An Aisle Seat Review: “Our Town” Falls Flat at NTC – by Nicole Singley

With its modest set and simple, unassuming premise, “Our Town” aims to celebrate the magic of the mundane, contemplating the ordinary, everyday moments we too often take for granted. Revolutionary when it debuted in 1938, Thornton Wilder’s Pulitzer Prize-winning drama has since become an enduring staple of American theater. Under Michael Barr’s direction, this three-act classic takes the stage at Novato Theater Company through February 16th.

We open with a welcome from the Stage Manager (Christine Macomber), who introduces us to the small New Hampshire town of Grover’s Corners, and continues to serve as our guide and sometimes-narrator throughout. We meet the town doctor and the milkman, watch as families gather ‘round their kitchen tables, and eavesdrop on schoolkids discussing their homework. Wilder’s script spans over a decade of love, loss, and run-of-the-mill moments in the lives of the townspeople. At the center of it all are George and Emily (Bryan Munar and Nicole Thordsen), the all-American boy and girl next door, who we encounter first as childhood friends, again as awkward teenagers stumbling into the early stages of love, and later as bride and groom, hurdling into adulthood ‘til death do they part.

Beautifully written and subtly profound in its frank depiction of normal people living unremarkable lives, its power lies not in what happens – as very little, in fact, actually does – but in the authenticity of its characters and the relatability of their life experiences. “Our Town” could be any town, anywhere at any time, the residents as familiar as our own friends and neighbors. It’s perhaps the realization of our shared humanity, and the quiet beauty and impermanence of each little moment, that beckons us to appreciate the here-and-now before it slips through our fingers.

. . . an ever-haunting tribute to the small, extraordinary moments that comprise an ordinary life.”

This show has the potential to be powerful and poignant – possibly transcendent – in the hands of the right cast and director. NTC’s production, however, comes up lacking in sincerity, bordering on tedious and boring. Much of the acting is stiff and unnatural, the lines flat and devoid of real emotion, and where nuance and depth of feeling are needed, there is little to be found. Without believable characters and relationships, their interactions become trivial and uncompelling.

Munar and Thordsen (Photo Credit: Fred Deneau)

Arguably the most damaging weak link in this production, the love story between George and Emily is utterly unconvincing. Munar’s George is sweet but overly shy and nervous, possessing little charm and none of the archetypal trappings of a school class president and star baseball player. There is no palpable chemistry between him and Thordsen, and none of the flirtatious tension or playfulness that often accompanies a budding young romance. Their love is at the heart of “Our Town,” and it needs to feel genuine in order to effectively hold our interest, arouse our compassion, and convey the full weight and meaning of Wilder’s message. Instead, it just feels flat and forced.

Janice Deneau and Mary Weinberg have done well with costume choices. Sparse scenic design is at the playwright’s instruction, and it’s reasonably well executed here by local designer and builder Michael Walraven. The production suffers, however, from the nearly constant, distracting boom and echo of heavy footsteps clomping across the hollow stage, often making it terribly difficult to hear and follow the actors’ lines.

On the whole, the ensemble puts forth a good effort. Macomber makes an excellent narrator, and Jennifer Reimer is convincing as wife and mother, Mrs. Gibbs. What’s missing is the sense that some key players are fully at home in their roles. Perhaps a few more performances will help them find their groove. There is great potential here to ramp up the emotional impact. “Our Town” remains deeply relevant despite its age, and an ever-haunting tribute to the small, extraordinary moments that comprise an ordinary life.

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.

 

ProductionOur Town
Written byThornton Wilder
Directed byMichael Barr
Producing CompanyNovato Theater Company
Production DatesThrough February 16th
Production AddressNovato Theater Company
5420 Nave Drive, Novato 94949
WebsiteNovatoTheaterCompany.org
Telephone(415) 883-4498
Tickets$15 – $27
Reviewer ScoreMax in each category is 5/5
Overall3/5
Performance3/5
Script4/5
Stagecraft3/5
Aisle Seat Review PICK?-----

An Aisle Seat Review: Past and Present Collide in MTC’s “Noura” – by Barry Willis

David and Ibrahim (Photo Credit: Kevin Berne)

An Iraqi immigrant family finds a Christmas holiday gathering and promise of a bright future sullied by the momentum of the past in Heather Raffo’s “Noura,” at Marin Theatre Company through February 9. 

Escapees from the destroyed city of Mosul, the family of three—Noura, her husband Tareq, and their young son Yazen—share a spacious New York City apartment, one decorated with an oversized Christmas tree but little else. Their space (set design by Adam Rigg) has the disheveled, semi-organized look of a temporary refugee camp, a reflection of Noura’s sense of disconnectedness despite the fact that her family has been in the US eight years, and has gained American citizenship and Anglicized names so that they might be better assimilated. Easier said than achieved, as this fascinating if uneven production proves over the course of its approximately ninety minutes.

The Christmas season is especially difficult for Noura (Denmo Ibrahim), who longs for the life she knew in her home city—family, friends, neighbors of multiple ethnicities and religions— an extended community that was destroyed in the wake of the US invasion. Tareq (Mattico David) is an emergency room physician who seems pretty much Americanized until confronted by the arrival of a holiday visitor, Maryam (Maya Nazzal), a fellow refugee they’ve been sponsoring who shares complicated ties to their past lives in Mosul. Her impending arrival is a source of anxiety for Noura as she makes preparations. A physics student in California, young Maryam hopes to land a job as a weapons designer with the US Department of Defense.  

Ibrahim beautifully portrays her character’s abiding sense of loss and ambiguity . . .”

Maryam’s aspirations don’t seem to have any effect on Noura and Tareq, nor on their doctor friend Rafa’a (Abraham Makany), also an exile from Mosul, but the fact that she is unmarried and pregnant—both by choice—throws Tareq into a tailspin. An independent young woman with no apparent need for a man is a situation he simply can’t cope with: thousands of years of macho Arab culture upended by one modern independent feminist, resounding proof that they’ve left the old world behind. The emotional repercussions from this and other conflicts resonate off the stage and into the audience as the four adults and one boy (Valentino Herrera) struggle to make the holiday a pleasant one. 

The Cast of MTC’s “Noura” (Photo Credit: Kevin Berne)

All four adult actors are excellent. Ibrahim and David in particular are able to mine emotional nuances that actors with lesser skills might not manage. Some of their dramatic expertise must certainly be the work of director Kate Bergstrom, but there are holes in the story that detract from its intended effect. Why, for example, do these Iraqi-Americans not raise even one word of dismay over Maryam’s stated career agenda, when their entire country was demolished by high-tech weaponry and the medieval mentality behind it? Tareq must make a decent income from his emergency room work, but they still can’t afford some basic furniture? Then there are Noura’s recurring smoke-filled reveries of the life she once knew, with no counterbalancing embrace of the future’s potential. 

Noura lives in limbo between then and now, unable to let go and unwilling to move on. It’s a heartbreaking situation, the immigrant’s plight, one not understood by Americans intent on “reaching closure” as quickly and painlessly as possible. Ibrahim beautifully portrays her character’s abiding sense of loss and ambiguity, repeated several times with minor variations in the extended final scene. Playwright Raffo might better have chosen one powerful statement and let the curtain fall, rather than hammer the audience with what they’ve already learned is Noura’s unhappy truth. Not that the story needs to be tied up in a tidy little bundle of happy-ever-afterness, but a clear ending would enhance the play’s impact.

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

 

ProductionNoura
Written byHeather Raffo
Directed byKate Bergstrom
Producing CompanyMarin Theatre Company (MTC)
Production DatesThrough February 9th
Production AddressMarin Theatre Company
397 Miller Avenue
Mill Valley, CA
Websitewww.marintheatre.org
Telephone(415) 388-5200
Tickets$25 – $70
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance4/5
Script3/5
Stagecraft3.5/5
Aisle Seat Review PICK?-----

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 THEATRE REVIEW: “Jazz” Dissects Life to Imitate Music at MTC – by Cari Pace

Clockwise, left to right: Troy, Tenille, Sullivan, Wright, Hall, Mayes, Lacy (Photo Credit: Kevin Berne)

The dictionary defines “jazz” as American music developed from ragtime and blues and characterized by propulsive syncopated rhythms, polyphonic ensemble playing, varying degrees of improvisation, and often deliberate distortions of pitch and timbre.

It’s an accurate parallel to Nambi Kelley’s latest play “Jazz,” just opened at the Marin Theatre Company in Mill Valley. All the jazz components are here, dissected on stage. Based on the book by Toni Morrison and directed by Awoye Timpo, this production propels story lines, characters, and time frames from 1920s Virginia cotton fields to NYC’s Harlem. It’s not a musical and there are no instruments onstage, although Marcus Shelby’s music adds to the texture of the performance.

“Jazz” opens with a young girl’s funeral, then aggressively explodes into a polyphonic ensemble of an emotional wife and a cuckolded husband, surrounded by busybodies. A colorful talking and singing parrot joins the cacophony in an over-the-top role by multi-talented Paige Mayes.

Just let it waft over and enjoy.”

With jazz music, a bluesy baseline melody can be ephemeral, quickly punctuated then disappearing. It typically returns later, played by another instrument or in a different key. The well-worn story lines in “Jazz” follow this lead.

Wright, Mayes, Sullivan (Photo Credit: Kevin Berne)

Post-funeral, a flashback begins with the blues. It’s a mother’s suicide, and a young girl (C. Kelly Wright) is sent off to work the cotton fields. Boy (Michael Gene Sullivan) meets girl, they enjoy some happy married years, then husband meets younger girl (Dezi Soley), younger girl tempts then taunts husband, husband rages out of control, wife rages at girl’s funeral. And we’re back where we started, almost.

A reappearing melody or theme is a familiar and welcoming ploy in every genre of music, yet difficult to manage on the stage. Threads of several story lines in “Jazz” repeat stage right, then left, with minor changes in pitch and timbre. These flashbacks can be confusing; it’s best not to fret. Just let it waft over and enjoy.

The actors put a lot of energy into their roles, although without mikes many quick spoken lines are lost. Local favorite Margo Hall plays multiple roles with skillful versatility while Lisa Lacy, Dane Troy and Tiffany Tenille complete the talented cast. They dance ragtime, sing snippets of spiritual songs, and make the most of the “devil music” in “Jazz.”

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

 

ProductionJazz
Written byAdapted by Nambi E. Kelley
Based on the book by Toni Morrison
Music by Marcus Shelby
Directed byDirected by Awoye Timpo
Producing CompanyMarin Theatre Company (MTC)
Production DatesThrough May 19th
Production AddressMarin Theatre Company
397 Miller Avenue
Mill Valley, CA
Websitewww.marintheatre.org
Telephone(415) 388-5200
Tickets$10 – $70
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance3.5/5
Script3/5
Stagecraft3/5
Aisle Seat Review PICK?-----