AN AISLE SEAT REVIEW PICK! Big Silly Fun in Cinnabar’s “Little Shop of Horrors” – by Barry Willis

Photo by Vero Kherian.

Roger Corman’s 1960 low-budget comedy/horror flick “The Little Shop of Horrors” is a classic of the genre. In the ‘60s and ‘70s it was a staple of late-night TV, inspiring an adaptation as a stage musical by Howard Ashman, with music by Alan Menken.

It’s been in continual production somewhere since it debuted in 1982, for good reasons. The story is cheesy, the characters are as broadly drawn as possible, and the music is absolutely infectious—think “Rocky Horror Show” meets “Grease.” Cinnabar’s current production of “Little Shop” is a tremendously high-energy treatment of this All-American classic, directed by Nathan Cummings and choreographed by Bridget Codoni, running through September 22.

The little shop is Mushnik’s Skid Row Florists, a failing retail business in a decrepit part of the city. Proprietor Mr. Mushnik (played with palpable fatigue and despair by Michael Van Why) prays for a miracle to keep his doors open. His hoped-for miracle appears when needed most— in the form of a carnivorous plant developed by Mushnik’s nerdy assistant Seymour Krelborn (Equity actor Michael McGurk).

Since its intro in 1982, American audiences can’t get enough schlocky story telling entertainment…

The presence of the plant in the shop generates astounding public interest for reasons that no one questions. Seymour names the plant “Audrey II” in honor of his co-worker Audrey (Sidney Raey-Gonzales), a sweetly reticent girl in an abusive relationship with a sadistic dentist, Dr. Orin Scrivello (Keith Baker, superb in multiple roles).


Seymour discovers by accident that the plant thrives on human flesh and blood — and that it speaks, demanding to be fed. Each feeding causes huge spurts in the plant’s aggressiveness and size—it goes from a “strange and interesting” thing in a small pot in the shop’s window to an enormous all-consuming monster that can devour a human in one gulp.

Mushnik’s business enjoys phenomenal growth in direct proportion to the plant’s, from selling a handful of posies each day to supplying all the flowers for the Rose Bowl Parade. Seymour undergoes a similar transition, from perpetually unnoticed back-room nobody to pop star, winning Audrey in the process. Her botanical namesake has solved multiple problems, but as in all monster lore — indeed, as in much of human life — the law of unintended consequences kicks in. Audrey II (voiced by Michelle Pagano, puppetry by Zane Walters — both excellent) becomes a massive problem. Solving it becomes Seymour’s new challenge.

Micheal McGurk as Seymour. Photo by Eric Chazankin.

The show’s patently ridiculous dramatic arc is further exaggerated by plenty of upbeat pop music, beautifully sung by Raey-Gonzales, McGurk, Baker, and the “doo-wop girls”: Ronette, Crystal and Chiffon (Selena Elize Flores, Aja Gianola-Norris, and Olivia Newbold, respectively). The trio’s harmonies are marvelous; the three are equally entertaining whether dolled up as an early ’60s girl group or in grunge mode as street urchins, and they nail the choreography. “Somewhere That’s Green,” a sweet invocation of idealized 1950s’ suburban living, is delivered with shimmering conviction by Raey-Gonzales. It’s the emotional high point of the first act.

The Doo-Wop Girls and Dr Scrivello. Photo by Eric Chazankin.

Baker clearly relishes going over the top as the hyper-caffeinated, charming-but-evil Dr. Scrivello. The ultra-kinetic McGurk is absolutely in his element as Seymour. Raey-Gonzales is commanding as Audrey, with a Brooklyn accent that never falters, even when she’s singing.

Peter Q. Parish has conjured a facile set serving as florist shop and city street, needing only a few brief changes from scene to scene. Their brevity helps propel this quick-moving musical—less than two hours including a fifteen-minute intermission. Hilarious and enthralling from beginning to end, this “Little Shop of Horrors” is an entertainment bargain certain to sell out fast. It’s simply big silly fun, fabulously well done.

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.



ProductionLittle Shop of Horrors
Written byWritten by Howard Ashman, from the screenplay by Charles Griffith
Directed byDirected by Nathan Cummings.

Assisted by Cecelia Hamilton.
Producing CompanyCinnabar Theater
Production DatesThrough Sept. 22nd
Production Address3333 Petaluma Blvd North
Petaluma, CA 94952
Telephone (707) 763-8920
Tickets$30 – $45
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review PICK?YES!

AN AISLE SEAT REVIEW PICK! — “Those Dancin’ Feet” Kicks It Up a Notch — by Cari Lynn Pace

PHOTO: Those Dancin’ Feet_61 – L to R Alex Hartman and Colin Bradbury (dancers) and Kayley Anne Collins and Neil Starkenberg (vocals).
Photo by Ray Mabry / © R. Mabry Photography 2019

Transcendence Theatre Company (TTC) has presented productions “under the stars” at Sonoma’s Jack London State Historic Park for eight summer seasons. This award-winning troupe has grown from the dream of its three founders to encompass over 50 singers and dancers taking a break from their Broadway and LA shows.

Their successful “Broadway Under the Stars” formula has traditionally been a potpourri of popular song-and-dance numbers. This year TTC experiments by adding a casual plot line to “Those Dancin’ Feet” to link the dance numbers. It works, splendidly. The show runs through August 25.

The experience at “Broadway Under the Stars” is top notch…

It starts with three couples who move with agile beauty through stages of courtship and commitment. Their ‘alter egos’ sing of passion, longing, joy, sadness, and despair. The program cleverly sprinkles a mix of 29 songs —some from decades past, some today’s Grammy winners — and everything flows and moves in a seamless and splendid reflection of love and life.

The experience at “Broadway Under the Stars” is top notch, with the production enhanced by the Transcendence Band conducted by Matt Smart.

PHOTO: Those Dancin’ Feet_262 – L to R Dee Tomasetta, Croix Dilenno and Cara Salemo.
Photo by Ray Mabry / © R. Mabry Photography 2019

There are so many intricate dance numbers that Director/Choreographer Roy Lightner is joined by choreographers Sara Brians and Chip Abbott. They showcase 20 athletic and fluid dancers, and the result is over the top.

TTC evenings, traditionally touted as the “Best night ever!” start as early as 5 p.m. at Jack London State Historic Park. Patrons bring picnics to enjoy at the umbrella-equipped tables, food trucks ply their wares, premium wine and beer vendors offer tastes, and live music encourages the fun and friendly camaraderie in the open field —  known amusingly as “The Great Lawn.”

Outdoor seating (assigned) begins in the stone ruins as the sun drops low beyond the mountains. Just before the show starts at 7:30, put away your sun hat, grab a jacket and lap blanket, and revel in the quiet beauty of the Valley of the Moon. When the lights come up on the dancers onstage, prepare to be blown away!

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


ProductionThose Dancin' Feet
Written byTranscendence Theater Co.
Directed byRoy Lightner
Producing CompanyTranscendence Theatre Company
Production DatesThrough August 25th
Production AddressJack London State Historic Park, Glen Ellen (Sonoma)
Telephone(877) 424-1414
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review Pick?Yes!

AN AISLE SEAT THEATER REVIEW PICK! “The Nether” Enthralls at Left Edge Theatre – by Nicole Singley

Imagine a virtual world in which you are free to live out your darkest fantasies without repercussion – a perfectly rendered, immersive escape from reality, wherein you can look, speak, and act as you please, your identity securely concealed.

But what makes something real? If a virtual experience has the power to make us think and feel, is it truly artificial? Are our choices ever free from consequence?

By turns philosophical and eerily prophetic, “The Nether” – making its Sonoma County premiere at Left Edge Theatre through March 24th –invites us into such a world, raising these and many other timely questions about morality and culpability in the digital era. But before “logging in,” users be warned: unsettling subject matter is in no short supply here.

Schloemp and Rosa (Photo Credit: Eric Chazankin)

We open on a bleak interrogation room at an unspecified time in the future. Detective Morris (Leila Rosa) sits across from a man in old-fashioned clothing with a guarded demeanor. What was once the internet has evolved into the Nether – an immense network of online realms in which students attend virtual schools, employees telecommute to virtual offices, and people like Mr. Sims (Chris Schloemp) log in to indulge their innermost desires.

Sims – or “Papa,” as his avatar is known – is the proprietor of a realm dubbed the Hideaway, an elaborately designed Victorian home conjuring up a hypnotic nostalgia for simpler times past with its ornate furniture and poplar-lined vistas. Visitors can enjoy a stiff drink, dance along to old records on the gramophone, or molest and dismember prepubescent girls.

Morris is determined to shut the Hideaway down and hold Sims accountable for his gruesome crimes – crimes committed, that is, by and against avatars in the Nether. But has anyone really been hurt? Morris presses Hideaway participant Mr. Doyle (David L. Yen) for incriminating details, her own composure slowly crumbling in the process.

Wright and Spring (Photo Credit: Eric Chazankin)

We cut between the interrogation room and scenes inside the Hideaway, where we meet Iris (the stellar Lana Spring) – Papa’s favorite little girl – and Mr. Woodnut (Jared N. Wright), an undercover agent sent to gather evidence for Morris’s investigation. Mr. Woodnut has honorable intentions, but soon discovers the lines between personal and professional – as well as virtual and actual – are hard to draw inside this realm. He is bewitched by the Hideaway and all it has to offer, becoming himself a reluctant participant in Papa’s twisted world.

…haunting, thought-provoking, and disturbingly relevant…”

It is evident Director Argo Thompson has chosen his cast with care. Schloemp brings grace and finesse to a difficult role, making Sims remarkably sympathetic given his deviant inclinations. Wright is compelling as the well-meaning detective, grappling with unexpected temptation and fearful self-reflection. Yen delivers a surprisingly heart-rending performance as the reticent and wounded Mr. Doyle. Spring’s Iris is ethereal and deeply felt, adding much to the story’s emotional impact. (It’s important to note that Spring is an adult, and that the worst of what happens is not depicted on-stage.)

Rosa is arguably the only weak link. She doesn’t seem at home in her role, and the opening scenes are a bit awkward because of this. Her behavior may be intentional, however, given what we learn later in the show.

Yen (Photo Credit: Eric Chazankin)

Thompson’s set anchors the interrogation room at its center, flanked on both sides by rooms within the Hideaway, keeping us tethered to reality as we experience the virtual world. His crew has chosen fitting furniture and props for the Hideaway, and the interrogation room feels adequately cold and futuristic. Schloemp’s projections are an effective enhancement, transforming the interrogation room’s table into an interactive portal to the Nether.

Joe Winkler has set the show to an appropriately ominous soundtrack, from floor-shaking electronic overtures to the crackle and pop of old-timey tunes on Papa’s Victrola. There’s a moment of eerie dissonance near the show’s end when the soundtracks from both worlds collide, as the real and virtual begin to meld.

Act one is weighed down by philosophical quandary and is slow to build momentum. When the pieces begin to fall together, however, the pace accelerates into a second act rich with chilling developments and surprising revelations, and an ending that begs as many questions as it answers.

Though not for the faint-hearted, “The Nether” is a haunting, thought-provoking, and disturbingly relevant ride well worth taking if you can stomach the subject matter. Playwright Jennifer Haley pulls us out of our comfort zone and thrusts us into this dark exploration of a not-so-far-off future that could very well become our own.

ASR reviewer Nicole Singley is a member of the San Francisco Bay Area Theatre Critics Circle, the Marquee Theater Journalists Association, and the American Theatre Critics Association.



ProductionThe Nether
Written byJennifer Haley
Directed byArgo Thompson
Producing CompanyLeft Edge Theatre
Production DatesThrough March 24th
Production AddressLuther Burbank Center for the Arts

50 Mark West Springs Rd. Santa Rosa, CA 95403
Telephone(707) 546-3600
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review Pick?Yes!



AN AISLE SEAT THEATER REVIEW PICK! Poignant, Poetic “Swallow” at Main Stage West – by Nicole Singley

At Sebastopol’s Main Stage West through January 27th, “Swallow” is a lyrical and haunting reflection on how we put our pieces back together and rebuild – our wounds, our relationships, our sense of purpose and of self – through the healing conduit of shared suffering and human connection.

Rebecca (Michelle Maxson) is alone and angry. Her husband has fallen in love with another woman. She takes the pain out on herself and fears her scars may never heal. Meanwhile, upstairs neighbor Anna (Dana Scott Seghesio) hasn’t left her apartment in months and is tearing it apart piece by piece, living on ice cubes and canned beans in total isolation. When the two begin to talk through Anna’s closed door, their fragile, faceless friendship evolves into an unusual but much-needed lifeline.

Sam (Skyler Cooper) is in the process of becoming the man he feels himself to be, enduring the humiliation of a job at which he is still called Samantha and struggling to gain confidence and acceptance in his new identity. Recognizing his own loneliness in Rebecca when he discovers her sitting by herself at a coffee shop, Sam takes a chance and starts a conversation.

Cast members Cooper, Maxson, and Seghesio at work.

Although she is initially wary, Rebecca begins to let her walls down as she reopens herself to the possibility of finding new love and understanding. But how will she react if Sam comes clean about his past? What unfolds is both dark and uplifting, at moments comical and others crushing.

The chemistry between Sam and Rebecca is real and their relationship utterly compelling. Cooper and Maxson are immensely talented and profoundly well-cast. It is hard to look away from them, even when their interactions pause and the spotlight shifts to Anna in her apartment. In those dark, unmoving moments, the expressions on their faces speak volumes.

…shattered mirrors, broken hearts, fractured bones, and splintered identities…

Scott Seghesio does an admirable job in a difficult role, making Anna about as interesting as she can be given the lack of development her backstory is offered by playwright Stef Smith. It is hard to care as much as we might like to about a cripplingly neurotic person we learn little about beyond her strange obsession with destruction and strained relationship with a brother who pays her rent. The result is that her scenes begin to feel like unwelcome interruptions to the story we’re more emotionally invested in. Anna’s overwrought metaphorical ramblings about an injured bird become at times torturous as we wait to see more of Rebecca and Sam.

With John Craven’s assistance, David Lear has crafted a lean, effective set which succeeds in creating the illusion of a coffee shop, an apartment building, and a city sidewalk without undergoing any major changes. Missy Weaver’s light design helps create a sense of separation between rooms and scenes. The sound effects of shattering glass and hammers pounding are well-timed and appropriately jarring thanks to Matthew E. Jones’s design.

Despite its imperfections, “Swallow” is inarguably moving, and Smith’s compassion for human suffering is evident. She reminds us that we are capable of creating beautiful things from our broken pieces and that no matter how personal or private our battles, we are never really alone in our pain. Main Stage West has handled her material with care, and the result is well worth watching.

ASR reviewer Nicole Singley is a member of the San Francisco Bay Area Theatre Critics Circle, the Marquee Theater Journalists Association, and the American Theatre Critics Association.


Written byStef Smith
Directed byMissy Weaver
Producing CompanyMain Stage West
Production DatesThrough January 27th
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Telephone(707) 823-0177
Tickets$15 – $30
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review PICK!Yes!

AN AISLE SEAT THEATER REVIEW! “Moon Over Buffalo” Shines at 6th Street Playhouse – by Barry Willis

An erratic sword-swinging scene that opens “Moon Over Buffalo” only hints at the wildness to come in Ken Ludwig’s “Moon Over Buffalo,” at 6th Street Playhouse in Santa Rosa through February 3.

A master of the American door-slamming farce, Ludwig’s output includes theater-world classics such as “Crazy for You” and “Lend Me a Tenor.” Filling out the triumvirate is “Moon Over Buffalo,” about an acting family doing repertory performances of “Cyrano de Bergerac” and Noel Coward’s “Private Lives” in Buffalo, NY in 1953.

Patriarch George Hay (Dodds Delzell) is a theater careerist who’s very dismissive of the film industry, despite a phone call from legendary director Frank Capra, saying he’s considering George and his wife Charlotte (Madeleine Ashe) as replacements for Ronald Coleman and Greer Garson in a production of “Twilight of the Scarlet Pimpernel.” It’s possibly a dream come true for Charlotte, who longs for a life more glamorous than that of iterant actors.

‘Moon Over Buffalo’ has more romantic complexities than a Shakespearean comedy…

Helter-skelter antics by their associates, confusion about which play they are performing, and the lure of a career breakthrough, compounded by George’s appetite for prodigious amounts of alcohol make for some riotous comedy. George drinks until he can barely stand—in some instances, he can’t—and mixes and muddles his roles in the two very unlike shows while Charlotte and their daughter Rosalind (Chandler Parrott-Thomas) try to cover for him. Add to this a hearing-impaired grandmother (Shirley Nilsen Hall), a hyperactive TV weatherman (Erik Weiss), a lovesick attorney (Joe Winkler), a company manager desperately trying to keep the Hays on track (Robert Nelson), and a young actress impregnated by George (Victoria Saitz).

L-R: Dodds Delzell, Robert Nelson, Chandler Parrott-Thomas, Shirley Nilsen Hall, Madeleine Ashe in “Moon Over Buffalo”

All of this comes to a frothy head in the second act, on a substantial set by Jason Jamerson—it has to be with all the wrestling, drunken gymnastics, and door-slamming—under the guiding hand of director Carl Jordan.

Despite the sword-swinging, there’s a surfeit of exposition in the first act that makes the whole affair a bit slow to gain altitude, and some anachronisms in the dialog and props, but the second-act payoff is worth the wait. Delzell is perfectly cast as the out-of-control Hay—at one point he perfectly casts himself into the orchestra pit—and Parrott-Thomas is brilliant as the long-suffering daughter who does everything and more to save her family’s careers and the show they’re putting on.

“Moon Over Buffalo” has more romantic complexities than a Shakespearean comedy, and is riddled with theater-insider references (there are hints in the playbill). Astute audience members may recognize entire scenes that have been lifted into television sitcoms, movies, and other plays. The multiple second-chance ending is icing on a cake of simply great silly fun.

ASR Theatre Section Editor and Senior Contributor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact him at


ProductionMoon Over Buffalo
Written byKen Ludwig
Directed byCarl Jordan
Producing Company6th Street Playhouse
Production DatesThrough Feb 3rd
Production AddressSixth Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Telephone (707) 523-4185
Tickets$20 – $30
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review PICK? --------


AN AISLE SEAT THEATER REVIEW PICK! Templeton’s Sweet “Polar Bears” a Must-see Christmas Show – by Barry Willis

This time of year, we are inundated with multiple choices of winter holiday-theme productions. There are at least several presentations of “The Nutcracker” and “A Christmas Carol,” not to mention marathon broadcasts of “It’s a Wonderful Life” and “A Christmas Story”—all worthy, heartwarming ways to enrich the season.

Add to this list David Templeton’s “Polar Bears,” one man’s tale about how far he was willing to go to extend his children’s belief in Santa Claus in the wake of their mother’s death. Performed by veteran actor Chris Schloemp, this “true story about a very big lie” is a lovely mix of tragedy, comedy, and detached self-deprecating observation that will keep you enthralled throughout its approximately 90 minutes.

Prolific journalist, critic, and playwright Templeton is a North Bay treasure, with several productions to his credit in addition to his annual “Twisted Christmas,” a grab-bag of performances and stories that played recently to a nearly full house at Spreckels Performing Arts Center. Templeton’s style is similar to Jean Shepherd, the great chronicler of Americana whose 1966 book “In God We Trust: All Others Pay Cash” included the basis of “A Christmas Story.”

…’Polar Bears’… will keep you enthralled…

Templeton directs Schloemp on a set of stored Christmas paraphernalia, much of it cleverly doing double- or triple-duty to illustrate the piece. Easing your children out of treasured fantasies can be an ordeal for any parent. As told by Templeton and Schloemp, it’s also a sweet expression of love.

“Polar Bears” completes its run at the Belrose Theatre in San Rafael December 15, and will be reprised in a one-night-only performance at Left Edge Theatre in Santa Rosa, Sunday December 23, at 7:00 p.m.

ASR Theatre Section Editor and Senior Contributor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact him at

ProductionPolar Bears
Written byDavid Templeton
Directed byDavid Templeton
Producing CompanyLeft Edge Theater Co.
Production DatesSunday, December 23, 2018 7:00 p.m.
Production AddressLuther Burbank Center for the Arts

50 Mark West Springs Rd. Santa Rosa, CA 95403
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review Pick?Yes!

**** AN AISLE SEAT REVIEW PICK **** Hellaciously Funny “Hand to God” at Left Edge Theatre – by Nicole Singley

It could be argued that few things in life are more worth having than a hearty laugh. If you’re partial to this school of thought, then “Hand to God,” playing now at Santa Rosa’s Left Edge Theatre through November 11th, could easily be the most rewarding thing you do this weekend.

Jason (Dean Linnard) is a nice young Christian boy who obeys his mother and the Bible. But everything goes to Hell – perhaps literally – when his hand puppet, “Tyrone,” takes on a startling personality of his own. Tyrone is the polar opposite of his meek and socially awkward puppeteer: loud and obnoxious, wildly vulgar, and jaw-droppingly crude.

What Jason’s mother Margery (Melissa Claire) at first mistakes as a harmless, albeit bizarre, vaudevillian routine soon proves to be something more sinister. Could her son’s unsettling puppet be possessed by the devil?

Linnard and puppet at work in “Hand to God”

Linnard’s performance is nothing short of brilliant. His uncanny ability to switch so convincingly between two diametrically opposed characters at lightning speed – all while effectively maneuvering his right-hand companion – makes it a little too easy to forget Tyrone is really just a puppet.

Director Chris Ginesi has staged an expertly executed and grossly entertaining experience for theatergoers…”

The caliber of Linnard’s performance would easily make him the standout if he weren’t on stage with such a talented group of actors. There is not a weak link in the bunch; their chemistry is excellent and their timing impeccable. The sheer absurdity of the subject matter is made only more hilarious by the intensity and physicality with which they bring it all to life.

Kraines and Claire at work at Left Edge Theatre

Claire is hysterical as Margery, an unraveling widow struggling to distract herself by teaching puppetry to unenthusiastic children in the local church’s basement. Carl Kraines is superb as Pastor Greg, earning as much pity as laughter for his awkward advances toward Margery.

Neil Thollander is a perfect fit for secretly sensitive, bad-boy Timmy, and Chandler Parrott-Thomas adds a touch of much-needed normalcy as Jessica. She surprises us in the end, however, with a heroic act of puppetry guaranteed to make audience members blush.

Director Chris Ginesi has staged an expertly executed and grossly entertaining experience for theatergoers craving something unconventional. Rife with clever dialogue and R-rated humor, the script explores some darker themes without compromising the explosive laughs, turning even the most shocking moments into serious fun. From puppet sex to pedophilia, playwright Robert Askins dares go where others won’t, and the result is thought-provoking comic gold.

Argo Thompson’s ingenious set transitions with ease from classroom to playground and from bedroom to office. His stage is a living entity all its own, much like the puppet it falls prey to in a memorably elaborate set change featuring decapitated Barbie dolls and bloody handprints. The scene plays like a childhood game of “Spot the Differences in These Two Pictures.” Be sure to take in all the thoughtful touches. If the devil is really in the details, Thompson, too, may be possessed.

ASR reviewer Nicole Singley is 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.



ProductionHand to God
Written byRobert Askins
Directed byChris Ginesi
Producing CompanyLeft Edge Theatre
Production DatesThrough November 11th
Production AddressLuther Burbank Center for the Arts

50 Mark West Springs Road, Santa Rosa, CA 95403
Telephone(707) 546-3600
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review Pick?Yes!

**** AN AISLE SEAT REVIEW PICK **** “The Addams Family – A New Musical” Dazzles at Spreckels Performing Arts Center – by Barry Willis

Charles Addams’s “altogether spooky” Addams Family has been deeply ingrained in American culture since the debut of the 1960s television sitcom—so deeply ingrained and so successful that it spawned an imitator TV series (“The Munsters”), at least two movies, and at least one musical. A tremendous version of this last venture runs through October 28 at Spreckels Performing Arts Center in Rohnert Park.

In the musical, the family—Gomez, Morticia, Uncle Fester, Grandma, Pugsley, and their butler Lurch—are all as we recall them, but daughter Wednesday (Emma LeFever) has become a cranky self-directed teenager. Worse, she has fallen for a straight, normal boy, much to the dismay and disapproval of her family. This classic setup-with-a-twist is rife with conflict, exploited to the max in every scene, song, and dance.

“Addams Family, a New Musical” is a dazzling bit of theater.

Director Carl Jordan gets wonderful performances from the large cast, especially from Peter T. Downey as irrepressible patriarch Gomez, and from Serena Elize Flores as his slinky seductive wife Mortica. The frenetic Erik Weiss is his over-the-top best as Uncle Fester, also serving as the show’s narrator.

Serena Flores and Peter Downey as Mortica and Gomez – Photo by Jeff Thomas

Mario Herrera is a total surprise as Pugsley, Wednesday’s withdrawn younger brother. Herrera stuns when he steps out of the shadows for his big solo song. Cooper Bennet gives a very natural and sympathetic interpretation of the character of Lucas Beineke, Wednesday’s boyfriend. Larry Williams and Morgan Harrington are equally good as his parents Mal and Alice, with a couple of breakout moments of musical comedy.

Emma LeFever at work as Wednesday – Photo by Jeff Thomas

Elizabeth Bazzano’s and Eddy Hansen’s gorgeously ornate set occupies the entirety of the big stage, matched in its aspirations by Pamela J. Johnson’s costumes and Michella Snider’s choreography. In the cast are also a dozen or so “ancestors” (as they are called in the program)—a chorus of extras who embody spirits and other unworldly creatures associated with the Addams. They’re all very effective and mostly delightful to watch.

Lucas Sherman’s superb eleven-piece orchestra drives the show, most of it conveyed by beautifully delivered song.

The core conflict — Will Gomez and Mortica accept Wednesday’s love for a boy from the wrong side of the graveyard? — carries the first act aloft. It’s like watching a magnificent hot-air balloon rise to a great height—imagine the penultimate scene in “The Wizard of Oz”—while the second act is like watching that same balloon settle slowly back to earth, a rise-and-fall written into the script. Even if the ultimate settling doesn’t make you leave the theater with a song in your heart, in total “Addams Family, a New Musical” is a dazzling bit of theater.

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


ProductionThe Addams Family – A New Musical
Written byWritten by Marshall Brickman and Rick Elice

Music and Lyrics by Andrew Lippa
Directed byCarl Jordan
Producing CompanySpreckels Performing Arts
Production DatesThru Oct. 28th
Production AddressSpreckels Performing Arts Center

5409 Snyder Lane
Rohnert Park, CA 94928
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review Pick?Yes!



An Aisle Seat Theater Review! — Delightful “Hello, Dolly” at Sonoma Arts Live – by Barry Willis

Michael Stewart’s and Jerry Herman’s classic American musical “Hello, Dolly” is enjoying a delightful revival at Sonoma Arts Live in the town of Sonoma, through October 21.

Starring Dani Innocenti-Beem as Dolly Gallagher Levi, the widowed yenta suprema of New York City and environs, the show is a feel-good piece of Americana. In some ways “Dolly” is the companion piece to Meredith Willson’s “The Music Man”—the two are set in the same era and share the sort of gentle humor that pokes fun at characters and circumstances without subjecting them to vicious ridicule.

Dani Innocenti-Beem at work as Dolly.

Dolly is the story’s fairy godmother character—she propels all the action with constant well-intended intervention in the affairs of others, but doesn’t have much of a character arc of her own. The lead role gives Innocenti-Beem many of the show’s best songs—including the heart-rending “Before the Parade Passes By”—and most of its funny lines, at least a few of them ad-libs on the part of the irrepressibly funny actress-singer.

Overall, this “Dolly” is beautifully done, with enormous energy from the cast and spectacular costumes…

The charming Tim Setzer shines in the role of Horace Vandergelder, a wealthy merchant in need of a wife. Dolly’s persuasive powers convince him that his quest will be fulfilled in New York, and when he goes into the city from Yonkers his two inept clerks Cornelius and Barnaby (Michael Scott Wells and Lorenzo Alviso, respectively) follow him. In the city, the penniless fools pretend to be rich in the hope of meeting girls.

Much comic confusion ensues but thanks to Dolly they get their wish—a hat shop owner named Irene Molloy (Danielle DeBow) and her assistant Minnie (ScharyPearl Fugitt). So does Vandergelder, who ultimately lands not the widowed heiress he had anticipated, but the matchmaker herself.

The cast of “Hello Dolly” at work.

With a huge nineteen-member cast, the show is both romantic comedy with multiple couplings and a comedic free-for-all with plenty of big production numbers that may not do much to propel the plot but offer plenty of entertainment value. Late in the show, real-life husband-and-wife Wells and DeBow perform a sweet duet made more meaningful by their obvious love for each other. It’s a moment that will prompt tears from even the most cynical viewers.

Overall, this “Dolly” is beautifully done, with enormous energy from the cast and spectacular costumes by Janis Snyder. Opening night was marred by technical glitches with the sound. We’ve been assured by multiple sources that these problems have been solved, and that the results are exemplary. Why this wasn’t done during technical rehearsals is a mystery, but it’s good to know that for the remainder of its run this show will be delivered at the high level it deserves.

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


ProductionMy Fair Lady!
Written byBook by Alan Jay Lerner. Music and Lyrics by Lerner & Frederick Loewe.
Directed byMichael Ross
Producing CompanySonoma Arts Live
Production DatesThru July 28th
Production AddressRotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Tickets$25 – $40
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review Pick?YES!


An ASR Theater Review! Stunning, Perfect “Always, Patsy Cline” at Sonoma Arts Live – by Barry Willis

Patsy Cline’s meteoric career encompassed many firsts: first woman to be inducted into the Country Music Hall of Fame, first to tour as a lead act, first to headline in Las Vegas, first female country singer to perform at Carnegie Hall.

This all happened within the short span of six years: from her debut in 1957 until her 1963 death in an airplane crash at the age of 30. We can only speculate about what she might have achieved had she survived. Even so, her glorious honey-toned voice and prodigious output of classic country and popular songs earned her permanence in the pantheon of American music.

She has been widely imitated but never equaled, but Danielle DeBow gets as close as is perhaps humanly possible in “Always, Patsy Cline” at Sonoma Arts Live through July 29. A play-with-music about Cline’s enduring friendship with a fan named Louise Seger (the fantastic Karen Pinomaki), the story follows from their meeting at a honky-tonk club in Houston, through Cline’s career until her untimely death at the age of thirty.

“Always, Patsy Cline” is as near-perfect a production as can be imagined. It’s an absolute must-see.

Playwright Ted Swindley developed the piece from letters between the two. In that sense it is the truest of true stories and an abiding celebration of the power of deep friendship. It’s also hilariously funny. The intensely animated Pinomaki is absolutely convincing as both rabid fan and self-deprecating Texan.

Danielle DeBow at work as Patsy Cline.

She propels the narrative while DeBow melts the audience with Cline’s heart-wrenching songs, backed by the superb onstage Bodacious Bobcat Band and a four-man group appearing as The Jordanaires, legendary background singers who performed with Elvis Presley, among others. The ideally-cast and totally harmonious foursome include stage veterans Sean O”Brien, F. James Raasch, Michael Scott Wells, and Ted von Pohle.

Director Michael Ross (who also handled costume design and shared set design with Theo Bridant) has put together a show that is far beyond the very high level of performance that Bay Area theater fans have grown to expect. The pity is that it closes after an unjustifiably short run. With the wine country tourist season in full flower, this show could run all summer long to sold-out houses. It’s that good.

‘Always, Patsy Cline’ is as near-perfect a production as can be imagined. It’s an absolute must-see.


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


ProductionMy Fair Lady!
Written byBook by Alan Jay Lerner. Music and Lyrics by Lerner & Frederick Loewe.
Directed byMichael Ross
Producing CompanySonoma Arts Live
Production DatesThru July 28th
Production AddressRotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Tickets$25 – $40
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review Pick?YES!

ASR Theater Review! Enjoyable “Jeeves Intervenes” at Sonoma Arts Live – by Nicole Singley

“Jeeves Intervenes” at Sonoma Arts Live

Adapted from the stories of popular 20th-century humorist P.G. Wodehouse, “Jeeves Intervenes” brings lovable playboy Bertie Wooster and his ever-sensible manservant to the stage for new adventures in London’s 1920s haut monde. Paying homage to Wodehouse’s keen ability for satire, Margaret Raether’s script takes comedic aim at England’s strait-laced elite, weaving an entertaining web of elaborate scheming, pretense, and old-fashioned farce. The Sonoma Arts Live production, playing now through May 27th, is good for a few big laughs and an evening of light-hearted fare.

Bertie (Delaney Brummé) enjoys a life of leisurely bachelorhood, relying on his aunt’s financial support and loyal valet Jeeves (the excellent Randy St. Jean) to keep him out of constant trouble. When domineering Aunt Agatha (Jennie Brick) comes to town with plans to pressure Bertie into marriage, it’s up to quick-thinking Jeeves to rescue his charge from the unwanted union with up-and-coming socialite Gertie (Libby Oberlin).

Meanwhile, Bertie’s old school mate Eustace, aka “Bassy” (Nick Moore), is dreading the arrival of a disapproving uncle who intends to ship him off to a job in India. Having never worked a day in his life – and desperately hoping to change his overbearing benefactor’s mind – Bassy must convince Sir Rupert (Larry Williams) that he’s built a suitable life for himself in London. (Spoiler alert: he hasn’t.)

Can blundering Bassy escape a life of labor abroad without lifting a finger or losing his allowance? Is our steadfast bachelor doomed to go through life as the unpalatable “Bertie and Gertie?” Cue the shenanigans and enter Jeeves to save the day. Deception multiplies, new love blossoms, sparks fly, and old flames reignite as our clever hero works his magic behind the scenes.

St. Jean carries the show with his levelheaded demeanor, reserved sarcasm, and efficacious intonation. He is the picture of a proper gentleman’s gentleman, charming the audience with his dry wit and subtle, all-knowing expressions. Moore’s Bassy is marked by an appropriate air of highfalutin laziness and clumsy tomfoolery, which earns some laughs and helps to sell his character. Oberlin is a good fit for debutante Gertie, with a winning smile and youthful exuberance well suited to the task of whipping wayward young men into matrimonial shape.

“Jeeves Intervenes”

Brick and Williams are competent in their roles, though more believable as meddling relatives than former paramours. A lack of chemistry lessens the excitement we want to feel for their romance. Brummé’s otherwise able performance is regrettably overshadowed by a jarring vocal gimmick, which oversteps the boundary between funny and obnoxious and, at times, obscures the actor’s lines. Cracking into a shrill pitch with awkward regularity, his delivery feels more appropriate for a pubescent schoolboy than a suave womanizer in high society. It’s an unfortunate distraction from Raether’s witty dialogue, but the physicality of the comedy is often enough to overcome any confusion about what’s happening on-stage.

The production is enhanced by Carl Jordan’s colorful set and Moira McGovern’s period-appropriate musical selections. Eric Jackson’s costumes are mostly a hit, though Gertie’s outfits often (and perhaps deliberately) upstage the other characters’.

Despite its faults, the show evokes a pleasant nostalgia for eras past with its slapstick humor and whimsical characters. The mischief concludes with the satisfaction of a happy ending, all thanks, of course, to the intervention of our hero.

Nicole Singley is a Contributor to Aisle Seat Review.

“Jeeves Intervenes” by Margaret Raether, adapted from the works of P.G. Wodehouse

Sonoma Arts Live

Rotary Stage in Andrews Hall at the Sonoma Community Center, 276 E Napa St, Sonoma, CA 95476

Through May 27, 2018

Tickets: $22—$37

Info: 866-710-8942,

Rating: Three out of Five Stars

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ASR Theater Review! Dangerously Funny “Women in Jeopardy!” at Left Edge Theatre by Nicole Singley

“Women in Jeopardy!” — Too Close for Comfort

At Left Edge Theatre through May 27th, Wendy MacLeod’s “Women In Jeopardy!” promises an evening of uproarious laughter and good, light-hearted fun. Despite the murder mystery at its center, this two-act, 90-minute show feels more like an episode of your favorite zany sitcom. But will everybody make it out alive?

Divorcees Mary, Jo, and Liz are the best and oldest of gal pals, their friendship a comfortable routine of fun runs and weekly wine parties. But when Liz (Angela Squire) shows up to their regular girls’ night with – surprise! – new boyfriend Jackson (Richard Pallaziol) at her side, Mary and Jo are instantly suspicious. Liz is love-struck and insists there’s nothing sinister about her beau, but something about Jackson is a little off. Perhaps it’s his deadpan (and borderline creepy) sense of humor. Maybe it’s his bizarre fixation with Silence of the Lambs. Or it might have something to do with the recent disappearance of a young female employee from his dental practice, or the torture chamber-esque basement he’s stocked full of antique dental instruments…. Who’s to say?

Convinced they’ve lost their dearest friend to a dangerous serial killer, Mary (Shannon Rider) and Jo (Sandra Ish) are determined to save Liz and her teenaged daughter, Amanda (Victoria Saitz), from impending doom. Enlisting the help of Amanda’s on-and-off-again ex-boyfriend Trenner (Zane Walters), the women set out to derail Jackson’s upcoming camping trip with Amanda. Add a cop who could be Jackson’s twin and some awkward flirtation into the mix, strap on your hiking boots, and let the hijinks begin.

“Women in Jeopardy!” – Trenner and Mary

The cast is high-energy and hilarious, with an apparent knack for comedic timing. The characters feel comfortable in their own skins. Obvious chemistry between Rider, Ish, and Squire makes their friendship all the more convincing. Pallaziol is hair-raisingly entertaining in the role of Jackson, switching gears with ease to play the part of awkward and endearing lookalike Sergeant Kirk. Saitz is the portrait of a moody teenager, at times lovable and at others cringe-worthy. Walters is a hoot as Trenner, evoking a familiar brand of clumsy teenaged-male machismo with his stumbling attempts to wax poetic and fantasies à la Mrs. Robinson. We get the sense that he’s a good guy underneath the goofy exterior and raging hormones.

The show is aided by a capable creative team. Argo Thompson’s set transforms ingeniously from kitchen to ski shop, police station, and forested canyon. Props by Vicki Martinez and costume design by Ish help make the characters and their environments feel realistic. Sound design by Thompson and director Carla Spindt earns extra laughs with well-timed entrances of recognizable songs with fitting lyrics.

MacLeod’s script comes to an arguably rushed conclusion, making for a somewhat sudden and unsatisfying end to an otherwise enjoyable romp. “Women in Jeopardy!” is well worth attending nonetheless, thanks to an able ensemble, a heap of clever quips, and enough witty wordplay to keep audiences smiling the whole way home.

Nicole Singley is a Contributor to Aisle Seat Review.

“Women in Jeopardy!” by Wendy MacLeod

Left Edge Theatre, 50 Mark West Springs Road, Santa Rosa, CA 95403

Through May 27, 2018

Tickets: $25—$40

Info: 707-536-1620,

Rating: Four out of Five Stars

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ASR Theater Review! Classic Musical Comedy: “La Cage aux Folles” at 6th Street Playhouse – by Barry Willis


La Cage aux Folles at 6th Street


Santa Rosa’s 6th Street Playhouse has revived the ever-popular classic musical comedy “La Cage aux Folles,” at the G.K. Hardt Theatre through May 20.

A Harvey Fierstein/Jerry Herman collaboration, this engaging piece about a nontraditional French Riviera family confronting a hyper-traditional one was a long-running Broadway hit, and has made the rounds of regional theater companies ever since. The story of a gay male couple—one a drag performer, the other the owner of the drag club—and their straight son, it was made into two hit movies, and was the basis for the more recent “The Legend of Georgia McBride,” set in Florida’s Gulf Coast, known to Southerners as “the Redneck Riviera.”

In the original, the couple must pretend to be straight in order to please their son’s future father-in-law, an ultraconservative reformist politician. Potential disaster for this politician ensues if he is found cavorting with “degenerates;” comedy issues forth as it often does when characters must unwillingly pretend to be other than what they are.

The show feels in some ways as quaintly innocent as the French romantic comedy “Boeing Boeing.” It’s no longer as outrageous as it was when it debuted, but its core issues make it still current. 6th Street’s production features Michael Conte as drag star “Zaza” and Anthony Martinez as nightclub owner Georges—both of them excellent, with Conte the standout as the petulant gender-bent performer. Lorenzo Alviso does a nice turn as their son Jean-Michel, and choreographer Joseph Favalora is a scream as their houseboy/housemaid Jacob. Michael Fontaine is very good as the reformist politician Dindon, whose election campaign is based on sweeping the Riviera clean of people like Zaza and Georges. Mo McElroy is solid in a cameo as restaurant owner Jacqueline, whose scheming could be Dindon’s undoing.

The show is anchored by a great band “in the pit” helmed by music director Ginger Beavers, and a team of flamboyant showgirls—not all of them organic—called “Les Cagelles.” Most forbidding among them is “Hanna from Hamburg” a whip-cracking redhead with the muscularity of an Olympic wrestler. A show that usually benefits from a lush set design, “La Cage” moves along briskly with an unusual minimalist set by Sam Transleau. It’s a fun outing that should be on the must-see list for North Bay theater fans.


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.


“La Cage aux Folles”

Directed by Russell Kaltschmidt

6th Street Playhouse

G.K. Hardt Theatre

52 W. 6th Street Santa Rosa, CA 95401

Tickets: $22 – $38

Info: 707- 523-4185,

Rating:  Four out of Five Stars.


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ASR Theater Review! Refreshing “Water by the Spoonful” at Raven Performing Arts Theater – by Nicole Singley

Playing through May 13th at Healdsburg’s Raven Performing Arts Theater, Pulitzer Prize-winning “Water by the Spoonful” is a complex and heartfelt exploration of poor choices and personal trauma, the difficult road to recovery, and the unlikely lifelines that help keep us afloat.

Elliot (Bill Garcia) is an Iraq War veteran and aspiring actor, reduced to making Subway sandwiches while caring for the ailing aunt who raised him. Carrying the scars of a troubled childhood and his time in Iraq, he is haunted by agonizing guilt, devastating loss, and the grudge he harbors against his mother. We gather shocking pieces of his past throughout the show. Garcia is believable as Elliot, and his energy is complemented by the talented Serena Elize Flores as cousin Yazmin.

Elliot’s mother Odessa (played effectively by Athena Gundlach) is a recovering crack addict who runs an Internet chat room for others battling addiction. “Haikumom,” as she’s known online, devotes the majority of her time to helping chat-room regulars “Orangutan” (Hande Gokbas) and “Chutes&Ladders” (Nicholas James Augusta) in their daily struggles to stay clean. Though largely isolated from her family and the outside world, Odessa finds redeeming purpose and connection in her virtual haven. But when Elliot comes home to confront the skeletons in his family’s closet, her fragile peace is threatened.

The performers are capable and well cast, and a few scenes into opening night, began to really find their groove. Matt Farrell feels natural in the role of self-centered chat-room newcomer “Fountainhead,” slowly coming to terms with the truth of his addiction. Gokbas is endearing as “Orangutan,” her passion and determination to move forward a much-needed boon to “Chutes&Ladders” as he wrestles with the fear of shaking up his safe routine. The evolution of their relationship from virtual to actual is both moving and uplifting.

A minimalistic set puts our focus on the actors and leaves much to the imagination. Clever projections illuminate to indicate when chat room members are online. The venue adds a fitting element of openness and vulnerability, enhancing the show’s emotional impact without keeping the audience at too great a distance.

Quiara Alegría Hudes has written a story about broken people, and the humanity with which she’s brought each character to life is evident under Steven David Martin’s compassionate direction. While the ending she has given us is not exactly happy, it is hopeful.

“Water by the Spoonful” challenges us to find the courage to face our own demons and the strength to do better. Redemption and atonement, it suggests, are made possible by the powers of forgiveness and human connection.

Nicole Singley is a Contributor to Aisle Seat Review.


“Water by the Spoonful” by Quiara Alegría Hudes

Raven Performing Arts Theater, 15 North St, Healdsburg, CA 95448

Through May 13, 2018

Tickets: $10-$25

Info: (707) 433-6335,

Recommended for mature audiences

Rating: 4 out of 5 Stars

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ASR Theater Review! Journeying “Into the Woods” with SRJC’s Theatre Arts Department – by Nicole Singley

Santa Rosa Junior College’s production of beloved musical “Into the Woods,” running through May 6th at the Maria Carrillo High School Theatre, enchants audiences with an imaginative mash-up of famous fairy tale figures set to witty tunes by Stephen Sondheim.

Thanks to the curse of a hideous witch (Alanna Weatherby), a baker and his wife (Brett Mollard and Katie Smith) are unable to have the child they so desperately desire. To break the hex, they must venture into the woods to find four ingredients the witch needs to brew a special potion. Their paths soon cross with classic characters like Little Red Riding Hood (Serena Poggi), Cinderella (Ella Park), Rapunzel (Shayla Nordby), and Jack (Levi Sterling), each on a quest of their own.

The first act is fast-paced, funny, and feel-good, wrapping up neatly with the promise of ‘happily ever after.’ In the second chapter, however, all hope for a fairy-tale ending is quickly – and quite literally – crushed. The pace slows and the comedy wanes as we are forced to confront harsh realities in the ‘ever after.’ As our characters soon learn the hard way, getting what we think we want doesn’t always pan out the way we hope it will.

SRJC has assembled an energetic and enthusiastic cast, whose efforts transcended the distraction of some unfortunate technical difficulties at the opening night performance. Smith brings a charming candor and sense of comedic timing to the role of Baker’s Wife, and Mollard aptly matches her charisma. Their convincing banter propels the plot and keeps the laughter coming. Background characters add much to the amusement, too, manifesting as curious rabbits and cleverly-clad deer among other accessory roles. Siobhan Aida O’Reilly delivers a standout performance as Jack’s beloved cow, Milky-White, who at times steals the show with her expressive gestures and winning mannerisms. Victor Santoyo Cruz is hilarious in brief appearances as Hen and Dwarf.

Music drives much of the story’s action, and while Sondheim’s lyrics are sharp and entertaining, the songs often struggle to find their melody. On the whole this troupe rises to the challenge, with noteworthy vocal performances by Weatherby and Cooper Bennett (Cinderella’s Prince not-so-charming). The actors are accompanied by a live off-stage orchestra.

This production is a feast for the eyes thanks to Maryanne Scozzari’s creative, quirky costumes and Peter Crompton’s elaborate and absorbing set, evoking the magic and opulence of grand libraries past. Books act as fluttering birds and rolling shelves transform into horses. Papier-mâché masks are made from pages lined with text, and kitchen gloves become cow udders. Rather than detracting from the action, the visuals are impactful and effectively enhance the story.

Clocking in at around two and a half hours, “Into the Woods” makes for a long but enjoyable night at the theater, and remains family-friendly despite the darker turn things take in Act II.

Nicole Singley is a Contributor to Aisle Seat Review.


“Into the Woods,” by Santa Rosa Junior College Theatre Arts Department

2.5 hours, with one 15-minute intermission

Maria Carrillo High School Theatre, 6975 Montecito Blvd, Santa Rosa, CA 95409

Through May 6, 2018

Tickets: $12-$22

Info: (707) 527-4307,

Recommended for ages 12 and above

Rating: Three-and-a-half out of Five Stars

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ASR Theater Review! “Death of a Salesman” Revived at 6th Street Playhouse – by Nicole Singley

Arthur Miller’s celebrated “Death of a Salesman,” enjoying an extended run through April 28th at Santa Rosa’s 6th Street Playhouse, tells the tale of washed-up traveling salesman Willy Loman (Charles Siebert) struggling to make sense of his financial and familial failures in mid-twentieth century New York.

Facing constant debt and a crumbling career, Willy’s life is held together only by the loyalty of long-suffering wife Linda (Sheila Lichirie) and generosity of best friend Charley (Al Kaplan). A lifetime of blind idealism and pride has cost him not only the realization of his ‘American Dream,’ but has poisoned his relationship with eldest son and former high school star athlete Biff (Edward McCloud), who, for reasons revealed in a series of painful flashbacks, could not live up to his father’s lofty expectations. Willy’s life unravels before our eyes as we watch him oscillate between outbursts of anger and frustration, succumb to confusion and helplessness, and grasp at the remaining shreds of misguided optimism that had once propelled him forward.

Most of the action occurs at the Loman family’s rundown home, now overshadowed by the towering apartment buildings of Brooklyn’s increasingly crowded skyline. Its drab furnishings and perpetually breaking-down appliances serve as a fitting backdrop for the deteriorating dreams of its inhabitants. This hits home during some of Willy’s eruptions. (“Once in my life I would like to own something outright before it’s broken! ….you pay mortgage for 10 years and more and by the time it’s actually yours, you’re old and so is the house.”) Artistic Director Craig A. Miller and Technical Director Conor Woods have designed a clever set which fluidly transforms into offices, hotel rooms, and restaurants throughout the show.

In the ever-evolving landscape of advancing technology and planned obsolescence, Willy Loman is the enduring portrait of a discarded worker. It is a profoundly relevant story still today, and the cast and crew at 6th Street Playhouse have more than done it justice. Siebert adds another accomplishment to his already impressive resume with a truly first-rate performance, paying homage to Miller’s protagonist in all of his complexities. His dynamic energy is well matched by a capable cast, with notable performances by Lichirie as the admirably patient and pitiable Linda, McCloud as golden-child-turned-black-sheep Biff, and Ariel Zuckerman as younger brother Happy, following in the overly-eager and naïve footsteps of his ailing father. Supporting roles are superbly acted, too, and the result is a cohesive and emotionally impactful experience audiences will not soon forget.

Nicole Singley is a Contributor to Aisle Seat Review.

“Death of a Salesman” by Arthur Miller

Through April 28, 2018

6th Street Playhouse Studio Theatre, 52 W 6th St, Santa Rosa, CA 95401

Tickets: $18 – $28

Info: 707-523-4185,

Rating: 4.5 out of 5 Stars

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