle to navigate their relationships, families, careers, illness,
dreams, and visions. As the journeys of Prior, Louis, Joe, and Harper
unfold, so do questions of cosmic justice.
In Tony Kushner’s multi-award-winning American epic, each person
is confronted with truths they have struggled to face—about
themselves, about one another, and about the world at large—and
the painful, transformative power of those realities.
Tickets & Performance Information
Angels in America, Parts I & II
by Tony Kushner and directed by Michael Socrates Moran
September 27—October 27
Tickets: $10—$60 . Tickets at: oaklandtheaterproject.org/angels — or by calling 510.646.1126.
August 2024– SANTA CRUZ, CA—Santa Cruz Shakespeare (SCS), celebrating 12 years as a nationally recognized non-profit professional repertory theater company with history in Santa Cruz County going back more than 40 years, has announced its lineup of four productions for its 2025 season.
Performances will take place from July 13 to September 27 in the Audrey Stanley Grove (The Grove) in Santa Cruz’s DeLaveaga Park.
” … this season looks to bring our incredible community closer …”
The productions of the 2025 season include:
A Midsummer Night’s Dream by William Shakespeare
Pericles by William Shakespeare and George Wilkins
Master Harold and the Boys by Athol Fugard
Into the Woods, music and lyrics by Stephen Sondheim, book by James Lapine, licensed by Music Theatre International
“This season’s unifying theme is No One is Alone, as the four masterpieces we’re producing all examine the threads that tie us together, from love, marriage or lust to adventure, catastrophe or redemption,” said Charles Pasternak, SCS artistic director.
“Whether it be threads woven by gods or giants or threads woven by the discovery of our shared humanity, in each of these plays the world is torn apart, sometimes quite literally. But it is knitted anew by recognition – recognition of ourselves in each other, in our need for each other. None of us is an island.
We hope the 2025 season helps us consider ourselves in a larger context than that of the individual. We need each other – now more than ever – and through both laughter and heartbreak, this season looks to bring our incredible community closer together.”
SAN FRANCISCO (August 2024) – An Evening Celebrating Lily Samii: A Tribute to a Fashion Icon, honoring the illustrious career of haute couture designer Lily Samii, will be presented at an exclusive reception with the artist Thursday, September 12, Piazzoni Murals Room at the renowned de Young, Fine Arts Museums of San Francisco, 50 Hagiwara Tea Garden Drive, Golden Gate Park.
The event will be co-chaired by Sherene Melania and Mary Poland, two prominent figures in the San Francisco fashion and arts community. Their dedication and passion for celebrating artistic excellence make them the perfect hosts for this glamorous evening.
” … Each gown reflects Samii’s unique artistic vision, blending classic haute couture techniques with contemporary flair …”
The distinguished Honorary Event Co-chairs are former U.S. Senator Barbara Boxer, Gretchen B. Kimball, and David H. Spencer. Honorary Committee members include The Honorable Wille L. Brown, Jr.; David Gockley and Linda Kemper; Denise Hale; The Honorable Barbro Osher; Matthew and Kate Shilvock; and Roselyne Chroman Swig.
The soiree will begin at 6 p.m. with an elegant cocktail reception, where guests will have the exclusive opportunity to view original gowns from Lily Samii’s private collection spanning her remarkable career. Each gown reflects Samii’s unique artistic vision, blending classic haute couture techniques with contemporary flair.
These creations showcase her exceptional talent and dedication to the art of fashion design. In addition to her personal collection, the pieces displayed will include an array of gowns worn at prestigious national and international events, ranging from The White House and global red carpets, to Nobel Prize Ceremonies and the acclaimed 100th Anniversary celebration of Perrier-Jouët, in Éparnay, France.
The event will mark a significant moment in fashion history as Samii will donate her resplendent creations to the impressive costume collection of the Fine Arts Museums of San Francisco. This generous donation will ensure that her legacy of masterfully executed designs, her choice of colors and textiles, will continue to inspire future generations of designers and fashion enthusiasts.
Lily Samii commented “As a young designer, I always dreamt of having my work displayed at the de Young. This event is truly a dream come true and I am so delighted that my creations will be shared for generations to come at the museum. Thank you to everyone who has shared in my artistic vision and provided me with such inspiration. I am forever grateful.”
Exhibit highlights will also include pieces from Lily Samii’s iconic first collection, which was unveiled at the San Francisco Symphony’s Black and White Ball, in 2001. This inaugural collection received rave reviews, solidifying Samii’s position as the Bay Area’s preeminent haute couture designer.
Born into a family of nobility in Isfahan, Iran, Lily Samii’s early training began with legendary Hollywood designer Edith Head on several films, and later with renowned designer James Galanos. She has been a cornerstone of the San Francisco Bay Area fashion scene for over four decades. Highly praised for her exquisite designs and impeccable craftsmanship, Samii has dressed countless women in the Bay Area and nationwide, earning a reputation for chic elegance and sophistication. Lily Samii has also lent her impeccable design support to the internationally recognized and often awarded Presidio Dance Theatre as Artistic Advisor, earning her an induction as a member of UNESCO’s International Dance Council.
“Lily is the jewel in the crown to our fair city and community. We are honored to host this important evening, celebrating Lily’s tremendous legacy and the numerous ways in which she has enriched our lives with her vibrant spirit and magnificent creations,” said event co-chairs Sherene Melania and Mary Poland.
Sherene Melania, internationally acclaimed, Executive & Artistic Director of the Presidio Performing Arts Foundation and former Vice-President of the San Francisco Arts Commission, has been a longtime global advocate for arts and culture. Her commitment to preserving and promoting artistic heritage aligns perfectly with the spirit of the event.
Mary Poland, a well-known philanthropist and former President of the San Francisco Opera Guild, brings her deep appreciation for the arts to the evening’s celebration. Her involvement with Lily Samii spans decades, underscoring the synergy between fashion and multiple artistic disciplines.
Guests attending An Evening Celebrating Lily Samii can look forward to an enchanting night filled with elegance, style, and cultural enrichment. With curated culinary delights by McCall’s Catering & Events, this special occasion will provide a sophisticated backdrop for guests to mingle with fellow fashion aficionados, industry professionals, and notable personalities.
The Fine Arts Museums of San Francisco are renowned for their commitment to presenting the work of extraordinary and diverse artists and designers. Lily Samii’s creations will join an extensive collection that includes works by some of the most influential designers in history, solidifying her place among the greats.
Hosted by the Presidio Performing Arts Foundation, tickets for An Evening Celebrating Lily Samii begin at $250 and may be purchased online at www.presidiodance.org.
Whether or not you’re a country western fan – and I’m not – Hillbarn Theater in Foster City and director Dyan McBride have created an outstanding evening of theatre thanks especially to an uninhibited performance by Kimberly Donovan (who only sings a little) and a controlled — almost doll-like — performance by Melissa WolfKlain as country singer Patsy Cline (who sings a lot).
Spread across the entire back of Hillbarn’s expansive stage is a rousing six-person band directed by Rick Reynolds, who also plays the piano. The band plays a big role in this show, which features at least portions of 25 songs during the two-hour show.
” … But Donovan is a force of nature unto herself …”
Hillbarn really opened up its stage for Always…Patsy Cline, though to this reviewer, one entire wall of bric-a-brac on stage right doesn’t seem to serve much of a useful purpose other than a door for entrances and exits.
Though the plotline is sparse, it really happened – or at least most of it. The program says the show was “created and originally directed by Tim Swindley” and is “based on a true story.”
Kimberly Donovan* as Louise Seger in “Always… Patsy Cline” — Photo Credit: Tracy Martin
Donovan’s character Louise is so totally enamored of Cline’s lilting country voice that when she hears her singing on television’s Arthur Godfrey Show, she tells her kids to move over so she can sit up close to the TV to watch her.
She then calls the morning host of her local radio station to request that he play Patsy’s song “Walking After Midnight” for her – which he does. Louise is nothing if not persistent because she then calls him every morning to play it for her (and he always does).
Both actors here seem exactly right playing the parts they do. Yet Donovan’s Louise is so over-the-top that she actually steals the show. Except when WolfKlain is singing.
Wearing at least 10 or more outfits, some of which are made of glittery sequins, WolfKlain’s clear vocals are simple country tunes, yet sung with a bushel of heartfelt emotion.
Melissa WolfKlain* as Patsy and Kimberly Donovan* as Louise Seger in Always… Patsy Cline to kick of the 84th season at Hillbarn Theatre Aug. 22 – Sept. 15, 2024. *Appear courtesy of Actors’ Equity Association. Photo Credit: Mark Kitaoka
But Donovan is a force of nature unto herself. Decked out in what she considers country high fashion, Louis wears knee-high boots, jeans, a yellow cowgirl shirt with red roses, large red hoop earrings, a smile as big as Texas – and quite often a cigarette dangling out of one side of her mouth.
One day, she hears that her idol will be coming to perform at a gigantic venue about an hour’s drive from her home in Houston, Texas.Louise rounds up a couple of buddies and gets to the show 90 minutes before it’s supposed to start.
As she’s sitting at a table, smoking and drinking a beer, she sees a woman in a big white coat slip in a side door. The woman sits on a chair next to an authentic-looking juke box. Then she puts a coin in and a song starts to play.
Melissa WolfKlain* as Patsy in Always… Patsy Cline to kick of the 84th season at Hillbarn Theatre Aug. 22 – Sept. 15, 2024. *Appear courtesy of Actors’ Equity Association. Photo Credit: Tracy Martin
Naturally, it’s a Patsy Cline record with Patsy singing one of her big hits.
Louise immediately recognizes Patsy, and from that accidental meeting, the two women end up forging a friendship – both in person and through letters – until Patsy died in a plane crash in March of 1963.
But that’s just a footnote in this musical. And because it’s a musical, audiences get to hear WolfKlain sing “You Belong to Me,” “I Fall to Pieces,” “Walkin’ After Midnight,” “Your Cheatin’ Heart,” “Three Cigarettes in an Ashtray,” “Seven Lonely Days” – even “Shake, Rattle and Roll!”
After the two women get a standing ovation on opening night, they offer up one more song, a duet: “Bill Bailey” with the audience happily joining in.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
Perhaps San Francisco’s oldest theater company is still rocking the free world. Directed by Velina Brown, Michael Gene Sullivan’s raucous satire American Dreams plays assorted outdoor venues throughout the Bay Area, closing the summer season on September 8 at the London Nelson Community Center in Santa Cruz.
Founded in 1959, the itinerant Mime Troupe has been a Bay Area favorite for decades, spoofing cultural and political trends while adhering to the Commedia del Arte tradition of performing outdoors for donations.
” … Don’t miss it! …”
The troupe’s recent show at the Mill Valley Community Center—against a backdrop of dozens of middle-school athletes at football practice—was proof of both its loyal following and its commitment to poking fun at all that should be poked—in this case, a mixture of election-time politics, personal identity issues, student protests, vegan cuisine, artificial intelligence, and “Silicon Valley billionaire communists.”
(L-R) Mikki Johnson, Lizzie Calogero, Michael Gene Sullivan, Andre Amarotico
There are plenty of other worthy targets in Sullivan’s fast-paced, madcap assessment of where we are in mid-2024, performed on a portable stage by four superb actors playing almost a dozen characters.
Sullivan is tremendous as a self-doubting MAGA cap-wearing Trumper named Gabriel Pearse, while Mikki Johnson embodies the role of his patient granddaughter Paine, a university instructor at risk of losing her job, who moonlights as a driver for an ominous service called Uber-Alles. Lizzie Calogero is amazing as Emma, a well-intentioned but basically clueless student protestor. In a heartbeat she transforms into a cop, a TV reporter, and an overbearing British tech executive named Maliae Higgins, who delivers haughty recommendations to make the world a better place through an all-encompassing app called Taalos, voiced by Sullivan.
(L-R) Michael Gene Sullivan, Mikki Johnson, Andre Amarotico
The frenetic Andre Amarotico rounds out the cast as Gabriel’s goofy friend and fellow Trumper Harold, as a vegan chef named Oliver, and as a club-wielding cop. His antics on the compact but versatile stage by Carlos-Antonio Aceves are laugh-out-loud funny, matching those of his cast-mates and fully honoring Sullivan’s wide-ranging script. Brooke Jennings’ quick-change costumes go a long way toward propelling the wild plot, and Daniel Savio leads a great three-piece band.
The SF Mime Troupe absolutely puts the “fun” in “funky.” American Dreams plays in San Francisco and San Jose before closing in Santa Cruz. Don’t miss it!
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Aisle Seat Review NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Ahhhh! Late summer has arrived in Mill Valley’s fairy-tale forest of majestic redwoods in Old Mill Park. While children play in the creek below the grove, picnics are spread on nearby tables, and renaissance music wafts through the stage area.
This is the Curtain Theatre, showcasing award-winning plays complete with music, dancing, and many lovely costumes. The final weekend of this year’s stunning production is A Midsummer Night’s Dream, playing weekend afternoons and closing Labor Day Monday.
The large cast dances and dashes in and out of the forest-in-a-forest set, designed by Steve Coleman, in lovely period costumes designed by Jody Branham. The grove fills with the sounds of flute, concertina, mandolin, and more under the direction of Don Clark. Even the band is in costume!
“… Life is a dream…Love flutters like a butterfly …”
Director Michele Delattre, ably assisted by Kim Bromley, has molded Shakespeare’s classic tale of love and lust into a fun-to-follow story. Rebellious couples want different mates than the ones chosen by their elders. The fairies – always mischievous and led by Puck – are keen to demonstrate their powers to induce love. But something goes seriously amiss. The Queen of the Fairies (a marvelous Heather Cherry) gets the worst of the bargain when she awakes in the enchanted forest in love with an ass.
Fear not, for it all ends well.
A remarkable aspect of this production of Midsummer is that the performances are … free! Donations, of course, are welcome. The shows are well-cast and polished, with talented locals giving their all to a delightful afternoon of Shakespeare. Donations are critically needed if the Curtain Theatre is to continue, given the costs of each presentation.
All ages are welcome to attend these open-air and open-seating shows. Parents bring young ones for their first exposure to Shakespeare; the pageantry enthralls most. Picnics abound, with a few tables not far from the stage area. A small snack bar is available. The company sets up plastic chairs on a first-come basis. Bring your own for lounging behind the Mill Valley Library. Dogs on leash are encouraged to watch the show.
Playing at 2:00 PM on Saturdays, Sundays, and Labor Day (Monday, September 1st). The hottest summer afternoons can become cool in the grove, so bring layers.
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: [email protected]
Production
A Midsummer Night's Dream
Written by
William Shakespeare
Directed by
Michele Delattre
Producing Company
Curtain Theatre
Production Dates
Saturdays/Sundays and Labor Day Monday at 2 PM through September 1st
Production Address
Old Mill Park Amphitheater.
375 Throckmorton Avenue (behind the library), Mill Valley
It’s all in the news now: couples with fertility issues working through our latest technologies to create or enhance a family. But what happens when those cutting-edge IVF solutions are meted out by doctors who make mistakes?
Written by Eric Pfeffinger, Human Error thrusts us into an unthinkable situation when Madelyn and Keenan learn that their embryo has been implanted into the wrong person.
Left to right: John Charles Quimpo (Dr. Hoskins), Flannery Mays (Madelyn), and Mark Anthony (Keenan). Photo Jay Yamada.
Their doctor, weaselly and wackily played by John Charles Quimpo, doesn’t know whether to laugh or cry, call his lawyer, flee the country, or try to counsel the semi-hysterical couple into some sane action plan. Feelings are at a boil, and he can’t stop grinning. He advises Madelyn and Keenan to meet with the other couple carrying their prospective child and try to work it out but offers no clues on how to do that.
Next, we find the bereft couple sitting in their car. Madelyn is a strong but confused and socially inept blue-voting liberal, and her African American husband, Kenan, is analytical and sane, always trying to find the tactful and low-key way out of confrontations.
They are parked in front of Heather and Jim’s upscale house, where they have arranged to meet and talk out the unthinkable situation. But Heather and Jim have opposite values, lifestyles, preferences, politics, and predilections.
Left to right: Kyle Goldman (Jim) and Melody Payne (Heather). Photo: Jay Yamada.
Each attempt at outreach – Jim to Keenan and Heather to Madelyn – strikes discordant notes, like ping-pong with a cracked ball. When Jim (a jaw-droppingly funny Kyle Goldman) pitches his interests to Keenan, the volleys challenge and skewer Keenan, (perfectly underplayed by Mark Anthony).
These exchanges climax when the overpoweringly aggressive Jim insists that mild-mannered Keenan see his gun collection. The other halves, Heather and Madelyn (Melody Payne and Flannery Mays) verbally dance in circles around all the ways they need to know and like each other. Heather reveals that they will bear the child and turn it over to the rightful parents, Madelyn and Keenan.
“ . . . Will these fiercely opposite couples finally resolve their botched IVF implant? . . .”
Scenes bounce ahead with minimal set changes. Marimba music resonates with the simplicity of a child’s Lego set. The couples’ opposite natures are reflected in the scenic design of their two different apartments. Jim and Heather live with sleek red furnishings, and aggressive details. Madelyn and Keenan’s bluish apartment is modest but artistic with art on the walls and comfort cushions on the sofa. Their clothes also mimic their life-styles, with contrasts of style and sophistication, and body reveal vs. body cover.
As they journey through Heather’s growing pregnancy, the ladies try bonding over yoga, and the men through hunting. Both Madelyn and Keenan find themselves amazingly more open to the privileged upscale and highly conservative styles of their unexpected benefactors.
Left to right: Flannery Mays (Madelyn) and Melody Payne (Heather). Photo: Jay Yamada.
Madelyn practically confesses she is not ready to experience and fully embrace motherhood, and Keenan finds he actually enjoys the hunting trip in orange jumpsuits with Jim.
Human Error takes us on a wild ride exploring their differences, with humor but with insight into our own social and relationship challenges to bridge deep and conflicting beliefs. Don’t miss the spot-on acting excellence of the two couples and their excuse for a doctor, who steals all of his scenes.
The play is a rollercoaster of laughs and groans that will leave you with plenty of carnival food for thought.
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ASR Senior Contributor Susan Dunn has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected]
The treasured company has avoided a potential shutdown due to financial issues, according to an August 14 press release from the company’s media contact Robin Dolan:
BERKELEY, CA (August 2024) Berkeley’s acclaimed Aurora Theatre Company (Artistic Director Josh Costello) announced today that the 32-year-old organization will stay open to start its 2024/2025 Season after a successful emergency fundraising campaign, support from the City of Berkeley, and a restructure of its administrative staff.
Since the pandemic, theaters across the country and in the Bay Area have faced a delay in audiences returning and a consequent loss of income, even as expenses have skyrocketed due to inflation and other factors. In the first four years of the pandemic, Aurora survived on large deficit budgets thanks to one-time windfalls (such as the Shuttered Venues Operating Grants) and a substantial amount of pre-pandemic savings.
“We figured the only way to survive in the long run was to rebuild our audience,” said Josh Costello, Aurora’s Artistic Director since 2019. “And we wouldn’t be able to bring back our lapsed subscribers or welcome new theatregoers if we weren’t presenting plays.”
Over the past four years, Aurora has presented a heady mix of highly-acclaimed productions, including Liz Duffy Adams’ BORN WITH TEETH, Dominique Morriseau’s PARADISE BLUE, and the world premiere of Dustin Chinn’s COLONIALISM IS TERRIBLE, BUT PHO IS DELICIOUS. Single ticket sales have been inconsistent, but subscription numbers have been increasing over the last two seasons and 2023/2024 season closer THE LIFESPAN OF A FACT sold well in July. Meanwhile, Jonathan Spector’s EUREKA DAY, which Aurora commissioned, developed, and premiered in 2018, had a star-studded run at the Old Vic in London and will open on Broadway this December.
In spring 2024, Aurora’s savings dropped to a level that prompted an emergency fundraising campaign. “First we needed to raise extra money to be able to finish out our 2023/2024 Season,” said Managing Director Robin Dolan. “And then we needed to raise more money and make a new plan for a 2024/2025 Season that does not depend on audiences suddenly returning to pre-pandemic numbers. The new budget is still very tight and depends on continued support from our community.”
Aurora raised over $200,000 from a group of major donors, and as much again from a public emergency fundraising campaign, attracting donations from hundreds of supporters. Aurora’s Board of Directors offered a $57,000 match as part of the campaign, and a longtime supporter offered an additional $25,000 match, which took the total over $250,000. Separately, a group of former board members also convened and contributed over $40,000.
At the same time, Aurora petitioned the Berkeley City Council for emergency funding, with a change.org petition attracting over 1,800 signatures. Councilmember Sophie Hahn introduced a budget referral for $150,000 for Aurora, which she described as “a vital addition to Berkeley’s arts and culture scene for 32 years.” Her referral continued, “Berkeley cannot lose another vibrant cultural asset. A thriving arts district is essential to downtown Berkeley’s continued recovery and revitalization.” The council unanimously passed the budget with the funding for Aurora on June 25.
“This has been a difficult time, to say the least,” said Rebecca Parlette, the company’s interim Board President. “But this is such a beloved organization. We are so pleased to see the community come together to save Aurora.”
These successes were one-time windfalls. To create a sustainable future, Aurora is going through a major restructuring of its administrative staff in order to address the structural deficit it has faced since the pandemic. Layoffs include the Marketing and Development departments as well as one of the two Co-Managing Directors. The remaining Managing Director and the Artistic Director will be taking significantly reduced salaries, and the remaining staff will be taking small furloughs. In a cost-saving measure, Aurora is contracting out large portions of the work formerly done by staff members.
The production department remains intact, and Aurora’s 2024/2025 Season will proceed mostly as planned. Costello will not be directing in 2024/2025, in order to spend more time on administrative duties. He was previously announced as the director of Noël Coward’s FALLEN ANGELS, opening in October 2024; a production that will now be directed by former Aurora Artistic Director Tom Ross. Jennifer King (HURRICANE DIANE) will direct THE SEARCH FOR SIGNS OF INTELLIGENT LIFE IN THE UNIVERSE, previously announced with Tom Ross directing. Lloyd Suh’s THE HEART SELLERS (a coproduction with Capital Stage and TheaterWorks Silicon Valley) and Lynn Nottage’s CRUMBS FROM THE TABLE OF JOY will continue as planned, under the direction of Jennifer Chang and Elizabeth Carter, respectively. The season also includes a workshop performance of a new hip-hop musical commissioned by Aurora from Bay Area troupe Felonious.
Aurora also announced a staged reading of the Broadway draft of EUREKA DAY, featuring the cast of Aurora’s world premiere production, as a fundraising event (with special guests to be announced) on September 23.
“I am so moved by the way this community has stepped up,” said Costello. “Artists, patrons, donors, and even city officials have all gone out of their way to let us know how much this organization means, and how much they want us to continue. We’ve had to make some very difficult choices to create a path forward, and we’re all very sad to say goodbye to staff members who have done years of tremendous work with Aurora. I am optimistic about our future and I can’t wait to share more inspiring plays with this beautiful community.”
Aurora’s new season begins October 19 with Noel Coward’s FALLEN ANGELS, directed by former Aurora Artistic Director Tom Ross.
SAN FRANCISCO, CA (12 August 2024)— San Francisco Playhouse kicks off its 2024-25 season with the Olivier Award-winning comedy The Play That Goes Wrong.
This fast-paced farce packed with inventive theatricality finds the Cornley Polytechnic Drama Society on the opening night of its newest production, The Murder at Haversham Manor.
As the incompetent theatre troupe attempts to stage this 1920s murder mystery, their production devolves into madcap mayhem. Lost props, forgotten lines, and poorly constructed scenery conspire against the clumsy cast, who fight for the show to make it to the final curtain call.
” … The New York Times deemed it a “gut-busting hit …”
Entertainment Weekly said, “The Play That Goes Wrong is just right: a ridiculously entertaining disaster.” The New York Times deemed it a “gut-busting hit. One of those breakneck exercises in idiocy that make you laugh till you cry. It starts off punch-drunk and just keeps getting drunker.”
San Francisco Playhouse Producing Director and co-founder Susi Damilano, who has staged sidesplitting spoofs at the Playhouse, including Noises Off, Clue, and most recently, The 39 Steps, helms this hilarious whodunit.
The Play That Goes Wrong will perform at San Francisco Playhouse 450, Post Street. For tickets ($35-$135) and more information:
Sometimes, we just can’t get a play out of our heads. Marin Shakespeare Company’s The Untime bristles with scenes that I relish, question, deny, and finally succumb to, riding out on a wave of acceptance of the drama.
Promoted as an echo of Shakespeare’s Macbeth, it opens in today’s world with five characters grappling with issues of power, both military and domestic, reality versus fantasy, and the workings and underminings of hierarchical succession. Director and co-author Jon Tracy deploys short videos to introduce or deepen our understanding of the two leads—Michael Torres as “The One” and Leontyne Mbele-Mbong as “The Spouse” whom we learn was a war booty prize wife twenty years earlier.
” … Don’t miss The Untime! …”
In their austere kitchen (great set design by Randy Wong-Westbrooke), The One, a general who is 3rd in line of succession to a throne, balks at the insistence of a media consultant, “The Artist” (co-writer Nick Musleh), who has arrived to make a promotional video of him. In a confusing and portentous stroke, The King has ordered the video to embellish The One’s public profile. His wife stands by warily and defensively, but The One suspects this intrusive Artist knows his fate and pressures him to reveal what’s going on.
“The Heir” (Calla Hollinsworth), in “The Untime” at Marin Shakes. Photo by Jay Yamada.
Then we meet “The King” (Steve Price) and his daughter, “The Heir” (Calla Hollinsworth), who arrive to complete the project. The King appears overly jaunty, unhinged, and evasive as to why he’s promoting The One, 3rd in line, over rival Gen. Caldor, 2nd in line, who we never meet.
His teenage daughter sports a headset and bops to her digital music. In the next scene The One has moved up to 2nd in line — by a convienent political assassination. The King says they have Caldor’s head, which, thankfully, is not dragged onstage.
(L (behind camer stand)-to-R) Nick Musleh as “The Artist” and Michael Torres as “The One” at work. Photo by Jay Yamada.
Although there are constant echos of Macbeth, The Untime focuses on “the space between awareness and action” as Tracy puts it in his director’s note, where constant mulling and evaluating and assessing of the political situation take place. As for action, there are two murders onstage, but for this reviewer the salient feature of The Untime is the larger-than-life acting of The King, The Spouse and The One which left me agape through much of the play. Videos of The Spouse and The One fill in their backstories: A woman won in war … a booty bride to the General … told by his mother that he will be a king. He’s lived his life in search of that title.
Stephen Price as The King takes his role to a new level of mercurial expression: from one moment to the next, mundane, maniacal and murderous. His performance is a tour-de-force.
(L-R) Leontyne Mbele Mbong and Michael Torres at work for Marin Shakes. Photo by Jay Yamada.
All that said — The Untime is a work in progress with a great start on a fascinating script once completed. For a play with little real action, the addition of sound and videos by Ben Euphrat and lighting effects by David Leonard take us mentally to places other than the kitchen set. And they help to warp time periods for narrative effect and also to show us that The Spouse and The One are concerned about their baby son, and mourning their dead-by-suicide teenage son — strong echoes of Edward Albee’s “Who’s Afraid of Virginia Woolf?”.
And it’s probably fair to posit that these references might be confusing to playgoers not steeped in modern theater. And Shakespeare. Yet another level of resonance is the confusing politics, power struggles and ruthlessness of our own times, also mirrored here.
That said, do yourself a favor: don’t miss The Untime for depth-of-theater experience and the horror of power play(s). And don’t fret about the time needed to put the mental jigsaw pieces together. Real art — is often that way.
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ASR Senior Contributor Susan Dunn has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected]
Production
The Untime
Written by
Jon Tracy and Nick Musleh
Directed by
Jon Tracy
Producing Company
Marin Shakespeare Company
Production Dates
Thru Aug 25th
Production Address
Forest Meadows Amphitheater (outdoors),
Dominican University of California 890 Belle Avenue, San Rafael, CA
Theater audiences can’t resist something naughty. And we know from our youth that pirates are the swashbuckling baddies, the colorful villains, the fairytale scoundrels whom we fear and revere. Gilbert and Sullivan’s classic Pirates of Penzance plays on us with two gotchas: the bold and brazen dark thieves of the seas, led by a colorful Pirate King, juxtaposed with these same pirates’ compassionate hearts for orphans. So all of their marks mysteriously turn out to be… you got it. Orphans! It’s a premise just too silly and delicious, and we surrender.
” … this wild ride of a musical is stuffed with delights …”
Mountain View’s Lamplighters troupe has perfected an itinerant model for their musical performances. Each new show opens with a customized proscenium framing the theater curtain as we hear the live orchestra, ably conducted by Brett Strader.
The Pirate King, wonderfully portrayed by Edu Gonzalez-Maldonado (center).
As the curtains part, the pirates emerge over a set of rocks and crannies, introducing our esteemed Pirate King, wonderfully portrayed by Edu Gonzalez-Maldonado, and introducing our Apprentice Pirate Frederic, sung by the versatile and romantic lead, Max Ary. Frederic’s story unfolds that he was apprenticed to the Pirates due to a mistake in hearing correctly the difference between the words “pilot” and “pirate.”
From that error, a whole life ensued! This tale of mistakes is detailed by a third lead, Ruth, the Maid of all Work. Sarah Szeibel masters this challenging role as the only female in Frederic’s life—at first. Abandoned by him in Act 1—after he discovers younger and more beauteous damsels—Szeibel continues to excel in Act 2 as a sidekick to the Pirate King.
“”Piratess of Penzance” is perfect entertainment for all ages.”
Two other standouts are alone worth the price of admission: Major-General Stanley (Joshua Hughes) and his ward Mabel (Syona Ayyankeril). Hughes executes with dash, verve and aplomb the dizzying musical number and showstopper: “I Am The Very Model Of a Modern Major General.” And just as we are wrung out by the non-stop flood of words, he expands the hilarity. He seems to forget his lines and is prompted by his wards—a refresh that leads us to higher levels of laughter. Ayyankeril is the young beauty who steps up to be the future wife of Frederic, and sings with relish to a high E-flat.
The cast at work in “The Pirates of Penzance” by Gilbert & Sullivan.
This wild ride of a musical is stuffed with delights such as the men’s chorus playing the pirates and the constables, along with the women’s chorus of young beauties who are all wards of the Major-General and are all ready for a wedding match – be the mate pirate or constable.
Choreography and scenic details are woven together into a sure-fire delight by director Michael Mohammed. You won’t want to miss your nostalgic chance to imagine a world of soft-hearted pirates and bumbling, reluctant but dutiful constables. Piratess of Penzance is perfect entertainment for all ages.
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ASR Senior Contributor Susan Dunn has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected]
Production
Pirates of Penzance
Operetta by
Gilbert and Sullivan
Directed by
Michael Mohammed
Producing Company
Lamplighters Music Theatre Co.
Production Dates
Aug 3rd-4th
1st Venue
Mountain View Center for the Performing Arts, 500 Castro Street, Mountain View, CA 94041
2nd Production Dates
Aug 10-11
2nd Venue
Lesher Center for the Arts, Hoffman Theatre, 1601 Civic Drive, Walnut Creek, 94596
3rd Production Dates
Aug 17-18
3rd Venue
Blue Shield Theater, YBCA, 701 Mission Street, San Francisco, 94103
There are many reasons to attend opera: resplendent spectacle, vocal pyrotechnics, unforgettable tunes, lavish costumes, and many other aspects of compelling theater. In the case of West Edge Opera’s Bulrusher, the reason is its depth and sensitivity of character development.
The lead character in Bulrusher (soprano Shawnette Sulker) is a former foundling, a young black woman who imports oranges for resale to the small Mendocino town of Boonville in 1955. She comes of age as she experiences her first love, develops racial consciousness, and encounters the truth of her parentage. But it is not just her journey that is impressively developed by the team of composer-librettist Nathaniel Stookey and playwright-librettist Eisa Davis. All of the major characters’ strengths and shortcomings become palpable as viewers become immersed in the story.
Shawnette Sulker (second from left) as Bulrusher
Bass Matt Boehler plays Schoolch, the local schoolteacher who found the baby Bulrusher in a basket stuck in a marsh along the Navarro River and raised her. Taciturn to a fault, he has taught her proper English (the locals have developed a special language known as “Boontling”) but little about life, which she seems yet to handle fairly well on her own. He and Logger (bass Kenneth Kellogg) are both permanently hung up on Madame (mezzo Briana Hunter), who has been running the town brothel for years and refuses to marry them.
” … the vocal performances are all outstanding. …”
Into this brew are injected two more characters. Logger’s niece Vera (mezzo Briana Hunter), walking the 30-mile road from the nearest train station in the rain, is picked up by Bulrusher in her truck. Vera has left Alabama and becomes the only other black person, aside from Logger, that Bulrusher has known. “Boy” (tenor Chad Somers) is a white teenager with a persistent, unreciprocated crush on Bulrusher. Carefully modulated in the libretto and music, these two interlopers transform everyone and themselves. Such care takes time, but it provides dividends in Act 2, where existing and developing conflicts flare and are finally ameliorated.
Rebecca Cuddy as Madame and Shawnette Sulker as Bulrusher in “Bulrusher” now running in Oakland.
Stookey’s music is appropriate to the tonal and pastoral setting,. The orchestration is for the most part delicate, subdued, and never monotonous, with sparky piano accents and ominous bass-drum rolls. It is most effective in accompanying Bulrusher’s mystic side, her spirituality with the Navarro River, and her emerging love for Vera. Rarely is the orchestra in the forefront, but it did elicit audience laughter when a snare drum was used to imitate the sound of an 1950s dial phone that Madame was using.
Kenneth Kellogg as Logger in “Bulrusher”
The libretto itself has some lovely poetic moments, such as when Bulrusher inexplicably recollects her experiences as an infant floating in her Moses basket. At other times, the poetry’s meaning may not be immediately decipherable to the average listener. Perhaps these poetic sections should be printed in future programs?
The vocal performances are all outstanding. There is also a chorus of five mysterious individuals who echo or accompany Bulrusher’s spiritual moments and soliloquys. Their voices were a great plus to the proceedings aurally, however obscure their function. Sulker’s portrayal of Bulrusher deserves special mention. Her voice is crystal clear, ethereal, innocent, yet somehow knowing—perfect for the role. Unfortunately, unlike those of her fellows, it did not project well toward the more distant seats, making the Scottish Rite Temple sound all the more cavernous.
I regret to conclude that for me, many excellence featuress of this production were undercut by the scenic and projection design of Yuki Izumihara. Bulrusher is a uniquely California story about a unique California community. Where were the golden hills and redwoods? Izumihara instead flooded the stage with watery projections that may have been evocative for Navarro scenes, but they almost never left the stage.
Furthermore there were a few other details this reviewer thought distracted from the piece. First there was an unattractive upside-down handsaw of a staircase that made sense for the brothel, however unrealistic, but nowhere else–especially the Rock scene at the beach. And why was the chorus carrying around glowing balls of different colors and sizes? Were these Bullrusher’s mood oranges? Finally, there were numerous benches that were noisily moved around at almost every scene transition. If there is a reason for this distracting exercise, Stookey should consider writing music to underscore it, for it breaks the flow, throwing a boulder into the Navarro, so to speak.
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ASR’s Classical Music Section Editor Jeff Dunn is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.
Production
Bulrusher
Based on the play by
Eisa Davis
Directed by
NJ Agwuna
Producing Company
West Edge Opera
Production Dates
Thru August 15th
Production Address
Scottish Rite Temple
1547 Lakeside Dr, Oakland, CA 94612
AASC has announced its separation from the visionary actor/director who guided many productions during his 15 years at the helm. A press release from Liam Passmore follows:
SAN FRANCISCO, CA July 29, 2024 – The African-American Shakespeare Company (AASC) today announced that the Board of Directors and Artistic Director L. Peter Callender have mutually agreed to part ways after more than 15 years of consistent artistic excellence.
A Celebrated Tenure
L. Peter Callender’s tenure with AASC has been marked by a rich legacy of innovative productions and artistic achievements. Under his direction, the company has explored a diverse range of plays, bringing classical works to life through the lens of the African-American experience. His contributions have been instrumental in establishing AASC as a prominent cultural institution within the San Francisco Bay Area and beyond.
“It’s been a very long and fruitful collaboration,” says Executive Director Sherri Young. “Peter’s understanding of Shakespeare and how to shape it for our audiences is something that is an enduring part of the company’s DNA. Our intention is to take all the time necessary to find a worthy successor, one who will lead the company into the future.”
” … It’s been a very long and fruitful collaboration …”
A Time for New Opportunities
“While we have enjoyed over 15 years of artistic excellence with L. Peter Callender, we both have come to the conclusion that it is time to explore other opportunities,” said Everett “Alx” Alexander, Board Chair of AASC. “We are deeply grateful for his dedication and contributions to our organization and wish him nothing but the best in his future endeavors.”
Looking Ahead
Moving forward, the African-American Shakespeare Company will undertake a comprehensive and careful process to identify a new Artistic Director. This process will involve a committee of industry professionals who will explore new opportunities for plays, directors, and artists to collaborate with the organization.
“Our goal is to continue building on the strong foundation that L. Peter Callender has established,” says the board. “We are excited about the future and the potential for new artistic partnerships that will further our mission of bringing classical theater to diverse audiences.”
“During his more than 15-years tenure as Artistic Director, Mr. Callender’s contributions, including numerous roles as actor and director, have been instrumental in establishing the company as a prominent cultural institution both within San Francisco and beyond. The Board of African American Shakespeare Company as well as founder and Executive Director Sherri Young express their deepest appreciation and gratitude for his brilliant and inspiring efforts to always elevate the work that our theater presented. We wish him great success in his future ventures.”
Due to these relatively late changes in organization and direction, the 2024-2025 season will be shorter than in years past with Cinderella being the first in December followed by a Shakespeare play in the Spring.
In addition the company will be hosting an international Shakespeare Theatre Association conference in January with attendees from Europe, South America, Canada and the Caribbean. More information at stahome.org
About African-American Shakespeare Company Founded in 1994, the African-American Shakespeare Company creates opportunities for actors of color in classical theater.
By offering unique interpretations and innovative performances, the company seeks to educate, enrich, and entertain diverse audiences while addressing social issues and promoting cultural equity in the arts.
Transcendence Theatre Company, searching for an outdoor venue to replace their initial home at Jack London State Historic Park, built a stage under the stars at a ballfield a few blocks north of the famed Sonoma Historic Square. It’s a first-class stage and sound system for their dazzling performers.
The bonus to this location is the ability to dine at restaurants in and around the Plaza before joining the evening show. Picnics and dinner boxes are welcomed to the shows, but no alcohol is permitted unless purchased on the premises.
“ .. Shows (are) in time for a beautiful sunset over the hills …”
Transcendence has already had hit productions this summer, including July’s Don’t Stop Us Now. Three good-looking guys delivered the moves against three gorgeous gals in a “Can you top this?” friendly competition — all outstanding songs and fun. The audience was unquestionably the winner.
Transcendence Theater Company cast at work in Sonoma!
Two unique song-and-dance shows remain: Dancing in the Street, August 15 through 18, and A Sentimental Journey, September 19 through 22. Those special evenings will be filled with live music, spotlights, and singers and dancers belting their Broadway best.
The company is a non-profit and supports many community programs. Their “Transcendence for All” initiative offers tickets priced as low as $25, including $5 youth tickets on Sundays. Shows are Thursday through Sunday evenings at 7:30, just in time for a beautiful sunset over the hills.
Transcendence Theater Company’s audience are unquestionably the winner.
There’s ample free parking (with reservations) in nearby parking lots, all well-organized, and a short walk or golf cart ride to the stage area. Wear sensible shoes and take a cover-up. The warm Sonoma temperature typically drops a bit in the evening.
For tickets for Thursday through Sunday evenings, email [email protected] or call 877.424.1414, ext.1.
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ASR Reviewer Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews. She is also the author of the real estate reference book “Don’t Shoot Me…I’m Just the Real Estate Agent!” Contact: [email protected]
No tears for Mimi’s death at the end of Puccini’s La Bohème Sunday afternoon? Because everyone in the cast of Pocket Opera was having such a raucous good time on the small stage of the Hillside Club in Berkeley!
And, doing such a great job of it, I felt it was time to celebrate—rush up and congratulate Pocket’s enthusiastic artists in the family-like atmosphere they generated.
” … This is a joyous, ideal family and opera lover fare … “
In that spirit, I wish to begin by congratulating William Young for the shortest and most heart-warming “aria” in the opera, his asking for a toy drum from the charming Caleb Alexander’s Parpignol in Act 2. It was Young’s operatic debut at age 8, and his voice was loud, clear, and on pitch, as were his six accompanying street urchins.
Nicolas Huff and Diana Skavronskaya as Mimi at work for Pocket Opera. Photo courtesy of Pocket Opera.
As for the rest of the cast, there were many standouts. Soprano Diana Skavronskaya was a gorgeously riveting and dramatic presence on stage as Mimi, excelling in her arias in Acts 1 and 3, but especially in the ensemble scene in Act 2. I only felt that in Act 4, despite her fine acting, her powerful voice seemed, well, a bit out of line for a person dying of consumption.
As her lover Rudolfo, Tenor Nicolas Huff contributed an arresting passion to the proceedings, especially in Acts 2-4. Daniel Yoder brought his rich baritone to Rodolfo’s fellow bohemian Marcello, and was fun to watch cavorting across the stage in the exuberant mock battles of Acts 1 and 4.
Melissa Sondhi portrayed the temperamental Musetta with verve and swagger. Bass-baritone Don Hoffman and baritone Michael Kuo rounded out the bohemian quartet engagingly. Hoffman was especially effective in his “Farewell Dear Coat” aria in Act 4. Gene Wright as Alcindoro and Michael Mendelsohn were hilarious as comic victims in Acts 1 and 2.
The cast of Pocket Opera’s production at work. Photo courtesy Brittany Law
For smaller theaters (like this one), Act 2 presents a bit of a problem of scale with street scenes, crowds, and a marching band. Stage Director Elly Lichenstein sent the urchins up and down the aisles to take full advantage of the venue and had the cast convey the imaginary sight of the band with joyful expression. Conductor Mary Chun’s reduction of the score for a 12-piece orchestra was just right for the intimate surroundings.
Pocket Opera will move to the Legion of Honor in San Francisco for its final performance of Boheme. This is a joyous, ideal family and opera lover fare. Don’t let it slip your schedule.
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ASR’s Classical Music Section Editor, Jeff Dunn, is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.
Chicago’s Second City is the nation’s foremost incubator of comic talent. With a history going all the way back to the late 1950s, the comedic institution has graduated dozens of exceptional performers, many of whom have gone on to illustrious careers in film and sketch comedy shows such as MadTV and Saturday Night Live. Too long to post here, the list is a “who’s who” of American comedy in the late 20th and early 21st centuries.
Through July 28, Berkeley Rep’s Roda Theatre hosts The Best of the Second City, a touring production of six Second City performers and one musician/music director. With only a few empty chairs on a bare stage, it doesn’t look promising when you enter the theater, but proves to be a howlingly funny 90-minute romp through scripted sketches and improvisation.
(L-R) The Second City GreenCo Ensemble— Cat Savage, Annie Sullivan, Chas Lilly, George Elrod, Max Thomas, and Phylicia McLeod in The Best of The Second City, performing at Berkeley Rep through Sunday, July 28, 2024. Credit: Timothy M. Schmidt
Anyone who’s been around comedians will tell you that “improv” can be brilliant or excruciating — especially when it involves dragging audience members into the act. A brilliant one is a tour of the UC campus led by cast member Phylician McCleod, who patiently explains the symbolism of the school’s blue-and-gold colors, the campus statue of a bear, and the history of the campanile tower. An excruciating one comes later when Annie Sullivan riffs like a writer of pulp detective novels and recruits a hapless and quite clueless fellow from the front row to play the part of Detective Smith, who can’t even raise a finger as a fake gun to shoot at suspects.
Embarrassment and absurdity are two primary reasons that people laugh. Gentle embarrassment falls to the few who get pulled onstage, but it’s absurdity that carries the show, as in Max Thomas as a drug-dealing Driver’s Ed instructor who gets his students to help him make deliveries, or the entire ensemble as summer camp kids performing interpretive dance to Tracy Chapman’s “Fast Car.” Chas Lilly is brilliant as a “PrimeTech” CEO giving a rah-rah keynote address at the annual Consumer Electronics Show, as a reluctant tattoo artist working on a new client, and as a redneck country singer enumerating all the things important to men.
(L-R) The Second City GreenCo Ensemble — Annie Sullivan, Chas Lilly, Cat Savage, George Elrod, Phylicia McLeod, and Max Thomas in “The Best of The Second City”, at Berkeley Rep. Credit: Timothy M. Schmidt
George Elrod brings the show an intentionally swishy LGTBQ element—his riff on an injured volleyball player is fantastic—and the powerful, outspoken Cat Savage lives up to her name in nearly every sketch. The whole production moves along at breakneck pace—there’s barely time to catch a breath for either actors or audience.
Second City is a national treasure. The Bay Area is lucky to have this troupe visit us. In an extremely contentious season, we need all the laughs we can get.
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P.S. ASR’s founder, Kris Neely is an alum of The Second City’s Training Center Conservatory — and is darn proud of it.
ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Love a good mystery/spoof? Playwright Patricia Milton has now delivered Accused!, the third, and according to her, the final episode of the Victorian Ladies Detective Collective – an ongoing and entertaining dive into the murder mysteries and the clever ladies who solve them in roles marvelously reprised from their previous episodes.
All scenes take place at a London boarding house run by two rather fierce and self-willed sisters. One is Valeria (Jan Zvaifler), the owner of the house, who is constantly gardening and then baking the pickings into breakfast treats that never get eaten – presumably for a good reason. Next is Loveday (Lauren Dunagan), a younger and attractive dedicated detective who is always correct but tires all around her with her logic and harangues. The opposite of her sister, she is always wearing gloves and cannot imagine digging into the moist and filthy soil of the garden.
” … London is terrorized by a murderer …”
Boarding with the sisters is the ex-pat American actress Katie Smalls (Chelsea Bearce), who helps to resolve the first murder but finds herself framed as the prime suspect for the deadly deed.
Katie Smalls (Chelsea Bearce) is looking for a new detecting job, but ends up a murder suspect. Credit: Jim Norrena
She choreographs a defensive and offensive weapons ballet with umbrellas, various fans, and other handy household weapons enhanced by sound effects. As London is terrorized by a murderer, the three work their different wiles to solve the mystery, as other featured characters help build the case.
Filling out the scenes are the gumby-like actor Alan Coyne, portraying three different roles in succession: the plummy Lord Albert, a political authoritarian; Deacon Manley, a preacher with a pugilistic view of religion; and M. Blancmange, the French Perfumier who is smitten with Loveday. Each of these characters has a potential involvement with the murder victim, and is suspected by Allison Tingleberry, the victim’s good associate and the target of a second murder. Sindu Singh switches accents and costumes to portray Tingleberry and also the eye-patched Inspector Perkins, a bruiser of a woman with a heavy Cockney accent.
Director Kimberly Ridgeway keeps the action going in the small and spare set at the Berkeley City Club. A fireplace mantel features a few clues to the proceedings: an oar hung as an art object or keepsake item, a small upholstered Ewe, and a few books. Other production effects such as sound and lighting are used very judiciously. This play relies on quick scenes, costume changes and entrances and exits by the small but nimble cast who keep us engaged with their fast pace, multiple accents and ever-revealing clues.
The most difficult challenge in watching Accused!, agreed to by many, is the desire to munch on scones or cookies or other baked goods at intermission, given the many treat props that are featured in this play. So be sure to get your sugar high before you arrive. Don’t miss the fun at Central Works’ latest world premiere.
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Aisle Seat Review Senior Writer Susan Dunn has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected]
Production
Accused!
Written by
Patricia Minton
Directed by
Kimberley Ridgeway
Producing Company
Central Works
Production Dates
Thru Aug 11th
Production Address
Berkeley City Club
2315 Durant Ave, Berkeley, CA 94704
Sonoma Arts Live has another hit on its hands. Opening night was sold out with regular season patrons and an impressive number of young people eager to see a show centered on a teen rite of passage.
Artistic Director Jaime Love happily noted, “We’re attracting a younger crowd, which is so important in live theatre. It’s great to see them here.”
Act I begins as a troupe of aging, out-of-work Broadway actors derided for their narcissism, and their show has closed. They decide to prove the critics wrong. They must create a cause that’s easy, quick, and good for publicity. Social media reveals a teen gal excluded from her senior prom because she wants to bring her BFF as her date. Based on a 2010 lawsuit in Mississippi, the re-imagined story now takes place in Indiana.
Sonoma Arts Live production of ‘The Prom’ includes cast members from left: Chelsea Smith, Daniela Innocenti Beam, Jeremy Berrick, and Tim Setzer. (Photos by Katie Kelley Photography)
The cosmopolitan NY actors descend unbidden into a small rural town. They take barbs at the local lack of culture. Daniela Innocenti Beem and Tim Setzer go over the top with eye-rolling sarcasm and soaring voices. These two are natural comedians and are ably assisted in mirth by the supporting cast, including a tipsy Chelsea Smith and a pontificating Jeremy Berrick.
“…over the top with … eye-rolling sarcasm.”
Emma, the lesbian teen solidly played by Hanna Passanisi, is not enthused with the hubbub the uninvited NY actors have created. She’d like to just dance at the prom with Alyssa, a role done with lovely charm by Pilar Gonzales, but the school and town cannot allow it.
Cast of ‘The Prom’ at work at SAL. Cast members including (from left) Emma Sutherland, Lydia Louviere, and Pilar Gonzales. (Photos by Katie Kelley Photography)
Of note is that director and choreographer Jonathen Blue did an outstanding job behind the scenes and stepped in at the last minute to fill the principal role.
The Prom is peppered with actors’ inside jokes. This reviewer’s jaw hurt from laughing so much. Song lyrics are clever and often witty, sweet, or sarcastic, adding to the fun. This show concerns inclusion and exclusion and the wisdom we gain from knowing both. With a large cast of 22 energetic actors, both veterans and newbies, you may want to see it twice.
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ASR Reviewer Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews. She is also the author of the real estate reference book “Don’t Shoot Me…I’m Just the Real Estate Agent!” Contact: [email protected]
Production
The Prom
Music/Lyrics by
Chad Beguelin
Directed by
Jonathen Blue
Producing Company
Sonoma Arts Live
Production Dates
Thru July 28th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
The two leading women in Festival Opera’s latest double bill have anguish in common — they both lose their lovers. Yet their stories couldn’t be further in style and emphasis. The 1958 La Voix Humaine (The Human Voice) by Francis Poulenc is an expressionistic tour de force for solo soprano, while the 1688 Dido and Aeneas by Henry Purcell is a Baroque, group-effort mosaic featuring 20 captivating chorus members, two dancers and eight soloists.
Nevertheless, the extreme contrast between the two operas works, thanks to some fine individual performances combined with superb direction, choreography, production design, and projections.
Festival Opera with Conductor-Pianist Robert Mollicone in Poulenc’s “La Voix Humaine,” with Carrie Hennessey as Céline Ricci. Photos: Stefan Cohen.
La Voix details the morning a Parisian woman, “Elle” (“She”), has telephone calls with her lover, who is about to marry someone else. Elle tried to kill herself with pills the night before but was rescued by a friend. The calls don’t go well, as Elle, impressively portrayed by soprano Carrie Hennessey, wanders about her littered room in various states of dress and undress and displays every emotion imaginable.
” … Whether you prefer a dive-in-the-brain character study, or a fly-with-the-mob ensemble extravaganza, you can get both thrills at Festival Opera …”
Peter Crompton’s projections reflect her moods, from a Pink-Panther cheeriness of bright pinks and greens of decor and in giant cell phones to darker hues as Elle eventually chokes herself in telephone cables. With his on-stage piano instead of an orchestra, conductor Robert Mollicone sensitively rolled with Elle’s emotions from moment to moment.
Utilizing the recently authorized piano-only version certainly makes economic sense today. Yet, for this reviewer, the lack of Poulenc’s lavish orchestration considerably reduces the musical, if not dramatic pleasures to be found in this work. One main melody does come through near the end, a fateful reference to Chopin’s “Winter Wind” Etude, op. 25, no. 11.
Dido is the title character in Nahum Tate’s adaptation of the fourth book of Virgil’s Aeneid, but in Festival Opera’s spectacular concept of Purcell’s setting, the chorus is no stand-and-deliver entity. It is a murmuration, ever swarming around Dido as courtiers, or around the Sorceress as witches and demons, or carousing as sailors.
There is a lot of work for a lot of people besides singing, and director Céline Ricci and choreographer Fiona Hutchens deserve a Trojan boatload of credit for their contributions here. Mezzo-soprano Kindra Scharich handled the role of Dido well, but the strongest impression was made by contralto-profundo Sara Couden as the Sorceress. Tenor Taylor Thompson also contributed a lovely voice to his role as the Sailor, and the rest of the cast, for the most part, performed with distinction. Again a wide range of projections, some of which appear AI-generated, periodically absorbs viewer interest.
Festival Opera with Zachary Gordin, Conductor and Harpsichord, in Purcell’s “Dido and Aeneas” with Kindra Scharich, Dido, Lila Khazoum, Belinda, Lily Bogas, Attendant, Matthew Lovell, Aeneas, Sara Couden, Sorceress, Courtney Miller, First Witch, Reuben Zellman, Second Witch/Spirit, Taylor Thompson, Sailor, and Céline Ricci, Director. Photo: Stefan Cohen.
Special credit needs to go to conductor, General Director, and harpsichordist Zachary Gordin, who assembled a Baroque orchestra of only seven players that filled the hall and perfectly balanced the voices on the Purcell stage. I could not miss the playing of Richard Savino, whose huge theorbo (brontosaur lute) lofted lovely bass notes to my attention.
Whether you prefer a dive-in-the-brain character study, or a fly-with-the-mob ensemble extravaganza, you can get both thrills at Festival Opera.
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ASR’s Classical Music Section Editor, Jeff Dunn, is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.
Production
La Voix Humaine* / Dido & Aeneas
Based on the play by
Jean Cocteau
Directed by
Céline Ricci
Producing Company
Festival Opera
Production Dates
Thru July 14th
Production Address
Hoffman Theatre, Lesher Center for the Arts,
1601 Civic Dr, Walnut Creek, CA 94596
Luckily for Peninsula theatergoers, six theatre companies have announced upcoming seasons full of exciting productions – some musicals, some dramas, a little Shakespeare, and some new plays. In other words, lots of choices.
This month, Foothill College’s TheatreArts Department presents a four-show-only production of “The World Goes Round” July 25 – 28.
Directed by Milissa Carey, the musical revenue includes 30 songs from a variety of Kander and Ebb musicals ranging from Cabaret to Chicago to Kiss of the Spider Woman.
More information: Tickets are $15 for students/youth and $20 for adults. Call (650) 949-7360 or go to: [email protected]
” … In other words, lots of choices. …”
Coastal Repertory Theatre in Half Moon Bay also gets a jump on the upcoming theatrical season by offering 9 to 5, The Musical, based on the 1980 film. 9 to 5 opens July 26 and runs through Aug. 18. Tickets are $29 – $42 and can be purchased at www.coastalrep.com or by calling (650) 204-5046.
Two more productions are planned by CRT for the fall, Dial M for Murder, which runs Sept. 13 – 29, and Annie, Dec. 6 – 22.
Hillbarn Theatre in Foster City opens its 84th season on Aug. 23 with the musical Always, Patsy Cline, about the life of the legendary country singer. It runs through Sept. 15. Hillbarn’s five other 2024-25 productions are: Wait Until Dark, Oct. 17 – Nov. 3; Anastasia, Dec. 5 – 29; Daisy, Jan. 23 – Feb. 9; Fly by Night, March 6 – 23; and the world premiere of Writing Fragments Home, written by Jeffrey Lo, April 17 – May 4.
Palo Alto Players’ upcoming season includes three musicals, a beloved farce and a serious play about Pennsylvania factory workers. This will be PAP’s 94th season with all performances expected to be in Lucie Stern Theater in Palo Alto. The family favorite Charlie and the Chocolate Factory opens the season on Saturday, Sept. 7, and runs through Sept. 22.
PAP’s four remaining shows are; Fiddler on the Roof, Nov. 8 – 24; Noises Off, Jan. 17 – Feb. 2; Jersey Boys, April 18 – May 4; and Sweat, June 13 – 29. Season tickets run $150 for youth between three and 18 years old; $215 for seniors 65 and up, and $225 for adults. They’re available now by calling (650) 329-0891 or online at www.paplayers.org The cost of individual tickets will be announced later this year.
TheatreWorks Artistic Producer of the New Works Festival Jeffrey Lo directs “Liébling” in TheatreWorks’ 2024 New Works Festival, offering staged readings of new plays and musicals August 9-18 at Lucie Stern Theatre. Photo Credit: Jeffrey Lo
TheatreWorks Silicon Valley has a rather complex schedule, with its 21st New Works Festival coming to Lucie Stern Theater from Aug. 9 – 18. The festival is made up of new plays and musicals. Passes for the entire festival are $65, while single-event tickets (available soon) will cost $25. For its 54th season, TheatreWorks will present two world premiere musicals, the premiere of three regional plays as well as Lauren Gunderson’s adaptation of a Jane Austen novel, Miss Bennet: Christmas at Pemberley, as its holiday production.
The 2024-25 TheatreWorks productions are: King James by Rajiv Joseph, running Oct. 9 – Nov. 3, Miss Bennet, Dec. 4 – 29; Hershey Felder: Rachmaninoff and the Tsar Jan. 10 – Feb. 9; Happy Pleasant Valley: A Senior Sex Scandal Murder Mystery Musical by Min Kahng, March 5 – 30; The Heart Sellers by Lloyd Suh, April 2 – 27 and 5 & Dime by Ashley Robinson, June 18 – 13.
Four of these will be mounted at the Mountain View Center for the Performing Arts and two will be at Lucie Stern Theater.
The Pear Theater in Mountain View is rolling out an impressive lineup of theatre productions for the 2024-25 season. Two will be performed in repertory with another play, while others will be mounted alone. But before anything else, The Pear is planning a standalone three-week program called the Black Experience Festival co-sponsored by the Breath Project and The Pear. It runs from Aug. 9 – 25 and includes two plays: Crawfish by Gamal Abdel Chasten and Pass Over by Antoinette Nwandu.
The Pear’s theme for its 23rd season is “Be Transported.” The season’s offerings include Once on This Island by Lynn Ahrens running Sept. 13 – Oct. 13; The Agitators by Mat Smart, Nov. 28 – Dec. 22; two plays in repertory, Ken Ludwig’s The Gods of Comedy and Branden Jacob-Jenkins’ Every Body, Feb. 21 – March 16; Henry V by William Shakespeare and She Who Dared in repertory from April 18 – May 18; and Constellations (An Immersive Experience) by Nick Payne, June 27 – July 20.
Among many other events planned by The Pear for the coming season are The Pear Playwrights Guild’s production of Fresh Produce, Nov. 8 – 10, 2024, and Pear Slices Festival, May 23 – June 8, 2025. Ticket information about all of these events and more is available at www.thepear.org or by calling (650) 254-1148.
Los Altos Stage Company has also announced its upcoming season of five widely divergent productions. Offering up a variety of adult and children’s productions year-round, LASC (formerly the Bus Barn Stage Company) was founded in June 1995. For the 2024-25 season, LASC will present Samuel Beckett’s Waiting for Godot, Sept. 5 – 29, A Christmas Story (The Musical) by Joseph Robinette, Nov. 29 – Dec. 22, The Glass Menagerie by Tennessee Williams, Jan. 23 – Feb. 16; a new adaptation of Edmond Rostand’s Cyrano by Jeffrey Lo and Max Tachis; and William Shakespeare’s Twelfth Night, conceived by Kwame Kwei-Armah and Shaina Taub.
Season and single play information and tickets are available at www.losaltosstage.org or by calling (650) 941-0551. Subscriptions run $142 – $180 while single tickets are $13 – $41 for previews and $28 – $51 for other performances.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
San Francisco Playhouse has a tradition of selecting and producing one classic musical blockbuster and running it all summer long. It’s a great gambit that takes advantage of tourist traffic in the Union Square neighborhood — and is a strategy other theaters might follow to their advantage.
This year’s offering is the Andrew Lloyd Webber/Tim Rice phenomenon Evita, running at 450 Post Street through September 7th. Several ASR contributors were at the July 3 opener. We’ve collected their comments here to offer diverse viewpoints rather than running a singular review. Enjoy!
“… It should enjoy a successful run …”
The production overall: Cari Lynn Pace: Evita begins with her funeral and ends with her casket surrounded by wailing mourners. In between, an homage to an ambitious woman driven by her unquenching thirst for power and adoration.
Susan Dunn: A difficult musical to fully embrace, but delivered with style, talent, and pizzazz for an exciting and compelling evening.
Barry Willis: First things first: the show is beautifully produced, no question about that. And its historical aspect is really intriguing.
But, the music (well performed by Dave Dobrusky’s backstage orchestra) is bombastic, repetitive, and atonal. Evita was the precursor to other atonal musicals, such as Next to Normal. Other than “Don’t Cry for Me, Argentina,” one has, in this reviewer’s opinion, to search for another memorable song in the entire show. It didn’t make me want to rush out and buy the soundtrack recording.
Jeff Dunn: It’s very engaging, especially because of the pacing, artistic commitment, and Nicole Helfer’s choreography.
Staging and set design: SD: Clever use of lights, movable sets, rotating floor, and projections transform a black box into the saga of an iconic figure. A critical moment occurs with all lights down when we just hear the roar and surge of the crowds reacting to their icon.
BW: SF Playhouse has long leveraged its big turntable stage for dramatic effects, especially with huge imposing sets by Nina Ball or Bill English. In this one, set designer Heather Kenyon opts for a more austere presentation, with roll-around scaffolds serving as set pieces, backed by black-and-white projections that give the show an early-1950s feel. It works very well with the mid-century costumes.
JD: Minimalist staging goes with the abstract nature of much of the show, and allows for quick changes.
CLP: Clever use of minimal stage settings allows the narrator Che to pop in and out, propelling the story line. The onstage news photographer lends credibility to the action, especially as Evita’s casket begins its mysterious 17-year disappearance.
Sophia Alawai as “Evita” at SF playhouse. Photo: Jessica Palopoli
Performance: SD: Alex Rodriguez as Che and Sophia Alawai as Evita deliver non-stop power, superb vocals and sympathetic portrayals. The ensemble mutates appropriately from peasantry to Argentinean high society. Nicole Helfer’s choreography shows variety and polish.
JD: Alex Rodriguez is outstanding as narrator Che. Sophia Alawi, a superbly sweet Maria in Hillbarn’s Sound of Music last year, seemed to this reviewer to perhaps be a bit light for Evita. She’s wonderfully expressive, but has trouble with many of the high notes that Mr. Webber forces on the character. Ensemble is excellent. The orchestra is energetic but, perhaps, a bit unsubtle.
CLP: Voices are clear and enable most of the complex lyrics to be understandable, always a challenge in a Lloyd Webber musical. Sophia Alawi as Evita channels her calculating and controversial figure. Alex Rodriguez pours explosive energy into his role as Che. Chanel Tilghman has a haunting role and voice as Peron’s cast-off mistress.
The cast of San Francisco Playhouse’s “Evita,” performing June 27 – September 7, 2024. Photo: Jessica Palopoli
BW: The show is well performed, even to the point of this reviewer believing that some of the leads were somewhat outclassed by some of the supporting cast. Malia Abayon and Jura Davis are especially compelling. Peter Gregus as Juan Peron embodies the style and look of an autocrat but his recitativo vocalizing left this reviewer wishing for a bit more… Helfer’s athletic choreography is superb — as always.
Script and storyline: BW:Evita is a tale of celebrity worship driven to the realm of religiosity. Many of Eva’s fans called her “Santa Evita” and even asked for her blessings. But — it’s also a cautionary tale about grift on a massive scale. Argentina once had one of the world’s strongest economies. In the post-Peron era, the nation has regularly been on shaky financial ground. This is depicted effectively in a scene where soldiers are passing packets of cash hand-to-hand across the stage, symbolic of the Peron policy of taking national assets private.
SD: In this reviewer’s opinion, one weakness in Evita is the essentially narrated storyline which often prevents events from fully coming to life. The complex and fascinating historical details come to us through Che, whose narration is a bit like getting historical postcards instead of really being there. The ensemble does help to fill out social divisions, which become stepping stones for the ascension of Eva Peron.
The crowd cheers for Eva & Juan Perón in San Francisco Playhouse’s “Evita,” performing June 27 – September 7, 2024. Photo: Jessica Palopoli
JD: This reviewer found this production to be a bit hard to follow if you’re not familiar with the narrative. Almost all the words are sung, making this really a rock opera. The sound design seems perhaps to obscure some of the text. Tip: for newcomers, it would improve the play going experience to gain some familiarity with the show in advance.
CLP: Evita Duarte Peron will always remain a controversial figure. Beloved for her selective charities and adored by the shirtless as a glamorous leader, “Santa Evita” started Argentina on the path towards bankruptcy, a politically muzzled press, and chronic food shortages. In this production, she expresses love for all her people, proclaiming “Every word that I say is true.”
Aisle Seat Takeaway:
Evita might be considered an atypical undertaking for SF Playhouse, but this production — wins our recommendation. It should enjoy a successful run!
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For this review,Team ASR’s members consists of: Cari Lynn Pace, Susan Dunn, Jeff Dunn, and Barry Willis — all voting members of the SF Bay Area Theatre Critics Circle.
Care for a quick visit to Key West, Florida? That’s the lively and colorful setting that director Dominique Lozano chose to present Marin Shakespeare Company’s comedy Much Ado About Nothing. This stage setting is a treat: a tiki bar, dive shop, and two-story bungalow designed by Nina Ball. It’s as cool and colorful as three scoops of ice cream.
For those who may be intimidated by Shakespeare’s complex character mix-ups, you can relax. In this production characters do not change sexes or wear disguises. All are amusing, and the Prince wears what appears to be a Navy or Coast Guard uniform. Some of the characters’ ulterior motives are hidden, but that’s the play. The dialog is spoken in the Bard’s patois and is easy to follow, thanks to the characters being so good at their roles.
” … This bright comedy would make Shakespeare proud …”
It’s summertime, and the island’s governor Leonato (Victor Talmadge) and his wife (Keiko Shimosato Carreiro) await the return of soldiers from their duty away. They chat comfortably with their daughter Hero (Diyar Banna) and her cousin Beatrice (Bridgette Loriaux.) When the conversation turns to love and Beatrice’s marital prospects, she assures them she enjoys being single, citing many amusing reasons.
At last, the Prince (Edward Neville) arrives with his soldiers in camouflage garb, and are warmly welcomed. Travelling with the Prince are Benedick (Johnny Moreno) and Claudio, a corpsmen. Young Claudio locks eyes with the governor’s daughter Hero and is instantly smitten. She is likewise smitten, making them the focus of one part of the play.
Claudio confides he’s in love too, so confirmed bachelor Benedick gives a lengthy discourse about the pitfalls of marriage and why he would never be so foolish. Reluctantly, Benedick agrees to help Claudio win permission to wed Hero. Will a dance do it? The cast certainly shows off their steps, thanks to double-duty actor and choreographer Loriaux.
The Cast of Marin Shakespeare Company’s “Much Ado About Nothing.” Photo: Jay Yamada.
Much Ado about Nothing becomes “something” when Benedick’s buddies secretly plot to manipulate him into attraction for Beatrice. Similarly, Beatrice’s bosom buddies observe that Benedick would make a good match for the fiery Beatrice. Each cadre of conspirators stage gossip, intentionally allowing either Beatrice or Benedick to overhear that one is attracted to the other. These scenes have to be the funniest parts ever written by Shakespeare or performed on the Forest Meadows stage.
The plot returns to the two young lovers, Hero and Claudio. Their betrothal is approved and they prepare for the wedding day. Mysteriously, evil intent lurks in the minds of the Prince’s sister and her BFF. They prepare a fake video showing Hero to be untrue, and show it to Claudio. Claudio flies into a rage, swears to forsake Hero at the altar and condemn her for her disloyalty. When he does so, Hero collapses.
Soon after this debacle, a pair of bumbling detectives are approached by one of the fake video creators, who has had remorse and confesses. The detectives show the evidence to Claudio. His punishment is set by Hero’s parents.
L to R: Don Pedro (Edward Neville), Claudio (Tai White), and Don Joan (Stevie DeMott) in Marin Shakespeare Company’s “Much Ado About Nothing.” Photo: Jay Yamada.
Some would have predicted the end, where Benedick and Beatrice realize they indeed are well matched. Fewer may predict the end when Claudio professes chagrin at his jealous rage and asks Hero to forgive him. Shakespeare’s Hero replies “Not so fast!” It’s a satisfying end to a play with age-old themes and updated modern accessories.
So — get thee to Marin Shakespeare for this show! And remember, nights can get very cold if the fog rolls in. Picnics are welcome; snacks and wine available for purchase.
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ASR Reviewer Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews. She is also the author of the real estate reference book “Don’t Shoot Me…I’m Just the Real Estate Agent!” Contact: [email protected]
Production
Much Ado About Nothing
Written by
William Shakespeare
Directed by
Domenique Lozano
Producing Company
Marin Shakespeare Company
Production Dates
Thru July 28th
Production Address
Forest Meadows Amphitheater (outdoors),
Dominican University of California 890 Belle Avenue, San Rafael, CA
Although the glory days of comedians such as Charlie Chaplin and Buster Keaton are mostly distant memories, the charming little play called Chaplin & Keaton on the Set of Limelight is a fun way to remember that era. It runs through July 21 at The Pear Theatre in Mountain View.
Playwright Greg Lam cleverly weaves fact and conjecture into the story of how these two singular comics – who had never worked together before – get a chance to share a few fond memories. Chaplin invites Keaton to have a bit part in his film, Limelight, the last one he made in the United States for many years.
” … an absorbing evening of theatre …”
Lam, who is the administrator of The Pear Theatre’s Playwright Guild, has written full-length plays before, as well as shorter ones that he calls “comic romps.” In writing this play he took advantage of the close proximity of the Niles Essanay Silent Film Museum located across the Bay in Fremont. (It’s a fountain of authentic information about the Silent Screen era.)
Even people now in their 60s may have a challenging time recalling the travails that are depicted in this theatre production. That’s because Chaplin’s life spanned from 1889 to 1977. During the Silent Screen era, many movie fans didn’t even realize Chaplin was British because….well, films were silent!
It’s also likely that The Tramp – which Chaplin made in 1915 – was the peak of his popularity because from that point on, he and his depiction of that character were forever intertwined.
Lam’s play is set in 1951 after Chaplin has spent more than three years writing the script of Limelight. He heard that Buster Keaton (whom he had never worked with) was down-on-his luck, so Chaplin offered him a small role in his new film.
This production gets its authenticity in several ways. First, there are bits of “old-timey” grainy film that play occasionally on a screen at one side of the set. The set itself, created by Louis Stone-Collonge, is primarily Chaplin’s expansive dressing room, which he graciously shares with Keaton during the time his scene will be shot.
Left to Right: David Scott (Charles Chaplin), Lorie Goulart (Beverly) and David Boyll (Buster Keaton). In this scene, Chaplin and Keaton are about to perform their gag in “Limelight.” This is the only film that brought the famous silent-film era stars together. Photo by Argun Tekant.
As Chaplin, David Scott is a marvel to watch. His performance is at times coquettish, demanding, effete, gracious, debonair, devious—and always in complete command.
David Boyll plays Keaton, and although he’s a credible foil to Scott, there’s no mistaking that this play belongs to Scott. Boyll’s Keaton quickly realizes he needs to pander to Chaplin’s ego, though he occasionally finds ways to deftly insert his own opinions here and there.
It’s interesting to sit in on the banter between these two long-time actors as they remember the Silent Screen era and the role each played in its popularity. At times, Keaton attempts to make a point about the value of movies, with Chaplin declaring that they’re primarily made to entertain the masses. He points out that the films he’s made that had more serious themes were mostly box office failures.
Two other fine performances deserve mention: Lorie Goulart as Beverly, Chaplin’s beleaguered, faithful secretary, and Selin Sahbazoglu, who plays the dual roles of actress Claire Bloom as well as Chaplin’s wife, Oona Chaplin.
As Claire, Sahbazoglu tells Chaplin how disappointed she is that she’s not allowed to ‘act.’ “You show me what to do and then I do it,” she pouts. Chaplin turns on his charm and tells her: “I can’t change after five decades!”
Johnny Villar’s take on The Tramp is spot on, though one could wish he wandered through the set twirling his umbrella and tipping his top hat more often.
Director Sinohui Hinojosa has a lot of balls to keep in the air here, but it’s obvious he directs his actors with intent – ensuring that Lam’s script is funny when it’s meant to be and poignant at other times.
Kudos go to costume designer Melissa Wilson for coming up with both men’s and women’s clothing that reflect the styles of the ‘50s. Sinjin Jones’ sound and lighting design work well in The Pear’s elongated seating structure.
Altogether it’s an absorbing evening of theatre, especially for movie buffs both young and old who hope to witness a bit of the magic of Charlie Chaplin and Buster Keaton.
The play runs two hours with one 15-minute intermission. Due to mature themes, The Pear advises that this production is not recommended for anyone under 13.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
One would think everyone over the age of 16 has either read, watched, or maybe even performed in some version of Murder on the Orient Express, Agatha Christie’s novel that has seen numerous iterations in both plays and films. That’s because in 2017, playwright Ken Ludwig (whose Broadway hits include Lend Me a Tenor and Crazy for You) was invited by the Agatha Christie estate to write a stage adaptation of Christie’s novel.
From the reaction to the production of Murder on the Orient Express by Palo Alto Players that this reviewer attended, there’s much amusement to be found in watching Ludwig’s version of Christie’s “whodunnit.”
” …Best to head to this fine production…”
A good deal of the credit goes to the wife-husband team of director Katie O’Bryon Champlin and actor Michael Champlin, playing the part of the intrepid Belgium detective, Hercule Poirot. Champlin gets high marks for speaking impeccable French yet making his words understandable – something that even some of the great Poirots have had trouble doing!
Photo by Christian Pizzirani. Detective Hercule Poirot (Michael Champlin) explains what he has discovered to the passengers aboard the Orient Express in MURDER ON THE ORIENT EXPRESS, the comedic stage adaptation of Dame Agatha Christie’s celebrated murder-mystery novel at PAP.
PAP weathered a lot of difficulties mounting Murder due to the fact that its home, Lucie Stern Theatre in Palo Alto, is in the process of seat replacements. Fortunately, PAP was able to secure the modern auditorium at Woodside High School, but had to shorten its run to just seven performances. (It closes June 30.) Some of the planned production had to be revised because the exceptionally wide Woodside stage requires a lot of maneuvers of the clever-but-elongated two-sided sets.
So a big shout-out goes to the hard-working deck crew that moves them around efficiently: Hanna Lubinsky, Anton Popowitz, Neil Sahami and Amiah ‘Fern’ Woertink.
It’s natural that a great train like the Orient Express would have attractive sleeping compartments as well as a well-appointed dining room. Kevin Davies wears at least three hats here: scenic designer, technical director and master carpenter. He’s assisted by scenic painter Greet Jaspaert and carpenters Rebecca Lui and Dave Seiter.
Of course, Champlin isn’t the only fine actor in the cast of 11. Zachary Vaughn-Munck stands out as the pompous Monsieur Bouc, who runs the train line, as well as Patrick Rivera who doubles as Michel, the train conductor and as the head waiter.
Photo by Christian Pizzirani. (L-R) Hector MacQueen (Brandon Silberstein), Samuel Rachett (Kyle Dayrit), and Detective Hercule Poirot (Michael Champlin) meet on the platform of the Orient Express while being checked in by conductor Michel (Patrick Rivera) in MURDER ON THE ORIENT EXPRESS, the comedic stage adaptation of Dame Agatha Christie’s murder mystery.
Diverse characters show up to take the train trip from Istanbul to London – a few couples and a number of single passengers as well. Patty Reinhart is the comic relief as the chatty Helen Hubbard who’s always trying to get people to pay more attention to her. Another fine performance is put in by Brigitte Losey as the pious Greta Ohlsson, who seemingly only wants to get to Africa to take care of starving babies.
Linda Piccone, wearing what this reviewer thought was a somewhat ill-fitting wig, contributes laughs with her frowny faced doubletakes, especially in the final scene when Poirot relates that she’s now apparently gone to the “Great Beyond.”
April Culver makes a strong impression as Countess Andrenyi, whose nursing skills are needed when another passenger (Michelle Skinner) is slightly injured. Will Livingston plays Colonel Arbuthnot, who shows little emotion about anything — until his character is called into question in the final scene.
Photo by Christian Pizzirani. Samuel Rachett (Kyle Dayrit) is found murdered by Hector MacQueen (Brandon Silberstein), Princess Dragomiroff (Linda Piccone), Greta Ohlsson (Brigitte Losey), Detective Hercule Poirot (Michael Champlin) and Monsieur Bouc (Zachary Vaughn-Munck) in MURDER ON THE ORIENT EXPRESS now at PAP.
Additional production team members who deserve credit for Murder are Brennah Kemmerly as dialect coach and Lisa Claybaugh as costume and hair designer.
The full Christie/Ludwig storyline won’t be revealed here because it is 1) convoluted, 2) clever, and 3) way too difficult to explain. Best to head to this fine production to see for yourself. The production runs about two hours including one 15-minute intermission.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic who started out her journalism career as a news reporter. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
Noises Off is a door-slamming winner in Novato Theater Company’s jewel box of a theater. Director Carl Jordan gathered nine thoroughbred comedic actors and then coerced stage set magician Michael Walraven to design and build a magnificent two-story set. It actually rotates.
If you’ve wondered what goes on backstage during a production, here’s a crazy glimpse. A troupe of marginally skilled actors rehearse a vapid British play, preparing for a tour in the U.S. Their ineptitude is amusing; their lust for the spotlight hilarious. Offstage, the frustrated director Lloyd (Mike Pavone) rolls his eyes as he repeats directions again and again. The housekeeper, Dotty (Heather Shepardson), switches her English accent on and off as she tries to remember her lines and where to put a plateful of sardines.
“…what goes on during a production? Here’s a crazy glimpse…”
Two unannounced arrivals interrupt the housekeeper’s solitude. A tax estate agent (Diego Hardy) is a riot as he speaks in unfinished phrases: “ I mean . . . you know.” He has brought his sexy bimbo co-worker (Melody Payne) for a tryst. She’s all for it and preens in her stage spotlight, but she has trouble finding the right door to the bedroom. It’s a riot watching her try to figure it out.
Meanwhile, absentee tax-dodging owners (Jeffrey Biddle and Jane Harrington) return from their foreign hideout to sneak in a private celebratory night at their home. They admonish the housekeeper to deny she has seen them. “We were never here!” The Mrs. heads for the bedroom and the Mr. checks his mail in the study.
Marin County theater vet Wood Lockhart (left) plays Seldon in “Noises Off!” at NTC.
Neither door onstage is working properly, so the director calls for the stage handyman Tim (Sky Collins) to fix them. By the way, where is the actor playing the aging burglar? Wood Lockhart plays the perennially tipsy Selsdon, basking in faded memories of his Shakespearian roles. He requires his lines to be read to him by the director’s beleaguered assistant Poppy (Rachel Ka’iulani-Kennealy.) He mis-hears whatever he’s told, even when the entire cast shouts the line at him. The fun is just beginning!
In Act II, the stage rotates to reveal the backstage area behind the set. The ooohs and applause of the audience were well deserved. Designer/builder Walraven laughed “I wouldn’t have done this for anyone except Carl (Jordan.) He said he wouldn’t do this show unless I built a rotating stage for it. Carl told me he never expected that I would agree to do it.” How fortunate for NTC that he did!
“Noises Off!” cast at NTC.
Noises Off shows off the finely-timed chaos of comedy, with crazy personalities and wild action. Comedy can be the most demanding type of acting, and this cast nailed it. NTC’s President Marilyn Izdebski noted “The actors were encouraged to bring their own individualities to their roles, and they went over-the-top with fun.”
Noises Off is full of hilarious comic performances and more than a few surprising pratfalls. One friend commented “I laughed so much my jaw hurts.” From flying axes to slippery sardines, this is a show not to be missed.
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: [email protected]
Production
Noises Off!
Written by
Michael Frayn
Directed by
Carl Jordan
Producing Company
Novato Theater Company
Production Dates
Thru July 14th, 2024
Production Address
Novato Theater Company
5420 Nave Drive, Novato 94949
Transcendence Theatre Company, searching for an outdoor venue, has risen like the Phoenix from the ashes since losing its home base at Jack London State Historic Park. Using energy, persistence, and hard work, they’ve created a temporary weekend showcase of dazzling entertainers on a grassy field in Sonoma. On a ball field just a few blocks north of the famed Sonoma Historic Square, TTC set up a first-class stage and sound system with hundreds of comfortable chairs.
Through Sunday, June 23, Summertime is the lead-off production of four unique song-and-dance shows this summer. On these special evenings, you’ll find a live 7-piece band, spotlights, and singers and dancers twirling and leaping underneath the stars above.
” … the packed audience was jumpin’ …”
Opening night, the packed audience was jumpin’ for a mélange of sweet and sassy songs directed by Tony Gonsalez. The pace of the performances balanced sentimental solos with rock-out dance numbers. Many TTC performers are taking a break from Broadway shows to summer in Sonoma. The amazing talent of these versatile stars shone all night long.
“Summertime” cast at work in Sonoma.
Choreographer Monica Kapoor filled in beautifully for an injured performer despite confiding, “I’m a dancer, not a singer…” Amidst the heavyweight credentials of nine performing veterans of stage and film was TTC newcomer Andy Saehan Shin, lending his superb baritone voice to many luscious harmonies. When tall and lanky Aaron Lavigne grabbed a guitar to belt out songs, more than a few gals sighed. Indeed…
The new venue on the field is a park during the week. This gives TTC a ton of work setting up and tearing down for each weekend’s show. They don’t seem to mind — this is a very happy cadre of professionals. Patrons are also happy, many having dined in one of the eateries surrounding nearby Sonoma Square before the performance. Picnics and dinner boxes are welcomed to the shows, but no alcohol unless purchased on the premises.
Transcendence Theatre Company sets toes tappin’ with “Summertime” in Sonoma.
Free parking is ample with reservations in nearby parking lots, all well-organized and a short walk to the stage area. When you go, wear sensible shoes and plan a cover-up. The warm Sonoma temperature usually drops a bit each evening.
If you missed opening weekend, catch one of TTC’s summer shows: Don’t Stop Us Now, July 25-28, Dancing in the Street, August 15-18, or the Gala A Sentimental Journey, September 19-22.
For tickets for Thursday through Sunday evenings: [email protected] or call 877.424.1414, ext.1.
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: [email protected]
With a few bumps along the way, Octavio Solis’ latest oeuvre, Mother Road at Berkeley Rep, takes on epic qualities as a 21st-century tale inspired by John Steinbeck’s The Grapes of Wrath.
Before the Greek-like chorus of supporting characters appears, a massive weathered barn with a missing roof and side slats stands as a lone metaphor for the surviving but missing family members that patriarch William of the Joad family has set out to find. Aided on his quest by his lawyer Roger (a stalwart Michael Moreland Milligan), William is determined to deed his vast 2,000-acre Oklahoma farm to a Joad descendant to keep it out of the hands of developers who would subdivide it for profit. James Carpenter completely embodies his urgency.
(L-R): Michael Moreland Milligan (Roger), Benny Wayne Sully (Curtis), Emilio Garcia-Sanchez (Martín Jodes), Courtney Walsh (Ivy), and Branden Davon Lindsay (James) in “Mother Road,” Octavio Solis’ 21st-century tale inspired by John Steinbeck’s “The Grapes of Wrath,” at Berkeley Rep’s Peet’s Theatre through July 21, 2024. Photo credit: Kevin Berne
William is close to succumbing to liver cancer when he finds Martin Joad (a hot-tempered Emilio Garcia-Sanchez), the young Mexican-American migrant worker descended from Steinbeck’s Tom Joad.
“… Mother Road is a richly peopled saga …”
Once identified as suitable to the task and willing to return to the Oklahoma homestead, Martin makes known his unwillingness to fly. The barn splits and reveals the vehicle he intends to drive, a convertible green pick-up truck that transforms into several set pieces along the mother road. Raise the hood and out slides a formica table in a roadside diner where “the food looks better on the menu than it does on the plate.” Drop the back’s sides down, add pillows and a bedspread, and it becomes a king-size motel bed.
The cast of “Mother Road” at work at Berkeley Rep. Photo credit: Kevin Berne
William agrees to go by car. He searches Martin’s belongings at a rest stop and finds a family Bible. Infuriated by William’s action and breach of trust, Martin is ready to call the whole thing off until William reassures him that the Bible is further proof of his identity and might even offer information about where William’s grandfather was buried on his way to California from Oklahoma.
As the journey moves forward, characters are revealed to be as multi-layered and interconnected as the forces of nature that drove their ancestors to leave — abandoning children, land, and lovers — but still seeking connection to their mothers and the mother earth that once supported them. Even James (a hopeful Branden Davon Lindsay), a traveler along the way deemed a madman, shows his Bible with the Book of Revelations ripped out, explaining that each of us has secrets to be revealed. “I see angels in the trees…We all got reasons for the things we do.”
(L-R): Emilio Garcia-Sanchez (Martín Jodes), Lindsay Rico (Mo), James Carpenter (William Joad), and Courtney Walsh (Ivy) in “Mother Road” at Berkeley Rep. Photo credit: Kevin Berne
Tribal and racial prejudices know no bounds and come to a head more than once, as in a brush with the law when tensions mount high. We can only hold our breath as Martin has a highway patrolman in a stranglehold.
A master craftsman, playwright Solis’s scenes swiftly shift from present to past and back to the present, moving seamlessly from realistic dialogue to soaring poetry. Details dropped in early bear fruit in later scenes.
Deftly directed by BRT’s Associate Artistic Director David Mendizábal, Mother Road is a richly peopled saga encompassing an entire movement in American history brought into focus through the personal quest of one dying man.
The production could benefit from multiple viewing. As entertaining as the visual aspects of the truck with visible tailpipe exhaust and revolving set provide (thanks to scenic designer Tanya Orellana), this reviewer found that the horizontal lighting on both sides of the stage simply distracted focus from the main action. And while comic relief from Mo (a standout Lindsay Rico) and multiple roles notably performed by Courtney Walsh, Cher Alvarez Daniel Duque-Estrada, and Benny Wayne Sully add variety, Mother Road’s chorus could maybe use a bit more coaching to stay on key in the final sung number. Stronger consonants would make quick-paced ensemble numbers easier to understand, too.
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ASR’s Executive Editor, Linda Ayres-Frederick, is the Artistic Director of San Francisco’s Phoenix Theatre. Since 1985, she has enjoyed a rewarding career as an actor, director, producer, critic, and playwright, twice granted the Shubert Playwriting Fellowship. Linda’s plays have received over 20 productions in NYC, the SF Bay Area, and Alaska, where she has performed in addition to France and Edinburgh. A 3Girls Theatre playwright in residence, member of the Dramatists Guild, American Theatre Critics Association, AEA, AFTRA/SAG, she is a Sarah Lawrence College graduate (Bronxville, N.Y.) and has written for the Yale University Graduate Professional, SF Bay Times, Forallevents.com and the Westside Observer. She is a published poet and playwright and proudly serves as Vice President of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
I’ve observed a troubling trend in the pricing of tickets for many local, regional, and touring theater productions.
Despite the magic of live theater, the rising cost of admission raises questions about accessibility and sustainability for the average American – long the backbone of local and regional theater in this country.
Rising Ticket Prices
Over the past two decades, ticket prices for regional and touring theater productions have increased significantly. In the early 2000s, one could expect to pay around $25-$35 for a regional theater ticket.
Today, it’s common to see prices ranging from $45 to $60 and up, even, sad to say, at the local level. On the other hand, and not to be unexpected (but still!), tickets for popular touring shows like “Hamilton” can range from $138.26 to over $1,600, depending on the seating and venue (TicketSmarter).
” … People remember ‘events’ such as going to the theater … “
At the San Francisco Opera, the price for a most favored seat exceeds $440 for some productions. Now, I get that Opera is a horse of a different theatrical color, but you see my point relative to the cost of a single seat.
American Theatre magazine adds these notes: “Nearly all (theater) artistic and managing directors polled saw their company’s price increases as “marginal.”
But, for many Americans, an increase of a few dollars per ticket can be significant, especially when piled on top of every other rising cost for goods and services. The New York Times raised an alarm about similar trends when it recently asked its readers if a $5 entrance fee increase for the city’s art museums meant that these museums were only “for the wealthy.”
Even more affordable balcony seats in many theaters are priced at $35-$55, reflecting a substantial increase over the years (TicketSmarter).
Declining Audience Numbers
Parallel to the rising ticket prices, theater attendance has declined. According to data from the Theater Communications Group, annual productions in regional theaters dropped from 14,000-25,000 in the early 2000s to significantly fewer in recent years, with indisputable evidence that audience numbers are dwindling.
American Theatre magazine again, “Piling onto … the economic reality is the difficulty that theatres have had in getting paying audiences to return at pre-pandemic levels. Survey respondents’ companies mirrored national trends that have shown up in other reports: 47% said their overall attendance was down between 10% and 30%, while an additional 27% reported seeing an even more drastic decrease.
(To be fair…) not all companies are doing poorly: The survey found that 13% of respondents said their attendance numbers have stayed put, and another 13% said overall numbers have increased by 10% or more.”
Fair enough — but that still leaves the other 70+% of theaters. So, it doesn’t take an AI tool to see fewer people willing – or able- to pay higher prices for live theater experiences.
Economic Factors
Several economic factors contribute to this issue. The production costs, including set design, costumes, rights, and talent (for those theaters that pay their actors), have all increased. Additionally, theaters have faced higher operational costs, such as rent and utilities, which they often pass on to consumers through higher ticket prices.
While these increased costs are understandable, they add to the unaffordability of live theater and, by extension, are additive to a barrier for many potential audience members, particularly those from lower-middle-income households.
The Impact on Accessibility
The steep prices discussed here limit accessibility, making theater an elitist experience rather than a communal one. This exclusion not only reduces the diversity of theater audiences but significantly, also impacts the cultural enrichment of the community.
Live theater should be an inclusive art form accessible to people from all levels of society. Fine idea. Except, current ticket pricing suggests other truths.
The Cost of a Theater Outing
Let’s sit down at the kitchen table and do some back-of-the-envelope math.
We’ll break down, as an imaginary example, the “real” cost for a family of five (2 adults, two children (and a no-charge toddler, to save the cost of a babysitter) attending a regional theater production. Again, we’ll assume the toddler’s cost is negligible in this example:
Tickets:
Average price per adult ticket: $50
Average price per child ticket: $30
Total for four tickets: (2 x $50) + (2 x $30) = $160
Parking:
Average cost for parking near a theater: $15
Dinner (Burger King):
Average cost for a modestmeal for the family: $50
Snacks at the Theater:
Average cost for a drink: $5
Average cost for popcorn: $6
Total for snacks (4 drinks and four popcorn): (4 x $5) + (4 x $6) = $44
Total cost for a night out at the theater: $160 (tickets) + $15 (parking) + $30 (dinner) + $44 (snacks) = $249.
One night, one show. Two hundred and forty-nine dollars.
Read that price again — if you can take it. And soon this family will have to add that fifth mouth and ticket to this calculus.
Possible Solutions
To address this issue, theaters, and production companies must explore alternative funding models. Increased sponsorship, government grants, and community partnerships can subsidize ticket prices, making them more affordable.
On the other hand, theaters, especially community and regional, may have to hold back on bringing the latest, for example, Disney-inspired fare to the stage. The rights to these offerings can, and often are, pejorative to that end of the theater marketplace.
I get the allure of bringing the latest word in the playwright’s art to the stage, especially for the children and teens who get to enjoy the rush of producing and acting in the same. But not at the expense of pushing a theatrical company into reducing the number of shows it wants to deliver in a season. America needs more cost-effective theater experiences, not less.
Finally, theaters could offer more discounted performances, pay-what-you-can nights, and targeted outreach to underrepresented communities. I also get the argument that these approaches may bring in fewer dollars per performance. But I contend that once people see quality theater — at affordable prices – and enjoy a pleasant theatrical experience at the same time, they will at least consider getting out of the house to create another family memory.
People remember ‘events’ such as going to the theater. Many folks are hard-pressed to remember what they watched on TV a month ago. A week ago. Last night?
“There’s trouble in River City, Folks.”
Net-net, while the allure of live theater remains strong, the rising cost of tickets threatens its accessibility and sustainability at many levels, especially at the community and regional levels.
To preserve our art’s cultural and communal benefits, every theater must find ways to make attendance more affordable for the average American.
Otherwise, we risk further alienating a sizable portion of potential audiences and diminishing the rich, diverse tapestry, history, education, memory-making, and enjoyment that theater offers.
Thank you for your attention.
Lights up!
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Kris Neely
Mr. Kris Neely is the owner, founder, and Editor-in-Chief of Aisle Seat Review.
Decades beyond its debut, Kander and Ebb’s Cabaret continues to pack regional theater houses. An enthusiastic, full-capacity crowd fills Walnut Creek’s Margaret Lesher Theatre for every performance. The portentous, irony-drenched musical runs through June 23.
There are many good reasons for the enduring popularity of Cabaret: not merely its supremely catchy tunes and in-your-face choreography, but also its message—a warning about what may lie over the horizon if a delusional would-be dictator backed by ignorant malcontents finds a way to return to power.
” … the real star of this show is theater veteran Kelly Ground …”
Background: a sugar-coated cautionary tale, the 1972 film version firmly established the show in pop culture. Many people know its songs without understanding that the show itself is far more than a lightweight romp through the decadent underworld of Weimar Republic Berlin. The story’s late 1930s time frame isn’t specific but encompasses the rise of Germany’s Nazi party and its increasingly virulent anti-Semitism. It’s often forgotten that the Nazi party was democratically elected. By 1933, it was the most powerful political organization in Germany.
Cliff (Jacob Henrie-Naffaa) is taken in by landlady Fräulein Schneider (Kelly Ground). Photos by Kevin Berne.
The story’s simple plot is the sojourn of an American novelist, Cliff Bradshaw (Jacob Henrie-Naffaa) who travels into Germany to Berlin, where he hopes to find inspiration for his writing. On the train he meets a friendly German, Ernst Ludwig (director Markus Potter, filling in for Charlie Levy in the June 13 performance). Ernst promises to show Cliff the inner Berlin, including the notorious Kit Kat Club, a dingy dive that’s a mainstay of Berlin’s entertainment underground. He also introduces Cliff to Fraulein Schneider (Kelly Ground), owner of a rooming house that’s home to nefarious folks such as Fraulein Kost (Michelle Drexler), who earns her living entertaining sailors by the hour.
Sally (Monique Hafen Adams). Photos by Kevin Berne.
At the club he meets a self-centered British songbird named Sally Bowles (Monique Hafen Adams). The two are soon deeply but contentiously involved. A prolific Bay Area performer, Adams is tremendous, with stunning vocal ability. She portrays Sally Bowles as a ditzy airhead with neither interest in nor knowledge of the forces swirling just outside her limited frame of reference. Henrie-Naffaa is likewise more than competent as Cliff Bradshaw.
(L-R) Rotimi Agbabiaka, Elizabeth Curtis, Elizabeth Cowperthwaite. Photos by Kevin Berne.
In this reviewer’s opinion, the real star of this show is theater veteran Kelly Ground, perhaps the best Fraulien Schneider this critic has ever seen. Relaxed, confident, and perfectly in character, Ground sings and acts her way into the hearts of the audience as a planned marriage to fruit seller Herr Schultz (Richard Farrell) gets scuttled due to growing anti-Semitism and Nazi influence. Amplified by wonderful song and dance, the late-in-life romance of Schneider and Schultz is the most arresting and heartbreaking subplot in Cabaret. We don’t really care about the fates of young lovers Cliff and Sally. Cliff escapes Germany before it’s too late, while Sally digs her own self-referential grave. Herr Schultz similarly ignores the obvious to his eventual detriment.
Cliff (Jacob Henrie-Naffaa) with Ernst (Charlie Levy) and Sally (Monique Hafen Adams) as the Emcee (Rotimi Agbabiaka) watches in the background. Photos by Kevin Berne.
Another standout in this production is Rotimi Agbabiaka as the Emcee. A gifted singer, dancer, and very funny comedic actor, he propels the show through many high-energy production numbers, leading and provoking the Kit Kat girls and boys in a dozen or more demanding dance sequences.
On an imposing two-level set by David Goldstein (and the scenic construction folks at California Shakespeare Theater), Jessica Chen’s choreography is accessible and competent. Among the dancers, Sydney Chow as Texas is truly compelling. The band led by Eryn Allen is terrific.
The June 13 absence of Charlie Levy in the pivotal role of Ernst Ludwig was an unlucky occurrence. Director Markus Potter took the part, but not having memorized the character’s lines, had to read from a script during his time on stage. His delivery was excellent and the script in hand made sense in early scenes where he is getting English lessons from Cliff, but was otherwise an unfortunate distraction.
This Cabaret will likely not be the only such local or national production leading up to the 2024 election in November. It’s going to be long hot summer.
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Aisle Seat Review NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Caberet
Written by
Book by Joe Masteroff.
(Based on the play by John Van Druten and stories by Christopher Isherwood)
Music by John Kander, lyrics by Fred Ebb
Directed by
Markus Potter
Producing Company
Center Repertory Company
Production Dates
Thru June 23rd, 2024
Production Address
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
About his 2000 opera Dead Man Walking, composer Jake Heggie wrote that his librettist Terrence McNally “recognized that an opera is about the music and that he would do whatever he could to serve that.” 24 years later, on the same San Francisco Opera stage, composer Kaija Saariaho’s Innocence, just like Heggie’s Dead Man, grips audiences in a story about a horrific crime and its relation to participants, victims, and society.
But Saariaho’s work is so less about the music, that I doubt it would fit McNally’s characterization of opera. Instead, the score, brilliant in mood-setting, character delineation, and orchestration, remains a handmaiden to staging and acting. With the notable exception of the music for Marketa, a slain student, it avoids song, that mainstay of the operatic past. It’s more of a film soundtrack with voices as instruments.
” … Performances by the 21 principals are excellent … “
Nevertheless, opera or not, Innocence is a powerful experience. Sofi Oksanen’s libretto begins with Tuomas’s wedding to his Romanian bride, Stela, in Helsinki. She doesn’t know that her groom is the younger brother of a school shooter who killed 10 of his fellow students and a teacher a decade earlier. Things unravel as she learns the facts from the mother of Marketa, one of the murdered students.
Chloe Lamford’s mesmerizing set for “Innocence.”
Chloe Lamford’s mesmerizing set is a variably rotating, two-story collection of chambers doing double duty as hotel facilities of the wedding’s present and school rooms of the shooting’s past. Survivors, along with the murdered, wander through the set like rats in a maze, telling or singing their heartbreaking stories. The shooter himself never appears. While one side of the massive set faces the audience, 29 stage crew members quickly and silently refurbish the back rooms to match the setting of upcoming scenes.
It is a tribute to Oksanen’s genius that the progressive introduction of 11 vocalists and eight actors rarely makes one wonder who’s who in the story. As more and more is revealed about the tragedy, one is dragged deeper into the pain of the participant’s despair, aptly underlined by Saariaho’s underscore. At the same time, one discovers that hardly anyone can be deemed innocent of wrongdoing.
“Innocence” at SF Opera.
The drama forces us to contemplate that from the point of view of today’s society, innocence is not only an ironic misnomer but an impossibility for adolescents and anyone older. There are tiny glimmers at the end that a few survivors are moving on with their lives, but Saariaho provides no obvious indication of it in her dour music, despite what the text indicates—a blow to optimists.
Performances by the 21 principals are excellent, especially those by the shooter’s father, Henrik, sung by baritone Rod Gilfry, and Marketa, sung in an unforgettable folk-song-like manner by soprano Vilma Jää. Conductor Clément Mao-Takacs does a fine job of sensitively guiding the 64 orchestra and 40 offstage chorus members.
Cast of “Innocence” at work at SF Opera.
Innocence is meticulously engineered to put its audience in an empathetic thrall with the precursors and consequences of school massacres. Even traditional opera lovers should attend — once. Even if it isn’t about the music.
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ASR’s Classical Music Section Editor, Jeff Dunn, is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.
Sonoma Arts Live’s production of Lend Me a Tenor is guaranteed hilarity for theater fans. The grand-daddy of slamming-door farces runs through Sunday, June 16.
Opening week was closed due to a Covid outbreak, and unfortunately, the show couldn’t be extended because of contractual obligations, but the company has added a Saturday matinee to make up for the shortfall, according to SAL Artistic Director Jaime Love.
” … guaranteed hilarity for theater fans …”
The setup is that it’s 1934, and legendary Italian tenor Tito Merelli (Michael Coury Murdock) is coming to the Cleveland Grand Opera Company for the 10th anniversary performance of Pagliacci. Merelli is a heartthrob who makes fans go weak in the knees, but he’s also a notorious philandering drunk.
Cast of SAL’s “lend Me a Tenor.” Photos by Miller Oberlin
He lands at a Cleveland hotel (set by Carl Jordan), where he promptly passes out and can’t perform. This causes no end of problems for impresario Saunders (John Browning), who must make a bold decision whether or not to send in his assistant Max (Robert Nelson) as a replacement. The character’s clown costume and face paint may make the deception easier.
Cast at work in Ken Ludwig’s famous farce “Lend Me a tenor.” Photos by Miller Oberlin
The issue is further complicated by the fact that Saunders’ daughter Maggie (Katie Kelley) is smitten with Tito and attempts a seduction—more than once. So does Tito’s co-star Diana (Tara Roberts). All of this is par for the course for Tito’s aggrieved wife Maria (Tika Moon) who’s an absolute terror for the other women. Even the starry-eyed bellhop (Kevin Allen) can’t stay away, hoping to catch a glimpse of the superstar. Allen takes the bellhop character over the top.
Cast at work in Sonoma Arts Live’s “Lend Me a Tenor.” Photos by Miller Oberlin
Directed by Larry Williams, John Browning is superb as the exasperated Saunders, at his wit’s end trying to manage all the confusion. Keeping pace with him is a tremendous cast dashing in and out of doors just as their skullduggery is about to be exposed.
Lend Me a Tenor is a delightful quick-moving exercise in silliness and a welcome respite from the current trend of beating audiences over the head with social justice issues. Laughter is always the best medicine.
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Aisle Seat Review Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Lend Me a Tenor
Written by
Ken Ludwig
Directed by
Larry Williams
Producing Company
Sonoma Arts Live
Production Dates
Thru June 16th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Combine a half-dozen versatile actors, a maestro of the keyboard (Bill Liberatore) and TheatreWorks Silicon Valley’s long-time artistic director Robert Kelley (now retired), and the result is Being Alive: A Sondheim Celebration — a concoction that makes for a pleasurable two hours of theatre.
Both Kelley and Liberatore say they’ve been so influenced by Sondheim over the years that they felt he deserved his own production chockful of his incredibly long list of songs – some so familiar it’s hard not to start singing along.
The women (Melissa WolfKlain, Solona Husband, and Anne Tolpegin) butt heads with the men (Sleiman Alahmadieh, Nick Nakashima, and Noel Anthony Escobar) in TheatreWorks Silicon Valley’s “Being Alive: A Sondheim Celebration,” performing June 5-30. Photo Credit: Kevin Berne
Many, like “Putting it Together,” “Send in the Clowns,” “Pretty Women” and “Love is in the Air,” not to mention the sensitive, soulful “Children Will Listen,” are as familiar to theatregoers as old friends. Others such as “Loving You,” “Love’s a Bond” and “There is No Other Way” introduce audiences to lesser-known Sondheim songs. Yet, by the time the audience heads home, the actors have sung a whopping 35 songs — 36 in fact,because “Send in the Clowns” is sung twice.
” … a pleasurable two hours of theatre …”
During Kelley’s 50-year tenure at TheatreWorks, he actually mounted 18 Sondheim productions. Upon learning that it’s now “legal” to create a musical review of Sondheim’s works, Kelley said the first thing he did was ask Liberatore to collaborate with him as they have many times before.
The cast (l to r: Melissa WolfKlain, Nick Nakashima, Solona Husband, Noel Anthony Escobar, Anne Tolpegin, and Sleiman Alahmadieh) put a show together in TheatreWorks Silicon Valley’s “Being Alive: A Sondheim Celebration. Photo Credit: Kevin Berne
And, while not every song or performance zings, it’s likely audiences will recognize once again Sondheim’s musical genius through most of the songs sung, danced and acted here. What’s so surprising is that all of the music – which sounds both fulsome and lyrical — comes from Liberatore’s melodious piano playing and Artie Storch’s occasional drumming accompaniment.
No small credit, of course, goes to the cadre of fine performers, most particularly the diminutive Solona Husband as Sally, who acts, dances, jumps and belts out her songs with joyfulness. Nick Nakashina as Gene and Melissa WolfKlain are solid additions who know how to charm an audience with a sassy wink or nod. Rounding out the cast with equally fine performances are Anne Tolpegin as Lena, Sleiman Alahmadieh as George, and Noel Anthony as Ben.
The cast (l to r: Anne Tolpegin, Sleiman Alahmadieh, Solona Husband, Noel Anthony Escobar, Nick Nakashima, and Melissa WolfKlain) embraces new possibilities in “Being Alive: A Sondheim Celebration.” Photo Credit: Kevin Berne
Sondheim, who passed away in 2021 at the age of 91, wrote an astonishing 334 songs in his lifetime. That’s why Kelley and Liberatore decided to concentrate on songs that are primarily focused on love – in all its iterations: first love, love lost, broken hearts, redemptive love and more. Audiences happily responded to the upbeat “Love is in the Air, ”Everybody Says Don’t,” “Can That Boy Foxtrot” and “You Could Drive a Person Crazy.” WolfKlain’s rendition of “The Wedding is Off” is another crowd pleaser.
Then comes the poignant “Send in the Clowns,” sung with heartfelt sincerity by Tolpegin, and the equally touching “We Do Not Belong Together” sung by Husband and Alahmadieh. Husband also stands out in “Our Time” with Nakashima and Alahmadieh as well. The same trio joins up in “Old Friends” and does a terrific switching hats routine.
Kelley sandwiches in touching songs like “Children Will Listen,” sung by WolfKlain and Tolpegin. with comedic ones like “Agony” sung by Nakashima and Anthony, as well as “Any Moment/Moments in the Woods,” sung by Anthony and WolfKlain, to balance out the program.
But it’s the song “Being Alive,” sung by all six performers, that ends the show on a high note. It’s a reminder of just how astounding Sondheim’s music really is.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
Kinky Boots is this year’s offering in Mill Valley’s Mountain Play 111-year run of award-winning shows. The musical, directed by Gary Stanford, Jr. normally fills Cushing Amphitheatre, an outdoor venue of carved granite seats with spectacular views of San Francisco and beyond. This annual event for families and friends who come to picnic and party has been tagged “a great outdoor theatre adventure.”
Although Kinky Boots won several awards when it was originally presented on Broadway, This year’s show failed to attract the crowds on opening day, even when all youth to age 25 were given free tickets.
“Kinky Boots” at The Mountaiun Play.
Kinky Boots unfolds with the plot of a British shoe factory nearing closure which reinvents itself making boots for drag queens. Based on actual events, Harvey Fierstein wrote the book with music and lyrics by Cyndi Lauper. It’s a heartfelt unfolding of how Lola, a gay diva sashaying onstage and portrayed by an outrageous Miss Jay, and Charlie (Cody Craven), a straight businessman, learn that mutual respect can do wonders for the soul and for business.
“…mutual respect can do wonders for the soul and for business.”
Charlie wonders if his failing factory should re-tool to make high-heeled boots for drag queens. Lola’s “Angels” take to the stage giving a risqué bump and grind dose of convincing to the shoe factory workers.
Although this show is not rated, one audience member commented “This is not a family show” as she left during the first act with her children. Others said “Let’s go” at intermission.
“Kinky Boots” cast at work.
Executive Director and Artistic Producer Eileen Grady noted that Kinky Boots was presented in an attempt to foster “authenticity, compassion, acceptance of self and others, and to see each other in person.” The program contains a half-page instruction of “How to be an Ally” to actively support LGBTQ+ people.
Opening day suffered setbacks including a lack of shuttles to parking areas, microphones which malfunctioned, and no food vendors on site. The orchestra under the capable direction of Daniel Savio often overwhelmed the ensemble musical numbers. This was likely due to the technical sound problems.
The Mountain Play presents “Kinky Boots”.
Despite any difficulties, many fine actors gave solid performances in Kinky Boots. In addition to knockout vocals by Jaye and Craven, outstanding voices that carried through the amphitheater included Imri M. Tate, Gillian Eichenberger, David Schiller, Anna Joham, and local favorite Sean O’Brien. They perform on a fantastic stage set, done by Andrea Bechert, which revolves as the scenes require.
“Kinky Boots” cast at work.
If you go: Picnics including alcohol are invited. Seat cushions are okay, but chairs are not. Dress in layers, and bring sunscreen and hat. Blankets are good, too, in case the fog rolls in. Opening day was a balmy affair, but weather on the mountain can be fickle—from freezing to frying.
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: [email protected]
Production
Kinky Boots
Written by
Book: James Lapine
Music/Lyrics: Stephen Sondheim
Directed by
Nicole Helfer
Music & Lyrics
Cyndi Lauper. Book by Harvey Fierstein.
Producing Company
The Mountain Play Association
Production Dates
June 8, 9 and 16 at 2 PM
Production Address
Cushing Memorial Amphitheatre, Mt. Tamalpais State Park, 801 Panoramic Highway, Mill Valley CA
Whenever you go to a Mel Brooks production, you know you’re in for a barrel of laughs, sight gags, and a quirky plot. But when it’s also a musical with sensational actors, singers, and dancers, it’s a given that it’s going to be good.
The Los Altos Stage Company’s current production of Young Frankenstein isn’t just good.
It’s GREAT!
(L-R) Bryan Moriarty as The Monster, and Joey Dippel as Dr. Frederick Frankenstein at work.
Director/choreographer Morgan Dayley has pushed her cast of 13 actors to the highest levels of absurdity to make this production zing. There’s hardly a false note anywhere, although this reviewer thought there were a few times when the onstage band conducted by Benjamin Belew played a tad too loudly to hear the zany lyrics being sung. But that’s a trifle because sold-out audiences like the one at last Sunday’s matinee couldn’t stop laughing, cheering and happily enjoying the whacky show.
Young Frankenstein is based on the 1974 comedy film written by Gene Wilder and Brooks. Brooks and Thomas Meehan began working on the musical version in 2006; it opened on Broadway the following year.
“… sold-out audiences … couldn’t stop laughing …”
In LASC’s production, it took just a little lime-colored headpiece and platform shoes to turn Bryan Moriarty into The Monster, but he was a perfect one. Other standout performers — in a cast that is uniformly excellent — are Dave Leon as Igor, Caitlin Gjerdrum as the rubber-faced Frau Blucher, an over-the-top Gwyneth Price Panos as Elizabeth and Keith Larson as the hapless one-eyed Inspector Kemp.
(L-R) Dave Leon as Igor, Joey Dippel as Dr. Frederick Frankenstein, & Gwenaveire Garlick as Inga.
Who’s left to mention? Why, Frankenstein’s heir, Dr. Frederick Frankenstein (fast-talking Joey Dippel), who is the dean of anatomy at a respected New York City medical school. This Frankenstein has spent his lifetime insisting he’s not a madman, but a scientist –- he even tries to distance himself by saying that his last name is pronounced “Fronk-en-steen.”
But when he finds out he has inherited his grandfather’s castle in Transylvania, he is forced to head there to resolve the issue of what to do with the property.
Eventually he meets all the people who work in the castle as well as a yodeling (and beautiful) lab assistant named Inga (a delightful Gwenaveire Garlick).
Joey Dippel as Dr. Frederick Frankenstein in “Young Frankenstein.”
Perhaps it’s best to let theatregoers discover all the charm and joys of LASC’s Young Frankenstein on their own because it’s got it all: Fine dance numbers, strong vocals, fun costumes (thanks to Lance Muller), a versatile set by Bryan Hornbeck, good sound (Chris Beer and Brian Foley) and lighting (Carol Fischer).
“Young Frankenstein” cast stepping it out!
And that rarity: A couple of tap numbers including Irving Berlin’s “Putting on the Ritz.” It’s worth the price of admission just to watch The Monster try to keep his top hat and lime headpiece on while tapping!
This show is 2 ½ hours of unadulterated fun including one 15-minute intermission. Go see it!
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
Production
Young Frankenstein
Written by
Mel Brooks and Thomas Meehan. Music-Lyrics by M. brooks.
A family saga may never be better depicted than in The Lehman Trilogy, at ACT’s Toni Rembe Theatre through June 23.
The three-actor, three-hour+ production encompasses the birth, rise, expansion, and ultimate fall of the Lehman Brothers financial empire—from the moment the first hopeful brother arrives in New York from Bavaria with nothing but a suitcase and ambition to the firm’s collapse in late 2008 during the mortgage meltdown crisis, an event that doomed many big banks and institutions. The crisis had a worldwide impact.
(L-R): Actors John Heffernan, Aaron Krohn, and Howard W. Overshown in “The Lehman Trilogy”. Photo credit: Kevin Berne
A touring version of the multiple award-winning National Theatre production directed by Sam Mendes and starring John Heffernan, Aaron Krohn, and Howard W. Overshown as brothers Henry, Mayer, and Emanuel Lehman, respectively, the huge immersive production is a recreation of the first West End show, complete down to its amazing set, overwhelming video effects, and the astounding abilities of its three actors, all in multiple roles—toddlers to codgers, and many incidental characters with a wide range of backgrounds and accents.
… “The Lehman Trilogy” is a master class in character acting …
It’s also a master class in storytelling. Originally written in Italian by Stefano Massini and first produced onstage in 2013, the tale spans approximately 160 years in the family’s history—and massive upheavals in the American economy, in particular the stock market crash of 1929, which Lehman Brothers survived, and the Second World War.
(L-R) Aaron Krohn (Mayer Lehman), John Heffernan (Henry Lehman), Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman) in the National Theatre and Neal Street Productions’ critically acclaimed, fivetime Tony Award® winning production, “The Lehman Trilogy”, performing at A.C.T.’s Toni Rembe Theater now through Sunday, June 23, 2024. Photo credit: Kevin Berne
Partly narrated in the third person, and partly delivered as straight dialog, the show’s incredibly effective verbosity is leavened by precise editing. We are given enough information to follow the story, but not so much that we get bogged down. The show sails along briskly and never feels overlong despite its more than three-hour run time.
All three performers are superb with characterizations, vocal inflections, and adroit movements on a set that itself is a master class in design—a rotating large open cubicle that serves variously as the brothers’ first cotton brokerage in Montgomery, Alabama; the state governor’s office during Reconstruction; and the New York high-rise headquarters of Lehman Brothers Holdings, where the company’s last rites took place during the mortgage meltdown crisis in 2008. Immersive video projections by Luke Halls surround the faux office, adding a palpable sense of urgency to everything taking place on stage. Rebekah Bruce’s piano accompaniment adds the perfect touch of melodrama.
(L-R): Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman), & Aaron Krohn (Mayer Lehman) at work in San Francisco. Photo credit: Kevin Berne
The Lehman Trilogy is much more than a tale of three immigrant brothers—and their offspring, who helmed the company until the death of Bobbie Lehman, last of the clan to lead the enterprise. It’s also a spectacularly compelling history of American industry, ingenuity, and ultimately, hubris. “Too big to fail,” was a catch-phrase uttered during the crisis that crushed many global financial powerhouses.
To that, Henry Lehman might have responded, “Baruch Hashem.”
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ASR NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
What happens when an older couple with a properly manicured flower garden shares a backyard fence with young new neighbors who prefer wild native plants? Santa Rosa’s 6th Street Playhouse presents Native Gardens, Karen Sacarias’ amusing play digging into more than just dirt.
The mostly painted setting in the 99-seat Monroe Stage is of the backyards of two homes. Frank and Virginia Butley (Ron Smith and Sheila Lichirie) welcome the new young homeowners, Pablo and Tania De Valle (Lorenzo Alviso and Lexus Fletcher), and proudly show off their garden.
“… digs deeper to unearth prejudices about class, age, and race …”
The Butleys soon suggest the De Valles cut down their huge oak tree which has acorns and messy branches threatening their roof. Tania takes umbrage at this suggestion, unleashing her own criticism about the Butley’s choice of non-native plants. Tania wants her yard to attract bugs, which feed the birds, and so on with the circle of ecology. The Butleys are aghast at her idea of planting “weeds,” and the acrimony begins.
“Native Gardens” cast at work.
Further hostilities ensue when the backyard mutual fence line is found to be in error. A survey shows correcting the property line will wipe out the flower garden Frank Butley has been tending for decades, dashing his hopes of winning a neighborhood garden award.
Santa Rosa’s 6th Street Playhouse presents “Native Gardens”, by Karen Sacaria.
The Butleys stop construction of the De Valle’s fence with something akin to a food fight, done with acorns and a shredded stop-work order. Some fences do not make good neighbors.
Native Gardens digs deeper to unearth prejudices about class, age, and race. Director Beaulah Vega notes “perhaps we can choose…to be good neighbors and appreciate the beauty in this hybrid garden of a country.”
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: [email protected]
Production
Native Gardens
Written by
Karen Zacarias
Directed by
Beaulah Vega
Producing Company
6th Street Playhouse
Production Dates
Thru June 16th, 2024
Production Address
6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
The set is a simple rotating turntable under an arched, red-curtained proscenium. A ghost light illuminates the bare stage, a stand-in for the story’s ghost, Gary, a disgraced Artistic Director and theater founder whom no one is allowed to speak about but does anyway. This well-known non-profit theater has fired him under a cloud of scandal. The remaining company members must pick up the pieces, find a replacement, and hold the rest of the season together.
It’s fitting that the play opens with the box-office staff taking calls to quiet the scandal, reassuring patrons, and putting a gloss and smile on their every cover-up word. We begin to get the idea BS will be the name of the game.
” … Best Available hits the sweet spot …”
Jonathan Spector’s Best Available pulls the curtain back, reveals, and satirizes the many interested parties that posture, opine, and expound on the importance of this key position of Artistic Director (AD). And how the theater organization can be made whole again now that ‘SHHHH, Gary’ is gone. We meet these stakeholders for two and a half hours, their varied perspectives and final choice to run the show in individual scenes rotating on the turntable.
linda maria girón as Veronica & Dave Maier as Dave in “Best Available”.
First, the Managing Director, Helen, deftly played by Sarah Mitchell, tries to grasp control of the staff hiatus by persuading the former Assistant Artistic Director, Maya, to assume the position of Interim Artistic Director. Regina Morones, as Maya, is a convincing aspirant for the top staff position and wants to move to the key AD slot. She needs assurance that she can wrangle her way into the permanent position. As a Latina, she has an advantage that raises the stakes for DEI (Diversity, Equity, and Inclusion) and so critical to winning grants and other financial opportunities.
These two women scheme their different agendas together – and at cross purposes behind each other’s backs – to drive their power. Helen wants to book a new Musical based on the themes of old TV Movies – a direct appeal to the moneyed donor age group since she is in charge of finances. The new Interim Director, Maya wants to mount an early work of an unknown playwright with no financial resources — a forward-looking play choice, but one which might result in low box-office receipts.
From left, Denise Tyrell, Steve Price, Dave Maier, linda maria girón and Regina Morones in a scene from Jonathan Spector’s crazy comedy about theater companies “Best Available” performing at Shotgun Players in Berkeley through June 16.
The Theater Board of Directors, hilariously set up in numerous scenes to reveal how very little they understand how a theater is successfully run, want to outsource the decision of a new AD to a consulting firm helmed by the Tweedledum and Tweedledee duo of Dave Maier and Steve Price. Their board pitch is an extended circum-fabulation, guaranteed to confuse and insomnia a clown-car board. Finally, there is the ex-Board Member and mega-donor, Dolores, who still wields power and ultimately gets her way through her legacy donation and its requirements and restrictions.
Austine De Los Santos as Bex at Shotgun Players.
Best Available hits the sweet spot for anyone who has worked in theater or on a board of directors. There is much humor bordering on farce, and the multiple short scenes well describe the various stakeholders. But this reviewer felt that some passages and video projections could use … trimming. There is much potential here for a tighter comedy about that world that we love so well—the world of theater.
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ASR Senior Writer Susan Dunn arrived in California from New York in 1991, and has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected]
A new art form graced San Francisco’s Presidio Theatre one night before moving on to Chicago.
For lack of a better word, I would call it an conversalonera—a collaborative work that interweaves related themes via three “acts”—a 30-minute semi-scripted “conversation,” a 25-minute salon, and a 35-minute opera. In less expert hands, such a concept might result in merely a time-filling hodgepodge.
” … Before It All Goes Dark is worthy of many more performances …”
Not so in this case! Five brilliant collaborators have created a structure that allows for a compelling theme—art deprivation as the result of the Holocaust—to resonate to the maximum.
Joined by many others on the production end, the chief collaborators on the creation side were Mina Miller, founder of Music of Remembrance; Jake Heggie, composer; Howard Reich, former arts critic with the Chicago Tribune; and Gene Scheer, librettist.
The “interview” act began with Miller prompting first Heggie and then Reich to tell their stories: Heggie about receiving an open-ended commission from Miller, searching for a subject, and finally contacting Reich; Reich informing Heggie of a series of articles he had written 20 years previously about The Jewish Museum in Prague trying to find relatives of Holocaust victim Emil Freund. Freund’s valuable art collection had been seized by the Nazis and sequestered by the Czech Communist government.
Only some time after democracy was restored in the Czech Republic was restitution to descendants of original owners being considered. The Jewish Museum asked Reich to see if Freund’s two sisters had established family lines in the U.S. They had indeed. Reich found one, Gerald “Mac” McDonald, an ailing PTSD vet who had no idea that he had a grand uncle who was Jewish or an art collector. Reich traveled with McDonald to Prague to see and obtain Freund’s legacy. McDonald’s story became the substance of Scheer’s libretto.
It was Miller’s idea to make the second “act” a salon-style performance of instrumental works written by composers murdered in the Holocaust. The “salon” was a projected intimation of Freund’s pre-war apartment with its impressive display of art. The music was instrumental—one duet each by David Beigelman and Robert Dauber; and two duets, a piano solo, and a trio by Erwin Schulhoff. The Beigelman piece, the song Mak tsu di eygelekh (“Close your little eyes”), a Schindler’s List-like lament played by clarinet and piano, was the most moving of the fine set.
The salon morphed seamlessly into McDonald’s apartment for the beginning of the opera, accompanied by a small but effective ensemble (flute, clarinet, string quartet, piano) conducted by Joseph Mechavich. Bass-baritone Ryan McKinny did a superb job of characterizing the tattooed, burly, angry, and dying vet sparring with his neighbor Sally (effective mezzo Megan Marino) about why he must head off to Europe despite his condition. Heggie wrote a great riff-leitmotiv for McDonald, inspired, as he told me, by the imagined bass line of a heavy-metal band.
Later, in the Jewish Museum, the short opera climaxes when curator Misha (also Marino) opens a figurative door to a gallery where the Freund collection has been assembled for McDonald’s examination. The first sight of Freund’s collection blows McDonald away—and the music and lighting do the same to the audience. The sound is suffused with Heggie’s version of a lament tune passed around the chamber orchestra. Masterpieces of the Freund collection zoom out in projection one after the other. Finally, an array of searing gold spotlights rotates slowly from the stage into the auditorium, flooding the audience.
McDonald empathizes with Freund’s tragedy: “Emil, Uncle Emil, these are the last things you saw … before it all went dark.” Scheer then wonderfully conflates McDonald’s parents’ neglect, where he acted up to try to be “visible” to them, with Freund’s need for his collection to be “chosen, seen, and loved.”
Unfortunately for McDonald, the Czech government ruled that the best of the Freund collection could not leave the country. He returns home to Chicago at the end, with a cheap painting he bought at a Prague art fair. He’s not a millionaire, but he has been touched by beauty and the revelation of his ancestry.
This was the second of four performances sponsored by Music of Remembrance, an organization dedicated to “honoring the resilience of all people excluded or persecuted for their faith, ethnicity, gender or sexuality.” The first was in Seattle May 19th; the third and fourth will be in Chicago May 25th and 26th.
I believe Before It All Goes Dark is worthy of many more performances, and would be effective even if actors play the roles of Heggie and Reich. I only wish that the program notes would include more about the ultimate fate of the Freund collection. The current notes give the impression that McDonald was Freund’s sole heir, but two children and two cousins survive and should have some claim to compensation.
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ASR’s Classical Music Section Editor Jeff Dunn is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.
Mountain View’s Pear Theatre is unique in the mid-Peninsula area in that it supports its own playwrights guild. This year’s compilation of eight short plays – all written by members of The Pear Playwright’s Guild – can justifiably be called an entertaining evening of theatre.
Half of the eight are directed by Troy Johnson, and half by Arcadia Conrad. Johnson, a member of The Pear’s board of directors, has co-directed Pear Slices 16 times, while Conrad is co-directing at the Pear for the first time.
” … ‘Pear Slices 2024′ is worth seeing …”
A mere half-dozen versatile actors make up the cast for all eight short plays, which means sometimes an actor must rush off stage in one costume and walk out in about a minute in a totally different outfit and persona. That usually means there’s a trained off-stage crew helping the actors handle their quick changes.
Several of the short plays are both engrossing and comical – something not always easy to achieve. Two of the best are whimsical or whacky – or both! That certainly describes Brick House, written by Paul Braverman, who not only is a member of Pear’s board but is also an actor and playwright.
It brought down the house watching three actors walk on with pink pig snorts and ears, earnestly discussing the pros and cons of whether to build their homes out of straw, sticks or brick. Pig 1 (Bezachin Jifar) lords it over the other two pigs (Lizzie Izyumin and Arohan Deshpande) because his house is made of brick and he knows the Fox (Vanessa Alvarez) won’t be able to blow his house down. The humorous dialog has Pigs 2 and 3 mixing up the wolf from Little Red Riding Hood with the fox. Silly? Yes. Funny: Absolutely.
Bezachin Jifar in “Brick House” by Paul Braverman.
Greg Lam’s clever take on all things Shakespearean is another fine short play. Called Juliet’s Post Credits Scene, Lam manages to include the names of a dozen or more Shakespeare plays (with one actor almost saying the dreaded word MacBeth inside the theater!)
Cleaning Up, written by Christine C. Hsu, is another interesting short. Actors Jifar and Vivian Truong expertly unfold the odd but interesting storyline. Truong plays Ruby, who was previously married to Jifar’s Donny. His second wife recently passed away, and Ruby attended her funeral, bringing food for the reception afterward. It’s just a simple plot, but the two actors make it come alive and retain our attention.
Jenna Ruby Marvet at work in “Pear Slices 2024.”
While the short called I’m Not Her by Teresa Veramendi is somewhat difficult to watch, it’s nevertheless riveting thanks to the performance of its lone actor, Jenna Ruby Marvet playing the character Passion Monster. It’s not easy to keep an audience’s attention for 10+ minutes when you’re on stage all alone, but Marvet manages to do just that.
L-R: Bezachin Jifar and Vivienne Truong in CLEANING UP by Christine C. Hsu.
Although Truong is never seen (only heard), she nevertheless is the most interesting person in Cherielyn Ferguson’s Backyard. The setting is the backyard of Dana (Vanessa Alvarez) who is sitting with her friend Jill (Izyumin). They’re discussing plans for a school book fair and Truong (as Robin) is supposed to join them. Instead, Dana and Jill hear Robin constantly berating her children, screaming at them to do what she says. Disparate reactions of Jill and Dana are the heart of this play.
(L-R): Bezachin Jifar and Jenna Ruby Marvet in “Juliet’s Post Credits Scene” by Greg Lam.
Three other short plays complete this year’s Pear Slices. One, Accidental Immortal by Sophie Naylor left this reviewer a tad confused, with actor Arohan Deshpande (Charlie) rushing his lines a bit, and Marvet showing up in a mask as Death.
This reviewer also thought the two remaining short plays could benefit from a bit more polish. The first is Bridgette Dutta Portman’s Fertile Soil featuring Marvet and Truong as two women planting a garden. The storyline has promise, but seems to run out of gas by play’s end. Ditto the second and last play of the night, The Tarot Reading by Sophie Naylor. (Suggestion to The Pear: Make sure the last show is a crowd pleaser because the audience needs to leave the theater with a good feeling about the plays.)
Overall, Pear Slices 2024 is worth seeing, both to admire the work of The Pear’s Playwright’s Guild as well as the production of short plays by those same playwrights.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
Your mental, visual, and even olfactory senses will be challenged from the opening scenes as new-hire Montrellous (subtly played by Fred Pitts) offers his chef’s token of competency to boss Clyde (smartly and adeptly delivered by Kimberly Ridgeway)–his first grilled cheese sandwich. In her cutting, tight-ass managerial style, Clyde turns the sandwich down and dumps his ex-con backstory, sweetly delivered by Montrellous, into her trivia box.
“… Clyde’s gives us characters unique…humane…worth caring about…”
Written by the prolific Lynn Nottage, Clyde’s is set in a truck stop’s back kitchen, where four ex-cons are lucky enough to work there laboring to produce sandwiches for truckers. Clyde has her own prison backstory, but we never hear it. She is all business in the here and now. Reprehensively, she takes advantage of newly released convicts with no normal life to return to and provides them with a small wage to sustain themselves. She’s been there, done that, and now makes it work for her own gains.
It takes the right touch to create the perfect sandwich, and in the “Clyde’s” restaurant kitchen these three have big dreams. From left: Letitia (Damaris Divito), Montrellous (Fred Pitts) and Rafael (Ricardo Cortés). Photo by Christian Pizzirani.
As Clyde and Montrellous exit, we meet Raphael, Letitia, and Jason, the rest of the line chefs. As they banter, they either assemble a sandwich or ruminate on the “ultimate sandwich,” their current inspiration and life goal…
“Maine lobster, potato roll gently toasted and buttered with roasted garlic, paprika, and cracked pepper with truffle mayo, caramelized fennel and a sprinkle of… of… dill.”
In a series of one-upmanship, each chef dreams up the most obscure ingredients. Raphael waxes poetic on his gustatory concoction of fabulous spices and add-ins which will prove irresistible and take you spiritually to a new level.
Rafael (Ricardo Cortés, right) and Jason (Nick Mandracchia) swoon after tasting a fine, fine sandwich. Photo by Christian Pizzirani.
Admirably acted by Ricardo Cortes, Raphael is a Latino recovering addict, looking to reach out into a new life off the streets. He uses body language and gestures like a new-found drug. Letitia (Damaris Divito, outstanding) is both foil and enticement to Raphael. While he can’t stop his body, she can’t stop her mouth. With a child disabled from her drug use during pregnancy, and an unreliable ex-husband, she is swamped with trying to be the wage-earner and mother, and has served time for stealing drugs from a pharmacy for her daughter.
Newcomer Jason, sporting facial and body gang tattoos, gets the putdown from the others for wearing his lifestyle on his person. He is finally accepted when he breaks down to share his pre-prison story of his uncontrollable rage, assault and beating which almost turns to murder. Movingly portrayed by Nick Mandracchia, he gains acceptance with his co-workers if not with the standoffish Clyde.
Rafael (Ricardo Cortés, right) has his eye on co-worker Letitia (Damaris Divito) in “Clyde’s.” Photo by Christian Pizzirani.
Clyde’s is about starting over when your odds for success in life are few and seem to be working against you. The ex-cons seek redemption for past misadventures and crimes, for lack of life vision and personal self-control. Playwright Nottage shows us life’s human underbelly, struggling to make it with so few advantages. Clyde’s gives us characters unique and humane and worth caring about.
This production is admirably directed by Aldo Billingslea to create a tight ensemble that both bonds and breaks against itself in scene after scene. And it sparkles with lighting and sound that flesh out the truck-stop world. Eat your sandwich first and then head on over to Clyde’s for this compelling tragicomic story that sadly reflects many aspects of our world.
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ASR Senior Writer Susan Dunn arrived in California from New York in 1991, and has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected]
Production
Clyde's
Written by
Lynn Nottage
Directed by
Aldo Billingslea
Producing Company
City Lights Theater Company
Production Dates
Thru June 9th, 2024
Production Address
529 S. Second St., San Jose
Website
www.cltc.org
Telephone
(408) 295-4200
Tickets
$28 – $67
Reviewer Score
Max in each category is 5/5
Overall
4/5
Performance
4/5
Script
4/5
Stagecraft
4/5
Aisle Seat Review Pick?
YES!
Other Voices ...
"With its tasty repartee and redemptive mouthfeel, "Clyde’s" may not be Nottage’s most profound play, but you see why.... like (a) grilled cheese, (it) lifts into the sublime...."
TheGuardian.com
“Clyde’s” is a fugal symphony of repeated motifs: the ding of the bell; a sandwich tossed in the trash; Montrellous’ mystic insights; Clyde’s vitriolic bile. It’s a sharply defined structure. But Nottage breaks it up with real-world chaos. It never feels like artifice."
YourObserver.com
"...(the play) ... transmits joy and deeply felt emotion across an audience visibly thrilled to be in its presence."
The centuries-old battle between reason and faith may never be better staged than in Galileo: A Rock Musical, at Berkeley Rep through June 23.
Perhaps historically accurate and certainly plausible, Danny Strong’s three-hour world premiere ushers its audience into the huge Roda Theatre with giant immersive projections of ancient cosmological charts (Jason H. Thompson and Kaitlyn Pietras, projection designers), which soon segue into a horrific depiction of the execution of unrepentant atheist Bruno Giordano.
“… It’s a work of collaborative genius. …”
The sympathies of the playwright and director Michael Mayer are immediately clear. Welcome to the history of the Roman Catholic Church.
Four-time Tony Award nominee Raul Esparza stars as Galileo Galilei, the 17th-century mathematician/inventor/astronomer whose refinement of the telescope made possible his detailed observations of planetary and stellar movements, verifying earlier work by Copernicus and upending the Church’s long-held belief in the Ptolemaic (or geocentric) model of the universe, with the Earth at the center and all other heavenly bodies revolving around it.
Raúl Esparza (Galileo Galilei, center) and the cast of “Galileo: A Rock Musical”, making its world premiere at Berkeley Repertory Theatre. Photo credit: Kevin Berne
Galileo did his work with the encouragement of his friend, Bishop Maffeo Barberini (Jeremy Kushnier), a liberal, forward-thinking clergyman who later rose through the clerical ranks to become Pope Urban VIII, head of the church and the nation of Italy. Galileo’s promotion of a heliocentric model of the known universe was a threat to the hegemony of the church, then suffering a rebellion by Protestants in Germany and elsewhere. He was accused of heresy and only his long relationship with the pope and his forced recantation saved him from a death sentence. He spent the remainder of his life under house arrest and published other treatises but never again ventured into astronomy.
That’s the synopsis of the core story of this spectacular musical, certainly one of the most original and audacious large-scale productions to come along in years. It’s magnificent in every respect. Rachel Hauck’s enormous, elegant set couldn’t be better or more appropriate, nor could Anita Yavich’s costumes or the adroit, athletic large-cast choreography by David Neumann.
Ticket buyers are encouraged to engage in as much research as they can to fill in potential blanks, but even those going in cold and knowing little about the historical facts will be astounded. Music director Roberto Sihha gets the utmost from Michael Weiner and Zoe Sarnak’s hard-rock music thanks to a terrific eight-piece band and superb sound design by John Shivers.
Christian Magby (Alessandro Tarantola) and Madalynn Mathews (Virginia Galilei) in the world premiere of “Galileo” at Berkeley Rep. Photo credit: Kevin Berne
Esparza is a tremendous singer and convincing actor, as is Madalynn Mattews as Galileo’s daughter Virginia. She’s a powerful and evocative pop-rock singer. The show’s secondary plot about her life is compelling on its own. Kushnier’s high tenor—venturing here and there into falsetto—is very effective too.
In recent years, the use of high-brightness/high-definition projections has been a revolution in live theater. Nowhere is this more obvious than in Galileo. We first see the night sky as if through the unaided eye, then thousands more stars as if through the telescope—a phenomenon dismissed as a trick by some of Galileo’s inquisitors. One of them mocks the effect, saying “He has crystals in his device to make it look that way.“ Others refuse to look through it at all, deeming it a devilish invention. The band of red-robed cardinals and bishops stand high on a parapet during his trial, chanting “faith, faith, faith” like an evangelical mantra.
Jeremy Kushnier (Bishop Maffeo Barberini) and Raúl Esparza (Galileo Galilei) in “Galileo: A Rock Musical”, at Berkeley Repertory Theatre now through June 23, 2024. Photo credit: Kevin Berne
The creators and cast of Galileo are clearly against blind adherence to religious doctrine. That’s all to the good; the show falters only in not better mining some emotional nuances, such as Galileo’s personal struggle with renouncing his discoveries vs. saving his life. It also skims the thorny issue of his former friend abandoning rationality and personal loyalty in favor of political expediency.
But these are minor quibbles. Galileo is one of the greatest productions that any of us may ever see. It’s destined for Broadway, where it will likely run forever, and justifiably so. It’s a work of collaborative genius.
Not to give anything away, but the closing moment when the cast comes onstage is a poignant reminder that issues of reason vs. faith are still very much with us today. We have legislators, policymakers, and many others with strong influence, who are adamant science deniers. Even today, in an age of space exploration, organ transplants, and ultra-high technology, true believers will say “Science is Satan’s way of deceiving you.” Keep that in mind when you enter the world of Galileo.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Wikipedia defines a torch song as “a sentimental love song, typically one in which the singer laments an unrequited or lost love, either where one party is oblivious to the existence of the other, has moved on, or a romantic affair has affected the relationship.”
Harvey Fierstein adapted Torch Song from his original 1982 trilogy to sensitively expose what one gay man endures in his quest for love and belonging. Heavily infused with Fierstein’s wit and wisdom, it’s a thought-provoking glimpse into an alternative lifestyle, presented at Mill Valley’s Marin Theatre and directed by Evren Odcikin.
“…(a) thought-provoking glimpse into the universal urge for love …”
From above a dark stage, an invisible announcer intones, “Presenting Miss Virginia Ham.” A tall diva in drag (Dean Linnard as Arnold Beckoff) sashays into a spotlight and mimes a forgotten lovelorn song, milking it for laughs with exaggerated mannerisms.
Backstage, Arnold disrobes from his costume to share a rapid-fire soliloquy of his journey as a lovelorn drag queen. It’s been a rocky road, with Arnold’s mantle of hope always wrapped around him.
From L to R: Ed (Patrick Andrew Jones) and Laurel (Kina Kantor), Arnold (Dean Linnard) and Alan (Edric Young) in the “Fugue in a Nursery” portion of “Torch Song” at Marin Theatre, performing now through June 2, 2024. Photo credit: David Allen
Arnold is infatuated with a teacher, Ed, whose conflicting sexual preferences are convincingly channeled by Patrick Andrew Jones. Spurned by Ed, Arnold tries the seedy back rooms of anonymous sex. Dispirited, Arnold finds a handsome boy toy Alan (Edric Young). Arnold’s love fling ignites jealous sparks in Ed, without a satisfying result for either.
Ed and his new wife Laurel (Kina Kantor) have a hilarious repartee in a giant bed, sequentially populated by Arnold and Alan, then all four in every combination. The clever stage set is simple and superb at hiding the simulated sex acts.
From L to R: Ed (Patrick Andrew Jones) and Laurel (Kina Kantor), Arnold (Dean Linnard) and Alan (Edric Young) in the “Fugue “Torch Song” at Marin Theatre. Photo credit: David Allen
This reviewer found the scenes in Act I’s a tad long but the pacing was reinvigorated by Act II with its knockout stage set by Sarah Phykitt. Arnold’s apartment is now a haven for Ed, separated from his wife and still sorting out his life’s direction. They are joined by David (Joe Ayers) a rebellious young man adopted from the streets and now part of Arnold’s triad of family.
When Arnold’s mom Mrs. Beckoff (Nancy Carlin) shows up, the fur begins to fly. Mom thinks her gay son is not the best influence for a teenage boy. She lectures Arnold “David’s only been here six months and he’s already gay!” Arnold drolly replies “He came that way.”
From L to R: David (Joe Ayers) shows off his new look to Arnold (Dean Linnard) and Ed (Patrick Andrew Jones) in Marin Theatre’s “Torch Song.” Photo credit: David Allen
Mrs. Beckoff and Arnold are wary of one another, circling like two cats with claws. Mrs. Beckoff tries to accept Arnold’s unconventional lifestyle, urging “A conflict is never as permanent as a solution.” Despite a well-intended start, Arnold and Mrs. Beckoff have a knock-down battle. She spits out “You cheated me out of your life, and then you blame me for not being there.”
Fierstein’s acerbic witticisms continue to come fast and furiously in Act II. When Ed desperately seeks approval from Arnold, his reply is “Never fish for compliments in polluted waters.”
“Torch Song” is an eye-opening journey intended for adult audiences.
Kudos to Fierstein for this honest and thought-provoking glimpse into the universal urge for love.
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: [email protected]
Production
Torch Song
Written By
Harvey Fierstein
Directed by
Evren Odcikin
Producing Company
Marin Theatre Company (MTC)
Production Dates
Thru June 2nd, 2024
Production Address
Marin Theatre Company
397 Miller Avenue
Mill Valley, CA
Website
www.marintheatre.org
Telephone
(415) 388-5200
Tickets
$39.50-$65.50
Reviewer Score
Max in each category is 5/5
Overall
4.0/5.0
Performance
4.0/5.0
Script
4.0/5.0
Stagecraft
4.0/5.0
Aisle Seat Review PICK?
YES! - for ADULTS ONLY
Other Voices ...
"... the semi-autobiographical story of Harvey Fierstein’s TORCH SONG has you laughing, crying, and laughing to keep from crying. If it doesn’t reflect your own experience, it surely reflects the experiences of someone you know. It’s emotional, revelatory, cathartic, and honest."
RVArt Review
"... Fierstein really knows how to shape a scene and end it on a button ..."
TalkinBroadway.com
“Torch Song” has its moments of pure sitcom — there’s a protracted scene about the awfulness of Ed’s cooking — which you can only grin and bear. But it also incorporates shadows of tragedy, including a plot turn involving a brutal hate crime, that feel sadly topical."
This timely and fact-based story of a Jewish village in 1905 Imperialist Russia is heartbreaking and hopeful. It’s a tale of young love that transcends bias and ignites sparks of idealism to challenge traditional thinking.
Fiddler on the Roof won awards with beloved songs like “Sunrise, Sunset” and “If I Were a Rich Man” when it debuted on Broadway 60 years ago. It became the longest-running musical for ten years. The superb production at the Throckmorton Theatre in Mill Valley is a must-see for many reasons.
“The superb production at the Throckmorton Theatre in Mill Valley is a must see…”
The massive cast of actors – an astonishing 50 biographies are in the program –acts, sings, and dances with precision and high spirits. There is so much talent that eleven leading roles are double-cast, so you might have to see the show twice.
The impressive stage work belies their youthful ages from grade school through high school. There are even a couple of veteran actors in the show. Perhaps it is the beards that fooled me? More likely, it is the eight weeks of rehearsal under director, producer and co-choreographer Rebecca Gilbert. Kudos also to co-choreographer Erin Gentry for the cast’s high-stepping energy.
“Fiddler on the Roof” plays at the Throckmorton Theatre.
It’s impressive how all this talent can fit on the Throckmorton stage. Set designers Steve Coleman and Jean-Paul LaRosee are wizards at their craft. When costume designer Lyre Allston adds her skills, the audience is immersed in the village of Anatevka with its determined residents.
Another highlight of this production is the nine-piece band under the alternating musical direction of Desiree Goyette and Noah Bossert. Taking place front and center, the music fills the house yet never overwhelms the songs, adding haunting melodies with the violins, clarinet, mandolin, accordion, and more.
As the classic story unfolds, Tevye, a poor milkman eking out a living, has five daughters and the responsibility of finding suitable husbands for them. Tradition commands the father must choose, giving his approval and blessing. Along with his wife Golde they face the village’s limited prospects of suitable mates, urged by the matchmaker Yente. The eldest daughters have their ideas of spouses, chafing at the tight rope of tradition until it snaps.
The cast at work in “Fiddler” on now at the Throckmorton.
The Russians are also tightening their territorial ropes, causing mayhem and upheaval against the settlement. The culmination of the harassment forces a resigned exodus from the village. This reviewer’s own father-in-law, born in the Ukraine during this period, supports the story’s sad basis in truth. The imagined Anatevka is like many other villages under duress today.
Don’t miss Fiddler on the Roof, an energetic show with belief in a hopeful future for all who are displaced.
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ASR Senior Writer & EditorCari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.
No sacred cows were spared for this bestseller! What a pleasure to see a clever new show brimming with witty dialogue and spot-on casting! Ross Valley Players has a winner with this comedy, ably directed by Mary Ann Rodgers, on a comfy living room set designed by Ron Krempetz and built by Michael Walraven.
“…a hilarious … slice of Americana.”
The Book Club Play is Karen Zacarias’ hilarious expose of another American staple: the book club. The author of multiple award-winning plays, Zacarias accurately and humorously captures social dis-harmony with blatantly biting truth.
Mark Vashro as Robert, Elena Wright as Ana in “The Book Club Play”.
Laughter is a hallmark of many of her plays’ continuing successes, and this one is no exception. The set-up of The Book Club Play reveals egocentric tensions and ridiculous banter when five friends gather to discuss their impressions of a recently read book. The kicker is that the entire evening meeting, a social connection, is filmed remotely by a camera. The participants have signed waivers acknowledging that their meeting is destined to be edited for a forthcoming documentary on book clubs. The documentary director is famous, so they are excited that their images might become an award-winning movie. Or maybe a play. Go figure!
No spoilers here, but one can guess that there are conversations and interactions that the participants reluctantly realize are taped by the all-seeing eye. Can these sections be expunged? And why does the famous unseen director refer to the filming as “juicy?”
The dialog is sharp and fast-paced. Many sacred cows are spared.
Elena Wright as Ana, Chiyako Nelson as Lily in RVP’s “The Book Club Play”
Nothing is safe from the camera’s eye…sex, idiocy, religion, gender, color, superiority, or class. It’s a cornucopia of hot topics on display as only a witty comedy writer can present. Laugh out loud, and enjoy the interaction tremendously. This reviewer certainly did!
RVP gathered the perfect mix of great actors for this show, starting with Elena Wright as Ana, the uptight, in-control organizer, and her husband Rob (Mark Vashro) as the one who would rather see the movie than read the book. Matthew Travisano, Jannely Calmell, and Chiyako Delores are the regulars who join them. Their facial expressions are worth the price of admission. Gabriel A. Ross joins in Act II as Alex, an interloper who provokes questions while being vetted for club admission.
Scene changes bring Marsha van Broek to the wing of the stage. She poses as various spoof characters, extrapolating topics the club members discuss. With a video screen and much laughter, it’s a clever way to darken the stage while keeping the audience entertained.
Make The Book Club Play your required reading—err, viewing—at the Barn Theater.
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ASR Senior Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.
Production
The Book Club Play
Written by
Karen Zacarias
Directed by
Mary Ann Rodgers
Producing Company
Ross Valley Players
Production Dates
Thru June 9th
Production Address
Ross Valley Players
"The Barn"
30 Sir Francis Drake Blvd, Greenbrae, CA 94904
In San Francisco’s black-box Marsh Stage, two chairs and a table provide all the set needed for a fierce story about two performers who live mainly in their bodies and explore the heights and depths of audience risk-taking together. I was immediately struck by the almost wildcat energy and defiance of Sophia (Arwen Anderson), who plays Sophia, a woman supporting herself solely through performance art with audience engagement.
We begin peacefully enough. She has just come off one of her museum gigs, where the audience pays to sit across from her and gaze directly into her eyes for an hour. She describes how the experience transports and inspires both her and the other sitter. From there, her performance routines escalate rapidly into aggressive activity and physical danger.
” … Try Extreme Acts and be entertained by its acting and invention …”
The Table Challenge alters Sophia’s life. In this performance, a table is set with various items of pleasure, like a rose or perfume, and items of pain, like a thorn or pin or a gun. The audience is invited to interact with Sophia using any of the items on the table. She experiences sensations of both kinds depending on the audience member. She is physically pricked by one of them. Another takes and loads the gun. Her lover-to-be, Jasper (Johnny Moreno), rushes in from the audience, removes the gun, and saves Sophia from harm. Their subsequent love affair is extravagant, both physically and mentally, framing two people who obsess on the present through a filter of their individual childhood experiences.
From L to R: Arwen Anderson and Johnny Moreno star in the world premiere of “Extreme Acts,” written by Lynne Kaufman at The Marsh San Francisco May 11 – June 2, 2024. Photo credit: David Allen
Extreme Acts is about taking risks, testing your ability to manage possible jeopardy, and succeeding in defying danger, isolation and pain of all kinds. It’s not for the faint of heart. Sophia is shaped by a mother who puts her in harm’s way and abandons her, while Jasper is driven by his desire to fly, to escape the security of the ground and to dare to defy gravity. As these two partner into a joint challenge of performance acts, it is clear that Sophia is physically more capable of withstanding some of her daredevil schemes. This culminates in an act of sitting across from each other, looking into each other’s eyes for 8 hours at a stretch, for 8 days. On the last day Jasper gets up from the chair, with his body is in physical rebellion, and abandons the performance, leaving her to her paying public.
Will these two lovers survive their acts and each other’s worlds? Hers, the physical mutilations and his, the flying escapes? Will their thoughts on family and normalcy ever mesh? This play succeeds on the great strength of the acting. It continually engages us in a fantastic narrative, in a barebones surrounding, with minimal costumes and props. As the battle of the sexes is so often fought in the minds of the players, the shift to the physical battleground is a refreshing slant. A final note has Sophia challenge the audience directly. It’s up for grabs whether this strategy works in the play but take the risk and see.
Try Extreme Acts and be entertained by its acting and invention. The authenticity of the actors demands kudos.
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Senior Reviewer Susan Dunn arrived in California from New York in 1991. Since then she’s been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected]
San Francisco Playhouse has launched an ambitious new production of Tennessee Williams’ The Glass Menagerie, which will run through June 15.
Set in a shabby apartment in St. Louis in the spring of 1939, on the verge of World War II, the classic mid-century family drama gets an unusual treatment by director Jeffrey Lo. Instead of an intimate or nearly claustrophobic setting, the Wingfield family residence is on a high open platform atop SFP’s famous turntable stage, a feature that worked supremely well in Guys and Dolls and Nollywood Dreams.
“… Susi Damilano … anchors this Glass Menagerie …”
Whether a rotating stage is appropriate for this production is a matter of personal opinion. Lo also has his actors sit stage-left and stage-right when they are not in a scene, like basketball players on the sidelines waiting to return to the game.
Tom (Jomar Tagatac), Jim (William Thomas Hodgson) and Amanda (Susi Damilano) toast to their meal in San Francisco Playhouse’s “The Glass Menagerie,” performing May 2 – June 15. Photo Credit: Jessica Palopoli
The Wingfields—matriarch Amanda (Susi Damilano), asocial daughter Laura (Nicole Javier), and disaffected son Tom (Jomar Tagatac)—struggle to survive in the wake of a long-ago departure by an unnamed father and husband, whose vandalized portrait presides over everything in the household. Behind it is a huge neon sign for the Paradise, a music club across the alley from the Wingfield apartment. The sign is beautiful, beckoning, and aspirational but we hear little music from the club.
Amanda is an aging Southern belle who has never let go of her glory days attending cotillions in the Mississippi delta, where she was courted by—in her memory—a seemingly endless procession of “gentlemen callers.” Laura is a high-school dropout with a limp, who pretends to be attending secretarial school while doing little more than wandering around town, playing old records on the family’s Victrola, or managing her collection of glass animal figurines—the “glass menagerie” of the show’s title.
Tom is a would-be writer toiling away in a shoe warehouse, and the tale’s narrator in Williams’ gorgeous prose. He and Laura both chafe under pressure from their mother, but Tom alone displays open rebellion, much of it self-defeating, such as spending money for the household’s monthly expenses on personal frivolities—including making his first payment for merchant mariners’ union dues.
Lo introduces Laura’s only gentleman caller, Tom’s co-worker Jim O’Connor (William Thomas Hodgson), immediately in the first scene, although he doesn’t appear in the drama until much later, when his tentative introduction to Laura appears promising but goes awry when he recognizes that the Wingfield family dysfunction isn’t to his liking.
Javier brings a weary lack of confidence to her character, but director Lo doesn’t give her much opportunity to mine Laura’s nuances. In the entire production, we don’t see her at the Victrola or playing with her glass collection until her encounter with Jim. Javier is underutilized in this production—she could contribute much more with directorial encouragement.
The set, in fact, doesn’t include a Victrola at all, but stage-right there’s an oddly-positioned 1980s-style record player—clearly not part of the Wingfield residence—to which Tom returns several times to cue up a 12” vinyl record, which also didn’t exist in 1939. The Glass Menagerie is what Williams called “a memory play,” so it’s possible that this gambit is a visual reference to a time in the future when Tom is recalling his past.
Amanda (Susi Damilano) is concerned for her children in San Francisco Playhouse’s “The Glass Menagerie.” Photo Credit: Jessica Palopoli
Even so, it’s one of several anachronisms in the show. Another is the ultra-long cigarette that Tom habitually smokes, a product that didn’t hit the market until the 1980s. Jomar Tagatac is a fabulous actor with wonderful delivery. He appears frequently at most major SF and Bay Area theaters, but it’s a big leap of faith to accept him as a 20-something aspiring writer. He’s more like an uncle to Laura than a brother and former high-school classmate. Hodgson is also a talented prolific actor and nails the subtlety of the Jim O’Connor role, without bringing anything new.
But it’s Susi Damilano who anchors this Glass Menagerie. She absolutely shines in the role of Amanda, a character often portrayed as bitter, delusional, and manipulative—a fearsome harridan. Damilano turns this tradition on its head—yes, her Amanda exudes worry, frustration, annoyance, insistence, and pathos, but is also infused with love, whimsy, good humor, and self-awareness. Damilano mines hidden comedy in the Amanda role. She has always done great work, but she finds new depth is a character that other performers have been prodding for eighty-some years. Her performance alone is worth the price of admission. Brava!
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ASR Senior Writer & EditorCari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.
ASR NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
In one of Lisa Kleypas’ bestselling romance novels, the leading character Lillian, gives advice to her younger sister about the act of love: “You wouldn’t want to swoon, or you might miss something.” In Daniel Catán’s 1996 opera, resplendently on stage in San Jose on May 3rd, a long-unfashionable surge of romanticism floods out of mouths and instruments with the force of a firehose. A lot is missed in the process, but does it matter?
“… (this opera) …will flow far into the 21st century….”
Soaring Pucciniesque vocal lines, shimmering woodwinds out of Ravel’s Daphnis et Chloé augmented by marimbas, swashbuckling brass pronouncements recalling Wolfgang Korngold’s opera and film scores–all of these inundate the audience at considerable volume throughout Act 1 like the Amazon itself in flood. Only a few quieter moments allow much time for breathers until Act 2. But by that time, in spite of the over-intensity, I was beginning to realize I was experiencing a new masterpiece performed in a forgotten style: an opera where melody takes precedence over system, where music takes precedence over libretto, and, with thanks to Stage Director Crystal Manich, where librettos are respected and not mauled (i.e., regietheater).
Passengers (from left to right: Efraín Solís, Aléxa Anderson, Guadalupe Paz, and César Delgado) on the El Dorado riverboat play a rousing game of cards in the Bay Area premiere of Daniel Catán’s “Florencia en el Amazonas,” presented by Opera San José. Photo credit: David Allen
Manich neatly summarizes the river-journey plot as the evolution of three kinds of love in three couples: “blossoming” (Arcadio & Rosalba), “rotting” (Alvaro and Paula) and “lost” (Florencia and the deceased Cristobal). The journey is mediated in the physical realm by the ship’s Captain (sympathetic bass-baritone Vartan Gabrielian) and in the spiritual by deckhand Riolobo (warm baritone Ricardo José Rivera). Tenor César Delgado was a fine, youthful Alvaro; soprano Alexa Anderson a standout as Rosalba—I want to hear more from her ASAP. Baritone Efrain Solis and mezzo Guadalupe Paz were emotionally and musically on the money as the sniping couple Alvaro and Paula. And Elizabeth Caballero’s uplifting Florencia seemed like a gift from soprano heaven—her concluding aria melted all the plastic in the house.
Paula (Guadalupe Paz, left) and Alvaro (Efraín Solís, right) board the El Dorado riverboat to the Amazon and join Riolobo (Ricardo José Rivera, center) and the Captain (Vartan Gabrielian, upper right) in the Bay Area premiere of Daniel Catán’s “Florencia en el Amazonas”. Photo credit: David Allen
This reviewer felt Liliana Duque-Piñeiro’s stage design was far superior to the recent Metropolitan opera’s overly abstract and distancing version. Its dangling jungle, like the music, was embracing rather than pictorial. The performance I attended was led by Assistant Conductor Johannes Löhner, who did passionate justice to the 30-pound score. As he put it in a subsequent interview:
“I will die on any hill for this score … The orchestration, it’s massive. … It’s like Puccini meets [Richard] Strauss, but it never feels plagiarized. It always feels genuine. It comes from the heart.”
I blame Catán, not him, for the music that made an iguana in an early scene sound like a brontosaurus.
I predict that Florencia en el Amazonas, with its voluptuous river of sound, will flow far into the 21st century.
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ASR’s Classical Music Section Editor Jeff Dunn is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs
Production
Florencia en el Amazonas
Libretto by
Marcela Fuentes-Berain
Stage Direction
Crystal Manich
Producing Company
Opera San Jose
Production Dates
Thru May 5th
Production Address
California Theater -
345 S First St, San Jose, CA 95113
The B.D.E.S. Hall at 140 West J Street in Benicia may seem an unlikely place for a play involving a séance, but under Clinton Vidal’s skillful direction, the Benicia Theatre Group’s production of Noël Coward’s 1941 Blithe Spirit is a fun romp about the perils of long-term commitment, perfectly suiting the historic hall’s stage.
Coward’s hero, Charles Condomine, performed with adroit comic skill by Matt Cardigan-Smith, is a popular novelist who feels spooked by his past. Married to his second wife, the super-rational Ruth, played by Jenny Rastegar, who lends Ruth an air of steely ferocity, Charles holds a seance to research a thriller he’s writing about a homicidal medium.
“… a truly enjoyable production! …”
He invites a couple to the affair: Mrs. Bradman (Paige Whitney-White) and her husband, Dr. Bradman (Patrick Kenney). Whitney-White gracefully embodies her role of a properly skeptical British wife, while Kenney brings an air of medical professionalism to his character, although to this reviewer’s ear his British accent seemed a bit absent during the second act. The séance is led by a local medium, the bicycle-riding, cucumber sandwich-eating Madame Arcati (Donna Turner).
The jokey experiment causes marital mayhem when Charles finds his first wife, Elvira, portrayed by the alluringly beautiful Kelsey Bye, has suddenly materialized. Madame Arcati takes her trade seriously, and is delighted at her unexpected success at raising a spirit, even if only Charles can see her. What follows is a ghostly variation on the eternal triangle, with Charles torn between two equally demanding women, Elvira and Ruth.
Donna Turner as Madame Arcati does a lovely job of displaying hearty enthusiasm and finally genuine dismay when she learns she was summoned under false pretenses. Brittany Kamerschen rounds out the cast as Edith, the excitable maid.
Brian Hough’s handsome living room set becomes a character in itself, imploding impressively as the unquiet spirits settle in. Altogether, a truly enjoyable production!
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Senior Reviewer Denise Armistead of St. Helena, has long enjoyed live theatre. Denise began writing reviews of local productions, and eventually made her way into the SF Bay Area Theatre Critics Circle, where she is delighted to find a home. Her goal to see as many productions as she possibly can. Contact: [email protected]
The best way to enjoy Lamplighters’ production of The Mystery of Edwin Drood is not to be embarrassed by making a fool of yourself.
Why? Because 19 actors will be wandering around in the audience from time to time. Sooner or later, they will be in your face begging you to boo and hiss at them, clap and cheer for them, and even … think this coming November … vote for them. Do this, and you’ll help recreate the heady atmosphere that reigned for generations in British music halls—until alcohol was banned in them starting in 1914.
“…Brett Strader’s first-rate music direction is a pleasure …”
Edwin Drood disappears in Charles Dickens’ last novel, confounding the book’s other characters and readers as well. The novel was published in installments, but Dickens died suddenly after only half of them were written. Only Dickens knew how it was to end, though some hints were given to a friend of his.
Rupert Holmes wrote the book, lyrics, and music for this musical version, which premiered on Broadway in December 1985. To add levity to the rather dismal original, Holmes placed the mystery as a play about Drood presented in a Victorian/Edwardian music hall with actors who love to interact with the audience.
Jill Wagoner does a great job as the lead actor (“Chairwoman”) explaining to the audience that they are to vote for possible conclusions to Dickens’ work, and even choose Drood’s murderer (if he indeed was murdered). The actors immediately fly into the audience, vying for attention and audience-members’ votes, to be collected in Act 2.
The Cast at work for “The Lamplighters”. Photo by by Joe Giammarco.
The play then proceeds, but with the actors periodically breaking the fourth wall as livelier Victorian actor personalities with their own hopes and dreams, vs. their more dour Dickens roles. The three levels—21st-century actor, Victorian/Edwardian music-hall actor, and Dickensian character can get a tad confusing at times. (I found myself going back and forth between my 21st-century program and the Victorian/Edwardian “Dramatis Personae” handout to keep a handle on who’s who.)
Among the many cast members, Nathanael Fleming does a great job as the unstable and unseemly Jekyll/Hyde Jasper. Natalia Hulse exploits her lovely light, child-like soprano as Rosa, Jasper’s ward and music student. The song he forces her to learn, “Moonfall,” is the best in the show, with creepy lyrics oozing harmonies worthy of 1986’s Phantom of the Opera. Wayne Wong’s comic talents grab the audience as he portrays the “slosh”buckling alcoholic, Durdles. And Noah Evans delightfully overacts as the minor character Bazzard, who hopes for a better role by upstaging fellow cast members. Peter Crompton’s attractive set design provides the right milieu, and Brett Strader’s first-rate music direction is a pleasure.
Peter Crompton’s set designs set the right milieu. Photo by by Joe Giammarco.
The entire ensemble under M. Jane Erwin’s direction does its best to entertain over the nearly three-hour duration of the show. If you attend, make the most of it by challenging them to stay in character when they approach you and demand your vote. Later, they will line up for you in the lobby, where you can ask them what they think really happened to Edwin Drood.
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ASR’s Classical Music Section Editor Jeff Dunn is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.
Want to watch a friendly rat give a boat ride to a timid mole? In this charming tale of forest creatures and friendship, Spreckels Theatre assembled a talented cast of nineteen. Many are well-known veterans of Bay Area stages. Director Sheri Lee Miller wisely lets these pros have a blast with their roles, and the show is a winner for it.
“…these pros have a blast with their roles, and the show is a winner for it.”
It’s spring, and the woods are jumping with singing animals in colorful costumes designed by Donnie Frank. It’s not entirely clear which animal is which, but they’re having a joyful party in the leafy glade.
Sean O’Brien takes the central role of Mole, befriended by Nelson Brown as Rat. They strike up a friendship and are entreated to help Mrs. Otter (Molly Larsen-Shine) track down her headstrong daughter Portia (Nicole Stanley).
Into their midst zooms Toad (Tim Setzer), as green as a toad should be, on a low-riding tricycle or some such vehicle. The youthful audience screams their delight. The always-delightful Setzer is over-the-top and steals every scene, which any respectable toad will do. Toad is addicted to fast motorcars, his or anyone else’s. He nabs a sports car, and that lands him in court.
“Wind In The Willows” cast at work.
Meanwhile, in the dark wild woods, a jumping Weasel – kudos to the athleticism of Keene Hudson – hungers to take over Toad’s castle, Toad Hall. Weasel and his minions can only be thwarted by Badger, a commanding role by Mary Gannon Graham. Rat and Mole seek her out and beg her to chase out Weasel and the squatters and help stop Toad’s need for speed. Will she do it for her friends?
The Wind in the Willows delivers songs with clever lyrics, although this reviewer found some of the lyrics a bit difficult to hear clearly, due to the twelve-piece orchestra directed by Lucas Sherman. Scene changes happen smoothly with superb visuals using the rear-screen projection so beloved by the Spreckels audience. Karen Miles choreographed dances that the animals, err, actors happily perform. The entire cast seem to have as much fun in this adventure as the audience does.
All singing, all dancing when the wind is “In The Willows” at Spreckels Theatre.
The Wind in the Willows overflows with fantasy and energy. Perfect for young and old, it’s a giant-scale school musical by adults pretending to be animals. As the audience exited, one mom said to her child “You did very well—you sat through your first live show.” The child answered simply “I liked it.” Spreckels offers special $10 tickets for patrons 18 and under.
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.
Production
The Wind in the Willows
Written by
Julian Fellowes, based on the book by Kenneth Grahame
Music and Lyrics by
George Stiles and Anthony Drewe
Directed by
Sheri Lee Miller
Producing Company
Spreckels Theatre Co.
Production Dates
Through May 19th
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
If you’re at least 50, it’s likely you’ve seen The Music Man several times over the years. Meredith Willson both wrote and produced it the 1957 Broadway hit, a portrait of the fictional town of River City, Iowa. It won five Tony Awards that year.
Five years later, it was made into a wildly popular film adaptation starring Robert Preston, Buddy Hackett, Ron Howard, and Shirley Jones. Of course, it’s been a mainstay of community theatre companies everywhere since then. Many theater fans consider The Music Man the greatest piece of Americana ever written.
“… sure to resonate with audiences of all ages …”
Because of its wholesomeness and down-home characters, the musical still draws in adults who remember the movie, as well as young people seeing it for the very first time.
Photo by Scott Lasky — Harold Hill (Alex Perez) convinces the citizens of River City, Iowa that the presence of a pool table in town is trouble in THE MUSIC MAN at Palo Alto Players.
Palo Alto Players’ current rendition of the predictably sweet story doesn’t disappoint. That said, on opening night, this reviewer believed that “Professor” Harold Hill (a charming Alex Perez) spoke and sang perhaps a tad softly (maybe because he has a lot of songs to sing and words to speak).
The Music Man’s first scene is a classic – and PAP’s version is a winner. Aboard a train heading to River City, a number of traveling salesmen are debating whether they are becoming a dying breed thanks to modern technology. One has to posit that it’s a difficult scene to do well, because all the men on the train have to sway and bounce in precise harmony! (They performed flawlessly on opening night.)
The last man to get off the train in River City turns out to be Hill himself, who’s decided it’s the perfect town for him to do his special kind of “sales” (Spoiler Alert: he’s a con man.) And so he promises to form a children’s marching band and gets parents to pony up for musical instruments as well as band uniforms. Then, after collecting the money, Hill plans to skip town and head to another to sell his spiel. Of course, he always likes to woo a lady or two wherever he goes, but things in River City don’t exactly turn out the way the professor expects.
There are several excellent performances in PAP’s production, not least of which is Gabrielle McColgan as Mrs. Paroo, whose daughter Marian (Alicia Teeter), is the town’s librarian and the object of Harold Hill’s affection. Both McColgan and Teeter have two of the loveliest voices in this show.
Photo by Scott Lasky — Pictured: Winthrop Paroo (Russell Nakagawa, who alternates the role with Henry Champlin) sees the Wells Fargo Wagon coming down the road in THE MUSIC MAN, Meredith Willson’s six-time, Tony Award-winning musical comedy.
Other standouts include Sheridan Stewart, who plays the town mayor’s oldest daughter, Zaneeta, with Andrew Mo as bad boy Tommy Djilas, and Russell Nakagawa playing Winthrop Paroo. (Nakagawa shares his role with Henry Champlin.) On opening night Nakagawa was wildly applauded as he proudly sang his second-act song, “Gary, Indiana.”
One of the “inside jokes” in The Music Man is that the four men who serve on the school board can’t stand each other. Yet they suddenly turn into a barbershop quartet thanks to Prof. Hill recognizing that their voices blend perfectly as parts of the quartet. Together with Hill they sing “Ice Cream” and “Sincere.” Later they again join up with Hill (and Marian) to sing “Lida Rose” and “Will I Ever Tell You,” in beautiful harmony.
Director Lee Ann Payne has her hands full trying to corral this large cast of more than 30. She also choreographed the large dance numbers, among the best parts of Music Man.
The show has at least seven full-cast dance numbers for which costume designer Katie Strawn dressed the young girls in an adorable rainbow of pastel dresses. Strawn had much-needed assistance by a crew of seamstresses for all the outfits needed for the production’s big cast. Live music emanated from the pit in front of the stage, thanks to a skilled group of musicians led by music director/conductor Tony Gaitan.
Photo by Scott Lasky — The Pick-a-Little ladies of River City practice their dance presentation for the town’s Ice Cream Sociable in THE MUSIC MAN at PAP.
No review of The Music Man is complete without mention of the “Pick-a-Little, Talk-a-Little” ladies lead by the rubber-faced Linda Piccone as the mayor’s wife, Eulalie Mackecknie Shinn. It’s fun to watch as she herds her ladies into Grecian urn poses in their oversized black-and-white bathing suits.
This reviewer wondered why Drew Benjamin Jones (as anvil salesman Charlie Cowell) rushes his lines, and constantly wears a mean, vindictive scowl? As Harold Hill’s old sidekick, Marcellus, Dane Lentz at first seems ill at ease, although he does a credible job when he joins Perez singing and dancing “The Sadder by Wiser Girl.”
PAP’s artistic director Patrick Klein (and scenic designer for the show) created several set pieces that have the original look-and-feel of a little midwestern town. Angela Young is spot-on as sound designer; Chris Beer’s lighting works well.
Overall, PAP’s The Music Man is sure to resonate with audiences of all ages.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
There is unequivocally nothing rotten in Hillbarn Theatre’s enchanting rendition of Something Rotten, running through May 12 at the Foster City theater. The sold-out crowd on opening night showed the hard-working cast their love by standing up and awarding them a prolonged round of applause.
For this musical, it helps to have seen many other Broadway musicals, because references to hit songs from Annie,Beauty and the Beast, A Chorus Line, Phantom of the Opera, and more are sprinkled throughout the production.
Playwrights John O’Farrell, Karey, and Wayne Kirkpatrick obviously used their theatrical backgrounds in writing Rotten and bringing it to Broadway in 2015. The show was nominated for 10 Tony Awards, including “Best Musical,” and earned one.
For the Hillbarn production, director Randy O’Hara rounded up a talented cast of 21 performers who all act, sing, and dance—and here’s a plus: there are even a few tap numbers!
Jill Jacobs and Nigel Bottom in “Something Rotten” at the Hillbarn. Photo courtesy Tracy Martin.
In his pre-show speech, artistic director Stephen Muterspaugh joked that it took three Hillbarn artistic directors to bring Rotten to Penninsula/South Bay audiences: himself, O’Hara, who was his predecessor, and Dan Demers, the company’s artistic director from 2011 to 2021. Demers has returned to play Brother Jeremiah in Rotten, with the audience applauding loudly when he made his first entrance.
As the lights dim and pixyish Jon Gary Harris enters, wearing a flashy costume and big pink hat as The Minstrel, singing and playing a tune. The magic begins. Quickly the entire cast walks onstage to sing the opening number “Welcome to the Renaissance.”
The crux of the story is that the two Bottom brothers, Nick (a sensational Brandon Savage) and Nigel (a sweetly charming Andrew Cope) are trying to come up with an idea for a play to counterprogram anything Will Shakespeare might be writing. They are desperate for an idea, a backer and some good actors.
Because the Bard has just produced Richard III, the Bottoms decide to write a play about Richard II. Then someone tells them that Shakespeare is now working on a Richard II. “What?” screams Nick: “Who goes backwards??” That results in the play’s second song: “God, I Hate Shakespeare” sung by Nick.
Nick is desperate to put on a money-making play—especially when his wife, Bea (Melissa Wolfklain) tells him he’s going to be a father. He enlists the help of the famous soothsayer, Nostradamus (an electrifying Caitlin Beanan). She agrees to help him come up with a great topic for a play–of course, extracting money from him for that little favor.
(L-R) Melissa W., Brandon S., Julio C., Jill J., and Andrew C. from “Something Rotten” at Hillbarn Theater. Photo courtesy: Tracy Martin.
Beanan practically steals the show as she gestures/cogitates/imagines what Nick’s play will be about. Using her magic powers, she tells him that he should make a musical. Up until that time apparently, plays were either comedies or tragedies. No one had ever included music in a play, let alone have actors sing words rather than speak them.
She then uses her magical powers to conjure up what the musical should be about. “It’s something about an egg—and maybe ham—Danish ham” she says, before finally blurting out “Omelet!” Nick doesn’t think it’s a good play topic but he follows her lead because the first idea he had, a musical about the Black Death, was a total flop. Later, when Shakespeare announces he’s written a play about a melancholy Dane named Hamlet, Nostradamus snaps her fingers and says, “Oh! So close!” (“Omelet,” “Hamlet” – get it?)
There are so many terrific performances in Rotten that it’s difficult to single out all of them. Julio Chavez is a delightfully over-the-top Shakespeare who with the swagger and costumes of Elvis, immodestly sings “Will Power” and “It’s Hard to Be the Bard” with a roguish smile.
Demers plays the firebrand preacher Brother Jeremiah who refuses to let his daughter, Portia, get near heathens such as the two Bottom brothers. But Nigel and Portia fall in love nonetheless, brought together by the fact that he writes beautiful sonnets (poems) and she loves reading poetry.
Nick Bolton and Nigel Bottom at work at Hillbarn. Courtesy Tracy Martin.
Then there’s the Jew, Shylock, well played by Jason Nunan. At the time, laws didn’t allow people to employ Jews, so Nick refuses his money. Later, after having no money left of his own, he relents and accepts the Jew’s backing.
Hunter B. Jameson gets credit for creating the flexible, quick-change scenic design. Long-time Hillbarn costume designer Pamela Lampkin must have had a mighty crew to help her create the many costumes needed for the 29-member cast, with several actors playing three or four roles.
Somehow the audience knows that by the end of Rotten, all’s well that ends well” as the Bard himself famously wrote! Muterspaugh said he and the play’s production staff decided against a live orchestra for this show. “Given the amount of dancing in the show, this gave the creative team and cast access to the musical tracks during the entire rehearsal process and allowed them to work out exact timing.”
That was obviously the right choice because Hillbarn’s Something Rotten is something irresistible. The show has even garnered a “Go See” recommendation from the SF Bay Area Theatre Critics Circle! Get tickets soon before they sell out.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
The very first thing that strikes the eye when sitting down in your seat for The Pear Theatre’s The Chinese Lady is the lush gold satin curtain that encircles the small circular stage.
Written by Lloyd Suh, the son of South Korean immigrants who grew up near Indianapolis, this 90-minute play tells the story of Afong, who has been treated all her life as a beautiful, delicate toy, something to admire from afar. The other character, Atung, is basically “irrelevant”—at least if you believe Afong’s opinion of him.
” … It’s definitely worth 90 minutes of anyone’s time …”
This production, running through May 12 in Mountain View, is playing in repertory with Love Letters by A. R. Gurney. Both productions are directed by Wynne Chan, who does a credible job of attempting to help audiences understand the plight of women like Afong, who was sent to New York in 1934 to appear on stage—more as a novelty or curiosity than anything else.
Each of the roles is shared by two actors, but for the purpose of this review, Eiko Moon-Yamamoto plays Afong and Joseph Alvarado plays Atung. Both are excellent. Sharing the two roles for other performances are Joann Wu and Daniel Cai.
This reviewer found that the play itself at times is rather a challenge to understand, despite the fact that every time the satin curtain is drawn and then opened again, Afong tells the audience how old she is and what year it is. Afong’s poignant storyline begins in 1894 when she explains that she’s the first Asian woman to ever arrive from the “Orient.”
Eiko Moon-Yamamoto in “The Chinese Lady” at The Pear. Courtesy of The Pear Theater.
“Everyone’s curious about the Chinese lady,” she remembers. It cost 25 cents for adults and 10 cents for children to see her. “The first thing they look at are my feet. I have to be coy and charming and show the way of eating with chopsticks.” Then she adds: “Forks are violent! Chopsticks are elegant.”
After the curtain twirls around, Afong is now 16 years old. This continues, but as the years go by, Afong realizes that on the social pecking order she is considered a carnival act or freak show. Eventually the entrepreneur who sponsors her raises ticket prices to 75 cents. “I demand more!” she says.
By the time she’s 29 years old, Afong feels she is losing the “ring of the Cantonese language.” Eventually she’s sold off to P.T. Barnum where she once again becomes a sideshow act.
Afong grows so tired of the whole “entertainment” business that she makes up her mind to retire. Yet, does she have any skills or abilities to help her earn a living? She has read newspapers and realizes that “the Chinese were perfect for doing the hard work for building a railroad. But once it was built, they are told: ‘You are irrelevant.’ ”
The cast of “The Chinese Lady” at work. Courtesy of The Pear Theater.
The poignant play ends in the year 2024. Obviously Afong isn’t still alive, but perhaps one of her descendants tells the audience to “take the time to really look at each other. Then we’ll be understood.”
Though this review doesn’t make much mention of the Atung role, he is nevertheless more than just a curtain turner. He, too, is caught in the same predicament as Afong. He has never learned how to earn a living, nor does he have any skills. He’s just one of many Chinese who worked hard all his life but earned little.
“… Suh wrote ‘The Chinese Lady’ six years ago, yet it’s perhaps more relevant today than ever …”
Sharon Peng’s costumes are authentic to the period, and the rounded two-step stage created by Louis Stone-Collonge feels just right. Sonya Wong’s lighting is excellent, and original compositions by Howard Ho are appropriate. It seems logical that a play such as this would have a history and cultural consultant, a role filled by Patrick Chew.
One projects that what Suh hoped to do by writing this play is to help today’s audiences reexamine their own feelings about Asian-American and Pacific Island people. It’s definitely worth 90 minutes of anyone’s time to relive Afong’s life and consider it in the context of 2024.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
A would-be creator of musical theater named Usher wrestles with his demons in Michael R. Jackson’s one-act musical fantasy A Strange Loop. The West Coast premiere of the seven-actor, no-intermission, nearly two-hour production runs at ACT’s Toni Rembe Theater through May 12.
A poorly paid young theater usher (Malachi McCaskill) is the only character with a name in Jackson’s Pulitzer Prize and Tony Award-winning script. The others are called “Thought 1,” “Thought 2,” etc., because they exist only in the protagonist’s mind.
(front) Malachi McCaskill (Usher) with (L-R) Jordan Barbour (Thought 5), Avionce Hoyles (Thought 3), John-Andrew Morrison (Thought 4), and J. Cameron Barnett (Thought 2) in “A Strange Loop”, performing at A.C.T. Photo credit: Alessandra Mello
His demons include profoundly obsessive issues about family, culture, identity, body image, loneliness, sexuality, and ambition. In various combinations, they’re all eating away at him. It’s a wonder he can function.
… Strange Loop is certainly challenging and transgressive …
Sharply directed by Stephen Brackett, A Strange Loop opens with an explanation by Usher of the significance of the show’s title: a concept of the self, put forth by cognitive researcher Douglas Hofstadter about the human ability to perceive ourselves. We begin at one point, wander about in a miasma of fantasies, remembrances, and hall-of-mirrors self-concepts, then ultimately return to where we started—an interpretation of life as an exhaustive exercise on a closed-loop obstacle course.
Usher spends his work hours escorting theater fans to their seats at the perpetual Broadway show The Lion King, and his remaining time dreaming about writing his own musical theater blockbuster. Owner of both keyboard and computer, Usher carries with him a little notepad on which he jots down ideas, but when he sits at his desk he accomplishes little more than self-pity. He has many concepts—most of which play out very effectively on ACT’s stage—but no all-encompassing scheme to put them together.
(L-R): Avionce Hoyles (Thought 3), Jordan Barbour (Thought 5), J. Cameron Barnett (Thought 2), Tarra Conner Jones (Thought 1), John-Andrew Morrison (Thought 4), and Jamari Johnson Williams (Thought 6) in “A Strange Loop” Photo credit: Alessandra Mello
What we get, rather than a traditional beginning-middle-ending storyline, is a hodgepodge of Usher’s imaginings, from hilarious to horrific, all of them brilliantly delivered in rapid-fire succession on Arnulfo Maldonado’s astounding set. We get the show’s amazingly talented actors/singers/dancers as multiple and widely divergent characters, including not only garden-variety and exotic theater people, but promoters, advisors, gay men cruising for momentary hookups, and a huge array of black stereotypes, such as Usher’s aloof, beer-drinking father (Jordan Barbour) or his Bible-clutching mother (John-Andrew Morrison), who begs him to abandon his sinful lifestyle and return to the church.
There’s plenty of sly self-deprecating humor in Jackson’s tale, but the outstanding moment of confrontational comedy comes with a depiction of Usher’s slacker brother, clad in giant oversize basketball shorts, who lives rent-free with his ditzy girlfriend in the parents’ basement. It’s a moment out of The Jerry Springer Show.
(front) Malachi McCaskill (Usher) with Tarra Conner Jones (Thought 1), Jordan Barbour (Thought 5), John-Andrew Morrison (Thought 4), Avionce Hoyles (Thought 3), J. Cameron Barnett (Thought 2), and Jamari Johnson Williams (Thought 6) in A Strange Loop, performing at A.C.T.’s Toni Rembe Theater now through May 12, 2024. Photo credit: Alessandra Mello.
At the other end of the emotional spectrum is a scene where Usher reluctantly submits to an encounter with an overbearing older man, an encounter as painful and grim as a prison rape. When it’s over, Usher shuffles away in shame. He’s already mentioned that he’s not a particularly prolific gay man. If this is an example of his once-yearly erotic adventures, he’s a miserable soul indeed.
By far the highlight of A Strange Loop is the big-production gospel sendoff for departed cousin Darnell, a victim of HIV. The funeral is a conflation of Usher’s guilt, his experience growing up in the church, and the urgings of friends and theater promoters for him to create “a Tyler Perry musical.” Set designer Maldonado is at the top of his game with this creation, alone almost worth the price of admission. Clad in glittering choir robes, the supremely talented performers make it shimmer and shine.
(L-R): J. Cameron Barnett (Thought 2), Tarra Conner Jones (Thought 1), Jamari Johnson Williams (Thought 6), John-Andrew Morrison (Thought 4), Malachi McCaskill (Usher), Jordan Barbour (Thought 5), and Avionce Hoyles (Thought 3). Photo credit: Alessandra Mello
Some observers have opined that McCaskill’s voice is inadequate for the demands of the music, but his apparent vocal shortcomings actually reinforce the verity of Usher’s deep self-doubt. His less-than-assertive singing style is likely intentional.
In all his interactions with other characters, there’s only one positive note. Toward the end, Usher has a friendly chat with a rabid theater fan, a lady standing near the aisle with a souvenir poster of The Lion King. Among the many parts she plays in this show, the gifted Tarra Conner Jones provokes a warm response when she gives him heartfelt encouragement to pursue his dreams.
Does he follow her advice? That’s not made clear. In keeping with the show’s introductory remarks, we return to where we began. There’s no character arc in A Strange Loop.
After a long wild ride through the tormented mind of an insecure artist, we find that he’s exactly as he was when the tale began. It’s a ride that’s by turns audacious, confounding, annoying, offensive, beautiful, pointless, uplifting, depressing, poignant, amazing, and celebratory. Most importantly, it’s thought-provoking—and absolutely not recommended for children.
Among the most enduring clichés about contemporary art is the assertion that really effective pieces should be “challenging, transgressive, and transformative.” A Strange Loop is certainly challenging and transgressive. Is it transformative? That’s a purely personal assessment.
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ASR NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Writers Cara Reichel and Peter Mills dug deep to unearth this historically factual story from World War I. Mills added music and clever lyrics to propel The Hello Girls from the back offices of Bell Telephone to the battlefields of France. Sonoma Arts Live marshaled thirteen talented actors and musicians who recreate our forgotten heritage in a splendid show.
“…SAL…recreates forgotten heritage in a splendid show …”
Artistic Director Jaime Love notes “I had a stack of scripts from which to choose. “ The Hello Girls just fell out of the stack. I asked Maeve Smith if she thought we could do it. She said yes! Maeve then spent an entire year researching and meeting with descendants of these women and the Doughboy Foundation to perfect her gift of storytelling.”
And what a remarkable story it is!
From L to R) – Caroline Shen, Tina Traboulsi, Emily Evans, Sarah Lundstrom, Jenny Veilleux at work. Photo credit Oberlin Photography.
During WWI, communication in the field of battle was the lifeblood of the Army, but their skilled soldiers could not handle plug-and-cord switchboards fast and efficiently. General John J. Pershing put out the call to recruit telephone switchboard operators, all of whom were female one hundred years ago and lacked the right to vote. Hundreds of women volunteered to serve, learning French to enable them to work with our allies.
(From L to R) – Emily Evans, Sarah Lundstrom, Tina Traboulsi, Jenny Veilleux at SAL. Photo credit Oberlin Photography.
Jenny Veilleux commands The Hello Girls as Grace Banker. Her strong vocals and rapidly delivered lyrics are impressive, earning spontaneous applause. She’s joined by Tina Traboulsi, Sarah Lundstrom, Emily Owens Evans and Caroline Shen, who lend their fine voices in close harmonies that soar on wings. They could have led the way for the Andrews Sisters who followed years later.
Drew Bolander shares his powerful tenor voice bolstering his character Lt. Riser. He is ably joined by servicemen Skyler King, Phi Tran, Jonathen Blue, with Mike Pavone as General Pershing.
Jenny Veilleux in “The Hello Girls”. Photo credit Oberlin Photography.
The Sonoma Arts Live cast of The Hello Girls has a healthy dose of perseverance along with their talent. Traboulsi learned French from scratch, with a convincing accent, for her part as Louise. Shen broke her foot ten days before opening. Insisting she could carry on, scenes were adjusted to allow for Shen’s crutches and limited dance moves, as she continued to play the piano. Kudos to this show that goes on!
The voices, the music, the clever lyrics, the costumes and the acting chops…this is a superb show to salute.
March to it!
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews. Contact: [email protected]
Production
The Hello Girls
Written by
Cara Reichel and Peter Mills
Music/Lyrics by
Peter Mills
Directed by
Maeve Smith
Producing Company
Sonoma Arts Live
Production Dates
Thru May 5th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Such a simple set, yet by the time the Pear Theatre’s production of Love Letters ends, the show’s various actors (all but one couple are real-life partners) bring a tear or two to audience members. In the play, characters Andrew and Melissa love each other – but never at quite the same time. That’s what makes it so poignant.
The Pear’s Artistic Director, Sinjin Jones, came up with the novel idea of selecting different actors who are real-life couples to appear at each performance. Each duo is asked not to read the script ahead of time or do any research for their roles.
… The Pear definitely has a hit…
Playwright A.R. Gurney conceived Love Letters as a short novel in 1988 but later realized it made a better play. (He’s also written such well-known plays as Sylvia, The Dining Room, and The Cocktail Hour.)
Director Wynne Chan explained to each couple there would be no rehearsals. The actors don’t even see the set until they walk out to perform. The two enter from separate parts of the stage and each sits down at a desk, facing away from each other, with a white curtain serving as a barrier between them.
The first letter, written by Melissa, is sent to Andrew (Andy) when both are in the same second-grade classroom. “My parents are sending me to dancing school. Do you go to dancing school, too?” Andy scoffs at that, writing back that he’s supposed to take up sports – even though he doesn’t want to.
As they grow up together, they also recognize what different worlds they come from even though both are born into wealthy WASP families. They are trained from childhood to follow the customs of their class structure, but while Andy conforms, Melissa is something of a rebel. She sees her family as dysfunctional, which, she says, is like having no family. Andy’s family is more stable and he’s more conventional, so it’s likely Melissa’s rebellion is why he’s attracted to her.
Photo credit: Liz Edlund. From left: Robyn Ginsburg Braverman and Paul Braverman
Eventually, Andy goes to an all-boys school, and the two keep up their friendship by sending each other letters. He then gets into a prestigious men’s college. Melissa chides him by writing: “Going off with the boys again…” Later, the two begin calling each other rather than sending letters, but it’s not the same – and they both recognize the value of the written word.
One of the delights of doing this play without rehearsals is that occasionally, even the actors laugh at something they are saying – or laugh at what the other says in response.
If all of the actor couples who appear in Love Letters are as charming and enthralling as the Bravermans, The Pear definitely has a hit on its hands. Check out the schedule of which couple appears on which date on the theatre company’s website: www.thepear.org
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
A mostly unacknowledged contribution to victory in the First World War gets a nice up-close-and-personal examination in The Hello Girls, at Sonoma Arts Live through May 5.
Adroitly directed by Maeve Smith, the musical tale by Peter Mills and Cara Reichel explores the US Army’s recruitment of bilingual female switchboard operators for service near the front lines in France in the final years of the war. The Army had reached the quite reasonable conclusion that women were far more competent at the task than were the men who were trying to do the job.
Caroline Shen, Jenny Veilleux, Skyler King, Tina Traboulsi, Jonathen Blue, Emily Evans, Phi Tran, Sarah Lundstrom at Sonoma Arts Live. Photo credit Oberlin Photography.
The result was an all-female unit of the Army’s Signal Corps, or “America’s First Women Soldiers,” as the cover of the playbill has it. Jenny Veilleux stars as Grace Banker, a real historical figure, the first recruit, and the ultimate leader of a team of five operators. Banker’s teammates Suzanne Prevot, Helen Hill, Bertha Hunt, and Louise Le Breton, are endearingly portrayed by Sarah Lundstrom, Emily Owens Evans, Caroline Shen, and Tina Traboulsi, respectively. Traboulsi is especially entertaining as the only native French woman in the group. She also performs on guitar and clarinet. Evans doubles on violin.
… The Hello Girls is a wonderful production on many levels …
Drew Bolander is compelling as Lt. Joseph Riser, tasked with recruiting and training the new operators. Skyler King, Jonathen Blue, and Phi Tran appear as assorted officers, enlisted men, and other characters, with veteran actor Mike Pavone in a convincing role as General John J. Pershing, who originated the initiative. Blue is the show’s choreographer and also performs on snare drum and keyboard, backed by a all-women band—Erica Dori and Elizbeth Dreyer Robertson on percussion, with Elaine Herrick on bass and cello.
There’s a whole lot of talent on the sparsely-decorated SAL stage, evocatively illuminated by lighting designer Frank Sarubbi. Without any hint of parody, Peter Mills’ songs are reminiscent of the WWI era while sounding quite contemporary, and are delivered with gusto by the cast. The larger story is simply and effectively conveyed, while sub-plots are also made clear, such as Le Breton’s being underage, or Lt. Riser’s challenges in attempting something new.
From L to R) – Caroline Shen, Tina Traboulsi, Emily Evans, Sarah Lundstrom, Jenny Veilleux at work. Photo credit Oberlin Photography.
The Hello Girls was produced with expert advisors. It’s a great example of both plausible historical fiction and onstage story-telling, with enough detail to make it realistic, such as the mention of the hellishness of sustained trench warfare. A brief but particularly poignant scene features Phi Tran as a German prisoner of war, spared when captured only because he spoke English. He states flatly that his comrades were killed as they tried to surrender—a reminder that in armed conflict, good guys and bad guys alike are capable of atrocities and war crimes.
Jenny Veilleux in “The Hello Girls”. Photo credit Oberlin Photography.
The larger historical context isn’t included in the story, but it’s one that might prove enlightening for potential ticket buyers. American public knowledge about World War I is shockingly scant. At its outbreak, most of the crown heads of Europe were cousins. They were incredibly suspicious and jealous of each other, leading to an arms race that ultimately consumed 20 million lives. The armistice that ended the war established conditions that led to WWII twenty years later, which in turn gave us the world we now inhabit.
The US Army’s 2,300 female telephone operators made an enormous contribution to the victory, but as we are reminded late in the play, the Veterans Administration refused to recognize them as anything other than “civilian contractors” although none of them had ever signed contracts. This insult was corrected decades later, when only 63 of them were still alive to receive benefits.
(From L to R) – Emily Evans, Sarah Lundstrom, Tina Traboulsi, Jenny Veilleux at SAL. Photo credit Oberlin Photography.
The Hello Girls is a wonderful production on many levels. Especially fitting is a post-show celebration of veterans in the audience, asked to stand and be recognized while the cast performs theme songs from all six branches of the US military. Both the show’s cast and these veterans deserve every bit of approval. Like the Vietnam Memorial in Washington, it’s something that works for everyone regardless of where you land on the political spectrum.
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ASR NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
The Hello Girls
Written by
Cara Reichel and Peter Mills
Music/Lyrics by
Peter Mills
Directed by
Maeve Smith
Producing Company
Sonoma Arts Live
Production Dates
Thru May 5th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
In a way, Los Altos Stage Company’s production of The Skin of Our Teeth is somewhat like a Ringling Brothers three-ring circus: It’s got woolly mammoths, it’s got an Atlantic City seductress, and it has an ice wall pushing down from Canada into New Jersey.
Thornton Wilder’s 1942 Pulitzer Prize-winning play is about as close to an allegory of the entire history of the world ever attempted on stage. It gets a decent, if “mammoth-sized”, production, thanks to the efforts of director Chris Reber, five strong actors, and an interesting scenic design enhanced by Reber’s creative projection touches.
… “An antic ode to human resilience…”
It’s difficult to describe Skin in a few words because just when it seems to be veering toward sheer fantasy, something akin to pathos pops up. And though attempts are made to modernize it (like adding a few visual sound bites from TMZ), some might think it shows its age.
In any case, as the play opens, a beleaguered Mr. Antrobus is making his way home during a full-blown blizzard, exhausted but exhilarated after a hard day at the office doing such things as dividing M and N as he invents the alphabet. (He’s also inventing the lever and the wheel … …)
Michael Hirsch plays Mr. Antrobus with authority and a bit of wonder, especially when it comes to his family. As Mrs. Antrobus, Mary Hill is a neurotic marvel. She pops and twirls around with motherly authority in period dresses that float around her thanks to lots of crinoline petticoats.
(L-R) Kristin Walter and Olga Molona at work.
But first it’s the ditzy maid Sabina (a delightful Kristin Walters) who commands the audience’s attention. Using her little feather duster, she flits around the stage dusting this, that and whatever suits her fancy, including other people. She tells anyone who will listen that she can no longer stand being the Antrobus family’s maid and she gives Mrs. A her two-weeks’ notice. “That’s the law!” she smirks. Sabina’s also the character who breaks the fourth wall, talking directly to the audience and suggesting several times that a scene should be skipped. Irascible to the end, she guides us through the willful anachronisms of the play. At one point, Mrs. A yells at Sabina because she (Sabina) apparently let the fire go out in the fireplace. Now, Mrs. A says, her family will freeze to death, so she sends Sabina out in the blizzard to gather more twigs.
Mary Hill and Michael Hirsch in “The Skin of Our Teeth”.
When Act 2 opens, the Antrobus family is now in Atlantic City on vacation and celebrating their 5,000th wedding anniversary. Mrs. A, carrying a purse large enough to hold a good-sized dog, says she’s delighted that her husband can enjoy a few days with the family and relax. He’s also there to give a speech and to announce the winner of the “Miss Atlantic City” beauty contest.
Turns out Kristin Walters (Sabina), now wearing a sexy bathing suit and cover-up, is the contest winner, and Mr. A is ready for a little extra-marital fling. Spoiler Alert: Mrs. A makes sure he doesn’t get the chance.
Four actors (LASC’s artistic director Gary Landis, Olga Molina, Patty Reinhart and Sam Kruger) play a number of ensemble roles. Molina stands out as the gypsy fortuneteller, and Landis is deadpan funny wearing a UPS uniform in short pants.
The Antrobus children, Henry (Max Mahle) and Gladys (a pert Emily Krayn) have very little stage time and only a few lines, so it’s difficult to judge their performances.
It’s likely most theatergoers will recognize that many of the things happening in the lives of the Antrobus family are still relevant today: Hoards of homeless people have nowhere to sleep and nothing to eat; a large poster states “Make Mammals Great Again,” and there’s a sequence where Mr. and Mrs. Antrobus attempt to herd various animals (some long extinct) into a ship (aka Noah’s Ark).
(L-R) Kristin Walter, Mary Hill, costumed Sam Kruger and Patty Reinhardt, and Gary Landis.
Kudos to Jonathan Covey for excellent sound, to Aya Matsutomo for comprehensive lighting, Yusuke Soi for good scenic design, and Miranda Whipple’ for zany props (a gargantuan “A” is part of the Antrobus’ living room décor.)
However, the production team ‘s decision to combine Acts 2 and 3 into one “Act 2” (with only “one brief pause”), the play’s overall length (~2 hours and 45 minutes), and the play’s period dialog and sexual politics–might be a stretch for some modern audience members.
In the end, Skin is a rallying cry for a world that could use some reassurance that it will, despite everything, carry on — even if by “The Skin of Our Teeth.”
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
A spunky teenager brings social justice to 1962 Baltimore in the uproarious comic musical Hairspray, at San Francisco’s Orpheum Theater through April 21.
Directed by Matt Lenz, with choreography by Robbie Roby, the national touring production is the most recent incarnation of John Waters’ iconic 1988 film starring Ricki Lake as the irrepressible Tracy Turnblad, a chunky girl auditioning for a spot on The Corny Collins Show, a Baltimore teen music-and-dance show.
… the huge cast are all simply tremendous. …
Her ambition grows from merely personal to societal when she pushes for inclusion of the black community, much to the dismay of her rival Amber Von Tussle and Amber’s manipulative mother Velma. In her efforts to do the right thing, Tracy runs afoul of local police and even the governor of Maryland, but emerges victorious.
“Hairspray” at the Orpheum in The City.
Social justice issues are often served best by comedy and humor. Likewise, bigots and oppressors are often best skewered the same way. Hairspray spares none of them in a two-and-a-half-hour kitsch extravaganza spoofing all that was both serious and ridiculous in the early 1960s.
The Orpheum production is swollen to bursting with world-class talent, starring Caroline Eiseman as Tracy, Andrew Scoggin as Corny Collins, Caroline Portner as Amber, Sarah Hayes as Velma, Skyler Sheilds as heartthrob crooner Link Larkin, Greg Kalafatas as Tracy’s mother Edna, Ralph Prentice Daniel as Tracy’s goofy dad Wilbur, Scarlett Jacques as Tracy’s best friend Penny Pingleton, and Josiah Rogers as Seaweed J. Stubbs. Diedre Lang astounds as Motormouth Maybelle, especially in her breakout solo song, and Micah Sauvageau is a comedic delight in multiple roles. Let’s not overlook soul-sister song-and-dance trio “The Dynamites” – Ashia Collins, Leiah Lewis, and Kynnedi Moryae Porter.
“Hairspray” cast at work.
The huge cast are all simply tremendous. So are sumptuous quick-change set designs, immersive projections, dazzling costumes, and the rock-solid band (music director Lizzie Webb) in the orchestra pit. The show couldn’t be more appropriate for San Francisco, whose eager fans on opening night loudly applauded every scene and gave the whole affair an extended standing ovation.
Deservedly so. Hairspray is an absolute joy.
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Aisle Seat Review NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Hairspray
Written By
John Waters
Directed by
Matt Lenz
Choreographed by
Robbie Roby
Producing Company
BroadwaySF
Production Dates
Through April 21st
Production Address
The Orpheum
1192 Market St, San Francisco, CA 94102
Sports spectators usually take sides. So can opera composers—say, Puccini in that heavyweight match, Scarpia vs. Tosca. But what do composers do when an opera is a spectator sport taking place on stage?
On April 5th, Opera Parallèle provided two fascinating examples of sports opera and the “sides” promoted by two composers, David T. Little and Laura Karpman. Little took on an obscure Belgian bird-call competition called Vinkensport, and Karpman had a swing at exhibition tennis with the King/Riggs “Battle of the Sexes” match of 1973. Creative Director Brian Staufenbiel brilliantly collaborated with the composers to subsume Little’s opera into the 1973 ABC Wide World of Sports broadcast moderated by immoderate Howard Cosell. Parallèle publicized the combination cleverly as Birds and Balls.
… I was happy to be a spectator …
The upshot was that Karpman’s sympathies (and librettist Gail Collins’) were with Billy Jean King, but the music was rooting for Riggs. In contrast, Little’s music and Royce Vavrek’s libretto were rooting for all the competition participants, especially the birds.
The evening began with Little’s 45-minute Vinkensport, or the Finch Opera, which premiered in 2010 and was revised in 2018. In it, six contestants with sticks sit in a line with their trained chaffinches in boxes and count each series of chirps their birds emit. (You can hear the sound at https://www.youtube.com/watch?v=COllwlh-jXo.)
Each count is supposed to be marked with chalk on the sticks; the trainer with the most counts at the time limit wins. Although sticks were present, no chalk marks were made, nor were calls heard, so audience members not reading up on the details of this bizarre activity were probably confused about the rules. The six contestants did sing a chorus depicting the calls and marks: “Susk-e-wiet, Susk-e-wiet, Susk-e-wiet, Tick, Tick, Tick, Tally.”
Courtesy of SF Chronicle.
Not that the contest itself mattered. Like the musical A Chorus Line, Vinkensport is really about the hearts and souls of the contestants. Each has a backstory and an attitude. These are absorbing, utterly human, and superbly conveyed by the libretto, projected videos, and especially, the rhythmic and orchestral variety found in Little’s music. A testament to the effectiveness of characterization is that the audience cares for the two cheaters of the six as much as for the four others: a sex-starved yet religious wife, a dutiful son who hates the sport, an alcoholic trophy wife, and a principled yet lonely man who ends the opera with a moving farewell to his bird, “Atticus Finch,” whom he releases to the skies after a decade of service.
In contrast to the depth of Vinkensport was the glitz and bang of the second opera Balls, a premiere which I suspect needs a bit more polish. In it, honoring of women’s political progress by the victory of Billie Jean King is undercut by the extended satire of Seventies styles and fashions, “Laugh-in” funny as they are. The over-the-top self-promotion by the Bobby Riggs character is accompanied by music with a disjointedness that seems undistinguishable from King’s music, which should convey a more steady and subdued determination. Rather than highlighting a Seventies moment in time, the opera contrarily includes the appearance of Susan B. Anthony in 19th-century dress. Perhaps this underlines women’s striving for progress and the continuing failure of the ERA to cap it today.
However these two operas fare in the future, either together or separately, I must vouch for the incredible job the entire Opera Parallèle team did in mounting them under Nicole Paiement’s and Brian Staufenbiel’s supervision and creative input.
All performers were outstanding, most especially Nathan Granner as both Hans Sachs’ cocaine-hypered trainer in Vinkensport and Bobby Riggs in Balls. David Murakami’s projections and Lawrence Dillon’s videos greatly enhanced the proceedings. The impressive Nikola Printz sang Billie Jean King. Jamie Chamberlin, Daniel Cilli, Chelsea Hollow, Shawnette Sulker, and Chung-Wai Soong wonderfully embodied their distinct Vinkensport characters.
Finally, Mark Hernandes did a fine job sporting Howard Cosell’s unique approach to English. And I was happy to be a spectator to the whole operation.
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ASR’s Classical Music Section Editor Jeff Dunn is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a member of the San Francisco Bay Area Theatre Critics Circle and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won prizes for his photography, and is also a judge for the Northern California Council of Camera Clubs.
Production
"Birds" (Vinkensport) and Balls
Directed by
Brian Staufenbiel
Producing Company
Opera Parallèle
Production Dates
Thru April 7th
Production Address
SF Jazz Miner Auditorium 201 Franklin St, SF, CA 94102
Some have forgotten the horrors of 2020—the sudden onslaught of a deadly new airborne disease called COVID-19, the fear and hate it provoked, the many thousands of victims it claimed, and the governmental incompetence that failed to save them.
Performance artist Kristina Wong has forgotten none of it.
Her career abruptly cut short by the pandemic, the San Francisco native found herself isolated in LA’s Korea Town, dismayed by the daily news and baffled about what—if anything—she could do to help. The national Centers for Disease Control repeatedly issued edicts that the best way to prevent transmission of COVID was through the simple act of wearing masks, which were in short supply during the first months of the pandemic.
Photo – Kevin Berne/American Conservatory Theater
Wong was stunned by the lack of facemasks, not just for ordinary people but for frontline healthcare workers, many of whom succumbed to the disease as a result of their work. She sprung into action with her trusty sewing machine, making masks from any available fabric and mailing them off in small batches where she thought they might be most needed. She gradually recruited other women sheltering-in-place, most of them Asians, who cranked out homemade masks from anything they could find, including old clothing. Soon she was head of a loosely-organized but very determined network of “Aunties” who busied themselves with the laudable work of saving lives—a group she called “The Auntie Sewing Squad,” or “ASS” for short. Ultimately, ASS made more than 350,000 masks.
… the best solo performance we’ll see this season …
Part standup comedy, part performance art, part concise and incisive recent history, and all heart, Wong’s self-titled Sweatshop Overlord is by turns hilarious, heartwarming, and horrific. She spares no one in her retelling of that hideous year and the months that followed, with special vitriol directed at both the anti-mask/anti-vax/anti-science faction and at the incomprehensible nostalgia for the 45th president—one who was himself infected, got world-class medical treatment at taxpayers’ expense, then refused to endorse mask-wearing while hosting super-spreader events at the White House. And of course, no revisiting of that period would be complete without mention of the Jan. 6 insurrection—another astounding act of idiocy.
Photo – Kevin Berne/American Conservatory Theater
Wong covers all this and more with wry, self-deprecating humor and frenetic energy as she roams the stage at ACT’s Strand Theater, designed by Junghyun Georgia Lee to evoke a sewing room out of “Gulliver’s Travels,” with bolts of fabric the size of rolled carpets, and pincushions large enough to serve as chairs.
Projections by Caite Hevner provide much-needed visual background as Wong relates her tale, never hesitating to lay blame where it most belongs, which is not to imply that her approximately 95-minute nonstop performance is wholly a political rant. Some of her cutaways are drop-dead hilarious, such as an extended bit about a genital cyst she suffered during the shutdown, evoked by an inflated balloon bobbling between her legs. In a throwaway bit about organizing groups of children to stitch masks, she crows about having one-upped Nike and Apple by “getting kids to work for free.” Sweatshop overlord!
Her script is brilliant, and under the direction of Chay Yew, brilliantly delivered—truly standing-ovation stuff.
On the way out, I commented to a speechwriter friend,
“Now that was a speech!”
“No,” he countered, “That was a sermon.”
Indeed it was—a much-needed one. Monday April 8 was total eclipse day, one that followed a rare earthquake in the Northeast USA. Those two events will be followed by the confluent emergence of both 13-year and 17-year cicadas. All of these, for some believers, are proof of God’s wrath against sinful humans.
Ignorance may still abound, but heroic figures like Kristina Wong send it scampering into the darkness. Quite possibly the best solo performance we’ll see this season, Kristina Wong, Sweatshop Overlord runs through May 5. Don’t miss it.
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ASR NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact him at [email protected]
Production
Kristina Wong, Sweatshop Overlord
Written by
Kristina Wong
Directed by
Chay Yew
Producing Company
American Conservatory Theater
Production Dates
Through May 5th
Production Address
ACT’s Strand Theater
1127 Market Street
San Francisco
Can there ever be too much of something wonderful? The Kite Runner might just test those boundaries.
The first novel by Afghan refugee-turned-physician-and-novelist Khaled Hossieni, The Kite Runner, became a runaway success with 101 weeks on the best seller list and 3 weeks at #1. Published in 2003, it was expanded into an acclaimed Academy Award-nominated movie in 2007 and then adapted into a stripped down theater version by Matthew Spangler. Other lives include a graphic novel created in 2021.
Now The Kite Runner, the play, is back to a packed audience at the Hammer Theatre Center in San Jose, where it first launched over fifteen years ago in 2009.
… a classic story of sin and redemption …
It’s a story that helped educate the American public on the culture of a distant country with which we happened to be at war for 20 years. It is a classic story of sin and redemption based on the lives of two young men raised in different social classes and physical abodes but within the same household and ultimately by the same father.
The author of ‘The Kite Runner’ says what his characters choose “is not interesting to me, but why they choose it and the consequences are interesting.” Photo EnActe Arts
Amir, the first son and our lead and narrator is passionately and convincingly portrayed by Ramzi Khalaf as a man coping with his own failings to do the right thing by Hassan, the son of a servant. Amir’s father is in the diplomatic corps, houses his immediate family in a privileged Kabul home, and is able to escape Afghanistan with Amir as refugees to California.
Hassan, however, ultimately becomes a victim of terrorists who overrun his home in Kabul. Amir’s sin is to take advantage of the lower-class Hassan, lord his superiority over him and to let jealously of his father’s affection for Hassan infect him. A local crime of shame separates the two young men, who were so close in their early years, and leaves a lasting scar on Amir as he refuses to help Hassan and ultimately rejects him.
Years later, when Amir returns to Kabul he faces the truth of his past, makes the requisite sacrifices for the future and asks for forgiveness and redemption.
The “Tabla” drum instrument in “The Kite Runner”.
Does The Kite Runner work as a play? The adaptation by Spangler is essentially a narrative told to us directly by Amir who remains the center of every scene. It is a compelling story told mostly in first person and staged with minimal sets, lighting and music, very much like Word for Word productions.
What keeps this play from stasis? It’s the multiple levels of time – youth and maturity; country – Afghanistan and the US; culture – Islamic and Democratic; fortune – wealth and poverty; class — multi-ethnic upper and lower classes; and finally family – the father’s and son’s stories. It wasn’t until his second novel that Hosseini writes in depth about women.
Accompanying these various stories, woven together for us by Amir, and semi-staged and acted, is the music of this Afghan culture: the tabla, a set of drums played with the hands that create different rhythms and tonal sounds. The tabla opens and closes this multi-cultural epic, which continues to entertain and move us with its staying power.
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Since arriving in California from New York in 1991, Susan Dunn has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected]
I rocked my way through the 1960s and ‘70s, blithely unaware that the music that made me dance had its roots in ‘50s-era Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins. They had a mutual connection in their early discovery by Sam Phillips, a music producer at Sun Records in Memphis, Tennessee.
One incredible night in 1956, these four legends showed up at Sun Records. Each had a different agenda. Million Dollar Quartet is the ostensibly true story of what may have happened that unforgettable night.
… Million Dollar Quartet is a freewheeling frenzied ride …
Santa Rosa’s 6th Street Playhouse presented Million Dollar Quartet in 2019 to great acclaim. Their GK Hardt stage is once again rockin’ the house with this hit Broadway musical.
The cast of “Million Dollar Quartet” at work, 6th Street Theater, Santa Rosa. Pictures courtesy 6th Street.
Director (and music director) Steve Lasiter doubles his formidable talents playing Johnny Cash. Lasiter has channeled “The Man in Black” in national tours. He’s joined onstage by Elvis, a movin’ and shakin’ Nathan Roberts. Roberts gets the audience roaring when he encourages the audience to beg for more.
Nathan Roberts as Elvis in “Million Dollar Quartet” at 6th Street Theater, Santa Rosa. Pictures courtesy 6th Street.
Wyatt Andrew Brownell harnesses the wild energy of Jerry Lee Lewis, complete with his foot bangin’ piano. Jake Turner portrays songwriter/guitarist Carl Perkins as the oft-disregarded rockabilly star chasing his next hit. These actors are musicians who take glee in trying to “one-up” each other when they hog the mike.
The backstory gradually exposes why these four have come to meet up with Phillips, “The Father of Rock and Roll,” a part perfectly cast with veteran Dwayne Stincelli. Phillips is credited with discovering and nurturing many musicians to the top of the charts. When his artists’ agent contracts renew, surprises occur.
Steve Lasiter (right) in “Million Dollar Quartet” at 6th Street Theater. Pictures courtesy 6th Street.
Joining the on-and-off recording session are George Smeltz on drums, with Michael Leal Price on the upright bass. Elvis brings his current girlfriend (sultry Jennifer Barnaba) to the gathering. She lends silky singing and style to soften the macho-but-friendly aggression between the guys.
Million Dollar Quartet is a freewheeling frenzied ride, playing “Can you top this?” to the audience. One drawback is that the comfortable seats at the GK Hardt Theatre leave no room for dancing in the aisles. If you never heard these legends in person—or even if you did—come rock with this show. There’s a whole lot of shaking goin’ on!
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: [email protected]
Production
Million Dollar Quartet
Written by
Colin Escott and Floyd Mutrux
Directed by
Steve Lasiter
Producing Company
6th Street Playhouse
Production Dates
Thru May 4th, 2024
Production Address
6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Website
http://www.6thstreetplayhouse.com
Telephone
(707) 523-4185
Tickets
$35 to $58
Reviewer Score
Max in each category is 5/5
Overall
4.5/5
Performance
4.5/5
Script
4/5
Stagecraft
4/5
Aisle Seat Review PICK?
YES!
Other Voices: “Million Dollar Quartet”
'Lovers of old school rock ‘n' roll will get a big bang out of 'Million Dollar Quartet,' a mighty slick jukebox musical powered by a dynamite song stack and dynamic portrayals of the four legends singing ‘em..."
New Jersey Newsroom
"What exactly is it that makes the new musical 'Million Dollar Quartet' so damn enjoyable and invigorating? Is it the pure simplicity and rapid-fire energy of four rock 'n' roll legends performing their signature tunes for 100 blissful minutes? Is it the charisma and talent of the actors who portray these legendary figures Whatever the case, it's one hell of a winner..."
On Off Broadway
"The musicianship sells this entertainment. If the rockabilly rhythms of Perkins or the proto-rocker antics of Lewis don't set your heart to palpitating, then 'Million Dollar Quartet' will be lost on you. The calculation is that fans of early rock-and-roll and idolaters of Presley and Cash are of an age and economic level to fill the Nederlander's pews. And for them, the musical will feel at times like a throbbing worship service..."
A pivotal year, 1989 saw the collapse of the Soviet Union, the dismantling of the Berlin Wall, and widespread anti-government protests in China, culminating in the months-long protest occupation of Beijng’s Tiananmen Square, and the ultimate declaration of martial law that resulted in countless deaths and injuries.
It was also the year of an important basketball game between the University of San Francisco and Peking University (as it was known then)—at least, in Lauren Yee’s fictional retelling in The Great Leap, the CenterREP production at the Lesher Center for the Arts through April 7.
… All four performers are wonderful. …
In Yee’s dramatic comedy, the game coincides with the final days of the Tiananmen Square protest—an event that figures prominently as a secondary plot element. (The actual USF vs. PU game took place in 1981, one in which Yee’s father played.)
Taking its title from “The Great Leap Forward” as the Chinese Cultural Revolution was called, the play involves only four actors—Cassidy Brown as a USF coach named Saul, his Peking University counterpart Wen Chang (Edward Chen), a Chinatown high-school basketball prodigy named Manford (James Aaron Oh), and Manford’s “cousin” Connie (Nicole Tung).
Manford (center -James Aaron Oh) makes a shot as Saul (left – Cassidy Brown) and Wen (right – Edward Chen) watch in Center Repertory Company’s “The Great Leap,” presented March 16 – April 7 at Lesher Center for the Arts. Photo Credit: Alessandra Mello
Saul is sweating bullets about the upcoming game, where he will be reunited with his friendly rival Wen, when Manford approaches him about joining the USF team despite being only 17 years old, not having graduated from high school, and not being nearly as tall as other players.
Manford’s ability on the court is well-depicted even if we never see him make a free throw or sink a fadeaway jump shot. He makes much of the importance of basketball in Chinatown—his mother was a star player in her native China—while Saul dismisses him with salty language very much reminiscent of standup comic Rodney Dangerfield.
Saul (Cassidy Brown) coaches Manford (James Aaron Oh) in Center Repertory Company’s “The Great Leap,” thru 4/7/2024. Photo Credit: Alessandra Mello
Manford’s persistence pays off and he joins the team despite Saul’s misgivings and Wen’s warnings that his presence may not be officially approved. As the play’s anchor character, Nicole Tung gives both Manford and the audience much-needed schooling in practical reality. All four performers are wonderful.
Directed by Nicholas C. Avila, who also directed CenterREP’s tremendous In the Heights, Yee’s tightly-woven script combines issues about international politics, high-level sport, cultural identity, and the nature of parentage, friendship, rivalry, and commitment to a code of personal conduct. All of this is beautifully depicted on the Margaret Lesher stage, doing multiple duties as basketball court, coaches’ offices, hotel rooms, apartments, and more—an elegant bit of set design by Yi-Chien Lee, whose projections add resonance to this emotionally engaging production.
Connie (Nicole Tung) gives her cousin Manford (James Aaron Oh) advice in Center Rep’s “The Great Leap.” Photo Credit: Alessandra Mello
As with many current comedies, The Great Leap takes a serious turn toward the closing of the second act. That’s perhaps as it should be—eventually, life has a way of making everyone reconsider the frivolous importance of even our most cherished pursuits.
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Aisle Seat Review NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
**Special thanks to Portland Center Stage for graphics.
Production
The Great Leap
Written by
Lauren Yee
Directed by
Nicholas C. Avila
Producing Company
Center Repertory Company
Production Dates
Thru April 7th, 2024
Production Address
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
Website
centerrep.org
Telephone
(925) 943-7469
Tickets
$42-$70
Reviewer Score
Max in each category is 5/5
Overall
4/5
Performance
4/5
Script
4/5
Stagecraft
4/5
Aisle Seat Review Pick?
YES!
Other Voices on: “The Great Leap”
"...Lauren Yee’s "The Great Leap", ... reconfigure(s) Chinese history into a story between parents and children, mapping painful histories of nations onto the painful histories of family. In this so-called “socio-political fable,” allegory and memory are intertwined to both delightful and calamitous effect."
Theatrely.com
"...Renowned for deftly combining her San Francisco roots, Chinese culture and global politics, (Lauren) Yee puts it all together in this often humorous, yet emotionally stirring piece of theatre..."
Broadwayworld.com
"..."The Great Leap" opens with hearty humor and carries its audience along in an absorbing story until a profound poignancy begins to permeate the senses..."
A simple set-up has profound consequences in Once—a guy from Dublin, Ireland, a busker or street performer, meets a girl from Czechoslovakia. She recognizes his talent and encourages him to go to New York to pursue a musical career. That’s just one of many pieces in this musical at Foster City’s Hillbarn Theater through April 7.
For Once, the Hillbarn stage has a working saloon on one side where theatre patrons can purchase beer at intermission. The floor also revolves, so that during some songs, everyone on stage eventually gets around to the front to sing or play their instruments.
… It’ll keep your toes tapping– for Once! …
Written in 2007 as a film by John Carney, the musical premiered on Broadway in 2012 and won seven Tony Awards that year. Like the Broadway production, Hillbarn’s version has a minimalistic set with chairs on three sides. Cast members, who also serve as the orchestra when sitting in their chairs, simply step forward for their lines and sit down when others are the focus.
Kaylee Miltersen in “Once” at Hillbarn Theater. Photo: Tracy Martin.
What gives this production its authenticity are several fine actors, none better than Kaylee Miltersen playing Girl, a little scrap of a thing with an authentic-sounding Czech accent and a way of whipping out lines that cause the audience to laugh. She’s so delightful! Why wouldn’t the Irish musician Guy (Jake Gale) fall for her?
Gale has a wonderfully lilting voice that brings life to many of his songs, such as “Say It to Me Now,” “Leave,” and even “Broken Hearted Hoover Fixer Sucker Guy.” They all sound incredibly sincere. Miltersen and Gale team up on piano and guitar, respectively, and sing “Falling Slowly” and “If You Want Me”—simultaneously melting the audience’s hearts.
Musical instruments and connections abound (more on this in a minute), in fact, the accordion player is Girl’s mother, Baruska (a spirited Sarah Jebian, in an indelible performance). Another fine actor, Paul Henry, plays Billy—who owns a music store, is somewhat shy and thinks he’s in love with Girl. He attempts to show he’s a judo expert until his back gives out. Meanwhile, Guy and his father own a vacuum cleaner repair shop where Guy works. It happens, as Girl reminds Guy, that she has a Hoover vacuum that “doesn’t suck” so he needs to take it to his father’s shop for repair.
Cast of “Once” (L-R, Jake Gale, Jesse Cortez, Nicholas Conrad, and Chloe Angst) at work at the Hillbarn Theater. Photo by Mark Kitaoka.
Hillbarn’s artistic director Steve Muterspauch lyrically directs Once, with assistance from choreographer Francesca Cipponeri to include modern dance and ballet moves as the musical progresses. For a few songs, timing must be perfect, and on opening night, it was.
As mentioned, nearly every minute of the two-act, roughly two-hour play is filled with music. There’s a cello playing in one corner (cellist, Kit Robberson), a guitar or two a minute later (Brad Satterwhite, Nicholas Conrad, Jesse Cortez), two violins (Nina Han and Karen Law) or Chloe Angst with their tattoos, attitude and angst (pun intended) up to the end of their spiked red hair. (And don’t forget the accordion!)
Nick Kenbrandt does a fine job as the bank manager who decides to take a chance on Guy when he needs a loan so he can get into a sound studio and make a complete recording of his songs to send to New York.
One small curiosity for this reviewer was why Hillbarn hired Equity actor Colin Thomson in the relatively insignificant role of Da? Thomson is a fine actor but has not much to do here except add his strong voice to group songs and play Girl’s father in one short scene.
“It’ll keep your toes tappin’! “Once” at the Hillbarn Theater. Photo by Mark Kitaoka.
Musical director Amie Jan and vocal director Joseph Murphy did a masterful job of selecting actors who could also play musical instruments and sing, a necessity in this musical.
To set the right tone, costumer Lisa Claybaugh found outfits that nicely complimented each performer’s character. Lighting by Pamila Gray and sound by Jeff Mockus were first-rate. Two young sisters, Stella and Sybil Wyatt, play the small role as Girl’s daughter.
Although Once may not be everyone’s cup of tea, this reviewer believes that it certainly deserves bigger audiences than it had for opening night. Could be because Hillbarn patrons aren’t familiar with it as it hasn’t been performed on the Peninsula in years, if ever.
But seven Tony Awards (including Best Musical) say “Go see it!” It’ll keep your toes tapping– for Once!
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
Production
Once
Written by
Enda Walsh
Directed by
Steve Muterspaugh
Producing Company
Hillbarn Theatre
Production Dates
Thru April 7th, 2024
Production Address
1285 E Hillsdale Blvd, Foster City, CA 94404
Website
www.hillbarntheatre.org
Telephone
(659) 349-6411
Tickets
$32-$60
Reviewer Score
Max in each category is 5/5
Overall
4.75/5
Performance
4.75/5
Script
4.50/5
Stagecraft
4.75/5
Aisle Seat Review PICK?
YES!
Other Voices on: “Once”
"...The script is ... steeped in wise and folksy observations about committing to love and taking chances..."
The New York Times
"...captures the loveliness of the music, the likability of the characters, the fluidity of the staging, the sweetness of the ending..."
The Chicago Sun Times
" ...Brilliant! Brilliant! Brilliant! This is one of those shows that remind you: magic is real..."
Xenophobia—the fear of foreigners—has infected human societies since the dawn of time. A particularly American variety gets an insightful treatment in The Far Country at Berkeley Rep’s Peet’s Theatre through April 14.
In the early-to-mid 19th century, Chinese immigrants were welcomed into the United States as a source of cheap labor. They built the railroads that enabled America’s great industrial expansion, but by the 1880s, that work was mostly completed, and fear of foreigners prompted the Chinese Exclusion Act, intended to keep more of them from entering the country.
… “insightful” (and) “adroitly directed” …
Toward the end of the century, there were reportedly fifty Chinese men in the US for every Chinese female. Most of these men sent a substantial portion of their earnings to their families back in China. That sort of ‘family-support-via-long-distance’ is still common among immigrants to this country.
Tess Lina (Low/Two) in Lloyd Suh’s breathtaking, “The Far Country”, performing at Berkeley Rep through Sunday, April 14, 2024. Photo Credit: Kevin Berne
Playwright Lloyd Suh’s The Far Country examines the phenomenon from the individual perspectives of two generations of Chinese immigrants. Act One opens with a grueling interrogation of a San Francisco resident named Gee (Feodor Chin), a laundryman claiming that all his identification papers were destroyed in the fire that consumed the city after the 1906 earthquake. Aaron Wilton is effectively annoying as an aggressive, condescending interrogator, assisted by a perfectly bilingual interpreter despite Gee’s apparent ability with English.
Gee seeks permission to travel to China to visit his family and bring back his son, but he lacks proof of legal residency and isn’t sure he’ll be able to return. Repeated questions and more-than-implied doubts about Gee’s honesty intentionally rankle him—and the audience.
(L-R) Tommy Bo (Moon Gyet), Sharon Shao (Yuen/Four), Whit K. Lee (Yip/One), Tess Lina (Low/Two), and Feodor Chin (Gee/Three) at work at Berkeley Rep. Credit: Kevin Berne
The San Francisco Bay’s Angel Island served as a sort of counterpart to New York’s Ellis Island, where for many decades, European immigrants were processed for admission to the US, often without difficulty. Angel Island was different, a sort of choke-point for incoming Asians who could be kept in detention for as long as two years. In keeping with the Chinese Exclusion Act, the government’s work on Angel Island was to reject as many of them as possible.
Much subterfuge was involved in trying to overcome bureaucratic obstacles to admission—the theme of Act Two, where we meet Moon Gyet (Tommy Bo), Gee’s “son” who endures 17 months of detention on Angel Island, where he was allowed only one hour per day outside, and where he was subjected to intense interrogations including nonsense questions about how many steps led to the door of his childhood home.
Tommy Bo (Moon Gyet) and John Keabler (Dean/Inspector), in Lloyd Suh’s “The Far Country” at Berkeley Rep through 4/14/2024. Credit: Kevin Berne
The somewhat intricate story goes back and forth from California to China, where Moon Gyet meets Yuen (Sharon Shao), a bright, sassy prospective wife. There’s also an emotional flashback of Gee reuniting with his mother, Low (Tess Chin), as he hunts for an appropriate son. The whole affair of ‘admission-or-rejection’ is depicted as a complicated, high-stakes game of deception and manipulation, both by immigration authorities and people hoping to become US residents—a situation still playing out every day almost 100 years after the era of The Far Country.
Adroitly directed by Jennifer Chang and dinged only by a couple of overlong bits of dialog, The Far Country is an insightful and effective examination of gut-wrenchingly difficult circumstances. Its abrupt ending on a beautiful, upbeat note gives hope where there might have been only despair. That is the power of great art.
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ASR Nor Cal Edition Executive Editor Barry Willis is an American Theatre Critics Association member and SF Bay Area Theatre Critics Circle president. Contact: [email protected]
As a child, when I was being overly whiney or dramatic, asking my mom for some permission, she would sometimes ask, “Who are you, Sarah Bernhardt?”
I had no idea what she was talking about, but I know it had something to do with my pleading going over the top.
Ross Valley Players exalted and explained my mom’s response, going over the top with their new work, The Divine Sarah, directed by award-winning Jay Manley. Prior to the opening, Manley noted, “It’s always a challenge to present a new show.”
… a well-crafted story …
In this reviewer’s eyes, the challenge has been met and exceeded admirably. Manley’s assemblage of talented actors and singers, with an original script and songs by June Richards and Elaine Lang, gave RVP a full house on opening night and a standing ovation.
Merrill Grant as Sarah Bernhardt at RVP. Photos by Robin Jackson
So—who was this Sarah Bernhardt, beautifully channeled by Merrill Grant, and why was she so famous? The house lights dim …
The play begins in 1844 with narration punctuated by musical numbers. A large and well-rehearsed cast clad in fabulous period costumes by Michael A. Berg enters the stage flanked by musicians Jon Gallo on keyboards and Diana Lee on cello.
Sarah’s life as an unwanted child is delightfully sung by Alexandra Fry. Fry’s doppelgänger has to be Amanda Seyfried, that charmingly lovely songbird. RVP is fortunate to have such talent to cast in these local productions. Sarah pleads for love and acceptance from her dismissive mother, imperiously played by Anna L. Joham. No luck there, so Sarah is sent to a convent.
(L-R) The cast at work, including Julia Ludwig, Merrill Grant, Brad Parks, & Keith Jefferds. Photos by Robin Jackson
The balance of Act I recounts Sarah’s early washout as a dancer, actor, and singer. Rejected as talentless by school and theatre company alike, Sarah is kept moving on only by her mother’s wealthy and influential lover, a relative of the French Emperor, perfectly portrayed by RVP favorite Keith Jefferds.
By intermission at the end of Act I, one wonders when the star of the show will actually become a star.
Act II details Sarah’s path of flamboyance as she beings to conquer a war-weary Paris. She’s a notorious rebel, a single unmarried mother, a femme fatale with multiple lovers. She’s exotic, and hailed as the “Goddess of the Left Bank.” Beautiful Sarah flaunts convention and is expert at self-promotion.
She acts with overt drama onstage, dismisses lovers when it suits her career path, writes and publishes a book with her own illustrations, and styles herself as the high fashion influencer of her time. She spends more than she makes, tempting seizure of her assets. Sarah is a diva, a celebrity famous for being famous. All this without social media of the sort we have today!
(L-R) The cast of “The Divine Sarah” at work at The Barn. Photos by Robin Jackson
Throughout The Divine Sarah the cast stays impressively true to their characters. Kudos to Director Manley for drawing out gestures and facial expressions to pull in the audience. The plot at times reads like a soap opera, and one wonders if perhaps it might benefit from a bit of trimming, but the actors are all a pleasure to watch.
Love or dismiss the woman at the center of the story, but you’ll remember RVP’s The Divine Sarah as a well-crafted story of a woman who shattered conventions — and raised a glass of champagne while doing it. Go see it!
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: [email protected]
Production
The Divine Sarah
Written by
June Richards and Elaine Lang
Directed by
Jay Manley
Producing Company
Ross Valley Players
Production Dates
Thru April 7th
Production Address
Ross Valley Players
"The Barn"
30 Sir Francis Drake Blvd, Greenbrae, CA 94904
Even before the story from the famous film begins, missteps, gags, mockery, parody, double-takes, and more abound in The 39 Steps at San Francisco Playhouse.
Our leading man appears, apparently ready to begin the show, then is blacked out by the lighting, comes back into view, then falls asleep in a chair while SFP Artistic Director Bill English gives the welcoming speech. What’s happening? Are they confused? Are they ready for opening night?
You bet!
It’s the audience that should be ready to exhilarate in two hours plus of clowning and buffoonery animating Patrick Barlow’s adaptation of a Hitchcock classic.
… Highly recommended to recharge your funny bone…
The 39 Steps is a classic noir narrative which started with a 1915 novel, was adapted in 1935 by Alfred Hitchcock, and from there morphed into new films, TV series, a radio play, and a stage comedy. It’s a popular and easily adapted story that has proven its popularity time after time. Its secret is a mystery thriller base that has been freely adapted with new or excised material in subsequent renditions.
Richard Hannay (Phil Wong) is captivated by the mysterious Anabella (Maggie Mason) in “The 39 Steps,” presented by San Francisco Playhouse March 7 – April 20. Photo Credit: Jessica Palopoli
The story revolves around the stylish character Richard Hannay, marvelously played by Phil Wong, as he falls into one unlikely scenario after another. The action follows his path from falsely accused murderer to international spy-ring exposer and hero. It snakes from London to Scotland and back again with a cast of 150 characters, according to SF Playhouse. (I confess I lost count.)These roles are hilariously and frantically embodied by three superb actors.
Lithe and intense Maggie Mason shows us the women in Hannay’s life: Annabella, the spy whom Hannay is accused of murdering; Pamela, the girl on the train whom he first meets by attacking her with kisses; and Margaret, the collier’s wife who helps him escape from murderous thugs. Greg Ayers showcases a multitude of male and female roles with comic physical and facial wit that continually inspires laughter, as do his double takes for additional laughs. He both opens and closes the show with an important character, Mister Memory, and his shenanigans expand this role with his stage antics.
Richard Hannay (center – Phil Wong) is apprehended by two policemen (l to r: Renee Rogoff and Greg Ayers) as Pamela (Maggie Mason) denies association in “The 39 Steps,” presented by SF Playhouse. Photo Credit: Jessica Palopoli
Covering another bevy of parts, including a squadron of police and thugs, a ruthless power-hungry professor, and a dour innkeeper, Renee Rogoff seems to appear in every other scene in new costume or aspect. One of the funniest moments occurs when Mason, Ayers and Rogoff miraculously turn into six marching bagpipers immersing Wong in one of his many escape moves – a showcase for the inspired direction by Susi Damilano.
Like icing on a delicious cake, the lighting design, sound effects, costumes, projections and puppetry mesh together with the clowning to create a play that is a many-layered spoof. The 39 Steps is a farce that skims ever so lightly over themes of fate, chance, romance and ultimately human empathy. This production is a delight for all the senses. Highly recommended to recharge your funny bone.
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Since arriving in California from New York in 1991, Susan Dunn has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected]
San Jose-based playwright/filmmaker Madhuri Shekar tackles the real-life dilemma of saving bees in Queen, running through March 31 at Lucie Stern Theater in Palo Alto. The “queen” here is the queen bee in a bee colony, voraciously devoured by worker bees.
Is this enough to absorb an audience for 90+ minutes? In this reviewer’s opinion: yes and no.
That said, four fine actors are nearly first-rate; Shekar incorporates a lot of humor into her dialogue to counter the heaviness of scientific research and supposition. Just when it gets a bit too much on the statistics side, Shekar slips in a joke about bees or science to loosen things up.
… Her grandfather keeps setting up blind dates for her, most of whom she finds loathsome…
Queen’s premise is unquestionably true: There’s been a disheartening drop in the number of bees over the past decade. As research assistant Sanam Srinivasan (Uma Paranjpe) points out, “The human race depends on bees.”
L-R, Kjerstine Anderson, Mike Ryan and Uma Paranjpe play researchers in “Queen,” presented by TheatreWorks Silicon Valley. (Courtesy Kevin Berne)
That’s why she and her Ph.D. research partner, Ariel Spiegel (Kjerstine Rose Anderson), have been doggedly trying for years to figure out how to address the issue. They’ve concluded that a pesticide used by Monsanto has killed more than one billion bees. (That’s billion–with a “B.”)
They’ve meticulously done their research and, after eight years, are about to present their case at a conference scheduled a few days hence, then publish their research results in the prestigious scientific journal “Nature.” But the night before the conference they meet with their mentor and supervising professor, Dr. Philip Hayes (Mike Ryan). Sanam says she has discovered an error in coding which is causing the results to be off by a few percentage points.
That’s when a riff appears between Dr. Hayes and Sanam, with the professor telling her that the error is small and can be adjusted later, while Sanam emphatically declaring that she can’t present inaccurate data.
(L-R) Uma Paranjpe, left, and Kjerstine Anderson star as researchers exploring declining bee populations in “Queen” for TheatreWorks Silicon Valley. Photo: Kevin Berne
There are also a couple of side stories: One involves Ariel’s decision to take six months off from her research to have a child (a daughter often heard crying but never seen). Another involves Sanam whose Indian parents are concerned that she may not marry and give them grandchildren. Her grandfather keeps setting up blind dates for her, most of whom she finds loathsome until she meets Arvind, an Indian American financier who thinks her devotion to her bee research is charming and admirable.
Deven Kolluri plays Arvind as a confident, handsome rogue who eventually wins over Sanam for a romantic night – but she has no intention of following him to New York where he lives.
Playwright Shekar has set her play in a nearby location (UC Santa Cruz), which helps theatregoers relate to the story. But it might not be a winner for everyone–because while it has humor, this reviewer found it a tad heavy on the scientific side. Director Miriam A. Laube ensures that the play moves along quickly, especially when the methodical discourse gets a bit… murky.
All four actors bring unique personalities to their roles– with a couple personal asides: IMHO, Paranjpe speaks a shade too fast and not quite loud enough. Also, Ryan tends to become a bit too…well, bombastic when he’s telling his research assistants to present their data –-inconsistent or not.
Among the clever subtleties of Queen is scenic designer Nina Ball’s proscenium and panels, pockmarked with cut-out circles that give the appearance of a beehive. The panels are quickly moved in and out as lead deck crew Megan Hall and her team soundlessly move set pieces for different scenes. Kent Dorsey’s lighting design is excellent, as is James Ard’s sound.
As with the flawed data, this reviewer is of the mind that this play needs a bit of work to make it as good as it could be. That said, for those more scientifically inclined, the play will give them food for thought.
A joint collaboration between TheatreWorks Silicon Valley and EnActe, located in Sunnyvale and Texas. the entire production runs a scant 100 minutes without intermission.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
Heading to a show titled Cost of Living, I anticipated an evening of economists discussing the GNP. Given our current rampant politics, that would have seemed a fit.
Mercifully, Martyna Majok’s play is a more personal view of costs—economic, physical, and emotional. Four characters—two disabled and two caregivers—play out the feelings and the passions of their respective situations, juxtaposed against their class and educational backgrounds.
… Cost of Living is a “must see”…
In the opening scene, a feisty, loquacious Eddie (masterfully played all over the stage by high-energy Daniel Duque-Estrada), regales us from his bar stool about how the “shit in life is not to be understood.” We learn he’s lost his truck-driver’s license due to a DUI. Moreover, his estranged wife and texting mate has died, and in his loneliness and desperation, he continues to send text messages to her cell phone to comfort himself. When he gets text replies, he is confounded but also mysteriously buoyed.
The play is framed by two capable and well-cast disabled actors: Matty Placencia, who has met the emotional and physical challenges of cerebral palsy all his life, and Christine Bruno, whose accomplished acting resume has focused on a range of acting roles and disability-inclusion consulting.
In Majok’s play, Placencia embodies John, a young upper-class professor at Princeton, who partially manages with one functioning hand, a wheelchair, and a wealthy family, but requires a part-time caregiver for his daily personal hygiene. He is supercilious, defensive, and insensitive to needs other than his own. Christine Bruno plays Eddie’s paraplegic wife Ani, crippled by a traffic accident following her estrangement. Eddie has come back to care for her, hoping to share in her insurance proceeds. Bruno’s wide range of facial expressions and sharp and ironic tongue reveal her frustrations with her ex-husband. But she warms up to Eddie as her caregiver over time.
Finally, there is Carla Gallardo’s Jess, a 20-year-old Latina struggling to sustain herself with bar jobs and living in her car. In desperation she applies to be John’s caregiver, attracted by his higher-class aura and his financial means. Gallardo gains our sympathy through her wide range of expressivity while meeting the physical challenge of showering, shaving, and dressing John on stage before us. Prompted by John, her own challenged history ekes out as they get used to his routine.
The cast at work. Photos by Ben Kranz Studio
Cost of Living is two plays with one set representing two apartments that occupy their own respective mini-set areas and finally merge together in the final scene. The mini-sets create difficulty for the arena staging, but are mostly well-handled by set designer Emilie Whelan. Blocking for disabled actors is also tricky, but necessary to play well to the three audience sections. Some scenes were partly obstructed by the five or more floating mini-sets.
For this reviewer, occasionally, actors’ words were lost when delivering lines away from parts of the audience, but in general the utilization of space clarifies the action and imaginatively creates an atmosphere with a single rear window. Projections keep us emotionally in the right plane with grey weather, rain or pelting snow.
With a complex story and characters that ring true as individuals in straits that could be our fate as well if we were not so fortunate, Cost of Living is a “must see.” The authenticity of the actors in this play demands kudos to the production.
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Since arriving in California from New York in 1991, Susan Dunn has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected]
Production
Cost of Living
Written by
Martyna Majok
Directed by
Emilie Whelan
Producing Company
Oakland Theater Project
Production Dates
Thru Mar 24th, 2024
Production Address
Flax Art and Design, 1501 Martin Luther King Jr. Way, Oakland, CA 94612
Over-the-top enthusiasm of the sisters of Delta Nu sorority, coupled with terrific musical numbers. keep Foothill Music Theatre’s production of Legally Blonde zooming along at Lohman Theatre in Los Altos Hills. Although some of the college sorority sisters seem past their college years, Blonde is nevertheless a pleasant way to spend 2 ½ hours.
Directed by Milissa Carey, Legally Blonde is filled with Stacy Reed’s enthusiastic choreography, Y. Sharon Peng’s pinkalicious costumes, and a lively score played backstage by music director Michael Horsley and his pocket orchestra of six musicians.
… it’s a good idea to get tickets now for this (fun) production…
Most attendees likely remember the 2001 movie with Reese Witherspoon as the lead character, Elle Woods. Later, it was turned into a stage musical that opened on Broadway in 2007.
Carey, whose style of directing might be described as “exuberant,” found some young actors who were able to bring some nuance and likeability to characters that might otherwise present as one-dimensional. And then there were the two sweet dogs who, unfortunately, didn’t spend very much time on stage but always invoked a chorus of “Ahhhhhs….” from the audience.
Selfie! (L-2-R) – Pilar, Elle, Margot & Serena. Photo credit David Allen
Act 1 begins with the UCLA sorority sisters of Delta Nu jumping up and down with excitement as they gather to celebrate the expected engagement of their president, Elle (sweet, sincere Rachelle Schaum) to her boyfriend, Warner Huntington III (good-looking Jason Mooney).
But apparently Warner believes Elle doesn’t have enough smarts, nor does she come from the “right” background, so he dumps her. What’s a perky cheerleader to do??
That’s when she decides to get serious about her life and, like Warner, she applies to Harvard Law School to become a lawyer. Obviously, that’s a bit more difficult than just applying, but one of her Delta Nu sisters, Kate (versatile Lauren Berling), helps her study for her LSATS.
In its light-and-frothy-musical way, Elle goes to the Harvard Admissions office, backed by her cheerleading squad, does a cheerleading routine and then sings a song that gets her in because she’s “motivated by love.”
She also decides that because she’s a blonde, she isn’t taken seriously. That’s when she meets a woman who becomes a good friend: Paulette (an excellent Sarah Bylsma), who owns the local hair salon and who convinces her that changing her hair color won’t change her life. Bylsma has arguably the best voice in the cast, which she demonstrates with the song “Ireland.” She also shows her comedic side in the song “Bend and Snap.”
The Girls at work, in “Legally Blonde” at Foothill. Photo credit David Allen
All this happens in Act 1 . And there are more unexpected twists in Act 2.
After intermission, likely the best choreographed musical number, “Whipped into Shape” starts the continuation of our story with a bang. It features fitness instructor Brooke (Melissa Momboisse) and her fitness students doing a sensational number with jump ropes.
Almost overnight Elle becomes a crackerjack lawyer… saves a young woman wrongly sentenced to death for murder… and ends up with the “her” guy (Andrew Cope as Emmett) who has been right there all along.
Rachelle Schaum as Elle & Andrew Cope as Emmett. Photo by by David Allen.
Foothill’s Lohman Theatre is relatively small, so even though an additional performance has just been added on Wed., March 13 at 7:30 p.m., it’s a good idea to get tickets now for this frothy-but-fun production.
If you don’t, it’s likely you’ll be singing what the Delta Nu sorority sisters enthusiastically sing in Act 1: “Omigod You Guys!”—because you’ll be out of luck.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
In 1832, Victor Hugo had a play produced in Paris about a serial rapist and murderer, a brother-sister pair of cutthroats, a gang of kidnappers, and a hunchbacked provocateur who berates everyone and imprisons his daughter. All of these characters escape the law. Is this politically correct? It wasn’t in 1832 when it was banned in France as an insult to the monarchy, nor was it in 1851 when Verdi and his librettist Piave retold the same story.
Hugo’s rapist was the King of France, who hung the Mona Lisa in his bathroom, and the play was called The King Has Fun. Verdi and Piave squeaked by Austrian censors in Venice by making all the characters Mantuan instead of French, and naming their opera Rigoletto. Far from being banned, the opera has spread throughout the world like Covid, its many jaunty tunes inoculating audiences into enjoying themselves while at the same time being reminded of how abuse of power is the chief ill of civilization.
… Conductor Jorge Parodi did a fine job of pacing the proceedings …
Among the range of interpretations for this constantly reproduced staple of the repertoire, San Jose Opera’s take is somberly traditional. Howard Tsvi Kaplan’s dark and musty costumes evoke the 16th century. Steven C. Kemp’s sets are nondescript black and dingy, except Rigoletto’s brilliant white-and-red home or, instead, keep, that is supposed to protect his innocent daughter from the Duke of Mantua and his court. Director Dan Wallace Miller adds two gruesome deviations from the norm: Rigoletto’s congenital hunchback is instead a hideous red scar branding his bald pate, and the Duke has syphilis.
Count Ceprano (Glenn Healy, back center) and courtiers have no pity for the jester Rigoletto (Eugene Brancoveanu, front center) in Opera San José’s production of Verdi’s “Rigoletto”. Photo credit: David Allen
Performances fit well into Wallace’s gloomy vision. Eugene Brancoveanu’s obnoxious grizzly bear of a Rigoletto makes the courtiers and the audience wince, but his notes are spot on. At the conclusion, his grief is a Niagran force of nature. Edward Graves, a newcomer to the role of the Duke, also fits the director’s tone with his accurate voice, despondent more than joyfully playing the field. Melissa Sondhi, as Gilda, conveys innocence as puzzlement while negotiating her complex music.
The Duke of Mantua (Edward Graves, left) and his jester Rigoletto (Eugene Brancoveanu, right) at work. Photo credit: David Allen
Standout performances were contributed by Philip Skinner as the wronged Count Monterone and Ashraf Sewailam as the principled murderer-for-hire Sparafucile. Melisa Bonetti Luna’s expressive acting was a great plus, though, in this reviewer’s opinion, her voice was occasionally overshadowed by others. Conductor Jorge Parodi did a fine job of pacing the proceedings. Most impressive was the Opera Chorus of courtiers and kidnappers, meticulously prepared by Johannes Löhner.
The jester Rigoletto (Eugene Brancoveanu, center) entertains the Duke of Mantua’s courtiers in Opera San José’s production of Verdi’s “Rigoletto” playing thru March 3, 2024 at the California Theatre in downtown San Jose. Photo credit: David Allen
While Miller’s approach is undoubtedly defensible, I wonder if Verdi’s message would be better conveyed by even greater present-day incorrectness. If a director pretended to endorse the duke’s and courtier’s predations with cheery carryings-on and bright colors, if women happily allowed men to have their way, that murder was a trip to the nearest 7-11 in a Death of Stalin milieu, maybe some in the audience might question power structures more strongly.
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ASR’s Classical Music Section Editor, Jeff Dunn, is a retired educator and project manager who’s been writing music and theater reviews for Bay Area and national journals since 1995. He is a San Francisco Bay Area Theatre Critics Circle member and the National Association of Composers, USA. His musical Castle Happy (co-author John Freed), about Marion Davies and W.R. Hearst, received a festival production at the Altarena Theater in 2017. His opera, Finding Medusa, with librettist Madeline Puccioni, was completed in January 2023. Jeff has won photography prizes and is also a judge for the Northern California Council of Camera Clubs.
Production
Rigoletto
Based on a play by
Victor Hugo
Libretto by
Francesco Maria Piave
Stage Direction
Dan Wallace Miller
Producing Company
San Jose Opera
Production Dates
Thru Mar 3rd
Production Address
California Theater -
345 S First St, San Jose, CA 95113
American Conservatory Theater had the prescience to open Big Data the same week that chipmaker Nvidia’s stock rose by a factor of seven, prompting a market-wide surge. Nvidia makes microprocessors essential to artificial intelligence (AI), the subject of daily news and consternation for at least the past two years.
A world premiere, Big Data launches with an old-fashioned console TV with a big “play” button onscreen, beckoning someone—anyone—to come up from the audience and press it. A long wait ensues until someone can’t stand it any longer and climbs onstage to start the show.
… Big Data launches with an old-fashioned console TV …
We are then treated to a grainy 1950s-style black-and-white film clip about trained pigeons that peck at various levers, piano keys, and other devices to get rewards of food pellets—and an overlong diatribe by a character named “M” (B.D. Wong), a very self-amused expert who equates humans to trained birds. (In the playbill is a “conversation” between playwright Kate Attwell and ChatGPT on this very subject. Somewhat disturbingly, the AI program mentions psychologist B.F. Skinner and his concept of “operant conditioning” but ignores Pavlov and his proverbial dog.)
The cast of ACT’s “Big Data” at work. Photo credit: Kevin Berne
We get the message within the first thirty seconds. Perhaps to test our patience, this introduction runs for what seems like 15 or 20 minutes, then fades as M visits a depressed writer named Max (Jomar Tagatac). M arrives unbidden at Max’s sparsely furnished apartment. “How did you get in?” Max asks. “You invited me,” M replies.
The meaning of this mysterious statement is elucidated a bit later when M visits quarrelling but very-much-in-love couple Sam and Timmy (Gabriel Brown and Michael Phillis, respectively). During an interminable exchange, one of the pair says, “How do you know my name?” “You told me,” comes the reply.
On a stage whose backdrop is a giant computer screen, with empty living quarters depicted in the stark-white Apple Computer aesthetic, M obviously represents intrusive technology—not merely computers, but all the interactive spinoffs that now seem essential to contemporary life: mobile phones, “smart” TVs, bio-feedback wristwatches that monitor bodily functions and daily caloric expenditures, and presumably even our emotional states. All this is conveyed with aggressive humor and plenty of gratuitous sexual teasing—symbolizing, of course, the seductive lure of life online.
The first act is loud, long, and obnoxious, a sort of survivalist boot camp to see if the audience is willing to hang in there for the second act. We didn’t notice defectors leaving at intermission, but if there were some, their dismay would be somewhat understandable to this reviewer.
The first act of Big Data may be an egregious act of beating the audience over the head, but it’s redeemed by the gorgeously performed second act, which opens on a warm, richly furnished traditional home—all natural wood, with lots of books and art objects (scenic design by Tanya Orellana). This home is inhabited by a very likeable and very comfortable couple in late middle age, Joe and Didi (Harold Surratt and Julia McNeal, respectively) who’ve been puttering in the garden and kitchen in anticipation of hosting a Sunday brunch for their children Sam and Lucy (Rosie Hallett), Max’s wife, and their partners.
(L – R) Gabriel Brown, Rosie Hallett, and Michael Phillis. Photo credit: Kevin Berne
The visitors arrive, and the disconnect between the younger generation and their predecessors begins in earnest—first, with Sam asking what happened to the Nest-style thermostat he had given them. Joe responds with self-deprecating humor “I buried it. Under concrete.”—also the fate of their Wi-Fi router, a situation that throws Max into a frenzy. Having abandoned his journalistic career, he’s now engaged in public relations for some high-pressure enterprise, and comes to brunch fretting about being past deadline. He absolutely flips out when he realizes he’s in the countryside with no internet connection. Whatever project of world-shaking importance that he’s working on simply has to wait.
Then Joe and Didi drop the bomb, telling their visitors that they’re withdrawing in protest from the world of interactive technology. Like 19th-century Amish, they’ve decided that further advancement is not for them. This second act unfolds beautifully. Surratt and McNeal are supremely confident and relaxed actors. Their characters’ message—reached after prolonged private discussion—is delivered appallingly to their offspring but convincingly to ACT’s audience.
The second act is almost a one-act play in itself, and well worth sitting through the first. Its impact is weakened by a silly coda in which M reappears and walks among the other six characters frozen in place, making snarky comments as if the preceding drama were of no consequence, as if Joe and Didi’s decisions were pointlessly frivolous. Nothing could be further from the truth.
Jomar Tagatac and BD Wong at work. Photo credit: Kevin Berne
To its detriment, Big Data hedges its bets. In her playbill notes, director Pam MacKinnon mentions “surveillance capitalism,” a wonderfully apt description of contemporary life. The show’s closing scene would leave viewers with much more to ponder if Joe and Didi were to simply slump to the floor. Fade to black—no cutesy commentary needed.
The audience departing the Toni Rembe Theater perhaps didn’t grasp the enormity of what they had just seen. Many had their phones out before the applause died, and were seen walking up the aisles with faces illuminated. Clearly, the word “irony” is not in fashion.
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ASR NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact him at [email protected]
Obsessive sexual attraction proves inadequate to sustain a marriage in Guadalis Del Carmen’s Bees & Honey, at Marin Theatre Company through March 10.
Strongly directed by Karina Gutierrez, Del Carmen’s two-actor, no-intermission script covers a wide territory: mating behaviors, racial and cultural identities, class distinctions, family and professional obligations, the nature and seriousness of commitments, and many other issues.
… It’s laudable that any playwright would attempt all of this in a single play …
Del Carmen does so adroitly and mostly succeeds, provoking questions without providing answers. Her somewhat disjointed story involves two ethnic Dominicans from the Washington Heights district in Manhattan: Manuel (Jorge Lendeborg, Jr.), owner of an auto repair shop, and Johaira (Katherine George), a recent Columbia law school graduate on track to become an assistant district attorney.
Katherine George as Johaira and Jorge Lendeborg Jr. in “Bees & Honey” at Marin Theatre Company now through March 10, 2024. Photo credit: Kevin Berne
The two meet in a neighborhood bar and are immediately drawn to each other, propelled partly by their shared love of Caribbean and Latin American music (Michael Kelly, sound designer). They flirt, dance, and make love to exhaustion and soon are co-habiting in a nice apartment (Carlos Antonio Aceves, set designer), but trouble looms as their differences emerge. Johaira is college-educated and worldly, while Manuel is working class and suffering from a bit of arrested development, as many men do—his favorite hobby is playing video games, which he tackles with the enthusiasm and demeanor of an adolescent boy.
But Manuel’s no mere immature wrench jockey—he’s planning to expand his business by opening a new location, and ultimately hopes to have one in each of New York City’s five boroughs. Johaira admires his ambition and offers encouragement while pursuing her legal career, including a gut-wrenching case that consumes her. She admonishes Manuel about his misogynistic tendencies, giving him feminist books to read, which he dutifully does and learns from—a palpable character arc. Johaira’s arc is less pronounced until she suffers a miscarriage and concludes that she needs far more from life than she will ever find with Manuel.
There are also secondary plots about how to care for Manuel’s mother, suffering the early stages of dementia, hopeful plans about caring for a baby that never arrives, and issues about personal identity. In one assertive outburst, Manuel shouts “I’m not black! I’m not white! I’m Dominican!” to which Johaira responds that maybe he should dial back his indiscriminate use of the “N” word.
Katherine George and Jorge Lendeborg Jr. at work on the MTC stage. Photo credit: Kevin Berne
Lendeborg and George are both passionate and convincing in this demanding performance. Their characters’ irresistible attraction and ultimately dividing differences are all made abundantly clear. While the time-line isn’t as obvious, we guess that it covers probably two intense years in the lives of a vibrant couple—wisely or not, Del Carmen deletes all time-wasting connective tissue from the script. The two get married, but we never know about it until the end, when Johaira says “I’ll draw up the papers.”
Repeated distractions about Manuel’s mother and his brother Mario never reach resolution the way Johaira’s failed court case does. Not that we care. Both celebration and tragedy, Bees & Honey is a beautifully flawed long-exposure portrait of the intersecting lives of two very likeable young lovers.
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Aisle Seat Review NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Bees & Honey
Written By
Guadalis Del Carmen
Directed by
Karina Gutierrez
Producing Company
Marin Theatre Company (MTC)
Production Dates
Thru Mar 10th, 2024
Production Address
Marin Theatre Company
397 Miller Avenue
Mill Valley, CA
As you enter the capacious Hoffman Theatre in Walnut Creek’s Lesher Center for the Arts, a rock band is already in position in a large alcove at the back of the stage, gorgeously arranged to look like the inside of a Mystic, Connecticut pizza shop. The B-52s’ enduring hit “Love Shack” blares from the house PA.
Then the fun begins—all of it performed to upbeat pop tunes from the 1980s, all of it instantly recognizable to anyone who lived through that decade, by superstars such as The Go-Go’s, Cyndi Lauper, Rick Astley, The Bangles, Huey Lewis & the News, and many others. The six-piece band absolutely roars as each song propels the story, an amusing and ultimately heart-warming one about three waitresses recently graduated from high school and making plans for what comes next, while their employer Leona (Rayanne Gonzalez) worries about her failing business.
The cast of the new musical “Mystic Pizza,” presented by Center Repertory Company February 15-25 at Lesher Center for the Arts. Photo credit: Jason Niedle.
Based on the 1988 film of the same name, CenterREP’s Mystic Pizza is a big exuberant musical of Broadway proportions and aspirations. It leverages a huge dollop of nostalgia and mines the sweet innocence of the period while ignoring all that was malevolent and unpleasant. Why remind audiences about the threat of nuclear annihilation when you can get them to sing along with “Girls Just Want to Have Fun?”
It opens with a comical production number of a reluctant bride falling flat on her face and calling off the wedding. The bride Jojo (Gianna Yanelli) clearly loves her would-be heavy-metal guitarist and fisherman fiancé Bill (Jordan Friend) but simply isn’t ready to tie the knot, a running theme throughout the show. Her coworkers Daisy (Krystina Alabado) and Kat (Kyra Kennedy) are sisters with ambitions—Daisy hopes to go to law school, while Kat wants to major in astronomy and eventually become a NASA engineer. All three are simply tremendous—individually and as a high-energy song-and-dance trio.
The cast of the new musical “Mystic Pizza,” presented by Center Repertory Company February 15-25 at Lesher Center for the Arts. Photo credit: Jason Niedle
All three have romantic interests, of course—a musical rom-com wouldn’t be possible without them. Michael Thomas Grant is wonderful as wealthy slacker Charles Windsor, Jr., Daisy’s catch of the day. Grant’s loose, lanky physique, mannerisms, and voice are remarkably similar to the Steve Buscemi character from the film The Wedding Singer, also set in the ‘80s, with some similar themes. Kat’s object of affection is a young architect named Tim (Chris Cardoza) who’s overseeing the renovation of a classic home. Cardoza is a powerful actor and singer. Jeff Skowron is a scream in multiple roles, as rich dad Chuck Windsor, as the presiding priest at Jojo’s botched wedding, and especially as food critic the “Fireside Gourmet.”
The Hoffman’s large stage is ideal for this production. Nate Bertone’s imaginative set pieces glide on and offstage almost unnoticed, the set changes carefully choreographed by Conor Gallagher and effortlessly performed by the large cast during song breaks. Gallagher’s dance moves are all lifted from the era, as are costumer Jen Caprio’s authentic period apparel. Ryan J. O’Gara’s lighting and Josh Bessom’s sound design make enormous contributions. Top-to-bottom, side-to-side, and front-to-back, Mystic Pizza is a fantastically professional production.
The cast (Krystina Alabado, Michael Thomas Grant, Jordan Friend, Gianna Yanelli, Chris Cardozo and Kyra Kennedy) prepares for date night in the new musical “Mystic Pizza,” presented by Center Repertory Company February 15-25 at Lesher Center for the Arts. Photo credit: Jason Niedle.
Which leads to this question: Why does a show this big, this good, and clearly very expensive to produce, run only ten days? Such a short run is inexplicable, because CenterREP could easily give it six weeks of full houses.
But scheduling decisions aren’t up to critics. This gorgeous show runs only through February 25, with not a bad seat in the house. While only two of the three girls ultimately land the men of their dreams, Mystic Pizza is as happy and upbeat an experience as you’re likely to have in a theater this year. Don’t miss it!
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Aisle Seat Review NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Mystic Pizza
Written by
Book by Sandy Rustin
Story and characters by Amy Holden Jones
(Based on the MGM motion picture)
Musical arrangements by Carmel Dean
Directed by
Casey Hushion
Producing Company
Center Repertory Company
Production Dates
Thru Feb 25th
Production Address
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
One-time events can be difficult for reviewers because repeat performances may or may not come again. That’s the case with 1970s pop star Freda Payne and her February 16 A Tribute to Ella Fitzgerald at the Marin Showcase Theatre.
Famed primarily for her hit song “Band of Gold,” one that seemed to be in continuous play throughout the years leading up to the disco era, Payne is still youthful and beautiful, with a shimmering alto voice and confident stage presence. Her approximately two-hour performance in the nearly-sold-out Showcase was delightful.
Freda Payne. Photos supplied by Jon Finck
Backed by a superb three-piece band (Larry Dunlap, piano; Leon Joyce, Jr., drums; and Gary Brown, bass), Payne recited Fitzgerald’s history as between-songs patter while plowing through her many iconic recordings, such as “A-Tisket, A-Tasket,” “Sweet Georgia Brown,” “It Don’t Mean A Thing,” “How High the Moon,” and the crowd-pleasing “Mack the Knife.” The American Songbook figured prominently during the evening, with compositions by Cole Porter, Rodgers and Hart, Hoagy Carmichael, and many others.
Fitzgerald’s oeuvre included jazz standards covered by many other artists, not merely during her decades as a musical force, but right up to the present day. Payne’s showbiz history includes working with such legends as Duke Ellington, Bob Hope, Frank Sinatra, Sammy Davis, Jr., Sarah Vaughan, Quincy Jones, Omar Sharif, Liza Minelli, Pearl Bailey, Johnny Mathis, Leslie Uggams, the Four Tops, Gregory and Maurice Hines, Della Reese, and actor/pianist Jeff Goldblum.
… Payne is still youthful and beautiful, with a shimmering alto voice and confident stage presence …
While Payne’s timbre doesn’t match Fitzgerald’s seductive contralto, she gets the phrasing and tempo just right, especially while riffing a la Ella. During the first set she shared the stage with New Orleans native and Oakland-based jazz singer Kenny Washington, called by the SF Chronicle “the superman of the Bay Area jazz scene.”
Kenny Washington. Photos supplied by Jon Finck.
Washington is a tremendous performer with gifts for both music and comedic self-deprecation. He appears nationally and internationally with The Joe Locke Group, while pursuing a busy solo schedule. Pairing him with Payne was a special treat for the very enthusiastic audience, who enjoyed a post-show meet-and-greet with the headliner and an opportunity to get signed copies of Payne’s autobiography.
With decades of Broadway performances, TV shows, and a collection of 21 albums to her credit, Payne portrayed Ella Fitzgerald in Ella: The First Lady of Song, written by Lee Summers and conceived/directed by Maurice Hines, Jr. in acclaimed performances nationwide. She will reprise that role this summer at Michigan’s Meadow Brook Theatre. Payne’s new single, “Just to Be with You” is scheduled for release this year.
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Aisle Seat Review NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
American playwright Sarah Ruhl’s plays are frequently fascinating and often almost psychological studies of families. Many of her plays have appeared on Broadway, and two were finalists for the Pulitzer Prize in Drama. She received a Tony Award for Best Play for In the Next Room (or The Vibrator Play). She’s also an acclaimed professor, poet, and essayist.
In other words, she’s the real deal.
Yet the Ruhl play now running at The Pear Theatre in Mountain View, For Peter Pan on Her 70th Birthday, has not reached those levels of acclaim. (Well, to be fair — a person has a shot at the MLB Hall of Fame by only hitting the ball four times in ten!) Anyway, the play is partially autobiographical, having molded the main character, Peter Pan, after her mother, who once played Peter Pan when she was a young girl.
… (the play) has its own charm and offers…a ..reminder … growing old doesn’t necessarily mean growing up …
Moving on. In this reviewer’s opinion, director Austin Edginton made an … interesting … choice in casting Monica Cappuccini as Ann, who is turning 70 but is spending that day with her siblings in a hospital room where her father lies dying. Make no mistake: Cappuccini is a fine actress, and she’s got just the right combination of spunk, caring, and droll humor to carry off wearing a Peter Pan costume and giving a charming speech directly to the audience before the curtain opens.
But — Ms. Cappuccini is British, and her accent is unmistakably British. So how does she manage to have four siblings, none of whom are or speak the Queen’s language? Non-traditional casting, perhaps?
L-R: John Mannion (Jim), Tannis Hanson (Wendy), Bill Davidovich (John), Ronald Feichtmeir (Michael), and Monica Cappuccini (Ann). Photo credit: Sinjin Jones.
There’s also a bit of exciting casting in this situation as well: white-haired Ray Renati plays the father of Ann as well as of her sister Wendy (a credible Tannis Hanson) and three sons: Jim (John Mannion), John (Bill Davidovich) and Michael (Ronald Feichtmeir). Yet Mannion and Davidovich look about the same age as Renati – who’s supposed to be their father! Mannion even mentions being the third child, which seems odd. Que sera sera!
Casting aside, Pear’s production is an enjoyable way to spend 90 minutes. The sword-fighting scenes are fun to watch (thanks to fight choreographer Dexter Fidler), and Greet Jaspaert’s Peter Pan costume for Cappuccini is charming, as is the Captain Hook costume worn by Mannion late in the play.
Once the large green curtain opens, the setting is a hospital room where Renati (as the father) lies hooked up to tubes and machines, apparently ready to take his last breath at any moment.
All five “children” are at his bedside, torn between hoping he will improve and wondering which breath will be his last. There’s talk about sending someone out to pick up Chinese food to bring back to Dad’s hospital room because they have been there for many hours. But then Dad finally kicks the bucket, and the action moves to a dining room where the siblings talk about politics and reminisce about their childhood. But good old dad is wandering around the room, although they can’t see him!
One child mentions the hereafter and wonders whether Dad is there now. Then Davidovich says, “Dad if you’re here with us, give us a sign.” With a twinkle in his eye, Dad decides to drop a plate of nibbles he’s eating. That generates the biggest laugh in the play.
Then, one of the other kids drags out an old trunk where Ann finds — her long-ago Peter Pan costume.
All the grown-up children put on costumes from the play and begin jumping around saying “I’m flying” and “Cock-a-doodle-doo…” There are even a couple of brief appearances by Tinkerbell! After that bit of fantasy, they all leave the family home and return to their spouses and children.
L-R: Tannis Hanson (Wendy), John Mannion (Captain Hook/Jim), Bill Davidovich (John), Ronald Feichtmeir (Michael), and Monica Cappuccini (Ann). Photo credit: Sinjin Jones.
Although your experience might vary, this reporter did not find For Peter Pan on Her 70th Birthday as focused as other Ruhl plays. Yet — it has its own charm and offers audience members a soothing reminder: growing old doesn’t necessarily mean growing up.
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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: [email protected]
For a long time, I was wondering if Corpus Evita was the correct title for West Bay’s latest offering in Palo Alto. It’s a sequence of scenes—roughly connected, suffused with contradictory elements—that swirl in the past, present, and future about the troubled 1974-76 presidency of Argentina’s Isabel Perón and the legacy of Juan Perón’s previous wife, Eva.
It was Isabel’s mistakes and ouster that began the murderous military dictatorship of 1976-83, El Proceso. In the opera’s strongest scene, Isabel begs for forgiveness, an act the now 93-year-old has never performed publicly. The opera’s librettist claims that were she to do so, it “would be cathartic for a society that’s still divided about what happened back then.” Yet the opera is not n
When I started Aisle Seat Review almost a decade ago, I wasn’t at all sure how long our run would be. But I was damned determined that we would give it our absolute best. And now, after all this time and over five hundred posts, it’s time to “Turn off the ghost light” and wrap the show.
Kris Neely
No tears for Mimi’s death at the end of Puccini’s La Bohème Sunday afternoon? Because everyone in the cast of Pocket Opera was having such a raucous good time on the small stage of the Hillside Club in Berkeley!
