An Aisle Seat Review PICK! Quirky, Wonderful “Heisenberg” at Left Edge Theatre – by Barry Willis

Rider and Craven (Photo Credit: Katie Kelley)

A seemingly chance encounter between a mature London butcher and a younger woman prompts  unpredictable developments in Simon Stephens’s “Heisenberg,” at Santa Rosa’s Left Edge Theatre through February 2.

Directed by Carla Spindt, the two-actor, six-scene piece takes its name from German physicist Werner Heisenberg, whose famous “uncertainty principle” means, in its largest sense, that we can’t really be sure about what we think we know. It opens with Alex (John Craven) sitting calmly on a park bench when quite unbidden, Georgie (Shannon Rider) approaches and kisses him on the neck—the first time they’ve met. She introduces herself and gushes almost uncontrollably while he looks on befuddled—clearly this is a “red flag” moment but he plays along, listening attentively and politely without offering encouragement. 

It’s an extremely odd first encounter. In the second one, having done some minor detective work via Google, she’s tracked him down at his butcher shop, and comes on even stronger, this time with a completely different tale about who she is and why she’s interested in him. Amused and flattered by the unexpected attention, he’s again receptive but does not encourage. Craven maintains his character’s distance throughout, a mix of caution and curiosity, while the energetic Rider pours out ever-more-fanciful tales that culminate in a confession that she hasn’t seen her adult son in years and needs to go to America to find him.

. . . a fascinating dance, a true theatrical pas de deux.”

Craven and Rider (Photo Credit: Katie Kelley)

As the two become friendlier, her various veils of hyperactive identity fall away but it’s still never clear to Alex or the audience (or possibly to Georgie herself) which part of her is real and which is not—a maddening and very funny scenario. Having accepted that Georgie is off-kilter but probably harmless, Alex makes his peace with the situation’s unpredictability and goes along for what proves to be a lovely ride. It’s a fascinating dance, a true theatrical pas de deux.

Both of them veteran performers, Craven and Rider are fully committed to this delightfully ambiguous yet somehow totally believable piece of magical realism—Craven the embodiment of fascinated reticence, Rider a whirlwind of imaginative insistence. The drama and the comedy are equally enhanced by sound designer Joe Winkler’s lovely tango music and Chris Schloemp’s marvelous projections on an elegant set by Argo Thompson.  

Is the May/December relationship between Georgie and Alex believable? Is the ambiguity of their story plausible? Yes. No. Maybe. In a universe of infinite outcomes, everything is possible—perhaps even perfect. That’s the beguiling beauty of “Heisenberg.”

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

 

ProductionHeisenberg
Written bySimon Stephens
Directed byCarla Spindt
Producing CompanyLeft Edge Theatre
Production DatesThrough February 2nd
Production AddressLuther Burbank Center for the Arts

50 Mark West Springs Road, Santa Rosa, CA 95403
Websitewww.leftedgetheatre.com
Telephone(707) 546-3600
Tickets$15-$42
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script4/5
Stagecraft4/5
Aisle Seat Review Pick?Yes!

An Aisle Seat Review: “Buddy” A Rocking Good Time at 6th Street – by Barry Willis

Kyle Jurrasic as Buddy Holly (Photo Credit: Eric Chazankin)

1950s musical icon Buddy Holly had a short but prolific career. With 12 top 100 hits within three years, his sweet lyrics and catchy rhythms proved to have enduring influence on many artists that followed, including the Beatles and Rolling Stones.

Now in an extended run through February 16 at Santa Rosa’s 6th Street Playhouse, “Buddy—The Buddy Holly Story” follows his meteoric rise from the country music scene in Lubbock, Texas, to New York City and elsewhere—including his final performance in Clearlake, Iowa before a plane crash that took his life and those of fellow performers Ritchie Valens and The Big Bopper. Holly was only 22 and might have gone on to a long illustrious career, but the catalog he left behind is still a source of inspiration and joy.

The show is a “jukebox musical”—one that conveys the biographical facts interspersed with Holly’s many hits. Bay Area newcomer Kyle Jurrasic is excellent as Holly, capturing his signature look, song styling, and guitar playing. That’s to be expected of an actor who’s played the role multiple times. Director D.J. Salisbury also has extensive experience with the show, having directed and/or choreographed seven previous productions.

The show’s infectious energy carries it along beautifully…”

The large cast is generally tremendous, especially Seth Dahlgren as the Big Bopper, Marc Assad as Valens, and Charlie Whitaker as Maria Elena Santiago, Holly’s wife. Husband-and-wife team John and Jennifer Bannister are superb in multiple roles, while music-and-dance numbers are handled adroitly by triple-threat Trevor Hoffman with Selena Elize Flores and Jennifer Barnaba. Nick Ambrosio is comically delightful as Jerry Allison, Holly’s drummer.

Opening night was marred by a few technical glitches—what the heck was a battery-powered transmitter doing attached to a 1950s guitar?—but that didn’t seem to bother the sold-out crowd clearly assembled to revel in the music, delivered with gusto and authenticity over the course of nearly two-and-a-half hours. The show’s infectious energy carries it along beautifully, but as has been true for several recent 6th Street productions, the set is minimal—in this case little more than three pairs of flats decorated with neo-50s graphics, that serve as everything from office walls to elevator doors. Production values are otherwise fairly high—costumes, lighting, and sound. The skimpy set is all that holds this show back from a higher rating, but it may not be a concern for the many Buddy Holly fans likely to buy tickets.

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

 

ProductionBuddy—The Buddy Holly Story
Written byAlan Janes
Directed byD. J. Salisbury
Producing Company6th Street Playhouse
Production DatesThrough February 16th
Production Address6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$35 – $48
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance4/5
Script4/5
Stagecraft3/5
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 Review PICK! Explosive Laughs in “Escanaba” at Left Edge Theatre – by Nicole Singley

The Cast of “Escanaba in da Moonlight” (Photo Credit: Katie Kelley)

Alien encounters, porcupine piss, and a troop of whiskey-swilling women armed with hunting rifles. These are either the makings of a really strange nightmare or a recipe for comic gold. Left Edge Theatre proves the latter with their outrageously funny production of Jeff Daniels’s “Escanaba in da Moonlight,” playing in Santa Rosa through December 15th.

It’s the eve of deer-hunting season in Michigan’s Upper Peninsula, where the Soady clan has gathered in the family cabin to continue an annual tradition steeped in generations of folklore and a whole lot of booze. But this year, things are different. For daughter Ruby (Paige Picard), the stakes have never been higher. She’s the only Soady who has yet to bag a buck, and if she can’t pull it off this season, she’ll break an embarrassing family record.

Willing to try anything and determined to succeed, Ruby’s packed some questionable dinner fare in place of the usual “pasties.” It would be wrong to give too much away, but suffice it to say that things only get weirder and wilder. It’s a strange ride full of fun surprises, hell-raising hilarity, and one especially memorable scene that nearly brought the opening-weekend audience to tears.

This one’s guaranteed to leave you smiling . . .”

Director Argo Thompson puts a refreshing spin on this originally male-dominated show with an all-female ensemble, and thanks to excellent casting, it works beautifully. Strong chemistry between the Soady gals and pitch-perfect delivery make the whole thing absurdly enjoyable.

Parrott-Thomas and Picard (Photo Credit: Katie Kelley)

Sandra Ish is the ideal fit for tough-as-nails matriarch, Alberta, whose no-nonsense narration helps us find our footing in a land where the locals speak their own language and march to a very different drum. Chandler Parrott-Thomas is a riot as hotshot hunter Remy, whose superstition runs so deep she’s been sporting the same sweat-soaked lucky shirt each year since childhood. She and Picard evoke a comfortable familiarity that makes them believable as sisters, striking the right balance between cutthroat rivalry and abiding love.

Kalember as “The Jimmer” (Photo Credit: Katie Kelley)

The antics ramp up when “The Jimmer” (Kimberly Kalember) joins the party. She hasn’t been quite right, we’re told, since the alien abduction, and has since developed a bizarre speech impediment that makes for heaps of laughter and confusion. Kalember is ridiculously funny and a ton of fun to watch.

Thompson has a gift for designing immersive sets with thoughtful details on the intimate stage at Left Edge, and this one’s no exception. (Kat Motley helps out with a host of peculiar props.) The rustic plank walls and flannel sheets will make you want to pack a suitcase and cozy up at your own cabin in the woods this winter. Ish completes the picture with befitting costume choices that add to the amusement. April George shows off her lighting skills with forest backdrops and paranormal visitations, even bending time with a cleverly-placed stop motion strobe effect.

Whether you’re hungry for something new and unusual or just in need of a good, lighthearted laugh to ward off the holiday blues, “Escanaba” is the perfect tonic. This one’s guaranteed to leave you smiling all the way home.

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.

 

ProductionEscanaba in da Moonlight
Written byJeff Daniels
Directed byArgo Thompson
Producing CompanyLeft Edge Theatre
Production DatesThrough December 15th
Production AddressLuther Burbank Center for the Arts

50 Mark West Springs Road, Santa Rosa, CA 95403
Websitewww.leftedgetheatre.com
Telephone(707) 546-3600
Tickets$15-$42
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script3.5/5
Stagecraft4.5/5
Aisle Seat Review Pick?Yes!

AN AISLE SEAT THEATER REVIEW PICK! “Drumming With Anubis” Wildly Entertaining at Left Edge Theatre – by Barry Willis

Mark Bradbury (Photo Credit: Katie Kelley)

In the galaxy of theater, the convergence of brilliant concept and brilliant execution occurs all too rarely. When it does, it’s a thing of beauty and wonder and a cause for celebration, like a solar eclipse or a blue moon.

At Santa Rosa’s Left Edge Theatre through June 30, David Templeton’s “Drumming With Anubis” is all this and more. A poignant, hilarious exercise in magical realism, it finds a group of middle-aged geeks camped out on the edge of the desert, there for a weekend of male empowerment, macho drumming, personal confessions, and recollections about the glory days of head-banging heavy metal rock. Founded by a recently departed drummer named Joshua Tree, the Neo-Heathen Male Bonding and Drumming Society has gathered in part to lay Josh’s ashes to rest, and to welcome a new member to its fold—a mysterious and reticent fellow they call simply “New Bitch” (Mark Bradbury).

The similarity to the new recruit’s nickname and the name of the Eqyptian god of death and mummification is no coincidence, of course, and the connection becomes increasingly clear as the story moves on—something it does with panache and superb pacing under the direction of David L. Yen, who somehow managed to balance rehearsals and performances of the excellent “Faceless” at 6th Street Playhouse with rehearsals of “Drumming.”

. . . the most near-perfect production you’re likely to see this summer.”

Pallaziol, Sholley, Martinez, and Schloemp (Photo Credit: Katie Kelley)

Yen may have gone without sleep for weeks while doing this, but the results are exemplary—a very funny production delicately seasoned with moments of profound personal truth. Chris Schloemp stars as the group’s leader, a kilt-wearing electrical contractor named “Chick” who as a not-quite-successful drummer has lived a large part of his life in Josh’s shadow. Anthony Martinez is his sidekick “Bull,” a gruff-voiced barbeque entrepreneur given to dressing like a Harley rider, but a man with deep insecurities about his masculinity. Then there’s “Stingray” (Richard Pallaziol), a twice-divorced alcoholic struggling to hang onto his third wife and his job as a manager of multiple sporting goods stores. Keeper of the group’s rules is Neil (Equity actor Nick Sholley), a “professor of pop culture” with failing knees, who has never recovered from the loss of his lover Alex. Altogether, they are an incredibly talented and superbly-balanced group of performers.

Miller and Martinez (Photo Credit: Katie Kelley)

The campers poke fun at their own and each other’s foibles, punctuating each heartfelt revelation or silly joke (revealing any would be unfair to playwright and patrons) with drum riffs and chants of “Balls deep!” while mourning the loss of their founder. Into their midst comes Nicky Tree (the feisty Ivy Rose Miller), Josh’s young widow, seeking not only her husband’s pilfered ashes but some substantial psychological restitution from the ragtag assemblage. How she gets it and what they get in return—both as individuals and as a group—is the driving force of the play’s second act, amplified by a continually-more-assertive Anubis. It’s a powerhouse combination of tremendous writing, acting, and direction, all of it on a delightfully plausible set by Argo Thompson, with gorgeous background projections by Schloemp.

Prolific journalist, critic, playwright, and North Bay national treasure, Templeton with this project has ventured out of the autobiographical mode that characterizes most of his prior work. It’s a fantastically successful effort carried out by a troupe of artists who truly understand and embrace his vision. You’ll howl with laughter but moments later may find yourself wiping tears away—an emotional rollercoaster that’s both thrilling ride and rock-solid reward. “Drumming With Anubis” may be the most near-perfect production you’re likely to see this summer.

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.

 

 

ProductionDrumming With Anubis
Written byDavid Templeton
Directed byDavid L. Yen
Producing CompanyLeft Edge Theatre
Production DatesThrough June 30th
Production AddressLuther Burbank Center for the Arts

50 Mark West Springs Rd. Santa Rosa, CA 95403
Websitewww.leftedgetheatre.com
Telephone(707) 546-3600
Tickets$25-$40
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script5/5
Stagecraft4.5/5
Aisle Seat Review Pick?Yes!

AN AISLE SEAT THEATER REVIEW PICK! “Faceless” Brings Feisty Focus to Courtroom Drama – by Cari Lynn Pace

The cast of “Faceless” (Photo Credit: Eric Chazankin)

Live theatre can bring laughter or tears. You may leave feeling warm and fuzzy or puzzling over moral questions.

You’ll be immersed in all these vibrancies with “Faceless,” playing through June 2nd in the Studio Theatre at the 6th Street Playhouse in Santa Rosa. This intimate theatre-in-the-round is the perfect cocoon for a courtroom clash. The audience is the jury, and the intense characters are ours to judge.

Susie (a hijab-wearing Isabella Sakkren) is a teen swept into the web of an internet ISIS “friend” and wooed into believing that she can be part of a new “family.” Arrested as she attempted to flee to Syria, she is now jailed and facing trial.

Susie’s dad, a hard-working single father (perfectly cast in Edward McCloud), still grieves the tragic loss of his wife. Was he so bound in his grief that he neglected to see his daughter becoming sullen and marginalized? Dad agonizes between consoling Susie and berating her for her empty extremism. He “mortgages the farm” to hire a top-notch defense attorney for his hostile daughter – a perfect role for Mike Pavone.

You may not want this 90-minute play to end.”

As for the prosecution, the lead attorney’s strategy (in spot-on acting by award-winning David L. Yen) is delightfully devilish. He theorizes that a female Muslim attorney on his staff would be the perfect choice for this touchy trial. He summons Claire (the lovely and spirited Ilana Niernberger) who wears her hijab with devotion, not faux faith.

David L. Yen (Photo Credit: Eric Chazankin)

The dialog between these two attorneys is like watching rams clash. They slice through untouchable issues of religion, race, privilege, and predatory behavior with knife-sharpened repartee in an astonishing feat of writing by playwright Selina Fillinger. You may not want this 90-minute play to end. When it does, you alone will make the judgment call.

Director Craig A. Miller, former Artistic Director of the 6th Street Playhouse, worked two years to gain the rights to present “Faceless.” He has exercised impressive skill in staging the characters, enabling the audience to feel included in the courtroom drama.

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

 

ProductionFaceless
Written bySelina Fillinger
Directed byCraig A. Miller
Producing Company6th Street Playhouse, Studio Theatre
Production DatesThrough June 2nd
Production Address6th Street Playhouse
Studio Theatre
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$18 – $28
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script5/5
Stagecraft5/5
Aisle Seat Review PICK?Yes!

AN AISLE SEAT THEATRE REVIEW: Solid, Mostly Rewarding Effort in 6th Street’s “Mockingbird”– by Barry Willis

Jourdan Olivier-Verdé as Tom Robinson (Photo Credit: Eric Chazankin)

A disabled black man accused of attempting to rape a white girl is defended by small-town Alabama lawyer Atticus Finch in the classic “To Kill a Mockingbird,” through May 19 at 6th Street Playhouse in Santa Rosa.

It’s the midst of a long hot summer in 1935, and Finch’s pursuit of justice puts himself and his family at risk—something he accepts despite inevitable personal and social consequences. Directed by Marty Pistone, Christopher Sergal’s 1990 stage adaptation of the classic Harper Lee novel is conveyed as a closely-related collection of reminiscences by Atticus’s adult daughter Jean Louise Finch (Ellen Rawley).

Since its debut in 1960, Lee’s Pulitzer Prize-winning novel has never gone out of print, and for decades has been required reading in many high schools in the US. Based on incidents that took place in her hometown and elsewhere in the South not only in the 1930’s, but much later, it depicts circumstances unique to the time and place but also regrettably universal. The evidence against the accused man, Tom Robinson (Jourdan Olivier-Verdé) is flimsy at best, but Finch’s unassailable logic and conviction are insufficient to overcome the racist hysteria infecting the townspeople of Maycomb.

Robinson’s fate is disturbing—one that Atticus Finch (Jeff Coté) can see coming but is powerless to prevent. His dismay is shared by the town’s sheriff, Heck Tate (Tom Glynn), with whom he is amicable, even friendly. Finch is a disheveled moralist, whose rumpled suit and fatigued demeanor belie his intelligence and commitment to justice. Tate, on the other hand, is a pragmatist whose sense of justice has been leavened by the necessities of keeping a town running smoothly. His pragmatism is shared by Judge Taylor (Alan Kaplan), the cigar-chomping realist presiding over the Robinson trial. An odd bit of set design has the judge sitting behind a comically small bench, almost a cartoon parody. Surely set designer Alayna Klein could find something more imposing and appropriate.

Jeff Coté as Atticus Finch (Photo Credit: Eric Chazankin)

A secondary plot involves Finch’s children—a boy, Jem (Mario Giani Herrera), his younger sister “Scout” (Cecilia Brenner, confident and spunky), and their friend Dill (the exuberant Liev Bruce-Low)—and their fascination with a scary reclusive neighbor named Boo Radley (Conor Woods, also this production’s technical diretor), and their desire to understand the events taking place around them. They never see Boo outside, but he communicates with the children by leaving mysterious gifts in the hollow of a tree. Late in the story, the fearsome creature lurking in a dark house emerges as an avenging angel.

. . . a gospel choir . . . opens and closes the show . . .”

The whole affair takes place on the front porch and in the yard of the Finch house, transformed with a few props into the Maycomb court house, and at the homes of nearby neighbors—all of it beautifully realized by Klein. In an unusually creative twist, the town’s black residents are also a gospel choir. Their glorious music opens and closes the show, and is used as transition between key scenes. Nicholas Augusta, who plays Reverend Sykes, mentioned after the opening performance that “Hold On” is a venerable spiritual, but that other songs were composed for the show by music director Branise McKenzie, aided by her singers. The addition of these singers to this classic production is a wonderful touch. Lighting by April George contributes greatly to the overall feel of the show.

Ensemble Choir (Photo Credit: Eric Chazankin)

Pistone’s cast is generally very good, with standout performances by Val Sinkler as Calpurnia, the Finch housekeeper; Caitlin Strom-Martin as supposed victim Mayella Ewell; and Mike Pavone as the insufferably ignorant redneck drunk Bob Ewell, Mayella’s father. Ella Jones is also excellent as Tom Robinson’s young daughter. Inexplicably, the show’s only Equity actor, Jeff Coté, seems less than fully committed to the lead role.

The language and attitudes in this production are authentic and haven’t been sanitized for the sake of political correctness. Without explicit polemics, “To Kill a Mockingbird” elucidates the eternal conflict between human rationality and ignorance. The production at 6th Street is a good reminder of how important it is to continue promoting knowledge of that conflict.

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. Contact: barry.m.willis@gmail.com

 

ProductionTo Kill a Mockingbird
Written byBook by Harper Lee
Adapted by Christopher Sergal
Directed byMarty Pistone
Producing Company6th Street Playhouse
Production DatesThrough May 19th
Production Address6th Street Playhouse
G.K. Hardt Theatre
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$25 – $35
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance3.5/5
Script4/5
Stagecraft3/5
Aisle Seat Review PICK?-----