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

October 21, 2024October 21, 2024

ASR Theater ~~ Hillbarn Theatre’s “Wait Until Dark” — Dark, But Not So Scary!

By Joanne Engelhardt

For some people, the title Wait Until Dark conjures up memories of the scary 1967 movie starring Audrey Hepburn. But it was a play before it was a hit movie – written in 1966 by Frederick Knott.

The theatrical version opened at Hillbarn Theatre on Oct. 18 and runs through Nov. 3 at the Foster City theater, the second of Hillbarn’s 84th season. Sadly, though several of the actors make valiant efforts to keep things suspenseful, this reviewer found the presentation to be a tad more confusing than it needs to be.

” … Ed Hunter’s lighting is almost flawless …

Many in the audience likely never saw the film (it came out 57 years ago!), so they must decipher the storyline from what happens on the Hillbarn stage. With so many characters walking into the apartment occupied by Sam (Sahil Singh) and his blind wife, Susan (Sarah Jiang), it becomes increasingly difficult to figure out who is who, what they want – and why.

Scott Coopwood* as Roat and Sarah Jiang as Susan in the thriller “Wait Until Dark” at Hillbarn Theatre. Photo Credit: Tracy Martin

Knott’s play, which takes place in 1944, is a bit long-winded IMHO providing exposition (background information). Here’s the gist:

Before returning from a business trip to Canada to his home in New York, Sam is asked by a woman to take a doll with him to give to someone. What he doesn’t know is that the doll is actually filled with heroin.
This prompts three bad guys including the treacherous Roat (Scott Coopwood) to track down the doll with the intent of selling the heroin and getting rich. Roat’s plans to eliminate his two partners once he gets his hands on the drugs.

As Susan, Sarah Jiang makes a valiant effort to play a blind person. That she succeeds some of the time is to her credit, but to this reviewer’s eyes she seems to play Susan like a bit of a breakable doll, moving stiffly and jerking her body around a bit. Jiang gets a real workout in Dark as she walks up and down a short flight of stairs at the back of the stage at least 20 times.

This is a production that needs the lighting to work impeccably, and fortunately Ed Hunter’s lighting is almost flawless. Jeff Mockus’ sound also works well. Courtney Middleditch-Morgan’s costumes – especially for the bad guys – strike an appropriate note. And “props” to the properties designer, Stephanie Dittbern. Watching Susan frantically flip each switch in the authentic-looking light box added authenticity.

Mike (Ryan Tasker) and Susan (Sarah Jiang) in the thriller “Wait Until Dark” at Hillbarn Theatre on stage Oct. 17 – Nov. 3, 2024. Photo Credit: Tracy Martin

An actor who deserves special note for making his good guy/bad guy credible. As Mike, Ryan Tasker brought a good deal of warmth to his portrayal. His story of knowing Susan’s husband in the war rang true, and it was easy to tell that Mike wavered in his efforts to find out where the doll is hidden. He came close to admitting he didn’t want Susan to get hurt.

But finally, in this reviewer’s opinion, director Vickie Rozell might have let this mystery get away from her a bit. I think she needed to step back and concentrate on making her characters more dimensional.

Then perhaps, Hillbarn’s Wait Until Dark might have been more menacing.

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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: joanneengelhardt@comcast.net

Production	Wait Until Dark
Written by	Frederick Knott
Directed by	Vickie Rozell
Producing Company	Hillbarn Theatre
Production Dates	Thru Nov 3rd
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$34-$62

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

August 27, 2024September 1, 2024

Pick ASR! ~~ Hillbarn Theater’s “Always…Patsy Cline” is a Winner

By Joanne Engelhardt

Whether or not you’re a country western fan – and I’m not – Hillbarn Theater in Foster City and director Dyan McBride have created an outstanding evening of theatre thanks especially to an uninhibited performance by Kimberly Donovan (who only sings a little) and a controlled — almost doll-like — performance by Melissa WolfKlain as country singer Patsy Cline (who sings a lot).

Spread across the entire back of Hillbarn’s expansive stage is a rousing six-person band directed by Rick Reynolds, who also plays the piano. The band plays a big role in this show, which features at least portions of 25 songs during the two-hour show.

” … But Donovan is a force of nature unto herself …”

Hillbarn really opened up its stage for Always…Patsy Cline, though to this reviewer, one entire wall of bric-a-brac on stage right doesn’t seem to serve much of a useful purpose other than a door for entrances and exits.

Though the plotline is sparse, it really happened – or at least most of it. The program says the show was “created and originally directed by Tim Swindley” and is “based on a true story.”

Kimberly Donovan* as Louise Seger in “Always… Patsy Cline” — Photo Credit: Tracy Martin

Donovan’s character Louise is so totally enamored of Cline’s lilting country voice that when she hears her singing on television’s Arthur Godfrey Show, she tells her kids to move over so she can sit up close to the TV to watch her.

She then calls the morning host of her local radio station to request that he play Patsy’s song “Walking After Midnight” for her – which he does. Louise is nothing if not persistent because she then calls him every morning to play it for her (and he always does).

Both actors here seem exactly right playing the parts they do. Yet Donovan’s Louise is so over-the-top that she actually steals the show. Except when WolfKlain is singing.

Wearing at least 10 or more outfits, some of which are made of glittery sequins, WolfKlain’s clear vocals are simple country tunes, yet sung with a bushel of heartfelt emotion.

Melissa WolfKlain* as Patsy and Kimberly Donovan* as Louise Seger in Always… Patsy Cline to kick of the 84th season at Hillbarn Theatre Aug. 22 – Sept. 15, 2024. *Appear courtesy of Actors’ Equity Association. Photo Credit: Mark Kitaoka

But Donovan is a force of nature unto herself. Decked out in what she considers country high fashion, Louis wears knee-high boots, jeans, a yellow cowgirl shirt with red roses, large red hoop earrings, a smile as big as Texas – and quite often a cigarette dangling out of one side of her mouth.

One day, she hears that her idol will be coming to perform at a gigantic venue about an hour’s drive from her home in Houston, Texas.Louise rounds up a couple of buddies and gets to the show 90 minutes before it’s supposed to start.

As she’s sitting at a table, smoking and drinking a beer, she sees a woman in a big white coat slip in a side door. The woman sits on a chair next to an authentic-looking juke box. Then she puts a coin in and a song starts to play.

Melissa WolfKlain* as Patsy in Always… Patsy Cline to kick of the 84th season at Hillbarn Theatre Aug. 22 – Sept. 15, 2024. *Appear courtesy of Actors’ Equity Association. Photo Credit: Tracy Martin

Naturally, it’s a Patsy Cline record with Patsy singing one of her big hits.

Louise immediately recognizes Patsy, and from that accidental meeting, the two women end up forging a friendship – both in person and through letters – until Patsy died in a plane crash in March of 1963.

But that’s just a footnote in this musical. And because it’s a musical, audiences get to hear WolfKlain sing “You Belong to Me,” “I Fall to Pieces,” “Walkin’ After Midnight,” “Your Cheatin’ Heart,” “Three Cigarettes in an Ashtray,” “Seven Lonely Days” – even “Shake, Rattle and Roll!”

After the two women get a standing ovation on opening night, they offer up one more song, a duet: “Bill Bailey” with the audience happily joining in.

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Production	Always, Patsy Cline
Written by	Ted Swindley
Directed by	Dyan McBride
Producing Company	Hillbarn Theatre
Production Dates	Thru Sept 15th
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$34-$62

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

April 27, 2024April 27, 2024

PICK ASR! ~~ Hillbarn Theatre’s Superb “Something Rotten”

By Joanne Engelhardt

There is unequivocally nothing rotten in Hillbarn Theatre’s enchanting rendition of Something Rotten, running through May 12 at the Foster City theater. The sold-out crowd on opening night showed the hard-working cast their love by standing up and awarding them a prolonged round of applause.

For this musical, it helps to have seen many other Broadway musicals, because references to hit songs from Annie, Beauty and the Beast, A Chorus Line, Phantom of the Opera, and more are sprinkled throughout the production.

Playwrights John O’Farrell, Karey, and Wayne Kirkpatrick obviously used their theatrical backgrounds in writing Rotten and bringing it to Broadway in 2015. The show was nominated for 10 Tony Awards, including “Best Musical,” and earned one.

For the Hillbarn production, director Randy O’Hara rounded up a talented cast of 21 performers who all act, sing, and dance—and here’s a plus: there are even a few tap numbers!

Jill Jacobs and Nigel Bottom in “Something Rotten” at the Hillbarn. Photo courtesy Tracy Martin.

In his pre-show speech, artistic director Stephen Muterspaugh joked that it took three Hillbarn artistic directors to bring Rotten to Penninsula/South Bay audiences: himself, O’Hara, who was his predecessor, and Dan Demers, the company’s artistic director from 2011 to 2021. Demers has returned to play Brother Jeremiah in Rotten, with the audience applauding loudly when he made his first entrance.

As the lights dim and pixyish Jon Gary Harris enters, wearing a flashy costume and big pink hat as The Minstrel, singing and playing a tune. The magic begins. Quickly the entire cast walks onstage to sing the opening number “Welcome to the Renaissance.”

The crux of the story is that the two Bottom brothers, Nick (a sensational Brandon Savage) and Nigel (a sweetly charming Andrew Cope) are trying to come up with an idea for a play to counterprogram anything Will Shakespeare might be writing. They are desperate for an idea, a backer and some good actors.

Because the Bard has just produced Richard III, the Bottoms decide to write a play about Richard II. Then someone tells them that Shakespeare is now working on a Richard II. “What?” screams Nick: “Who goes backwards??” That results in the play’s second song: “God, I Hate Shakespeare” sung by Nick.

Nick is desperate to put on a money-making play—especially when his wife, Bea (Melissa Wolfklain) tells him he’s going to be a father. He enlists the help of the famous soothsayer, Nostradamus (an electrifying Caitlin Beanan). She agrees to help him come up with a great topic for a play–of course, extracting money from him for that little favor.

(L-R) Melissa W., Brandon S., Julio C., Jill J., and Andrew C. from “Something Rotten” at Hillbarn Theater. Photo courtesy: Tracy Martin.

Beanan practically steals the show as she gestures/cogitates/imagines what Nick’s play will be about. Using her magic powers, she tells him that he should make a musical. Up until that time apparently, plays were either comedies or tragedies. No one had ever included music in a play, let alone have actors sing words rather than speak them.

She then uses her magical powers to conjure up what the musical should be about. “It’s something about an egg—and maybe ham—Danish ham” she says, before finally blurting out “Omelet!” Nick doesn’t think it’s a good play topic but he follows her lead because the first idea he had, a musical about the Black Death, was a total flop. Later, when Shakespeare announces he’s written a play about a melancholy Dane named Hamlet, Nostradamus snaps her fingers and says, “Oh! So close!” (“Omelet,” “Hamlet” – get it?)

There are so many terrific performances in Rotten that it’s difficult to single out all of them. Julio Chavez is a delightfully over-the-top Shakespeare who with the swagger and costumes of Elvis, immodestly sings “Will Power” and “It’s Hard to Be the Bard” with a roguish smile.

Demers plays the firebrand preacher Brother Jeremiah who refuses to let his daughter, Portia, get near heathens such as the two Bottom brothers. But Nigel and Portia fall in love nonetheless, brought together by the fact that he writes beautiful sonnets (poems) and she loves reading poetry.

Nick Bolton and Nigel Bottom at work at Hillbarn. Courtesy Tracy Martin.

Then there’s the Jew, Shylock, well played by Jason Nunan. At the time, laws didn’t allow people to employ Jews, so Nick refuses his money. Later, after having no money left of his own, he relents and accepts the Jew’s backing.

Hunter B. Jameson gets credit for creating the flexible, quick-change scenic design. Long-time Hillbarn costume designer Pamela Lampkin must have had a mighty crew to help her create the many costumes needed for the 29-member cast, with several actors playing three or four roles.

Somehow the audience knows that by the end of Rotten, all’s well that ends well” as the Bard himself famously wrote! Muterspaugh said he and the play’s production staff decided against a live orchestra for this show. “Given the amount of dancing in the show, this gave the creative team and cast access to the musical tracks during the entire rehearsal process and allowed them to work out exact timing.”

That was obviously the right choice because Hillbarn’s Something Rotten is something irresistible. The show has even garnered a “Go See” recommendation from the SF Bay Area Theatre Critics Circle! Get tickets soon before they sell out.

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Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: joanneengelhardt@comcast.net

Production	Something Rotten
Written by	John O’Farrell and Karey Kirkpatrick
Music & Lyrics by	Karey and Wayne Kirkpatrick
Directed by	Randy O’Hara
Producing Company	Hillbarn Theatre
Production Dates	Thru May 12th
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$32-$60

Reviewer Score	Max in each category is 5/5
Overall	4.75/5
Performance	4.75/5
Script	4.75/5
Stagecraft	4.50/5
Aisle Seat Review PICK?	YES!

March 25, 2024March 28, 2024

Pick! ASR Theatre ~~ Hillbarn’s “Once” Tugs at Your Musical Heartstrings

By Joanne Engelhardt

A simple set-up has profound consequences in Once—a guy from Dublin, Ireland, a busker or street performer, meets a girl from Czechoslovakia. She recognizes his talent and encourages him to go to New York to pursue a musical career. That’s just one of many pieces in this musical at Foster City’s Hillbarn Theater through April 7.

For Once, the Hillbarn stage has a working saloon on one side where theatre patrons can purchase beer at intermission. The floor also revolves, so that during some songs, everyone on stage eventually gets around to the front to sing or play their instruments.

… It’ll keep your toes tapping– for Once! …

Written in 2007 as a film by John Carney, the musical premiered on Broadway in 2012 and won seven Tony Awards that year. Like the Broadway production, Hillbarn’s version has a minimalistic set with chairs on three sides. Cast members, who also serve as the orchestra when sitting in their chairs, simply step forward for their lines and sit down when others are the focus.

Kaylee Miltersen in “Once” at Hillbarn Theater. Photo: Tracy Martin.

What gives this production its authenticity are several fine actors, none better than Kaylee Miltersen playing Girl, a little scrap of a thing with an authentic-sounding Czech accent and a way of whipping out lines that cause the audience to laugh. She’s so delightful! Why wouldn’t the Irish musician Guy (Jake Gale) fall for her?

Gale has a wonderfully lilting voice that brings life to many of his songs, such as “Say It to Me Now,” “Leave,” and even “Broken Hearted Hoover Fixer Sucker Guy.” They all sound incredibly sincere. Miltersen and Gale team up on piano and guitar, respectively, and sing “Falling Slowly” and “If You Want Me”—simultaneously melting the audience’s hearts.

Musical instruments and connections abound (more on this in a minute), in fact, the accordion player is Girl’s mother, Baruska (a spirited Sarah Jebian, in an indelible performance). Another fine actor, Paul Henry, plays Billy—who owns a music store, is somewhat shy and thinks he’s in love with Girl. He attempts to show he’s a judo expert until his back gives out. Meanwhile, Guy and his father own a vacuum cleaner repair shop where Guy works. It happens, as Girl reminds Guy, that she has a Hoover vacuum that “doesn’t suck” so he needs to take it to his father’s shop for repair.

Cast of “Once” (L-R, Jake Gale, Jesse Cortez, Nicholas Conrad, and Chloe Angst) at work at the Hillbarn Theater. Photo by Mark Kitaoka.

Hillbarn’s artistic director Steve Muterspauch lyrically directs Once, with assistance from choreographer Francesca Cipponeri to include modern dance and ballet moves as the musical progresses. For a few songs, timing must be perfect, and on opening night, it was.

As mentioned, nearly every minute of the two-act, roughly two-hour play is filled with music. There’s a cello playing in one corner (cellist, Kit Robberson), a guitar or two a minute later (Brad Satterwhite, Nicholas Conrad, Jesse Cortez), two violins (Nina Han and Karen Law) or Chloe Angst with their tattoos, attitude and angst (pun intended) up to the end of their spiked red hair. (And don’t forget the accordion!)

Nick Kenbrandt does a fine job as the bank manager who decides to take a chance on Guy when he needs a loan so he can get into a sound studio and make a complete recording of his songs to send to New York.

One small curiosity for this reviewer was why Hillbarn hired Equity actor Colin Thomson in the relatively insignificant role of Da? Thomson is a fine actor but has not much to do here except add his strong voice to group songs and play Girl’s father in one short scene.

“It’ll keep your toes tappin’! “Once” at the Hillbarn Theater. Photo by Mark Kitaoka.

Musical director Amie Jan and vocal director Joseph Murphy did a masterful job of selecting actors who could also play musical instruments and sing, a necessity in this musical.

To set the right tone, costumer Lisa Claybaugh found outfits that nicely complimented each performer’s character. Lighting by Pamila Gray and sound by Jeff Mockus were first-rate. Two young sisters, Stella and Sybil Wyatt, play the small role as Girl’s daughter.

Although Once may not be everyone’s cup of tea, this reviewer believes that it certainly deserves bigger audiences than it had for opening night. Could be because Hillbarn patrons aren’t familiar with it as it hasn’t been performed on the Peninsula in years, if ever.

But seven Tony Awards (including Best Musical) say “Go see it!” It’ll keep your toes tapping– for Once!

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Production	Once
Written by	Enda Walsh
Directed by	Steve Muterspaugh
Producing Company	Hillbarn Theatre
Production Dates	Thru April 7th, 2024
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$32-$60

Reviewer Score	Max in each category is 5/5
Overall	4.75/5
Performance	4.75/5
Script	4.50/5
Stagecraft	4.75/5
Aisle Seat Review PICK?	YES!

Other Voices on: “Once”

"...The script is ... steeped in wise and folksy observations about committing to love and taking chances..."	The New York Times
"...captures the loveliness of the music, the likability of the characters, the fluidity of the staging, the sweetness of the ending..."	The Chicago Sun Times
" ...Brilliant! Brilliant! Brilliant! This is one of those shows that remind you: magic is real..."	New York Theatre Guide

February 16, 2024February 16, 2024

PICK! ASR Theater ~~ Hillbarn Theatre’s “Rent”— A Haunting Look Back at AIDS

By Joanne Engelhardt

If you’ve never seen Rent, Hillbarn Theatre’s rendering of what happened in the lower East Side of New York City in 1989 will give you goosebumps. It’s an authentic look at what young people had to deal with during that era. Not only is the cast filled with marvelous singers, but the entire set makes the audience feel as if they are living there, too.

As the audience walks into the theater, replicas of big 1989-era posters greet them, advertising the New York City Ballet, the Ramones, and several NYC theatre productions. After taking their seats, audience members discover they are entirely surrounded by the multilevel set designed by Hillbarn’s Artistic Director, Stephen Muterspaugh. It enables the cast to suddenly appear two feet away from you as they descend down one of the stairways or walk out onto the catwalks.

… “RENT” … will give you goosebumps!”

Director Reed Flores finds multiple ways to ramp up the agony and the ecstasy of the Rent storyline. First, he cast the excellent Brandon Leland as Roger, a songwriter/musician who is HIV positive. Roger lives with Mark (Edward Im), who gives a finely etched performance as a man whose big dream is to be a filmmaker one day.

It’s Mark who is determined to document the lives of his friends, to show how hopeless they feel – unemployed and uncertain about how they’ll find food, heat and a roof over their heads tomorrow. It’s a stark, realistic look at New York City’s struggling artists.

Though it takes place 35 years ago, it has some similarities with what’s happening today in San Francisco, Los Angeles and most large cities that have large numbers of people who can’t find jobs, a place to live and health care when they need it.

Arguably the most memorable character in Rent is Angel, a drag queen and the partner of Tom Collins (stalwart Dedrick Weathersby), an anarchist with AIDS. Tom has AIDS but still manages to teach philosophy part-time at New York University.

Jesse Cortez plays Angel in such a sweet, caring way, it’s hard not to be concerned for her. As written, Angel is a young drag queen who’s addressed as female when in drag and as male when out of drag.

It’s the grit and determination to try to hang on to much of their lives as best they can that makes Rent such a gut-wrenching experience. The story opens on Christmas Eve, with Mark and Roger attempting to keep warm in their apartment. Their heat has been shut off because they haven’t paid their rent. This is New York in December, so having no heat is a big deal.

Their landlord Benny (Jamari McGee), is their former friend, who has reneged on his promise to not require them to pay their back rent. Angel finds Tom Collins wounded in an alley and tends to him. They share the fact that they both have AIDS and discover they are instantly attracted to each other. Amazingly, all of this happens in the first half hour of the musical!

Director Flores selected at least half-a-dozen actors with big voices – voices that carry throughout the theater. Danielle Mendoza’s voice (as Maureen) is one. Both she and Solona Husband as her on-again/off-again lover, Joanne, have two of the best voices in Rent. Each also has one solo (“We’re Okay” for Joanne and “Over the Moon” for Maureen) in Act 1. Then they duke it out in a duet in Act 2’s “Take Me or Leave Me.”

Musical director Diana Lee conducts and plays keyboard with three other musicians (Mike Smith on guitar, John Doing on drums and Paul Eastburn on bass) from a tiny black pit at the back of the stage.

Though they are few and far between, there are some comic bits in Rent. One that got laughs at Hillbarn was persistent phone calls from anxious mothers calling to find out if their grown-up “children” are all right. Some of the calls are made by ensemble member Kristy Aquino who starts by begging them, as their mother, to call her back. Later, she calls to wish them “Merry Christmas.” Finally, out of frustration, she yells into the phone: “Pick up the phone, damn it!!”

The show’s wondrous musical score includes many songs that are part of our collective musical playbook. Who can forget “Another Day,” “La Vie Bohème,” “Take Me or Leave Me” — and the ubiquitous “Seasons of Love” with the wonderful line: “Five hundred twenty-five thousand, six hundred minutes?”

All of this – music, lyrics, book – came from the incredible mind of Jonathan Larson, who passed away before it ever opened on Broadway. It went on to win the Pulitzer Prize for drama and the 1996 Tony Award for Best Musical.

Clearly, any production of Rent has historically big boots to fill. Hillbarn’s thrilling production does so quite comfortably.

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Production	RENT
Written by	Jonathan Larson
Directed by	Reed Flores
Producing Company	Hillbarn Theatre
Production Dates	Thru Feb 25th
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$32-$60

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!

December 4, 2023December 4, 2023

PICK! ASR Theater ~~ An Uplifting “Sound of Music” at Hillbarn Theatre

By Joanne Engelhardt

Rogers and Hammerstein’s iconic musical The Sound of Music is so ingrained in the annals of Broadway, Hollywood, and the community theatre world that one wonders what a new production can offer.

Quite a lot, to judge by the standing ovation given it on opening night (Dec. 1) at Hillbarn Theatre in Foster City.

Despite the fact that The Sound of Music is not a Christmas musical, director Dennis Lickteig creates holiday magic with an ethnically diverse cast that brings tears to the eyes by play’s end. There’s even a small live orchestra led by music conductor Debra Lambert to add to the production’s excellence.

Two professional actors play the two key roles of Maria and Captain von Trapp: an affecting Sophia Alawi and a commanding Jared Lee. Both possess strong voices and a naturalness that adds credibility. A slew of other cast members also enrich the production.

There’s even a tiny mite named Kaylee Lopez who plays the youngest von Trapp, Gretl, who generated many “awwws” from the audience. (On opening night she tried mightily to stifle a yawn toward the end of the 2 ½-hour production!)

All seven of the youngsters playing the von Trapp children are fine, with strong singing chops and the ability to provide texture and nuance to their scenes. Chloe Fong as Liesl stands out as does McKenna Rose as Brigitta. Nicki Weppner appears as Liesl’s love interest, Rolf, who brings a lot of telegrams to the von Trapp family home so he can chat with her.

Arguably the best voice in this Sound of Music belongs to Sarah Jebian who plays the Mother Abbess. Her lead vocal on “Climb Every Mountain” ends Act 1 on a high note. Another strong performance came from Brad Satterwhite as Max, the music festival promoter who helps the von Trapps escape the Germans as they take over Austria.

“The Sound of Music” at Hillbarn Theater.

It’s important to applaud Hillbarn for choosing live music for this production – expensive, yes, but so much better than canned. Music director Debra Lambert, who both conducts and plays one of two keyboards and the organ, also has two violins, a cello, and a reed player doubling on clarinet and cello in her orchestra.

Jayne Zaban’s choreography also adds a lot, especially in the musical numbers featuring the Von Trapp children. Stephanie Dittbern had her hands full designing costumes for the large cast – she actually created outfits for the children (supposedly made from Maria’s bedspread) that they wear for only about 15 seconds on stage!

Sound is so important in a musical, and Joshua Price’s sound design is spot-on throughout the show. Ditto Sarina Renteria’s lighting, but this writer felt Hunter Jameson’s scenic design was just a bit too static and artificial. A slight flaw, but easily forgiven with all the other reasons to see the show. Obviously it takes a village to create a show like The Sound of Music. Kudos to all whose work brings this classic to life.

Though not a traditional Christmas offering, The Sound of Music is well worth a trip to Foster City before it closes on Dec. 17.

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Production	The Sound of Music
Book by	Howard Lindsay and Russel Crouse
Music by	Richard Rodgers and Oscar Hammerstein II
Directed by	Dennis Lickteig
Producing Company	Hillbarn Theatre
Production Dates	Thru Dec. 17th
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$32-$60

Reviewer Score	Max in each category is 5/5
Overall	4.5/5
Performance	4.75/5
Script	4.75/5
Stagecraft	4/5
Aisle Seat Review PICK?	YES!

October 10, 2023October 10, 2023

PICK! ASR THEATER ~~ Talented Cast Lifts Hillbarn’s “Baskerville”

By Joanne Engelhardt

You can count on one hand theatrical productions where the supporting cast is by far the best part of the play. Add Hillbarn Theatre’s current production of Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery to that short list.

Ludwig is known for his comedic work including Lend Me a Tenor (which won two Tony Awards), Crazy for You, Moon Over Buffalo and Shakespeare in Hollywood.

…several production team members deserve a shout-out..

At under two hours with one intermission, this efficient production meticulously directed by Leslie Martinson, moves so quickly that it’s sometimes all an audience can do to watch the three versatile supporting actors — playing 40+ different characters — rush out and then return in slightly altered costumes as other characters. There must be several dressers backstage to assist with so many quick changes!

A mysterious stranger on the moors (George Psarras*) *Actors appear courtesy of Actors’ Equity Association. Photo Credit: Mark Kitaoka

Ted Zoltan (Actor 1), Darrien Cabreana (Actor 2) and especially Alicia M.P. Nelson (Actor 3) are the warp-and-woof of Baskerville, despite the rather annoying tagline which says it’s a “Sherlock Holmes mystery.” Nelson uses a dozen or so different accents (both upper and lower-class British), Scottish, Irish and who knows what else, to steal the show from George Psarras (Sherlock Holmes) and John Watson (Michael Champlin).

Champlin, at least, has more to do (and far more stage time than Psarras). He deservedly garnered a huge sympathetic reaction from Friday’s opening night audience when he intentionally fell flat on his back with a resounding thud!

It’s useless to attempt to describe the storyline, although perhaps anyone who’s read Sir Arthur Conan Doyle’s original mystery The Hound of the Baskervilles might have an easier time of it. If not, it’s best to just go with the flow and not worry when something doesn’t make sense or when an actor changes from a landowner to a pauper in a few seconds by dashing out one of the four archways, switching into a different hat or scarf, and walking back in as a different person.

(L to R) Watson (Michael Champlin) and Holmes (George Psarras*) learn never to question a cabbie (Alicia M.P. Nelson) — *Actors appear courtesy of Actors’ Equity Association. Photo Credit: Tracy Martin

The first hint that something has gone awry is the introduction of a troupe of traveling artists who are touring England in a production of the original tale. Alas! All but five of the actors have missed the train – and only a few trunks of costumes and props have made it on the train as well. Their next stop: Barnhill-on-Foster (wink wink) in Hampshire, England, circa 1892

Despite a performance by Psarras which this reviewer found a bit wanting, the other four players made sure Hillbarn audiences got to chuckle a lot and go home feeling that they’ve had a jolly good time.

(L to R) Holmes (George Psarras*) and Watson (Michael Champlin) are hot on the case, interviewing Actor 1 (Ted Zoldan) and Actor 2 (Darrien Cabreana). *Actors courtesy Actors’ Equity Assoc. Photo Credit: Tracy Martin

Several production team members deserve a shout-out for superior effort: costume designer Nolan Miranda is one; ditto scenic designer Kevin Davies and sound designer Jeff Mockus.

Steve Muterspauch, Hillbarn’s new executive artistic director, can justifiably be proud of Hillbarn’s first production of the season. Discounts are available for anyone under 18 as well as seniors and groups of 10 or more.

-30-

Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: joanneengelhardt@comcast.net

Production	Baskerville
Book by	Ken Ludwig
Directed by	Leslie Martinson
Producing Company	Hillbarn Theatre
Production Dates	Thru Oct 22nd
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$30-$62 (plus discounts)

Reviewer Score	Max in each category is 5/5
Overall	4.5
Performance	4.25/5
Script	3.5/5
Stagecraft	4/5
Aisle Seat Review PICK?	YES!

May 4, 2023May 4, 2023

PICK! ASR Theater ~~ “The Producers” Still Enthralls at Hillbarn

By Joanne Engelhardt

The astonishing thing about The Producers is that no matter how many times you’ve seen it, its inane characters, its music and its heart still catch you by surprise. Mel Brooks, writer of the book, music, and lyrics, is a legendary master of this kind of comedy.

Running at Foster City’s Hillbarn Theatre through May 14, this version has it all except for a live orchestra. Tall, leggy dancers? Check. A quivering, mousy Leo Bloom (James M. Jones)? Check. Over-the-top histrionics by John Mannion as Roger DeBris and his minion Carmen Ghia (a lively Jesse Cortez)? Double check.

…YES!! This show has it all…

That’s not even before the tall, beauteous Renee DeWeese Moran walks in and does her thing as the astoundingly efficient Ulla. Announcing her entrance with a tiny curtsy, Ulla tells Max (a somewhat subdued Edward Hightower) that she came to “audition.” Watching her sing, dance and sashay around the office, flinging a leg straight up (and ending with the splits), Max and Leo hire her on the spot.

Ulla (center, Renee DeWeese Moran), while Max (left, Edward Hightower*) and Leo (right, James M. Jones) watch on with glee. *Denotes member of Actors Equity Association Photo by Tracy Martin

And that’s only a few of the many reasons not to miss this production. Keith Pinto is flawless as Franz Liebkind, the “playwright” who writes a Nazi musical called “Springtime for Hitler” and submits it to Max and Leo.

Max wants to produce a sure-fire flop and decides that “Springtime” is the ticket. He and Leo visit the would-be Nazi at his home, and Franz insists on taking them to see his pigeons.

He prances around cooing and oohing at his prized pigeons – a scene that’s funny in itself but even funnier thanks to the fact that the pigeons are actually puppets operated by Beth A. Wells and Andrew Victoria. They actually move! And coo! This reviewer can’t recall another production of The Producers that includes pigeon puppets!

Leo ( James M. Jones) dreams of being a producer on Broadway. Photo by Mark Kitaoka

There are oodles more memorable scenes including: –Watching a trembling Leo pull out what’s left of his little blue baby blanket, covering his face with it, patting off excess sweat with it, and clutching tightly so no one can take it away from him.

–Roger DeBris all dressed up for a big party event, in a gorgeous long shimmering gown of purple and silver. He’s so sure he’ll be the belle of the party until Max walks in and says he looks just like the Chrysler Building. Mannion, as DeBris is the picture of devastation.

–Who can forget the conga line of dancing grandmas? Max’s benefactors all get together to parade across the stage with their walkers. There’s “Kiss Me, Bite Me,” “Hold Me, Touch Me,” “Kiss Me, Feel Me” – and so many more!

(Lto R) Carmen Ghia (Jesse Cortez) and Roger DeBris (John Mannion) keep it gay. Photo by Tracy Martin

Director Erica Wyman-Abrahamson does a masterful job of keeping all this madness moving along quickly. Y. Sharon Peng deserves high marks for all the gorgeous costumes she’s created – the outfits worn by Ulla are terrific, as is the Nazi one Pinto wears. And then there’s the Ziegfeld Follies -type costumes some of the ensemble wear in the “Springtime for Hitler” parade.

There’s far more to admire in the Hillbarn’s production – including Kevin Davies’ scenic design. Not to be forgotten is Christopher Childers’ clever choreography, with dancers flying off one side of the stage, then suddenly walking down the steps in the audience to return to the stage. Did we mention tap? YES!! This show has it all.

-30-

Production	The Producers
Book by	Mel Brooks
Directed by	Erica Wyman-Abrahamson
Producing Company	Hillbarn Theatre
Production Dates	Thru May 14th
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$32-$60

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

March 20, 2023March 21, 2023

ASR Theater ~~ Stilted “Perfect Arrangement” at Hillbarn Theatre

By Joanne Engelhardt

Topher Payne’s 2014 production Perfect Arrangement seems horribly out of date even though written a scant nine years ago. That’s why it’s surprising that Foster City’s Hillbarn Theatre and director Tyler Christie decided to make it part of the 2022-23 season.

Although it’s played mostly for laughs – as in I Love Lucy laughs – it’s really about a very difficult time in U.S. history.

It’s set in the 1950s at a time when Joe McCarthy was holding congressional hearings to root out communists holding government positions, and later expanded to uncover homosexuals who might also work for the government.

…D’Angelo Reyes’ scenic design is a highlight…

Two of the four lead characters (Brad Satterwhite as Bob Martingale and Leslie Waggoner as Norma Baxter) both work for a government department that will soon be assigned to go after such security risks. The irony is that Bob and his real-life partner, mild-mannered Jim Baxter (Alex Rodriguez) as well as Norma’s flighty real-life partner Millie Martindale (Amanda Farbstein) reached an interesting agreement four years earlier: The foursome live “next door” to each other so that it appears as if they are all good friends and neighbors.

Left to right: Norma (Leslie Waggoner), Millie (Amanda Farbstein), Jim (Alex Rodriguez), and Bob (Brad Satterwhite). Photo by Tracy Martin.

In reality, they go into an obviously symbolic closet full of clothes at night so that they can spend their evenings with their same-sex partners.

Much of the humor comes from people constantly showing up at Millie and Norma’s apartment when one of the men is there – and one of the women isn’t. Then it’s up to the remaining woman to explain where her husband is – or why her female friend is there instead.

(L-R) Millie (Amanda Rose Farbstein) chats on the phone while Norma (Leslie Waggoner) listens in. Photo credit: Tracy Martin.

The play starts out during a cocktail party, supposedly put on by Millie and Bob, attended by Bob’s boss, Ted Sunderson (John Mannion) and his ultra-rich, ultra-snobbish wife Kitty (Erica Wyman).

Time-out right here: Does anyone notice that Millie brings in gigantic cocktails festooned with little umbrellas, hands them out to the partygoers, and then, after taking one sip of their drinks, the Sundersons leave?

Faux paux 2: Millie collects everyone’s drinks and takes them back into her kitchen. What kind of party is this???

Christie’s direction is anything but subtle. Wyman’s wealthy Kitty seems to enjoy lording it over the other women. She invites Norma to go to the opera with her, which gives costume designer Bethany Deal an opportunity to come up with some lovely long gowns and mink stoles.

D’Angelo Reyes’ scenic design is a highlight. The expansive stage looks exactly what you’d expect of a large living room/dining room from the 1950s complete with a stone fireplace, a wall-mounted clock and comfy couch.

Another rather weird stage direction happens at the play’s end. One at a time, all four of the main characters decide to stop hiding their true identities, even though it means leaving their loving partners. One by one they walk to the center front of the stage, stare off into space a moment, walk two steps down to audience level, look left and walk off, leaving the audience wondering exactly what that means and what happens to them after that.

FINAL NOTE: ALERT! For the remainder of the run of Perfect Arrangement, the role of Bob will be played by Alex Kirschner due to the fact that Brad Satterwhite broke his leg! and is unable to continue performing. Get better soon Brad!

-30–

Production	RENT
Written by	Jonathan Larson
Directed by	Reed Flores
Producing Company	Hillbarn Theatre
Production Dates	Thru Feb 25th
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$32-$60

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!

Other voices…

"[A] clever canapé of a comedy... Mr. Payne is a deft and witty writer."	The New York Times
“As hiding gets harder, pitch-perfect comedy ensues: slamming doors, strange disguises, preposterous excuses [….] Eventually, the four must decide whether face-saving domestic lies are worth it, or whether ostracism beats living in fear. In our own era of surveillance and paranoia, their mid-century problems don’t feel so far away.”	The New Yorker
"This is truly what a play should be. Thought-provoking, but with loads of laughs, this terrific show strikes the perfect balance between harsh social criticism and comedy."	Triangle Arts & Entertainment
"The best thing about Topher Payne’s fabulous "Perfect Arrangement" is its pitch-perfect capture of the 1950s comic voice, and its application to the dreadfully serious drama."	DC Theatre Scene
"Introduces audiences to a piece of theatre where tragedy and farce wrap around each other like strands of DNA. It's two distinct plays telling the same hilarious and heartbreaking story... "Perfect Arrangement" drags history out of the closet."	Memphis Flyer
"At a time when discrimination and witch hunts are increasingly becoming the norm again, Theatrical Outfit’s new Perfect Arrangement feels like a lot more than just snappy entertainment — it’s mandatory, topical viewing, as well as a glimpse back at a sad moment in history."	ArtsAtl.Org

February 1, 2023February 1, 2023

PICK! ASR THEATER ~~ Excellence! Hillbarn Theatre’s “Assassins”

By Joanne Engelhardt

Horrible topic. Terrible timing.

Yet when Hillbarn Theatre’s production of Assassins opened last weekend, it was, in a word, spellbinding. Imagine watching the incredibly talented Andre Amarotico kill President Abraham Lincoln a few days after the news of the seven farm workers shot in Half Moon Bay.

Amarotico’s acting skills are so good that the Foster City theater’s audience couldn’t help getting drawn in. The almost-sold-out opening night audience found a way to put aside recent events for two hours and lay witness to watching a fine cast of actors portray characters who kill – or shoot — several presidents and others they have grudges against.

Assassins first opened on Broadway in 2009. The incomparable Stephen Sondheim wrote the music and lyrics, and handpicked John Weidman to write the book. The show got mixed reviews and closed after 73 performances. Over the years it’s had numerous revivals both off- and on Broadway, and is now frequently performed by theatre companies around the world.

Curiously, Assassins is a musical – nearly the entire cast sings about their plans to kill, or how they killed or tried to kill. Not exactly fodder for a musical, though it works here.

There’s a nimble “balladeer” (beautifully acted by Keith Plato) who wanders in and out of the multi-tiered set, and into the audience, swinging around poles – all while singing “Everybody Has a Right to be Happy.”

That’s what makes Assassins so strangely seductive. The actors smile, sing upbeat songs – all while plotting to kill someone.

..Curiously, Assassins is a musical…

One of the best scenes is between Sara Jane Moore (a devastating, yet drop-dead funny portrayal by Hayley Lovgren) and Squeaky Fromme (equally well acted by Brigitte Losey). These two sit on the steps and discuss killing famous people while smoking weed and chomping on KFC, potato chips and sodas.

Moore is distraught because she can’t find her dog – and she can’t remember where her children are. But that doesn’t keep her from having a good ol’ time with Fromme while stuffing her mouth with fast food.

Fromme tells her that she’s a follower of Charles Manson who is the Son of God. Sara Jane looks at her as if she’s insane and asks: “Did he tell you he was the Son of God?” “Absolutely!” Squeaky answers, “….and I’ve slept with him!”

Nick Kendrick, so good as Jerry Lee Lewis in productions of Million Dollar Quartet, wears his hair long and flat in front here as he plays John Hinkley, whose obsession with Jodie Foster caused him to attempt to assassinate President Ronald Reagan.

He and Losey sing the duet “Unworthy of Your Love,” as their characters cry out for their obsessions (Foster and Manson).

Nearly everyone in the cast does a fine job with their roles. Kudos to Benjamin Ball as Leon Czolgosz, an American laborer and anarchist who assassinated President William McKinley in 1901 (and was later electrocuted for his crime); and Ted Zoldan as Charles Guiteau, who assassinated President James Garfield and was later hanged. But Julio Chavez doesn’t seem quite up to playing Lee Harvey Oswald, which is unfortunate because the murder of President John Kennedy is likely the one that some audience members still vividly remember.

Director Joshua Marx deserves high marks for keeping the musical moving at a fast pace, assisted by Leslie Waggoner who not only helped with directing but was also the production’s choreographer. Scenic designer Christopher Fitzer did an amazing job with creating the versatile wooden set. It had American flags, bunting and very old, tattered flags everywhere. The multi-level set enables cast members to dart in and out and, at times, all stand in their own spaces.

A fine orchestra of six musicians, lead by music director and keyboardist Jad Bernardo made sure their music didn’t masque the voices and kept a solid tempo.

Marx says in the program that it’s his hope Assassins will help audiences think about the threads that connect all of the play’s events – and how these characters got to the point of doing what they did.

Well said.

-30–

Aisle Seat Executive Reviewer Joanne Engelhardt is a Peninsula theatre writer and critic. She is a voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: joanneengelhardt@comcast.net

Production	Assassins
Based on / Written by	Concept by Charles Gilbert, Jr. Stephen Sondheim and John Weidman
Directed by	Joshua Marx
Producing Company	Hillbarn Theatre
Production Dates	Thru Feb 12th
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$32-$60

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!

December 7, 2022December 7, 2022

PICK! ASR Theater ~~ A Devilishly Good Elf Makes Hillbarn’s “Elf, the Musical” a Don’t Miss Production!

By Joanne Engelhardt

When you have as versatile an actor as Dave J. Abrams playing Buddy the Elf, it’s impossible to go wrong. Director Randy Ohara can justifiably be pleased with his new hit Elf, the Musical, running through Dec. 18 at the Foster City theater.

This young man – locally educated at UC Berkeley – is the real deal. He jumps high, he squeals like a kid, he dances around gracefully and he literally commands the stage whenever he’s on it – which is almost all the time.

”….he’s on the ‘naughty’ list!!”

As director O’Hara says in his director’s notes: “My hope is that you share some laughs and live in the moment with your loved ones, creating holiday memories.” Once he found his Buddy, choosing the rest of his 23-member cast likely came together easily. Several standouts include Jessica Coker as Emily Hobbs, the dynamo mom to impressive young MIchael Hobbs (Josh Parecki). Both Coker and Parecki possess strong voices that are used to good advantage in this fun show.

Walter Hobbs (Brandon Savage) leads the office in a chorus of “Christmas Always Gets in the Way”. Photo Appears Courtesy of Actors Equity Association — Photos by Mark and Tracy Photography

Nadiyah Hollis’ clear vocals are another fine addition to “Elf.” As Macy’s top boss, she’s both commanding and demanding! Russ Bohard’s Santa displays just the right amount of “ho-ho-ho-ness” without becoming cloyingly sweet. But he would have seemed a tad more Santa-like if he looked as if he more enjoyed being around children.

As for Brandon Savage, playing the all-work-and-no-play Macy’s manager Walter Hobbs, he is truly on Santa’s “naughty” list when he tells his employees they’ll have to work late on Christmas Eve – maybe even on Christmas! – because they’re behind in their work. He’s even all-business at home but Buddy teaches him some solid lessons on lovingly taking care of both his business and his family.

Deb (Lindsay Schulz) shows Buddy (Dave J. Abrams*) how to make snow using the shredder. Photo Appears Courtesy of Actors Equity Association — Photos by Mark and Tracy Photography

The sense of child-like wonder Abrams brings to his role is mesmerizing. When his father (Savage) tells him to go get a cup of cocoa and sit quietly in a chair, Buddy squeals with childish delight: “You know what’s even yummier? Hot chocolate with a chocolate bar on top!”

A number of supporting roles deserve mention as well: Lindsay Schulz as Deb is always smiling, dancing, singing – it made this reviewer hope she becomes Buddy’s girlfriend! But that role belongs to Allison J. Parker as Jovie. At first, Parker seems aloof and not at all interested in the persistent Buddy who instantly falls for her and tells her he wants to make all her dreams come true.

But Parker grows on you, and once she relaxes and smiles more, she seems a perfect foil for the mercurial elf. Her powerful vocals are also first-rate.

Meanwhile, high up to one side of the Hillbarn theatre sits musical director Joe Murphy playing drums and conducting a fine-sounding orchestra of about eight musicians.

Jeanne Batacan-Harper does a good job of choreographing her dancers in the somewhat small stage space at Hillbarn. Pam Lampkin and her costumers made cute little elf slippers for all of Santa’s elves – and created their outfits, including a colorful one for Buddy.

Buddy (Dave J. Abrams*) and New York’s out of work Santa’s declare that nobody cares about Santa Claus. Photo Appears Courtesy of Actors Equity Association — Photos by Mark and Tracy Photography

Although the set design is fairly minimal, it works well for quick scene changes with most furniture sliding in and out as the background moves from Santaland, to Macy’s to the Hobbs home, to Central Park in New York.

So, pack up the whole family – kids especially, but aunts, grandparents, friends – and spend a few hours enjoying the wonderfulness of Hillbarn’s Elf, the Musical.

-30-

Production	Elf, the Musical
Songs by Book by	Tony Award nominees Matthew Sklar & Chad Beguelin. Tony Award winners, Thomas Meehan & Bob Martin
Directed by Choreography by	Randy Ohara Jeanne Batacan-Harper
Producing Company	Hillbarn Theatre
Production Dates	Thru Dec 18th
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$32-$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 16, 2022

PICK! ASR Theater ~~ Everything’s Rosy in Hillbarn Theatre’s “Gypsy”

By Joanne Engelhardt

Rose– as in Mama Rose, the ball-busting lead character of the much-performed and universally loved musical “Gypsy,” is obviously a force to be reckoned with. But when that role is played by the phenomenally talented Stephanie Prentice, whose full-throated vocals can likely be heard at least several blocks away, it’s definitely worth seeing. The role fits Prentice like a glove.

Luckily for San Francisco Peninsula theatergoers, it’s just a short trek to Foster City’s Hillbarn Theatre to witness not only Prentice but also several other fine performers.

The hackneyed story of an overbearing stage mother (Rose) whose determination to make her younger daughter June (Melissa Momboisse) a star first saw light when the esteemed talents of David Merrick, Leland Hayward and Jerome Robbins combined to turn the Arthur Laurents’ book (suggested by Gypsy Rose Lee’s memoirs) into a Broadway show. Throw in music by Jule Styne, lyrics by the great Stephen Sondheim, then contract Ethel Merman to play Mama Rose, and what do you get? A sure-fire hit, that’s what!

Prentice has that Merman kind of chutzpa: badgering, bullying and generally making a nuisance of herself to make sure her Baby June gets the attention of everybody in the audience as well as backstage. Momboisse plays June with a wide smile, a blonde, curly wig and lots of sparkly pink tulle. She has talent – she can do cartwheels and summersaults, all while twirling not one but two batons.

Momma Rose (Stephanie Prentice*), June (Melissa Momboisse), Luoise (Makena Reynolds), and Herbie ( Chris Reber*) sit in Mrs. Crachitt’s (Lisa Appleyard) office waiting for a big meeting.
* Denotes member of Actors Equity Association. Photos by Mark and Tracy Photography

When June was 10 or 12, the family troupe had a cute vaudeville act. But eventually vaudeville faded away and June grew up and developed a fetching figure, something her mother refused to accept. Vaudeville falls out of style, but Mama Rose keeps hauling her daughters around the country with her – to smaller and smaller venues – even as June can no longer pretend to be a little girl.

…A sure-fire hit that’s what!

Louise, the bookish mousy older sister, is perfectly content to let June have the spotlight. Instead, she lugs the suitcases around, acts as a gofer and buys chop suey for the three to eat morning, noon and night. “It’s cheap! And filling!” Mama Rose shouts.

Louise (Makena Reynolds) Attempts her first strip routine.
Photos by Mark and Tracy Photography

As Louise, Makena Reynolds is a tad too attractive to be considered ‘mousy,’ but she does her best to stay in the shadows – even playing the front end of a cow when Mama Rose decides to make Baby June become a sweet farmgirl with six fine farmhands and a cow to dance with her. But when Baby June and one of her backup dancers elope and move away without a forwarding address, Mama Rose decides she’ll make Louise the star of the show.

Louise can’t really sing, and her dancing is mediocre, but she tries her best because that’s what mama wants. The turning point is when the act inadvertently gets booked into a burlesque theatre. When Mama discovers what it is, she tells Louise they need to leave immediately, but the practical Louise, as well as Mama’s long-suffering boyfriend Herbie (a rather subdued Chris Reber) – tell her they have no more money and nowhere to go.

The rest, as they say, is history. Louise’s shyness becomes her “thing” – that little something different that sets her apart from other burlesque queens. Soon she’s performing her burlesque routine at bigger and bigger burlesque emporiums –and earning much more money.

Hillbarn’s opening night audience last Friday night gave the entire cast a standing ovation – mostly deserved, although the large musical orchestra lead by Rick Reynolds sometimes played as if they were at a summer family concert.

Herbie ( Chris Reber*), Rose (Stephanie. Prentice*), and Louise (Makena Reynolds) Sing “Together Wherever We Go.”
* Denotes member of Actors Equity Association. Photos by Mark and Tracy Photography

Standout songs include “Everything’s Coming Up Roses,” “Some People,” “Rose’s Turn,” all sung by Prentice, “Small World,” sung by Prentice and Reber, and “Wherever We Go,” sung by Prentice, Reber and Reynolds. Y. Sharon Peng’s costumes also are a highlight – from the plain “housewifey” dresses Prentice wears throughout the play to the clever outfits for the young June and Louise and their cadre of boys, who all morph almost onstage into young people in similar costumes.

Whether familiar with the legend of Gypsy Rose Lee or not, audiences will appreciate Prentice’s fine vocals, the singing and dancing of the large cast, and an opportunity to look behind the curtain to see how struggling actors survive.

-30-

Production	Gypsy
Book / Lyrics / Music by	Arthur Laurents / Stephen Sondheim / Jules Styne
Directed by	Lee Ann Payne
Producing Company	Hillbarn Theatre
Production Dates	Thru Sept. 25th
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$32-$60

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

August 17, 2022September 12, 2022

ASR Theater ~~ Hillbarn Falters with “The Four Gifts”

By Sue Morgan

The playbill for “The Four Gifts” notes that Joe Bradley was coaxed into letting his well-regarded autobiography be adapted for the stage.

Pity. This story of faith, loss of faith, drug and alcohol addiction, hitting bottom, becoming a priest, overcoming life-threatening obstacles, and Bradley’s heart-felt life of service to others, is evidently much more effectively expressed in prose.

As scripted and performed at Hillbarn Theatre, “The Four Gifts” fails to create a genuinely human character that the audience can connect with. The poorly executed script is further hampered by stilted language—I didn’t notice a single contraction—overly short scenes, and confusing casting. When asked before the play what role he played (the program didn’t delineate cast members’ roles), Randy Allen stated that he played several roles, including Father Joe, noting, “We’re all Father Joe.”

…the play’s acting…was strangely devoid of emotion.

It quickly became apparent that his meaning was literal as well as figurative as each of the ten actors in turn transformed into Joe by donning a gold cross on a chain, passing it along to the next player when it was his or her turn. It’s an interesting concept to express the universality of every human’s struggle but, in practice, disconcerting and awkward.

The Cast listen to a sermon given by Johnny Villar (R). *Photo Appears Courtesy of Actor Equity Association. Photo by Mark and Tracy Photography.

In contrast to the intensity of the subject matter, the play’s acting itself was strangely devoid of emotion. Perhaps because the players switched scenes and characters so often and quickly, they never had time to settle into a role before rushing off to the next scene.

The three screens onto which background scenes were projected at times worked beautifully but were otherwise ill-fitted to the images on display, adding a sense of vertigo, such as when a seminary wall tilted precariously to one side.

Joseph Steely (L) give Johnny Villar (R) council. Photos by Mark and Tracy Photography.

The screens were also sometimes illuminated to very good effect, exposing shadow play, such as the goings-on in a hospital room, or a patient in a hospital chapel, fervently praying while attached to an IV pole.

Costuming was appropriate, the lighting fine, and sound design spot on, but given the show’s conceptual and performances shortcomings, you might want to give “The Four Gifts” a pass.

-30-

Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: sstrongmorgan@gmail.com

Production	The Four Gifts
Written by	Father Joe Bradley and Antonia Ehlers
Directed by	Cara Phipps
Producing Company	Hillbarn Theatre
Production Dates	Through Aug 21st
Production Address	1285 E Hillsdale Blvd, Foster City, CA 94404
Website	www.hillbarntheatre.org
Telephone	(659) 349-6411
Tickets	$30-$58

Reviewer Score	Max in each category is 5/5
Overall	2/5
Performance	2/5
Script	2.5/5
Stagecraft	2.5/5
Aisle Seat Review PICK?	----