PICK ASR! ~~ “Torch Song” – A Search for Love

By Cari Lynn Pace

Wikipedia defines a torch song as “a sentimental love song, typically one in which the singer laments an unrequited or lost love, either where one party is oblivious to the existence of the other, has moved on, or a romantic affair has affected the relationship.”

Harvey Fierstein adapted Torch Song from his original 1982 trilogy to sensitively expose what one gay man endures in his quest for love and belonging. Heavily infused with Fierstein’s wit and wisdom, it’s a thought-provoking glimpse into an alternative lifestyle, presented at Mill Valley’s Marin Theatre and directed by Evren Odcikin.

“…(a) thought-provoking glimpse into the universal urge for love …”

From above a dark stage, an invisible announcer intones, “Presenting Miss Virginia Ham.” A tall diva in drag (Dean Linnard as Arnold Beckoff) sashays into a spotlight and mimes a forgotten lovelorn song, milking it for laughs with exaggerated mannerisms.

Backstage, Arnold disrobes from his costume to share a rapid-fire soliloquy of his journey as a lovelorn drag queen. It’s been a rocky road, with Arnold’s mantle of hope always wrapped around him.

From L to R: Ed (Patrick Andrew Jones) and Laurel (Kina Kantor), Arnold (Dean Linnard) and Alan (Edric Young) in the “Fugue in a Nursery” portion of “Torch Song” at Marin Theatre, performing now through June 2, 2024. Photo credit: David Allen

Arnold is infatuated with a teacher, Ed, whose conflicting sexual preferences are convincingly channeled by Patrick Andrew Jones. Spurned by Ed, Arnold tries the seedy back rooms of anonymous sex. Dispirited, Arnold finds a handsome boy toy Alan (Edric Young). Arnold’s love fling ignites jealous sparks in Ed, without a satisfying result for either.

Ed and his new wife Laurel (Kina Kantor) have a hilarious repartee in a giant bed, sequentially populated by Arnold and Alan, then all four in every combination. The clever stage set is simple and superb at hiding the simulated sex acts.

From L to R: Ed (Patrick Andrew Jones) and Laurel (Kina Kantor), Arnold (Dean Linnard) and Alan (Edric Young) in the “Fugue “Torch Song” at Marin Theatre. Photo credit: David Allen

This reviewer found the scenes in Act I’s a tad long but the pacing was reinvigorated by Act II with its knockout stage set by Sarah Phykitt. Arnold’s apartment is now a haven for Ed, separated from his wife and still sorting out his life’s direction. They are joined by David (Joe Ayers) a rebellious young man adopted from the streets and now part of Arnold’s triad of family.

When Arnold’s mom Mrs. Beckoff (Nancy Carlin) shows up, the fur begins to fly. Mom thinks her gay son is not the best influence for a teenage boy. She lectures Arnold “David’s only been here six months and he’s already gay!” Arnold drolly replies “He came that way.”

From L to R: David (Joe Ayers) shows off his new look to Arnold (Dean Linnard) and Ed (Patrick Andrew Jones) in Marin Theatre’s “Torch Song.” Photo credit: David Allen

Mrs. Beckoff and Arnold are wary of one another, circling like two cats with claws. Mrs. Beckoff tries to accept Arnold’s unconventional lifestyle, urging “A conflict is never as permanent as a solution.” Despite a well-intended start, Arnold and Mrs. Beckoff have a knock-down battle. She spits out “You cheated me out of your life, and then you blame me for not being there.”

Fierstein’s acerbic witticisms continue to come fast and furiously in Act II. When Ed desperately seeks approval from Arnold, his reply is “Never fish for compliments in polluted waters.”

“Torch Song” is an eye-opening journey intended for adult audiences.

Kudos to Fierstein for this honest and thought-provoking glimpse into the universal urge for love.

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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: pacereports100@gmail.com

 

ProductionTorch Song
Written ByHarvey Fierstein
Directed byEvren Odcikin
Producing CompanyMarin Theatre Company (MTC)
Production DatesThru June 2nd, 2024
Production AddressMarin Theatre Company
397 Miller Avenue
Mill Valley, CA
Websitewww.marintheatre.org
Telephone(415) 388-5200
Tickets$39.50-$65.50
Reviewer ScoreMax in each category is 5/5
Overall4.0/5.0
Performance4.0/5.0
Script4.0/5.0
Stagecraft4.0/5.0
Aisle Seat Review PICK?YES! - for ADULTS ONLY
Other Voices ...
"... the semi-autobiographical story of Harvey Fierstein’s TORCH SONG has you laughing, crying, and laughing to keep from crying. If it doesn’t reflect your own experience, it surely reflects the experiences of someone you know. It’s emotional, revelatory, cathartic, and honest."
RVArt Review
"... Fierstein really knows how to shape a scene and end it on a button ..."
TalkinBroadway.com
“Torch Song” has its moments of pure sitcom — there’s a protracted scene about the awfulness of Ed’s cooking — which you can only grin and bear. But it also incorporates shadows of tragedy, including a plot turn involving a brutal hate crime, that feel sadly topical."
The New York Times

PICK ASR! ~~ Surprising Stunner: Throckmorton’s “Fiddler on the Roof”

By Cari Lynn Pace

This timely and fact-based story of a Jewish village in 1905 Imperialist Russia is heartbreaking and hopeful. It’s a tale of young love that transcends bias and ignites sparks of idealism to challenge traditional thinking.

Fiddler on the Roof won awards with beloved songs like “Sunrise, Sunset” and “If I Were a Rich Man” when it debuted on Broadway 60 years ago. It became the longest-running musical for ten years. The superb production at the Throckmorton Theatre in Mill Valley is a must-see for many reasons.

“The superb production at the Throckmorton Theatre in Mill Valley is a must see…”

The massive cast of actors – an astonishing 50 biographies are in the program –acts, sings, and dances with precision and high spirits. There is so much talent that eleven leading roles are double-cast, so you might have to see the show twice.

The impressive stage work belies their youthful ages from grade school through high school. There are even a couple of veteran actors in the show. Perhaps it is the beards that fooled me? More likely, it is the eight weeks of rehearsal under director, producer and co-choreographer Rebecca Gilbert. Kudos also to co-choreographer Erin Gentry for the cast’s high-stepping energy.

“Fiddler on the Roof” plays at the Throckmorton Theatre.

It’s impressive how all this talent can fit on the Throckmorton stage. Set designers Steve Coleman and Jean-Paul LaRosee are wizards at their craft. When costume designer Lyre Allston adds her skills, the audience is immersed in the village of Anatevka with its determined residents.

Another highlight of this production is the nine-piece band under the alternating musical direction of Desiree Goyette and Noah Bossert. Taking place front and center, the music fills the house yet never overwhelms the songs, adding haunting melodies with the violins, clarinet, mandolin, accordion, and more.

As the classic story unfolds, Tevye, a poor milkman eking out a living, has five daughters and the responsibility of finding suitable husbands for them. Tradition commands the father must choose, giving his approval and blessing. Along with his wife Golde they face the village’s limited prospects of suitable mates, urged by the matchmaker Yente. The eldest daughters have their ideas of spouses, chafing at the tight rope of tradition until it snaps.

The cast at work in “Fiddler” on now at the Throckmorton.

The Russians are also tightening their territorial ropes, causing mayhem and upheaval against the settlement. The culmination of the harassment forces a resigned exodus from the village. This reviewer’s own father-in-law, born in the Ukraine during this period, supports the story’s sad basis in truth. The imagined Anatevka is like many other villages under duress today.

Don’t miss Fiddler on the Roof, an energetic show with belief in a hopeful future for all who are displaced.

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ASR Senior Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.

 

ProductionFiddler on the Roof
Written byJoseph Stein
Directed byRebecca Gilbert
Music/Lyrics byJerry Bock and Sheldon Harnick
Producing CompanyThrockmorton Theatre
Production DatesThru May 26th
Production Address142 Throckmorton, Mill Valley CA 94941
Websitehttp://www.throckmortontheatre.org/
Tickets$25-$30
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script4.5/5
Stagecraft4.5/5
Aisle Seat Review PICK?YES!

PICK ASR! ~~ RVP’s Marvelous “The Book Club Play”

By Cari Lynn Pace

No sacred cows were spared for this bestseller! What a pleasure to see a clever new show brimming with witty dialogue and spot-on casting! Ross Valley Players has a winner with this comedy, ably directed by Mary Ann Rodgers, on a comfy living room set designed by Ron Krempetz and built by Michael Walraven.

“…a hilarious … slice of Americana.”

The Book Club Play is Karen Zacarias’ hilarious expose of another American staple: the book club. The author of multiple award-winning plays, Zacarias accurately and humorously captures social dis-harmony with blatantly biting truth.

Mark Vashro as Robert, Elena Wright as Ana in “The Book Club Play”.

Laughter is a hallmark of many of her plays’ continuing successes, and this one is no exception. The set-up of The Book Club Play reveals egocentric tensions and ridiculous banter when five friends gather to discuss their impressions of a recently read book. The kicker is that the entire evening meeting, a social connection, is filmed remotely by a camera. The participants have signed waivers acknowledging that their meeting is destined to be edited for a forthcoming documentary on book clubs. The documentary director is famous, so they are excited that their images might become an award-winning movie. Or maybe a play. Go figure!

No spoilers here, but one can guess that there are conversations and interactions that the participants reluctantly realize are taped by the all-seeing eye. Can these sections be expunged? And why does the famous unseen director refer to the filming as “juicy?”

The dialog is sharp and fast-paced. Many sacred cows are spared.

Elena Wright as Ana, Chiyako Nelson as Lily in RVP’s “The Book Club Play”

Nothing is safe from the camera’s eye…sex, idiocy, religion, gender, color, superiority, or class. It’s a cornucopia of hot topics on display as only a witty comedy writer can present. Laugh out loud, and enjoy the interaction tremendously. This reviewer certainly did!

RVP gathered the perfect mix of great actors for this show, starting with Elena Wright as Ana, the uptight, in-control organizer, and her husband Rob (Mark Vashro) as the one who would rather see the movie than read the book. Matthew Travisano, Jannely Calmell, and Chiyako Delores are the regulars who join them. Their facial expressions are worth the price of admission. Gabriel A. Ross joins in Act II as Alex, an interloper who provokes questions while being vetted for club admission.

Scene changes bring Marsha van Broek to the wing of the stage. She poses as various spoof characters, extrapolating topics the club members discuss. With a video screen and much laughter, it’s a clever way to darken the stage while keeping the audience entertained.

Make The Book Club Play your required reading—err, viewing—at the Barn Theater.

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ASR Senior Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.

 

ProductionThe Book Club Play
Written byKaren Zacarias
Directed byMary Ann Rodgers
Producing CompanyRoss Valley Players
Production DatesThru June 9th
Production AddressRoss Valley Players
"The Barn"
30 Sir Francis Drake Blvd, Greenbrae, CA 94904
Websitewww.rossvalleyplayers.com
Telephone415-456-9555 ext. 1
Tickets$20-$35
Reviewer ScoreMax in each category is 5/5
Overall4.5/5.0
Performance4.5/5.0
Script4.5/5.0
Stagecraft4/5.0
Aisle Seat Review PICK?YES!

Pick ASR!  ~~ “The Wind in the Willows” the Musical: Classic Children’s Story is Fun for All

By Cari Lynn Pace

 Want to watch a friendly rat give a boat ride to a timid mole? In this charming tale of forest creatures and friendship, Spreckels Theatre assembled a talented cast of nineteen. Many are well-known veterans of Bay Area stages. Director Sheri Lee Miller wisely lets these pros have a blast with their roles, and the show is a winner for it.

“…these pros have a blast with their roles, and the show is a winner for it.” 

It’s spring, and the woods are jumping with singing animals in colorful costumes designed by Donnie Frank. It’s not entirely clear which animal is which, but they’re having a joyful party in the leafy glade.

Sean O’Brien takes the central role of Mole, befriended by Nelson Brown as Rat. They strike up a friendship and are entreated to help Mrs. Otter (Molly Larsen-Shine) track down her headstrong daughter Portia (Nicole Stanley).

Into their midst zooms Toad (Tim Setzer), as green as a toad should be, on a low-riding tricycle or some such vehicle. The youthful audience screams their delight. The always-delightful Setzer is over-the-top and steals every scene, which any respectable toad will do. Toad is addicted to fast motorcars, his or anyone else’s. He nabs a sports car, and that lands him in court.

“Wind In The Willows” cast at work.

Meanwhile, in the dark wild woods, a jumping Weasel – kudos to the athleticism of Keene Hudson – hungers to take over Toad’s castle, Toad Hall. Weasel and his minions can only be thwarted by Badger, a commanding role by Mary Gannon Graham. Rat and Mole seek her out and beg her to chase out Weasel and the squatters and help stop Toad’s need for speed. Will she do it for her friends?

The Wind in the Willows delivers songs with clever lyrics, although this reviewer found some of the lyrics a bit difficult to hear clearly, due to the twelve-piece orchestra directed by Lucas Sherman. Scene changes happen smoothly with superb visuals using the rear-screen projection so beloved by the Spreckels audience. Karen Miles choreographed dances that the animals, err, actors happily perform. The entire cast seem to have as much fun in this adventure as the audience does.

All singing, all dancing when the wind is “In The Willows” at Spreckels Theatre.

The Wind in the Willows overflows with fantasy and energy. Perfect for young and old, it’s a giant-scale school musical by adults pretending to be animals. As the audience exited, one mom said to her child “You did very well—you sat through your first live show.” The child answered simply “I liked it.”  Spreckels offers special $10 tickets for patrons  18 and under.

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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.

 

ProductionThe Wind in the Willows
Written byJulian Fellowes, based on the book by Kenneth Grahame
Music and Lyrics byGeorge Stiles and Anthony Drewe
Directed bySheri Lee Miller
Producing CompanySpreckels Theatre Co.
Production DatesThrough May 19th
Production AddressSpreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Websitewww.spreckelsonline.com
Telephone(707) 588-3429
Tickets$10 for 18 & under, $20 adult
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script3.5/5
Stagecraft3.5/5
Aisle Seat Review Pick?YES!

Pick ASR! “Million Dollar Quartet”— A Whole Lot of Shaking Goin’ On!

By Cari Lynn Pace

I rocked my way through the 1960s and ‘70s, blithely unaware that the music that made me dance had its roots in ‘50s-era Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins. They had a mutual connection in their early discovery by Sam Phillips, a music producer at Sun Records in Memphis, Tennessee.

One incredible night in 1956, these four legends showed up at Sun Records. Each had a different agenda. Million Dollar Quartet is the ostensibly true story of what may have happened that unforgettable night.

Million Dollar Quartet is a freewheeling frenzied ride …

Santa Rosa’s 6th Street Playhouse presented Million Dollar Quartet in 2019 to great acclaim. Their GK Hardt stage is once again rockin’ the house with this hit Broadway musical.

The cast of “Million Dollar Quartet” at work, 6th Street Theater, Santa Rosa. Pictures courtesy 6th Street.

Director (and music director) Steve Lasiter doubles his formidable talents playing Johnny Cash. Lasiter has channeled “The Man in Black” in national tours. He’s joined onstage by Elvis, a movin’ and shakin’ Nathan Roberts. Roberts gets the audience roaring when he encourages the audience to beg for more.

Nathan Roberts as Elvis in “Million Dollar Quartet” at 6th Street Theater, Santa Rosa. Pictures courtesy 6th Street.

Wyatt Andrew Brownell harnesses the wild energy of Jerry Lee Lewis, complete with his foot bangin’ piano. Jake Turner portrays songwriter/guitarist Carl Perkins as the oft-disregarded rockabilly star chasing his next hit. These actors are musicians who take glee in trying to “one-up” each other when they hog the mike.

The backstory gradually exposes why these four have come to meet up with Phillips, “The Father of Rock and Roll,” a part perfectly cast with veteran Dwayne Stincelli. Phillips is credited with discovering and nurturing many musicians to the top of the charts. When his artists’ agent contracts renew, surprises occur.

Steve Lasiter (right) in “Million Dollar Quartet” at 6th Street Theater. Pictures courtesy 6th Street.

Joining the on-and-off recording session are George Smeltz on drums, with Michael Leal Price on the upright bass. Elvis brings his current girlfriend (sultry Jennifer Barnaba) to the gathering. She lends silky singing and style to soften the macho-but-friendly aggression between the guys.

Million Dollar Quartet is a freewheeling frenzied ride, playing “Can you top this?” to the audience. One drawback is that the comfortable seats at the GK Hardt Theatre leave no room for dancing in the aisles. If you never heard these legends in person—or even if you did—come rock with this show. There’s a whole lot of shaking goin’ on!

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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: pace-koch@comcast.net

 

ProductionMillion Dollar Quartet
Written byColin Escott and Floyd Mutrux
Directed bySteve Lasiter
Producing Company6th Street Playhouse
Production DatesThru May 4th, 2024
Production Address6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$35 to $58
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script4/5
Stagecraft4/5
Aisle Seat Review PICK?YES!

Other Voices: “Million Dollar Quartet”

'Lovers of old school rock ‘n' roll will get a big bang out of 'Million Dollar Quartet,' a mighty slick jukebox musical powered by a dynamite song stack and dynamic portrayals of the four legends singing ‘em..."
New Jersey Newsroom
"What exactly is it that makes the new musical 'Million Dollar Quartet' so damn enjoyable and invigorating? Is it the pure simplicity and rapid-fire energy of four rock 'n' roll legends performing their signature tunes for 100 blissful minutes? Is it the charisma and talent of the actors who portray these legendary figures Whatever the case, it's one hell of a winner..."
On Off Broadway
"The musicianship sells this entertainment. If the rockabilly rhythms of Perkins or the proto-rocker antics of Lewis don't set your heart to palpitating, then 'Million Dollar Quartet' will be lost on you. The calculation is that fans of early rock-and-roll and idolaters of Presley and Cash are of an age and economic level to fill the Nederlander's pews. And for them, the musical will feel at times like a throbbing worship service..."
The Washington Post

PICK! ASR Theater ~~ “Spamalot” — Novato Theater Company Masters Madcap Musical

By Cari Lynn Pace

Spamalot is the wacky stage musical written by Eric Idle of “Monty Python” fame. Veteran North Bay actor Larry Williams puts his comedic credentials to skillful use in directing the cast of nineteen in this hilarious send-up by Novato Theater Company. It’s part goofy, part camp, and all irreverent, with enough local references to make a real winner.

Four offstage musicians under Daniel Savio quickly open the fun onstage with John DuPrez’s “Fish Slap Dance.” NTC Artistic Director Marilyn Izdebski choreographed this screwball start (and other dances) while Tracy Bell Redig costumed the dancers in bright kinda-classic outfits and dead fish. Redig noted, “Wait ‘til you see the other outfits in this show. There are over 500 pieces of costuming and props. We’re amazed we can keep it all straight backstage.”

. . . full of outstanding comic performances and knockout voices . . .

This is the first production in Novato Theater Company’s lineup for 2024, and it’s full of outstanding comic performances and knockout voices. The castle stage, designed and built by Michael Walraven, is a real treat, lit up to the nines by Frank Sarubbi and the irrepressible Izdebski.

Spamalot spoofs Camelot, of course—the legend of King Arthur in Medieval England. The King, a royally regal and handsome Bruce Vieira, seeks Knights for his round table. He clops into ye olde towne accompanied by his hardworking horse clopper Patsy, (Michael Hunter). Townsperson Nicole Thordsen has a feisty exchange with the King as victims of the Black Plague victims are carted out. Athletic Kevin Allen insists he is “Not Dead Yet” as he rises from the pile of corpses and dances, singing and smiling.

(L to R) Top Row: Nicole Thordsen (Sir Robin), Izaak Heath (Sir Lancelot), John Griffin (Sir Bedevere), Michael Coury Murdock (Sir Galahad). Bottom Row: Michael Hunter (Patsy), Bruce Vieira (King Arthur) Dani Innocenti Beem (Lady of the Lake). Photo by Jere Torkesen and HariettePearl Fuggit.

The spotlights shine on multiple dance numbers, delightfully performed by a cadre of four local chorines: Hannah Passanisi, Olivia Ekoue Totou, Shino Yamagami Cline, and Abigail Burton, frequently backed up by the guys. The talented cast are clearly having a blast onstage with infectious moves and star-quality smiles.

Star quality: when Dani Innocenti-Beem materializes as the stunning “Lady of the Lake,” there’s no doubt she will knock ‘em dead, plague or not. Her powerhouse voice fills the theatre; her comedic expressions and mannerisms are over-the-top.

(L-R) Top Row: Nicole Thordsen (Sir Robin), Izaak Heath (Sir Lancelot), John Griffin, (Sir Bedevere), Michael Coury Murdock (Sir Galahad). Photo by Jere Torkesen, HariettePearl Fuggit.

Monty Python’s Spamalot has no real plot, with loosely connected scenes and goofy sight gags. Nonsensical characters are amusingly costumed and often disjointed, including one particular Black Knight. Even God himself makes an appearance. One hesitates to laugh too long for fear of missing what comes next. The show winds up with the familiar song “Always Look on the Bright Side of Life” to encourage the audience to whistle along.

Truly a marvelous madcap romp, it’s shaping up to be a sold-out start to the year for Novato Theater Company. Don’t miss it!

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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: pace-koch@comcast.net

 

ProductionSpamalot
Written byBook & Lyrics by Eric Idle. Music by John Du Prez & Eric Idle
Directed byLarry Williams
Producing CompanyNovato Theater Company
Production DatesThru Mar 3rd
Production AddressNovato Theater Company
5420 Nave Drive, Novato 94949
WebsiteNovatoTheaterCompany.org
Telephone(415) 883-4498
Tickets$25 – $35
Reviewer ScoreMax in each category is 5/5
Overall4.75/5.0
Performance4.75/5.0
Script4/5.0
Stagecraft4.5/5.0
Aisle Seat Review PICK?YES

PICK! ASR Theater ~~ Lucky Penny Rocks The House With “Trailer Park Christmas Musical”

By Barry Willis

Welcome back to Armadillo Acres, North Florida’s premiere residential destination. Napa’s Lucky Penny Productions ushers in the holiday season with The Great American Trailer Park Christmas Musical, through December 17.

Familiar characters return from last summer’s kitsch extravaganza: trailer park trash-ettes Pickles, Linoleum, and Bad Ass Betty (Kristin Pieschke, Shannon Rider, and Sara Lundstrom, respectively).

“The Great American Trailer Park Christmas Musical” cast are rockin’ it, y’all! Photo credit Kurt Gonsalves/KMG Design.

Two other cast members from that show return in new roles: Taylor Bartolucci as Darlene Seward, a Christmas-hating curmudgeon, and Skyler King as Rufus, the trailer park’s well-intentioned but goofy handyman, who’s annoyed Darlene by installing a community Christmas tree too close to her abode.

 … There’s a whole lot of trouble brewing in the trailer park as Christmas approaches …

We also get to enjoy some authentic redneck antics from Jackie Boudreaux (director Barry Martin), the cowboy-hatted owner of a pancake house called “Stax” pandering to lustful locals. The eatery employs Armadillo Acres girls as waitresses, who call it “IHOP meets Hooters.” They also delight in tormenting Darlene by pronouncing her family name as “C-word.”

The play’s director, Barry Martin as cowboy-hatted Jackie Boudreaux, at work. Photo credit Kurt Gonsalves/KMG Design.

Darlene is contentious with her trailer-mates from the beginning, but an electric shock prompts a twelve-day case of amnesia, during which time she forgets that she hates the holidays. And Linoleum has almost forgotten her husband Earl, a convicted killer executed by the state of Florida (he was on death row when we last checked in). She now wears dangling from her neck an amulet containing some of his ashes, but she’s clearly ready to move on.

There’s a whole lot of trouble brewing in the trailer park as Christmas approaches, most of it propelled by a hard-rocking band led by Debra Chambliss in an alcove above the stage. David Nehls’ infectious music spans rock and country genres—the cast are all superb singers—with many tunes echoing classic bad-taste musical comedies such as Little Shop of Horrors. Bartolucci’s tacky costumes are outrageous fun, as is the frenetic choreography by Alex Gomez.

Good times and great music in Napa! Photo credit Kurt Gonsalves/KMG Design.

No Christmas-theme production would be complete without references to Charles Dickens’ A Christmas Carol, and Betsy Kelso’s script doesn’t disappoint. Trailer Park includes ghosts of Christmas past, present, and future; an aggressive nay-sayer, and a mean-spirited capitalist oppressor (Boudreaux) who threatens to bulldoze the entire complex on Christmas Eve so he can build a megastore in its place.

      • Will disaster be averted?
      • Will Armadillo Acres survive?
      • Will its residents return to more-or-less peaceful coexistence?

The outcome won’t be revealed here! For that you’ll have to get one of the few remaining tickets. The December 17 closing performance of The Great American Trailer Park Christmas Musical is “100% sold out” according to Barry Martin, so hurry up and grab what’s left.

You’ll be glad you did.

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

 

ProductionThe Great American Trailer Park Christmas Musical
Written byBetsy Kelso
Music & LyricsDavid Nehls
Directed byBarry Martin
Producing CompanyLucky Penny Productions
Production DatesThru June 24th
Production AddressLucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
Websitewww.luckypennynapa.com
Telephone(707) 266-6305
Tickets$22-$45
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script4/5
Stagecraft4/5
Aisle Seat Review Pick?YES!

PICK! ASR Theater ~~ “The Addams Family Musical” Really is a Scream! NTC Musical Comedy Nails It!

By Cari Lynn Pace

Characters from the 1964 television series come alive, along with many ghosts, in this hilarious fun-filled musical. Novato Theatre Company under the direction of Marilyn Izdebski pulled out all the stops, including thunder and lightning, to rival any Broadway stage. The derelict Gothic mansion, designed and built by Michael Walraven, is just the start of this journey with a dark and bizarre family.

Morticia (Alison Peltz) at work on the NTC stage.

The casting is hilariously perfect. Bruce Vieira commands the role of Gomez with an authoritative touch and comedic timing. Veteran Alison Peltz slinks and sizzles as Morticia, a perfectly gorgeous foil to amorous Gomez. Their children yank on one another, as siblings do, Pugsley with his chains (alternating roles Robin Kraft and Milo Ward) and Wednesday (Harriette Pearl Fugitt) with her crossbow.

…Novato Theater Company has a graveyard smash…

Fugitt has the central role in the plot: she’s the daughter with a serious boyfriend who is “normal.” She fears bringing him and his ordinary family into her own bizarre home. Fugitt seems made for this part, breathing life into her deadpan delivery and big brassy voice.

Uncle Fester (Pat Barr) and Grandma (Kayla Gold) at work on the NTC stage.

Wednesday’s boyfriend Lucas (John Diaz) is a sweetie who somehow finds love in her peculiar antics. His conservative midwestern parents, Alice (Jane Harrington) and Mal (David Shirk) are taken aback at the oddities of the Addams family when they come for dinner. They struggle to retain their cheery composure for their son’s sake.

“The Addams mansion overflows with outlandish occupants…”

The Addams mansion overflows with outlandish occupants. Pat Barr channels Fester, the genial uncle who charms the audience. Lurch, the monosyllabic Frankenstein-like butler, is brought to life by Todd Krish, green skin tone and all. When asked post-show how long it took to get into their makeup, these actors laughed and answered “We’re both bald anyway, so it was an easy half hour to complete the job.”

Grandma, played with a wink and a sly grin by Kayla Gold, draws laughs just showing up onstage. She has a cart full of potions and poisons. Pugsley doesn’t want Wednesday to marry Lucas and leave home, so he sneaks a snootful to dose Wednesday. Intended to turn loose her inhibitions and offend Lucas, it mistakenly is swallowed by Alice, who goes wild in a showstopper number on the Adams’ dinner table.

The principal actors at work in “The Addams Family Musical” at NTC

As if all this outlandish talent wasn’t enough, eleven graveyard “ancestors” dance around in cadaverous make-up and ghostly costumes designed by Tracy Redig. Their beat goes on with the help of a live band offstage directed by Judy Wiesen.

Be warned: the line for tickets went out the door on opening night, and preview night was also sold out. Novato Theater Company has a graveyard smash in The Addams Family Musical so snap your fingers and get there soon.

Playing now through October 8th at the 99-seat Novato Playhouse, 5420 Nave Drive, Novato CA. Performances are Fridays and Saturdays at 7:30 and Sundays at 2 PM. Tickets@NovatoTheaterCompany.Org or email Tickets@NovatoTheaterCompany.Org.

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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: pace-koch@comcast.net

 

ProductionThe Addams Family Musical
Written byMarshall Brickman & Rick Elice
Directed byMarilyn Izdebski
Producing CompanyNovato Theater Company
Production DatesThrough Oct 8th
Production AddressNovato Theater Company
5420 Nave Drive, Novato 94949
WebsiteNovatoTheaterCompany.org
Telephone(415) 883-4498
Tickets$25 – $35
Reviewer ScoreMax in each category is 5/5
Overall4.25/5.0
Performance4.25/5.0
Script4/5.0
Stagecraft4.75/5.0
Aisle Seat Review PICK?YES

ASR Theater ~~ TTC Enchants at Beltane Ranch

By Barry Willis

Transcendence Theatre Company has another winner on its hands with An Enchanted Evening at the sprawling Beltane Ranch in Glen Ellen. The song-and-dance extravagance runs through September 17.

Directed by TTC co-founder Brad Surosky, the two-hour show features eleven supremely talented singers/dancers/actors and a supremely talented on-stage band—choreography by Michael Callahan, music direction by Matt Smart.

TTC’s “An Enchanted Evening” and Taylor Noll, Whitney Cooper, Alloria Frayser, Alyson Snyder, Emma Grimsley, Michael Callahan

Collectively they take their large outdoor audience on a hike down the memory lane of decades of pop music—some of it from classic stage musicals and some of it, Top 40 radio hits including at least one country song and one from the Motown catalog.

…There’s something for everyone in this diverse, marvelously engaging production—even an aria by Puccini…

Opening with “Pure Imagination” from Charlie and the Chocolate Factory, the show then kicks into high gear with a mash-up of “I Put a Spell on You” and “Love Potion Number Nine.” An extended “Moon Medley” includes several songs with “moon” in the title or featured prominently in the lyrics. There’s a long, fun moment of audience participation, some bits of goofy comedic improvisation, but mostly two hours of tremendous singing and dancing from a deeply talented cast. Their playbill bios are especially impressive given their apparent youthfulness.

Emma Grimsley, Alloria Frayser, Alyson Snyder, Michael Schimmele, Whitney Cooper, Joey Khoury, Michael Callahan in “An Enchanted Evening.”

 

TTC has managed to correct a couple of minor problems that marred the opener of The Full Monty—the too-low stage and seats that had the audience staring directly into the backs of those sitting in front of them. It’s all good now—clear views for everyone, and now that it’s late summer, no squinting into the sun during the first act.

Colin Campbell Mcadoo, Joey Khoury, Michael Schimmele, Nathan Andrew Riley at work.

The show is a glorious way to spend a late summer evening. Early arrivals can enjoy a variety of vittles from several food trucks parked onsite, and wines from several Sonoma County vintners.

Whitney Cooper and Kyle White in “An Enchanted Evening by TTC.

TTC isn’t exaggerating in describing An Enchanted Evening as “a magical night of Broadway and beyond”—as truthful a tagline as one can imagine. It’s all that and more.

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

 

ProductionAn Enchanted Evening
Written byTranscendence Theater Co.
Directed byBrad Surosky
Producing CompanyTranscendence Theatre Company
Production DatesThru Sept 17th
Production AddressBeltane Ranch
Glen Ellen, CA
Websitewww.transcendencetheatre.org
Telephone(877) 424-1414. Toll free,
Tickets$35-$49
Reviewer ScoreMax in each category is 5/5
Overall3.75/5.0
Performance4.0/5.0
Script3.5/5.0
Stagecraft3.0/5.0
Aisle Seat Review Pick?----

PICK! ASR Theater ~~ Lucky Penny’s Lovely “Silent Sky”

By Barry Willis

Imagine toiling away for years squinting at black-and-white photographic plates of the night sky and trying to track changes that might provide clues to the nature of the universe. That’s what pioneering mathematician/astronomer Henrietta Leavitt did at Harvard University Observatory for approximately twenty years until she was finally allowed to look through the telescope.

Her obsession with astronomy led to a major breakthrough in human understanding of the universe, lovingly depicted in Lauren Gunderson’s Silent Sky at Lucky Penny Productions through May 7.

… a lovely heart-warming production…

Taking place primarily at Harvard University Observatory in the early 1900s, the story portrays Henrietta Leavitt’s success in astronomy through sheer enthusiasm and determination, despite having hearing impairment, assorted medical issues, family strife, and at least one romantic disaster. She faced opposition by the scientific establishment of the era — men who refused to accept that a young woman hired to analyze photographic plates of the night sky could be so insightful.

While this may sound like a polemical piece with appeal only to ardent feminists or students of the history of science, it’s actually a fantastically compelling story based very much on real people and real events, with appeal to a broad audience.

Gunderson wrote Silent Sky on commission for Costa Mesa’s South Coast Repertory company. It debuted at the 2011 Pacific Playwrights Festival and has been performed often since. Lucky Penny’s production is among the best of several that this critic has seen.

Heather Buck at work.

Heather Buck brings an engaging blend of insistence and vulnerability to the character of Henrietta, only the third woman to be hired by the Harvard Observatory to do computational tasks. Even though she insisted from the beginning that her profession was “astronomer,” Leavitt labored for many years until she was permitted to look through the observatory’s telescope, after her contributions to the field had become incontrovertible.

Wearing a bulky all-acoustic hearing aid, Buck delivers Henrietta’s lines emphatically in keeping with her character’s hearing impairment. It’s a nicely consistent bit of verisimilitude, unlike Gunderson’s use of contemporary idioms, which may lend the drama immediacy for modern audiences but sound badly inauthentic to those with an ear for such things. For example, early in the play, Henrietta’s research associate Annie Cannon instructs Henrietta to “input data” into a paper log book. Later, trying to explain to her sister Margaret (Andrea Dennison-Laufer) her relationship with her supervisor Peter Shaw (Dennis O’Brien), Henrietta says “It’s complicated.” Both of these phrases, and some others scattered throughout the script, are recent and not something that anyone would have said one hundred years ago.

Williamina Fleming and Annie Cannon in “Silent Sky” as depicted by Titian Lish and LC Arisman respectively.

Henrietta’s feisty, opinionated colleagues and mentors Williamina Fleming and Annie Cannon are brought to roaring life by Titian Lish and LC Arisman, respectively. A secondary but important plot has Annie campaigning for women’s right to vote. Late in the show she shocks her colleagues not only by sporting her suffragette sash, but by actually wearing pants.

Dennison-Laufer brings an understated complexity to the role of Margaret Leavitt, Henrietta’s long-suffering and somewhat manipulative sister who’s been left to care for their ailing preacher father back in Wisconsin. Dennis O’Brien, known for outrageous antics in other shows, is fantastically subtle as Shaw, a research administrator who vacillates between disdainful distance and emotional neediness in his relationship with Henrietta. The budding but blunted love affair between the two awkward scientists is enacted with elegant sensitivity.

Dennis O’Brien as Shaw dancing with Heather Buck in “Silent Sky”.

Barry Martin’s simple evocative set creates ample impressions of the interior of the observatory, a Wisconsin farmhouse, a ship at sea and other locations, with minimal prop changes. The backdrop of the night sky is especially effective. Barbara McFadden’s costumes are period-appropriate and somewhat frumpy, as might be expected of academics toiling away a century ago.

Some information about the play describes it as being about “the first female astronomers.” It’s clearly about the first female American astronomers, but certainly not the absolute first. Curious stargazers may wish to check out the 2009 film Agora, starring Rachel Weisz as Hypatia of Alexandria, the Egyptian philosopher, mathematician and astronomer who discovered elliptical orbits 2,000 years before Johannes Kepler.

Adroitly directed by Dyan McBride, Lucky Penny’s Silent Sky is a lovely heart-warming production. Once you’ve seen it, you’ll never regard the stars the same way again.

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

 

ProductionSilent Sky
Written byLauren Gunderson
Directed byDyan McBride
Producing CompanyLucky Penny Productions
Production DatesThru May 7th
Production AddressLucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
Websitewww.luckypennynapa.com
Telephone(707) 266-6305
Tickets$26-$36
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script4/5
Stagecraft3.5/5
Aisle Seat Review Pick?YES!

Other Voices…

"Overall, "Silent Sky" is a fast-moving two hours of theater that anyone who loves astronomy or the history of science will enjoy."
"Physics Today" website
"...Lauren Gunderson’s touching, poignant “Silent Sky”...is deeply affecting, important and relevant for many reasons..."
Our Quad Cities
"...Although "Silent Sky" deals with matters of science and math, which may sound off-putting to some, it’s nevertheless instantly accessible..."
Sarasota Magazine
"...In Lauren Gunderson's "Silent Sky," Leavitt's story unfolds with a beauty and complexity worthy of the skies she mapped..."
Chicago Sun Times -- (they rated the play "Highly Recommended.")

PICK! ASR Theater ~~ “Pride and Prejudice, The Musical” — Songs Brighten, Enliven Classic

By Cari Lynn Pace

Fans of Jane Austen flocked to opening weekend of Pride and Prejudice, The Musical at Ross Valley Players’ Barn Theatre atop the Marin Art and Garden Center. Some may have entered skeptical that music could add to the beloved story of the Bennet family, but they departed beaming with delight. The show runs through April 16.

Award-winning composer/lyricist Rita Abrams created seventeen songs, adding shine and mirth to the tale of five eligible daughters, their suitors, and one manipulative mama. Abrams worked with Josie Brown’s book adaptation. Together they brought out subtle comedy—and fun—without altering the underlying plot of societal caste and bias.

The entire cast opens singing the sunny “Welcome to Our Neighborhood” with gusto. Harmonies with nimble lyrics abound; the songs appropriately appear between spoken dialog. The four-part “Changing World” is so poignantly melodic it makes one want to hold one’s breath.

Amy Dietz as Jane Bennet; Justin Hernandez as Charles Bingley in “Pride & Prejudice: The Musical”

Abrams took years to create the music, and it was worth the wait. Love songs, How-Dare-He! songs, frustration songs, happiness songs – it’s all here. And so very clever! When Mrs. Bennet sings “I have five daughters who are Venuses, in search of …” the audience erupts with laughter at the unspoken word.

Veteran director Phoebe Moyer worked with a large cast of nineteen actors, originally auditioned prior to the pandemic. Three years later, Moyer notes “It has been a long journey with many adjustments…we have become quite a family.”

“The entire cast moves as a well-oiled machine in this nearly three-hour production.”

The entire cast moves as a well-oiled machine in this nearly three-hour production. They sing, they dance, and many standouts shine with comedic talents, including Jill Wagoner commanding the stage as Mrs. Bennett and Geoffrey Colton as her beleaguered husband. Charles Evans also steals laughs as Mr. Collins, who unsuccessfully tries to woo a bride.

Evan Held as Mr. Darcy at RVP.

Handsome and lean Evan Held is perfectly cast as the taciturn and reserved Mr. Darcy, a magnet drawn to lovely and prideful Elizabeth Bennet (Lily Jackson, perfectly cast). Other actors superbly portray proper high-born characters, including Elenor Irene Paul as Caroline Bingley, with an extended cameo by Alexis Lane Jensen as Lady Catherine de Bourgh.

Pride and Prejudice, The Musical can be proud of the backstage production team bringing success to this ambitious show. Stage hands drew applause even in the semi-darkness with choreographed moves during set changes. Musical directors Abrams and Jack Prendergast tapped Wayne Green for orchestrations and Bruce Vieira for sound design. Rick Banghart sat on the side, watching carefully to deliver music tracks precisely when the actors began singing. He didn’t miss a cue!

Since the story’s setting is Hertfordshire, England in the early 1800’s, appropriate period garb was needed. Adriana Gutierrez ably delivered lovely dresses and costumes, assisted by Michael A. Berg who designed the complicated wigs. Their contributions transported the show back to that aristocratic decade. One odd aspect was the stage set: several ionic columns and a Greek-inspired pediment, an unusual backdrop for an English location.

More than six years in development, this new production of Pride and Prejudice, the Musical is filled with period costumes, talented actors, and excellent music. It’s a feel-good delight, and with RVP’s accessible pricing policy, an entertainment bargain.

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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: pace-koch@comcast.net

 

ProductionPride & Prejudice: The Musical
Written byJane Austen adapted by Josie Brown
Directed byPhoebe Moyer
Producing CompanyRoss Valley Players
Production DatesThru April 16th
Production AddressRoss Valley Players
"The Barn"
30 Sir Francis Drake Blvd, Greenbrae, CA 94904
Websitewww.rossvalleyplayers.com
Telephone415-456-9555 ext. 1
Tickets$15-$35
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script4.5/5
Stagecraft4.5/5
Aisle Seat Review PICK?YES!

Other Voices…

"...what could be better for a concert production than to leave its audience craving more?"
www.stagebuddy.com
"...The story is well-known and irresistible, somewhat similar to 'Downton Abbey'..."
www.theaterpizzazz.com
"Emmy award winning songwriter Rita Abrams has managed to bring her considerable powers to Austen's Pride and Prejudice in a way that brings that classic work alive, and keeps us thoroughly engaged... The songs are a triumph of inventiveness and skill."
Michael Krasny, Host of NPR's "Forum"
"...a sell-out success..."
janeausten.co.uk

PICK! ASR Theater ~~ Spreckels’ “Night Music” – Theatre at its Best

By Sue Morgan

With amusing and sometimes moving lyrics and music by Stephen Sondheim, a charming book by Hugh Wheeler and an outstanding cast of Bay Area actors, A Little Night Music at Spreckels Performing Arts Center is regional theatre is at its best. The play is a rarity in that it’s a musical stage adaptation of a film, Ingmar Bergmann’s Smiles of a Summer Night.

At the dawn of the 20th century, Fredrik Egerman (Larry Williams) a previously widowed middle-aged attorney, has married lovely virginal 18-year-old Anne, (Brenna Sammon). Anne loves to tease Egerman’s earnest 20-year-old son, Henrik, (Samuel J. Gleason) a seminary student who wrestles with a secret passion for Anne, who has, eleven months after her nuptials, still not consummated her marriage to Henrik’s father.

Sexually frustrated, Fredrik seeks relief in the arms of old flame Desiree Armfeldt, (Daniela Innocenti-Beem) a once-renowned actress, who by chance is performing in Fredrik and Anne’s Swedish town, and has carried a torch for Fredrik for years. The lovers are interrupted by Desiree’s married lover, Count Carl-Magnus Malcolm (Michael Coury Murdock) whose wife, Countess Charlotte Malcolm (Taylor Bartolucci) knows of the affair and is desperate to regain her husband’s affections. Such are the tropes of multi-layered unrequited love, catalyst for both hilarity and poignancy in this effervescent production.

…spirited, professional and upbeat performances…

With the exception of Murdock’s full-throated Count Malcolm, whose “In Praise of Women” was wonderfully rendered, the ladies of the cast outshine the men in terms of vocal talent. Molly Belle Hart was perfectly cast as young Fredrika Armfeldt, daughter of Desiree and granddaughter of Madame Armfeldt (Eileen Morris). Hart’s rendition of “The Glamorous Life” was sung with the poise and professionalism of a much older performer. Morris’s solo “Liasons” managed to be both enchanting and amusing, conveying yearning for what had been and a sense of satisfaction in a life well-lived. Brenna Sammon’s “Soon” was plaintive and lovely.

Brenna Sammon as Anne and Samuel Gleason as Henrik.

 

There were two showstoppers during the opening night performance. The first was “Send in the Clowns,” which held the audience rapt throughout, performed with perfectly understated virtuosity by the stunningly talented Daniela Innocenti-Beem, who also gave the best performance overall throughout the production. Her Desiree offered a master class in theatrical expression and nuance. The second was “The Miller’s Son,” performed with power and a sense of unbridled joy by Kaela Mariano, who played Petra, Anne’s delightfully libidinous maid.

The Quintet Brandy Noveh, Stacy Rutz , Michael Arbitter, Ariana Arbitter, Sean O’Brien.

There were some sound issues during the beginning of the play, with the orchestra overwhelming the vocals as some of the performer’s mics appeared to be working only sporadically. The performers soldiered on professionally, however, and the problems were soon rectified.

Costumes by Donnie Frank were delightful, beautifully depicting the height of elegance in the early 1900s. The set was not such a delight, changing only in terms of props and lighting. Having the same backdrop throughout, despite whether the action was inside or out, with the same paintings hanging on every character’s wall. This seemed a bit too laissez faire.

Overall, Director Sheri Lee Miller elicited spirited, professional and upbeat performances from her talented and well-chosen cast, gifting her audience with an immensely enjoyable evening of entertainment.

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

 

 

ProductionA Little Night Music
Music/Lyrics by -- Book byStephen Sondheim --Hugh Wheeler
Directed bySheri Lee Miller
Producing CompanySpreckels Performing Arts
Production DatesThrough Feb 26th, 2023
Production AddressSpreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Websitewww.spreckelsonline.com
Telephone(707) 588-3429
Tickets$12 - $36
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4.5/5
Script4/5
Stagecraft3/5
Aisle Seat Review Pick?YES!

ASR THEATER ~~ “The Children” a Compelling Production at Left Edge

By Mitchell Field

Lucy Kirkwood’s 2016 play The Children, was Tony-nominated for Best Play of 2018. Writers for The Guardian placed it third on a list of the greatest theatrical works since 2000.

In the Left Edge Theatre production, a married couple, Hazel (Priscilla Locke) and Robin (John Craven) both retired nuclear scientists, are living in a drab cottage near the English seaside, after a disaster at the local nuclear power station where they were formerly employed.

…theater stalwarts Locke, Craven, and Cain provide absolutely superb, quite touching performances…

Despite problems with rationed electricity and water, and the threat of airborne radiation, the couple are trying, in a stiff-upper-lip British way, to live a normal existence. Robin farms so that Hazel, the mother of four adult children, may eat organic greens to maintain her healthiest life possible.

Their post-apocalyptic tranquility is interrupted when former colleague Rose (Danielle Cain) shows up at their door after almost four decades. The childless Rose has a secret but is she there with sinister intentions or merely to rekindle her prior affair with Robin?

The cast of “The Children” at work at Left Edge Theatre.

Under Sandra Ish’s insightful direction, North Bay theater stalwarts Locke, Craven, and Cain provide absolutely superb, quite touching performances, in a story in which reparation, redemption and whether having children of one’s own should make one more socially responsible. Combined, those are the point of this darkly comical play.

This reviewer enthusiastically recommends this show.

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Mitchell Field is a Sr. Contributing Writer for Aisle Seat Review. Based in Marin County, Mr. Field is an actor and voting member of the SF Bay Area Theatre Critics Circle (SFBATCC). Contact: mitchfield@aol.com

 

ProductionThe Children
Written byLucy Kirkwood
Directed by Sandra Ish
Producing CompanyLeft Edge Theater Co.
Production DatesThru Feb 19th, 2023
Production AddressCalifornia Theatre
528 7th St.
Santa Rosa, CA
Websitewww.leftedgetheatre.com
Telephone(707) 664-7529
Tickets$22-$40
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance3.5/5
Script3.5/5
Stagecraft3.5/5
Aisle Seat Review Pick?----

PICK! ASR Theater ~~ “The Drowsy Chaperone” Delights at Sonoma Arts Live

By Nicole Singley

What do a tipsy wedding chaperone, a blundering Italian lothario, a pair of mobsters disguised as pastry chefs, and a musical theater-obsessed divorcé in an armchair have in common? They’re the unlikely ingredients for a night full of toe-tapping music, fun, and laughter in Sonoma Arts Live’s production of “The Drowsy Chaperone,” on the Rotary Stage in Andrews Hall through July 31st.

With a delightful script that both celebrates and pokes fun at roaring 20s era musicals and vaudevillian hijinks, the show opens on North Bay stage veteran Tim Setzer – billed only as “Man in Chair” – regaling the audience with his love of classic musicals and ironically, his hatred of theater that breaks the fourth wall.

Tim Setzer as “Man in Chair” (Photo by Eric Chazankin)

But lucky for us, Setzer’s character continues to shatter that fourth wall to smithereens, with his frequently hilarious, oftentimes snarky, and occasionally sweetly reflective commentary. From the comfort of his armchair, he puts on a record and invites us to listen along to his all-time favorite musical as it comes to life before us on the stage.

With a quirky cast of characters, a bevy of silly song and dance numbers, and a classic will-they/won’t-they-tie-the-knot set-up, “The Drowsy Chaperone” – a fictitious musical from the late 1920s – is fantastic light-hearted fun, punctuated by catchy tunes and comical mishaps aplenty.

Daniela Innocenti-Beem in the title role (Photo by Eric Chazankin)

The production features some excellent ensemble work and a host of talented performers, though Daniela Innocenti-Beem steals the show with her powerhouse vocals. She’s an absolute hoot in the title role, too, stumbling in and out of scenes in a semi-drunken stupor.

. . . the perfect happy escape for anyone seeking a bit of refuge and good-natured fun.”

Andrew J. Smith is equally uproarious as Adolpho, the cape-clad caricature of an Italian ladies’ man, on a mission to break up the wedding. Maeve Smith takes an endearing turn as bride-to-be Janet Van De Graff, boasting a beautiful voice and a (deliberately) terrible French accent. Setzer is the show’s anchor, and phenomenally good in the role of “Man in Chair,” chaperoning us through the action on stage.

The cast of “The Drowsy Chaperone” at work!

Supporting cast members are marvelously entertaining, too. Jonathen Blue shines as George, the tap-dancing best man, joined by Stephen Kanaski, who makes a charming groom-to-be and earns laughs with his blindfolded roller-skating. Emily Owens Evans perfects the ditzy aspiring starlet trope as Kitty, and Sean O’Brien deserves kudos for enduring a series of preposterous spit takes in the role of “Underling.”

Liz Andrews has done an admirable job with style and period-appropriate choreography for this show. Rebecca Ann Valentino’s costumes deserve a nod, too, thanks to an array of fabulous, flapper-inspired frocks and a host of other elaborate get-ups that add immensely to the fun.

Stephen Kanaski and Maeve Smith as the bride and groom to-be (Photo by Eric Chazankin)

Brindle Brundage and Ryan Severt have designed and built a simple but charming set, with a clever layout enabling it to serve as both Setzer’s apartment and the stage for a full-ensemble musical. From ringing phones to record players, sound effects by Tom Luekens are perfectly timed. The accompaniment of a live band under Sherrill Peterson’s direction makes the music loud and lively, though at times it drowns out the singers on stage, due in part to the hall’s challenging acoustics. But any bumps in the road are easily forgiven amid the merriment.

As the “Man in Chair” reminds us, music and theater have the power to transport us away from our daily stress and struggles when we’re feeling blue. “The Drowsy Chaperone” is a celebration of this power, and the perfect happy escape for anyone seeking a bit of refuge and good-natured fun.

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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.

 

 

 

 

 

 

 

 

 

 

 

ProductionThe Drowsy Chaperone
Written byBook by Bob Martin and Don McKellar; Music and Lyrics by Lisa Lambert and Greg Morrison
Directed byMichael Ross
Producing CompanySonoma Arts Live
Production DatesThrough July 31st
Production AddressRotary Stage: Andrews Hall, Sonoma Community Center
276 E. Napa Street, Sonoma
Websitewww.sonomaartslive.org
Telephone866-710-8942
Tickets$25 – $42
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script4/5
Stagecraft4/5
Aisle Seat Review Pick?Yes!

PICK! ASR Theater ~~ Cinnabar’s Delightful “Three Tall Women”

By Barry Willis

Anyone who’s dealt with elderly-parent issues will find much to enjoy in “Three Tall Women” at Cinnabar Theater through April 24.

Laura Jorgensen astounds in Edward Albee’s oddly-constructed two-act play. In the first act, she appears as a resident of an upscale retirement complex, nicely rendered by set designer Brian Watson. She’s engaged in what’s almost a monologue with a caretaker played by Amanda Vitiello, and a law firm representative played by Tiffani Lisieux, who’s there to prompt her to pay attention to mail and messages.

None of the characters have names but are instead designated simply A, B, and C, respectively, by playwright Edward Albee. Best known for skewering American upper-middle-class intelligencia (“Who’s Afraid of Virginia Woolf?” and “A Delicate Balance” among his many creations), Albee continued the tradition with 1994’s “Three Tall Women,” minus the blackout drinking common to his earlier works.

Director Michael Fontaine has gotten an excellent performance from this three-woman cast; in other hands, the script might have proven too difficult…

Albee reportedly said that he derived most of his characters’ dialog from listening to his parents’ cocktail parties. It’s as authentic as it can be in this show. Jorgensen riffs continually and brilliantly, confusing past and present, bouncing back and forth between lucidity and incoherence, hilarity and despair. It’s a stunning act of theatrical mastery. She manages her heavy line load adroitly, with only a bit of help from Vitiello and Lisieux.

 

If there are glitches in her recital, they’ll be obvious only to those who know the script word-for-word—Albee included plenty of intentional glitches in her speech, as might be expected from a ninety-something woman talking to a captive audience. As delivered, it’s all quite realistic old-person stream-of-consciousness. Vitiello and Liseux basically function to get her back on track when she goes off the rails, which is often, and often hilarious.

All three reappear in the second act, as the same woman (“A”) at differing ages—92, 52, 26—in a postmortem discussion of her life as they hover over her bed, as insightful in its own way as the long meandering riff that occupies the first act.

Left to right – Amanda Vitiello (B), Tiffani Lisieux (C), Laura Jorgensen (A)

Director Michael Fontaine has gotten an excellent performance from this three-woman cast; in other hands, the script might have proven too difficult. Lisieux was a welcome newcomer for this reviewer, one eager to see what she does next. Vitiello demonstrated a delightful flexibility—playing essentially two characters, neither of them resembling each other or the ditzy Long Island neighbor that she played in “Cry It Out.” And Jorgensen may be the North Bay equivalent of a national treasure. The veteran actress (“House of Yes,” “Ripcord,” many more) is amazing and wonderful in “Three Tall Women.” Her performance alone puts it over the top.

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

 

 

 

 

 

 

 

 

 

 

ProductionThree Tall Women
Written byEdward Albee
Directed byMichael Fontaine
Producing CompanyCinnabar Theater
Production DatesThrough April 24th
Production Address3333 Petaluma Blvd North
Petaluma, CA 94952
Websitewww.cinnabartheater.org
Telephone (707) 763-8920
Tickets$25 – $35
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4/5
Script4/5
Stagecraft3.5/5
Aisle Seat Review PICK?YES!

 

ASR Theater ~~ Thought Provoking — Lucky Penny’s “The How and the Why”

By Barry Willis

Two research biologists have an unexpected encounter in the run-up to a scientific conference in “The How and the Why,” at Napa’s Lucky Penny Productions through April 24.

Lucky Penny Associate Artist Karen Pinamaki stars as Zelda, a career evolutionary biologist involved in hosting the annual meeting of the National Organization of Research Biologists (NORB). A late applicant named Rachel (Heather Kellogg Baumann) comes to Zelda’s office to plead for a speaking slot at the conference, to defend her hypothesis that human females menstruate as form of protection against sperm cells, which she characterizes as “antigens.”

Her hypothesis has gotten plenty of pushback from the biology establishment, especially from men. She begs Zelda for a speaking slot, despite having reservations about some of her own conclusions and many misgivings about drawing the ire of conference attendees, some of whom have already bashed her for what they perceive as outlandish assumptions.

Lucky Penny deserves praise for producing such a thought-provoking play….

Rachel enjoys some sympathy from Zelda, whose own hypothesis met a similar reception nearly thirty years earlier—in Zelda’s case, the “grandmother hypothesis” speculating that women’s longer lifespans compared to men serve an evolutionary purpose: they are needed to help younger women with child-rearing duties.

The two biologists argue their convictions passionately, but the story isn’t really about science, despite the seeming plausibility of both concepts, and despite the realistically-depicted rampant nitpicking, back-stabbing, petty bickering, and professional jealously that infect the scientific community.

Their real issue is that Rachel is Zelda’s biological daughter, given up for adoption when she was only six days old. She’s now 28, the same age Zelda was when she got pregnant. The moment when she enters Zelda’s office is the first time they’ve met as adults. They are both professional scientists, the epitome of rationality, and they try their best to remain above emotional outbursts, but the emotion comes through despite their efforts to contain it—resentment, betrayal, guilt, feelings of abandonment and diminished self-worth, the whole panoply of negativity that can affect both those given away by their birth parents and those who gave them away.

Karen Pinamaki and HeatherKellogg Baumann at work.

Pinamaki and Baumann tread this emotional minefield with great care and a growing sense of carelessness, which becomes more pronounced as their mutual familiarity improves. Written by TV writer Sarah Treem (“House of Cards” among many other credits) and directed by Dana Nelson Isaacs, it’s an impressive pas de deux performed mostly in Zelda’s office (set design by Taylor Bartolucci and Barry Martin) and later in a Boston dive bar.

The two performers are very well balanced and amazingly dynamic with material that here and there may veer too far in the technical direction for some viewers. But strip out the scientific stuff, expertly woven into Treem’s story, and you have a universal tale of long-estranged mother and daughter reuniting in adulthood and trying to make a go of it from there.

An old adage about science is that it’s very good about explaining how events occur, but not so good about why. This fundamental observation applies not only to hard-core objective reality but also to a whole range of human behaviors. “The How and the Why” is a fascinating examination of two people trying to make sense of something that may not ever be fully understood either by them or by professional therapists. Lucky Penny deserves praise for producing such a thought-provoking play.

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

 

 

 

 

 

 

 

 

 

 

ProductionThe How and the Why
Written bySarah Treem
Directed byDana Nelson Isaacs
Producing CompanyLucky Penny Productions
Production DatesThrough April 24
Production AddressLucky Penny Community Arts Center
1758 Industrial Way
Napa, CA 94558
Websitewww.luckypennynapa.com
Telephone(707) 266-6305
Tickets$30-$35
Reviewer ScoreMax in each category is 5/5
Overall3/5
Performance4/5
Script3/5
Stagecraft3/5
Aisle Seat Review Pick?----

PICK! ASR Theater ~~ 6th St’s Stunning “Hank Williams – Lost Highway”

By Barry Willis

The North Bay has been blessed recently with a spate of jukebox musicals, none better than “Hank Williams – Lost Highway” which opened at Santa Rosa’s 6th Street Playhouse April 1 and has been EXTENDED to May 1st!

Authored by Randal Myler and Mark Harelik, and expertly directed by Michael Butler, the show is a big production in every sense of the word—a cast of ten superb performers on the wide stage of the G.K. Hardt theater, with a spectacular set by Butler, Zach Bowlen, and Kristina Dorman, who painted the wonderful giant picture postcard that serves as backdrop.

Steven Lasiter stars as Williams, the doomed country star whose short career put an indelible stamp on American culture. Born with spina bifida, Williams was plagued by pain his entire life, something he tried to ameliorate with prodigious amounts of alcohol and prescription drugs—substances that proved his undoing as a performer and that ultimately ended his life. He died in the back seat of his Cadillac en route to a gig in Ohio—the official medical report cited “heart failure” while noting an alarming level of painkillers and alcohol in his blood. He was only 29 years old.

…an uplifting, life-affirming experience…

The show opens with a somber radio announcement of Williams’ passing, then flashes back to his adolescence in Alabama, where he was mentored by a bluesman named Rufus “Tee-Tot” Payne, played by real bluesman Levi Lloyd. Payne coached him on guitar, taught him melody and chord progression, and the fundamentals of songwriting, which Williams did entirely by ear. Despite creating dozens of hit songs that became American standards, he never learned to read or write music.

He said often that Payne was his only teacher. Butler emphasizes Payne’s importance by keeping him onstage throughout the show, sometimes in the shadows and sometimes in the spotlight to perform at key moments in the story. His presence also reinforces the fact that black music is both foundation and backbone of 20th-century pop music. Williams blended the blues form with traditional country instrumentation in a way that hooked millions of music fans—heartfelt melodies and simple lyrics evoking universal human desires and problems.

Photography by: Eric Chazankin

His band—the Drifting Cowboys—consists of excellent musicians who have stepped out of their comfort zones to double as actors. Michael Capella appears as Shag, the pedal steel player; guitarist Derek Brooker is Jimmy “Burrhead;” Michael Price is Hoss, the bass player; and Paul Shelansky is Leon, performing on mandolin, fiddle, and slide whistle. They rock the joint through dozens of Williams’ greatest songs, aided by tremendous sound design from Ben Roots.

Peter T. Downey does a fine job as “Pap” Rose, the recording engineer who became Williams’ manager. Jennifer Barnaba is solid as Audrey Williams, and Ellen Rawley is delightful as the unnamed waitress who runs off with Williams. Stage veteran Jill Wagoner is perfectly cast as Mama Lilly, Williams’ mother and his band’s sometimes manager and driver. She absolutely nails every nuance of a hard-working tough-as-nails Depression-era Southern woman.

Photography by: Eric Chazankin

The show encompasses every aspect of Williams’ short life, from country-music boy wonder to Grand Ole Opry superstar to rejected drunk to venerated saint. It’s beautifully paced, even if Butler did confess post-show that he hoped it would move along faster.

“Hank Williams – Lost Highway” is a stunning, essential piece of Americana. Despite the tragedy at its core, it proves to be an uplifting, life-affirming experience. 6th Street deserves accolades not merely for producing it, but for producing it so well.

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

 

 

 

 

 

 

 

 

 

 

ProductionLittle Shop of Horrors
Written by / Book byAlan Menken / Howard Ashman
Directed by / Music Direction byAja Gianola-Norris / Lucas Sherman
Producing Company6th Street Playhouse
Production DatesThru Feb 19th
Production Address6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$35-$43
Reviewer ScoreMax in each category is 5/5
Overall3/5
Performance3/5
Script4/5
Stagecraft3/5
Aisle Seat Review PICK?----

PICK! ASR Theater ~~ “Almost, Maine” Sublimely Sweet at Spreckels

By Nicole Singley

Spreckels has something sublimely sweet in store for those in need of a little magic. On a snowy night in the remote outskirts of eastern Maine, nine couples confront questions about love, loss, hope, and healing under the spell of the northern lights. Gracing the intimate Condiotti Studio Theatre stage through April 10th, “Almost, Maine” is equal parts funny and moving, and a heartwarming night at the theater well spent.

John Cariani’s clever script features nine vignettes that play out across eleven short scenes, each brimming with witty wordplay and plentiful humor, a hearty sprinkling of magical – and sometimes absurdly literal – realism, and characters who are endearingly forthright and sincere. Cariani gives viewers a sampling of love stories in various stages of growth and decline, including missed connections, new beginnings, unexpected reunions, and sweet misunderstandings. While most of the endings are happy or hopeful, there are plenty of poignant moments, too, offering audiences a beautifully balanced exploration of human relationships and folly.

Director Anderson Templeton leans into the play’s comic absurdity just enough to earn laughs in all the right places without devaluing the more tender and genuine moments. He gets strong performances from a capable ensemble of six, who together take on the roles of nineteen different characters throughout the show, moving smoothly between parts and pairings. It is a testament to their talent that it’s not a struggle to adjust to the same faces reappearing in each new capacity. Instead, it imbues the show with a sense of intimacy and familiarity that feels becoming of the tiny, would-be town of Almost, Maine.

. . . refreshingly honest, tremendously funny, and full of love and wisdom, with a little bit of magic awaiting those who are willing to find it.”

Serena Elize Flores and Brandon Wilson (Photo by Jeff Thomas)

Serena Elize Flores and Brandon Wilson shine together as distraught Glory and earnest repairman, East, whose chance encounter under the aurora offers hope that a broken heart can possibly be fixed. John Browning and Molly Larsen-Shine are at once hilarious and charming as Lendall and Gayle, a couple on the verge of breaking up when a surprising revelation changes everything. Allie Nordby delivers a haunting performance in a touching scene with Skylar Evans, in which a woman named Hope comes home to find out if the man she once loved still holds out hope for her return. These are only a few of the most memorable scenes, but all are well-executed and highly enjoyable.

Combined with Chris Schloemp’s stunning astral projections, Andrew Patton’s simple, snow-covered set creates a lovely backdrop, and is complemented by Donnie Frank’s humble, cold-weather costumery. Elizabeth Bazzano assists with a whimsical array of props, including big red bags purportedly full of love, an ironing board that doubles as an accidental weapon, and a shoe that drops mysteriously from the ceiling with impeccable timing. Thanks to resident designers Eddy Hansen and Jessica Johnson, lighting and sound work together seamlessly to set the scene, transitioning the small stage from romantic star-lit night to local watering hole with ease.

There isn’t much more I can divulge without risk of ruining some of the delicious surprises that await first-time viewers, but suffice it to say that from start to finish, this production is an absolute delight. This reviewer laughed and cried in equal measure. “Almost, Maine” is the kind of world I want to live in – refreshingly honest, tremendously funny, and full of love and wisdom, with a little bit of magic awaiting those who are willing to find it. If you’ve been waiting to get back to the theater, this show is the perfect opportunity. Don’t let it pass you by.

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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.

 

 

 

 

 

 

 

 

 

 

 

ProductionAlmost, Maine
Written byJohn Cariani
Directed byAnderson Templeton
Producing CompanySpreckels Performing Arts
Production DatesThrough April 10th, 2021
Production AddressSpreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Websitewww.spreckelsonline.com
Telephone(707) 588-3429
Tickets$12 - $26
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Script4.5/5
Stagecraft4.5/5
Aisle Seat Review Pick?Yes!

An ASR Pick! Transcendence’s Broadway Holiday Spectacular Offers an Evening of Magic at Belos Cavalos — by Nicole Singley

L to R: Edward Juvier, David R. Gordon, Maria Bilbao, Arielle Crosby, and Lori Haley Fox (Photo by Rob Martel)

It’s that time of the year again, and Transcendence Theatre Company has cooked up something special sure to put you in the spirit. Their Broadway Holiday Spectacular is back, and this season, it’s better than ever. Featuring a talented troupe of artists from all over the country – including many familiar faces, and some exciting new additions to the Transcendence family, too – it’s a high-energy night full of festive, foot-tapping fun for folks of all ages. Be sure to catch it while you can, before the show’s two-week run ends on December 12th.

Returning audiences will recognize all the traditional elements of a night spent with Transcendence – fresh and funny renditions of favorite tunes and classic carols, a live band and dazzling choreography, and of course, a pre-show party complete with food and wine from local vendors. But this year, the fun has moved under the big tent at Belos Cavalos, a charming equestrian estate tucked away in the hills of Kenwood, where guests will enjoy the chance to mingle with horses and goats during intermission, and gather around tables in lieu of standard theater seating.

On the program are a number of fan-favorites from previous years, including a clever play on Madonna’s “Vogue” paying homage to Rudolph of reindeer fame, and a silly song about making fruitcake set to the tune of Ricky Martin’s “Livin’ La Vida Loca,” performed capably by Transcendence newcomer Edward Juvier. There are some fun surprises, too, including two four-legged guest-stars, and a creative take on “12 Days of Christmas” inviting audience members to help with the countdown.

If you’ve never experienced a Transcendence show, make this the first of many.”

Top row: Bebe Browning, Marissa Barragán, Edward Juvier, Kyle Kemph; Bottom row: Luther Brooks IV, Preston Truman Boyd, Drew Elhamalawy (Photo by Rob Martel)

Lori Haley Fox is quirky and endearing as Mrs. Claus, who serves as our narrator throughout the evening, and Preston Truman Boyd is our flannel-clad Santa, loosely framing the musical acts within an uplifting story about family, friendship, and love. Behind them onstage, the live band really rocks, and bassist Lynn Keller even joins performer David Morgan for a cute number about Chanukah, together lamenting the limited greeting card options available at the local drugstore.

There are, of course, some slower heartfelt pieces in the mix, including a haunting rendition of “O Holy Night” performed by Kyle Kemph, whose voice is so clear and bright it gave me chills, and Arielle Crosby, whose talent alone is worth the price of admission. The pair team up again for an equally moving performance of beloved Mariah Carey and Whitney Houston duet “When You Believe.” Maria Bilbao nearly steals the show with a spine-tingling version of “Please Come Home for Christmas.” She makes it sound effortless, and the high notes brought actual tears to my eyes.

Top row: Bebe Browning, Drew Elhamalawy; Bottom row: Maria Bilbao, David R. Gordon, Kristin Piro; Front: Arielle Crosby (Photo by Rob Martel)

The entire cast is immensely talented, so much so that it almost feels unfair to single anyone out. But I’d be remiss not to also mention Transcendence newcomer Luther Brooks IV, who charms with his sparkling smile and evident dance skills. Be sure to keep an eye on him during some of the big ensemble numbers. Choreographers Matthew Steffens and Marissa Barragán have worked some magic on stage, making the show as fun to watch as it is to hear and sing along to. (Did I mention there are tiny goats in diapers?)

If you’ve never experienced a Transcendence show, make this the first of many. And if you’re a repeat visitor, you’ll be happy you didn’t miss out on this one. Plan to get there early and meet the horses, take selfies with goats, and wine and dine with friends before the show. Bring layers, too – the heated tent felt a bit chilly as the night cooled down. Even so, you’re sure to leave feeling full of warmth and holiday cheer.

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.

 

ProductionBroadway Holiday Spectacular 2021
Written byTranscendence Theater Co.
Directed & Choreographed byMatthew Steffens
Producing CompanyTranscendence Theatre Company
Production DatesThrough December 12th, 2021
Production AddressBelos Cavalos
687 Campagna Lane
Kenwood, CA 95452
Websitebestnightever.org
or
ttcsonoma.org
Telephone(877) 424-1414
Tickets$49-$149
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.5/5
Choreography4.5/5
Stagecraft4/5
Aisle Seat Review Pick?Yes!

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 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!