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! Astounding, Shocking Realism in “The Jungle” at the Curran – by Barry Willis

Jonathan Nyati and Ben Turner (Photo Credit: Little Fang, The Curran)

A crisis in a refugee camp comes roaring to life each night in “The Jungle,” at The Curran through May 19. San Francisco is the third stop for this astounding international touring production, which originated in London and then moved to New York.

Conceived and written by Joe Murphy and Joe Robertson, and directed by Stephen Daldry and Justin Martin, “The Jungle” has won universal acclaim. The co-playwrights lived in the sprawling multi-ethnic refugee camp in Calais, France during its peak, 2015-2016, when its approximately 8000 residents lived peaceably if contentiously with each other while enduring continual harassment from French authorities. The production is a full-immersion experience that puts most of the audience in the midst of a large shantytown café — called “Salar’s Restaurant” or the “Afghan Café”— that served as a community center for the camp. The high-intensity story encompasses the final few months of the camp’s  existence, before it was destroyed by French police in October 2016.

Arya Rose Lohmor and Ammar Haj Ahmad (Photo Credit: Little Fang, The Curran)

The elegant interior of the recently renovated Curran has been converted to a plywood-and-rough-framing temporary structure where the audience sits on hard wooden benches, sipping fragrant tea while arguments rage among the camp’s residents about what to do in the face of increasing pressure from French authorities. Several British aid workers try their best to help, to intervene, and in some cases, to transport refugees across the channel to Kent — a horrendously frustrating and occasionally comic effort for everyone involved. Two dozen impassioned actors wander among the audience, murmuring and shouting at each other in English, French, Arabic, Farsi, Pashto, Kurdish, and several African languages as the crisis builds, reinforced by real news clips on television sets placed here and there around the café (video design by Duncan McLean and Tristan Shepherd).

…the most intense and profound theatrical event any of us will ever encounter.”

A huge extended table serves as a thrust stage where most of the drama and a few moments of levity and hope take place — including several confrontations with haughty French officials and condescending police — interspersed with tales of unbelievable hardships endured by refugees from throughout the Middle East and Africa in their quest for a better life away from the violence of their homelands. Among these are stories of leaving behind all they owned, knew, and loved, walking thousands of miles, enduring kidnappings, torture, and extortion, and embarking on perilous attempts to cross the Mediterranean in overcrowded inflatable rubber boats or being packed by the hundreds into leaky ships with little chance of reaching their destinations. Such a tale is told in an unwavering voice by a clear-eyed Sudanese boy named Okot (John Pfumojena).

Ammar Haj Ahmad and John Pfumojena (Photo Credit: Little Fang, The Curran)

What these refugees endure in their quest for peace and freedom is horrific, as is their cold reception by Europeans. French duplicity gets deserved exposure as politicians pay lip service to human rights while planning to eliminate the camp. Despite its self-image as a nation of asylum, France does not have a glowing history in support of human rights — Haiti’s crushing poverty, for example, is the result of terms imposed by France when the island nation sought independence.

The show’s denouement is among the most shattering you are likely ever to experience in any theater. Its hyper-realism will shock you to the core and at the very least make you reconsider our own refugee crisis. “The Jungle” may be the most intense and profound theatrical event any of us will ever encounter.

ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.

 

ProductionThe Jungle
Written byJoe Murphy and Joe Robertson
Directed byStephen Daldry and Justin Martin
Producing CompanySonia Friedman Productions with Tom Kirdahy present the Good Chance Theatre, National Theatre and Young Vic production
Production DatesThrough May 19th
Production AddressThe Curran
445 Geary Street
San Francisco, CA 94102
Websitehttps://sfcurran.com/
Telephone(415) 358-1220
Tickets$25 – $165
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script5/5
Stagecraft5/5
Aisle Seat Review PICK?Yes!