ASR Theater ~~ Cinnabar’s Delightful “Three Tall Women” | Your Reporter, Barry Willis

Anyone who’s dealt with elderly-parent issues will find much to enjoy in “Three Tall Women” at Cinnabar Theater through April 24.

Laura Jorgensen astounds in Edward Albee’s oddly-constructed two-act play. In the first act, she appears as a resident of an upscale retirement complex, nicely rendered by set designer Brian Watson. She’s engaged in what’s almost a monologue with a caretaker played by Amanda Vitiello, and a law firm representative played by Tiffani Lisieux, who’s there to prompt her to pay attention to mail and messages.

None of the characters have names but are instead designated simply A, B, and C, respectively, by playwright Edward Albee. Best known for skewering American upper-middle-class intelligencia (“Who’s Afraid of Virginia Woolf?” and “A Delicate Balance” among his many creations), Albee continued the tradition with 1994’s “Three Tall Women,” minus the blackout drinking common to his earlier works.

Director Michael Fontaine has gotten an excellent performance from this three-woman cast; in other hands, the script might have proven too difficult…

Albee reportedly said that he derived most of his characters’ dialog from listening to his parents’ cocktail parties. It’s as authentic as it can be in this show. Jorgensen riffs continually and brilliantly, confusing past and present, bouncing back and forth between lucidity and incoherence, hilarity and despair. It’s a stunning act of theatrical mastery. She manages her heavy line load adroitly, with only a bit of help from Vitiello and Lisieux.

If there are glitches in her recital, they’ll be obvious only to those who know the script word-for-word—Albee included plenty of intentional glitches in her speech, as might be expected from a ninety-something woman talking to a captive audience. As delivered, it’s all quite realistic old-person stream-of-consciousness. Vitiello and Liseux basically function to get her back on track when she goes off the rails, which is often, and often hilarious.

All three reappear in the second act, as the same woman (“A”) at differing ages—92, 52, 26—in a postmortem discussion of her life as they hover over her bed, as insightful in its own way as the long meandering riff that occupies the first act.

Left to right – Amanda Vitiello (B), Tiffani Lisieux (C), Laura Jorgensen (A)

Director Michael Fontaine has gotten an excellent performance from this three-woman cast; in other hands, the script might have proven too difficult. Lisieux was a welcome newcomer for this reviewer, one eager to see what she does next. Vitiello demonstrated a delightful flexibility—playing essentially two characters, neither of them resembling each other or the ditzy Long Island neighbor that she played in “Cry It Out.” And Jorgensen may be the North Bay equivalent of a national treasure. The veteran actress (“House of Yes,” “Ripcord,” many more) is amazing and wonderful in “Three Tall Women.” Her performance alone puts it over the top.

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

 

ProductionThree Tall Women
Written byEdward Albee
Directed byMichael Fontaine
Producing CompanyCinnabar Theater
Production DatesThrough April 24th
Production Address3333 Petaluma Blvd North
Petaluma, CA 94952
Websitewww.cinnabartheater.org
Telephone (707) 763-8920
Tickets$25 – $35
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4/5
Script4/5
Stagecraft3.5/5
Aisle Seat Review PICK?YES!

 

ASR Theater ~~ Thought Provoking — Lucky Penny’s “The How and the Why” | Your Reporter: Barry Willis

Two research biologists have an unexpected encounter in the run-up to a scientific conference in “The How and the Why,” at Napa’s Lucky Penny Productions through April 24.

Lucky Penny Associate Artist Karen Pinamaki stars as Zelda, a career evolutionary biologist involved in hosting the annual meeting of the National Organization of Research Biologists (NORB). A late applicant named Rachel (Heather Kellogg Baumann) comes to Zelda’s office to plead for a speaking slot at the conference, to defend her hypothesis that human females menstruate as form of protection against sperm cells, which she characterizes as “antigens.”

Her hypothesis has gotten plenty of pushback from the biology establishment, especially from men. She begs Zelda for a speaking slot, despite having reservations about some of her own conclusions and many misgivings about drawing the ire of conference attendees, some of whom have already bashed her for what they perceive as outlandish assumptions.

Lucky Penny deserves praise for producing such a thought-provoking play….

Rachel enjoys some sympathy from Zelda, whose own hypothesis met a similar reception nearly thirty years earlier—in Zelda’s case, the “grandmother hypothesis” speculating that women’s longer lifespans compared to men serve an evolutionary purpose: they are needed to help younger women with child-rearing duties.

The two biologists argue their convictions passionately, but the story isn’t really about science, despite the seeming plausibility of both concepts, and despite the realistically-depicted rampant nitpicking, back-stabbing, petty bickering, and professional jealously that infect the scientific community.

Their real issue is that Rachel is Zelda’s biological daughter, given up for adoption when she was only six days old. She’s now 28, the same age Zelda was when she got pregnant. The moment when she enters Zelda’s office is the first time they’ve met as adults. They are both professional scientists, the epitome of rationality, and they try their best to remain above emotional outbursts, but the emotion comes through despite their efforts to contain it—resentment, betrayal, guilt, feelings of abandonment and diminished self-worth, the whole panoply of negativity that can affect both those given away by their birth parents and those who gave them away.

Karen Pinamaki and HeatherKellogg Baumann at work.

Pinamaki and Baumann tread this emotional minefield with great care and a growing sense of carelessness, which becomes more pronounced as their mutual familiarity improves. Written by TV writer Sarah Treem (“House of Cards” among many other credits) and directed by Dana Nelson Isaacs, it’s an impressive pas de deux performed mostly in Zelda’s office (set design by Taylor Bartolucci and Barry Martin) and later in a Boston dive bar.

The two performers are very well balanced and amazingly dynamic with material that here and there may veer too far in the technical direction for some viewers. But strip out the scientific stuff, expertly woven into Treem’s story, and you have a universal tale of long-estranged mother and daughter reuniting in adulthood and trying to make a go of it from there.

An old adage about science is that it’s very good about explaining how events occur, but not so good about why. This fundamental observation applies not only to hard-core objective reality but also to a whole range of human behaviors. “The How and the Why” is a fascinating examination of two people trying to make sense of something that may not ever be fully understood either by them or by professional therapists. Lucky Penny deserves praise for producing such a thought-provoking play.

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

 

ProductionThe How and the Why
Written bySarah Treem
Directed byDana Nelson Isaacs
Producing CompanyLucky Penny Productions
Production DatesThrough April 24
Production AddressLucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
Websitewww.luckypennynapa.com
Telephone(707) 266-6305
Tickets$30-$35
Reviewer ScoreMax in each category is 5/5
Overall3/5
Performance4/5
Script3/5
Stagecraft3/5
Aisle Seat Review Pick?----

ASR Theater ~~ 6th Street’s Stunning “Hank Williams – Lost Highway” | Your Reporter: Barry Willis

The North Bay has been blessed recently with a spate of jukebox musicals, none better than “Hank Williams – Lost Highway” which opened at Santa Rosa’s 6th Street Playhouse April 1 and has been EXTENDED to May 1st!

Authored by Randal Myler and Mark Harelik, and expertly directed by Michael Butler, the show is a big production in every sense of the word—a cast of ten superb performers on the wide stage of the G.K. Hardt theater, with a spectacular set by Butler, Zach Bowlen, and Kristina Dorman, who painted the wonderful giant picture postcard that serves as backdrop.

Steven Lasiter stars as Williams, the doomed country star whose short career put an indelible stamp on American culture. Born with spina bifida, Williams was plagued by pain his entire life, something he tried to ameliorate with prodigious amounts of alcohol and prescription drugs—substances that proved his undoing as a performer and that ultimately ended his life. He died in the back seat of his Cadillac en route to a gig in Ohio—the official medical report cited “heart failure” while noting an alarming level of painkillers and alcohol in his blood. He was only 29 years old.

…an uplifting, life-affirming experience…

The show opens with a somber radio announcement of Williams’ passing, then flashes back to his adolescence in Alabama, where he was mentored by a bluesman named Rufus “Tee-Tot” Payne, played by real bluesman Levi Lloyd. Payne coached him on guitar, taught him melody and chord progression, and the fundamentals of songwriting, which Williams did entirely by ear. Despite creating dozens of hit songs that became American standards, he never learned to read or write music.

He said often that Payne was his only teacher. Butler emphasizes Payne’s importance by keeping him onstage throughout the show, sometimes in the shadows and sometimes in the spotlight to perform at key moments in the story. His presence also reinforces the fact that black music is both foundation and backbone of 20th-century pop music. Williams blended the blues form with traditional country instrumentation in a way that hooked millions of music fans—heartfelt melodies and simple lyrics evoking universal human desires and problems.

Photography by: Eric Chazankin

His band—the Drifting Cowboys—consists of excellent musicians who have stepped out of their comfort zones to double as actors. Michael Capella appears as Shag, the pedal steel player; guitarist Derek Brooker is Jimmy “Burrhead;” Michael Price is Hoss, the bass player; and Paul Shelansky is Leon, performing on mandolin, fiddle, and slide whistle. They rock the joint through dozens of Williams’ greatest songs, aided by tremendous sound design from Ben Roots.

Peter T. Downey does a fine job as “Pap” Rose, the recording engineer who became Williams’ manager. Jennifer Barnaba is solid as Audrey Williams, and Ellen Rawley is delightful as the unnamed waitress who runs off with Williams. Stage veteran Jill Wagoner is perfectly cast as Mama Lilly, Williams’ mother and his band’s sometimes manager and driver. She absolutely nails every nuance of a hard-working tough-as-nails Depression-era Southern woman.

Photography by: Eric Chazankin

The show encompasses every aspect of Williams’ short life, from country-music boy wonder to Grand Ole Opry superstar to rejected drunk to venerated saint. It’s beautifully paced, even if Butler did confess post-show that he hoped it would move along faster.

“Hank Williams – Lost Highway” is a stunning, essential piece of Americana. Despite the tragedy at its core, it proves to be an uplifting, life-affirming experience. 6th Street deserves accolades not merely for producing it, but for producing it so well.

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

 

ProductionHank Williams: Lost Highway
Written byRandal Myler and Mark Harelik
Directed byMichael Butler
Producing Company6th Street Playhouse, Studio Theatre
Production DatesEXTENDED -- through May 1st, 2022
Production Address6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$42
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script4/5
Stagecraft4/5
Aisle Seat Review PICK?YES!

An ASR Pick! “Almost, Maine” Sublimely Sweet at Spreckels – by Nicole Singley

“Those who don’t believe in magic will never find it.” –Roald Dahl 

Allie Nordby and Skylar Evans (Photo by Jeff Thomas)

Spreckels has something sublimely sweet in store for those in need of a little magic. On a snowy night in the remote outskirts of eastern Maine, nine couples confront questions about love, loss, hope, and healing under the spell of the northern lights. Gracing the intimate Condiotti Studio Theatre stage through April 10th, “Almost, Maine” is equal parts funny and moving, and a heartwarming night at the theater well spent.

John Cariani’s clever script features nine vignettes that play out across eleven short scenes, each brimming with witty wordplay and plentiful humor, a hearty sprinkling of magical – and sometimes absurdly literal – realism, and characters who are endearingly forthright and sincere. Cariani gives viewers a sampling of love stories in various stages of growth and decline, including missed connections, new beginnings, unexpected reunions, and sweet misunderstandings. While most of the endings are happy or hopeful, there are plenty of poignant moments, too, offering audiences a beautifully balanced exploration of human relationships and folly.

Director Anderson Templeton leans into the play’s comic absurdity just enough to earn laughs in all the right places without devaluing the more tender and genuine moments. He gets strong performances from a capable ensemble of six, who together take on the roles of nineteen different characters throughout the show, moving smoothly between parts and pairings. It is a testament to their talent that it’s not a struggle to adjust to the same faces reappearing in each new capacity. Instead, it imbues the show with a sense of intimacy and familiarity that feels becoming of the tiny, would-be town of Almost, Maine.

. . . refreshingly honest, tremendously funny, and full of love and wisdom, with a little bit of magic awaiting those who are willing to find it.”

Serena Elize Flores and Brandon Wilson (Photo by Jeff Thomas)

Serena Elize Flores and Brandon Wilson shine together as distraught Glory and earnest repairman, East, whose chance encounter under the aurora offers hope that a broken heart can possibly be fixed. John Browning and Molly Larsen-Shine are at once hilarious and charming as Lendall and Gayle, a couple on the verge of breaking up when a surprising revelation changes everything. Allie Nordby delivers a haunting performance in a touching scene with Skylar Evans, in which a woman named Hope comes home to find out if the man she once loved still holds out hope for her return. These are only a few of the most memorable scenes, but all are well-executed and highly enjoyable.

Combined with Chris Schloemp’s stunning astral projections, Andrew Patton’s simple, snow-covered set creates a lovely backdrop, and is complemented by Donnie Frank’s humble, cold-weather costumery. Elizabeth Bazzano assists with a whimsical array of props, including big red bags purportedly full of love, an ironing board that doubles as an accidental weapon, and a shoe that drops mysteriously from the ceiling with impeccable timing. Thanks to resident designers Eddy Hansen and Jessica Johnson, lighting and sound work together seamlessly to set the scene, transitioning the small stage from romantic star-lit night to local watering hole with ease.

There isn’t much more I can divulge without risk of ruining some of the delicious surprises that await first-time viewers, but suffice it to say that from start to finish, this production is an absolute delight. This reviewer laughed and cried in equal measure. “Almost, Maine” is the kind of world I want to live in – refreshingly honest, tremendously funny, and full of love and wisdom, with a little bit of magic awaiting those who are willing to find it. If you’ve been waiting to get back to the theater, this show is the perfect opportunity. Don’t let it pass you by.

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.

 

ProductionAlmost, Maine
Written byJohn Cariani
Directed byAnderson Templeton
Producing CompanySpreckels Performing Arts
Production DatesThrough April 10th, 2021
Production AddressSpreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Websitewww.spreckelsonline.com
Telephone(707) 588-3429
Tickets$12 - $26
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script4.5/5
Stagecraft4.5/5
Aisle Seat Review Pick?Yes!

An ASR Theater Review | “Rent” Pays It Back with Spirit and Energy; MMT Performs at NTC | Your Reporter Cari Lynn Pace

In 1996 Jonathan Larson debuted “Rent,” his musical about rebellious and irresponsible youth leading a lifestyle of hedonism and drug use in the rough streets of NYC. Their dismal lives are pointless and the ending isn’t pretty, but they sing and dance about it anyway. The musical won both Pulitzer and Tony awards and spotlighted the AIDS epidemic of that time.

Although this synopsis of “Rent” sounds cheerless, this show’s over-the-top energy and talent provide much to cheer about. The production by Marin Musical Theatre Company, in collaboration with the Novato Theatre Company, is really spirited. It took MMTC many years attempting to gain the rights to perform the show. It was worth the wait.

“It took MMTC many years attempting to gain the rights to perform the show. It was worth the wait.”

Accompanied by four onstage musicians, eighteen actors explode with powerful voices, tight choreography, and stunning staging. The dancing is particularly energetic, using table tops and platforms between high scaffolding. NTC’s small 99-seat theatre is an intimate venue which allows the audience to feel up close and personal with the performers. “I’ve seen this show on Broadway and it wasn’t nearly as exciting as this one,” one audience member noted.

Director Jenny Boynton confided, “We’ve been rehearsing only six weeks, but this cast really gelled together right from the start and amazed me with their talent. It made my job a lot easier.”

Local theatre fans will be delighted to see many new faces onstage. An NTC board member commented, “This is the next generation of actors to keep performance tradition alive. They’re young, and they’re our future stars.”

Vocal standouts abound, including Nelson Brown in perfect harmony with Jake Gale. Gary Stanford Jr.’s voice fills the theatre to the rafters. Stephen Kanaski twirls across the stage and croons to great applause. Trixie Aballa beautifully belts out her songs while dancing, topped only by Shayla Lawler’s sensual solo in Act II. Kudos to choreographer Katie Wickes for such spirited dances—from Anna Vorperian’s tango to the explosive rock-out of the entire company.

“Rent” is a remarkable tour de force, a tight production far beyond one’s expectations. With the adult themes of the show, consider the appropriate age to bring youngsters. Tickets are selling briskly, so take possession of this show before the lease runs out April 10th.

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ASR Editor Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.

 

ProductionRENT
Written byJonathan Larson
Directed byJenny Boynton
Producing CompanyMarin Musical Theatre Co. in collab. w/ Novato Theater Co.
Production DatesThrough April 10th
Production AddressNTC, 5420 Nave Drive, Novato 94949
Websitewww.MarinMusicals.org
Telephone
Tickets$18-$30
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script3/5
Stagecraft5/5
Aisle Seat Review Pick?YES

An ASR Pick! Transcendence’s Broadway Holiday Spectacular Offers an Evening of Magic at Belos Cavalos — by Nicole Singley

L to R: Edward Juvier, David R. Gordon, Maria Bilbao, Arielle Crosby, and Lori Haley Fox (Photo by Rob Martel)

It’s that time of the year again, and Transcendence Theatre Company has cooked up something special sure to put you in the spirit. Their Broadway Holiday Spectacular is back, and this season, it’s better than ever. Featuring a talented troupe of artists from all over the country – including many familiar faces, and some exciting new additions to the Transcendence family, too – it’s a high-energy night full of festive, foot-tapping fun for folks of all ages. Be sure to catch it while you can, before the show’s two-week run ends on December 12th.

Returning audiences will recognize all the traditional elements of a night spent with Transcendence – fresh and funny renditions of favorite tunes and classic carols, a live band and dazzling choreography, and of course, a pre-show party complete with food and wine from local vendors. But this year, the fun has moved under the big tent at Belos Cavalos, a charming equestrian estate tucked away in the hills of Kenwood, where guests will enjoy the chance to mingle with horses and goats during intermission, and gather around tables in lieu of standard theater seating.

On the program are a number of fan-favorites from previous years, including a clever play on Madonna’s “Vogue” paying homage to Rudolph of reindeer fame, and a silly song about making fruitcake set to the tune of Ricky Martin’s “Livin’ La Vida Loca,” performed capably by Transcendence newcomer Edward Juvier. There are some fun surprises, too, including two four-legged guest-stars, and a creative take on “12 Days of Christmas” inviting audience members to help with the countdown.

If you’ve never experienced a Transcendence show, make this the first of many.”

Top row: Bebe Browning, Marissa Barragán, Edward Juvier, Kyle Kemph; Bottom row: Luther Brooks IV, Preston Truman Boyd, Drew Elhamalawy (Photo by Rob Martel)

Lori Haley Fox is quirky and endearing as Mrs. Claus, who serves as our narrator throughout the evening, and Preston Truman Boyd is our flannel-clad Santa, loosely framing the musical acts within an uplifting story about family, friendship, and love. Behind them onstage, the live band really rocks, and bassist Lynn Keller even joins performer David Morgan for a cute number about Chanukah, together lamenting the limited greeting card options available at the local drugstore.

There are, of course, some slower heartfelt pieces in the mix, including a haunting rendition of “O Holy Night” performed by Kyle Kemph, whose voice is so clear and bright it gave me chills, and Arielle Crosby, whose talent alone is worth the price of admission. The pair team up again for an equally moving performance of beloved Mariah Carey and Whitney Houston duet “When You Believe.” Maria Bilbao nearly steals the show with a spine-tingling version of “Please Come Home for Christmas.” She makes it sound effortless, and the high notes brought actual tears to my eyes.

Top row: Bebe Browning, Drew Elhamalawy; Bottom row: Maria Bilbao, David R. Gordon, Kristin Piro; Front: Arielle Crosby (Photo by Rob Martel)

The entire cast is immensely talented, so much so that it almost feels unfair to single anyone out. But I’d be remiss not to also mention Transcendence newcomer Luther Brooks IV, who charms with his sparkling smile and evident dance skills. Be sure to keep an eye on him during some of the big ensemble numbers. Choreographers Matthew Steffens and Marissa Barragán have worked some magic on stage, making the show as fun to watch as it is to hear and sing along to. (Did I mention there are tiny goats in diapers?)

If you’ve never experienced a Transcendence show, make this the first of many. And if you’re a repeat visitor, you’ll be happy you didn’t miss out on this one. Plan to get there early and meet the horses, take selfies with goats, and wine and dine with friends before the show. Bring layers, too – the heated tent felt a bit chilly as the night cooled down. Even so, you’re sure to leave feeling full of warmth and holiday cheer.

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.

 

ProductionBroadway Holiday Spectacular 2021
Written byTranscendence Theater Co.
Directed & Choreographed byMatthew Steffens
Producing CompanyTranscendence Theatre Company
Production DatesThrough December 12th, 2021
Production AddressBelos Cavalos
687 Campagna Lane
Kenwood, CA 95452
Websitebestnightever.org
or
ttcsonoma.org
Telephone(877) 424-1414
Tickets$49-$149
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Choreography4.5/5
Stagecraft4/5
Aisle Seat Review Pick?Yes!

An ASR Pick! “The Wickhams” Delights with Warmth and Wit at Spreckels — by Nicole Singley

Leonhart and Lichirie working at Spreckles.

Those in search of some heartwarming fare this holiday season will find it at Spreckels, where “The Wickhams: Christmas at Pemberley” is scheduled to grace the intimate Condiotti Studio Theatre stage through December 12th. Second in a three-part series, “The Wickhams” is a sequel to Jane Austen’s beloved Pride and Prejudice, though theatergoers need not have seen part one – nor have read the original novel – to understand and enjoy the show. Acclaimed duo Lauren Gunderson and Margot Melcon have penned a delightful and clever continuation to one of the literary world’s most famous love stories, brimming with enough wisdom, wit, and charm to have been written by Austen herself.

…I can’t think of a better way to start the holiday season.

As those who attended may fondly recall, Spreckels staged a memorably top-notch production of part one in the series, “Miss Bennet: Christmas at Pemberley,” in November of 2019. “Miss Bennet” takes place on the ground floor of the Darcys’ estate, where the newlyweds are hosting the entire Bennet clan for Christmas festivities. In part two, however, we venture downstairs to see what’s happening in the servants’ quarters while the family gathering unfolds above. Amid the hustle and bustle of holiday preparations, the late-night arrival of an uninvited guest threatens to throw the household into chaos. Cue the comedic mishaps, delicious drama, and sweet romance in this uplifting tale of family and love, forgiveness and redemption.

Sheila Lichirie delivers a stellar performance as head housekeeper, Mrs. Reynolds, who is equal parts sharp-tongued censure and quick-witted wisdom, with just enough warmth peeking through the cracks in her all-business exterior. Sam Coughlin is equally exceptional as notorious scoundrel George Wickham, whose drunken stumbling and slick overtures to the new maid would be enough to make one’s skin crawl if he weren’t so hilarious and strangely charming. Coughlin has mastered the appropriate body language and facial expressions to really sell his character.

Cohan and Coughlin at work in “The Wickhams”

Though Lichirie and Coughlin are the standouts, their companions are excellent, too. Kimberley Cohan makes a wonderfully lively and sympathetic Lydia Wickham, whose naivety is more endearing than annoying. Dale Leonhart’s Cassie, the ambitious new housemaid, is deliciously sassy, spirited, whip-smart, and self-assured. Silas Vaughn is eager and earnest as love-struck footman Brian, and delivers an enjoyably energetic performance. Allie Nordby – who was phenomenal as eldest Bennet sister, Jane, in the 2019 production – brings an irresistible sweetness and sincerity to her character that makes her impossible not to love, though lacking in some of the headstrong passion and playfulness I secretly crave in an Elizabeth Darcy. Perhaps what’s missing is convincing chemistry with her beau.

Coughlin, Nordby, and Guo work at scene of “The Wickhams” at Spreckle’s Performing Arts Center.

Byron Guo’s Fitzwilliam Darcy is appropriately stately and reserved, but perhaps just a touch too stiff, with his arms often glued to his sides. He does some effective things with his intonation and facial expressions, but his scenes with Nordby feel somewhat forced, and I kept hoping to see him loosen up a bit. Mr. Darcy isn’t supposed to be overly effusive or unrestrained, of course, but part of his charm is the way he softens in Elizabeth’s presence. Guo is more convincing as a charitable host and consummate gentleman than a newlywed man in love, though a few more performances may help him ease into the role. Despite these minor criticisms, it’s clear this is a very talented ensemble, and the show is entirely diverting.

Director Emily Cornelius has paced the production beautifully. Laughs land where they should, there are no lulls in the action, and the sweeter, softer moments don’t feel rushed. The impact is greatly enhanced by Elizabeth Bazzano’s handsome set, tempting us to gather around the kitchen table to help with holiday preparations, or cozy up by the glowing fire. The build quality and attention to detail are impressive, with doors that open to a realistic looking room and hallway, and an abundance of props that make the space feel like a real home. Costume designer Donnie Frank deserves recognition, too, for aptly chosen attire and some seriously stunning pieces. (Where can I find Lydia’s fabulous evening dress and nightgown?)

Whether you’re an Austen fan or just a fan of good theater, be sure to catch “The Wickhams.” With a hearty dose of warmth and wit that’s sure to leave you in a brighter mood, I can’t think of a better way to start the holiday season.

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Nicole Singley

Sr. Contributing Writer/Editor, AisleSeatReview.com

Member, American Theatre Critics Association

Member, San Francisco Bay Area Theatre Critics Circle

Member, Marquee Theater Journalists Association

ProductionThe Wickhams
Written byLauren Gunderson and Margot Melcon
Directed byEmily Cornelius
Producing CompanySpreckels Performing Arts
Production DatesThrough December 12th, 2021
Production AddressSpreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Websitewww.spreckelsonline.com
Telephone(707) 588-3429
Tickets$12 - $26
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script4.5/5
Stagecraft4.5/5
Aisle Seat Review Pick?Yes!

An ASR Theater Review: “Love, Loss, and What I Wore”; 6th Street’s Season Opener Reminisces About Outfits & More – By Cari Lynn Pace

“Love, Loss, and What I Wore” cast at work.

“Love, Loss, and What I Wore” is a promising first post-pandemic live offering by Santa Rosa’s 6th Street Playhouse in its studio theater. Five seasoned actors take turns retelling an emotional assemblage of snippets, each chronicling her memorable outfits. Not all the event memories are happy, yet all make up the fabric of life.

Written by Nora Ephron, the American essayist and humorist who penned such comedies as “When Harry Met Sally,” “Sleepless in Seattle,” “You’ve Got Mail,” and more, the show’s pedigree promises to be heartfelt. The late author’s sister Delia Ephron is co-author, doubling down on the anticipated warmth.

“Five seasoned actors take turns retelling an assemblage of emotional snippets, each chronicling her memorable outfit.”

Sadly, the show is hampered by continuing Covid restrictions, and the actors wear clear plastic masks throughout their soliloquies. This impediment no doubt curtails their abilities to get into character. It also hampers their diction, causing them to over-project their volume and lose the finer emotional points. They’re close, but still far away.

The stage is spartan, backed by two projection screens, and naked except for a few bits of feminine accessories and a dressed sewing dummy.

Dressed all in black, five actors read their scripts from music stands in front of them. Only occasionally does an actor come forward, sans script. Most of the monologues have a projected sketch of the outfit illustrating the actor’s subject story. There’s even a music snippet of Madonna when the actors recall their outfits worn in homage to the fashion icon. And who can forget Nancy Sinatra’s boots?

“It’s a humorous essay about the female bond to clothes, boots, and purses. What’s not to like?”

“Love, Loss, and What I Wore” has heartfelt talk but no action; internal humor laced with poignant moments. The stories move slowly, linked only by blackouts between scenes. The timelines of the individual characters—spanning an era from the 1950s to the 2000s—stand alone without connection or plot. Some scenes garnered applause; others drew sparks of laughter.

“Love, Loss, and What I Wore” — 6th Street’s Season Opener

Anyone who has ever lamented “I have nothing to wear” may relate to this humorous essay about the female bond to clothes, boots, and purses. “What’s not to like?” asked one patron.

The Saturday night performance in this 99-seat theatre was sold out. After the first act of 1 ¼ hours, and intermission, there were at least 40 empty seats. Director Libby Oberlin might take note and make some edits.

“Audiences must prove Covid vaccination or negative test results before entering.”

6th Street Theatre takes their Covid restrictions seriously. Audiences must prove vaccination or negative test results before entering the lobby. Several without proof were denied entrance. All attendees must wear masks over nose and mouth throughout the production and in the lobby; roving ushers remind patrons to cover up or leave the premises.

Playing Friday and Saturday nights at 7:30 and Sunday matinees at 2:00 (one Saturday matinee August 21) at the Monroe Stage (the smaller theatre) through August 29th at 52 West Sixth Street, Santa Rosa, CA. Free parking in their lot.

For tickets go to www.6thstreetplayhouse.com or email boxoffice@6thstreetplayhouse.com or call 707-523-4185.

Seating note: On this hot evening, some overhead equipment hummed and buzzed intermittently, a distraction for those seated in the top rows.

ProductionLove, Loss, and What I Wore
Written byNora and Delia Ephron
Directed byLibby Oberlin
Producing Company6th Street Playhouse, Studio Theatre
Production DatesThrough August 29th, 2021
Production Address6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$18 – $29
Reviewer ScoreMax in each category is 5/5
Overall3/5
Performance3/5
Script4/5
Stagecraft3/5
Aisle Seat Review PICK?----

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ASR Editor Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.

 

 

An Aisle Seat Review: “Our Town” Falls Flat at NTC – by Nicole Singley

With its modest set and simple, unassuming premise, “Our Town” aims to celebrate the magic of the mundane, contemplating the ordinary, everyday moments we too often take for granted. Revolutionary when it debuted in 1938, Thornton Wilder’s Pulitzer Prize-winning drama has since become an enduring staple of American theater. Under Michael Barr’s direction, this three-act classic takes the stage at Novato Theater Company through February 16th.

We open with a welcome from the Stage Manager (Christine Macomber), who introduces us to the small New Hampshire town of Grover’s Corners, and continues to serve as our guide and sometimes-narrator throughout. We meet the town doctor and the milkman, watch as families gather ‘round their kitchen tables, and eavesdrop on schoolkids discussing their homework. Wilder’s script spans over a decade of love, loss, and run-of-the-mill moments in the lives of the townspeople. At the center of it all are George and Emily (Bryan Munar and Nicole Thordsen), the all-American boy and girl next door, who we encounter first as childhood friends, again as awkward teenagers stumbling into the early stages of love, and later as bride and groom, hurdling into adulthood ‘til death do they part.

Beautifully written and subtly profound in its frank depiction of normal people living unremarkable lives, its power lies not in what happens – as very little, in fact, actually does – but in the authenticity of its characters and the relatability of their life experiences. “Our Town” could be any town, anywhere at any time, the residents as familiar as our own friends and neighbors. It’s perhaps the realization of our shared humanity, and the quiet beauty and impermanence of each little moment, that beckons us to appreciate the here-and-now before it slips through our fingers.

. . . an ever-haunting tribute to the small, extraordinary moments that comprise an ordinary life.”

This show has the potential to be powerful and poignant – possibly transcendent – in the hands of the right cast and director. NTC’s production, however, comes up lacking in sincerity, bordering on tedious and boring. Much of the acting is stiff and unnatural, the lines flat and devoid of real emotion, and where nuance and depth of feeling are needed, there is little to be found. Without believable characters and relationships, their interactions become trivial and uncompelling.

Munar and Thordsen (Photo Credit: Fred Deneau)

Arguably the most damaging weak link in this production, the love story between George and Emily is utterly unconvincing. Munar’s George is sweet but overly shy and nervous, possessing little charm and none of the archetypal trappings of a school class president and star baseball player. There is no palpable chemistry between him and Thordsen, and none of the flirtatious tension or playfulness that often accompanies a budding young romance. Their love is at the heart of “Our Town,” and it needs to feel genuine in order to effectively hold our interest, arouse our compassion, and convey the full weight and meaning of Wilder’s message. Instead, it just feels flat and forced.

Janice Deneau and Mary Weinberg have done well with costume choices. Sparse scenic design is at the playwright’s instruction, and it’s reasonably well executed here by local designer and builder Michael Walraven. The production suffers, however, from the nearly constant, distracting boom and echo of heavy footsteps clomping across the hollow stage, often making it terribly difficult to hear and follow the actors’ lines.

On the whole, the ensemble puts forth a good effort. Macomber makes an excellent narrator, and Jennifer Reimer is convincing as wife and mother, Mrs. Gibbs. What’s missing is the sense that some key players are fully at home in their roles. Perhaps a few more performances will help them find their groove. There is great potential here to ramp up the emotional impact. “Our Town” remains deeply relevant despite its age, and an ever-haunting tribute to the small, extraordinary moments that comprise an ordinary life.

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.

 

ProductionOur Town
Written byThornton Wilder
Directed byMichael Barr
Producing CompanyNovato Theater Company
Production DatesThrough February 16th
Production AddressNovato Theater Company
5420 Nave Drive, Novato 94949
WebsiteNovatoTheaterCompany.org
Telephone(415) 883-4498
Tickets$15 – $27
Reviewer ScoreMax in each category is 5/5
Overall3/5
Performance3/5
Script4/5
Stagecraft3/5
Aisle Seat Review PICK?-----