PICK! ASR Theater ~~ Sonoma Arts Live Showcases America’s Country Star

By Sue Morgan and Cari Lynn Pace

Director Michael Ross’ self-proclaimed “love letter to the theater community,” Always…Patsy Cline is based on the true story of Patsy Cline’s relationship with Louise Seger, a fan who became Patsy’s friend and with whom Patsy maintained a close correspondence until Cline’s untimely passing, at age 30, in a plane crash. The show runs at Sonoma Arts Live through December 18.

ASR contributors Sue Morgan and Cari Lynn Pace comment below:

CLP: SAL captures the spirit and voice of Patsy Cline by casting Danielle DeBow as the young American star of country music. DeBow has the stunning looks and the honeyed earthy voice that vaulted Cline to the top of the charts in the late 50s and early 60s. DeBow even captures the famous sad catch in Cline’s voice, so wonderfully evocaive in her hits “Crazy,” “I Fall to Pieces,” and “Walkin’ After Midnight.”

Danielle DeBow as Patsy Cline.

SM: Reprising their roles in SAL’s second production of the play, both Danielle DeBow (Patsy) and Karen Pinomaki (Louise) create the magic necessary to bring the audience back to mid-century America when Cline’s astonishingly numerous hits were pervasive on radio and TV, not merely for country music fans but for many others across the nation. You’ll find most of those hits faithful to the originals and beautifully performed by DeBow in this production.

… It’s an enjoyable – and laughable – tribute…

CLP: Who knows how far Cline might have gone had she not tragically died in that airplane crash before she was even 30 years old?

SM: DeBow is not only a world-class singer but also drop-dead gorgeous. Michael Ross has an impeccable eye for costuming and uses her beauty to great advantage. DeBow first appears as Patsy onstage at the Grand Ole Opry, wearing an accurate recreation of Cline’s iconic red-fringed cowgirl dress. Ross then adorns DeBow in an array of period-perfect and stunning confections which enhance and contribute to the overall appeal of the production.

CLP: The thin plot is based on the true story of Louise, Cline’s enthusiastic fan, and the friendship that developed between them. It‘s an amusing and heartfelt retelling, narrated by Pinomaki and based on letters the two women shared over several years. Pinomaki is an outrageous force of energy on stage, delightfully down-to-earth as she cavorts around the entire theater. She’s the perfect fearless foil against the cool smooth presence of DeBow.

SM: Pinomaki’s high-octane performance is both energizing and engaging, frequently eliciting appreciative laughter. Use of a thrust stage (the audience on three sides) works well to create a sense of intimacy as we observe Louise puttering in her kitchen, calling her local radio DJ to request her favorite Cline songs, or narrating and enacting the story of how she came to befriend her musical idol.

DeBow’s magnificent voice and stage presence, as well as the warmth and easy authenticity in her interactions with superfan Louise make her a wholly believable Patsy.

CLP: The six-piece band onstage is pure country, complete with pedal steel guitar and fiddle. At some moments the piano overwhelmed the vocals. Those unfamiliar with the songs may not grasp some of the poignant stories told in the lyrics. This reviewer, who has excellent hearing and sat in the second row, just went with the flow of the music.

Many of DeBow’s vocals are backed up by the harmony quartet of Sean O’Brien, Jonathen Blue, Steve Cairns, and Alexi Ryan, as the Jordanaires. They lend an authenticity to Cline’s original songs that is country-fine fun.

SM: The Jordanaires do a fine job as backup singers for Patsy, including a somber lament after her passing. The band was tight and on point and drummer Elizabeth Robertson collaborated well with Louise during a staged bit on tempo.

SM: Despite the tragedy of Cline’s early demise, Always… Patsy Cline does not devolve into melodrama, but maintains its focus on the friendship of two women of vastly different circumstances, brought together serendipitously and steadfastly connected through mutual affection and appreciation.

Danielle DeBow (Patsy) and Karen Pinomaki (Louise) create the magic at Sonoma Arts Live.

CLP: It’s no mere jukebox musical. It’s an enjoyable – and laughable – tribute from an energetic housewife to a budding superstar. Two down-home gals who once bonded and became friends … always.

SM: This production will make believers of those unfamiliar with Ms. Cline’s music and will renew the enthusiasm of long-term fans through its outstanding combination of theatricality, virtuoso musical performances, gorgeous costuming and heart-warming true-life subject matter. An exhilarating, riveting, joyful piece of musical theatre!


Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: sstrongmorgan@gmail.com



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: pace-koch@comcast.net


ProductionAlways, Patsy Cline
Written byTed Swindley
Directed byMichael Ross
Producing CompanySonoma Arts Live
Production DatesThursdays thru Sundays until Dec. 18, 2022
Production AddressRotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Tickets$25 – $42
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review Pick?YES!

PICK! ASR Theater ~~ Compelling, Controversial “Wuthering Heights” at Berkeley Rep

By George Maguire and Barry Willis

Writer/director Emma Rice has deconstructed one of the most beloved English novels of the 19th century and has remade it into a pop-rock extravaganza, delighting some critics and outraging others. Her Wuthering Heights runs at Berkeley Repertory Theatre through January 1, 2023.

Traditionalists expecting a stage production of the dark 1939 film starring Merle Oberon and Laurence Olivier are likely to be disappointed. This frenetic, high-energy show is geared to a younger generation with a different aesthetic, but it can work equally well for those not necessarily tethered to the past. Innumerable classic stories have been reinvented for the sake of stage and screen entertainment. There’s certainly no reason why Wuthering Heights shouldn’t suffer the same fate, just as Hamlet can be reinterpreted as a modern business drama, or Romeo and Juliet reconfigured as a rock opera.

…The movement work in this show is inspiring. So is (the) mining of humor…

Controversy swirled at Berkeley Rep’s November 22 press opener. Some critics raved to their colleagues about Rice’s stunning production while others dismissed it as an abomination. ASR’s George Maguire and Barry Willis comment here:

BW: This is an amazing, dynamic production with multi-threat performers who can act, dance, do gymnastics, and in some cases, play instruments. Especially impressive are Jordan Laviniere, who plays the leader of the Yorkshire Moors, and Leah Brotherhead as Catherine. She’s also a great rock singer. TJ Holmes, who plays Dr. Kenneth, performs on cello and accordion when he’s not stage center. He’s a delightful comic actor, one of a cast of eleven, most of whom tackle multiple roles. Theatrical talent is everywhere in this show but the multi-casting can cause confusion among viewers because most of the characters are cousins with similar names.

GM: Yeah, Barry! It is a fairly faithful adaptation of Emily Bronte’s novel, and if you can stop conflating the story with her sister Charlotte Bronte’s Jane Eyre, you’re a winner. The story itself is weighted down with so many generations of relationships, and births and deaths, with eleven actors playing all the roles. It’s often highly confusing.

Leah Brotherhead as Catherine and Liam Tamne as Heathcliff in the West Coast premiere of Wise Children’s “Wuthering Heights” at Berkeley Repertory Theatre. Photo by Kevin Berne.

BW: I’m no Bronte expert, but it looks to me like Emma Rice has adhered to the original plot, but uses story elements and characters to create something entirely new. I’m generally approving of prequels, sequels, and reinterpretations of classic stories — with the exception of Daniel Fish’s Oklahoma!, a real horror show.

Rice’s Wuthering Heights isn’t really the Bronte classic. I attended with my friend Marcia Tanner, an art curator with a degree in English Literature from UC Berkeley. She quipped: “It’s misleading to title this show Wuthering Heights . . . it should be Something Based on Wuthering Heights.” That’s a fair assessment.

GM: My biggest challenge was not hearing the play (technically, a musical), but frankly, it was not understanding what the cast was saying and singing.

BW: That was a problem for many in the audience, I believe. Thick Yorkshire accents were tough enough to understand during dialog, and impossible to decipher during the show’s many songs. I loved the music but couldn’t tell you what any of the songs are about. Marcia astutely observed, “They need superscripts.” The only words that appear on the large backdrop are a few lines from the novel.

GM: Etta Murfitt’s choreography is wonderful and eclectic, ranging from almost hoe-down, to Irish jig, to nonspecific elegance. A lovely and diverse musical score by Ian Ross keeps the play moving. The casting of eleven very accomplished members of the Wise Children’s troupe was a joy, as was watching them effortlessly morph into the manifold characters in the novel. Heathcliff (Liam Tamne, of multi-national background) is particularly inspired casting, making the orphan Heathcliff the dark, brooding, and very sexy creature he was — unlike anyone else in the Yorkshire moors.

BW: I was knocked out by the performers and the quick-moving stagecraft, especially the rolling doors-and-windows pieces that transformed into beds and other devices. The books-on-sticks-as-fluttering-birds bit is brilliant low-cost theatricality. So are the chalkboards that serve as erasable tombstones.

GM: The movement work in this show is inspiring. So is Rice’s mining of humor — she finds comedic potential in many of Bronte’s situations, something that to my knowledge has never been done. But this Wuthering Heights is no spoof — it’s an inspired reinterpretation.

BW: Was the love affair between Heathcliff and his adoptive sister Catherine considered scandalous when the novel was published? It might be seen as close to incest today even though the two were not biologically related. Save Dr. Kenneth and the narrator Mr. Lockwood, almost all the other characters in the production are cousins, nothing unusual in an isolated community.

Jordan Laviniere as the Leader of the Yorkshire Moors; Eleanor Sutton, Katy Ellis, Tama Phethean, Stephanie Elstob, and Ricardo Castro as The Moors in the West Coast premiere of Wise Children’s “Wuthering Heights” now showing at Berkeley Rep. Photo by Kevin Berne.

GM: A community that’s cold, damp, and dark! Rice and set designer Vicki Mortimer went over the top portraying that.

BW: I had no expectations about this show, and was delighted — especially by the incredibly dynamic first act.

My only prior exposure was reading the novel in ninth grade — required reading — and having watched the movie at some point not long after that on late-night TV. The subject matter wasn’t something that resonated for me and wasn’t anything I cared to revisit.

I have difficulty relating to the social structure and morality of the time, which makes playwrights like Ibsen, Strindberg, Chekov, and their contemporaries something of a slog for me. I never liked G. B. Shaw until I saw Major Barbara, but I hope to live a thousand years without enduring another Mrs. Warren’s Profession.

But I understand the appeal of Jane Austen and the Bronte sisters, especially for women. In their time, the only path to a better life was through choosing the right marriage partner. Mothers often bled to death after childbirth. Infant and childhood mortality were rampant, from conditions easily treated today. This whole pathetic milieu is background for Wuthering Heights, but Emma Rice makes it entertaining and enjoyable..

GM: In all, this Wuthering Heights is a truly nifty addition to the repertoire of Wise Children, a new theatre company founded by Ms. Rice, whose group brought The Wild Bride to life at Berkeley Rep a few years ago. Imaginative, enthralling and chillingly-thrillingly theater.


ASR Contributing Writer George Maguire is a San Francisco-based actor-director and is Professor Emeritus of Solano College Theatre. He is a voting member of the SF Bay Area Theatre Critics Circle. Contact: gmaguire1204@yahoo.com


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: barry.m.willis@gmail.com


ProductionWuthering Heights
Written by Emily Bronte
Adapted by Emma Rice
Directed by Emma Rice
Choreographed by Etta Murfitt
Saheem Ali (Conceiver/Director)
Producing CompanyWise Children / Berkeley Repertory Theatre
Production DatesThrough January 1, 2023
Production Address2025 Addison Street, Berkeley CA 94704
Telephone(510) 847-2949
Tickets$24 - $119
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review Pick?YES!

ASR Theater ~~ Darkness Rules in “One Flea Spare” at Main Stage West

By Nicole Singley and Barry Willis

Novelist Kurt Vonnegut sometimes joked about his “vector analysis” approach to understanding stories, in particular the trajectories of primary characters.

For example, Cinderella’s personal vector moves like a rollercoaster through peaks of hope and valleys of despair, ultimately ending on a high note. Her arrow repeatedly goes across the “zero axis” between darkness and light. Many other stories take place entirely in the dark, without ever entering the light. Kafka’s “Metamorphosis” is one, in which a young man named Gregor Samsa, despised and reviled by his entire family, wakes up one morning to discover that he’s been transformed into a giant cockroach.  The murderous rampage that is Shakespeare’s “Macbeth” similarly takes place entirely in the dark. There’s nothing uplifting in the script, and no possibility of a happy outcome. The fact that the whole affair is miserably depressing hasn’t hampered the play’s enduring popularity. Nor has it impaired “Sweeney Todd,” a show that’s performed with inexplicable regularity.

 “One Flea Spare” is a deep probe into the dark side of human existence….

Naomi Wallace’s “One Flea Spare” is in this tradition.  A depiction of four people forced to quarantine in an upscale London home during the Bubonic Plague of the 17th century, it begins morosely and gets darker from there. Director David Lear and his excellent group of performers at Sebastopol’s Main Stage West don’t try to gussy up Wallace’s dim view of humanity but bore into the historical and emotional darkness like coal miners eager for work. Allusions to the COVID pandemic weren’t intended by the playwright, but are more than appropriate today.

The setup is simple: people are dying in droves and the city has commissioned some enforcers to keep those still symptom-free indoors at home until officials deem it safe for them to come out. Kevin Bordi plays one such enforcer, a good-natured oaf called Kabe, who visits the Snelgrave home to nail closed the shutters so that no one can escape.

Matthew Cadigan, left, rehearses with director David Lear for “One Flea Spare” at Main Stage West. (Photo by Main Stage West)

He converses amicably with the homeowners—superbly played by North Bay theater veterans John Craven and Elly Lichenstein—who are harboring two fugitives, a sailor named Bunce (Matthew Cadigan) and a young servant woman named Morse (Miranda Jean Williams), who have taken unapproved refuge in the Snelgrave home.

The four spend the next 28 days together in the dank house (set design also by Lear) getting to know more than they ever wanted to learn about each other, confessing things that might best be kept unspoken, and violating all kinds of social norms. Familiarity leads to contempt, as the old adage has it, and contempt leads to malicious violence, details of which won’t be shared here.

“One Flea Spare” is a deep probe into the dark side of human existence, offset somewhat by moments when the characters connect and seem to share some humanity with one another, usually in the context of revealing past hurts and painful secrets, such as Mrs. Snelgrave’s sad story about a fire that killed her horses and left her scarred and in a lonely marriage. Morse and Bunce have their own unhappy tales, but there’s palpable erotic tension and longing between Bunce and Mrs. Snelgrave.

Such scenes add dimension to the overwhelming darkness. Some viewers may feel compassion for all but the house’s master, and may enjoy a strange sense of delight when the others band together to strip him of his power.

It’s a beautiful bit of symbolism. All three had suffered greatly under men such as Snelgrave—the sailor’s forced military service destroyed his personal life, the servant girl literally lived under the control of her masters, and the wealthy lady of the house spent her life trapped in a dead and hostile marriage. The bizarre quarantine situation throws these three unlikely people together and enables them to challenge the power structure that has ruled their lives. Their joy, of course, is terribly short lived.

“One Flea Spare” is not a fairytale, but there is a bit of light peeking through the darkness. The production doesn’t feel like a month in quarantine, but theatrical magic does its work to convey an overriding sense of fear and claustrophobia, stretched out long enough to give the audience a taste of house arrest and an appreciation for the freedom of simply walking outside into the open air.



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: barry.m.willis@gmail.com











Nicole Singley is a Senior Contributing Writer and Editor at Aisle Seat Review and a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County’s Marquee Theater Journalists Association, and the American Theatre Critics Association.












ProductionOne Flea Spare
Written byNaomi Wallace
Directed byDavid Lear
Producing CompanyMain Stage West
Production DatesThru April 30th
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Telephone(707) 823-0177
Tickets$20– $32
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review PICK!-----


ASR’s Year in Review: Our “Best of the Best” from 2019 – by Nicole Singley and Barry Willis

Better late than never, the old adage has it. Here (in no particular order) are some memorable productions from last season, a year full of four- and five-star achievements.

The Jungle (Curran Theatre): San Francisco’s renovated Curran Theatre was re-renovated for an immersive recreation of a 2016 crisis in a refugee camp in Calais, France. A huge and hugely talented multi-ethnic cast made this show last season’s most profound and moving theatrical experience. (BW)

After Miss Julie (Main Stage West): Ilana Niernberger and Sam Coughlin paired up for a thrilling pas de deux in Patrick Marber’s evocative spin on “Miss Julie,” transplanting Strindberg’s classic story to a summer night in 1945. A stunning set, great lighting, and white-hot performances brought class and erotic tensions to a boil, culminating in a seriously steamy tango scene that won’t be soon forgotten. (NS)

Rocky Horror Show (Marin Musical Theatre Company): MMTC took this Halloween favorite far over the top at the San Anselmo Playhouse, thanks to stunning efforts by Jake Gale, Nelson Brown, Dani Innocenti-Beem, Pearl Fugit and many others. (BW)

Barbecue Apocalypse (Spreckels): The laughs were served well-done in this quirky comedy, thanks to a witty script marinated in millennial-centric humor and a talented ensemble. Clever costumes, strong technical work, and excellent casting proved that all it takes to survive the end of days is a little raccoon meat and some serious comic relief. (NS)

Romeo and Juliet (Throckmorton): Mill Valley’s Throckmorton Theatre and the streets around it became Verona, Italy, in a sweetly evocative, imaginative, and fully immersive production of Shakespeare’s timeless tragedy. (BW)

Sex with Strangers (Left Edge Theatre): Left Edge Theatre turned up the heat in “Sex with Strangers,” a seductive modern romance that broaches big questions about love, ambition, and the price of success in the digital era. Dean Linnard and Sandra Ish brought the story’s unlikely couple to life with electric chemistry and powerful, nuanced performances. (NS)

Incidents in the Wicked Life of Moll Flanders (Ross Valley Players): RVP gambled and won with Jennifer LeBlanc’s adaptation of Daniel Defoe’s 1722 novel. Amber Collins Crane stole the show as the lead in a compelling tale about a beautiful, quick-witted woman who rose from miserable circumstances to respectability through petty crime, stealth, charm, and unusually good luck. (BW)

Drumming with Anubis (Left Edge Theatre): Left Edge Theatre invited us along to the Neo-Heathen Male Bonding and Drumming Society’s annual campout, where a group of aging death metal fans communes in the desert to beat their bongos. Things got a little dark, a lot hilarious, and surprisingly touching when the Egyptian god of death crashed the party. Local playwright David Templeton’s brilliant new show earned a 5-star reception, featuring a phenomenal cast and beautiful scenic design. (NS)

How I Learned What I Learned (Marin Theatre Company): Director Margo Hall coaxed a tremendous performance from Steven Anthony Jones, who brought grandfatherly wit and wisdom to the role of playwright August Wilson. A master class in story-telling. (BW)

Faceless (6th Street Playhouse): Former artistic director Craig A. Miller returned to helm this riveting courtroom drama about an American teenager caught running away to join her internet boyfriend in ISIS. Razor-sharp dialogue and powerhouse performances made for an intense and memorable experience in 6th Street’s intimate studio theater. (NS)

The Year of Magical Thinking (Aurora Theatre Company): Stacy Ross glowed in a masterly solo recital of Joan Didion’s play from her book of the same name. (BW)

Home (Berkeley Repertory Theatre): In this stunning piece of performance art by Geoff Sobelle, audiences watched a two-story house materialize from the shadows of an empty stage as if by magic. A spectacle of epic proportions, this visual feast reminded theatergoers that a house is just a space in which we come together to make a home. (NS)

Fully Committed (6th Street Playhouse): Patrick Varner channeled 40-some characters in his hilarious one-man depiction of a scheduling manager at his wits’ end in a high-end NYC restaurant, at Santa Rosa’s 6th Street Playhouse. (BW)

Merman’s Apprentice (Sonoma Arts Live): Daniela Innocenti-Beem brought Broadway legend Ethel Merman back to the stage with a larger-than-life performance in this sparkling world premiere, brimming with catchy tunes and colorful humor. Innocenti-Beem and teenaged costar Emma Sutherland boast some serious pipes, which made this charming new musical all the more fun. (NS)

Mother of the Maid (Marin Theatre Company): A mother’s love and devotion were never so well depicted as in this lovely, heart-rending piece about Joan of Arc’s mother Isabelle (Sherman Fracher). (BW)

Eureka Day (Spreckels): Laughter proved contagious in Jonathan Spector’s whip-smart “Eureka Day,” pitting parents at a Berkeley charter school against each other in the wake of a mumps outbreak. An all-star cast, elaborate set design, and top-notch technical work combined to make this a 5-star production. (NS)

Cabaret (San Francisco Playhouse and Napa’s Lucky Penny Productions): Both of these productions were excellent and amazing versions of this dazzling but starkly disturbing cautionary tale. (BW) 

Miss Bennet: Christmas at Pemberley (Spreckels): Theatergoers were dazzled by this cleverly written and superbly acted continuation of Jane Austen’s beloved Pride and Prejudice, containing everything an Austenesque story should: delicious drama, a heartwarming romance, and an abundance of humor and witPitch-perfect direction and exemplary casting made “Miss Bennet” the ultimate holiday treat. (NS)

Harry Potter and the Cursed Child (Curran Theatre): Nonstop high-intensity theatrical magic is the only way to describe this extravagant production, running into next July. (BW)

A Gentleman’s Guide to Love and Murder (Spreckels): Hilarity ensued in this madcap musical about a man clawing his way to the top of the family tree. Tim Setzer stole the show as all nine members of the D’Ysquith family, all of whom meet their ends in some of the most creative and comical ways imaginable. Excellent ensemble work, cute choreography, and clever projections made this one killer production. (NS)

Barry Willis is the Executive Editor at Aisle Seat Review, a member of the American Theatre Critics Association, and president of the San Francisco Bay Area Theatre Critics Circle. Contact: barry.m.willis@gmail.com


Nicole Singley is a Senior Contributing Writer and Editor at Aisle Seat Review and a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County’s Marquee Theater Journalists Association, and the American Theatre Critics Association.


AN AISLE SEAT THEATER REVIEW PICK! Praise for Hershey Felder’s “A Paris Love Story” – by Victor Cordell

Hershey Felder occupies a unique and enviable position in the world of live entertainment. He has created a series of solo theatrical performances that draw on his powerful strengths of master story telling and piano playing. And if the subjects of the shows aren’t all personal heroes, which they probably are, each is a brilliant star in the constellation of great music composers. He has written and performed music biographies for the stage of Gershwin, Bernstein, Tchaikovsky, Beethoven and more at some of the finest performance venues in the country, often breaking box office records.

He now takes on the life and works of Claude Debussy in a world premiere at TheatreWorks Silicon Valley. The great turn of the century composer is credited as the originator of the classical music genre of impressionism, though he didn’t care for the term. But his compositional style led to the designation because of its parallel with impressionist painting with its shimmering, ethereal quality like the dizzying, elusive mix of colors on canvas representing tangible items.

As with his previous successes, Felder weaves together a composer’s music with biographical highlights, but the structure of his newest work differs. He avows that Debussy actually is his favorite composer. At the age of 19, Felder visited Paris and haunted the places and followed the footsteps where Debussy trod, including a pilgrimage two hours on foot each way to visit the composer’s apartment. Because of this special connection with Debussy, Felder’s theatrical conceit is to insinuate his own story in with that of the composer. The device works well both because Felder himself has a following and because of his personal passion for the composer and the city. The one jolting aspect of the new production is that in Felder’s catalog of titles written for the stage, Debussy’s name does not appear except in the likely ignored third line of the title.

Felder (Photo Credit: Christopher Ash)

The performance takes place on a darkened stage, with a few props emblematic of Paris. Animated chalk figures festoon a black backdrop to further depict the architecture and the ambiance of the city. Hershey Felder plays with brio at the black Steinway grand and regales, often with great humor. Interspersing his own growth and his travelogue with the compositions and many loves of Debussy, he details many vignettes, including attempted suicides by two of his love interests.

Despite his esteem as a respected composer, Debussy works are perhaps not as broadly popular as Felder’s other honorees. Prélude à l’après-midi d’un faune and La Mer are well known, and opera aficionados will know the important opera Pelléas and Mélisande, though it is seldom performed or excerpted onto recordings. But the musical extracts that Felder plays charm and scintillate, including those less likely to have been heard by audience members before. The jaunty piano solo for children, Golliwog’s Cakewalk, is a fine example that also reflects the composer’s iterative relationship with African-American musical forms.

…clever and enticing… engenders anticipation…”

Felder does note the critical role that Debussy’s innovativeness played in directing classical music away from the weightiness of Wagnerian romanticism. Debussy felt that music should reflect the delightful way people feel when they engage with nature. Influenced by a Javanese gamelan performance he witnessed in 1889, he adopted the whole note scale, which facilitates the dreamy sound that is associated with impressionism. With this change, he not only disrupted the direction of classical music but also developed the musical vocabulary that led to improvisational jazz as best realized by the great pianist Art Tatum.

Felder (Photo Credit: Christopher Ash)

Of course, Debussy’s signature piece which makes him a household name and exemplifies his dream-like musical style is Claire de lune. Felder’s treatment of this piece is clever and enticing. He opens the performance with the story of how he learned the piece, his mother’s favorite, at age six. By playing only a brief but familiar phrase from it, he engenders anticipation for the work throughout the performance. It comes as the finale, and it is played with such grace and delicacy that it quieted the venue and had the audience on the edge of its seats – a worthy finish to a fine confection.

This review must close on a tragic note. As I write on April 15, 2019, one of the world’s great architectural masterpieces and cultural assets for all of civilization, Paris’s Cathédrale de Notre Dame, is engulfed in flame. This is a great loss to humanity. Indeed, this landmark is significant to A Paris Love Story, as the author speaks warmly of Notre Dame and of the magic of point zero, the designated spot in front of the cathedral that represents the symbolic center of Paris. The spot will remain, but can any of the cathedral be saved or reclaimed for posterity?

ASR reviewer Victor Cordell is a member of the San Francisco Bay Area Theatre Critics Circle and the American Theatre Critics Association, and a Theatre Bay Area adjudicator.



ProductionA Paris Love Story
Written byHershey Felder
Directed byTrevor Hay
Producing CompanyTheatreWorks Silicon Valley
Production DatesThrough May 5th
Production AddressMountain View Center for Performing Arts
500 Castro Street
Mountain View, CA 94041
Telephone(650) 463-1960
Tickets$35 – $113
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review PICK!Yes!

AN AISLE SEAT THEATER REVIEW! Foothill’s “Bullets over Broadway” Hits its Mark – by Victor Cordell

At the core of his comic genius, Woody Allen creates fictional lead characters who share his neuroses. He then places them in situations rich with local color based on his own experience and observation.

With Bullets over Broadway, he wrote a highly successful screenplay for a movie that received considerable award recognition. In transitioning the story to the stage and adding music, it was honored with six Tony nominations, but its box office outcome was modest at best. Perhaps its failure to earn a long run is because it entertains but doesn’t wow.

Rejection and crises of confidence plague authors, and in this instance, the Woody Allen proxy is a young playwright, David Shayne, whose break to get financing for his first Broadway-destined play comes with a catch. Borrowing a theme that Allen and many others have used before, the finance depends on giving a role in the play to the girlfriend of the money man.

Oh, and in this case, the money man happens to be a gangster. Needless to say, the girlfriend is as talentless as she is witless, and with a whiny-screechy voice that is the reincarnation of Jean Hagen in the movie Singin’ in the Rain. To make matters worse, rehearsals reveal great inadequacies in David’s manuscript. But an unlikely source will put the project on the right path and dramatically alter the future of David and his collaborators.

Allen resisted the theatrical conversion of this property but having a taste for pop standards, was finally convinced by the suggestion that the musical score be comprised of songs from the period of the action. This strategy works in giving the music an authenticity and a pleasant familiarity with tunes like “Let’s Misbehave,” “Up a Lazy River,” and “There’ll be Some Changes Made.” Many updated lyrics enliven the old chestnuts, fit the plot line, and are quite funny.

…Foothill Music Theatre’s production offers … gusto and … humor … for a fun evening…

At the same time, its period characteristics may be what prevents Bullets from unqualified success, especially with younger audiences. In addition to its ‘20s music, the plotline intersection of Broadway and gangsters evokes Damon Runyon’s stories that were used as the basis for the musical Guys and Dolls and may seem dated.

However, Bullets contains a bevy of stereotyped characters that provide charm – from the fading diva to the actor whose food urges undermine his career – and stock situations like the playwright resisting script changes to maintain his integrity and the younger man being seduced by the lure of an older woman.

Overall, Foothill Music Theatre’s production offers enough gusto and extracts enough humor from the material for a fun evening. Not to say that it meets professional standards, but as a community theater offering, it satisfies. Most performers have peaks and valleys in both singing and acting, but each has high points that are quite worthy. Singing voices tend to have strong sweet spots that diminish outside that narrow range. And while the situational humor is uneven, the many one-line zingers uniformly hit the target.

Early on, Adam Cotungno as David seems caught between channeling Woody Allen and establishing his own role interpretation. By Act 2, both his acting and vocalizations exude confidence, and when he frantically delivers “The Panic is On,” he nails it. His nemesis is Olive, played convincingly by Jocelyn Pinkett, who inhabits the lower-class floozy with flair. Carla Befera hits her stride as the prideful and self-indulgent older actress, Helen, with a fine rendition of the appropriate “I Ain’t Gonna Play No Second Fiddle.” Finally, Nick Mandracchia masters the role of Cheech, the man in the shadows.

Milissa Carey directs commendably considering the resource requirements of the production. Bullets contains a huge number of scene changes. Andrew Breithaupt’s basic set is complemented by a revolving platform and a cache of movable props to give simple scenic suggestion, while Lily McLeod’s lighting effectively evokes mood shifts. Dance elements are demanding, and Claire Alexander’s choreography generally works, but execution is often out of kilter. Sharon Peng deserves a nod for the scope of costumery required for the production.

ASR reviewer Victor Cordell is a member of the San Francisco Bay Area Theatre Critics Circle and the American Theatre Critics Association, and a Theatre Bay Area adjudicator.



ProductionBullets Over Broadway
Written byWoody Allen
Directed byMilissa Carey
Producing CompanyFoothill Music Theatre
Production DatesThrough March 17th
Production Address12345 El Monte Rd.
Los Altos Hills, CA 94022
Telephone(650) 949-7360
Tickets$15 - $36
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review Pick?----


An Aisle Seat Theater Review! “Spending the End of the World on OK Cupid” – by Victor Cordell

For anyone who has been diagnosed with a fatal disease, the period leading to death can be painful and profound. If one can carry out normal activities under the sentence of death, the person often makes a conscious decision whether to live as routinely as possible; whether to surround one’s self with what is most cherished; or whether to splurge on very special and perhaps extravagant experiences.

In any case, philosophical reflection is inevitable. But what if one knows that life will end for all of humanity at a prescribed time? Say, an asteroid large enough to obliterate life hurtles inexorably toward earth.

In Jeffrey Lo’s new comic farce, Spending the End of the World on OK Cupid, a prophet of doom named Alfred Winters had accurately predicted “The Vanishing” in which half of humanity recently disappeared at once without a trace. Now Winters has assured those who have survived that the world will end at midnight on the day that the action of the play takes place. By the way, for those like me who have trouble deciphering the title, you probably don’t know that “OK Cupid” is an online dating site. Now it should make sense.

The narrative centers on two couples and several other characters whose lives intersect. Each couple has just met on the fateful day through OK Cupid, which should suggest that the characters are not exactly Homecoming King and Queen material. These young adults, as couples and with others, go through relationship rituals and the memes of daily life – from hypnotically gazing into cell phones to confronting the condescending barista at the coffee shop over a $20 cuppa.

…in the notable words of Caitlyn, “Before we learn to die, should we learn to live?”

Although some aspects of the play are universal, many themes and characters will speak more effectively to a younger audience. Millennials (and stoners?) may find the comedy-club and sketch-type humor funny throughout, but much of it seems strained, even though the actors animate the dialogue as well as can be expected. Humor in the script needs to be fine-tuned, and strands need to be tightened, as some of the segments never connect well with the overall arc. In fact, the funniest segment, a Scotsman, played by Flip Hofman, who reveals his OK Cupid self-summary and six things he can’t live without, fails to integrate at all.

Tasi Alabastro as the hyperkinetic Ben and Michelle Skinner as the depressive Caitlyn bring energy to the lead roles and are effective overall, while Keith Larson seems at risk of blowing out his carotid artery from his frenzied depiction of Winters. At the other extreme, Michael Weiland seems totally natural as the relaxed Bong, and in a small bit, Tyler Pardini nails it as the low affect open-mic, poetry emcee.

The staging suits the vignette-driven nature of the story. Open staircases, platforms, and catwalks comprise Paulo Deleal’s set, with the occasional addition of cafe tables and chairs. Director Michael Champlin aptly isolates scenes on the stage, and actors who are not performing can comfortably hang out in other locations (and fiddle on their cell phones!). Megan Souther’s lighting complements the overall effect. Generally, low lighting is supported by spots and mobile area highlights. Cell phones are particularly effective for facial illumination.

The driving motives of the play are strong. Although the situations are intimate and farcical, existential matters are broached. What is the point of life and why do things remain important to us once we know the end is imminent? Yet, in the notable words of Caitlyn, “Before we learn to die, should we learn to live?”

Spending the End of the World on OK Cupid by Jeffrey Lo is produced by Pear Theatre and plays at its stage at 1110 La Avenida, Mountain View, CA through February 17, 2019.

ASR reviewer Victor Cordell is a member of the San Francisco Bay Area Theatre Critics Circle and the American Theatre Critics Association, and a Theatre Bay Area adjudicator.




ProductionSpending the End of the World on OK Cupid
Written byJeffrey Lo
Directed byMichael Champlin
Producing CompanyPear Theater
Production DatesThru Feb. 17th
Production AddressPear Theater
1110 La Avenida St.
Suite A
Mountain View, CA 94043
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review Pick?-----


ASR Theater Review! “Tinderella” Delights at Custom Made Theatre Co. – by Nicole Singley

Tinderella: Tinder Creeps

What if Cinderella were alive today, resigned to searching for her kale-munching, kombucha-swilling, flannel shirt-donning prince on an Internet dating app, adrift in a sea of creepy stalkers and unsolicited ‘dick pics?’

Running through May 26th at San Francisco’s Custom Made Theatre Co., modern musical “Tinderella” puts a wildly entertaining spin on an age-old classic, thrusting our beloved Disney princess into the harsh realities of 21st-century online dating. FaultLine Theater has partnered with Custom Made for the world premiere of a brilliant show three years in the making, attracting a remarkably young, enthusiastic audience with a story acutely relevant to millennials and Bay Area living, and poking plenty of fun at our newfound reliance on all things digital. (Boomers, be warned – some generational references may be lost in translation.)

Tinderella: Dylan & Meg

Once upon a time, (shortly after the release of the iPhone 5, but before the release of the iPhone 5C, we’re told), our princess Meg (Juliana Lustenader) naively yearns for the fairy-tale romance she grew up believing she was destined for. Her ordinary life feels inadequate when measured against the glamorous Facebook facades of her social media-savvy stepsisters, whose virtual personas exude the confidence and fulfillment Meg aspires to. But when gay fairy-god-roommate Dylan (the magnificent Branden Noel Thomas) introduces her to popular dating app Tinder, it seems as though her luck may be about to change. “If you’re straight, hot, and white,” he tells her, “Tinder is like magic, (more or less).”

Tinderella: Julie & Marcus

Meanwhile, in couples’ land, Julie (the exquisite Sarah Jiang) and Marcus (Jackson Thea) are at a crossroads. Marcus wants to settle down with Julie, move to Texas, buy a dog, and crank out a couple of kids. Julie, on the other hand, wants… well, she doesn’t exactly know yet, but she’s pretty sure it isn’t that. She urges him to take a step back and explore other options. Marcus does just that, inviting his new Tinder match Meg to a “super cool party” at his San Francisco apartment. Full of hope, Meg sets out to meet her prince, win his heart, and catch the last BART train back to Oakland before midnight. But in a world where success is measured in “likes” and love is found by “swiping right,” all bets for a happy ending are off.

The cellphone-toting ensemble is well balanced and superbly gifted, and vocal talent abounds. Thomas is dynamic, empathetic, and often hilarious as quesadilla-making, tough-loving Dylan, with a powerful voice and a flair for delivery. In lead roles, Thea and Lustenader are both convincing and cute and remain lovable despite lapses of self-centered blindness.

Tinderella: Selfies with Stepsisters

Adielyn Mendoza and Alex Akin are well cast as New York fashionista Allie and world-traveling, do-gooder Tanya (Meg’s not-so-evil stepsisters). Their excellent voices, though regrettably underutilized, are put to good use in “Picture Perfect” and “Reality Check,” calling out our obsession with ‘selfies’ and the false images of perfection we project online.

Jiang shines in a standout performance as undecided Julie, questioning whether she’s in the best place she can be (“The Best Place”) and ultimately helping lead us to one of the night’s most insightful revelations – that we are all sometimes guilty of forcing others to play a role in our own stories. It takes courage to shed our misguided fairy-tale notions and break free from the pressure to conform. “I’m not giving up on my dreams,” Julie explains to Marcus, “but I’m giving up on yours.” Jiang’s beautiful voice only accentuates her knack for acting and reacting to the other cast members throughout the show.

The production is punctuated by riotous, foot-tapping musical numbers like “Old School Chivalry,” “Slow Grind Love Song,” and “(You’re Gonna) F***ing Rock It.” Weston Scott’s lyrics are funny and sharp, pairing perfectly with Christian B. Schmidt’s hip, vibrant score. Meredith Joelle Charlson’s choreography adds much to the tear-inducing hilarity of lighter-hearted acts. The more solemn, introspective pieces are lovely, too, spotlighting some of the incredible voices on stage.

“Tinderella” is the sexy, hilarious, and highly enjoyable triumph of an immensely talented cast and creative team. You, too, may fall in love at first swipe.

Nicole Singley is a Contributor to Aisle Seat Review.


“Tinderella: The Modern Musical” by Rose Oser, Christian B. Schmidt, and Weston Scott, in partnership with FaultLine Theater

Custom Made Theatre Co., 533 Sutter St, San Francisco, CA 94102

Through May 26, 2018

Tickets: $25—$49

Info: (415) 798-2682, custommade.org

Recommended for mature audiences

Rating: Five out of Five Stars

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ASR Technical Review! “Born Yesterday” at SF Playhouse Mostly Hits Technical Notes — by Team ASR

Note: These commentaries are primarily focused on the production, direction, and technical aspects of theater and performing arts.

Set in a $235-a-day hotel suite in our nation’s capital after WWII, “Born Yesterday” revolves around one Harry Brock, a self-made scrap-metal tycoon-cum-moneybags who comes to D.C. to buy himself a U.S. Senator. Along the way, he also buys (or so he thinks) a New Republic reporter named Paul Verrall to teach culture and manners to his mistress of eight-plus years, Emma “Billie” Dawn, a mink coat wearing former hoofer from the “Anything Goes” chorus line.

Simple enough. But as they often do in D.C., things go awry.

Because as Billie and Paul (quite quickly and with very little ramp-up) bookworm their way towards a romance, Billie morphs into the best looking, best educated dancer-cum-librarian in these forty-eight states (remember: the play takes place in 1946.)

She also turns a now knowing eye towards the ways Harry has been using/treating her – particularly as a “silent partner”, who, it turns out, owns 160 of what-were-Harry’s-but-are-now-Billie’s junkyards, since Harry insisted that she rather than he sign all the ownership documents (mostly unread.)

To Harry’s horror, Paul’s new student turns into a polished (as opposed to unpolished) dumb blonde, a well-read whistle-blowing crusader-cum-moralist who is in love with said reporter-tutor and not the least bit adverse to some not-so-subtle brink-womanship/blackmail regarding said scrapyards.

Next thing you know, love wins triumphant for Billie and her new beau while Harry has (we’re left to hope) learned his lesson(s) and is licking the wounds of his comeuppance. Curtain calls all around.

Not quite.

There are two flies in the ointment of the SF Playhouse production. As a character, Harry is a bully, a shark who is used to getting his way even if it involves slapping a few people around. That’s a given; no doubt. But, and it’s a BIG but, this play is written as a light comedy and the actor portraying Mr. Brock presents his character as a totally unlikeable, snarling woman (and man) beater. And since he’s such an obvious boob, no self-respecting graft-oriented Senator would get within strongarm (or bank deposit slip) distance of this walking Grand Jury deposition. So, if there is nothing at all likeable about Harry, we’re left with two holes in the plot:

  • If he’s such a relentless bully, hoodlum, and bruiser, why has Billie stayed with him for 8+ years? She may start the play as a “dumb blonde” but she’s obviously way smarter than to sign-up for endless abuse, even at Act 1-Scene
  • For the play to reach its intended comedy payoff, the audience should/must be laughing at Harry’s final comeuppance at the hands of these “born yesterday” newbies, Billie and Paul. Without his outraged sputtering, day-late-and-dollar-short, speechless hair-tearing, aghast flummoxing and proverbial pie-in-the-face downfall the audience is robbed of the comedy crescendo to which this tight script leads. He’s the real country bumpkin boob in this show.

Absent those two points, we’re left with a morality play.


Editor’s Note: One thing that’s interesting about “Born Yesterday” — As of February 2018, if you remove musicals from the equation, ”Born Yesterday”, based on its 1946-1949 run of 1,642 performances, remains inside the Top 10 Longest Running Broadway Plays list. And inside the Top 50 Longest Running Broadway Plays list even with musicals in the mix. Wow!



Scenic Design:
SF Playhouse is known for nice sets. This one is, in a word, fabulous. Multi-layered, including a 2 or 3 story window with rear projection of The Mall in Washington, D.C., this is a set among sets. Major marks to Scenic Designer Jacquelyn Scott. Special nod to Projections Designer Theodore J.H. Hulsker. (Score: 9.5/10)

Set Construction:
Nice. Doors close nicely without shaking the two/three story walls. Two center stage columns impress without swaying as people and or doors move. The impressive stairway is quiet and its rails and balusters are sweet. Wall fit, trim and paint details are very, very well executed. The painted floor is also very nice. In short, very nice work all around and kudos to Maggie Koch (Production Manager), Zach Sigman (Technical Director) and all the SF Playhouse production technicians involved. (Score: 9.5/10)

Stage Management:
High-five to Beth Hall, the Stage Manager: the action behind the scenes was almost flawless. Cues were on their mark, entrances snappy, scenic (and projection) transitions timely. Nice work Beth — and Emily Kovalcik, stage management intern. (Score: 9/10)

The show doesn’t have an especially large sound cue list, but all of the ever-present Mr. Hulsker’s sounds were executed and voiced well. (Score: 9/10)

Speaking of omni-present, Ms. Scott of Scenic Design fame also serves as Properties Manager for this production and did yeowoman’s work on this front as well. The furniture was tasteful, the props as period as possible it appeared. (Score: 9/10)

Mid- 20th century (1946) is always a tricky ask of any costumer. Abra Berman took a mighty swing and darn near got all the costumes right. A couple of outfits looked more ‘50s than mid-‘40s, but still a solid job. (Score: 8/10)

Susi Damilano knows directing cold. Let’s get that straight right off. She’s a top-flight director. And, comedy – any comedy, anywhere, anytime, in any theater – is hard to direct. Period.

As seen, this show did not represent Ms. Damilano’s very best. Pacing was a solid beat too slow in Act 1 and missed by more in Act 2. Character arcs were left too flat and we missed-out on the comedic payoff of Mr. Brock’s comeuppance (mentioned above.)

To be fair, 1940’s words-and-phrases require more work on the part of actors and directors. Characters of this period often spoke sotto voce, or out of the side of their mouth. (Think Cary Grant, Abner Bieberman, Rosalind Russell, and Ralph Bellamy in “His Girl Friday”.) These were well trained radio actors who knew how to nuance each line they delivered.

On a related note, actors in this show too often spoke both too soft and off-axis from the audience, making it difficult to hear the lines and the jokes. Vocal projection, from these sorts of characters and with this sort of material, is to be expected. When an audience works to hear or to decipher a line (or ‘accent’) jokes die.

Ditto when line speed slows down. Comedy, especially of this period, needs to be tight, crisp, and rat-a-tat fast. (Score: 8/10)

By and large, Michael Oesch’s lighting design for this show was good. In particular, the upstairs lighting and that of the entryway was very well conceived and executed. That said, there were noticeable gaps between the lights set for downstage. At this production level, the audience should not see a dim zone between lights. (Score: 8/10)

Casting by Lauren English and Bebe La Grua was mostly fine, with two notable exceptions: the actors selected to portray Mr. Brock and and Mr. Verrall. Both were too ‘one note.’ On the other hand, Ms. Millie Brooks is delightful actress. (Score: 8/10)

Overall Production:
What went right: Killer set. Tight stage management. Solid props and sound. Mostly solid costumes and lights.
What missed a bit: Direction. Casting.

So, excepting a couple of infield ground balls, (which, to be fair, can largely be addressed) this show has the potential to be the sort of solid inside-the-park home-run production we’re used to from SF Playhouse. (Score: 8.5/10)

Overall Theater Tech Score: (86.5/100) Good work, worth seeing.


Born Yesterday by Garson Kanin

Directed by Susi Damilano
Runs thru March 10, 2018 at SF Playhouse, 450 Post Street, San Francisco, CA
Performance run time is approx. 2 hours 30 minutes w/one 15-minute intermission.
Tickets available online at sfplayhouse.org or by phone at 415.677.9596


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.

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


ASR Technical Review! ‘Cops and Robbers’ is Solid Theater — by Team ASR

Note: These commentaries are primarily focused on the production, direction, and technical aspects of theater and performing arts.

Cops and Robbers is an important piece of theater. As presented at The Marsh in Berkeley, CA, it is also raw, honest, and powerful, demanding more than just passive viewing. This is theater that challenges the audience, regardless of ethnicity, to honestly assess their perceptions—and assumptions—on race in America.

In Cops and Robbers, Mr. Jinho Ferreira plays 17 wildly different roles including a self-centered news reporter, a black activist, an amazingly comic white conservative talk show host, a judge, and a hyped-up police department sergeant. The plot of this 90-minute, one-man theater piece turns on the now all-too-familiar topic of an officer-involved shooting, with the host of characters morphing in and out of the show to tell the story from each person’s perspective, a modern twist on Kurasawa’s classic Rashomon.

This reviewer left The Marsh not just liking, not merely appreciating, but actively respecting Mr. Ferreira and his work as a playwright and as an actor.

Each character in Cops and Robbers is the personification of an ethical viewpoint the playwright encountered growing up in West Oakland, CA. Mr. Ferreira’s insightful writing and bravura performance, goes where few American theater productions go by asking the audience a single, powerful, pervasive question: what will you do with your new knowledge, awareness, and insider view of topics many of us prefer to hear about in sanitized sound bites—if we want to hear about them at all.

This play takes on difficult topics—black-on-black crime, police officers’ use of force, American politics, the power of social media—and shows the audience how the people in these societal factions often do not speak the same language, value the same things, or make much of an effort to understand one another.  Mr. Ferreira is trying to drill down to the essence—not the stereotypes or popular perceptions—of those who live on these cultural islands, which are informed by ideology, pride, power (real and imagined), tradition, money, influence, and pain.

If you like theater that supplies pat answers, this is not your show. If you like theater that asks you to think, that asks you to examine your perceptions, that urges and inspires you to act and be part of the solution then this is your show.

Cops and Robbers is that rarest of experiences: essential and important theater.



Scenic Design:

The set for this show is a black stage and black curtain backdrop, and the lone prop a hard-backed chair positioned center stage right. The program begins with an opening montage of video clips.

The content of this script and the acting combined with effective sound effects, conveyed what a more over-thought set design would have obscured. That said, I’m giving this design a 7 out of 10 because it didn’t try to do more. (Score: 7/10)

Set Construction:

(Score: N/A)

Stage Management:

To the Stage Manager’s credit, the action behind the scenes was mostly smooth. A bit less time in blackout would have been better. Sound cues were on their mark. (Score: 8/10)


Watch out for Mr. Ferreira’s microphone; it was over-driven, causing distortion at a couple points. Sound effects were very well chosen—unobtrusive and well delivered—supporting the action. (Score: 7.5/10)


In a one-person show with a blank stage, a wooden chair, sound effects, and one actor, the props department gets a well-deserved bye.  (Score: N/A.)


Mr. Ferreira’s costume was a basic black T-shirt and black, military-style cargo pants with black police boots. The simplicity of the costume worked well as the principal actor morphed from character to character. Again, not over-thinking these choices aided and supported the production. (Score: 7/10)


Tightly directed for the most part. Pacing was good, a demanding task in a one-person show which makes the kinds of physical demands on an actor that this play does. A couple character transitions showed flashes of questionable acting choices. (Score: 7/10)


The lights were uneven. On more than one occasion Mr. Ferreira was performing between lights in a dim zone. There was no indication that this was required by the script. This is not good anytime but especially for a one person show. (Score: 4/10)


N/A as the playwright is the principal actor. (Score: N/A.)

Overall Production

A little more attention to sound management and light placement would add value. The video montage at the top of the program could be cut tighter to build towards the play opening rather than feeling a bit like a bolted-on attraction. A tiny bit of polish on the direction/acting choices in a couple character changes would add even more luster.   (Score: 8/10)

Reviewer Score:

This is an important piece of theater that is effectively rendered. People talk about how this-or-that theater production made them think. This program does that very, very well. Go see this show, and bring every friend and neighbor you can find. (Score: 8.5/10)

Overall Theater Tech Score: (57/80) Good work.

Cops and Robbers

Directed by Ami Zins and Lew Levinson.

Written by Jinho “The Piper” Ferreira. A graduate of San Francisco State University, Ferreira, who describes himself as a self-taught actor and playwright, is also a musician, singer, father of three, and Alameda County Sherriff’s Deputy.

Mature content: appropriate for ages 15+.

Runs SATURDAY AFTERNOONS ONLY at 5:00 p.m. through October 3, 2015; dark on 9/19/15. at The Marsh Theater, 2120 Allston Way, Berkeley, CA.

Tickets available online at http://www.themarsh.org or by phone at 415.282.3055 1:00-4:00 p.m. Mon-Fri

Run time: 90 minutes with one intermission.


Team ASR is composed of a selection of writers, directors, actor, musicians,

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.


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


ASR Technical Review! Ubuntu Theater Project Totally Nails ‘Waiting for Lefty’ — by Team ASR

Note: These commentaries are primarily focused on the production, direction, and technical aspects of theater and performing arts.

Clifford Odets was arguably one of the most skilled playwrights of 1930s American social protest. His writing is spare, almost terse, and highly instructive of the period. His characters are powerful and symbolic without stooping to sentimentality or cliché. And his staging devices are imaginative yet simple without being simplistic. His works have a timelessness so they can be staged in many settings and styles without losing their impact. This production of Waiting for Lefty by the Ubuntu Theater Project (UTP), converts an actual Berkeley, CA, automobile body-and-fender repair shop into a theatre space where directors Emile Whelan and Michael S. Moran present the drama as a series of seven vignettes, separated by blackouts.

If you like your theater understated and enjoy teasing the significance, meaning, or connotation out of this-or-that character’s lines, then Odets is not your playwright, and Waiting for Lefty is not your play. This is politically left, workingman theater delivered with the sweet subtlety of brass knuckles driven by a large muscular man descending from his well-worn, roughly hewn soapbox.

The essence of Waiting for Lefty is that unions and collective bargaining are the only ways for the American workingman to gain any kind of footing against big business. Absent those tools, owners and their cronies can—and will—continually drive down wages and suppress the means necessary for these same workers to do a decent day’s work.  As a result, the working classes need to fight like junkyard dogs for their rights, particularly to unionize.



Scenic Design:

The choice of the automobile repair shop as a theater was an inspired choice. The hard, stained gray concrete floors; the roughhewn lumber ceiling and supports; parked cars from a variety of decades; garage acoustics; and the smells of rubber, oil, and grease made for a potent backdrop to this production. The setting made the audience feel as if they’d been invited to observe a secret meeting of workingmen to discuss unionization. The set design within the garage was also spare, solid, and simple: a single wooden chair, a large wooden cable spool, and wooden crates.   (Score: 9/10)

Set Construction:

The playing area was a rough circle of concrete surrounded by wooden benches and crates for audience seating. In essence the play was presented in the round, with entrances and exits through aisles between the audiences’ seating. No score for this category. (Score: N/A)

Stage Management:

Tight, timely, and effective.  JJ Hersh’s efforts were well executed. (Score: 8/10)


Acoustics were interesting given that cavernous space, and the number of cars parked just outside the playing area. No score for this category. (Score: N/A)


Props were appropriate to the message and the set design: spare and simple—a wrench for a gavel; a straight-back, wooden chair; an empty, rough-hewn cable spool acting as a desk; a table; and a podium. The effect, like the play itself, was industrial and hard-edged.

The actors mimed using a camera to take some pictures. We know cameras of that period not by their click but by their flash; even something a subtle as that can cause the audience to lose engagement.

On another note, when an actor hands another actor money, especially when audience members are three or four feet away from the action, real money should be used and the denomination should represent the action. So if an actor is handing someone sixty-five cents, they should hand the actor sixty-five cents and not just a random selection of coins. The same hold true for folding money. While the folding money may not necessarily be period to the production, it detracts from the truth of the show for both audience and actors when obviously fake money is used in a production. Worst of all are those productions that skip the money prop all together and just have the actor mime they are handing another actor money. These are the details that elevate a production above the pedestrian level and crown superior productions.   (Score: 7/10).


While the costuming, by Luther Spratt, was close to period for the most part, it was the aspect of the production that was least satisfactory.

  • Workingmen’s clothes should look like workingmen’s clothes: wrinkled, sweat stained, maybe soiled.
  • One of the male actors was wearing a contemporary watch.
  • Shoes on workingmen should not be shined but should show their labor heritage.
  • In the SF Bay Area, gaining access to either Goodwill coats for purchase—or even for loan—or access to the costume departments of other theater companies should preclude coats whose sleeves are too short, as occurred on one actor in this production.
  • The dress of a working-class housewife whose furniture has just been repossessed should look the part. This actresses’ dress was too upmarket, too fancy. Images like this cause the audience to disengage to one degree or another while they think: That dress isn’t right. Again, with reference to accessibility of costume resources in the Bay Area, no production should trade those audience reality points if at all possible.
  • No executive of this period would be caught dead without a tie.

Also, when the cast is singing about not having visibility to their next hot meal, their clothes should map to that message. This material requires that the audience be able to see, simply by looking at the costumes, which are the good guys and which are the bad guys. That message was muddled in this production. (Score: 5.5/10)


UTP’s Waiting for Lefty is on the whole competently directed by Emile Whelan and Michael S. Moran.

That said, the acting has a bit of a rushed call-and-response feel—they aren’t talking to each other, just trading lines. The connection between the characters needs work. Also, overall delivery from almost all actors felt to linear and unmodulated.

In addition, the overall timing/pacing of the show felt a bit rushed, which was especially unnecessary given the play’s 45-minute run time. The characters in this play are thinking deep thoughts about complex and potentially dangerous, even life threatening, topics, and their dialog should have the hesitations and pauses such situations command. Even if the playwright didn’t indicate pauses, the material and situation(s) of this play command them.

On another note, when someone writes a brief message to someone, an actor should be directed to make the appropriate amount of effort to actually write the message. (Score: 6.5/10)


Stephanie Anne Johnson’s lighting design was simple yet effective: hard, industrial lighting that illuminated the actors clearly if unflinchingly and added stark shadows and sharply-defined profiles, which were not lost on the acting talent. (Score: 7/10)


The casting was uniformly good. (Score: 8/10)

Overall Production:

Overall, I liked UTP’s version of Waiting for Lefty, and recommended it as an SFBATCC Go See production. True, as noted here, there are some areas that need fine-tuning. But this is quality material from a playwright who knows his craft, delivered with a level of commitment to quality not always apparent.

Reviewer Score:

Looking at the production as a whole—the text of the play, the messages within it, the energy and craft of the acting team, and the care taken by the creative team—tells the tale: Waiting for Lefty by the Ubuntu Theater Project is a solid production of an important period piece of American history.

Go see it! (Score: 8/10)

Overall Theater Tech Score: (66/90) Good work.

Waiting for Lefty by Clifford Odets

Directed by Emile Whelan and Michael S. Moran at Ubuntu Theater Project.  Runs through September 12, 2015 at Classic Cars West, 411 26th St. Oakland CA 94612.

Tickets available online at http://www.ubuntutheaterproject.com

Run time: 45 minutes with no intermission.


Team ASR is composed of a selection of writers, directors, actor, musicians,

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.

***** ***** ***** ***** ***** 


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.



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)


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)


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)


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)


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)


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)


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.


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


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.

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 storyline.



Scenic Design:

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. (Score: 8/10)

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)


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


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


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)


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)


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.


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.

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.


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


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.



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 design was satisfactory. (Score: 5/10)


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 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)


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)


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


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.

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.


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


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.



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


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)


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)


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)


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.

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.


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


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 BuffaloSpeed the PlowOleanna, and Cryptogram. Considered a classic of 20th 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.



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 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)


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 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)


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)


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)


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 29th.

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.

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.


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