ASR Technical Review! Theater Rhino Breaks the Tech Code in Turing Play! — by Team ASR

NOTE: The following commentary is focused primarily on the production, direction, and technical aspects of theater and performing arts.

These days you can’t swing a secret decoding book without hitting a play, biopic, or documentary about Alan Turing. There is no question that Mr. Turing (1912-1954) was a mathematical prodigy whose genius left a legacy that remains scientifically relevant to this day. But it is the circumstances of his too-short life that continues to intrigue, inform, and inspire.

The hit revival of Hugh Whitemore’s 1986 Breaking the Code by Theater Rhinoceros at the Eureka Theater masterfully captures Turing’s professional assent, first for his contributions in developing computer science as we know it then later for his pivotal part in breaking the Nazi’s Enigma code that helped the Allies win World War II to his subsequent tragic fall from public grace for being homosexual. Whether by nature or necessity, Turing was a complex man who tried—and ultimately failed—to compartmentalize his life, leading to his apparent suicide in 1954. Directed by and starring Theater Rhinoceros Artistic Director John Fisher, this show is must-see drama.

This production is not “gay theater” nor is it a fringe work designed to incite people with too much anger for the world to scream Oppression! on their Facebook and Twitter accounts, typed furiously on their Taco Bell-stained laptop keyboard. This production ofBreaking the Code is quality theater of the first rank that could be picked-up and dropped unchanged into a venue like the SF Playhouse, Marin Theater Company or Aurora Theater.

TECHNICAL SCORECARD

Scenic Design:

Too many community and regional theaters try misdirect the audience from lackluster acting and direction by self-conscious sets or visual effects. The set by Jon Wai-keung Lowe is ingeniously simple and forms a perfect backdrop for the events of Mr. Turing’s life, emphasizing the theory that it’s the acting that makes the play. (Score: 8/10)

Set Construction:

Dave Gardner’s set construction was well done and inserting doors into the blackboards stage left and right was a clever addition. (Score: 7/10)

Stage Management:

Congratulations to stage manager Valerie Tu (soon to be interning at Chicago’s fabled Steppenwolf Theater) and her assistant Cat Howser for spot-on actor, lighting, and sound cues. Of note was having the actors re-position the furniture and props in semi-darkness between scenes. Mr. Fisher in particular seemed to be channeling Fred Astaire as he deftly and precisely accomplished his tasks during the scene changes. (Score: 8/10)

Sound:

Colin Johnson’s sound effects were largely good although it was confusing when the office/typewriter effects weren’t always audible when the door into Mr. Turing’s room was opened. (Score: 7/10)

Props:

John Fisher’s props are spare but period proper and well rendered, an ornament to the acting, not mere set—or actor—decoration. (Score: 7.5/10)

Costumes:

Lara Rempel’s costume choices were first-rate, period proper, and well rendered. Period hose on the ladies was a nice detail, as was the damp T-shirt on Mr. Turing as he finished jogging. (Score: 8/10)

Direction:

Clearly a well-rehearsed production, the direction was solid, professional, and well executed with twice the much-deserved applause because the director is also the lead actor. It is much more difficult to direct yourself than others but John Fisher did it seamlessly. Pacing was nice—brisk but not breathless. The show also used pauses well—a rare dramatic art these days.) (Score: 8.5/10)

Lights:

Jon Wai-keung Lowe and Sean Keehan’s lighting design was subtle and largely unobtrusive but with one hitch: on more than one occasion actors were performing between lights in a dim zone. (Score: 7.5/10)

Casting:

The gentlemen in the cast were solid and Mr. Fisher was simply outstanding. New or seasoned acting students should buy tickets to study a professional at work.

Frank Wang played hustler Ron Miller obliquely as a man made of angles and edges, each sharper than the last. Val Henrickson, as Turing co-worker Dillwyn Knox, provided a witty performance as the neighborhood and cultural oracle of bad things to come.

Particularly enjoyable was Patrick Ross as empathetic detective Mike Ross, who seems genuinely hurt that Mr. Turing has blurted out a story revealing his own homosexuality, leaving the lawman no choice but to investigate Mr. Turing and charge him with gross indecency. The scene is hard to watch and the audience was silent save for the collective sign of 60 souls seeing a man put himself squarely in the crosshairs of the law.

Heren Patel assumes two roles in the show: an awkward school boy and a Grecian guy-for-rent whose stream of Greek-speech is both impressive and quite funny.

One acting note: when an actor is supposed to write something—in this case it was an address–on a piece of paper, the actor should quickly write the address down, not just apply pen to paper and scribble. Details always count, but especially so in a quality production like this. (Score: 8/10)

Overall Production:

As produced by Theatre Rhinoceros and expertly directed by John Fisher, Breaking theCode is thoughtful, taut, often funny, touching, heartfelt, and skillfully rendered. The drama is crisply written. (8.5/10)

Reviewer Score:

From lights-up to lights-down, this fast-paced production is how quality theater is done. This is not a hard code to break: run, don’t walk, to see this show—and bring your friends. (Score: 8.5/10)

Overall Score: 86.5/110. Very good work.

Breaking the Code by Hugh Whitemore, directed by John Fisher.

Theatre Rhinoceros, Eureka Theatre, 215 Jackson St., San Francisco, CA 94111

Tickets at: http://www.therhino.org/buy.htm or 1-800- 838-3006

Run time: 2:10 with one intermission.

Team ASR is composed of a selection of writers, directors, actor, musicians, dancers, technicians, stage managers, and a host of other arts folks.

We don’t name names for obvious reasons — and Team ASR often buys their own tickets and do not announce their presence as such at a performance — but it is important to note that each Team ASR review is screened by one or more ASR Editors to insure a ‘fair’ review, warts and all, when appropriate.

The goal of Team ASR Reviews is to communicate directly with the technical staffs who are largely ignored by most reviewers. These behind the scenes folks work their collective butt’s off to mount a show, and they deserve well-intentioned constructive criticism from fellow artists as appropriate — and ditto for well-earned praise.

***** ***** ***** ***** *****

August 22, 2015May 3, 2018

ASR Theater Review! ‘Company’ Storms SF Playhouse and That’s Good News! — by Kris Neely

SF Playhouse has learned a secret uncovered by few community and regional theaters: big musicals in the June 1 to Sept. 1 time-frame can make serious money. Especially in tourist destination cities or areas.

Raising a vodka gimlet to toast their own obvious success with this secret (as witnessed by the near sell-out audience last Saturday night), SF Playhouse’s production of Company, by Stephen Sondheim and George Furth, went down as smooth as a cocktail and left many patrons with a satisfied glow as a result.

Company is not your typical all-singing-all-dancing musical. In fact, there’s little enough dancing in the show—this is a musical with the emphasis on the music and the singing.Company is not a sort of A-to-Z straight-line plot, either. The show is composed of a variety of scenes that taken as a whole tell our tale.

The scenes/music/singing all revolve around the dating / marriage / commitment / relationships of one newly 35-year-old man named Bobby, played with almost detached studied aplomb by Keith Pinto. A perpetual bachelor and bon vivant, Bobby, and his married friends, are celebrating his birthday; that, in essence, is the story line.

As directed by SF Playhouse co-founder Susi Damilano, Company eschews the full orchestration and electric guitars of most productions, relying instead on two pianos, located stage left and stage right. Music Director Dave Dobrusky presides over one of these pianos and surely conducts his charges. The effect of this two-piano strategy is more personal, less grandiose than a full or even partial orchestra.

The set design by Bill English and Jacquelyn Scott is elegant on many levels because the set is built on, you guessed it, many levels. The scenic rear projections as designed by Micah Stieglitz add a powerful theatrical touch to the proceedings. The sound design by Anton Hedman works well, as does the lighting design by Michael Oesch.

Stage management by Tatjana Genser is tight with sound and light cues snappily in place. Costume design by Shannon Sigman takes full marks—elegant, well designed, and nicely rendered. All the actors looked darn good in Sigman’s work. The props design is fine—what props need to be in place are in place, work well, and underscore scenes nicely.

Choreography by Kimberly Richards, ably assisted by Morgan Dayley, is sharp and professional, given the limitations on dancing room due to the multi-plane set.

Let’s move on to the acting. Overall, the casting and associated acting of this show is a little bit uneven, but, to be sure, the acting is in general rendered with obvious verve and commitment.

I do wish we’d gotten to see a bit more of Abby Sammons’ (Jenny) good work. This is a talented lady.

Then there is Monique Hafen as Amy.

Can I say, “Oh. My. God.” in a review? There’s nothing else to say. To say Hafen nails the anxiety, the intensity, the comedy, and the speed-singing of Amy, who may not be getting married today, is like saying the Mona Lisa is “a pretty, sort of, mostly OK drawing.” Once Hafen starts acting and singing, almost all the other cast members turn to specters at worst or supporting actors/singers at best. Hafen is the most exciting and engaging musical performer in this cast, bar none. If she doesn’t have a suitcase permanently packed for Broadway by her home’s front door she’s doing something wrong.

Another notable performance is rendered by Joanne (Stephanie Prentice). Never far from a bar or a drink, the fragile, emotional wreck that is Joanne has one of the most powerful songs of the night (“The Ladies Who Lunch”) and Prentice nailed it cold.

Full marks must be given to Morgan Dayley in her character as a flight attendant who spends as much time looking up at bedroom ceilings as she does looking down airplane aisles. Dayley gives the role her all and does so without stepping into cliché or camp. Watch this performer, she is going places.

“Side by Side by Side/What Would We Do Without You?” is, I will admit, one of my favorite dance numbers and SF Playhouse did it with gusto. Overall, the music and singing were quite good.

All in all, SF Playhouse’s Company is a fine night on the town.

Company continues through Sept. 12 at San Francisco Playhouse, 450 Post St., San Francisco.

Rating: Four out of Five Stars

***

Kris Neely is a member of the San Francisco Bay Area Theater Critics Circle and a Theater Bay Area (TBA) Adjudicator.

Mr. Neely’s blogs on theater and performing arts are found on Aisle Seat Review at www.AisleSeatReview.com and also on For All Events at www.ForAllEvents.com.

***** ***** ***** ***** *****

August 21, 2015May 3, 2018

ASR Theater Review! Theater Rhinoceros Powers Turing Bio — by Kris Neely

Whether by nature or necessity, Turing was a complex man who tried—and ultimately failed—to compartmentalize his life, leading to his apparent suicide in 1954. In a series of well-executed scenes, the play guides us through Mr. Turing’s life from stumbling adolescent to resigned victim of repressive laws as an adult. Directed by and starring Theater Rhinoceros Artistic Director John Fisher, this show is must-see drama.

This production is not “gay theater” nor is it a fringe work designed to incite people with too much anger for the world to scream Oppression! on their Facebook and Twitter accounts, typed furiously on their Taco Bell-stained laptop keyboard. This production of Breaking the Code is quality theater of the first rank that could be picked-up and dropped unchanged into a venue like the SF Playhouse, Marin Theater Company or Aurora Theater.

The set by Jon Wai-keung Lowe is ingeniously simple and forms a perfect backdrop for the events of Mr. Turing’s life. Inserting doors into the blackboards stage left and right was a clever staging choice.

John Fisher’s props are spare but period proper and well rendered.

Lara Rempel’s costume choices were first-rate, period proper, and well rendered. Period hose on the ladies was a nice detail.

Jon Wai-keung Lowe and Sean Keehan’s lighting design was subtle and largely unobtrusive.

Colin Johnson’s sound effects were generally good.

From an acting perspective, Mr. Fisher was simply outstanding. New or seasoned students acting students should buy tickets to study a true professional at work. Frank Wang played hustler Ron Miller obliquely as a man made of angles and edges, each sharper than the last. Val Henrickson, as Turing co-worker Dillwyn Knox, provided a witty performance as the professional oracle of bad things to come. Particularly enjoyable was Patrick Ross as empathetic detective Mike Ross, who seems genuinely hurt that Mr. Turing has blurted out a story revealing his own homosexuality, leaving the lawman no choice but to investigate Mr. Turing and charge him with gross indecency. The scene is hard to watch and the audience was silent save for the collective sign of 60 souls seeing a man put himself squarely in the crosshairs of the law. Heren Patel assumes two roles in the show: an awkward school boy and a Grecian guy-for-rent whose stream of Greek-speech is both impressive and quite funny.

As produced by Theatre Rhinoceros and expertly directed by John Fisher, Breaking theCode is thoughtful, taut, often funny, touching, heartfelt, and skillfully rendered. From lights-up to lights-down, this fast-paced production is how quality theater is done. This is not a hard code to break: run, don’t walk, to see this show—and bring your friends.

Breaking the Code by Hugh Whitemore, directed by John Fisher.

Run time: 2:10 with one intermission.

Theatre Rhinoceros, Eureka Theatre, 215 Jackson St., San Francisco, CA 94111.

Rating: Four out of Five Stars

ALSO AVAILABLE…

Script available here.

Audio Theater Edition available here.

Masterpiece Theater version available here.

Book available here.

Tickets available here at: http://www.therhino.org/buy.htm

***

Kris Neely is a member of the San Francisco Bay Area Theater Critics Circle and a Theater Bay Area (TBA) Adjudicator.

Mr. Neely’s blogs on theater and performing arts are found on Aisle Seat Review at www.AisleSeatReview.com and also on For All Events at www.ForAllEvents.com.

***** ***** ***** ***** *****

August 20, 2015May 3, 2018

ASR Technical Review! ‘Company’ Rocks at SF Playhouse — by Team ASR

NOTE: The following commentary is focused primarily on the production, direction, and technical aspects of theater and performing arts.

SF Playhouse has learned a secret uncovered by few community and regional theaters: big musicals in the June 1 to Sept. 1 timeframe can make serious money. Especially in tourist destination cities or areas.

The scenes/music/singing all revolve around the dating/marriage/commitment/relationships of one newly 35-year-old man named Bobby, played with almost detached studied aplomb by Keith Pinto. A perpetual bachelor and bon vivant, Bobby, and his married friends, are celebrating his birthday; that, in essence, is the storyline.

TECHNICAL SCORECARD

Scenic Design:

Set Construction:

In a word: quality. A well constructed, well thought-out set. No extraneous architecture—nothing that didn’t need to be there was there. (Score: 8/10)

Stage Management:

As rendered by Tatjana Genser, the stage management was tight with sound and light cues snappily in place. (Score: 8/10)

Sound:

The sound design by Anton Hedman works well. (Score: 7/10)

Props:

The props design is fine—what props need to be in place are in place, work well, and underscore scenes nicely. (Score: 7/10)

Costumes:

Costume design by Shannon Sigman takes full marks—elegant, well designed, and nicely rendered. All the actors looked darn good in Sigman’s work. (Score: 8/10)

Direction:

As directed by SF Playhouse co-founder Susi Damilano, Company is well blocked with excellent stage pictures rendered on the multiple layers of the stage. This adds complexity to the directorial process because it’s easier to watch/direct actors at the same time on a single level plane versus actors scattered liberally from stage left to stage right and upstage to downstage.

Blocking takes on aspects of choreography in many plays (both musical and non-musical), and Damilano handled movement well. My only nudge would be that cue pick-ups could be quicker, brisker, and the same nudge for scene transitions—a bit faster might have added even more audience energy to the proceedings. (Score: 8/10)

Musical Direction:

Company eschews the full orchestration and electric guitars of most productions, relying instead on two pianos, located stage left and stage right. Music Director Dave Dobrusky hosts one of these pianos and surely conducts his musical charges. The effect of this two-piano strategy is more personal, less grandiose than a full or even partial orchestra. That said, at times it felt a bit like the cast was fighting the sound envelope of the pianos. (Score: 6/10)

Lights:

The lighting design by Michael Oesch in and of itself works well. (Score: 8/10)

NOTE: But I have significant reservation about a couple of architectural lighting issues. The house right and house left tormentor lights spill too much light into the audience area. The same is true of the lights high, upstage center. The light spillage was very distracting and detracted from the quality of what was happening onstage.

Casting:

The casting was a bit uneven. Disappointing, as the majority of the cast ranged from good to superb. (Score: 7/10)

Overall Production:

As presented by SF Playhouse, Company gives general audiences and those of us inside theater a solid example of taking a musical from some years back and making it modern, energetic, and appealing to a contemporary audience.

The acting of Monique Hafen made this show for me. Her stellar history with SF Playhouse is now the stuff of regional theater legend. Soon, I have little doubt, it will be the stuff of Broadway legend as well. (Score: 8.5/10)

Reviewer Score:

SF Playhouse has demonstrated to everyone that they know how to rock musical theater. From awards won to sell-out nights, SF Playhouse knows musicals. Company continues that proud heritage.

The quality of SF Playhouse musical productions should be a beacon to technical theater artists as well as actors across the US, and, indeed, globally. (Score: 8.5/10)

Overall Score: (92/120) Extremely good work.

All in all, SF Playhouse’s Company is a fine night on the town.

Company continues through Sept. 12 at San Francisco Playhouse, 450 Post St., San Francisco.

Tickets are $20-$120 (discounts available). Call 415-677-9596 or visit http://www.sfplayhouse.org.

Team ASR is composed of a selection of writers, directors, actor, musicians, dancers, technicians, stage managers, and a host of other arts folks.

***** ***** ***** ***** *****

August 18, 2015May 3, 2018

ASR Technical Review! August Wilson Play Works Hard — by Team ASR

NOTE: The following commentary is focused primarily on the production, direction, and technical aspects of Theater and Performing Arts.

Two Trains Running is Mr. Wilson’s seventh effort in his ten-part series of plays entitled The Pittsburgh Cycle. The play was first produced by the Yale Repertory Theatre in New Haven, Connecticut, and later opened on Broadway in the spring of 1992 at the Walter Kerr Theatre. The version I’m reviewing is in The City now and is presented at the Gough Street Playhouse and produced by Multi Ethnic Theater in association with Custom Made Theater.

The play gives us a complex story based on the lives of ordinary people, a volatile turning point in American history. The location is Pittsburgh, Pennsylvania in the racially charged world of 1969. Mr. Memphis Lee’s threadbare cafe is a regular stop for neighborhood folks all trying to understand the cultural maelstrom of the late 1960s. The regulars do their best to comprehend the swirling tides of change, but don’t always get the results they intended.

As the play begins, the city block on which Mr. Memphis’s diner is located is due to be torn down in a city renovation project. One of Mr. Memphis’ regular customers is the rich undertaker across the street from Mr. Memphis’ café. The undertaker urges Mr. Memphis to accept his offer to buy the cafe, but his price is unacceptable to the stoic Mr. Memphis. He’s been swindled out of property before and he’s determined to stand his ground this time, and get what he thinks his property is worth.

Another regular to the café is Sterling, a petty ex-con just out of the penitentiary with big dreams for his future. Then there’s Wolf, a bookie, a hustler (in the survival sense of the word) and a man-about-town. He dresses to the nine’s and is equally focused on the details of his own success.

Risa is the only female in the cast. A waitress of quiet dignity occupying the still point in this play, she has self-inflicted cuts on her legs, self-mutilation as a fence between herself and men. Hambone is a mentally disturbed man who seeks comfort in the friendship Risa shows him. He speaks infrequently but when he does it’s one variation or another of the phrase, “He gonna give me my ham. I want my ham!”

The senior character of the play is Holloway. He has seen it all and his role is steady anchor, neighborhood philosopher, and ardent proponent of a legendary 322-year-old woman prophet down the street. Although never seen, she radiates a strong influence over the actions of many of the characters in the play, and serves as a reminder of the heritage of Black Americans.

With these strong roots, Mr. Wilson grows a powerful theatrical experience and a strong history lesson for those of us not witness to Black life in 1969.

TECHNICAL SCORECARD

Scenic Design:

The set design—that of a scruffy café so much a part of neighborhoods everywhere—was satisfactory. The turquoise booths were period perfect. The bare bones kitchen also fitting. (Score: 5/10)

Set Construction:

Unpainted plywood here-and-there underlined a business managed with small dollars and ‘just enough’ repairs. Set construction showed care. Making a set look down-on-its-luck without making it look slapdash is harder than one might imagine. The set designer/builders (Lewis Campbell and David Hampton) did so here. (Score: 6/10)

Stage Management:

Cues were solid and well timed, as were actor entrances. Although technically a directing note, actor exits should be quicker in order to drive the play forward. (Score: 5/10)

Sound:

Sound design was satisfactory. (Score: 5/10)

Props:

Props were period and detailed. Even though no one in the play ate anything requiring catsup, the always ubiquitous red plastic catsup dispenser appeared one-third full. The bowl of beans eaten by Hambone were appealing, as was the coffee dispensed by Risa. (Score: 7/10)

Costumes:

Costumes were period 1969 in look and nicely selected (especially those for Wolf.) Shoe selection was nice. Accessory selection was also good. A bit more attention to fit would render some costumes perfect. (Score: 5/10)

Direction:

As directed by Lewis Campbell with Esperanza Catubig assisting, Two Trains Running runs 3 hours including one intermission. The running time is important, as slowness of pacing was an issue on opening night. This play requires pacing more like everyday life, with the dynamics of neighbors talking with neighbors they’ve known for years; that is to say briskly, sometimes obliquely, with awareness of personal quirks and hot buttons, and with every intent to find or deliver a message, a joke, a jab, or a cut.

The actors cast in this production were certainly more than capable of doing this sort of work, but on opening night the presentation was too muted. (Note: It was extremely hot in the theater this night and I’m sure that had an impact on the actors. I know it had one on the audience.) (Score: 5/10)

Lights:

Lighting design was satisfactory with one note: the kitchen was never lit, not even by a single bulb. This seemed incorrect. (Score: 5/10)

Casting:

Solid acting highlighted by Fabian Herd (Wolf), Vernon Medearis (West), and Stuart Elwyn Hall (Holloway.) All three actors demonstrated a keen ability to do what so many actors fail at: to listen to what is being said by other actors, instead of simply waiting for their turn to speak. These gentlemen delivered acting in considered gradations, rendering layered performances which would hold them in good stead with notable theaters across this country. (Score: 7/10)

Overall Production:

A good effort to present what will no doubt become an American classic. More pacing, quicker exits, and a tad more attention to costume fit would polish the production. The production crew needs to think more about patron comfort on hot August nights; additional fans would help make the tight confines of the Gough Street Playhouse more amenable to sellout audiences. (Score: 6/10)

Reviewer Score:

There is little doubt August Wilson has a ‘reserved seat’ in the pantheon of Greatest American Playwrights. Seeing Multi Ethnic Theater’s production of Two Trains Running shows why. (Score: 6/10)

Overall Score: (62/110) Good work.

Two Trains Running continues through August 30th at the Gough Street Playhouse, 1620 Gough St, San Francisco, CA 94109.

Industry Commentary…

“Vivid and uplifting… pure poetry… remarkable!”—Time
“A symphonic composition with a rich lode of humanity running through it.”—Los Angeles Times
Winner of the New York Drama Critics Circle Best Play Award
“Vivid and uplifting… pure poetry… remarkable!”—Time
“A symphonic composition with a rich lode of humanity running through it.”—Los Angeles Times
“His language is golden: rich in humor and poetry and redolent of a colorful vernacular.”—Wall Street Journal
“Has an unassailable authenticity… a lot of life and a lot of humor… By the end, a small world has been utterly transformed.”—Variety
“These characters are fully imagined—they live… reeling out stories about their past, their angers, their dreams.”—Washington Post
“Wilson’s most adventurous and honest attempt to reveal the intimate nature of history… glorious storytelling… touching and often funny… a penetrating revelation of a world hidden from view.”—Frank Rich, The New York Times

Also Available…

Script available here.

Script, Samuel French available here.

Study Guide available here.

Paybill from Broadway run available here.

Discount Tickets are also available on Goldstar.

Tickets are available on the theater’s website.

Team ASR is composed of a selection of writers, directors, actor, musicians, dancers, technicians, stage managers, and a host of other arts folks.

***** ***** ***** ***** *****

August 18, 2015May 3, 2018

ASR Technical Review! Shakespeare Does it Physically in Marin — by Team ASR

NOTE: The following commentary is focused primarily on the production, direction, and technical aspects of Theater and Performing Arts.

Ron Campbell has pulled off the near-impossible— he convinced the large opening-night crowd at Marin Shakespeare’s debut of their witty adaptation of Don Quixote (by Peter Anderson and Colin Heath) that he was both a man and a horse. Truly no mean feat, that.

Then again, Mr. Campbell is no mean actor. A man, a wooden broom and a watering can? Gesticulating arms and pumping legs? An energetic and comedic recitation of a classic text invigorated with new life? He’s certainly all of that, to be sure. But to stop there would be to damn with faint praise.

Instead, one simple phrase comes to mind: theatrical magic.

Mr. Campbell’s physical comedy gifts are so sublime that one could not help but believe that he was in fact Quixote himself. And Rocinante, the horse. Or both at once, in action on the stage. Mr. Campbell’s unquenchable dedication to seeing, feeling and embodying the evolving demands of each succeeding microsecond of the script and character represents a master’s thesis in acting.

Ably supporting Mr. Campbell was John R. Lewis as everyone’s favorite squire Sancho Panza. Panza translates literally in English to “belly” or “paunch”, and while Mr. Lewis was indeed suitably paunchy, he brought a world-weariness combined with a rich sense of humor and formidable physical comedy chops to a role too often played to its lowest common denominator. Solid marks for Mr. Lewis.

The play, making its U.S. debut, is ably directed by Ms. Lesley Schisgall Currier in a production that appears to a take on elements of the Commedia dell’arte style: spare sets, masked actors (thanks to the artistry of Mr. David Poznanter), and standardize costumes. Paired with hand-selected segments of the text by Miguel de Cervantes, the show unfortunately succeeds in feeling a bit like the books upon which the play is based— a bit tedious as the end draws neigh. The show starts out grandly and the first act moves quite briskly. The second act? Not so much. By the end of the show it felt somewhat like a long visit by a good friend: you’re at once delighted to have been so entertained but wish the evening’s festivities would wrap-up.

TECHNICAL SCORECARD

Scenic Design:

Ms. Currier kept the set design simple and even spare, via the able design of Mr. Jackson Currier. Again, this may be intentional on her part vis-à-vis Commedia dell’arte. The back wall of the set is painted to appear as a library, featuring shelves upon shelves of books. This effect works well in Act 1, Scene 1, but once our hero had left his house in search of adventure, the library wall felt incongruous. (Score: 6/10)

Set Construction:

Set construction was solid, as the ramped “mountain” in center stage played host to a small army of people. (Score: 8/10)

Stage Management:

Stage management (from Gillian Confair) on opening night can sometimes be tricky as actors and technicians all work through opening night jitters. Such appeared to be the case here, with a few tardy scene transitions and actor entrances. Light and sound cues, however, were prompt and unobtrusive. (Score: 6/10)

Sound:

Sound levels suffered from some of the natural vagaries of outdoor theater: the actors’ voice levels dipping when they spoke off-axis to the audience, etc. The sound system speakers need bolstering, perhaps something along the lines of a couple of folded 18-inch speakers or a subwoofer to add bottom-end power to the mix. Body microphones would also have added additional presence. (Score: 5/10)

Props:

Props (from Joel Eis) were used only as needed and expertly rendered. (Score: 8/10)

Costumes:

Costumes (from Maria Chenut) tended toward a universal tan/brown in color, but were well-crafted. Care was obviously taken to bespoke the actors professionally. (Score: 8/10)

Direction:

The physical comedy scenes were well-rendered, if in need of a touch more rehearsal to make them appear a bit less, well, rehearsed. Comedic impact of the text would have benefited from tighter cue pick-ups and brisker tempo. No one knows the physical limitations of this stage better than Mr. and Mrs. Currier, so blocking was universally good throughout. (Score: 6/10)

Lights:

Lighting, like sound, can be a tricky beast outside, even in an amphitheater set below local ground level. A slightly more consistent, balanced lighting plot would have made the visual aspects of the work come off more seamlessly. (Score: 6/10)

Casting:

Full marks to Mr’s. Campbell and Lewis, as previously mentioned. The rest of the cast was competent and delivered reliable performances. (Score: 8/10)

Overall Production:

A solid, well directed new adaptation of a classic work which benefits from the efforts of one of the best physical comedians in the Bay Area. Outdoor theater comes with built-in technical challenges which were, to a large degree, successfully navigated. (Score: 7/10)

Reviewer Score:

A good outdoor effort of a version of Don Quixote which this reviewer hopes will benefit from a bit of a duration trim on its way to becoming a theatrical staple, and a tad of tempo tightening during its current run. The play was very, very well-served by the addition of Mr. Campbell and Mr. Lewis. (Score: 7/10)

Overall Score: (75/110) Good work.

Team ASR is composed of a selection of writers, directors, actor, musicians, dancers, technicians, stage managers, and a host of other arts folks.

***** ***** ***** ***** *****

August 16, 2015May 3, 2018

ASR Theater Review! Multi Ethnic Theater Does August Wilson Proud — by Kris Neely

There was an article in the Wall Street Journal a few weeks back reporting that there were more Tennessee Williams theater festivals and events sliding in between similar Shakespeare happenings than ever before. That’s a good thing, to be sure. Yet there is no doubt Mr. August Wilson will be joining those illustrious ranks soon.

Mr. Wilson exploded onto the American theater scene with critically acclaimed plays such as Ma Rainey’s Black Bottom and Joe Turner’s Come and Gone, as well as Fences (1987 Tony Award, New York Drama Critics’ Circle Award, Drama Desk Award, and the Pulitzer Prize) and The Piano Lesson (1990, Pulitzer Prize).

Mr. Wilson’s command of the black experience in twentieth-century America is second-to-none. His talent for shaping dialog is unquestioned. His characters are realistic, genuine, and thoughtfully rendered while his choice of language is exacting and considered. His plays, including this one, often deal with themes of community loyalty and commitment, to fair play and justice.

The play gives us a complex story based on the lives of ordinary people, a volatile turning point in American history. The location is Pittsburgh, Pennsylvania in the racially charged world of 1969. Mr. Memphis Lee’s threadbare cafe is a regular stop for neighborhood folks all trying to understand the cultural maelstrom of the late 1960s. The regulars do their best to come to an accommodation with the swirling tides of change, but not always with the results they intended.

As the play begins, the city block on which Mr. Memphis’s diner is located is due to be torn down in a city renovation project. One of Mr. Memphis’ regular customers is the rich undertaker whose business is located across the street from the diner. The undertaker urges Mr. Memphis to accept his offer to buy the cafe, but his price is unacceptable to the stoic Mr. Memphis. He’s been swindled out of property before and he’s determined to stand his ground this time and get what he thinks his property is worth.

Risa is the only female in the cast. A waitress of quiet dignity occupying the still point in this play, she has self-inflicted cuts on her legs, self-mutilation as a barrier between herself and men. Hambone is a mentally disturbed man who seeks comfort in the friendship shown him by Risa. He speaks infrequently but when he does, it’s one variation or another of the phrase, “He gonna give me my ham. I want my ham!”

The senior character in the play is Holloway. He has seen it all and his role is steady anchor, neighborhood philosopher, and ardent proponent of a legendary 322-year-old woman prophet down the street. Although never seen, she radiates a strong influence over the actions of many of the characters in the play, and serves as a reminder of the heritage of Black Americans.

With these strong roots, Mr. Wilson grows a powerful theatrical experience and a strong history lesson for those of us not witness to Black life in 1969.

As directed by Lewis Campbell with Esperanza Catubig assisting, and rendered by the Multi Ethnic Theater Company and presented in the Gough Street Playhouse in San Francisco, Two Trains Running ran 3 hours including one intermission. The running time is important, as slowness of pacing was an issue on opening night. This play requires pacing more like everyday life, with the dynamics of neighbors talking with neighbors they’ve known for years; that is to say briskly, sometimes obliquely, with awareness of personal quirks and hot buttons, and with every intent to find or deliver a message, a joke, a jab, or a cut. The actors cast in this production are certainly more than capable of doing this sort of work, but on opening night the presentation was too muted. (Note: It was extremely hot in the theater this night and I’m sure that had an impact on the actors. I know it did on the audience.)

Fabian Herd was superb as Wolf, Vernon Medearis a study in subtlety and nuance as West (the undertaker), and Stuart Elwyn Hall every bit the oracle of Black life as Holloway. All three actors demonstrated a keen ability to do what so many actors fail at: to listen to what is being said by other actors, instead of simply waiting for their turn to speak. These gentlemen delivered acting in considered gradations, rendering layered performances which would hold them in good stead with notable theaters across this country.

The set design, that of a scruffy café so much a part of neighborhoods everywhere, was nicely done. The turquoise booths were period perfect. Unpainted plywood here-and-there emphasized a business managed with small dollars and ‘just enough’ repairs. Set construction showed care. Making a set look down-on-its-luck without making it look slapdash is harder than one might imagine. The set designer/builders (Lewis Campbell and David Hampton) pulled it off nicely.

Props were period and detailed. Even though no one in the play ate anything which required catsup, the always ubiquitous red plastic catsup dispenser appeared one-third full. The bowl of beans eaten by Hambone were appealing, as was the coffee dispensed by Risa.

Costumes were period and nicely selected (especially those for Wolf.) A bit more attention to fit would render some costumes perfect.

There is little doubt August Wilson has a ‘reserved seat’ in the pantheon of Greatest American Playwrights. Seeing Multi Ethnic Theater’s production of Two Trains Running shows why.

Two Trains Running continues through August 30th at the Gough Street Playhouse, 1620 Gough St, San Francisco, CA 94109.

Rating: Three-and-a-Half out of Five Stars

Industry Commentary…

“Vivid and uplifting… pure poetry… remarkable!”—Time
“A symphonic composition with a rich lode of humanity running through it.”—Los Angeles Times
Winner of the New York Drama Critics Circle Best Play Award
“Vivid and uplifting… pure poetry… remarkable!”—Time
“A symphonic composition with a rich lode of humanity running through it.”—Los Angeles Times
“His language is golden: rich in humor and poetry and redolent of a colorful vernacular.”—Wall Street Journal
“Has an unassailable authenticity… a lot of life and a lot of humor… By the end, a small world has been utterly transformed.”—Variety
“These characters are fully imagined—they live… reeling out stories about their past, their angers, their dreams.”—Washington Post
“Wilson’s most adventurous and honest attempt to reveal the intimate nature of history… glorious storytelling… touching and often funny… a penetrating revelation of a world hidden from view.”—Frank Rich, The New York Times

Also Available…

Script available here.

Script, Samuel French available here.

Study Guide available here.

Paybill from Broadway run available here.

Discount Tickets are also available on Goldstar.

Tickets are available on the theater’s website.

Kris Neely is a member of the San Francisco Bay Area Theater Critics Circle and a Theater Bay Area (TBA) Adjudicator.

Mr. Neely’s blogs on theater and performing arts are found on Aisle Seat Review at www.AisleSeatReview.com and also on For All Events at www.ForAllEvents.com.

***** ***** ***** ***** *****

August 15, 2015May 4, 2018

ASR Theater Review! Laugh-Out-Loud Performance at Marin Shakes — by Kris Neely

Instead, one simple phrase comes to mind: theatrical magic.

Visually, Ms. Currier kept the set design simple and even spare. Lighting and sound designs worked well, if hard as they often do in an outdoor setting. Costumes were well designed and carefully rendered. Pops and set pieces were thoughtful, spare, and effective.

Paired with hand-selected segments of the text by Miguel de Cervantes, the show unfortunately succeeds in feeling a bit like the books upon which the play is based — by the end of the show it felt somewhat like a long visit by a good friend: you’re at once delighted to have been so entertained but wish the evening’s festivities would wrap-up.

In all, a solid, well directed, new adaptation of Don Quixote which this reviewer hopes will benefit from a bit of a duration trim on its way to becoming a theatrical staple, and a tad of tempo tightening during its current run. The play was very, very well-served by the addition of Mr. Campbell and Mr. Lewis.

***

Kris Neely is a member of the San Francisco Bay Area Theater Critics Circle and a Theater Bay Area (TBA) Adjudicator.

Mr. Neely’s blogs on theater and performing arts are found on Aisle Seat Review at www.AisleSeatReview.com and also on For All Events at www.ForAllEvents.com.

*******************************************

August 15, 2015May 3, 2018

ASR Technical Review! Big David Mamet Results in a Small Theater — by Team ASR

NOTE: The following commentary is focused primarily on the production, direction, and technical aspects of Theater and Performing Arts.

Winner of the 1984 Pulitzer Prize for drama, Glengarry Glen Ross is David Mamet’s sizzling and gritty, claustrophobic play about a quartet of self-loathing real estate salesmen in Chicago during the mid-1980s. The 1992 film featured an all-star cast and was critically acclaimed. While there is much to be said about the art of live theatre, it would be wise to keep any comparisons to the film out of mind.

The title of the play (and the plot, really) is derived from the two real estate properties mentioned: Glengarry Highlands, a real estate development currently being sold, and Glen Ross Farms, a previous crème del le crème real estate development. A sales contest pits the salesmen against each other. Driven to desperation, they resort to manipulation, bribery and even burglary and theft to keep their jobs. The dog-eat-dog action that ensues is intense, laden with F-bombs, and brings with it all the intensity of life in a pressure cooker.

Mamet came to the public’s attention with plays including, American Buffalo, Speed the Plow, Oleanna, and Cryptogram. Considered a classic of 20^th century theater, Glengarry Glen Ross shows Mr. Mamet at the top of his game – a key reason this play has become a regional theater staple.

So in a nutshell, how was the Shelton’s version of the show? The actors do a serviceable job with the dynamic script that’s full of rapid-fire dialogue, and the technical aspects largely delivered their intended results.

TECHNICAL SCORECARD

Scenic Design:

The set in the small footprint Shelton Theater were quite effective. A Chinese restaurant, the focus of the first few scenes of the production, boasted beautiful red upholstery and was accented with maple-stained wood trim. With clean lines, the restaurant set was complemented by a simple black lacquer table and white curtains. The real estate office’s white walls included a well-painted marble effect that transported the audience right into the twisted business. Both sets leveraged the Shelton Theater’s size and geometry to good effect. The sets were designed, built, and painted by Matt Shelton and Adam Stowers. (Score: 8/10)

Set Construction:

The set was carefully built to capture the essence of the environments displayed. The resulting effect was more than your run-of-the-mill set—simple yet effective. The brown stair step leading from the street into the office struck a somewhat incongruous note. (Score: 7/10)

Stage Management:

To the credit of Stage Manager, Muriel Shattack, the action behind the scenes was smooth. The backstage crew controlled the on-stage chaos with near perfect set changes and actors made entrances promptly. Lighting and sound crews were on their mark and associated cues were tight. (Score: 8/10)

Sound:

Sound design was by Alex Boyd. At the outset, Mr. Boyd’s music and mood effects inside the Chinese restaurant worked well. In contrast, the sound effects and music underscoring the key set change were overwrought, taking the audience away from the moment. (Score: 5/10)

Props:

An important facet of a strong production is the use of effective props. Shelton’s prop designer invoked realism with matching turquoise office chairs, harmonious dishes and tea set accessories, as well as a file cabinet full of…files. By-and-large, everything was in its proper place and presented a well thought-out design. One inconsistent note was a tea bag, seen floating in the bottom of a glass coffee pot. When an actor says something to the effect that he hasn’t had a cup of coffee all day and pours same from a glass coffee pot containing a floating tea bag clearly visible to the audience, the result is unimpressive. (Score: 7/10)

Costumes:

Costumes were realistic, pressed/ironed as appropriate and well presented. Each slimy salesman wore immaculate, pressed suits fitting for the 1980s. Shoes were stylish and polished. Style/design elements were well considered and selected. (Score: 8/10)

Direction:

Mamet challenges directors of every experience level. Director Sasha Litovchenko succeeds for the most part. Pacing was a tad uneven in spots. It also felt like a bit more work needed to be done on the acting choices made in some of the scenes, particularly in Act 1 Scene 1. Blocking and movement were satisfactory. (Score: 5/10)

Lights:

One of the greatest challenges of the space at Shelton Theater is its low hanging ceiling. Still, the lighting design by Colin Pope captured the essence of the script for the most part. The lights were hung evenly, but on more than one occasion actors were performing between lights, in a bit of a dim zone. (Score 6/10)

Casting:

Good casting, nice mix. The seasoned actors did a good job with the material. Mr. Shelton’s work in particular was outstanding. The Eastern European accent of one of the other actors was a bit thick at times. Philip Estrin avoids clichés and nails the role of down-but-not-quite-out Shelley Levene. Matt Crawford as Moss, looks straight out of Central Casting as the schemer who launches the idea of the salesmen robbing their own office. (Score: 8/10)

Overall Production:

The Shelton Theater’s production of Mamet is a solid presentation of a great American classic. Overall, Shelton paid better-than-average attention to the technical aspects of the theater. (Score: 7/10)

Reviewer Score:

Shelton Theater’s iteration of Glengarry Glen Ross works incredibly hard to sell the intent and intensity of Mr. Mamet’s work. For the small audience on Friday night, Shelton largely delivered the goods. If you like drama, go see this solid take on an American classic. (Score: 7/10)

Overall Score: (75/110) Good work.

Glengarry Glen Ross by David Mamet plays through August 29^th.

Tickets are $25-$50 (with discounts available) and are available online at http://www.sheltontheater.org or by calling 415.882.9100.

Show times and Place: Thursday – Saturday 8:00 pm. Box Office and Bar open at 7:00 pm. The Shelton Theater is located at 533 Sutter St. between Powell and Mason, in San Francisco.

Team ASR is composed of a selection of writers, directors, actor, musicians, dancers, technicians, stage managers, and a host of other arts folks.

***** ***** ***** ***** *****

August 12, 2015May 3, 2018

ASR Performance Review! Brandeburg Excellent in Streisand Tribute — by Kris Neely

Kelly Brandeburg took the stage of the Society Cabaret at the Hotel Rex in San Francisco and made it her own.

In an August 1st performance that ran almost 90 minutes, Ms. Brandeburg charmed, sang, and dazzled her way into the hearts and minds of the packed house with her one woman show, My Favorite Barbra: A Tribute to the Songs of Barbra Streisand.

A graduate of the American Musical and Dramatic Academy, and of The New School in New York City, Ms. Brandeburg deftly weaved Ms. Streisand’s personal story with 20 selections from her varied songbook. Marrying the singer’s history and music brought a personal and intimate tone to Ms. Brandeburg’s performance.

From opening to closing note, Ms. Brandeburg’s voice navigated the breadth and range of Ms. Streisand’s work with aplomb. It was no surprise when Ms. Brandeburg informed the mixed age audience that she had just signed a contract with the estimable Beach Blanket Babylon as an understudy for the Val Diamond role.

One minor discordant note to all this musical marvel: in the intimate confines of the Society Cabaret, miking both Ms. Brandeburg and Pianist/Musical Director John Simon Kassianides (with additional sound monitors on-stage) was overkill and detracted from the otherwise intimate nature of a professional show which organically grew more personal and private as the evening progressed.

Ms. Brandeburg’s one-woman show was solid, delightful, and a musical banquet which in the true spirit of the theater left her appreciative audience wanting even more.

Society Cabaret is located in the beautiful Hotel Rex, located at 562 Sutter Street in San Francisco, CA. For information on upcoming events, please see http://www.societycabaret.com.

Rating: Four out of Five Stars

***

Kris Neely is a member of the San Francisco Bay Area Theater Critics Circle and a Theater Bay Area (TBA) Adjudicator.

Mr. Neely’s blogs on theater and performing arts are found on Aisle Seat Review at www.AisleSeatReview.com and also on For All Events at www.ForAllEvents.com.

***** ***** ***** ***** *****

August 10, 2015May 3, 2018

ASR Theater Review! Shelton Theater’s ‘GGR’ Closes the Deal! — by Kris Neely

The title (and for that matter the plot) of the play is derived from the two real estate properties mentioned: Glengarry Highlands, a real estate development currently being sold, and Glen Ross Farms, a previous crème del le crème real estate development. A sales contest pits the salesmen against each other. Driven to desperation, they resort to manipulation, bribery and even burglary and theft to keep their jobs. The dog-eat-dog action that ensues is intense, laden with F-bombs, and brings with it all the intensity of life in a pressure cooker.

Mamet came to the public’s attention with plays including, American Buffalo, Speed the Plow, Oleanna, and Cryptogram.Considered a classic of 20^th century theater, Glengarry Glen Ross shows Mr. Mamet at the top of his game – a key reason this play has become a regional theater staple.

As rendered by Shelton Theater, the scenic aspects of the show were solid. A Chinese restaurant, the focus of the first few scenes of the production, boasted beautiful red upholstery and was accented with maple-stained wood trim. With clean lines, the restaurant set was complemented by a simple black lacquer table and white curtains. The real estate office’s white walls included a well-painted marble effect that transported the audience right into the twisted business. Both sets leveraged the Shelton Theater’s size and geometry to good effect.

Shelton’s prop designer invoked realism with everything in its proper place and a well thought-out design. Costumes were realistic, pressed/ironed as appropriate and well presented. Costuming style/design elements were well considered and selected, showing us the best of dress for the mid-1980s. Actor traffic on and off the sets worked well.

To the credit of Stage Manager, the action behind the scenes was smooth. Lighting and sound crews were on their mark and associated cues were tight. One note: sound effects and music underscoring the key set change were a bit overdone. The lighting plot was serviceable.

From a directing perspective, Mamet challenges directors of every experience level. Director Sasha Litovchenko’s casting was solid and the seasoned actors did a good job with the material. Mr. Shelton’s work in particular was outstanding. Philip Estrin avoids clichés and nails the role of down-but-not-quite-out Shelley Levene. Matt Crawford as Moss, looks straight out of Central Casting as the schemer who launches the idea of the salesmen robbing their own office.

Overall, the Shelton Theater’s production of Mamet is a solid presentation of a great American classic. For the small audience on Friday night, Shelton largely delivered the goods. If you like drama, go see this solid take on an American classic.

Glengarry Glen Ross by David Mamet plays through August 29^th.

Tickets are $25-$50 (with discounts available) and are available online athttp://www.sheltontheater.org or by calling 415.882.9100.

Show times and Place: Thursday – Saturday 8:00pm. Box Office and Bar open at 7:00pm

The Shelton Theater is located at 533 Sutter St. between Powell and Mason, in San Francisco.

***

Kris Neely is a member of the San Francisco Bay Area Theater Critics Circle and a Theater Bay Area (TBA) Adjudicator.

Mr. Neely’s blogs on theater and performing arts are found on Aisle Seat Review at www.AisleSeatReview.com and also on For All Events at www.ForAllEvents.com.

***** ***** ***** ***** *****