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 ASR Theater Review! Bold, Incisive “Dry Powder” at Aurora Theatre – by Barry Willis

One devilish deal leads to the next in Sarah Burgess’s incisive “Dry Powder,” at Berkeley’s Aurora Theatre Company, through July 22.

Directed by Jennifer King, this Bay Area premiere is a dark comedy that peers into the often impenetrable world of private equity—a niche of the financial world where companies are bought, sold, merged, or dismembered in pursuit of mind-blowing profits.

A high-stakes game with enormous potential for victory and defeat, and enormous potential to affect countless people, private equity is little understood by ordinary citizens except as a scapegoat for all that might and can go wrong on the grand economic scale. The show’s title refers to working capital—money in reserve, the industry’s primary tool.

Bay Area stalwart Aldo Billingsly, along with Jeremy Kahn, in ‘Dry Powder’ at Aurora Theater

Bay Area theater veteran Aldo Billingsly is brilliant as Rick, the volatile founder of a private equity firm that’s recoiling from some very bad press about his lavish wedding party in the aftermath of a buyout that threw thousands of people out of work.

Junior partners Seth (Jeremy Kahn) and Jenny (Emily Jeanne Brown) bring him potential deals, treatments for deals, financial projections for various scenarios, personal advice, and insider opinions about the probable public relations consequences of their deals—in this case, a proposed buyout of an American luggage maker with more than 500 employees.

Emily Jeanne Brown at work as Jenny, in ‘Dry Powder’

It’s a deal that Seth has been nursing for months, in the process forming a strong bond with Jeff (Kevin Kemp), co-owner of the target company. The two have such a pronounced “bromance” that Jeff is actually excited about the possibility of reviving the brand and re-jiggering its business model to create a whole new market for personalized luggage.

A math-whiz elitist with zero empathy for working people, Jenny dismisses Jeff’s ideas as feel-good nonsense and presents an alternate plan to buy the company, spin off its assets, and send production offshore—a plan with a larger potential upside but horrible social consequences. Numbers are all that matter to Jenny. The fact that this will render 500 people jobless is of no concern to her—”It’s their responsibility to learn how to do something else,” she flatly states.

Hilarious and horrific, ‘Dry Powder’ is a quickie tour of one of the outer rings of hell…

Therein lies the moral struggle in Rick’s office, depicted with superb energy and conviction on the Aurora’s simple, all-white thrust stage (set by Tanya Oellana, lights by Kurt Landisman, sound by James Ard). Jenny and Seth battle like adolescent brother and sister—much of it side-splittingly funny—and Rick alternately takes their counsel or reins them in. A couple of plot twists near the end drive home the Faustian nature of their business, including a desperate alliance with a Hong Kong financier so corrupt that he’s lost his Chinese citizenship.

Hilarious and horrific, “Dry Powder” is a quickie tour of one of the outer rings of hell—if you believe the old adage that the love of money is the root of all evil. In Berkeley, the message will certainly find an eager audience, who may be dismayed at the verity of another old adage: Everyone has a price.

Barry Willis

ASR Theater Section Editor and Senior Writer Barry Willis is 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

 

 

ProductionYear of Magical Thinking
Written byJoan Didion
Directed byNancy Carlin
Producing CompanyAurora Theater Co.
Production DatesThru July 28th
Production AddressAurora Theater Co.
2081 Addison St.
Berkeley, CA 94704
Websitewww.auroratheatre.org
Telephone510.843.4822
Tickets$49 – $60
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance5/5
Script5/5
Stagecraft4/5
Aisle Seat Review PICK?Yes!