East Bay Theater Archives - Aisle Seat Review: Independent Reviews and News on Bay Area Arts, Destinations, and Lifestyle.

March 28, 2024March 28, 2024

Pick! ASR Theater ~~ Basketball Jones: CenterREP’s “The Great Leap”

By Barry Willis

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: barry.m.willis@gmail.com

**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..."	Stageandcinema.com

March 19, 2024March 19, 2024

Pick! ASR Theater ~~ Immigrants’ Tale: “The Far Country” at Berkeley Rep

By Barry Willis

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: barry.m.willis@gmail.com

Production	The Far Country
Written by	Lloyd Suh
Directed by	Jennifer Chang
Producing Company	Berkeley Repertory Theatre
Production Dates	Thru April 14th, 2024
Production Address	2025 Addison Street, Berkeley CA 94704
Website	www.berkeleyrep.org
Telephone	(510) 847-2949
Tickets	$22.50-$134

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!

February 20, 2024February 20, 2024

PICK! AST Theater ~~ Joyful Noise: CenterRep Rocks “Mystic Pizza”

By Barry Willis

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.

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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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
Website	centerrep.org
Telephone	(925) 943-7469
Tickets	$38-$78

Reviewer Score	Max in each category is 5/5
Overall	4.75/5
Performance	4.75/5
Script	4.5/5
Stagecraft	4.75/5
Aisle Seat Review Pick?	YES!

February 10, 2024February 10, 2024

Pick! ASR Theater ~~“Cult of Love” a Family Riot at Berkeley Rep

By Barry Willis

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: barry.m.willis@gmail.com

Production	Cult of Love
Written by	Leslye Headland
Directed by	Trip Cullman
Producing Company	Berkeley Repertory Theatre
Production Dates	Thru March 3rd
Production Address	2025 Addison Street, Berkeley CA 94704
Website	www.berkeleyrep.org
Telephone	(510) 647-2900
Tickets	$22.50-$134

Reviewer Score	Max in each category is 5/5
Overall	4.5/5
Performance	4.75/5
Script	4.5/5
Stagecraft	4.0/5
Aisle Seat Review Pick?	YES!

November 11, 2023November 11, 2023

ASR Theater ~~ “Geogia McBride” Amuses at CenterREP

By Barry Willis

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: barry.m.willis@gmail.com.

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
Website	centerrep.org
Telephone	(925) 943-7469
Tickets	$45-$70

Reviewer Score	Max in each category is 5/5
Overall	3.5/5
Performance	3.5/5
Script	4/5
Stagecraft	3.5/5
Aisle Seat Review Pick?	-----

September 24, 2023September 25, 2023

PICK! ASR Theater ~~ Comic Relief: “POTUS” Rocks at Berkeley Rep

By Barry Willis

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

Production	POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive
Written by	Selina Fillinger
Directed by	Annie Tippe
Producing Company	Berkeley Repertory Theatre
Production Dates	Through Oct 22nd
Production Address	2025 Addison Street, Berkeley CA 94704
Website	www.berkeleyrep.org
Telephone	(510) 647-2900
Tickets	$37 - $134

Reviewer Score	Max in each category is 5/5
Overall	4.5/5.0
Performance	4.5/5.0
Script	4.5/5.0
Stagecraft	4.5/5.0
Aisle Seat Review Pick?	YES!

September 20, 2023September 20, 2023

ASR Theater ~~ “Rehoming”– Shotgun Players’ “Wolf Play”

By George Maguire

The redoubtable, inventive Shotgun Players troupe continues its journey into the the realm of high-value, thought-provoking and theatrically-bold selections with Korean playwright Hansol Jung’s masterful and multi-layered Wolf Play.

Directed with whip-smart precision by Elizabeth Carter, the show takes the audience on a discovery trip as we define and then redefine what the words “home” and “family” mean.

Wolf Play tells the story of Jeenu (Wolf) a six- year-old child first adopted by Peter and Kate. When Kate becomes pregnant with her own child, Jeenu is “rehomed” by Peter on the internet to Robin – half of a lesbian couple. Robin’s wife Ash is an aspiring boxer whose life and immediate goals are compromised by the unexpected arrival of the child.

…In a world of its own is James Ard’s glorious soundscape…

Played as a puppet manipulated with insouciant and inquisitive spirit by Mikee Loria, Jeenu is seeking a home and a pack and refers to himself as Wolf. He howls, bays, snarls, and growls with anger as his life is uprooted.

Mikee Loria as Wolf. All Photography by Ben Krantz.

Complications ensue when Peter (played with angst and determination by Sam Bertken) discovers that he has sold the boy to an LGBTQIA+ couple, and wants him back. By this time, having discovered his new “pack,” Jeenu has acclimated himself into the home life of his “moms.” Despite Robin’s motherly warmth, clear love of this child, and simultaneous steel (portrayal by the talented Laura Domingo) it is Gobby Momah’s Ash that the boy eventually identifies with.

Laura Domingo as Robin, Caleb Cabrera as Ryan.

One of the joys of the play is watching them communicate. All others look at the puppet when talking to the boy, Ash looks directly at Jeenu. She talks to him, not just about him. Ash is being trained for the big fight by Robin’s brother Ryan (a focused and determined Caleb Cabrero). The characters of Kate the wife and also Ryan and Robin’s Mom are not seen, but are spoken to by the actors in what the reviewer found to be a rather confusing mélange of conversation.

We watch the puppet/boy react with pain, confusion, and tears as his search for family, a pack, is ripped once again away from him. All this culminates in a final courtroom custody battle deciding the fate of the child. The results of that trial won’t be given away here.

Technical elements are good. Stephanie Johnson (whose gorgeous work illuminated Marin Shakespeare Company this summer) brings similar creativity to Shotgun Players. Celeste Martone’s set and Ashley Renee’s costumes serve the play well. The combination of David Maier and boxing consultant Emmanuel Blackwell bring the big match and Gabby Momah’s remarkable reactive punch/foot work to life.

Caleb Cabrera as Ryan, Gabby Momah as Ash.

In a world of its own is James Ard’s glorious soundscape. The opening moments with clangs and bells of the ring, are brilliant. The play’s running time is 1 hour and 50 minutes with no intermission.

Shotgun delivers a play dealing with many current issues of queer identity, broken lives, the vulnerability of children being bartered like animals, and above all, the need for roots, family, a pack.

Caleb Cabrera as Ryan, Sam Bertken as Peter, Laura Domingo as Robin, Gabby Momah as Ash in “Wolf Play” at Shotgun Players.

On Facebook, we see actors referring to casts as “my chosen family.” How long will that last past the closing? We chose family as such for a lifetime of eternal, ethereal connection. Wolf Play helps us clear the air and get to the root of this journey.

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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: gmaguire1204@yahoo.com

Production	Wolf Play
Written by	Hansol Jung
Directed by	Katja Rivera
Producing Company	Shotgun Players
Production Dates	Thru Oct 1st
Production Address	1901 Ashby Avenue, Berkeley CA 94705
Website	Shotgunplayers.org
Telephone	(510) 841-6500
Tickets	$26-$44

Reviewer Score	Max in each category is 5/5
Overall	3/5
Performance	3/5
Script	3/5
Stagecraft	2.5/5
Aisle Seat Review Pick?	----

September 15, 2023September 15, 2023

PICK! ASR Theater ~~Hats Off for CenterREP’s “Crowns”

By Barry Willis

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

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
Website	centerrep.org
Telephone	(925) 943-7469
Tickets	$45-$70

Reviewer Score	Max in each category is 5/5
Overall	4/5
Performance	4.5/5
Script	4/5
Stagecraft	4/5
Aisle Seat Review Pick?	Yes!

August 16, 2023August 16, 2023

ASR Theater ~~ Fascinating But Flawed ‘The Language Archive” at Masquers Playhouse

By Barry Willis

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 ophthalmologist L. 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: barry.m.willis@gmail.com

Production	The Language Archive
Written by	Julia Cho
Directed by	Wynne Chan
Producing Company	Masquers Playhouse
Production Dates	Thru Sept 3, 2023
Production Address	105 Park Place Pt. Richmond, CA
Website	masquers.org
Telephone	(510) 232.4031
Tickets	$27-$30

Reviewer Score	Max in each category is 5/5
Overall	3/5
Performance	3/5
Script	3/5
Stagecraft	3/5
Aisle Seat Review Pick?	----

June 14, 2023June 14, 2023

PICK! ASR Theater ~~ CenterREP’s High-energy “In the Heights”

By Barry Willis

Before there was Hamilton, 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: barry.m.willis@gmail.com

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
Website	centerrep.org
Telephone	(925) 943-7469
Tickets	$45-$70

Reviewer Score	Max in each category is 5/5
Overall	4/5
Performance	4.5/5
Script	3/5
Stagecraft	4/5
Aisle Seat Review Pick?	Yes!

January 31, 2023January 31, 2023

PICK! ASR Theater ~~ “Clyde’s” a Rambunctious, Enlightening Ride at Berkeley Rep

By Barry Willis

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: barry.m.willis@gmail.com

Production	Clyde's
Written by	Lynn Nottage
Directed by	Taylor Reynolds
Producing Company	Berkeley Repertory Theatre
Production Dates	Through Feb 26th
Production Address	2025 Addison Street, Berkeley CA 94704
Website	www.berkeleyrep.org
Telephone	(510) 847-2949
Tickets	$30 - $135

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!

November 26, 2022November 28, 2022

PICK! ASR Theater ~~ Compelling, Controversial “Wuthering Heights” at Berkeley Rep

By George Maguire and Barry Willis

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: gmaguire1204@yahoo.com

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: barry.m.willis@gmail.com

Production	Wuthering Heights
Written by	Emily Bronte Adapted by Emma Rice
Directed by Emma Rice Choreographed by Etta Murfitt	Saheem Ali (Conceiver/Director)
Producing Company	Wise Children / Berkeley Repertory Theatre
Production Dates	Through January 1, 2023
Production Address	2025 Addison Street, Berkeley CA 94704
Website	www.berkeleyrep.org
Telephone	(510) 847-2949
Tickets	$24 - $119

Reviewer Score	Max in each category is 5/5
Overall	4/5
Performance	5/5
Script	4/5
Stagecraft	4/5
Aisle Seat Review Pick?	YES!

November 24, 2022November 25, 2022

PICK! AST Theater ~~“Amélie the Musical” a Charmer at Masquers Playhouse

By Barry Willis

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.

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: barry.m.willis@gmail.com

Production	Amélie the Musical
Written by	Book by Craig Lucas, Music by Daniel Messé
Directed & Choreographed by	Enrico Banson
Producing Company	Masquers Playhouse
Production Dates	Through December 10th, 2022
Production Address	105 Park Place Pt. Richmond, CA
Website	masquers.org
Telephone	(510) 232.4031
Tickets	$27-$30

Reviewer Score	Max in each category is 5/5
Overall	4/5
Performance	4/5
Script	4/5
Stagecraft	3/5
Aisle Seat Review Pick?	Yes!

September 19, 2022September 19, 2022

PICK! ASR Theater ~~ Waves of Racial Justice at Berkeley Rep

By George Maguire

There are theater pieces which resonate in such a profound place deep within the psyche that you are dwelling in your life’s past, contemplating the present, and hoping for the future.

Christina Anderson’s “The Ripple, The Wave That Carried Me Home” is just that for this writer. In it, segregated swimming pools become a touchstone for black families not allowed to swim in “whites only” pools. This memory play of a black woman spans the years 1956 in Kansas, to 1992 Ohio, and again Kansas, as Christina Clark’s Janice wrestles with a decision to return to Kansas to speak at a community center ceremony honoring her activist father.

…See this play and then look inside yourselves.

I’m an east coast boy, born and raised in the 1950s in Wilmington, Delaware and later Pittsburgh, PA. As a child and as a teenager, I knew no black families, and indeed at the Catholic grade school and high school I attended, there were no black students at all. Only when we moved to Pittsburgh for my final 12th grade, did I meet any black students, and even those were mostly bused to school from another area of town. Four years later, post university (where again I recall only one black student), I returned to my high school to teach. Much had changed. Black and Latino families were moving into the community, and their children became active participants in the school curriculum. Penn Hills, PA became a melting pot.

Memories of missed connections in retrospect created a post-show train of thought as I went home after the Berkeley Rep production, directed with precision and grand compassion by Jackson Gay.

This remarkable play opens with Janice (our narrator Christiana Clark) drinking a glass of water. She does so every day, reminding herself of the water of the pools which transformed her life. Her mother (a richly multi-faceted performance by Aneisa J. Hicks) taught swimming to black children at the black swimming pool in Brookside Center. Janice’s father (a swaggering and charm-filled Ronald L. Conner) eventually goes on trial for activism in promoting change.

(l to r) Aneisa J. Hicks (Helen), Brianna Buckley (Gayle), and Christiana Clark (Janice) in the world premiere production of Christina Anderson’s the ripple, the wave that carried me home. Directed by Jackson Gay. In association with Goodman Theatre.
Photo by Kevin Berne.

The “young chipper ambitious black woman,” played to absolute perfection by Brianna Buckley, wants Janice to speak at the dedication to her father of the new swim center’s pool. Circling all of this is the simultaneous Rodney King uprising and the death by drowning of three boys.

So many colossal matters of change in the lives of all Americans surround this period with pain, guilt—and eventual breath—making Tony nominee Christina Anderson’s play harrowing and heart wrenching. Change can happen, change MUST happen, and indeed, change has happened. The question is always: Is it enough, or is it never enough? No, it is not!

See this play and then look inside yourselves. The answers are always there waiting to be revealed.

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ASR Contributing Writer George Maguire is a San Francisco base actor-director and is Professor Emeritus of Solano College Theatre. He is a voting member of the SF Bay Area Theatre Critics Circle. Contact: gmaguire1204@yahoo.com

Production	The Ripple, The Wave That Carried Me Home
Written by / Music & Lyrics by / Choreography by	Christina Anderson
Directed by	Jackson Gay
Producing Company	Berkeley Repertory Theatre
Production Dates	Through Oct 16th, 2022
Production Address	2025 Addison Street, Berkeley CA 94704
Website	www.berkeleyrep.org
Telephone	(510) 647-2900
Tickets	$24 - $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!

September 14, 2022September 14, 2022

Pick! ASR Theater ~~ CenterRep’s Marvelous “Always, Patsy Cline”

By Barry Willis

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: barry.m.willis@gmail.com

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
Website	centerrep.org
Telephone	(925) 943-7469
Tickets	$49-$60

Reviewer Score	Max in each category is 5/5
Overall	5/5
Performance	5/5
Script	5/5
Stagecraft	4/5
Aisle Seat Review Pick?	Yes!

September 14, 2022September 14, 2022

Pick! ASR Theater ~~“Man of God:” Revenge is Sweet at Shotgun Players

By George Maguire

Have you ever had all-consuming revenge fantasies for acts of bullying, abuse, or sexual come-ons—whether real or perceived? Actions that hurt or damaged you emotionally, not just then, but into the future? Let’s face it: we all have!

Thoughts of “if only I had done this to the perpetrator” live on with us.

Such feelings of revenge surround four teen-aged Korean-American girls on a Christian New Seoul Church mission trip with their pastor to Thailand, a land of iniquity. As the girls acclimate themselves to their hotel room, one of them discovers a hidden camera tucked away in their bathroom.

…we laugh throughout as their Kpop-infused dialogue…

Who put it there? When the girls discover, to their horror, that it is the property of the church. They assume it was placed there by their pastor to watch them as they perform intimate functions in the expected privacy of their own bathroom.

Sharon Shao as Kyung-Hwa, Alexandra Lee as Samantha. Photos by Ben Krantz

“Man of God” presents the girls’ conundrum in flights of fancy, a dizzying array of wildly imaginative revenge scenarios from mafia-driven execution to machete kung-fu action to comedy blood-lust to ice bath disembowelment of vital organs. As they free-flight fantasize about their vengeance, we laugh throughout as their Kpop-infused dialogue brilliantly captures the patois of teenage girls while their imaginations fuel decisions they never make.

Boys are excused because it’s in their nature to “act out.” Girls, however are not doormats! “If we continue allowing ourselves this kind of abuse, it is actually on us!”

The girls understand the reality they live in, and they turn on a dime from spouting quick bursts of vital truisms of women in a patriarchal society to discussions of make-up and moisturizers.

Five very gifted Asian American actors embody the girls and the pastor. Each girl is distinctly depicted by playwright Anna Ouyang Moench and expertly guided by director Michelle Talgarow’s spot-on staging on Randy Wong-Westbrooke’s marvel of a set.

Sharon Shao as Kyung-Hwa, Lauren Andrei Garcia as Mimi, Alexandra Lee as Samantha, Joyce Domanico-Huh as Jen. Photos by Ben Krantz.

Joyce Domanico-Huh, Lauren Andrei Garcia, Alexandra Lee, and Sharon Shao are pure delights, bringing the language of their world alive. Did Pastor, played by Chuck Lacson, place the camera in the bathroom? That is not resolved until the final moments of this 90-minute one-act. To find out, you must see the play, as this reviewer certainly isn’t going to give it away.

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ASR Contributing Writer George Maguire is a San Francisco based actor-director and Professor Emeritus of Solano College Theatre.

Production	Man of God
Written by	Anna Ouyang Moench
Directed by	Michelle Talgarow
Producing Company	Shotgun Players
Production Dates Video On Demand	> thru October 2, 2022 > October 5-16
Production Address	1901 Ashby Avenue, Berkeley CA 94705
Website	Shotgunplayers.org
Telephone	(510) 841-4500
Tickets	$25

Reviewer Score	Max in each category is 5/5
Overall	4/5
Performance	5/5
Script	4/5
Stagecraft	5/5
Aisle Seat Review Pick?	Yes!

July 19, 2022September 13, 2022

ASR Theater ~~ A Family Divided: “Dreaming in Cuban” at Central Works

By Barry Willis

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: barry.m.willis@gmail.com

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
Website	CentralWorks.org
Telephone	(510) 558 -1381
Tickets	$22 - $40

Reviewer Score	Max in each category is 5/5
Overall	3/5
Performance	3.5/5
Script	3/5
Stagecraft	2/5
Aisle Seat Review Pick?	---

December 15, 2021December 17, 2021

An ASR Pick! Center Rep Delivers a Sumptuous “Christmas Carol” — by Barry Willis

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.

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: barry.m.willis@gmail.com

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
Website	centerrep.org
Telephone	(925) 943-7469
Tickets	$33-$50

Reviewer Score	Max in each category is 5/5
Overall	5/5
Performance	5/5
Script	5/5
Stagecraft	5/5
Aisle Seat Review Pick?	Yes!