Four college friends gather for an alcohol-fueled reunion in Will Arbery’s 2019 drama Heroes of the Fourth Turning at Left Edge Theatre in downtown Santa Rosa through September 21.
Directed by Skylar Evans on a simple thrust stage, the setup includes four graduates of a little Catholic college in Wyoming. They have returned for the inauguration of the school’s new president, Gina (Lisa Flato), who mentored one of the group’s most conservative members and is the mother of another. All the action takes place in the backyard of Justin (Brandon Kraus), a former Marine sharpshooter who introduces himself to the audience by dispatching a deer and field-dressing it outside his back door, which looks very much as if it belongs on a mobile home (set designer, Argo Thompson).
Justin’s friends include Teresa (Jessica Headington), a hard-core Trumper steeped in Catholic theory; Emily (Allie Nordby), a less-conservative classmate with some undefined ailment; and Kevin (Logan Witthaus), a blackout drunk with deep personal issues. An impending full moon and a noisy generator work their way into the plot, with supernatural implications but no consequences.
“ . . . well-performed . . . “
At nearly three hours, Heroes has a lengthy introduction where we get schooled on Catholic theory, education, and the current political climate. The friends also get amicably reacquainted and have some polite disagreements about what policies best serve the people of the United States. Headington is quite convincing as the uber-conservative Teresa, and Kraus brings some serious gravitas to the role of Justin, who proves to be an increasingly substantial character as the play rolls out. Norby gives her Emily just the right amount of self-doubt and self-pity, with an inexplicable outburst in the final act. Witthauss’ Kevin is an insufferable loudmouth drunk of the type we all recognize and do our best to avoid.
Gina, the new school president, appears in the last act and holds forth on conservative theory, in the process revealing that she gave birth to eight children—each of them by life-threatening C-section. She abruptly announces that she’s hiring Kevin as the school’s new Dean of Admissions. He hasn’t shown any redeeming qualities but somehow she thinks he can rise to the challenge, assuming he can get up off the floor and wipe the vomit off his shirt. It’s not a flattering portrait of college administration.
This reviewer found that plot point is just about as nonsensical as most of the rest of Heroes of the Fourth Turning, but the show is well-performed even if the story is confounding. At nearly three hours, it’s badly in need of an edit—especially the inexplicable closing act—but it probes plenty of issues that bedevil us today. Imagine that The Big Chill and Agnes of God had a love child and you’ll have some idea what you’re in for.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Perhaps San Francisco’s oldest theater company is still rocking the free world. Directed by Velina Brown, Michael Gene Sullivan’s raucous satire American Dreams plays assorted outdoor venues throughout the Bay Area, closing the summer season on September 8 at the London Nelson Community Center in Santa Cruz.
Founded in 1959, the itinerant Mime Troupe has been a Bay Area favorite for decades, spoofing cultural and political trends while adhering to the Commedia del Arte tradition of performing outdoors for donations.
” … Don’t miss it! …”
The troupe’s recent show at the Mill Valley Community Center—against a backdrop of dozens of middle-school athletes at football practice—was proof of both its loyal following and its commitment to poking fun at all that should be poked—in this case, a mixture of election-time politics, personal identity issues, student protests, vegan cuisine, artificial intelligence, and “Silicon Valley billionaire communists.”
(L-R) Mikki Johnson, Lizzie Calogero, Michael Gene Sullivan, Andre Amarotico
There are plenty of other worthy targets in Sullivan’s fast-paced, madcap assessment of where we are in mid-2024, performed on a portable stage by four superb actors playing almost a dozen characters.
Sullivan is tremendous as a self-doubting MAGA cap-wearing Trumper named Gabriel Pearse, while Mikki Johnson embodies the role of his patient granddaughter Paine, a university instructor at risk of losing her job, who moonlights as a driver for an ominous service called Uber-Alles. Lizzie Calogero is amazing as Emma, a well-intentioned but basically clueless student protestor. In a heartbeat she transforms into a cop, a TV reporter, and an overbearing British tech executive named Maliae Higgins, who delivers haughty recommendations to make the world a better place through an all-encompassing app called Taalos, voiced by Sullivan.
(L-R) Michael Gene Sullivan, Mikki Johnson, Andre Amarotico
The frenetic Andre Amarotico rounds out the cast as Gabriel’s goofy friend and fellow Trumper Harold, as a vegan chef named Oliver, and as a club-wielding cop. His antics on the compact but versatile stage by Carlos-Antonio Aceves are laugh-out-loud funny, matching those of his cast-mates and fully honoring Sullivan’s wide-ranging script. Brooke Jennings’ quick-change costumes go a long way toward propelling the wild plot, and Daniel Savio leads a great three-piece band.
The SF Mime Troupe absolutely puts the “fun” in “funky.” American Dreams plays in San Francisco and San Jose before closing in Santa Cruz. Don’t miss it!
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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: [email protected]
Chicago’s Second City is the nation’s foremost incubator of comic talent. With a history going all the way back to the late 1950s, the comedic institution has graduated dozens of exceptional performers, many of whom have gone on to illustrious careers in film and sketch comedy shows such as MadTV and Saturday Night Live. Too long to post here, the list is a “who’s who” of American comedy in the late 20th and early 21st centuries.
Through July 28, Berkeley Rep’s Roda Theatre hosts The Best of the Second City, a touring production of six Second City performers and one musician/music director. With only a few empty chairs on a bare stage, it doesn’t look promising when you enter the theater, but proves to be a howlingly funny 90-minute romp through scripted sketches and improvisation.
(L-R) The Second City GreenCo Ensemble— Cat Savage, Annie Sullivan, Chas Lilly, George Elrod, Max Thomas, and Phylicia McLeod in The Best of The Second City, performing at Berkeley Rep through Sunday, July 28, 2024. Credit: Timothy M. Schmidt
Anyone who’s been around comedians will tell you that “improv” can be brilliant or excruciating — especially when it involves dragging audience members into the act. A brilliant one is a tour of the UC campus led by cast member Phylician McCleod, who patiently explains the symbolism of the school’s blue-and-gold colors, the campus statue of a bear, and the history of the campanile tower. An excruciating one comes later when Annie Sullivan riffs like a writer of pulp detective novels and recruits a hapless and quite clueless fellow from the front row to play the part of Detective Smith, who can’t even raise a finger as a fake gun to shoot at suspects.
Embarrassment and absurdity are two primary reasons that people laugh. Gentle embarrassment falls to the few who get pulled onstage, but it’s absurdity that carries the show, as in Max Thomas as a drug-dealing Driver’s Ed instructor who gets his students to help him make deliveries, or the entire ensemble as summer camp kids performing interpretive dance to Tracy Chapman’s “Fast Car.” Chas Lilly is brilliant as a “PrimeTech” CEO giving a rah-rah keynote address at the annual Consumer Electronics Show, as a reluctant tattoo artist working on a new client, and as a redneck country singer enumerating all the things important to men.
(L-R) The Second City GreenCo Ensemble — Annie Sullivan, Chas Lilly, Cat Savage, George Elrod, Phylicia McLeod, and Max Thomas in “The Best of The Second City”, at Berkeley Rep. Credit: Timothy M. Schmidt
George Elrod brings the show an intentionally swishy LGTBQ element—his riff on an injured volleyball player is fantastic—and the powerful, outspoken Cat Savage lives up to her name in nearly every sketch. The whole production moves along at breakneck pace—there’s barely time to catch a breath for either actors or audience.
Second City is a national treasure. The Bay Area is lucky to have this troupe visit us. In an extremely contentious season, we need all the laughs we can get.
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P.S. ASR’s founder, Kris Neely is an alum of The Second City’s Training Center Conservatory — and is darn proud of it.
ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
San Francisco Playhouse has a tradition of selecting and producing one classic musical blockbuster and running it all summer long. It’s a great gambit that takes advantage of tourist traffic in the Union Square neighborhood — and is a strategy other theaters might follow to their advantage.
This year’s offering is the Andrew Lloyd Webber/Tim Rice phenomenon Evita, running at 450 Post Street through September 7th. Several ASR contributors were at the July 3 opener. We’ve collected their comments here to offer diverse viewpoints rather than running a singular review. Enjoy!
“… It should enjoy a successful run …”
The production overall: Cari Lynn Pace: Evita begins with her funeral and ends with her casket surrounded by wailing mourners. In between, an homage to an ambitious woman driven by her unquenching thirst for power and adoration.
Susan Dunn: A difficult musical to fully embrace, but delivered with style, talent, and pizzazz for an exciting and compelling evening.
Barry Willis: First things first: the show is beautifully produced, no question about that. And its historical aspect is really intriguing.
But, the music (well performed by Dave Dobrusky’s backstage orchestra) is bombastic, repetitive, and atonal. Evita was the precursor to other atonal musicals, such as Next to Normal. Other than “Don’t Cry for Me, Argentina,” one has, in this reviewer’s opinion, to search for another memorable song in the entire show. It didn’t make me want to rush out and buy the soundtrack recording.
Jeff Dunn: It’s very engaging, especially because of the pacing, artistic commitment, and Nicole Helfer’s choreography.
Staging and set design: SD: Clever use of lights, movable sets, rotating floor, and projections transform a black box into the saga of an iconic figure. A critical moment occurs with all lights down when we just hear the roar and surge of the crowds reacting to their icon.
BW: SF Playhouse has long leveraged its big turntable stage for dramatic effects, especially with huge imposing sets by Nina Ball or Bill English. In this one, set designer Heather Kenyon opts for a more austere presentation, with roll-around scaffolds serving as set pieces, backed by black-and-white projections that give the show an early-1950s feel. It works very well with the mid-century costumes.
JD: Minimalist staging goes with the abstract nature of much of the show, and allows for quick changes.
CLP: Clever use of minimal stage settings allows the narrator Che to pop in and out, propelling the story line. The onstage news photographer lends credibility to the action, especially as Evita’s casket begins its mysterious 17-year disappearance.
Sophia Alawai as “Evita” at SF playhouse. Photo: Jessica Palopoli
Performance: SD: Alex Rodriguez as Che and Sophia Alawai as Evita deliver non-stop power, superb vocals and sympathetic portrayals. The ensemble mutates appropriately from peasantry to Argentinean high society. Nicole Helfer’s choreography shows variety and polish.
JD: Alex Rodriguez is outstanding as narrator Che. Sophia Alawi, a superbly sweet Maria in Hillbarn’s Sound of Music last year, seemed to this reviewer to perhaps be a bit light for Evita. She’s wonderfully expressive, but has trouble with many of the high notes that Mr. Webber forces on the character. Ensemble is excellent. The orchestra is energetic but, perhaps, a bit unsubtle.
CLP: Voices are clear and enable most of the complex lyrics to be understandable, always a challenge in a Lloyd Webber musical. Sophia Alawi as Evita channels her calculating and controversial figure. Alex Rodriguez pours explosive energy into his role as Che. Chanel Tilghman has a haunting role and voice as Peron’s cast-off mistress.
The cast of San Francisco Playhouse’s “Evita,” performing June 27 – September 7, 2024. Photo: Jessica Palopoli
BW: The show is well performed, even to the point of this reviewer believing that some of the leads were somewhat outclassed by some of the supporting cast. Malia Abayon and Jura Davis are especially compelling. Peter Gregus as Juan Peron embodies the style and look of an autocrat but his recitativo vocalizing left this reviewer wishing for a bit more… Helfer’s athletic choreography is superb — as always.
Script and storyline: BW:Evita is a tale of celebrity worship driven to the realm of religiosity. Many of Eva’s fans called her “Santa Evita” and even asked for her blessings. But — it’s also a cautionary tale about grift on a massive scale. Argentina once had one of the world’s strongest economies. In the post-Peron era, the nation has regularly been on shaky financial ground. This is depicted effectively in a scene where soldiers are passing packets of cash hand-to-hand across the stage, symbolic of the Peron policy of taking national assets private.
SD: In this reviewer’s opinion, one weakness in Evita is the essentially narrated storyline which often prevents events from fully coming to life. The complex and fascinating historical details come to us through Che, whose narration is a bit like getting historical postcards instead of really being there. The ensemble does help to fill out social divisions, which become stepping stones for the ascension of Eva Peron.
The crowd cheers for Eva & Juan Perón in San Francisco Playhouse’s “Evita,” performing June 27 – September 7, 2024. Photo: Jessica Palopoli
JD: This reviewer found this production to be a bit hard to follow if you’re not familiar with the narrative. Almost all the words are sung, making this really a rock opera. The sound design seems perhaps to obscure some of the text. Tip: for newcomers, it would improve the play going experience to gain some familiarity with the show in advance.
CLP: Evita Duarte Peron will always remain a controversial figure. Beloved for her selective charities and adored by the shirtless as a glamorous leader, “Santa Evita” started Argentina on the path towards bankruptcy, a politically muzzled press, and chronic food shortages. In this production, she expresses love for all her people, proclaiming “Every word that I say is true.”
Aisle Seat Takeaway:
Evita might be considered an atypical undertaking for SF Playhouse, but this production — wins our recommendation. It should enjoy a successful run!
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For this review,Team ASR’s members consists of: Cari Lynn Pace, Susan Dunn, Jeff Dunn, and Barry Willis — all voting members of the SF Bay Area Theatre Critics Circle.
Decades beyond its debut, Kander and Ebb’s Cabaret continues to pack regional theater houses. An enthusiastic, full-capacity crowd fills Walnut Creek’s Margaret Lesher Theatre for every performance. The portentous, irony-drenched musical runs through June 23.
There are many good reasons for the enduring popularity of Cabaret: not merely its supremely catchy tunes and in-your-face choreography, but also its message—a warning about what may lie over the horizon if a delusional would-be dictator backed by ignorant malcontents finds a way to return to power.
” … the real star of this show is theater veteran Kelly Ground …”
Background: a sugar-coated cautionary tale, the 1972 film version firmly established the show in pop culture. Many people know its songs without understanding that the show itself is far more than a lightweight romp through the decadent underworld of Weimar Republic Berlin. The story’s late 1930s time frame isn’t specific but encompasses the rise of Germany’s Nazi party and its increasingly virulent anti-Semitism. It’s often forgotten that the Nazi party was democratically elected. By 1933, it was the most powerful political organization in Germany.
Cliff (Jacob Henrie-Naffaa) is taken in by landlady Fräulein Schneider (Kelly Ground). Photos by Kevin Berne.
The story’s simple plot is the sojourn of an American novelist, Cliff Bradshaw (Jacob Henrie-Naffaa) who travels into Germany to Berlin, where he hopes to find inspiration for his writing. On the train he meets a friendly German, Ernst Ludwig (director Markus Potter, filling in for Charlie Levy in the June 13 performance). Ernst promises to show Cliff the inner Berlin, including the notorious Kit Kat Club, a dingy dive that’s a mainstay of Berlin’s entertainment underground. He also introduces Cliff to Fraulein Schneider (Kelly Ground), owner of a rooming house that’s home to nefarious folks such as Fraulein Kost (Michelle Drexler), who earns her living entertaining sailors by the hour.
Sally (Monique Hafen Adams). Photos by Kevin Berne.
At the club he meets a self-centered British songbird named Sally Bowles (Monique Hafen Adams). The two are soon deeply but contentiously involved. A prolific Bay Area performer, Adams is tremendous, with stunning vocal ability. She portrays Sally Bowles as a ditzy airhead with neither interest in nor knowledge of the forces swirling just outside her limited frame of reference. Henrie-Naffaa is likewise more than competent as Cliff Bradshaw.
(L-R) Rotimi Agbabiaka, Elizabeth Curtis, Elizabeth Cowperthwaite. Photos by Kevin Berne.
In this reviewer’s opinion, the real star of this show is theater veteran Kelly Ground, perhaps the best Fraulien Schneider this critic has ever seen. Relaxed, confident, and perfectly in character, Ground sings and acts her way into the hearts of the audience as a planned marriage to fruit seller Herr Schultz (Richard Farrell) gets scuttled due to growing anti-Semitism and Nazi influence. Amplified by wonderful song and dance, the late-in-life romance of Schneider and Schultz is the most arresting and heartbreaking subplot in Cabaret. We don’t really care about the fates of young lovers Cliff and Sally. Cliff escapes Germany before it’s too late, while Sally digs her own self-referential grave. Herr Schultz similarly ignores the obvious to his eventual detriment.
Cliff (Jacob Henrie-Naffaa) with Ernst (Charlie Levy) and Sally (Monique Hafen Adams) as the Emcee (Rotimi Agbabiaka) watches in the background. Photos by Kevin Berne.
Another standout in this production is Rotimi Agbabiaka as the Emcee. A gifted singer, dancer, and very funny comedic actor, he propels the show through many high-energy production numbers, leading and provoking the Kit Kat girls and boys in a dozen or more demanding dance sequences.
On an imposing two-level set by David Goldstein (and the scenic construction folks at California Shakespeare Theater), Jessica Chen’s choreography is accessible and competent. Among the dancers, Sydney Chow as Texas is truly compelling. The band led by Eryn Allen is terrific.
The June 13 absence of Charlie Levy in the pivotal role of Ernst Ludwig was an unlucky occurrence. Director Markus Potter took the part, but not having memorized the character’s lines, had to read from a script during his time on stage. His delivery was excellent and the script in hand made sense in early scenes where he is getting English lessons from Cliff, but was otherwise an unfortunate distraction.
This Cabaret will likely not be the only such local or national production leading up to the 2024 election in November. It’s going to be long hot summer.
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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: [email protected]
Production
Caberet
Written by
Book by Joe Masteroff.
(Based on the play by John Van Druten and stories by Christopher Isherwood)
Music by John Kander, lyrics by Fred Ebb
Directed by
Markus Potter
Producing Company
Center Repertory Company
Production Dates
Thru June 23rd, 2024
Production Address
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
Sonoma Arts Live’s production of Lend Me a Tenor is guaranteed hilarity for theater fans. The grand-daddy of slamming-door farces runs through Sunday, June 16.
Opening week was closed due to a Covid outbreak, and unfortunately, the show couldn’t be extended because of contractual obligations, but the company has added a Saturday matinee to make up for the shortfall, according to SAL Artistic Director Jaime Love.
” … guaranteed hilarity for theater fans …”
The setup is that it’s 1934, and legendary Italian tenor Tito Merelli (Michael Coury Murdock) is coming to the Cleveland Grand Opera Company for the 10th anniversary performance of Pagliacci. Merelli is a heartthrob who makes fans go weak in the knees, but he’s also a notorious philandering drunk.
Cast of SAL’s “lend Me a Tenor.” Photos by Miller Oberlin
He lands at a Cleveland hotel (set by Carl Jordan), where he promptly passes out and can’t perform. This causes no end of problems for impresario Saunders (John Browning), who must make a bold decision whether or not to send in his assistant Max (Robert Nelson) as a replacement. The character’s clown costume and face paint may make the deception easier.
Cast at work in Ken Ludwig’s famous farce “Lend Me a tenor.” Photos by Miller Oberlin
The issue is further complicated by the fact that Saunders’ daughter Maggie (Katie Kelley) is smitten with Tito and attempts a seduction—more than once. So does Tito’s co-star Diana (Tara Roberts). All of this is par for the course for Tito’s aggrieved wife Maria (Tika Moon) who’s an absolute terror for the other women. Even the starry-eyed bellhop (Kevin Allen) can’t stay away, hoping to catch a glimpse of the superstar. Allen takes the bellhop character over the top.
Cast at work in Sonoma Arts Live’s “Lend Me a Tenor.” Photos by Miller Oberlin
Directed by Larry Williams, John Browning is superb as the exasperated Saunders, at his wit’s end trying to manage all the confusion. Keeping pace with him is a tremendous cast dashing in and out of doors just as their skullduggery is about to be exposed.
Lend Me a Tenor is a delightful quick-moving exercise in silliness and a welcome respite from the current trend of beating audiences over the head with social justice issues. Laughter is always the best medicine.
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Aisle Seat Review Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Lend Me a Tenor
Written by
Ken Ludwig
Directed by
Larry Williams
Producing Company
Sonoma Arts Live
Production Dates
Thru June 16th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
A family saga may never be better depicted than in The Lehman Trilogy, at ACT’s Toni Rembe Theatre through June 23.
The three-actor, three-hour+ production encompasses the birth, rise, expansion, and ultimate fall of the Lehman Brothers financial empire—from the moment the first hopeful brother arrives in New York from Bavaria with nothing but a suitcase and ambition to the firm’s collapse in late 2008 during the mortgage meltdown crisis, an event that doomed many big banks and institutions. The crisis had a worldwide impact.
(L-R): Actors John Heffernan, Aaron Krohn, and Howard W. Overshown in “The Lehman Trilogy”. Photo credit: Kevin Berne
A touring version of the multiple award-winning National Theatre production directed by Sam Mendes and starring John Heffernan, Aaron Krohn, and Howard W. Overshown as brothers Henry, Mayer, and Emanuel Lehman, respectively, the huge immersive production is a recreation of the first West End show, complete down to its amazing set, overwhelming video effects, and the astounding abilities of its three actors, all in multiple roles—toddlers to codgers, and many incidental characters with a wide range of backgrounds and accents.
… “The Lehman Trilogy” is a master class in character acting …
It’s also a master class in storytelling. Originally written in Italian by Stefano Massini and first produced onstage in 2013, the tale spans approximately 160 years in the family’s history—and massive upheavals in the American economy, in particular the stock market crash of 1929, which Lehman Brothers survived, and the Second World War.
(L-R) Aaron Krohn (Mayer Lehman), John Heffernan (Henry Lehman), Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman) in the National Theatre and Neal Street Productions’ critically acclaimed, fivetime Tony Award® winning production, “The Lehman Trilogy”, performing at A.C.T.’s Toni Rembe Theater now through Sunday, June 23, 2024. Photo credit: Kevin Berne
Partly narrated in the third person, and partly delivered as straight dialog, the show’s incredibly effective verbosity is leavened by precise editing. We are given enough information to follow the story, but not so much that we get bogged down. The show sails along briskly and never feels overlong despite its more than three-hour run time.
All three performers are superb with characterizations, vocal inflections, and adroit movements on a set that itself is a master class in design—a rotating large open cubicle that serves variously as the brothers’ first cotton brokerage in Montgomery, Alabama; the state governor’s office during Reconstruction; and the New York high-rise headquarters of Lehman Brothers Holdings, where the company’s last rites took place during the mortgage meltdown crisis in 2008. Immersive video projections by Luke Halls surround the faux office, adding a palpable sense of urgency to everything taking place on stage. Rebekah Bruce’s piano accompaniment adds the perfect touch of melodrama.
(L-R): Howard W. Overshown (Emanuel Lehman), John Heffernan (Henry Lehman), & Aaron Krohn (Mayer Lehman) at work in San Francisco. Photo credit: Kevin Berne
The Lehman Trilogy is much more than a tale of three immigrant brothers—and their offspring, who helmed the company until the death of Bobbie Lehman, last of the clan to lead the enterprise. It’s also a spectacularly compelling history of American industry, ingenuity, and ultimately, hubris. “Too big to fail,” was a catch-phrase uttered during the crisis that crushed many global financial powerhouses.
To that, Henry Lehman might have responded, “Baruch Hashem.”
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ASR 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: [email protected]
The centuries-old battle between reason and faith may never be better staged than in Galileo: A Rock Musical, at Berkeley Rep through June 23.
Perhaps historically accurate and certainly plausible, Danny Strong’s three-hour world premiere ushers its audience into the huge Roda Theatre with giant immersive projections of ancient cosmological charts (Jason H. Thompson and Kaitlyn Pietras, projection designers), which soon segue into a horrific depiction of the execution of unrepentant atheist Bruno Giordano.
“… It’s a work of collaborative genius. …”
The sympathies of the playwright and director Michael Mayer are immediately clear. Welcome to the history of the Roman Catholic Church.
Four-time Tony Award nominee Raul Esparza stars as Galileo Galilei, the 17th-century mathematician/inventor/astronomer whose refinement of the telescope made possible his detailed observations of planetary and stellar movements, verifying earlier work by Copernicus and upending the Church’s long-held belief in the Ptolemaic (or geocentric) model of the universe, with the Earth at the center and all other heavenly bodies revolving around it.
Raúl Esparza (Galileo Galilei, center) and the cast of “Galileo: A Rock Musical”, making its world premiere at Berkeley Repertory Theatre. Photo credit: Kevin Berne
Galileo did his work with the encouragement of his friend, Bishop Maffeo Barberini (Jeremy Kushnier), a liberal, forward-thinking clergyman who later rose through the clerical ranks to become Pope Urban VIII, head of the church and the nation of Italy. Galileo’s promotion of a heliocentric model of the known universe was a threat to the hegemony of the church, then suffering a rebellion by Protestants in Germany and elsewhere. He was accused of heresy and only his long relationship with the pope and his forced recantation saved him from a death sentence. He spent the remainder of his life under house arrest and published other treatises but never again ventured into astronomy.
That’s the synopsis of the core story of this spectacular musical, certainly one of the most original and audacious large-scale productions to come along in years. It’s magnificent in every respect. Rachel Hauck’s enormous, elegant set couldn’t be better or more appropriate, nor could Anita Yavich’s costumes or the adroit, athletic large-cast choreography by David Neumann.
Ticket buyers are encouraged to engage in as much research as they can to fill in potential blanks, but even those going in cold and knowing little about the historical facts will be astounded. Music director Roberto Sihha gets the utmost from Michael Weiner and Zoe Sarnak’s hard-rock music thanks to a terrific eight-piece band and superb sound design by John Shivers.
Christian Magby (Alessandro Tarantola) and Madalynn Mathews (Virginia Galilei) in the world premiere of “Galileo” at Berkeley Rep. Photo credit: Kevin Berne
Esparza is a tremendous singer and convincing actor, as is Madalynn Mattews as Galileo’s daughter Virginia. She’s a powerful and evocative pop-rock singer. The show’s secondary plot about her life is compelling on its own. Kushnier’s high tenor—venturing here and there into falsetto—is very effective too.
In recent years, the use of high-brightness/high-definition projections has been a revolution in live theater. Nowhere is this more obvious than in Galileo. We first see the night sky as if through the unaided eye, then thousands more stars as if through the telescope—a phenomenon dismissed as a trick by some of Galileo’s inquisitors. One of them mocks the effect, saying “He has crystals in his device to make it look that way.“ Others refuse to look through it at all, deeming it a devilish invention. The band of red-robed cardinals and bishops stand high on a parapet during his trial, chanting “faith, faith, faith” like an evangelical mantra.
Jeremy Kushnier (Bishop Maffeo Barberini) and Raúl Esparza (Galileo Galilei) in “Galileo: A Rock Musical”, at Berkeley Repertory Theatre now through June 23, 2024. Photo credit: Kevin Berne
The creators and cast of Galileo are clearly against blind adherence to religious doctrine. That’s all to the good; the show falters only in not better mining some emotional nuances, such as Galileo’s personal struggle with renouncing his discoveries vs. saving his life. It also skims the thorny issue of his former friend abandoning rationality and personal loyalty in favor of political expediency.
But these are minor quibbles. Galileo is one of the greatest productions that any of us may ever see. It’s destined for Broadway, where it will likely run forever, and justifiably so. It’s a work of collaborative genius.
Not to give anything away, but the closing moment when the cast comes onstage is a poignant reminder that issues of reason vs. faith are still very much with us today. We have legislators, policymakers, and many others with strong influence, who are adamant science deniers. Even today, in an age of space exploration, organ transplants, and ultra-high technology, true believers will say “Science is Satan’s way of deceiving you.” Keep that in mind when you enter the world of Galileo.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
San Francisco Playhouse has launched an ambitious new production of Tennessee Williams’ The Glass Menagerie, which will run through June 15.
Set in a shabby apartment in St. Louis in the spring of 1939, on the verge of World War II, the classic mid-century family drama gets an unusual treatment by director Jeffrey Lo. Instead of an intimate or nearly claustrophobic setting, the Wingfield family residence is on a high open platform atop SFP’s famous turntable stage, a feature that worked supremely well in Guys and Dolls and Nollywood Dreams.
“… Susi Damilano … anchors this Glass Menagerie …”
Whether a rotating stage is appropriate for this production is a matter of personal opinion. Lo also has his actors sit stage-left and stage-right when they are not in a scene, like basketball players on the sidelines waiting to return to the game.
Tom (Jomar Tagatac), Jim (William Thomas Hodgson) and Amanda (Susi Damilano) toast to their meal in San Francisco Playhouse’s “The Glass Menagerie,” performing May 2 – June 15. Photo Credit: Jessica Palopoli
The Wingfields—matriarch Amanda (Susi Damilano), asocial daughter Laura (Nicole Javier), and disaffected son Tom (Jomar Tagatac)—struggle to survive in the wake of a long-ago departure by an unnamed father and husband, whose vandalized portrait presides over everything in the household. Behind it is a huge neon sign for the Paradise, a music club across the alley from the Wingfield apartment. The sign is beautiful, beckoning, and aspirational but we hear little music from the club.
Amanda is an aging Southern belle who has never let go of her glory days attending cotillions in the Mississippi delta, where she was courted by—in her memory—a seemingly endless procession of “gentlemen callers.” Laura is a high-school dropout with a limp, who pretends to be attending secretarial school while doing little more than wandering around town, playing old records on the family’s Victrola, or managing her collection of glass animal figurines—the “glass menagerie” of the show’s title.
Tom is a would-be writer toiling away in a shoe warehouse, and the tale’s narrator in Williams’ gorgeous prose. He and Laura both chafe under pressure from their mother, but Tom alone displays open rebellion, much of it self-defeating, such as spending money for the household’s monthly expenses on personal frivolities—including making his first payment for merchant mariners’ union dues.
Lo introduces Laura’s only gentleman caller, Tom’s co-worker Jim O’Connor (William Thomas Hodgson), immediately in the first scene, although he doesn’t appear in the drama until much later, when his tentative introduction to Laura appears promising but goes awry when he recognizes that the Wingfield family dysfunction isn’t to his liking.
Javier brings a weary lack of confidence to her character, but director Lo doesn’t give her much opportunity to mine Laura’s nuances. In the entire production, we don’t see her at the Victrola or playing with her glass collection until her encounter with Jim. Javier is underutilized in this production—she could contribute much more with directorial encouragement.
The set, in fact, doesn’t include a Victrola at all, but stage-right there’s an oddly-positioned 1980s-style record player—clearly not part of the Wingfield residence—to which Tom returns several times to cue up a 12” vinyl record, which also didn’t exist in 1939. The Glass Menagerie is what Williams called “a memory play,” so it’s possible that this gambit is a visual reference to a time in the future when Tom is recalling his past.
Amanda (Susi Damilano) is concerned for her children in San Francisco Playhouse’s “The Glass Menagerie.” Photo Credit: Jessica Palopoli
Even so, it’s one of several anachronisms in the show. Another is the ultra-long cigarette that Tom habitually smokes, a product that didn’t hit the market until the 1980s. Jomar Tagatac is a fabulous actor with wonderful delivery. He appears frequently at most major SF and Bay Area theaters, but it’s a big leap of faith to accept him as a 20-something aspiring writer. He’s more like an uncle to Laura than a brother and former high-school classmate. Hodgson is also a talented prolific actor and nails the subtlety of the Jim O’Connor role, without bringing anything new.
But it’s Susi Damilano who anchors this Glass Menagerie. She absolutely shines in the role of Amanda, a character often portrayed as bitter, delusional, and manipulative—a fearsome harridan. Damilano turns this tradition on its head—yes, her Amanda exudes worry, frustration, annoyance, insistence, and pathos, but is also infused with love, whimsy, good humor, and self-awareness. Damilano mines hidden comedy in the Amanda role. She has always done great work, but she finds new depth is a character that other performers have been prodding for eighty-some years. Her performance alone is worth the price of admission. Brava!
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ASR Senior Writer & EditorCari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.
ASR 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: [email protected]
A would-be creator of musical theater named Usher wrestles with his demons in Michael R. Jackson’s one-act musical fantasy A Strange Loop. The West Coast premiere of the seven-actor, no-intermission, nearly two-hour production runs at ACT’s Toni Rembe Theater through May 12.
A poorly paid young theater usher (Malachi McCaskill) is the only character with a name in Jackson’s Pulitzer Prize and Tony Award-winning script. The others are called “Thought 1,” “Thought 2,” etc., because they exist only in the protagonist’s mind.
(front) Malachi McCaskill (Usher) with (L-R) Jordan Barbour (Thought 5), Avionce Hoyles (Thought 3), John-Andrew Morrison (Thought 4), and J. Cameron Barnett (Thought 2) in “A Strange Loop”, performing at A.C.T. Photo credit: Alessandra Mello
His demons include profoundly obsessive issues about family, culture, identity, body image, loneliness, sexuality, and ambition. In various combinations, they’re all eating away at him. It’s a wonder he can function.
… Strange Loop is certainly challenging and transgressive …
Sharply directed by Stephen Brackett, A Strange Loop opens with an explanation by Usher of the significance of the show’s title: a concept of the self, put forth by cognitive researcher Douglas Hofstadter about the human ability to perceive ourselves. We begin at one point, wander about in a miasma of fantasies, remembrances, and hall-of-mirrors self-concepts, then ultimately return to where we started—an interpretation of life as an exhaustive exercise on a closed-loop obstacle course.
Usher spends his work hours escorting theater fans to their seats at the perpetual Broadway show The Lion King, and his remaining time dreaming about writing his own musical theater blockbuster. Owner of both keyboard and computer, Usher carries with him a little notepad on which he jots down ideas, but when he sits at his desk he accomplishes little more than self-pity. He has many concepts—most of which play out very effectively on ACT’s stage—but no all-encompassing scheme to put them together.
(L-R): Avionce Hoyles (Thought 3), Jordan Barbour (Thought 5), J. Cameron Barnett (Thought 2), Tarra Conner Jones (Thought 1), John-Andrew Morrison (Thought 4), and Jamari Johnson Williams (Thought 6) in “A Strange Loop” Photo credit: Alessandra Mello
What we get, rather than a traditional beginning-middle-ending storyline, is a hodgepodge of Usher’s imaginings, from hilarious to horrific, all of them brilliantly delivered in rapid-fire succession on Arnulfo Maldonado’s astounding set. We get the show’s amazingly talented actors/singers/dancers as multiple and widely divergent characters, including not only garden-variety and exotic theater people, but promoters, advisors, gay men cruising for momentary hookups, and a huge array of black stereotypes, such as Usher’s aloof, beer-drinking father (Jordan Barbour) or his Bible-clutching mother (John-Andrew Morrison), who begs him to abandon his sinful lifestyle and return to the church.
There’s plenty of sly self-deprecating humor in Jackson’s tale, but the outstanding moment of confrontational comedy comes with a depiction of Usher’s slacker brother, clad in giant oversize basketball shorts, who lives rent-free with his ditzy girlfriend in the parents’ basement. It’s a moment out of The Jerry Springer Show.
(front) Malachi McCaskill (Usher) with Tarra Conner Jones (Thought 1), Jordan Barbour (Thought 5), John-Andrew Morrison (Thought 4), Avionce Hoyles (Thought 3), J. Cameron Barnett (Thought 2), and Jamari Johnson Williams (Thought 6) in A Strange Loop, performing at A.C.T.’s Toni Rembe Theater now through May 12, 2024. Photo credit: Alessandra Mello.
At the other end of the emotional spectrum is a scene where Usher reluctantly submits to an encounter with an overbearing older man, an encounter as painful and grim as a prison rape. When it’s over, Usher shuffles away in shame. He’s already mentioned that he’s not a particularly prolific gay man. If this is an example of his once-yearly erotic adventures, he’s a miserable soul indeed.
By far the highlight of A Strange Loop is the big-production gospel sendoff for departed cousin Darnell, a victim of HIV. The funeral is a conflation of Usher’s guilt, his experience growing up in the church, and the urgings of friends and theater promoters for him to create “a Tyler Perry musical.” Set designer Maldonado is at the top of his game with this creation, alone almost worth the price of admission. Clad in glittering choir robes, the supremely talented performers make it shimmer and shine.
(L-R): J. Cameron Barnett (Thought 2), Tarra Conner Jones (Thought 1), Jamari Johnson Williams (Thought 6), John-Andrew Morrison (Thought 4), Malachi McCaskill (Usher), Jordan Barbour (Thought 5), and Avionce Hoyles (Thought 3). Photo credit: Alessandra Mello
Some observers have opined that McCaskill’s voice is inadequate for the demands of the music, but his apparent vocal shortcomings actually reinforce the verity of Usher’s deep self-doubt. His less-than-assertive singing style is likely intentional.
In all his interactions with other characters, there’s only one positive note. Toward the end, Usher has a friendly chat with a rabid theater fan, a lady standing near the aisle with a souvenir poster of The Lion King. Among the many parts she plays in this show, the gifted Tarra Conner Jones provokes a warm response when she gives him heartfelt encouragement to pursue his dreams.
Does he follow her advice? That’s not made clear. In keeping with the show’s introductory remarks, we return to where we began. There’s no character arc in A Strange Loop.
After a long wild ride through the tormented mind of an insecure artist, we find that he’s exactly as he was when the tale began. It’s a ride that’s by turns audacious, confounding, annoying, offensive, beautiful, pointless, uplifting, depressing, poignant, amazing, and celebratory. Most importantly, it’s thought-provoking—and absolutely not recommended for children.
Among the most enduring clichés about contemporary art is the assertion that really effective pieces should be “challenging, transgressive, and transformative.” A Strange Loop is certainly challenging and transgressive. Is it transformative? That’s a purely personal assessment.
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ASR 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: [email protected]
A mostly unacknowledged contribution to victory in the First World War gets a nice up-close-and-personal examination in The Hello Girls, at Sonoma Arts Live through May 5.
Adroitly directed by Maeve Smith, the musical tale by Peter Mills and Cara Reichel explores the US Army’s recruitment of bilingual female switchboard operators for service near the front lines in France in the final years of the war. The Army had reached the quite reasonable conclusion that women were far more competent at the task than were the men who were trying to do the job.
Caroline Shen, Jenny Veilleux, Skyler King, Tina Traboulsi, Jonathen Blue, Emily Evans, Phi Tran, Sarah Lundstrom at Sonoma Arts Live. Photo credit Oberlin Photography.
The result was an all-female unit of the Army’s Signal Corps, or “America’s First Women Soldiers,” as the cover of the playbill has it. Jenny Veilleux stars as Grace Banker, a real historical figure, the first recruit, and the ultimate leader of a team of five operators. Banker’s teammates Suzanne Prevot, Helen Hill, Bertha Hunt, and Louise Le Breton, are endearingly portrayed by Sarah Lundstrom, Emily Owens Evans, Caroline Shen, and Tina Traboulsi, respectively. Traboulsi is especially entertaining as the only native French woman in the group. She also performs on guitar and clarinet. Evans doubles on violin.
… The Hello Girls is a wonderful production on many levels …
Drew Bolander is compelling as Lt. Joseph Riser, tasked with recruiting and training the new operators. Skyler King, Jonathen Blue, and Phi Tran appear as assorted officers, enlisted men, and other characters, with veteran actor Mike Pavone in a convincing role as General John J. Pershing, who originated the initiative. Blue is the show’s choreographer and also performs on snare drum and keyboard, backed by a all-women band—Erica Dori and Elizbeth Dreyer Robertson on percussion, with Elaine Herrick on bass and cello.
There’s a whole lot of talent on the sparsely-decorated SAL stage, evocatively illuminated by lighting designer Frank Sarubbi. Without any hint of parody, Peter Mills’ songs are reminiscent of the WWI era while sounding quite contemporary, and are delivered with gusto by the cast. The larger story is simply and effectively conveyed, while sub-plots are also made clear, such as Le Breton’s being underage, or Lt. Riser’s challenges in attempting something new.
From L to R) – Caroline Shen, Tina Traboulsi, Emily Evans, Sarah Lundstrom, Jenny Veilleux at work. Photo credit Oberlin Photography.
The Hello Girls was produced with expert advisors. It’s a great example of both plausible historical fiction and onstage story-telling, with enough detail to make it realistic, such as the mention of the hellishness of sustained trench warfare. A brief but particularly poignant scene features Phi Tran as a German prisoner of war, spared when captured only because he spoke English. He states flatly that his comrades were killed as they tried to surrender—a reminder that in armed conflict, good guys and bad guys alike are capable of atrocities and war crimes.
Jenny Veilleux in “The Hello Girls”. Photo credit Oberlin Photography.
The larger historical context isn’t included in the story, but it’s one that might prove enlightening for potential ticket buyers. American public knowledge about World War I is shockingly scant. At its outbreak, most of the crown heads of Europe were cousins. They were incredibly suspicious and jealous of each other, leading to an arms race that ultimately consumed 20 million lives. The armistice that ended the war established conditions that led to WWII twenty years later, which in turn gave us the world we now inhabit.
The US Army’s 2,300 female telephone operators made an enormous contribution to the victory, but as we are reminded late in the play, the Veterans Administration refused to recognize them as anything other than “civilian contractors” although none of them had ever signed contracts. This insult was corrected decades later, when only 63 of them were still alive to receive benefits.
(From L to R) – Emily Evans, Sarah Lundstrom, Tina Traboulsi, Jenny Veilleux at SAL. Photo credit Oberlin Photography.
The Hello Girls is a wonderful production on many levels. Especially fitting is a post-show celebration of veterans in the audience, asked to stand and be recognized while the cast performs theme songs from all six branches of the US military. Both the show’s cast and these veterans deserve every bit of approval. Like the Vietnam Memorial in Washington, it’s something that works for everyone regardless of where you land on the political spectrum.
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ASR 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: [email protected]
Production
The Hello Girls
Written by
Cara Reichel and Peter Mills
Music/Lyrics by
Peter Mills
Directed by
Maeve Smith
Producing Company
Sonoma Arts Live
Production Dates
Thru May 5th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
A spunky teenager brings social justice to 1962 Baltimore in the uproarious comic musical Hairspray, at San Francisco’s Orpheum Theater through April 21.
Directed by Matt Lenz, with choreography by Robbie Roby, the national touring production is the most recent incarnation of John Waters’ iconic 1988 film starring Ricki Lake as the irrepressible Tracy Turnblad, a chunky girl auditioning for a spot on The Corny Collins Show, a Baltimore teen music-and-dance show.
… the huge cast are all simply tremendous. …
Her ambition grows from merely personal to societal when she pushes for inclusion of the black community, much to the dismay of her rival Amber Von Tussle and Amber’s manipulative mother Velma. In her efforts to do the right thing, Tracy runs afoul of local police and even the governor of Maryland, but emerges victorious.
“Hairspray” at the Orpheum in The City.
Social justice issues are often served best by comedy and humor. Likewise, bigots and oppressors are often best skewered the same way. Hairspray spares none of them in a two-and-a-half-hour kitsch extravaganza spoofing all that was both serious and ridiculous in the early 1960s.
The Orpheum production is swollen to bursting with world-class talent, starring Caroline Eiseman as Tracy, Andrew Scoggin as Corny Collins, Caroline Portner as Amber, Sarah Hayes as Velma, Skyler Sheilds as heartthrob crooner Link Larkin, Greg Kalafatas as Tracy’s mother Edna, Ralph Prentice Daniel as Tracy’s goofy dad Wilbur, Scarlett Jacques as Tracy’s best friend Penny Pingleton, and Josiah Rogers as Seaweed J. Stubbs. Diedre Lang astounds as Motormouth Maybelle, especially in her breakout solo song, and Micah Sauvageau is a comedic delight in multiple roles. Let’s not overlook soul-sister song-and-dance trio “The Dynamites” – Ashia Collins, Leiah Lewis, and Kynnedi Moryae Porter.
“Hairspray” cast at work.
The huge cast are all simply tremendous. So are sumptuous quick-change set designs, immersive projections, dazzling costumes, and the rock-solid band (music director Lizzie Webb) in the orchestra pit. The show couldn’t be more appropriate for San Francisco, whose eager fans on opening night loudly applauded every scene and gave the whole affair an extended standing ovation.
Deservedly so. Hairspray is an absolute joy.
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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: [email protected]
Production
Hairspray
Written By
John Waters
Directed by
Matt Lenz
Choreographed by
Robbie Roby
Producing Company
BroadwaySF
Production Dates
Through April 21st
Production Address
The Orpheum
1192 Market St, San Francisco, CA 94102
Some have forgotten the horrors of 2020—the sudden onslaught of a deadly new airborne disease called COVID-19, the fear and hate it provoked, the many thousands of victims it claimed, and the governmental incompetence that failed to save them.
Performance artist Kristina Wong has forgotten none of it.
Her career abruptly cut short by the pandemic, the San Francisco native found herself isolated in LA’s Korea Town, dismayed by the daily news and baffled about what—if anything—she could do to help. The national Centers for Disease Control repeatedly issued edicts that the best way to prevent transmission of COVID was through the simple act of wearing masks, which were in short supply during the first months of the pandemic.
Photo – Kevin Berne/American Conservatory Theater
Wong was stunned by the lack of facemasks, not just for ordinary people but for frontline healthcare workers, many of whom succumbed to the disease as a result of their work. She sprung into action with her trusty sewing machine, making masks from any available fabric and mailing them off in small batches where she thought they might be most needed. She gradually recruited other women sheltering-in-place, most of them Asians, who cranked out homemade masks from anything they could find, including old clothing. Soon she was head of a loosely-organized but very determined network of “Aunties” who busied themselves with the laudable work of saving lives—a group she called “The Auntie Sewing Squad,” or “ASS” for short. Ultimately, ASS made more than 350,000 masks.
… the best solo performance we’ll see this season …
Part standup comedy, part performance art, part concise and incisive recent history, and all heart, Wong’s self-titled Sweatshop Overlord is by turns hilarious, heartwarming, and horrific. She spares no one in her retelling of that hideous year and the months that followed, with special vitriol directed at both the anti-mask/anti-vax/anti-science faction and at the incomprehensible nostalgia for the 45th president—one who was himself infected, got world-class medical treatment at taxpayers’ expense, then refused to endorse mask-wearing while hosting super-spreader events at the White House. And of course, no revisiting of that period would be complete without mention of the Jan. 6 insurrection—another astounding act of idiocy.
Photo – Kevin Berne/American Conservatory Theater
Wong covers all this and more with wry, self-deprecating humor and frenetic energy as she roams the stage at ACT’s Strand Theater, designed by Junghyun Georgia Lee to evoke a sewing room out of “Gulliver’s Travels,” with bolts of fabric the size of rolled carpets, and pincushions large enough to serve as chairs.
Projections by Caite Hevner provide much-needed visual background as Wong relates her tale, never hesitating to lay blame where it most belongs, which is not to imply that her approximately 95-minute nonstop performance is wholly a political rant. Some of her cutaways are drop-dead hilarious, such as an extended bit about a genital cyst she suffered during the shutdown, evoked by an inflated balloon bobbling between her legs. In a throwaway bit about organizing groups of children to stitch masks, she crows about having one-upped Nike and Apple by “getting kids to work for free.” Sweatshop overlord!
Her script is brilliant, and under the direction of Chay Yew, brilliantly delivered—truly standing-ovation stuff.
On the way out, I commented to a speechwriter friend,
“Now that was a speech!”
“No,” he countered, “That was a sermon.”
Indeed it was—a much-needed one. Monday April 8 was total eclipse day, one that followed a rare earthquake in the Northeast USA. Those two events will be followed by the confluent emergence of both 13-year and 17-year cicadas. All of these, for some believers, are proof of God’s wrath against sinful humans.
Ignorance may still abound, but heroic figures like Kristina Wong send it scampering into the darkness. Quite possibly the best solo performance we’ll see this season, Kristina Wong, Sweatshop Overlord runs through May 5. Don’t miss it.
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ASR 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 him at [email protected]
Production
Kristina Wong, Sweatshop Overlord
Written by
Kristina Wong
Directed by
Chay Yew
Producing Company
American Conservatory Theater
Production Dates
Through May 5th
Production Address
ACT’s Strand Theater
1127 Market Street
San Francisco
A pivotal year, 1989 saw the collapse of the Soviet Union, the dismantling of the Berlin Wall, and widespread anti-government protests in China, culminating in the months-long protest occupation of Beijng’s Tiananmen Square, and the ultimate declaration of martial law that resulted in countless deaths and injuries.
It was also the year of an important basketball game between the University of San Francisco and Peking University (as it was known then)—at least, in Lauren Yee’s fictional retelling in The Great Leap, the CenterREP production at the Lesher Center for the Arts through April 7.
… All four performers are wonderful. …
In Yee’s dramatic comedy, the game coincides with the final days of the Tiananmen Square protest—an event that figures prominently as a secondary plot element. (The actual USF vs. PU game took place in 1981, one in which Yee’s father played.)
Taking its title from “The Great Leap Forward” as the Chinese Cultural Revolution was called, the play involves only four actors—Cassidy Brown as a USF coach named Saul, his Peking University counterpart Wen Chang (Edward Chen), a Chinatown high-school basketball prodigy named Manford (James Aaron Oh), and Manford’s “cousin” Connie (Nicole Tung).
Manford (center -James Aaron Oh) makes a shot as Saul (left – Cassidy Brown) and Wen (right – Edward Chen) watch in Center Repertory Company’s “The Great Leap,” presented March 16 – April 7 at Lesher Center for the Arts. Photo Credit: Alessandra Mello
Saul is sweating bullets about the upcoming game, where he will be reunited with his friendly rival Wen, when Manford approaches him about joining the USF team despite being only 17 years old, not having graduated from high school, and not being nearly as tall as other players.
Manford’s ability on the court is well-depicted even if we never see him make a free throw or sink a fadeaway jump shot. He makes much of the importance of basketball in Chinatown—his mother was a star player in her native China—while Saul dismisses him with salty language very much reminiscent of standup comic Rodney Dangerfield.
Saul (Cassidy Brown) coaches Manford (James Aaron Oh) in Center Repertory Company’s “The Great Leap,” thru 4/7/2024. Photo Credit: Alessandra Mello
Manford’s persistence pays off and he joins the team despite Saul’s misgivings and Wen’s warnings that his presence may not be officially approved. As the play’s anchor character, Nicole Tung gives both Manford and the audience much-needed schooling in practical reality. All four performers are wonderful.
Directed by Nicholas C. Avila, who also directed CenterREP’s tremendous In the Heights, Yee’s tightly-woven script combines issues about international politics, high-level sport, cultural identity, and the nature of parentage, friendship, rivalry, and commitment to a code of personal conduct. All of this is beautifully depicted on the Margaret Lesher stage, doing multiple duties as basketball court, coaches’ offices, hotel rooms, apartments, and more—an elegant bit of set design by Yi-Chien Lee, whose projections add resonance to this emotionally engaging production.
Connie (Nicole Tung) gives her cousin Manford (James Aaron Oh) advice in Center Rep’s “The Great Leap.” Photo Credit: Alessandra Mello
As with many current comedies, The Great Leap takes a serious turn toward the closing of the second act. That’s perhaps as it should be—eventually, life has a way of making everyone reconsider the frivolous importance of even our most cherished pursuits.
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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: [email protected]
**Special thanks to Portland Center Stage for graphics.
Production
The Great Leap
Written by
Lauren Yee
Directed by
Nicholas C. Avila
Producing Company
Center Repertory Company
Production Dates
Thru April 7th, 2024
Production Address
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
Website
centerrep.org
Telephone
(925) 943-7469
Tickets
$42-$70
Reviewer Score
Max in each category is 5/5
Overall
4/5
Performance
4/5
Script
4/5
Stagecraft
4/5
Aisle Seat Review Pick?
YES!
Other Voices on: “The Great Leap”
"...Lauren Yee’s "The Great Leap", ... reconfigure(s) Chinese history into a story between parents and children, mapping painful histories of nations onto the painful histories of family. In this so-called “socio-political fable,” allegory and memory are intertwined to both delightful and calamitous effect."
Theatrely.com
"...Renowned for deftly combining her San Francisco roots, Chinese culture and global politics, (Lauren) Yee puts it all together in this often humorous, yet emotionally stirring piece of theatre..."
Broadwayworld.com
"..."The Great Leap" opens with hearty humor and carries its audience along in an absorbing story until a profound poignancy begins to permeate the senses..."
Xenophobia—the fear of foreigners—has infected human societies since the dawn of time. A particularly American variety gets an insightful treatment in The Far Country at Berkeley Rep’s Peet’s Theatre through April 14.
In the early-to-mid 19th century, Chinese immigrants were welcomed into the United States as a source of cheap labor. They built the railroads that enabled America’s great industrial expansion, but by the 1880s, that work was mostly completed, and fear of foreigners prompted the Chinese Exclusion Act, intended to keep more of them from entering the country.
… “insightful” (and) “adroitly directed” …
Toward the end of the century, there were reportedly fifty Chinese men in the US for every Chinese female. Most of these men sent a substantial portion of their earnings to their families back in China. That sort of ‘family-support-via-long-distance’ is still common among immigrants to this country.
Tess Lina (Low/Two) in Lloyd Suh’s breathtaking, “The Far Country”, performing at Berkeley Rep through Sunday, April 14, 2024. Photo Credit: Kevin Berne
Playwright Lloyd Suh’s The Far Country examines the phenomenon from the individual perspectives of two generations of Chinese immigrants. Act One opens with a grueling interrogation of a San Francisco resident named Gee (Feodor Chin), a laundryman claiming that all his identification papers were destroyed in the fire that consumed the city after the 1906 earthquake. Aaron Wilton is effectively annoying as an aggressive, condescending interrogator, assisted by a perfectly bilingual interpreter despite Gee’s apparent ability with English.
Gee seeks permission to travel to China to visit his family and bring back his son, but he lacks proof of legal residency and isn’t sure he’ll be able to return. Repeated questions and more-than-implied doubts about Gee’s honesty intentionally rankle him—and the audience.
(L-R) Tommy Bo (Moon Gyet), Sharon Shao (Yuen/Four), Whit K. Lee (Yip/One), Tess Lina (Low/Two), and Feodor Chin (Gee/Three) at work at Berkeley Rep. Credit: Kevin Berne
The San Francisco Bay’s Angel Island served as a sort of counterpart to New York’s Ellis Island, where for many decades, European immigrants were processed for admission to the US, often without difficulty. Angel Island was different, a sort of choke-point for incoming Asians who could be kept in detention for as long as two years. In keeping with the Chinese Exclusion Act, the government’s work on Angel Island was to reject as many of them as possible.
Much subterfuge was involved in trying to overcome bureaucratic obstacles to admission—the theme of Act Two, where we meet Moon Gyet (Tommy Bo), Gee’s “son” who endures 17 months of detention on Angel Island, where he was allowed only one hour per day outside, and where he was subjected to intense interrogations including nonsense questions about how many steps led to the door of his childhood home.
Tommy Bo (Moon Gyet) and John Keabler (Dean/Inspector), in Lloyd Suh’s “The Far Country” at Berkeley Rep through 4/14/2024. Credit: Kevin Berne
The somewhat intricate story goes back and forth from California to China, where Moon Gyet meets Yuen (Sharon Shao), a bright, sassy prospective wife. There’s also an emotional flashback of Gee reuniting with his mother, Low (Tess Chin), as he hunts for an appropriate son. The whole affair of ‘admission-or-rejection’ is depicted as a complicated, high-stakes game of deception and manipulation, both by immigration authorities and people hoping to become US residents—a situation still playing out every day almost 100 years after the era of The Far Country.
Adroitly directed by Jennifer Chang and dinged only by a couple of overlong bits of dialog, The Far Country is an insightful and effective examination of gut-wrenchingly difficult circumstances. Its abrupt ending on a beautiful, upbeat note gives hope where there might have been only despair. That is the power of great art.
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ASR Nor Cal Edition Executive Editor Barry Willis is an American Theatre Critics Association member and SF Bay Area Theatre Critics Circle president. Contact: [email protected]
American Conservatory Theater had the prescience to open Big Data the same week that chipmaker Nvidia’s stock rose by a factor of seven, prompting a market-wide surge. Nvidia makes microprocessors essential to artificial intelligence (AI), the subject of daily news and consternation for at least the past two years.
A world premiere, Big Data launches with an old-fashioned console TV with a big “play” button onscreen, beckoning someone—anyone—to come up from the audience and press it. A long wait ensues until someone can’t stand it any longer and climbs onstage to start the show.
… Big Data launches with an old-fashioned console TV …
We are then treated to a grainy 1950s-style black-and-white film clip about trained pigeons that peck at various levers, piano keys, and other devices to get rewards of food pellets—and an overlong diatribe by a character named “M” (B.D. Wong), a very self-amused expert who equates humans to trained birds. (In the playbill is a “conversation” between playwright Kate Attwell and ChatGPT on this very subject. Somewhat disturbingly, the AI program mentions psychologist B.F. Skinner and his concept of “operant conditioning” but ignores Pavlov and his proverbial dog.)
The cast of ACT’s “Big Data” at work. Photo credit: Kevin Berne
We get the message within the first thirty seconds. Perhaps to test our patience, this introduction runs for what seems like 15 or 20 minutes, then fades as M visits a depressed writer named Max (Jomar Tagatac). M arrives unbidden at Max’s sparsely furnished apartment. “How did you get in?” Max asks. “You invited me,” M replies.
The meaning of this mysterious statement is elucidated a bit later when M visits quarrelling but very-much-in-love couple Sam and Timmy (Gabriel Brown and Michael Phillis, respectively). During an interminable exchange, one of the pair says, “How do you know my name?” “You told me,” comes the reply.
On a stage whose backdrop is a giant computer screen, with empty living quarters depicted in the stark-white Apple Computer aesthetic, M obviously represents intrusive technology—not merely computers, but all the interactive spinoffs that now seem essential to contemporary life: mobile phones, “smart” TVs, bio-feedback wristwatches that monitor bodily functions and daily caloric expenditures, and presumably even our emotional states. All this is conveyed with aggressive humor and plenty of gratuitous sexual teasing—symbolizing, of course, the seductive lure of life online.
The first act is loud, long, and obnoxious, a sort of survivalist boot camp to see if the audience is willing to hang in there for the second act. We didn’t notice defectors leaving at intermission, but if there were some, their dismay would be somewhat understandable to this reviewer.
The first act of Big Data may be an egregious act of beating the audience over the head, but it’s redeemed by the gorgeously performed second act, which opens on a warm, richly furnished traditional home—all natural wood, with lots of books and art objects (scenic design by Tanya Orellana). This home is inhabited by a very likeable and very comfortable couple in late middle age, Joe and Didi (Harold Surratt and Julia McNeal, respectively) who’ve been puttering in the garden and kitchen in anticipation of hosting a Sunday brunch for their children Sam and Lucy (Rosie Hallett), Max’s wife, and their partners.
(L – R) Gabriel Brown, Rosie Hallett, and Michael Phillis. Photo credit: Kevin Berne
The visitors arrive, and the disconnect between the younger generation and their predecessors begins in earnest—first, with Sam asking what happened to the Nest-style thermostat he had given them. Joe responds with self-deprecating humor “I buried it. Under concrete.”—also the fate of their Wi-Fi router, a situation that throws Max into a frenzy. Having abandoned his journalistic career, he’s now engaged in public relations for some high-pressure enterprise, and comes to brunch fretting about being past deadline. He absolutely flips out when he realizes he’s in the countryside with no internet connection. Whatever project of world-shaking importance that he’s working on simply has to wait.
Then Joe and Didi drop the bomb, telling their visitors that they’re withdrawing in protest from the world of interactive technology. Like 19th-century Amish, they’ve decided that further advancement is not for them. This second act unfolds beautifully. Surratt and McNeal are supremely confident and relaxed actors. Their characters’ message—reached after prolonged private discussion—is delivered appallingly to their offspring but convincingly to ACT’s audience.
The second act is almost a one-act play in itself, and well worth sitting through the first. Its impact is weakened by a silly coda in which M reappears and walks among the other six characters frozen in place, making snarky comments as if the preceding drama were of no consequence, as if Joe and Didi’s decisions were pointlessly frivolous. Nothing could be further from the truth.
Jomar Tagatac and BD Wong at work. Photo credit: Kevin Berne
To its detriment, Big Data hedges its bets. In her playbill notes, director Pam MacKinnon mentions “surveillance capitalism,” a wonderfully apt description of contemporary life. The show’s closing scene would leave viewers with much more to ponder if Joe and Didi were to simply slump to the floor. Fade to black—no cutesy commentary needed.
The audience departing the Toni Rembe Theater perhaps didn’t grasp the enormity of what they had just seen. Many had their phones out before the applause died, and were seen walking up the aisles with faces illuminated. Clearly, the word “irony” is not in fashion.
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ASR 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 him at [email protected]
Obsessive sexual attraction proves inadequate to sustain a marriage in Guadalis Del Carmen’s Bees & Honey, at Marin Theatre Company through March 10.
Strongly directed by Karina Gutierrez, Del Carmen’s two-actor, no-intermission script covers a wide territory: mating behaviors, racial and cultural identities, class distinctions, family and professional obligations, the nature and seriousness of commitments, and many other issues.
… It’s laudable that any playwright would attempt all of this in a single play …
Del Carmen does so adroitly and mostly succeeds, provoking questions without providing answers. Her somewhat disjointed story involves two ethnic Dominicans from the Washington Heights district in Manhattan: Manuel (Jorge Lendeborg, Jr.), owner of an auto repair shop, and Johaira (Katherine George), a recent Columbia law school graduate on track to become an assistant district attorney.
Katherine George as Johaira and Jorge Lendeborg Jr. in “Bees & Honey” at Marin Theatre Company now through March 10, 2024. Photo credit: Kevin Berne
The two meet in a neighborhood bar and are immediately drawn to each other, propelled partly by their shared love of Caribbean and Latin American music (Michael Kelly, sound designer). They flirt, dance, and make love to exhaustion and soon are co-habiting in a nice apartment (Carlos Antonio Aceves, set designer), but trouble looms as their differences emerge. Johaira is college-educated and worldly, while Manuel is working class and suffering from a bit of arrested development, as many men do—his favorite hobby is playing video games, which he tackles with the enthusiasm and demeanor of an adolescent boy.
But Manuel’s no mere immature wrench jockey—he’s planning to expand his business by opening a new location, and ultimately hopes to have one in each of New York City’s five boroughs. Johaira admires his ambition and offers encouragement while pursuing her legal career, including a gut-wrenching case that consumes her. She admonishes Manuel about his misogynistic tendencies, giving him feminist books to read, which he dutifully does and learns from—a palpable character arc. Johaira’s arc is less pronounced until she suffers a miscarriage and concludes that she needs far more from life than she will ever find with Manuel.
There are also secondary plots about how to care for Manuel’s mother, suffering the early stages of dementia, hopeful plans about caring for a baby that never arrives, and issues about personal identity. In one assertive outburst, Manuel shouts “I’m not black! I’m not white! I’m Dominican!” to which Johaira responds that maybe he should dial back his indiscriminate use of the “N” word.
Katherine George and Jorge Lendeborg Jr. at work on the MTC stage. Photo credit: Kevin Berne
Lendeborg and George are both passionate and convincing in this demanding performance. Their characters’ irresistible attraction and ultimately dividing differences are all made abundantly clear. While the time-line isn’t as obvious, we guess that it covers probably two intense years in the lives of a vibrant couple—wisely or not, Del Carmen deletes all time-wasting connective tissue from the script. The two get married, but we never know about it until the end, when Johaira says “I’ll draw up the papers.”
Repeated distractions about Manuel’s mother and his brother Mario never reach resolution the way Johaira’s failed court case does. Not that we care. Both celebration and tragedy, Bees & Honey is a beautifully flawed long-exposure portrait of the intersecting lives of two very likeable young lovers.
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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: [email protected]
Production
Bees & Honey
Written By
Guadalis Del Carmen
Directed by
Karina Gutierrez
Producing Company
Marin Theatre Company (MTC)
Production Dates
Thru Mar 10th, 2024
Production Address
Marin Theatre Company
397 Miller Avenue
Mill Valley, CA
As you enter the capacious Hoffman Theatre in Walnut Creek’s Lesher Center for the Arts, a rock band is already in position in a large alcove at the back of the stage, gorgeously arranged to look like the inside of a Mystic, Connecticut pizza shop. The B-52s’ enduring hit “Love Shack” blares from the house PA.
Then the fun begins—all of it performed to upbeat pop tunes from the 1980s, all of it instantly recognizable to anyone who lived through that decade, by superstars such as The Go-Go’s, Cyndi Lauper, Rick Astley, The Bangles, Huey Lewis & the News, and many others. The six-piece band absolutely roars as each song propels the story, an amusing and ultimately heart-warming one about three waitresses recently graduated from high school and making plans for what comes next, while their employer Leona (Rayanne Gonzalez) worries about her failing business.
The cast of the new musical “Mystic Pizza,” presented by Center Repertory Company February 15-25 at Lesher Center for the Arts. Photo credit: Jason Niedle.
Based on the 1988 film of the same name, CenterREP’s Mystic Pizza is a big exuberant musical of Broadway proportions and aspirations. It leverages a huge dollop of nostalgia and mines the sweet innocence of the period while ignoring all that was malevolent and unpleasant. Why remind audiences about the threat of nuclear annihilation when you can get them to sing along with “Girls Just Want to Have Fun?”
It opens with a comical production number of a reluctant bride falling flat on her face and calling off the wedding. The bride Jojo (Gianna Yanelli) clearly loves her would-be heavy-metal guitarist and fisherman fiancé Bill (Jordan Friend) but simply isn’t ready to tie the knot, a running theme throughout the show. Her coworkers Daisy (Krystina Alabado) and Kat (Kyra Kennedy) are sisters with ambitions—Daisy hopes to go to law school, while Kat wants to major in astronomy and eventually become a NASA engineer. All three are simply tremendous—individually and as a high-energy song-and-dance trio.
The cast of the new musical “Mystic Pizza,” presented by Center Repertory Company February 15-25 at Lesher Center for the Arts. Photo credit: Jason Niedle
All three have romantic interests, of course—a musical rom-com wouldn’t be possible without them. Michael Thomas Grant is wonderful as wealthy slacker Charles Windsor, Jr., Daisy’s catch of the day. Grant’s loose, lanky physique, mannerisms, and voice are remarkably similar to the Steve Buscemi character from the film The Wedding Singer, also set in the ‘80s, with some similar themes. Kat’s object of affection is a young architect named Tim (Chris Cardoza) who’s overseeing the renovation of a classic home. Cardoza is a powerful actor and singer. Jeff Skowron is a scream in multiple roles, as rich dad Chuck Windsor, as the presiding priest at Jojo’s botched wedding, and especially as food critic the “Fireside Gourmet.”
The Hoffman’s large stage is ideal for this production. Nate Bertone’s imaginative set pieces glide on and offstage almost unnoticed, the set changes carefully choreographed by Conor Gallagher and effortlessly performed by the large cast during song breaks. Gallagher’s dance moves are all lifted from the era, as are costumer Jen Caprio’s authentic period apparel. Ryan J. O’Gara’s lighting and Josh Bessom’s sound design make enormous contributions. Top-to-bottom, side-to-side, and front-to-back, Mystic Pizza is a fantastically professional production.
The cast (Krystina Alabado, Michael Thomas Grant, Jordan Friend, Gianna Yanelli, Chris Cardozo and Kyra Kennedy) prepares for date night in the new musical “Mystic Pizza,” presented by Center Repertory Company February 15-25 at Lesher Center for the Arts. Photo credit: Jason Niedle.
Which leads to this question: Why does a show this big, this good, and clearly very expensive to produce, run only ten days? Such a short run is inexplicable, because CenterREP could easily give it six weeks of full houses.
But scheduling decisions aren’t up to critics. This gorgeous show runs only through February 25, with not a bad seat in the house. While only two of the three girls ultimately land the men of their dreams, Mystic Pizza is as happy and upbeat an experience as you’re likely to have in a theater this year. Don’t miss it!
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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: [email protected]
Production
Mystic Pizza
Written by
Book by Sandy Rustin
Story and characters by Amy Holden Jones
(Based on the MGM motion picture)
Musical arrangements by Carmel Dean
Directed by
Casey Hushion
Producing Company
Center Repertory Company
Production Dates
Thru Feb 25th
Production Address
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
One-time events can be difficult for reviewers because repeat performances may or may not come again. That’s the case with 1970s pop star Freda Payne and her February 16 A Tribute to Ella Fitzgerald at the Marin Showcase Theatre.
Famed primarily for her hit song “Band of Gold,” one that seemed to be in continuous play throughout the years leading up to the disco era, Payne is still youthful and beautiful, with a shimmering alto voice and confident stage presence. Her approximately two-hour performance in the nearly-sold-out Showcase was delightful.
Freda Payne. Photos supplied by Jon Finck
Backed by a superb three-piece band (Larry Dunlap, piano; Leon Joyce, Jr., drums; and Gary Brown, bass), Payne recited Fitzgerald’s history as between-songs patter while plowing through her many iconic recordings, such as “A-Tisket, A-Tasket,” “Sweet Georgia Brown,” “It Don’t Mean A Thing,” “How High the Moon,” and the crowd-pleasing “Mack the Knife.” The American Songbook figured prominently during the evening, with compositions by Cole Porter, Rodgers and Hart, Hoagy Carmichael, and many others.
Fitzgerald’s oeuvre included jazz standards covered by many other artists, not merely during her decades as a musical force, but right up to the present day. Payne’s showbiz history includes working with such legends as Duke Ellington, Bob Hope, Frank Sinatra, Sammy Davis, Jr., Sarah Vaughan, Quincy Jones, Omar Sharif, Liza Minelli, Pearl Bailey, Johnny Mathis, Leslie Uggams, the Four Tops, Gregory and Maurice Hines, Della Reese, and actor/pianist Jeff Goldblum.
… Payne is still youthful and beautiful, with a shimmering alto voice and confident stage presence …
While Payne’s timbre doesn’t match Fitzgerald’s seductive contralto, she gets the phrasing and tempo just right, especially while riffing a la Ella. During the first set she shared the stage with New Orleans native and Oakland-based jazz singer Kenny Washington, called by the SF Chronicle “the superman of the Bay Area jazz scene.”
Kenny Washington. Photos supplied by Jon Finck.
Washington is a tremendous performer with gifts for both music and comedic self-deprecation. He appears nationally and internationally with The Joe Locke Group, while pursuing a busy solo schedule. Pairing him with Payne was a special treat for the very enthusiastic audience, who enjoyed a post-show meet-and-greet with the headliner and an opportunity to get signed copies of Payne’s autobiography.
With decades of Broadway performances, TV shows, and a collection of 21 albums to her credit, Payne portrayed Ella Fitzgerald in Ella: The First Lady of Song, written by Lee Summers and conceived/directed by Maurice Hines, Jr. in acclaimed performances nationwide. She will reprise that role this summer at Michigan’s Meadow Brook Theatre. Payne’s new single, “Just to Be with You” is scheduled for release this year.
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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: [email protected]
Resentments and accusations derail a family Christmas in Leslye Headland’s Cult of Love at Berkeley Repertory Theatre through March 3.
As in Tracy Letts’ August:Osage County and Yasmina Reza’s God of Carnage—but nowhere near as savagely—the veneer of nicety slowly peels away as the Dahl family reunites for an annual holiday celebration. And as in Edward Albee’s Who’s Afraid of Virginia Woolf? and A Delicate Balance, venality displaces civility as the alcohol flows. Headland’s brilliant script adroitly acknowledges its predecessors without blatant imitation.
With snow falling continually outside the windows, Christmas cheer looks likely in the Dahl family’s upper-middle-class home, decorated to the max by scenic designer Arnulfo Maldonado. Its underlying elegant comfort is apparent even though every part of it is covered with lights and seasonal décor. Maldonado’s rococo visual treatment extends throughout the wide stage of Berkeley Rep’s Roda Theatre, a dazzling background for an excursion into familial conflict decades in development—not in the playwright’s case, but in the lives of her characters.
… Hilarious as it is insightful …
The Dahl home is also festooned with musical instruments—piano, guitars, violin, ukulele, flute, drums, and more—that the clan employs to perform Christmas songs throughout the show. Even though the ten performers don’t appear to be organically related, they do a marvelous job of emulating family harmonies as they sing and play classic holiday songs. This happens early in the first act, seducing the audience into expecting a potentially happy event. Nothing could be further from the truth.
(L–R): Cass Buggé (Pippa Ferguson), Kerstin Anderson (Diana Dahl Bennett), Virginia Kull (Evie Dahl, kneeling), Luisa Sermol (Virginia “Ginny” Dahl), and Lucas Near-Verbrugghe (Mark Dahl) in Leslye Headland’s Cult of Love, performing at Berkeley Rep through March 3, 2024. Photo Credit: Kevin Berne
Dan Hiatt stars as Bill Dahl, the piano-playing patriarch beginning to have memory problems. Fully cognizant and conversational, he’s nowhere near suffering from dementia, but his occasional lapses provoke questions from his adult children about his fitness, and suggestions that soon it will be time to consign him to full-time professional care.
Such discussions are merely smokescreens for the real issues eating away at all of them. Innuendoes and minor sniping soon morph into barely-contained guerilla warfare, most of it disturbingly funny. Comedy depends on provoking the audience through accidents, embarrassments, and absurdities. Cult of Love mines them all.
Luisa Sermol appears opposite Hiatt as his loyal and very religious wife Ginny, while Lucas Near-Verbrugghe embodies the role of eldest son Mark, a former Supreme Court clerk and would-be Lutheran minister who’s disappointed his family and himself by not living up to his potential. Mark’s wife Rachel, skillfully played last week by understudy Emily Ota, is the audience’s disaffected point-of-view observer who launches barbs almost at random during the Dahls’ escalating and unresolvable disputes.
Their many issues include angry lesbian daughter Evie (Virginia Kull), who’s had the audacity to bring home her new, recently-pregnant wife Pippa (Cass Buggé). In a paroxysm of liberality, the Dahls welcome them to the party. Much more problematic is Dahl daughter Diana (Kerstin Anderson) a true-believer fundamentalist whose penchant for channeling spirits and talking in tongues has cost her husband James (Christopher Lowell) his tenure as an Episcopalian minister. With nowhere else to go, Diana and James have been staying with her parents for the past month. Far more deadly than Dad’s memory problems is Diana’s failure to take her psychosis medications, her potential mishandling of an infant that we hear upstairs but never see, and her rejection of another developing infant in her womb.
Kerstin Anderson (Diana Dahl Bennett), Lucas Near-Verbrugghe (Mark Dahl), and Virginia Kull (Evie Dahl) in Leslye Headland’s Cult of Love, performing at Berkeley Repertory Theatre now through March 3, 2024. Photo Credit: Kevin Berne
Rounding out this mélange-a-dix is rambunctious younger son Johnny (Christopher Sears), a former child chess prodigy and adult drug addict, who arrives late with an unexpected guest Loren (Vero Maynez), a smart-mouthed lapsed addict (“Nothing is more powerful than drugs”) that Johnny is sponsoring for his 12-step program. As current jargon has it, there’s a whole lot to unpack on Christmas Eve at the Dahl residence. That playwright Headland, director Trip Cullman, and this superb Berkeley Rep cast manage to do it all so seamlessly is truly a Christmas miracle.
Cult of Love is no lightweight comedy. It adheres to popular trends in playwriting that clad serious issues in humor and detour toward weighty ambiguity in the final act. Hilarious as it is insightful, it will leave you with plenty to ponder long after you’ve left the theater.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
A rambunctious dog drives a wedge between a couple of empty-nesters in Sylvia at Sonoma Arts Live through February 18.
Melody Payne delights and astounds as the lovable stray dog whose name gives the title to A.R. Gurney’s sweet story. David Shirk is perfectly cast as Greg, a middle-aged middle-manager who’s grown dissatisfied with his job and has begun taking unauthorized leave from work to bask in the sun in New York’s Central Park.
… Sylvia … It’s simply brilliant…
That’s where he meets Sylvia. It’s love at first sight for both of them. It’s also where he meets Tom (Mike Pavone), a gruff-voiced and opinionated dog lover whose big bruiser “Bowser” is Sylvia’s object of affection. As they watch their dogs cavort, Tom dispenses advice to Greg, much of it applicable to Greg’s marriage to Kate (Jill Zimmerman), an English teacher who hopes to enlighten inner-city students with Shakespeare by comparing his work to rap. Kate’s reached a breakthrough in her career. With kids grown and out of the house, she’s ready for the next stage in life—one that does not include the encumbrance of caring for a dog.
Jill Zimmerman, Melody Payne in Sonoma Arts Live’s “Sylvia”, February 2-18. Photos credit Miller Oberlin
Greg campaigns mightily for Sylvia—whom Kate dismissively calls “Saliva”—and ponders his future while Kate considers hers. Sylvia slowly but inevitably wins her over through sheer enthusiasm—repeated with outrageous comic energy by Payne as she sniffs, romps, growls, humps, and gives voice to everything we imagine that a dog might say if gifted with speech.
Payne’s ultra-high-energy performance absolutely carries this uproarious comedy. She’s simultaneously perfectly on the mark, on time, and precise in her movements while conveying a delightful lack of inhibition. Shirk wisely plays Greg as understated and hopeful if a bit morose—a masterful encompassing of character. Zimmerman, winner of a Critics Circle award for her performance in August: Osage County, is tremendous as the self-centered wife who resents an intrusion into what she had imagined as her personal renaissance.
Pavone is superb in multiple roles—not merely as a NYC tough guy, but as Phyllis, a kleptomaniac socialite, and as Leslie, an androgynous psychotherapist. Costume designer Kate Leland makes a serious contribution, not merely with humans—Phyllis is a scream—but especially with her depictions of Sylvia as both scruffy stray and pampered house pet.
Mike Pavone, David Shirk at SAL. Photos credit Miller Oberlin
Following last summer’s tour-de-force Dinner with Friends, director Carl Jordan has another hit. He takes this one in unexpected directions with musical interludes that other productions have never explored. Over the years, this reviewer has seen several iterations of Sylvia. SAL’s is orders of magnitude better than all of them — combined. It’s a riotous, wonderfully uplifting story and an absolute must-see for dog lovers—or for anyone who’s ever made an impetuous decision that proved enormously rewarding.
Don’t let Sylvia get away. It’s simply brilliant.
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Aisle Seat Review Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Sylvia
Written by
A.R. Gurney
Directed by
Carl Jordan
Producing Company
Sonoma Arts Live
Production Dates
Thru Feb 18th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Miracles and madness are on full display with Cirque du Soleil’s Kooza at San Francisco’s PacBell Park through March 17.
The Montreal-based contemporary circus troupe’s first visit to the Bay Area since 2019 is a revelation in a huge tent outside PacBell Park. The Cirque complex actually occupies one large square block (“Lot 1”) on the edge of the bay, immediately across the street from Atwater’s.
Fans who arrive early can enjoy entertainment by wandering clowns, a pair of very well-balanced stilt-walking girls, and a wonderful four-piece band playing extended riffs on familiar jazz standards—“Sweet Georgia Brown” and “Caravan” among them. Another benefit to early arrival is ease of parking.
… There’s something for everyone in Cirque du Soleil’s Kooza …
The real show, of course, happens in the big tent. Formed decades ago with the intent of modernizing the circus, Cirque du Soleil has proven to be a worldwide success, with multiple touring shows, and two or three in constant production in Las Vegas. Many of the troupe’s acts have roots in traditional circus acts, but there are no animals. That was one of the founders’ intentions. Those with qualms about abused animals can set their misgivings aside. The only potential damage is to Cirque du Soleil performers.
“Silk” is a fierce character with the ability to fly, spin, and swing in all directions in “Zooza”. Picture copyright & courtesy of Cirque du Soleil.
All Cirque shows have a theme or through-line to tie diverse acts together. In Kooza, we meet a lackluster clown called “the Innocent” with an uncooperative kite, and another who’s a rowdy clown king with a missing crown and a couple of riotous sidekicks who continually prod the audience.
The search for the crown and its ultimate acquisition by the Innocent is all that connects this huge show’s opening and closing moments, but a through-line isn’t really needed. Every act is a mind-blower, from aerialists and contortionists to hand-balancers and high-flying acrobats. Even while watching in astonishment, viewers must ask themselves how anyone learns to do any of this. Where does one go to school to learn how to do a “five-man high” ???
Twin highwires crisscross diagonally at 15 and 25 feet above the stage in “Kooza”. Picture copyright & courtesy of Cirque du Soleil.
Ukrainian unicycle performers Dmytro Dudnyk and Anastasiia Shkandybina blow minds early in the show. Dudnyk rides about the circular stage, picking up his partner and putting her on his head—where she performs several balancing stunts as he continues peddling. She mounts and dismounts, he picks her up and sets her down, all without stopping or losing stability. It all looks so easy—and so impossible.
“Impossible” is the perfect description for just about everything that happens in Kooza. A Spanish/Columbian highwire act appears to have fatal potential, as does a solo performance with aerial silks by Japan’s Mizuki Shinagawa. A trio of ultra-lithe Mongolian girls contort themselves into positions that would send ordinary people to the emergency room. Solo artist Aruna Bataa, also Mongolian, takes the hula hoop into the stratosphere, spinning several of them at once—sometimes in opposite directions. Her closing bit makes a stack of silver hoops look like an oversize Slinky that completely encompasses her.
The “Wheel of Death”—a huge contraption with a spinning wheel at each end, in which actors walk, run, dance, and fly, both inside and out. Picture copyright & courtesy of Cirque du Soleil.
Perhaps the most astounding act of all is the “Wheel of Death”—a huge contraption with a spinning wheel at each end, in which Columbians Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez walk, run, dance, and fly, both inside and out. Then there’s Russian Victor Levoshuk’s handbalancing act, a riff on one of the most ancient circus acts, in which he positions chairs ever higher until he’s nearly at the top of the big tent and balancing motionless on the whole stack. The crowd-pleasing finale is a multi-national teeterboard act that sends acrobats end-over-end high in the air to safe landings back on earth.
Between all of these acts are comic interludes, audience participation bits, ensemble dances, and fantastic performances by an onstage band, whose drummer Eden Bahar from Israel enjoys a tremendous solo.
There’s something for everyone in Cirque du Soleil’s Kooza. An astounding blend of art and athleticism, it’s also an enlightening metaphor about the potential of multi-national cooperation.
Kooza runs at PacBell Park through March 17, then moves to San Jose’s Santa Clara Fairgrounds for a one-month run April 18 – May 26. It’s by far the most amazing thing you will see this year.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Kooza
Written by
Cirque du Soleil
Directed by
Cirque du Soleil
Producing Company
Cirque du Soleil
Production Dates
SF: Through March 17
San Jose: April 18 – May 19
Production Address
Lot 1, PacBell Park, San Francisco (through March 17)
William Thomas Hogsdon delivers a wonderful presentation of Every Brilliant Thing at the Lesher Center for the Arts’ Vukasin Theatre through January 28.
The approximately 90-minute/no intermission show features prolific actor/director/teacher Hogsdon as the unnamed narrator of a coming-of-age story spanning three decades—from the time he was seven years old and began compiling his list of “every brilliant thing,” to his divorce from his college sweetheart in his mid-thirties.
The Narrator (William Thomas Hodgson) takes the audience on a journey through life’s most remarkable moments in “Every Brilliant Thing,” performing January 6-18 at Lesher Center for the Arts. Photo Credit: Alessandra Mello
Co-written by Duncan Macmillan and Jonny Donahoe, the tale launches with the first attempted suicide by the narrator’s mother—am event that recurred over the years until she finally succeeded, when the list of brilliant things had grown to thousands of entries. All of them are numbered, and stage assistants give notes to the audience so that they can shout out words when Hogsdon mentions a number—for example, 316: “Jerry Rice,” or 123,321: “palindromes.”
… Every Brilliant Thing is a wonderful exercise in audience participation …
He also recruits willing attendees to play various roles as the story unfolds. On opening night, one woman agreed to play a veterinarian euthanizing a treasured dog named “Charles Barkley.” Another stepped up from the front row to take the role of the narrator’s first love, a woman he met in college and ultimately married. A tall man in the third row volunteered to play his father delivering a heartfelt speech at the wedding—an astoundingly convincing bit that Hogsdon described post-performance as completely improvisational.
The Narrator (William Thomas Hodgson) includes an audience member in the celebration of life’s most remarkable moments in “Every Brilliant Thing.” Photo Credit: Alessandra Mello
Personal triumph and family tragedy are expertly and delicately woven throughout this engaging tale, made more engaging by Hogsdon’s ability to manage the crowd. A mostly-solo effort, Every Brilliant Thing is a wonderful exercise in audience participation. It’s a near-perfect balance of drama, humor, observation, and poignant personal narrative, with two performances per day on Saturdays and Sundays.
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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: [email protected]
Production
Every Brilliant Thing
Written by
Duncan Macmillan and Jonny Donahoe
Directed by
Jeffrey Lo
Producing Company
Center Repertory Company
Production Dates
Thru January 28, 2024
Production Address
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
2023 was a wonderful year for live theater in the Bay Area. Although many companies are still struggling financially, it’s clear that artistically most have bounced back from the pandemic. Rather than a “best of” list, here are ten of the past year’s favorites submitted by ASRians.
Dinner with Friends: In June, Sonoma Arts Live served up a Pulitzer Prize-winning treat. Director Carl Jordan had the perfect recipe for casting Ilana Niernberger, John Browning, Katie Kelley, and Jimmy Gagarin. Recipe?
The play’s friends are foodies, couples who uncouple and all but food fight on a multi-stage set by Jordan and Gary Gonser. The play had just the right amount of both relationships’ spice to flavor any postprandial discussion. — Cari Lynn Pace
Dragon Lady: Spanning most of the life of Maria Senora Porkalob, the playwright/performer’s grandmother and a first-generation Filipina immigrant, Marin Theatre Company’s Dragon Lady was an inspiring, entertaining survival yarn and a master class in solo storytelling. Part biography, part autobiography, part cabaret musical, and part comedy, Dragon Lady was a tour-de-force written and performed by Sara Porkalob, with wonderful instrumental backing by three members of the Washington-based band Hot Damn Scandal.— Barry Willis
… 2023 was a wonderful year for live theater in the Bay Area …
Stones in His Pockets: Spreckels’ production of this whip-smart Irish comedy was touching, insightful, and laugh-out-loud funny. It demanded the utmost from only two actors, playing no fewer than fifteen characters of varying ages, cultures, social classes, and genders.
All that and no costume changes, no props beyond two simple wooden crates, and a bare-bones stage with only a small stone wall and a projection screen to serve as a backdrop. A brilliant exercise in theater done right. — Nicole Singley
Crowns: Walnut Creek’s CenterREP presented an exhilarating, uplifting celebration of life with this serio-comedic musical. A coming-of-age story about a hip-hop girl from Brooklyn on a journey of discovery in a small South Carolina town, the revival-meeting production starred Juanita Harris as the town’s no-nonsense matriarch and queen bee of a bevy of church ladies, each with a collection of elaborate fancy hats mostly reserved for Sundays, when they want to look their best “to meet the king.” — Barry Willis
Silent Sky:Napa’s Lucky Penny Productions gave us a lovely rendering of Lauren Gunderson’s biographical tale about pioneering mathematician/astronomer Henrietta Leavitt, who toiled at Harvard University Observatory for approximately twenty years until she was finally allowed to look through the telescope. She faced opposition from the scientific establishment of the era, but Leavitt’s insights led to major breakthroughs in human understanding of the universe. — Barry Willis
The People vs. Mona: Pt. Richmond’s cozy Masquers Playhouse delivered a delightfully interactive comedic musical about a trumped-up murder case in the tiny south Georgia town of Tippo. The engaging Nelson Brown served as both MC and inept defense counsel Jim Summerford, who comes to the trial having never won a case. Shay Oglesby-Smith was tremendous as the town’s prosecutor and manipulative mayoral candidate Mavis Frye, matched by Michele Sanner Vargas as the accused Mona May Katt. — Susan Dunn
Clyde’s:Berkeley Rep’s Peet’s Theatre was the scene for this scathing comedy by Lynn Nottage, in which four parolees try their best to thrive under an oppressive boss.
April Nixon was brilliant as the voluptuous, wise-cracking owner of the roadside diner named for her character—a deliciously malicious force of nature. An uplifting, uproarious, and realistic tale about hope, Clyde’s was among the best comedies of the year. — Barry Willis
Hippest Trip—Soul Train, the Musical: The stage of ACT’s Toni Rembe Theater was transformed into both a giant 1970s television set and the production studio for Soul Train, reportedly the longest-running music-and-dance show ever made. Dominique Morisseau’s dazzling retrospective of the groundbreaking television show was wonderfully directed by Kamilah Forbes. Played by confident Quentin Earl Darrington, Soul Train founder Don Cornelius was a former Chicago crime reporter who envisioned a TV show that would uplift his community. Through sheer willpower, he made it a reality, and so did ACT. — Barry Willis
The Wizard of Oz: The Emerald City met Beach Blanket Babylon in ACT’s spectacularly goofy psychedelic The Wizard of Oz. The wild production adhered closely to the beloved original, including story and songs, but was as far removed from a 1940s Saturday afternoon movie matinee as you can imagine—a hilariously gender-bending extravaganza just perfect for Pride Month in San Francisco. — Barry Willis
The Glass Menagerie: Ross Valley Players returned to the essence of mid-century theater with a sobering production of Tennessee Williams’ classic family drama. Directed by David Abrams, who also played the role of disaffected son Tom Wingfield, the show starred Tamar Cohn as his delusional, manipulative mother Amanda, Tina Traboulsi as his asocial sister Laura, and Jesse Lumb as the good-natured gentleman caller Jim O’Connor, who arrives late in the tale and quickly discovers what a dysfunctional morass he’s stepped into. Tom O’Brien’s austere set, period-perfect costumes by Michael Berg, evocative lighting design by Michele Samuels, and music collected by sound designer Billie Cox all made significant contributions to one of the year’s most compelling dramas. — George Maguire
The greatest redemption story in the English language is still going strong at the American Conservatory Theater in The City, through December 24.
Charles Dickens’ A Christmas Carol has riveted readers, film fans, and theatergoers for many decades. ACT’s annual extravaganza is hugely satisfying, as it has been in its current configuration for 17 years. The sumptuous Carey Perloff/Paul Walsh production is scheduled for retirement after this season, to be replaced by a new one next year, according to ACT Executive Director Jennifer Bielstein.
… hugely satisfying …
Details about the new version aren’t available, but those who wish to see the classic that has inspired many imitators have the remaining week to get a full helping of Christmas uplift.
The company of ACT’s “A CHRISTMAS CAROL” at work. Photo credit: Kevin Berne
James Carpenter alternates with Anthony Fusco in the lead role of curmudgeonly miser Ebenezer Scrooge—a role that both actors were born to play. (Ditto for Patrick Stewart in one of many film versions. Stewart may be the best Scrooge ever to sully the silver screen.) Sharon Lockwood is delightfully astounding as Mrs. Dilber, Scrooge’s housekeeper. She also has a cameo as the energetic Mrs. Fezziwig, wife of young Scrooge’s first employer.
The cast is universally excellent—we’d expect nothing less from ACT—with Jomar Tagatac as Bob Cratchit, Scrooge’s oppressed clerk, B Noel Thomas as the Ghost of Christmas Past, and Catherine Castellanos as the Ghost of Christmas Present. Brian Herndon shines as Fezziwig, and Dan Hiatt is a malevolent reminder of accumulated karma as the ghost of Scrooge’s departed partner Jacob Marley.
Dan Hiatt (L) and Anthony Fusco (R). Photo credit: Kevin Berne
There’s a gaggle of charming children, and enough Londoners to fill the wide stage of the Toni Rembe theater—all of them in plausibly authentic 19th century costumes by Beaver Bauer.
Music by Karl Lundeberg (directed by Daniel Feyer) is wonderfully dynamic, and Val Caniparoli’s choreography is dazzling. John Arnone’s set design has been scaled back from previous elaborate productions but is still effectively versatile and immersive.
Anthony Fusco (L) and Piera Tamer (r) in “A Christmas Carol” at ACT in The City. Photo credit: Kevin Berne
Those who have seen multiple productions of ACT’s A Christmas Carol may be slightly disappointed that this year’s offering doesn’t reach the astronomical heights of last year’s, but it’s nonetheless an immensely satisfying show.
This show is pretty much a requirement for those in need of high-quality holiday cheer, which is to say, all of us. Tickets for the final few performances are disappearing fast. Grab them while you can!
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ASR 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 him at [email protected]
Production
A Christmas Carol
Written by
Charles Dickens - adapted by Carey Perloff and Paul Wals
Welcome back to Armadillo Acres, North Florida’s premiere residential destination. Napa’s Lucky Penny Productions ushers in the holiday season with The Great American Trailer Park Christmas Musical, through December 17.
Familiar characters return from last summer’s kitsch extravaganza: trailer park trash-ettes Pickles, Linoleum, and Bad Ass Betty (Kristin Pieschke, Shannon Rider, and Sara Lundstrom, respectively).
“The Great American Trailer Park Christmas Musical” cast are rockin’ it, y’all! Photo credit Kurt Gonsalves/KMG Design.
Two other cast members from that show return in new roles: Taylor Bartolucci as Darlene Seward, a Christmas-hating curmudgeon, and Skyler King as Rufus, the trailer park’s well-intentioned but goofy handyman, who’s annoyed Darlene by installing a community Christmas tree too close to her abode.
… There’s a whole lot of trouble brewing in the trailer park as Christmas approaches …
We also get to enjoy some authentic redneck antics from Jackie Boudreaux (director Barry Martin), the cowboy-hatted owner of a pancake house called “Stax” pandering to lustful locals. The eatery employs Armadillo Acres girls as waitresses, who call it “IHOP meets Hooters.” They also delight in tormenting Darlene by pronouncing her family name as “C-word.”
The play’s director, Barry Martin as cowboy-hatted Jackie Boudreaux, at work. Photo credit Kurt Gonsalves/KMG Design.
Darlene is contentious with her trailer-mates from the beginning, but an electric shock prompts a twelve-day case of amnesia, during which time she forgets that she hates the holidays. And Linoleum has almost forgotten her husband Earl, a convicted killer executed by the state of Florida (he was on death row when we last checked in). She now wears dangling from her neck an amulet containing some of his ashes, but she’s clearly ready to move on.
There’s a whole lot of trouble brewing in the trailer park as Christmas approaches, most of it propelled by a hard-rocking band led by Debra Chambliss in an alcove above the stage. David Nehls’ infectious music spans rock and country genres—the cast are all superb singers—with many tunes echoing classic bad-taste musical comedies such as Little Shop of Horrors. Bartolucci’s tacky costumes are outrageous fun, as is the frenetic choreography by Alex Gomez.
Good times and great music in Napa! Photo credit Kurt Gonsalves/KMG Design.
No Christmas-theme production would be complete without references to Charles Dickens’ A Christmas Carol, and Betsy Kelso’s script doesn’t disappoint. Trailer Park includes ghosts of Christmas past, present, and future; an aggressive nay-sayer, and a mean-spirited capitalist oppressor (Boudreaux) who threatens to bulldoze the entire complex on Christmas Eve so he can build a megastore in its place.
Will disaster be averted?
Will Armadillo Acres survive?
Will its residents return to more-or-less peaceful coexistence?
The outcome won’t be revealed here! For that you’ll have to get one of the few remaining tickets. The December 17 closing performance of The Great American Trailer Park Christmas Musical is “100% sold out” according to Barry Martin, so hurry up and grab what’s left.
You’ll be glad you did.
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NorCal Aisle Seat Review Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
The Great American Trailer Park Christmas Musical
Written by
Betsy Kelso
Music & Lyrics
David Nehls
Directed by
Barry Martin
Producing Company
Lucky Penny Productions
Production Dates
Thru June 24th
Production Address
Lucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
Merriment is always appropriate at holiday time. It doesn’t get any merrier than Nuncrackers – The Nunsense Christmas Musical at Sonoma Arts Live through December 17.
Welcome to the basement of the Mt. Saint Helen’s convent in Hoboken, New Jersey, where four nuns and one priest do their best to put on a Christmas-theme extravaganza for a local public-access TV channel. Among many iterations of Dan Goggins’ immensely popular “Nunsense” comedies—a franchise now nearly forty years old—this one takes many potshots at church traditions, most of them landing with resounding hilarity as five adults (and four charming students) dance, sing, and goof endlessly with each other and the audience.
… a holiday crack-up …
Izaak Heath is a standout as Father Virgil, given the unenviable task of managing an outrageously amateurish church-basement production featuring Goggin’s recurring sisterhood—Sister Robert Anne (Dani Innocenti-Beem), Sister Mary Amnesia (Maeve Smith), Mother Superior (Libby Oberlin) and sister Hubert (Emma Sutherland). Propelled by onstage keyboardist/music director John Partridge, the quintet hams it up in plausibly authentic attire—if you overlook baseball caps worn sideways over habits and brightly-colored Converse high-tops under them, which make Lissa Ferreira’s outlandish choreography all the goofier.
The cast of “Nuncrackers” at Sonoma Arts Live. Photo credit Miller Oberlin.
Father Virgil displays infinite patience riding herd on his sisterly soul-mates, and even tackles a Julia Child-style holiday cooking show, complete with a few too many nips from the brandy bottle. With impeccable comic timing and complete lack of inhibition, the sisters run rampant over the modestly-scaled stage in Andrews Hall, making each scene a riot unto itself while paving the way for the next one. Imagine clever but sometimes hokey comedy sketches strung end-to-end over approximately two hours and you have some idea of the treats this show offers.
Directed by theater veteran Andrew Smith, it’s a delightfully well-paced rib-tickling production. Queen bee of North Bay musical comedy and a reliable fountain of throwaway improv, Innocenti-Beem is perfectly in her element as Sister Robert Anne, a role she’s taken on several times. Maeve Smith displays a previously unnoticed—at least, locally—penchant for comedy, giving Sister Amnesia a beguiling impishness. She also looks a bit like B52s chanteuse Kate Pierson in her prime, minus the giant beehive hairdo. Libby Oberlin brings faux-seriousness to the part of Mother Superior, while Emma Sutherland anchors the entire production.
The kids are alright in “Nuncrackers” at Sonoma Arts Live. Photo credit Miller Oberlin.
The show’s ultra-competent performers are more than aided by four sweetly innocent student actors—Vivian Haraszthy, Autumn Terradista, Raina Gibbs, and Fiona Smith, who happens to be the daughter of Andrew and Maeve. In their several appearances onstage—especially their spoof ballet—they manage to charm the socks off the audience. Who can say “no” to a gaggle of cute kids?
What can go awry will go awry: that’s an essential tenet of comedy, one that Sonoma Arts Live consistently brings to life on the Rotary Stage. Much more than a family act, Nuncrackers is a holiday crack-up and a great way to ease into a season of too much eggnog, too many glad tidings, and too many fruitcakes destined to become petrified artifacts of good intentions. Happy Holidays!
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NorCal Aisle Seat Review Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Nuncrackers
Written by
Dan Goggin
Directed by
Andrew Smith
Producing Company
Sonoma Arts Live
Production Dates
Thru Dec 17th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Sara Porkalob’s tribute to her grandmother is an exceptional theatrical adventure at Marin Theatre Company through December 17.
Part biography, part autobiography, part cabaret musical, and part comedy, Dragon Lady is a solo tour-de-force. Written and performed by Porkalob, with wonderful instrumental backing by three members of state of Washington-based band Hot Damn Scandal, the tale spans most of the life of Maria Senora Porkalob, the playwright/performer’s matrilineal predecessor and a first-generation Filipina immigrant.
… Dragon Lady is … a superb evening spent in the theater! …
An astounding actor and voice talent, the hyperkenetic Porkabob recites the two-hour tale almost entirely in the first person, embodying characters as diverse as a Manila gangster, a heartless proprietress of a nightclub catering to hordes of drunken American sailors, her own mother (also named Maria), several children, and some residents of a trailer park where the Porkalob clan lived.
Sara Porkalob in “Dragon Lady”, written and performed by Sara Porkalob, at Marin Theatre Company in association with Center REP. Photo: MTC/Kevin Berne.
She achieves all of this with seemingly no effort, moving from one character to the next with only a shift in intonation and body posture. She also manages to occupy the entirety of MTC’s abundant stage, transformed by set designer Randy Wong-Westbrooke into an extravagance of bordello-like red velveteen. Brilliantly directed by Andrew Russell, it’s a dazzling magic show.
The first act provides all the background: grandmother Maria as a young woman doing janitorial work in a Manila nightclub, who gets boosted onto the stage after being heard singing at work. The cabaret aspect comes on strong as Porkalob sings a mashup of “Sway” and “A City Where it Never Rains.” She’s a wonderfully evocative singer, gliding easily from contralto to alto. She engages the audience at every turn, including a couple of comedic forays into the audience. The minimal three-piece band (Pete Irving, guitar and vocals; Mickey Stylin, bass; and Jimmy Austin, trombone) are the perfect complement.
Set for “Dragon Lady” at MTC.
The horrendous part of grandma Maria’s story: she witnessed the torture and murder of her own father at the hands of Manila gangsters, one of whom fathered her daughter in a forced mating. She later came to the States as the wife of a smitten US sailor. That relationship didn’t last long, but somehow she managed to keep her family afloat even when it required days or weeks away from home, leaving her namesake daughter to care for herself and five kids. Other than the mention of Maria Jr.’s biological father and grandma’s unfaithful bridegroom, there’s no explanation of the parentage of kids Sara, Charlie, Junior, AnneMarie, and infant Lilly. It’s as if they all popped out of the womb of their own accord. This reviewer thought this a huge omission in an otherwise compelling family story.
The second act is mostly a retelling of life in the trailer park, including a somewhat overly-long bit about siblings Charlie and Junior in pilfered Boy Scout uniforms, going door-to-door with a wagon, collecting food for “the needy.” Porkalob’s channeling of the kids and their “donors” is priceless. She closes the performance as strongly as she opens, with a brilliant mashup of “Love for Sale” and “Holding out for a Hero,” and ending with the most-appropriate “Trouble is a Family Trait.”
Jazz ensemble members of Hot Damn Scandal in “Dragon Lady” at MTC. Photo: MTC/Kevin Berne.
One-third of a trilogy about her immigrant family’s struggles, Dragon Lady is an inspiring, vastly entertaining survival yarn and a master class in solo storytelling. It’s a superb evening spent in the theater.
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ASR 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: [email protected]
Production
Dragon Lady
Written By
Sara Porkalob
Directed by
Andrew Russell
Producing Company
Marin Theatre Company (MTC)
Production Dates
Through Dec. 17, 2023
Production Address
Marin Theatre Company
397 Miller Avenue
Mill Valley, CA
Down on his luck, a scrappy Elvis impersonator reinvents himself as a drag queen at a Gulf Coast dive bar in The Legend of Georgia McBride, CenterREP’s November production.
A recurring Bay Area favorite, Georgia McBride pops up locally a couple times per year. The current production in Walnut Creek’s Margaret Lesher Theatre is as good as most such efforts, without reaching the uproarious heights of absurdity achieved by some.
… “The Legend of Georgia McBride” is a good bet for a fun night out …
Set in Cleo’s, a sleazy joint in Panama City Beach, Florida, the show stars Joe Ayers as Casey, a good-natured part-time roofer by day and a not-so-successful Elvis impersonator by night. He’s just bounced the monthly rent check in favor of buying a new Las Vegas-style jumpsuit, an expenditure that dismays his wife Jo (Sundiata Ayinde), who can’t deal with a potential eviction on top of her newly discovered pregnancy.
Casey reassures her that he’s made a smart investment, one that will bring more customers into Cleo’s. It’s a pipe dream at best. As it sits, Casey isn’t earning enough at the bar to cover his 80-mile round-trip commute, and his high school pal Jason (Jed Parsario) — who’s also his landlord and sometimes employer — leans on him persistently to pay his bills. Furthermore, Cleo’s owner Eddie (Alan Coyne) has threatened to cancel his performances because they simply aren’t attracting paying customers.
Georgia (Joe Ayers), Tracy (J.A. Valentine), and Rexy (Jed Parsario) put on a show in Center Rep’s “The Legend of Georgia McBride”. Photo: Kevin Berne
Casey’s in a multi-pronged pinch, but to his rescue come two itinerant drag queens — Miss Tracy Mills (J.A. Valentine) and her bedraggled friend Rexy Nervosa (also Parsario). An equal opportunities employer for inebriants of all kinds, Rexy is too hammered to perform, but Tracy has enough practicality and good business sense to leverage an opportunity.
Against his will, and with Eddie’s grudging agreement, she converts Casey to “Georgia McBride.” Casey has an aw-shucks sort of embarrassment his first time onstage in a wig and dress, but slowly warms to the new role—especially when Cleo’s becomes the hottest nightspot on the beach. He’s then faced with hiding the new source of much-needed income from Jo, who harbors many doubts about what he’s doing, and when she discovers what it is, believes that he’s gone gay.
Eddie (Alan Coyne) and Tracy (J.A. Valentine) are disappointed as Rexy (Jed Parsario) stumbles in late and Casey (Joe Ayers) watches in Center Rep’s “The Legend of Georgia McBride,” thru Nov 26th at Lesher Center for the Arts, Walnut Creek. Photo: Kevin Berne
Trading one set of problems for another is always a great comedic setup, and this Georgia McBride doesn’t disappoint. Performances are very good in the sumptuous Lesher Theatre—especially the confident Valentine, the subtle Ayinde, and the outrageous Coyne. Ayers has a sort of innocent schoolboy charm, while Valentine is a take-charge veteran. The only Equity actor in the cast, Parsario encompasses everything from a beer-swilling redneck to a completely plastered flat-on-her-face drag queen. Stagecraft is more than adequate but not dazzling.
Tracy (J.A. Valentine), Georgia (Joe Ayers), and Rexy (Jed Parsario) put on a show at Center Rep. Photo: Kevin Berne
Interestingly, the music played in the many lip-synching scenes has been different in all the productions this reviewer has seen. Apparently, playwright Lopez didn’t instruct directors about that. Musical variations contribute much to keeping the show feeling fresh. On opening night, pacing and timing issues interfered with landing some of the humor, with which the script is deeply endowed. That’s an issue easily solved with a couple more performances. Sweet and endearing, The Legend of Georgia McBride is a good bet for a fun night out.
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ASR 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: [email protected].
Production
The Legend of Georgia McBride
Written by
Matthew Lopez
Directed by
Elizabeth Carter
Producing Company
Center Repertory Company
Production Dates
Thru Nov 26th
Production Address
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
Approximately forty years after its first release, Stop Making Sense is back, to near-universal acclaim. Jonathan Demme’s ultimate concert film chronicles art-rock band Talking Heads at the height of their frenetic creativity.
Pieced together from several performances at the same venue, the film famously opens with lead singer/band founder David Byrne solo on stage, accompanying himself on guitar with rhythm supplied by a boom box. Various band members appear one-by-one—bassist Tina Weymouth, drummer Chris Frantz, keyboardist Bernie Worrell, percussionist Steve Scales, guitarist/keyboardist Jerry Harrison, guitarist Alex Weir, and singers/dancers Lynn Mabry and Ednah Holt.
…Stop Making Sense is a must-see…
As they appear, black-clad stage hands carefully assemble the set. It’s one of many moments of cinematic brilliance—matched by the musical and performance brilliance of one of the quirkiest and most talented bands of the late 20th century.
The amazing Talking Heads in their “Must See” movie! — Barry Willis
Talking Heads were unlike any group before or since. In an era of poseurs and pretentions, they delivered powerful commentary on everything in contemporary life, drawing from sources as diverse as snake-handling Pentecostal religious practices, black gospel traditions, and ongoing social problems such as the worldwide fear of nuclear annihilation that permeated the Reagan-Thatcher-Gorbachev period. Talking Heads’ music was—and is—both celebratory and cautionary.
The film has been re-released several times since its debut, but the latest stands far above its predecessors. Newly remastered, its visual impact features superior color saturation, focus, and detail. Supervised by Talking Heads original member Jerry Harrison, the discrete 7.1-channel 24 Bit/48Khz Dolby Atmos soundtrack is crisp, punchy, and completely engaging without any of the annoying artifacts often inserted into remasterings by engineers eager to put their personal stamp on iconic recordings.
Director Jonathan Demme passed away in April, 2017. He did not live to see his magnum opus lovingly honored as it is in this new release, essential viewing for film fans and rock music aficionados alike.
Now playing at a cinema near you, Stop Making Sense is a must-see.
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ASR 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: [email protected].
Magical realism, a small-town soap opera, and the need for identity all combine in Eisa Davis’ Pulitzer Prize-finalist Bulrusher, at Berkeley Rep’s Peet’s Theatre through Dec. 3. Davis also composed the show’s original music.
Directed by Nicole A. Watson, Jordan Tyson stars as the show’s eponymous “Bulrusher,” a mixed-race foundling so named because she was discovered as an infant floating in the bulrushes of the Navarro River near the Northern California town of Boonville. Raised by a single male schoolteacher named Schoolch (Jamie LaVerdiere), she’s been gifted with magical clairvoyant powers. Bulrusher can see images of the future through the medium of water.
…There’s enough material in Davis’ story to supply a year’s worth of Lifetime TV episodes…
Most of the tale plays out on an elaborate two-level set by Lawrence E. Moten III, elaborated by superb projections by Katherine Freer and lighting by Sherrice Mojgani. The central locale is a brothel operated by hard-to-the-core Madame (Shyla Lefner) and patronized by Schoolch and a local handyman named Logger (Jeorge Bennett Watson).
Jeorge Bennett Watson (Logger), Shyla Lefner (Madame), Jamie LaVerdiere (Schoolch), and Rob Kellogg (Boy) in Eisa Davis’ lyrical coming-of-age story, “Bulrusher”, performing at Berkeley Rep October 27 – December 3, 2023. Photo Credit: T Charles Erickson
Another frequent visitor is a guitar-playing young man called Boy (Rob Kellogg) who relentlessly pursues Bulrusher despite her aggressive disinterest. Out front of the stage is a small but convincingly realistic stream that serves as the river, visited often by Bulrusher as a source of solace.
The playbill states the era as 1955—those who haven’t read it would more likely have pegged the time as twenty years earlier. The residents sometimes default to a local dialect called “Boontling,” developed in the 1880s and now almost extinct. It sounds like English but doesn’t register with non-speakers: “harping the ling” means “speaking the language” in Boontling. The only clue to the timeframe is an offhand comment by Boy to Logger that he “missed the Korean draft.” Otherwise we wouldn’t know.
Cyndii Johnson (Vera), Jeorge Bennett Watson (Logger), and Jordan Tyson (Bulrusher) at work in “Bulrusher”. Photo Credit: T Charles Erickson
The home-schooled Bulrusher earns a decent living buying and selling fruit. One rainy night she encounters a lone woman on the road, gives her a ride, and a place to stay. The woman is Vera (Cyndii Johnson), broke and far from her home in Birmingham, Alabama. On orders from her mother, she’s on her way to visit her uncle Logger. Vera is the first black woman Bulrusher has ever encountered, and the two become fast friends. The development of their friendship is among the play’s many endearing subplots. Another less endearing is Madame’s constant threat to sell her property and move away. A third that continually runs in the background is the mysterious identity of Bulrusher’s parents.
Rob Kellogg (Boy) and Jordan Tyson (Bulrusher) in Eisa Davis’ “Bulrusher”, at Berkeley Rep Oct 27 – Dec 3, 2023. Photo Credit: T Charles Erickson
It’s a complicated task for the show’s all-Equity cast, but they rise to the challenge most compellingly. Tyson is especially astounding, with several long monologs that are gorgeous sustained poems. Her interactions with Johnson, LaVerdierre, and Watson are all tremendous. Her closing confrontation with Lefner as Madame unveils the unspoken secret propelling the whole story.
There’s enough material in Davis’ story to supply a year’s worth of Lifetime TV episodes. At nearly three hours, the script at times feels over-long and in need of an edit, but who would know where to start on a project of that scale? Even so, it’s a tremendous night at the theater—a heartfelt celebration of one spunky girl who finds home at last.
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ASR 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: [email protected].
Love, loss, and acceptance all figure into Anthony Rapp’s solo musical Without You at San Francisco’s Curran Theatre.
Rapp’s show encompasses his first professional audition—a performance of REM’s “Losing My Religion,” reprised as the opener in this moving retrospective. The audition landed him a role in the off-Broadway debut of Jonathan Larson’s Rent, the AIDS-era reworking of Puccinni’s La Boheme, and in the larger long-running production.
…Without You is a wonderful show…
Larson died of an aneurism the night before his show opened. Rapp works that tragedy into his narrative and song selections, plus his loving relationship with his mother, who slowly came around to accepting his gay identity. His relationships with other members of his family are also depicted with fondness.
There’s no bitterness or rancor in anything he conveys. Backed by a superb onstage band, Rapp proves to be a compelling raconteur and singer. His penultimate song is a howl of anguish, but his closing number is one of universal love.
At 95 minutes—with no intermission—Without You is a wonderful show with an inexplicably short four-day run, closing Sunday October 22. Opening night was a near sellout—ticket buyers should jump on the remaining opportunity.
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ASR 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: [email protected].
Production
Without You
Written by
Anthony Rapp
Directed by
Steven Maler
Producing Company
Curran Theater Co.
Production Dates
Thru Oct 28th
Production Address
Curran Theater
445 Geary St.
San Francisco, CA 94102
Competing doomsday scenarios form the basis of Aaron Loeb’s incisive and hilarious Ideation, at Santa Rosa’s Left Edge Theatre through October 28.
One part Dr. Strangelove and one part No Exit, the tale features a group of high-level consultants struggling to work up proposals to dispose of millions of people while arousing as little attention as possible. Three of them—Brock (Mike Pavone), Ted (Justin Thompson), and Dr. Min Le (Phi Tran) arrive at company headquarters, jet-lagged from a month-long scam in Crete.
… they realize that they have stepped into some extremely deep doo-doo from which there may be no escape…
They meet their supervisor Hannah (Gina Alvarado) in a conference room, where they learn that they have exactly ninety minutes to produce a plan for their CEO, a disembodied voice called J.D. Annoyed by the presence of a young intern named “Scooter” (Lauren DePass), they’re slow to get to work until the interloper leaves the room.
Phi Tran (Min), Gina Alvarado (Hannah), and Mike Pavone (Brock) in “Ideation.”
Adroitly directed by David L. Yen, the tale is slow to launch for the same reason: the Scooter distraction wastes a good ten minutes until the core group feels comfortable enough to start “ideating”—generating concepts that may or may not work in a world theoretically threatened with a virus that could wipe out the entire human species.
Choking back their fundamental revulsion, the consultants come up with concepts such as “liquidation centers,” “disposal sites,” “self-service mass graves,” “acid pits that can melt bone,” and problems dispersing large quantities of “biosludge” once the victims are dead.
Phi Tran (Min) and Gina Alvarado (Hannah) in “Ideation” by Aaron Loeb
They willingly accept the conceptual challenge as a more-or-less academic exercise, assigning the nuts-and-bolts design to Dr. Le, owner of both a Harvard MBA and an engineering degree from Georgia Tech. A subplot involves an office romance between him and Hannah that could scuttle her comfortable upper-middleclass life, but the bulk of the comedy is the escalation of absurdly horrific proposals and rising personal tensions as deadline approaches. Ted and Brock even engage in a quite realistic shoving match as their frustrations build.
Justin Thompson (Ted), and Mike Pavone (Brock) at work.
It’s all quite funny until the consultants figure out that they themselves may be disposable, or that they are competing against other groups, all of whom may be at risk for extermination. At that point they realize that they have stepped into some extremely deep doo-doo from which there may be no escape. From a slow launch, the play rises like fireworks exploding on the Fourth of July.
Written pre-pandemic in 2013, Ideation was originally produced at SF Playhouse to rave reviews. That show’s cast went to New York with it, where it ran for a month. Among the best contemporary comedies, it’s a prescient piece of theater.
The current show at the cavernous California benefits from new raked seating near the stage, but is marred by an adjacent music club whose thumping bass and drums force the actors to shout over the noise. For that reason, ticket-buyers are encouraged to attend a Saturday matinee. Left Edge is producing the show on Thursday and Friday evenings at 7:30 and on Saturdays at 1 p.m.—no Saturday evening or Sunday performances.
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ASR 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: [email protected].
An aspiring actress gets her chance in Jocelyn Bioh’s uproarious Nollywood Dreams, at San Francisco Playhouse through November 4.
Ayamma Okafor (Angel Adedokun) works at her family’s travel agency in Lagos, Nigeria, where the entire story takes place. Probably not a well-known fact among Americans, Nigeria’s thriving film industry is one of the world’s most prolific.
Ayamma (Angel Adedokun) is starstruck as she meets Wale (Jordan Covington) and Gbenga (Tre’Vonne Bell) in San Francisco Playhouse’s “Nollywood Dreams,” performing thru Nov 4, 2023. Photo Credit: Jessica Palopoli
Ayamma hopes to lift herself out of the tedium of her daily work and venture into the glitzy world of film—and fame. Her lackadaisical sister and workmate Dede (Brittany Nicole Sims) has no such aspirations, but does worship film stars, especially the handsome charmer Wale Owuso (Jordan Covington).
…Nollywood Dreams is exactly the feel-good antidote we need today…
The Playhouse is lit with neon and splashy patterns, accompanied by throbbing rhythms of Africa. Your heartbeat is up even before the actors appear. The production is significantly interactive: we are invited to let the actors know how we feel about them and their story by joining in with our own reactions. Breaking the “4th wall,” one scene includes an actor sitting with the audience.
On a huge revolving set by Bill English, Nollywood Dreams features continual scenes across three different locales: the travel agency, a TV studio, and the office of film director Gbenga Ezie (Tre’Vonne Bell). Initially we meet our protagonist, wannabe actress Ayamma—slim, intense, and sincere—who pours her heart out to older sister Dede, an outrageous, outspoken, but unmotivated couch-potato. Their dynamic is loving and hilarious at each turn.
The stage turns and a TV interview is in progress. Now we (the play’s audience) become the vocal audience of a daytime TV show hosted by the queen bee of Nigerian celebrity gossip, the brightly-swathed and head-dressed Adenikeh (Tanika Baptiste), a character partly modeled on America’s own Oprah. Baptiste is totally engaging and effusive as she prods interviewee Gbenga about auditions for his next film, a romantic comedy called The Comfort Zone.
Adenikeh (Tanika Baptiste), the Oprah of Lagos, dishes on her talk show in San Francisco Playhouse’s “Nollywood Dreams.” Photo Credit: Jessica Palopoli
Her outsized female persona foils his suave, understated but sweeping masculinity. Our verbal reactions to his story of marital and extramarital love up the ante of our emotional engagement. Through some Nigerian film history projections we meet the final two characters in this play: Wale the endearing lover-boy actor already well-known to Nigerian audiences, and Fayola (Anna Marie Sharpe), an established actress whose career has hit an impasse. Sharp’s wise-cracking subtlety must be seen to be believed.
Who will be cast in this next movie? How will previous dating relationships, careers (or lack thereof) and political machinations solve the casting choices? The set revolves to reveal the director’s office, where auditions of a kind, amid spats and jealousies, play out evoking old loves and new emotional blooming. A favorite scene involves Dede’s curse on the rival actress to aid sister Ayamma’s chances for snagging a role.
Nigerian film director Gbenga (Tre’Vonne Bell) dishes on a talk show in San Francisco Playhouse’s “Nollywood Dreams” Photo Credit: Jessica Palopoli
Nollywood Dreams is a terrifically paced production of a laugh-out-loud script, filled with characters who pop with iconic familiarity. The show is blessed with performing excellence, directorial finesse and assurance and production values that excel in every scene. As fabulous or ordinary costumes (Jasmine Milan Williams, designer) change from one quick scene to another we wonder how they can top the previous look.
Theater veteran and director Margo Hall has coaxed the utmost from her richly talented cast. The eye-candy set and projections, and especially the unexpected finale, deliver a luscious dessert of a play that on opening night provoked a sustained standing ovation. Nollywood Dreams is exactly the feel-good antidote we need today.
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Since arriving in California from New York in 1991, Susan Dunn has been on the executive boards of Hillbarn Theatre, Altarena Playhouse, Berkeley Playhouse, Virago Theatre and Island City Opera, where she is a development director and stage manager. An enthusiastic advocate for new productions and local playwrights, she is a voting member of the SF Bay Area Theatre Critics Circle, and a recipient of a 2015 Alameda County Arts Leadership Award. Contact: [email protected].
ASR 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: [email protected].
The door-slamming farce is alive and well at Berkeley Rep’s Roda Theatre. A likely sold-out show, Selina Fillinger’s outrageous comedy POTUS runs through October 22.
In the grand tradition of Lend Me a Tenor and Noises Off, the show stars seven Equity women as various figures in the White House, doing their best to contain potentially disastrous effects from an erratic president, whom we never meet—and truthfully, hope we won’t.
Stephanie Pope Lofgren (Margaret), Deirdre Lovejoy (Harriet) , and Stephanie Styles (Dusty) at work. Credit: Kevin Berne
Diedre Lovejoy and Kim Blanck are perfectly balanced as Chief of Staff Harriet and Press Secretary Jean, respectively. Their worrisome back-and-forth bickering is hilarious on its own, but the remaining five cast members take the whole affair into the comedic stratosphere.
…Raunchy, rambunctious, and bursting with savagely cynical energy…
First Lady Margaret (Stephanie Pope Lofgren) is the cynical, long-suffering eye of the storm. White House correspondent Chris (Dominique Toney) shares much of the exasperation expressed by FLOTUS (“First Lady of the United States”) while having embarrassing personal issues as a new mother with leaky swollen breasts. The two are superb with both deadpan delivery and physical comedy.
Stephanie Pope Lofgren (Margaret) and Susan Lynskey (Stephanie) in Selina Fillinger’s gleefully feminist satire POTUS through Sunday, October 22, 2023. All Photos Credit: Kevin Berne
Then there’s addled secretary Stephanie (Susan Lynskey), whose accidental acid trip pushes the tale in marvelously unexpected directions, and Bernadette (Allison Guinn), the president’s tough-talking, drug-dealing sister, recently released on parole and hoping to get a pardon from her brother.
Dominique Toney (Chris) and Stephanie Pope Lofgren (Margaret) at work in “POTUS” at Berkeley Rep. All Photos Credit: Kevin Berne
Topping it off is Dusty (Stephanie Styles), the president’s barely-pregnant “dalliance.” She’s a ditzy former cheerleader with wild commentary on everything taking place, and even wilder antics so funny that you’ll do well to catch your breath.
Embracing the fantastic performers in POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive is the quick-change set by Andrew Boyce. The frenetic pace of the performance is perfectly matched by the timing of set changes—and by Palmer Herreran’s great sound design and Yi Zhao’s lighting. Annie Tippe’s expert direction couldn’t be better.
Raunchy, rambunctious, and bursting with savagely cynical energy, POTUS is a cathartic exploration of presidential insanity—and the insanity induced in those who’ve signed on as members of his team. Painful as it is to remember the extreme dysfunctionality we experienced during the reign of “the former guy,” POTUS delightfully informs us how much worse it could be.
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ASR ExecutiveEditor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive
A hip-hop girl from Brooklyn goes on a journey of discovery in CenterREP’s Crowns, at the Dean Lesher Center for the Arts in Walnut Creek through October 6.
Yolanda (Antonia Reed), Mabel (Phaedra Tillery-Boughton), and Velma (Constance Jewell Lopez) listen as Jeanette (Janelle LaSalle) extolls the flirtatious power of hats in Center Repertory Company’s “Crowns.” Photo Credit: Kevin Berne
After the murder of her brother, Yolanda (Antonia Reed) is sent by her mother to live with her grandmother in a small South Carolina town. Juanita Harris stars as Mother Shaw, the town’s no-nonsense matriarch and queen bee of a bevy of church ladies, each of whom owns a collection of elaborate fancy hats mostly reserved for Sundays, when, as is repeated throughout the serio-comedic musical, they want to look their best when they “go to meet the king.”
..an exhilarating, uplifting celebration of life …
Jeanette’s dad (Darryl V. Jones) does a softshoe in a memory shared by the women (l to r: Phaedra Tillery-Boughton, Constance Jewell Lopez, Yaadi Erica Richardson, and Juanita Harris) in “Crowns,” performing Sep 9 – Oct 6, 2023 at Lesher Center for the Arts. Photo Credit: Kevin Berne
Veteran actor/director Darryl V. Jones is wonderful as the town’s pastor, and in multiple roles as various males—father, brother, bridegroom—in a show that’s an outrageously infectious celebration of the feminine side of African-American culture. He’s surrounded by members of his congregation, each with flamboyant headgear and tales to tell about every one of them. Yolanda wanders in bafflement among these congregants—Harris, Constance Jewell Lopez, Phaedra Tillery-Broughton, Yaadi Erica Richardson, and Janelle LaSalle—slowly making her own discoveries about ancient African traditions that persist in modern communities.
Sassy, self-assertive, and self-deprecating as only black women can be, these church ladies enlighten the audience with anecdotes that encompass everything from the basics of flirtation to coming of age in the Civil Rights era. Much of it is very funny, and some of it quite sad, such as a dance scene in which a wedding transitions into a funeral, then into a remembrance of the community’s departed males, symbolized by simple hats laid side-by-side on a set piece that’s both church pew and casket.
JT (Darryl V. Jones) and Mother Shaw (Juanita Harris) share a moment as Mabel (Phaedra Tillery-Boughton), Velma (Constance Jewell Lopez), and Jeanette (Janelle LaSalle) look on in Center Repertory Company’s “Crowns.” Photo Credit: Kevin Berne
Scenic designer Nina Ball’s austere gothic arches serve as the sole set throughout the show, an adaptation by Regina Taylor from the book by Michael Cunningham and Craig Marberry. Crowns is elegantly and powerfully directed by Delicia Turner Sonnenberg.
Yolanda, and the audience, get schooled about a phenomenon that they may not have understood, but the dramatic theme that ties the story together is little more than a framework on which to hang plenty of great old Gospel hymns, all delivered with overpowering conviction: “Just a Closer Walk with Thee,” “When the Saints Go Marching In,” and “His Eye is on the Sparrow,” to name just a few. The intermission-free performance is a riveting old-time revival, propelled by pianist Andrew Barnes Jamieson and percussionist Ken Bergmann.
It’s bedrock stuff.
Yolanda (Antonia Reed – left) shares her story with the cast (right – Darryl V. Jones, background: Yaadi Erica Richardson, Phaedra Tillery-Boughton, Janelle LaSalle) in Center Repertory Company’s “Crowns,” performing September 9 – October 6, 2023 at Lesher Center for the Arts in Walnut Creek. Photo Credit: Kevin Berne
“Take me to church,” sang pop star Hozier—a song that exemplifies the universal human need for spiritual redemption. That imperative is exactly what Crowns delivers—an exhilarating, uplifting celebration of life that will force even curmudgeonly nonbelievers to leap from their seats in praise.
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ASR ExecutiveEditor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Crowns
Written by
Regina Taylor
Directed by
Delicia Turner Sonnenberg
Producing Company
Center Repertory Company
Production Dates
Thru Oct 6th
Production Address
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
Transcendence Theatre Company has another winner on its hands with An Enchanted Evening at the sprawling Beltane Ranch in Glen Ellen. The song-and-dance extravagance runs through September 17.
Directed by TTC co-founder Brad Surosky, the two-hour show features eleven supremely talented singers/dancers/actors and a supremely talented on-stage band—choreography by Michael Callahan, music direction by Matt Smart.
TTC’s “An Enchanted Evening” and Taylor Noll, Whitney Cooper, Alloria Frayser, Alyson Snyder, Emma Grimsley, Michael Callahan
Collectively they take their large outdoor audience on a hike down the memory lane of decades of pop music—some of it from classic stage musicals and some of it, Top 40 radio hits including at least one country song and one from the Motown catalog.
…There’s something for everyone in this diverse, marvelously engaging production—even an aria by Puccini…
Opening with “Pure Imagination” from Charlie and the Chocolate Factory, the show then kicks into high gear with a mash-up of “I Put a Spell on You” and “Love Potion Number Nine.” An extended “Moon Medley” includes several songs with “moon” in the title or featured prominently in the lyrics. There’s a long, fun moment of audience participation, some bits of goofy comedic improvisation, but mostly two hours of tremendous singing and dancing from a deeply talented cast. Their playbill bios are especially impressive given their apparent youthfulness.
Emma Grimsley, Alloria Frayser, Alyson Snyder, Michael Schimmele, Whitney Cooper, Joey Khoury, Michael Callahan in “An Enchanted Evening.”
TTC has managed to correct a couple of minor problems that marred the opener of The Full Monty—the too-low stage and seats that had the audience staring directly into the backs of those sitting in front of them. It’s all good now—clear views for everyone, and now that it’s late summer, no squinting into the sun during the first act.
Colin Campbell Mcadoo, Joey Khoury, Michael Schimmele, Nathan Andrew Riley at work.
The show is a glorious way to spend a late summer evening. Early arrivals can enjoy a variety of vittles from several food trucks parked onsite, and wines from several Sonoma County vintners.
Whitney Cooper and Kyle White in “An Enchanted Evening by TTC.
TTC isn’t exaggerating in describing An Enchanted Evening as “a magical night of Broadway and beyond”—as truthful a tagline as one can imagine. It’s all that and more.
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ASR ExecutiveEditor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
A party atmosphere greeted the arrival of Hippest Trip – the Soul Train Musical last week at American Conservatory Theater. Brightly-attired fans spilled out into the street in front of the theater and filled it to capacity for the world premiere of Dominique Morisseau’s dazzling retrospective of the long-running television show and its founder Don Cornelius, wonderfully directed by Kamilah Forbes.
The cast of “HIPPEST TRIP – The Soul Train Musical”. Photo credit: Kevin Berne & Alessandra Mello
San Francisco mayor London Breed further amped up the crowd with a high-energy pre-show pep talk delivered from one of the most imaginative sets ever created for a big-production musical: a giant old-school TV set surrounded by extravagant neon in the rich brown and orange of early 1970s psychedelia, running up the walls and onto the ceiling of ACT’s Toni Rembe Theater—a brilliant effort by scenic designer Jason Sherwood.
…one of the most engaging musicals to land in San Francisco this year…
The incredibly confident Quentin Earl Darrington stars as Don Cornelius, a former Chicago journalist who grew tired of producing stories about crime and misery. He envisioned an upbeat dance-and-music show that would uplift his community. Through sheer willpower he made it a reality—first in his home town, then in Los Angeles, and then nationwide. New episodes aired every Saturday, and as Soul Train gained popularity, older episodes were available as re-runs.
Pam Brown (Amber Iman) and Don Cornelius (Quentin Earl Darrington). Photo credit: Kevin Berne & Alessandra Mello
Thanks to Cornelius’ tireless campaigning, the show featured top talents from the Stax and Motown labels—acts such as Gladys Knight and the Pips, the Four Tops—and superstars such as James Brown. Soul Train was hugely popular not only with its target market, but with music fans of all varieties. His tireless efforts yielded tremendous results, at the expense of alienating him from his family and ultimately provoking a divorce from his loyal wife Delores, evocatively portrayed by Angela Birchett.
In a resonant baritone, Darrington recites the Cornelius tale in the first person, directly to the audience, while other essential parts of the story are conveyed through what we can only assume are historically accurate sketches—and by lots of spectacular dancing propelled by an equally spectacular band. Kudos to choreographer Camille A. Brown and music supervisor Kenny Seymour.
The musical context is very much linear. The early days of Soul Train were a showcase for 1960s soul music, the favorite genre of the show’s founder and host.
Kayla Davion (Jody Watley) and the cast of “HIPPEST TRIP – The Soul Train Musical”. Photo credit: Kevin Berne & Alessandra Mello
Like swing era bandleader Glenn Miller, Cornelius imagined that his preferred music would endure forever, and was dismayed—if not blind-sided—by the rise of disco in the mid-to-late 1970s. Disco was a market disrupter for all kinds of pop music, and Cornelius ultimately relented, promoting disco acts such as the trio Shalamar, whose female singer Jody Watley (Kayla Davion) went on to have a solo career. He was further annoyed by the rise of hip-hop, a genre that originated at the same time as disco but proved to have much more staying power. Disco faded—1979 was reportedly the peak year for sales of vinyl records—but hip-hop and its offshoots remain dominant musical forces today.
Cornelius was further irked by the emergence of New Jack Swing, exemplified by Bobby Brown’s hard-rocking 1980s hit “My Prerogative”—in this show, a music-and-dance performance so stunning that it provoked a spontaneous standing ovation in the second act. This reviewer has attended thousands of productions, but until September 6 had never seen such an outpouring of enthusiasm and appreciation. Opening night was truly astounding.
An obsessed, well-intentioned visionary, Cornelius was nonetheless no angel. One of his sons was estranged, but Tony Cornelius (Sidney Dupont) signed on as his overbearing dad’s apprentice, and gradually worked his way into management of the Soul Train empire, a position he holds today. (A very informative interview between Tony and the playwright is included in the playbill. The real Tony Cornelius was at ACT on opening night, as was Morisseau, who delivered a heartfelt speech at closing.)
Perhaps the worst shortcoming of the elder Cornelius was his refusal to pay Soul Train dancers, even after the show was an undeniable big-ticket hit. He found his initial cadre at a Los Angeles recreation center, where they were being mentored by a kind-hearted woman named Pam Brown (Amber Iman), who became Cornelius’ loyal production assistant. Iman is a wonderfully compelling performer with a glorious singing voice. As with “My Prerogative,” she provoked sustained applause in almost every scene.
Roukijah “NutellaK” Rooks and the cast of “HIPPEST TRIP – The Soul Train Musical”. Photo credit: Kevin Berne & Alessandra Mello
There’s a tertiary thread in the show’s narrative where some dancers discuss going on strike until they realize they can’t demand higher wages if they aren’t being paid at all. Spunky dancer Rosie Perez (Mayte Natalio) repeatedly demands a contract, but only with lawyers present, a demand that her boss consistently rebuffs. The tight-fisted Cornelius may have harbored a fear that his eminently seaworthy ship might spring a leak at any moment.
All of this—personal and professional alike—is woven into one of the most engaging musicals to land in San Francisco this year. Both deeply informative and wildly entertaining, Hippest Trip – The Soul Train Musical is a hugely important piece of American cultural history. There aren’t enough stars in our ratings system to shower all the praise it deserves. It is without question the most important show now running in San Francisco.
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ASR ExecutiveEditor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Hippest Trip – The Soul Train Musical
Written by
Dominique Morisseau
Directed by
Kamilah Forbes
Producing Company
American Conservatory Theater
Production Dates
Through Oct 8th
Production Address
Toni Rembe Theater
415 Geary Street
San Francisco, CA
Aisle Seat Review’s (ASR) management team of Kris Neely (Owner, Editor-in-Chief) and Barry Willis (Senior Executive Editor and Writer) want to address an issue that some have found confusing or contentious: ASR’s theater review scoring system ranges from 0.00 to 5.00 but disallows either 0.00 or 5.00 ratings for any theatrical production or for any performance aspect (performance, stagecraft, etc.) Clarifying why such an approach is valid and important for maintaining the integrity of ASR’s theater criticism and respecting the art it speaks to.
We understand that the notion of imperfection is not always comfortable, especially regarding the painstakingly complex task of creating and evaluating any art.
The Diverse Voices Behind Our Reviews
ASR’s critics are not just writers—they represent a tapestry of experience across theater arts. Our team encapsulates a wide range of expertise, including seasoned journalists, former theater professors, theater board members, and veterans of stage and screen.
Every one of our nine Nor Cal critics is a voting member of the San Francisco Bay Area Theatre Critics Circle (SFBATCC), assuring that our reviews emanate not merely from knowledge but also from a profound passion and a solid history of and reverence for, the theater and theater arts and artists.
Furthermore, ASR’s coverage model also demonstrated our dedication to the diversity of Bay Area theater. Even a simple analysis of San Francisco to Antioch and Santa Rosa to San Jose reveals that ASR’s coverage model exceeds 4,500 square miles.
The Dual Objectives of Criticism
It is essential to differentiate the expectations of theater professionals and a critique website like ours, each with contrasting objectives. Theater companies, actors, and production artists naturally seek validation for their labor-intensive, experienced-based, and painstakingly-educated artistic endeavors.
This quest goes beyond artistic appreciation; high ratings translate to broader acclaim and increased ticket sales and funding opportunities. For artists aspiring to carve a niche in theater, ratings can contribute to following their passion—or enduring mundane jobs. Any theater’s desire for a favorable review and its artistic professionals’ individual aspirations are intrinsically linked to quests for financial stability, peer recognition, and reputational growth.
Conversely, a critique website operates from a more distant standpoint, though its responsibility is no less significant. Our primary commitment is with our readers, the expansive theater community, and, importantly, the ticket-buying public, all asking ASR to deliver precise and unbiased performance and value evaluations of productions.
That is why at ASR, we aim to “call balls-and-strikes” and to demonstrate a neutral adjudication of each show. We aim to delineate any show’s strengths and weaknesses without, we hope, our judgment being clouded by bias, preconceptions, or inclinations.
This perspective does not diminish our subjective experience of a production. It focuses on appraising a show’s substance, delivery, technical consistency, and resonance with and for an audience. This nuanced approach does not reflect a lack of esteem or admiration for theatrical craft; instead, it emanates from our unique vantage point within the sprawling theater landscape.
Decoding the ‘Broadway’ Shorthand in ASR’s Scoring System
ASR’s discussions about theater and its intricate evaluations tap into a rich well of critical experiences and understandings. Like any community with a history of intense debates and discussions, we have developed our own internal language—a convenient shorthand. This language allows us to concisely encapsulate complex ideas, past experiences, or general sentiments, enabling more efficient and pointed conversations.
And so, over the years, we have invoked references to past shows or industry standards to make a point. For example, mentioning “Another Antioch The Foreigner” (a made-up example) is not just about recalling a particular show but is also an embodiment of a specific sentiment or quality we felt about a production that might not have met our expectations.
Similarly, saying, “Is their Christmas Carol as good as CenterRep’s?” encapsulates the shared experiences and judgments of a recurring version of the Dickens classic that has few peers in all of the Bay Area.
Perhaps the most nuanced shorthand we use revolves around the term “Broadway.” In the universe of American theater, “Broadway” is not merely a location or a production level; it is emblematic of the zenith of theatrical arts achievements. Saying something is “Broadway” taps into the collective consciousness of theater enthusiasts, critics, and artists, evoking images of unparalleled quality, the crème de la crème of actors, directors, producers, facilities, top-tier technical expertise, and budgets.
However, when we say a play under critique at ASR is “Not Broadway,” we are not deriding its quality, dismissing its value, or judging its talent base. Instead, it is our internal-only discussion/shorthand way of appreciating the production’s hard work and dedication while noting that it might not have reached the pinnacle of theatrical excellence one might associate with a mainline Broadway production.
On the flip side, an internal discussion at ASR that a 4.75-rated show is “Almost Broadway” is not a literal stamp of its “Broadway-worthiness.” It is conceptual, marrying the notion that a ‘perfect’ 5.00 in art is elusive (and, as we say, not possible) concerning the production quality presented. Our “Almost Broadway” idea is that the show, as commendable as it is, might soar even higher with the resources, talent pool, and budget typically associated with a Broadway smash.
To be clear: Inside ASR, this shorthand does not devalue (or overvalue) any production. It is not meant as praise or an insult. It is a conceptual sightline. An abstract mile marker. A convenience for communication inside ASR. Along with other shorthand terms ASR has developed over the past eight years, it offers a shared lexicon to convey complex sentiments, ensuring our discussions remain relative, vibrant, and efficient.
Zero to Five: The Myth of Zero Value
Theater is a collaborative endeavor that requires the confluence of various art forms—acting, direction, writing, music, set design, lighting, and costume design, among others. Even if a production falls dramatically short in one or multiple areas, it is almost impossible for it to have no redeeming qualities whatsoever.
A 0.00 rating would imply a nullification of effort, a denial of even the attempt to create something meaningful. It would be disrespectful to the labor, however flawed, that has gone into creating a piece of art. It would not only be devastating to the morale of those involved in the production but would also inhibit constructive criticism. The lowest scores in our range should indicate a severe need for improvement, not oblivion.
The Elusiveness of Perfection: Why We Do Not Have a “5-Star” Rating System
On the flip side, a score of 5.00 suggests perfection—again, a feat unattainable in the art world — which is inherently subjective and ever-evolving. What might be considered a perfect performance today could be seen as dated or flawed in the context of future artistic innovations, new theater technologies, and social shifts.
Moreover, even the most revered productions have quirks or elements that divide opinion.
Art’s beauty and value often lie in its juxtaposition of blindingly brilliant efforts, debatable imperfections, and its ability to provoke thought, incite debate, and leave room for interpretation. Giving any production a ‘perfect’ score risks stifling that discourse and undermines the essence of what makes art so compelling and richly complex in the first place.
Thus, if one cannot conceive of a production that would merit a 0.00 score, it should be equally impossible to imagine a “perfect” 5.00 score across any or every aspect of its production. (That is a huge reason why ASR stopped using a so-called “Five Star” rating system back in 2018. We do not have a “5 Star” rating system now but a 0.00-to-5.00 rating system.
That said, astute readers will note that, in the past, we have given 5.00 points in selected reviews, such as for the national touring production of The Band’s Visit a couple of years ago, a show that many thought was Broadway quality. Today, even a show this good would rate a 4.90 at ASR.
One exception: Even amidst an internal swirl of controversy, ASR has been known to award 5.00 ratings for selected scripts and scores, for example, the score from West Side Story, or the script from To Kill a Mockingbird, or most Shakespeare scripts. This practice will end shortly. More on that later.
Reputation and Credibility
ASR’s long-term plan is to be a viable commercial venture supported by advertising. And to labor to maintain a reputation for being fair and even-handed — even if that means occasionally dispensing some “tough love” in a review.
If critics who write for our website were to hand out 5.00 scores freely, it would seriously jeopardize our credibility. Any grading system loses meaning and utility if its upper limit is frequently touched. Readers rely on critics to be discerning to help them navigate the vast and varied landscape of theatrical productions. A 5.00 score, if doled out indiscriminately, would dilute the weight and significance of all our reviews.
Imagine overhearing a conversation between two theater folks:
SHE: “Hey, ASR gave us a 5.0!”
HE: “So what? They give everyone and everything a 5.0.”
This reflects not just a casual dismissal but a severe undermining of the role that critics play in the theater ecosystem. It would indicate that our evaluations are meaningless, serving more as empty applause than as considered analyses.
The answer lies in the use of the ratings score as a guidepost—not as an ultimate judgment. A 4.75 score would indicate an exceptional, perhaps groundbreaking, production but would also implicitly acknowledge room for debate, interpretation, and, yes, improvement.
Similarly, a score at or above 0.10 would recognize the absence of complete worthlessness, emphasizing that every production has at least some redeemable quality or lesson to offer, even if it is a lesson in how not to do things.
At ASR, we aim to recognize the multi-dimensional aspects of theater while maintaining a grading system that reflects both highs and lows without resorting to absolutes. We believe such a nuanced approach encourages improvement, invites dialogue, and, most importantly, respects art’s ever-changing, ever-subjective nature.
Not Change For Change’s Sake
We hope this helps clear the air on our current scoring model, our use of shorthand in internal discussions, and our efforts to maintain our neutrality and credibility as a critical organization.
However, it is essential to add this in closing: for almost a year, ASR’s management has been discussing eliminating our 5.00-based rating system soon, the same way we did our 5-star rating system years ago. Our new, non-numerical rating system has been selected and will appear in ASR reviews starting in October 2023.
Thank you for your understanding and for your invaluable contributions to the theater world.
Thank you for those of you who have raised concerns about the reference to “Broadway” as a benchmark in ASR’s current scoring system. We deeply value all feedback and the opportunity here to clarify our intent.
We wholeheartedly agree that some of the most impactful, innovative, and profound theatrical experiences can be found in local and regional theaters across the USA. The Bay Area boasts an amazingly rich tapestry of theatrical talent and has been the birthplace of numerous groundbreaking productions. We never intend to diminish or shade that. In 98% of the shows ASR reviews, the subject or measure of “Broadway” is absent.
At ASR, our primary focus is on celebrating, critiquing, and promoting local Bay Area theater. We are deeply committed to recognizing the brilliance, diversity, and innovation that our local and regional theaters bring to the table, year after year, as our reviews clearly demonstrate. Our reviews and ratings aim to provide constructive feedback to these productions.
We deeply respect and cherish the myriad forms of theater we are honored to review and we understand and appreciate that each brings its unique flavor, essence, and invaluable contributions to the world Bay Area performing arts.
Aisle Seat Review wishes to apologize for any unintended offense that may have come about due to our recent opinion piece about the troublesome cluster of North Bay theater openings scheduled for the weekend of September 8th.
We did not and do not wish to alienate anyone in the hard-working theater community.
Our purpose then and now is not to glorify ourselves or any other critics. What we really hope to do is to encourage theater companies to cooperate and communicate with each other so that all can enjoy full houses, lots of ticket sales, and lots of sales at the concession stand.
…ASR has the Bay Area’s biggest team of expert reviewers…
Optimum revenue for all would be the result of staggered openings—or barring that, press openers held on weekday evenings as is commonplace elsewhere in the Bay Area. Admittedly many such openings are at Equity houses, but not all.
More opportunity for all can’t possibly be a bad thing, can it? Staggered openings would allow theater fans to see everything they’d like to see rather than having to choose among them—plenty of exposure for performers, directors, choreographers, musicians, etc., and a bonanza for fans. A real win-win.
Some detractors mentioned that with so many shows, we should simply recruit more reviewers—a hilarious suggestion in view of the fact that there are precious few people with any knowledge of theater and even fewer with the ability to write a coherent sentence. The literary talent pool is a tiny fraction of the size of the North Bay’s acting pool.
It’s actually frightening how many Americans are functional semi-literates. Even many highly educated people are mediocre writers. Writing ability is simply not a huge value in our culture, except where and when it’s desperately needed.
Aisle Seat Review has the Bay Area’s biggest team of expert reviewers, most of whom have decades of journalistic experience with theater and other special interests. All but one of us are voting members of the SF Bay Area Theatre Critics Circle (SFBATCC), now the only awards-granting theater organization in the region. ASR is also the only theater-centric website covering the entire Bay Area, a geographic entity the size of Switzerland.
SFBATCC nominations and awards may be of minimal importance to company directors, but they are hugely important to theatrical talents onstage and off, as any perusal of playbill bios will reveal.
ASR’s reviewers don’t attend theater simply to take advantage of free tickets, snacks, drinks, and the opportunity to chat with colleagues. Thoughtful, informative, and entertaining reviews are hard specialized work, something that may not be apparent to casual readers. Everything expertly done looks easy from the outside, but there is enormous knowledge, energy, and skill behind every review that appears on ASR.
We wish to avoid insulting theater companies by not coming to opening nights. How many times have we fielded complaints from company directors that they simply can’t get reviewers to their shows? Or that a review appears three days before closing weekend? The fault is not ours. It’s the failure of theater companies to communicate with each other. If the NBA can schedule hundreds of basketball games each season, without conflict, a handful of North Bay theater companies can certainly do something similar.
Aisle Seat Review’s utmost duty is to inform potential ticket buyers as to whether any production is a good use of time and money. By fulfilling this duty, we hope to elevate the theatrical experience for all.
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ASR ExecutiveEditor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Love and linguistics get a joint workout in Julia Cho’s The Language Archive, at Masquers Playhouse in Pt. Richmond, through September 3.
One of the Bay Area’s oldest community theater venues, Masquers has been home to many compelling productions, notable among them last fall’s suberb Amelie, the Musical. An examination of the love life of an academic named George (Austine De Los Santos), The Language Archive takes its title from the laboratory where George works with his assistant Emma (Samantha Topacio), researching extinct and near-extinct languages. Tape recordings of the utterances of native speakers are kept in file boxes stacked to the ceiling in set designer John Hull’s austere interpretation of what such an archive might look like.
George has a problematic relationship with his wife Mary (Sarah Catherine Chan) who abruptly leaves him to start her own little bakery. The reasons for their difficulties are not quite clear in Cho’s script, nor in director Wynne Chan’s production. Emma is smitten with George, but not sufficiently for them to engage in any sort of meaningful long-term commitment. It’s all a maddening muddle for George, like his partial knowledge of disappearing languages or the fact that he never learned how to speak with his grandmother, the last practitioner of her own native tongue.
A “constructed” language invented by Polish ophthalmologistL. L. Zamenhof in 1887, Esperanto figures prominently into the story line. With its primary vocabulary and grammar derived mostly from Romance languages (Spanish, French, Italian, Portuguese), Esperanto was envisioned as an international or universal language to make communications easier among diverse nationalities. The language today has approximately 100,000 speakers worldwide.
Joseph Alvarado does a couple of nicely convincing turns in this show as Zamenhof, and is amazing as Resten, one of two remaining speakers of a disappearing tongue (“eloway”), along with his partner Alta (Pauli N. Amornkul). Like a botanist gathering seeds, George makes recordings of their speech in the hope of somehow preserving it—not that it will be anything other than an academic curiosity in a file box once Resten and Alta are gone. Armornkul is also very convincing as a no-nonsense Esperanto instructor, with Emma as her only student.
The story obliquely recalls David Ives’ The Universal Language (from his All in the Timing series) as well as Melissa Ross’s tightly-scripted An Entomologist’s Love Story that played to sold-out houses at San Francisco Playhouse in 2018, another tale about love among academic researchers. This reviewer found Cho’s contribution to the genre lacks the comedic brilliance of Ives and the poignancy of Ross, but with revisions has potential to be a truly compelling piece.
Alvarado and Amornkul are superb actors in multiple roles. Their younger castmates are still finding their sea legs onstage, but they give a solid effort. The sound designer isn’t credited in the playbill but deserves accolades for making the small stage at Masquers a believable railroad depot. Masquers too deserves accolades for taking risks with little-known plays, some of which, like tiny acorns, can grow into mighty oaks.
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ASR 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: [email protected]
“Queen of Rock’n’Roll” is a title that’s been bestowed on several performers—Stevie Nicks and Joan Jett among them. None are more deserving than Tina Turner, who passed away in May 2023. She was a major force during several decades as a pop music icon.
Tina – The Tina Turner Musical gloriously brings her music and life to San Francisco’s Golden Gate Theater through August 27. The production moves to Broadway San Jose August 29 – Sept. 3.
…One of this year’s most important national touring productions…
Both a staged equivalent of a “biopic” (a filmed biography) and a “jukebox musical,” The Tina Turner Musical tells the tale of her origin in the small town of Nutbush, TN, to her eventual marriage to musician Ike Turner, and her re-emergence as a solo superstar after their breakup.
At nearly three high-intensity hours, the production is so demanding that it requires two performers in the lead role, alternating performances so that each can have a full rest day before the next one. Zurin Villanueva starred in the Wednesday Aug. 2 opener, with Naomi Rodgers taking the lead on alternate dates. Rodgers is presumably Villanueva’s equal in a huge, sumptuous production directed by Phyllida Lloyd.
Zurin Villanueva.
With the lanky physique and endurance of a distance runner, Villanueva tears into the drama and music with power and conviction. Just when you think she can’t possibly top herself as the eponymous lead, she opens her throat and brings Tina Turner straight to the heart. The Golden Gate’s near-capacity crowd couldn’t get enough.
Naomi Rodgers
The show is all about Tina, of course, but it’s marvelously fleshed out by many other superb talents. High praise to Roderick Lawrence who manages to find humanity in the troubled life of Ike Turner, a talented, charming manipulator who abused Tina so hard and so often that she ultimately made a desperate dash across a busy freeway to throw herself on the mercy of a motel clerk who provided her a room, food, medical care, and an armed guard at her door. That true event is a pivotal scene in the film What’s Love Got to Do with It? and the closing scene in the musical’s first act.
A compelling musician, Lawrence’s vocals are pretty damned good too, but he doesn’t quite measure up to Gerard M. Williams as Tina’s lovelorn bandmate Raymond, whose gorgeous rendition of “Let’s Stay Together” exceeds by many degrees the original by Al Green. Roz White stars as Zelma, Tina’s disdainful mother who sends her daughter away to live with her grandma. There’s no evidence of a father figure in the depiction of Tina’s early life, a circumstance all too prevalent among adult women who subjugate themselves to abusive men. White has only one moment to sing in this show, but her contralto is wonderful.
Ayvah Johnson.
The real emerging superstar in this production is child performer Ayvah Johnson, who captivates the audience as young Anna-Mae (Tina’s birth name), first as a very enthusiastic member of her gospel-singing church, and appearing intermittently throughout the show to remind us where Tina Turner came from. Johnson is clearly a crowd favorite. The Ikettes, the big backstage band, and the show’s stagecraft are all superb. While engaging, we found that the new music by Nicholas Skilbeck just doesn’t compare favorably with the Turner songbook.
Jeff Sugg’s projection design is a force of its own. Act Two is like a psychedelic trip accentuating and building each song with magic, greatly enhanced by Bruno Poet’s lighting design.
Although the adequate book glosses over details, it provides highlights of her life, reminding us that her biggest personal and professional successes happened well after she turned 40. More than a juke-box musical, this is a superbly conveyed story of triumph and tragedy, blazing the life of icon Tina Turner to the back of the capacious Golden Gate. This inspiring, uplifting tale is beautifully rendered.
One of this year’s most important national touring productions, Tina – The Tina Turner Musical is an absolute must-see.
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ASR Contributing Writer George Maguire is a San Francisco-based actor/director and is Professor Emeritus of Solano College Theatre. He is a voting member of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
ASR 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: [email protected]
Production
Tina – The Tina Turner Musical
Written by
Katori Hall, Frank Ketelaar and Kees Prins
Directed by
Phyllida Lloyd
Producing Company
Golden Gate Theatre
Production Dates
SF: Thru Aug. 27, SJ: Aug. 29 – Sept. 3
Production Address
Golden Gate Theatre
1 Taylor Street
San Francisco, CA
...
Broadway San Jose (Aug 29 – Sept. 3)
Center for the Performing Arts
255 S. Almaden Blvd.
San Jose, CA
94102
Early each summer, San Franciso Playhouse launches a classic musical that runs well into September—a genius strategy leveraging Union Square tourist traffic. This year’s offering is a brilliant production of A Chorus Line, directed by Bill English and choreographed by Nicole Helfer.
Background: In 1975, word on the street in New York City was “get to the Public Theatre and see the workshop of a new musical called A Chorus Line!” The show opened to standing-room-only on April 14, closed on July 13, and opened 12 days later on Broadway at the Shubert Theater, becoming (until Cats) the longest-running musical in Broadway history. It’s hard to imagine that A Chorus Line appeared the same year as Fosse’s Chicago and Sondheim’s Pacific Overtures. A Chorus Line swept the Tony Awards, leaving Chicago empty-handed until the revival put together by Ann Reinking.
Dancers pin their hopes on winning a role in “A Chorus Line,” presented by San Francisco Playhouse June 22 – September 9th.
Based on Michael Bennett’s conversations with Broadway dancers, the story centers on their careers, hopes, dreams, frustrations, and possible longevity during a wildly vacillating time for Broadway musicals. At these initial meetings, Bennet knew he had something remarkable to tell. The team of writers Nicholas Dante and James Kirkwood, lyricist Ed Kleban, composer Marvin Hamlisch, and co-choreographer Bob Avian yielded one of the most revolutionary musicals of all time, a conceptual breakthrough when it first appeared.
Dancers strut their stuff in SF Playhouse’s “A Chorus Line,” performing June 22 – September 9th in The City.
A Chorus Line conveys multiple stories about a corps of dancers seeking spots in a touring production. A couple of them are so young that they have yet to land their first serious gigs. At the other end of the spectrum are veterans feeling the inevitable pressures of age. In between are those with personal issues that could affect their careers — the responsibilities of parenthood, for example, or long-running guilt over being gay (this was the early ‘70s), or a drug habit, or a tone-deaf singing voice. Anything that might derail the touring production for which they are auditioning is cause for anxiety for them and the show’s director. There are ongoing and sometimes overly broad hints about fleeting friendships and petty jealousies among the dancers.
. . . A Chorus Line is every actor’s story, whether professional or community theater. “I Hope I Get It” . . .
Overseeing them all is a stern but not unsympathetic taskmaster named Zach (Keith Pinto), choreographer of the show-to-be. Zach talks to them in turn as he puts them through their paces, sometimes barking like a Marine Corps drill instructor and at other times almost whispering like a trusted friend.
Zach (center – Keith Pinto) instructs dancers auditioning in San Francisco Playhouse’s “A Chorus Line”.
Zach came up through the ranks and understands their plight, but he also has a high-pressure job to do. Pinto manages this conflict like a high-wire artist, in a riveting performance.
GM: Wasn’t it great to see the SF Playhouse stage filled with some of the finest musical theater talent in SF?
BW: Absolutely. We are lucky to live in such a talent-rich part of the world—talent across all the arts, not merely theater. This production features some of the Bay Area’s best.
GM: Bill English’s direction really highlights the uniqueness in each role as their stories unfold, and Nicole Helfer’s choreography hits a balance of distinction for each. Her ensemble numbers are remarkable.
BW:Nicole is a wonderful choreographer and an excellent director. She filled both duties exceptionally well with her fine production of She Loves Me at RVP recently. This Chorus Line is the first time I can recall seeing her onstage.
I thought she brought a superb blend of self-doubt, vulnerability, determination, and mastery of the craft to the role of Cassie, the show-to-be’s potential lead dancer, Zach’s former girlfriend, and an almost-over-the-hill veteran who hopes to land just one more glorious role before resigning herself to the post-career Siberia of teaching. Nicole’s solo “The Music and the Mirror” is marvelous.
GM: I loved the surprises of newer emerging talents like Chachi Delgado’s as Richie in “Gimme The Ball” and Tony Conaty as Mike in “I Can Do That.”
BW: They’re both great performers. Conaty is amazingly dynamic, but Delgado is in a league of his own in this production—the epitome of innate athleticism, effortless grace, and deep confidence.
GM: Great to see the husband and wife team of Keith Pinto and Alison Ewing perform so well as Zach and Sheila.
BW:Absolutely. Their real-world relationship in some ways reflects a couple of the show’s secondary themes.
GM: Chorus Line never needs a set as such—the tall mirrors at the back of the stage evoke the 52nd & Broadway dance studio where the original actually took place. Michael Oesch’s lighting design brought us focus, and his finale lights are stunning!
BW: Michael made incalculable contributions to the success of this production. During the post-show meet-and-greet he mentioned having basically lived at the Playhouse for the last two weeks before opening.
GM: A Chorus Line delves into the personal and professional torment that is the life of all artists. 1975 was my time in NYC, Barry. I stopped auditioning for Broadway choruses when I was at the very end of the final ten for Shenandoah. Choreographer Bob Tucker asked me (like Zach does) in front of everyone “Why aren’t you taking dance classes?”
I had not taken dance classes to sharpen my skills. I mumbled some lame excuse, walked out with my head down—crying on Broadway!—then said to myself, “Well, maybe I can do Shakespeare!” The rest, dear hearts, is history.
A Chorus Line is among the greatest productions ever about the lives of desperate artists, willing to make almost any sacrifice for their moment under the bright lights. It’s simultaneously personal, painful, and exhilarating—and Dave Dobrusky’s backstage band is terrific! This SF Playhouse production is a must-see event.
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ASR Contributing Writer George Maguire is a San Francisco-based actor/director and is Professor Emeritus of Solano College Theatre. He is a voting member of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
ASR 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: [email protected]
Production
A Chorus Line
Written by
James Kirkwood and Nicholas Dante/music by Marvin Hamlisch/lyrics by Edward Kleban
The Emerald City meets Beach Blanket Babylon in ACT’s gloriously goofy The Wizard of Oz, running through June 25.
The wild production adheres closely to the beloved original, including story and songs, but it’s as far removed from a 1940s Saturday afternoon movie matinee as you can imagine—a hilariously gender-bending extravaganza just perfect for Pride Month in San Francisco.
…ACT’s Wizard of Oz is an amazing and marvelous spectacle…
With her brilliantly-conceived puppet dog Toto never far away, Chanel Tilghman stars as the lonely, spunky Dorothy, swept away by a tornado from her prairie home to the magical Land of Oz. Gifted with an innocent look, a relaxed stage presence, and a lovely singing voice, Tilghman delights as the naïve but adventurous Kansas schoolgirl.
Cathleen Riddley (Zeke) and Chanel Tilghman (Dorothy) in “The Wizard of Oz”, at ACT in The City. Photo credit: Kevin Berne.
Also wonderful are the three friends she meets on her way to visit the Great Oz: the Straw Man, the Tin Man, and the Cowardly Lion (loose-limbed Danny Scheie, self-contained Darryl V. Jones, and pugnacious Cathleen Ridley, respectively.)
Add to this list of huge talents Ada Westfall as the pontificating Professor Marvel/Wizard, Courtney Walsh as the Wicked Witch of the West and Katrina Lauren McGraw as Glinda the Good. Walsh oozes evil from several spots in the theater, much to the delight of the audience, and McGraw absolutely shines as Glinda. Ebullient and comical, McGraw was outstanding as Maria in last year’s production of The Sound of Music at Mill Valley’s Throckmorton Theatre. Not to be overlooked are the supremely talented cello-playing El Beh in multiple roles, and Travis Santell Rowland as a glittery whirling dervish wreaking havoc in both Kansas and Oz.
(Top) Katrina Lauren McGraw (Glinda), (Bottom) Chanel Tilghman (Dorothy), and (Background) Beth Wilmurt in “The Wizard of Oz”, now through Sunday, June 25, 2023. Photo credit: Kevin Berne
This Wizard benefits greatly from solid direction and inventive choreography by Sam Pinkleton, but what takes it into the stratosphere of comedy and campy nostalgia are costumes and set design by David Zinn. The set is a psychedelic riot of every imaginable tacky thing, as if the entire contents of a Party City store were expanded to gigantic proportions and scattered at random across the stage. The closing scene is a bit baffling, wherein all the characters appear on stage dressed as Dorothy in prairie garb but it doesn’t detract from the show’s joyous impact.
ACT’s Wizard of Oz is an amazing and marvelous spectacle, very much in keeping with San Francisco’s long tradition of outrageous theatricality—The Cockettes, The Thrillpeddlers, The Tubes, and as mentioned, Beach Blanket Babylon. It’s also a production that would probably be illegal in Florida, Texas, and other less-enlightened parts of the world. Be glad we live where we do.
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Aisle Seat Review Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Before there wasHamilton, there was In the Heights, the first hugely successful musical with lyrics and music by Lin-Manuel Miranda, with book by Quiara Alegria Hudes. The song-and-dance extravaganza runs at Walnut Creek’s Lesher Center for the Arts through June 24.
Essentially a celebration of life in the barrio of Washington Heights in upper Manhattan, the simple drama centers around Nina Rosario (Cristina Hernandez ) a young woman who’s returned to the neighborhood after her first year at Stanford University, an experience not entirely to her liking.
Nina (Cristina Hernandez) reflects on her struggles to make her dreams come true in Center Repertory Company’s “In the Heights,” performing May 27 – June 24 at Lesher Center for the Arts in Walnut Creek. Photo Credit: Kevin Berne.
Her family runs Rosario’s taxi and car service, the neighborhood’s largest employer; her would-be boyfriend Benny (Dave J. Abrams) hopes to become both the company’s chief dispatcher and perhaps, a member of the Rosario family, a doubtful possibility in the eyes of her parents Camila and Kevin (Natalie Amaya and Noel Anthony, respectively). The Rosarios also wrestle with the implications of selling the business to fund more Stanford for Nina, an eventuality that could disrupt the social structure of the neighborhood.
…a dazzling spectacle and a really satisfying performance…
The show’s large cast makes great use of the Margaret Lesher Theatre’s wide stage, dressed to the two-level max by scenic designer Leah Ramillano with very effective aid by lighting designer Wen-Ling Liao.
The residents of Washington Heights hit the club in Center Repertory Company’s “In the Heights,” performing May 27 – June 24 at Lesher Center for the Arts in Walnut Creek. Photo Credit: Kevin Berne.
Choreographer Sara Templeton puts her dancers through one exhaustive exercise after another, propelled by a tremendous backstage band led by Nicolas Perez. The band’s unnamed drummer works his tail off throughout the show with an unbelievably dynamic performance that sustains both performers and audience alike.
The first act is especially bombastic. And there’s the rub. Miranda throws in some rap, and some Spanish rap, but in keeping with the popular trend in musical theater, his songs lack melody. Most of the cast shouts at the audience, and many lyrics are somewhat masked by the band and/or sound effects. Spoken dialog is all clear and convincingly delivered, including several scenes that comically exploit differences in regional and national dialects among native speakers of Spanish.
Usnavi (Míchel Alejandro Castillo), Benny (Dave Abrams), and the citizens of Washington Heights dance in the streets in Center Repertory Company’s “In the Heights,” performing May 27 – June 24 at Lesher Center for the Arts in Walnut Creek. Photo Credit: Kevin Berne.
The show is rampant with talent—not only the leads but many of the minor characters too. Alex Alvarez is superb and hilarious as “Piragua Guy,” who pushes his icy-drink cart all over the neighborhood. Michelle Navarrete is especially charming as Abuela Claudia, the barrio’s all-purpose grandmother and source of reassurance.
After its success on Broadway, In the Heights went into syndication among regional theater troupes. The sumptuous Lesher Center and CenterREP’s aspirational production are as close as you’re likely to come to the original. It’s a dazzling spectacle and a really satisfying performance.
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Aisle Seat Review Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Into the Heights
Written by
Quiara Alegria Hudes
Music and lyrics by Lin-Manuel Miranda
Directed by
Nicholas C. Avila
Producing Company
Center Repertory Company
Production Dates
Thru June 24th
Production Address
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
The vast underbelly of American culture gets hilariously gutted in The Great American Trailer Park Musical at Napa’s Lucky Penny Productions through June 24.
Welcome to Armadillo Acres, a mobile home community in the town of Starke, Florida, a place where cheap beer, flimsy housing, and low-budget/low IQ entertainment combine in a toxic froth, where all things inconceivably tacky are a way of life.
…another Lucky Penny winner that could easily play to sold-out houses all summer long…
Lucky Penny’s10th anniversary of a production first staged in 2012 at Santa Rosa’s 6th Street Playhouse, this Trailer Park features five original cast members. Comic genius Daniela Innocenti-Beem shines as “Bad Ass Betty,” mother hen to a brood of spunky but unlucky residents, including the agoraphobic Jeannie (Julianne Bradbury) who struggles mightily to step outside her door; Jeannie’s toll-taker husband Norbert (Mark Bradbury, an astounding theatrical chameleon); Pickles (Kirstin Pieschke), suffering from “hysterical pregnancy;” and the lusty Linoleum (Shannon Rider), whose husband is on death row in a Florida penitentiary.
His ultimate fate hasn’t diminished her enthusiasm for life’s fundamental pleasures—she coos with delight when retrieving her latest copy of “North Florida Prison Wife Digest” with a feature story about spicing up conjugal visits.
“The Great American Trailer Park” Musical ensemble at work.
Into their midst comes a fetching stripper named Pippi (Taylor Bartolucci) who immediately arouses the attention of Norbert—and the suspicions of female neighbors. Later we meet the gun-waving, Magic Marker-sniffing redneck Duke (Skyler King), Pippi’s volatile estranged husband who’s tracked her down with the intention of reclaiming what he thinks is his. A marvelous plot twist involving Jeannie and Norbert won’t be revealed here!
Backed by Justin Pyle’s hard-driving four-piece band high above stage right, the show is a wild celebration of life on the other side of the tracks—the subject of the first song-and-dance production. Composer David Nehls’ songs are upbeat, engaging, and unlike in many contemporary musicals, have actual melodies that propel really clever lyrics right into the hearts of a very receptive audience. Most songs—not all—are delivered by the trio of Betty, Linoleum, and Pickles in a pastiche that recalls the doo-wop girls of Little Shop of Horrors. Staci Arriaga’s intentionally goofy choreography is the perfect reinforcement.
Act One closes with Jeannie’s dream sequence—a spoof of Jerry Springer-type televised fare to which she’s addicted. Innocenti-Beem is ideal as the host of the show-within-a-show. The song “The Great American TV Show” manages in short order to skewer everything not otherwise included in the all-encompassing script by Betsy Kelso.
Act Two opens with “Flushed Down the Pipes,” a fatalistic anthem that segues into “Storm’s A-Brewin’ “—an acknowledgement of Florida reality, where there’s a massive electrical storm nearly every afternoon. True fact (a Midwestern phrase also spoken in Florida): the state has the nation’s highest rate of lightning deaths, most of which take place on golf courses—proof that residents of America’s dangling appendage are too dim to come in out of the rain…
(L-to-R) Innocenti-Beem, Pieschke, Rider, J. Bradbury at work at Lucky Penny Productions.
Director/set designer Barry Martin has concocted both a perfectly wince-inducing neighborhood and a lively bunch of twisted residents to fill it, with antics that will have you laughing for days. Martin confessed post-show that having grown up in the Ozarks, he’s on especially intimate terms with the show’s characters.
For those who can’t get enough home-grown lowbrow culture, some of the show’s essential themes also figure into The Legend of Georgia McBride and the regrettably too-short TBS series Claws.
The Great American Trailer Park Musical is scheduled for a Christmas season revival this year, and tickets are disappearing quickly. They’re also selling briskly for the current production—we can only hope that it enjoys an extended run. It’s another Lucky Penny winner that could easily play to sold-out houses all summer long.
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Aisle Seat Review Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
The Great American Trailer Park Musical
Written by
Betsy Kelso
Music & Lyrics
David Nehls
Directed by
Barry Martin
Producing Company
Lucky Penny Productions
Production Dates
Thru June 24th
Production Address
Lucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
Donald Margulies’ Pulitzer Prize-winning Dinner with Friends is a must-see for fans of serious theater. The four-actor drama at Sonoma Arts Live runs through June 18.
An examination of the nature and limits of friendship, trust, love, and commitment, the play opens on a dinner party with three friends—married couple Karen and Gabe (Illana Niernberger and John Browning, respectively) and Beth (Katie Kelley), who tearfully and quite unexpectedly confesses an impending divorce from her lawyer husband Tom (Jimmy Gagarin), Gabe’s best friend since college.
… proof of the extremely high quality of theater in the North Bay…
Act One is told in real time—the two couples are in their late 30s, with two kids each, who are away in another part of the house watching a movie. We hear the kids in the distance but never meet them. The four adults have a long history together, including weekends and summer vacations spent together.
Act Two opens with a flashback to post-college days, at a summer vacation home on Martha’s Vineyard, where Beth meets Tom, in a reasonably short scene that establishes the background, followed by some fast-forward scenes that take us beyond the divorce, to Beth’s new relationship with a man named David, and Tom’s new relationship with a travel agent named Nancy. Like the children, David and Nancy never appear other than by mention. The total time scale of Dinner with Friends may encompass 25 years or more, a long period in the history of four close friends.
This performance by some of the North Bay’s top talents is a tour-de-force of dramatic acting. Pacing under the astute direction of Carl Jordan couldn’t be better. Katie Kelley is especially astounding, with a vulnerability and emotional range that may shock some viewers. She hasn’t cut loose this passionately since her appearance as the reticent Laura Wingfield in The Glass Menagerie at 6th Street Playhouse, directed by Craig Miller some years ago. Niernberger’s character doesn’t have such volatile emotions, but provides a perfect anchor as the more grounded of the two friends.
Marguiles knows his characters intimately, depicting them with equal parts social charm and pretentiousness. They’re all seriously effusive foodies and oenophiles who can’t stop gushing about what they’ve cooked, eaten, and drunk—Gabe works as a food writer—and they all share a propensity for over-analyzing everything they discuss.
Marguiles has drawn his characters expertly: basically, as overly-educated specimens of the pampered class, not entirely likeable but not so self-involved as to be totally annoying. Years ago they might have been derisively called “yuppies.”Kate Leland’s costumes couldn’t be more appropriate.
Director Jordan manages to maintain a somewhat unsteady equilibrium throughout the production. It’s an exquisite balancing act. He and fellow designer Gary Gonser have worked up a most compelling set, using the high stage at Rotary Hall as the home of Karen and Gabe, and as the Martha’s Vineyard site, while below it, at floor level, is a bed that’s the scene of a confrontation between Beth and Tom whose volatility becomes an exercise in rage-induced lovemaking. This very realistic depiction happens within arms’ length of the audience in the front row.
There are some echoes of Edward Albee’s Who’s Afraid of Virginia Woolf? in Marguiles’ script–the four characters are enormously self-involved and they drink continuously throughout the drama, although unlike in Virginia Woolf?, not to the point of incoherency or vomiting.
The second act includes two lengthy heart-to-heart conversations, one between Karen and Beth, followed immediately by a mirroring conversation between Tom and Gabe. Both of these scenes go on far longer than needed, and might work better as point/counterpoint than the way the author intended, but that’s a minor quibble.
Dinner with Friends is an important production. It’s a superbly well-crafted drama, and glorious proof of the extremely high quality of theater in the North Bay–actors, directors, and technical talents included. With this production, as with The Drowsy Chaperone, Sonoma Art Live has established itself as one of the Bay Area’s premier theater companies.
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Aisle Seat Review Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Dinner With Friends
Written by
Donald Margulies
Directed by
Carl Jordan
Producing Company
Sonoma Arts Live
Production Dates
June 2-18, 2023
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Imagine toiling away for years squinting at black-and-white photographic plates of the night sky and trying to track changes that might provide clues to the nature of the universe. That’s what pioneering mathematician/astronomer Henrietta Leavitt did at Harvard University Observatory for approximately twenty years until she was finally allowed to look through the telescope.
Her obsession with astronomy led to a major breakthrough in human understanding of the universe, lovingly depicted in Lauren Gunderson’s Silent Sky at Lucky Penny Productions through May 7.
… a lovely heart-warming production…
Taking place primarily at Harvard University Observatory in the early 1900s, the story portrays Henrietta Leavitt’s success in astronomy through sheer enthusiasm and determination, despite having hearing impairment, assorted medical issues, family strife, and at least one romantic disaster. She faced opposition by the scientific establishment of the era — men who refused to accept that a young woman hired to analyze photographic plates of the night sky could be so insightful.
While this may sound like a polemical piece with appeal only to ardent feminists or students of the history of science, it’s actually a fantastically compelling story based very much on real people and real events, with appeal to a broad audience.
Gunderson wrote Silent Sky on commission for Costa Mesa’s South Coast Repertory company. It debuted at the 2011 Pacific Playwrights Festival and has been performed often since. Lucky Penny’s production is among the best of several that this critic has seen.
Heather Buck at work.
Heather Buck brings an engaging blend of insistence and vulnerability to the character of Henrietta, only the third woman to be hired by the Harvard Observatory to do computational tasks. Even though she insisted from the beginning that her profession was “astronomer,” Leavitt labored for many years until she was permitted to look through the observatory’s telescope, after her contributions to the field had become incontrovertible.
Wearing a bulky all-acoustic hearing aid, Buck delivers Henrietta’s lines emphatically in keeping with her character’s hearing impairment. It’s a nicely consistent bit of verisimilitude, unlike Gunderson’s use of contemporary idioms, which may lend the drama immediacy for modern audiences but sound badly inauthentic to those with an ear for such things. For example, early in the play, Henrietta’s research associate Annie Cannon instructs Henrietta to “input data” into a paper log book. Later, trying to explain to her sister Margaret (Andrea Dennison-Laufer) her relationship with her supervisor Peter Shaw (Dennis O’Brien), Henrietta says “It’s complicated.” Both of these phrases, and some others scattered throughout the script, are recent and not something that anyone would have said one hundred years ago.
Williamina Fleming and Annie Cannon in “Silent Sky” as depicted by Titian Lish and LC Arisman respectively.
Henrietta’s feisty, opinionated colleagues and mentors Williamina Fleming and Annie Cannon are brought to roaring life by Titian Lish and LC Arisman, respectively. A secondary but important plot has Annie campaigning for women’s right to vote. Late in the show she shocks her colleagues not only by sporting her suffragette sash, but by actually wearing pants.
Dennison-Laufer brings an understated complexity to the role of Margaret Leavitt, Henrietta’s long-suffering and somewhat manipulative sister who’s been left to care for their ailing preacher father back in Wisconsin. Dennis O’Brien, known for outrageous antics in other shows, is fantastically subtle as Shaw, a research administrator who vacillates between disdainful distance and emotional neediness in his relationship with Henrietta. The budding but blunted love affair between the two awkward scientists is enacted with elegant sensitivity.
Dennis O’Brien as Shaw dancing with Heather Buck in “Silent Sky”.
Barry Martin’s simple evocative set creates ample impressions of the interior of the observatory, a Wisconsin farmhouse, a ship at sea and other locations, with minimal prop changes. The backdrop of the night sky is especially effective. Barbara McFadden’s costumes are period-appropriate and somewhat frumpy, as might be expected of academics toiling away a century ago.
Some information about the play describes it as being about “the first female astronomers.” It’s clearly about the first female American astronomers, but certainly not the absolute first. Curious stargazers may wish to check out the 2009 film Agora, starring Rachel Weisz as Hypatia of Alexandria, the Egyptian philosopher, mathematician and astronomer who discovered elliptical orbits 2,000 years before Johannes Kepler.
Adroitly directed by Dyan McBride, Lucky Penny’s Silent Sky is a lovely heart-warming production. Once you’ve seen it, you’ll never regard the stars the same way again.
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Aisle Seat Review Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Silent Sky
Written by
Lauren Gunderson
Directed by
Dyan McBride
Producing Company
Lucky Penny Productions
Production Dates
Thru May 7th
Production Address
Lucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
Website
www.luckypennynapa.com
Telephone
(707) 266-6305
Tickets
$26-$36
Reviewer Score
Max in each category is 5/5
Overall
4/5
Performance
4/5
Script
4/5
Stagecraft
3.5/5
Aisle Seat Review Pick?
YES!
Other Voices…
"Overall, "Silent Sky" is a fast-moving two hours of theater that anyone who loves astronomy or the history of science will enjoy."
"Physics Today" website
"...Lauren Gunderson’s touching, poignant “Silent Sky”...is deeply affecting, important and relevant for many reasons..."
Our Quad Cities
"...Although "Silent Sky" deals with matters of science and math, which may sound off-putting to some, it’s nevertheless instantly accessible..."
Sarasota Magazine
"...In Lauren Gunderson's "Silent Sky," Leavitt's story unfolds with a beauty and complexity worthy of the skies she mapped..."
Chicago Sun Times -- (they rated the play "Highly Recommended.")
A 2008 Iranian class in English as a foreign language is the setting for a comedic examination of individual and cultural identity, at Berkeley Rep’s Peet’s Theatre, through May 7.
In the West Coast premiere of Sanaz Toossi’s English, four adult students of varying ages try the patience of teacher Marjan (Sahar Bibiyan) as they attempt to reach some degree of conversational competence and hope to sort out personal problems in the process.
…a delightful, emotionally engaging production…
The youngest one, Goli (Christine Mirzayan), never states her reasons for wanting to pass the national test for competence in English, but she has a jolly time working toward it. Elham (Mehry Eslaminia) hopes to go to medical school in Australia. Omid (Amir Malaklou), the sole male in the class, proves to be far more adept than he initially appears to be, for reasons that won’t be revealed here. Roya (Sarah Nina Hayon) the oldest of the bunch, is tackling the language so she can speak with her Canadian granddaughter.
Mehry Eslaminia (Elham) and Christine Mirzayan (Goli) in the West Coast premiere of Sanaz Toossi’s “English”, performing now through May 7, 2023 at Berkeley Rep. Photo Credit: Alessandra Mello
Language barriers are among the richest tropes in comedy, and director Mina Morita mines many of them, from inept halting grammar and limited vocabularies to beginners’ blunders. Despite their teacher’s insistence that they speak only English in class, reinforced by a huge “ENGLISH ONLY” statement on the classroom’s dry-erasable board, in frustration they resort to their native Farsi, translated into perfectly articulate English. Thickly accented pidgin English conveys what they are trying to say in the new language. This bit of stagecraft may confuse some viewers.
The performance is lovely, if a bit slow in places. The cast is convincing throughout and laugh-out-loud funny at moments that segue into real angst. Like many current comedies, English transitions from hilarity to poignancy, such as in a scene late in the play when Omid and Marjan share a connection that won’t go anywhere beyond the classroom, but it’s one felt by the entire audience. Roya’s character arc is left dangling—a pity, because we would like to learn more about her. That’s also true to a certain extent about Elham.
Amir Malaklou (Omid) and Sahar Bibiyan (Marjan) in the West Coast premiere of Sanaz Toossi’s “English”. Photo Credit: Alessandra Mello
English is a delightful, emotionally engaging production that may have special appeal to those interested in linguistics and cultural identity. Those who delight in the comedic potential of mangled language may also enjoy David Ives’ short play The Universal Language (part of his All in the Timing collection) and David Sedaris’ wonderful novel Me Talk Pretty One Day.
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Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
English
Written by
Sanaz Toossi
Directed by
Mina Morita
Producing Company
Berkeley Repertory Theatre
Production Dates
Through May 7th
Production Address
2025 Addison Street, Berkeley CA 94704
Website
www.berkeleyrep.org
Telephone
(510) 647-2900
Tickets
$43 - $119
Reviewer Score
Max in each category is 5/5
Overall
3.5/5
Performance
4/5
Script
3.5/5
Stagecraft
3/5
Aisle Seat Review Pick?
----
Other Voices…
"...Both contemplative and comic, it nails every opportunity for big laughs as its English-learning characters struggle with accents and idioms. But the laughter provides cover for the deeper idea that their struggle is not just linguistic..."
The New York Times
"...Personalities will emerge, relationships will form, secrets will be revealed. Some of the students will succeed and others will fall by the wayside.
All of this happens but, at the same time, the play is not predictable, thanks to Toossi’s subtle writing and profound observations about the ways in which language shapes identity, experience and a sense of belonging in the world..."
Toronto Star
"...Language in “English” becomes the scapegoat for everything that’s wrong with us, the true reason for all our best qualities. If we’re rude or loud or dumb, soft or smart or charming, it might all just be the language we’re speaking, along with all its attendant norms and foibles..."
Human history is an appalling parade of atrocities. Warfare is among the worst recurring nightmares, but perhaps even worse are purges within one nationality or ethnicity when large swaths of the population are swept up in an insane movement to create a new society.
That’s exactly what happened in Cambodia in the mid-to-late 1970s, when the Khmer Rouge took over the country, hell-bent on eliminating the past, to such an extent that they called the date of their takeover “Year Zero.” And as always happens when zealots gain control, they rounded up Cambodian intellectuals, academics, trained professionals, artists, and musicians with the intent of eliminating them.
Inspired by the communist takeover of Indonesia in 1965 and the Chinese cultural revolution—the “Great Leap Forward”—the zealotry of the Khmer Rouge was so extreme that anyone with knowledge of a foreign language, or even wearing eyeglasses, was suspected of being a subversive and a class enemy. Approximately 25% of Cambodian’s population perished in what was called the “Super Great Leap Forward”—a genocide perpetuated by their own countrymen.
…superb actors, dancers, and musicians—a stunning assortment of stage talents…
That’s the background of Lauren Yee’s Cambodian Rock Band at Berkeley Repertory Theatre through April 2. The interlocking core stories include a musician named Chum (Joseph Ngo) held in the notorious S-21 prison—really an extermination center where of approximately 20,000 prisoners, only seven or eight survived—and his return in 2008 to see his American daughter Neary (Geena Quintos), there working with a multi-national investigative group. There are also tangential references to ethnic animosities among Cambodians, Vietnamese, and Thai people.
The depiction of life in S-21 is lengthy and grim (set by Takeshi Kata) but book-ended by upbeat rock music, much of it derived from L.A. band Dengue Fever. The show opens in the mid 1970s with Chum’s band finishing their first album in a studio in the capital city of Phnom Penh, an effort that runs so late that they can’t escape approaching Khmer Rouge troops.
The band at work in “Cambodian Rock Band” at Berkeley Rep. Photo: Berkeley Rep.
It closes with a rousing performance in the present by the same band—Ngo on guitar, Moses Villarama on bass, Jane Lui on keyboard and backing vocals, Geena Quintos on lead vocals, and Abraham Kim on drums.
They’re all superb actors, dancers, and musicians—a stunning assortment of stage talents. Prolific actor Francis Jue is outstanding as the MC, narrator, hyper-kinetic lead performer, and as the despicable head of S-21.
Francis Jue at work at Berkeley Rep. Photo: Berkeley Rep
The net effect for an audience is that Cambodian Rock Band is a sugar-coated historical horror story—the sugar coating being the opening and closing rock performances that help viewers forget their immersion in misery. Yee’s beautifully conceived and realized message is that art and music have power to transcend savagery.
We can only hope.
There’s widespread belief that Cambodian Rock Band originated at Berkeley Rep. In fact, the show has been performed many times over the past four years. Ngo and Villarama have performed in several productions. The set at the Roda Theatre was built at Berkeley Rep and will travel when the show goes on tour. However that plays out, Cambodian Rock Band is a fantastic spectacle and one of the most compelling productions so far this year.
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Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Power outages caused by high winds threatened to scuttle the press opener of Justice: A New Musical at Marin Theatre Company this past Tuesday Feb. 21. MTC officials were almost ready to reschedule when the power returned after the opening scene. It was stressful for cast, crew, and audience alike but good luck prevailed.
Ably directed by Ashley Rodbro, the production is the latest from prolific playwright Lauren Gunderson, author of the wonderful Silent Sky among many other works, and MTC’s playwright-in-residence.
…Gunderson’s tale is an engaging one…
Justice tells the tale of the first three female Supreme Court justices. A musical without choreography (book by Gunderson, lyrics by Kait Kerrigan, music by Bree Lowdermilk), it begins with Sandra Day O’Connor’s ascension to the high court in 1981, followed by Ruth Bader Ginsburg in 1993 and later, Sonia Sotomayor, the court’s first Latina justice.
Stephanie Prentice nails the role of Sotomayor and narrates much of the story, primarily conveyed in operetta fashion through song. Karen Murphy embodies O’Connor’s reticent Republican/Episcopalian personality, and Lynda DiVito is perfectly cast as the diminutive intellectual powerhouse Ginsburg. All three are in fine voice with Lowdermilk’s difficult music. DiVito and Prentice are especially strong singers.
Gunderson’s tale is an engaging one, particularly in its depiction of the gracious mentorship shown by O’Connor to Ginsburg despite their political and philosophical differences. They are united in their womanhood, the bond made stronger by mutual understanding of their responsibilities as wives. Some of this is conveyed by tangential material about their private lives, including, as time moves on, their husbands’ medical issues and ultimately, their own. Supreme Court justices enjoy lifetime appointments and have no mandatory retirement age. Many have left the court only when medical conditions dictated that they do so.
(L-R) Lynda DiVito (Ruth Bader Ginsburg), Stephanie Prentice (Sonia Sotomayor), and Karen Murphy (Sandra Day O’Connor) in “Justice: A New Musical” performing now through March 12, 2023 at Marin Theatre Co. Photo credit: Kevin Berne
Lowdermilk’s music adheres strongly to current fashion in musical theater: bombastic and almost atonal. It will sound familiar to anyone who’s seen Next to Normal or Mean Girls – but there’s not a memorable melody in the show. Most of the songs are insistent forthright feminist anthems shouted at the audience, a receptive one at the press opener. Ticket-buyers expecting melodious uplift of the West Side Story or My Fair Lady variety will be hugely disappointed.
Ostensibly about the first three women on the Supreme Court, the story extends into the present with a veiled reference to an unnamed woman appointed to the court by the 45th president, and a cheerleading mention of Ketanji Brown Jackson that drew an enthusiastic response from the MTC crowd. The unnamed woman was Amy Coney Barrett, intentionally left out of the narrative because of her ultra-conservative politics. Also ignored is Elena Kagan. A story about the rise of female judicial superstars should certainly include them, regardless of how the play’s authors feel about them.
Justice: A New Musical is thus a skewed, incomplete history. If Gunderson and company had contained the narrative to O’Connor, Ginsburg, and Sotomayor—three sisters in judicial robes—that would have been acceptable, but bringing it into the present while ignoring two significant female justices is problematic.
Karen Murphy (Sandra Day O’Connor) and Lynda DiVito (Ruth Bader Ginsburg) at work in “Justice: A New Musical”. Photo credit: Kevin Berne
An outstanding feature of this show is the justices’ civility—and even mutual affection—regardless of differing philosophies and legal interpretations, and the deep friendship shared by Ginsburg and her high court opponent Antonin Scalia.
Ginsburg and Scalia were on opposite sides of almost every issue that came before the court, but they had abiding love and respect for each other despite their differences. That is a lesson for all of us.
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Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
An unsolved murder, a family mystery, and a personal existential crisis all combine in Christopher Chen’s The Headlands at ACT’s Toni Rembe Theatre through March 5.
Phil Wong stars as Henry, a self-described “thirty-something San Francisco native who works in tech.” Wong is confident and convincing, serving as the show’s narrator and principal character.
Sam Jackson (Jess) and Phil Wong (Henry) in the West Coast premiere of Christopher Chen’s “The Headlands”. Photo credit: Kevin Berne.
He comes onstage under full house lights, with the relaxed demeanor of a standup comedian, and introduces himself and the play’s primary backstory: the unsolved murder of Henry’s father George (Johnny M. Wu) some 20 years earlier, a deeply traumatic event in Henry’s young life.
…worthy of a full thumbs-up recommendation…
Part memory play, part who-done-it, Henry’s tale moves back and forth in time, from his parents’ first meeting, to his pre-teen years when he and his dad would go hiking in the Marin Headlands, to the present, where he deals with his aging mother Leena (Keiko Shimosato Carreiro), his girlfriend Jess (Sam Jackson), and his estranged older brother Tom (Jomar Tagatac), given up for adoption before Henry was born.
Other superb cast members include Erin Mei-Ling Stuart as the younger Leena, and Bay Area theater veteran Charles Shaw Robinson in dual roles as Walter, George’s business partner, and as a San Francisco police detective. A brilliant bit of direction by ACT artistic director Pam MacKinnon and a brilliant bit of acting is George’s accent—early in the show, when he is a teenage immigrant and his future wife’s suitor, his pronunciation is thick, but later, as an adult, he’s become fully fluent and speaks a natural American dialect.
Keiko Shimosato Carreiro (Pat) and Phil Wong (Henry) in “The Headlands” performing at A.C.T. Photo credit: Kevin Berne.
The Headlands is a compelling story, made more compelling by Alexander V. Nichols’ combined set and projection designs. Nichols is the offstage superstar of this production. His elegant rotating set is a translucent lath-and-plaster construction that when illuminated with projections gives a ghostly appearance to everything from a Sunset district family home to a headlands hiking trail to San Rafael’s Canal district to the apartment shared by Henry and Jess.
Toward the tale’s conclusion, a slow, over-long scene between these two is the only dramatic road bump in an otherwise very good production. A judicious edit there, and in a couple other spots in the dialog would lift this show from “very good” to “great.” It’s worthy of a full thumbs-up recommendation, regardless.
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Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Playing perpetual “second banana” to a superstar is a theatrical version of purgatory. In the tale of Vivian Vance, co-star of the long-running 1950s TV series I Love Lucy and its sequel, The Lucy-Desi Comedy Hour, it’s also a recurring personal reminder that she’s gone as far as she will ever go in the shadow of comedic legend Lucille Ball.
Vance was a comedic genius in her own right—and an early advocate for people suffering from mental problems, in an era when even acknowledging such problems was a grave social error. Libby Oberlin delivers all this and more in her solo show Sidekicked written by Kim Powers, and directed by Michael Ross at Sonoma Arts Live through February 19.
Sidekicked moves along at a surprising clip…
Last seen at SAL as opera diva Maria Callas in Master Class, Oberlin is a confident performer who brings Vance to life with gusto and a palpable dose of self-deprecation.
She relates her subject’s frequent confusion—she wrote her name and address on a slip of paper and tucked it into her handbag each morning before she went out, in case she forgot who she was or where she lived. Vance endured several disastrous marriages, and chafed at the role for which she is fondly remembered, as Lucy’s neighbor Ethyl Mertz, Lucy’s frequent co-conspirator in the absurd hijinks that propelled each episode of the original series.
Vance also endured the continual bickering between Lucille Ball and her husband, director/producer/actor/band leader Desi Arnaz, and suffered mightily being cast as the wife of a man “at least 25 years older,” Fred Mertz, played by William Frawley. Powers’ script is clearly intended for an audience familiar with all the characters—and their backstories too—as Oberlin digresses into revisiting many of the show’s often hilarious setups and backstage battles.
Sidekicked moves along at a surprising clip given the constraints put on a solo performer, and provides plenty of amusement not only for a generation that saw it all unfold the first time. It’s also a show with appeal for theater and entertainment geeks who relish digging the dirt about some of Hollywood’s famous names—first, second, and third tier alike
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Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Sidekicked
Written by
Kim Powers
Directed by
Michael Ross
Producing Company
Sonoma Arts Live
Production Dates
Thru Feb. 19th, 2023
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
The comic musicalLittle Shop of Horrors is both a cult favorite for its fans and a recurring production among community theater troupes here in the Bay Area. We can count on five or six such shows each year. The latest one is running at 6th Street Playhouse in Santa Rosa — and has been EXTENDED through Feb. 26th!
A down-on-its luck skid row flower shop needs a boost, and that’s what it gets when amateur botanist Seymour Krelborn (Noah Sternhill) breeds a carnivorous plant that thrives on human blood and tissue.
Little Shop of Horrors—Seymour and Audrey at work.
Named after his shopmate Audrey (Gillian Eichenberger), the plant grows bigger and more voracious daily, attracting a tremendous amount of media attention, and lots of paying customers into Mushnik’s Flower Shop (proprietor played by Dan Schwager).
This Little Shop of Horrors is an ambitious, amusing show…
It’s a mixed blessing for Mushnik, Audrey, and Seymour as they are soon overwhelmed with orders, including supplying all the flowers for the annual Rose Bowl parade. Audrey also wriggles out of a creepy relationship with a sadistic dentist named Orin Scrivello, played by Robert Nelson as a sort of Halloween Elvis impersonator.
Much of the story is propelled by the song-and-dance trio “the doo-wop girls” Crystal, Ronette, and Chiffon (Aja Gianola-Norris, Serena Elize, and Chiyako Delores, respectively). Gianola-Norris directed the show, and Elize handled the choreography. The show’s singers are delightful, especially Audrey in the breakout hit “Somewhere That’s Green.”
“The Trio” in “Little Shop of Horrors” at 6th St.
This Little Shop of Horrors is an ambitious, amusing show with an impressive set by Luca Catanzaro, and a great band led by Lucas Sherman, but it’s hampered by awkward timing and a surplus of dead air—issues likely to be ironed out as the production rolls toward its final date of February 26. So grab your significant other and go see this campy classic.
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Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Little Shop of Horrors
Written by / Book by
Alan Menken / Howard Ashman
Directed by / Music Direction by
Aja Gianola-Norris / Lucas Sherman
Producing Company
6th Street Playhouse
Production Dates
Thru Feb 19th
Production Address
6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Four parolees do their best to thrive under an oppressive boss in Clyde’s, at Berkeley Rep through February 26.
Or at least, we believe they’re parolees—that bit of info is never made clear in Lynn Nottage’s brilliant scathing comedy. They’ve all done time behind bars, and they’re determined not to go back. They’re also determined to keep their low-wage jobs in the kitchen of a roadside diner, knowing how limited are employment opportunities for ex-cons.
Their boss knows that too.
A former convict herself, Clyde (April Nixon) lords it over her workers, making sure at every turn that they understand how tenuous their situation is. A voluptuous, wise-cracking beauty, Clyde appears at random at the kitchen’s pickup window or waltzes in unannounced to strike fear in the hearts of her underlings, in each scene sporting a wig more glamorous than the last and strutting her stuff in dazzling apparel. (Wigs by Megan Ellis, costumes by Karen Perry.)
…an incredibly uplifting and uproarious tale about hope…
Clyde is a malicious force of nature, the perfect blend of wicked witch and evil stepmother. Nixon clearly relishes her astounding role, one hugely appreciated by a full house at Berkeley Rep’s Peet’s Theatre during the Wednesday Jan. 25 press opener.
Louis Reyes McWilliams as Jason and April Nixon as Clyde in Lynn Nottage’s Tony Award-nominated play Clyde’s at Berkeley Repertory Theatre. Photo by Kevin Berne/Berkeley Repertory Theatre
But Nixon’s not the only astounding member of this well-balanced cast. Three of them are thirty-somethings whose characters are serious about improving their lives and staying out of trouble. We don’t learn what Raphael (Wesley Guimaraes) or Letticia (Cyndii Johnson) did to land in jail, but new worker Jason confesses that he was convicted of assault after losing a union manufacturing job to “scabs.” To Letticia’s inquiry about the gang tattoos on his arms, face, and neck, he replies “I was trying to survive.”
The fourth member of Clyde’s kitchen crew is line cook Montrellous (Harold Surratt) an older gentleman with a sadhu’s demeanor. The anchor character in this quick-moving story, he’s very much the embodiment of an Old Testament prophet, bringing wisdom and enlightenment to a younger generation, the focus being his quest to create the perfect sandwich.
April Nixon as Clyde and Harold Surratt as Montrellous in Lynn Nottage’s Tony Award-nominated play Clyde’s at Berkeley Repertory Theatre. Photo by Kevin Berne/Berkeley Repertory Theatre
The quest for the perfect sandwich, in fact, becomes both a metaphor for the kitchen workers to improve their lives and their self-esteem, and a competitive sport they undertake to impress each other and perhaps, their mean-to-the-core boss.
A subplot involves Raphael’s infatuation with Letticia, one that goes nowhere, despite his offers of flowers and chocolates and date invitations. It would be unfair to give away much of the bright (and dark) comedy in this lovely production, but a heartbreaking moment occurs when Montrellous confesses that he went to prison not for a crime he committed but for a moment of altruism. The embodiment of gravitas, Surratt is brilliant in the role.
Louis Reyes McWilliams as Jason and Cyndii Johnson as Letitia in Lynn Nottage’s Tony Award-nominated play Clyde’s at Berkeley Repertory Theatre. Photo by Kevin Berne/Berkeley Repertory Theatre
Director Taylor Reynolds gets fabulous performances from her entire cast on designer Wilson Chin’s hyper-real set.
Lynn Nottage is on her way to becoming a national treasure. She has a wonderful ear and eye for the woes of the underclass, and a fantastic ability to mine deep emotional conflicts in her characters. In her poignant Intimate Apparel, set a century ago, a young black seamstress falls in love with a Jewish fabric merchant, an attraction he feels equally but which they both know is hopeless.
There’s deep truth in this production too, but no doom in Clyde’s. In fact, it’s an incredibly uplifting and uproarious tale about hope in the face of hopelessness. As Julie Andrews put it so succinctly in Mary Poppins — a spoonful of sugar helps the medicine go down.
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Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
A century-old Cinderella story comes to life at Petaluma’s Cinnabar Theater through January 22.
Sixteen years after its initial development in Ventura County, John Caird and Paul Gordon’s musical version of Jean Webster’s novel Daddy Long Legs has proven to be enduringly popular, especially among community theater troupes.
Daddy Long Legs is a production with appeal for fans of musical theater and of spunky-girl romances…
Cinnabar’s production features real-life husband-and-wife team Zachary Hasbany as young philanthropist Jervis Pendleton, and Brittany Law Hasbany as Jerusha Abbott, the oldest resident of an orphanage called the John Grier Home. The early-20th-century setup is that Jerusha has attracted his interest via her amusing descriptions of life at the orphanage. He offers to support her through college on the condition that she send monthly letters describing her progress, without expecting any replies.
Jerusha doesn’t know his identity—her letters go to an unknown benefactor called “Mr. Smith,” whom she nicknames “Daddy Long Legs” from having seen a fleeting shadow. The story spans Jerusha’s years in college, and her summers, told mostly in song—both performers are accomplished actors with fine voices—with some monologues to fill in the blanks for the audience.
Daddy Long Legs – Hasbany pair at work
As she matures, Jerusha develops a stronger sense of self, and hones her literary skills. In the course of her one-way communications with Jervis, he becomes enamored with her and arranges a meeting without revealing that he is Mr. Smith/Daddy Long Legs. They go hiking together, discover that they have acquaintances in common, and generally hit it off. He wrestles with his growing infatuation while she grows more independent. There’s a moment of truth ahead, one visible miles away.
And that’s the problem with Daddy Long Legs. Playwriting gurus say that for the sake of entertainment, audiences will make one or two huge leaps of faith to stick with the story, but this one was a leap too far for this reviewer. Jerusha becomes a successful novelist and ultimately lands her Prince Charming, but it’s not at all believable that after spending so much time with him, she doesn’t know his identity.
It’s like one of those masquerade ball scenes where the guests can see almost all of the other guests’ faces and converse in their normal voices but still pretend that they are strangers.
Director Elly Lichenstein gets lovely performances from the Hasbanys, and music director Mary Chun does likewise with the score—piano by Brett Strader—even though most of the songs sound very much alike.
Daddy Long Legs is a production with appeal for fans of musical theater and of spunky-girl romances, but potential ticket buyers are encouraged to read the Wikipedia plot synopsis before coming to the theater.
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Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Daddy Long Legs
Written by
Jean Webster - adapted by John Caird and Paul Gordon
Writer/director Emma Rice has deconstructed one of the most beloved English novels of the 19th century and has remade it into a pop-rock extravaganza, delighting some critics and outraging others. Her Wuthering Heights runs at Berkeley Repertory Theatre through January 1, 2023.
Traditionalists expecting a stage production of the dark 1939 film starring Merle Oberon and Laurence Olivier are likely to be disappointed. This frenetic, high-energy show is geared to a younger generation with a different aesthetic, but it can work equally well for those not necessarily tethered to the past. Innumerable classic stories have been reinvented for the sake of stage and screen entertainment. There’s certainly no reason why Wuthering Heights shouldn’t suffer the same fate, just as Hamlet can be reinterpreted as a modern business drama, or Romeo and Juliet reconfigured as a rock opera.
…The movement work in this show is inspiring. So is (the) mining of humor…
Controversy swirled at Berkeley Rep’s November 22 press opener. Some critics raved to their colleagues about Rice’s stunning production while others dismissed it as an abomination. ASR’s George Maguire and Barry Willis comment here:
BW: This is an amazing, dynamic production with multi-threat performers who can act, dance, do gymnastics, and in some cases, play instruments. Especially impressive are Jordan Laviniere, who plays the leader of the Yorkshire Moors, and Leah Brotherhead as Catherine. She’s also a great rock singer. TJ Holmes, who plays Dr. Kenneth, performs on cello and accordion when he’s not stage center. He’s a delightful comic actor, one of a cast of eleven, most of whom tackle multiple roles. Theatrical talent is everywhere in this show but the multi-casting can cause confusion among viewers because most of the characters are cousins with similar names.
GM: Yeah, Barry! It is a fairly faithful adaptation of Emily Bronte’s novel, and if you can stop conflating the story with her sister Charlotte Bronte’s Jane Eyre, you’re a winner. The story itself is weighted down with so many generations of relationships, and births and deaths, with eleven actors playing all the roles. It’s often highly confusing.
Leah Brotherhead as Catherine and Liam Tamne as Heathcliff in the West Coast premiere of Wise Children’s “Wuthering Heights” at Berkeley Repertory Theatre. Photo by Kevin Berne.
BW: I’m no Bronte expert, but it looks to me like Emma Rice has adhered to the original plot, but uses story elements and characters to create something entirely new. I’m generally approving of prequels, sequels, and reinterpretations of classic stories — with the exception of Daniel Fish’s Oklahoma!, a real horror show.
Rice’s Wuthering Heights isn’t really the Bronte classic. I attended with my friend Marcia Tanner, an art curator with a degree in English Literature from UC Berkeley. She quipped: “It’s misleading to title this show Wuthering Heights . . . it should be Something Based on Wuthering Heights.” That’s a fair assessment.
GM: My biggest challenge was not hearing the play (technically, a musical), but frankly, it was not understanding what the cast was saying and singing.
BW: That was a problem for many in the audience, I believe. Thick Yorkshire accents were tough enough to understand during dialog, and impossible to decipher during the show’s many songs. I loved the music but couldn’t tell you what any of the songs are about. Marcia astutely observed, “They need superscripts.” The only words that appear on the large backdrop are a few lines from the novel.
GM: Etta Murfitt’s choreography is wonderful and eclectic, ranging from almost hoe-down, to Irish jig, to nonspecific elegance. A lovely and diverse musical score by Ian Ross keeps the play moving. The casting of eleven very accomplished members of the Wise Children’s troupe was a joy, as was watching them effortlessly morph into the manifold characters in the novel. Heathcliff (Liam Tamne, of multi-national background) is particularly inspired casting, making the orphan Heathcliff the dark, brooding, and very sexy creature he was — unlike anyone else in the Yorkshire moors.
BW: I was knocked out by the performers and the quick-moving stagecraft, especially the rolling doors-and-windows pieces that transformed into beds and other devices. The books-on-sticks-as-fluttering-birds bit is brilliant low-cost theatricality. So are the chalkboards that serve as erasable tombstones.
GM: The movement work in this show is inspiring. So is Rice’s mining of humor — she finds comedic potential in many of Bronte’s situations, something that to my knowledge has never been done. But this Wuthering Heights is no spoof — it’s an inspired reinterpretation.
BW: Was the love affair between Heathcliff and his adoptive sister Catherine considered scandalous when the novel was published? It might be seen as close to incest today even though the two were not biologically related. Save Dr. Kenneth and the narrator Mr. Lockwood, almost all the other characters in the production are cousins, nothing unusual in an isolated community.
Jordan Laviniere as the Leader of the Yorkshire Moors; Eleanor Sutton, Katy Ellis, Tama Phethean, Stephanie Elstob, and Ricardo Castro as The Moors in the West Coast premiere of Wise Children’s “Wuthering Heights” now showing at Berkeley Rep. Photo by Kevin Berne.
GM: A community that’s cold, damp, and dark! Rice and set designer Vicki Mortimer went over the top portraying that.
BW: I had no expectations about this show, and was delighted — especially by the incredibly dynamic first act.
My only prior exposure was reading the novel in ninth grade — required reading — and having watched the movie at some point not long after that on late-night TV. The subject matter wasn’t something that resonated for me and wasn’t anything I cared to revisit.
I have difficulty relating to the social structure and morality of the time, which makes playwrights like Ibsen, Strindberg, Chekov, and their contemporaries something of a slog for me. I never liked G. B. Shaw until I saw Major Barbara, but I hope to live a thousand years without enduring another Mrs. Warren’s Profession.
But I understand the appeal of Jane Austen and the Bronte sisters, especially for women. In their time, the only path to a better life was through choosing the right marriage partner. Mothers often bled to death after childbirth. Infant and childhood mortality were rampant, from conditions easily treated today. This whole pathetic milieu is background for Wuthering Heights, but Emma Rice makes it entertaining and enjoyable..
GM: In all, this Wuthering Heights is a truly nifty addition to the repertoire of Wise Children, a new theatre company founded by Ms. Rice, whose group brought The Wild Bride to life at Berkeley Rep a few years ago. Imaginative, enthralling and chillingly-thrillingly theater.
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ASR Contributing Writer George Maguire is a San Francisco-based actor-director and is Professor Emeritus of Solano College Theatre. He is a voting member of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
ASR 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: [email protected]
Production
Wuthering Heights
Written by
Emily Bronte
Adapted by Emma Rice
Directed by Emma Rice
Choreographed by Etta Murfitt
Happenstance, a lost notebook, a garden gnome, and Zeno’s Paradox all converge as a quirky Parisian girl finds love in Amélie the Musical, at Masquers Playhouse in Pt. Richmond through December 10.
Written by Craig Lucas, with music by Daniel Messé, and lyrics by Messé and Nathan Tysen, the production helmed by Enrico Banson is based on the popular 2001 film. Structured more as an operetta than a traditional musical, Amélie features almost no spoken dialog.
Everything—32 songs in all—is beautifully sung by a surprisingly large cast for a small theater. Most of the performers also play instruments and handle multiple roles with aplomb. This show may be the only one where a violist (Hayley Kennen) plays and sings at the same time.
…This production sails joyously all the way to theatrical satisfaction.
Solona Husband shines in the lead role. Cute as she can be, Husband innocently seduces audience and cast mates alike with her confident acting and superb vocal abilities, nearly matched by Sleiman Alamadieh as guitar-playing Nino, the boy Amélie hopes to meet. A musical theater performer since childhood, Husband has enormous talent with plenty of potential for further development. Should she stick with it—that’s her stated goal—she’s destined for stardom. She’s that good.
Solona Husband at work.
Her performance alone recommends this production, one that exceeds expectations at every turn. The supporting cast is tremendous, especially Anand Joseph as the Blind Beggar, who entertains the pre-show audience with his accordion, and double bassist Douglass Mandell, who tackles two roles in addition to playing throughout the show. North Bay theater veteran Nelson Brown, also one of this show’s guitarists, and fresh from Marin Musical Theatre Company’s production of The Rocky Horror Picture Show, does a fine job in dual roles, including a convincing turn as Amélie’s stiff, socially awkward father.
Set design by John Hull is delightful, including Le Café des Deux Moulins (Two Windmills Café), a photo booth, and a sex shop where Nino works. Aaron Tan’s music direction is unassailably great, as is Katherine Cooper’s choreography.
“Amélie the Musical”, cast at work, Masquers Playhouse in Pt. Richmond
How does Zeno’s Paradox fit in? The Greek philosopher’s most famous conundrum involves an examination of the concept of “half,” as in the question “If you cut the distance to your goal by half at each step, how many steps will it take to get there?” The answer: An infinite number, because each half-step leaves some distance remaining.
The theme recurs throughout the show—half measures, half asleep, halfway there, but its philosophical implications should have little bearing on Amélie’s audience. This production sails joyously all the way to theatrical satisfaction. Amélie the Musical is a totally charming and terrific diversion.
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ASR 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: [email protected]
North Bay residents don’t often appreciate how unusual is the fact that Marin and Sonoma counties have so much open space so close to one of the world’s major cities.
Marin County has approximately 10% of the population as envisioned by real estate developers in the late 1950s and early ‘60s, who seriously imagined flattening the hills and crisscrossing the county with freeways feeding numberless housing tracts. They saw Marin as the potential Orange County of the north.
That avaricious program was stopped in its tracks by environmental activists like Ellen Straus, co-founder of the Marin Agricultural Land Trust.(MALT). The Amsterdam native came to the US in her teens, escaping the Holocaust. She married German-Jewish immigrant Bill Straus, and joined him on his dairy farm in Marshall, a small West Marin community near Tomales Bay.
…one of the best celebrations of life imaginable…
Through November 27, her daughter Vivien Straus gives a wonderfully poignant and at times laugh-out-loud funny tribute to her mom in a solo show called After I’m Dead, You’ll Have to Feed Everyone: The Rollicking Tale of Ellen Straus, Dairy Godmother.
Vivien Straus.
Ellen Straus passed away some 20 years ago but her legacy lives on. Part history, part reminiscence, part catharsis, part standup comedy, and all heart, After I’m Dead is a concise (slightly over one hour) tale of life on the very ranch where the show takes place. Vivien explores her relationship with her mother and family, and takes us through a grueling but heartwarming end-of-life ordeal. That may not sound like a recipe for a fulfilling theatrical experience, but Vivien has achieved sufficient distance to mine all the pathos and abundant humor, supplied with love that only a daughter can convey. It’s one of the best celebrations of life imaginable.
A career writer/actor/performer, Vivien conceived and polished this show with expert guidance from longtime North Bay actor/director/artistic director Elly Lichenstein, recipient of a lifetime achievement award from the SF Bay Area Theatre Critics Circle, and the director of After I’m Dead. Straus’s timing and delivery are spot-on. She’s a confident performer delivering a deeply personal story, one that’s beyond effective.
Vivien Straus, daughter of Ellen Straus of Straus Family Creamery fame, stands among grazing dairy cows at her family ranch home in Marshall, Ca.
The venue is the beautifully restored old barn on the Straus Home Ranch, with room for—a guesstimate here—maybe 150 visitors. Early arrivals can enjoy a picnic from a food truck parked nearby and may enjoy tossing scraps to some of the lovely free-ranging chickens wandering from table to table.
It’s chilly this time of year—visitors should bring ample clothing and leave in plenty of time to get out to Marshall. There are no freeways in that direction, thanks mostly to unsung heroes like Ellen Straus, West Marin is served almost entirely by two-lane roads. It’s a sweet drive and destination. Performances are at 7:30 p.m. Fridays and 2 p.m. Saturdays and Sundays.
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ASR 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: [email protected]
A delightfully unexpectedupdate to Stephen King’s novel—and the 1990 movie of the same name, starring Kathy Bates and James Caan—Cinnabar’s production mines the humor that’s long lain fallow in William Goldman’s adaptation.
As Annie Wilkes, North Bay theater veteran Mary Gannon Graham proves she’s lost nothing in the four-plus years she’s been away from the stage. Her last appearance was in Cinderella at Spreckels Performing Arts Center, and she brings plenty of pent-up energy to the part of an obsessed literary fan who rescues her favorite novelist from an auto accident that’s broken both his legs and done some serious damage to one shoulder.
… “Misery” is perfectly creepy, and abundantly appropriate for the Halloween season…
Edward McCloud has the difficult role of the mostly-bedridden Paul Sheldon, who regains consciousness in a bedroom in Annie’s isolated farm house. He’s thankful to be alive but soon learns that his rescuer has an agenda for him that he probably can’t fulfill. The author of many “Misery” books depicting the life of a fictional 19th-century heroine named Misery Chastain, Sheldon’s reached the end of the series, and carries the manuscript for the final installment with him.
Mary Gannon Graham as Annie Wilkes. Photography by Victoria Von Thal
It’s a discovery of enormous excitement for Annie, and also a cause of enormous dismay when she reads ahead and discovers that Misery will meet her ultimate end. This cannot do—she’s the self-proclaimed #1 fan of both the author and his most famous character—and to thwart it, she embarks on a program of limited physical rehabilitation and enforced rewriting for Paul, who’s cut off from all communication with the outside world.
It’s mid-winter, the surrounding countryside is buried in snow, and no one knows where he is. The good-natured local sheriff (Kellie Donnelly) comes around a couple of times, asking Annie some basic questions, and goes away believing that she knows nothing. McCloud effectively conveys Sheldon’s pain and anxiety. It’s actually excruciating to see him fall out of bed and try his best to find an escape.
Paul Sheldon (Edward McCloud) recovers in bed. Photo by Victoria Von Thal
Graham rides an emotional roller-coaster as the obsessed Annie, overjoyed to have rescued her favorite author, and honored to be caring for him, but interpreting the literary rescue of Misery as a mandate from heaven. She’ll do whatever it takes to get Paul to do her bidding. Her obsessions run in multiple directions, as do her emotional reactions and haphazard-but-somehow-logical manipulations of Paul. Her scenes are comedic riots.
Director Tim Kniffin has found new treasures in this timeless tale, and gets the absolute most from his three-actor cast. Set designer Brian Watson’s farmhouse works perfectly as the hidden locale where truly horrific and hilarious shenanigans take place, enhanced by Wayne Hovey’s moody lighting.
Misery is perfectly creepy, and abundantly appropriate for the Halloween season.
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ASR 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: [email protected]
Theatergoers with an appetite for the unusual have until October 16 to see David Grieg’s Dunsinane at Marin Theatre Company.
A sequel to Shakespeare’s Macbeth that extends the original story without further illumination, MTC’s nearly three-hour production takes the bold approach of combining top-tier Equity actors with high school drama students from Mill Valley’s nearby Tamalpais High School. The student actors mostly appear as English and Scottish soldiers identifiable by red (English) or blue (Scottish) emblems on their vests—interchangeable as scenes demand, and perfectly in keeping with the old adage that wars are fought by the young, poor, and disenfranchised for the benefit of the old, rich, and powerful.
Aldo Billingslea in MTC’s “Dunsinane.” Photo by Kevin Berne.
None of Grieg’s poor young soldiers seem to have any idea what they are fighting for, nor why they are hiking around in some of the most inhospitable country imaginable. On the other hand, their respective leaders—Siward (Aldo Billingslea), an easy-going, rational English general, and Scottish queen Gruach (Lisa Anne Porter)—have some solid motivations. Gruach, known in the original as the avaricious Lady Macbeth, has a son by her deceased husband that she would like to see installed on the Scottish throne. Siward would like to put an end to the pointless bloodshed and initiate a lasting peace, even if doing so requires more bloodshed. That’s how the human animal behaves.
…inexplicability can…be quite entertaining…
It’s a good dramatic setup, and MTC’s superb cast goes at it with enthusiasm and plenty of wooden poles that serve as spears, swords, and knives. The modern-language script owes much to Shakespeare’s orgies of ruling-class bloodletting—King Lear and Hamlet, but especially, of course, to Macbeth.
The reasons for the struggle for the Scottish throne aren’t clear, but neither are most of reasons for most of the real wars that have plagued humankind since the beginning of time. They’re all about slaughtering infidels for the glory of an imagined deity, defeating this monarch and installing another one, pushing a border this way or that, or claiming some resource at the cost of thousands of lives to benefit an unborn generation, or in the case of Dunsinane, control of a castle. It’s inexplicable.
Aldo Billingslea (left) and Lisa Anne Porter in Marin Theatre Company’s “Dunsinane.” Phone by Kevin Berne.
But inexplicability can also be quite entertaining. In that, MTC’s Dunsinane succeeds well if not wildly. Billingslea and Porter are excellent, as are theater veteran Michael Ray Wisely as Macduff, and Tam High student Jack Hochschild as The Boy Soldier, who delivers a quite moving closing monolog as snow falls around him and the lights slowly fade (lights and projections by Mike Post).
The show benefits from a single austere set by director Jasson Minidakis and Jeff Klein, and gorgeous music by Chris Houston and Penina Goddessmen. Shakespeare enthusiasts may be especially intrigued by Dunisnane, a rare Shakespearean follow-up that’s not a spoof.
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ASR 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: [email protected]
Production
Dunsinane
Written by
David Greig
Directed by
Jasson Minadakis and Rob Lufty
Producing Company
Marin Theatre Company (MTC)
Production Dates
Through Oct. 16th
Production Address
Marin Theatre Company
397 Miller Avenue
Mill Valley, CA
Santa Rosa’s 6th Street Playhouse is the latest theater company to tackle Kander and Ebb’s Cabaret, a musical now in its 56th year. Having missed one weekend due to a Covid outbreak, the 6th Street production runs through October 16th.
A sugar-coated cautionary tale, the 1972 film version firmly established the show in pop culture. Many people know its songs without understanding that the show itself is far more than a lightweight romp through the decadent underworld of Weimar Republic Berlin. The story’s late 1930s time frame isn’t specific, but encompasses the rise of the Germany’s Nazi party and its increasingly virulent anti-Semitism. It’s often forgotten that the Nazi party was democratically elected. By 1933 it was the most powerful political organization in Germany.
Directed by Jared Sakren, this Cabaret is a compelling musical drama with moments of great hilarity as the wraith-like Emcee (the superb Michael Strelo-Smith) welcomes us into the Kit Kat Club, a dingy dive that’s a mainstay of Berlin’s entertainment underground.
The cast of 6th Street’s “Cabaret” at work. Photo by Eric Chazankin.
The primary plot revolves around an itinerant American novelist, Cliff Bradshaw (Damion Matthews)) befriended by German businessman Ernst Ludwig (Izaak Heath) on a train ride into Berlin. Ludwig knows the city intimately, and introduces Bradshaw to the club and to Fraulein Schneider (Ginger Beavers), proprietor of a rooming house where he takes up residence.
At the club he meets a self-centered British songbird named Sally Bowles (Erin Rose Solorio). The two of them are soon deeply but contentiously involved. Solorio plays Bowles as she is usually depicted—a ditzy performer whose only concern is occupying the spotlight, who cares nothing for politics or for the great upheaval ahead, provoking Bradshaw’s enormous frustration.
A secondary love story involves Fraulein Schneider and fruit seller Herr Schultz (Dwayne Stincelli), both of them in late middle age and deeply in love. The relationship between Bradshaw and Bowles is increasingly rocky and ultimately doomed, but it’s the fate of Schneider and Schultz that fascinates an audience.
One of only three characters in the play who comprehend the inevitability and threat of the approaching storm—the other two are Bradshaw and Ludwig—Schneider backs out of a late-in-life wedding, hoping to survive by keeping her head down and avoiding the ire of Nazis. Beavers is heart-breaking as Schneider, with a soaring voice capable of rattling the walls.
Photo by Eric Chazankin.
Amid the merriment, the Nazi movement rises from potential menace to full tsunami, symbolized by a moment when the charming Herr Ludwig comes out of the political closet sporting a Nazi armband. Heath is very good as the villainous but totally likeable true believer.
Fraulein Schneider vows that maintaining a low profile will insure her survival; while Bradshaw tries desperately to get Bowles to leave Berlin with him—before it’s too late. Too addicted to minor league stardom to consider going elsewhere, she stays behind when he escapes to Paris. Herr Schultz is similarly clueless, believing that as a native-born German Jew he will be considered a German first.
…a compelling musical drama with moments of great hilarity…
What hooks many first-time visitors to Cabaret isn’t necessarily the morality play but the show-within-a-show at the Kit Kat Klub. Stelo-Smith is spectacular throughout, as are the dancers and the live music from a strong eight-piece band led by Nate Riebli. Tara Roberts is solid as Fraulein Kost, a resident of Fraulein Schneider’s rooming house, who makes her living entertaining sailors by the hour. She’s also one of the standout Kit Kat dancers. Devin Parker Sullivan, also a Kit Kat dancer, concocted some difficult but stunning choreography for the troupe of nine Kit Kat girls and boys.
A half-century after its debut, not much about this show will seem shocking other than its enduring message. The parallels with Trump’s MAGA movement, the January 6 insurrection—and our distraction by ephemeral entertainment—are, sadly, all too clear.
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ASR NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Cabaret
Written by
Music by John Kander and Fred Ebb
Book by Joe Masteroff
Directed by
Jared Sakren
Music Direction by Nate Riebli
Producing Company
6th Street Playhouse
Production Dates
Through October16th
Production Address
6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
The 50th anniversary season of Petaluma’s beloved Cinnabar Theater is off to a rowdy, rollicking start with “The 25th Annual Putnam County Spelling Bee.” Winner of the 2005 Tony Award for Best Book of a Musical, “Spelling Bee” delivers an evening of light-hearted musical comedy.
In the auditorium of Putnam Valley Middle School, we meet six adolescent contestants: returning champ Charlito “Chip” Tolentino (Alejandro Eustaquio); Leaf Coneybear (Zane Walters), who designs his own clothing and spells while in a trance-like state; Marcy Park (Gabi Chun), a high-achiever who speaks six languages and for whom failure is not an option; William Morris Barfée (Trevor Hoffmann), who spells using a unique “magic foot” technique in which he writes the letters out with his foot as he recites them; Logainne “Schwartzy” Schwartzandgrubenierre (Tina Traboulsi), who spells words out on her arm before reciting them; and Olive Ostrovsky (Krista Joy Serpa), whose absent mother is on a nine-month-long spiritual retreat in India. Olive anxiously awaits the arrival of her father as she has not yet paid the entrance fee.
…”Spelling Bee” is not to be missed. Get tickets now! We mean it!
Each child – excepting Leaf – has won an individual school’s bee. The pressure is on-they’re vying for the chance to go to the national competition in Washington, DC.
“Spelling Bee” cast at work. Photo courtesy Cinnabar Theater.
The Putnam County event is hosted by a former Spelling Bee champion, and now the county’s top realtor, Rona Lisa Peretti (Karen Miles) and a dour school vice principal, Douglas Panch (John Browning). Peretti is a perky, all-smiles dynamo, while Panch is a no-nonsense adminstrator. They ride herd on a group of very smart, gregarious, and nerdy kids—and a few audience members pulled onstage, we hope not against their will.
It’s a quick-moving hilarious show backed by a great band (music directed by Bill Keck) with many intriguing subplots, lots of goofy action, and some stunning choreography by Bridget Condoni. Sam Minnifield puts in charming performance as Mitch Mahoney, a local bad boy doing his community service by helping out with the Bee. Donnie Frank’s costumes go a long way toward establishing each of the characters, all delightfully portrayed by some hugely skilled and enormously uninhibited actors. They’re all tremendous, but Trevor Hoffman, Gabi Chun, and Krista Joy Serpa are standouts. Wow!
Photo courtesy Cinnabar Theater.
Director Zachary Hasbany has coaxed the absolute maximum from a brilliant cast. The show by Rachel Sheinkin and William Finn is a recurring favorite among community theater troupes, and for good reason. It’s clean, harmless, happy, and uplifting—an absolute joy from beginning to end. Did we mention incredibly clever? “Spelling Bee” is not to be missed. Get tickets now! We mean it!
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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]
ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
In many ways, singer Patsy Cline defined a substantial swath of mid-century popular music. She was known primarily as a country artist but plenty of her recordings crossed over into other genres. Her soaring, pitch-perfect voice and heart-rending emotion brought her to the forefront of American culture, in a high arc from her debut in 1957 until her 1963 death in an airplane crash on the way back to Nashville.
Cline’s short career encompassed many firsts: first woman to be inducted into the Country Music Hall of Fame, first woman to tour as a lead act, first to headline in Las Vegas, and first female country singer to perform at Carnegie Hall. Her glorious honey-toned voice and prodigious output of classic country and popular songs earned her a permanent place in the pantheon of American music.
Center Repertory Company has launched a lovely production of Ted Swindley’s “Always, Patsy Cline,” at the Margaret Lesher Theater in Walnut Creek. The truest of true stories, based on letters shared between Cline and her friend Louise Seger, the show combines music, comedy, and drama in a way equaled by few other theatrical productions. The big stage and capacious seating in the Lesher provide the perfect venue.
…”Always, Patsy Cline” is a fantastically entertaining tour of musical Americana…
Equity actress Cayman Ilika stars as Patsy, with Kate Jaeger as Louise. Ilika’s appearance is convincingly similar to Cline’s, helped of course by Brynne McKeen’s period-perfect costumes. Her voice is remarkably similar to Cline’s, although in a slightly lower register, with a dazzling capacity to sail from contralto to upper alto. Her ability to hold notes is astounding. She’s a powerful performer.
Cayman Ilika as Patsy Cline and Kate Jaeger as Louise Seger. Photo Credit: Alessandra Mello.
Supported by a superb six-piece band (“The Bodacious Bobcat Band”) arrayed across the stage behind her, Ilika covers memorable million-sellers like “I Fall to Pieces,” “Crazy” (written by Willie Nelson, by the way), “Walkin’ After Midnight,” and “Sweet Dreams” with aplomb, but also does great justice to rock icons such as “Shake Rattle and Roll,” plus old pop favorites like “Bill Bailey” and gospel classics such as “Just a Closer Walk” and “How Great Thou Art.”
But the show’s namesake is only part of the attraction. As Patsy’s friend Louise, the immensely talented and outrageously funny Kate Jaeger provides the perfect balancing act. A wry, self-deprecating Texan, Louise was a fan before she ever met Patsy. Her first-person narrative about their meeting and enduring friendship is both hilarious and heart-warming. Sharing a few songs with Illika, Jaeger is also quite a compelling vocalist. The pair’s harmonies are glorious; their interactions, natural and effortless.
(l to r) Ilika and Jaeger in Center Rep’s “Always…Patsy Cline.” Photo Credit: Alessandra Mello.
Director Karen Lund and her cast and crew have delivered a real gift to Bay Area theater-and-music fans. It’s a pity that this show has such a short run, closing on September 25. It could easily run for many weeks.
“Always, Patsy Cline” is a fantastically entertaining tour of musical Americana and a lovely, emotional portrait of a transcendent friendship. It’s a show that should be on everyone’s must-see list.
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ASR NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Always Patsy Cline
Written by
Ted Swindley
Directed by
Karen Lund
Producing Company
Center Repertory Company
Production Dates
Thru Sept. 25th
Production Address
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
A technological house of horrors is both a comedic trap and an existential crisis for a young married couple in Deborah Yarchun’s “Atlas, the Lonely Gibbon” at Spreckels Performing Arts Center through August 28.
Directed by Sheri Lee Miller, Yarchun’s world premiere script leverages an uncooperative “smart home” and digital-era social isolation as the basis for an acerbic comedy.
Taylor Diffenderfer (l) and Keith Baker (r). Photo by Jeff Thomas
Taylor Diffenderfer shines as Irene, a journalist reduced to doing copy-edit work on stories generated by computer, and one so spooked by and hooked on technology that she frequently dons a virtual reality (VR) headset to escape.
…an amusing and well-done cautionary tale….
All the devices in her fully-integrated home refuse to follow orders that she barks at “Atona,” the unseen interface and controller in her sci-fi residence. The refrigerator coughs and sputters and dances madly. The lights flicker and fade at random. Even the house plants seem to have minds of their own. Both unbidden and in response, the home’s devices talk to her, often with incisive comments. Kevin Biordi and Julianne Bradbury animate and voice the machines.
Irene doesn’t get much help from husband David (Keith Baker), also a journalist who despite the prevalence of every imaginable connectivity at home, has to keep dashing out “to the office.” The revolt of the machines at home launches his system-wide upgrade, a cure that proves worse than the disease. Irene’s also got some sort of fixation on a large mate-seeking gibbon named “Atlas,” enacted by Baker. Bradbury does a nice bit late in the show as the probable mate.
Diffenderfer and Baker at work. Photo by Jeff Thomas
It’s all very funny until, as John Craven described “The House of Yes” at Main Stage West, it’s not funny anymore. The story morphs into a showdown between husband and wife, with quite unfavorable implications for the future of their relationship.
It’s a circumstance that should prove immediately recognizable for anyone overwhelmed by the intrusion of technology into every aspect of daily life. “Atlas, the Lonely Gibbon” is an amusing and well-done cautionary tale about where all of this may lead.
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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: [email protected]
Production
Atlas, the Lonely Gibbon
Written by
Deborah Yarchun
Directed by
Sheri Lee Miller
Producing Company
Spreckels Performing Arts
Production Dates
Through August 28th
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Rodgers and Hammerstein’s “Oklahoma!” must have been a deeply traumatic event in the young life of director Daniel Fish.
There’s no other explanation for his nasty, disjointed interpretation of the beloved 1950s musical. A small part celebration, a larger part attack, but mostly a personal exorcism, Fish’s national touring production opened Wednesday August 17 to a nearly full house in San Francisco’s capacious Golden Gate Theatre.
Entering the theater, the audience squinted into a broad bank of harsh bright lights from high above the stage, perhaps a forewarning that they were about to undergo psychological torment of the type dished out to political prisoners. Below these lights lay the set for the entire production: a huge open room filled with rows of picnic tables and walls festooned with mounted guns—dozens of rifles and shotguns, implying that the space is possibly a hunting club, but also perhaps the rec room of a church, or a school cafeteria. It’s community meeting space with lots and lots of guns.
Gun culture is established early in the show—this is Oklahoma, of course—and despite the story’s lack of gunplay, it provides thematic background throughout a nearly three hour performance. Russian novelist/playwright Anton Chekhov famously commented “If there’s a gun hanging on the wall in act one . . . you must fire the gun by act three,” advice clearly followed by Fish in his rewriting of the show’s closing moments.
In the opening scene we meet most of the pertinent characters near the town of Claremore, Oklahoma Territory, all presided over by matriarch Aunt Eller (Barbara Walsh). This introduction closely adheres to Hammerstein’s original, with cowboy Curly (Sean Grandillo) accompanying himself on guitar while singing “Oh, What a Beautiful Morning.” We meet Laurey (Sasha Hutchings), the girl of his dreams, and Jud Fry (Christopher Bannon), village idiot and Curly’s rival for Laurey, goofy adventurer Will (Hennesey Winkler) and pivotal comic-relief character Ado Annie (Sis), the “girl who cain’t say no.” They’re mostly in fine voice, especially Sis, blessed with superb comic timing and a powerful contralto. The Laurey/Curly duet “People Will Say We’re in Love” is delightful.
The company of the National Tour of Rodgers & Hammerstein’s OKLAHOMA! —- Photo: Matthew Murphy and Evan Zimmerman
But our short stay in traditional romantic musical territory is abruptly ended by a lengthy blackout scene in which Curly and Jud have a man-to-man discussion. The blackout is as annoying and unjustifiable as the airfield landing lights that illuminate the theater on entering, and is inexplicably repeated in the second act. If one long blackout wasn’t enough, how about two or three?
The original production featured a “dream ballet” in which Laurey tries to sort out her feelings for Curly and Jud. That’s been jettisoned for a solo modern dance routine done to a high-intensity heavy-metal medley of “Oklahoma!” tunes, in the midst of more stage smoke than ever obscured a 1980s rock concert.
Clad in an oversized T–shirt emblazoned with the words “Dream Baby Dream,” dancer Jordan Wynn performs well even if John Heginbotham’s choreography bears no relationship to 1906 Oklahoma, or to the rest of the show. It’s also Wynn’s only appearance. Benj Mirman does a nice turn as Ali Hakim, the “Persian” peddler, as does Mitch Tebo as local jurist Andrew Carnes. The production’s dozen or so musicians are excellent, and the show’s actors overall are very good.
…Director Fish’s conceptual conceits sink this show.
As done originally, both stage and film, “Oklahoma!” is a lightweight musical hampered by a weak story—its weakness forgivable because great music carries the show. Fish makes the too-obvious mistake of trying to push “Oklahoma!” into dramatic territory that would have appalled both its authors and previous generations of musical theater fans.
In the original, Jud appears in the penultimate scene at the wedding of Laurey and Curly. He’s drunk and belligerent, provokes a fistfight with Curly, then dies after falling on his own knife—an accidental death. In Fish’s version, he arrives stone cold sober, with a wedding gift for Curly: a revolver whose grip he puts in Curly’s hands. He provokes the inevitable single shot that kills him, and the blood-spattered newlyweds then sing the “Oklahoma!” anthem as off-key and ironically as possible. It’s an intentional abomination.
Fish may have many good reasons for hating the musical, for hating gun culture, for hating the state of Oklahoma and its history. He may even have some good reasons for sympathizing with a character as repellent as Jud Fry, but there’s no justification for turning what’s basically an upbeat romantic fantasy into a screed about evil.
This “Oklahoma!” is little more than a protracted, self-indulgent exercise in millennial irony. Professional tastemakers in New York and elsewhere may have gushed about its brilliance, but bear in mind that they also considered “Guards at the Taj” a delightful little comedy, “The Humans,” an insightful depiction of family dynamics, “Dance Nation” a revelation about adolescent girls, and “Next to Normal” a fun romp through the minefield of drug addiction and delusional behavior. God save us.
There are certain theatrical icons that should be off-limits to reinterpretation. Fish’s “Oklahoma!” neither honors the original nor does it provide any degree of satisfaction for an audience eager to leave the theater with songs in their hearts. Instead they go home sorry that they paid to be insulted.
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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: [email protected]
Production
Oklahoma!
Written by
Richard Rodgers and Oscar Hammerstein II /alterations by Daniel Fish
Directed by
Daniel Fish
Producing Company
National Touring Production / Broadway SF
Production Dates
Through Sept. 11th
Production Address
Golden Gate Theatre
1 Taylor Street
San Francisco, CA 94102
San Francisco has a long strong history of audacious theatricality.
Home-grown dazzlers include The Cockettes, The Tubes, Beach Blanket Babylon, and Teatro ZinZanni. Add to this list two or three annual performances of “The Rocky Horror Picture Show,” periodic revivals of “Hedwig and the Angry Inch,” an occasional over-the-top production of “Cabaret” (SF Playhouse, summer 2019) and hilarious touring shows such as “Head Over Heels” that rocked the Curran in spring 2018.
R2D2 and dancer. Photo by Kevin Berne.
At Chinatown’s Great Star Theater through October 2, “The Empire Strips Back” is very much in this tradition. The show originated in 2011 for a three-evening run in Sydney, Australia and became a national hit, touring Down Under for years before it went global.
“ . . . some of the most fun you’ll have in a SF theater all summer long.”
Billed as “a parody of Star Wars,” the show is more a Star Wars-themed spoof, with dancers assuming the guises of many Star Wars characters and the stage filled with props from the long-running film franchise. The lack of a through-line doesn’t tarnish the production, a music-and-dance revue that in classic burlesque style features a comic emcee who keeps the audience laughing while stagehands scramble behind the curtain, prepping for the next act.
Old-time burlesque featured not only a comic emcee, but jugglers, clowns, and assorted other diversions between the real attractions: scantily clad female dancers, with which the Great Star is abundantly supplied. Jugglers and clowns are notably absent, unless you count a twerking Chewbacca late in the second act.
In a pale blue “Lando Calrissian” cape, Oakland comedian Kevin Newton serves amiably as emcee, with perfectly paced commentary on everything happening onstage and in the audience—a full house on opening night, and a rowdy one too. Who knew that San Francisco still had so many heterosexuals?
The show’s dancers are talented, gorgeous, and aggressive, with moves that encompass every dance genre from the early ‘60s to the hip-hop present. Erin Vander Haar is a standout, a superb performer with a compelling ability to flirt with her audience. The show’s pop music also encompasses the past 60-some years, going as far back as the Spencer Davis Group and into the contemporary era with pieces like “Seven Nation Army.”
Musically, and choreographically, there’s something for everyone in this show, but it’s geared for a young, contemporary crowd—especially those steeped in Star Wars lore, pretty much a definition of everyone born after 1965. Newton generates plenty of laughs with cult-insider humor.
The Empire Strips dancers. Photo by Kevin Berne.
Dance segments are outrageously delightful, such as one that liberally quotes the famous hair-slinging scene in the film “Flashdance,” done here atop Luke Skywalker’s hovercraft. As big as a dump truck, Jabba the Hutt appears onstage with dancers cavorting around and on him. Whether solo, duets, trios, or ensemble, the dance troupe is phenomenal. Stagecraft varies from amateurish to astounding.
Takeaway: “The Empire Strips Back” is as far from serious theater as we can get, and what a welcome departure it is. We have to go back to “Head Over Heels,” more than four years ago, to remember a show where the audience sang along and afterward lingered on the sidewalk out front as if they didn’t want to leave. It’s probably some of the most fun you’ll have in a SF theater all summer long.
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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: [email protected]
Production
The Empire Strips Back
Production Dates
Through October 2. 2022
Production Address
Great Star Theater
686 Jackson St.
San Francisco, CA
Two rival artists get what they need, if not what they want, in Kevin Rolston’s compelling solo show “Deal with the Dragon” at Magic Theatre through August 13.
On a bare stage with a straight-back wooden chair as his only prop, Rolston brings to life Brenn, a mysterious and potentially malevolent spectre “from the Black Forest” who’s been intervening in human affairs “for centuries.”
Kevin Rolston (pictured) stars in Deal With The Dragon at Magic Theatre.
The tale begins with his hovering over the life of a tormented artist named Hunter, who’s competing against a rival named Gandy for what will be, for one of them, the first-ever exhibition of their works at a major museum.
Rolston’s neurotic but hugely entertaining characters succeed beautifully…
The story’s a good one, made better by Rolston’s superb embodiment of its three primary characters, each clearly delineated from the others. Along the way, he also performs several minor characters, including a museum director, a counselor at a twelve-step meeting, and an annoying teenage girl in a coffee shop.
Rolston is a confident performer with superb timing and an excellent sense of plying his audience, and earned a rousing ovation from the theater’s nearly full house on opening night. Directed by M. Graham Smith, he delves deeply into his characters’ quirks—especially Hunter’s—and closes the approximately one-hour performance on a hopeful note, not something that most theatergoers would expect from what’s essentially a darkly comic recital, its darkness amplified by Sara Huddleston’s sound effects. The bare stage is beautifully enhanced by Wolfgang Lancelot Wachalovsky’s subtle lighting.
Kevin Rolston at work at Magic Theater.
The title “Deal with the Dragon,” of course, is an imperative to conquer one’s demons—psychological, chemical, what have you. Rolston’s neurotic but hugely entertaining characters succeed beautifully in doing so.
Faustian tales are almost always tragic—this one is an unusually upbeat redemption story. And “Magic Theatre” couldn’t be a more appropriate venue, because what Rolston does in little over an hour is sheer magic. As Brenn puts it on first meeting Gandy, “It’s not so much who I am as what I can provide.”
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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: [email protected]
Production
Deal With The Dragon
Written by
Kevin Rolston
Directed by
M. Graham Smith
Producing Company
Magic Theatre
Production Dates
Thru August 13, 2022
Production Address
Magic Theatre Ft. Mason Center, Bldg D 2 Marina Blvd. San Francisco, CA.
Political differences have shattered families and friendships since the dawn of history. Cristina Garcia’s “Dreaming in Cuban,” by Berkeley’s Central Works through July 31, examines the impact of the Cuban revolution on a family irreconcilably divided by the event and its ideology.
The time is 1979-80. Mary Ann Rodgers stars as Celia del Pino, a true-believer revolutionary whose two adult daughters have gone in vastly different directions. One, Lourdes (Anna Maria Luera) left Cuba to open a successful bakery in Brooklyn, NY, while her rudderless sister Felicia (Natalia Delgado) chose to remain on the island. Among the many “gusanos” (worms) allowed to depart in the wake of the revolution, Lourdes is adamantly pro-capitalist and anti-communist. Her mother is the opposite, with a near-religious faith in Fidel Castro and his cause.
Central Works has a tradition of performing new plays…
Living far apart, they’ve had little communication until the sudden death of Felicia brings Lourdes and her artistic teenage daughter Pilar (Thea Rodgers) back to the island for the funeral. The story of the two sides of the family unfolds in parallel, going back and forth between Lourdes/Pilar and Celia/Felicia.
Pilar proves to be one of the script’s most interesting and most malleable characters, with the biggest character arc. As a teenage lefty, she has doubts about the benefits of capitalism and some sympathy for the social experiment taking place in her ancestral homeland, somewhere she’s never visited until late in the tale.
Mary Ann Rodgers as Celia, Anna Maria Luera as Lourdes
In significant ways “Dreaming in Cuban” is told almost passively from Pilar’s point of view, and more assertively from the perspectives of Celia and Lourdes. Familial love runs deep, but not deep enough to fill the divide between those on opposite sides.
Pilar’s starry-eyed fascination with the revolution is tempered by a few days in Cuba. She’s the delicate suspension bridge between two previous generations. No longer enamored with communism, she comments near the end of her visit: “Utopias have a terrible track record.”
Working in a small space in the Berkeley City Club, Julia Morgan’s beautiful old building on Durant Avenue, Central Works has a tradition of performing new plays with almost no set, relying instead on a few essential props, some projected images, and great sound design by Gregory Scharpen, almost compensating for the emptiness and constraints of the space.
The cast at work in Central Work’s “Dreaming in Cuban”
The performers in this production are generally quite good, especially Rodgers, Rodgers, and Luera. Eric Esquivel-Guiterrez does a nice turn as Max, Pilar’s Brooklyn-based musician boyfriend, and as Ivanito, Felicia’s son. Steve Ortiz appears in two minor roles, and voices a couple of announcers.
Developed from her novel of the same name, and directed by Gary Graves, Garcia’s play has enormous potential, not fully mined in this production. The near-total lack of set requires the audience to do an unusual amount of filling-in-the-blanks that isn’t counterbalanced by impassioned performances and excellent sound design.
Theater goers may find a lot to like in “Dreaming in Cuban,” especially should it be undertaken in a larger venue. The City Club production won a “Go See” recommendation from the San Francisco Bay Area Theatre Critics Circle.
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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: [email protected]
Production
Dreaming in Cuban
Written by
Cristina Garcia
Directed by
Gary Graves
Producing Company
Central Works
Production Dates
Thru July 31, 2022
Production Address
Berkeley City Club
2315 Durant Ave, Berkeley, CA 94704
An inept small-scale rebellion leads to major improvements in a corporate office in “9 to 5, the Musical” at Santa Rosa’s 6th Street Playhouse through June 26.
Based on the proto-feminist comedy film from 1980 starring Dolly Parton, Jane Fonda, Lily Tomlin, and Dabney Coleman, “9 to 5, the Musical” expands on the original with more music and lyrics by irrepressible singer/songwriter Parton, who introduces and closes the stage show via video clips. Between these bookends lie two hours of hilarity and silliness, tremendous song and dance, and plenty of barbed commentary about gender discrimination, sexual harassment, and managerial incompetence—problems as rampant today as they were forty-two years ago.
“9 to 5, the Musical’ is a feel-good reminder of what’s possible…
Fans of the film—and those who’ve never seen it—will find much to enjoy about this high-energy musical comedy. In fact, with its larger repertoire of musical numbers and its huge cast of talented performers, they may find that they enjoy this Carl Jordan-helmed production more.
Mark Bradbury as Franklin Hart
Mark Bradbury appears as Franklin Hart, a slimeball boss whose idea of humor is “How does a woman lose 95% of her intelligence? She gets divorced.” Hart’s a character easy to hate, but one so goofy that he actually evokes some sympathy. He’s clueless, and clueless about being so. He clearly doesn’t know that his 1950s attitudes and behaviors are no longer acceptable. He also doesn’t understand the threat lurking in his female underlings—ditzy Doralee Rhodes (Anne Warren Clark), workplace-hardened Violet Newstead (Daniela Innocenti-Beem), and new recruit Judy Bernly (Julianne Bradbury), whose office skills are so limited that she doesn’t know how to feed paper into a typewriter. Hart’s only trusted ally at work is his assistant Roz (Jenny Boynton), who almost foils the plot against him.
The cast at work at 6th Street
It’s a great comedic setup—one that plays out beautifully across the big stage in the G.K. Hardt Theatre. With impeccable comic timing and strong vocal abilities, Innocenti-Beem and Clark are perfectly cast and riveting to watch. Julianne Bradbury does a solid job as the less-assertive Judy, as does Noah Sternhill as junior accountant Joe, the rebels’ co-conspirator. Strong cameos include Cindy Brillhart-True as Franklin’s wife Missy Hart, and theater veteran Norman Hall as chief investor Russel Tinsworthy. It’s a well-chosen cast.
Suprise!
But “9 to 5” isn’t simply a great performance. Parton’s music is consistently upbeat and enlivening, as is choreographer Devin Parker Sullivan’s work, which alludes to an earlier era with a nod to the present. Monochrome slowly evolving to multicolor, the set by Eric Broadwater and costumes by Tracy Hinman also propel the story.
But the unspoken star of the show is Chris Schloempf, whose big bright projections fill the back of the stage. At intermission, theater director Marty Pistone, who worked with Schloempf on last year’s marvelous “Galatea,” commented “Chris’s work simply gets better and better. The guy is astounding.”
That’s the kind of upbeat feeling this show engenders, driving home its point with pervasive humor instead of angry admonitions. Franklin Hart gets his comeuppance—and with it, a promotion—while our conspirators create a workplace friendly to all, the kind of environment where most of us would be glad to spend our days. “9 to 5, the Musical’ is a feel-good reminder of what’s possible, even if by accident.
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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: [email protected]
Production
9-to-5 The Musical
Written by
Patricia Resnick / Music and lyrics by Dolly Parton
Directed by
Carl Jordan
Producing Company
6th Street Playhouse
Production Dates
Through June 26, 2022
Production Address
6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
The lives of two talented writers intersect in unimaginable ways in Adam Rapp’s “The Sound Inside” at Marin Theatre Company through June 19.
The SF Bay Area’s multiple award-winning Denmo Ibrahim stars as Bella, a middle-aged professor of creative writing at Yale University. New York-based actor Tyler Miclean appears opposite her as Christopher, a belligerent but talented freshman in one of her classes. In a lengthy self-deprecating prelude, Bella relates her history as a writer and lover of literature, her relationship status (single) and a diagnosis of a potentially terminal medical condition. She’s published only one novel in her career, but is sanguine and accepting of her entire situation, including the fact that at 53, she still lives in faculty housing.
Denmo Ibrahim as Bella in MTC’s “The Sound Inside.” Photo by Kevin Berne
Into her comfortable but under-achieving life marches Christopher, a rebel to the core. He comes to her office repeatedly without seeking permission, rants impressively and knowledgeably about all things literary, refuses to use email, and even pounds out his own work on a manual typewriter—“a Corona, recently restored,” he brags. He basically intrudes into her life through sheer intellectual force, an intrusion that mystifies, annoys, and beguiles her. He’s clearly her psychic equal, perhaps the first she’s ever encountered.
Brilliantly written, brilliantly directed, and brilliantly performed…
Their uneven friendship grows as they parry and thrust with every sort of literary reference—biographical tidbits about legendary writers, arguments about interpretations of plots and characters. Whatever erotic tension exists between them is subsumed in a mutual intellectual frenzy. She can’t resist nurturing their friendship even when it might be seen as inappropriate. Partly guiding and partly following, she’s compelled to stay with it wherever it may go, without any lingering sense of guilt. A truly free woman.
Tyler Miclean as Christopher and Denmo Ibrahim as Bella at work. Photo by Kevin Berne
Early on he tells her that he grew up in Vermont in a house filled with books, where his reclusive mother lives. Bella jokingly asks if his mother might be Joyce Carol Oates, the prolific novelist and career academic famous for writing in longhand, as did Kurt Vonnegut, another writer who gets more than passing mention in Rapp’s fascinating, tightly-woven tale.
Christopher proves to be Bella’s biggest fan when he not only quotes verbatim from her novel, but presents a copy as his proudest possession, a book she was certain had long gone out of print.
Smitten with her troubled and troubling angel, she helps him with his manuscript, a first-person account of horrific events that may or may not be fiction. Bella’s interpretations of her own events may or may not be fiction, too, as in a hilarious regret-free retelling of a one-night stand she initiated with a contractor in a New Haven bar.
Together, Bella and Christopher are like two strangers bobbing about in a rowboat on an unfamiliar and turbulent sea. But what a sea it is! It would be unfair to performers and audience alike to reveal where their little boat ultimately goes, but it’s a journey recommended with the utmost sincerity.
Denmo Ibrahim as Bella. Photo by Kevin Berne
Generously directed by Jasson Minidakis on a simple set by Edward E. Haynes, Jr., with gorgeous immersive projections by Mike Post, Ibrahim and Miclean take us on a fantastical exploration of little-examined territory. Their characters are far deeper than the self-absorbed literary types that we might expect on first meeting.
In some ways, “The Sound Inside” is a simple portrait of two people clinging to each other from sheer need, but in much larger ways it’s a sweeping celebration of the life-affirming potential that lies in every seemingly insignificant—even annoying—encounter.
Brilliantly written, brilliantly directed, and brilliantly performed, “The Sound Inside” is a paean to human connectedness—a stunning, lovely piece of magical realism. Marin Theatre Company could not have chosen a more poignant tale to close its 2021-22 season.
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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: [email protected]
Production
The Sound Inside
Written by
Adam Rapp
Directed by
Jasson Minidakis
Producing Company
Marin Theatre Company (MTC)
Production Dates
Thru June 19th
Production Address
Marin Theatre Company
397 Miller Avenue
Mill Valley, CA
On rare occasions, a local production exceeds a national touring show by a wide margin. Such is the case with “Bright Star” at Napa’s Lucky Penny Community Arts Center through June 12.
The national touring production of the Tony-nominated musical, by Steve Martin and Edie Brickell, debuted some years ago in San Francisco at the American Conservatory Theater—a well-performed but underwhelming theatrical event. By contrast, Lucky Penny’s is a sustained joyful celebration undertaken on a small stage by the most enthusiastic and talented ensemble we have seen in the North Bay in a long time.
It’s a case of everything being so right—casting, performance, set, costumes, music—that it’s hard to imagine how any of it could be improved….
Based on real events, “Bright Star” is a redemption story set in North Carolina in the 1920s and 1940s, and tells the tale of literary editor Alice Murphy (Taylor Bartolucci) and aspiring writer Billy Cane (Tommy Lassiter), a young soldier who’s just come home from World War II. Lucky Penny Artistic Director Bartolucci is astounding in encompassing both the young Alice and her more mature counterpart; Lassiter is equally compelling as the sweet-natured Billy, a fledgling writer who refuses to be told “no.”
Among many standouts in the cast are Sean O’Brien as Billy’s backwoods father, Daddy Cane; Kirstin Pieschke as Billy’s potential girlfriend Margo; Ian Elliot as Jimmy Ray Dobbs; and Lucky Penny Managing Director Barry Martin as the despicable, manipulative Mayor of Zebulon, NC, Josiah Dobbs—the sort of character that audiences love to hate. Jenny Veilleux is excellent as Lucy Grant, as is Dennis O’Brien as Stanford, Mayor Dobbs’ attorney and advisor.
All of the eighteen-member cast are great performers and superb singers, backed by a five-piece band led by Craig Burdette (including Peter Domenici on banjo). Burdette’s crew propels the Lucky Penny ensemble through almost two-dozen rousing heartfelt tunes, performed with some of the most athletic and authentic choreography imaginable, created by Jacqui Muratori and Alex Gomez.
Directed by Martin, the show moves along quickly through two beautifully-paced acts thanks to minimal set changes. There are enough set pieces to establish each scene, but nothing more. Martin said post-show that in rehearsals, he and Bartolucci kept deleting set pieces until they reached the bare minimum.
The gambit works perfectly, as does every other risk that Lucky Penny took in putting on this gorgeous production. It’s a case of everything being so right—casting, performance, set, costumes, music—that it’s hard to imagine how any of it could be improved.
This “Bright Star” is truly stellar—and a welcome rejuvenation in an era of soul-crushing news. We need all the uplift we can get. Lucky Penny delivers.
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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: [email protected]
Production
Bright Star
Written by
Steve Martin and Edie Brckell
Directed by
Barry Martin
Producing Company
Lucky Penny Productions
Production Dates
Thru June 12th
Production Address
Lucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
In its century-long history, the Mountain Play been cancelled only twice. Its return this past Sunday May 22 was a welcome return to normal, more or less. One of the great pieces of musical Americana, “Hello, Dolly” (directed by Jay Manley) opened to a less-than-capacity crowd at the Cushing Memorial Amphitheater in Mt. Tamalpais State Park—a crowd that made up with enthusiasm what it lacked in numbers.
The warm but not sweltering weather was just about perfect for the audience, although probably a bit much for the performers, who nonetheless gave their all in a compelling and totally enjoyable production of the Michael Stewart/Jerry Herman classic about Dolly Gallagher Levi, matchmaker and all-purpose huckster with a heart of gold. With superb comic timing and a soaring voice, Dyan McBride shines in the lead role. As Dolly’s marriage target Horace Vandergelder, Mt. Play veteran Randy Nazarian is McBride’s equal in stage presence and chutzpah, if not in vocal talent.
…”first-rate ensemble dancing and the musicianship of a fifteen-member orchestra…”
Primary and secondary characters are all fully engaged and expert at “going big”—including Chachi Delgado and Zachary Frangos as Vandergelder’s loyal undercompensated employees Cornelius Hackl and Barnaby Tucker, respectively. Jen Brooks is delightful as Irene Malloy, as is Jill Jacobs as Ermengarde.
5238 – L to R: Mrs. Dolly Gallagher Levi (Dyan McBride), Barnaby Tucker (Zachary Frangos), Minnie Fay (Julia Ludwig ). Photo by: Robin Jackson.
Jesse Lumb turns in a great performance as Ermengarde’s boyfriend Ambrose Kemper, but the real standout in the cast’s second rank is Gary Stanford, Jr., whose comedic take on maitre d’ Rudolph Reisenweber is an absolute scream. Stanford pulls out all the stops in spoofing a pompous German, a highlight of the show’s second act.
Ensemble cast dancing. Photo by: Robin Jackson.
The real standouts in this production are first-rate ensemble dancing (choreography by Zoe Swenson-Graham / Lucas Michael Chandler, dance captain) and the musicianship of a fifteen-member orchestra under the direction of David Moschler.
Andrea Bechert’s set was incomplete on opening day, reportedly because of high winds and a labor shortage in the week before opening, but whatever was missing from the set didn’t hinder the show’s total charm.
“Hello, Dolly” marks a welcome return to some semblance of normalcy. Showgoers should be aware that once they begin the uphill trek from Mill Valley, signage is nearly non-existent, and the entrance to the park is much farther than they might imagine. Best to be prepared rather than to get lost along the way—cell phone reception isn’t great up there.
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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: [email protected]
Production
"Hello, Dolly"
Written by
Michael Stewart – Music and Lyrics by Jerry Herman
Directed by
Jay Manley
Producing Company
The Mountain Play Association
Production Dates
Through June 19th, 2022
Production Address
Cushing Memorial Amphitheatre, Mount Tamalpais State Park, Mill Valley
Despite at least one very dark plot element and an abrupt tragic ending, 42nd Street Moon’s musical “Fun Home” fills its 95 minutes with uplifting and delightful song-and-dance. At the Gateway Theatre on Jackson Street in the city’s financial district, the show closes its three-week run this Sunday, May 8.
A lesbian coming-of-age story derived from cartoonist Alison Bechdel’s autobiographical graphic novel, the show features the adult Alison (Rinobeth Apostol) in her studio, overseeing her past unfolding before her as she scribbles and scrawls—a theatrical replay of her creation of the novel. Scenic designer Mark Mendelson cleverly places her in a sort of god-like position where she can observe all that’s transpired to make her what she is. Apostol is a confident and compelling actor, onstage throughout the show, sometimes fully engaged with her castmates and sometimes merely a somewhat detached observer.
Central to the story is Alison’s sexual awakening, and her relationship with her father Bruce (Jason Vesely), an English teacher, home renovator, and funeral home director—quite an imposing set of skills—and a closeted gay man given to frequent flings that distress his wife Helen (Jennifer Boesing).
Grown Alison watches as her younger self, “Small Alison” (McKenna Rose) cavorts with her brothers John and Christian (Keenan Moran and Royal Mickens, respectively), and is especially attentive to “Medium Alison” (Teresa Attridge), the college-age version of herself who wonders about lesbianism before finally giving it a go with classmate Joan (Sophia Alawi).
The cast, stagecraft, lighting and sound are all very good….
New for this reviewer, Attridge is an astounding performer whose rendition of “Changing My Major” celebrates Alison’s embrace of her sexuality and her deep love affair with Joan. It’s the high point of the first act and quite possibly the high point of the entire production—a simply off-the-chart performance, among many that almost reach that level. Musical theater veteran Dave Dubrusky leads a small ensemble that perfectly backs the show’s many great songs, reinforced by Natalie Greene’s high-energy au courant choreography.
The cast, stagecraft, lighting and sound are all very good—a rare production with no glitches to grumble about. Directed by Tracy Ward, “Fun Home” is a solid bet for those seeking entertainment with a plausible modern through-line.
42nd Street Moon’s publicity hypes it as “a Bay Area regional premiere” but the show has played at least twice in the Bay Area, first at the Curran in January 2017 then again in October 2018 at TheatreWorks Silicon Valley. It’s a popular show. This one runs 95 minutes, no intermission. Expect a couple of other local productions within the coming year.
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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: [email protected]
The Catskills mountain region in upstate New York made substantial contributions to American culture throughout most of the 20th century. Many legendary comedians and musicians worked “Borsht Belt” resorts such as the one brought to life by Sonoma Arts Live with its new production of the Stephen Cole musical “Saturday Night at Grossinger’s.” Cole is the show’s librettist/lyricist; the music is by Claibe Richardson with additional lyrics by Ronny Graham.
Dani Innocenti-Beem (r) wowing her scene partner!
Dani Innocenti-Beem solidly anchors the show as the entrepreneurial singer/comedienne Jennie Grossinger, who almost single-handedly converted what had been a rundown farmhouse into one of the most recognized and desirable vacation destinations in the eastern U.S. In a short silver-gray wig, she commands the stage whether singing, dancing, or riffing on the circumstances around her.
Larry Williams, the show’s co-director with Jaime Love, is also formidable as Sheldon Seltzer, the resort’s announcer/master of ceremonies/fallback comedian. He’s heavy on Henny Youngman-style wisecracks such as “Take my wife. She runs after the garbage truck shouting ‘Am I late for the trash?’ The driver shouts back, ‘No, jump in.’”
…a delightful morsel of musical theater….
Innocenti-Beem and Williams are both gifted and confident comedic performers. Their appearance together on the same stage guarantees a good time for the audience—whether the comedy is intentional or not, as happened on opening night with a balky curtain. The pair covered so well that most folks in the nearly sold-out house believed the curtain glitch was built into the script. It wasn’t, but perhaps Stephen Cole should consider making it so. The perfectly-timed incident certainly seemed like something that might have happened infrequently at Grossinger’s, and it provoked plenty of laughter.
The substantially-constructed first act is a decade-by-decade revisiting of the history of Grossinger’s, from its 1904 origins through the 1960s. Musical director Sherrill Peterson and her band provide excellent backing for the all-singing/all-dancing Grossinger clan: Dan Schwager as patriarch “Papa,” David Shirk as Jennie’s mate Harry, and HarriettePearl Fugit and Tommy Lassiter as Grossinger offspring Elaine and Paul, respectively.
HarriettePearl Fugit (r) at Sonoma Arts Live.
With its compelling and perfectly paced scene-by-scene through-line, the show’s opening act induces strong anticipation in the audience, who come back from intermission expecting a big payoff. The second act doesn’t fulfill this expectation. It feels under-developed, as if some story elements were left dangling or cut without consideration for how this might affect the entire production.
The result is that the show seems to end abruptly, frustratingly so for the audience, as our very entertaining history tour of Grossinger’s doesn’t reach into the 21st century. Act One has a strong dramatic arc sorely missing in the second one. Maybe that will be corrected in the sequel: “Saturday Night at Grossinger’s, Part Two,” but even incomplete, SAL’s show is a delightful morsel of musical theater.
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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: [email protected]
Production
Saturday Night at Grossinger’s
Written by
Stephen Cole
Directed by
Jaime Love and Larry Williams
Producing Company
Sonoma Arts Live
Production Dates
May 8, 2022
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center 276 E. Napa Street, Sonoma
Novelist Kurt Vonnegut sometimes joked about his “vector analysis” approach to understanding stories, in particular the trajectories of primary characters.
For example, Cinderella’s personal vector moves like a rollercoaster through peaks of hope and valleys of despair, ultimately ending on a high note. Her arrow repeatedly goes across the “zero axis” between darkness and light. Many other stories take place entirely in the dark, without ever entering the light. Kafka’s “Metamorphosis” is one, in which a young man named Gregor Samsa, despised and reviled by his entire family, wakes up one morning to discover that he’s been transformed into a giant cockroach. The murderous rampage that is Shakespeare’s “Macbeth” similarly takes place entirely in the dark. There’s nothing uplifting in the script, and no possibility of a happy outcome. The fact that the whole affair is miserably depressing hasn’t hampered the play’s enduring popularity. Nor has it impaired “Sweeney Todd,” a show that’s performed with inexplicable regularity.
“One Flea Spare” is a deep probe into the dark side of human existence….
Naomi Wallace’s “One Flea Spare” is in this tradition. A depiction of four people forced to quarantine in an upscale London home during the Bubonic Plague of the 17th century, it begins morosely and gets darker from there. Director David Lear and his excellent group of performers at Sebastopol’s Main Stage West don’t try to gussy up Wallace’s dim view of humanity but bore into the historical and emotional darkness like coal miners eager for work. Allusions to the COVID pandemic weren’t intended by the playwright, but are more than appropriate today.
The setup is simple: people are dying in droves and the city has commissioned some enforcers to keep those still symptom-free indoors at home until officials deem it safe for them to come out. Kevin Bordi plays one such enforcer, a good-natured oaf called Kabe, who visits the Snelgrave home to nail closed the shutters so that no one can escape.
Matthew Cadigan, left, rehearses with director David Lear for “One Flea Spare” at Main Stage West. (Photo by Main Stage West)
He converses amicably with the homeowners—superbly played by North Bay theater veterans John Craven and Elly Lichenstein—who are harboring two fugitives, a sailor named Bunce (Matthew Cadigan) and a young servant woman named Morse (Miranda Jean Williams), who have taken unapproved refuge in the Snelgrave home.
The four spend the next 28 days together in the dank house (set design also by Lear) getting to know more than they ever wanted to learn about each other, confessing things that might best be kept unspoken, and violating all kinds of social norms. Familiarity leads to contempt, as the old adage has it, and contempt leads to malicious violence, details of which won’t be shared here.
“One Flea Spare” is a deep probe into the dark side of human existence, offset somewhat by moments when the characters connect and seem to share some humanity with one another, usually in the context of revealing past hurts and painful secrets, such as Mrs. Snelgrave’s sad story about a fire that killed her horses and left her scarred and in a lonely marriage. Morse and Bunce have their own unhappy tales, but there’s palpable erotic tension and longing between Bunce and Mrs. Snelgrave.
Such scenes add dimension to the overwhelming darkness. Some viewers may feel compassion for all but the house’s master, and may enjoy a strange sense of delight when the others band together to strip him of his power.
It’s a beautiful bit of symbolism. All three had suffered greatly under men such as Snelgrave—the sailor’s forced military service destroyed his personal life, the servant girl literally lived under the control of her masters, and the wealthy lady of the house spent her life trapped in a dead and hostile marriage. The bizarre quarantine situation throws these three unlikely people together and enables them to challenge the power structure that has ruled their lives. Their joy, of course, is terribly short lived.
“One Flea Spare” is not a fairytale, but there is a bit of light peeking through the darkness. The production doesn’t feel like a month in quarantine, but theatrical magic does its work to convey an overriding sense of fear and claustrophobia, stretched out long enough to give the audience a taste of house arrest and an appreciation for the freedom of simply walking outside into the open air.
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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: [email protected]
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.
Production
One Flea Spare
Written by
Naomi Wallace
Directed by
David Lear
Producing Company
Main Stage West
Production Dates
Thru April 30th
Production Address
Main Stage West
104 N Main St
Sebastopol, CA 95472
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: [email protected]
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: [email protected]
Production
The How and the Why
Written by
Sarah Treem
Directed by
Dana Nelson Isaacs
Producing Company
Lucky Penny Productions
Production Dates
Through April 24
Production Address
Lucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
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: [email protected]
Production
Little Shop of Horrors
Written by / Book by
Alan Menken / Howard Ashman
Directed by / Music Direction by
Aja Gianola-Norris / Lucas Sherman
Producing Company
6th Street Playhouse
Production Dates
Thru Feb 19th
Production Address
6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Through March 13, Napa’s Lucky Penny Productions has a feel-good treat in store for everyone repulsed by war ravaging Ukraine. “The Marvelous Wonderettes” is Roger Bean’s hit jukebox musical featuring 38 pop songs of the 1950s and ‘60s, performed by the cutest—and goofiest—foursome that ever hopped on stage.
The scene is the 1958 Springfield High School prom, where we meet Betty Jean, Cindy Lou, Missy, and Suzy (Andrea Dennison-Laufer, Vida Mae Fernandez, Jenny Veilleux, and Kirstin Pieschke, respectively)—a vocal quartet in the poofiest skirts imaginable, on a kitschy set by Brian Watson, who also did the recent “Amy and the Orphans” at Petaluma’s Cinnabar Theater. Each of the four performers is a standout in her own way. Together they are delightful!
The The Marvelous Wonderettes at work. Photo courtesy Lucky Penny Productions.
Act One covers many of the best-known songs of the mid-to-late 1950s. Backed by a three-piece band, the girls have a bit of a rough start with The Chordettes’ deathless 1954 pop classic “Mr. Sandman.” Their timing and choreography are off just enough to provoke laughs but not cringes, and they gradually refine their act, dutifully plowing through many other anthems of teenage angst.
“The Marvelous Wonderettes” is a couple of hours of good clean lightweight fun and a welcome escape…
Comical petty jealousies infect both their performance and their between-songs interactions but never to the point where we’re afraid the group might break up. The Wonderettes are catty but loyal: all-for-one and one-for-all despite plenty of sniping. Writer Roger Bean uses the show’s playlist as a framework on which to hang the story of the Wonderettes’ drama with each other—both onstage and off.
The Wonderettes go mod. Photo courtesy Lucky Penny Productions.
Act Two finds the group reunited ten years later, this time in 60’s Mod attire (costumes by Barbara McFadden) and with an updated song list (music direction by Ellen Patterson). Several months pregnant, Suzy is wobbly but manages to be a real trooper even if she has to perform barefoot.
We learn a whole lot about what’s been going on with the girls during their decade after high school, none of it alarming and most of it amusing, such as flirting with “Ritchie,” the technician in the lighting booth. Stage manager Jeff Bristow is the good-natured recipient of such attentions. The girls’ relationships with the men in their lives can be a bit confusing, but don’t let the confusion interfere with your enjoyment of the show. It’s huge fun whether or not you can quote chapter and verse about the back story later.
Directed and choreographed by Scottie Woodard, “The Marvelous Wonderettes” is a couple of hours of good clean lightweight fun and a welcome escape from the larger world’s insanity.
As Jeff Bristow put it, the show is “a big hug”—exactly what we need now!
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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: [email protected]
Production
The Marvelous Wonderettes
Written by
Roger Bean
Directed by
Scottie Woodard
Producing Company
Lucky Penny Productions
Production Dates
Thru March 13th
Production Address
Lucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
A two-year hiatus hasn’t diminished “Harry Potter and the Cursed Child,” which reopened at San Francisco’s Curran Theater February 24, after a two-week delay due to COVID—after a two-year delay due to COVID.
If anything, the production is more polished and more spectacular than during its aborted run late in December 2019. The new show combines the original’s separate Part One and Part Two in one mind-blowing three-hours-plus production.
Harry Potter (John Skelley) from the San Francisco production of Harry Potter and the Cursed Child. Photo credit: Matthew Murphy.
The February 24 opening night included a huge rowdy street party before the show with a presentation by San Francisco Mayor London Breed. There is clearly a pent-up desire for live theater among performers and audience alike. Nowhere was this clearer than this show’s opener, from the street party to the entire production. The new production is slated to run through August 31, and is certain to satisfy Potterites of every variety, who may have to horde their shekels to get tickets, ranging from $69 to $229. Discounts are available.
It’s the most spectacular and well-produced show that many of us will ever see…
“Harry Potter and the Cursed Child,” is pretty much a theatrical miracle. Prior to COVID, the large-capacity Curran (nearly 1,700 seats) was closed for a couple of years for massive renovations, only to have some of the new seating and carpeting removed to create a realistic refugee camp for “The Jungle.” Then it was redecorated again, with carpeting and fabric wall coverings embellished with the Hogwarts logo, only to be abruptly closed by the pandemic.
From the San Francisco production of Harry Potter and the Cursed Child. Photo credit: Matthew Murphy.
The new production is incredible, even for those not steeped in Potter lore. It packs in more theatrical illusions than any dozen blockbuster shows in Las Vegas, including characters that step out of seemingly solid walls, or seemingly solid walls that absorb characters the way a sponge draws water, characters that instantly morph into other characters, characters that vanish only to reappear swimming in the sky, characters that emerge and exit through a burning fireplace, ghostly spirits that hover above the audience, and graffiti that somehow appears throughout the theater’s huge ceiling, like a celestial pattern in an observatory.
(L-R) Ginny Potter (Angela Reed), Harry Potter (John Skelley), Professor McGonagall (Shannon Cochran), and Draco Malfoy (Lucas Hall) from the San Francisco production of Harry Potter and the Cursed Child. Photo credit: Matthew Murphy.
Then there’s the amazing choreography of swirling capes and their disappearing owners (Steven Hoggett, movement director). Performers are all first-rate, from the primary characters all the way down to the chorus. There appear to be approximately thirty members in the cast, plus many dozens of specialists in the technical crew.
It’s one whale of a group effort, an amazingly well-polished production on an enormous scale. The imposing set by Christine Jones is amazing both in its audacity and its versatility, subject to instant change despite its size.
Pictured (L–R): Ron Weasley (Steve O’Connell), Hermione Granger (Lily Mojekwu), Rose Granger-Weasley (Folami Williams), James Potter Jr. (William Bednar-Carter), Harry Potter (John Skelley), Ginny Potter (Angela Reed), and Albus Potter (Benjamin Papac) from the San Francisco production of Harry Potter and the Cursed Child. — Photo credit: Evan Zimmerman for MurphyMade.
The story by J.K.Rowling, Jack Thorne and John Tiffany (director of the show) has the now-adult Harry Potter (John Skelley) toiling away as a wizard in the Ministry of Magic, and about to send his son Albus (Benjamin Papac) off to school at his alma mater, where Albus meets Scorpius Malfoy (Jon Steiger), a boy his age who’s the son of dark lord Draco Malfoy (Lucas Hall).
The two of them form an uneasy but solid friendship and are soon continuing the struggle against the evil Lord Voldemort (Geoffrey Wade) and his offspring. Pivotal roles of Ginny Potter, Hermione Grainger, and Rose Grainger-Weasley are adroitly covered by Angela Reed, Lily Mojekwu, and Folami Williams, respectively. Mojekwu and Williams are especially convincing as mother and daughter.
It’s a wild adventure, but may be too much for very young children. There were no frightened cries from the audience on opening night, even though some of the malevolent spirits haunting the Curran are (youngster) pants-wetting scary.
Casual theatergoers not in the Potter camp would do well to read up on the mythology before the show—a brief synopsis of which is included in the playbill, as well as some fascinating background information that will appeal to hardcore fans.
As we stated when “Harry Potter and the Cursed Child” first landed in San Francisco, even those who don’t know Harry Potter from Harry Houdini will be astounded by this production. For true believers, it’s a religious experience. For everyone else, it’s simply the most spectacular and well-produced show that many of us will ever see.
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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: [email protected]
Production
Harry Potter and the Cursed Child
Written by
J.K. Rowling, Jack Thorne, and John Tiffany
Music and Lyrics by Benj Pakek and Justin Paul
Directed by
John Tiffany
Producing Company
Curran Theater Co.
Production Dates
Thru August 31st
Production Address
Curran Theater
445 Geary St.
San Francisco, CA 94102
On rare occasions, an obscure play with an unknown star rocks the theater world.
At Petaluma’s Cinnabar Theater through February 20, Lindsey Ferrentino’s “Amy and the Orphans” is exactly that kind of production. In it, a couple of adult siblings named Maggie and Jacob (Mary DeLorenzo and Michael Fontaine, respectively) return to New York for their father’s funeral. They also have a half-baked plan to get their sister Amy (Julie Yeager) to move out of the state-supported home where she has lived for many years and to come reside with one of them.
It’s not clear why Maggie and Jacob wish to do this—they’ve had little contact with Amy for a long time, and no experience caring for her. Perhaps a lingering sense of guilt propels them, and while bickering with each other, they press their case with both Amy and Kathy (Jannely Calmell), her caretaker. The results are heartrending and comical.
“Amy and the Orphans” is one of the freshest things to land at local theaters in years…
A Down’s Syndrome person, Amy has a strong attachment to where she lives, a residence full of her friends. She’s a movie fanatic, watching them constantly on her iPad, and has a job working in a movie theater—a perfect occupation, in that she has memorized every classic line from every iconic film reaching back decades.
Left to right_ Mary DeLorenzo as Maggie, Julie Yeager as Amy. Photography by Victoria Von Thal
It’s a very fulfilling life for her. She doesn’t want to disrupt any of it, but her sister and brother insist that they know what’s best. Blessed with an innocent passion for fairness, Amy argues with impeccable logic about why she should remain where she is, and when rationality fails to convince them, she resorts to small-scale guerrilla tactics, coming close to risking her life in her fight for autonomy.
With a great sense of comic timing and tremendous confidence, Julie Yeager astounds in the lead role. Her wise replies come off with an improvisational immediacy that one might expect from a theatrical veteran of many years. So do her many movie-quoting bits, all done with perfect timing and the original characters’ diction. She’s a wonder to behold, provoking a spontaneous standing ovation from a nearly full house on opening weekend.
DeLorenzo and Fontaine are very good as middle-aged siblings whose differences have never been resolved. Calmell, a young veteran of many North Bay productions, is excellent as Kathy. Gina Alvarado and Justin P. Lopez are enjoyable diversions in a couple of flashback scenes of Sarah and Bobby, the parents of Maggie, Jacob, and Amy.
L-to-R_ Michael Fontaine as Jacob, Mary DeLorenzo as Maggie, Julie Yeager as Amy, Janelly Calmell as Kathy. Photo by V. Von Thal
Director Nathan Cummings has gotten a world-class performance from his cast of six, but most especially from Yeager, an absolute joy. Cinnabar’s whimsical set (by Brian Watson) and goofy props only add to the fun and satisfaction.
“Amy and the Orphans” is one of the freshest things to land at local theaters in years. Continually engaging, uplifting, and at moments downright hilarious, it’s a show that will instill hope and bring you to your feet in celebration.
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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: [email protected]
Main Stage West has rebounded from the confounding “Late, A Cowboy Song” with an exceptional production of the Tennessee Williams classic “The Glass Menagerie.” Expertly directed by Elizabeth Craven, it may be the only production ever done featuring real-life mother-and-daughter as their fictional counterparts.
Williams’ “memory play” takes place in St. Louis, in the late 1930s. A three-member family struggles to survive in the wake of a long-ago departure by an unnamed father and husband, whose portrait and influence loom over everything in the household.
Sheri Lee Miller, Theatre Manager at Spreckels Performing Arts Center, stars as family matriarch Amanda Wingfield, a manipulative and delusional faded Southern belle who smothers her adult children with a seemingly endless recital of recollections and demands. Miller’s daughter Ivy Rose Miller, MSW’s Managing Artistic Director, is understatedly amazing as Amanda’s weepy wallflower daughter Laura. MSW’s Producing Artistic Director Keith Baker turns in a solid performance as Tom Wingfield, Laura’s brother, a would-be poet and adventurer who also serves as the show’s narrator. Newcomer (for this reviewer, at least) Damion Lee Matthews does a more-than-convincing job as Jim, Tom’s associate from the shoe warehouse where they both work.
MSW’s production of “The Glass Menagerie” is among the finest this reviewer has ever seen…
The four-member cast is beautifully balanced. MSW’s compact stage is the perfect venue for the Wingfield family’s shabby St. Louis apartment—set design by David Lear and Elizabeth Craven. Missy Weaver’s moody lighting contributes to the Wingfields’ unhappy ambience, and carefully-curated selections of ‘30s-era music help put the story in its proper historical perspective—sound designer not credited in the playbill.
Glass Menagerie – Keith Baker and Damion Lee Matthews
This “Menagerie” is a stunning example of superb ensemble work that sails along at just the right pace, neither too briskly nor too slowly. Matthews exhibits palpable sensitivity as his Jim gets to know Laura, and Ivy Rose plumbs the depths of Laura’s rudderless existence. Baker confidently anchors the whole production, serving as a morose counterbalance to Sheri Lee Miller’s flamboyant and hysterical Amanda.
MSW’s production of “The Glass Menagerie” is among the finest this reviewer has ever seen—an exquisite piece of theatrical art that should be on every theatergoer’s must-see list.
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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: [email protected]
Production
The Glass Menagerie
Written by
Tennessee Williams
Directed by
Elizabeth Craven
Producing Company
Main Stage West
Production Dates
Through March 5th
Production Address
Main Stage West
104 N Main St
Sebastopol, CA 95472
A mistaken destination leads to a night of small-scale magic for some Egyptian musicians and their accidental Israeli hosts in “The Band’s Visit,” at San Francisco’s Golden Gate Theatre through February 6.
It also leads to a night of big-time magic for theatergoers willing to brave the pandemic. Like every other socially responsible venue, the Golden Gate is adamant about checking vax status for all attendees and requiring masks during the show’s no-intermission 105 minutes.
This production is a risk worth taking: a simple story about ordinary people that rises far above the ordinary through a seamless blend of great writing, great music, great acting, and great stagecraft—among the many reasons why the show ran seemingly forever on Broadway and garnered 10 Tony awards.
You’ll leave the theater overjoyed for having been there but longing for more.
The time is 1996, forty-eight years after the Arab-Israeli War, a conflict not forgotten by either side. The setup is the arrival in a small Israeli desert town of the eight-member Alexandria Ceremonial Police Orchestra. Resplendent in pale blue uniforms, they’ve come to the wrong town due to misunderstanding its name—Bet Hatikva, not Petah Tikva, where they’re scheduled to perform at the Arab Cultural Center. There’s no bus to take them to their proper destination until the next day, and there’s no hotel in Bet Hatikva either, so they must rely on friendly locals for the night. In the process, potential adversaries get to know each other and discover that the same problems bedevil everyone regardless of religion or nationality.
Janet Dacal (left) and Sasson Gabay in “The Band’s Visit,” which tours to BroadwaySF’s Golden Gate Theatre.
Apart from the original mistake that launches the story, writer Itamar Moses doesn’t mine the obvious comedic ore of language barrier. Instead the Egyptians speak Arabic with each other, the Israeli speak Hebrew, and the two rely on heavily-accented and sometimes clumsy English as their lingua franca—all of it perfectly understandable to an American audience.
Set designer Scott Pask and lighting designer Tyler Micoleeau do their utmost to convey life in a dead-end town—both the heat and the hopelessness. (Cue the song “Welcome to Nowhere.”) The designers’ work, like the overall production itself, has rough-around-the-edges qualities that reinforce an abiding sense of realism. We may never visit the Negev Desert, but we certainly get a lingering taste.
The production’s realism is leavened with intervals of sheer magic—the band itself has moments of rehearsal that have the audience clamoring for more, and some of the songs are genius. Café owner Dina (Janet Dacal) befriends bandleader Twefiq (Sasson Gabay)—derisively called “the General” by a couple of Bet Hatikva locals—and sitting at a small table, she confesses how much she loved watching Egyptian movies on TV when she was young, a prelude to “Omar Sharif,” one of the show’s breakout hits. Twefiq in turn confesses his everlasting sorrow at losing his son and wife. Sweetness counterbalanced with regret tinged with hope—“The Band’s Visit” may have some of the most complex emotional undercurrents of any contemporary musical.
Janet Dacal and Sasson Gabay 2 — Photo by Evan Zimmerman, Broadway SF
But it has moments of levity, too—Joe Joseph is outstanding as the seductive trumpeter Haled, who knows everything about his hero Chet Baker, right down to playing his riffs and singing in his voice. Joshua Grosso has the pitiable role of “Telephone Guy,” a Bet Hatikva resident who stands vigil all night at a pay phone hoping his former girlfriend will call. The Israelis and Egyptians discover commonality in their love of many kinds of music—Arabic, Klezmer, American jazz, while the seductive lure of the oud, cello, and clarinet continually remind us of the band’s reason for being.
Morning comes as it inevitably must, and the Alexandria Ceremonial Police Orchestra must say farewell to new friends. That we don’t get to enjoy their full concert is the show’s only disappointment. You’ll leave the theater overjoyed for having been there but longing for more.
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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: [email protected]
Production
The Band’s Visit
Written by
Itamar Moses Music and Lyrics by David Yazbek
Directed & Choreographed by
Directed by David Cromer Choreographed by Patrick McCollum
Kerri Shawn and Michael Ray Wisely (Photo courtesy of Center Rep)
The holiday spirit can’t get any brighter or more uplifting than the one inhabiting Center Repertory Company’s “A Christmas Carol,” at the Lesher Center for the Arts in Walnut Creek through December 23.
A sumptuous large-scale production on one of the biggest stages in the Bay Area, this almost-a-musical update to the Charles Dickens classic is Broadway-quality, with a huge and hugely talented cast of approximately thirty actors/singers/dancers, and with spectacular scenic effects in what is arguably one of the premier physical theaters in Northern California. Center Rep is deeply endowed.
Why almost-a-musical? Productions of this enduring story always feature traditional Christmas carols—in fact, they’re among the many holiday irritants that provoke the wrath of miserable old miser Ebenezer Scrooge—but in this one, director Scott Denison and music director Michael Patrick Wiles have chosen to include a vocal quartet whose harmonies serve to underscore the drama, not to comment on it as in a Greek tragedy, but to deepen the emotional impact of key scenes.
Jeff Draper as Marley
It’s a wonderfully effective gambit, as wonderful in its own way as is the towering set by Kelly James Tighe that serves as Scrooge’s office and home, as London streets, and as the netherworld from which emerge the ghost of Scrooge’s partner Jacob Marley (Jeff Draper), and the ghosts of Christmases Past, Present, and Future (Kerri Shawn, Jerry Lee, and Scott Maraj, respectively). Shawn and Lee are especially delightful—Shawn with gorgeous voice and glittering gown, flitting about as she leads Scrooge through a return to his youth, Lee with boisterous good humor and infectious dynamics as he shows the cranky old bachelor how his relatives and employees celebrate the holiday. Maraj is silently malevolent as the giant specter of Christmas Future—“wardrobe engineering” by Thomas Judd.
The Cratchit family is portrayed with great sensitivity—Michael Patrick Wiles as Bob Cratchit, Scrooge’s loyal and long-suffering clerk; Addison Au as his wife Belinda; William Foon as Tiny Tim; and a passel of sisters and brothers too numerous to name. Michael Barrett Austin does a convincing turn as Fred, Scrooge’s well-meaning nephew.
. . . as near-perfect a production of “A Christmas Carol” as you may ever hope to see . . . “
Michael Patrick Wiles and William Foon (Photo courtesy of Center Rep)
As in other productions, Scrooge’s viewing of the Fezziwigs’ annual party is a highlight of the first act, with wild dancing (choreography by Jennifer Perry) and frenetic comic acting by Michael McCarty and Jeanine Perasso as Mr. and Mrs. Fezziwig. It’s a beautifully portrayed pivotal moment in which Scrooge (Michael Ray Wisely, brilliant) begins to comprehend all that he’s lost in his single-minded pursuit of profits, but it takes much more than that to provoke an epiphany that converts him from despised capitalist oppressor to beatific benefactor. Visions of his own demise, the plundering of his possessions, dismissive sentiments among those who knew him, and ultimately, the loss of Tiny Tim, all combine to overwhelm him to change.
All these plot points are stunningly conveyed in a production that’s both heartfelt traditional drama and techno-spectacular.
Opening night was marred by a couple of minor glitches—voices inaudible during the opening scene (quickly corrected), and onstage voices competing with the unseen narrator. The populous streets of London aren’t as bustling as they might be, and some of the spectacle may be too much for very young children, of whom there were many on opening night, but no hysterical crying was heard from the audience in the capacious Hoffman Theatre.
Apart from these quibbles, this is as near-perfect a production of “A Christmas Carol” as you may ever hope to see. With a ground-floor art gallery open before the show, and a delectable assortment of restaurants nearby, the Lesher Center for the Arts is a tremendous destination, reachable by BART or an easy jaunt on Highway 24. However you get there, you’ll be glad you did.
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: [email protected]
Production
A Christmas Carol
Written by
Charles Dickens, adapted by Cynthia Caywood and Richard L. James
Directed & Choreographed by
Directed by Scott Denison; Choreographed by Jennifer Perry
Producing Company
Center Repertory Company
Production Dates
Through December 23rd, 2021
Production Address
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek CA 94596
This time of year, theater companies can be counted on to offer up plenty of predictable Christmas classics.
Sonoma Arts Live has taken a contrarian tact with two similarly-themed shows directed by Michael Ross: “Plaid Tidings” and “Winter Wonderettes.” Performed on alternating dates, they’re both delightful tributes to the ubiquitous four-member vocal troupes of the 1950s and ‘60s.
The first, developed by Stuart Ross from the original “Forever Plaid” by James Raitt, features a male quartet that suffered an abrupt departure in an auto accident but who have been reincarnated for the holidays.
Photo by James Carr
Named for their trademark plaid jackets, the four crooners may enjoy an extension of their reincarnation if they perform well enough—quite a motivation, one that propels them through two high-energy hours of comedic antics, impressive dancing, and tremendous vocalizing. Trevor Hoffman, Andrew Smith, Scottie Woodard, and Brian Watson appear respectively as Jinx, Frankie, Sparky, and Smudge.
…Best bet: See both productions back-to-back.
The second show features a girl group in matching swirly skirts performing at the 1968 Harper’s Hardware holiday bash in Springfield, Ohio. Created by Roger Bean, “Winter Wonderettes” is a more tightly focused production compared to the somewhat improvisational feel of “Forever Plaid.”
Photo by James Carr
Julianne Bradbury, Sarah Lundstrom, Maeve Smith, and Jenny Veilleux are all convincing and very funny in the roles of Cindy Lou, Betty Jean, Suzy, and Missy, respectively, all of them with lovely voices and great comic timing. Both casts are very well balanced—as actors, dancers, and singers—backed by a solid band under the direction of Sherrill Peterson.
Scottie Woodard served as choreographer for both shows—“Plaid Tidings” being the more reckless of the two, in keeping with the male tradition of risk-taking for its own sake. “Wonderettes,” by contrast, offers a more demure presentation but one that’s more satisfying musically.
Both shows make the most of a simple set on the Rotary Stage at Andrews Hall. While “Wonderettes” is more structurally complete and better rehearsed, “Plaid Tidings” has an untamed quality that makes it equally compelling.
Best bet: See both productions back-to-back. An ideal performance would feature both groups onstage together. That’s not likely to happen, but we can dream, can’t we?
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
“Plaid Tidings” and “Winter Wonderettes”
Written by
Stuart Ross/James Raitt and Roger Bean
Directed by
Michael Ross
Producing Company
Sonoma Arts Live
Production Dates
thru December 19th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Main Stage West has an enviable record of expertly-selected and beautifully-performed productions. In recent memory are astounding, gorgeously-rendered shows such as “The House of Yes,” “Lungs,” “Blackbird,” “After Miss Julie,” and “Heathen Valley,” all of them given glowing reviews here.
Against this impressive background, there’s little to explain the oddity that is “Late, A Cowboy Song,” in the cozy theater on Sebastopol’s Main Street through December 18. Reputedly one of playwright Sarah Ruhl’s early efforts, “Late” features three North Bay talents, under the direction of Missy Weaver, trying to make something significant from what’s not much more than a collection of semi-related sketches from Ruhl’s notebook.
…there’s nothing funny about it, other than the fact that an MSW play-reading committee decided it was worth developing.
A description lifted from the MSW site: Mary, always late and always married, meets a lady cowboy outside the city limits of Pittsburgh who teaches her how to ride a horse. Mary’s husband, Crick, buys a painting with the last of their savings. Mary and Crick have a baby, but they can’t decide on the baby’s name, or the baby’s gender. A story of one woman’s education and her search to find true love outside the box.
More: Crick (Jeff Coté) is an unemployed stay-at-home husband who cooks for Mary (Sharia Pierce)—even though she seldom comes home for dinner on time—flirts and bickers with her, and finally caves into her demands that he get a job. Their relationship is pointless, their finances are thin, and their living conditions are rough. Mary finds solace with a friend named Red (Nancy Prebilich), a self-styled guitar-playing, horse-riding “lady cowboy.” Having a baby only compounds the problems in her marriage, and Mary ultimately rides off into the western Pennsylvania sunset with Red. The end.
I am not giving too much away by revealing this. Not a single problem In the Crick-and-Mary household gets solved and there’s not enough in Mary’s pleasant encounters with Red to justify abandoning her marriage, but that’s the tale as delivered. Somewhere I saw a promotional blurb hyping the show as “a comedy” but there’s nothing funny about it, other than the fact that an MSW play-reading committee decided it was worth developing. Mostly it’s a lot of bickering, confusion, and alienation punctuated by a few tender moments until it all comes to a merciful halt.
The dramatic arc of “Late” is shallow at best, and Mary has the only discernible character arc. Sarah Ruhl can be a tremendously engaging playwright who favors throwing in bits of magical realism—see for example, “How to Transcend a Happy Marriage,” that played recently to full houses at Santa Rosa’s Left Edge Theatre. “Late” attempts magical realism too—set designer David Lear’s horse being the best example.
Coté, Pierce, and Preblich try mightily with what they’ve been given, but saturation irony simply isn’t a strong enough foundation on which to build a play that will sustain an audience through ninety non-stop minutes. Ruhl has penned many compelling plays. Regrettably, “Late, A Cowboy Song” isn’t one of them.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
One Flea Spare
Written by
Naomi Wallace
Directed by
David Lear
Producing Company
Main Stage West
Production Dates
Thru April 30th
Production Address
Main Stage West
104 N Main St
Sebastopol, CA 95472
Two talented actors do their best to breathe life into the world premier of Kait Kerrigan’s “Father/Daughter,” at Berkeley’s Aurora Theatre, through Sunday December 12.
Recipient of the Edgerton Foundation New Play Award, “Father/Daughter” opens with a divorced chemistry teacher named Baldwin (William Thomas Hodgson) meeting a young woman named Risa (Sam Jackson) in a pickup bar. It’s a tentative and prickly introduction for both, one that doesn’t seem to have much potential, especially for Risa, but a relationship emerges. Nearly two hours later, we are 20 years into the future, with Baldwin having a heart-to-heart discussion about marriage with his adult daughter Miranda, also played by Jackson.
Between these two bookends is a lengthy meandering slog through thorny modern family relationships. Hodgson also plays the part of Louis, who is either Baldwin’s father or Risa’s father. It’s not clear which—a confusion amplified by Kerrigan’s clumsy attempt at blending characters and shifting time.
The…well-performed dance break, about twenty minutes in, is a welcome relief….
Many plays employ actors in multiple roles, but for this to work their characters must be clearly differentiated—not the case in “Father/Daughter.” Risa and Miranda look and sound identical, as do Baldwin and Louis. Plus there are scant dramatic shifts to indicate which characters Hodgson and Jackson are playing. This may be intentional on the part of the playwright, to show how human behavior doesn’t really change from one generation to the next, or it may be the fault of director M. Graham Smith in not encouraging more differentiation from his cast.
The net effect on the audience is something like bobbing about in a rudderless boat: we don’t know where we are other than knowing we’re going nowhere.
Sam Jackson and William Thomas Hodgson in Kait Kerrigan’s Father/Daughter, directed by M. Graham Smith. Photo by Kevin Berne.
There’s no serious goal for either Risa or Baldwin, other than trying to make some sort of sense of their lives individually and together. There’s nothing illuminating about any of their interactions, but somehow they muddle through, which seems to be the only point of the tale. The production comes off like a condensed version of years of family counseling—lots and lots of talk, not much action, and ongoing personal and interpersonal problems that will never be resolved. The dramatically pointless but well-performed dance break, about twenty minutes in, is a welcome relief from interminable self-absorbed conversation.
Kerrigan’s script is a moribund low-stakes/low-amplitude exercise in art for art’s sake. We can see what she’s trying and failing to achieve, but she could do it better by revising the script, perhaps under the tutelage of Mark St. Germain, whose “Dancing Lessons” is a master class in two-actor romances.
Photo by Kevin Berne.
“Father/Daughter” has implied potential but even actors at the expert level of Hodgson and Jackson can’t make it fly. Kate Boyd’s elegant set offsets the dramatic boredom to some extent, as does Cliff Caruthers’ evocative sound design. Takeaway: potential ticket buyers should be wary of obscure new plays with no intermission. There’s a reason why they’re presented that way.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Father/Daughter
Written by
Kate Kerrigan
Directed by
M. Graham Smith
Producing Company
Aurora Theater Co.
Production Dates
Thru Dec 12th
Production Address
Aurora Theater Co.
2081 Addison St.
Berkeley, CA 94704
A hashish-infused New Year’s Eve party yields unintended consequences in Sarah Ruhl’s “How to Transcend a Happy Marriage,” at Left Edge Theatre through November 21.
A Pulitzer Prize and Tony Award nominee, the prolific Ruhl mines the comical friction between middle-class morality and libertine lifestyles when two married New Jersey couples decide to invite a “polyamorous” young woman and her two male lovers to their annual fete. Act One is a lengthy bit of exposition in which we get familiar with the two couples—Jane and Michael (Angela Squire and Anthony Martinez, respectively) and Georgie and Paul (Gina Alvarado and Corey Jackson, respectively), sitting around drinking and bemoaning their highly-educated but not entirely satisfying existence.
Paul is an architect who’s grown bored doing “bathroom remodels” and has moved instead toward writing and lecturing about architecture. Michael is an unsuccessful musician who’s found subsistence writing jingles. Jane works in a law office where she’s become intrigued with Pip (Abbey Lee), an intern whose unconventional lifestyle has prompted her to suggest including Pip and her lovers as party guests—a slightly naughty shared joke that ultimately forces the four friends to confront their conceptual limitations about love, eroticism, and commitment.
Director Sandra Ish has worked up a gorgeous presentation of this piece…
Self-confrontation is most pronounced in Georgie, who befriends Pip to the point of going hunting with her, a bumbling attempt at making spiritual connections to the natural world that ultimately lands them in jail. Georgie’s personal dramatic arc is the strong thread in this tightly-woven but loose-around-the-edges story—in fact, late in the play she steps out of the story and addresses the audience directly, a somewhat jarring departure from what might otherwise be expected given what has transpired beforehand. There’s also a pivotal subplot involving Jenna (Jewel Ramos), the mostly-absent teenage daughter of Jane and Michael, and god-daughter of Georgie, who seems to have a better relationship with her than do her own parents.
Jenna’s surprise return home is the laugh-out-loud high point of this prescient comedy/drama, a plot device as delightful in its small way as is Pip’s extended improvisational dance interpretation of the old country song “She’ll Be Coming Round the Mountain.” The uninhibited Abbey Lee is fantastically exaggerated in the part, a diametrical opposite from the emotionless android she played recently in “Galatea” at Spreckels Performing Arts Center.
Anderson Templeton is Freddie, the soft-spoken, sensitive-to-the-point-of-annoyance member of Pip’s coven; Nathaniel Mercier is the more intellectually aggressive David, a mathematician given to lecturing about Pythagoras and theories of the triangle—in his words, the strongest form in nature. His fascination with numbers resonates with architect Paul and musician Michael, but his riff on the strength of the three-cornered form is clearly meant as a challenge to the two married couples and perhaps to the audience. Cue David Crosby’s song “Triad.”
Director Sandra Ish has worked up a gorgeous presentation of this piece, in which can be seen roots as deep as Edward Albee’s “Who’s Afraid of Virginia Woolf?” and Ang Lee’s film “The Ice Storm.” Argo Thompson’s set works seamlessly as Jane and Michael’s home, a forest where Georgie and Pip go hunting, and the jail where they ponder their fate. Patrick Nims contributes substantially with gorgeously immersive three-channel video projections, as does April George with lovely lighting design.
The show’s female cast members—in particular, Lee, Squire, and Alvarado—are very strong in this production, but it’s well performed by the entire cast. No weak links! There’s a lingering sense that playwright Ruhl may not have wrapped up every loose thread in this well-paced tale—perfectly appropriate in that very little in real life ever has clearly defined starts and stops. Takeaway: in matters of love, live in the moment and consider all possibilities.
Whether you are single, married, polyamorous, or undefined, “How to Transcend a Happy Marriage” is funny, engaging, and provocative for all the right reasons.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
A brave high school student learns life lessons from one of history’s most famous conquerors in “The Great Khan” at San Francisco Playhouse, through November 13.
Leon Jones stars as Jayden, a student whose bravery in defending a classmate from a gang attack has caused his mother to move them to a new home and enroll him in a new school to save him from harassment and possible retaliation. Laudable precautions on her part don’t prevent nightly visits from “Ant,” the girl he saved, who climbs through his bedroom window each night to give him trouble about his gallant deed. Ant (Jamella Cross) seems genuinely confused as to whether she should be thankful or resentful, as if the rescue somehow demeaned her independence. Jayden, in turn, is genuinely confused about what she’s doing in his room.
Two people thrown together by accident: it’s a potent setup for Michael Gene Sullivan’s ambitious and mostly successful meditation on teenage identity. Jayden’s a smart kid but is a worry for his hard-working single mom Crystal, played with some emotional detachment by Velina Brown. He has tough time connecting to school, especially a history class about the European Middle Ages, a field of study that he dismisses as being mostly about “dead white people.” Then his well-meaning but mostly clueless teacher Mr. Adams (Adam KuveNiemann) suggests that he research Genghis Khan, the legendary Mongolian conqueror whose empire encompassed most of Asia and a large part of Europe. Mr. Adams ups the ante by assigning Jayden a project partner, a nerdy girl named Gao-Ming (Kina Kantor) whose encyclopedic knowledge almost compensates for her social awkwardness.
…a good solid effort…
As Gao-Ming and Jayden study, he develops a near-obsession about the conqueror whose given name was Temujin (Brian Rivera). In a delightful bit of magical realism, Temujin begins to appear in his room, telling Jayden all about his life, from growing up and selecting a bride, to ultimately creating one of the biggest empires the world has ever known.
Temujin (Brian Rivera*) gets acquainted with Jayden (Leon Jones) in ‘The Great Khan’ by Michael Gene Sullivan at SF Playhouse.
It’s a life-changing event for Jayden, and for the audience too—Rivera simply commands the stage as the legendary Khan, striding about in full Mongol warrior gear (costumes by Kathleen Qiu), singing lustily in Mongolian, and telling Jayden how he succeeded: by offering the conquered the opportunity to join his horde, and by instructing his soldiers to leave some of their enemies alive that “they might tell the tale”—an early exercise in what we now call “brand building.”
Relaxed and confident, Rivera clearly relishes the role. His performance is so mesmerizing that it has the unfortunate effect of putting his castmates in his shadow—probably not director Darryl V. Jones’ intention, but perhaps an inevitability when an actor is so perfectly suited for his part.
Sullivan’s script, while very good, could use a bit of editing. The early part suffers from too much exposition—Ant makes multiple appearances in Jayden’s room, in an effort to resolve her own feelings about the incident which launched the story, but she might be able to do so in three visits instead of five.
The scriptwriter’s “rule of three”—applied to setups for jokes as well as dramatic buildups—has proven accurate over centuries. And Gao-Ming seems under-utilized, mostly as comic relief. She, Crystal, and Mr. Adams have the shallowest character arcs in the play, while Jayden and Ant have the largest. Temujin doesn’t need a character arc—his presence alone is sufficient to drive the drama.
Ant (Jamella Cross*) confides in Jayden (Leon Jones) in ‘The Great Khan’ by Michael Gene Sullivan .
“The Great Khan” is the first big-cast post-pandemic production put on by SF Playhouse. It’s a good solid effort that showgoers will find both rewarding and provocative. A streaming version is available for those still reluctant to venture into indoor gatherings.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
North Bay stage veteran Jill Wagoner brings legendary humorist Erma Bombeck to life in “At Wit’s End,” at Napa’s Lucky Penny through October 31.
One of America’s most prolific and celebrated writers, Bombeck practiced her craft persistently from an early age with a series of poorly-paying small-scale gigs until she finally broke through in 1964 with Ohio newspaper the Kettering-Oakwood Times, which paid her three dollars for each weekly column. A year later she began writing twice-weekly columns for the Dayton Journal Herald. Shortly after starting with that publication, Newsday Newspaper Syndicate put her in 36 major U.S. newspapers—a stunning achievement for a new talent. By the 1980s her work was appearing regularly in 900 American and Canadian newspapers, totaling millions of readers.
She also appeared frequently as a radio and television personality and at her peak was earning as much as a million dollars annually. Despite hitting the financial jackpot, she continued in her tried-and-proven format of homespun humor from a suburban housewife’s perspective. In this, she was very much part of lineage of self-deprecating American humorists going back to Will Rogers, a lineage that includes masters of minor domestic absurdity such as Jean Shepherd and Garrison Keillor. (Terry Ryan’s “The Prize Winner of Defiance, Ohio” is very much in this tradition.)
…a delightful and fascinating piece of Americana…
Bombeck’s rise from working-class origins to media superstar was a quintessential American story, but she alienated some of her more conservative fans with her support of 1978’s still-languishing Equal Rights Amendment. All of this is conveyed casually and conversationally by Wagoner on a simple set by Brian Watson that serves as various parts of a Midwestern home. As easily as a neighbor chatting over coffee, she tells Bombeck’s first-person story (script by Allison Engel and Margaret Engel) without gloating about her ultimate success.
Jill Wagoner at work as Erma Bombeck
In a loose-fitting period-perfect dress (costumes by Barbara McFadden) Wagoner moves easily about the set, encompassing Bombeck’s career arc with a deferential, off-handed delivery that’s plausible and pleasant without an excess of irony.
The performance is well-paced—neither too slow nor too hurried—and at approximately 70 minutes, is the perfect length for both audience and performer. “At Wit’s End”—the name of Bombeck’s long-running column, a best-of compilation, and this show—is a delightful and fascinating piece of Americana.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Erma Bombeck: At Wit's End
Written by
Allison Engel and Margaret Engel
Directed by
Barry Martin
Producing Company
Lucky Penny Productions
Production Dates
Through October 31 (no performance Oct. 28-29)
Production Address
Lucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
An autistic scientist and an injured dancer find solace and hope in Cinnabar Theater’s “Dancing Lessons,” through October 31.
Jessica Headington stars as Senga, a dancer who has suffered a devastating and potentially career-ending knee injury. Trevor Hoffmann is Ever, her pesky upstairs neighbor who badgers her to give him dancing lessons so that he can fulfill his function as emcee of an upcoming awards gala. Their initial meetings couldn’t be more contentious or less promising – she’s in an enormous amount of pain and anxiety, and he has little emotional empathy and limited social skill.
Cast of “Dancing Lessons” at work.
Mutual impairment, distrust, and animosity at the start: a fantastically potent setup that scriptwriter Mark St. Germain spins into one of the loveliest romantic comedies ever conceived. A career writer for television and film, St. Germain has an unerring eye and ear for what works in telling a story. His script is absolutely pitch-perfect: every word uttered by the actors and every action they make propel this tale of an unlikely but totally plausible relationship. His characters’ conversations are sometimes terse but never artificially truncated, and sound perfectly natural as Senga and Ever grow more familiar with each other. “Dancing Lessons” is a theatrical rarity in that it contains neither fluff nor filler.
…“Dancing Lessons” is the kind of show that makes a critic’s life rewarding…
The ebb-and-flow of this production is a master class in onstage storytelling, with rhythm and musicality like a minor-key symphony. Director John Browning has coaxed a stunning performance from his cast of two superbly talented actors, aided by Wayne Hovey’s elegant set that serves as Senga’s apartment, Ever’s office and classroom, and an auditorium where Ever speaks to the National Autism Coalition. Hovey also served as lighting designer; his work adds much to the show’s evolving mood.
“Dancing Lessons” -Trevor Hoffmann and Jessica Headington.
Not enough praise can be showered on Headington and Hoffmann, both of them fully invested in their characters and both of them totally comfortable with and trusting of each other. It’s an amazing balancing act in that the dynamic differences between Senga and Ever ultimately blend together so well in a heartwarming pas de deux—both literal and metaphorical.
“Dancing Lessons” is the kind of show that makes a critic’s life rewarding. With just a pinch of magical realism, it’s certainly the most satisfying romantic comedy this reviewer has ever seen—just absolutely right from beginning to end, and more than worthy of multiple viewings, a wish this writer intends to fulfill.
Headington & Hoffmann at work in “Dancing Lessons”
Kudos to Cinnabar for bringing this wonderful production to life in the wake of the marvelous “Cry It Out.” The Petaluma company has a perfect track record so far as theater companies emerge from
COVID-induced hibernation. Proof of vaccination is required of attendees, as is the wearing of masks during performances. For those still unwilling to venture out, “Dancing Lessons” will be available online October 29-31.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Sibling rivalry and resentment take a horrific turn in Suzan-Lori Parks’ “Topdog/Underdog” at Main Stage West in Sebastopol, through October 30.
Directed by North Bay theater veteran (and cookie magnate) Bronwen Shears, Keene Hudson and D’Artagnan Riviera star as brothers Lincoln and Booth, respectively, residing in a shabby room with a communal bathroom down the hall. A reformed street hustler, Lincoln has taken a job in a local arcade, acting the part of his namesake president in a game in which players take potshots at him. Booth is doing his best to master the art of Three Card Monte so that he might improve his personal cash flow by preying on gullible “marks”—a pursuit Lincoln has already renounced, to the point where he’s reluctant to coach Booth on the finer points of the game.
…The potential to take this production from good to great is certainly there…
The two brothers vacillate between reminiscing about their mostly dysfunctional childhoods and arguing with each other. The more animated and aggressive of the two, Lincoln is frequently unkind to Booth, who has long chafed in his older brother’s shadow. There’s also palpable love between the two, but much disagreement about their shared past as well as the future. Their interactions—all taking place in one room—are an emotional rollercoaster skillfully crafted by playwright, director and the two actors.
Keene Hudson at work in Topdog/Underdog.
Hudson and Riviera play off each other well—Hudson’s character the more dynamic of the two. Riviera plays Booth as brooding and introspective, without a hint of the malevolence that ultimately brings down the curtain. He has a solid grasp of his character and his character’s motivation, but stumbled with some lines late on opening weekend, a shortcoming certain to be corrected as the production moves into its second, third, and fourth weeks.
The potential to take this production from good to great is certainly there. Parks’ theme, of course, is one of the oldest, going back to ancient mythologies—the Biblical tale of Cain and Abel, for example. Other inspirations may include the viciously backstabbing sisters in Shakespeare’s “King Lear” or the contentious brothers Austin and Lee in Sam Shepard’s “True West.” There are certainly striking parallels between that play and this one. It’s not a jolly ride, but it’s one that will open your eyes and perhaps prompt discussion. “Topdog/Underdog” is a compelling examination of a permanently recurring and tragic human condition.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Ham for the Holidays
Written by
Shad Willingham
Directed by
Emily Cornelius
Producing Company
Main Stage West
Production Dates
Through Dec 30th
Production Address
Main Stage West
104 N Main St
Sebastopol, CA 95472
A day in the life of a harried scheduling manager makes for some uproarious comedy in “Fully Committed,” at the Raven Performing Arts Theater in downtown Healdsburg, through October 17.
The telephone equivalent of a slamming-door farce, the production requires its lone onstage talent to dash from one telephone to the next—three internal lines at opposite ends of the wide stage, and two or three on his desk. Plus his personal cell phone. It’s a lot to keep track of, especially when they ring in rapid succession or in unison.
…a delightful show…
Troy Thomas Evans plays the roles of everyone working in a trendy New York restaurant—chef, maitre d’, front-of-house staff, and an absent co-worker, plus his own father, and dozens of pesky would-be patrons who refuse to take “I’m sorry—we’re fully committed” as an answer when they try to make reservations. Evans is energetic and convincing as Sam, a hopeful young actor trying to land a gig at Lincoln Center, and to arrange time off to spend the Christmas holiday with his family.
Troy Thomas Evans at work as Sam – photo by Ray Mabry
He conveys all of this effectively; some of his characters (Bunny VanDerveer, Bryce from Gwyneth Paltrow’s office, the dreaded Ned Finley) are outrageous while others are merely amusing. His performance is hampered by the need to scramble from one side of the stage to the other, because director Tika Moon insisted on using the entirety of the wide stage as the restaurant’s basement office, a space that in the real world would be almost unbearably cramped, the way other productions’ set designs usually have it.
Net result: this “Fully Committed” runs more than two hours —no intermission— vs. a typical production’s 90 minutes. It’s still a delightful show earning Evans a big thumbs-up as a comedic performer. Plus it’s great that live theater has returned to downtown Healdsburg, which was bustling on opening night. The October 16 production will also be livestreamed.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Sonoma Arts Live has emerged from eighteen months of hibernation with a stunning production of “Sunset Boulevard.” The first large-scale musical to appear on a Sonoma County stage since the long pandemic shutdown, the show runs on the Rotary Stage at Andrews Hall in the Sonoma Community Center through October 10.
North Bay musical theater favorite Dani Innocenti-Beem shines in the role of Norma Desmond, a reclusive and delusional former film star who’s befriended, seduced, and rejected by down-on-his-luck scriptwriter Joe Gillis (Michael Scott Wells) in this Andrew Lloyd Webber musical adaptation of the classic Billy Wilder film, perhaps the ultimate depiction of a Hollywood love affair gone sour.
…stage veteran Norman Hall has a nice cameo as legendary film director Cecil B. DeMille…
Backed by a solid five-piece band, Innocenti-Beem and Wells sing their hearts out. Seasoned show-goers may not initially recognize Wells, his signature shaved head hidden by a stylish wig, while Innocenti-Beem is considerably slimmer than in her last stage appearance in “Sweeney Todd” at Santa Rosa’s 6th Street Playhouse. Wells convincingly nails his character’s hopes, cynicism, and failures while Innocenti-Beem moves heaven and earth with her emotive high-volume vocals. Also a skilled comedienne, she gives the audience a full examination of Norma’s delusions, exaggerated just enough to let us know how far off the rails she’s gone. It’s a terrific performance.
Dani Innocenti-Beem
Secondary characters are excellent too, especially Tim Setzer as Max Von Mayerling, Norma’s loyal-to-a-fault butler. Setzer is in fine voice, giving Max a properly guttural Teutonic baritone both speaking and singing, amazing in that Setzer’s natural speaking voice is softer and higher. Maeve Smith is superb as Betty Schaefer, Gillis’ young collaborator and potential lover once he tires of Norma. Stage veteran Norman Hall has a nice cameo as legendary film director Cecil B. DeMille. The large ensemble—sixteen in all—are very good in multiple roles. The music isn’t memorable, lacking Lloyd Webber’s characteristic melodic hooks—think “Cats,” “Phantom of the Opera,” and “Jesus Christ, Superstar”—but it works to propel the story.
Michael Scott Wells and Maeve Smith work a scene.
Critical quibbles: an overly-long bit of exposition mirroring the film’s early scenes, and a sometimes rickety set, but the show itself is exemplary, with just-right pacing, a welcome surprise in light of how long it was on hold. Director Carl Jordan has pulled a fantastically compelling production from a diverse cast.
“Sunset Boulevard” is a delight—and an entertainment bargain.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
'Sunset Boulevard'
Written by
Music by Andrew Lloyd Webber
Lyrics by Christopher Hampton and Don Black
Story based on the Billy Wilder film
Directed by
Carl Jordan
Producing Company
Sonoma Arts Live
Production Dates
Thursdays thru Sundays thru Oct.10th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Two young mothers with newborns form a friendship that soon encompasses distinctions in class, education, income, and aspirations in “Cry It Out” at Cinnabar Theatre through September 26.
Elegantly conceived by playwright Molly Smith Metzger, the production centers around two Long Island neighbors, Jessie (Ilana Niernberger) and Lina (Amanda Vitiello), both on maternity leave with babies at home, a similarity that enables a quickly-formed deep bond. They share afternoon coffee, tidbits on baby care—the show’s title is derived from a popular theory that babies put to bed should be allowed to cry until they go back to sleep—and many personal misgivings and misadventures, some of them laugh-out-loud funny.
“Cry It Out” – Ilana Niernberger and Amanda Vitiello at work.
A working-class girl with attitude as strong as her New Jersey accent, Lina is a comic riot as she describes her travails not only with her baby but with her underachieving husband and his alcoholic mother, who serves as nanny when Lina goes out. Jessie is the more contained of the two—contemplative and methodical, an attorney considering leaving her profession to be a stay-at-home mom. Both women have problems with their husbands, whom we never meet.
…director Molly Noble extracts delicious performances from four exquisitely talented but hugely differing actors…
Into their midst comes a nerdy neighbor, Mitchell (Andrew Patton), awkwardly inquiring if his wife, also a recent mom, might join them. Once they get over the creepiness of the fact that he’s been watching them, they agree to welcome Adrienne (Kellie Donnelly), a haughty disdainful designer with little interest in raising children or socializing with others who are. Mitchell’s well-intentioned intervention is a desperate nudge in the wrong direction, fireworks to follow.
It’s a fantastically potent setup, with increasingly satisfying payoffs as the story progresses. The quick-moving one-act segues seamlessly from comedy to drama as director Molly Noble extracts delicious performances from four exquisitely talented but hugely differing actors. Their differences as performers and the differences between their characters expand the dynamic possibilities of this show far beyond what an audience might expect when first viewing the simple set of a suburban backyard patio.
“Cry It Out” is a master class in elegant modest-budget theater. North Bay residents are privileged to have such sterling performances so close to home. As with most Bay Area theater companies, Cinnabar requires proof of vaccination at the door, and the wearing of masks during the performance. Attendees also get a sticker that says “Welcome Back!” to which we can only reply “Welcome Back, Cinnabar!” Those who can’t get to the theater may also view a streaming production.
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ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
A mysterious survivor of a deep-space disaster is brought out of stasis more than nine decades later in the prolific David Templeton’s “Galatea,” at Spreckels Performing Arts Center in Rohnert Park through September 19.
Aboard a space station orbiting the earth, two researchers—Dr. Mailer and Dr. Hughes (Sindu Singh and Chris Schloemp, respectively)—delve into the origins of “71” (Abbey Lee) an apparently authentic member of the maintenance crew of the starship Galatea, which suffered an unexplained total destruction. Prior to the discovery of humanoid 71, and fellow crew member 29 (David L. Yen), shards of the wreckage were all that had been found, none of them substantial enough to support a working hypothesis of what might have happened.
Abbey Lee in Spreckels Theatre Company’s “Galatea.”
71’s uniform, stilted robotic speech, and lack of familiarity with basic human social interactions all support her contention that she had been a crew member aboard the Galatea. Psychotherapist Dr. Mailer hopes to reintegrate 71 into society, by coaching her through fundamentals such as greetings, conversations, gestures, and reactions to humor.
…Into the mix steps her colleague Dr. Hughes, a geeky, gregarious researcher with a bottomless collection of corny jokes…
An “EPS” (Energy Processing Synthetic) series humanoid, 71 undertakes the tutorials with a beguiling mix of robotic reluctance and enthusiasm. Versatile, uninhibited, and perfectly in control, Abbey Lee is amazing as the subject slowly transforming under Dr. Mailer’s gentle persistent guidance. Many of 71’s early attempts to mimic human behavior are both laugh-out-loud funny and almost tearfully poignant. The gambit of a humanoid attempting to become more human is clearly derived from the emotionless android character Data of “Star Trek: The Next Generation,” in turn derived from the character of Pinocchio, the wooden marionette who wants to become a real boy, from the 19th-century Italian children’s story.
Sindu Singh, Abbey Lee & David L Yen at work.
Singh is outstanding as the psychotherapist Dr. Mailer—patient, methodical, and loving but pushy when necessary, with a few personal quirks (“Okey dokey, pokey”) that make her utterly charming. Into the mix steps her colleague Dr. Hughes, a geeky, gregarious researcher with a bottomless collection of corny jokes. As always, Chris Schloemp is relaxed, confident, and completely convincing as his character probes for more information about the Galatea. He consults with Dr. Mailer about 71’s progress, in the process sometimes interfering as much as he’s helping.
The denouement launches in the second act with the appearance of 29 (David L.Yen), another recently discovered Galatea veteran and revived EPS unit. Still visibly damaged and uncommunicative, 29 perks up, within his limits, at questioning about 71 and ultimately reveals all—or as much as he can remember and convey—about what went wrong with the ship and how he and 71 survived. Normally a dynamic actor, Yen here displays a previously unseen aspect of his astounding ability, portraying 29 as deeply as possible while retaining the character’s essential uni-dimensionality.
It would be hard to imagine a better cast for this lovely, heartwarming production, one that Templeton described after the opening performance as “turning the usual sci-fi trope on its head”—i.e, no marauding monsters (“Alien,” “Jurassic Park”), nefarious corporate overlords (“Blade Runner”) or armies of rebellious androids (“I, Robot”).
David L Yen and Abbey Lee in Galatea
Beautifully helmed by director Marty Pistone (assisted by Andy Templeton), the show itself emerged September 3 from 18 months of COVID-induced stasis, with Eddy Hansen and Elizabeth Bazzano’s elegant set still intact—you’ve never seen a lovelier Palladian window—since the postponement of “Galatea” in early 2020, a time that now seems long ago. Chris Schloemp’s gorgeous, sometimes ephemeral projections add just the right touch for what is to date the best production to appear in the North Bay as the theater world slowly emerges from the pandemic.
“Galatea” is a rarity—a brilliant script brilliantly executed. Potential ticket buyers couldn’t ask for more.
ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
"Galatea"
Written by
David Templeton
Directed by
Marty Pistone, assisted by Andy Templeton
Producing Company
Spreckels Performing Arts
Production Dates
Through September 19. 2021
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
‘Patty from HR: Mo Patty Mo Problems,’ the sequel to writer/performer Michael Phillis’s “Patty from HR Would Like a Word” is coming to Oasis Jan. 30-Feb 1.
Corporate training sessions and their inevitable Power Point presentations are among the most dreaded rituals of modern life. Drag performer Michael Phillis must have endured dozens of them to come up with Patty from HR: A Zoom with a View, at Sebastopol’s Main Stage West through September 11.
Written, directed, and performed by Phillis, A Zoom with a View skewers the idiocy of technological culture—including, thank you very much, the irksome speech patterns of millennials. In a quick-moving one-act, Phillis’s self-deprecating Human Resources manager Patty covers everything from the early days of Netscape and dial-up modems to the present day of full-time social media as she stumbles through an inept introduction to Zoom video meetings, the bane and the salvation of many home-bound office workers during the Covid crisis.
It’s a lot to cover in only 70 frenetic minutes but Phillis does it with a delightful, goofy grace…
Her tattered Dress Barn business suit and frazzled 80s hairstyle serving as visual testament to decades spent toiling in the corporate trenches, Patty dances around the idea of Zoom, and Power Point too, and the longer she goes on, the clearer it becomes how little she actually knows about either. Imagine Dana Carvey’s “church lady” jacked up on caffeine, adrenaline, and perhaps just a tidbit of stage fright. Patty’s a corporate train wreck and you simply can’t look away.
When she stumbles (often) she gets plenty of coaching from an unseen tech assistant, whose annoyed comments act as punctuation for Patty’s non-stop blather, directed scattershot at herself, her audience, and her corporate overlords. It’s a lot to cover in only 70 frenetic minutes but Phillis does it with a delightful, goofy grace that earned plenty of laughs and sustained applause on opening night.
Main Stage West co-artistic director Keith Baker enjoys a cameo as “Kevin,” an underling who supplies her with props. Patty is never quite sure about names, a running gag throughout the show, and of course, a detriment for any human resource professional. That’s one of many repeated themes tightly woven into the fabric of this expertly conceived and executed production, its three-week run an injustice to its comedic brilliance.
A Zoom with a View runs Thursday-Friday-Saturday at 8 pm through September 11, with a 5 pm matinee Sunday September 5.
ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Patty from HR: A Zoom with a View
Written by
Michael Phillis
Directed by
Michael Phillis
Producing Company
Main Stage West
Production Dates
Through Sept 11th
Production Address
Main Stage West
104 N Main St
Sebastopol, CA 95472
Racism is an eternal condition of the human species. Xenophobia, tribalism, call it what you will, it continues to plague us today despite our self-congratulatory image as a modern, rational society.
In “Hold These Truths,” at San Francisco Playhouse through July 3, playwright Jeanne Sakata makes the universal personal with a tale of one Japanese-American’s effort to deal with an unjust sentence leveled against him for ignoring a curfew applied only to him and his fellow “Nisei,” (second-generation Japanese immigrants), all of them US citizens by virtue of having been born in this country. In Gordon Hirabayashi’s story, we also get a history lesson about how detention camps to house them were set up in western US states, the result of widespread fear following the attack on Pearl Harbor in December 1941.
President Franklin Delano Roosevelt was (and still is) considered one of the most socially conscious presidents of the 20th century, but his signing of Executive Order 9066 that established the camps was one of his most reprehensible acts, one that was challenged all the way to the Supreme Court, which upheld its legality in a split decision. The order was clearly motivated by racism, but Italian-Americans and German-Americans, two of the largest immigrant groups in the US, were also herded into camps and deprived of their fundamental rights.
Director Jeffrey Lo has coaxed a lovely recital from Tagatac…
In a ninety-minute-plus solo performance, Jomar Tagatac embodies both the young and mature Hirabayashi, encompassing his journey from college student to college professor, and celebrating his ultimate success in getting his conviction overturned, the result of an accidental discovery of his legal records by an academic colleague.
A veteran of many productions at SF Playhouse, Tagatac also acts the parts of members of Hirabayashi’s family, his friends, officials, police officers, judges, and many other characters in quick seamless character shifts, under a modestly-scaled but beautiful projected montage (design by Teddy Hulsker) of slowly varying flag motifs, old photographs, and historical documents, including the US Constitution, whose slogan “we hold these truths to be self-evident . . . that all men are created equal” remains an article of faith held by Hirabayashi throughout his life, despite many reasons to doubt it.
Tagatac expertly distinguishes all his characters from each other, and especially from the primary one, sometimes simply by changing his jacket or moving from one spot to another on the mostly-bare stage (set by Christopher Fitzer).
While “Hold These Truths” is a cautionary tale about how the law can be subverted, it’s not a horror story of oppression and violence, especially not in the context of the horrors that consumed much of the “civilized” world in the 1940s. Some of it is actually funny—having negotiated a 90-day sentence for his curfew violation, Hirabayashi has to report to a road crew in Arizona, and gets there by hitchhiking from Seattle, apparently without any trouble. When he arrives, the local sheriff doesn’t know what to do with him other than to suggest that he go to a movie in town, to a theater equipped with air conditioning. In addition, he succeeds in winning conscientious objector status thanks to having joined the Quakers.
Director Jeffrey Lo has coaxed a lovely recital from Tagatac, who breezed through the press opener without a glitch. SF Playhouse was extremely cautious with this soft opener—all attendees had to present proof of vaccination, have their temperatures checked, agree to an affidavit stating their good health, and mop their hands with sanitizer before being admitted to the theater upstairs, where they were seated far apart but still asked to wear masks.
As of today (June 15) it’s unclear whether that policy will continue with the statewide lifting of pandemic precautions. In any case, “Hold These Truths” is a lovely performance and a welcome return to live, in-person theater. For those still reluctant to venture out, the show will also be available as an online streaming production.
ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Saturday Night at Grossinger’s
Written by
Stephen Cole
Directed by
Jaime Love and Larry Williams
Producing Company
Sonoma Arts Live
Production Dates
May 8, 2022
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center 276 E. Napa Street, Sonoma
A late Sunday dinner at a Greek restaurant in Palm Springs becomes a comedic ordeal for a pair of vacationing middle-aged New Yorkers in Wendy Macleod’s “Slow Food” at Left Edge Theatre in Santa Rosa.
The show closed this past Sunday, June 13, after only a two-week run. Ordinarily, Aisle Seat Review wouldn’t cover such a limited engagement. But Left Edge deserves enormous credit for anticipating the June 15 statewide lifting of pandemic-related restrictions—and more for putting on such a lovely comedy, sorely needed after sixteen months of shutdown.
“Slow Food” featured Left Edge artistic director Argo Thompson in a rare acting appearance as Man, the male half of the vacationing couple, with Denise Elia-Yen as “Woman,” Man’s wife. David L. Yen stole the show as the curmudgeonly and uncooperative waiter, Stephen—“with an ffffffffff . . .,” he reminds his guests repeatedly.
“Slow Food” cast at work on stage.
The setup is simple: Man and Woman enter a restaurant near closing time, and rather than consuming the food and drink they desperately seek, they instead receive a load of guff from an opinionated server. The production plays out as an extended comedy sketch—small dramatic and character arcs counterbalanced by plenty of tension and shifting loyalties among the three performers, all stage veterans with decades of experience. Comfort in their roles was palpable for the limited-capacity audience, in what was clearly a testing-the-waters effort to emerge from the cocoon of COVID.
“Slow Food.” It’s that good…
Macleod is a brilliant playwright—her outrageous funny, and unforgettably disturbing “The House of Yes” enjoyed a fantastic production at Main Stage West in December 2018. “Slow Food” doesn’t rise to such a pinnacle but is hilarious without the need for deep psychological nuance and unsavory revelations. Imagine a Saturday Night Live sketch stretched from six minutes to ninety, and you’ve got a pretty solid grasp of what “Slow Food” is all about—a lightweight, feel-good comedy without malevolent repercussions or imagery that might haunt you after the fact.
Left Edge Theatre’s published schedule for the coming year includes a slot for an undetermined production “To Be Announced.” Consider this a vote for reprising “Slow Food.” It’s that good, and with a few more performances could be even better.
ASR: Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact him at [email protected]
ASR’s “Stuff Worth Seeing” brings you news and reviews of exciting programming our critics and writers believe is worthy of your time and attention. Check them out! Thanks!— Editor
Some years ago, a friend and his sister decided that they would care for their elderly mother at home rather than handing her over to professional care. They fed her and bathed her and made sure that she consumed dozens of prescription medications several times per day, a self-imposed task that they originally imagined would last at most a year or two, given that their mother was well into her 80s and suffering from multiple ailments.
Instead, their home health-care regimen stretched into several years. Despite her general weakness, their mother proved an amazingly durable physical specimen, but mentally she was almost completely gone. She had come to the US as an immigrant at the age of eight and spoke English her entire life. Near the end, she lost all her English and spoke only rudimentary Greek. She no longer recognized her son and daughter.
Dementia is a widespread and growing problem. There are more than five million dementia patients in the United States. Approximately twice that number work full-time caring for them, to a large extent dispensing sedatives and other drugs that make them more manageable. There is a much more effective treatment available for those with dementia and other forms of mental impairment, treatment with very low cost and no negative side effects, compellingly demonstrated in a documentary by Michael Rossato-Bennet.
Alive Inside opens with an informal interview with a 90-year-old resident of a nursing home. She speaks in cogent sentences, but when asked about her life, can’t remember much. Then she dons a pair of headphones and hears a recording of Louis Armstrong playing “When the Saints Go Marching In.” The recording triggers a rush of memories and she pours forth all kinds of information about her life, from childhood on, information that was hidden from her prior to hearing the music. It’s one of the film’s many examples of the therapeutic value of music for people suffering from dementia.
The Director of ALIVE INSIDE
Winner of multiple awards at several international film festivals, Rossato-Bennet’s 2014 documentary follows social worker Dan Cohen through three years of introducing the benefits of music to people suffering from Alzheimer’s disease and other devastating forms of mental deterioration. Equipped with headphones, iPods, and a laptop computer from which he can program each player for each patient, Cohen visits nursing homes and works apparent miracles through the simple act of sharing music.
…she not only has a positive emotional breakthrough but begins to regain her vocabulary…
Many of the patients he visits are in vegetative or near-vegetative states and haven’t responded to other forms of therapy, yet they all respond to music—in particular, music that was very meaningful for them in their youth. The reason, according to neurologist Oliver Sacks (author of Musicophilia: Tales of Music and the Brain, among many other titles) is that “music is not just a physiological stimulus . . . it engages the whole brain—memories, and emotions—in a way that no other stimulus can. “ Sacks goes on to explain that music connects to parts of the brain that are the last to be affected by dementia. It can awaken dormant parts of the brain that can’t be reached otherwise.
We are treated to an irrefutable example of this healing power late in the film when we meet a woman named Mary Lou Thompson, in late middle age and apparently good physical health but whose mind has begun to disintegrate. She’s lost words for common objects such as “fork” and “spoon” and can’t remember which button does what in her building’s elevator. Cohen fits her with headphones and an iPod loaded with music from her youth—Beatles and Beach Boys—and in an astounding transformation, she not only has a positive emotional breakthrough but begins to regain her vocabulary. Her personal music system and soundtrack are foundational to her new level of independence.
The film strongly implies that for music therapy to be effective, it must be music that is deeply significant for listeners. Advocates of classical/jazz/New Age/you-name-it music will be disappointed to learn that their favorite genres don’t have innate healing potential, nor do once-weekly concerts by well-meaning visiting musicians. The music played has to be deeply meaningful for each listener. For Henry, a ten-year nursing home resident who spends most of his time dozing, it’s Cab Calloway that wakes him up. A paranoid schizophrenic named Denise is emotionally out of control, but comes to center hearing Schubert’s “Ave Maria.” In another scene, she discards her walker and dances to salsa music. She hadn’t been without her walker in her two years at the institution, according to Rossato-Bennet.
Unlike drugs intended to keep elderly patients sedated, there doesn’t appear to be a downside to music therapy. Yet it’s near impossible to get it approved for widespread use, according to gerontologist Bill Thomas, MD, who states “The amount spent on drugs dwarfs what we could be spending on music therapy for every nursing home patient in America.” Thomas encounters no obstacles writing prescriptions costing $1000/month but has no way to get a $40 personal music system approved. Drugs make patients more manageable for nursing home workers, but, Thomas says, “We haven’t done anything, medically speaking, to touch the heart and soul of the patient.”
My own father lasted well into his 80s without paying any particular attention to diet, exercise, or other health concerns. Other than being a cranky old guy, he wasn’t mentally impaired. What sustained him throughout his life was his abiding love of music—especially Swing Era and Dixieland jazz, the music of his youth. He remained deeply involved with his music library right to the end, without relying on massive amounts of prescription drugs. Music carried him along. As the old saying goes, it added life to his years and quite probably, years to his life. Alive Inside makes a strong case that the same outcome might be possible for millions of elders.
Alive Inside
A documentary by Michael Rossato-Bennet
Date of production: 2014
Runtime 78 minutes
Available on Netflix
Reviewer’s Score
Overall: 4 of 5 stars
Script: 4 of 5
Production value: 3.5 of 5
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Glenn Close and Amy Adams – photo by Lacey Terrell – Netflix
Director Ron Howard has delivered a Thanksgiving gift to America’s most-forgotten and most-maligned people—poor whites—with his solid cinematic treatment of Hillbilly Elegy, based on the best-selling memoir by J.D. Vance. The film enjoyed its Netflix debut on November 24.
While Howard and screenwriter Vanessa Taylor have taken some liberties with Vance’s material—and of necessity, left out his observations and speculations about what ails the heartland—the book’s essential survival story remains intact: a poor kid with roots deep in the Kentucky hill country manages to overcome the soul-deadening effects of continually moving from place to place with his drug-abusing mother, and a childhood without a father or father figure—unless you count his mother’s nonstop parade of drunks, addicts, abusers, whackos, and losers.
The kid—J.D. Vance, played as an adult by Gabriel Basso, and as an adolescent by Owen Asztalos, both of them excellent—survives mostly by his wits, inspired by his mean-as-hell no-nonsense chain-smoking grandmother Mamaw (Glenn Close), the counterbalance to his mother’s reliably erratic behavior. Unlike in similar stories, there are no kind-hearted coaches or teachers to intervene and help him along. Mamaw, in fact, seems to be his only guide, an unsteady one at best.
Haley Bennet, Gabriel Basso, and Amy Adams – photo by Lacey Terrell – Netflix
By sheer determination, young J.D. manages to overcome his family’s collective madness and the unhappy cycle of alcoholism/drug addiction/crime/jail that seems to be the fate of many of his high school classmates. He joins the Marines straight out of high school, does a stint in Iraq, completes four years of work at Ohio State University in only two, and wins admission to Yale Law School. It’s a story that would have critics leaping for new superlatives were it about a poor kid from a different background—one from a clearly oppressed minority, for example, whose against-all-odds triumphs are standard fare in film and television.
The fact that Hillbilly Elegy is about poor white people rather than poor people of color has apparently given some critics permission to be unfairly dismissive of this film. Poor white people are the last ethnic group that can be attacked with impunity, whose plight can be ignored without paroxysms of guilt. In the 2016 presidential election, Hillary Clinton sealed her fate with her characterization of such people as “a basket of deplorables.” Trump won the election the moment those words came out of her mouth. There’s nothing working-class people hate more than condescension from Ivy League elitists.
Those who disparage this film are doing so largely from Ms. Clinton’s perspective, a perspective shared by a trolling lawyer at J.D.’s first interview for a summer law internship: “rednecks,” he says without irony, categorizing an entire family and subculture.
J.D. Vance became a Yale lawyer without forgetting where he came from. Many commentators apparently have little experience of life in the rural South or in the towns of the Rust Belt, whose populations in the 1950s swelled with Southern immigrants who went north seeking opportunity.
…Poor white people are the last ethnic group that can be attacked with impunity, whose plight can be ignored without paroxysms of guilt…
The decline of such towns caused by sending industrial production offshore, compounded by the opioid crisis, is a theme examined in depth in Vance’s book, but merely implied in Howard’s film—actually all the better, as the film remains tightly focused on the personal story. In many ways, Hillbilly Elegy is a great companion piece to 2017’s The Glass Castle, with Brie Larson, Woody Harrelson, and Naomi Watts.|
For those who understand its premise and background, Hillbilly Elegy is a compelling triumph-of-the-underdog story, shot mostly in Georgia, with only a few exterior scenes actually shot in Middletown, Ohio, an appropriately-named generic town built in the shadow of an ARMCO steel plant. Taylor’s screenplay honors Vance’s book without mirroring it, and Howard’s direction is solid if a bit heavy on flashbacks and parallel flashbacks.
Haley Bennet, Glenn Close and Owen Asztalos – photo by Lacey Terrell – Netflix
Haley Bennett is understatedly consistent as J.D.’s long-suffering sister Lindsay. Amy Adams is a totally believable wonder as his way-out-of-control mother Bev. Veteran actress Glenn Close disappears so far into her character that she’s initially unrecognizable. Her astounding performance alone recommends this production—one that, like the book that inspired it, is good, not great, but nonetheless important.
“Hillbilly Elegy”
Streaming now on Netflix
Directed by Ron Howard.
Screenplay by Vanessa Taylor, based on the book by J.D. Vance
Starring: Gabriel Basso, Glenn Close, Amy Adams, Haley Bennett, Owen Asztalos, Bo Hopkins
Run Time: 1 hr 56 min
………………………………………..
Ratings:
Overall: 3.5 of 5 stars
Performance: 4 of 5
Script: 4 of 5
Cinematography: 3.5 of 5
Score: 15/20
ASR Executive Editor Barry Willis was born in Ashland, Kentucky, his family’s ancestral home in the coal-mining region near West Virginia. His maternal grandfather was a coal miner and worked at an ARMCO steel plant across the river in Ohio. Barry grew up mostly in small towns in Indiana and Ohio and spent fourteen years as a so-called adult in the Deep South. He is president of the SF Bay Area Theatre Critics Circle and a member of the American Theatre Critics Association.
Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Ms. Innocenti-Beem
Among the North Bay’s most prominent and prolific theater artists is Dani Innocenti-Beem, a phenomenal singer and delightful comic actress known for her ability to melt hearts, rattle walls, and provoke uncontrollable laughter with her improvisations. Recipient of innumerable nominations and winner of multiple awards—SFBATCC, TBA, MTJA, and Artys included—Innocenti-Beem in normal times is booked eighteen months out and often performs in one show while rehearsing the next one. The entire North Bay theater community looks forward to a return to normal so that we can enjoy her onstage again.
***
ASR: How did you get started in theater?
DIB: I was ten years old. My mom and dad took me and my brother Marco to the Belrose Theatre in San Rafael where they had a show called Kids in Vaudeville, a showcase featuring kids 8-18 doing skits, songs, dances etc.
There was a young girl, I’ll never forget her name, Hathaway Pogue, who came out on the stage in her blue Gunne Sax dress, sat on a stool, and sang “Rainbow Connection.” In Act Two she came out in a brown Gunne Sax and sang “Somewhere Over the Rainbow.” I tugged on my mom’s arm and said, “I want to do that.” She signed me up for classes the next day.
ASR: What was the first play you performed in for a paying audience?
DIB: It was The Miracle Worker at the Belrose. I played a little blind girl. I remember getting my first note from Margie Belrose. It was a compliment and such a high. I very rarely do plays. Funnily enough, I did this play twice. In a high school production, I played Annie Sullivan.
ASR: How many theater companies have you been involved with?
DIB: In my adult life, probably 15.
ASR: Did you anticipate that you would become as successful as you have?
DIB: Am I successful? Certainly not in terms of money. In the North Bay, you don’t do this for the money. I have a 9-5 to pay the bills. I never thought about being successful. It’s just become who I am—it’s what brings me joy, what makes me me.
ASR: Do you have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc?
DIB: Musical theater, of course! Give me a big broad musical comedy any day!
ASR: Who has had the largest impact on your professional development in theater?
DIB: Three people have really had a true impact on my journey. My father Ugo—I get my voice from him. He was in the boys’ choir in Italy growing up. He and my mother insisted on classical training, which gave me the voice I have today.
Second is my singing partner and friend Julie Ekoue-Totu. I am never more myself than when I am on stage singing with her.
The third is Carl Jordan, who was the first director to have faith in me and pushed me out of my comfort zone of comedy when he cast me as Shelby in The Spitfire Grille.
ASR: With the ongoing pandemic, it will likely be several months until theaters reopen. How are you coping with the shutdown?
DIB: In all honesty, it has been a struggle. My joy is gone. Postponed, or canceled. My other family, gone. That intimacy that only those in the theater understand, gone. Those moments that give you life on a daily basis, be it in rehearsal, or memorizing a line, or hitting that note right in the pocket, gone. I would have closed three shows since Covid started. I am struggling.
ASR: How do you envision the future for the theater community overall?
DIB: I would like to say I have an optimistic outlook but some days are harder than others. I have hope that one of these days we’ll get back to what we had, more or less. How many theaters survive will depend on just how long that takes.
ASR: What are some of your favorite dramas? Musicals? Comedies?
DIB: I spent most of my life being in shows rather than attending them, and those were 99.9% musicals. It is just in these last few years that I have been able to attend more theater and have started to broaden my knowledge.
So, from what little I have seen, my favorite dramas tend more toward the classics, such as Streetcar and Death of A Salesman, although I did very much enjoy the 6th Street Playhouse productions Faceless and The Revolutionists.
Comedies must really make me laugh out loud for me to truly enjoy them. A little chuckle won’t cut it. The Mystery of Irma Vep,Noises Off, and one that teetered between them both, Drumming with Annubis.
Musicals? Oh boy! The list is long for different reasons, from performing in them, to the score only, to being an audience member. Lumping them in the same list, a few would be: Gypsy, Into The Woods, Sunset Boulevard, Sweeney Todd, Hello Dolly!, Little Shop of Horrors, Evita, Man of La Mancha, Urinetown, Mame, Falsettos. I could keep going but this Q&A has to have an end sometime!
ASR: Name some all-time favorites that you have worked in.
DIB:Man of La Mancha—to be able to tell such a wonderful story, with a cast that was brilliantly talented, was tops for me for sure. Hands on a Hardbody—It felt like an honor to bring these real people to life. It spoke to our hearts as a cast.
Great American Trailer Park Musical—We had lightning in a bottle with that show. Everything clicked and it was the most fun I have ever had on a stage. Merman’s Apprentice—stepping into the shoes of Ethel Merman. Need I say more? Nunsense, in 1996—my castmates Julie Ekoue-Totu, Kayla Gold, Diana Bergala, and Gail Gongall, truly became my sisters and lifelong friends. I would not be who am I am in the theater without that show and those women.
…Great American Trailer Park Musical—We had lightning in a bottle with that show…
ASR: What are some of your least favorite productions? Care to share titles of those you would never do or never do again?
DIB:Expiring Minds Want to Know, a horrible little musical. Annie. I love the role of Miss Hannigan and loved my cast when I did it, but the show itself is not a favorite.
ASR: Which rare gems would you like to see revived?
DIB:Triumph of Love is such a gem. The Drowsy Chaperone is another one that is just pure fun and so rarely done.
ASR: What is Shakespeare’s most over-performed play?
DIB:Hamlet and A Midsummer Night’s Dream. Yes, you shadows have offended, too many times!
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
DIB: I would love to do props and set dressing. Creating the world the actors are playing in. Bringing a vision to life and making sure it keeps with the time period, aesthetic, etc. That would super fun and creative.
ASR: How do you warm up before a performance? How do you relax after?
DIB: I sing the show through in my car on the way to the theater. Warm up the voice in the shower of course. But other than that, I just try to relax and remember my lines. I like to get into the theater at least two hours before showtime. Just to be there and settle in. After the show, I enjoy a milkshake at Shari’s or Chinese food at Yet Wah or just hanging out in the lobby with the cast and some friends enjoying each other.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
DIB: Hmmm…
1. Be on time.
2. Be humble.
3. Be a team player.
ASR: What theater-related friendship means the most to you? Why?
DIB: Julie Ekoue-Totu, my singing sister. I have known her since 1989. She’s been my performing partner and my giggle gal all this time. She taught me how to take chances vocally and helped me tremendously in developing my style. She’s one of the most honest people I know. I trust her more than anyone else on that stage. She has had my back in so many ways over these years and I am forever grateful and will love her and sing her praises until my last note!
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
DIB: I was in the audience at Lucky Penny’s production of One Flew Over the Cuckoo’s Nest when three women got up and walked across the stage—actually through the scene, explaining to the audience why they were leaving (one of them wasn’t feeling well).
ASR: Do you have a “day job?”
DIB: Of course I do. I have to pay the bills and I am extremely lucky to have mine during this horrible time. I am an escrow officer.
ASR: Do you follow other arts—music, film, dance, painting/sculpture? Do you actively do any other arts apart from the theater?
DIB: No, not really. I appreciate art and enjoy listening to music but I am not a follower per se. When I am not performing I enjoy being with my family and my fur babies.
ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?
DIB: Ahhh, here:
1. No cigarettes or cilantro.
2. Kindness is key.
3. Popular vote wins.
ASR: What would be the worst “buy one get one free” sale of all time?
DIB: A home enema kit.
ASR: You have the opportunity to create a 30-minute TV series. What’s it called and what’s the premise?
DIB:If All the World’s a Stage, I Want My Own Damn Dressing Room, a show about the lives and times of a regional theater group of course!
ASR: If you were arrested with no explanation, your friends and family might assume you had done what?
DIB: Beaten up someone who was being cruel to animals.
ASR: What three songs are included on the soundtrack to your life? And why each?
DIB: Soundtrack? That is tough. I have certain artists or songs from my childhood that will always be on repeat in my heart. Those tunes you go to when you need a lift. Does that count? Narrowing them down to three? Hmmm?
Luciano Pavarotti singing anything. He was my background music as a child.
Helen Reddy—“Leave Me Alone (Ruby Red Dress)”—As a kid, I never knew what it meant but it made me smile (especially the horns) and I would sing it at the top of my lungs.
John Denver’s “Rocky Mountain Christmas.” It just isn’t Christmas without it.
ASR: A fashion accessory you like better than others?
DIB: I love boots. Nice comfortable boots. Combat, Ugg, Booties, Go-Go, Cowboy, Dress, Rain, All the boots!
ASR: What would be the coolest animal to scale up to the size of a horse?
DIB: I love turtles. I would like to see a turtle the size of a horse! Prehistoric and beautiful. I could ride it!
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk-taking, such as rock climbing, shark diving, bungee jumping, skydiving?
DIB: When I was younger, I liked to climb everything—trees, towers, you name it. The only thing I could climb right now is the walls.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Seafus Smith
Seafus Chatmon-Smith is a singer-songwriter, multi-instrumentalist, producer, music director, sound designer, and scenic designer. He is a recipient of a San Francisco Bay Area Theatre Critics Circle “Excellence in Theatre” award for his 2019 scenic design of Admissions for Los Altos Stage Company.
A California native who grew up in the San Francisco Bay Area and in the Central Valley, his career in entertainment spans from onstage to behind-the-scenes. In the mid-to-late 2000s, he played in various bands before going on to front his own band, Vasco Skys, formed by him and drummer Richard Messenger III. In 2010 he joined the band Dallas, (now known as Bryan Dallas) as keyboardist and background vocalist. After playing FM 107.7’s Bone Bash X concert, he decided to take a break from the music stage.
Seafus’ first work in theatre was as a student, in Las Positas College’s 2006 production of Macbeth, as a sound designer. He began working in entertainment staging and lighting in 2012, which ultimately led him back into the theatre, first as a sound engineer/designer, then into music directing and scenic design.
After sound designing Bay Area Children’s Theatre’s Fancy Nancy Splendiferous Christmas in 2016, he began music directing with James and the Giant Peach JR, 2017, Junie B Jones JR, 2018. Dragon Theatre’s 2018 production of Equivocation would bring him to his first scenic design. His next design was Lohman Theatre’s 2018 production of She Kills Monsters, followed by Los Positas College’s 2019 production of Stinky Cheese Man and Other Fairly Odd Stupid Tales.
Seafus is currently designing the Steel Magnolias set for Los Altos Stage Company, originally slated for the spring season of 2020, but due to the COVID-19 pandemic has been pushed to the spring of 2021.
***
ASR: How did you get started in theater?
SS: Though I have worn many different hats in theatre, and still do, my introduction into the inner workings of the theatre was in college where I took acting and technical theatre classes. I fell in love with the process.
ASR: What was the first play you worked in for a paying audience?
SS: The first show I did was a production of My Son Pinocchio, as a sound engineer.
ASR: How many theater companies have you been involved with?
SS: I’ve been involved with five different theatre companies—from children’s theatre to high school, to college and community theatre. I’ve been working in theatre in various capacities since 2013.
ASR: Did you anticipate that you would become as successful as you have?
SS: Truthfully I don’t know what I’m doing, other than trying to do my best. Not sure what kind of success I’ve achieved just yet, but having received an award from SFBATCC, I have hope that I’m headed in the right direction.
ASR: Do you have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc?
SS: I’ve worked for companies that have a specific focus, but I myself strived to work on any and all projects that tell great stories. Hopefully inspiring new dreamers like myself, to create new worlds we’ve yet to experience.
ASR: Who has had the largest impact on your professional development in the theater?
SS: It’s two people really: Michael Rinaldi and the late Jeremy Hamm, educators that have done amazing things in their lives to enrich the lives of others as well as my own.
ASR: With the pandemic, it will likely be several months until theaters reopen. How are you coping with the shutdown?
SS: As an independent artist, this time has and continues to be difficult for me, as I’m sure it has for our entire community both on the small and large scale. Right now it’s hard as shows have been postponed with the uncertainty that they will ever go up, though I remain positive and hopeful that in time things will get better.
ASR: How has the crisis affected your planning for the coming seasons? How do you envision the future for the theater community overall?
SS: Well to the first question.. . All of my shows that were in progress that aren’t canceled, have been postponed until the 2021 spring season. And to the second.. . I’m hopeful that in the future things will pick back up, though I know it’s going to take some time.
ASR: Almost forgotten with the pandemic is the crisis caused in the performing arts by the passage of Assembly Bill 5, requiring most workers to be paid the California minimum wage. There are multiple efforts in Sacramento to get performing artists exempted from this. Has AB5 affected your theater company’s plans?
SS: AB5 was passed just before the COVID-19 crisis, so I have yet to really experience its impact, though I’m sure it will bring about many changes to the contractual agreement side of things. I’m sure we will work out a way for art to continue as it should.
…I’m also a sucker for amusement parks…
ASR: What are some of your favorite dramas? Musicals? Comedies?
SS: From the first time I heard the original cast recording, my favorite musical of all time is Phantom of the Opera. From the score and story to the dancing and technical theatrical gymnastics, to me it is all that you could ask for.
My favorite comedy is Noises Off. As someone who has spent so much time backstage as both a performer and crew member, I can give first-hand accounts of the hilarity that inevitably comes from behind the curtain. As for dramas… Tyler Perry’s Madea Goes to Jail is one of my absolute faves, though I really like most all of his shows.
ASR: What is Shakespeare’s most over-performed play?
SS:Romeo and Juliet would be the most over-performed and yes, it could be put in the vault.
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
SS: It would have to be sets. One of my favorite things to do is to imagine the world in which the story takes place and bring what’s in my mind to life. It can be a powerful thing giving a visible voice to a story. Look at Hollywood!
ASR: As hard as it may be to pick just one, can you name a Bay Area actor who you think does amazing work?
SS: Given the current climate this may be an unpopular opinion but . . . Tom Hanks. The talent he poses in emoting is something striking, both on the surface as well as in the depths of the characters he chooses to portray.
ASR: How do you warm up before a performance? How do you relax after?
SS: As a performer, I try to practice my craft as much as possible, then I do a full body and vocal warmup. All dependent on what part I’m playing of course. And to relax after. . . I love a good gathering with friends. I don’t really sleep much, maybe go to a movie or chill on the couch with a nice bottle of wine.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
SS: Really it takes more than this, but if you don’t have these three things, you won’t be able to get very far with me. So…
1. Focus
2. An understanding of conscious learning.
3. Flexibility.
ASR: What theater-related friendship means the most to you? Why?
SS: The relationship between myself and the story, as well as everyone involved. My belief is, if you have a great story and a wonderful team, then anything is truly possible.
ASR: What’s the most excruciating screw-up you see onstage?
SS: When someone has cast an actor that can’t sing in a musical. Nobody wants to hear a cat being tortured for two hours, and we all know it happens.
ASR: Do you have a “day job?”
SS: Due to COVID-19, I am currently out of work. Normally when not working on a specific show I work for an entertainment lighting and staging company, as well as in various personal music endeavors.
ASR: What are your interests outside of theater?
SS: As a singer-songwriter and record producer I’m usually making music when not working. However, now with so much more time on my hands, I’m learning the craft of screenplays. I’m also a sucker for amusement parks, beaches, and hiking.
ASR: Do you follow other arts—music, film, dance, painting/sculpture? Do you actively do any other arts apart from the theater?
SS: Music-making would be number one on the list. I love to dance and have been a choreographer for multiple projects. Cinema is one of my all-time great loves, I would love to direct and be in a film one day. In my late teens, I was a magician. From painting to building, sculpting, and most things in between. I have either done it, do it, or enjoy watching it being done.
ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?
SS: I’d say…
1. No making noise before 10 a.m.
2. Bring your own bottle of sauterne.
3. No acts of hate or violence!
ASR: What would be the worst “buy one get one free” sale of all time?
SS: A circumcision.
ASR: If you were arrested with no explanation, your friends and family might assume you had done what?
SS: Been caught sneaking into a concert.
ASR: What three songs are included on the soundtrack to your life? And why each?
SS: 1. Michael Jackson’s “Smooth Criminal,” because I love the choreography in that video and love to dance to it.
2. Prince’s “Partyman,” because as a kid I wanted to be Batman, and still do!
3. “Stuck,” a song I wrote about how I feel during this COVID-19 pandemic.
ASR: A fashion accessory you like better than others?
SS: Sunglasses are a must at all times. As long as I have a pair we’re ok.
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk-taking, such as rock climbing, shark diving, bungee jumping, skydiving?
SS: I have a healthy respect for human life so the only thing for me in this category would be rock climbing! You have to take risks in life to move forward. I believe you take risks whether you choose to or not. Daring to live is risky, and sitting on the sidelines is to risk never having lived at all.
ASR: Favorite quote from a movie or stage play?
SS: “It’s working, it’s working”—Anakin Skywalker in Star Wars.
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Anthony Martinez is an actor and musician based in Santa Rosa. He most recently appeared in David Templeton’s critically acclaimed Drumming With Anubis, a production that won a 2019 “Ensemble” award from the San Francisco Bay Area Theatre Critics Circle.
Film credits: Donovan Reid, The Last Hit, Quick, Ghettoblaster, The Animal, Cheaper by the Dozen, Bottle Shock. Television: Love Kills (Investigation Discovery), World’s Astonishing Stories (Nippon TV), World’s Crime Mysteries (Nippon TV), 13 Reasons Why, numerous commercials and industrials for clients such as Polaroid, Apple, Save Energy, Food Network, AARP, and many more. Theater: Left Edge Theater (Zombietown- TBA nomination, This Random World, Drumming with Anubis, Sweat), Spreckels Theater Company (Guys & Dolls, Forever Plaid, 1776– TBA/SFBATCC nomination), 6th Street Playhouse (La Cage Aux Folles, Kiss Me Kate), Lucky Penny Productions (Funny Girl), Novato Theater Company (Next to Normal, Into the Woods– TBA and SFBATCC nominations), Cinnabar Theater (Forever Plaid, Fiddler on the Roof, Man of La Mancha), 42nd Street Moon (Girl Crazy, On a Clear Day, Dear World).
In addition to his stage and film work, Anthony is a vocalist and multi-instrumentalist who performs with his own band “The Core,” tours nationally as keyboardist for Cash & King, a Tribute to Johnny Cash and Elvis Presley, and Petty Rocks, a Tribute to Tom Petty, and is the founder and tenor vocalist with “Comfort & Joy,” the Bay Area’s premiere a cappella holiday vocal quartet.
Anthony Martinez
ASR: How did you get started in theater?
AM: I was actually a musician before becoming an actor. As a kid, I took piano and guitar lessons and played in rock bands. I never did theater as a kid. Right after high school, I got into a car accident and, while I was recuperating, most of what was on TV in the middle of the day were soap operas. I remember watching them thinking “I can do that.”
My sister had a co-worker who was a part-time commercial actor in the Bay Area, and said “OK, prove it.”
Through her co-worker, I got hooked up with SF on-camera training classes and casting agents. From there, I got my first agent and first acting jobs (a national commercial and a small part in a movie in LA) without ever having set foot onstage. I then met a theater artist from LA with a theater company and fell in love with live theater.
ASR: What was the first play you performed in or directed for a paying audience?
AM: That would be Holy Ghosts by Romulus Linney. Good play. I wish more companies would produce it. I have never seen another production other than the one I was in. I think the reason it’s seldom produced is because it calls for live snake handling!
It’s about a religious snake-handling congregation in the south and, yes, for my first play I had to take up live snakes onstage every night. What an introduction to live theater!
ASR: How many theater companies have you been involved with?
AM: Wow. Let’s see… I think 17 different theater companies in the Bay Area.
ASR: Who has had the largest impact on your professional development in the theater?
AM: That’s a great question. I have to say Marvin Klebe, the founder of Cinnabar Theater. He not only gave me my first professional job, the moment I met him he was so kind, so knowlegable, so supportive… he really inspired me be the best I could be.
ASR: What are some of your favorite dramas? Musicals? Comedies?
AM: For drama, I love Angels in America, The Compleat Female Stage Beauty, and A Steady Rain. Comedies I love are Lend Me a Tenor, Moon Over Buffalo, and Vanya, Sasha, Masha and Spike. Musicals… Next to Normal, Falsettos, and everything and anything by Sondheim.
ASR: Name three all-time favorites that your company has produced.
AM: I’m currently an Associate Artist at Left Edge Theatre in Santa Rosa, so I’d have to say Drumming with Anubis, Hand to God, and A Steady Rain.
ASR: Which play would you most like to see put into deep freeze for 20 years?
AM:The Music Man.
ASR: Which rare gems would you like to see revived?
AM: A musical called Triumph of Love. It had a very short life on Broadway in the 90s, but it is so wonderful. My old theater company in Marin did it and it was so charming. The audience loved it. I am always astounded that more companies don’t do it.
ASR: What is Shakespeare’s most underrated play?
AM: I would say Titus Andronicus, but I am a horror movie fan, so I’m biased!
ASR: Shakespeare’s most over-performed play?
AM:A Midsummer’s Night’s Dream, for sure.
The dog took center stage and… followed its natural instincts… …
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
AM: Sound design. I am a musician so I really vibe with the impact sound and music can have in evoking mood.
ASR: As hard as it may be to pick just one, can you name a Bay Area actor who you think does amazing work?
AM: Wow. That is so, so hard. I personally know so many astounding actors, but I will pick someone I know only from their work. I am a big fan of Craig Marker. He is always amazing.
ASR: How do you warm up before a performance? How do you relax after?
AM: For musicals, I do vocal exercises and light physical warmup. For plays, I do a physical warmup and go over my lines! After a performance, I like to unwind with an adult beverage, but if I have a performance the next day, never tequila. It shreds my voice.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
AM: Hmmmm…
1. Be on time.
2. Be off book ASAP.
3. Always be helpful and cooperative to everyone involved in the production, even if you’ve had a bad day.
ASR: What theater-related friendship means the most to you? Why?
AM: I have to say the one with my sister, Vicki. She is a stage manager at Left Edge Theatre and it’s nice to be able to work together and share that common interest.
ASR: What is the funniest screw-up you’ve seen on stage in a live performance?
AM: It wasn’t technically a screw-up, but during a production of Camelot I was in, the dog playing Pellinore’s dog proceeded to completely steal a scene doing… something dogs do. The dog took center stage and… followed its natural instincts, looking right out at the audience. The audience was roaring with laughter and the stunned cast onstage was just frozen. I wasn’t onstage at the time (thank God), just watching from the wings, but I was laughing so hard I couldn’t breathe.
ASR: The most excruciating screw-up?
AM: Probably when I split my pants completely onstage during a performance… in a theater in the round! No wings to dash off into!
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
AM: I was in the audience of a local musical when a drunk person climbed onstage, waving at the audience and then at her friend in the cast on stage (who was mortified), and trying to conduct the orchestra. It seemed like she was up there for an eternity and I kept wondering “When is someone gonna do something?” Finally, an ASM came out and got her offstage. So awkward.
ASR: Do you have a “day job?”
AM: I worked as an administrator at a community college for many years. Now I am lucky enough to be able to work for myself as a consultant and teacher.
ASR: What are your interests outside of theater?
AM: I am an avid martial artist and instructor, as well as a musician. I also sing, play keyboards and guitar, and work as a sideman for many local and touring artists.
ASR: Do you actively do any other arts apart from the theater? Do you follow other arts—music, film, dance, painting/sculpture?
AM: I do lots of music (live and recording) and on-camera work (industrial films, commercials, and movies). I also practice martial arts. Does that count?
ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?
AM: Ahh…
1. No talking in the audience during a performance.
2. No nuts in brownies or cookies.
3. Kindness to all animals.
ASR: What would be the worst “buy one get one free” sale of all time?
AM: A colonoscopy.
ASR: You have the opportunity to create a 30-minute TV series. What’s it called and what’s the premise?
AM: I’m still working on that. ;)
ASR: If you were arrested with no explanation, your friends and family might assume you had done what?
AM: Protesting or used martial arts in self-defense (maybe at the same time).
ASR: A fashion accessory you like better than others?
AM: I have many, many pairs of shoes.
ASR: What would be the coolest animal to scale up to the size of a horse?
AM: A French Bulldog.
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk-taking, such as rock climbing, shark diving, bungee jumping, skydiving?
AM: Nope. I am not a daredevil. I have had enough life-threatening excitement in my life already and lived to tell the tales—those are stories for another time—so I now crave calmness. But I do love rollercoasters!
ASR: Favorite quote from a movie or stage play?
AM: “Just because they could, they never stopped to think if they should.”- Jeff Goldblum in Jurassic Park. Good life advice.
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Winner of a San Francisco Bay Area Theatre Critics Circle award for Transcendence Theatre Company’s 2019 production of A Chorus Line, Daniel Weidlein is a music producer, songwriter, multi-instrumentalist, and music director based in Los Angeles.
Originally from Boulder, Colorado, Daniel has enjoyed a diverse career spanning many parts of the entertainment industry, from acting in Academy Award-winner Whiplash, to performing and music directing on season 3 of NBC’s The Sing Off, to writing and producing Billboard charting music for artists like Blake McGrath, Stan Taylor, and Miss Peppermint. He owns and operates BioSoul Music, a boutique recording studio in LA. In addition to his work as music director and orchestrator for Sonoma County-based Transcendence Theater Company, Daniel has been integral in the development of new musicals such as The Mollyhouse by Richard Hanson and Divya Maus, and Bottleshock by James Sasser and Charles Burwell.
***
Daniel Weidlein. Photo by Taryn Dudley.
ASR: How did you get started in theater?
DW: From a very young age I acted in musicals, and always loved film musicals in particular, so it’s in my bones. But as I grew older, I felt the call to avenues of performing music.
Professionally, I have worked as a music producer, arranger, music director, instrumentalist, and singer. In almost every single one of those capacities I eventually was brought to the intersection point of the Venn diagram of music and theater.
A major turning point in that regard was the work I did with Morgan Karr in the pop music realm, but ultimately it led me to the work I do in the Bay Area with Transcendence Theatre Company.
ASR: What was the first play you performed in or directed for a paying audience?
DW:The Grifters—a musical theatre adaptation of the book-turned-film with book and lyrics by Joe Giuffre, with music (and musical direction) by yours truly in 2013. Imagine—a theatrical concert of original music from various shows with Transcendence Theatre Company in 2015.
ASR: How many theater companies have you been involved with?
DW: Ahh…Transcendence Theatre Company (Sonoma County), Fogg Theatre Company (San Francisco), NYU’s Tisch School for the Arts (New York City).
ASR: When was your present company formed?
DW: TTC set down roots in Sonoma in 2011 and has been growing ever since!
ASR: Does your company have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc?
DW: Bringing the Broadway experience to the Sonoma Valley!
ASR: Who has had the largest impact on your professional development in the theater?
DW: My fiancé! Divya Maus is an incredible composer and lyricist (wrote The Mollyhouse with Richard Hanson and is in development on a new show, Elijah, that she has written herself).
I serve as the music director, orchestrator, and general editor for her shows. Being able to build her vision from the ground up has helped me grow faster in this business than any “gig.”
….Les Miserables had its place, but we don’t need to keep beating it over our own heads.
ASR: It will likely be several months until theaters reopen. How is your company coping with the shutdown?
DW: Transcendence has been putting on a wonderful online season of shows comprised of highlights from the past ten summers of shows in Jack London State park. There’s one more online show this coming weekend, Sep. 11-13, to commemorate their annual Gala fundraiser!
ASR: How has the COVID-19 crisis affected your planning for coming seasons?
DW: Phew…where to begin? Let’s just hope we can all be back in person in the theater next year…
ASR: How do you envision the future the theater community overall?
DW: I truly believe that theater is going to come back stronger than ever. Nothing replaces an in-person theatrical experience, and the kindling that’s keeping the drive and passion of idle performers all across this country is going to ignite into a brilliant blaze once those hearts and voices and feet are unleashed on the stage again.
ASR: What are some of your favorite dramas? Musicals? Comedies?
DW:West Side Story is a no-brainer. I love Parade. I love Angels in America (I so wish I could have seen the recent revival). I love Hadestown!
ASR: Name three all-time favorites that your company has produced.
DW: Transcendence has only done one full musical so far (the rest are handcrafted reviews and concerts from the Broadway lineage)—A Chorus Line—but it was a blast! Chicago was slated for 2020…
ASR: What are some of your least favorite plays? Care to share titles of those you would never produce—or never produce again?
DW:Les Miserables had its place, but we don’t need to keep beating it over our own heads.
ASR: Which play would you most like to see put into deep freeze for 20 years?
DW: I love Rent, but it’s become that song that’s been played one too many times. I think it may actually age really well if we just hit pause.
ASR: Which rare gems would you like to see revived?
DW: I’m a huge fan of Cole Porter’s music, and yet I will bashfully admit that I’ve only seen Kiss Me Kate. The rest of my experience of his music is through the jazz world.
But I think this is the perfect answer to your question…because his musicals don’t get staged enough!
ASR: What is Shakespeare’s most underrated play? Why?
DW: Seems hard to call any of them underrated…but I’d say Much Ado About Nothing. The tragedies get the credit they deserve, and have deep themes that still very much resonate today, but I think what stands out about Much Ado is that it feels so current, and so modern.
Not just thematically, but in the actual writing. Update the language and the writing and humor feel like they’re part of the canon of indie comedic film writing that I love so much.
ASR: Shakespeare’s most over-performed play?
DW:Hamlet. It’s great…I often feel like I just want to read it though. If you’re going to put it on, please give me a fresh reason to do so!
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
DW: Light and projections. I’m fascinated with how much you can influence the audience experience with lighting.
I remember seeing Fun Home and being so captivated by how powerful the lighting and projections were. Super simple, yet so powerful.
ASR: As hard as it may be to pick just one, can you name a Bay Area actor who you think does amazing work?
DW: I can’t say her name enough—Lexy Fridell. One of the most brilliant comedic actresses I’ve ever seen in any context, and you Bay Area folks have her all to yourself now in Sonoma after her return from stints in LA and NY.
ASR: How do you warm up before a performance? How do you relax after?
DW: It’s all about building adrenaline so it doesn’t slam into you when the performance starts. So I like to have a little coffee, move my body around a lot, and do a few mental run-throughs of exciting moments of the show.
Afterward, I eat. A lot. All that adrenaline burns calories!
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
DW: Great question.
1. It’s all about relationships. Great work is meaningless if you don’t do it in conjunction with all the other people and moving parts that make a show possible.
2. Learn what makes your work unique, and do everything to exploit and celebrate it, rather than try to adapt it to the “norm.”
3. Don’t be afraid to be wrong. Make bold choices—make interesting choices—and let the work and/or the people around you (but not the critics!) inform whether those choices are working or need to be altered.
ASR: What theater-related friendship means the most to you? Why?
DW: There are so many valuable friendships that I have developed through theater. I think the beauty of the theater world is the work requires you to go deep on a personal level with the material—and you’re spending exorbitant amounts of time with one another—so inevitably you end up going deep with your peers during the process.
Compared to most other spheres of my life, I’ve definitely developed more deeply consistent relationships in theater than in any other.
I’ll highlight one great friendship with Tony Gonzalez, a frequent director and choreographer at Transcendence. Tony and I were both new to the creative team in 2016 and were tasked with co-designing and leading the high octane dance show of that year.
The entire process was a masterclass in “yes, and” from the creation side and still to this day is one of my favorite shows I’ve ever put on a stage. With that foundation, Tony has become someone I can share any thought, any concern, any emotion with freely, and he’s always the most supportive and caring friend anyone could ask for!
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
DW: I’ve seen audience members try to get hand-on with actors coming through the aisles on numerous occasions…please don’t…
ASR: Do you have a “day job?”
DW: I do not! I write and produce music (mostly for other artists…so it’s KINDA a day job…) all day every day when I’m not music directing or playing saxophone and piano.
ASR: What are your interests outside of theater?
DW: Hiking, cooking, basketball, my dog Puri Bhaji.
ASR: What three songs are Included on the soundtrack to your life? And why each?
DW: “John Boy” by Brad Mehldau — it feels like the perfect expression of the curiosity I was talking about earlier.
“Bad Religion” by Frank Ocean — this is the song that can freeze me in my tracks anywhere at anytime. It explores life in a raw, painful way that is so relatable. And Frank’s voice is the ultimate vehicle for expressing that quest.
“Fire in the Sky” by Daniel Weidlein — thought it would be fun to include one of my own. This is the title track off of one of my jazz albums and is really accurate example of how I sometimes can articulate my thoughts and emotions better musically than verbally.
ASR: A fashion accessory you like better than others?
DW: I’m a big jewelry fan in general. Earrings, rings, necklaces. I love making them all work within my wardrobe.
ASR: What would be the coolest animal to scale up to the size of a horse?
DW: An ant. Sounds scary, but it’s insane how much they can carry at their current size. Just imagine…
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, sky diving?
DW: I’ve done a bit of rock climbing. I’m not great with heights, so I feel like I need to conquer that at some point and go sky diving.
ASR: Favorite quote from a movie or stage play?
DW: “I’m curious what makes you so curious,” from Django Unchained. I’m notoriously curious, and one of the things that captivates me most is what drives other people!
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Among the Bay Area’s few married couples who are equally immersed in theater, Michael Scott Wells and Danielle DeBow frequently appear together onstage. Both are Associate Artists with Napa’s Lucky Penny Productions, but their art frequently takes them to other venues. They also work together away from the theater, and have a toddler—the very definition of togetherness.
Michael Scott Wells: Born in Southern California and raised in the Bay Area, Michael has been a part of the theater community for the past fifteen years as an actor, director, fight choreographer, sound designer, casting associate, and musician.
He has appeared on stage recently for CCCT (Bright Star), Sonoma Arts Live (Gypsy, Always Patsy Cline, Hello Dolly). Performances with Lucky Penny Productions, where he is an Associate Artist, include I Love You, You’re Perfect, Now Change; Big River: The Adventures of Huckleberry Finn (TBA Award – Featured Actor), Clue: the Musical, Hands on a Hardbody, Annie, The Tasting Room, and Forever Plaid.
Outside of the Bay Area, he was fortunate enough to be a part of the first national tour as Big Anthony in Strega Nona the Musical!, and worked for that production as Associate Technical Director.
Danielle DeBow: Danielle grew up on the stage and studied Theatre and Dance at UC Davis. Dancer turned film actress, turned musical theatre enthusiast, she fell in love with the immediacy and fellowship of the theatre.
She was most recently seen as Alice in Bright Star at CCCT and Rebecca in The Tasting Room at Lucky Penny. You may have seen her at Sonoma Arts Live as Irene Malloy in Hello Dolly, Patsy Cline in Always, Patsy Cline (TBA and Marquee Theatre Award), and Louise in Gypsy.
Danielle is proud to be an Associate Artist at Lucky Penny, her home away from home. When she’s not on stage, you’ll likely find her outdoors chasing her one-year-old and fur babies or finding new ways to turn 90s pops song into folk with her hubby.
Michael Scott WellsDanielle DeBow
ASR: How did you get started in theater?
MW: I’ve always loved to tell stories. My family can regale you with the multitude of puppet shows and make-believe plays I made them sit through as a child. I participated in a number of church plays as well. Then I took a hiatus to focus on sports. All the sports. In high school, a friend asked if I could help stage manage a show he was working on. The bug re-bit me and I never looked back.
DD: I spent much of my childhood on stage dancing. In fourth grade I moved to a new elementary school that focused on learning through musical performance and that is where I fell in love with the art and immediacy of theatre.
ASR: What was the first play you performed in or directed for a paying audience?
MW:Miss Saigon in 2005 at Diablo Light Opera Company
DD:The Nutcracker, 1992, Bolshoi West
ASR: Who has had the largest impact on your professional development in the theater?
MW: I don’t think I can say just one person or company. Every member of the theater community I’ve had the opportunity to work with has helped shape my life in ways I can truly never thank them enough for.
DD: Many amazing, talented, and compassionate teachers, directors, and crew members have impacted me in ways I’ll be eternally grateful, but I must thank my parents for believing in me and encouraging me to do what I love. They instilled confidence in me that allowed me to pursue opportunities and take risks leading me to where I am today.
ASR: It will likely be several months until theaters reopen. How is your company coping with the shutdown?
DD: The shutdown has been a great challenge. The theatre is where we go to escape, to fill back up when the world drains us. While we miss our theatre family more than words could ever properly describe, we’ve been able to fill at least some of the void jamming in our living room with our one-year-old.
ASR: How do you envision the future for the theater community?
MW: The arts by nature are innovative and revolutionary, so I have no doubt that while this current situation is extremely disheartening for the community, we will all come out of this stronger, more passionate, and more in-tune with who we are as artists and performers.
This time away from the stage, and more importantly, my theatre family has reaffirmed my true love for it. It’s not something that can be created over a zoom call—it’s the tangible aspects I’m craving: the energy exuding from the audience, the jitters in your stomach pre-show, the rush of joy as the overture starts, the sweaty hugs post-show, and the unforgettable conversations in the wings with cast and crew. I know we will get back to it, and I’m proud of the community and companies that are finding ways to bring opportunities for us to share our craft and stories in new ways while we’re restricted from gathering during the pandemic.
ASR: What are some of your favorite dramas? Musicals? Comedies?
DD : While many shows stand out for me, the three shows that top my list are Godspell, Always Patsy Cline, and Bright Star.
MW:Godspell, Big River, and Evil Dead, the Musical.
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
DD: Costumes, without a doubt. I’m in constant awe of the men and women who pour their hearts and souls into the costumes we wear on stage. They’re tasked with near-impossible requests and somehow end up making us look beautiful (or hideous depending on the requirements), period-appropriate, and tailored, all while ensuring our frocks can handle our quick changing, jumping, falling, dancing, and sweating through them.
MW: That’s a tough choice. It’s a toss-up between lighting and sound for me. There’s something about creating the atmosphere of a moment to make not only the audience but the storytellers feel that moment deep in their gut. That’s what excites me.
ASR: As hard as it may be to pick just one, can you name a Bay Area actor who you think does amazing work?
DD: Dyan McBride is one of my favorite people to watch on stage. Not to mention, one of the most supportive, humble, and passionate actors to work beside. She’s reliable, devoted, and brings out the best in those around her. Her attention to detail, poise, and comedic timing are impeccable. I aspire to captivate an audience as she can.
MW: It’s been a while since I’ve seen in him in anything, but Joel Roster is truly one of the finest actors I have ever witnessed on stage. I could watch him read the phone book. He is never anything but 100% genuine in everything that he does. I have never laughed harder or felt so deeply than when Joel tells a story.
……. asking a stranger to borrow their popcorn bucket to throw up in.
ASR: How do you warm up before a performance? How do you relax after?
DD: My warm-up varies drastically by the show, but once I get a routine, it must not be broken (kidding/not kidding). I always do a few push-ups right before I hit the stage to shake the jitters and get my blood going. Sometimes my opening costume makes this a challenge, but I’ve yet to find one that’s thwarted me. My last two performances were unique in that my pre-show routine also included breastfeeding my newborn backstage. The two companies I had the privilege to work with made it possible for me to continue to pursue my dreams and share the experience with my baby. I will be eternally grateful to Lucky Penny and CCCT for those unforgettable and cherished memories.
MW: Most people will say you’ll catch me cracking jokes right up to the curtain. This is part ploy to hide my nerves and part enjoying the heck out of my job and the people I’m with. I am always nervous before any show, no matter if it’s opening night or closing night. I try to take a moment or two to stretch and get my mind centered. But when it comes down to it, frivolity is truly the best medicine for preparing myself to go on a nightly journey. After a show—that really depends on the show, but it all generally ends with a late-night snack and binging something on Netflix.
ASR: What theater-related friendship means the most to you? Why?
DD: The cast and crew of Cowgirls at Lucky Penny will forever mean the world to me. The relationships I built during that show continue to enrich my personal and stage life. The theatre became our home. Michael proposed to me there, Barry married us on stage and in real life, and Taylor, Dani, Staci, Dyan, and Heather are some of the most important confidants in my life.
MW: There are many individuals I truly cherish in the theater universe. And while I may not see some of them as often as I’d like right now, the cast/crew of Godspell from a 2014 production will always be in my heart. You’ll never see a group who sweated more, loved harder and supported one another through every trial and tribulation. I can never thank that group of humans enough for the joy and love they brought into my life.
ASR: What is the funniest screw-up you’ve seen on stage in a live performance?
MW: During a production of Into the Woods, Little Red missed her entrance for a scene with Jack. In this production, they used a live chicken for Jack to carry around in this scene. This turned into a hilarious 3-4 minute improvised scene between the actor playing Jack and this live chicken. When Little Red finally showed up, out of breath having clearly run from the dressing room, the audience gave Jack a rousing round of applause for his show-stopping improvisation skills.
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
DD: Performing in the wine country comes with its perks, and one of them is often a well-oiled audience. This can make for some wonderful laughs and energetic claps, as well as wine glasses shattering in front of you while singing a tender ballad, or a drunken audience member turning on the house lights while bickering with her partner across the theatre. Yes, that all happened during a single performance.
MW: It’s safe to assume that when you perform in the heart of wine country, most audience members will typically, and hopefully in a responsible fashion, enjoy an adult beverage before coming to the theater. But in some cases, “responsible” can be taken many ways. In one example, it wasn’t just one person but a party bus that decided to over-serve themselves before a show. This resulted in several hilarious moments of call and response, clumsily attempting to leave the theater in the middle of a heartbreaking ballad, and topping off the evening with asking a stranger to borrow their popcorn bucket to throw up in.
ASR: Do you have a “day job?”
DD/MW: We work as the sales and marketing team for a digital workspace consultancy in Davis, CA.
ASR: What are your interests outside of theater?
MW: I’ve been a musician since I was old enough to hold an instrument. The guitar is my main muse but I can play just about anything if you give me twenty minutes to figure it out.
ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?
DD: Hmmm….OK…
Chew with your mouth closed.
Be nice.
Chew with your mouth closed. (Yes, I repeated #1; Misophonia made me do it.)
ASR: If you were arrested with no explanation, your friends and family might assume you had done what?
DD: Attacked someone for chewing too loudly.
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk-taking, such as rock climbing, shark diving, bungee jumping, skydiving?
MW: I am a total thrill-seeker. Who wants to go skydiving?
ASR: Favorite quotes from movies or stage plays?
DD: “Though she be but little, she is fierce.” – A Midsummer Night’s Dream
MW: “May the force be with you.” – Star Wars
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Hailing from the Creole/Cajun bayous of Louisiana, Clay David has enjoyed a wide-ranging professional career in theatre arts. Spanning London, Broadway, off-Broadway, regional theatre, national tours and educational theatre, his work has embraced advocacy, acting, directing, and design. His achievements in the theater have been recognized with five San Francisco Bay Area Theatre Critics Circle Awards. David has also earned an AMCO Kennedy Center National Award, the Victor Borge Legacy Award, a TITAN Award for Theatre Excellence (Theatre Bay Area), the Dean Goodman Choice Award for Best Director in San Francisco Bay, the Lee Hartgrave Fame Best Play Award, and the Bravo Award for Outstanding Innovation and Excellence in Arts.
Notable directing highlights: L’ours et la Lune, and Birth of the Son (Off-Broadway, Blue Heron, NYC), Wives as They Were/Maids as They Are (London Theatre Royal, St. Edmunds, Regency Rep), Romeo et Julieta, (Campamento Lomas Pinar, Cuernavaca, Mexico), York 24: The Capmaker’s Play, (Poculi Ludique Societas, Toronto), Trojan Women and Phedre, (Jerry Rojo Environmental Theatre, CT), Learned Ladies, and School for Scandal (Connecticut Repertory Theatre.)
His joy of collaboration is a true passion, directing premiere productions of Ernest Gaines, Luis Alfaro, Gloria Stingily, Savion Glover, Jared Choclat, Chuck Prophet, Felice Picano, Michael Golamco, and Kathyrn McCarty.
On stage, he has performed the title roles in Hamlet, Amadeus, and The Dresser (Connecticut Repertory Theatre), The Elephant Man and Uncle Vanya (Jerry Rojo Environmental Theatre, CT). Regional Shakespeare roles include: Don John in Much Ado About Nothing (Marin Shakespeare), and Troilus in Troilus and Cressida (Riverside Shakespeare, NY). In musical theatre, he has performed Georges in La Cage aux Folles, Frollo in The Hunchback of Notre Dame, Preacher in Violet (Bay Area Musicals), Pontius Pilate in Jesus Christ Superstar, and Tobias in Sweeney Todd (Connecticut Repertory Company).
(Editor’s note: His A Cajun Midsummer Night’s Dream at Novato Theater Company was unique, brilliant, amazing, and delightful.)
In educational theater, Clay David has served as professor and lecturer of theater at Loyola Marymount University, The University of Connecticut, Diablo Valley College, and was Chairman of Drama at Contra Costa College.
Clay David
ASR: How did you get started in theater?
CD: I sang in church. In the Southern Gothic Cajun South, High Mass was about as close as you could get to the papacy. I was on the debate team in ninth grade and won a few national titles in dramatic interpretation and poetry reading. I was cast as Cornelius Hackle in Hello Dolly in tenth grade. That opened the door and connected the dots.
ASR: What was the first play you performed in or directed for a paying audience?
CD: Performance: Sparger in Kennedy’s Children, Robert Patrick; directing: Welcome to Andromeda, Ronald Melville Whyte
ASR: How many theater companies have you been involved with?
CD: I feel like I have been doing this since the earth cooled, so well over a 150.
ASR: Who has had the largest impact on your professional development in the theater?
CD: My brother was severely disabled, and I always carry his spirit with me. I always say hello to him in the wings. I know he is an angel looking over me.
ASR: What are some of your favorite dramas?
CD:The Dutchman, Amiri Baraka; The Dresser, Ronald Harwood; The Blacks, Jean Genet; The Maids, Jean Genet; America Hurrah, Jean-Claude van Itallie; The Visit, Friedrich Dürrenmatt; Suddenly Last Summer, Tennessee Williams; Woysek, Georg Büchner.
ASR: Musicals?
CD:Sweeney Todd, Blood Brothers, Jerry Springer the Opera, Cabaret.Kinky Boots.
ASR: Comedies?
CD:The Bald Soprano, Eugene Ionesco; Tartuffe, Moliere; The Importance of Being Ernest, Oscar Wilde; Private Lives, Noël Coward.
ASR: Which play would you most like to see put into deep freeze for 20 years?
CD: Hamilton.
ASR: Which rare gems would you like to see revived?
CD: The works of Enrico Cavacchioli, Rosso di San Secondo, Luigi Pirandello, Jean Genet, Eugene Ionesco. Theatre of the Grotesque and Theatre of the Absurd speak to our times, as we navigate the national discord, the bafflement, and bewilderment of the truth of our times.
ASR: What is Shakespeare’s most underrated play? Why?
CD: His plays have dimensions that are not explored or are diluted. Many times these works will be misdirected, or will politely just dance around the ideas of Hamlet asking his mother about the semen-stained sheets, or Ophelia singing pornographic songs when she is mad (who taught her the tunes?) or Richard ll’s historical and factual accuracy of his homosexuality.
ASR: Shakespeare’s most over-performed play?
CD:Hamlet. I wish more companies would produce Christopher Marlowe’s Edward II.
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
CD: I was a theatre professor for 20 years and loved teaching design. I adore making properties. But most importantly, I love working with the actors who use each prop I design, ensuring that it is perfect for them and helps the character that they are creating.
ASR: How do you warm up before a performance?
CD: I drink a Red Bull, rock catatonically in my chair and suck on a cough drop.
ASR: How do you relax after?
CD: A large bowl of cereal and milk.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
CD: Always think outside the box. Always take risks. The audience is the most important element of theatre.
ASR: What theater-related friendship means the most to you? Why?
CD: In that sacred moment when we come together on production we are all soulmates and family. I will always be present for my fellow actors and technicians on stage and backstage, a faithful steward. Whether it is cleaning the dressing rooms, fanning sweating dancers running offstage, picking up costumes after quick changes, or mending shoes in between scene changes, I feel that we are a family, a community with a mighty purpose, and I am there to serve.
CD: Maintaining serenity during these troubling times.
ASR: Do you follow other arts—music, film, dance, painting/sculpture? Do you actively do any other arts apart from the theater?
CD: I am a designer and work closely with hospice and COVID patients, creating art that speaks to their needs and the needs of their families.
ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?
CD: Our island is built on the doctrine of egalitarianism. Believe in reciprocity. Your mood should not dictate your manners.
ASR: You have the opportunity to create a 30-minute TV series. What’s it called and what’s the premise?
CD: Title: Sugarcane Burning. It would be about my disabled brother, raised by a fragile mother and a queer little brother in the mystic land of the bayou, Cajun South Louisiana.
ASR: If you were arrested with no explanation, your friends and family might assume you had done what?
CD: Been there and done that, darling. They’d think, “Hey, y’all, what is it this time?”
ASR: What three songs are included on the soundtrack to your life? And why each?
CD: “J’ai Passé Devant Ta Porte,” the Cajun song we sang as children. “I Believe,” because I love and resonate with a good hymn. “Beautiful Dreamer,” because I played it on the organ and sang it for my mother and brother when times were hard.
ASR: A fashion accessory you like better than others?
CD: Cufflinks.
ASR: Favorite quote from a movie or stage play?
CD: “ Most people’s lives, what are they but trails of debris—each day more debris, more debris . . . long, long trails of debris, with nothing to clean it all up but death.”—Suddenly Last Summer
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Maureen McVerry
Few performers have backgrounds as deep as Maureen McVerry’s. In 1993 she created Verry McVerry, her ever-evolving cabaret show, one she has performed for 25 years. In San Francisco, she has performed at Oasis, Feinstein’s, the New Conservatory Theatre, the Herbst Theatre, the Plush Room, the Venetian Room, the Gateway Theatre, and the Alcazar. Verry McVerry has also been performed at 88s in NYC and the Gardenia Room in LA and at other venues nationally. The show earned a 2012 SFBATCC nomination for Best Solo Show.
As a stage actress, McVerry has celebrated 39 years in theatre, like the legendary Jack Benny. At ACT she played Eliza Doolittle in Pygmalion (SFBATCC award), Kitty Packard in Dinner at Eight (SFBATCC award), the Gypsy in Scapin, Carrie in House of Mirth, Mrs. Fezziwig in A Christmas Carol and Sister Gabriella in The Pope and the Witch.
At ACT she also played Mrs. Schlemiel in Schlemiel the First and went on with the show to the ART in Cambridge and the Geffen Playhouse in LA. McVerry was featured as Kay in the SF Shakespeare Festival production of Oh Kay! (SFBATCC award) and in two long-running SF shows, Noises Off (SFBATCC and Dramalogue awards) and Curse of the Werewolf (SFBATCC award). At Marin Theatre Company she has appeared in Side by Side by Sondheim, You’re Going to Love Tomorrow (SFBATCC award), Born Yesterday (SFBATCC award), Room Service, and Me and My Girl.
McVerry has appeared in four different productions of Noises Off and would gladly do that show once or twice weekly to stay in shape. At 42nd St Moon she has appeared in several shows: Pardon My English (SFBATCC award), High Spirits, Wildcat, Very Warm for May, and Student Gypsy. She directed the successful 2011 revival of Oh Kay! and appeared at TheatreWorks as Lady Bracknell in The Importance of Being Ernest, Sylvia in Learned Ladies of Park Avenue, and Jack’s Mother in Into the Woods.
She played Clara in Sex at the Aurora Theatre, and at Center Rep performed in the hit musicals Bingo and Xanadu – her first Shelly nomination as Calliope. In 2014 at SF Playhouse, she reprised her role as Jack’s Mother in Into the Woods, which she plays 24/7 (her son’s name is Jack).
In October of 2014 Maureen’s husband of 32 years, Rick Alber (Dr. Rom on KGO radio) died unexpectedly from an unsuccessful heart operation. After a break, she slowly went back to work.
She did her new solo show Love Will Kick Your Ass at Oasis and at Feinstein’s. She made her drag king debut as Mr. Roper in Three’s Company Live at Oasis. She returned to Center Rep and played Georgette in It Shoulda Been You (Shelly nomination) and to 42nd St Moon, where she played Pauline in No No Nanette. At TheatreWorks she played Marge in The Bridges of Madison County, and at SF Playhouse played the Old Lady in Sunday in the Park With George.
In 2018 she played Linda Porter in the one-woman show, Love Linda at Cinnabar Theatre in Petaluma. She is the winner of seven SF Bay Area Theatre Critics Circle Awards and two Dramalogue Awards. McVerry’s film credits include Nine Months, The Dead Pool, Big Business, True Believer, Howard the Duck, The Ox and the Eye, and Crackers. On TV: Full House and Divorce Court.
For the last 10 summers, McVerry has hosted the “very” successful Maureen McVerry’s Musical Theatre Camp for children and teens. The camp’s motto is “Where children learn to play on and off the stage.”
Since 2001, she has directed 27 student theatre productions at public schools on the Peninsula. Since Rick’s passing, she directs one middle school musical a year at North Star Academy in Redwood City.
__________________
ASR: How did you get started in theater?
MM: Halfway through my junior year of college, I was a little lost, so I dropped out and lived in Europe and the San Juan Islands and had a lot of fun. Not finishing what I had started bugged me though so in 1980 I returned to Cal to graduate (I recommend taking a few gap years to anyone else who might be lost).
Since I had completed almost all of my requirements, I knew I could really explore what the school offered. Amazingly, my father suggested that I “try drama” (What parent suggests that??). I enrolled in Drama 10, my first acting class, and was completely swept away. For the final five quarters at Cal, I appeared in several shows and completed my degree in history.
ASR: What was the first play you performed in or directed for a paying audience?
MM: The summer before I graduated from Cal, in 1980, I was in The Three Penny Opera at the Goodman Building on Geary with the incredible Jayne Dornacker as Jenny Diver. It ran for the whole summer! I even got paid a small stipend and was in heaven. In the ensemble, I played a beggar and a whore. My mother was thrilled. A few years later I played Polly Peachum at the Eureka Theatre with the late fabulous Sigrid Wurschmidt as Jenny Diver.
ASR: How many theater companies have you been involved with?
MM: Too many to count, but maybe 50+? In one show in the 80s, I performed in the parking garage of the Oakland Museum. Maureen McVerry, LLC—still going strong since 19-*cough cough.*
ASR: Did you anticipate that you would become as successful as you have?
MM: That’s hilarious since I always tell people that by choosing theatre over film as my favorite pursuit, I took a “vow of poverty.”
However, I joined Equity and SAG back in the 80s and due to my longevity in the business, I can count on a pension from both of my unions. Fight for the union!
I should add that I married someone who was not in the business, which gave me the opportunity to have two children and own a house—really tough for a theatre actor.
ASR: Do you have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc?
MM: Happily, I have worked in films (feature and industrial), commercials, bad TV (Divorce Court), a sitcom filmed in front of a live audience (Full House), big expensive shows with fabulous costumes and tiny little shows where you wear your own clothes, weird experimental theatre, comedies, dramas, musicals and most recently, a “clown opera.”
Every few years I also put together a solo cabaret show and that is always a blast. Being in the same room as the audience is without a doubt my favorite way to work.
ASR: Who has had the largest impact on your professional development in the theater?
MM: My late husband Rick Alber, (who never appeared on stage) had the greatest impact on my life as an actor. In 1982 I met him and he was my opening night date for 32 wonderful years. Rick loved theatre and during the rehearsal and performance process, he was my special advisor and gave me tons of tips to polish my performances.
After he died in 2014, one of my biggest fears was actually that my performances would fall apart without his second set of eyes to notice things and ask questions. However, 32 years of his advice was deeply rooted so even without his presence, I’ve managed to get the job done.
Luckily I have also worked with directors who create great work.
ASR: With the ongoing coronavirus crisis, it will likely be several months until theaters reopen. How are you coping with the shutdown?
MM: I’m heartbroken. Before COVID, my 2020 was really filled with upcoming work. Pajama Game at 42nd St Moon was canceled almost immediately as it was set to go into rehearsal in late March. Following Pajama Game, I was supposed to have three weeks off and then start rehearsals at SF Playhouse for Follies by Stephen Sondheim, scheduled to run all summer.
Last fall and winter I thought that my summer 2020 would be filled with an exhausting eight-shows-a-week schedule. Hopefully, next spring 42nd St Moon will mount Pajama Game (I’m cast as Mabel) and if I’m lucky, SF Playhouse will mount Follies in 2021. In that show, I am cast as Phyllis. Fingers crossed.
…the audience almost vomited with laughter.
ASR: So the crisis has really affected your planning for the coming seasons?
MM: What coming seasons? The theatre world is devastated as the floor just fell out. Everyone is just trying to figure out what is next. And not only what, but when? As a singer, I am especially crushed. It was devastating to read that singing with other people is the worst possible activity to pursue. Wow. My favorite thing to do is the last thing I should be doing— that hurts.
ASR: How do you envision the future for the theater community overall?
MM: Gosh, I wish I had a crystal ball for that question. My vision for everything is filled with hope because I believe hope is contagious. I hope and pray that someone smarter than me can create a vaccine soon and we can return to a world that is different, but hopefully closer to what we had than what we have now. During “normal” times, I am not really sure if anyone noticed their activities. We just called it “life.”
More than anything I miss sitting in the dark and laughing like a hyena and/or crying like a baby, surrounded by strangers having a similar experience. Who’da thunk that would be taken away? Back before this—especially with that guy in the White House—we were worried about a missile from North Korea or Russia invading some country but instead what we got was far worse. 150,000 Americans have died. That fact makes me weep.
Financial problems are already wreaking havoc on theatre companies everywhere and I worry that some won’t make it to the new post-COVID world. Trying to save money as people readjust, shows will probably be scaled back. Elaborate sets and costumes will be gone.
ASR: Almost forgotten with the pandemic is the crisis caused in the performing arts by the passage of Assembly Bill 5, requiring most workers to be paid the California minimum wage. There are multiple efforts in Sacramento to get performing artists exempted from this. Has AB5 affected you?
MM: Luckily, as a member of an acting union, I am always paid.
ASR: What are some of your favorite dramas? Musicals? Comedies?
MM: Favorite dramas: Oslo, Uncle Vanya, Angels in America, great productions of plays by Arthur Miller and Tennesee Williams. Center Rep did The Diary of Anne Frank last season and it was brilliant. I saw the filmed version of The Lehman Trilogy—amazing. Sunday in the Park with George makes me cry all the time. I have so many good plays filling my brain now I have to stop listing shows.
Comedies: Pygmalion by George Bernard Shaw and The Importance of Being Earnest by Oscar Wilde. Noises Off is my favorite comedy from the 20th century. So far, in four different productions, I have played two of the three roles I am eligible for. Hopefully, another production is in my future.
ASR: What are some of your least favorite plays? Care to share titles of those you would never produce—or never produce again?
MM: Anything by Dario Fo.
ASR: Which rare gem would you like to see revived?
MM: Arms and the Man by George Bernard Shaw.
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
MM: It would have to be costumes. Twenty-some years ago I was recruited to re-mount the middle school musical at my children’s elementary school.
Twenty-two shows later I’m still at it and am still amazed at the joy I experience at costume time. As the director, I have to teach children and parents about how to create a show. I tell my parent volunteers that a costume should do half of the work for the actor. As soon as an actor enters the stage, the audience should have a good idea of who that character is.
Coming up with the perfect costume is so rewarding. Plus, if you do costumes, once the show opens, you can sit out front and watch.
ASR: As hard as it may be to pick just one, can you name a Bay Area actor who you think does amazing work?
MM: Dan Hiatt.
ASR: How do you warm up before a performance? How do you relax after?
MM: In a musical, I love it when the music director runs a group warm-up. I never miss one. It gives the actors a chance to connect in their street clothes and also share some air together.
Being super superstitious, I have a personal pre-show ritual that I never miss as well.
Afterward, I go home to walk my beloved dogs. Being in a show can be quite exhausting so afterward, I try to take care of myself. To handle the stress of tech weeks and openings which made my eyeballs twitch, I started meditating again (I hadn’t for 25+ years), and ba-bam! my twitch went away.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
MM: For the last twenty years I have taught my hundreds of student actors the three rules my college director Louise Mason taught me:
1. Be on time, ready to work at the start of rehearsal—not running in the door with a cup of coffee, but ready to work.
2. Do not talk when the director is talking.
3. When the director gives you a note, write it down, review the note before the next rehearsal. And never, I repeat, never make a director give you the same note twice.
ASR: What theater-related friendship means the most to you? Why?
MM: Three people in my life fit this category:
In 2005 I was in my first production of Into the Woods at TheatreWorks as Jack’s Mother. The actor playing the Baker was Jackson Davis. During rehearsals, we discovered that we were born on the exact same day (but luckily for me, he’s two hours older). In 2010, we commuted from the Peninsula to SF Playhouse together to do a groovy musical, Coraline. That’s when we truly bonded.
2. The “Arbiter of Taste and Fashion,” my friend Lawrence Helman, is a man about town, publicist, writer, and the most opinionated person I know. Also smart and funny with a razor-sharp memory. If you need to get the word out, call Lawrence.
3. In 1990 I met a director named Rick Simas. He found songs for me, directed my solo shows, and has made think and laugh for 30 years. Way back, after getting a Ph.D. at Cal, he left the Bay Area and taught at SD State for years but hopefully he will move back here soon. Great ideas, plus an encyclopedic memory on shows, songs, and theatre. He directed my solo shows in 2017 and 2019. They were quite entertaining thanks to Rick.
ASR: What is the funniest screw-up you’ve seen on stage in a live performance?
MM: There were a million screw-ups in runs of Noises Off but one of the best involved me and Dan Hiatt. His character was tugging a phone cord—the bit was the cord would come back without the mouthpiece. One night the cord returned like normal but zinged all over the stage and ended up caught in my hair. So I was actually attached to the phone offstage.
The audience almost vomited with laughter. I could have lost an eye but it was hilarious.
ASR: The most excruciating screw-up?
MM: Once an actor missed an entrance in Noises Off and we stopped the show for the amount of time it took another cast member to run offstage and through the dressing rooms to get the actor off the pot and then into her costume to finally make her entrance and move on with the story.
Luckily I didn’t have to attempt bad improv since my character was “meditating.” Shockingly, my friends at the show didn’t notice the four-minute pause in act two!
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
MM: After a matinee of Two Gentlemen of Verona at San Jose Rep, the cast went back out for a post-show discussion. While asking a question, an audience member said the title of the “Scottish Play” out loud. We all reacted with horror since it is supposed to bring such bad luck upon the theatre.
That night during the evening show, an enormous sandbag fell thirty feet to the stage with a huge boom.
ASR: Do you have a “day job?”
MM: My career as a children’s theatre director could be considered my day job.
ASR: What are your interests outside of theater?
MM: Politics, baseball, reading, gardening, tap dancing, boogie boarding, and making the world more fabulous.
ASR: Do you follow other arts—music, film, dance, painting/sculpture? Do you actively do any other arts apart from the theater?
MM: I belong to all the museums and try to see as much as possible. For a time I painted portraits of dogs and landscapes but my passion pooped out. Guess I just need to get my paints out.
ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?
MM: Say yes. Be kind. No whining.
ASR: What would be the worst “buy one get one free” sale of all time?
MM: Another Trump?
ASR: You have the opportunity to create a 30-minute TV series. What’s it called and what’s the premise?
MM:Soup, a show set in a soup kitchen: the banter and dynamics of the volunteers with an opportunity to share the stories of guests so people learn more about the daily life of people experiencing homelessness. Comedy plus drama—a dramedy!
ASR: If you were arrested with no explanation, your friends and family might assume you had done what?
MM: Before this gosh darn pandemic I was looking forward to flying to DC and getting arrested with Jane Fonda and others to protest the lack of attention paid to climate change. It would be an honor to wear handcuffs for that. Wish me luck. In March, my son was evacuated from Lesotho after serving in the Peace Corps. He’s been with me but soon he plans to return to DC to live and work. Therefore soon I have another excuse to go to DC besides getting arrested.
ASR: What three songs are included on the soundtrack to your life? And why each?
MM: First I’d say, “If I Loved You,” from Carousel. Makes me cry
Then, “All Kinds Of Time, by Fountains of Wayne. It’s a perfect story song. Our family sang it at Rick’s memorial in 2014.
Finally, “Danny Boy.” It also makes me cry. And more importantly, it reminds me of my childhood and how much my parents loved that song.
ASR: A fashion accessory you like better than others?
MM: Scarves.
ASR: What would be the coolest animal to scale up to the size of a horse?
MM: Terrifying thought to have anything that big around. Yikes! A cockapoo the size of a horse? I don’t want anything that big— not even horses!
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk-taking, such as rock climbing, shark diving, bungee jumping, skydiving?
MM: I go river rafting once a summer and that fulfills my need for thrills.
ASR: Favorite quote from a movie or stage play?
MM: “Never give up. Never surrender.” —Galaxy Quest
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
When describing the role of a dramaturg, Dr. Philippa Kelly says this: “Whatever can make a production deeper and richer and more ambiguous and interpretively challenging – that is the goal of my activities as a dramaturg.”
Since encountering Shakespeare at age fourteen, she’s become the first woman in history to prepare a public edition of King Lear and has published eleven books, including three on King Lear, one of the most recent being The King and I, which is a meditation on dispossession through the twin lenses of King Lear and Australian culture. In April 2020, with Amrita Ramanan as Associate Editor, Kelly published Diversity, Inclusion, and Representation in Contemporary Dramaturgy: Case Studies from the Field (Routledge).
She’s also educated students and audiences about Shakespeare in schools, prisons, and at the California Shakespeare Theater. As an Australian-American she has a unique perspective on how identity, social justice, and dramaturgy can be woven together throughout the creative process of theatre-making.
Philippa Kelly
ASR: How did you get started in theater?
PK: I came to America as a Fulbright Scholar at UC Berkeley. Then I came back as a Rockefeller Scholar some years later. So I had trained to be, and was practicing as, a scholar/teacher.
Discovering dramaturgy made it all make sense – I would never go back to academe full-time. Dramaturgy makes knowledge live. Being Dramaturg for the California Shakespeare Theater has been the greatest professional joy of my life.
ASR: How many theater companies have you been involved with?
PK: Quite a lot: Cal Shakes, of course; and the Oregon Shakespeare Festival; the Play On festival; the Aurora; Word for Word; the Berkeley Repertory Theater; A UC production of Midsummer, and another UC production, totally student-led, in which the theme was “Glitter Macbeth” in honor of the director’s fascination with Mariah Carey. The student playing Macbeth was an athlete who had never acted before, and I taught him to walk like a soldier by putting sandbags on his feet.
ASR: Does your company have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc?
PK: The California Shakespeare Theater of course has Shakespeare as its core, with Shakespeare’s incredible capacity to lay bare, and make us stare into the heart of human paradox. But under Jon Moscone’s vision, we began doing two Shakespeares and two other classics (Shaw, Wilde, Chekhov) per season; and under the leadership of Eric Ting, the company has moved more into New Classics – with the idea that while Shakespeare is a touchstone, the two (Shakespeare and the creation of New Works) can feed each other.
I’d say there is not a single artist I’ve met from whom I didn’t learn something, even if I didn’t see it at the time.
ASR: Who has had the largest impact on your professional development in the theater?
PK: The greatest influence in my professional life has really been Professor Stephen Greenblatt. Way before I became a dramaturg, it was his work that taught me to think dramaturgically – how we live, with all of our paradox, in this human world. Another great influence has been Curt Tofteland of Shakespeare Behind Bars – the way in which Curt brings the words of Shakespeare to reach places for which there has been so much hurt but may have been little language.
And one of my dearest inspirations is set designer Annie Smart. She has the eye of a designer and the mind of a dramaturg. When I prepare my actor packets (I write a fresh, 20-page actor packet for every show), I send them to Annie, and she grades the draft from A+ to B-!!! I’ve also been inspired by Eric Ting (we have already adapted four plays together into one – that takes some trust!) and Joel Sass, an amazingly original director, who is so thorough that there is almost nothing for me to do!
There are so many artists who have inspired me – actress/director Joy Carlin (her famous comment: “Don’t worry darling – it’s only theater”), playwright Marcus Gardley, director Ian Belknap, musician/performer/writer Rinde Eckert, writer/actress Ellen McLaughlan, dramaturg Lue Douthit (she says “Theater is a journey from emotion to emotion.”).
I’d say there is not a single artist I’ve met from whom I didn’t learn something, even if I didn’t see it at the time. And theater historian Liz Schafer – we have known and worked together on and off for 20 years. If you are looking for a fascinating book of interviews with women directing Shakespeare, look for her 1997 book, MsDirecting Shakespeare.
I think my dearest, deepest, most combative artistic relationship is with my husband Paul Dresher. He is a composer, presenter, and producer. Sometimes in response to his critiques I want to throw him down the toilet – but I know that when I cool down I’ll be so grateful for the light he shines into my work with his brilliant mind.
ASR: Have the coronavirus crisis and ongoing social upheaval affected your company and your work?
PK: The virus has decimated theaters everywhere. Cal Shakes has been doing a huge amount of work with Black Lives Matter and anti-racist activism. As for myself, every week I record a 12-minute video in a series we call “Run the Canon.” (https://calshakes.org/cal-shakes-online/run-the-canon/)
By the end of the year, we will have recorded videos for every play in Shakespeare’s canon. And this coming Tuesday (July 28th) I’m interviewing supreme Shakespeare scholar Stephen Greenblatt, author of Will in the World, The Swerve, and Tyrant. This will be followed by a ten-week course on five Shakespeare plays, which I’ll run every week. (https://calshakes.org/learn/shakespeare-in-depth-with-philippa-kelly/)
ASR: What are some of your favorite dramas? Musicals? Comedies?
PK: Whenever I sit down with a box of tissues to watch The Sound of Music, my husband Paul says, “Oh, OK. I’ll sit upstairs and start filling out the divorce papers.”
ASR: What is Shakespeare’s most under-rated play? Why?
PK: I think The Comedy of Errors. I was about to work on it with the wonderful director Jessica Holt for Cal Shakes this season when Covid struck. It’s under-rated because people often see it as just a light comedy, but it is also a deep meditation on the mysteries of identity. Who are we? There’s so little time to find out. When we look at, or listen to, another person, we very often see what is inside our own heads rather than what is there in front of us. Look at how people saw Hilary Clinton – or didn’t see her. And so we got stuck with the orange nightmare. Misrecognition, mis-seeing, misunderstanding—these are key to the lightness and darkness of The Comedy of Errors.
ASR: Shakespeare’s most over-performed play?
PK:Midsummer – I’ve dramaturged it four times.
ASR: Who do you think is the most amazing Bay Area actor?
PK: Honestly there are so many. I revere them. But if I had to name one who did something I’ve never seen before, it would be Patty Gallagher. We had had Marcia Mason cast as Winnie in our 2009 production of Beckett’s Happy Days. Marcia left after ten days, Patty came in, and she played the most beautiful Winnie I could ever imagine. She had only ten days to prepare, and that role comprises almost the whole play, and it is full of non-sequiturs. Still today when I think of Patty’s Winnie, tears come to my eyes. I love that play so much. Her performance was pitch-perfect.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
PK: Hmm. Quite a question…
1: Ask “Why are we performing this play, at this time, for this audience, in this place?” You need to feel the pulse of the present moment and be incredibly specific in that feeling.
2: Be prepared to draw from a deep well of knowledge, but do not expect to share, or volunteer, the whole of that well unless you want the director to hit you over the head with a chair. [Editor’s Note: Oh, sooo very true! — KN]
3: Don’t feel that you have to know everything – you can look it up. It’s the thirst for knowledge that makes a great dramaturg.
ASR: What is the funniest screw-up you’ve seen onstage in a live performance?
PK: I saw a Romeo and Juliet at OSF where Romeo sent the knife flying and poor Juliet had to stab herself without it.
ASR: Do you have a “day job?”
PK: I am a writer and an educator. I run a community Shakespeare group; I run a theater appreciation group (you can contact me about either class –they run in separate terms all year long – on [email protected]); and I am proud to be Chair and Professor of English at the California Jazz Conservatory under the directorship of Susan Muscarella.
ASR: What are your interests outside of theater?
PK: I love to swim, read, walk my chihuahuas, and to sit in the Australian morning sun with my family or friends, drinking “flat whites.”
ASR: Do you follow other arts—music, film, dance, painting/sculpture? Do you actively do any other arts apart from theater?
PK: I follow music, of course – The Paul Dresher Ensemble! John Adams.
I love photographer Richard Misrach’s work.
ASR: What would be the worst “buy one get one free” sale of all time?
PK: A colonoscopy prep kit.
ASR: What would be the coolest animal to scale up to the size of a horse?
PK: An amoeba.
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, skydiving?
PK: My beloved brother died rock climbing, so I’m not too much into risky sports. But I do love looking at the works of friends of mine who are photographers (Richard Misrach, Debbie O’Grady), painters (Naomie Kremer), authors (Richard Zimler), musicians (Paul Dresher, John Adams) and being awed in the presence of this fact: that when artists make their work, the act is as risk-taking as that of any explorer who has forged ahead even though they might fall off the edge of the world.
ASR: Favorite quote from a movie or stage play?
PK: “Love means never having to say you’re sorry” – NOT!!! Love means being ABLE to say you’re sorry!
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Aldo Billingslea is the Father William J. Rewak S. J., Professor of Theatre Arts at Santa Clara University. A member of Actors Equity Association and the Screen Actors Guild, Billingslea has appeared in numerous theatrical productions in the Bay Area and across the country.
With Berkeley’s Aurora Theatre Company he gave an astounding powerful performance in Dry Powder, a production that won near-unanimous critical acclaim.
Billingslea resides in Santa Clara with Renee Billingslea, his visual-artist wife who also teaches at Santa Clara University, and Trinity, their daughter, who is captain of the Santa Clara Bronco rowing team.
ASR: How did you get started in theater?
AB: I thought it would help me get kissed by women. I was in 7th grade.
I did not get my first stage kiss until I was a sophomore in college. And then it was on the cheek.
ASR: How many theaters have you been involved with?
AB: Not including the theaters where I have acted, I’m currently on the board of the Lorraine Hansberry Theatre and the Marin Theatre Company. I’m an associate producer and ambassador for PlayGround. I’ve served on the board of Renegade Theatre and Playground and on the advisory board for Gritty City Youth Repertory Theatre. I have participated in the Artistic Director searches for Marin Theatre Company, the Aurora Theatre, and TheatreWorks. I’m over-involved.
ASR: What was your first paying theatrical gig?
AB: It was the Jones and Schmidt musical Celebration! I played Potemkin. It was summer of 1984 in a converted barn theater in the hill country of Texas, at a place called Mo Ranch.
ASR: Who has had the biggest influence on your career?
AB: There are a ton of people who contributed to the development of my professional career! Apart from my wife Renee, one of the most significant would be my college professor Dr. Barbara Means Fraser. She directed me a few times in college, encouraged me to audition for graduate school, and after I graduated with those degrees, encouraged me to go to Ashland. She then helped me work my way to Santa Clara University where I’ve been teaching for the last 22 years.
……theatrical Zoom work is new and creative!
ASR: How has the coronavirus shutdown affected you?
AB: I may actually be busier since the shutdown. Not commuting to theaters means the opportunity to work with more of them. Our Juneteenth Theatre Justice Project was created in collaboration with PlayGround, the Lorraine Hansberry, and Planet Earth Arts, and forty other Bay Area theatres, plus twenty more theatres across the country to read Vincent Terrell Durham’s Polar Bears, Black Boys, and the Prairie Fringed Orchid.
It was thrilling and led us to launch the Black Theater fundraiser, an initiative to fund black theaters around the country. They are hurting partly because of COVID-19 and because black theater isn’t properly funded.
COVID-19 canceled several gigs for me, the most painful of which was Lauren Gunderson’s Book of Will at TheatreWorks, which would’ve allowed me to appear in the last play directed by Robert Kelley as artistic director and be on the stage again with Jim Carpenter, Jennifer Le Blanc, Francis Jue, Rebecca Dines, Mark Anderson Phillips, Jackson Davis and a host of other fabulous actors.
Jennifer Le Blanc and I were supposed to do another Othello at Pacific Repertory Theatre—we had done it at Marin Shakespeare in 2004—so after 16 years later I should be better. Jennifer and I were also supposed to do Death and the Maiden together, also at Pacific Rep. However, had I been engaged in those productions, I wouldn’t have been able to participate in the great collaboration for Polar Bears, Black Boys, and the Prairie Fringed Orchid, or participated in the black theater fund. So the Lord does work in mysterious ways!
ASR: What’s the worst aspect of the shutdown for you?
AB: Losing the immediacy of being in a theater, and relating to human beings without the separation of a screen. It is invaluable and sorely missed! However, this theatrical Zoom work is new and creative. It’s going to send us into a new realm and a new burst of exploration as people try to find ways to harvest the potential.
ASR: What are some of your favorite plays?
AB:Othello and Joe Turner’s Come and Gone. Give me August Wilson and William Shakespeare and I’d be good for a while. Also, I love Marcus Gardley’s Black Odyssey and Sarah Burgess’ Dry Powder, Lynn Nottage’s Ruined, and Lauren Gunderson’s Book of Will and I am so very very taken by Polar Bears, Black Boys, and the Prairie Fringed Orchid that I’m directing it at Santa Clara University this fall!
ASR: A favorite quote?
AB: “I believe in the American theatre. I believe in its power to inform about the human condition, and its power to heal.” – August Wilson
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
George Maguire
Among a handful of Bay Area theater people with astoundingly deep credentials, George Maguire has enjoyed a 52-year professional career spanning Broadway, Off-Broadway, regional theater, the National company of Nicholas Nickelby and more than thirty feature films.
He was Artistic Director of Solano College Theater for eighteen years, directing fifty main stage plays and musicals and helming the school’s renown Actor Training Program.
A couple of years ago, Maguire joined the SF Bay Area Theatre Critics Circle as an adjunct member and voraciously continues to see and critique as many theater and film productions as possible.
ASR: How did you get started in theater?
GM: I began in high school, first in Wilmington, Delaware in the chorus of both Brigadoon and Carousel where I had my first line: “Hey Nettie, ya burnin’ the lemonade?” Then we moved to Pittsburgh PA and it all ramped up quickly.
In one month, I played Freddy Eynesford Hill in My Fair Lady, graduated, went to prom, and got my AEA card at seventeen in Pittsburgh Civic Light Opera’s Top Banana with Phil Silvers, Mr. President with Vivian Blaine and the rest of the originals, Tovarich with Ginger Rogers, South Pacific with Georgio Tozzi and Elizabeth Allen (I met Richard Rogers when he came to see her in that show and then cast her in Do I Hear a Waltz?), and My Fair Lady in the ensemble. Quite a feat for a seventeen-year-old who couldn’t read a lick of music and knew only one audition song — yep, one — “On the Street Where You Live.”
The choreographer of our high-school My Fair Lady was a major pro who worked with John Kenley and suggested that I and two others should audition for Pittsburgh Civic Light Opera. We all got in! I did the next five seasons, going from second tenor to baritone-bass. I returned twice to Pittsburgh Civic Light Opera—in 1979 as Asst. Director and actor, and in 1981 as Max in The Sound of Music opposite John Shuck and Maureen McGovern.
ASR: What was the first play you directed for a paying audience?
GM: The first play as a director was Matchmaker at my old high school where I returned for four years as a teacher.
ASR: How many theater companies have you been involved with?
GM: Hundreds. Literally.
ASR: When was your present company formed?
GM: I formed Solano College Theater (SCT) in 1990 with Managing Director Dave Leonard. I retired from it seven years ago.
ASR: Did you anticipate that it would become as successful as it has?
GM: I took the advice of one of my great mentors when I founded SCT — Hire people who do what they do better than you can and then do what you do superbly. I hired actors and teachers like Nancy and Joy Carlin, Ken Sonkin, Bob Parsons, Julian Lopez Morillos, Carla Spindt, L. Peter Callender, and Sacramento’s Christine and Luther Hanson. Jon Tracy was a student then along with Johnny Moreno.
I brought in friends like Tom Hanks to do a major fundraiser. Writer José Rivera and Dave Leonard produced José ‘s first big hit House of Ramon Iglesia ( I had its initial readings at Ensemble Studio Theater in New York City.) I brought in guest lecturers like Meryl Shaw from ACT. It was a magical time.
I have an aversion to any play that must ask and answer at the first production meeting “What is your concept?”
ASR: Who has had the largest impact on your professional development in the theater?
GM: I’d have to say Vincent Dowling who was Artistic Director of the Great Lakes Shakespeare Festival. (He also mentored both Rivera and Hanks.) His testament to enormous insight is that all of us are still dear friends since 1978.
Then I would say Olympia Dukakis in the brief semester I had with her at NYU. She was brutally tough and honest and I had no clue until years later how influential she was. Whatever moments of truth I have had both on film and on stage, I owe to her.
ASR: What are some of your favorite plays? Musicals?
GM: Plays: Cherry Orchard, The Visit, Richard II, A Streetcar Named Desire, A Long Day’s Journey into Night, All My Sons, Angels in America. Musicals: Sweeney Todd, South Pacific, My Fair Lady, West Side Story, Cabaret (I’ve directed all three versions), and, well, so many more.
Faves that I produced and directed at Solano College Theater: Equus, The Elephant Man, Distracted, Eurydice, among others. They are my children.
ASR: And your least favorites?
GM: Least fave? Long ago I recognized I had no real interest in directing Shakespeare and indeed have directed only Calarco’s Romeo and Juliet for New Conservatory Theatre Center (NCTC.)
Let others do it! I have an aversion to any play that must ask and answer at the first production meeting “What is your concept?”
I have done conceptual work: Sweeney Todd I set in Madame Tussaud’s Chamber of Horrors for example; and Equus, in the ruins of the Parthenon, but direct Shakespeare? Not me. Although to be completely open, I have done maybe twenty-some Shakespeare roles as an actor.
I’m often challenged as a director by musicals that flopped. Seussical I resurrected and completely re-thought. I had a blast!!
ASR: Can you name a Bay Area actor who you think does amazing work?
GM: Has to be Jim Carpenter. So honest and real and kind!
ASR: Which theater friendships mean the most to you?
GM: Our friendships are vital but they do not always continue post-production. Those from the Great Lakes era have lasted more than forty years, with two Oscars for one, and an Oscar nomination for the other.
What is true about this is that for all of us the person we met way back when is the treasure we love and success is measured by compassion, not by a resumé.
ASR: What advice would you give to someone who wanted to be your apprentice and learn all that you know?
GM: Hmm. Tricky. OK, here goes…
1. Be true to yourself, and enter the workspace always with an idea.
2. Always breathe before you answer a question.
3. Research! Research! Research!
ASR: What are your interests outside the theater?
GM: I am a major museum freak. I love them, having studied art when I spent a year in Germany at nineteen. Also, opera and symphony. In Germany, I heard Schwartzkopf sing Der Rosenkavalier, for example. I am not a big contemporary music person, probably due to my hearing impairment.
ASR: What would be the worst “buy one get one free” deal?
GM: A ticket to Dude, the Musical! I was there on opening night. Oy!
ASR: If you could create a 30-minute TV series what would it be?
GM: It would definitely be about Great Lakes days in a format like Schitz Creek.
ASR: Care to mention a favorite song?
GM: Having had health issues all my life — hearing impairment, Meniere’s Syndrome, etc, I resonate to “Being Alive.”
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk-taking, such as rock climbing, shark diving, bungee jumping, skydiving?
GM: I would never parachute, climb a mountain, etc. Fuck, I’m 73! Walking on stage while having a vertigo attack is risk enough for me.
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
AisleSeat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
A native of Cleveland, Ohio — she was a high school classmate of KQED’s Michael Krasny — Rita Abrams launched her career in 1970 when her novelty song “Mill Valley” stormed its way up the charts.
At a time of great social and political upheaval—not unlike today—the song was a breath of fresh air among nonstop sermons about war, racism, poverty, and environmental destruction. With its success, Abrams went from being a local grade-school teacher to instant fame, guest-starring on “Hollywood Squares” and dating prominent entertainers.
50 years later she is still going strong, continuing to pen some of the cleverest tunes ever created.
Recipient of two Emmy’s and multiple SFBATCC nominations and awards, Abrams is perhaps best known for her long-running Marin County spoof For Whom the Bridge Tolls (a collaboration with Stan Sinberg) and many musicals, including Pride and Prejudice, scheduled for May 2021 at Ross Valley Players. Among friends, she’s known as the quickest wit in the west.
ASR: How did you get started in theater?
RA: I wrote poems and songs all my life, starting with family musical sagas.
ASR: What was the first play you performed in or directed for a paying audience?
RA: My first paid performance was singing “Bell Bottom trousers, coat a navy blue” when I was three. The neighbors paid me ten cents apiece. As an adult, I made a musical out of a quirky little love triangle play written by a TV comedy writer friend which ran in a little SF theatre.
ASR: How many theater companies have you been involved with?
RA: My stage musicals have been produced by fifteen theatre companies. I’ve also composed for various children’s media and educational companies . . . maybe twenty-five companies altogether.
ASR: Who has had the largest impact on your professional development in the theater?
RA: My mother, who introduced me to the work of all the great musical theatre composers and lyricists, and many lesser known ones as well. The Cleveland public schools took us regularly to great theatre and concerts, and my parents took me to New York to see Broadway shows.
ASR: What are some of your favorite dramas?
RA: Intimidating question but I’ll try: Raisin in the Sun, Private Lives, Our Town, Fences, Bad Jews . . . and then there’s Shakespeare and too many more to mention.
ASR: Musicals? Comedies?
RA: All of Rogers & Hammerstein, Fiddler on the Roof, The Music Man, The Fantasticks, And the World Goes Round (Kander & Ebb Revue), Hamilton, Brighton Beach Memoirs, Lost in Yonkers, The Heidi Chronicles, The Sisters Rosensweig.
ASR: As hard as it may be to pick just one, can you name a Bay Area actor who you think does amazing work?
RA: George Maguire.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
RA: Regarding songwriting:
1. Write lyrics you can easily speak, as in conversation.
2. Build as the song progresses—Save the biggest, funniest, or most moving for last, and don’t be too repetitive or derivative. Keep introducing new ideas or twists.
3. With comedy songs—never give away the punchline, especially in the title, and when possible, end with a surprise.
ASR: What theater-related friendship means the most to you? Why?
RA: Very tough question, as I love so many of the actors and musicians (and even a few collaborators) I’ve worked with. But when I asked a great bass player friend—Jack Prendergast—if he knew any conductor/synthesizer players for Just My TYPE, a 2018 Ross Valley Players musical, he surprised me by saying he could do the job. He worked so hard on all aspects of the music that he won my heart. We’re still together, and still working together on music.
ASR: What is the funniest screw-up you’ve seen on stage in a live performance?
RA: The wacky satirical musical revue about Marin County, For Whom the Bridge Tolls, that I co-created and produced with Stan Sinberg, from 1994 to 2005, was filled with unscripted goofs and gaffes. One night during the sketch, The Overpasses of Marin County (a parody of The Bridges of Madison County), Frank Brown, as photographer for “Dangerous Exits Magazine,” while passionately embracing Sharon Boucher as “Francesca,” caught her long black wig in his belt buckle, where it hung amid gales of laughter from the audience. For two actors who knew how to ham it up, this was their moment. The hilarity went on and on.
ASR: The most excruciating screw-up?
RA: When an actress in one of my shows forgot the lyrics to her solo, and sang the same verse twice in a row, she, a tough one, dismissed it as no big deal—but I was mortified, fearing the audience would think that was how I wrote the song!
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
RA: I was playing piano for a show at San Francisco’s Improv Comedy Club, when in the middle of a scene, a disheveled figure ambled up to the stage and started riffing. A rumble arose from the audience, turning to a roar as they realized who it was—Robin Williams!
ASR: Do you have a “day job?”
RA: Not one day job, but revolving freelance gigs—like B.C. (Before Covid) writing scripts for Gregangelo’s Velocity Entertainment shows, and I’m a longtime writer of greeting cards, which is fortunately pandemic-proof.
ASR: What are your interests outside of theater?
RA: All forms of entertainment: Scrabble, Zoom Fictionary, watching the horror unfolding on MSNBC, and now trying to plan some kind of virtual commemoration of the 50th Anniversary of our Miss Abrams & the Strawberry Point School Third Grade Class “Mill Valley” record release. And keeping in touch with family, like my daughter in LA.
When an actress in one of my shows forgot the lyrics to her solo, and sang the same verse twice in a row
ASR: Do you follow other arts—music, film, dance, painting/sculpture?
RA: Truthfully, while I’m interested in everything, I’m usually focused on my original music and theatre creations.
ASR: Do you actively do any other arts apart from theater?
RA: Just the artifice of pretending not to age.
ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?
RA: 1. Enforced Social Distancing between Democrats and Republicans. 2. Twenty minutes of daily laugh therapy before rising. 3. No fitbits.
ASR: What would be the worst “buy one get one free” sale of all time?
RA: Canned tripe, or dinner with the current president. Not necessarily in that order.
ASR: You have the opportunity to create a 30-minute TV series. What’s it called and what’s the premise?
RA:“Where Have I Been All My Life?” features real senior citizens confessing their one big regret, and then, through the magic of technology, being able to reverse and redo it, for all the world to see.
ASR: If you were arrested with no explanation, your friends and family might assume you had done what?
RA: Been mistaken for someone more interesting.
ASR: A fashion accessory you like better than others?
RA: Sequined mask.
ASR: What would be the coolest animal to scale up to the size of a horse?
RA: A butterfly.
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, skydiving?
RA: Just reading the names gives me heart palpitations.
ASR: Favorite quote from a movie or stage play?
RA:
1. From Just My TYPE (book by Charlotte Jacobs & Michael Sally): “I can change him AFTER we get married.”
2. From For Whom the Bridge Tolls: “Between my mani-pedi, my Shiatsu massage, my Bickram Yoga, and my Zumba class…I have NO time for ME!!”
ASR: Theatrical event you are most looking forward to?
RA: The Ross Valley Players production of Josie Brown’s and my Pride and PrejudiceMusical from May 13th to June 13th, 2021. Phoebe Moyer will direct the great lineup of talent already we’ve already cast.
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
AisleSeat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Ron Severdia
Actor, magician, and tech entrepreneur Ron Severdia may be the most diverse theatrical talent in the North Bay. His solo performance of A Christmas Carol is a must-see. Last year he won critical acclaim for his performance in Every Brilliant Thing at Left Edge Theatre. He found time in his busy schedule to chat with ASR.
ASR: Your background?
RS: I was born and raised (mostly) in Marin County. I started as a magician when I was around seven and got into theatre shortly after. I’ve been performing on stage and in film ever since.
ASR: How did you get started in theater?
RS: I started doing magic when I was young and I was a voracious reader. I read everything about Houdini I could get my hands on. Houdini told a story of where he got his name—a magician he admired named Jean-Eugène Robert-Houdin, who famously said “A magician is an actor playing the part of a magician.” This fascinated my young mind and began my jump into the world of acting.
ASR: What was the first play you performed in or directed for a paying audience?
RS: My first acting gig was a film, not a play. My fifth grade teacher was teaching about the Revolutionary War and working with our class to product a film. The story was an old man and his wife who’d lived through the war telling their grandchildren about it through flashbacks. I was the old man with old makeup and all. There was a big night where the whole school, including parents and teachers, came to watch the film. This was my big debut, but I was sick that day and my parents wouldn’t let me go. To this day, I’ve never seen that film, but when I went back to school I heard how “amazing” my performance was.
ASR: How many theater companies have you been involved with?
RS: Dozens. In the Bay Area, London, Prague, and various other places.
ASR: When was your present company formed?
RS: I started the Modern Shakespeare Company (https://www.modernshakespeare.com) maybe 20 years ago, but it’s just my thing and there’s only been one so-called performance.
ASR: Did you anticipate that it would become as successful as it has?
RS: Um, no.
ASR: Does your company have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc?
RS: Making Shakespeare and the classics accessible. I really took an interest in director Buzz Goodbody. I was intrigued by her approach at the RSC. She took over their costume shed (“The Other Place”) and made it into a successful experimental theatre.
The seminal Macbeth with Ian McKellen and Judi Dench premiered there and so did Ben Kingsley’s Hamlet, during which she committed suicide at the age of 28—a metaphor of Haley’s Comet.
ASR: Who has had the largest impact on your professional development in the theater?
RS: No one single person, rather a variety of really smart people—many of whom were teachers during my time at ACT (Rod Gnapp, Ken Ruta, Larry Hecht) or RADA (Andrew). I always hope to learn something from the directors I work with and my fellow actors.
ASR: What are some of your favorite dramas? Musicals? Comedies?
RS: I’ve done some musicals in the past (the last one was Cabaret at CenterRep a few years back), but I’m kinda done with those.
Some of the dramas I like and would like to do someday are Cyrano, Of Mice & Men (Lenny, of course), and Nick Dear’s adaptation of Frankenstein.
As for comedies, I really enjoyed Hangmen (McDonough’s brilliant black comedy), The Play That Goes Wrong, or Ayckbourn’s trilogy The Norman Conquests—all of which I’d love to do.
ASR: Name three all-time favorites that your company has produced.
RS: My last show at Left Edge Theatre was a solo show called Every Brilliant Thing, which tells the story of a young boy as he grows up trying to cope with his mother’s depression and suicide attempts. It’s funny, sad, and presents a difficult subject in a really moving way.
I performed as Miles in Left Edge Theatre’s world premiere of Sideways in 2017, which had an awesome cast and collaborated with author Rex Pickett. It was great to share this story that has had an indelible impact on the wine industry.
ASR: What are some of your least favorite plays? Care to share titles of those you would never produce—or never produce again?
RS: Neil Simon. I’ve felt this way for many years, which actually led to me taking a role in the world premiere of Dale Wasserman’s play Premiere. It’s the story of a playwright so successful he gets bored with writing one Broadway hit after another so he decides to write a play in verse and pass it off as a long lost play by William Shakespeare. When Dale’s widow flew out to see the play, she told me how Dale and Neil Simon were great friends and, ironically, the character I was playing (the playwright) was really based on Neil Simon.
ASR: Which play would you most like to see put into deep freeze for 20 years?
RS: Oooooh. There’s a long list. Let’s start with Our Town and the entire Andrew Lloyd Webber canon.
ASR: Which rare gems would you like to see revived?
RS: Definitely The Norman Conquests or even a solid production of Deathtrap (which is really rare).
ASR: What is Shakespeare’s most underrated play? Why?
RS: Hands down, King John. It’s a great play that can be done with a small cast in a small theatre. The text can veer off course a little, but nothing a director/dramaturg couldn’t sort out. There are some great verbal exchanges in there.
ASR: Shakespeare’s most over-performed play?
RS:AMidsummer Night’s Dream. It’s easy to do, especially for kids and newbies to Shakespeare.
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
RS: Probably sound design. Maybe set design. To me, both are a little more conceptual and appeal to me more than the other aspects.
I think I’d be scared of any animal smaller than a horse being scaled up…
ASR: As hard as it may be to pick just one, can you name a Bay Area actor who you think does amazing work?
RS: Very hard. Jarion Monroe, Julian Lopez-Morillas, Stacy Ross. There are so many talented people in the Bay Area.
ASR: How do you warm up before a performance? How do you relax after?
RS: First, the typical vocal and physical warm-ups to get things going. Then I have show-specific warm-ups depending on the show. It might be songs that evoke for me the spirit of the play or it might be speeding through the lines of a particularly challenging part. Followed by an espresso.
After the show, it’s all about trying to wind down. That takes me longer when I have smaller parts in the show. For larger parts, winding down is easier due to the vocal/physical demand.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
RS:
1. Work constantly on your instrument, mentally and physically.
2. Study the classics. Mine them for gems. They’re classics for a reason.
3. Become self-aware by learning the connection between how you think you’re perceived and how you actually are.
ASR: Do you have a “day job?”
RS: Yes, I’m the head of product design for a Silicon Valley technology company.
ASR: What are your interests outside of theater?
RS: I created a few theatre related apps that I work on outside of theatre:
Shakespeare Pro: An app containing the complete works, glossary, search and a variety of other features to help students, teachers, actors, directors and other theatre professionals. https://apps.apple.com/us/app/shakespeare-pro/id341392367
Soliloquy Pro: An app to manage your monologues and help you memorize them. Search from over a thousand classic pieces and share them with others. https://apps.apple.com/us/app/soliloquy-pro/id1029313343
Scriptigo Pro: An app to manage file/theatre scripts, take notes, and share with others. https://apps.apple.com/us/app/scriptigo-pro/id1444743519
ASR: A fashion accessory you like better than others?
RS: A simple black cotton t-shirt.
ASR: What would be the coolest animal to scale up to the size of a horse?
RS: I think I’d be scared of any animal smaller than a horse being scaled up that big! Good premise for a horror flick though.
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, skydiving?
RS: Meh. I’ve done some of those things, but I’m not an “adrenaline junkie” by any stretch.
ASR: Favorite quote from a movie or stage play?
RS: Movie: “It’s not the years, it’s the mileage.” — Indiana Jones (gets more and more relevant as I get older)
Stage Play: “It’s discouraging to think how many people are shocked by honesty and how few by deceit.” —Charles Condomine (Blithe Spirit)
-30-
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
AisleSeat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Michael Ray Wisely
Michael Ray Wisely is one busy guy: actor, director, teacher, and more. He has long been one of the Bay Area theater scene’s most prolific members. Most recently he played the despicable manipulator Iago in African American Shakespeare Company’s production of Othello, and was a core member of the SF Playhouse production of Aaron Loeb’s Ideation, a stunningly apocalyptic dark comedy that went from San Francisco to an extended run in New York. MRW kindly took time from his hectic schedule to chat with Aisle Seat Review.
ASR: How did you get started in theater?
MRW: Mrs. Stuart’s 6th grade class and, later, I literally knocked on a door!
My first experience was playing Huck Finn in an adaptation of Tom Sawyer. My 6th grade teacher, (Nancy Stuart, now deceased) told me that I had potential, but, growing up poor, the idea of being a theatre artist was as remote as being an Apollo astronaut. After high school I went to college for broadcast journalism, had a summer internship working as an on-air DJ at a radio station, but couldn’t afford to return to school fall semester. With few prospects, I joined the Air Force with the idea of eventually getting a degree in electronics engineering.
Here’s where “the door” opened. I was exploring the neighborhood near McChord Air Force Base one day and saw the Lakewood Playhouse. I knocked on the door to get some information and just as I was leaving, the AD asked me if I could read for a part that evening because some-one had just quit. I said yes, and two years later, I chose to go to a conservatory training program rather than re-signing with the Air Force. I started my professional career the month after college and never looked back.
ASR: What was the first play you performed in or directed for a paying audience?
MRW: Amateur: Tom Sawyer, in the 6th grade. Directing: A touring theatre company Children’s Theatre Workshop. As an AEA actor: San Jose Stage Company.
ASR: How many theater companies have you been involved with?
MRW: 25 to 50. I really don’t know.
ASR: Who has had the largest impact on your professional development in the theater?
MRW: It’s a village. I learned my craft in the traditional way: classical training followed by apprenticeship, followed by work. So many actors and directors that I have worked with have left their mark and I still meet new teachers, sometimes in the youngest members of a company who remind me what open-eyed awe and reverence look like.
As to the stalwarts, I would probably have to say my wife Wendy (a director/actor/professor herself) , the late, great Sydney Walker (a mentor, and in the original acting company of Bill Ball at ACT), casting director Annie Stuart (Playground), who was a big champion of my work, and the many AD’s/directors who have hired me over the years. So many people are a part of who I am as an actor/director. It’s humbling to think about. I could list 100 + and still wouldn’t be giving someone their due.
I think that’s one of the great lessons in this business. The next person you meet, the next move you make, could change your career, your acting, your life, your world, forever. Understanding that is the key to a sustained career in anything I think. I believe in the power of the arts to change the world in the same way. I try to pass it on by being a mentor any time I am fortunate enough to be given the chance.
ASR: It will likely be several months until theaters reopen. How are you coping with the shutdown?
MRW: It changes week to week. Some weeks, I’ve been really productive. I’ve done online readings with other actors working on dream projects. I’ve made some short films and put together some online film auditions.
Mostly, I’ve been trying to organize, plan, file and take care of the minutia of life so I can be more focused when we get back to some kind of normal. Some days are better than others, but I cannot complain as I have a great life, generous talented friends, a roof, food, and my wife and daughter. I live in gratitude even more than usual.
ASR: How has the crisis affected your planning for coming seasons?
MRW: Tough one … As an actor/director, my planning is dependent on the theaters I collaborate with. I usually know what I’m doing for six months to a year in advance, and I don’t have any idea what’s going to happen now. Both of the shows I had have been postponed. One has been moved to next summer and the other’s fate is in the hands of the gods.
ASR: How do you envision the future for your company? For the theater community over-all?
MRW: I think in the short term our community is already deeply affected by the economic situation. We may lose several companies and the ones that survive will be in difficulty for quite some time. I’ve always believed in the theatre as a survivor and no doubt it will. Some great art is going to come out of this, but we’re all going to be changed. It is my hope that our communities will rally in support of artists and companies, that theatre companies will have more appreciation for their local artists, and that we will all understand how fortunate we are to make art on a deeper level than before.
One thing is for sure: when people feel safe to be in the dark with strangers again, it will be electric, life affirming, and I’m looking forward to the pathos of those moments.
ASR: What are some of your favorite dramas? Musicals? Comedies?
MRW: I’m often so in love with what I’ve just done or what I’m about to do that it’s a difficult question. Playing Robert in Pinter’s Betrayal was a favorite, as was Iago in Othello. I’ve played some of Shakespeare’s greatest clowns as well as the Scottish King. I love challenging language and that has drawn me to playwrights like G.B. Shaw, Pinter, O’Neill, Shakespeare, Chekhov, Wilde, Williams, and more recent playwrights like Mamet, Rebecca Gilman, Tracy Letts, and Theresa Rebeck.
A favorite is Ideation, by Aaron Loeb, a local playwright and friend. I worked on the play with Aaron and the rest of the company, put together by SF Playhouse, and ended up going with it for an off-Broadway run with the original cast intact. It’s hard to top that kind of experience. Aaron’s language is specific, smart, fast, and a thrill for the audience and the actor.
We’ve got some insanely gifted writers here in the Bay Area: Jonathon Spector, Lauren Yee, Michael Gene Sullivan, Geetha Reddy, and Lauren Gunderson (ok, she’s not a native but we claim her) to name a few. As a matter of fact, local playwright Anthony Clarvoe wrote an incredible drama called The Living that I performed in at San Jose Stage Company in the mid-90s. Written as an AIDS parable, it was about the bubonic plague in 1666. It’s a beautiful play and I’ve been revisiting it during this pandemic. So many things it chronicles are happening right now—the fear, the misinformation, the avarice, the stupidity. That’s what good art does—it stays relevant because it speaks universal truths in inventive ways. That’s why art and artists are important.
Favorite Musicals: Sweeney Todd was the first musical that really made me sit up and take notice. I’m a sucker for classics like Guys and Dolls. Of the ones I’ve been in, On the 20th Century is a favorite, and I loved playing Cogsworth in Beauty and the Beast and the Sheriff in Whorehouse. I rarely do musicals, but really enjoy them when I’m given the opportunity.
ASR: Which play would you most like to see put into deep freeze for 20 years?
MRW: I’ve got several. Some I’d like to see put away forever, but, I won’t say because I wouldn’t want to denigrate any artist’s work just because I don’t like it or don’t find it interesting. The act of theatre is brave in any of its many disciplines and it should be celebrated. With that, I will say that there are things I’ve despised, mocked and laughed at that I’m sure have been important to or changed the lives of others.
I’ve got an example for that I’ll share over a cocktail sometime.
I learned my craft in the traditional way: classical training followed by apprenticeship, followed by work.
ASR: Which rare gems would you like to see revived?
MRW: Big, giant plays with large casts, fire and water and spectacle. More Shaw and Chekhov and sweeping dramas 3+ hours long. When I go to the National Theatre in London sometimes and see these epic straight plays with a cast of 25 and more, it is thrilling and heartbreaking to me because American audiences will rarely ever get that experience with the exception of musicals.
Societies are known by the art they create. Look at how we revere art of the past. The support of the arts by our government should be an order of national pride, not a wedge used by career politicians to hold on to power and separate the people that art is serving. It’s a travesty and should be seen as a national shame, but, alas, there’s plenty more of that to go around.
ASR: What is Shakespeare’s most underrated play? Why?
MRW: I think Love’s Labours Lost. It is such a simple love story on the surface and yet it is filled with characters whose very human actions expose love and its many sides with a sophistication not seen in later plays. It’s singular and original in that it doesn’t seem to be taken from other plays and stories of the time. It also has an ending that’s surprisingly melancholy, as love is postponed.
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
MRW: Sound and projections/video. I love creating with sound and am a photographer and filmmaker. Sound can move people subconsciously and I am a sucker for those who are brilliant with it. As an actor, it can raise the stakes of a scene or the reality of a play in every way.
One story that I remember is sitting in the audience of Superior Donuts at Theatre Works several seasons back and when the “furnace” came on in the donut shop, it had a visceral bass WHOOMP to it that I could feel in the middle of the theatre. We were inside that donut shop. It was wonderfully surprising and I thanked Bay Area sound designer Jeff Mokus for bringing me the reality of what an old oil furnace feels/sounds like when it starts up.
ASR: As hard as it may be to pick just one, can you name a Bay Area actor who you think does amazing work?
MRW: Many could fit that description, but I’d like to hold up a couple of up-and-coming artists you may not be familiar with: Patrick Kelly Jones and Tristan Cunningham. They knock me out. Both of them have great skill and are inventive and make surprising choices.
ASR: How do you warm up before a performance? How do you relax after?
MRW: My warm-ups are all about ritual. I have a routine vocally a few hours before a show then physically in the space and then I get very particular, even superstitious, about the order and timing up to curtain. I’ve heard professional athletes talk about this as well. It changes a little from show to show, but it’s always been that way for me. I’m not alone in pre-curtain idiosyncrasies. We’re a ritualistic tribe.
After a show, you can be so wound up and tired at the same time that you have to have some kind of cool down. Sometimes it’s drinks with friends, but I try to keep that in check for obvious reasons. No matter how I chose to do it, it always takes a few hours.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
MRW: These three…
1) Show up! (on time, prepared, ready to throw down. That’s the entry fee for a career.)
2) Integrity! Professional and personal (Do your work in the service of others and the project and know why you do it. If it’s only about you, you’re not going to make it.)
3) TCB! (taking care of the business of your career, treating people well, caring, following up. How you go about your business is as important as everything else you do.)
ASR: What theater-related friendship means the most to you? Why?
MRW: I have a few people that I can talk to in any way about anything! That’s important as an artist. You need to have a few people in your life, a posse even, who you can let it hang out with. Who you can be ridiculous with, risk with, and be wrong with. People who know your heart and your artist and will not judge you by your worst day and will hold up your best days as the true measure of who you are. Greatness can come out of those relationships.
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
MRW: A couple made out and fondled each other in the front row of a 250-seat house.
ASR: Do you have a “day job?”
MRW: Film/television and radio acting. I had my own show in the early days of DIY television. I have freelanced directing corporate films and live shows. I’ve coached people on public speaking and have taught acting and been a guest lecturer at several colleges. Acting and directing in the theatre have been my focus for over thirty years now. I’ve been a fortunate man.
ASR: What are your interests outside of theater?
MRW: Travel, sailing, film making, photography, building, weightlifting, tennis, motorcycles, cooking, surfing and I’ve dabbled in hang gliding, and autocross racing.
ASR: Do you follow other arts—music, film, dance, painting/sculpture? Do you actively do any other arts apart from theater?
MRW: I do when I can. If you’re lucky enough to be working show to show (and that is what you need to do if you want to make a living) it can be difficult. When I’m not working, I’m at the theatre. I love seeing new talent and having my colleagues surprise me. As far as the other arts, I love photography and making films. I’m often in pursuit of one or the other and a lot of it just for me and my friends.
ASR: What would be the worst “buy one get one free” sale of all time?
MRW: Root canal or colonoscopy.
ASR: If you were arrested with no explanation, your friends and family might assume you had done what?
MRW: Got into a fist-fight defending someone who needed help.
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, skydiving?
MRW: I’ve done most of the ones listed and have also been hang-gliding. But shark diving? Absolutely not. Two ways I’d rather not die—one is as a predator’s dinner and the other is in a plane full of screaming people. Now, I do surf and fly, so I guess it’s up to fate. I’d really like a long life and, other than dying surrounded by loved ones, I think it would be great to die on stage or at rehearsal, maybe in an actual death scene.
Coda:I also don’t want to die stepping out into the street and being hit by a bus because you’d have to be thinking to yourself: “Ohhhh, F#*k, this is such a stupid way to die.”
ASR: If you had to play one role you’ve already done for a year, what would it be?
MRW: I’ve played both Bluntchli and Petkoff in Arms and the Man and Petkoff is one of those perfect comic characters. The world of the play acts on him instead of the other way around. He’s lovable, bombastic, and has some of the greatest comic bits where everyone knows what’s happening but him. It’s great fun and there’s great possibility for rolling laughs. He also carries no real weight, so it’s all the fun with very little responsibility. I love carrying a play, and getting the girl sometimes, but, it’s also nice to just be the guy who gets the laughs.
ASR: Favorite quote from a movie or stage play?
MRW: I get a new favorite every play. Like most actors, I also often find lines that are problematic from first rehearsal to the final curtain. That’s the joy and the curse of being in the theatre. There are a thousand that I wish I could say again in front of an audience. Recently, I remember taking joy in a line of Iago’s: “And what’s he then that says I play the villain?” after which the audience would often burst out in laughter. When it first happened, it surprised me.
They were laughing at the horrible way I had just manipulated Cassio. There were others that jeered and hissed. It’s magic and you and the audience both know it and feel it. As I finished the speech, they unwittingly became accomplices in the undoing of Othello and the eventual murder of Desdemona. That’s the power of words and language. It should never be underestimated
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
AisleSeat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Sheri Lee Miller
Sheri Lee Miller has enjoyed a lifelong career as a professional stage director, actor and theater administrator, working with some of the leading theaters on the West Coast, including Seattle Rep, A Contemporary Theater, Tacoma Actors Guild, Gaslamp Quarter Theater, and Seattle Children’s Theater. Locally, she has been privileged to direct and act at Cinnabar Theater, Sonoma County Rep, 6th Street Playhouse, Actors Theater, Spreckels Theatre Company, and Main Stage West, where she is a founding member.
She holds a B.A. in Theater Arts from San Diego State University, with a double emphasis on acting and directing.
She has appeared in dozens of television commercials, voice-overs, industrial films and print ads, and is a member of Actors Equity and AFTRA. Sheri is Artistic Director at Spreckels Performing Arts Center in Rohnert Park, a position she’s held since July 2017. The center’s Codding Theater, with more than 500 seats, is Sonoma County’s largest. The center also operates the adjacent Condiotti Theater, a smaller venue. It is not unusual for two productions to be running simultaneously.
Sheri strongly believes that exposure to the arts in general and theater in particular leads to a more thoughtful, balanced and empathetic society. “I truly believe that art and artistry must be nurtured at home, at school and in the community if we as a society are to achieve the highest levels of empathy and humanity.”
ASR: Does your company have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc?
SLM: We are probably most known for our big musicals in the Codding Theater, which are pretty fantastic, I must say. But we also do excellent smaller shows in our Condiotti studio space. We are committed to supporting new works, especially by local playwrights if possible. We are trying to keep one slot open for a new play each season, but we won’t put up just anything because it is new. It has to be a great script. We also have a very strong youth program, the Spreckels Education Program. Those young actors are very committed and it’s a pleasure to watch them develop. They do great work!
ASR: Who has had the largest impact on your professional development in the theater?
SLM: Probably my instructor at Santa Rosa JC, Joan Lee LaSalle (Woehler). She was my friend and mentor. Powerful, kind and brilliant. I think of her often and hope she is proud.
ASR: It will likely be several months until theaters reopen. How is your company coping with the shutdown?
SLM: We are working on an enormous restructuring of our various storage areas and a box office remodel. We are moving tens of thousands of costume items and will photograph and catalog them for ease of use and rental. We’ve also finished our props storage rooms. Sadly, our wonderful part-timers are currently laid off. So this is a lot of work for only three of us—Eddy Hansen, Gail Shelton and myself—to accomplish. And we are having a ball with it! I love this kind of work. Sooooo satisfying. And it’s great to be doing something physical.
…One night, I managed to enter at the wrong time and effectively cut an entire scene…
ASR: How has the crisis affected your planning for coming seasons?
SLM: Well, it’s pretty impossible to plan. We do know we intend to go ahead with Matilda and Galatea in the coming season, as they were cancelled this year. Galatea was only a week from opening, and as for Matilda…those actors had been cast many months ago. And we already have the set, costumes, props ,etc. for it. We will also be doing Once Upon a Mattress, Jr. for the Education Program. We are not certain when those shows will actually go up.
ASR: How do you envision the future for your company? For the theater community overall?
SLM: Theater has been around for thousands of years. There is a reason for that. People crave community and storytelling. Experiencing a story, through a live performance, with other audience members, satisfies something very primal in our souls. I think it will come back strong, but may need to ramp up gradually as we make our way through this crisis. As long as there is a space, a performer, and someone to observe the performance…theater is happening and it is alive and well.
ASR: What are some of your favorite dramas? Musicals? Comedies?
SLM: This is a terribly difficult question! Hamlet, of course. And King Lear.Arcadia. Angels in America. The two greatest comedies in my mind are Noises Off and You Can’t Take it With You. Musicals? I love them all.
ASR: What is Shakespeare’s most underrated play? Why?
SLM: Gee, aren’t they all pretty highly rated? I have only read Coriolanus, never seen it. But at first read, it read to me as a dark comedy. I’d love to see a production. It seems especially appropriate right now. I would like to produce it, but I suspect the audiences would be slim.
ASR: Shakespeare’s most over-performed play?
SLM:A Midsummer Night’s Dream. But I do love it, and will probably produce it at some point.
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
SLM: Oh, I really love doing tech! I think I would choose props. Very crafty, little sewing (I’ve sewn enough for a lifetime), and doesn’t require a lot of space. Yeah…props are fun.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
SLM: 1: Push through fear. Let it energize you rather than block you. And let your inner mantra be: “The universe loves artists.” 2: Learn to listen, both onstage and off, in your theater work and your “civilian” life. Quiet and focused observation and active listening help develop an understanding of the people and world around us and is imperative to the work we do. 3: Respect and understand every artist’s contribution to the work. If you truly respect everyone, you will be on time, arrive ready to work, care for your costumes, set and props, know your lines solidly, let others speak, work with your director and care about the playwright’s intentions.
ASR: The most excruciating screw-up you’ve seen onstage?
SLM: Well, my most excruciating screw-up was during Eat the Runt at Actors Theater. It was a very difficult play where we all learned all the parts and each night the audience would cast us. So you never knew which role you were going to play when you entered the theater that night. One night, I managed to enter at the wrong time and effectively cut an entire scene. I didn’t even realize it until I got off stage and Joe Winkler pointed out what I had done, thus cutting his role in half. I had never messed up an entrance before or since, and I still feel terrible about it. Sorry again, Joe!
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
SLM: When I was 25 and performing Madge in Picnic in Seattle, when it was time for Madge and Hal to run off to the “do it” bushes, a young woman stood up and yelled, “Go for it!”
ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?
SLM: 1: The planet is our source of life and must be regarded as the Supreme Ruler. 2: We are all equal and deserve equal opportunity, protection and sustenance. 3: Be nice.
ASR: You have the opportunity to create a 30-minute TV series. What’s it called and what’s the premise?
SLM:The Real Housewives of Sonoma County. Everyone just smokes pot while discussing wine, trendy food and their kids.
ASR: What would be the coolest animal to scale up to the size of a horse?
SLM: A potato bug.
ASR: Favorite quote from a movie or stage play?
SLM: “What’s done cannot be undone.” Lady Macbeth.
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
AisleSeat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Robert Kelley
Robert Kelley is founder and Artistic Director of TheatreWorks Silicon Valley, one of the oldest and most esteemed theater companies in the Bay Area. Both Kelley and his company have been honored multiple times by Theatre Bay Area (TBA) and the San Francisco Bay Area Theatre Critics Circle (SFBATCC). Kelley kindly took time to respond to ASR’s not-so-random and not-too-serious questionnaire…
ASR: How did you get started in theater?
RK: At age 8 I walked past our local children’s theatre and saw a sign that read “Auditions.” In I went, and got cast! My talent: being loud.
ASR: What was the first play you performed in or directed for a paying audience?
RK:Goldilocks and the Three Bears—a fourteen-year-old played my mother and told the cautionary tale to me as it was acted out onstage. I may have had a few lines, but I can’t remember them at the moment. Maybe “Yes, Mama.”
ASR: How many theater companies have you been involved with?
RK: Less than ten: TheatreWorks, Cal Shakes, Cincinnati Playhouse in the Park, St. Louis Rep, and a few smaller companies.
ASR: When was your present company formed?
RK: 1970. I’m the founder.
ASR: Did you anticipate it would become as successful as it has?
RK: No. Our long-range plan was to produce a second production. Then a third. We’re at 450 shows today.
ASR: Does your company have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc?
RK: Plays and musicals, world premieres (70 to date), recent on- and off-Broadway, re-imagined classics.
ASR: Who has had the largest impact on your professional development in the theater?
RK: Stephen Sondheim.
ASR: It will likely be several months until theaters reopen. How is your company coping with the shutdown?
RK: We’ve cancelled three shows (of an eight show season), and restructured the 2020-21 season to seven shows, beginning in October, with most of the smaller shows going first. We’ve moved our 19th New Works Festival six months, from August to January.
We’ve begun an active program offering streams of previously produced shows, and interviews with staff and artists from around the country. Soon to come: readings of new works in development. So far, we’ve been able to keep our full-time employees.
ASR: How has the crisis affected your planning for coming seasons?
RK: We’ve moved our World Premiere drama Nan and the Lower Body from March to July, where it will become the first show of our 2021-22 season. For this coming December, we’ve added an inspiring and funny hope-in-the-face-of-despair holiday production of It’s a Wonderful Life: a Live Radio Play.
ASR: How do you envision the future for your company? For the theater community overall?
RK: For everyone: very tight budgets, smaller shows, fewer actors and designers from out of the area, expanded online presence, ultimately smaller staffs. I think we are all worried that some companies may not make it through this intact, as was the case in the recession of 2008.
ASR: Almost forgotten with the pandemic is the crisis caused in the performing arts world by the passage of Assembly Bill 5, requiring most workers to be paid the California minimum wage. There are multiple efforts in Sacramento to get performing artists exempted from this. Has AB5 affected your theater company’s plans?
RK: We have been paying at least minimum wage to everyone for some time. We believe we are in compliance with all aspects of AB5.
(most over-performed)…Titus Andronicus. Even one production is too many.
ASR: What are some of your favorite dramas? Musicals? Comedies?
RK: Dramas: M Butterfly, The Elephant Man, Arcadia, and Romeo and Juliet. Musicals: Ragtime, Sunday in the Park with George, Into the Woods, Once on This Island, Pacific Overtures. Comedies: The 39 Steps, As You Like It, and Once in a Lifetime.
ASR: Name three all-time favorites that your company has produced.
RK:Emma, Daddy Long Legs, and Pride and Prejudice.
ASR: Shakespeare’s most over-performed play?
RK:Titus Andronicus. Even one production is too many.
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
RK: Props. I love finding the perfect period piece that defines an era—and I wish I knew how to make a period newspaper.
ASR: As hard as it may be to pick just one, can you name a Bay Area actor who you think does amazing work?
RK: Francis Jue. He’s from here, now in New York, but frequently returns here.
ASR: How do you warm up before a performance? How do you relax after?
RK: I pace.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
RK: Patience, preparation, laughter, listening. Was that more than three? Did I mention patience?
ASR: What theater-related friendship means the most to you? Why?
RK: I met Ev Shiro, my life partner of 38 years, at TheatreWorks and have loved her ever since. We’re also friends.
ASR: What is the funniest screw-up you’ve seen on stage in a live performance?
RK: We had a frequently confused actor forget to wear his pants for an entrance in Gypsy.
ASR: The most excruciating screw-up?
RK: Do you have an hour?
ASR: What’s the weirdest thing you’ve seen a guest do in a theater?
RK: A very young boy attending our holiday musical Oliver! re-set in Victorian London in December, very loudly: “Mommy, why’s it snowing inside?
ASR: What are your interests outside of theater?
RK: Collecting beach glass, mushroom hunting.
ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?
RK: Patience, laughter, listening.
ASR: What would be the worst “buy one get one free” sale of all time?
RK:Titus Andronicus.
ASR: If you were arrested with no explanation, your friends and family might assume you had done what?
RK: Forgot to stage a scene.
ASR: What three songs are Included on the soundtrack to your life?
RK: “The Water is Wide” by James Taylor; “Both Sides Now” by Joni Mitchell; “Fields of Gold” by Eva Cassidy.
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, skydiving?
RK: Reading the paper the day after opening.
ASR: Favorite quote from a movie or stage play?
RK: “Children will listen.”
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
AisleSeat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Tom Ross
Tom Ross inaugurated Berkeley’s Aurora Theatre Company with Barbara Oliver in 1992 and served 12 years as Managing Director. In 2004, he became Artistic Director, holding that position 15 years. He stepped down last August.
Tom oversaw both Aurora’s move into the Addison Street space and the expansion into the Dashow Wing. He created the new play initiatives, “The Global Age Project” and “Originate+Generate” as well as the second performance space, Harry’s Upstage.
He directed 30 productions for the company.
Additionally, Tom wrote and directed the long running A Karen Carpenter Christmas, and for 8 years was a producer of SF’s Solo Mio Festival.
Before moving to the Bay Area, Tom worked 8 years at NYC’s Public Theater as Executive Assistant to Joseph Papp and then as co-director of Play and Musical Development.
Getting any time on Mr. Ross’ calendar is a tough ask, so we at ASR were grateful for his time, his humor, and his candor. Ladies and Gents… Mr. Tom Ross…
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
TR: A married couple stopped a performance of Neil LaBute’s “This is How It Goes”, shouting at the actors and audience that this is not a play that should be presented in Berkeley.
It is a purposely provocative play that uses the N-word and is about a smiling secret racist character. The play was going to be over within three minutes. The couple walked across the stage and told the actors that they didn’t have to debase themselves this way. The audience thought it was a part of the play.
Luckily, the incident was written about in the Chronicle and the play became a must-see. The Chronicle called it one of the 10 best plays of the year. Still I’d never seen anything like the reaction it caused. I was the director and in the house.
ASR: Which person has had the largest impact on your professional development in the theater?
TR: Unquestionably, the great producer Joseph Papp who I worked for at the Public Theatre in NY for 8 years. First as his Executive Assistant and then as Co-Director of Play and Musical Development.
He told me that I should be a director.
He supported me in producing my first show and in writing my first show at the Public Theatre. I told him he gave me a spine and he liked that.
ASR: If someone asked to be your apprentice and learn all that you know, what are three things you would tell them are essential to know?
TR: Well… I’ve worn a significant number of theatrical hats. In general, I’d say understand the business as well as the art.
Only get involved in projects you truly believe in.
And it’s a collaborate art. Treat your collaborators with respect.
ASR: How do you relax before a performance?
TR: Thai food and a glass of pinot grigio.
…I told him he gave me a spine and he liked that.
ASR: If you were arrested with no explanation, what would your friends and family assume you had done?
TR: Lied about my age.
ASR: What theater-related friendship means the most to you? Why?
TR: That is a (tough) question to answer (specifically.) I am a part of an incredible community here in the Bay Area. I know they have my back – as do so many theater friends from the NYC days.
I keep wanting to jump off Facebook, but would miss keeping up with them. I respect and love my friends.
ASR: What three songs are Included on the soundtrack to your life? And why each?
TR: Wow! I am a music person. I have hundreds of CDs here in my place. I listen to music all of the time – even at Aurora Theatre I’d be constantly DJ’ing in the office.
The other day, during this shelter in place, I was listening to “The Only Living Boy in New York” by Simon and Garfunkel – “Tom, get your plane ride on time…” – and it really touched me deeply.
ASR: Which one fashion accessory do you like better than others?
TR: The beautiful Hawaiian shirts I have bought in Hawaii over the years.
ASR: Which play would you like to see put into deep freeze for 20 years?
TR: I don’t know about 20 years, but the programming of Broadway producers seems extremely repetitive.
A few years ago, I was in Times Square looking at all of the marquees and billboards and I thought I was in a time machine. Hello 70’s and 80’s!
ASR: Shakespeare’s most underrated play? Why?
TR: Although I think that “King Lear” is the greatest play ever written, I don’t do Shakespeare.
ASR: If you had to do a whole season performing one of the following technical theater roles: Light, Props or Costumes which would it be and why?
TR: I’d be a Light Designer. Like Sound, it’s so ephemeral and can be devastatingly effective.
I like the subliminal. Lights and sound for me.
ASR: What would be the coolest animal to scale up to the size of a horse?
TR: I’d be terrified of scaling up any animal! If my cat was that big, we couldn’t share the bed and she’d be extremely annoyed. I’d be sleeping on the floor!
ASR: Shark diving, bungee jumping, or skydiving?
TR: Skydiving.
ASR: What was the first play you performed in or directed for a paying audience?
TR: “Indecent Materials” by Larry Kramer. I’d brought it to the Public Theatre who produced it and then did it here in SF with my producing partner Jayne Wenger when I first moved here.
It featured my first leading lady (and still dear friend) Anne Darragh as Jesse Helms.
ASR: Favorite quote from a movie or stage play?
TR: “Fasten your seat belts. It’s going to be a bumpy night.”
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Kris Neely
Kris Neely launched Aisle Seat Review in 2015. He is the Publisher and Editor-in-Chief of ASR. Mr. Neely is also an SFBATCC Best Director Award Winner (2013). He is also the founder and publisher of Cresting Wave Publishing, LLC at www.gocwpub.com
AisleSeat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Gregory CraneAmber Collins Crane
In the past several years, Gregory Crane and his wife Amber Collins Crane have appeared individually and together in many North Bay productions, including “Deathtrap” with Ross Valley Players, and “A Streetcar Named Desire” at Novato Theater Company. The two were the best Blanche and Stanley that many critics had ever seen. Gregory was tremendous as the dance master in “A Chorus Line” and Amber gave an astounding lead performance in RVP’s “Incidents in the Wicked Life of Moll Flanders,” for which she won an “outstanding actress” nomination from the SF Bay Area Theatre Critics Circle.
Gregory studied at NYU/Tisch and is the author of a solo play about the life of Tennessee Williams titled “Love, 10.” Favorite performances include “A Streetcar Named Desire” (SFBATCC nomination), “A Chorus Line” (SFBATCC nomination), “Two Gentleman of Verona” (South Coast Rep), “The Glass Menagerie” (RVP), “Deathtrap” (RVP), “Private Lives” (RVP), and “The Diary of Anne Frank” (Hangar Theatre).
Amber worked in theatre, television and film in NYC, LA, and in regional theatres including Actors Theatre of Louisville and the Berkshire Theatre Festival before making Marin her home. In addition to Moll Flanders in “Incidents in the Wicked Life of Moll Flanders,” favorite Bay Area roles include Blanche in “Streetcar Named Desire,” Becca in “Rabbit Hole,” May in “Fool for Love”, and Birdie in “Little Foxes.”
ASR: How did you get started in theatre?
GC: My older brother is an actor so I started young in musical summer camps in LA.
ACC: My first role was playing baby Jesus in the church nativity play when I was four months old. Pure nepotism. My Mom and Dad were Mary and Joseph. Those other babies didn’t have a chance! I will forever be searching for the chance to play a character bigger than the divine prophet and son of God. Blanche in “Streetcar” came close.
…1. Be kind to everyone 2. Know your lines 3. Maintain proper dental hygiene.
ASR: What was the first play you performed in or directed for a paying audience?
GC: When I was 19, I was in “The Diary of Anne Frank” at the Hangar Theatre in NY. That was my first professional production. It was a transformative experience being onstage for two hours and telling such an important story for me personally.
ASR: When was your present company formed?
GC: The company we are currently working with is called Zoom Theatre. In March, when shelter-in-place began, Patrick Nims decided to produce and direct plays for a web audience. Zoom Theatre debuted in early April with two early David Mamet one-acts. Next week, Amber and I open the play “Lungs” by Duncan Macmillan, a beautiful play about a couple starting a family as the world is starting to fall apart. We’re hoping it will really resonate in today’s world.
ASR: Who has had the largest impact on your professional development in the theatre?
ACC: I would have to say my college theatre professor, David Dvorscak. He saw me as an artist before I saw myself that way, and helped me understand what a profound strength vulnerability can be on and off the stage. He also pushed my very perfectionistic self to take risks in my work. He would say that theatre is a wonderful place to fail—as long as you fail big and with all your heart.
GC: I had a great mentor in high school, Ted Walch, and another in college at NYU, Michael Krass, who believed in me, encouraged me, and treated me like an equal. They are still my friends and confidantes today.
ASR: How do you envision the future for the theatre community overall?
ACC: We hear it over and over right now: “these are uncertain times.” But I am certain that the theatre community will recover. Theatre artists are the most stubborn, resourceful people I know. They can make magic with a $50 budget and a handful of paperclips. When the apocalypse has come and it is all just miles of dust and rubble, I can guarantee that if you listen hard enough, you will hear a stage manager somewhere shouting “Places!,” and a troupe of actors responding, “Thank you, Places!”
ASR: What are some of your favorite dramas? Musicals? Comedies?
GC: “Zoo Story,” “Hair,” “The Bomb-itty of Errors,” a hip-hop Shakespeare play written by good friends from NYU. It was an off-Broadway hit in the early 2000s and paved the way for “Hamilton.”
ASR: How do you warm up before a performance? How do you relax after?
ACC: My “warm up” includes manically throwing together dinner for the kids, singing loudly in the car on the way to the theatre, some stretching and movement on the stage, and a prayer in the wings. I wind down with red wine and a racy period drama. I like my sexy with corsets and without penicillin!
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
GC: 1. Be kind to everyone 2. Know your lines 3. Maintain proper dental hygiene.
ASR: If you had to spend a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
GC: Projections. It’s the only one I’d be any good at. I have a love for photography, Photoshop and animation, so I think that would be fun. The projections in RVP’s recent production of “Silent Sky” were really beautiful.
ACC: I would have to say set decorating and props. I am forever creating little installations in my own home with loved objects and books, things I have collected from nature, art work from my children. It would great fun to layer a production with meaning and depth by thoughtfully choosing each prop a character touches, uses, and loves.
ASR: What theatre-related friendship means the most to you? Why?
ACC: This question makes me emotional! I am so deeply grateful for the friendships that I have established in the bay area theatre community. Attending an opening night often feels like what the best family reunion ever should feel like. I love it! But I have to say that my friendship with Gregory is the theatre-related friendship that means the most to me. And not just because he is sitting right here! Having the chance to work on stage with him is part of what has helped move our relationship from husband-and-wife/partners in the business of running a family to a true and evolving friendship. I am able to see him through new eyes when we are performing together and that is such a gift when you have known each other as long as we have!
GC: My wife. Hands down. I love being on stage with her, and even more than that, I love talking about plays with her and getting her insight into my work.
ASR: What the weirdest thing you have seen a guest do at the theater?
ACC: When I was working the front of house for a production of “Cat on a Hot Tin Roof” in SF an audience member started hurling loud, expletive filled insults at Big Daddy, letting him know very passionately about what she felt about his parenting skills and his value system. I had to escort/drag her out into the lobby where we proceeded to have a full therapy session about her own family history. The theatre served its purpose as a place of catharsis that night for sure!
ASR: What is the funniest screw-up you’ve seen on stage in a live performance?
GC: It wasn’t really a screw-up, but I saw John Leguizamo’s “Freak” in NY. Some guy was being loud and belligerent in the audience behind us. John yelled at him to shut the *bleep* up, then just said to all of us: “This is why I love live theatre, man.” That was exhilarating.
ASR: Do you have a day job?
GC: I am a project manager in Apple’s marketing department
ACC: I am a psychologist by day. I find my role as an actor and my role as a therapist to be very complementary. I think that the best theatre and the best therapy demonstrate that relationships can heal and they honor the darkest moments in our lives, in our stories, as opportunities for the most beautiful transformation.
ASR: What are your interests outside the theatre?
GC: DJ’ing, stand-up paddleboarding, cooking, biking, my kids.
ACC: My children. They are endlessly fascinating to me. Bizarre little magical creatures. I am so lucky to have a front row seat to their adventures.
ASR: Do you actively do any other arts apart from theater?
GC: I DJ and take photos. I love the opportunity to create a good time for people and get them to dance. I’ve been throwing Zoom dance parties during quarantine and it has been a great release for me and for my guests.
ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, skydiving?
GC: I race stand-up paddleboards. I did a nine-mile race around Angel Island and the water was so choppy I had to do most of the race kneeling. I’m always thinking when I’m out there how easily a shark could pop up out of nowhere and take a bite out of me. But it’s a great sport, especially in the Bay Area.
ACC: Answering questions for publication seems risky to me. I tend to keep a low profile! But beyond that, I am risky in love. I fall in love a hundred times a day with people, coffee drinks, a particular squirrel outside my window, the smell of the jasmine growing on my fence. My heart gets broken a lot. And, just like the adrenaline rush of rock climbing, each time I can’t wait for the next time!
ASR: Favorite quote from a movie or play?
ACC: I love a good quote so my favorite changes daily, but one that resonates now is from “Marisol” by José Rivera. “What a time to be alive, huh? On one hand, we’re nothing. We’re dirt. On the other hand, we’re the reason the universe was made.”
GC: “Get busy living, or get busy dying” – from “The Shawshank Redemption.”
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
AisleSeat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Kim Taylor
For many years, Kim Taylor was the most prolific and hardest-working publicist in Bay Area theater. The former newspaper scribe went out on her own in 1999 and was soon representing companies all over the North Bay—including the Mountain Play, Marin Shakespeare Company, Novato Theater Company, Ross Valley Players, Spreckels Performing Arts Center, 6th Street Playhouse, Hoochi-Doo Productions, Porchlight Theatre Company, and Transcendence Theatre Company, many of them with productions opening simultaneously—a sometimes grueling schedule that she managed almost alone.
A lifelong theater enthusiast, Taylor is renowned for her professionalism and attention to detail. Her pre-show feasts and meet-and-greet affairs were among reviewers’ most enjoyable events. She retired from public relations work this past December, capping an unsurpassed twenty-year career. We miss you, Kim!
ASR: How did you get started in theater?
KT: In grammar school and participating in summer recreation theater programs.
ASR: What was the first play you performed in or directed for a paying audience?
KT: In high school I played Mama Rose in “Gypsy.”
ASR: How many theater companies have you been involved with?
KT: As a publicist, I have represented more than twenty companies including college, university and community, semi-professional and professional theater companies. During my career I represented over 450 theater productions.
ASR: When was your present company formed?
KT: After working more than twelve years in the newsroom of the Marin Independent Journal, I launched a career as a freelance publicist in 1999. I retired in December 2019.
ASR: Did you anticipate that it would become as successful as it did?
KT: Most of my career I had to juggle several clients including musical groups, theater companies and entertainment events. I ended my career working exclusively as publicist for Transcendence Theatre Company.
ASR: Does your company have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc.?
KT: As a publicist I represented every genre including Shakespeare, Broadway musicals, opera, American classics, comedy, new works and experimental theater.
ASR: Who had the largest impact on your professional development in the theater?
KT: Harvey Susser and James Dunn, College of Marin Drama Department.
ASR: What are some of your favorite dramas? Musicals? Comedies?
KT: Drama: “Dodsworth.” Broadway musical: “Guys and Dolls,” “Cabaret,” “Phantom of the Opera,” “Evita.” Comedy: “An Ideal Husband,” “The 39 Steps” and “Bullshot Crummond.”
ASR: Name three all-time favorites that your company has produced.
KT: My favorite client productions include the Spreckels Theatre Company 2013 production of “Mel Brooks New Musical Young Frankenstein,” the Porchlight Theatre Company 2008 outdoor production of “Under Milk Wood,” and the 6th Street Playhouse 2011 production of “Cabaret.”
ASR: Which play would you most like to see put into deep freeze for 20 years?
KT: “Death of a Salesman” – I find it too depressing.
ASR: Which rare gems would you like to see revived?
KT: I would love to see “Dodsworth” revived with the story re-set in the 21st Century.
…”When did Ma get a cat?”
ASR: What is Shakespeare’s most underrated play? Why?
KT: “King John.” I enjoy the play’s wickedly witty comedy.
ASR: Shakespeare’s most over-performed play?
KT: “A Midsummer Night’s Dream”
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
KT: Costumes. I have always been interested in styles of period and historic garments.
ASR: As hard as it may be to pick just one, can you name a Bay Area actor who you think does amazing work?
KT: Actress Mary Gannon Graham. Also actor Tim Kniffin.
ASR: How do you warm up before a performance? How do you relax after?
KT: As a publicist, I could relax only after reviews were published.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
KT: Plan well in advance and meet your deadlines. Check and double-check press release details to avoid errors. Always thank the media for coverage.
ASR: What theater-related friendship means the most to you? Why?
KT: Dan Taylor, editor/reporter for Santa Rosa’s Press Democrat. We have newsroom experience in common and both of us enjoy and appreciate theater and performing arts.
ASR: What is the funniest screw-up you’ve seen on stage in a live performance?
KT: In 2004, a wayward tabby got lost in the Ross Valley Players’ Barn Theatre and made an unexpected appearance during a performance of the company’s production of Neil Simon’s “Lost in Yonkers,” stealing the scene from three actors as it delighted a packed audience.
Set in the Yonkers apartment of the stern Grandma Kurnitz, actors Bruce Vieira (as Uncle Louie Kurnitz), David Abrams and Kyle Lemle (as his nephews, Jay and Arty Kurnitz) were half way through a significant scene when the cat made its cameo appearance striding across the living room set.
The audiences’ uproarious reaction startled the cat to exit stage left. After a comic beat, veteran actor Vieira restored order with a brilliant improvisation.
“When did Ma get a cat?” asked Vieira of his fellow actors, before he continued the scene. Vieira’s quick wit was hilarious and restored order allowing the scene to continue.
ASR: The most excruciating screw-up?
KT: I’ve seen several productions of the musical “Annie” where Sandy the dog would not cooperate.
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
KT: At a studio theater performance of “The 39 Steps” an audience member commented loudly throughout Act I about the quick changes.
ASR: What are your interests outside of theater?
KT: My grandson, old movies, vintage music, family genealogy and photography.
ASR: Do you follow other arts—music, film, dance, painting/sculpture? Do you actively do any other arts apart from theater?
KT: My husband and I enjoyed vintage dancing for many years. The bands we followed played popular music of the 1920s and 1930s. We learned vintage dances, dressed in period clothing, and attended dance events presented in spectacular venues, including the Avalon Ballroom on Catalina Island.
ASR: You have the opportunity to create a 30-minute TV series. What’s it called and what’s the premise?
KT: “For Immediate Release” – Endless dramatic and comedic material and an array of characters (actors, producers, directors, reviewers, etc.) would fuel this episodic series following the adventures of a freelance publicist representing theater companies in the San Francisco Bay Area.
ASR: What three songs are included on the soundtrack to your life? And why each?
KT: “Don’t Say Goodbye,” 1932 – featuring vocals by Al Bowlly with Ray Noble and his New Mayfair Orchestra. The song is from “Wild Violets,” a musical comedy operetta written by Robert Stolz. I love the clever arrangement by Ray Noble. “Pick Yourself Up,” 1936 – music by Jerome Kern, lyrics by Dorothy Fields. “Let’s Face the Music and Dance,” 1936 – music and lyrics by Irving Berlin.
ASR: A fashion accessory you like better than others?
KT: Jewelry.
ASR: Theater people often pride themselves on “taking risks”— have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, skydiving?
KT: I have no interest in “true” risk taking, but I took a lot of risks in my work as a publicist.
ASR: Favorite quote from a movie or stage play?
KT: “Love has got to stop some place short of suicide.” ~ Sam Dodsworth, from the “Dodsworth” book, play and film.
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
AisleSeat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Phillip Percy Williams
An eleven year veteran of San Francisco’s legendary Beach Blanket Babylon, Phillip Percy Williams grew up singing in the church in his hometown of Mobile, Alabama. His theatrical background includes performing Broadway shows with Carnival Cruise Lines and performing a solo tribute to Nat King Cole with an eleven-piece orchestra. He is a 2015 recipient of a “Principal Actor in a Musical” award from the San Francisco Bay Area Theatre Critics Circle.
Williams has performed in dozens of roles with many Bay Area troupes, including Napa’s Lucky Penny Productions, Berkeley Playhouse, Mill Valley’s Throckmorton Theatre, Ross Valley Players, Marin OnStage, Curtain Theatre, Marin Shakespeare Company, and Santa Rosa’s 6th Street Playhouse. He has also performed with the Long Beach Civic Light Opera and at many fundraiser events for charitable non-profit organizations. His contemporary jazz/R&B trio the Phillip Percy Pack can be seen at various venues throughout the Bay Area.
Website: www.phillippercywilliams.com
ASR: Your background?
PPW: A true southerner: African American with traces of Europe.
ASR: How did you get started in theater?
PPW: I was a cabaret performer in Los Angeles. A director saw me perform, introduced himself, and offered me a role in his production of “Working.” I played the newspaper boy. That was my first play.
ASR: How many theater companies have you been involved with?
PPW: Approximately fifteen.
ASR: Did you anticipate that you would become as successful as you have?
PPW: No, I did not. I was never really formally trained and I kind of fell into it by happenstance. I have been so blessed to have been given the opportunities to perform and grateful to learn of my true passion—performing.
ASR: What are some of your favorite musicals?
PPW: “Big River,” “ Jesus Christ Superstar,” “Scarlett Pimpernel,” “City of Angels,” “Ain’t Misbehavin’,” “The Fantastiks,” “Kinky Boots,” and “La Cage Aux Folles,” to name a few.
ASR: If you had to do a whole season performing technical work — sets, lights, projections, sound, props, costumes — which would it be and why?
PPW: Sound. Sound is one of those technical aspects that most theatres, clubs, and restaurants don’t understand. It’s essential to a successful production and show. And the funny thing is, all it takes is fine tuning (sometimes literally) or adding elements that if implemented would make the experience more memorable for audiences, performers and musicians.
ASR: How do you warm up before a performance?
PPW: Vocally, I sing old school gospel. Physically, it’s light stretches, pushups and situps. Mentally, prayer.
ASR: How do you relax after?
PPW: A “lil dirty” Stoli vodka martini—two olives, an onion, and shaken. I’m an old school Stoli guy.
Sound is one of those technical aspects that most theatres, clubs, and restaurants don’t understand…
ASR: What are your interests outside of theater?
PPW: My #1 interest is my husband Mike. I like to garden and cook. I’m getting back into piano, and love love love to sing, especially old school gospel (Mighty Clouds of Joy, Andre Crouch) and jazz standards (Gershwin, Porter, Berlin and Mercer). My favorite influences are Nat King Cole, Frank Sinatra, Ella Fitzgerald, Mel Torme, and Chet Baker.
ASR: Do you pursue any other arts apart from theater?
PPW: Yes, I have a Jazz/R&B group called the Phillip Percy Pack. I am also lead vocalist in two other bands.
ASR: What would be the worst “buy one get one free” sale of all time?
PPW: Any clothing made of polyester—sweaters, socks, pants, etc.
ASR: You have the opportunity to create a 30-minute TV series. What’s it called and what’s the premise?
PPW: “You Don’t Sound Black,” about a Marin County interracial gay couple, Allen and Percy, and their experiences with people in the Bay Area. Allen is midwestern white and Percy is southern black.
Pilot: Allen and Percy are at a black-tie gala where one of them is being recognized for his amazing contributions to the community. Allen introduces Percy to board member Robert and his wife Lilly.
Allen: “Robert, this is my partner Percy.”
Robert: “Nice to meet you, Percy. So what kind of business do you run?”
Lilly (whispering to husband). “No . . . they are partners . . .”
Robert: “Oh, okay.” (sincerely spoken) “Lee, we are so lucky to have you and really value and appreciate your commitment.” (followed by firm handshake)
Lilly (to Percy): “Good for you guys . . . you’re attractive and speak so well . . . good for you.”
And scene . . .
ASR: A fashion accessory you like better than others?
PPW: Cuff links. I have a substantial collection.
ASR: Favorite quote from a movie, stage play, song or book?
PPW: “I was never in the chorus,” from “Mame.”
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
AisleSeat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Jaime Love
Jaime Love is Executive Artistic Director of Sonoma Arts Live (SAL), based in the town of Sonoma. SAL performs primarily on the Rotary Stage in Andrews Hall at the Sonoma Community Center. Love has been involved in theater and radio for over 35 years as an actor, producer, singer, director, writer and voice-over artist in New York, Los Angeles, Boston and San Francisco. She is a founding member of the Sonoma Theater Alliance and Sonoma Arts Live, and for six years was Co-Artistic Director and Producer of the Nicholson Ranch Players’ musical revues and Christmas shows at Nicholson Winery.
A graduate of the American Academy of Dramatic Arts in New York, Love left the big city and worked in summer theatre in Montana (“Damn Yankees”), did post-production film work in L.A., and then fell in love with voice-over work and headed east again to attend Connecticut School of Broadcasting. She then went on to Boston, where she worked as the Arts & Entertainment Director and Promotions Director at WMJX and WMEX, focused on producing voice-overs for “Today’s Executive Women” and “That’s Entertainment.” Radio brought Jaime and her husband Rick back to the west, this time to San Francisco and ultimately to Sonoma, where he owns Creative Audience Research. Jaime and Rick have lived in Sonoma for twenty years.
ASR: How did you get started in theater?
JL: The minute I saw my first movie, “Mary Poppins.” I’ll never forget the theater, or Julie Andrews’ face filling up the screen. It was like a magic wand tapped me on my head and said “You’ve found your people.” I was the classic put-on-a-show-in-the-backyard kind of kid.
Regarding theater here in Sonoma, I had spent two years in San Francisco from 1993-95 and had loved the thriving scene there. I did a play with Jean Shelton at the Marsh, did an original play at this tiny awesome theater in North Beach called Bannam Place Theater. When we moved to Sonoma for Rick’s job there was just nada happening. Then I wandered into the Sonoma Community Center and discovered a wonderful woman who was starting Theater at the Center. From 1995-2001 we had a thriving community theater. In 2001 under a new administration they decided to use the theater as a rental, and that’s where it stood until 2010 when Todd Evans and I approached the Community Center about renting to us.
ASR: What was the first play you performed in or directed for a paying audience?
JL: My first real role was freshman year in high school: “This Property Is Condemned.” First time I was paid was at Park Royale Night Club in New York. I sang a half hour set and was given a tiny stipend and a cut of the door, so of course I asked all my fellow American Academy of Dramatic Arts pals to come! I remember my “hits” were “Because the Night,” and “Your Nobody Called Today,” a popular country-western thing. First show I directed was a music revue I co-wrote called “Wine, Women and Song – Love Unleashed” at Nicholson Ranch winery. I went on to write and produce shows there for about five years.
ASR: When was your present company formed?
JL: 2015. Before then we were a theater cooperative, Sonoma Theater Alliance, for five years.
ASR: Did you anticipate that SAL would become as successful as it has?
JL: I’m really thrilled and encouraged by the response from the community and the critics. Once we honed in on our demographic and what they wanted, things really came together, and I feel we have found our sweet spot. We have a mature well-educated audience and I try to envision them, what they’ve been through in their lives, and choose plays that speak to them nostalgically or emotionally. I am in their age group and I rely a lot on thinking about my generation’s collective experience and how a play may or may not fit in.
I’m not ashamed to say that our company feels no shame in producing feel-good theater. There is a place for everything, and I love edgy theater and new works but that’s just not us—not to say we do “fluff”—maybe “tried and true” is a better way of looking at it. Sonoma is so small that I truly do know most of our 250 season ticket subscribers and we talk constantly about what brings them through our doors. We do a few new works as staged readings each year, and I’ve been proud and pleased with the response from our patrons.
ASR: It will likely be several months until theaters reopen. How is your company coping with the shutdown?
JL: I’ve got at least three different scenarios ready to go. It’s been so sad to have to move shows like chess pieces, strategizing and trying to stay one step ahead without having a crystal ball. We were set with a full season ready to announce April 11 with a now cancelled reception. And as so many of us in the North Bay share the same talent pool it will create even more stress. You can’t just move a show three months ahead and not run into conflicts. My hope is to take the three remaining shows in our season and add them to the new one.
ASR: How do you envision the future for your company? For the theater community overall?
JL: My guess is it will come back slowly. I’ve been rethinking the big cast/big shows for the short term. If audiences are not allowed to gather in large groups—necessary for us to be financially stable—I’ll need to produce shows that will at least cover expenses for actors, crews and rent. And we are going to have to deal with the very real fear of “gathering” and what that will mean for our actors and our audience. If I think about it too much I go down the rabbit hole.
I’m not ashamed to say that our company feels no shame in producing feel-good theater.
ASR: Name three all-time favorites that your company has produced.
JL: “My Fair Lady,” “Always, Patsy Cline,” and “Becky’s New Car.”
ASR: If you had to do a whole season performing technical work — sets, lights, projections, sound, props, costumes — which would it be and why?
JL: Definitely props and set decoration. I’ve been a thrift shop and antique hunter since I was about eight years old! A week does not go by when I do not pop into all the great thrift stores in Sonoma. I’m an “Antiques Road Show” junkie! When I was little I would go “antiquing” with my mom and her best friend. I learned so much from them.
ASR: As hard as it may be to pick just one, can you name a Bay Area actor who you think does amazing work?
JL: Well, Dani Innocenti-Beem of course! She has that star power. You can feel the energy when she walks on stage. She truly helped put Sonoma Arts Live on the map. Also Chris Ginesi. I’ve known him since he was about twelve—we did “Our Town” together. He’s truly exciting to watch on the stage. It’s been wonderful to watch him develop his craft over the years.
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
JL: I was playing Rita Boyle in “Prelude to a Kiss” in upstate New York. Cell phones had only just come out—this was before it was added to curtain speeches to turn them off—I’m in the middle of this intimate scene, and not wearing much, and this guy’s phone goes off. He answers as if he’s at home in this very normal voice: “I can’t talk now. I’m watching a play.” Then a few seconds of silence. “Yeah, it’s OK…” meaning “Yeah, the play’s OK.” It was very hard to stay in character after that!
ASR: Do you have a “day job?”
JL: I am so blessed and lucky and honored to say for the first time in my life, theater is my paying full time job. We have an amazing Board and a fundraising team
ASR: What are your interests outside of theater?
JL: Writing, being with my kids, exercising, enjoying new restaurants and hiking with my amazing husband. After 31 years together, I still really like him—and I am writing this after three weeks of seeing basically only him!)
ASR: Do you follow other arts—music, film, dance, painting/sculpture? Do you pursue any other arts apart from theater?
JL: For about ten years I wrote wrote wrote, and had a few things published.
ASR: You have the opportunity to create a 30-minute TV series. What’s it called and what’s the premise?
JL: “Whine Country”—I was a wine country tour guide for six years, creating private trips: lots of bridesmaids, rich rich people, anniversaries. The company I worked for had a division of drivers who picked up people at different hotels for group tours … I have always wanted to do a series based on the TV show “Taxi,” where each episode starts with all of us at the station, picking up our vehicles, and then each individual episode would follow a different charter driver and guests. There are so many stories I could tell!
ASR: What three songs are included on the soundtrack to your life? And why each?
JL: “Oh, What a Beautiful Morning” from “Oklahoma,” “Walking on Sunshine” by Katrina and the Waves, and “When You See a Chance,” by Steve Winwood.
My first musical was Oklahoma in ninth grade and I had a huge crush on the guy who played Curly and I can still get butterflies in my stomach picturing him walking out on our stage singing the first few notes.
“Walking on Sunshine”—I lived in Helena, Montana for a few years after NYC, and I had this fun little moped that I would ride to the Grand Street Theater, listening to my Sony Walkman and playing that song full blast riding up and down hills!!
“When You See a Chance”—I first heard it by going through my roomie’s records and throwing it on the turntable. When that song came on it just leapt out at me, I never forgot that moment when lyrics grabbed me like that. It was my grab-a-hairbrush-as-a-microphone-and-stand-on-the-bed song!
ASR: Theater people often pride themselves on “taking risks” — have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, skydiving?
JL: Absolutely not.
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
AisleSeat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
***
Susi Damilano
Actor/director/producer Susi Damilano is Producing Director of the San Francisco Playhouse, co-founded with husband Bill English, the company’s Artistic Director. In its seventeen years SF Playhouse has grown from relatively obscurity to one of the city’s preeminent theater companies. Damilano is a five-time recipient of the San Francisco Bay Area Theatre Critics Circle (SFBATCC) ‘Excellence in Theatre Award for Principal Actress in a Play’ for Playhouse productions “Abigail’s Party,” “Harper Regan,” “Bug,” “Six Degrees of Separation,” and “Reckless.”
She has also performed in many other leading roles, in addition to directing Playhouse productions of “Groundhog Day the Musical,” “Cabaret,” “Mary Poppins,” “Noises Off,” “She Loves Me,” “Stage Kiss,” “Company,” “Stupid Fucking Bird,” “Into the Woods,” “A Behanding in Spokane,” “Den of Thieves,” “Wirehead” (SFBATCC nomination).
Damilano also directed the West Coast premieres of “Honey Brown Eyes” (SFBATCC nomination), “Dead Man’s Cell Phone,” “Coronado,” “The Mystery Plays,” and “Roulette,” and the world premieres of “On Clover Road” by Steven Dietz, “From Red to Black” by Rhett Rossi, and “Seven Days” by Daniel Heath. As will attest anyone who’s been to one of the Playhouse’s legendary opening nights, she is also a world-class caterer.
ASR: How did you get started in theater?
SD: When I was 27 I visited a friend in London. She told me that while she was at work during the day, to go to Leicester Square and get a half price ticket to anything. I did, and saw my first professional play, “Les Miserables.” I was hooked. The next day I saw “42nd Street.” Wow! That began my love for theater—the magic of seeing someone jump off a bridge to their suicide, and ‘knowing’ he must have landed on the floor, and believing he landed in water. Beautiful.
Our focus is on how plays impact the audience…
ASR: What was the first play you performed in or directed for a paying audience?
SD: The first play I performed was called “Coming Attractions” at City Lights Theater. I got to play tons of different parts, sang and danced and had so much fun. Wendy Wisely took a chance on me and because of her, I was accepted into the Bay Area acting world.
ASR: How many theater companies have you been involved with?
SD: As I was learning my craft I took jobs anywhere around the Bay: City Lights, Town Hall, CenterRep, Actors Theatre, Phoenix Theatre, Bus Barn.
ASR: When was your present company formed?
SD: We had our first show in 2003.
ASR: Did you anticipate that it would become as successful as it has?
SD: We dreamed of what we could be and decided from the first moment to work as if we were on par with Steppenwolf or Royal Court or Donmar or Almeida … all theaters we admired, and the ones in London that we loved to visit.
ASR: Does your company have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc?
SD: Our focus is on how plays impact the audience, not on any particular topic, niche or type. The goal is to bring people together, to touch and be touched. To share an experience and create compassion.
ASR: Who has had the largest impact on your professional development in the theater?
SD: My husband, Bill English, who is a walking library of dramatic works and knowledge. I learned to direct by sitting next to him for years and observing. My acting work was most influenced by Jean Shelton and Richard Seyd, and my courage has most been influenced by our patrons, who keep coming back and who are in the lobby crying or laughing afterward, confirming that what we are doing makes a difference.
ASR: It will likely be several months until theaters reopen. How is your company coping with the shutdown?
SD: We have the most incredible staff and board and patrons. The shutdown happened the week we were supposed to start previews for “Real Women Have Curves.” Everyone took the news so bravely. Actors lost the opportunity to share a beautiful story, our staff went to work calling ticket holders; ticket holders became donors and supporters. We’ve had to furlough many of our dear staff and are grateful that California unemployment will provide that extra $600 to them. On the other hand, we continued with announcing our season. We did a virtual announcement that has received more views and positive feedback than any event in the past.
ASR: How has the crisis affected your planning for coming seasons?
SD: When we announced the season we did not include dates or actual order of the shows. That certainty is simply not available to us right now.
ASR: How do you envision the future for your company? For the theater community overall?
SD: My vision (hope) is that we will come out of this ‘big pause’ stronger than ever. Our love and need for the arts have been solidified through its absence. The theatre has always been a place where people gather. Spacing, masks, gloves, hand sanitizer will be likely be the norm in the short term.
ASR: Almost forgotten with the pandemic is the crisis caused in the performing arts by the passage of Assembly Bill 5, requiring most workers to be paid the California minimum wage. There are multiple efforts underway in Sacramento to get performing artists exempted from this. Has AB5 affected your theater company’s plans?
SD: It hasn’t impacted our plans other than inducing confusion as to how an artist or designer could be an employee.
ASR: Do you have a “day job?”
SD: I left my ‘day job’ to run the Playhouse in our 12th season. Besides acting and directing, managing the Playhouse is my day job.
ASR: What are your interests outside of theater?
SD: I love spending time with friends and family, and of course, my dog Emi.
ASR: Do you follow other arts—music, film, dance, painting/sculpture? Do you pursue any other arts apart from theater?
SD: I love the arts, and have dabbled with drawing, and film — wish I was a trained dancer and pianist … maybe soon, if we keep staying home.
ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?
SD: The words “no” and “but” are forbidden and to be replaced with “yes,” “and.” Honor the environment and keep it beautiful and strong. Be kind.
ASR: What would be the worst “buy one get one free” sale of all time?
SD: If I wanted to buy one, wouldn’t getting two be great?
ASR: If you were arrested with no explanation, your friends and family might assume you had done what?
SD: Been framed.
ASR: What three songs are Included on the soundtrack to your life? And why each?
SD: My soundtrack is more like the ocean waves, or breeze through the trees.
ASR: A fashion accessory you like better than others?
SD: Bracelets.
ASR: What would be the coolest animal to scale up to the size of a horse?
SD: None. Too big for my house.
ASR: Theater people often pride themselves on “taking risks” — have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, skydiving?
SD: When I was younger, for sure. Not anymore.
ASR: Favorite quote from a movie or stage play?
SD: It’s from “The Sound of Music” — “Somewhere in my youth or childhood, I must’ve done something good.”
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
AisleSeat Review begins a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people. Offering some personal and professional insights: with a heavy dash of humor.
***
Eleven years oldand going strong, Napa’s Lucky Penny Productions is a standout North Bay theater company founded by Managing Director Barry Martin and Artistic Director Taylor Bartolucci (pictured below.) The company’s co-founders are great friends and lifelong theater veterans. Both perform multiple roles in every aspect of Lucky Penny’s operations. Recent productions include an exemplary “Cabaret,” plus “Bingo the Musical,” “9 to 5 the Musical,” “One Flew Over the Cuckoo’s Nest,” and “Five Course Love.”
Website: www.luckypennynapa.com
Barry Martin and Taylor Bartolucci of Lucky Penny Productions. Photo credit: Lucky Penny.
ASR: How did you get started in theater?
Barry M.: I think I was in theatre from the day I was born.
Taylor: I was four years old when I got my first taste of the theatre. My mom enrolled me in a local community theatre production of “You’re a Good Man, Charlie Brown” where I flew around on the stage as Woodstock. I was immediately hooked.
ASR: What was the first play you performed in or directed for a paying audience?
Barry M.: I played Perchik in “Fiddler on the Roof” as a sophomore in high school. The first paying gig for me was doing summer stock after my junior year of college.
Taylor: “Charlie Brown” was followed by my first of many productions of “Annie.” I started off as Molly then throughout the years played every single female role you could play—Annie, all of the Orphans, Star to Be, Hannigan, Lily, Boylan Sisters—all of them, except Grace.
ASR: How many theater companies have you been involved with?
Barry M.: Board member for two, co-founder of one.
Taylor: Oh gosh, way too many to count.
ASR: When was your present company formed?
Taylor: Barry and I founded Lucky Penny Productions in the spring of 2009.
ASR: Did you anticipate that it would become as successful as it has?
Barry M.: I expected we would be successful but didn’t expect to become as large as we have become, nor did I expect to have a physical location.
Taylor: I think from the very beginning we were dreamers, always envisioning grand things, but at the same time we were always busy working for the current show or for the future, so there wasn’t a lot of time to focus on future success, just the success of the project at hand.
It seems to me that every now and then at the end of the day, we would sit back and look at where the company was and go “Wow, that’s pretty darn cool. We are so grateful. OK, now let’s get back to work!”
ASR: Does your company have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc.?
Barry M.: Special focus is on giving people a memorable experience but we do not have a niche.
Taylor: I wouldn’t say we have a focus as much as we feel we have a responsibility to our local community, the Napa Valley, to expose them to all genres of theatre. Being one of the only theatre companies in Napa County, we select a season that reflects a little bit of everything to attract and satisfy the needs of all of our community members. This includes musicals, non-musicals, classics and modern pieces.
… Trust your gut. Be tenacious. Focus on the audience experience.
ASR: Who has had the largest impact on your professional development in the theater?
Barry M.: If I am any better at it than I was in the olden days, it’s due to Taylor’s example. She has made me want to be a better actor and director.
Taylor: I would say our patrons and volunteers. If it wasn’t for their support and belief in us, we wouldn’t be where we are today. And for all of them, we are incredibly grateful.
ASR: It will likely be several months until theaters reopen. How is your company coping with the coronavirus shutdown?
Barry M.: Conserving cash, and making plans for strategic online activities.
Taylor: We are taking it day by day. We had to make the tough decision to postpone “Sweeney Todd,” the show we were about to open, and we have cancelled our April/May production of “The Quality of Life” and our June production of “The Great American Trailer Park Musical.”
ASR: How has the crisis affected your planning for coming seasons?
Barry M.: No overall change to the approach but we expect to be leaner for at least a season.
Taylor: In all honesty, it hasn’t yet. I feel like we are in a bit of a holding pattern right now until we receive more information—which I assume we will be getting within the next few weeks. Once we know how much longer we will be practicing social distancing and bans on events, we can look into any necessary changes to our upcoming season.
ASR: How do you envision the future for your company? For the theater community overall?
Barry M.: We will be back with no substantial change in how we do things. In the larger view, the world will always need theatre. The forms it takes may continue to change.
Taylor: Like Barry said—we will be back at it as soon as we can!
ASR: Almost forgotten with the pandemic is the crisis caused in the performing arts by the passage of Assembly Bill 5, requiring most workers to be paid the California minimum wage. There are multiple efforts underway in Sacramento to get performing artists exempted from this. Has AB5 affected your theater company’s plans?
Barry M.: AB5 was taking up a lot of my brain until two weeks ago. At some point I will have to focus on it again and resume efforts to get amendments carving out small non-profit theatres like ours. There is no path I can see that has us in compliance with the bill as currently enacted.
ASR: Name three all-time favorites that your company has produced.
Barry M.: “Funny Girl,” “Hands on a Hardbody,” “Bonnie and Clyde.”
Taylor: Oh man…there are so many we have produced that I have been proud of for so many reasons…but if I had to pick three, I’d say:
“Funny Girl” because it was our first large scale musical, a lifelong dream of mine, and the show that really exposed us to a larger audience base.
“Hands on a Hardbody,” because it was such an incredibly beautiful and heart-filled show, and one that brought together different parts of our community to help put together (Soscol Auto Body, Wine Country Crossfit to name a few).
And “Clue: The Musical” because it was a show that was unknown, one that we were able to fully create from scratch, with a team of some of my best friends, and it brought so much joy to our audiences.
ASR: What are some of your least favorite plays? Care to share titles of those you would never produce — or never produce again?
Barry M.: “Grease” is terribly written even though the songs are good. “Urinetown” annoys me.
Taylor: I have to agree with Barry—I have never enjoyed the humor of “Urinetown,” even though lots of people have asked us to produce it. I’m also not a fan of (*gasp*) “In the Heights” or “Cats.” No big shocker there.
ASR: Which play would you most like to see put into deep freeze for 20 years?
Barry M.: “The Iceman Cometh.”
ASR: What is Shakespeare’s most underrated play?
Barry M.: I think there are only three or four worth doing and all the rest suck except as academic exercises. So for me none are underrated.
Taylor: “Titus Andronicus.” Maybe this comes to mind because we were just preparing to do “Sweeney Todd” at Lucky Penny.
ASR: Shakespeare’s most over-performed play?
Barry M.: “As You Like It” and “A Midsummer Night’s Dream,” both a yawn.
Taylor: “Midsummer.”
ASR: If you had to do a whole season performing technical work — sets, lights, projections, sound, props, costumes — which would it be and why?
Barry M.: Well, I have done several whole seasons building sets, so there’s that. Other than sets I like doing sound.
Taylor: Props. Definitely props.
ASR: How do you warm up before a performance? How do you relax after?
Barry M.: I hate warm-ups of all kinds and have no routine. Just tell me “places” and I’m ready to go. After a show I need at least 90 minutes and a minimum of two drinks to wind down. Not iced tea, either.
Taylor: Depends on the show. Like Barry, I’m not a huge warm-up person. If it’s a musical I will vocalize and make sure I’m warmed up in that capacity, but with non-musicals I don’t have a set regime. I do like to get to the theatre extra early and take my time getting ready. Plus, there is nothing like an empty theatre. It’s such a soothing place for me.
After a show I tend to have too much adrenaline to just go straight home, so I will typically grab a drink and hang out with cast members. If it’s a matinee I may jet home to see my kiddos before bedtime.
ASR: If someone asked to be your apprentice and learn all that you know, what things would you tell them are essential?
Barry M.: Trust your gut. Be tenacious. Focus on the audience experience.
Taylor: Be kind—the theatre world may seem big, but it ultimately is pretty darn small, and people will remember their experience with you. Be collaborative—your production and company will be so much better off utilizing the talent and ideas of your artists to the fullest. Be willing to step into any shoes—this means working front of house, making props, being on stage, working backstage, sweeping the floor. Not only does it familiarize you with every job that needs to be done so you know what you are asking of others, but you are the example. Be a great example.
ASR: What theater-related friendship means the most to you? Why?
Barry M.: When you build a theatre from the ground up together and keep it going ten years it’s a good friendship, so my friendship with Taylor Bartolucci means the most to me.
Taylor: My relationship with Barry. It’s not every day you have the chance to dream and work alongside your best friend. We complement each other very well in terms of how we make decisions, how we feel in certain situations and how we like to work.
ASR: What is the funniest screw-up you’ve seen on stage in a live performance?
Barry M.: In college, the climactic sword fight on opening night between MacBeth and MacDuff started with MacBeth somehow getting his cape tangled in his crown and the audience laughed. Perfect climax to a truly cursed production of “The Scottish Play.”
Taylor: One that happened recently was a production where a very dramatic scene had two people fighting over a baby. When the person who wanted the baby grabbed it, the head popped off and bounced on the floor, while the other person had to keep crying and pretend that the head was still attached. It was truly a great exercise in acting as one of them grabbed it as quickly as possible and both actors kept going like nothing had happened.
ASR: The most excruciating screw-up?
Taylor: Years ago I was at a show at ACT in San Francisco. One of the actors forgot his line. He stopped, said he was going to rewind and start over. I vaguely remember it was the beginning of a monologue. He started again and got stuck, and started again. This happened four times! The audience got pissed and started booing.
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
Barry M.: Exiting through our greenroom trying to find the bathroom, startling some actors… or throwing up into their popcorn (yeah) during a scene… or cutting across the stage to leave in the middle of a scene.
Taylor: Oh my goodness. In our theatre—a 97-seat black box—the audience is VERY up close and personal, so we have seen it all! From people in the audience talking back to cast members on stage mid-show, having panic attacks, sleeping—you name it.
ASR: Do you have a “day job?”
Barry M.: Two or three of them.
Taylor: I work for my family winery, Madonna Estate during the day. And we are currently having a special—20% off all wines! Use the code 20OFF and LOCALS at checkout and I will deliver to your doorstep!
ASR: What are your interests outside of theater?
Barry M.: All the news all the time, soccer, wine
Taylor: Family, friends, working out, country music, cooking.
ASR: Do you follow other arts—music, film, dance, painting/sculpture? Do you pursue any other arts apart from theater?
Barry M.: I enjoy quality films but don’t care for most of the popular ones. I’m a big fan of classic films—Capra, Ford, Welles, etc.
Taylor: There are lots of things I would love to explore—playing musical instruments, creating visual art (painting, wall art, etc) but with a two-year-old, a one-year-old, the theatre and the winery, I am sadly short on time these days.
ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?
Taylor: Hmmm. OK:
1) Everyone clean up after themselves
2) It’s 5’o clock somewhere at all times
3) You don’t have to sleep but you need to stay in bed during naptime…
Oh wait, these are just my current stay at home rules with my kids. Sigh…
ASR: What would be the worst “buy one get one free” sale of all time?
Barry M.: A timeshare.
ASR: You have the opportunity to create a 30-minute TV series. What’s it called and what’s the premise?
Taylor: Barry already created one! It’s called “Good Talks with Taylor.” Sometimes the content is amusing, sometimes he thrusts the camera into my face when I’m annoyed, Other times I may or may not have had a drink or two. It’s always brought us some good laughs.
ASR: If you were arrested with no explanation, your friends and family might assume you had done what?
Barry M.: DUI, most likely. Mass murder would be most satisfying.
Taylor: I better not be arrested! Being married to a cop… should have some benefits!
ASR: A fashion accessory you like better than others?
Taylor: Not sure it’s something I like more than others, but I’ll take a good, useful pair of sunglasses on a sunny day.
ASR: What would be the coolest animal to scale up to the size of a horse?
Barry M.: Novel coronavirus. I’d mount up and ride it out of town.
Taylor: Hmmm…can’t say there is anything I’d like to see blown up to a size that could attack me. Call me a wimp!
ASR: Theater people often pride themselves on “taking risks” — have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, skydiving?
Barry M.: Nothing involving falling to my death or drowning interests me, for some reason. The risks I have taken in my life were not artificially imposed, they were real-life risks about financial security, family ties, and living the life I wanted to live.
Taylor: No, nothing that could physically harm me has ever been of interest. Give me a good juicy scene where I can cry and scream and be raw and real in front of strangers but ask me to jump out of a plane?! NO WAY!
ASR: Favorite quote?
Taylor: One of my all-time favorite quotes is actually from the song “She Will Be Loved” by Maroon 5: “It’s not always rainbows and butterflies—it’s compromise that moves us along. My heart is full and my doors always open, you can come anytime you want.”
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Paying to pee is a way of life for the poor and downtrodden in the fictional neighborhood of Urinetown. Managed with mendacity by water-and-waste management firm Urine Good Company, “amenities” dot the urban landscape, with admission fees so high that residents scramble all day to get enough money to relieve themselves—a high-pressure situation that foments rebellion if not resolution.
At Spreckels Performing Arts Center through March 1, “Urinetown, the Musical” celebrates many of the conceits of traditional musical theater while skewering others. The familiar plot elements—oppressive overlords, rebellious poor, star-crossed lovers from opposite sides of the conflict, a desperate kidnapping—have all been exploited by playwrights for centuries.
What makes this darkly-themed show unusual is its coupling of these reliable plot elements with upbeat Broadway song-and-dance productions, and its self-conscious stance as a piece of “metatheater” that announces itself and its intentions directly to the audience through UGC’s chief enforcer Officer Lockstock (David L. Yen), whose main connection to the Urinetown residents is through the likable character of Little Sally (Denise Elia-Yen).
“Urinetown, the Musical” is tremendous production…
Theater fans of long experience will note similarities in theme, plot, characters and music with many other productions. “Urinetown” is in solid traditional territory there.
Tim Setzer shines as UGC’s evil chief executive Caldwell B. Cladwell, the “toilet tycoon,” as described by ASR critic Nicole Singley. His toady-laden office includes Senator Fipp (Michael Arbitter), a legislator doing his patriotic best to win congressional approval for a system-wide increase in toilet admission fees. Recently graduated from the world’s most expensive university, Cladwell’s beautiful daughter Hope (Julianne Thompson Bretan) is about to join her father’s management team but is taken hostage by restroom-deprived rebels. In the process, she develops sympathy for their cause—mirroring the real-world fate of newspaper heiress Patricia Hearst in a 1974 kidnapping staged by would-be revolutionaries—and falls in love with their charismatic leader Bobby Strong (Joshua Bailey).
“Urinetown” cast shows class dance moves
The stark set by Eddy Hansen and Eliabeth Bazzano is the perfect venue for this musical misadventure, enhanced by projections from Chris Schloemp.
Lucas Sherman’s small orchestra is dazzling. Performances range from good to superb, with especially good efforts by Bailey and Bretan, Yen, Setzer, and Karen Pinomaki as Josephine Strong, Bobby’s devoted mother. ScharyPearl Fugitt is a standout as Urinetown rebel Soupy Sue, and as Cladwell’s secretary. Her dancing is especially enjoyable. A large and exemplary cast fills out the remaining roles.
“Urinetown” has an impressive cast!
“Urinetown, the Musical” is tremendous production—not perfect, but huge fun with a depressing message at its core: sugar-coated theatrical medicine. Yes, resources are shrinking and the population is growing. It’s not a pleasant prospect, but we can all delight in the irony as we head for the abyss.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Production
Urinetown, the Musical
Written by
Mark Holman and Greg Kotis
Directed by
Jay Manley
Producing Company
Spreckels Performing Arts
Production Dates
Through March 1st
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Cast and Crew of ‘Tiny Beautiful Things’ at SF Playhouse. Director Bill English is up-center-left in jacket.
An online advice columnist discovers that she is a wellspring of wisdom and empathy in “Tiny Beautiful Things” at SF Playhouse, through March 7.
Before each performance, Playhouse Artistic Director Bill English delivers a curtain speech in which he reiterates that his company envisions their theater as an “empathy gym” where performers and audience alike get to flex their emotional muscles. The speech couldn’t be more appropriate than it is for “Tiny Beautiful Things” developed by Nia Vardalos from the autobiographical book by Cheryl Strayed.
English directs Susi Damilano as “Sugar,” the initially reluctant advice columnist, and Mark Anderson Phillips, Kina Kantor, and Jomar Tagatac as Sugar’s various correspondents, who seek guidance on everything from the intricacies of love to matters of life and death. Sugar’s no Ph.D. psychologist but simply a woman of vast personal experience—far more vast than she first understands—who digs deep to deliver heartfelt consolation and hope to her readers, often delivered with gentle humor.
Kina Kantor, Susi Damilano, Jomar Tagatac, and Mark Anderson Phillips make peanut butter and jelly sandwiches together.
Damilano is confident and sly as Sugar, who goes repeatedly to her refrigerator for refills of white wine and emotional conviction. At first, amused by her work, she soon discovers that she’s dealing with serious issues, and rises to the challenge.
… a well-deserved standing ovation.
The play’s dramatic structure is a recitation of letters, each beginning with “Dear Sugar,” spoken and acted with palpable gravitas by Damilano’s three supporting actors. Part literary fugue and part call-and-response, the recitation continues in a rolling rhythm throughout the play’s 85 minutes, reaching a crescendo when Sugar incites her readers to find love in their hearts for everything that life throws at them.
Letter Writer #3 (Jomar Tagatac) takes in Sugar’s (Susi Damilano) words of wisdom in ‘Tiny Beautiful Things’ at San Francisco Playhouse.
It’s a beautiful moment, on a dreamscape of suspended metal poles (set design by Jacquelyn Scott) evocatively illuminated by lighting designer Michael Oesch. Unfortunately, its impact is diminished by an extended continuation of letters and responses, as if Vardalos couldn’t decide what to keep and what to cut. It’s a not-so-unusual theatrical circumstance of less-could-be-more with more careful editing.
Even so, “Tiny Beautiful Things” is a rare undertaking and within its limits, a sparkling gem. Author Cheryl Stayed was in the audience on opening night, and got a well-deserved standing ovation. The world could do well with more empathetic advisors like her and fewer snarky commentators.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Tiny Beautiful Things
Written by
Adapted by Nia Vardalos from the book by Cheryl Strayed.
Co-conceived by Marshall Heyman, Thomas Kail and Nia Vardalos.
Two widows battle for control of a room in a residential retirement center in “Ripcord” at Cinnabar Theater through February 16.
Laura Jorgensen and Kate Brickley star as combative roommates Abby and Marilyn, respectively, in David Lindsay-Abaire’s elegantly conceived comedy. Author of “Good People,” “Rabbit Hole,” and many other excellent plays, Lindsay-Abaire is at the top of his game in this “Odd Couple”-inspired story of a cranky loner (Abby) and her attempt to drive out her ceaselessly upbeat roomie.
With momentum like a speeding truck, the script’s inherently compelling pacing is made more so under the brilliant direction of James Pelican, who gets his talented six-member cast to hit every beat at precisely the right moment. It’s one hilarious ride, with moments of melancholy as texture and spice.
…what may prove to be one of the most uproarious comedies this season!
Jorgensen and Brickley are perfectly cast, supported by Kyle Stoner as Scotty, the long-suffering orderly who brings them their meals and medications and tries his best to keep the two from each other’s throats. Sarah McKeregan and Chad Yarish are superb—and superbly funny—as Marilyn’s daughter Colleen and son-in-law Derek, among other roles, while the versatile John Browning appears as each woman’s adult son, a bit of casting that may induce confusion in some viewers. Even so, the cast of “Ripcord” is among the most evenly-balanced to appear onstage so far this year.
Laura Jorgensen and Kate Brickley – Photo courtesy of Eric Chazankin.
Scenic designer Joseph Elwick’s quick-change sets help propel the story, which includes a sky-diving adventure—hence, the title—that’s part of Abby and Marilyn’s continually-escalating series of challenges to each other. Will they go down fighting or learn to live not-so-happily ever after? Closing weekend will reveal all to those quick enough and lucky enough to score tickets for what may prove to be one of the most uproarious comedies this season.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Tony Hale as Guy in “Wakey, Wakey” at American Conservatory Theater’s Geary Theater.
A dying man lectures the audience on the wonders of life in Will Eno’s “Wakey, Wakey” at the American Conservatory Theater, through February 16.
Former TV star Tony Hale (“Arrested Development,” “Veep”) and veteran actress Kathryn Smith-McGlynn bring nuance and conviction to a muddled script directed by Anne Kauffman, its title not a reference to “woke culture” but apparently an admonition to be alert and conscious and rejoice in all that life has to offer including its inherent contradictions and dead-ends.
The piece opens with Hale’s character Guy lying half-clad on the stage and proceeds to having him engage in an addled monologue in his pajamas while sitting in a wheelchair. Some of his ramblings are absurd observations, a few are poignant remembrances, but most are simply non sequiturs strung end-to-end, all accompanied by old home movies and odd bits of eye candy projected on a huge screen behind him, ostensibly controlled by a small remote with which he continually fumbles. The jumble of letters and misspelled words in the projections is a recurring gambit, perhaps symbolic of the loss of cognition suffered by those nearing the end of their tenure on earth—or perhaps not so symbolic, and simply comedic distractions inserted by the playwright to punch up the entertainment value.
This piece has potential…but need(s) much more development to justify putting on such an esteemed stage as ACT’s.
Such confusion is rampant throughout the 80 minutes of “Wakey, Wakey,” a piece of so-called “metatheater” that attempts to confound many of the traditions of live theater. Eno is a trendy playwright whose “The Realistic Joneses” has been performed by many companies and has been generally well-received. His “Middletown” is a pointless exercise in attempting to update Thorton Wilder’s classic “Our Town.” “Wakey, Wakey” continues the pointlessness, right up to and including the moment when Guy expires, launching a deluge of bright balloons and celebratory music.
Eno may have drawn inspiration from Randy Pausch, the Carnegie Mellon University computer scientist who, while dying of pancreatic cancer, delivered motivational talks about achieving childhood dreams. The script’s amateur construction aside, Hale does a marvelous job holding the attention of the audience and conveying his character’s constantly mutating state of energy and awareness.
Kathryn Smith-McGlynn as Lisa (left) and Tony Hale as Guy in “Wakey, Wakey” at American Conservatory Theater’s Geary Theater.
Smith-McGlynn is tremendously confident and sensitive as hospice nurse Lisa, who comes in late to check on him. She also appears as a community college substitute teacher in the opening sketch “The Substitution,” in which Eno conflates a cultural history lesson with driver’s education. This short piece has potential, as does “Wakey, Wakey,” but both of them need much more development to justify putting them on such an esteemed stage as ACT’s.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Wakey, Wakey
Written by
WIll Eno
Directed by
Anne Kauffman
Producing Company
American Conservatory Theater (ACT)
Production Dates
Through Feb 16th
Production Address
American Conservatory Theater, Geary Theater
415 Geary Street
San Francisco, CA 94102
An Iraqi immigrant family finds a Christmas holiday gathering and promise of a bright future sullied by the momentum of the past in Heather Raffo’s “Noura,” at Marin Theatre Company through February 9.
Escapees from the destroyed city of Mosul, the family of three—Noura, her husband Tareq, and their young son Yazen—share a spacious New York City apartment, one decorated with an oversized Christmas tree but little else. Their space (set design by Adam Rigg) has the disheveled, semi-organized look of a temporary refugee camp, a reflection of Noura’s sense of disconnectedness despite the fact that her family has been in the US eight years, and has gained American citizenship and Anglicized names so that they might be better assimilated. Easier said than achieved, as this fascinating if uneven production proves over the course of its approximately ninety minutes.
The Christmas season is especially difficult for Noura (Denmo Ibrahim), who longs for the life she knew in her home city—family, friends, neighbors of multiple ethnicities and religions— an extended community that was destroyed in the wake of the US invasion. Tareq (Mattico David) is an emergency room physician who seems pretty much Americanized until confronted by the arrival of a holiday visitor, Maryam (Maya Nazzal), a fellow refugee they’ve been sponsoring who shares complicated ties to their past lives in Mosul. Her impending arrival is a source of anxiety for Noura as she makes preparations. A physics student in California, young Maryam hopes to land a job as a weapons designer with the US Department of Defense.
Ibrahim beautifully portrays her character’s abiding sense of loss and ambiguity . . .”
Maryam’s aspirations don’t seem to have any effect on Noura and Tareq, nor on their doctor friend Rafa’a (Abraham Makany), also an exile from Mosul, but the fact that she is unmarried and pregnant—both by choice—throws Tareq into a tailspin. An independent young woman with no apparent need for a man is a situation he simply can’t cope with: thousands of years of macho Arab culture upended by one modern independent feminist, resounding proof that they’ve left the old world behind. The emotional repercussions from this and other conflicts resonate off the stage and into the audience as the four adults and one boy (Valentino Herrera) struggle to make the holiday a pleasant one.
The Cast of MTC’s “Noura” (Photo Credit: Kevin Berne)
All four adult actors are excellent. Ibrahim and David in particular are able to mine emotional nuances that actors with lesser skills might not manage. Some of their dramatic expertise must certainly be the work of director Kate Bergstrom, but there are holes in the story that detract from its intended effect. Why, for example, do these Iraqi-Americans not raise even one word of dismay over Maryam’s stated career agenda, when their entire country was demolished by high-tech weaponry and the medieval mentality behind it? Tareq must make a decent income from his emergency room work, but they still can’t afford some basic furniture? Then there are Noura’s recurring smoke-filled reveries of the life she once knew, with no counterbalancing embrace of the future’s potential.
Noura lives in limbo between then and now, unable to let go and unwilling to move on. It’s a heartbreaking situation, the immigrant’s plight, one not understood by Americans intent on “reaching closure” as quickly and painlessly as possible. Ibrahim beautifully portrays her character’s abiding sense of loss and ambiguity, repeated several times with minor variations in the extended final scene. Playwright Raffo might better have chosen one powerful statement and let the curtain fall, rather than hammer the audience with what they’ve already learned is Noura’s unhappy truth. Not that the story needs to be tied up in a tidy little bundle of happy-ever-afterness, but a clear ending would enhance the play’s impact.
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: [email protected]
Production
Noura
Written by
Heather Raffo
Directed by
Kate Bergstrom
Producing Company
Marin Theatre Company (MTC)
Production Dates
Through February 9th
Production Address
Marin Theatre Company
397 Miller Avenue
Mill Valley, CA
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: [email protected]
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: [email protected]
Production
Buddy—The Buddy Holly Story
Written by
Alan Janes
Directed by
D. J. Salisbury
Producing Company
6th Street Playhouse
Production Dates
Through February 16th
Production Address
6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
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 wit. Pitch-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: [email protected]
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.
Unlimited budgets can yield miracles. Especially in theater. “Harry Potter and the Cursed Child,” at the Curran through July 12, is one of those miracles.
And yes, the July 12 closing date is correct—a six-month run! The large-capacity Curran (nearly 1700 seats) was closed for a couple of years for a massive renovation, only to have some of the new seating and carpeting removed to build out the realistic refugee camp for last spring’s fantastic production of “The Jungle.” It’s been redecorated again—this time with carpeting and fabric wall coverings embellished with the Hogwarts logo.
The unlimited budget is apparent both the moment you step into the theater and the moment the curtain rises for Part One, which manages to pack in more theatrical illusions than any dozen blockbuster shows in Las Vegas, including characters that step out of seemingly solid walls, or seemingly solid walls that absorb characters the way a sponge draws water, characters that instantly morph into other characters, characters that vanish only to reappear swimming in the sky, characters that emerge and exit through a burning fireplace, ghostly spirits that hover above the audience, and graffiti that somehow appears throughout the theater’s huge ceiling, like a celestial pattern in an observatory. Then there’s the amazing choreography of swirling capes and their disappearing owners (Steven Hoggett, movement director). Those are a few highlights.
…It’s a wild adventure.
The story by J.K.Rowling, Jack Thorne and John Tiffany has the now-adult Harry Potter (John Skelley) toiling away as a wizard in the Ministry of Magic, and about to send his son Albus (Benjamin Papac) off to school at his alma mater, where Albus meets Scorpius Malfoy (Jon Steiger), a boy his age who’s the son of dark lord Draco Malfoy (Lucas Hall).
The two of them form an uneasy but solid friendship and are soon continuing the struggle against the evil Lord Voldemort (Andrew Long) and his offspring. It’s a wild adventure. The fanciful, quick-moving, and action-packed tale consumes nearly two-and-a-half hours and will keep you riveted to your seat the entire time. It’s a mind-blowing, all-consuming production populated by four or five dozen ace performers.
Among the amazing factoids around this show are stories of the two young actors who so magnificently embody Albus Potter and Scorpius Malfoy. “Harry Potter and the Cursed Child” is reputedly Papac’s first professional stage acting gig, and Steiger’s prior experience includes a Shakespeare festival in Scranton, Pennsylvania. They nonetheless meet the world-class challenge of what must be an exhausting, demanding production, including Saturday and Sunday performances that include both Part One and Part Two, where the two boys and their Hogwarts associates meet Voldemort’s daughter for a final showdown.
Should your time or budget restrict you to seeing only Part One or Part Two, note that Part One is the more compelling of the two, and more spectacle-intensive. Real Potterites, of course, will want to see both, but casual visitors will likely enjoy the first one more. Part Two’s extensive exposition and lengthy dialog will be better suited for those who’ve read all the books and seen all the films.
Casual theatergoers not in the Potter camp would do well to read up on the mythology before the show—a brief synopsis of which is included in the playbill. Even those who don’t know Harry Potter from Harry Houdini will be astounded by this production. For true believers—they are legion—it’s a religious experience.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Production
Harry Potter and the Cursed Child
Written by
J.K. Rowling, Jack Thorne, and John Tiffany
Music and Lyrics by Benj Pakek and Justin Paul
Directed by
John Tiffany
Producing Company
Curran Theater Co.
Production Dates
Thru August 31st
Production Address
Curran Theater
445 Geary St.
San Francisco, CA 94102
One of the most beloved musicals of all time is enjoying a sumptuous revival at Sonoma State University’s capacious Evert B. Person Theatre through December 8.
With its own theater facilities still under renovation, the Santa Rosa Junior College Theater Arts department has teamed up with its counterpart at Sonoma State University to put on a hugely ambitious and mostly successful production of “The Sound of Music,” the Rodgers and Hammerstein classic about the Austrian von Trapp family and their escape from Nazi oppression shortly after the Germans annexed their country. It’s also, of course, the story of Maria Rainer (Arianna LaMark), the perpetually upbeat would-be nun who becomes governess to the seven von Trapp children, and ultimately, the wife of their widowed father, Captain von Trapp (Michael Coury Murdock).
… …a wonderfully engaging performance… …
The show is rampant with tunes that won instant popularity and continue to be favorites today: “The Sound of Music,” “My Favorite Things,” “Do-Re-Mi,” “Sixteen Going on Seventeen,” “How Can Love Survive?,” and “Climb Every Mountain,” all of them performed brilliantly by a huge cast on a huge stage, backed by a superb ten-piece orchestra led by music director Janis Dunsun Wilson. Everything about this show is enormous, from the steeply-raked large-capacity Person Theatre to the fantastically oversized stage set and towering backdrop on which is projected an image of the Matterhorn as it looks at various times of day and night—set and projection design by Peter Crompton.
Director Laura Downing-Lee has coaxed a wonderfully engaging performance from her cast of nearly three dozen performers, all of whom deliver without a bobble. Vocal performances are tremendous—LaMark and Murdock excel here—and the acting is almost as good, with the best performances given by Heather Buck as Elsa Schrader and Crystal McDougall as Mother Abbess. LaMark wins hearts with “The Sound of Music,” “My Favorite Things,” and several other songs, while Murdock prompts tears with his treatment of “Edelweiss” in the penultimate scene. Madigan Love is excellent as Liesl, the oldest of the von Trapp brood, although her handling of the guitar makes it appear as if she’s just discovered the instrument.
There are a couple of unfortunate glitches that detract from the pervasive magic, especially the fact that the backdrop isn’t stretched tight enough to avoid billowing. When it does, the Matterhorn appears to be breathing. A bit of a letdown comes at the end, when the von Trapps decide to strike out on foot through the mountains to Switzerland. Downing-Lee wisely has them tackle the steep stairs out of the theater—in the dark, as must have happened in real life—but a bit of subdued lighting on them as they climb would heighten the drama. The same is true when they reach the top and look back at their home. Instead of simply standing there in the dark then leaving through an “Exit” door, they might linger for a moment behind a bit of set indicating that they’ve reached Switzerland and freedom.
But those are small suggestions intended only to take this already tremendous production one notch higher. Even without them, it’s guaranteed to please. “The Sound of Music” is among the greatest feel-good shows of all time; SRJC’s affordable tickets make this version an absolute bargain.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Production
The Sound of Music
Written by
Book by Howard Lindsay and Russel Crouse
Music by Richard Rodgers, Lyrics by Oscar Hammerstein II
Directed by
Laura Downing-Lee
Producing Company
Santa Rosa Junior College Theatre Arts Deptment in conjunction with Sonoma State University
Production Dates
Through December 8th
Production Address
Evert B. Person Theater at Sonoma State University
The stereotypical Irish affinity for alcohol, self-delusion, and self-defeat gets fully exercised in Conor McPherson’s “The Seafarer,” at Main Stage West through December 21.
It’s Christmas eve, 2007, in a shabby residence (set design by director David Lear) in a small coastal town north of Dublin. Four buddies have gathered for a night of blarney, heavy drinking, and card games, with a fifth guest named Mr. Lockhart (Keith Baker) who may or may not be the devil incarnate. The four friends—Nicky, Richard, Ivan, and Sharky (Anthony Abate, John Craven, Kevin Bordi, and Edward McCloud, respectively)—spend the entire first act getting hammered and regaling each other with long-winded and elaborate tales about very little. It’s a long setup.
…a stunning ensemble effort by five extremely talented actors.
In the second act, they get down to business with a poker game in which they bluff not only about the cards they hold but about their generally miserable existences—bluffing exacerbated by their sharing a treasured bottle of high-octane liquor, as the financial and psychological stakes rise.
The stakes reach a fever pitch during a lull in the game—with the other three out of the room, Mr. Lockhart torments Sharky with a hideously frightening description of eternal damnation. Then they reunite around the table for a few final rounds of cards, in which their true characters are revealed to be as empty as their pockets. None of them are likable—Nicky, for example, admits that he has only thirty-five euros to last until January, and that he ought to be at home with his wife and kids, but he can’t resist gambling more than he has on one last desperate hand. Ivan likewise wrestles with how he’s going to explain his absence from home. Richard, Sharky’s brother and literally a blind drunk, takes great delight in tormenting his friends, as he has throughout the evening.
Altogether, it’s an unpleasant story about unlikeable losers, not one that would normally earn a recommendation, but it’s a stunning ensemble effort by five extremely talented actors. All are 100% committed to their characters and 100% committed to telling McPherson’s tale as well as it can be told. In that sense, “The Seafarer” is an exemplary production—a master class for aspiring actors, but not the sort of production that ordinary theatergoers will gush about to friends. If you’re seeking something to brighten your day or a tune to whistle on the way home, this isn’t it.
Is it possible to beat the devil at his own game? Is it possible to beat the devil that resides in every man’s heart? McPherson, a reformed alcoholic himself, implies that it is, perhaps even accidentally. Brave theatergoers with a tolerance for the dark side of humanity may wish to find out for themselves.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Production
Seafarer
Written by
Conor McPherson
Directed by
David Lear
Producing Company
Main Stage West
Production Dates
Through Dec. 21st
Production Address
Main Stage West
104 N Main St
Sebastopol, CA 95472
Isabelle Arc (Sherman Fracher) and her daughter, Joan Arc (Rosie Hallett) Photo: Kevin Berne
A mother’s love has seldom been as brilliantly or movingly depicted as it is in Jane Anderson’s “Mother of the Maid,” at Marin Theatre Company through December 15.
Directed by Jasson Minadakis, it’s a story of a mother’s devotion to one of history’s most famous and most controversial figures. Joan of Arc had a short life: she was only 17 when she led the French army against the English during the last gasp of the Hundred Years War, and was only 19 when she was burned at the stake as a heretic. Her parents endured it all—Joan’s recurring visions, irrepressible spirit, indomitable purpose, and tragic end. Her father Jacques (played by the always rock-solid Scott Coopwood) witnessed her execution and suffered psychosomatic blindness a result, and is said to have died of grief shortly thereafter.
While it’s Joan’s trajectory that propels the piece, it’s really the story of her mother Isabelle (the astounding Sherman Fracher) whose devotion is so strong that she not only bathes and comforts her daughter on the morning of her execution but in the decades after, pursues clearing her name, taking her case all the way to the Pope in Rome. Joan of Arc was ultimately exonerated of heresy and declared a saint, in large part due to Isabelle’s persistence.
Isabelle (Sherman Fracher) sees Joan (Rosie Hallett) for the first time in months. Photo: Kevin Berne.
The Church permeated every aspect of life in the Middle Ages in Europe—business, finance, government, military, and private family affairs. It was an age of superstition and savagery—despite the Biblical commandment “Thou Shalt Not Kill,” with Church approval, governments small and large squandered economic and human resources on one pointless war after another—a tradition that continued right into the modern era. Illiterate sheepherders, the Arc family had seen their friends and neighbors, the Lebecs, hacked to death by the English.
…as near-perfect a production as we may ever see on a Bay Area stage.
From early adolescence, Joan (Rosie Hallett) had visions of visitations from St. Catherine that instilled in her a deep conviction that her purpose was to lead France to liberty—a belief shared by local clergyman Father Gilbert (Robert Sicular), who pleads her case with church officials. Father Gilbert is a kind-hearted go-between, and Isabelle respects him. Jacques is more a hardened realist but knows better than to argue points of theology or to question authority. Joan’s brother Pierre (Brennan Pickman-Thoon) is a teenager enamored with playing soldier—he couldn’t be prouder of his armor and his sword, and is Joan’s companion in battle, which we do not see enacted onstage.
Joan (Rosie Hallett) dictates a letter while her parents, Isabelle (Sherman Fracher) and Jacques Arc (Scott Coopwood), observe. Photo: Kevin Berne.
Except for the opening scene—in the Arc home, implied by a structure of rough open timbers—all of the action takes place on a dauntingly beautiful set by Sean Fanning, a collection of floating Gothic arches that serves as Church, palace, and prison, made ethereal or oppressive by Chris Lundahl’s exquisite lighting. Marin Theatre Company regular Liz Sklar does a fine turn as a lady of the court, who befriends Joan (and subsequently, Isabelle) and wins her favor with the Dauphin, future King Charles VII of France. Isabelle’s visit to court involved walking three hundred miles over rough terrain, a journey she undertook multiple times. Fancher conveys Isabelle’s exhaustion and inexhaustible devotion as if they are simply what any mother would endure for her daughter.
Anderson’s use of modern dialect is an act of genius. The Arc family speaks in a sort of hybrid Irish/Minnesota accent, while the clergy and ‘noble folk’ speak more formally. The dialog might have been delivered in a sort of pseudo-Shakespearean with French accents, but putting it in modern language makes the whole story more immediate, more real, and more applicable to our own time. 600 years after Joan of Arc, superstition and savagery are still the rule.
“Mother of the Maid” is a heartbreaking piece of theater. A mother’s devotion to her children is one of the fundamental forces of human existence. MTC deserves high praise for bringing it to the forefront of our consciousness. It’s simply brilliant—as near-perfect a production as we may ever see on a Bay Area stage.
Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Production
Mother of the Maid
Written by
Jane Anderson
Directed by
Jasson Minadakis
Producing Company
Marin Theatre Company (MTC)
Production Dates
Through Dec 15th
Production Address
Marin Theatre Company
397 Miller Avenue
Mill Valley, CA
For the next few days, Bay Area theater fans have a rare opportunity to see the UK-based international touring show “Champions of Magic,” with twice-per-day performances through Dec. 1 at San Francisco’s downtown Golden Gate Theatre.
Five world-class illusionists and one aerialist/contortionist prove that classic theatrical magic is alive and well, with acts that include a mind-reader, a sleight-of-hand performer, an escape artist, and illusionists Strange & Young, who make people including themselves disappear and reappear instantly in ways that absolutely baffle and confound the audience.
Champions … is a wonderful departure from traditional theater and is suitable for entire families.
Aided by willing audience members, some little children, the sleight-of-hand artist gets an amazing amount of mileage from a Five of Clubs pulled from her deck, cut-and-torn paper, and various ordinary objects including rubber bands. Audience volunteers also propel the mind-reader, who on opening night correctly guessed names and relationships of random people pulled onstage. He also identified one woman as a Navy veteran and former presidential guard, without any apparent prior knowledge. How this is possible will keep you wondering long after the show is over.
The escape artist revives some of Houdini’s best tricks, including getting out of a straitjacket while submerged in a tank of water locked from the outside, a performance guaranteed to induce anxiety in anyone with a hint of claustrophobia. Strange & Young offer plenty of comedic patter as they leap about with a dynamic, quick-moving illusionist spectacle worthy of Las Vegas.
“Champions of Magic,” in fact, is the nearest thing to Las Vegas currently running in San Francisco, save the Cirque de Soleil production of “Amaluna” that runs into January. “Champions” is a wonderful departure from traditional theater and is suitable for entire families. The show’s run is short and if opening night is a good indicator, tickets may be in short supply. If dazzling spectacles appeal to you, do not miss this show.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
London in Charles Dickens’s time must have been close to hell on earth, choked with pollution, poverty, homelessness, and crime. “Oliver Twist,” the author’s second novel, depicts all this quite vividly. So does “Oliver!” the 1960 musical adaptation by Lionel Bart, at Santa Rosa’s 6th Street Playhouse through December 15.
The show’s requirement of many children in the cast prompts theater companies to present it in the hope of generating substantial ticket sales—all those kids have parents, relatives, and friends who must attend. But despite its huge popularity, it’s not a feel-good extravaganza like “Annie.” It’s a grim portrait of a poor orphan boy (Cecilia Brenner and Gus Jordan, in alternating performances) doing his best to survive in unbelievably adverse circumstance.
This includes falling in with a group of scuzzy adolescent hoodlums led by an old hustler named Fagin (David Yen), who fences their stolen goods in exchange for providing them a bit of safety and mentorship, aided by his youthful apprentice The Artful Dodger (Mario Herrera). These small-time criminals are in turn under the thumb of a really serious criminal named Bill Sykes (the imposing Zachary Hasbany), a malevolent force who doesn’t hesitate to kill people who displease him or get in his way.
…the performers are exuberantly entertaining across the whole range of acting, singing, and dancing…
Survival is the primary plot, but there are some compelling secondary plots too, including love affairs among the adults—especially between the doomed, pathetically mistreated Nancy (Brittany Law) and the dastardly Sikes. There’s also a meandering subplot about the hunt for Oliver’s family of origin that’s resolved near the end, as is Fagin’s reconsideration of his disreputable career.
Cecilia Brenner as Oliver-Mario Herrera as Dodger-photo by Eric Chazankin
6th Street’s show has a huge cast—it’s in many ways an all-star gathering of North Bay theatrical talent, who make substantial contributions to its success under director Patrick Nims. The set by Sam Transleau is equally huge, occupying the entirety of the big stage in the G.K. Hardt theater, save the space backstage where Ginger Beavers leads an excellent seven-piece band.
There’s some inexplicable gender-bending in the adult casting, but most of the performers are exuberantly entertaining across the whole range of acting, singing, and dancing (choreography by Joseph Favalora).
Oliver’s personal triumph is uplifting, and Fagin’s repentance satisfying, but the real appeal of the show—and perhaps, the reason for its enduring popularity—is the number of great songs in it. Many of them broke out as pop and jazz standards—especially Nancy’s heartbreaking showcase number, “As Long As He Needs Me.” The music alone recommends this show, while the rest of it works with admirable effort in every direction to sustain that level.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Oliver!
Written by
Lionel Bart
Directed by
Patrick Nims
Producing Company
6th Street Playhouse, Studio Theatre
Production Dates
Through December 15th
Production Address
6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
The signing of the Treaty of New Echota (L-R: Elizabeth Frances, Adam Magill, Kholan Studi, Scott Coopwood, Andrew Roa, Robert I. Mesa). Photo credit: Kevin Berne.
The displacement of conquered people is pretty much the history of the human race. So is the disregard of treaties by conquerors. Most historical retellings vary only in the degree of dishonesty and savagery depicted of conquerors toward the conquered—a degree that depends largely on which side the tale comes from. History is told by the victors, as the old adage has it.
At Marin Theatre Company through October 20, Mary Kathryn Nagle’s “Sovereignty” examines in detail the legal and illegal wranglings of 1832 that resulted in the forced migration of the Cherokee people from Georgia to Oklahoma (the infamous “trail of tears”). White settlers supported by President Andrew Jackson were making incursions into the Cherokee Nation, in violation of a treaty that gave the Cherokee jurisdiction over their land and all that took place on it. In Worchester v. Georgia the US Supreme Court under Chief Justice John Marshall upheld native sovereignty, a decision defied by Jackson and his loyal US Congress. (Any resemblances between Jackson’s erratic antics and those of the current occupant of the White House are purely intentional.)
Sarah Bird Northrup (Ella Dershowitz) and John Ridge (Robert I. Mesa) make plans for their future. Photo credit: Kevin Berne.
As told by Nagle, Cherokee legal scholars John Ridge (Robert J. Mesa) and Major Ridge (Andrew Roa) worked within the court system to assert the rights of their people, but were considered traitors by more militant Cherokee leaders, such as John Ross (Jake Waid), who favored armed conflict as the only way to insure their survival—or in Ridge’s view, their total destruction. Mutual distrust between their descendants continues into the present, when a brilliant lawyer named Sarah Ridge Polson (Elizabeth Frances) seeks a position with the office of Cherokee Attorney General Jim Ross. As a member of a rival clan, Polson conceals her family identity until well after she’s landed the job.
Acting and pacing are both first-rate…
The issue of clan identity and inherited guilt is a running theme throughout the play. It’s a common story—people in many cultures are often deemed responsible for the actions of their ancestors—but Nagle doesn’t delve into its illogic. And she acknowledges with barely a nod that the Cherokee were slave owners. Instead she focuses on the outrageously illegal actions of Jackson and his ilk, and on more recent events, such as the 1978 Supreme Court decision Oliphant v. Suquamish Indian Tribe, which largely voided the benefits of Worchester v. Georgia, including eliminating the rights of native people to prosecute criminal acts by non-natives. In her notes in the playbill, Nagle mentions that attacks against natives by non-natives have risen horrendously since then—especially attacks against native women. Oliphant, in her view, was vindication of Jackson 140 years later.
Polson, her lead character, is a seeker of justice, in particular, one seeking enforcement of the Obama administration’s Violence Against Women Act (VAWA) that will restore some protection to native women—an argument she makes forcefully to the US Supreme Court in the play’s closing scene. Elizabeth Frances is at the height of her theatrical powers here. It’s a tremendous bit of theater with a resounding message, strongly directed by MTC Artistic Director Jasson Minadakis.
Flora Ridge (Ella Dershowitz) and Sarah Ridge Polson (Elizabeth Frances) reconnect in the family graveyard. Photo credit: Kevin Berne.
Acting and pacing are both first-rate in this piece, written by a native American and featuring several native actors. The past and present intersect almost seamlessly and sometimes confusingly, the two periods often distinguished only by the position of a long table on stage or by the costumes worn by actors.
The blending of the past and present is a dramatic structure to reinforce the concept of how much the present resembles the past. This sort of blending is also applied to the character of Ben O’Connor (Craig Marker, who also plays Andrew Jackson) a white detective who, early in the first act, leaps to the defense of Polson’s brother Watie (Kholan Studi) when he’s accosted by a drunken redneck (Scott Coopwood, superb in several roles). Ben is incensed by the redneck’s blatant racism, and exhibits admirable bravery in dealing with him. Shortly thereafter he charmingly asks Sarah Polson to marry him, and she agrees, but as soon as he’s downed a couple of drinks he becomes an insufferably small-minded racist jackass himself.
It’s a convenient plot device but doesn’t ring true, and provokes related questions such as why a whip-smart lawyer like Sarah Polson can’t perceive that her fiancée isn’t trustworthy. Such limitations in the script prevent “Sovereignty” from earning unlimited praise. Nonetheless, it’s a very good effort by a talented cast, presented as compellingly as possible—a history lesson well served.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.
Production
Mother of the Maid
Written by
Jane Anderson
Directed by
Jasson Minadakis
Producing Company
Marin Theatre Company (MTC)
Production Dates
Through Dec 15th
Production Address
Marin Theatre Company
397 Miller Avenue
Mill Valley, CA
Sutherland and Innocenti-Beem light up the stage in “Merman’s Apprentice” (Photo Credit: Miller Oberlin)
A young girl with stars in her eyes goes on the trip of a lifetime, and takes the audience with her, in “Merman’s Apprentice,” at Sonoma Arts Live through October 13.
It’s New York, 1970. Broadway legend Ethel Merman (Daniela Innocenti-Beem) is enjoying the zenith of her long career when into her life comes Muriel Plakenstein (Emma Sutherland), a 12-year-old runaway whose big dream is to be a Broadway star like Merman, her idol. Muriel happens to know everything about Ethel Merman, including every song she ever sang and obscure details of shows that ran decades earlier. An obsessive who will find fulfillment only in absorbing everything-Mermanesque, Muriel gets her wish, and in doing so fills a huge gap in Merman’s life.
The cast of Merman’s Apprentice (Photo Credit: Miller Oberlin)
The adult woman and the runaway form an almost-instant bond, reinforced early in the first act by the joyfully infectious song “Chums,” one that sets the emotional tone for the entire production. Innocenti-Beem is amazing as mentor/fairy godmother to a goofy talented girl with single-minded devotion toward becoming the next Ethel, as is 17-year-old Sutherland in conveying the innocence, enthusiasm, and vulnerability of adolescence. Playing younger is difficult for all performers, and Sutherland does it perfectly. As the story progresses, Muriel meets legendary musical theater impresario David Merrick (Patrick Barr), enjoys performances at the St. James Theatre, and dinners-and-drinkfests at Sardi’s. She also becomes Merman’s permanent house guest. Stars in her eyes, indeed.
Part fable, part fairy tale, and all heart, . . . a show that will delight theater fans of all varieties and ages.”
Playwright and lyricist Stephen Cole was a close friend of the real Ethel Merman in her later years and captures her signature snappy repartee perfectly. Innocenti-Beem, a huge-voiced stalwart of North Bay musical theater, has often been compared to Merman, including her penchant for improvisational off-color humor. When Cole met Innocenti-Beem for the weeks-long refinement process that rendered this show, he declared her “more Ethel than Ethel was,” echoing what local critics have been saying for years. She soars in “Listen to the Trumpet Call” late in the first act. One of Innocenti-Beem’s “Apprentice” costumes is the spectacular red dress she wore in a recent production of “Hello, Dolly,” a Merman signature role.
Cole’s musical collaborator David Evans has cooked up a couple dozen tunes that evoke the glory days of big brash Broadway musicals. “Apprentice” is set in 1970 but it references an earlier, more innocent age—there’s no hint of the Vietnam War or the growing protest movement, nor of the era’s incendiary black radicalism. It’s as if 1955 were forever trapped in amber, but the music is tremendous, delivered by an ace seven-piece band under the direction of Sherrill Peterson. The songs all clearly reference blockbuster show tunes from the 1930s into the ‘60s. The finale seems to quote “Comedy Tonight,” the lead song from “A Funny Thing Happened on the Way to the Forum.”
Holsworth and O’Brien as Mom and Pop (Photo Credit: Miller Oberlin)
Directors Larry Williams and Jaime Weisen Love have done something magical in bringing a production of this scale to the Rotary Stage. The large ensemble does an admirable job with Lissa Ferreira’s choreography on an impressive set by Gary Gonser, now recovering from a recent medical emergency. (Get healthy, Gary!) Sean O’Brien and Julia Holsworth are outstanding among the ensemble in their roles of Pop and Mom, respectively. Holsworth’s flat-footed shuffle is especially funny. The only real quibble with this world premiere is that the first act may be a bit overlong and the second act too short. It’s as if the second act needs one more song to balance the production. Cole and Evans can certainly supply this before the show goes to Broadway, as seems inevitable.
“Merman’s Apprentice” is a huge unabashed exercise in nostalgia. Part fable, part fairy tale, and all heart, it’s a show that will delight theater fans of all varieties and ages. The show and its stars are destined for much broader horizons, so catch it while you can.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.
Production
Merman's Apprentice
Written by
Book and Lyrics by Stephen Cole; Music by David Evans
Directed by
Jaime Weiser Love and Larry Williams
Producing Company
Sonoma Arts Live
Production Dates
Through October 13th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Pope Joan (Rosie Hallett), Dull Gret (Summer Brown), Marlene (Michelle Beck), Lady Nijo (Monica Lin), and Isabella Bird (Julia McNeal) recount their life stories at a dinner party in Caryl Churchill’s Top Girls performing at A.C.T.’s Geary Theater now through October 13, 2019.
Caryl Churchill’s “Top Girls” hasn’t been performed in the Bay Area in a long time. It’s been revived as the season opener at American Conservatory Theater, directed by Tamilla Woodard and running through October 13.
About a hard-charging female executive angling to move up the management ladder, the 37-year- old play has lost none of its relevance in the intervening decades, as is made dismayingly clear in several essays-with-statistics in “Words on Plays,” the fascinating booklet that accompanies the show’s playbill. Women still lag behind men in compensation and positions of authority. There’s nothing revelatory in that, but the piece has nonetheless acquired a bit of tarnish over the years.
Director Woodard pulls wonderfully committed performances from her eight-member cast…
At its core, “Top Girls” is a simple tale of a British career woman named Marlene (Michelle Beck), running from the limited opportunities of her working-class origins and pouring all her considerable energy into the pursuit of corporate power. Set in the early 1980s—the play debuted in ’82—it depicts Marlene maneuvering for an executive position even if it means displacing a male colleague who’s the sole support for his family of four. A Thatcherite, Marlene believes in meritocracy – the idea that the cream of society rises to the top – and dismisses the entitlement mentality of leftists and union workers.
Nell (Summer Brown) and Win (Rosie Hallett) arrive to work at the Top Girls Employment Agency in Caryl Churchill’s Top Girls performing at A.C.T.’s Geary Theater now through October 13, 2019.
As a manager in a busy employment agency, Marlene doesn’t gladly suffer fools. Her interviews with job-seekers are brusque, bordering on insulting, and she doesn’t hesitate to dominate her office-mates. They are not friends. But suffer she does, as we learn in the second act—from the slights she has showered on her family and the personal sacrifices she’s made seeking power in a man’s world. She doesn’t really have a life outside work.
The opening scene could be interpreted as evidence of Marlene’s suffering, and by extension, the suffering of all ambitious women. It’s a comically nightmarish dinner party featuring notable women fictional and historical: 19th-century adventurer Isabella Bird (Julia McNeal); Lady Nijo (Monica Lin), an 11th-century exile from the Japanese Imperial Court; the legendary Pope Joan (Rosie Hallett), thought to have reigned during the Middle Ages in the guise of a man; and Dull Gret (Summer Brown), a fearsome warrior immortalized by Brueghel. All bucked the patriarchy; the scene offers each an opportunity to tell her story. Each recitation adds fuel to Marlene’s furious purpose. It also allows all of them to riff simultaneously in multiple accents, an effect that’s literally a fugue of howling madwomen.
We get that they’re angry, even centuries after the fact, but from the audience’s point of view the scene is too long, consuming most of the first act. Here and there in the cacophony we understand a phrase or two, but for the most part, it’s as comprehensible as a long night of Dada poetry.
An esteemed British playwright, Churchill is no respecter of traditional temporal narrative or dramatic structure. The dinner scene—an exercise in art for art’s sake—is followed by an introduction to the employment service where Marlene works, and that, by a scene of two girls at play in a backyard—Kit (Lily D. Harris) and Angie (Gabriella Momah). The first act closes leaving viewers wondering how all this ties together.
Michelle Beck and Monique Hafen at work at ACT.
The second act is both rebuttal to and redemption for the excesses of the first. In a scene of gut-wrenching earnestness, Marlene has a heart-to-heart with her sister Joyce (Nafeesa Monroe) in her kitchen, where we learn the roots of Marlene’s driving ambition and the nature of her relationship to her worshipful, enthusiastic, but dim-witted niece Angie. The final scene takes place a year before the preceding one, but makes solid dramatic sense.
The play’s difficulties and pretensions are offset by superb acting by a cast of eight women, all save Beck and Momah in dual roles. Performances range from good to exemplary, including Hallett as Win and Brown as Nell, two different but dynamically balanced office workers whose arch banter spices their otherwise tedious workdays. Harris is youngest-appearing of the cast—she looks to be in her late teens—and mid-way through the second act she does a fantastically funny turn as a job-seeker named Shona pretending to be much older.
Shona bluffs with enormous chutzpah and an increasingly absurd litany of business buzzwords during her interview with Nell. She doesn’t know much and the more she talks the more it shows, an expertly rendered comedic sketch that provoked spontaneous applause on opening night.
Aided by Barbara Samuels’s elegant lighting, set designer Nina Ball achieves something remarkable with “Top Girls”—an austere set evoking the coldness of the business world, and another one quite warm and cozy as Joyce’s home. The emergence of Joyce’s residence from far back to stage front is a marvelous effect.
Director Woodard pulls wonderfully committed performances from her eight-member cast, but the standout for this reviewer is Gabriella Momah as the lovable, sweet-natured but intellectually limited Shona. She’s an absolute delight, a bright ray of sunshine in this darkly-tinted story.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.
Production
Top Girls
Written by
Caryl Churchil
Directed by
Tamilla Woodard
Producing Company
American Conservatory Theater (ACT)
Production Dates
Through Oct 13th
Production Address
American Conservatory Theater
415 Geary Street
San Francisco, CA 94102
In “Gypsy,” the ultimate stage mother from hell comes roaring to life four times per week through October 20 at Santa Rosa’s 6th Street Playhouse.
Broadway veteran Kathy Fitzgerald stars as Mama Rose, a thrice-divorced mother with two daughters, struggling to make a go of it on the waning Vaudeville circuit. With a gaggle of boy dancers, they manage to survive with an incredibly hokey act—so hokey, in fact, that it’s hard to believe that people actually paid good money to see it.
Carmen Mitchell works as Gypsy Rose Lee.
Rose is both the embodiment of never-say-die positive thinking and parental oppression, browbeating daughters June (Melody Payne) and Louise (Carmen Mitchell, excellent) into submission and forcing them to perform beyond their capacity — a syndrome that ultimately leads to June running off to find her own life with her new husband. Theater agent Herbie (Roger Michelson) tries desperately to become Mama Rose’s final husband, to no avail.
Near the end of the Vaudeville period, an inevitability denied to the last by her mother, Louise transforms from caterpillar to butterfly—and ultimately, into pop culture superstar Gypsy Rose Lee—after a life-changing experience with strippers in a Kansas City burlesque house. Her emergence into stardom is the bright light at the end of the story’s dark tunnel, one camouflaged by some of the most upbeat music ever composed.
There are … substantial talents in this show…
A collaboration by theater legends Arthur Laurents, Jule Styne and Stephen Sondheim, this more-or-less true story of perseverance and survival could make the most curmudgeonly cynic leave the theater whistling a happy tune. The show is jam-packed with gems from the American songbook, among them “Small World,” “Some People,” “Mr. Goldstone,” “Together, Wherever We Go,” “Let Me Entertain You,” and of course the deathless “Everything’s Coming Up Roses.”
On leave from a production of “Charlie and the Chocolate Factory,” Fitzgerald is a big draw—opening weekend was nearly sold-out. She’s an impassioned actor and a good singer with an odd habit of getting into a Sumo wrestler’s half-squat stance to launch big efforts. There are other substantial talents in this show as well, in particular the trio who appear as strippers—Elaine Jennings, Lillian Myers, and Tracy Hinman, all of whom tackle multiple roles. Zach Frangos is confident and appealing as Tulsa, and his dancing is superb. The early scenes feature a gaggle of cute kids, always a reliable strategy for selling tickets.
Gypsy cast at work in finale at 6th Street.
Opening weekend, the band under Paul Smith’s direction hit a dismaying number of sour notes, something that can only be interpreted as intentional in keeping with the low-rent venues where Mama Rose & Company are performing. A tall fellow, Smith tends to stand as he leads the band, and his bobbing head is a real distraction from the upper seats. Joseph Favolora’s choreography is compelling, and Pamela Johnson’s costumes are stunning. There doesn’t appear to have been much left in the production budget for sets, and Jason Jamerson did his best with what he had, resulting in the bare basics. This was the same issue that undermined 6th Street’s production of “La Cage aux Folles.”
This “Gypsy” is certainly enjoyable—how can anyone not love the music?—but, neither over-the-top nor over-the-moon, it’s far from a sumptuous production of this classic.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.
Production
Gypsy
Written by
Arthur Laurents, Jule Styne, and Stephen Sondheim
Directed by
Jared Sakren
Producing Company
6th Street Playhouse
Production Dates
Through Oct 20th
Production Address
6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Body Awareness Week becomes a long hard slog for a psychology professor at a small Vermont college, in Annie Baker’s brilliant, sweet comedy at Main Stage West through September 22.
Lydia Revelos stars as Phyllis, the professor with ultra-orthodox feminist convictions, who first organized the event as “Eating Disorders Week” but expanded it to include dance performances by troupes from across the globe, and seminars on personal and social perceptions about the human body—in particular, the female body. This emphasis includes an exhibition of photos of nude women of all ages, done by a straight male photographer.
The photos, their subjects, and most of all the photographer’s gender, enrage her and cause upheaval with her lesbian partner Joyce (Nancy Prebilich), a high school teacher whose almost-adult son Jared is “on the Asperger’s spectrum” as it’s trendy to say. Jared (Elijah Pinkham) is a self-described “auto didact” obsessed with word origins—he aspires to be a lexicographer—and sex with girls, which he has never experienced. His awkward social skills exasperate his mother and her partner, get him fired from his minimum-wage job at McDonald’s, and nearly land him in jail when he does something incredibly inappropriate with a girl he’s just met.
Main Stage West company principal Elizabeth Craven perfectly captures life in small-town Vermont…
Domestic disruption grows exponentially with the appearance of photographer Frank (Zachary Tendick), a surprise guest in their home for the week. Phyllis can’t stand him nor what he does as an artist—the “male gaze” being the equivalent of an assault, in her view—nor can she understand why women flock to him to be immortalized in photos. She has rigid ideas about how women should present themselves. Joyce, on the other hand, finds him charming, likes his art, and welcomes him as a mentor to Jared.
Pinkham, Revelos, Prebilich, and Tendick at work for MSW.
The four characters form a tight pulsating web that in just under two hours examines self-concept, identity, commitment, family, and personal and artistic freedom. Playwright Baker—known for skewering Vermont’s politically correct culture—treats all of this with a fine blend of disdain, humor, and sympathy.
Prebilich and Revelos at work in “Body Awareness”
Directors John Shillington and Janine Sternlieb get marvelous performances from all four performers. Revelos and Prebilich are exceptional in exploring the breadth of their characters’ emotional lives, while Pinkham does a wonderful job in a role that more-or-less repeats one he did in last year’s “The Curious Incident of the Dog in the Nighttime.” Tendick, in his first appearance on stage, anchors the whole affair with a surprising amount of gravitas.
With her set design and costumes, Main Stage West company principal Elizabeth Craven perfectly captures life in small-town Vermont. She also happens to have directed the astounding “Eureka Day,” running concurrently with “Body Awareness.”
The two shows’ related themes make them an ideal pair for back-to-back viewing. If there were such a thing as a perfectly-matched theatrical double feature they’d be it. Both provide plenty of laughs and plenty to ponder once the laughter fades.
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.
Production
Body Awareness
Written by
Annie Baker
Directed by
John Shillington and Janine Sternlieb
Producing Company
Main Stage West
Production Dates
Through Sept. 22nd
Production Address
Main Stage West
104 N Main St
Sebastopol, CA 95472
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.
Production
Little Shop of Horrors
Written by
Written by Howard Ashman, from the screenplay by Charles Griffith
The Kit Kat dancers at SF Playhouse. Photo by Jessica Palopoli
Every summer, San Francisco Playhouse revives a classic musical and runs it all season long. It’s a brilliant marketing ploy leveraging Union Square tourist traffic, one that gives company principals a breather to prepare for an intense fall/winter schedule. The company’s current offering is a splendid take on Kander and Ebbs’s “Cabaret,” through September 14.
It’s one of several iterations of “Cabaret” to pop up recently in the Bay Area, thanks to the Trump presidency and its supporters. SFP’s bawdy effort is both wonderfully entertaining and horrifically startling—a cautionary tale about the rise of pure evil among seemingly nice friendly people, such as Ernst Ludwig (Will Springhorn, Jr.), the charming German businessman who befriends American novelist Cliff Bradshaw (Atticus Shaindlin) on a train ride into Berlin.
Cate Heyman as Sally Bowles works SF Playhouse. Photo by Jessica Palopoli
Ludwig introduces Bradshaw to Fraulein Schneider (Jennie Brick), proprietress of a rooming house where he soon takes up residence, and to the Kit Kat Klub, the cabaret of the show’s title. There he meets many denizens of Berlin’s cultural underworld, including the fetching Sally Bowles (Cate Hayman), a flighty British singer with whom he’s soon head over heels and sharing a room, both to his regret.
…if you haven’t seen it, make it a priority. If you have, it’s worth revisiting.
Many of the songs in this show made it into the pop repertoire, thanks to the commercial success of the 1972 movie: “Wilkommen,” “Don’t Tell Mama,” “Maybe This Time,” “Cabaret,” “Money,” and “Married,” a lovely duet performed by Fraulein Schneider and Herr Schultz (Louis Parnell), the fruit seller to whom Schneider gets engaged, both of them in late middle age. It’s a lilting note of hope in a show that’s ultimately and intentionally a very bitter pill buried in a thick coating of sugar. Herr Schultz is in deep denial about the rising tide of anti-Semitism, believing that as a native-born German Jew he will be considered a German first. Schneider knows better, and so does Bradshaw.
Jennie Brick and Louis Parnell as Schneider and Schultz. Photo by Jessica Palopoli
But the sugar is sweet and seductive. The Kit Kat Klub’s Master of Ceremonies is convincingly portrayed by John Paul Gonzalez, whose high-energy genderbending is the motive force behind most of the show’s many song-and-dance numbers (choreography by Nicole Helfer), performed by a tremendous ensemble, with music from an ace band under the direction of Dave Dobrusky.
Susi Damilano’s dynamic stage direction is first-rate, as is Jacquelyn Scott’s set design, but what sets this “Cabaret” apart from other very good productions is Cate Hayman as Sally Bowles. A theater student at Carnegie Mellon University (as is Atticus Shaindlin), Heyman brings a depth to her character that other performers have missed. Sally Bowles is usually portrayed as an annoying self-centered airhead, and Heyman encompasses that, but her Sally has an implied backstory that makes her much more substantial than most. Heyman is the best Sally Bowles this reviewer has ever seen.
Also superb is Abby Haug as Fraulien Kost, a resident at Fraulien Schneider’s who earns her living entertaining sailors by the hour. Haug and Heyman will prove justification for many ticket buyers. “Cabaret” at SF Playhouse runs a couple more weeks—if you haven’t seen it, make it a priority. If you have, it’s worth revisiting.
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.
Stacy Ross at work at the Aurora Theatre. Photo courtesy Aurora Theatre Co
Anyone who’s read Joan Didion’s “The Year of Magical Thinking” might wonder how anyone could turn the book into a play. The answer is that only the author could do it, or at least, do it right. Prolific essayist, novelist, and screenwriter, Didion accomplishes the seemingly impossible in her one-woman/one-act play at Berkeley’s Aurora Theatre Company, through July 28.
On a stage and backdrop of what appear to be huge Travertine slabs (set by Kent Dorsey) Stacy Ross shines as she relates Didion’s horrific, heartbreaking tale of suddenly losing her husband and collaborator, writer John Gregory Dunne, while their adopted daughter was in a coma. Among the very best actors in the Bay Area, Ross fully inhabits the story without attempting to be Didion—an astute decision by her and director Nancy Carlin. Ross and Didion are as physically unlike as possible.
…brilliantly interwoven with sweet reminiscences of family life…
No one is ever prepared for a sudden loss, of course, and the shock of it is the running theme throughout the production’s ninety well-paced minutes. Ross opens with a recitation lifted almost verbatim from the book’s first chapter—about how Dunne collapsed as the author was preparing dinner, the arrival of paramedics, a panicky trip to the emergency room, and the inevitable aftermath. Even in shock and overwhelmed by sorrow, Didion can’t help injecting self-deprecating humor and ironic observation—she stands in line with insurance card in hand, because it seems the proper thing to do, and in the ER, she’s introduced to her husband’s momentary physician, whom she can’t resist describing as “a pre-teen in a white lab coat.”
The social circumstances of death get full vetting, brilliantly interwoven with sweet reminiscences of family life in Malibu and New York. But it’s the interior monolog that’s most compelling—an examination of pretending to go about the daily business of life while knowingly indulging in self-deception and compulsive rituals in the secret hope that all that’s happened can somehow be altered—the “magical thinking” of the title.
This solo production is an understated masterful performance that seamlessly blends lecture, confession, and conversation. In her book and play, Didion eloquently managed to encompass all of psychiatrist Elisabeth Kübler-Ross’s famous stages of dying—denial, anger, bargaining, depression, and acceptance—stages that apply not only to the terminally ill but to their survivors. Stacy Ross is brilliant in conveying a narrative whose subject will inevitably touch all of us.
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.
Production
Year of Magical Thinking
Written by
Joan Didion
Directed by
Nancy Carlin
Producing Company
Aurora Theater Co.
Production Dates
Thru July 28th
Production Address
Aurora Theater Co.
2081 Addison St.
Berkeley, CA 94704
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.
Ashley Garlick (Photo Courtesy of Lucky Penny Productions)
The current American political climate has had some predictable consequences. Among them: a spate of theatrical revivals of Kander and Ebb’s “Cabaret,” a musical now in its 53rd year. The latest North Bay version runs at Napa’s Lucky Penny Productions through June 16th.
The 1972 movie firmly established the show in pop culture—many people know the songs without understanding that the show itself isn’t a lightweight romp through the decadent underworld of Weimar Republic Berlin. The story’s time frame isn’t specific, but encompasses the rise of the Nazi party and increasingly virulent anti-Semitism. We often forget that the Nazi party was democratically elected, having gained popularity slowly but persistently throughout the late 1920s. By 1933 it was the most powerful political party in Germany. The parallels with Trump’s America are all too clear.
Directed by Ken Sonkin, this “Cabaret” is presented in shades of gray—except for the Nazi armbands, costumes by Rebecca Valentino are all black/white/gray. Lighting designer April George bathes the stage in flat yellowish light that gives the whole affair a grainy film-noir look. It’s an evocative effect but one that left this reviewer longing for more dramatic lighting, something that comes only late in the final act.
The core plot revolves around an itinerant American novelist, Cliff Bradshaw (a youngish Ryan Hook) befriended by German businessman Ernst Ludwig (F. James Raasch) on a train ride into Berlin. Ludwig knows the city intimately, and introduces Bradshaw to the Kit Kat Klub (the cabaret of the show’s title) and to Fraulein Schneider (Karen Pinomaki), proprietor of a rooming house where he takes up residence. At the club he meets a self-centered British songbird named Sally Bowles (a spirited Ashley Garlick). The two of them are soon deeply if contentiously involved.
Tim Setzer and Karen Pinomaki (Photo Courtesy of Lucky Penny Productions)
A secondary love story involves Fraulein Schneider and fruit seller Herr Schultz (Tim Setzer), both of them in late middle age and deeply in love. The relationship between Bradshaw and Bowles is interestingly rocky and ultimately sort of pointless, but it’s the fate of Schneider and Schultz that hooks the audience. One of only three characters in the play who comprehend the inevitability of the approaching storm—the other two are Bradshaw and Ludwig—Schneider backs out of a late-in-life wedding, hoping to survive by “flying under the radar,” as we might say today. As stage director Michael Ross pointed out on opening night, Schneider and Shultz are the pair you’re rooting for. Setzer and Pinomaki are at the height of their considerable theatrical powers in conveying the sweetness and hopelessness of their characters’ relationship. The two are absolutely wonderful in this production.
The parallels with Trump’s America are all too clear.”
Denial of the obvious is a strong theme. As the tale progresses, the Nazi movement rises from potential menace to full tsunami, symbolized by a moment when the charming Herr Ludwig comes out of the political closet sporting a Nazi armband. Raasch is superb as the villainous but totally likeable true believer. Fraulein Schneider vows that maintaining a low profile will insure her survival; while Bradshaw tries desperately to get Bowles to leave Berlin with him—before it’s too late. Too hooked on minor league stardom to consider going elsewhere, she stays behind when he escapes to Paris. Herr Schultz is similarly clueless, believing that as a native-born German Jew he will be considered a German first. Setzer is magnificent in his portrayal of a kind-hearted man blinded by delusional hope.
Kirstin Pieschke and Brian Watson (Photo Courtesy of Lucky Penny Productions)
The show-within-a-show is the burlesque in the Kit Kat Klub, stunningly produced and performed by its Emcee (Brian Watson, the cast’s only Equity actor). Watson is spectacular throughout, as is the live music from a strong four-piece band led by Craig Burdette. Barry Martin is excellent in several minor roles—as Max, the club’s owner; as an inspector on the Berlin-Paris train; and as a Nazi officer. Andrea Dennison-Laufer is very good as Fraulein Kost, a resident of Fraulein Schneider’s rooming house, who makes her living entertaining sailors by the hour. Staci Ariaga’s choreography is entertaining without being too difficult for the assorted Kit Kat girls, and boys.
Opening night was marred by too much stage smoke and sound effects that overwhelmed dialog—problems that we were assured would be corrected immediately. Fifty-some years after its debut, not much about this show will seem shocking other than its message. Unique to this production is a final dismissal to Nazi madness: the cast tossing their swastika-emblazoned armbands on the floor like so much trash. It’s a great directorial decision, and a really satisfying gesture—one performed with silent conviction that no words could emulate.
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.
Production
Cabaret
Written by
Music by John Kander and Fred Ebb; Book by Joe Masteroff
Directed by
Ken Sonkin; Music Directed by Craig Burdette
Producing Company
Lucky Penny Productions
Production Dates
Through June 16th
Production Address
Lucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
An ancient fairy tale gets a modern reworking in Rodgers and Hammerstein’s “Cinderella” at Spreckels Performing Arts Center in Rohnert Park, through May 26. Classicists will be relieved to learn that the story’s essential elements are still intact: a poor abused girl who dreams of a better life, her domineering stepmother and two nasty stepsisters, a magical fairy godmother, a smitten prince, and the promise of miraculous transformations.
Cinderella’s hope of exchanging her rags for the gowns of a princess is an expression of a persistent human dream, very much like the popular urge to buy lottery tickets week after week despite astronomical odds against winning.
In Cinderella’s case, she actually succeeds—she finds Mr. Right, he finds her, and after much travail they live happily ever after. It’s a timeless story—the basis of almost every piece of “chick lit” ever written. The plain yellow pumpkin still becomes a golden carriage, but Douglas Carter Beane’s version adds a new character and subplot in an attempt to make the story more contemporary: a radical firebrand named Jean-Michel (Michael Coury Murdock), who seeks social justice and economic opportunity for everyone. Instead of having his head lopped off instantly, as would happen in most real threats to ruling class hegemony, he succeeds not only in winning the hand of a mean stepsister (converting her to a decent person in the process) but in getting the prince to agree to sweeping changes to his kingdom. Cinderella wins the man and life of her dreams and her entire society gets to go along for the ride. Participation trophies for all!
Cinderella ensemble (Photo Credit: Jeff Thomas)
Director Sheri Lee Miller’s huge cast does a great job conveying the story—one with a 7:00 p.m. evening curtain time in anticipation that hordes of kids will fill the large theater. Brittany Law is marvelous as “Ella” the household maid renamed “Cinderella” by Madame (Daniela Innocenti-Beem) for the dirty work she tirelessly performs. Shawna Eiermann and ScharyPearl Fugitt are excellent as stepsisters Gabrielle and Charlotte, respectively, bringing more nuance to their characters than expected or required. Innocenti-Beem’s Madame takes delight in tormenting poor Cinderella, but has moments of surprising gentility and humor. Musical theater veteran Innocenti-Beem is likely the best singer in the cast but her role limits her to only a few lines of music. Her physical comedy and sense of timing are impeccable.
. . . excellent . . . superb family fare . . .”
Zachary Hasbany is superb as “Prince Topher”—the character’s name another nod to contemporaneity—with a good singing voice and fine sense of movement. The prince—a big guy himself—swings a giant sword in slaying a giant dragon (offstage) but the horse he rides is comically undersized. It’s one of few glitches in the otherwise excellent production. The worst is the huge suspension of disbelief required of the audience when Cinderella goes barefaced to the masked ball where the prince falls for her. Later when scouring the realm for her, he can’t recognize her until her foot fits the shoe she didn’t lose but intentionally gave to him. These twists on the original story aren’t improvements.
Larry Williams is gleefully evil as the conniving Sebastian, the prince’s minister, a sort of fairytale Rasputin, and Sean O’Brien matches him as Lord Pinkleton, another royal court sycophant. A gifted singer, O’Brien has a couple of breakout moments in the show’s many musical numbers. A high point is “Impossible” late in the first act, in which the ragged Marie (Mary Gannon Graham) is transformed into a fairy godmother who in turn transforms mice into liveried footmen, a pumpkin into a carriage, and Cinderella into a potential princess. Graham beautifully channels Billie Burke (Glinda the Good from “The Wizard of Oz”) in this bit, a duet of “Impossible” with Law, and the transformation is one of the show’s great illusions. Many times nominated for critical awards, choreographer Michella Snider is at her best. Group and individual dances and movements are delightful and take full advantage of the theater’s big stage and clear sight lines.
Set design by Elizabeth Bazzano and Eddy Hansen is gorgeous and facile, enabling quick set changes that keep the show moving briskly. Chris Schloemp’s huge colorful projections are stunning. Pamela Johnson’s and Chelsa Lindam’s costumes are gorgeous. Music director Paul Smith’s orchestra—in the pit, stage front—sounds tremendous. What’s not to like? All things considered, this “Cinderella” is excellent. Appropriate for all audiences, of course, it’s superb family fare that won’t require parents to do a lot of explaining when they get home—except for the fact that the “golden carriage” isn’t yellow. For that, you can simply say “It’s white gold.”
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.
Production
Cinderella
Written by
Book and Lyrics by Oscar Hammerstein
Music by Richard Rodgers
Additional material by Douglas Carter Beane
Directed by
Sheri Lee Miller; Music Directed by Paul Smith
Producing Company
Spreckels Performing Arts
Production Dates
Through May 26th
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Jonathan Nyati and Ben Turner (Photo Credit: Little Fang, The Curran)
A crisis in a refugee camp comes roaring to life each night in “The Jungle,” at The Curran through May 19. San Francisco is the third stop for this astounding international touring production, which originated in London and then moved to New York.
Conceived and written by Joe Murphy and Joe Robertson, and directed by Stephen Daldry and Justin Martin, “The Jungle” has won universal acclaim. The co-playwrights lived in the sprawling multi-ethnic refugee camp in Calais, France during its peak, 2015-2016, when its approximately 8000 residents lived peaceably if contentiously with each other while enduring continual harassment from French authorities. The production is a full-immersion experience that puts most of the audience in the midst of a large shantytown café — called “Salar’s Restaurant” or the “Afghan Café”— that served as a community center for the camp. The high-intensity story encompasses the final few months of the camp’s existence, before it was destroyed by French police in October 2016.
Arya Rose Lohmor and Ammar Haj Ahmad (Photo Credit: Little Fang, The Curran)
The elegant interior of the recently renovated Curran has been converted to a plywood-and-rough-framing temporary structure where the audience sits on hard wooden benches, sipping fragrant tea while arguments rage among the camp’s residents about what to do in the face of increasing pressure from French authorities. Several British aid workers try their best to help, to intervene, and in some cases, to transport refugees across the channel to Kent — a horrendously frustrating and occasionally comic effort for everyone involved. Two dozen impassioned actors wander among the audience, murmuring and shouting at each other in English, French, Arabic, Farsi, Pashto, Kurdish, and several African languages as the crisis builds, reinforced by real news clips on television sets placed here and there around the café (video design by Duncan McLean and Tristan Shepherd).
…the most intense and profound theatrical event any of us will ever encounter.”
A huge extended table serves as a thrust stage where most of the drama and a few moments of levity and hope take place — including several confrontations with haughty French officials and condescending police — interspersed with tales of unbelievable hardships endured by refugees from throughout the Middle East and Africa in their quest for a better life away from the violence of their homelands. Among these are stories of leaving behind all they owned, knew, and loved, walking thousands of miles, enduring kidnappings, torture, and extortion, and embarking on perilous attempts to cross the Mediterranean in overcrowded inflatable rubber boats or being packed by the hundreds into leaky ships with little chance of reaching their destinations. Such a tale is told in an unwavering voice by a clear-eyed Sudanese boy named Okot (John Pfumojena).
Ammar Haj Ahmad and John Pfumojena (Photo Credit: Little Fang, The Curran)
What these refugees endure in their quest for peace and freedom is horrific, as is their cold reception by Europeans. French duplicity gets deserved exposure as politicians pay lip service to human rights while planning to eliminate the camp. Despite its self-image as a nation of asylum, France does not have a glowing history in support of human rights — Haiti’s crushing poverty, for example, is the result of terms imposed by France when the island nation sought independence.
The show’s denouement is among the most shattering you are likely ever to experience in any theater. Its hyper-realism will shock you to the core and at the very least make you reconsider our own refugee crisis. “The Jungle” may be the most intense and profound theatrical event any of us will ever encounter.
ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.
Production
The Jungle
Written by
Joe Murphy and Joe Robertson
Directed by
Stephen Daldry and Justin Martin
Producing Company
Sonia Friedman Productions with Tom Kirdahy present the Good Chance Theatre, National Theatre and Young Vic production
Production Dates
Through May 19th
Production Address
The Curran
445 Geary Street
San Francisco, CA 94102
Missionary zeal improves life in an isolated mountain community, with unanticipated personal and social consequences in Romulus Linney’s “Heathen Valley,” directed by Elizabeth and John Craven, at Main Stage West in Sebastopol through April 14.
Set in North Carolina in the 1840s, the story’s central character is an illiterate church janitor named Starns (Kevin Bordi, brilliant), recently released from prison after serving ten years on a manslaughter charge. He wants to make something better of his life and begins a program of late-in-life education as an acolyte to the kindly Bishop Ames (John Craven). Adamant about saving souls, the Bishop enlists his help in an expedition into a hidden valley in the mountains, an area so remote it’s called “the land that God forgot.”
…conveyed with stunning conviction…”
Ames, Starns, and an orphan boy named Billy (Jereme Anglin, also the show’s narrator) embark on a trek that lands them in a community so inbred that marriage between siblings is considered normal, and so economically backward that scratching a few potatoes from the ground is considered a good harvest—fertile territory for Christian reformers. Ames installs Starns as his pastor in the valley. The former illiterate rises to his new responsibility, and having become fond of St. Augustine, preaches a gospel of kindness and understanding. He also helps his flock with practical matters such as improving their agricultural yields and teaching them that it’s best not to mate with close relatives.
Starns’s role in lifting up a blighted community is his personal salvation, one that he assumes with great dignity and purpose. The valley’s people—represented by Juba (mollie boice, perfectly cast), a wise old mountain midwife; Harlan (Elijah Pinkham), an ignorant, volatile hick; and Cora (Miranda Jane Williams), his not-quite-so-ignorant mate—prosper under his tutelage. Starns grows proud of what they achieve together even as his exhausting work takes a toll on his health. This story is conveyed with stunning conviction on a simple set that serves as church, village, and field, with backdrops that evoke the Great Smoky Mountains.
The cast of “Heathen Valley” at Main Stage West (Photo Credit: Eric Chazankin)
While over several years Starns has led his flock out of the muck, the visiting Bishop has taken a more orthodox turn. He comes back to the valley not at all pleased with its simple abundance, happiness, and social order. His only concerns are piety and pious behavior. He’s become a religious conservative, insisting that valley residents wear cassocks (black robes such as worn by Greek Orthodox priests) and stop being so happy. They rebel, permitting only their children to wear dour outfits that make them look “like a bunch of damned crows.” Ames’s defeat cuts him to the core; John Craven portrays that defeat as a personal crucifixion.
The characters in “Heathen Valley” have complex intersecting arcs, and all are portrayed exquisitely, accompanied by mountain music almost too perfect (sound design by Doug Faxon). Linney’s deeply nuanced piece could not have had a better presentation than what’s currently running at Main Stage West. The playwright grew up in the mountains of North Carolina and Tennessee and was notoriously dismissive of hillbilly stereotypes, but here he brings them each to life: incest, ignorance, witchcraft, and all. He was also deeply aware of the inherent wisdom in primitive people. Even the moronic Harlan recognizes that religious conversion is simply an exercise in swapping one superstition for another. No amount of preaching will ever convince him that virgins can have babies.
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.
Production
Heathen Valley
Written by
Romulus Linney
Directed by
Elizabeth and John Craven
Producing Company
Main Stage West
Production Dates
Through April 14th
Production Address
Main Stage West
104 N Main St
Sebastopol, CA 95472
Two upper-middle-class middle-aged women find that a journey through India turns their contentious relationship into something deeper and more rewarding in “A Perfect Ganesh,” directed by Michael Fontaine at Petaluma’s Cinnabar Theater through April 14.
Terence McNally’s AIDS-era story has huge potential to be both heart-rending and heart-warming, a potential that’s sadly under-exploited in this flat, lugubrious production. The two women, Margaret Civil (Laura Jorgensen), and Katharine Brynne (Elly Lichenstein), alter their usual holiday plans for an adventure in India, an undertaking that prompts anxiety in both of them, heightened by an opening-scene mishap with their airline tickets that threatens to make them miserable. Watching over them is Ganesha (Heren Patel), god of luck and opportunity, the travelers’ unseen companion. He appears at each critical moment in the story, guiding and helping but never intruding. The title refers to Katharine’s incessant search for a keepsake figurine, one of many behaviors that annoy Margaret.
Civil is cranky and demanding; Brynne forgetful, eagerly curious. They know each from their social circle in an uppercrust part of Connecticut, not really close when first introduced to us, but reasonably comfortable with each other. Their constant bickering belies their friendship, whose evolution is the play’s dramatic arc. It’s an arc that goes far—the two become close after several revelations of private tragedies and sharings of personal truth—but not very high. The dramatic peaks and valleys that might have given this story emotional texture have mostly been leveled and filled. Both actresses are veterans of long experience, so this squashing of emotional dynamics can only be interpreted as a directorial decision.
…as arduous as a train ride through India.”
Heren Patel is competent as the elephant-headed god, with an amiable, sometimes comedic delivery. His movements are elegant and fluid but his elephant headpiece interferes with the clarity of his speech. It’s not clear if some of his funny bits are intentional, such as Ganesha’s appearance to the travelers in the form of a Japanese tourist with an almost Italian accent.
The show’s saving grace is John Browning, who confidently plays all the male characters referred to by Margaret and Katharine—suitor, husband, son, and more. He also appears as many incidental characters—ticket agent, porter, guide—completely changing character with only slight changes in costume.
The music by Christopher and Marni Ris is compelling, but the stagecraft is slow and noisy as large pieces get shoved about and huge curtains pulled back and forth. The playbill lists running time at two and a quarter hours, but on opening weekend it was closer to three, or seemed like it. Like any foreign journey, “A Perfect Ganesh” offers experiences and insights available no other way, but getting to them is likely to feel as arduous as a train ride through India.
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.
The French Revolution was a bloody mess. That’s putting it in the mildest possible terms. The country’s 18th century bankruptcy and crushing poverty led to an uprising that in turn became the Reign of Terror in which many thousands of real and imaginary enemies of the new state were imprisoned and killed. A civil war was a strong possibility.
At the same time, surrounding countries fearing that anti-royalty sentiment would spread, and seeing many opportunities in a weakened France, sought to conquer the bourgeoning democracy. This set the stage for the rise of the Emperor Napoleon Bonaparte, one of history’s most egomaniacal and brutal dictators.
Almost 17,000 people were executed during the peak year of the Reign of Terror, from summer 1793 to summer 1794—an average of 45 per day, a sustained orgy of head-chopping. Many executions took place in Paris; the guillotine was a popular form of entertainment. All this to establish a new form of government and economy based on the slogan “liberté, égalité, fraternité” (freedom, equality, brotherhood)—high ideals riddled with hypocrisy, as playwright Lauren Gunderson makes clear in “The Revolutionists,” in the studio theater at 6th Street Playhouse through April 7.
Flores and Revelos (Photo Credit: Eric Chazankin)
Gunderson places one fictional and three historical figures into her theatrical caldron then applies heat to see what will happen, with mixed results. The primary figure is writer and political activist Olympe de Gourges (Equity actress Tara Howley Hudson), a champion of the rights of women and minorities and an outspoken critic of the Reign of Terror who went to the guillotine on November 3, 1793. Two strong secondary characters are Marie Antoinette (Lydia Revelos, fantastic), whose lavish spending was widely believed to be the cause of France’s massive financial problems, and Charlotte Corday (Chandler Parrott-Thomas), who assassinated revolutionary firebrand Jean-Paul Marat and was beheaded four days later. The fourth figure is Marianne Angelle (Serena Elize Flores), a fictional character who advocates for the rights of women and oppressed minorities. “How about liberté, égalité, sororité?” she asks.
…compellingly rendered and superbly well performed, but… doesn’t overcome the script’s fundamental difficulties.”
Both stagecraft and acting are first-rate under the direction of Lennie Dean, especially by Hudson and Revelos, but this adventure into “metatheater” is seriously overwrought, the kind of play that might be more at home as a graduate effort by an art school drama club. The characters interact with each other—only experts in French history could state whether any of them actually met—and with their audience, smothered with abstruse intellectualisms as only the French can spin them, and arcane (for Americans, anyway) historical references. Ultimately, we learn that the whole convoluted affair is something bubbling in Olympe de Gourges’s soon-to-be-detached head, as she struggles to do something with enduring impact in her last few days—a dramatic structure very much like the film “Jacob’s Ladder,” where the final reveal is that the foregoing story has taken place in a dying soldier’s mind.
“The Revolutionists” is compellingly rendered and superbly well performed, but the excellence of the performance doesn’t overcome the script’s fundamental difficulties. It’s a prickly but rewarding show for those with theatrical fortitude and better-than-average understanding of both history and its presentation as entertainment. The Thursday April 4 performance features a talkback after the show, recommended.
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.
Production
The Revolutionists
Written by
Lauren Gunderson
Directed by
Lennie Dean
Producing Company
6th Street Playhouse, Studio Theatre
Production Dates
Through April 7th
Production Address
6th Street Playhouse
Studio Theatre
52 W. 6th Street
Santa Rosa, CA 95401
Through April 7, the intimate stage at Napa’s Lucky Penny Productions is transformed into a VFW bingo hall where three women brave the elements to vie for power, glory—and maybe a handful of petty cash—in a raucous production of “Bingo, the Winning Musical.”
The friends, Vern, Honey and Patsy,dead-serious Bingo fanatics all, converge to compete on the fifteenth anniversary of Vern’s split with her former friend Bernice (Jennifer Brookman), an event so traumatic that the two have never reconciled. It’s an injustice that Bernice’s daughter Alison (Pilar Gonzalez) is determined to make right.
Lundstrom, Innocenti Beem, and Rider (Photo courtesy of Lucky Penny Productions)
Outlandish challenges—“I’m a professional bingo player!” shouts Vern (the irrepressible Daniela Innocenti Beem)—an attempted seduction of the game’s number caller Sam (Tim Setzer) by the flirtatious Honey (Shannon Rider), and the invocation of spirits, talismans, and good-luck charms by the addled Patsy (Sarah Lundstrom) are only part of the fun, all watched over by Minnie (Karen Pinomaki), a mischievous sprite who manages the hall, an authentic recreation of such places found in almost every town in America. Lucky Penny’s set includes a real numbers board, a rotating hopper to randomize the balls, and bingo cards for each member of the audience, encouraged to play along at least three times in the course of the show. Napa just happens to be home base for a major distributor of bingo equipment. Who knew?
Infectiously energetic… great silly lightweight fun…”
Add to this some spectacular singing in ensemble numbers such as “Girls Night Out,” “Anyone Can Play Bingo,” “I Still Believe in You,” “Under My Wing,” and “Ratched’s Lament.” Solo numbers are also superb (music direction by Craig Burdette), including “I’ve Made Up My Mind” (Alison), “Patsy’s Flashback,” “Swell” (Vern), and “Gentleman Caller” (Honey). Where else can you see a “straightjacket ballet” (choreography by Staci Arriaga and Taylor Bartolucci) in which bingo gals go all out like a bunch of lunatics recently released from the asylum? Does bingo make its players crazy or are they a little bit that way from the start?
Infectiously energetic, “Bingo, the Winning Musical” doesn’t offer profound messages or cosmic revelations, but—perhaps more appealing—it does ultimately set aside the petty resentments that infect us all in favor of enduring friendship among charmingly ordinary people. Tickets are money well spent on a couple hours of great silly lightweight fun with the added benefit of a potential sweep of “blackout” or “crazy snakes.” You can’t win if you don’t play.
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.
Production
Bingo, the Winning Musical
Written by
Michael Heitzman, Ilene Reid and David Holcenberg
Directed by
Taylor Bartolucci; Music Directed by Craig Burdette
Producing Company
Lucky Penny Productions
Production Dates
Through April 7th
Production Address
Lucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
In recent years the jukebox musical has become a staple of American theater, in which a collection of great songs gets tied together with a plausible narrative and dramatic arc. “Million Dollar Quartet” fits snugly into this tradition, at Santa Rosa’s 6th Street playhouse through March 24.
A fictionalized account of a real event—an evening in early December, 1956, when Johnny Cash, Carl Perkins, Jerry Lee Lewis, and Elvis Presley converged and performed at Sun Studios in Memphis—the show is a rousing piece of Americana and a tour de force of iconic early rock ’n’ roll. An amalgam of African-American blues and gospel and white Southern folk music, rock emerged in the postwar period, giving voice to a new generation and shocking the cultural establishment both in the United States and Europe. Its pervasive effects continue to this day.
…a rousing piece of Americana and a tour de force of iconic early rock ’n’ roll… do not miss this show.”
Directed by Bay Area theater veteran Michael Ray Wisely, who has performed in and directed other productions of “Million Dollar Quartet,” the 6th Street show features two performers from the national touring production—Daniel Durston as Elvis and Steve Lasiter as Johnny Cash. Sonoma County actor/musician Jake Turner is superb as Carl Perkins, as is his guitar playing, and music director Nick Kenrick is astounding as the frenetic Jerry Lee Lewis.
(Photo Credit: Eric Chazankin)
Samantha Arden does a lovely turn as Dyanne, Elvis’s girlfriend, while Benjamin Stowe anchors the whole affair as Sam Phillips, the producer/recording engineer widely acknowledged as the “Father of Rock ‘n’ Roll.” And let’s not forget drummer Nick Ambrosino and bassist Shovanny Delgado Carillo, who provide infectious drive to the music of the four ersatz superstars. Conor Woods’s adaptation of the original set design is substantial, compelling, and versatile.
The song list includes a couple dozen classics from the early 1950s, including “Blue Suede Shoes,” “Folsom Prison Blues,” “Great Balls of Fire,” “Hound Dog,” and “Whole Lotta Shakin’,“ all of them stunningly rendered. This reviewer saw the national touring production, and 6th Street’s is just as good. If you’re a fan of that era, do not miss this show. Even if you’re only mildly fond of early rock, it’s still a really fun way to spend an evening.
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.
Production
Million Dollar Quartet
Written by
Colin Escott & Floyd Mutrux
Directed by
Michael Ray Wisely; Music Directed by Nick Kenrick
Producing Company
6th Street Playhouse
Production Dates
Through March 24th
Production Address
6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
A multiple Tony winner and perennial favorite since its 1964 debut, “Hello, Dolly!” was for decades a star vehicle for recently departed Carol Channing, the performer most associated with the lead role of yenta and all-around advice giver Dolly Gallagher Levi.
The legendary Betty Buckley handles the lead with aplomb in the sumptuous national touring show, at San Francisco’s Golden Gate Theatre through mid-March. In other productions, Dolly has been inhabited by Bette Midler and other top talents. Ms. Buckley manages to make the character her own without referencing any of the other stars that have taken it on, a major achievement in its own right.
…an absolute extravaganza… nearly everything about this show is incredibly good.”
Backed by what appears to be an unlimited budget, the show is one of the biggest spectacles to land in San Francisco in several years. The capacious Golden Gate is its ideal venue. The show is an absolute extravaganza, from stunning backdrops, costumes, and sets to the supreme talents of a huge cast, including Lewis J. Stadlen as Horace Vandergelder, the wealthy merchant and target of Dolly’s matrimonial intentions. Among the secondary cast, Nic Rouleau is a standout as the lovelorn Cornelius Hackl, one of Vandergelden’s underpaid and underappreciated employees.
As townspeople, waiters, and other characters, approximately 30 performers do everything from simple walk-on bits to astoundingly athletic dance numbers—all of it appearing nearly effortless, and the show moves along with grace, precision, and enormous energy. There are no weak links in this production—in fact, the only weak link, and it’s a stretch to say this, may be Ms. Buckley herself, because nearly everything about this show is incredibly good. If she’s the weak link, it’s a strong, supple one.
“Hello, Dolly!” is a lightweight musical set around the turn of the 19th century, with some great songs in mid-20th century style—not merely the title song, but others including the heart-rending “Before the Parade Passes By.” Adhering to a time-honored plot device of the matrimonially-minded seeking partners with money, the show has been unfairly criticized for lacking relevance to modern audiences—sold-out performances at the thousand-seat Golden Gate to the contrary. If you have a hankering for a classic Broadway musical the way it was intended to be seen, this is the show for you.
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.
Production
Hello, Dolly!
Written by
Book by Michael Stewart, Music and Lyrics by Jerry Herman
Directed by
Jerry Zaks
Producing Company
National Touring Production
Production Dates
Through March 17th
Production Address
Golden Gate Theatre
1 Taylor Street
San Francisco, CA 94102
Trouble brews as a flighty heiress cavorts with her head servant in “After Miss Julie,” Patrick Marber’s adaptation of the August Strindberg classic, at Main Stage West through March 3.
Reset in an English country manor at the close of World War II, with the Labor Party about to win the national election and disrupt traditional social structures, the play features Jennifer Coté as Christine, a loyal scullery maid; Sam Coughlin as John, her fiancé and the manor’s head servant; and Ilana Niernberger as Miss Julie, the heiress who can’t resist defying class restrictions by seducing him. All the action plays out in the manor’s cramped downstairs kitchen, while a wild celebration swirls about outside.
Jointly directed by Elizabeth Craven and David Lear, who also did the set design, this brilliantly staged and performed piece is the antidote to the poison that is Strindberg’s much-praised “Creditors,” extended to March 3 at Berkeley’s Aurora Theatre Company. Both plays were written in 1888, and both are about the power dynamic inherent in sexual triangles—strong superficial resemblances, but “After Miss Julie” actually has uplifting moments and an ambiguous ending that proves to be far more nuanced and far more satisfying than the abrupt finality of “Creditors.”
…a stunning, perfectly paced pas de deux… that will keep you on edge right to the end…”
Coughlin and Niernberger (Photo Credit: Eric Chazankin)
Coté is excellent in her role as the determined, hard-working Christine, while Coughlin and Niernberger are astounding in their portrayal of a pair of hopelessly attracted lovers deep in the throes of an intractable dominant/submissive relationship. Julie relishes lording it over John, issuing orders that as her lover and employee he must obey. She then immediately demands that he issue orders to her in return and he complies, despite knowing how wrong it all is. With class distinctions amplified by differences in dialect, it’s a stunning, perfectly paced pas de deux—quite literally, with white-hot choreography by Dana Seghesio—that will keep you on edge right to the end, and will give you plenty to ponder for days after.
Sound designer Matthew Eben Jones has selected some wonderful music from the WWII era that perfectly establishes the play’s time frame, and Missy Weaver’s moody subdued lighting works marvelously to reinforce every scene. Running time is about 90 minutes. Opening night featured a short intermission; it wasn’t clear if MSW would keep it or not for the duration of the show. In either case it’s a fantastically good production, among the best in a series of superb productions by Sebastopol’s quirky troupe. In its few short years, Main Stage West has become one of the North Bay’s leading theatre companies. “After Miss Julie” proves why.
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.
Production
After Miss Julie
Written by
Patrick Marber
Directed by
Elizabeth Craven and David Lear
Producing Company
Main Stage West
Production Dates
Through March 3rd
Production Address
Main Stage West
104 N Main St
Sebastopol, CA 95472
Nothing kills one’s ardor more quickly than hearing this from a partner: “We have to talk.”
That pretty much sums up this reviewer’s take on August Strindberg’s “Creditors,” at Berkeley’s Aurora Theatre Company through February 24. Written in 1888, the then-scandalous play examines the relationships of two men, Adolph and Gustav (Joseph Patrick O’Malley and Jonathan Rhys Williams, respectively) and one woman, Tekla (Rebecca Dines). Adolph is a self-doubting artist with unspecified neurological problems that manifest in spastic mannerisms and ambulatory difficulties. Gustav is a new friend talking him through an artistic identity crisis—should he pursue painting or sculpture?—while fanning the flames of doubt in him about his wife Tekla, who as we discover later, is Gustav’s ex-wife.
The initial exchange between the two men goes on for maybe twenty minutes—it feels like hours of manipulative psychobabble—until at some point Tekla appears, an independent, free-spirited novelist who has published a book with a central character based on Gustav. She’s been gone a week, approximately as long as Gustav has known Adolph, and has come back to flirt with her own husband while her ex lurks unseen to hear everything they say. There is nothing about the two men that is at all appealing—Adolph is a cringing neurotic and Gustav, a master schemer. It’s hard to imagine what attracts Tekla to either of them. It isn’t money, despite the play’s title.
…the actors are excellent playing despicable characters…”
Joseph Patrick O’Malley and Rebecca Dines
Tekla is the prototype of a new kind of woman emerging in Western culture at the time—assertive, confident, uninhibited. She can entertain the concept of loving more than one person while the two men cannot. (Strindberg must have thought his character was unique; he accused Henrik Ibsen of plagiarism in making Hedda Gabler a similar type. Certainly Tekla and Hedda cannot have been the only free-spirited women in fin de siècle Scandinavia.) Tekla flirts and spars with Adolph until he leaves in a huff, whereupon Gustav enters and attempts a seduction. Tekla almost takes the bait then thinks better of it, and to cut to the chase, Adolph comes back in and dies of an epileptic seizure. That’s a wrap.
In the week since it opened, “Creditors” has been gushed about by a score of critics, many of whom, it must be assumed, are classicists. And while it’s always unfair to judge the art of the past through the lens of the present, it’s nearly impossible to see what’s so gush-worthy. The story is horrible, but directed by Barbara Damashek, the actors are excellent playing despicable characters—two men suffering from terminal cases of emotional hemorrhoids, and a woman who can’t be trusted. It’s ninety minutes of late 19th century European navel-gazing, a repellent talkathon in which almost nothing happens other than the malicious destruction of the weakest character.
The fact that something is old doesn’t make it valuable or worth reviving. As David Foster Wallace put it in another context, this play is “a supposedly fun thing I will never do again.”
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.
Production
Creditors
Written by
August Strindberg
Directed by
Barbara Damashek
Producing Company
Aurora Theatre Co.
Production Dates
Through February 24th
Production Address
Aurora Theatre Co.
2081 Addison St.
Berkeley, CA 94704
Tennessee Williams’s “A Streetcar Named Desire” is among the most popular recurring productions in regional theater, with a couple of bucket-list roles for ambitious actors: the loutish Stanley Kowalski and his wilting-flower sister-in-law Blanche DuBois. The current revival of this favorite play runs in the studio theater at 6th Street Playhouse in Santa Rosa through February 17.
Directed by Phoebe Moyer, Ariel Zuckerman and Juliet Noonan do justice to these difficult parts, aided by superb supporting performances from Melissa Claire as Blanche’s pregnant sister Stella, and Edward McCloud as Mitch, Stanley’s bowling-and-poker pal who falls under Blanche’s spell. With a consistently bland mid-south accent and palpable emotional tenderness, Claire is rock-solid as the long-suffering sister, moving from joy at being reunited with Blanche to despair at having to get her removed from the cramped flat she shares with Stanley. McCloud also has a complicated path to traverse as Stanley’s army buddy who asserts himself enough to pursue Blanche, only to have his hopes dashed by plausible tales about her scandalous behavior back in Laurel, Mississippi.
…compelling heat—just right for a cold February night.”
Zuckerman and Noonan (Photo Credit: Eric Chazankin)
Zuckerman apparently relishes his part as the savage Stanley, and in many scenes seems to be channeling Marlon Brando, whose portrayal of Stanley in the film version has forever affected those who followed. Zuckerman even looks like the young Brando, and some of his postures are eerily like the film actor’s. He’s also in great athletic shape, much more impressive than Brando in his youth.
Juliet Noonan has the unenviable task of carrying the bulk of the drama—like Martha in Edward Albee’s “Who’s Afraid of Virginia Woolf?” Blanche DuBois is among the most demanding roles in 20th century American theater, perhaps the female equivalent of Hamlet, and Noonan gets it about ninety percent right. Her physical gestures are evocative, and her timing excellent, but she falls in and out of her Mississippi plantation accent. With moments of true pathos, she beautifully conveys Blanche’s self-delusion and persistent manipulation of those around her.
Matt Farrell and Laura Downing-Lee are very good as Steve and Eunice, who live upstairs from Stella and Stanley and provide Stella with comfort when Stanley rages. A full-size spiral staircase leads to their unseen apartment, an amazing bit of set design in 6th Street’s compact studio theater. While not the best production this reviewer has seen, this “Streetcar” generates plenty of compelling heat—just right for a cold February night.
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.
Production
A Streetcar Named Desire
Written by
Tennessee Williams
Directed by
Phoebe Moyer
Producing Company
6th Street Playhouse, Studio Theatre
Production Dates
Through February 17th
Production Address
6th Street Playhouse
Studio Theatre
52 W. 6th Street
Santa Rosa, CA 95401
Pulitzer Prize-winning playwright and national treasure August Wilson was taken from us too soon, in 2005 at 60 years of age. A self-taught high school dropout who authored dozens of plays—among them, “Fences,” “Gem of the Ocean,” “Ma Rainey’s Black Bottom,” “Jitney,” and “Joe Turner’s Come and Gone”—the prolific Wilson accumulated many honors and awards. What he might have achieved had he lived longer is the stuff of speculation, but what he accomplished is astounding, the real meaning of “a lasting legacy.”
‘How I Learned What I Learned’ is a couple of the most rewarding hours you’re likely to have in a theater this year…
Through February 3, Marin Theatre Company is presenting Wilson’s autobiographical one-man play “How I Learned What I Learned” starring veteran actor Steven Anthony Jones, directed with great sensitivity by Margo Hall.
Steven Anthony Jones as August Wilson.
Anchored in Wilson’s upbringing in Pittsburgh’s Hill District, the performance is a seamless blend of reminiscence, historical fact, observation, and sermon, much of it a mix of personal anecdotes that range from exceedingly tender—a grade-school epiphany when he kisses the girl of his dreams—to absolutely horrific. He was a close-up witness of a murder provoked by an insult.
Jones’s monologue covers an astounding amount of time and material—from Wilson’s childhood in Pittsburgh to his adult years in St. Paul and Seattle—all of it conveyed with insightful wit and the intimate, avuncular wisdom of a wily old preacher.
Steven Anthony Jones working at MTC.
A cooperative production with the Lorraine Hansberry Theatre and the Ubuntu Theater Project—the show moves sequentially to those two venues when it leaves MTC—“How I Learned What I Learned” is a couple of the most rewarding hours you’re likely to have in a theater this year.
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 [email protected]
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 [email protected]
Production
Moon Over Buffalo
Written by
Ken Ludwig
Directed by
Carl Jordan
Producing Company
6th Street Playhouse
Production Dates
Through Feb 3rd
Production Address
Sixth Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
In 2018, Aisle Seat Review critics attended more than 100 productions, most very good and many, excellent. Rather than compile a “Best of” list—always a subjective evaluation open to rancorous discussion—we thought it might be more fun to share some favorites, in no particular order:
“Always, Patsy Cline” Sonoma Arts Live, Sonoma. Danielle DeBow brought the legendary country singer to life—and more—in this wonderful “jukebox musical” about Cline and her friend Louise Seger, emphatically played by Karen Pinomaki. Excellent male backup singers and onstage band sealed the deal for this Michael Ross production, which could have played all summer to packed houses.
“Always Patsy Cline” cast at Sonoma Arts Live.
“Oslo” Marin Theatre Company, Mill Valley. Director Jasson Minidakis got amazing performances from a large cast in this West Coast premiere of J.T. Rogers’s Tony Award-winning drama, a fictionalized account of backstage negotiations conducted by unauthorized Norwegian diplomats that resulted in the 1993 peace accord between Israel and the Palestine Liberation Organization.
“An “Entomologist’s Love Story,” San Francisco Playhouse. Directed by Giovanna Sardelli, this funny and sweetly seductive tale of love and rejection between a couple of graduate researchers took several unexpected but delightful detours on its way to providing insight into the mating behaviors of young adult humans. The award-worthy set was among many created by Nina Ball, one of the Bay Area’s most gifted designers.
“Entomologist’s Love Story,” at San Francisco Playhouse.
“The Curious Incident of the Dog in the Nighttime,” Spreckels Performing Arts Center, Rohnert Park. This North Bay all-star production about an autistic kid searching for his mother was special in many respects, including set design and ensemble work. As Christopher, Elijah Pinkham was tremendous in his first big-venue outing, directed by Elizabeth Craven.
“Head over Heels,” Curran, San Francisco. Perhaps the most fun show of the year—and the most unjustifiably maligned—this pseudo-Shakespearean spoof featured incredible performances, amazing set design/stagecraft, and the best-ever treatment of the music of ‘80s pop group The Go-Go’s.
“Hedwig and the Angry Inch” Ray of Light Theatre, San Francisco. The best rock musical ever conceived was given a spectacular treatment in the Mission District’s crusty old Victoria Theatre. Coleton Schmitto slayed as the transgendered rock star, matched in gravitas if not in flamboyance by Maya Michal Sherer as Hedwig’s lover/assistant Yitzhak.
“Hedwig and the Angry Inch” at Ray of Light Theatre, San Francisco.
“By the Water,” Spreckels Spreckels Performing Arts Center, Rohnert Park. This heart-rending tale of a family and neighborhood trying to cope with the aftermath of a natural disaster had special meaning for North Bay residents following last year’s devastating fires. Mike Pavone and Mary Gannon Graham were superb as husband and wife trying to find their way home, in a sensitive production helmed by Carl Jordan.
“The House of Yes,” Main Stage West, Sebastopol. Director and set designer Elizabeth Craven pulled some dark magic from her bag of tricks in this stunning presentation of Wendy MacLeod’s horrifically funny portrait of an incredibly dysfunctional upper-crust family. Sharia Pierce was astounding as the Pascal family’s whacked-out “Jackie O” while Laura Jorgensen induced chills as her hard-drinking mother.
“The House of Yes” at Main Stage West.
“Death of a Salesman,” Novato Theatre Company, Novato. Arthur Miller’s classic depiction of a salesman put out to pasture could not have been more heartbreaking or more beautiful than as directed by Carl Jordan. Joe Winkler was perfectly cast as down-on-his-luck Willy Loman, as was Richard Kerrigan in the role of Charlie, Willy’s neighbor and best friend.
“Dry Powder,” Aurora Theatre Company, Berkeley. Aldo Billingsly starred as a hard-charging buyout artist in this incisive dark comedy about the often impenetrable world of private equity. Emily Jeanne Brown was rock-solid as the unfeeling, number-crunching junior partner Emily. Directed with aplomb by Jennifer King.
“Detroit ’67,” Aurora Theatre Company, Berkeley. Dominique Morisseau’s fictional but totally plausible tale of ordinary people struggling to get ahead during Detroit’s riots and fires of 1967 was beautifully conveyed in this five-actor tour-de-force directed by Darryl V. Jones, with standout performances by Halili Knox and Rafael Jordan as sister and brother Chelle and Lank.
“Detroit ’67” at Aurora Theater Co.
“A Walk on the Moon,” ACT, San Francisco. Performances and stagecraft were—pardon us, please—over the moon in this spectacular presentation of a simple story about a young wife’s coming-of-age during the summer when astronauts first landed on the moon.
“Hand to God,” Left Edge Theatre, Santa Rosa. Laughter flowed and doll heads rolled in this no-holds-barred dark comedy about a shy young Christian boy with a hand puppet, “Tyrone,” possessed by the devil. (Set in Texas. Where else?) A series of increasingly outrageous events culminated in the hostile takeover of a church basement, topped off by an absurdly funny and obscene act of puppetry that will haunt us for years to come. Dean Linnard’s impressive turn as Jason-slash-Tyrone and set design by Argo Thompson made for some devilish good fun.
“The Realistic Joneses,” Left Edge Theatre, Santa Rosa. Two couples shared an ordinary last name and an extraordinary fate in Will Eno’s poignant and darkly hilarious exploration of human connection, coping mechanisms, marriage and mortality. Melissa Claire, Chris Ginesi, Paige Picard, and Chris Schloemp brought remarkable talent and palpable chemistry to the stage, making an already interesting story unforgettable.
“Disgraced,” Left Edge Theatre, Santa Rosa. Issues of cultural appropriation, religion, racial tension, and infidelity came to an explosive head at a dinner party-gone-wrong in Ayad Akhtar’s incisive Pulitzer Prize-winning drama. Left Edge’s top-notch casting, set design and technical work were—forgive us—anything but disgraceful.
“Tinderella,” Custom Made Theatre, San Francisco. A world premiere, this clever, inventive musical put an inspired spin on an age-old classic, thrusting beloved Disney princess Cinderella into the harsh realities of 21st-century online dating. Replete with hilarious song lyrics and cultural references, the script offers surprisingly heartfelt reflections on fostering love and friendship in a modern-day landscape of social media and smartphone apps. This wildly entertaining show attracted a remarkably young audience with a story acutely relevant to millennials and Bay Area living, poking plenty of fun at our ongoing reliance on all things digital, and helped along by some seriously good singing and outrageously funny choreography.
“Blackbird,” Main Stage West, Sebastopol. An inescapable past came back to haunt an industrial production manager in David Harrower’s “Blackbird.” Sharia Pierce astounded as Una, a young woman who hunts down her former and much older lover Ray (John Shillington). David Lear’s direction and set design were beyond perfect in this chilling piece about irresistible but doomed attraction.
“Marjorie Prime,” at Marin Theatre Company, Mill Valley. Humanoid artificial intelligence got a new twist as therapeutic tools in Jordan Harrison’s 2015 Pulitzer Prize contender. Set in the near future, the provocative one-act was superbly delivered by four supremely talented actors—particularly Joy Carlin as the faltering widow—directed by Ken Rus Schmoll, on a simple modernistic set by Kimie Nishikawa.
“Marjorie Prime” at Marin Theatre Company.
ASR reviewer Nicole Singley is a member of the Marquee Theatre Journalists Association and the American Theatre Critics Association.
ASR Senior Editor Barry Willis is a member of ATCA and president of the SF Bay Area Theatre Critics Circle.
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 [email protected]
Multiple Tony Award winner “Dear Evan Hansen” has finally landed in San Francisco, after a legal tussle between the Curran’s Carole Shorenstein Hays and her former partners The Nederlander Organization. Much-anticipated, the show lives up to its reputation, with excellent performances and stunning stagecraft that make this first Millennial musical an immersive experience.
At its core a simple story about a withdrawn, socially inept high-school boy (Ben Levi Ross, most performances) whose gift for writing has good and bad repercussions, the show is also about family relations—the lead character lives with his single mom Heidi (Jerssica Phillips), who works tirelessly to improve herself and the life of her son, while having little time to interact with him.
It’s also about the intensity of life lived via social media as experienced by young people. Covering the entire stage for much of the show’s two-and-a-half hours, Peter Nigrini’s astounding projections go a long way toward conveying just how intense, immediate, and all-consuming such life can be. The music—also award-winning—is brash, loud, and louder, with only a couple of tender moments. Most of the songs in the first act are shouted more than sung.
Evan Hansen’s distraught classmate Connor Murphy (Marrick Smith) mentions feeling suicidal and ultimately kills himself. Evan’s fictitious email exchanges with Connor gain notoriety and even provide some comfort for Connor’s parents Larry and Cynthia (Aaron Lazar and Christiane Noll) and sister Zoe (Maggie McKenna), who falls for Evan, if only briefly.
Phoebe Koyabe does a fine job as Alana Beck, one of Evan’s classmates and a self-appointed busybody who both encourages his subterfuge and later exposes it. Jared Goldsmith appears as Jared Kleinman, an obnoxious classmate and possibly Evan’s only friend.
…the extraordinary level of stagecraft supporting it make ‘Dear Evan Hansen’ quite a justifiable ticket purchase…
The show’s production values are exceptional, but in style it bears a striking resemblance to “Next to Normal,” possibly the worst musical ever conceived. The resemblance is no accident; both shows were helmed by Micheal Greif. Stripped of its glitz, the story would make ideal material for a Hallmark or Lifetime made-for-TV movie.
There are two moments that could use a rewrite: one is the scene where Larry, in surrogate father mode, shows Evan how to break in a baseball glove, something that in a film would be conveyed with a couple of soft-focus shots, but here it demands an entire song (“To Break in a Glove”). The other false moment comes when Larry and Cynthia attempt to befriend Evan’s mother, offering to fund his college education with money they have saved for Connor’s. Instead of being appreciative, Heidi gets incensed and insists that he’ll go to community college until she can afford to send him someplace better.
It’s mostly an exercise in psychological torture for poor Evan, but his misguided efforts—aided by Alana and Zoe—have an unpredictable and somewhat upbeat payoff, even if it isn’t happy-ever-after. “Dear Evan Hansen” is an emotionally exhausting production—not necessarily for the audience, but certainly for the performers, with nine shows per week. Their commitment to the show and the extraordinary level of stagecraft supporting it make “Dear Evan Hansen” quite a justifiable ticket purchase.
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 [email protected]
Production
“Dear Evan Hansen”
Written by
Written by Steven Levenson,
Music and Lyrics by Benj Pakek and Justin Paul
Directed by
Michael Greif
Producing Company
Curran Theater Co.
Production Dates
December 30th
Production Address
Curran Theater
445 Geary St.
San Francisco, CA 94102
An unexpected benefactor saves a spunky orphan girl from a life of drudgery in the classic musical “Annie,” at 6th Street Playhouse in Santa Rosa, through December 22.
Based on the Depression-era comic strip “Little Orphan Annie,” this Michael Fontaine-helmed production features two separate casts of adolescent girls (at least, they appear to be adolescents) and an adult cast of North Bay theater veterans—Larry Williams as Daddy Warbucks, Daniela Innocenti-Beem as orphanage matron Miss Hannnigan, Jeff Coté as schemer Rooster Hannigan, Lydia Revelos as Rooster’s companion Lily St. Regis, Steve Thorpe as Franklin Delano Roosevelt, Trevor Hoffman as radio announcer Burt Healy, Morgan Harrington as Grace, assistant to Daddy Warbucks, and Dwayne Stincelli as Drake, head of the Warbucks household.
“Annie” will always be a relevant show…
On a versatile set by Jeff Thomson—with quick changes, it serves variously as orphanage, city streets, the Warbucks mansion, the White House, and a radio station studio—the show features many great and widely beloved songs, including “Hard Knock Life,” “Tomorrow,” “Easy Street,” and “I Don’t Need Anything but You.” Who have hearts so cold that they can’t be moved by a dozen scruffy orphan girls scrubbing the floor and singing away? Or a red-haired kid—Alina Kingwill Peterson on opening night—giving her big voice to a great anthem of hope? Let’s not forget Sandy, her fluffy pooch, who can’t seem to find her marks but prompts gushes from the audience.
Larry Williams brings believable gravitas to the role of Daddy Warbucks, including decent song-and-dance skills. Morgan Harrington is appealing as Warbucks’s assistant, with a soaring soprano voice that dominates every ensemble piece she’s in. Jeff Coté and Lydia Revelos are amusing as a pair of bottom-rung hustlers, and do some marvelous ensemble work with Dani Innocenti-Beem, especially in the crowd-pleasing “Easy Street.” Innocenti-Beem is clearly the audience favorite as the tippling harridan who can’t stand the kids she supervises. Her offhand comedic bits add spice to a deliciously convincing portrayal of the mean bitch you love to hate.
Dale Camden—a talented actor seen not enough recently on North Bay stages—has a hilarious breakout moment of song and dance as a member of Roosevelt’s cabinet. And Trevor Hoffman is delightful as butter-voiced radio personality Burt Healy.
There are many obvious parallels between our own time and the Great Depression of the 1930s. Although unemployment today is at an all-time low, we are still plagued with homelessness—homeless encampments were called “Hoovervilles” in the ‘30s, in honor of the president who ushered in the Depression—and disparity between rich and poor is as severe as ever.
“Annie” will always be a relevant show, and with its upbeat message, always a popular salve for our social malaise.
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 [email protected]
Production
Moon Over Buffalo
Written by
Ken Ludwig
Directed by
Carl Jordan
Producing Company
6th Street Playhouse
Production Dates
Through Feb 3rd
Production Address
Sixth Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Received wisdom has it that a plagiarist copies from one; a genius imitates many. By that standard, playwright Wendy Macleod’s genius rating must be off the chart. In her incisive and savagely funny “The House of Yes,” at Main Stage West in Sebatopol through December 16, are echoes of Chekov, Ibsen, Beckett, and Albee, yet the play is wholly original. A depiction of perhaps the ultimate dysfunctional family, it’s one of the most amazing carnival rides ever undertaken though the dark side of familial relations.
In upper-crust McLean, Virginia (a suburb of Washington, DC) all appears normal in the Pascal home, near the Kennedy residence. Presided over by a bejeweled and perpetually plastered matriarch (Laura Jorgensen), the indolent Pascals have little to do other than drink and snipe at each other. We meet younger son Anthony (Elijah Pinkham), an Ivy League dropout with a lackadaisical Jimmy Stewart demeanor, and his older sister “Jackie-O” (Sharia Pierce), so called because of her obsession with the former First Lady, in particular the former First Lady on the day of her husband’s assassination.
Everything about this production is perfection…
Jackie-O’s personal problems—irrational outbursts, mania, depression, and a pharmacy’s worth of prescription drugs—are the primary focus for Anthony and his mother. Hyperactive with no internal filter, Jackie-O can and will say almost anything, much of it stupendously funny.
It’s a long-running family soap opera, but a minor symptom of a much deeper malaise, as we learn when her twin brother Marty (Sam Coughlin) comes home with his fiancée Lesly (Ilana Nierberger), a sweet and seemingly well-balanced girl from Pennsylvania. She soon realizes that she’s in over her head—way over her head—as Jackie-O reveals that she and Marty have enjoyed a special relationship since they were “in the womb,” one that has continued unabated right into adulthood and that nothing will ever break. Lesly also caves into an inept seduction by Anthony, an act she immediately regrets.
As all this unfolds, we learn that the unseen and presumably departed Mr. Pascal contributed only his fortune to the family, and that his wife was so busy bed-hopping that she isn’t sure who fathered her children.
That’s merely a plot outline. What happens in developing it is so wildly unpredictable and outrageously funny that revealing more would do a disservice to potential ticket buyers.
Everything about this production is perfection: Elizabeth Craven’s stunning set design—stark black-and-white hyper-modern art—and Missy Weaver’s moody lighting, are a perfect complement to Macleod’s deeply disturbing comedy—one accurately described by MSW’s John Craven as “funny until it isn’t funny anymore.” Performances range from subdued to over-the-top, but always appropriate and perfectly timed.
“The House of Yes” is easily one of the best productions in the North Bay this year, the sort of rabbit hole that theatergoers venture into all too rarely. It’s exhilarating, shocking, hilarious, and deadly—a ten-star show on a five-star scale. Simply brilliant.
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 [email protected]
Production
Swallow
Written by
Stef Smith
Directed by
Missy Weave
Producing Company
Main Stage West
Production Dates
Through Jan 27th
Production Address
Main Stage West
104 N Main St
Sebastopol, CA 95472
Calling a Cirque du Soleil production “a spectacle” is a bit like calling the Grand Canyon “a big ravine.” Reviewers’ standard superlatives—“tremendous,” “incredible,” “fantastic,” etc—fall far short of describing the scope of talents and risks taken in a typical Cirque show.
“Volta” is the 19th Cirque production to visit San Francisco. At AT&T Park through February 3, the show follows company protocol in avoiding the use and exploitation of animals, but once it gets underway no one in the audience will care that there’s nary a lion or tiger in sight. The dramatic setup is a loosely-organized talent competition—the “Mr. Wow Show”—that somewhat spoofs TV programs such as “America’s Got Talent.”
The talent-show thread gets inexplicably lost somewhere before intermission. No problem: the assorted acts that make up “Volta” are so amazing that there’s no need for dramatic structure. World-class acrobats, tumblers, trampolinists, BMX cyclists, ballet dancers, and more rollout onto the large stage in succession so rapid that at times several acts overlap one another.
“Volta” is a show with appeal for everyone who appreciates the extremes that humans can achieve…
It’s been noted that Cirque du Soleil is where former college gymnasts go to extend their careers. Their abilities and confidence pay homage to long years of training. It’s easy to understand how someone becomes an expert on the unicycle or the trampoline, but there is one act in “Volta” that provokes bafflement: Where does one learn to be a hair suspension aerialist? In “Mirage,” Brazil’s Danila Bim does a riveting aerial dance far above the stage floor, suspended only by her hair, pulled up into a tight braid connected to a cable in the apex of the big top. Her act isn’t the most dynamic—the trampolinists, tumblers, and stunt cyclists have the edge there—but it’s certainly the most beautiful and the most exotic. A perfect blend of intention, strength, and serenity, “Mirage” is ideally positioned as the high point of Act 2.
Traditional circus arts aren’t ignored in “Volta”—there is plenty of clowning, although never a small car unpacking two dozen unseen passengers. The audience also gets to see a scary performance on the “Swiss rings”—a swinging version of the still rings in men’s gymnastics. Also called the “flying rings,” the apparatus was once part of Olympic competition and now has very few adherents outside the circus. Keep an eye on the catwalk from which the rings are suspended. It sways quite a bit when the performers swing out over the edge of the stage.
There are many close calls in “Volta,” particularly in the closing segment with what seems like a dozen bike riders performing tricks simultaneously. The danger is part of the thrill for the audience—and presumably, part of the appeal for the performers—but given its seemingly high potential for disaster, Cirque du Soleil has a low injury rate. “Volta” is a show with appeal for everyone who appreciates the extremes that humans can achieve even if for no higher purpose than sheer exhilaration and the satisfaction of knowing that they can do things that few others can equal.
“Volta” runs through February 3 in San Francisco, then moves to San Jose through March 24. It’s an astounding production. With two shows per day on many dates, there is certainly one that will fit in your busy winter holiday schedule. Don’t miss it.
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 [email protected].
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.
A seemingly innocuous statement made at a celebratory dinner party has unexpected ramifications in Christopher Chen’s “You Mean to Do Me Harm,” at San Francisco Playhouse through Nov. 3.
So does just about everything spoken or thought by the four characters in this baffling one-act workshopped last year as part of the Playhouse’s “Sandbox” series. Now given a full production in the company’s main theater, the piece opens strongly with two interracial couples meeting to celebrate an impending new job for Ben (Cassidy Brown), whose Chinese-American wife Samantha (Charisse Loriaux) was promoted over him at social-good non-profit. His new boss will be a Chinese-American named Daniel (Jomar Tagatac), whose spouse, Lindsay (Katie Rubin) is a corporate lawyer who briefly dated Ben in college.
A comment about a camping trip they took some ten years earlier opens a Pandora’s Box of florid and sometimes paranoid fantasies that impinge on every aspect of professional and interpersonal relationships. Racism—private/personal and historical/institutional—is a strong theme.
… The piece opens strongly …
Played out on an austere but imposing set by Angrette McClosky, the urbane banter of the four exposes character flaws and motivations that threaten the stability of their relationships. The job offer for Ben is inexplicably withdrawn. This launches a series of sketches that examine in detail both the outer and inner realities of all four characters.
Harm-Charisse Loriaux and Cassidy Brown as Samantha and Ben – Photo by Ken Levin
These sketches tend to be vicious—especially a shouting match between Ben and Lindsay—but there is one of the two women with a confessional/conspiratorial tone approaching friendship.
The sketch structure is both too little and too much for this 90-minute show: two little in that there are insufficient dramatic/character arcs and too much in the sense that each sketch could be expanded. It’s as if Chen has opened up his notebook and thrown everything onstage that these four characters could do with each other, without considering the ultimate trajectory of the play. The setup is compelling but dramatic development lacking: plenty of conflict, no resolution.
“You Mean to Do Me Harm” begins and ends abruptly and looks very much like an early-stage Netflix series in which each sketch could be developed into a full episode. Director Bill English and his expert cast try mightily to breathe life into it, but as an evening’s entertainment, it’s an interesting but ultimately unfulfilling 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.
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.
Production
My Fair Lady!
Written by
Book by Alan Jay Lerner. Music and Lyrics by Lerner & Frederick Loewe.
Directed by
Michael Ross
Producing Company
Sonoma Arts Live
Production Dates
Thru July 28th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Marin Theatre Company has extended through October 28 its stunning production of “Oslo,” directed by MTC artistic director Jasson Minadakis.
A west coast premiere of J.T. Rogers’s Tony Award winner, MTC’s production is an all-star effort revealing the backstory of 1993’s Oslo Accords that offered hope of lasting peace between Israel and Palestine. In a heartbreaking coda, “Oslo” also brings that portentous development into the present, with a recitation of what became of those involved in the discussions, and of many tragic events that followed, scuttling the promise of the agreement.
It’s a consistently riveting drama despite its nearly three-hour length. Imagine a PBS historical mini-series compressed into one evening. The core story centers on Norwegian husband-and-wife team Terje Rod-Larsen and Mona Juul (Mark Anderson Phillips and Erica Sullivan, both excellent), who work behind the scenes to get Israelis and Palestinians to begin talking. Rod-Larsen is an advocate of “gradualism,” getting representatives of the two sides to recognize their common humanity through personal small talk that later leads to serious negotiation.
Everything about this show is top-rung: script, performance, pacing, set, sound, lighting..
In the historically accurate retelling, Mona Juul is actually a member of the Norwegian foreign service, but Rod-Larsen has no official standing, and what they do has only the most reluctant approval from her top boss, Johan Jorgen Holst (Charles Shaw Robinson), all of it kept secret, especially from meddling Americans. The larger story is the tentative and contentious discussions, first between Palestine Liberation Organization officials Ahmed Qurie (J. Paul Nicholas) and Hassan Asfour (Ashkon Devaran) and two Israeli economics professors, who have no official status.
PLO Finance Minister Ahmed Qurie (J. Paul Nicholas, left) speaks with Israeli Director-General of the Foreign Ministry Uri Savir (Paris Hunter Paul) while Norwegian mediators Terje Rød-Larsen (Mark Anderson Phillips) and Mona Juul (Erica Sullivan) look on. Photo: Kevin Berne, Marin Theatre Company
This segues into negotiations with real Israeli heavyweights, lawyer Joel Singer (Peter James Myers) and Uri Savir (Paris Hunter Paul), negotiations that range from friendly and familial to near-fistfights. Throughout it all, Rod-Larsen works to keep them all on track, exercising an incredible amount of self-control and diplomatic skill, an astounding job of acting by Phillips.
Erica Sullivan steps out of character at many points in the story to address the audience directly, describing what has happened between scenes or at locations unseen by the audience. She has rock-solid temperament throughout, both in and out of character.
Norwegian mediators Mona Juul (Erica Sullivan, left) and husband Terje Rød-Larsen (Mark Anderson Phillips) speak with Israel and the PLO. Photo: Kevin Berne, Marin Theatre Company
Veteran actress Marcia Pizzo appears in several roles, including as a member of the Norwegian diplomatic corps and as the sweetly beguiling Toril Grandpal, whose waffles seduce everyone at the negotiating table.
Sean Fanning’s deceptively simple set is perfect as the several locations in which the story plays out—a hotel in Oslo, offices in Tel Aviv and Tunis—with an unexpected reveal as a light snow storm through which Qurie and Savir stroll in a moment approaching friendship. Everything about this show is top-rung: script, performance, pacing, set, sound, lighting. Best of all is that it gives the audience plenty of substance to mull over in the days following a performance. “Oslo” is a show that should be on every serious theatergoer’s must-see list for the month of October.
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.
John Cameron Mitchell’s “Hedwig and the Angry Inch” may be the greatest rock musical ever conceived. No matter how you rank them, it’s certainly among the top five. Ray of Light has launched a really engaging production of this fantastic comedic redemption story about an East German rocker whose botched gender-reassignment surgery prompts personal and professional crises.
At the Victoria Theatre in the Mission district through October 6, the production features Coleton Schmitto in the lead role, with Maya Michal Sherer as Yitzhak, Hedwig’s aide-de-camp, fellow performer, and sometimes lover. Hedwig’s band, the Angry Inch—its name derived from what was left by Hedwig’s incompetent surgeon—includes Steven Bolinger on keyboard and guitar, Lysol Tony-Romeo on bass, Diogo Zavadzki on guitar, and David Walker on drums. The group is very well balanced and just loose enough to give this show a semi-inebriated improvisational feel.
…this “Hedwig” is refreshingly street-funky…
Peet Cocke’s rough set perfectly complements the shabby old Victoria, giving it the air of both dive bar and low-budget arena. Schmitto dominates the stage throughout the non-stop ninety-minute show, spouting a litany of ironic one-liners and managing all of his character’s dance moves and gymnastics without being visibly hindered by stiletto heeled boots. Sherer scrambles to sing and draw projected transparencies at the same time. It’s quite a juggling act.
“Hedwig” with Coleton Schmitto.
The pair sing with power and conviction, although the sound on opening night was so unbalanced that during opening scenes, the bass and drums overwhelmed the vocals. This technical glitch was corrected later in the show and presumably won’t be an issue for the duration of its run. Stephen Trask’s music, of course, runs the gamut from incendiary punk (“Angry Inch”) to pop humor (“Sugar Daddy”) to deeply personal (“Wig in a Box”) to hauntingly sentimental (“The Origin of Love,” “Wicked Little Town”)—all of it beautifully performed.
Not an ultra-polished Broadway production, this “Hedwig” is refreshingly street-funky, refined enough for musical theater elitists but grungy enough that cultists will come back for repeat performances. Hardcore fans will regret missing it.
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.
Production
Hedwig and The Angry Inch
Written by
Music: Stephen Trask.
Lyrics: Stephen Trask.
Book: John Cameron Mitchell
Political humor takes both expected and unexpected turns in Utopia Theatre Project’s “Demos Kratos Theatro,” at San Francisco’s PianoFight bar and theater, through October 6.
Its title Greek for “People Power Theater,” this collection of short plays and comedic sketches includes plenty of predictable anti-Trump/anti-Republican polemics. Musician Lauren Mayer appears repeatedly with songs whose lyrics are sometimes clever and sometimes entirely too obvious, such as “voter fraud is a fraud.”
There’s one piece, “Daughters of Ocean,” by Carol S. Lashof, that’s either too obscure or not quite fully developed, but two others are excellent, especially “The Polling Place,” Kenneth Heaton’s two-actor sketch about a voter trying her earnest best to participate in democracy in the face of increasingly impossible requirements. Directed by Mary Ann Rogers, veteran professional actor Richard Farrell is superb as a no-nonsense worker enforcing the rules at a polling station. Alicia Stamps is his match as a would-be voter baffled by the obstacle course she must overcome simply to cast a ballot.
Amelia Adams … a trained clown with deep experience in the Commedia dell’Arte tradition … engages the audience fully and never falters.
Another great sketch is Cleavon Smith’s “On the Precipice.” Directed by Melanie Bandera-Hess, the piece features three stoners (Lorenzo Angelo Gonzales, Howard Johnson Jr., and Tesia Bell) who appear ready to do their citizens’ duty until their motivation gets derailed by too much weed. The show’s only piece with a personal responsibility theme, “On the Precipice” is a humorous cautionary tale that should be taken to heart by a wide swath of the politically disenchanted.
The Demos Kratos Theatro cast.
The high point of “Demos Kratos Theatro” is Amelia Adams’s recurring appearances as campaigning politician Sal Monella—a sleazeball self-promoter from New Jersey by way of Chicago. A trained clown with deep experience in the Commedia dell’Arte tradition, Adams engages the audience fully and never falters even at moments when it’s clear she’s improvising. Her hilarious act alone is worth the trip to Taylor Street.
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.
Sebastopol’s Main StageWest new season is off to a roaring start with “Savage Wealth,” a world premiere of Bob Duxbury’s brilliant, incisive comedy.
In it, very unlike brothers Gabe and Todd (Matt Cadigan and Peter T. Downey) scheme to sell their family home with a view of Lake Tahoe but encounter unanticipated complications with their neighbor and childhood friend Beenie (Ilana Niernberger, in a fantastic performance), who owns the vacant lot immediately in front of the brothers’ home.
…a rarity, especially for a community theater troupe: a brilliant script brilliantly performed…
Todd is a hard-charging and deeply cynical political consultant and lobbyist, while Gabe is a contemplative unemployed slacker. Trustfunder Beenie spends her time flitting from ashram to spa to spiritual retreat and has an extensive repertoire of New Age practices that she unleashes on the brothers, in a not-fully-thought-out attempt to resolve their disputes and to get her own needs met. Roxbury’s script hits all the right notes, with plenty of potshots at a particularly Northern California style of pretension.
Director John Shillington extracts hilarious ensemble work from this talented trio. “Savage Wealth” is a rarity, especially for a community theater troupe: a brilliant script brilliantly performed. The short run—the show closes on September 16—does it a disservice.
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.
Production
Swallow
Written by
Stef Smith
Directed by
Missy Weave
Producing Company
Main Stage West
Production Dates
Through Jan 27th
Production Address
Main Stage West
104 N Main St
Sebastopol, CA 95472
We can’t escape the consequences of our actions. Nor can our family and friends. That’s the theme of Arthur Miller’s 1947 “All My Sons,” at Role Players Ensemble in Danville through September 16. Directed by Patrick Russell, it’s the company’s first production of the season.
The play appeared less than two years after the end of the great war. Based on a true story, it examines the private aftermath of a manufacturer having knowingly shipped defective cylinder heads for use in P-40 fighter planes. Many of the defective assemblies were installed; some P-40s crashed as a result, killing their pilots.
The manufacturer in Miller’s fictional treatment is Joe Keller (Christian Phillips), a likable, garrulous middle-aged family man whose idealistic son Chris (Dean Koya) has come home from the war to work at his father’s plant. Larry, the other Keller son and an Army Air Force pilot, has been listed as missing in action for more than three years. His mother Kate (Bonnie DeChant) fervently believes that Larry will be found alive and will one day return — a belief reinforced by a helpful neighbor named Frank (Nick Mandrachia), an amateur astrologer who fuels her conviction that Larry can’t be dead because the day he failed to return to base was his “favorable day.”
Joe Keller as played by Christian Phillips
Set in an idyllic small town in Ohio, the action plays out in the course of a single day in the backyard of the Keller home, nicely realized by set designer Robert “Bo” Golden. The backstory is that Steve Deever, the Kellers’ former next-door neighbor and Joe Keller’s production manager, is in prison, having been convicted of approving and shipping defective engine parts. Joe managed to escape serious punishment by pleading no knowledge of the affair, but a nagging cloud of guilt and doubt has hung over the Keller household ever since the investigation.
Steve’s daughter Annie (Marie-Claire Erdynast, in a rock-solid performance) has returned to town to announce her engagement to Chris, one vehemently opposed by his mother because Annie was Larry’s girlfriend. Samuel Tomfohr appears as the well-intentioned neighborhood doctor Jim Bayless; Susan Monson is strong and confident as his avaricious wife Sue. Gabriel A. Ross appears late in the show as George, Steve’s son and a recently minted lawyer. Danielle Tortolani does a nice turn as Lydia, the winsome neighbor.
Miller’s script is a volatile blend of moral ambiguity and social/familial responsibilities…
Phillips gives his character a weary belligerence not normally emphasized in other productions of this classic, while DeChant presents Kate as a desperate hysteric. Ross’s George has some stiffness about him, while Tomfohr’s Dr. Bayless is easy-going and natural. Monson’s extensive professional training is fully in evidence—with superb mastery of inflection, diction, and projection, she has the best voice in the cast. She deserves bigger roles, but does tremendous work with what she’s given here.
Miller’s script is a volatile blend of moral ambiguity and social/familial responsibilities—a blend well served by a mostly expert cast. All the actors have a strong grasp of their characters and lines (no bobbles on opening weekend) but the opening act was slow to get airborne. Eliminating the dead air would help launch the story. Fortunately the pace picks up substantially in the second and third acts and leads to a satisfying if demoralizing resolution.
In October, Role Players will follow this show with “Other Desert Cities,” a more recent story about a long-suppressed family secret. What an interesting pairing that will be.
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
Production
All My Sons
Written by
Arthur Miller
Directed by
Patrick Russell
Producing Company
Role Players Ensemble
Production Dates
Thru Sept. 16th
Production Address
Role Players Ensemble
233 Front Street
Danville, CA 94526
Every summer, SanFrancisco Playhouse puts on a classic musical that runs from late June or early July into September. A hugely successful business model, the strategy takes advantage of tourist traffic in the city’s downtown Union Square area.
The current offering, James Lapine’s and Stephen Sondheim’s “Sunday in the Park with George” has been so successful that the Playhouse has had to add performances to accommodate demand. Now halfway through its run, the show is popular for good reasons—among them, superb performances and stunning stagecraft.
…a beautifully rendered and performed Broadway classic that deserves all the attention it’s getting…
In many ways award-winning director Bill English’s magnum opus, “Sunday in the Park” has amazing sets (also by English) and immersive projections by Theodore J.H. Hulsker that bring the paintings of George Seurat to life, as well as the island in the Seine immortalized in his most famous creation.
The first act’s story focuses on Seurat (John Bambery) and his obsession with 18th century discoveries in optics—in particular, the fact that two closely-spaced unlike colors seen at a distance appear to the eye as a third color. Red and blue appear as lavender, for example.
George (John Bambery) at work on his masterpiece, “A Sunday Afternoon on the Island of La Grande Jatte.” Photo courtesy of SF Playhouse.
His pointillist technique was enormously time-consuming, leaving little margin for the proper treatment of his lover/model/muse Dot (Nanci Zoppi, who steals the show). Zoppi also appears in the second act as Marie, Dot’s daughter, and Bambery is Seurat’s American grandson, also named George, and also an artist. There is some disagreement between Marie and this new George about his exact lineage, and about the direction of his art. The second act spoofs the 1970s art world, but the first act seems to take the artist’s struggle quite seriously.
There are no weak links in the large cast—they range from good to exemplary—but standouts include Maureen McVerry as the Old Lady in Act 1 and as modern art maven Blair Daniels in Act 2, and Anthony Rollins-Mullens as Louis.
George (John Bambery) shares a moment with the Old Lady (Maureen McVerry.) Photo courtesy of SF Playhouse.
The creative team is similarly of high caliber, particularly choreographer Kimberly Richards, costumer Abra Berman, and lighting designer Michael Oesch.
The cast of ‘Sunday in the Park with George’ take their positions in Georges Seurat’s famous painting. Photo courtesy SF Playhouse.
“Sunday in the Park” is an absolute spectacle. Sondheim’s music may give some visitors pause—it rarely rises to the level of recognizable melody, and unfortunately, the composer may have exhausted his considerable lyrical abilities in collaborating with Leonard Bernstein on “West Side Story.”
From the same era that gave us “Company” and “Sweeney Todd,” this show tends toward the atonal and repetitive, but it’s nonetheless a beautifully rendered and performed Broadway classic that deserves all the attention it’s getting.
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.
The owners of a down-on-its-luck family winery panic while awaiting the appearance of a feared critic in “The Tasting Room,” at Napa’s Lucky Penny Productions through August 12.
Taylor Bartolucci and Danielle DeBow star as sisters Rebecca and Emily Lusch (“loosh”), proprietors of the Lusch Family Winery, a fictional establishment in the Napa Valley. Their lackadaisical morning routine is interrupted by the appearance of Sid Taylor (Michael Scott Wells), a scout for a publication called “The Wine Fanatic,” home of dreaded curmudgeon Elbert Fleeman (Michael TRoss), a critic who has consistently underrated Lusch products and may have some secret knowledge about the winery’s history.
Playwright and director Barry Martin is confidently understated as cynical salesman and “wine educator” Tony Spicolli, and Tim Setzer has a brilliant cameo as a wine-country tourist trying to cover the entire valley in a few short days. Drawing on plot elements from sources as diverse as “Rattatouie,” “Waiting for Guffman,” and “Bottle Shock,” the show is a quick-paced farce in which almost everything that can go wrong does go wrong. All the action plays out in a simply-conceived natural wood tasting room (set design also by Martin), with little need for set or prop changes.
‘The Tasting Room’ … works perfectly as a stand-alone show.
Bartolucci has the lion’s share of funny lines, most delivered with inebriated weariness—as in her dismissal of the tourist as “a guy who probably does a podcast out of his cellar.” DeBow plays it mostly straight as her strictly-business sibling, as does Ross, who comes in late in the second act to taste randomized samples. Martin has a lot of fun exploiting his character’s dislike for customers, punctuated by frequent trips to the bathroom, a result of gastronomic indiscretion. Michael Scott Wells portrays Sid Taylor as a cringing nebbish who lives in his boss’s shadow, and has surprisingly little interest in wine. He is, however, very interested in Emily, and this secondary plot helps lift the production in spots where the primary plot sags. There isn’t much of that, and this show largely sails along brilliantly.
“The Tasting Room” has room for refinement and the addition of other characters and plot elements—it’s very much like an energetic pilot episode for a promising sitcom, but works perfectly as a stand-alone show. With frequent moments of laugh-out-loud hilarity, it’s a wine country insider production with appeal broad enough for everyone.
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.
Production
The Tasting Room
Written by
Barry Martin
Directed by
Barry Martin
Producing Company
Lucky Penny Productions
Production Dates
Through August 12th
Production Address
Lucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
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.
Production
My Fair Lady!
Written by
Book by Alan Jay Lerner. Music and Lyrics by Lerner & Frederick Loewe.
Directed by
Michael Ross
Producing Company
Sonoma Arts Live
Production Dates
Thru July 28th
Production Address
Rotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Cultural appropriation gets turned upside down in David Henry Hwang’s “Soft Power,” through July 8 at San Francisco’s Curran.
China is clearly on its way toward being the dominant economic force in the 21st century. Its cultural influence isn’t yet on par with its industrial and financial power, but there seems little doubt that its ascendency is inevitable. Directed by Leigh Silverman, the fantastically entertaining “Soft Power” imagines a near future when Chinese film, TV, and theater borrow heavily and indiscriminately from standard tropes of 20th-century American popular culture. The title is code for a nation’s global cultural influence.
Hwang opens the piece with a meeting between himself (played by Francis Hue), a successful screenwriter, and Xue Xing (Conrad Ricamora), an executive with “Dragon Media” sent to Hollywood to recruit talent for productions for the Chinese domestic market. Xing’s comprehension of English is excellent but he needs help with idioms and cultural details. His slight Chinese accent gradually disappears as the story moves forward in time, an indication that he’s become fully assimilated.
Alyse Alan Louis (center), working in ‘Soft Power’ at the Curran. Photo by Craig Schwartz.
A classic Hollywood trope involves his much younger starlet girlfriend Zoe (Alyse Alan Louis, a fantastically talented singer who also does a superb impression of Hillary Clinton in one of the core story’s many tangents.)
The ambitious but somewhat out-of-control script covers everything from America’s love affair with firearms to the venomous 2016 presidential election and its aftermath to typical American/European stereotypes of Asians in such beloved shows as “The King and I” and similar huge-scale theatrical productions.
Sam Pinkleton’s choreography is especially delicious, riffing on classics like “Billy the Kid” and “Oklahoma.” Watching nearly two dozen mostly Asian performers hamming it up in blonde wigs and mid-South accents is a scream.
‘Soft Power’ is a wildly entertaining celebration…
The script leaps forward to a televised discussion among Chinese cultural intellectuals about the “invention of new theatrical forms” combining speech, song, and dance. Stagecraft is superb, immersive, and at times almost overwhelming.
This is a hilarious must-see production for anyone interested in the future, in the abysmal state of American politics or in an alternate take on the stupidly contentious issue of cultural appropriation. Should Anglo women be driven out of business for making and selling tacos and burritos? Is it fair that white college girls get harassed by their Hispanic sisters for wearing hoop earrings? These questions aren’t hypothetical; both have happened recently.
A visit to McDonald’s, a fine eatery, in ‘Soft Power.’ Photo by Craig Schwartz
The bottom line is that humans copy everything they like—food, fashion, music, art, language, technology. “Soft Power” is a wildly entertaining celebration of this eternal truth. It’s a genius production whose short three-week run does it an unintentional disservice.
Barry Willis
ASR Theater Section Editor and Senior Writer Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: [email protected]
Production
“Dear Evan Hansen”
Written by
Written by Steven Levenson,
Music and Lyrics by Benj Pakek and Justin Paul
Directed by
Michael Greif
Producing Company
Curran Theater Co.
Production Dates
December 30th
Production Address
Curran Theater
445 Geary St.
San Francisco, CA 94102
One devilish deal leads to the next in Sarah Burgess’s incisive “Dry Powder,” at Berkeley’s Aurora Theatre Company, through July 22.
Directed by Jennifer King, this Bay Area premiere is a dark comedy that peers into the often impenetrable world of private equity—a niche of the financial world where companies are bought, sold, merged, or dismembered in pursuit of mind-blowing profits.
A high-stakes game with enormous potential for victory and defeat, and enormous potential to affect countless people, private equity is little understood by ordinary citizens except as a scapegoat for all that might and can go wrong on the grand economic scale. The show’s title refers to working capital—money in reserve, the industry’s primary tool.
Bay Area stalwart Aldo Billingsly, along with Jeremy Kahn, in ‘Dry Powder’ at Aurora Theater
Bay Area theater veteran Aldo Billingsly is brilliant as Rick, the volatile founder of a private equity firm that’s recoiling from some very bad press about his lavish wedding party in the aftermath of a buyout that threw thousands of people out of work.
Junior partners Seth (Jeremy Kahn) and Jenny (Emily Jeanne Brown) bring him potential deals, treatments for deals, financial projections for various scenarios, personal advice, and insider opinions about the probable public relations consequences of their deals—in this case, a proposed buyout of an American luggage maker with more than 500 employees.
Emily Jeanne Brown at work as Jenny, in ‘Dry Powder’
It’s a deal that Seth has been nursing for months, in the process forming a strong bond with Jeff (Kevin Kemp), co-owner of the target company. The two have such a pronounced “bromance” that Jeff is actually excited about the possibility of reviving the brand and re-jiggering its business model to create a whole new market for personalized luggage.
A math-whiz elitist with zero empathy for working people, Jenny dismisses Jeff’s ideas as feel-good nonsense and presents an alternate plan to buy the company, spin off its assets, and send production offshore—a plan with a larger potential upside but horrible social consequences. Numbers are all that matter to Jenny. The fact that this will render 500 people jobless is of no concern to her—”It’s their responsibility to learn how to do something else,” she flatly states.
Hilarious and horrific, ‘Dry Powder’ is a quickie tour of one of the outer rings of hell…
Therein lies the moral struggle in Rick’s office, depicted with superb energy and conviction on the Aurora’s simple, all-white thrust stage (set by Tanya Oellana, lights by Kurt Landisman, sound by James Ard). Jenny and Seth battle like adolescent brother and sister—much of it side-splittingly funny—and Rick alternately takes their counsel or reins them in. A couple of plot twists near the end drive home the Faustian nature of their business, including a desperate alliance with a Hong Kong financier so corrupt that he’s lost his Chinese citizenship.
Hilarious and horrific, “Dry Powder” is a quickie tour of one of the outer rings of hell—if you believe the old adage that the love of money is the root of all evil. In Berkeley, the message will certainly find an eager audience, who may be dismayed at the verity of another old adage: Everyone has a price.
Barry Willis
ASR Theater Section Editor and Senior Writer Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Year of Magical Thinking
Written by
Joan Didion
Directed by
Nancy Carlin
Producing Company
Aurora Theater Co.
Production Dates
Thru July 28th
Production Address
Aurora Theater Co.
2081 Addison St.
Berkeley, CA 94704
“Stairway to Paradise” at Transcendence Theater Company
The old adage has it that the difference between good and great is enormous. That enormity is totally apparent in “Stairway to Paradise,” the current production by Transcendence Theatre Company, at Jack London State Park in Glen Ellen, through July 1.
Now in its seventh year, Transcendence doesn’t deliver traditional drama, comedy or musical productions but instead offers stellar revues of music and dance by dozens of Broadway professionals, whose youth is belied by their skill, confidence, and commanding stage presence. “Stairway” is a collection of uplifting songs from Broadway classics with a few enduring pop hits thrown in for variety. The performances range from stunning solo efforts to duets, trios, and full ensemble pieces that will make you glad to be alive.
Some of the performances have a charmingly improvisational characteristic—an intimate, almost throwaway feel—but there is a daunting amount of rehearsal behind each Transcendence production. Each piece segues seamlessly into the next, backed by the rock-solid and solidly-rocking Transcendence band. Comedic intervals include a spoof on a TV game show that may involve volunteers from the audience.
The venue in the park’s stone ruins couldn’t be more accommodating. Ticketholders can enjoy picnicking from 5 p.m. onward until the show begins at 8, on a roughly constructed but perfectly serviceable stage set against the Sonoma hills.
Transcendence Theatre Company is the summer’s North Bay musical destination.
Transcendence does winter holiday shows indoors—last season’s were at the Marin Veterans Auditorium in San Rafael and the Luther Burbank Center in Santa Rosa—and a series of summer shows at Jack London. “Stairway to Paradise” runs through July 1, to be followed by “Fantastical Family Night” July 13 & 14; “Shall We Dance” August 3 – 19; and “Gala Celebration” September 7 – 9.
Transcendence Theatre Company is the summer’s North Bay musical destination. Ordering tickets well in advance is highly recommended. These shows sell out quickly, and with good reason: the world is in dire need of the kind of positive energy that Transcendence serves up at every show.
Barry Willis
ASR Theater Section Editor and Senior Writer Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: [email protected]
Transcendence Theatre Company presents
“Stairway to Paradise”
Through July 1: 7:30 p.m. Friday, Saturday, Sunday
Jack London State Historic Park Glen Ellen, CA
Tickets: $45 – $145 (single, reserved seating); Group discounts available Info: 877-424-1414 ext. 1,
1969 was a pivotal year in the United States. The Vietnam War was approaching its peak, as was opposition to it at home. The civil rights and women’s movements grew more intense by the week. In late July, the first astronaut walked on the moon, and shortly thereafter a half-million music fans showed up at a farm near Woodstock, NY, for what would be the defining cultural moment of the decade.
All of this figures into “A Walk on the Moon,” at ACT through July 1. It’s a beguiling tale of a Jewish housewife’s late-in-life coming of age through an accidental encounter with a hippie peddler. Katie Brayben stars as Pearl Kantrowitz, a young mother from Flatbush, whose family traditionally spends a few idyllic summer weeks at a resort in the Catskills with friends and neighbors, all of whom, save Pearl’s rebellious adolescent daughter Alison (Brigid O’Brien), are still very much in the 1950s.
Marty and Pearl – Jonah Platt and Katie Brayben in “A Walk on the Moon” at ACT
Pearl’s TV-repairman husband Marty (Jonah Platt) can’t stay with them as much as he would prefer because business is booming at the repair shop where he works , in anticipation of the moon landing. Pearl spends idle moments hanging out with Walker (Zak Resnick), a local free spirit who sells blouses out of his camper van. Their friendship blossoms and culminates in a psychedelic adventure during the music festival, mirroring a less-intense affair that Alison has with a charming guitar-playing boy named Ross (Nick Sacks).
The story covers a short period in social history but a huge episode in Pearl’s life. She was, as she describes it, almost a child bride—one who went from high school to motherhood with no developmental period in between. Walker, and the ideas he shares with her, are Pearl’s forbidden fruit, and like Eve in Genesis Chapter 3, her eyes are opened.
Pearl and Walker – Katie Brayben and Zak Resnick at ACT
The verdant setting of the “bungalow colony” feels almost like Eden as realized by scenic designer Donyale Werle, and Tal Yarden’s astoundingly immersive projections go a long way toward encompassing the heady events of the late 1960s. Stagecraft at ACT is almost always beyond reproach, but this production is among the company’s most spectacular. It’s absolutely gorgeous.
“A Walk on the Moon’ is a flawless, must-see production.
Developed by Pamela Gray from the 1990s movie of the same name, “A Walk on the Moon” beautifully evokes a period whose effects still resonate almost fifty years later. The music by Paul Scott Goodman, with additional lyrics by Gray, gets the ‘60s feel just right while sounding totally contemporary. The entire cast is superb but Brayben takes her performance completely over the moon (sorry) with all-consuming dramatic conviction, fantastic dancing, and stunning vocals. It’s one of the most complete and fully engaged performances you’re likely to see this year.
“A Walk on the Moon” is a flawless, must-see production. Its only drawback is that it isn’t running all summer.
ASR Theater Section Editor and Senior Writer: Barry Willis
Barry Willis is ASR’s Theater Section Editor and a Sr. Contributor at Aisle Seat Review. He is also a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: [email protected]
“A Walk on the Moon” by Pamela Gray; Music by Paul Scott Goodman; Directed by Sheryl Kaller
Through July 1: Tuesday– Saturday, 8 p.m.; Wednesday, Saturday, Sunday, 2 p.m.
American Conservatory Theater Geary Theater, 415 Geary Street, San Francisco, CA
A Christmas holiday family reunion goes off the rails in Young Jean Lee’s “Straight White Men” at Marin Theatre Company, through July 8.
Directed by Morgan Gould, the one-act production has brothers Jake and Drew (Seann Gallagher and Christian Haines) converge on their family home to celebrate with brother Matt (Ryan Tasker) and father Ed (James Carpenter). In their 30s and 40s, the brothers immediately revert to middle-school antics when they get together. Some of this is funny, in the way that adults behaving like children can be funny, but most of it goes on too long. There are some comedic bits that are truly brilliant, such as Matt vacuuming the floor with great dignity, the brothers vamping like runway models in their new Christmas pajamas, or their extended faux-improv on the theme song from “Oklahoma” that emphasizes racial superiority and Nazi madness.
Scant comedy mostly provides a smokescreen for the lack of substance in Lee’s script, a thinly veiled attack on the pretenses and privileges of heterosexual Caucasian males. The brothers and father are all not merely straight white men, but the worst of their kind, liberal straight white men—those who pretend to be allies of the oppressed but are actually enemies.
Cast of “Straight White Men” at MTC
Ed is a retired engineer who runs his own social-good foundation; Jake is a banker whose kids “are half-black;” Drew is a novelist and tenured professor; the under-employed Matt spent ten years working toward a doctorate at Stanford, including a year in Ghana, as he describes it, “teaching things I didn’t understand to people who didn’t want to learn them.” To beat the audience over the head with their hypocrisy, Lee has them play a board game called “Privilege” designed by their departed mother.
The core of the drama is Matt’s depressed, rudderless existence. He’s overeducated, doing menial work and living with his father, whom he helps with chores and household maintenance. He carries a crushing load of student debt accumulated from a decade in pursuit of his dead-end Ph.D., and lacks the confidence to engage in conversation in a job interview. Brother Jake coaches him on how to do this, then brother Drew tries to help him with some feel-good therapy, telling him if he doesn’t follow through, their relationship is over. Ed whips out his checkbook and in a stunning act of generosity, offers to clear Matt’s debts. Then he boots him out. The end.
Where is the second act that resolves the can of worms that’s opened in the first? The whole production is just an arbitrary unflattering snapshot of some ordinary people. The essence of “Straight White Men” is little more than a few somewhat-related ideas looking for a structure. Despite the praise heaped upon playwright Lee in the program (and elsewhere), the story comes off as a half-baked work-in-progress. How it arrived at a major Equity house is baffling and unbelievable, but the acting is excellent—James Carpenter is our local national treasure; Ryan Tasker is terrific—and the set design by Lucciana Stecconi is wonderful.
The huge unanswered question provoked by “Straight White Men:” What is the point of all this? The script has no character arc and almost no dramatic arc. Second unanswered question: What is the point of the framing device of the two observers (“Person in Charge 1” and “2”)? Person in Charge 2 (Arianna Evans) is a malevolent punk princess who glowers at the audience from stage left or right, looking as if she might inflict serious damage from her leather-clad fists should anyone dare to speak. Then there’s Person in Charge 1 (J Jha), a bearded representative of the gender-fluid community, who flits around in a lurex hoodie during fifteen minutes of deafening, screechy electro-thump as the audience finds their seats. It’s a lot to ask of paying customers, who are then treated to a lecture on the trendy misuse of personal pronouns and possessive adjectives, in particular, the use of “they” as a singular pronoun applied to individuals with multiple gender identities. How any of this relates to the story of the depicted family is a mystery.
Final question: What if an equivalent play were written by a straight white male about four Asian women, exploiting every conceivable stereotype? Critics would vilify it. Protesters would be lined up around the theater and down the block. They might even succeed in shutting down the production. Today straight white males are the only ethnic group that can be ridiculed with impunity. Keep that in mind when you sit down to endure your next sermon on political correctness.
ASR Theater Section Editor and Senior Writer: Barry Willis
Barry Willis is ASR’s Theater Section Editor and a Sr. Contributor at Aisle Seat Review. He is also a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: [email protected]
“Straight White Men” by Young Jean Lee, directed by Morgan Gould
Through July 8: Tues-Sun, 7:30 p.m
Marin Theatre Company 397 Miller Avenue Mill Valley, CA 94941
Down-on-their-luck Texans test their endurance to win a new Nissan pickup truck in an auto dealer’s publicity stunt. This may not sound like a solid basis for an uplifting comedic musical, but it works beautifully in “Hands on a Hardbody,” at Lucky Penny Productions in Napa, through June 17.
A real-life situation that may have originated at Jack King’s Nissan dealership in Longview, Texas, in the early 1990s, the contest required competitors to keep at least one hand on the truck at all times, except for intermittent 15-minute breaks for water, food, and restroom visits—no lying down, and no sleeping. Losing contact with the truck meant disqualification from the competition—something easy to do as excitement, dehydration, fatigue, numbness, sleep deprivation, and hallucinations all take their toll. King’s dealership ran the contest annually for 13 years—one that was widely imitated throughout the country—and was the subject of a 1995 documentary film, which inspired the musical; book by Doug Wright, music by Trey Anastasio and Amanda Green, lyrics by Amanda Green.
With “Hands on a Hardbody,” Lucky Penny has a winner for everyone—cast, crew, and audience alike.
A gleaming red truck occupies center stage in Lucky Penny’s horseshoe-shaped arena, with assorted competitors surrounding it, sometimes marching around it and sometimes pushing it around. “If I Had This Truck” is one of the most heartfelt songs of wistful hope that’s ever been sung, and Staci Arriaga’s incredibly clever choreography has them adhere to the rules—one hand in contact at all times—although in a couple of instances they cheat by stepping into the truck’s bed for extended improvisations. The four-piece band under the direction of Craig Burdette is excellent, rocking the house from above stage right.
Director Taylor Bartolucci gets astoundingly great performances from her 15-member ensemble, one with no weak links. Standouts include Daniela Innocenti-Beem as Norma Valverde, a true-believer Christian certain that God intends her to have that truck, Brian Watson as Benny Perkins, a hard-core badass with a sad past; and Alex Gomez as Jesus Pena, who needs it to pay for veterinary school. Barry Martin is especially convincing as J.D. Drew, an easygoing good-ole-boy whose industrial accident has cost him his job and benefits. Shannon Rider is excellent as his exhausted but ever-supportive wife Ginny.
With “Hands on a Hardbody,” Lucky Penny has a winner for everyone—cast, crew, and audience alike. It’s a shame that it doesn’t run longer.
ASR Theater Section Editor and Sr. Contributor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.
“Hands on a Hardbody”
Through June 17: 7 p.m. Thursday; 8 p.m. Friday and Saturday; 2 p.m. Sunday
Lucky Penny Productions – 1758 Industrial Way Community Arts Center, Napa
Playwright Mark Dunn went to the UT Austin. His time in Texas taught him much about how Southern women relate to each other. At Novato Theater Company through June 10, his “Five Tellers Dancing in the Rain” is a comedy about bank tellers who meet each morning in the break room of a branch bank in Oxford, Mississippi to share the latest episodes of their personal soap operas—episodes that invariably involve men and the problems they cause.
Hande Gokbas plays head teller Lorene, who scarcely tolerates her co-workers’ tardiness and inattention to work until she meets a promising potential mate herself. Meanwhile the other tellers—Jenny (Lindsay John), Twyla (Janelle Ponte), Betina (Jayme Catalano), and Delores (Sandi V. Weldon)—engage nonstop with problems as minor as personal disagreements and as serious as divorce and death, talk of which is a mix of deadpan discussion and provocative pronouncement delivered in plausible accents.
With “Five Tellers,” Dunn follows a foolproof time-honored strategy for comedy: put very different characters in a pressure cooker, and slowly turn up the heat. It always worked for Neil Simon, and under the direction of Anna Smith, the gambit works nicely here too. This well-paced companion piece to “Steel Magnolias” offers plenty of laughs and an upbeat conclusion that will make you happy you bought a ticket.
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.
Four hundred-plus years after its debut, Shakespeare’s “Hamlet” still has a lot to teach us about avarice, ambition, betrayal, and revenge. Based on stories and legends reaching far back into the dim recesses of time—the Wikipedia entry is an excellent resource—“Hamlet” is among Shakespeare’s most enduring and popular tragedies.
In it, a brooding young prince comes home from college to discover that his father has been murdered by his uncle Claudius, who has married Hamlet’s mother Gertrude and usurped the throne. Wracked with self-doubt, Hamlet plots revenge while the guilt-ridden Claudius conspires to send him away, perhaps permanently. The outcome isn’t pretty.
Directed by Robert Currier, Marin Shakespeare Company’s modern-dress outdoor production intentionally leverages the palace intrigue and manipulation of fact that occupy so much of our daily news coverage. The stark set by Jackson Currier evokes the bombed-out remains of Baghdad or Aleppo, while newly-crowned King Claudius (Rod Gnapp) resembles Vladimir Putin, with an entourage that includes his verbose, obsequious, and ever-present minister Polonius (Steve Price, excellent), Polonius’s son and daughter Laertes and Ophelia (Hunter Scott MacNair and Talia Friedenberg, respectively) and Queen Gertrude (Arwen Anderson), a glamour-puss with little to say but, as prominent arm candy, much to contribute to Claudius’s attempts to legitimize himself. The guards at Castle Elsinore carry automatic weapons, not spears; Hamlet dispatches the spying Polonius with a silencer-equipped pistol, not a dagger.
As the tormented prince, Nate Currier brings a pronounced sense of the contemporaneous to his role without pandering to the present. He’s also the right age for the part, one sometimes attempted by middle-aged actors in a thirst to tackle one of the greatest characters ever written—a not-uncommon theatrical trope as absurd as having Madame Butterfly sung by a heavyweight matron. Arwen Anderson doesn’t look old enough to be completely believable as Hamlet’s mother—his super-model stepmom, maybe, but Gertrude may have been a child bride.
Barry Kraft is superb in multiple roles—as the ghost of Hamlet’s father, as the “First Player” of the theatrical troupe that Hamlet hires for a court performance—and he absolutely shines as the gravedigger, the show’s one bit of comic relief before the final bloodbath. It’s one of the juiciest cameos in all of Shakespeare.
Ophelia feels the pain – photo by Jay Yamada
Talia Friedenberg lends strong vocal talent and a refreshing lack of inhibition to the part of whacked-out Ophelia, while MacNair gives Laertes a resounding sense of decency in a cesspool of backstabbing. Brennan Pickman-Thoon is rock-solid as Hamlet’s loyal friend Horatio.
Looking over “Hamlet,” “King Lear,” “Macbeth,” “Richard II,” and the Bard’s other plays depicting madness and criminality among the nobility, one might conclude that Shakespeare didn’t have much respect for the ruling class. Human nature will never change. “Hamlet” goes a long way in showing us how if not exactly why. This production runs just about three hours with intermission. The outdoor setting can be chilly at night, while afternoons can be sweltering. Come prepared.
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.
“Hamlet” by Marin Shakespeare Company
Through July 8: Thursdays, Fridays, Saturdays, Sundays 8 p.m.; Sunday matinees 4 p.m.
Forest Meadows Amphitheatre at Dominican University, San Rafael, CA
“Neoteny” is a scientific term for the persistence of immature characteristics in mature organisms: adult dogs with the look and behavior of puppies, for example. By extension, it could be applied to a large swath of the thirty-something population, many of whom seem to have reached their limit of social development in middle school.
It’s also a strong sub-theme in “An Entomologist’s Love Story,” at San Francisco Playhouse through June 23. Expertly directed by Giovanna Sardelli, Melissa Ross’s tight, insightful script examines the relationship of Betty and Jeff (Lori Prince and Lucas Verbrugghe), two doctoral candidates who work together in the entomology department of the Museum of Natural History in New York City.
SF Playhouse: Lucas Verbrugghe and Lori Prince
Briefly lovers during their undergrad days, the two now enjoy a playful relationship like teenage brother and sister. Their nerdy banter is the source of much of Ross’s comedy—much of it true-to-life proof that “thirty is the new thirteen.” Betty is an expert on the mating behaviors of insects—the play is bracketed by her lectures on the subject—but is obsessed with the mating behaviors of humans, an activity with which she has had much experience but no longterm success. She clings to Jeff, who clearly wants to move on, but doesn’t know how.
Lindsay (Jessica Lynn Carroll, right) shows an insect specimen to Jeff (Lucas Verbrugghe).
Then one day he meets Lindsay (Jessica Lynn Carroll), a young woman geekier by far than he and Betty combined, and soon he knows she’s the girl for him. How to break away from Betty is his challenge, and dealing with that is hers. Then life throws her a curve ball in the form of an intellectual janitor named Andy (Will Springhorn, Jr.), who’s attended her lectures and has read “War and Peace” in its entirety.
It’s a spare, beautifully structured plot without a hint of fluff. Every line and every action propel the story toward its lovely uplifting conclusion, all of it conveyed on a spectacular set—both interior and exterior of the museum—by Nina Ball, one of the Bay Area’s most gifted and adventurous set designers. This show’s scientific setting and dissection of the personal lives of realistic scientists make it an excellent follow-up to “The Effect,” with its theme of love and research. And love-among-the-nerds makes it a superb companion piece to “Tinderella,” running through May 26 at Custom Made Theatre, in SF Playhouse’s former home on Sutter Street. Hilarious and hopeful, “An Entomologist’s Love Story” is a sweet antidote for what ails us.
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.
Humanoid artificial intelligence is a long-running popular theme in science fiction, comic books, movies and TV shows—and a burgeoning reality. Major technology companies have already demonstrated believable prototypes. Cyborgs, androids, replicants—call them what you will—they are an inevitability, but theater pieces about them have been glaringly absent from the live performance stage.
That all changes with “Marjorie Prime,” Jordan Harrison’s incisive one-act, in which cyborgs (called “primes”) are therapeutic tools to help people deal with loss—of loved ones, or with memory. At Marin Theatre Company through May 27, the play is set in the near future—lead character Marjorie is an 86-year-old born in 1977—and imagines helpful, realistic androids that take on the appearance, personalities, and mannerisms of the departed. Marjorie (the fantastic Joy Carlin) is a faltering widow whose “prime” is a replica of her husband Walter as a thirty-something young man, portrayed with grace and stealth by Tommy Gorrebeck. Walter Prime provides companionship and fills in the blanks for Marjorie as she reminisces about the past. In doing so, he helps to make the past better for her than it actually may have been. When not engaged, he becomes silent and motionless, very much the way Amazon’s Alexa and Apple’s Siri reside in the background, waiting to be summoned.
Marjorie is a burden for her daughter Tess (Julie Eccles) and son-in-law Jon (Anthony Fusco), who provide her care. Their sometimes contentious relationship is also wrought with a problematic past and as the story progresses each of them gains or is replaced by his or her own prime, whose personalities evolve as they gain information. The spare dialog runs the gamut from nonsequitor to profound insight and spans the emotional spectrum from despair to hilarity. Marjorie confounds Tess and Jon with archaic references to a rock band called “ZZ Topp,” which they have never heard of, and quotes a Beyoncé song to their bafflement.
It’s a brilliant concept, and a brilliant script—a 2015 Pulitzer Prize finalist—superbly delivered by four supremely talented actors under the direction of Ken Rus Schmoll, on a simple modernistic set by Kimie Nishikawa, the passage of time conveyed by a few prop changes and some beautiful projections of summer sky and falling snow. “Marjorie Prime” is a stunning, thought-provoking bit of theater that deserves a sold-out house for each performance. It’s that good.
Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact: [email protected]
“Marjorie Prime”
Marin Theatre Company 397 Miller Ave. Mill Valley CA 94941
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.
A great old joke has it that “a camel is a horse designed by committee.” The same might be said about Civil War epic “Father Comes Home from the Wars,” directed by Liz Diamond, at American Conservatory Theater through May 20.
The committee in question is playwright Suzan-Lori Parks, an artist so deeply in love with her own voice that she can’t figure out what material fits and what needs to be jettisoned. She includes it all, like William Faulkner delivering to his editor his magnum opus in a wheelbarrow.
Unlike Faulkner, Parks didn’t have a ruthless editor to shape her material into something compelling. She instead offers a sprawling amalgam of history and personal quest that attempts to be both drama and comedy but ultimately succeeds as neither. The story at its core is quite simple: a slave named Hero (James Udom, superb) elects to serve as valet to his “boss master,” a Confederate colonel (Dan Hiatt) who has answered the call of duty and is headed to the war. Hero wonders if he should go or not, to the point of almost cutting off his own foot to render himself unfit, a fate that has already befallen his friend Homer (Julian Elijah Martinez). He’s also reluctant to say goodbye to his love Penny (Eboni Flowers) and other members of his community, but the lure of adventure, the intoxication of wearing a uniform, and the promise of freedom at the end of his servitude overwhelm his better judgment and off he goes. There are mentions of Hero’s dog Odyssey, who has run off, but we never see him.
James Udom
“Father Comes Home” follows a traditional three-act structure, with enough characters and plot devices to fill a two-season PBS series. In the first act, we meet Hero and other members of his community, their shabby housing represented by the rusty façade of a corrugated metal shack. (Scenic design by Riccardo Hernandez.) This introduction, itself introduced by a mellifluous guitar-playing musician (Martin Luther McCoy, excellent), consumes the better part of an hour and segues directly into Act II, which finds Hero, the Colonel, and a wounded-and-captured Union soldier (Tom Pecinka) camped out in a forest within earshot of battle but safely away from it, the damage of war and the forest where they’re hiding represented by huge upended I-beams, more 1945 Berlin than 1865 Appomattox.
The Colonel preens, drinks, and rants, and during lulls in encroaching cannon fire, the three of them engage in a free-wheeling discussion of personal and social freedom, identity, status, value, ownership, man, god, law, and destiny. This act is exceptionally well done by three skilled actors and were it fully fleshed out might prove to be a satisfying resolution to the questions raised in Act I. Or not—the playwright might have her characters ask these questions and leave them for the audience to ponder.
Act III opens with the rusty shack superimposed on the remnants of war, with three runaway slaves cowering on its porch. Over the hill comes what appears to be a crazy homeless person in a wooly bathrobe, flitting about, flipping his hair and gushing about the fates of Hero and the Colonel. A new character introduced in the last act—Parks clearly disregards the laws of drama here—and one who had many in the opening night audience mumbling “WTF?” This crazy homeless person proves to be Odyssey, Hero’s missing dog, who has followed his master, at a distance, to the war and back and has come home to tell the tale. He’s comic relief, like the gravedigger in “Hamlet.”
Greg Wallace
A talking dog. We are now solidly in Uncle Remus and Brer Rabbit territory.
Odyssey (ACT veteran Gregory Wallace) spins an elaborate tale, provoking many laughs, and informs the community that Hero isn’t dead as they believed, but in fact survived and is coming home. And Hero does just that, arriving with gifts for Homer and Penny, and a copy of the Emancipation Proclamation that he has copied by hand but never reads aloud. Their reunion is warm and reassuring until Hero lashes out wildly with his knife, slashing at the runaways, his friend Homer, and everyone near him. There is neither justification nor explanation for this outburst. Then he calms down to tell Penny that he has a wife on the way, and it isn’t her. The end, more or less.
Its stagecraft is very good, but “Father Comes Home” is lengthy (three hours), ponderous, and baffling. Parks has worked historical facts into fantasies that never fully take flight. Hero’s journey is an arduous one, especially for the audience, some of whom left at intermission. That may have made for a more fulfilling evening at the theater.
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.
“Father Comes Home from the Wars” by Suzan-Lori Parks
San Francisco’s Curran Theater is the last stop before Broadway for “Head Over Heels,” the delightful new musical featuring the songs of 1980s girl group the Go-Go’s.
Reputedly the most successful female pop group of all time, the Go-Go’s helped define the decade with a long run of infectious tunes, given new life in this stupendously quirky production. The opening scene is a fantastically well-done ensemble performance of “We Got the Beat” under a proscenium arch emblazoned with the faux-Latin slogan “Habemus Percussivo.”
Developed by Jeff Whitty from “The Arcadia” by Sir Philip Sidney, adapted by James Magurder, and directed by Michael Mayer, “Head Over Heels” is a pseudo-Shakespearean romantic comedy about a royal family seeking to prevent a prophecy of doom. This involves a troublesome journey to Bohemia, foreboding appearances by a transgendered oracle, mistaken identities, gender-fluid coupling, class-defying hookups, a self-doubting monarch, and some of the most spectacularly whimsical sets ever conceived—all of it propelled by the Go-Go’s great thumping pop-rock, done live by an ace all-female band above and behind the stage. Spencer Liff’s choreography is superb right from the opening drum whack.
Head Over Heels: A New Musical
The story concerns Basilius, the King of Arcadia (Jeremy Kushnier) and his wife, Queen Gynecia (Rachael York) who are seeking a proper marriage partner for their eldest daughter Pamela (Bonnie Milligan). Pamela’s little journey of self-discovery includes the realization that she isn’t all that interested in men, but her sister Philoclea (Alexandra Socha) is—especially Musidorus (Andrew Durand), a handsome shepherd boy with an exaggeratedly Shakespearean manner of speech. His speech is so ornate that at moments the other characters—no elocutionary slouches themselves—interrupt him and demand that he “speak English.”
Class distinctions prevent any immediate linkup between Musidorus and Philoclea. Disguising himself as “Cleophila,” an Amazon warrior woman in Roman armor and a fluffy blonde wig, he joins the travelling party and is soon the object of affection for the king himself. The Queen has a wandering eye, too. Central to the plot is the budding love affair between the marvelously comical Pamela and her maidservant Mopsa (Taylor Iman Jones), who also happens to be the daughter of the king’s goofy viceroy Dametas (Tom Alan Robbins). Anchoring the production, Jones is wonderfully confident in her role, and a tremendous singer, as proven during Mopsa’s contemplative visit to the island of Lesbos, where she gives the song “Vacation” a whole new meaning.
Kushier does likewise with “Lust to Love,” reinterpreted late in the saga as a revenge song during a sword fight between the king and Musidorus. No worries! Everyone lives—and loves—happily ever after.
Head Over Heels: Peppermint
Arianne Phillips’s costumes, Kevin Adams’s lighting, Andrew Lazarow’s projections, Kai Harada’s sound, and Julian Crouch’s set design all make huge contributions to the wild success that is “Head Over Heels.” The primary actors are superb, as are the ensemble, all of them veterans of multiple big-time musicals. The result is a stunning powerhouse performance that brought the opening night crowd to its feet in sustained appreciation—a crowd, it must be mentioned, younger and more boisterous than typically fills San Francisco’s big theaters, and one that lingered for the after-party in the lobby, enjoying the music of the B-52s, Talking Heads, Devo, and many other contemporaries of the Go-Go’s.
“Head Over Heels” is simply an outrageously over-the-top good time. It may be the most fun you will ever have in a theater.
ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle.
What: “Head Over Heels,” the Go-Go’s Musical.
130 minutes, with one 15-minute intermission
Where: The Curran Theater, 455 Geary St., San Francisco, CA 94102
In “The Effect,” at San Francisco Playhouse through April 28, a clinical drug trial goes off the rails when two test subjects fall in love, and two supervising psychiatrists revisit an old affair.
The story plays out over a few weeks in a lab belonging to the fictional Rauschen pharmaceutical company. Two young trial volunteers, Connie Hall and Tristan Frey (Ayelet Firstenberg and Joe Estlack, respectively) have signed up to test an experimental antidepressant, ostensibly because they need the money, although that is never made explicit.
Lead researcher Dr. Toby Sealey (Robert Parsons) has great hopes for the potential of this new drug to raise levels of dopamine, a substance naturally present in the brain, but depleted in depressed people. His one-time lover Dr. Lorna James (Susi Damilano) is directly in charge of administering incrementally increasing doses to her subjects and monitoring their behavior. She tries vainly to intervene when Connie and Tristan get involved with each other, because love’s pleasure also raises dopamine levels, potentially masking the effect of the drug. She also tries vainly to suppress lingering feelings for Dr. Sealey, a man she dismisses as “the most notorious fuck-around on the conference circuit.”
Playwright Lucy Prebble’s fascinating script examines the nature of love and mental illness, calls into question scientific objectivity, and makes a deserving target of pharmaceuticals with marginal benefits and many deadly side effects. Dr. James does likewise – she remarks to Dr. Sealey that “the history of medicine is the history of placebos” and later predicts that “one day we will look back on all this chemical-imbalance stuff like the four humors.” Their relationship does not blossom anew. It’s implied that Dr. Sealey may enjoy a big payout if the trial’s results are positive.
Set designer Nina Ball is at her best here, evoking the vaguely pleasant but impersonal nature of corporate environments, with superb help from projections designer Theodore J.H. Hulsker, whose video graphics are chillingly effective.
Director Bill English gets a powerful performance from his cast of four. The show’s dark trajectory is interrupted here and there by moments of near-comedy, but the light at the end of its tunnel doesn’t shine on Dr. James. “The Effect” is a well-done theatrical rarity that entertains, informs, and provokes in equal measure.
ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle.
A high-performing athletic team is very much a family, with all the closeness, cohesion, and dysfunctionality that “family” implies.
“The Wolves,” at Marin Theatre Company through April 8, is about one such family—a girls’ soccer team angling for a national championship. We never see them compete. Instead, all the action plays out before each game, on an indoor practice field where they train and rib each other about everything from typical teenage interests—parents, boyfriends, school—to issues they only partly understand, such as world geography and historical events.
Playwright Sarah Delappe has an expert’s ear for teen patois—her girls stammer and stall for time by inserting “like” in every other phrase, in near-universal rising intonation. She also has an intimate knowledge of athletes’ rough-and-tumble camaraderie—there are plenty of “f-bombs” hurled, none intended to harm, and the players, identified only by the numbers on their jerseys, often call each other “dude.” There’s a surplus of this stuff in the opening scene, which almost comes off as an overlong Saturday Night Live sketch, but the storyline takes a somber turn with the appearance of a talented new teammate claiming never to have played organized “football,” followed by a potentially career-ending knee injury to the Wolves’ star striker.
It gets more serious still with a tragedy that befalls the team, threatening to derail all their hard work, but they quite believably close ranks, more united than ever. It’s a beautiful moment about the empowering potential of loyalty and friendship.
Director Morgan Green coaxes excellent performances out of her ten-woman cast, all of them stage veterans and for the most part young enough to pass as high-schoolers. Of particular note are Portland Thomas as #11, with an amazingly relaxed and natural performance, and the energetic Sango Tajima as team captain #25, who pushes her comrades with a drill instructor’s grit and the shouting of almost comical slogans like “Teamwork makes the dream work!” Liz Sklar is outstanding in a cameo as the distraught Soccer Mom.
Approximately 90 minutes with no intermission, “The Wolves” is a captivating production and an unusual undertaking for Marin Theatre Company, which will host a final-day performance by the troupe’s understudies, most of them real high-school girls from Marin County. Their nickname: the “Wolf Pups.”
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.
A community devastated by a natural disaster is the setting for Sharyn Rothstein’s gritty family drama “By the Water,” at Spreckels Performing Arts Center in Rohnert Park, through April 8. Directed by Carl Jordan, the production is exceptionally appropriate in the wake of last fall’s fires that swept through Sonoma and Napa counties.
Six years ago, Hurricane Sandy wreaked massive destruction throughout the East Coast. Entire neighborhoods were destroyed and many more dwellings were left uninhabitable. Mike Pavone and Mary Gannon Graham portray Marty and Mary Murphy, a middle-aged couple living in what remains of one such home, in a neighborhood where they raised two sons to adulthood and where they knew all their neighbors. The extreme likelihood of another massive storm has prompted a government program to level the whole area after buying out everyone who lived there. Marty is opposed to the buyout and adamant about rebuilding his home and neighborhood, and has launched a mostly one-man crusade to get his neighbors on-board.
The buyout offer is viewed by many as a godsend—especially by the Murphys’ friends Andrea and Philip (Madeleine Ashe and Clark Miller)—but Marty persists, alienating those he cares about most, including his devout Catholic wife and his son Sal (Mark Bradbury) a quiet supporter of his parents and wayward brother Brian (Jared N. Wright), recently released from prison and doing his best to stay clean—an effort reinforced by rekindled affection for his friend Emily (Katie Kelley).
Marty’s motivation for his rebuilding crusade is a mix of attachment to a lost way of life and a hidden personal agenda that’s pried out of him in a heartrending revelation. The script and cast are uniformly excellent, believable in everything from their slightest gestures to their accurate Staten Island accents. A strong but sensitive director, Jordan excels at casting, and here he has assembled a ideal team who perfectly blend their characters’ interwoven histories and explicit interactions. The whole affair plays out in what’s left of the Murphy home—damp, moldy, stripped-to-the-studs, and open to the elements—a grimly effective set by Eddy Hansen, who also designed the lighting.
The story has many parallels to “Death of a Salesman”—a failed businessman with personal secrets, a long-suffering wife, sons with problems, a neighborhood in transition, loyal neighbors—but has uplifting elements that “Salesman” lacks: moments of warm humor, and a resolution implying all that’s possible through forgiveness, loyalty, and love. It’s a wonderful redemption story, certainly the best production currently running in the North Bay. “By the Water” isn’t magical realism but something better: realistic magic.
ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theater Critics Circle.
You can’t escape your past. In David Harrower’s “Blackbird,” an industrial production manager named Ray (John Shillington) discovers this late one day when a young woman named Una (Sharia Pierce) shows up unannounced at his workplace.
In their awkward protracted reunion we learn that she was his lover at the tender age of twelve, when he was approximately forty. A scandal consumed him and the town he lived in, to the extent that he vanished, changed his name, and tried to put it all behind him.
But perhaps by accident, now-adult Una has discovered his new identity and location and has driven hundreds of miles to try to resolve all that was left dangling—a massive shared bundle of guilt, shame, obsession, and still-smoldering attraction that bursts into flames at least once in their brief meeting. No resolution is possible, but the script and the two talented actors cover huge emotional territory in the eighty minutes they spend together in the grimy confines of a disheveled break room (set design by David Lear, who also directed).
Intentionally stilted exposition makes the plot a bit slow to roll out, but once it does, it gains unstoppable momentum. Pierce and Shillington give a fiercely passionate performance of two people linked by irresistible but doomed attraction, frightening in its depth but illuminated by moments of levity. “Blackbird’s” dark realism will startle you and give you plenty to think about when you’ve left the theater.
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.
“Blackbird” by David Harrower
Through April 7th
Main Stage West 104 North Main Street Sebastopol, CA 95472
At San Rafael’s Belrose Theatre through March 31 and directed by Patrick Nims, “The Mystery of Edwin Drood” is an exuberant romp of a musical. Based on an unfinished novel by Charles Dickens, the show features eleven performers, all but two of them women, and approximately two dozen clever songs, all written by Rupert Holmes (of “The Pina Colada Song” fame), who also authored the book, lyrics, and musical arrangements.
Set in England in 1870, the complicated story—really too complicated to follow closely—involves the disappearance of Drood (Madison Scarborough), a dastardly act perhaps attributable to his romantic rival John Jasper (Andre Amarotico, excellent). The culprit may just as easily be any one of multiple characters who mingle with the audience before the show officially begins. That’s the mystery, and as the show progresses plenty of hints get dropped about which one may be the guilty party, so that the audience can vote near the end.
There are supposedly multiple endings written and rehearsed for each potential outcome, but it’s also possible that time constraints dictate a fixed outcome. In either case, the show sails along quickly and the audience has a jolly time participating. It’s very much “murder mystery dinner theater” without the dinner.
The women playing most of the characters are members of the fictional Music Hall Royale, “a ladies’ theatrical society,” we are frequently reminded by the Royale’s Chairman, played brilliantly but understatedly by Jill Wagoner. Their characters are mostly men—hence the onstage prevalence of 19th century male drag—but not all: one of the most feminine is also one of the most untrustworthy, Princess Puffer (Paula Gianetti at her over-the-top best), an opium dealer and on opening night, winner of the most votes as the likely murderess. The approximately two dozen songs that propel the show are energetically and engagingly performed (music direction by Daniel Savio, choreography by Kate Kenyon) even if they aren’t very memorable.
Set designer Gary Gonser worked his tail off to create a versatile quick-change environment and a batch of sight gags that function perfectly in the small space of the Belrose. Wagoner, as mentioned, is brilliant, and her castmates aren’t far behind. A young talent worth watching is Jack Covert as Master Nick Cricker, Jr., who introduces the show and here and there helps kick it along. Covert is an eighth grader with already formidable theatrical skills and one who will go far in the business if he sticks with it.
“Drood,” as it is usually called in theatrical circles, is a ludicrous lighthearted romp with much to recommend it. Put your serious business on hold and have fun at the theater.
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.
“The Mystery of Edwin Drood” by Marin Onstage
The Belrose Theatre, 1415 5th Avenue, San Rafael, through March 31.
Pop singer and sometimes actress Rosemary Clooney was among an endless procession of performers and celebrities with a complex of personal and professional problems (depression, marital discord, drug addiction) exacerbated by changing public tastes, waning popularity, and financial distress. Her career spanned the post-WWII era into the late 1960s, and resumed in the late 1970s when she reinvented herself as a jazz vocalist and nostalgia act.
Directed by Dyan McBride, “Tenderly: The Rosemary Clooney Musical,” at Lucky Penny Productions in Napa through March 11, picks up her story at the moment in 1968 when after a breakdown she reluctantly goes under the care of psychiatrist Dr. Victor Monke (Barry Martin). How she got there—from her origin in a small Kentucky town to international fame as a Hollywood icon with a series of unreliable high-profile husbands—is told in flashback, punctuated with very good performances of her most popular songs, such as “Hey There,” “I Remember You,” “Mambo Italiano,” “Sway,” and the show’s title song, backed by a solid instrumental trio led by Music Director Craig Burdette.
Lucky Penny Artistic Director Taylor Bartolucci gives a spirited portrayal of Clooney, masking her character’s ambition with a disarming amount of small-town self-disparagement. Bartolucci the actress nails the accent, attitude, and mannerisms while Bartolucci the singer does likewise with the songs’ melodies and phrasing, even though her irrepressible and totally enjoyable vibrato makes her singing only an approximation of Clooney’s.
The company’s Managing Director Barry Martin is excellent as the understanding but gently persistent Dr. Monke. Martin takes on multiple roles with only small changes in prop or costume, including Clooney’s mother, sister, and brother; her twice-husband Jose Ferrer, Frank Sinatra, and Bing Crosby. His mellifluous baritone is especially suited to the Crosby bit, and he employs it beautifully in a duet with Bartolucci.
The elegant compact set serves as medical office/hospital, the Clooney home, and several performance venues, with changes mostly provided by April George’s lighting. This combined with Martin’s instant morphing from one character to another keeps “Tenderly” moving along briskly. The show is especially appealing for fans from Clooney’s era but should also prove entertaining for younger ones eager to learn more about her. Best of all, it ends on an uplifting note with the late-career Clooney in full command of her life both onstage and off. Be thankful she didn’t take a desperate early exit the way so many have.
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: [email protected].
“Tenderly: The Rosemary Clooney Musical”
Through March 11, 2018
Lucky Penny Productions
Community Arts Center, 1758 Industrial Way, Napa, CA 94558
Passion, religion, sexual fixation, and the concept of normalcy all get fully examined in Peter Shaffer’s multiple award-winning “Equus,” at 6th Street Playhouse in Santa Rosa through February 25. In it, a disillusioned child psychiatrist treats a severely uncommunicative teenage boy who has mutilated some horses after a pair of back-to-back personal traumas. The overworked Dr. Dysart (Craig A. Miller) reluctantly takes on the case of Alan Strang (Ryan Severt) at the insistence of magistrate Hesther Salomon (Tara Howley), who tells him she has never encountered such a shocking case.
When Dysert first meets the nearly mute Alan, the boy can recite only snippets of commercial jingles from television. Dysart discovers that he was primed for both trauma and asocial behavior by a religious fanatic mother (Juliet Noonan) and a cold undemonstrative father (John Shillington). Alan’s eventual “cure” will give him an acceptably boring existence while depriving him of the deep meaning he finds in his self-constructed personal religion. Dysert despises this necessary compromise and realizes that in the process of treating Alan, he is assuming much of the boy’s karmic burden.
It’s a powerful tale that’s as relevant today as it was when it debuted in 1973, a fact that prompted 6th Street artistic director Miller to produce it. His instinct was perfect. This production is one of a current crop of hyper-relevant shows running in North Bay theaters, and one of the best. Strongly but sensitively directed by Lennie Dean, “Equus” benefits from tremendous performances in major roles (Miller, Severt, Noonan) plus superb ensemble work by actors in multiple secondary roles. Outstanding here is Chandler Parrott-Thomas, who plays Jill, a free-spirited girl who recruits Alan to work at a stable, and later attempts unsuccessfully to seduce him, with unexpectedly disastrous results.
Conor Woods’s deceptively simple, utilitarian set works wonderfully in helping the production move along quickly with minimum changes. Slow-to-launch exposition initially hampers the first act, which soon gains momentum sufficient to get airborne. After that it sails along gloriously. The only other drawback is some unevenness with the British accents. The play originated in the UK, but the story isn’t inherently British. It would work just as well in the American idiom.
These are exceedingly small quibbles, of course. “Equus” is a gripping, superbly well-rendered tale that will haunt you long after leaving the theater. Emphatically recommended for theatergoers who may have seen it long ago, as well as for those who’ve never had the opportunity. It’s a revelation.
Rating: Four-and-a-half out of Five Stars
Barry Willis is Senior Editor at Aisle Seat Review, a member of the American Theatre Critics Association, and President of the San Francisco Bay Area Theatre Critics Circle.
Peter Shaffer’s “Equus,” directed by Lennie Dean
Studio Theater, 6th Street Playhouse
52 W 6th St, Santa Rosa, CA 95401
Through February 25, 2018 Info: www.6thstreetplayhouse.com
Be glad that the prolific Sam Shepard worked out his issues through writing rather than by spraying a shopping mall with an automatic weapon. His stuff is as dark and forbidding as a cemetery on a cold December night.
Ably directed by Elizabeth Craven, “Buried Child,” at Main Stage West in Sebastopol through February 25, is a baffling portrait of the ultimate dysfunctional family. Set in an Illinois farmhouse, it opens with a cantankerous exchange between family patriarch Dodge (John Craven) and his unseen harridan wife Halie (Laura Jorgensen), whose shouted responses intermittently remind him of God’s bounty and the mercies of Jesus. Dodge is in ill health, unable to rise from the ratty sofa on which he lies, but is sufficiently motivated to nip from a hidden bottle, smoke one cigarette after another, and ramble on semi-coherently.
Enter Tilden (Keith Baker), a monosyllabic moron, with an armload of freshly picked corn. He’s presumably the son of Dodge and Halie, although that’s never made explicit, as is Bradley (Eric Burke), another developmentally challenged offspring with a missing leg. Bradley does a savage job of cutting his sleeping father’s hair then spends the remainder of his time onstage hiding under blankets and spouting argumentative comments. At some point a younger member of the clan shows up: Vince (Sam Coughlin). None of his relatives recognize or acknowledge him even though he repeatedly badgers them to do so. Vince’s girlfriend Shelly (Ivy Rose Miller) is the only one who’s rational enough to begin to make sense of what’s going on, but as the audience’s point-of-view character, she’s as mystified as we are.
Vince leaves for a couple of days. Nobody notices. Tilden harvests fresh carrots from the presumably fallow farm. Halie appears with local minister Father Dewis (Dwayne Stincelli) in tow, the two of them sharing a flask and apparently in the full flower of a forbidden affair. There are some erratic tangential comments about proper Christian behavior. Vince returns, drunk and raging. The family argues about another son who may or may not have been real. Dodge reveals a long-suppressed secret. Shelly leaves. The end.
There’s not a clue in any of this as to what it’s all about, other than the meanness and arbitrary meaninglessness of life, and bottomless darkness lurking beneath the surface. Imagine American redneck angst scrutinized by Pinter or Beckett.
The playbill puts the script’s time at 1978, but it feels much earlier—the 1930s or ’50s perhaps. The disjointed storyline isn’t far from an episode of the Cartoon Network’s “Squidbillies;” the aesthetic is right out of “The Twilight Zone.”
“Buried Child” is solidly presented by a cast of talented veteran actors, and at the very least is damned interesting even if we learn nothing—a theatrical curiosity, if you will.
Some theatergoers may even interpret it as comedy. At slightly under two hours running time it won’t make you wish you had somewhere else to be. Just don’t expect to come away with new insight or understanding about rural life or family dynamics. You won’t, other than having experienced, as the director’s notes remind us, an authentic modern American classic.
Barry Willis is a Senior Writer/Editor for Aisle Seat Review. He is also a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.
Sam Shepard’s “Buried Child”
Through February 25, 2018
Main Stage West 104 North Main Street Sebastopol CA 95472 www.mainstagewest.com 707-823-0177
A celebratory dinner party goes horribly awry in Ayad Akhtar’s “Disgraced,” at Left Edge Theatre in Santa Rosa, through February 18. In it, ostensibly upscale intelligent people provoke each other just enough to reveal ancient ethnic hatreds lurking just beneath the veneer of civility.
The controversial script won the 2013 Pulitzer Prize for drama. Tightly directed by Phoebe Moyer, who in her director’s notes mentions having felt “uncomfortable, frightened, and ultimately moved,” when she first read it, the play explores interconnected contemporary issues of, as Moyer puts it, “religion, capitalism, tribalism, race, tradition, infidelity, loyalty, politics, and the role of the artist” with amazing efficiency thanks to Akhtar’s authorial elegance and the cast’s tremendous ensemble work.
Ilana Niernberger stars as Emily, an artist whose work has begun to appropriate Islamic imagery. Her partner Amir (Jared N. Wright) is a hard-working lawyer seeking to make partner in his law firm, but held back by the Indian/Pakistani ethnicity he has long tried to minimize. Amir’s nephew (Adrian Causor) has gone so far in rejecting his Islamic roots that he’s legally changed his name to “Abe Jensen,” explaining to his uncle that by doing so he has almost completely eliminated feeling any sort of discrimination. Mike Shaeffer plays a self-important art curator named Isaac, planning a big exhibit of artists exploring various spiritual traditions. Jory (Jazmine Pierce), his young wife or girlfriend—it’s not clear which—is a lawyer in Amir’s firm, a fact that late in the play drives home the final nail in the coffin of Amir’s professional aspirations.
A bubbling cauldron of complex relationships and thorny issues, “Disgraced” is one of the most dynamic and relevant plays to appear in the North Bay in many months. There is not a moment or gesture wasted in its quick-moving ninety minutes. The acting is as stunning as the script is provocative. The whole affair will leave you gasping for breath at its sheer intellectual and artistic intensity.
“Disgraced” is one of the most compelling scripts to come along in a very long time. The Left Edge production is its perfect realization. Don’t be surprised, if days later, you’re still pondering what it plants in you. That’s the intent of the playwright, director, and cast, and they all succeed beautifully.
Barry Willis is a Senior Editor/Writer for Aisle Seat Review, and a member of the American Theatre Critics Association (ATCA) and president of the San Francisco Bay Area Theatre Critics Circle (SFBATCC).
Ayad Akhtar’s “Disgraced”
Through February 18, 2018
Left Edge Theatre, Luther Burbank Center for the Arts
A.R. Gurney’s “The Dining Room” is an insider’s gentle spoof of upper-middle-class White Anglo-Saxon Protestants (WASPs) of the northeastern United States, the dominant culture in this country throughout the 20th century. Morals, assumptions, beliefs, values, and behaviors all get fully and sometimes hilariously examined in the play’s two hours, the entirety of which takes place in the dining room of one stately home, in overlapping scenes that span several generations and decades.
It’s also a challenging exercise for actors required to play characters of wildly divergent ages: older actors portraying children, for example, or younger ones playing the elderly.
This can be a bit of a stretch, as proven in the current production at Sonoma Arts Live, directed by Joey Hoeber. With six actors playing multiple roles, some are convincing and others not so, to the extent that it may be uncomfortable to watch. Veteran actor Kit Grimm is at his finest portraying a couple of curmudgeonly grandfathers, but not believable as a six-year-old at a birthday party. Trevor Hoffman is outstanding playing an almost age-appropriate teenager, while Rhonda Guaraglia is not. She’s much better as Aunt Harriet, showing her college-age son what proper dining etiquette and paraphernalia are all about.
The dining room in question is elegantly and convincingly recreated on a raised stage by set designer Bruce Lackovic, and well used by a parade of faux New Englanders including a pushy realtor, a philandering married couple, a Boston handyman, a Freudian psychiatrist, an architect, and parents and children of all ages. The opening act at SAL is marred by some unevenness but redeemed by a smoothly performed and heartwarming second act.
“The Dining Room” is more than a gentle spoof. It’s also a love song and fond farewell to a way of life slowly but inexorably vanishing. In this, the Sonoma Arts cast succeeds in getting it right.
Barry Willis is a Senior Writer/Editor at Aisle Seat Review. He is also a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.
A.R. Gurney’s “The Dining Room,” directed by Joey Hoeber
Through February 4, 2018
Sonoma Arts Live
Rotary Stage, Andrews Hall, Sonoma Community Center
276 E. Napa Street
Sonoma CA 95476
Info: sonomaartslive.org Tel: 866-710-8942
The spirit of August Wilson hovers everywhere in Dominique Morriseau’s gritty “Skeleton Crew” at Marin Theatre Company, in cooperation with TheatreWorks Silicon Valley.
In a Detroit stamping plant in the midst of the 2008 recession, four black auto production workers struggle to survive and to do the right thing in desperate economic circumstances. Highly skilled and valued employees, they are nonetheless at risk of being downsized as plant management tries to cut costs. Supervisor Reggie (Lance Gardner, superb) walks a tight stressful line between keeping workers productive and bosses happy. Faye (the irrepressible Margo Hall), senior worker and union representative, seeks justice for her comrades and for herself as the downsizing points toward a potential plant closing. Several months pregnant, Shanita (Tristan Cunningham) hopes to hang on to her job for the medical benefits, while Dez (Christian Thompson) hopes only to keep his long enough so that he can open his own auto shop.
As in many of Wilson’s plays, the four characters strive against external obstacles while being hampered by many of their own making. Faye, for example, has a gambling problem that has made her lose her home, while Dez carries a handgun in and out of the plant in clear violation of company rules, not with intent to commit a crime but simply to protect himself from criminals lurking in the neighborhood. Most complex of all is Reggie’s situation: a confrontational relationship with Dez, a familial relationship with Faye, and his own family, home, and career to consider.
Plus the plant is plagued by ongoing thefts that potentially implicate everyone. It’s a pressure cooker portrayed with great passion and conviction by four Equity actors under the direction of Jade King Carroll. It all plays out in one of the plant’s break rooms, grimly realized by scenic designer Ed Haynes. A brilliant combination of stark video projections by Mike Post from the opposite side of the break room’s windows, and a heavy soundtrack by Karin Greybash, convey heavy industrial activity in the bustling noisy plant.
“Skeleton Crew” charges along like a runaway train toward its sudden but not unexpected conclusion. We need not step into the factory to understand what goes on there, nor do we need to step outside to understand what the workers face when they leave. Many in the audience will arrive with little experience of the brutal circumstances endured by industrial workers, but all will leave with increased sympathy and understanding.
Barry Willis is a Senior Contributor/Editor at Aisle Seat Review. He is also a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.
“Skeleton Crew” by Dominique Morisseau, directed by Jade King Carroll.
Through February 18, 2018
Marin Theatre Company
397 Miller Avenue, Mill Valley CA 94941-2885
info: www.marintheatre.org
ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Chicago’s Second City is the nation’s foremost incubator of comic talent. With a history going all the way back to the late 1950s, the comedic institution has graduated dozens of exceptional performers, many of whom have gone on to illustrious careers in film and sketch comedy shows such as MadTV and Saturday Night Live. Too long to post here, the list is a “who’s who” of American comedy in the late 20th and early 21st centuries.
