AN AISLE SEAT THEATER REVIEW PICK! “Drumming With Anubis” Wildly Entertaining at Left Edge Theatre – by Barry Willis

Mark Bradbury (Photo Credit: Katie Kelley)

In the galaxy of theater, the convergence of brilliant concept and brilliant execution occurs all too rarely. When it does, it’s a thing of beauty and wonder and a cause for celebration, like a solar eclipse or a blue moon.

At Santa Rosa’s Left Edge Theatre through June 30, David Templeton’s “Drumming With Anubis” is all this and more. A poignant, hilarious exercise in magical realism, it finds a group of middle-aged geeks camped out on the edge of the desert, there for a weekend of male empowerment, macho drumming, personal confessions, and recollections about the glory days of head-banging heavy metal rock. Founded by a recently departed drummer named Joshua Tree, the Neo-Heathen Male Bonding and Drumming Society has gathered in part to lay Josh’s ashes to rest, and to welcome a new member to its fold—a mysterious and reticent fellow they call simply “New Bitch” (Mark Bradbury).

The similarity to the new recruit’s nickname and the name of the Eqyptian god of death and mummification is no coincidence, of course, and the connection becomes increasingly clear as the story moves on—something it does with panache and superb pacing under the direction of David L. Yen, who somehow managed to balance rehearsals and performances of the excellent “Faceless” at 6th Street Playhouse with rehearsals of “Drumming.”

. . . the most near-perfect production you’re likely to see this summer.”

Pallaziol, Sholley, Martinez, and Schloemp (Photo Credit: Katie Kelley)

Yen may have gone without sleep for weeks while doing this, but the results are exemplary—a very funny production delicately seasoned with moments of profound personal truth. Chris Schloemp stars as the group’s leader, a kilt-wearing electrical contractor named “Chick” who as a not-quite-successful drummer has lived a large part of his life in Josh’s shadow. Anthony Martinez is his sidekick “Bull,” a gruff-voiced barbeque entrepreneur given to dressing like a Harley rider, but a man with deep insecurities about his masculinity. Then there’s “Stingray” (Richard Pallaziol), a twice-divorced alcoholic struggling to hang onto his third wife and his job as a manager of multiple sporting goods stores. Keeper of the group’s rules is Neil (Equity actor Nick Sholley), a “professor of pop culture” with failing knees, who has never recovered from the loss of his lover Alex. Altogether, they are an incredibly talented and superbly-balanced group of performers.

Miller and Martinez (Photo Credit: Katie Kelley)

The campers poke fun at their own and each other’s foibles, punctuating each heartfelt revelation or silly joke (revealing any would be unfair to playwright and patrons) with drum riffs and chants of “Balls deep!” while mourning the loss of their founder. Into their midst comes Nicky Tree (the feisty Ivy Rose Miller), Josh’s young widow, seeking not only her husband’s pilfered ashes but some substantial psychological restitution from the ragtag assemblage. How she gets it and what they get in return—both as individuals and as a group—is the driving force of the play’s second act, amplified by a continually-more-assertive Anubis. It’s a powerhouse combination of tremendous writing, acting, and direction, all of it on a delightfully plausible set by Argo Thompson, with gorgeous background projections by Schloemp.

Prolific journalist, critic, playwright, and North Bay national treasure, Templeton with this project has ventured out of the autobiographical mode that characterizes most of his prior work. It’s a fantastically successful effort carried out by a troupe of artists who truly understand and embrace his vision. You’ll howl with laughter but moments later may find yourself wiping tears away—an emotional rollercoaster that’s both thrilling ride and rock-solid reward. “Drumming With Anubis” may be the most near-perfect production you’re likely to see this summer.

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.

 

 

ProductionDrumming With Anubis
Written byDavid Templeton
Directed byDavid L. Yen
Producing CompanyLeft Edge Theatre
Production DatesThrough June 30th
Production AddressLuther Burbank Center for the Arts

50 Mark West Springs Rd. Santa Rosa, CA 95403
Websitewww.leftedgetheatre.com
Telephone(707) 546-3600
Tickets$25-$40
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script5/5
Stagecraft4.5/5
Aisle Seat Review Pick?Yes!

AN AISLE SEAT THEATER REVIEW PICK! “Faceless” Brings Feisty Focus to Courtroom Drama – by Cari Lynn Pace

The cast of “Faceless” (Photo Credit: Eric Chazankin)

Live theatre can bring laughter or tears. You may leave feeling warm and fuzzy or puzzling over moral questions.

You’ll be immersed in all these vibrancies with “Faceless,” playing through June 2nd in the Studio Theatre at the 6th Street Playhouse in Santa Rosa. This intimate theatre-in-the-round is the perfect cocoon for a courtroom clash. The audience is the jury, and the intense characters are ours to judge.

Susie (a hijab-wearing Isabella Sakkren) is a teen swept into the web of an internet ISIS “friend” and wooed into believing that she can be part of a new “family.” Arrested as she attempted to flee to Syria, she is now jailed and facing trial.

Susie’s dad, a hard-working single father (perfectly cast in Edward McCloud), still grieves the tragic loss of his wife. Was he so bound in his grief that he neglected to see his daughter becoming sullen and marginalized? Dad agonizes between consoling Susie and berating her for her empty extremism. He “mortgages the farm” to hire a top-notch defense attorney for his hostile daughter – a perfect role for Mike Pavone.

You may not want this 90-minute play to end.”

As for the prosecution, the lead attorney’s strategy (in spot-on acting by award-winning David L. Yen) is delightfully devilish. He theorizes that a female Muslim attorney on his staff would be the perfect choice for this touchy trial. He summons Claire (the lovely and spirited Ilana Niernberger) who wears her hijab with devotion, not faux faith.

David L. Yen (Photo Credit: Eric Chazankin)

The dialog between these two attorneys is like watching rams clash. They slice through untouchable issues of religion, race, privilege, and predatory behavior with knife-sharpened repartee in an astonishing feat of writing by playwright Selina Fillinger. You may not want this 90-minute play to end. When it does, you alone will make the judgment call.

Director Craig A. Miller, former Artistic Director of the 6th Street Playhouse, worked two years to gain the rights to present “Faceless.” He has exercised impressive skill in staging the characters, enabling the audience to feel included in the courtroom drama.

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

 

ProductionFaceless
Written bySelina Fillinger
Directed byCraig A. Miller
Producing Company6th Street Playhouse, Studio Theatre
Production DatesThrough June 2nd
Production Address6th Street Playhouse
Studio Theatre
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$18 – $28
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script5/5
Stagecraft5/5
Aisle Seat Review PICK?Yes!

AN AISLE SEAT THEATRE REVIEW: Great Acting Can’t Overcome Script in “The Revolutionists” – by Barry Willis

The French Revolution was a bloody mess. That’s putting it in the mildest possible terms. The country’s 18th century bankruptcy and crushing poverty led to an uprising that in turn became the Reign of Terror in which many thousands of real and imaginary enemies of the new state were imprisoned and killed. A civil war was a strong possibility.

At the same time, surrounding countries fearing that anti-royalty sentiment would spread, and seeing many opportunities in a weakened France, sought to conquer the bourgeoning democracy. This set the stage for the rise of the Emperor Napoleon Bonaparte, one of history’s most egomaniacal and brutal dictators.

Almost 17,000 people were executed during the peak year of the Reign of Terror, from summer 1793 to summer 1794—an average of 45 per day, a sustained orgy of head-chopping. Many executions took place in Paris; the guillotine was a popular form of entertainment. All this to establish a new form of government and economy based on the slogan “liberté, égalité, fraternité” (freedom, equality, brotherhood)—high ideals riddled with hypocrisy, as playwright Lauren Gunderson makes clear in “The Revolutionists,” in the studio theater at 6th Street Playhouse through April 7.

Flores and Revelos (Photo Credit: Eric Chazankin)

Gunderson places one fictional and three historical figures into her theatrical caldron then applies heat to see what will happen, with mixed results. The primary figure is writer and political activist Olympe de Gourges (Equity actress Tara Howley Hudson), a champion of the rights of women and minorities and an outspoken critic of the Reign of Terror who went to the guillotine on November 3, 1793. Two strong secondary characters are Marie Antoinette (Lydia Revelos, fantastic), whose lavish spending was widely believed to be the cause of France’s massive financial problems, and Charlotte Corday (Chandler Parrott-Thomas), who assassinated revolutionary firebrand Jean-Paul Marat and was beheaded four days later. The fourth figure is Marianne Angelle (Serena Elize Flores), a fictional character who advocates for the rights of women and oppressed minorities. “How about liberté, égalité, sororité?” she asks.

…compellingly rendered and superbly well performed, but… doesn’t overcome the script’s fundamental difficulties.” 

Both stagecraft and acting are first-rate under the direction of Lennie Dean, especially by Hudson and Revelos, but this adventure into “metatheater” is seriously overwrought, the kind of play that might be more at home as a graduate effort by an art school drama club. The characters interact with each other—only experts in French history could state whether any of them actually met—and with their audience, smothered with abstruse intellectualisms as only the French can spin them, and arcane (for Americans, anyway) historical references. Ultimately, we learn that the whole convoluted affair is something bubbling in Olympe de Gourges’s soon-to-be-detached head, as she struggles to do something with enduring impact in her last few days—a dramatic structure very much like the film “Jacob’s Ladder,” where the final reveal is that the foregoing story has taken place in a dying soldier’s mind.

“The Revolutionists” is compellingly rendered and superbly well performed, but the excellence of the performance doesn’t overcome the script’s fundamental difficulties. It’s a prickly but rewarding show for those with theatrical fortitude and better-than-average understanding of both history and its presentation as entertainment. The Thursday April 4 performance features a talkback after the show, recommended.

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.

 

ProductionThe Revolutionists
Written byLauren Gunderson
Directed byLennie Dean
Producing Company6th Street Playhouse, Studio Theatre
Production DatesThrough April 7th
Production Address6th Street Playhouse
Studio Theatre
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$18 – $28
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance4.5/5
Script3/5
Stagecraft3.5/5
Aisle Seat Review PICK?-----

AN AISLE SEAT THEATER REVIEW PICK! “The Nether” Enthralls at Left Edge Theatre – by Nicole Singley

Imagine a virtual world in which you are free to live out your darkest fantasies without repercussion – a perfectly rendered, immersive escape from reality, wherein you can look, speak, and act as you please, your identity securely concealed.

But what makes something real? If a virtual experience has the power to make us think and feel, is it truly artificial? Are our choices ever free from consequence?

By turns philosophical and eerily prophetic, “The Nether” – making its Sonoma County premiere at Left Edge Theatre through March 24th –invites us into such a world, raising these and many other timely questions about morality and culpability in the digital era. But before “logging in,” users be warned: unsettling subject matter is in no short supply here.

Schloemp and Rosa (Photo Credit: Eric Chazankin)

We open on a bleak interrogation room at an unspecified time in the future. Detective Morris (Leila Rosa) sits across from a man in old-fashioned clothing with a guarded demeanor. What was once the internet has evolved into the Nether – an immense network of online realms in which students attend virtual schools, employees telecommute to virtual offices, and people like Mr. Sims (Chris Schloemp) log in to indulge their innermost desires.

Sims – or “Papa,” as his avatar is known – is the proprietor of a realm dubbed the Hideaway, an elaborately designed Victorian home conjuring up a hypnotic nostalgia for simpler times past with its ornate furniture and poplar-lined vistas. Visitors can enjoy a stiff drink, dance along to old records on the gramophone, or molest and dismember prepubescent girls.

Morris is determined to shut the Hideaway down and hold Sims accountable for his gruesome crimes – crimes committed, that is, by and against avatars in the Nether. But has anyone really been hurt? Morris presses Hideaway participant Mr. Doyle (David L. Yen) for incriminating details, her own composure slowly crumbling in the process.

Wright and Spring (Photo Credit: Eric Chazankin)

We cut between the interrogation room and scenes inside the Hideaway, where we meet Iris (the stellar Lana Spring) – Papa’s favorite little girl – and Mr. Woodnut (Jared N. Wright), an undercover agent sent to gather evidence for Morris’s investigation. Mr. Woodnut has honorable intentions, but soon discovers the lines between personal and professional – as well as virtual and actual – are hard to draw inside this realm. He is bewitched by the Hideaway and all it has to offer, becoming himself a reluctant participant in Papa’s twisted world.

…haunting, thought-provoking, and disturbingly relevant…”

It is evident Director Argo Thompson has chosen his cast with care. Schloemp brings grace and finesse to a difficult role, making Sims remarkably sympathetic given his deviant inclinations. Wright is compelling as the well-meaning detective, grappling with unexpected temptation and fearful self-reflection. Yen delivers a surprisingly heart-rending performance as the reticent and wounded Mr. Doyle. Spring’s Iris is ethereal and deeply felt, adding much to the story’s emotional impact. (It’s important to note that Spring is an adult, and that the worst of what happens is not depicted on-stage.)

Rosa is arguably the only weak link. She doesn’t seem at home in her role, and the opening scenes are a bit awkward because of this. Her behavior may be intentional, however, given what we learn later in the show.

Yen (Photo Credit: Eric Chazankin)

Thompson’s set anchors the interrogation room at its center, flanked on both sides by rooms within the Hideaway, keeping us tethered to reality as we experience the virtual world. His crew has chosen fitting furniture and props for the Hideaway, and the interrogation room feels adequately cold and futuristic. Schloemp’s projections are an effective enhancement, transforming the interrogation room’s table into an interactive portal to the Nether.

Joe Winkler has set the show to an appropriately ominous soundtrack, from floor-shaking electronic overtures to the crackle and pop of old-timey tunes on Papa’s Victrola. There’s a moment of eerie dissonance near the show’s end when the soundtracks from both worlds collide, as the real and virtual begin to meld.

Act one is weighed down by philosophical quandary and is slow to build momentum. When the pieces begin to fall together, however, the pace accelerates into a second act rich with chilling developments and surprising revelations, and an ending that begs as many questions as it answers.

Though not for the faint-hearted, “The Nether” is a haunting, thought-provoking, and disturbingly relevant ride well worth taking if you can stomach the subject matter. Playwright Jennifer Haley pulls us out of our comfort zone and thrusts us into this dark exploration of a not-so-far-off future that could very well become our own.

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

 

 

ProductionThe Nether
Written byJennifer Haley
Directed byArgo Thompson
Producing CompanyLeft Edge Theatre
Production DatesThrough March 24th
Production AddressLuther Burbank Center for the Arts

50 Mark West Springs Rd. Santa Rosa, CA 95403
Websitewww.leftedgetheatre.com
Telephone(707) 546-3600
Tickets$25-$40
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script3.5/5
Stagecraft4/5
Aisle Seat Review Pick?Yes!