ASR Not-So-Random Questions Time: All the World’s a Stage for Bob & Lesley Currier of Marin Shakes

Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.

Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)

Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black.  These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.

Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.


ASR: How did you get started in theater?

Lesley: My grandmother was a professional actress and my mother a drama teacher. Even with that heritage, I’m the only one of my siblings who went into theatre. In first grade, I was Gretel in a school production of Hansel and Gretel.

Bob: I started in second grade, as the Narrator of Little Toot. In high school, I did a lot of sports, but rediscovered the allure of theatre when at UC Irvine. I was studying Political Science, but the theatre building was always lit up at night and that’s where all the cute girls were. So it was back into theatre for me! My first role there was in Oh What A Lovely War. I went on to the get the first MFA in Directing that UCI ever granted.

ASR: What was the first play you performed in or directed for a paying audience?

Lesley: I was cast as a Lady in Waiting to Queen Gertrude in a professional production of Hamlet while an undergraduate at Princeton University. Harry Hamlin starred as the prince. I invited him for a meal at one of Princeton’s famous Dining Clubs, and in return he took me out for a really good dinner at a local restaurant. That was a rare treat in college. Bill Ball, Harry’s mentor at the American Conservatory Theatre (ACT), saw the production and thrilled me by telling me he understood the whole tragedy of the play through my reaction to Gertrude’s death.

Bob: I was paid to direct The Little Prince in 1972 at the Woodstock Opera House. It was the artistic home of a young Orson Welles.

ASR: How many theater companies have you been involved with?

Lesley: I joined ACT one summer during college where I fell in love with the Bay Area. After college, I stumbled upon the Ukiah Players Theatre, where I met Bob. He took me to the Oregon Shakespeare Festival in Ashland, which I’d never heard of. I auditioned there and was cast as a Fairy in A Midsummer Night’s Dream. Back at UFI, while working towards my MFA in theatre, I appeared in Hard Times at South Coast Repertory Theatre. It was a very long show which we performed 8 times a week, made more intense because I was nursing my first-born son.

Bob: I’ve co-founded four theatre companies, three of which are still going: Encounter With the Theatre at the Woodstock Opera House (now defunct), the Ukiah Players Theatre, Marin Shakespeare Company, and Baja Shakespeare. I’ve also directed and/or acted at Berkeley Rep, Seattle Shakespeare, Cinnabar, Spreckles, Ross Valley Players, and a few more.

ASR: Marin Shakespeare Company is your present company. What’s the history on that?

Bob and Lesley: In 1989 we got a call out of the blue asking if we would like to come to Marin to revive Shakespeare at Forest Meadows. The Forest Meadows Amphitheater was purpose built for the original Marin Shakespeare Festival in 1967, after it moved from its original home at the Marin Art and Garden Center, where it had begun five years earlier. The Festival’s last year at this Dominican location was 1972, due to a fire and some other questionable activities by art-loving hippies running around in the forest.

ASR: Did you anticipate Marin Shakespeare Company would become as successful as it has?

Bob and Lesley: Back in 1989, we hoped we’d be able to build a theatre company that would last for generations. We never dreamed that 30 years later we’d be pioneering Shakespeare in Prisons, or working with formerly incarcerated actors, or building an indoor Center for Performing Arts, Education, and Social Justice.


ASR: Does your company have a special focus?

Bob and Lesley: Obviously, our focus is Shakespeare. But we’ve produced lots of other shows that are in some sense “classical” or appropriate for outdoor summer theatre. Since 2003, we’ve grown to become the largest provider of Shakespeare in Prison programs in the world. We’ve created an online video archive of over 50 performances in prisons, despite the massive logistics to do so. We can share these inspiring videos without violating any Actors Equity rules which do restrict our main stage performance videos.

ASR: It will likely be several months until theaters reopen. How is your company coping with the shutdown? What does the future look like?

Bob and Lesley: Sadly, we just announced that we are postponing our 2020 season to 2021. We don’t think it will be truly safe for actors or audience members to share theatre this summer.

During the shutdown, we stay busy, very busy, with many projects. Earlier this year we began renovations of the Forest Meadows Amphitheater, which were delayed due to Sheltering in Place. We’ll use the summer of 2020 to complete the renovations before welcoming audiences into a beautifully face-lifted venue next year.

We provide on-line MSC Education Programs and summer camps, and Alternative Programming for each of the prisons where we work. We’re continuing our plans for the Center for Performing Arts, Education, and Social Justice at 514 Fourth Street in San Rafael. We’re working to provide income opportunities for artists, and our staff is completing a number of “house-cleaning” and back-office tasks to make us stronger than ever when we’re able to return to full capacity.

ASR: Almost forgotten with the pandemic is the crisis caused in the performing arts by the passage of Assembly Bill 5, requiring most workers to be paid the California minimum wage. How has AB5 affected your theater company’s plans?

Bob and Lesley: Several years ago, we started transitioning independent contractors to employee status. With AB5, we plan to make the last group of former independent contractors – non-Equity actors – employees for the first time. We estimate that this will incur an increase to our budget of approximately $60,000. We know it’s the right thing to do.

ASR: Which rare theatre gem plays would you like to see revived?

Bob and Lesley: The three parts of Henry VI. But we know we wouldn’t sell many tickets!

ASR: What is Shakespeare’s most underrated play? Why?

Bob and Lesley:  King John – if you saw our production, you’d realize how much great comedy there is in it, in addition to superb characters and great themes.

ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?

Bob and Lesley: Sets – (we’ve) always loved building things together.

ASR: As hard as it may be to pick just one, can you name a Bay Area actor who you think does amazing work?

Bob and Lesley: Scott Coopwood just keeps getting better and better. We were honored to give him his first Bay Area acting contracts.

ASR: How do you warm up before a performance? How do you relax after?

Bob and Lesley: Tequila.

ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?

Bob and Lesley: Honesty and integrity. Passion for the work. Persistence and Diligence – be ready to put in a lot of hours!

ASR: The most excruciating screw-up you’ve seen on stage?

Bob and Lesley: The actor who showed up covered in poison oak and still had to put on his make-up and do his part. We always tell the actors to stay out of the poison oak!

ASR: What’s the weirdest thing you’ve seen a guest do at the theater?

Bob and Lesley: A female audience member flashed an actor once during one of those “audience participation” moments when the actors ask an audience member to respond – it stimulated audience hooting and hollering for several minutes. It was a lot of fun.

ASR: Do you have a “day job?” What are your interests outside of theater?

Lesley: I work about 80 hours a week for Marin Shakespeare Company. My “day job” is being a mom and grandmother. My hobbies include tile mosaic and free-form dance.

Bob: I’ve done a lot of building and guest directing for other theatres over the years. I love to build things around the house, travel, and be Bopo to my two adorable granddaughters who live in San Rafael.

ASR: You have the opportunity to create a 30-minute TV series. What’s it called and what’s the premise?

Bob and Lesley: “Jeers” with a bunch of characters hanging out in a theatre bar.

ASR: Theater people often pride themselves on “taking risks”—have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, skydiving?

Lesley: I’m a coward, but I do spend a lot of time in prisons, and I hang-glided once and didn’t throw up.

Bob: I enjoy snorkeling and driving my ancient Alpha-Romeo, and I just hiked for two weeks in Japan with my youngest son.

ASR: Favorite quote from a movie or stage play?

Bob: Some Like It Hot — “Well nobody’s perfect.”

Lesley: Hamlet — “The rest is silence.”


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




AN AISLE SEAT REVIEW PICK! MSC’s “Spamalot” a Masterful Madcap Musical – by Cari Lynn Pace

In its 30 years, Marin Shakespeare Company has never presented a full-scale musical. Until now.

The second production in Marin Shakespeare Company’s summer trio of shows, “Spamalot” is the musical comedy written by Eric Idle and “lovingly ripped off” from the zany motion picture “Monty Python and the Holy Grail.” Take Idle’s wit, add John DuPrez’s music, mix in seven musicians, and toss in juicy bits from the madcap screenplay. Sprinkle in new sight gags and you have a riotous musical comedy.

Replete with several outstanding comic performances, “Spamalot” loosely spoofs “Camelot,” the King Arthur legend of Medieval England. Jarion Monroe stars as the would-be “King of the Britons,” who traipses about the countryside with his loyal talking horse Patsy (Bryan Munar), trying to convince hapless peasants to join him in a quest to find the Holy Grail and thereby somehow unite the country.

… a huge production that’s one fast roller-coaster ride of laughter.

The familiarity of several characters fades quickly as the plot takes their character arcs in unpredictable directions. Nonsensical scenes and characters are amusingly disjointed, including one particularly assertive Black Knight (spoiler alert!). The show is full of clever sight gags, hysterical physical comedy, and tons of goofy banter—the Lady of the Lake (Susan Zelinsky), who gives Arthur his mandate and his magic sword Excalibur—is described by one doubtful peasant as “a watery tart.” One hesitates to laugh too long for fear of missing what comes next.

Phillip Percy Williams as Sir Robin with Chorus at Marin Shakes

Michael Berg’s colorful costumes are over the top—reportedly totaling 700 pieces if you count each sock and shoe. Choreography by Rick Wallace is the kinetic equivalent, especially some of the large-scale production numbers. You can’t beat a bevy of chorus girls swinging maces for sheer entertainment. The excellent band led by Mountain Play veteran Paul Smith propels the whole affair from just in front of center stage.

Joseph Patrick O’Malley, a languid and fluid actor who first steals his scene with “I’m Not Dead Yet,” pops up in multiple ridiculous guises. The gorgeous Zelinsky sings with power and prominence in Act I, then disappears only to show up in Act II wearing a Norma Desmond-like caftan and turban, wailing “Whatever Happened to My Part?” while “The Song that Goes Like This” will be all too familiar to audience members who’ve seen their share of modern musicals. The finale tune “Always Look on the Bright Side of Life” has the audience whistling along while the chorus line kicks up its boots. Truly a marvelous madcap romp.

Award-winning Marin Shakespeare Company is run by two tireless founders, Robert Currier and Lesley Schisgall Currier, who present an annual trio of outdoor productions at the Forest Meadows Amphitheatre, on the Dominican College campus in San Rafael. One of the three is classic Shakespeare, one is “Shakespeare light” with alternative settings and language, and the third is a production far removed from the Bard’s influence, such as “Spamalot.” All are professionally and energetically presented by a mix of Equity actors and solid local talent, with interns in minor roles.

Director Robert Currier has a long history of updating Shakespearean comedies with unexpected adornments to plot, character, and setting. With “Spamalot,” he started with an outrageous script, and through superb choices in casting and direction has come up with a huge production that’s one fast roller-coaster ride of laughter. Don’t sit too close to the stage if you want to catch every line.

MSC has established a fine legacy among theatre-lovers from both sides of the curtain. Open seating (wooden benches with backs) can be made more comfortable by renting cushions at the gate. Nights can get cold when the fog rolls in, so dress in layers. Picnics are welcome.

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


ProductionMonty Python’s Spamalot
Written byBook & Lyrics by Eric Idle.
Music by John Du Prez & Eric Idle
Directed byDirected by Robert Currier
Producing CompanyMarin Shakespeare Company
Production DatesThrough August 25th
Production AddressForest Meadows Amphitheater (outdoors),
Dominican University of California 890 Belle Avenue, San Rafael, CA
Telephone(415) 499-4488
Tickets$10 – $38
Reviewer ScoreMax in each category is 5/5
Aisle Seat Review PICK?YES!

ASR Theater Review! Marin Shakespeare’s Chilling, Morose “Hamlet” – by Barry Willis


Nate Currier as Hamlet photo by Scott London

Four hundred-plus years after its debut, Shakespeare’s “Hamlet” still has a lot to teach us about avarice, ambition, betrayal, and revenge. Based on stories and legends reaching far back into the dim recesses of time—the Wikipedia entry is an excellent resource—“Hamlet” is among Shakespeare’s most enduring and popular tragedies.

In it, a brooding young prince comes home from college to discover that his father has been murdered by his uncle Claudius, who has married Hamlet’s mother Gertrude and usurped the throne. Wracked with self-doubt, Hamlet plots revenge while the guilt-ridden Claudius conspires to send him away, perhaps permanently. The outcome isn’t pretty.

Directed by Robert Currier, Marin Shakespeare Company’s modern-dress outdoor production intentionally leverages the palace intrigue and manipulation of fact that occupy so much of our daily news coverage. The stark set by Jackson Currier evokes the bombed-out remains of Baghdad or Aleppo, while newly-crowned King Claudius (Rod Gnapp) resembles Vladimir Putin, with an entourage that includes his verbose, obsequious, and ever-present minister Polonius (Steve Price, excellent), Polonius’s son and daughter Laertes and Ophelia (Hunter Scott MacNair and Talia Friedenberg, respectively) and Queen Gertrude (Arwen Anderson), a glamour-puss with little to say but, as prominent arm candy, much to contribute to Claudius’s attempts to legitimize himself. The guards at Castle Elsinore carry automatic weapons, not spears; Hamlet dispatches the spying Polonius with a silencer-equipped pistol, not a dagger.

As the tormented prince, Nate Currier brings a pronounced sense of the contemporaneous to his role without pandering to the present. He’s also the right age for the part, one sometimes attempted by middle-aged actors in a thirst to tackle one of the greatest characters ever written—a not-uncommon theatrical trope as absurd as having Madame Butterfly sung by a heavyweight matron. Arwen Anderson doesn’t look old enough to be completely believable as Hamlet’s mother—his super-model stepmom, maybe, but Gertrude may have been a child bride.

Barry Kraft is superb in multiple roles—as the ghost of Hamlet’s father, as the “First Player” of the theatrical troupe that Hamlet hires for a court performance—and he absolutely shines as the gravedigger, the show’s one bit of comic relief before the final bloodbath. It’s one of the juiciest cameos in all of Shakespeare.

Ophelia feels the pain – photo by Jay Yamada

Talia Friedenberg lends strong vocal talent and a refreshing lack of inhibition to the part of whacked-out Ophelia, while MacNair gives Laertes a resounding sense of decency in a cesspool of backstabbing. Brennan Pickman-Thoon is rock-solid as Hamlet’s loyal friend Horatio.

Looking over “Hamlet,” “King Lear,” “Macbeth,” “Richard II,” and the Bard’s other plays depicting madness and criminality among the nobility, one might conclude that Shakespeare didn’t have much respect for the ruling class. Human nature will never change. “Hamlet” goes a long way in showing us how if not exactly why. This production runs just about three hours with intermission. The outdoor setting can be chilly at night, while afternoons can be sweltering. Come prepared.

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


“Hamlet” by Marin Shakespeare Company

Through July 8: Thursdays, Fridays, Saturdays, Sundays 8 p.m.; Sunday matinees 4 p.m.

Forest Meadows Amphitheatre at Dominican University, San Rafael, CA

Tickets: $10 – $38 Info: 415-499-4488,

Rating: Four out of Five Stars

@@@@@     @@@@@     @@@@@


ASR Technical Review! August Wilson Play Works Hard — by Team ASR

NOTE: The following commentary is focused primarily on the production, direction, and technical aspects of Theater and Performing Arts.

Two Trains Running is Mr. Wilson’s seventh effort in his ten-part series of plays entitled The Pittsburgh Cycle. The play was first produced by the Yale Repertory Theatre in New Haven, Connecticut, and later opened on Broadway in the spring of 1992 at the Walter Kerr Theatre. The version I’m reviewing is in The City now and is presented at the Gough Street Playhouse and produced by Multi Ethnic Theater in association with Custom Made Theater.

The play gives us a complex story based on the lives of ordinary people, a volatile turning point in American history. The location is Pittsburgh, Pennsylvania in the racially charged world of 1969. Mr. Memphis Lee’s threadbare cafe is a regular stop for neighborhood folks all trying to understand the cultural maelstrom of the late 1960s. The regulars do their best to comprehend the swirling tides of change, but don’t always get the results they intended.

As the play begins, the city block on which Mr. Memphis’s diner is located is due to be torn down in a city renovation project. One of Mr. Memphis’ regular customers is the rich undertaker across the street from Mr. Memphis’ café. The undertaker urges Mr. Memphis to accept his offer to buy the cafe, but his price is unacceptable to the stoic Mr. Memphis. He’s been swindled out of property before and he’s determined to stand his ground this time, and get what he thinks his property is worth.

Another regular to the café is Sterling, a petty ex-con just out of the penitentiary with big dreams for his future. Then there’s Wolf, a bookie, a hustler (in the survival sense of the word) and a man-about-town.  He dresses to the nine’s and is equally focused on the details of his own success.

Risa is the only female in the cast. A waitress of quiet dignity occupying the still point in this play, she has self-inflicted cuts on her legs, self-mutilation as a fence between herself and men. Hambone is a mentally disturbed man who seeks comfort in the friendship Risa shows him. He speaks infrequently but when he does it’s one variation or another of the phrase, “He gonna give me my ham. I want my ham!”

The senior character of the play is Holloway. He has seen it all and his role is steady anchor, neighborhood philosopher, and ardent proponent of a legendary 322-year-old woman prophet down the street. Although never seen, she radiates a strong influence over the actions of many of the characters in the play, and serves as a reminder of the heritage of Black Americans.

With these strong roots, Mr. Wilson grows a powerful theatrical experience and a strong history lesson for those of us not witness to Black life in 1969.



Scenic Design:

The set design—that of a scruffy café so much a part of neighborhoods everywhere—was satisfactory. The turquoise booths were period perfect. The bare bones kitchen also fitting. (Score: 5/10)

Set Construction:

Unpainted plywood here-and-there underlined a business managed with small dollars and ‘just enough’ repairs. Set construction showed care. Making a set look down-on-its-luck without making it look slapdash is harder than one might imagine. The set designer/builders (Lewis Campbell and David Hampton) did so here. (Score: 6/10)

Stage Management:

Cues were solid and well timed, as were actor entrances. Although technically a directing note, actor exits should be quicker in order to drive the play forward. (Score: 5/10)


Sound design was satisfactory. (Score: 5/10)


Props were period and detailed. Even though no one in the play ate anything requiring catsup, the always ubiquitous red plastic catsup dispenser appeared one-third full. The bowl of beans eaten by Hambone were appealing, as was the coffee dispensed by Risa. (Score: 7/10)


Costumes were period 1969 in look and nicely selected (especially those for Wolf.) Shoe selection was nice. Accessory selection was also good.  A bit more attention to fit would render some costumes perfect. (Score: 5/10)


As directed by Lewis Campbell with Esperanza Catubig assisting, Two Trains Running runs 3 hours including one intermission. The running time is important, as slowness of pacing was an issue on opening night. This play requires pacing more like everyday life, with the dynamics of neighbors talking with neighbors they’ve known for years; that is to say briskly, sometimes obliquely, with awareness of personal quirks and hot buttons, and with every intent to find or deliver a message, a joke, a jab, or a cut.

The actors cast in this production were certainly more than capable of doing this sort of work, but on opening night the presentation was too muted. (Note: It was extremely hot in the theater this night and I’m sure that had an impact on the actors. I know it had one on the audience.) (Score: 5/10)


Lighting design was satisfactory with one note: the kitchen was never lit, not even by a single bulb. This seemed incorrect.  (Score: 5/10)


Solid acting highlighted by Fabian Herd (Wolf), Vernon Medearis (West), and Stuart Elwyn Hall (Holloway.) All three actors demonstrated a keen ability to do what so many actors fail at: to listen to what is being said by other actors, instead of simply waiting for their turn to speak. These gentlemen delivered acting in considered gradations, rendering layered performances which would hold them in good stead with notable theaters across this country.  (Score: 7/10)

Overall Production:

A good effort to present what will no doubt become an American classic. More pacing, quicker exits, and a tad more attention to costume fit would polish the production. The production crew needs to think more about patron comfort on hot August nights; additional fans would help make the tight confines of the Gough Street Playhouse more amenable to sellout audiences. (Score: 6/10)

Reviewer Score:

There is little doubt August Wilson has a ‘reserved seat’ in the pantheon of Greatest American Playwrights. Seeing Multi Ethnic Theater’s production of Two Trains Running shows why. (Score: 6/10)

Overall Score: (62/110) Good work.

Two Trains Running continues through August 30th at the Gough Street Playhouse, 1620 Gough St, San Francisco, CA 94109.

Industry Commentary…

  • “Vivid and uplifting… pure poetry… remarkable!”—Time
  • “A symphonic composition with a rich lode of humanity running through it.”—Los Angeles Times
  • Winner of the New York Drama Critics Circle Best Play Award
  • “Vivid and uplifting… pure poetry… remarkable!”—Time
  • “A symphonic composition with a rich lode of humanity running through it.”—Los Angeles Times
  • “His language is golden: rich in humor and poetry and redolent of a colorful vernacular.”—Wall Street Journal
  • “Has an unassailable authenticity… a lot of life and a lot of humor… By the end, a small world has been utterly transformed.”—Variety
  • “These characters are fully imagined—they live… reeling out stories about their past, their angers, their dreams.”—Washington Post
  • “Wilson’s most adventurous and honest attempt to reveal the intimate nature of history… glorious storytelling… touching and often funny… a penetrating revelation of a world hidden from view.”—Frank Rich, The New York Times

Also Available…

Script available here. 

Script, Samuel French  available here.

Study Guide available here.

Paybill from Broadway run available here.

Discount Tickets are also available on Goldstar

Tickets are available on the theater’s website.


Team ASR is composed of a selection of writers, directors, actor, musicians, dancers, technicians, stage managers, and a host of other arts folks.

We don’t name names for obvious reasons — and Team ASR often buys their own tickets and do not announce their presence as such at a performance — but it is important to note that each Team ASR review is screened by one or more ASR Editors to insure a ‘fair’ review, warts and all, when appropriate.

The goal of Team ASR Reviews is to communicate directly with the technical staffs who are largely ignored by most reviewers. These behind the scenes folks work their collective butt’s off to mount a show, and they deserve well-intentioned constructive criticism from fellow artists as appropriate — and ditto for well-earned praise.


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


ASR Theater Review! Laugh-Out-Loud Performance at Marin Shakes — by Kris Neely

Ron Campbell has pulled off the near-impossible— he convinced the large opening-night crowd at Marin Shakespeare’s debut of their witty adaptation of Don Quixote (by Peter Anderson and Colin Heath) that he was both a man and a horse. Truly no mean feat, that.

Then again, Mr. Campbell is no mean actor. A man, a wooden broom and a watering can? Gesticulating arms and pumping legs? An energetic and comedic recitation of a classic text invigorated with new life? He’s certainly all of that, to be sure. But to stop there would be to damn with faint praise.

Instead, one simple phrase comes to mind: theatrical magic.

Mr. Campbell’s physical comedy gifts are so sublime that one could not help but believe that he was in fact Quixote himself. And Rocinante, the horse. Or both at once, in action on the stage. Mr. Campbell’s unquenchable dedication to seeing, feeling and embodying the evolving demands of each succeeding microsecond of the script and character represents a master’s thesis in acting.

Ably supporting Mr. Campbell was John R. Lewis as everyone’s favorite squire Sancho Panza. Panza translates literally in English to “belly” or “paunch”, and while Mr. Lewis was indeed suitably paunchy, he brought a world-weariness combined with a rich sense of humor and formidable physical comedy chops to a role too often played to its lowest common denominator. Solid marks for Mr. Lewis.

The play, making its U.S. debut, is ably directed by Ms. Lesley Schisgall Currier in a production that appears to a take on elements of the Commedia dell’arte style: spare sets, masked actors, and standardize costumes. Direction was largely spot-on if a tad slow at times.

Visually, Ms. Currier kept the set design simple and even spare. Lighting and sound designs worked well, if hard as they often do in an outdoor setting. Costumes were well designed and carefully rendered. Pops and set pieces were thoughtful, spare, and effective.

Paired with hand-selected segments of the text by Miguel de Cervantes, the show unfortunately succeeds in feeling a bit like the books upon which the play is based — by the end of the show it felt somewhat like a long visit by a good friend: you’re at once delighted to have been so entertained but wish the evening’s festivities would wrap-up.

In all, a solid, well directed, new adaptation of Don Quixote which this reviewer hopes will benefit from a bit of a duration trim on its way to becoming a theatrical staple, and a tad of tempo tightening during its current run.  The play was very, very well-served by the addition of Mr. Campbell and Mr. Lewis.


Kris Neely is a member of the San Francisco Bay Area Theater Critics Circle and a Theater Bay Area (TBA) Adjudicator.

Mr. Neely’s blogs on theater and performing arts are found on Aisle Seat Review at and also on For All Events at

Mr. Neely is a huge fan of Tejava!