ASR’s Year in Review: Our “Best of the Best” from 2019 – by Nicole Singley and Barry Willis

Better late than never, the old adage has it. Here (in no particular order) are some memorable productions from last season, a year full of four- and five-star achievements.

The Jungle (Curran Theatre): San Francisco’s renovated Curran Theatre was re-renovated for an immersive recreation of a 2016 crisis in a refugee camp in Calais, France. A huge and hugely talented multi-ethnic cast made this show last season’s most profound and moving theatrical experience. (BW)

After Miss Julie (Main Stage West): Ilana Niernberger and Sam Coughlin paired up for a thrilling pas de deux in Patrick Marber’s evocative spin on “Miss Julie,” transplanting Strindberg’s classic story to a summer night in 1945. A stunning set, great lighting, and white-hot performances brought class and erotic tensions to a boil, culminating in a seriously steamy tango scene that won’t be soon forgotten. (NS)

Rocky Horror Show (Marin Musical Theatre Company): MMTC took this Halloween favorite far over the top at the San Anselmo Playhouse, thanks to stunning efforts by Jake Gale, Nelson Brown, Dani Innocenti-Beem, Pearl Fugit and many others. (BW)

Barbecue Apocalypse (Spreckels): The laughs were served well-done in this quirky comedy, thanks to a witty script marinated in millennial-centric humor and a talented ensemble. Clever costumes, strong technical work, and excellent casting proved that all it takes to survive the end of days is a little raccoon meat and some serious comic relief. (NS)

Romeo and Juliet (Throckmorton): Mill Valley’s Throckmorton Theatre and the streets around it became Verona, Italy, in a sweetly evocative, imaginative, and fully immersive production of Shakespeare’s timeless tragedy. (BW)

Sex with Strangers (Left Edge Theatre): Left Edge Theatre turned up the heat in “Sex with Strangers,” a seductive modern romance that broaches big questions about love, ambition, and the price of success in the digital era. Dean Linnard and Sandra Ish brought the story’s unlikely couple to life with electric chemistry and powerful, nuanced performances. (NS)

Incidents in the Wicked Life of Moll Flanders (Ross Valley Players): RVP gambled and won with Jennifer LeBlanc’s adaptation of Daniel Defoe’s 1722 novel. Amber Collins Crane stole the show as the lead in a compelling tale about a beautiful, quick-witted woman who rose from miserable circumstances to respectability through petty crime, stealth, charm, and unusually good luck. (BW)

Drumming with Anubis (Left Edge Theatre): Left Edge Theatre invited us along to the Neo-Heathen Male Bonding and Drumming Society’s annual campout, where a group of aging death metal fans communes in the desert to beat their bongos. Things got a little dark, a lot hilarious, and surprisingly touching when the Egyptian god of death crashed the party. Local playwright David Templeton’s brilliant new show earned a 5-star reception, featuring a phenomenal cast and beautiful scenic design. (NS)

How I Learned What I Learned (Marin Theatre Company): Director Margo Hall coaxed a tremendous performance from Steven Anthony Jones, who brought grandfatherly wit and wisdom to the role of playwright August Wilson. A master class in story-telling. (BW)

Faceless (6th Street Playhouse): Former artistic director Craig A. Miller returned to helm this riveting courtroom drama about an American teenager caught running away to join her internet boyfriend in ISIS. Razor-sharp dialogue and powerhouse performances made for an intense and memorable experience in 6th Street’s intimate studio theater. (NS)

The Year of Magical Thinking (Aurora Theatre Company): Stacy Ross glowed in a masterly solo recital of Joan Didion’s play from her book of the same name. (BW)

Home (Berkeley Repertory Theatre): In this stunning piece of performance art by Geoff Sobelle, audiences watched a two-story house materialize from the shadows of an empty stage as if by magic. A spectacle of epic proportions, this visual feast reminded theatergoers that a house is just a space in which we come together to make a home. (NS)

Fully Committed (6th Street Playhouse): Patrick Varner channeled 40-some characters in his hilarious one-man depiction of a scheduling manager at his wits’ end in a high-end NYC restaurant, at Santa Rosa’s 6th Street Playhouse. (BW)

Merman’s Apprentice (Sonoma Arts Live): Daniela Innocenti-Beem brought Broadway legend Ethel Merman back to the stage with a larger-than-life performance in this sparkling world premiere, brimming with catchy tunes and colorful humor. Innocenti-Beem and teenaged costar Emma Sutherland boast some serious pipes, which made this charming new musical all the more fun. (NS)

Mother of the Maid (Marin Theatre Company): A mother’s love and devotion were never so well depicted as in this lovely, heart-rending piece about Joan of Arc’s mother Isabelle (Sherman Fracher). (BW)

Eureka Day (Spreckels): Laughter proved contagious in Jonathan Spector’s whip-smart “Eureka Day,” pitting parents at a Berkeley charter school against each other in the wake of a mumps outbreak. An all-star cast, elaborate set design, and top-notch technical work combined to make this a 5-star production. (NS)

Cabaret (San Francisco Playhouse and Napa’s Lucky Penny Productions): Both of these productions were excellent and amazing versions of this dazzling but starkly disturbing cautionary tale. (BW) 

Miss Bennet: Christmas at Pemberley (Spreckels): Theatergoers were dazzled by this cleverly written and superbly acted continuation of Jane Austen’s beloved Pride and Prejudice, containing everything an Austenesque story should: delicious drama, a heartwarming romance, and an abundance of humor and witPitch-perfect direction and exemplary casting made “Miss Bennet” the ultimate holiday treat. (NS)

Harry Potter and the Cursed Child (Curran Theatre): Nonstop high-intensity theatrical magic is the only way to describe this extravagant production, running into next July. (BW)

A Gentleman’s Guide to Love and Murder (Spreckels): Hilarity ensued in this madcap musical about a man clawing his way to the top of the family tree. Tim Setzer stole the show as all nine members of the D’Ysquith family, all of whom meet their ends in some of the most creative and comical ways imaginable. Excellent ensemble work, cute choreography, and clever projections made this one killer production. (NS)

Barry Willis is the Executive Editor at Aisle Seat Review, a member of the American Theatre Critics Association, and president of the San Francisco Bay Area Theatre Critics Circle. Contact: barry.m.willis@gmail.com

 

Nicole Singley is a Senior Contributing Writer and Editor at Aisle Seat Review and a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County’s Marquee Theater Journalists Association, and the American Theatre Critics Association.

 

AN AISLE SEAT REVIEW PICK! “Body Awareness” a Hit at Main Stage West – by Barry Willis

Body Awareness Week becomes a long hard slog for a psychology professor at a small Vermont college, in Annie Baker’s brilliant, sweet comedy at Main Stage West through September 22.

Lydia Revelos stars as Phyllis, the professor with ultra-orthodox feminist convictions, who first organized the event as “Eating Disorders Week” but expanded it to include dance performances by troupes from across the globe, and seminars on personal and social perceptions about the human body—in particular, the female body. This emphasis includes an exhibition of photos of nude women of all ages, done by a straight male photographer.

The photos, their subjects, and most of all the photographer’s gender, enrage her and cause upheaval with her lesbian partner Joyce (Nancy Prebilich), a high school teacher whose almost-adult son Jared is “on the Asperger’s spectrum” as it’s trendy to say. Jared (Elijah Pinkham) is a self-described “auto didact” obsessed with word origins—he aspires to be a lexicographer—and sex with girls, which he has never experienced. His awkward social skills exasperate his mother and her partner, get him fired from his minimum-wage job at McDonald’s, and nearly land him in jail when he does something incredibly inappropriate with a girl he’s just met.

Main Stage West company principal Elizabeth Craven perfectly captures life in small-town Vermont…

Domestic disruption grows exponentially with the appearance of photographer Frank (Zachary Tendick), a surprise guest in their home for the week. Phyllis can’t stand him nor what he does as an artist—the “male gaze” being the equivalent of an assault, in her view—nor can she understand why women flock to him to be immortalized in photos. She has rigid ideas about how women should present themselves. Joyce, on the other hand, finds him charming, likes his art, and welcomes him as a mentor to Jared.

Pinkham, Revelos, Prebilich, and Tendick at work for MSW.

The four characters form a tight pulsating web that in just under two hours examines self-concept, identity, commitment, family, and personal and artistic freedom. Playwright Baker—known for skewering Vermont’s politically correct culture—treats all of this with a fine blend of disdain, humor, and sympathy.

Prebilich and Revelos at work in “Body Awareness”

Directors John Shillington and Janine Sternlieb get marvelous performances from all four performers. Revelos and Prebilich are exceptional in exploring the breadth of their characters’ emotional lives, while Pinkham does a wonderful job in a role that more-or-less repeats one he did in last year’s “The Curious Incident of the Dog in the Nighttime.” Tendick, in his first appearance on stage, anchors the whole affair with a surprising amount of gravitas.

With her set design and costumes, Main Stage West company principal Elizabeth Craven perfectly captures life in small-town Vermont. She also happens to have directed the astounding “Eureka Day,” running concurrently with “Body Awareness.”

The two shows’ related themes make them an ideal pair for back-to-back viewing. If there were such a thing as a perfectly-matched theatrical double feature they’d be it. Both provide plenty of laughs and plenty to ponder once the laughter fades.

 

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

 

 

ProductionBody Awareness
Written byAnnie Baker
Directed byJohn Shillington and Janine Sternlieb
Producing CompanyMain Stage West
Production DatesThrough Sept. 22nd
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Websitewww.mainstagewest.com
Telephone(707) 823-0177
Tickets$0 – $30
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script5/5
Stagecraft4/5
Aisle Seat Review PICK!Yes!

 

 

AN AISLE SEAT THEATER REVIEW PICK! Breathtaking “Lungs” at Main Stage West – by Nicole Singley

Pierce and Wright (Photo Credit: Eric Chazankin)

Timely subject matter, timeless relationship dynamics, and dazzling performances combine to make “Lungs” the latest triumph in a series of impressive productions to grace the intimate stage at Sebastopol’s Main Stage West this season.

A world increasingly impacted by climate change and overpopulation seeds new worries and doubts for a young couple on the fence about having children. The unnamed pair (Sharia Pierce and Jared N. Wright, both phenomenal) struggle with guilt about their contribution to the carbon footprint and fear of an uncertain future for their offspring. Where does their responsibility to the planet – and each other – end? Though their decision and the aftermath serve as the story’s crux, it’s the ebb and flow of their relationship that really hits home. Global warming is just an ominous backdrop.

. . . a tour de force – visceral, raw, and utterly real.”

Pierce and Wright (Photo Credit: Eric Chazankin)

Pierce’s performance is a tour de force – visceral, raw, and utterly real. Wright feeds off of her intensity with equal authenticity, delivering nuanced and heartfelt reactions. The mounting tension, crushing heartbreak, and abiding affection between them is powerful and palpable. It’s a deeply personal and emotionally exhausting experience, rife with elements that will feel familiar to anyone who’s ever been in a tumultuous relationship or pondered what it means to be a parent.

David Lear directs with perfect pacing and thoughtful staging on a minimalistic set, with no props, a simple backdrop, and only some introductory audio for context, keeping the focus entirely on Pierce and Wright. Given the caliber of their acting, this works in the production’s favor.

“Lungs” is a beautiful journey full of philosophical quandaries, anxiety and indecision, human error, love, and loss. It’s hard to imagine Duncan Macmillan’s insightful script in better hands than those of this exceptionally talented cast.

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

 

 

ProductionLungs
Written byDuncan Macmillan
Directed byDavid Lear
Producing CompanyMain Stage West
Production DatesThrough May 26th
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Websitewww.mainstagewest.com
Telephone(707) 823-0177
Tickets$15 – $30
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance5/5
Script4/5
Stagecraft3.5/5
Aisle Seat Review PICK!Yes!

AN AISLE SEAT THEATER REVIEW PICK! Good and Evil Entwined in “Heathen Valley” at Main Stage West – by Barry Willis

Bordi and Craven (Photo Credit: Eric Chazankin)

Missionary zeal improves life in an isolated mountain community, with unanticipated personal and social consequences in Romulus Linney’s “Heathen Valley,” directed by Elizabeth and John Craven, at Main Stage West in Sebastopol through April 14.

Set in North Carolina in the 1840s, the story’s central character is an illiterate church janitor named Starns (Kevin Bordi, brilliant), recently released from prison after serving ten years on a manslaughter charge. He wants to make something better of his life and begins a program of late-in-life education as an acolyte to the kindly Bishop Ames (John Craven). Adamant about saving souls, the Bishop enlists his help in an expedition into a hidden valley in the mountains, an area so remote it’s called “the land that God forgot.”

…conveyed with stunning conviction…”

Ames, Starns, and an orphan boy named Billy (Jereme Anglin, also the show’s narrator) embark on a trek that lands them in a community so inbred that marriage between siblings is considered normal, and so economically backward that scratching a few potatoes from the ground is considered a good harvest—fertile territory for Christian reformers. Ames installs Starns as his pastor in the valley. The former illiterate rises to his new responsibility, and having become fond of St. Augustine, preaches a gospel of kindness and understanding. He also helps his flock with practical matters such as improving their agricultural yields and teaching them that it’s best not to mate with close relatives.

Starns’s role in lifting up a blighted community is his personal salvation, one that he assumes with great dignity and purpose. The valley’s people—represented by Juba (mollie boice, perfectly cast), a wise old mountain midwife; Harlan (Elijah Pinkham), an ignorant, volatile hick; and Cora (Miranda Jane Williams), his not-quite-so-ignorant mate—prosper under his tutelage. Starns grows proud of what they achieve together even as his exhausting work takes a toll on his health. This story is conveyed with stunning conviction on a simple set that serves as church, village, and field, with backdrops that evoke the Great Smoky Mountains.

The cast of “Heathen Valley” at Main Stage West (Photo Credit: Eric Chazankin)

While over several years Starns has led his flock out of the muck, the visiting Bishop has taken a more orthodox turn. He comes back to the valley not at all pleased with its simple abundance, happiness, and social order. His only concerns are piety and pious behavior. He’s become a religious conservative, insisting that valley residents wear cassocks (black robes such as worn by Greek Orthodox priests) and stop being so happy. They rebel, permitting only their children to wear dour outfits that make them look “like a bunch of damned crows.” Ames’s defeat cuts him to the core; John Craven portrays that defeat as a personal crucifixion.

The characters in “Heathen Valley” have complex intersecting arcs, and all are portrayed exquisitely, accompanied by mountain music almost too perfect (sound design by Doug Faxon). Linney’s deeply nuanced piece could not have had a better presentation than what’s currently running at Main Stage West. The playwright grew up in the mountains of North Carolina and Tennessee and was notoriously dismissive of hillbilly stereotypes, but here he brings them each to life: incest, ignorance, witchcraft, and all. He was also deeply aware of the inherent wisdom in primitive people. Even the moronic Harlan recognizes that religious conversion is simply an exercise in swapping one superstition for another. No amount of preaching will ever convince him that virgins can have babies.

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

 

ProductionHeathen Valley
Written byRomulus Linney
Directed byElizabeth and John Craven
Producing CompanyMain Stage West
Production DatesThrough April 14th
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Websitewww.mainstagewest.com
Telephone(707) 823-0177
Tickets$15 – $30
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script4.5/5
Stagecraft3.5/5
Aisle Seat Review PICK!Yes!

AN AISLE SEAT THEATER REVIEW PICK! Stunning “After Miss Julie” at Main Stage West – by Barry Willis

Trouble brews as a flighty heiress cavorts with her head servant in “After Miss Julie,” Patrick Marber’s adaptation of the August Strindberg classic, at Main Stage West through March 3.

Reset in an English country manor at the close of World War II, with the Labor Party about to win the national election and disrupt traditional social structures, the play features Jennifer Coté as Christine, a loyal scullery maid; Sam Coughlin as John, her fiancé and the manor’s head servant; and Ilana Niernberger as Miss Julie, the heiress who can’t resist defying class restrictions by seducing him. All the action plays out in the manor’s cramped downstairs kitchen, while a wild celebration swirls about outside.

Jointly directed by Elizabeth Craven and David Lear, who also did the set design, this brilliantly staged and performed piece is the antidote to the poison that is Strindberg’s much-praised “Creditors,” extended to March 3 at Berkeley’s Aurora Theatre Company. Both plays were written in 1888, and both are about the power dynamic inherent in sexual triangles—strong superficial resemblances, but “After Miss Julie” actually has uplifting moments and an ambiguous ending that proves to be far more nuanced and far more satisfying than the abrupt finality of “Creditors.”

…a stunning, perfectly paced pas de deux… that will keep you on edge right to the end…”

Coughlin and Niernberger (Photo Credit: Eric Chazankin)

Coté is excellent in her role as the determined, hard-working Christine, while Coughlin and Niernberger are astounding in their portrayal of a pair of hopelessly attracted lovers deep in the throes of an intractable dominant/submissive relationship. Julie relishes lording it over John, issuing orders that as her lover and employee he must obey. She then immediately demands that he issue orders to her in return and he complies, despite knowing how wrong it all is. With class distinctions amplified by differences in dialect, it’s a stunning, perfectly paced pas de deux—quite literally, with white-hot choreography by Dana Seghesio—that will keep you on edge right to the end, and will give you plenty to ponder for days after.

Sound designer Matthew Eben Jones has selected some wonderful music from the WWII era that perfectly establishes the play’s time frame, and Missy Weaver’s moody subdued lighting works marvelously to reinforce every scene. Running time is about 90 minutes. Opening night featured a short intermission; it wasn’t clear if MSW would keep it or not for the duration of the show. In either case it’s a fantastically good production, among the best in a series of superb productions by Sebastopol’s quirky troupe. In its few short years, Main Stage West has become one of the North Bay’s leading theatre companies. “After Miss Julie” proves why.

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

 

ProductionAfter Miss Julie
Written byPatrick Marber
Directed byElizabeth Craven and David Lear
Producing CompanyMain Stage West
Production DatesThrough March 3rd
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Websitewww.mainstagewest.com
Telephone(707) 823-0177
Tickets$15 – $30
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script4/5
Stagecraft4/5
Aisle Seat Review PICK!Yes!

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

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

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

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

Cast members Cooper, Maxson, and Seghesio at work.

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

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

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

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

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

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

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

 

ProductionSwallow
Written byStef Smith
Directed byMissy Weaver
Producing CompanyMain Stage West
Production DatesThrough January 27th
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Websitewww.mainstagewest.com
Telephone(707) 823-0177
Tickets$15 – $30
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4.5/5
Script3.5/5
Stagecraft4/5
Aisle Seat Review PICK!Yes!

*** AN AISLE SEAT REVIEW PICK! *** “The House of Yes” Sheer Genius at Main Stage West – by Barry Willis

Received wisdom has it that a plagiarist copies from one; a genius imitates many. By that standard, playwright Wendy Macleod’s genius rating must be off the chart. In her incisive and savagely funny “The House of Yes,” at Main Stage West in Sebatopol through December 16, are echoes of Chekov, Ibsen, Beckett, and Albee, yet the play is wholly original. A depiction of perhaps the ultimate dysfunctional family, it’s one of the most amazing carnival rides ever undertaken though the dark side of familial relations.

In upper-crust McLean, Virginia (a suburb of Washington, DC) all appears normal in the Pascal home, near the Kennedy residence. Presided over by a bejeweled and perpetually plastered matriarch (Laura Jorgensen), the indolent Pascals have little to do other than drink and snipe at each other. We meet younger son Anthony (Elijah Pinkham), an Ivy League dropout with a lackadaisical Jimmy Stewart demeanor, and his older sister “Jackie-O” (Sharia Pierce), so called because of her obsession with the former First Lady, in particular the former First Lady on the day of her husband’s assassination.

Everything about this production is perfection…

Jackie-O’s personal problems—irrational outbursts, mania, depression, and a pharmacy’s worth of prescription drugs—are the primary focus for Anthony and his mother. Hyperactive with no internal filter, Jackie-O can and will say almost anything, much of it stupendously funny.

It’s a long-running family soap opera, but a minor symptom of a much deeper malaise, as we learn when her twin brother Marty (Sam Coughlin) comes home with his fiancée Lesly (Ilana Nierberger), a sweet and seemingly well-balanced girl from Pennsylvania. She soon realizes that she’s in over her head—way over her head—as Jackie-O reveals that she and Marty have enjoyed a special relationship since they were “in the womb,” one that has continued unabated right into adulthood and that nothing will ever break. Lesly also caves into an inept seduction by Anthony, an act she immediately regrets.

As all this unfolds, we learn that the unseen and presumably departed Mr. Pascal contributed only his fortune to the family, and that his wife was so busy bed-hopping that she isn’t sure who fathered her children.

That’s merely a plot outline. What happens in developing it is so wildly unpredictable and outrageously funny that revealing more would do a disservice to potential ticket buyers.

Everything about this production is perfection: Elizabeth Craven’s stunning set design—stark black-and-white hyper-modern art—and Missy Weaver’s moody lighting,  are a perfect complement to Macleod’s deeply disturbing comedy—one accurately described by MSW’s John Craven as “funny until it isn’t funny anymore.” Performances range from subdued to over-the-top, but always appropriate and perfectly timed.

“The House of Yes” is easily one of the best productions in the North Bay this year, the sort of rabbit hole that theatergoers venture into all too rarely. It’s exhilarating, shocking, hilarious, and deadly—a ten-star show on a five-star scale. Simply brilliant.

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

ProductionSwallow
Written byStef Smith
Directed byMissy Weave
Producing CompanyMain Stage West
Production DatesThrough Jan 27th
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Websitewww.mainstagewest.com
Telephone707.823.0177
Tickets$15 – $30
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4.5/5
Script3.5/5
Stagecraft4/5
Aisle Seat Review PICK!YES!

An Aisle Seat Theater Review! Brilliant, Incisive “Savage Wealth” at Main Stage West – by Barry WIllis

Sebastopol’s Main Stage West new season is off to a roaring start with “Savage Wealth,” a world premiere of Bob Duxbury’s brilliant, incisive comedy.

In it, very unlike brothers Gabe and Todd (Matt Cadigan and Peter T. Downey) scheme to sell their family home with a view of Lake Tahoe but encounter unanticipated complications with their neighbor and childhood friend Beenie (Ilana Niernberger, in a fantastic performance), who owns the vacant lot immediately in front of the brothers’ home.

…a rarity, especially for a community theater troupe: a brilliant script brilliantly performed…

Todd is a hard-charging and deeply cynical political consultant and lobbyist, while Gabe is a contemplative unemployed slacker. Trustfunder Beenie spends her time flitting from ashram to spa to spiritual retreat and has an extensive repertoire of New Age practices that she unleashes on the brothers, in a not-fully-thought-out attempt to resolve their disputes and to get her own needs met. Roxbury’s script hits all the right notes, with plenty of potshots at a particularly Northern California style of pretension.

Director John Shillington extracts hilarious ensemble work from this talented trio. “Savage Wealth” is a rarity, especially for a community theater troupe: a brilliant script brilliantly performed. The short run—the show closes on September 16—does it a disservice.

 

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

 

ProductionSwallow
Written byStef Smith
Directed byMissy Weave
Producing CompanyMain Stage West
Production DatesThrough Jan 27th
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Websitewww.mainstagewest.com
Telephone707.823.0177
Tickets$15 – $30
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4.5/5
Script3.5/5
Stagecraft4/5
Aisle Seat Review PICK!YES!

ASR Theater Review! Main Stage West’s Compelling “Blackbird” – by Barry Willis

You can’t escape your past.  In David Harrower’s “Blackbird,” an industrial production manager named Ray (John Shillington) discovers this late one day when a young woman named Una (Sharia Pierce) shows up unannounced at his workplace.

In their awkward protracted reunion we learn that she was his lover at the tender age of twelve, when he was approximately forty. A scandal consumed him and the town he lived in, to the extent that he vanished, changed his name, and tried to put it all behind him.

But perhaps by accident, now-adult Una has discovered his new identity and location and has driven hundreds of miles to try to resolve all that was left dangling—a massive shared bundle of guilt, shame, obsession, and still-smoldering attraction that bursts into flames at least once in their brief meeting. No resolution is possible, but the script and the two talented actors cover huge emotional territory in the eighty minutes they spend together in the grimy confines of a disheveled break room (set design by David Lear, who also directed).

Intentionally stilted exposition makes the plot a bit slow to roll out, but once it does, it gains unstoppable momentum. Pierce and Shillington give a fiercely passionate performance of two people linked by irresistible but doomed attraction, frightening in its depth but illuminated by moments of levity. “Blackbird’s” dark realism will startle you and give you plenty to think about when you’ve left the theater.

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

 

“Blackbird” by David Harrower

Through April 7th

Main Stage West  104 North Main Street  Sebastopol, CA 95472

Tickets: $15-$30 Info: 707-823-0177

Contact@mainstagewest.com

Rating: Three-and-a-half Stars

 

*****     *****     *****     *****     *****

 

ASR Theater Review! Compelling, Baffling “Buried Child” Unearthed at Main Stage West — by Barry Willis

Be glad that the prolific Sam Shepard worked out his issues through writing rather than by spraying a shopping mall with an automatic weapon. His stuff is as dark and forbidding as a cemetery on a cold December night.

Ably directed by Elizabeth Craven, “Buried Child,” at Main Stage West in Sebastopol through February 25, is a baffling portrait of the ultimate dysfunctional family. Set in an Illinois farmhouse, it opens with a cantankerous exchange between family patriarch Dodge (John Craven) and his unseen harridan wife Halie (Laura Jorgensen), whose shouted responses intermittently remind him of God’s bounty and the mercies of Jesus. Dodge is in ill health, unable to rise from the ratty sofa on which he lies, but is sufficiently motivated to nip from a hidden bottle, smoke one cigarette after another, and ramble on semi-coherently.

Enter Tilden (Keith Baker), a monosyllabic moron, with an armload of freshly picked corn. He’s presumably the son of Dodge and Halie, although that’s never made explicit, as is Bradley (Eric Burke), another developmentally challenged offspring with a missing leg. Bradley does a savage job of cutting his sleeping father’s hair then spends the remainder of his time onstage hiding under blankets and spouting argumentative comments. At some point a younger member of the clan shows up: Vince (Sam Coughlin). None of his relatives recognize or acknowledge him even though he repeatedly badgers them to do so. Vince’s girlfriend Shelly (Ivy Rose Miller) is the only one who’s rational enough to begin to make sense of what’s going on, but as the audience’s point-of-view character, she’s as mystified as we are.

Vince leaves for a couple of days. Nobody notices. Tilden harvests fresh carrots from the presumably fallow farm. Halie appears with local minister Father Dewis (Dwayne Stincelli) in tow, the two of them sharing a flask and apparently in the full flower of a forbidden affair. There are some erratic tangential comments about proper Christian behavior. Vince returns, drunk and raging. The family argues about another son who may or may not have been real. Dodge reveals a long-suppressed secret. Shelly leaves. The end.

There’s not a clue in any of this as to what it’s all about, other than the meanness and arbitrary meaninglessness of life, and bottomless darkness lurking beneath the surface. Imagine American redneck angst scrutinized by Pinter or Beckett.

The playbill puts the script’s time at 1978, but it feels much earlier—the 1930s or ’50s perhaps. The disjointed storyline isn’t far from an episode of the Cartoon Network’s “Squidbillies;” the aesthetic is right out of “The Twilight Zone.”

“Buried Child” is solidly presented by a cast of talented veteran actors, and at the very least is damned interesting even if we learn nothing—a theatrical curiosity, if you will.

Some theatergoers may even interpret it as comedy. At slightly under two hours running time it won’t make you wish you had somewhere else to be. Just don’t expect to come away with new insight or understanding about rural life or family dynamics. You won’t, other than having experienced, as the director’s notes remind us, an authentic modern American classic.

 

Barry Willis is a Senior Writer/Editor for Aisle Seat Review. He is also a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.

 

 

Sam Shepard’s “Buried Child”

Through February 25, 2018

Main Stage West 104 North Main Street Sebastopol CA 95472 www.mainstagewest.com 707-823-0177

Rating: Three-and-a-half out of five stars.

 

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