Tag: Sue Morgan

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PICK! ASR Theater ~~ “The Metromaniacs” a Linguistic Howl at Spreckels

By Sue Morgan

Do mellifluous words set you atwitter? Do powdered wigs and Converse sneakers make you jitter? Would missing a night of hilarious hijinks, deftly performed by Sonoma County’s own Spreckels Theatre Company make you bitter?

Then, by all means, do yourself a favor and drive the short distance to Rohnert Park to see The Metromaniacs, playing now through Sunday, December 17th in the Spreckels Performing Arts Center studio theatre.

 … plenty of laugh-out-loud moments throughout the performance …

The Metromaniacs is a translation and adaptation by David Ives of a little-known French play written in 1738, entitled La Métromanie (also called The Poetry Craze). Ives became intrigued with the play due to its comedic underpinnings based on a real-life scandal in which none other than the great Voltaire professed his love for and desire to marry a highly esteemed yet unknown poetess, only to find out that the “Mademoiselle” was in fact a Monsieur, writing under a pseudonym to exact revenge on poetry-mad society that had ignored works published under his own name.

The play was written in verse, was hilarious, and its author had also written a “lengthy poetic Ode to the Penis.” Those facts clinched the deal for Ives, who had adapted two French comedies for the Shakespeare Theatre Company and had enjoyed the process so much, he sought out a third. [Editor’s note: David Ives is not only a brilliant translator, especially of Moliere, but is a wonderful comedic playwright himself. “All in the Timing”, his collection of one-acts, includes a hilarious piece called “The Universal Language.”]

Spreckels director Kevin Bordi’s spare suggestion of a set-within-a-set exists sans the 4th wall, which allows the audience to engage (albeit silently) with cast members as we serve as guests invited to the grand estate of Francalou (Edward McCloud), who’s hosting a play intended to draw suitors for his unmarried, poetry-loving daughter Lucille (Mercedes Murphy).

Brady Voss plays the delightfully obsessive poet and would-be playwright Damis in Spreckels Theatre Company’s “Metromaniacs,” a farce about poetry fans by David Ives. Photo by Jeff Thomas.

Talented yet penniless poet Damis (the fabulously over-the-top Brady Voss) believes that the mysterious Mlle. Meridec de Peaudoncqville is also in attendance, and Francalou—the actual composer of the poems ascribed to the non-existent Mlle. Meridec—leads Damis to believe that Lucille is the real Mlle. Meridec.

Tajai Britten plays the opportunistic Mondor in “The Metromaniacs,” now at Spreckels. Photo by Jeff Thomas.

With hidden and mistaken identities, pseudonyms, outrageous plot lines (Ives described The Metromaniacs as “a comedy with five plots, none of them important”) and outlandish dialogue delivered in rhyming couplets, there are plenty of laugh-out-loud moments throughout the performance.

Edward McCloud (right) as the wealthy poet Francalou, with Sarah Dunnavant as the scheming servant Lisette, in “The Metromaniacs.” Photo by Jeff Thomas.

Voss, Murphy and Sarah Dunnavant (as Lisette, a servant disguised as mistress Lucille) all deliver their lines with aplomb, but this reviewer thought that some other players seem more focused on correctly reciting the trippingly tricky rhymes, rather than allowing their characters to carry on actual conversations with one another.

The dialogue in The Metromaniacs is some of the most challenging I’ve encountered outside of Shakespeare. Despite that bit of difficulty, the audience—myself included—laughed heartily and often and thoroughly enjoyed this engaging and entertaining performance.

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ASR Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. She is a voting member of the SF Bay Area Theatre Critics Circle. Contact: [email protected]

 

ProductionThe Metromaniacs
Translated & Adapted byDavid Ives
Directed byKevin Bordi
Producing CompanySpreckels Performing Arts
Production DatesThrough Dec 17th
Production AddressSpreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Websitewww.spreckelsonline.com
Telephone(707) 588-3429
Tickets$14 - $346
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance3.75/5
Script4.5/5
Stagecraft3.5/5
Aisle Seat Review Pick?YES!
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PICK! ASR Theater ~~ “Hello, Dolly” an Authentic Joy at Spreckels

By Sue Morgan

Spreckels Theatre Company lit up the 500-seat Nellie W. Codding Theatre at Friday night’s brilliant opening of the beloved classic Hello, Dolly.

With music and lyrics by Jerry Herman and book by Michael Stewart, director Elly Lichenstein’s production is refreshingly true to the original. Set in 1890s Yonkers and New York City, the play follows the machinations of Dolly Gallagher Levi, a former socialite forced to use her prodigious wiles as matchmaker and “arranger of all things” to earn a living after the death of her beloved husband Ephraim. Exhausted by the effort required to keep herself afloat, Dolly sets her sights on snaring the “well-known half-millionaire” Horace Vandergelder, while ostensibly trying to match him with comely milliner and widow Mrs. Irene Molloy.

The choice to stage Dolly in the wake of the complex (and also outstanding) contemporary Irish comedy Stones in His Pockets was a bit of showbiz genius by Spreckels’ Artistic Director Sheri Lee Miller. While at first glance the plays appear wildly disparate, in fact, they both explore the theme of the effects of living in wealth versus poverty, a topic of vital relevancy today as “haves” continue to displace “have nots,” housing prices soar, and wages stagnate.

While some might view Dolly as a gold digger, she is not at all interested in hoarding wealth, as evidenced by her assertion that she adheres to her former husband’s belief that, “Money, pardon the expression, is like manure. It’s not worth a thing unless it’s spread around, encouraging young things to grow.”

(Pictured: Daniela Innocenti Beem as Dolly Levi and Chris Schloemp as Horace Vandergelder).

Perfectly cast in the title role, Daniela Innocenti-Beem radiantly guides the action, charming the audience from her first appearance walking down the center aisle, handing out business cards for every conceivable need before taking the stage to introduce herself in song in the delightful “I Put my Hand In.” The spotlight always appears to shine brighter in her direction.

She’s a solid performer, whether enlivening the many comic scenes, conveying tender wistfulness as she beseeches her deceased husband to send her a sign, dancing, or showcasing her superb voice. Innocenti-Beem is absolutely the star of this show!

Chris Schloemp is spot on as gruff, miserly and calculating Horace Vandergelder. Zane Walters’ combination of earnestness and humor in his portrayal of Chief Clerk Cornelius Hackl hits just the right notes. Both men shine in their respective roles. Fun-loving widow Irene Molloy is deftly played by Madison Scarbrough, whose clear and rich tones during the gorgeous “Ribbons Down My Back” made the song a show-stopper. Kaela Mariano as Ermengarde is also a standout in her perfectly over-the-top depiction of Horace’s spoiled niece. There’s not a lackluster performance in this show!

“Hello Dolly” cast at work.

Set design by Eddy Hansen and Elizabeth Bazzano is beautifully augmented by Nick Lovato’s skillful projections. Lighting and sound design by Eddy Hansen and Jessica Johnson are straightforward and effective. Choreography by Karen Miles, superb throughout the show, reaches its crescendo during the madcap performance of the “Waiter’s Gallop” preceding dinner service at the Harmonia Gardens. Music Direction by Debra Chambliss is impeccable. Many guests made their way to the orchestra pit as the performers left the stage to enjoy seeing the musicians play the final notes of the evening. Oh, and you just have to see the wonderful costuming by Donnie Frank.

Spreckels Theatre Company’s production of Hello, Dolly is musical theatre at its best and kept this reviewer smiling throughout the performance and happily humming all the way home.

With an abbreviated schedule due to an unforeseen issue which caused the play to open a week late, Spreckels has added a special-price performance on Thursday, October 12 at 7:30 P.M. during which all tickets will be $20 for adults and $10 for youth 18 and under. Grab your tickets right away—the show ends its too-brief run October 15th.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. She is a voting member of the SF Bay Area Theatre Critics Circle. Contact: [email protected]

 

ProductionHello, Dolly
Music & Lyrics by

Book by		Jerry Herman

Michael Stewart
Directed byElly Lichenstein
Producing CompanySpreckels Performing Arts
Production DatesThrough Sept 10th
Production AddressSpreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Websitewww.spreckelsonline.com
Telephone(707) 588-3429
Tickets$16 - $36
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance4.75/5
Script4/5
Stagecraft4.5/5
Aisle Seat Review Pick?YES!
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PICK! ASR Theater ~~ SAL’s “Guys and Dolls” Hits all the Right Notes!

By Sue Morgan

Ready to be swept away on a whirlwind of roguish charm, romance, and toe-tapping tunes? Treat yourself to Sonoma Arts Live’s production of Guys and Dolls.

This jubilant musical masterpiece, brought to life by a sensational cast and spot-on production, is a guaranteed crowd-pleaser that will leave you grinning from ear to ear.

Set in the bustling streets of 1930s-era New York City, Guys and Dolls follows the antics of a motley crew of high-rolling gamblers and vivacious showgirls and the earnest temperance workers intent on saving their souls.

“1930s-era New York City in “Guys and Dolls” at Sonoma Arts Live.

Enter the world of Nathan Detroit (played with a combination of panache and haplessness by SAL newbie, but seasoned performer Skyler King) charismatic mastermind behind the oldest permanent floating craps game in town.

…Grab your lucky charm, roll the dice, and immerse yourself in this wonderful play…

Desperately trying to find a safe spot for his next nefarious gathering, Detroit tries to acquire $1,000 (needed to hold the game at a local garage) from slick and suave Sky Masterson (given unexpected depth of character by Andrew Smith), a high-stakes gambler with an insatiable appetite for unconventional wagers. Detroit bets Sky that he won’t be able to persuade prim and prudish temperance worker Sergeant Sarah Brown (pitch perfect Maeve Smith) to have dinner with him in Havana.

The Hot Box Girls in Sonoma Arts Live’s “Guys & Dolls” See ’em while they’re hot! Opening July 14th!

Love, however, finds its way into the hearts of these streetwise hustlers when Nathan’s long-suffering fiancée, Miss Adelaide (beautifully executed by gifted Jenny Veilleux) decides it’s time for him to ditch the shady lifestyle and settle down. With her irresistible charm, hilarious accent, and fervent belief in Nathan’s 14-year-long promise to marry, Adelaide uses every ounce of guile she possesses in a desperate bid to secure a wedding date. But the true test of love and faith falls upon Sky, whose high stakes wager to woo Sarah and prove that love can conquer even the most unlikely of pairings turns out to be much more than a dare.

Standout performers such as Jonathen Blue as Nicely Nicely—whose rousing rendition of “Sit Down, You’re Rockin’ the Boat,” was a crowd favorite—as well as Rick Love’s cigar-chomping menace as Chicago gangster Big Jule, help to round out this outstanding ensemble.

Gamblers in Sonoma Arts Live’s “Guys & Dolls”, running July 14th-30th.

With a legendary score by Frank Loesser, the irresistible melodies will have you tapping your feet and humming along in no time. From the iconic “Luck Be a Lady” to the comical ode to psychosomatic distress “Adelaide’s Lament” (a side-splitting show-stopper as performed by Veilleux), the music seamlessly weaves its way into the fabric of the story, leaving you longing for more.

Under the expert direction of the brilliant creative team (Larry Williams, director: Liz Andrews, choreographer; Frank Sarubbi, lighting design; Laurynn Malilay, sound design, and all their cohort, the simple set manages to capture the essence of 1930s New York, the costumes add a vibrant splash of color, and the understated choreography elevates the music. Best of all is the convincing chemistry between the romantic leads, not surprising as the Smiths (Sarah and Sky) are husband and wife in real life, but also holds true for Veilleux and King, as Detroit and Miss Adelaide.

Cast of “Guys & Dolls” at work.

Guys and Dolls is a jubilant celebration of love, misadventure and the power of redemption. With its infectious spirit, catchy tunes, and effervescent performances, this exuberant musical is a must-see for theatre enthusiasts and newcomers alike. Grab your lucky charm, roll the dice, and immerse yourself in this wonderful play that will leave you grinning, clapping, and begging for an encore!

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Sue Morgan is a Senior Contributing Writer at Aisle Seat Review and a voting member of the San Francisco Bay Area Theatre Critics Circle. Contact: [email protected]

 

 

ProductionGuys and Dolls
Written byMusic and Lyrics by: Frank Loesser

Book by: Jo Swerling and Abe Burrows
Directed by
Larry Williams
Producing CompanySonoma Arts Live
Production DatesJuly 14th - 30th
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
Script5/5
Stagecraft3.5/5
Aisle Seat Review Pick?YES!
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PICK! ASR THEATER ~~ “Where Did We Sit on the Bus?” – An Astounding Solo Show at Marin Theatre Co.

By Sue Morgan

Where Did We Sit on the Bus? is an autobiographical one-person show written and originally performed by Brian Quijada. The outstanding production currently being performed at Marin Theatre seamlessly shifts the perspective from straight male to gay female with multi-talented Satya Chavez taking on the role of “Bee Quijada.”

The piece explores themes of identity, race, and belonging, through the lens of Quijada’s personal experiences growing up as the offspring of Central American immigrants in the United States.

…Do yourself a favor and treat yourself…

The title Where Did We Sit on the Bus? refers to the historical context of the Civil Rights Movement in the United States, specifically the Montgomery Bus Boycott of 1955-1956. The boycott was a response to the practice of forcing African Americans to sit at the back of public buses. The title alludes to the question of where people of different backgrounds and ethnicities “fit” in society and the struggles they face in navigating issues of race and identity.

Quijada’s story is not unlike that of many first- and second-generation immigrants who arrive in the United States with little but a dream of forging a safe and prosperous life. With a passion to perform and talent to fuel the fire, young Bee, a straight A student who works hard to make her parents proud, broaches the subject of wanting to dedicate her life to the stage, only to be met with fierce resistance by both parents who encourage her to pursue a “real” career, such as becoming a lawyer or a doctor.

Regardless of their disapproval, Bee tries out and wins a part in a school production only to be saddened that her parents do not attend the performance. This pattern continues throughout her school years, as Bee continues to hone her craft, culminating in a performance for fellow college drama students that wins a standing ovation.

What brings this familiar story to life is the mind-blowing talent of Satya Chavez, who in real life had full parental support for many artistic ambitions. At an early age, Satya was given lessons in voice and piano. Chavez believes that learning the fundamentals of music theory enabled achieving high levels as a multi-instrumentalist.

During the course of Where Did We Sit, Satya skillfully incorporates various forms of artistic expression, including rap, beatboxing, and live looping–creating a vibrant and captivating theatrical experience.

While narrating the story, Satya moves about the stage, playing various musical instruments including a guitar, a guitaron (the large and bulbous guitar used by mariachi players), a wooden flute, keyboards, various percussion instruments, and vocalizations, live looped to create a sometimes gorgeous auditory backdrop that masterfully propels the narrative forward.

Couple this with Chavez’ apparently genuine sense of ease as a performer and the entire production is mesmerizing. It is this talent that makes this performance a must see. Do yourself a favor and treat yourself to the gift of witnessing the birth of a star. Where Did We Sit on the Bus? is an astounding performance.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ProductionWhere Did We Sit on the Bus?
Written ByBrian Quijada with additional compositions by Satya Chavez
Directed byMatt Dickson
Producing CompanyMarin Theatre Company (MTC)
Production DatesThrough May 28th
Production AddressMarin Theatre Company
397 Miller Avenue
Mill Valley, CA
Websitewww.marintheatre.org
Telephone(415) 388-5200
Tickets$25-$65
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script3.5/5
Stagecraft4/5
Aisle Seat Review PICK?YES!
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PICK! ASR Theater ~~ “Side by Side by Sondheim” Soars in Sonoma!

By Sue Morgan

For a few magical hours during the opening night of Sonoma Arts Live Theatre Company’s performance of Side by Side by Sondheim, the problems of the world fell away, leaving only delight. A musical revue of some of the best of Stephen Sondheim’s vast cannon of songs, with music by Sondheim, Leonard Bernstein, Mary Rodgers, Richard Rodgers, and Jule Styne, this is a production not to be missed.

This enchanting performance begins as four guests arrive for an evening of “song and festivities” at a swanky Manhattan apartment—beautifully designed by Carl Jordon. Cityscape glittering outside the window, the callers enjoy sparkling libations, including vodka stingers, while singing together, individually, and in various combinations. Two grand pianos, one on either side of the picture window, allow for a richer and fuller sound than a single piano could provide. Often played in harmony, they create a lush and complex musical texture that highlights the intricacy and sophistication of Sondheim’s compositions. As the full company begins to sing the enlivening “Comedy Tonight” and “Love is in the Air,” it is immediately apparent that this will be a very special evening.

…a production not to be missed!

The cast are, without exception, outstanding. That said, if consigned to live out my life on a desert island with only one performer for company, I would choose Danielle “Dani” Innocenti-Beem. With an artistic virtuosity so practiced that it seems effortless, Ms. Beem’s voice has a rare and indescribable quality that sets it apart from any other.

Danielle “Dani” Innocenti-Beem at work in “Side By Side By Sondheim”

Add to that her ability to convey the entire spectrum of emotion with no more than facial expressions, and we are witnessing a world-class performer. With songs ranging from the achingly gorgeous, “Send in the Clowns” to the hilariously tongue-twisting “The Boy From”—’Tall and tender, like an Apollo, he goes walking by and I have to follow, him, the boy from Tacarembo La Tumbe Del Fuego Santa Malipas Zatatecas La Junta Del Sol Y Cruz’—Beem delivers seamless performances.

Maeve Smith at work at Sonoma Arts Live.

Maeve Smith’s vocal range is a wonder to behold! From breathless whisper to full out belting voice, she is up for the task. With acting chops to match, she’s a formidable performer. In “Another Hundred People” Smith’s sense of disconnection feels palpable as she laments being surrounded by people but sharing intimacy with none. In “Getting Married Today,” Smith displays her ability to articulate perfectly while singing at break-neck pace, to wonderful comic effect.

Jonathen Blue’s beautiful tenor is both rich and wistful as he sings about the possibility of love in the stunning “Being Alive.” Blue’s deft use of tone and timing made this a standout among many such performances of the night. His solo comic tune, “Buddy’s Blues,” showcased a disarming charm as he elicited sympathy despite the dubious character he portrayed.

Jonathen Blue in “Side By Side By Sondheim”

From tenor to bass, Alexei Ryan, has a unique and compelling voice. His rendition of “I Remember”—typically sung by a woman—was simply gorgeous. His ability to sustain perfect pitch at the lowest register was astonishing! His duet with Innocenti-Beem in “You Must Meet my Wife,” was one of the funniest performances of the evening as his earnestness hilariously contrasted with Beem’s eye-rolling “give-me-a-break” disingenuousness.

Rick Love did his best as the narrator to infuse the outdated and frequently tone-deaf jokes with humor via his delivery, but it might be a mercy to simply drop the jokes. Love shined when acting as our guide, introducing and contextualizing the songs performed, providing background information on the composers and the stories behind the songs.

Director Andrew Smith is a master at drawing out natural-seeming performances from his actors. The performers mix drinks, mingle with one another and lounge comfortably around the set, which somehow has the effect of making the audience feel like guests at the party.

The cast of “Side By Side By Sondheim” at work.

Musical Direction by Ellen Patterson was spot on. The choices she made regarding who would perform each song were inspired, as was her direction of the superbly talented pianists.

The combination of Beem, Smith, Blue and Ryan and their ability to effectively convey the humor, heart and complexity of Sondheim’s music, the simple, yet ingenuous set design, and stellar musical accompaniment all work together to make this an awards-worthy production. I can’t wait to see what’s next for Sonoma Arts Live theater company!

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ProductionSide By Side By Sondheim
Music byStephen Sondheim, Leonard Bernstein, Mary Rodgers, Richard Rodgers, Jule Styne
Directed byAndrew Smith
Producing CompanySonoma Arts Live
Production DatesThursdays thru Sundays through May 7, 2023
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
Overall4.5/5
Performance4.5/5
Script4/5
Stagecraft4.5/5
Aisle Seat Review Pick?YES!
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PICK! ASR Theater ~~ “Always… Patsy Cline” Delightful & Uplifting at 6th Street

By Sue Morgan

Currently at 6th Street Playhouse in Santa Rosa, Always, Patsy Cline incites smiles, belly laughs, and deep appreciation of the music of the late, great Patsy Cline while telling the story of how Patsy became friends and pen pals with one of her most ardent fans. The show runs through April 30th.

In 1961, Patsy Cline played a concert at the Esquire Ballroom in Houston, Texas. Alerted to the performance by a local DJ, superfan Louise Seger was the first to arrive at the venue and struck up a conversation with the star, who was doing pre-performance reconnaissance in the hall. Louise and Patsy sparked an instant connection, and before the show, Patsy joined Louise and her friends at their table and asked Louise if during the performance she would keep an eye on the drummer to ensure he didn’t rush her. Louise did so and after the show invited Patsy to her home for a late night/early morning breakfast of bacon and eggs.

…It’s a touching story…

Louise narrates the story, performed by the hilarious Liz Jahren, thoroughly enjoying her role as comic relief. Portrayed as an outspoken, outlandish character, who through gumption fueled by her long adoration of Patsy’s music—she called her local DJ Hal Harris multiple times daily to request that he play her favorite Patsy Cline songs—manages to get Patsy an early morning in-person interview with him. Mr. Harris thinks Louise is drunk and delusional when she calls his home in the early morning hours to inform him that Patsy Cline is at her house and will be at his studio in the morning for an interview. Hal responds, “And I’ve got Marilyn Monroe in bed. Now, honey, you sleep it off and I’ll play ‘I Fall to Pieces’ for you in the morning.”

Shannon Rider as Patsy Cline at 6th Street.

Louise goes on to describe—to appreciative laughter—the expression on Hal’s face later that morning as he sees Louise arrive in the studio, arm in arm with Patsy Cline. Louise elicits more laughter as she paints a picture of Hal, who “…looked like death, wearing Bermuda shorts, a sweater that looked like it had been in the dryer a week and tennis shoes with holes cut out so his toes could breathe.”

Patsy Cline (honey-voiced and beautifully self-possessed Shannon Rider) tells her story in snippets between the 27 songs she sings throughout the performance. A self-taught singer, Patsy was unable to read music and had no idea what key she sang in. Growing up in poverty, she proudly admits that her mother sewed the cowgirl outfits she favored early in her career. Envisioning herself a star, she was the first woman singer to headline her own tour and worked tirelessly, often performing multiple shows per day, even after giving birth to her second child.

Director Jared Saken empowers Jahren and Rider to share a natural-seeming rapport and the two appear to genuinely enjoy performing together. Both women first played their respective characters 15 years earlier when 6th Street Playhouse put on its first production of Always. Jahren played Louise throughout the production and Rider filled in for a weekend—after being given one day’s notice—when the lead actress playing Cline became ill. Jahren has a wonderful sense of comic timing and Rider, who has enjoyed a successful singing career as leader of her own bands, is perfectly at home whether singing or acting.

Shannon Rider and Liz Jahren in “Always, Patsy Cline”.

Music Director Nate Riebli does a fine job with “The Bodacious Bobcats Band,” whose accompaniment never overwhelms Rider’s vocals, as well as with “The Jordanaires” whose “How Great Thou Art” lends appropriate gravity to the scene in which we learn that Patsy has been killed—at age 30!—in a plane crash. Costume Designer Pamela Johnson does a phenomenal job with Cline’s wardrobe, capturing the elegance and glamour Cline was known for using many vintage pieces to very good effect.

There is a reason this play is performed—often in multiple venues—around San Francisco and the North Bay almost every year. Always…Patsy Cline delivers music beloved by country as well as pop fans. It’s a touching story about an unlikely friendship and an affirming message about one woman’s ability, through grit, determination and hard work, to make the most of her natural talent.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ProductionAlways... Patsy Cline
Written byTed Swindley
Directed byJared Sakren / Nate Riebli
Producing Company6th Street Playhouse, Studio Theatre
Production DatesThru Apr 30th
Production Address6th Street Playhouse
52 W. 6th Street
Santa Rosa, CA 95401
Websitehttp://www.6thstreetplayhouse.com
Telephone (707) 523-4185
Tickets$35 to $43
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script4.5/5
Stagecraft3/5
Aisle Seat Review PICK?YES!
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PICK! ASR Theater ~~”Six the Musical” Sets the Orpheum on Fire!

By Sue Morgan

Kicking off Women’s History Month a few weeks early, Broadway San Francisco couldn’t have made a better choice than with the much awarded Six the Musical, at the Orpheum Theatre in San Francisco through March 19th.

With a supremely talented all-woman cast, Six takes the audience on an exuberantly wild ride through the trials, tribulations and jubilation of the lives of the six wives of Henry the VIII, reimagined as contemporary pop stars.

Photo: Joan Marcus. “SIX: The Musical” in The City.

Awards, including a Tony for Best Original Score (Music and Lyrics) and the Outer Critics Circle Award for Best Musical of the 2021-22 Broadway season, are only part of the story. With its celebration of feminism and up-to-the-minute Millennial and Gen Z-speak, Six appeals to young (and not-so-young) adults in the same way today’s arena megastars do. In fact, the six Queens’ personas, appearance and vocal stylings are literally borrowed from those very same megastars. Opening night, highly amped attendees cheered after every song and responded enthusiastically to the performers’ prompts.

…the energy at times ratcheted to near fever pitch…

With no pretense of historical accuracy, the premise is secondary to the energy, passion, and powerhouse vocals on display as our Queens engage in a competition to determine who will be awarded the coveted title “Leader of the Band.” The women play off one another beautifully, whether bantering, baiting or backing each other, as one by one they take center stage to make their case.

Choreography by Carrie-Anne Ingrouille is brilliant, blending technical jazz, hip-hop and house dance with a smattering of vogueish posing. In combination with the hard rock-driven intensity and volume of the excellent backing band—the “Ladies in Waiting,” the energy at times ratcheted to near fever pitch.

Photo: Joan Marcus. Gabriela Carrillo as Catherine Parr (center) in The North American “SIX The Musical” Tour

Lighting design by Tim Deiling transformed a very basic set into a phantasmagorical Queendom, while costume design by Gabriella Slade gave the Queens an edgy, almost steampunk vibe.

The Queens, without exception, gave outstanding performances. Power ballad “Heart of Stone,” gave Jane Seymour (soon-to-be megastar in her own right, Jasmine Forsberg) the opportunity to display her remarkable range, tremendous vocal power, and technical virtuosity. Anne Boleyn (Broadway performer Storm Lever) displayed perfect comic timing and garnered the lion’s share of laughs during the performance, riffing on, of all things, the fact that she’d been beheaded! “Haus of Holbein,” featured the Queens wearing demented sunglasses, and with frantic circus-like music propelling their exaggerated Berlin-esque accents, added an element of campy fun to an already enormously entertaining show.

Near the end of the performance, the energy shifted into low gear as Catherine Parr (Gabriela Carrillo in one of the most poignant and vulnerable performances of the production) suffered an existential crisis which momentarily brought the action to a halt. After rallying, Catherine pointed out that the Queens had fallen into the trap of comparing themselves in relation to their experiences as wives of Henry VIII. The previously vacuous Anne Boleyn, garnered more laughs with the revelation that doing so “…necessarily elevates a historical approach ingrained in patriarchal structures.” Then, aside to the audience, with a smug look, “I read.”

After pondering how to turn that structure on its head, the group reclaims their personal narratives and rewrites history, allowing each of them to become their own leading lady. To the delight of the audience, the production closes with an electrifying and empowering remix of the song “I Don’t Need Your Love,” followed by “Six.”

Photo: Joan Marcus. The cast of “Six: The Musical” at work.

A rousing and protracted well-deserved standing ovation was accentuated by glittering confetti raining down on the Queens, ala the “golden buzzer” award given to the very best contestants on Simon Cowell’s well-known talent show.

Random audience members—nearly all grinning and exclaiming animatedly to their friends about the performance—were polled as they filed out of the theatre. Many described the production as “Amazing!”, “Fantastic!” or “Unbelievable!” Several gushed, “OMG, it was SO good!” and “I loved it!” while another insisted it was the “Best musical I’ve ever seen!” How many had she seen? “Too many!”

Need I say more?

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ProductionSix: The Musical
Written ByLucy Moss/Toby Marlow
Directed byLucy Moss/Jamie Armitage
Producing CompanyBroadwaySF
Production DatesThrough Mar 19th
Production AddressThe Orpheum
1192 Market St, San Francisco, CA 94102
Websitehttps://www.broadwaysf.com
Telephone(888) 746-1799
TicketsVariable. Up to $263.50, subject to change (rush tickets/discounts available)
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4.5/5
Script4/5
Stagecraft3/5
Aisle Seat Review PICK?YES!
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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: [email protected]

 

 

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!
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PICK! ASR Theater ~~ Main Stage West: Diffenderfer Creates Real Magic in “Open”

By Sue Morgan

Amateur magician Kristin’s real magic is her ability to conjure characters out of thin air, writing them into life. Jenny’s magic is her ability to walk through the world authentically and unapologetically, living her truth in every interaction. Taylor Diffenderfer, who plays both women in this one-woman production of Open, by Crystal Skillman, magically embodies both Kristen and Jenny, holding the audience rapt using only words and gestures throughout her masterful performance.

As the audience enters the theatre of Main Stage West, we see Kristen (Diffenderfer) dressed as the Magician in top hat, bowtie, vest and jacket sitting on the edge of the empty stage, eyes closed. She remains this way until everyone is seated, the housekeeping messages video has played, screen retracted, and the lights focus on her. Opening her eyes, a look of amazement crosses her face as she looks out at the audience and crows, “I’m here. I’m here. I am here. Your magician.”

Open is a magic act without magic.

Kristen explains, “We are here for Jenny. Jenny evoked me,” and “. . . every person who has ever loved, has a magician… and Jenny has me. So we imagine.” Pantomiming catching imaginary juggling balls falling one by one from above and beginning to juggle the balls, Kristen, as the magician, expounds: “Secrets are the balls we keep in the air. Ours will come crashing down this evening.” She tells us this will happen in three short acts: First Love, Commitment, and Sacrifice, and that there will also be an extra act: A Promise.

With masterful direction by Lauren Heney, Diffenderfer is astonishing as she brings to life the romance between the two women, who meet for the first time in the Occult section of a New York City bookstore when Kristen accidentally pushes a book about magic off a freestanding shelf onto the floor of the next aisle. As she peers through the opening she sees Jenny, who asks what the book is for and returns it to Kristen with her name and phone number written on a piece of paper, sticking up out of the pages.

We follow the women through their five-year partnership as they navigate the challenges of cultivating a relationship despite the fact that Kristen, fearing reprisal, is not entirely comfortable being forthright about their courtship, while Jenny insists on transparency. Eliciting the promise alluded to early in the play, Jenny beseeches Kristen: “Promise me we will always be open with who we are.” Kristen agrees, but finds it a difficult promise to keep.

Sound design by Ken Sonkin is outstanding, perfectly choreographed to enhance audience members’ experience of pantomime and sense of place. Melissa Weaver nails the lighting design, especially during the levitation sequence when Diffenderfer truly seemed to soar.

Open shines a light on the prejudices in our culture, and even within families who genuinely love, but struggle to accept in their entirety, their “unconventional” family members. It reminds us that empathy is essential, and that ignorance and the perception of “otherness” can be lethal. This is not an easy play to experience, but, like many illuminating artforms, it offers us an opportunity to look within and ignites our determination to recommit to taking actions that allow all humans to be safe to simply live their lives.

~~

Postscript: As I finished this review, the Press Democrat announced the closing of Main Stage West, due to the “rising costs and lost income caused by the coronavirus pandemic and other calamities.” I am deeply saddened by this news and want to thank the founding members, PACT (Performing Artists Coalition for Theater) and everyone who worked so diligently for over twelve years to provide such impactful and professional productions for West County theatre-goers.

You will be profoundly missed.

“Open” will be the final play at MSW, with a concert by Misner and Smith on February 15th and a “Close Up Magic Extravaganza ” by Ken Sonkin on February 22nd. Please attend and express your gratitude to this wonderful group of artists.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ProductionOpen
Written byCrystal Stillman
Directed byLauren Heney
Producing CompanyMain Stage West
Production DatesThrough Feb 26th
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Websitewww.mainstagewest.com
Telephone(707) 823-0177
Tickets$20 – $32
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance5/5
Script4/5
Stagecraft4/5
Aisle Seat Review PICK!YES!
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PICK! Aisle Seat Review ~~ Stunning Performances Elevate “Beetlejuice The Musical”

By Sue Morgan

If the measure of theatrical success is audience appreciation, Beetlejuice The Musical – at Golden Gate Theatre, San Francisco, through December 31st – is a runaway hit.

Eddie Perfect, who wrote the music and lyrics for the show, clues us in from the get-go that this is not your parents’ Beetlejuice. The play opens on the funeral for Emily Deetz, who has left behind her husband and 16ish-year-old daughter Lydia, (flawlessly played by Nevada Riley, understudy for Isabella Esler) who plaintively sings, “You’re invisible when you’re sad.”

Justin Collette as Beetlejuice and cast at work in ‘Beetlejuice’.

Before Riley’s final note has dissipated, Beetlejuice himself, an exquisitely unsavory Justin Collette, jumps in to bark, “Holy crap! A ballad already? And such a bold departure from the original source material!” before launching into his bravura opening number “The Whole ‘Being Dead’ Thing,” which left the audience roaring with applause. He also warns us that, as with Tim Burton’s original late ‘80s film starring Michael Keaton, much of the humor is based around Beetlejuice, a lecherously loathsome character, and his vile, wholly inappropriate attention to basically anyone who comes within groping distance.

…a night of madcap fun…

Collette makes it clear that this is not a politically correct production as he jeers, “I know you’re woke–but you can take a joke…?” Apparently, most of the audience at the opening night performance were able to do just that.

In addition to Lydia and Beetlejuice, the story line follows newly deceased young couple Barbara and Adam (astutely cast Britney Coleman and Will Burton, respectively) as they try to terrorize Lydia, her father Charles (appropriately simpering Jesse Sharp), and Lydia’s “life coach,” Delia (the excellently flaky gold-digging Kate Marilley), who have moved into the home where Barbara and Adam intend to spend eternity. Unable to frighten them into leaving the home, Barbara seeks help from self-proclaimed “bio-exorcist” Beetlejuice.

Isabella Eisler and Justin Collette, with Britney Coleman and Will Burton in ‘Beetlejuice’ (photo: Adina Hsu)

Where Burton’s original Lydia was an angsty and morbidly inquisitive teen, authors Scott Brown and Anthony King have reimagined her as maudlin and depressed. Riley is a talented actor and exceptional singer who performs both song and dialog with passion, flair and bravado that often transcend the often-insipid material she has to work with. Brown and King appear to be attempting to evoke genuine compassion and empathy from the audience, a misstep for a story never intended to be anything other than a quirky, campy romp.

Collette is a believably reprehensible Beetlejuice and manages to repel us even after we learn the backstory about his loveless childhood. Again, this reviewer felt that the attempts to add poignancy to the production fell flat. Collette’s performance, however, is fantastic and his manic antics, as well as the stunning visuals – Beetlejuice multiplied exponentially; the perfectly recreated sandworm; multiple ensemble numbers; stunning costuming – combine to provide a night of madcap fun.

For those looking for a night of off-beat (and off-base) humor and a fantastic cast of outstanding performers, Beetlejuice The Musical will not disappoint.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ProductionBeetlejuice: The Musical
Written byScott Brown & Anthony King
Directed by
Musical direction by		Alex Timbers
Producing CompanyBroadwaySF
Production DatesThru December 31, 2022
Production AddressGolden Gate Theatre
1 Taylor St. San Francisco, CA
WebsiteBroadwaysf.com
Telephone888-746-1799
Tickets$40 - $264
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance5/5
Script3/5
Stagecraft3.5/5
Aisle Seat Review Pick?YES!
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ASR Theater ~~ “Ham for the Holidays” Sizzles at Main Stage West

By Sue Morgan

In small-town depression-era Georgia, due to a wholly unexpected blizzard, Orson Welles is unable to fulfill a much-heralded Christmas holiday performance at local radio station WHAM.

The package containing the script Welles was supposed to perform is inadvertently confused with another, containing fruitcake. Station owner Cab Hoxton (Dodds Delzell) was counting on Welles’ special holiday performance to save his flailing station and insists that the show must go on. Such is the premise of Ham for the Holidays, a seasonal farce by Shad Willingham at Main Stage West in Sebastopol.

…Ham for the Holidays is lighthearted, funny holiday theatre.

Local radio personality Dexter Armstrong (Garet Waterhouse) volunteers a script he has written and intended to pass to Welles, hoping that Welles would recognize his genius and help take his career to the next level. Under duress, Cab agrees to use the script, dubiously titled “Attack of the Space Robots from Outer Space,” but insists it be modified to fit the wintry Christmas season.

Needing all hands on deck to stage the play and perform the roles of the 20 characters in the script, Hoxton enlists Violet Bicks (Maureen O’Neil), a method-acting stage veteran; Timmy Wilkens (Zane Walters), young assistant to an absent sound effects technician and all-around station gofer; Uncle Dick (John Craven), Hoxton’s narcoleptic brother and former Shakespearean thespian; and Honey Hoxton (Dale Leonheart), Hoxton’s negligibly talented and supremely clumsy daughter. Mayhem ensues.

Wilkens accidentally breaks the handle off the boiler, causing the station to get hotter and hotter, leading everyone to gradually disrobe as the evening progresses. Uncle Dick falls asleep when he’s supposed to be on air; Violet insists on changing costumes for every character, even when she is playing multiple characters speaking to one another; Honey doesn’t seem to grasp the concept of “On Air,” but is thrilled to assist Wilkens with sound effects, at one point inserting a monkey sound into a barnyard scene; and everyone does their best to insert words into the script that make it seem as if the action is happening in a cool winter environment, even though it is set on a blazing hot summer day.

The set design with engineering booth, drop mic, desk, wall covered in sound effect props, door to hallway, door to office, etc., is well-done, but the limitations of the small stage take a toll. As multiple characters are performing separate – and often intentionally disparate – actions simultaneously, the desired sense of chaos is achieved, but the overall effect was chaotic and disjointed, making it difficult to home in on any particular scene.

While the individual players do well, eliciting many laughs, both because of the dialogue and their own talent at comedic acting – the Ham jingles alone were worth the price of admission – overall, the ensemble sometimes felt clumsy and out of sync. This may be resolved with further performances.

Despite the shortcomings, Ham for the Holidays is lighthearted, funny holiday theatre.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ProductionHam for the Holidays
Written byShad Willingham
Directed byEmily Cornelius
Producing CompanyMain Stage West
Production DatesThrough Dec 30th
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Websitewww.mainstagewest.com
Telephone(707) 823-0177
Tickets$20 – $32
Reviewer ScoreMax in each category is 5/5
Overall3/5
Performance3/5
Script3.5/5
Stagecraft3.5/5
Aisle Seat Review PICK!----
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PICK! ASR Theater ~~ Sonoma Arts Live Showcases America’s Country Star

By Sue Morgan and Cari Lynn Pace

Director Michael Ross’ self-proclaimed “love letter to the theater community,” Always…Patsy Cline is based on the true story of Patsy Cline’s relationship with Louise Seger, a fan who became Patsy’s friend and with whom Patsy maintained a close correspondence until Cline’s untimely passing, at age 30, in a plane crash. The show runs at Sonoma Arts Live through December 18.

ASR contributors Sue Morgan and Cari Lynn Pace comment below:

CLP: SAL captures the spirit and voice of Patsy Cline by casting Danielle DeBow as the young American star of country music. DeBow has the stunning looks and the honeyed earthy voice that vaulted Cline to the top of the charts in the late 50s and early 60s. DeBow even captures the famous sad catch in Cline’s voice, so wonderfully evocaive in her hits “Crazy,” “I Fall to Pieces,” and “Walkin’ After Midnight.”

Danielle DeBow as Patsy Cline.

SM: Reprising their roles in SAL’s second production of the play, both Danielle DeBow (Patsy) and Karen Pinomaki (Louise) create the magic necessary to bring the audience back to mid-century America when Cline’s astonishingly numerous hits were pervasive on radio and TV, not merely for country music fans but for many others across the nation. You’ll find most of those hits faithful to the originals and beautifully performed by DeBow in this production.

… It’s an enjoyable – and laughable – tribute…

CLP: Who knows how far Cline might have gone had she not tragically died in that airplane crash before she was even 30 years old?

SM: DeBow is not only a world-class singer but also drop-dead gorgeous. Michael Ross has an impeccable eye for costuming and uses her beauty to great advantage. DeBow first appears as Patsy onstage at the Grand Ole Opry, wearing an accurate recreation of Cline’s iconic red-fringed cowgirl dress. Ross then adorns DeBow in an array of period-perfect and stunning confections which enhance and contribute to the overall appeal of the production.

CLP: The thin plot is based on the true story of Louise, Cline’s enthusiastic fan, and the friendship that developed between them. It‘s an amusing and heartfelt retelling, narrated by Pinomaki and based on letters the two women shared over several years. Pinomaki is an outrageous force of energy on stage, delightfully down-to-earth as she cavorts around the entire theater. She’s the perfect fearless foil against the cool smooth presence of DeBow.

SM: Pinomaki’s high-octane performance is both energizing and engaging, frequently eliciting appreciative laughter. Use of a thrust stage (the audience on three sides) works well to create a sense of intimacy as we observe Louise puttering in her kitchen, calling her local radio DJ to request her favorite Cline songs, or narrating and enacting the story of how she came to befriend her musical idol.

DeBow’s magnificent voice and stage presence, as well as the warmth and easy authenticity in her interactions with superfan Louise make her a wholly believable Patsy.

CLP: The six-piece band onstage is pure country, complete with pedal steel guitar and fiddle. At some moments the piano overwhelmed the vocals. Those unfamiliar with the songs may not grasp some of the poignant stories told in the lyrics. This reviewer, who has excellent hearing and sat in the second row, just went with the flow of the music.

Many of DeBow’s vocals are backed up by the harmony quartet of Sean O’Brien, Jonathen Blue, Steve Cairns, and Alexi Ryan, as the Jordanaires. They lend an authenticity to Cline’s original songs that is country-fine fun.

SM: The Jordanaires do a fine job as backup singers for Patsy, including a somber lament after her passing. The band was tight and on point and drummer Elizabeth Robertson collaborated well with Louise during a staged bit on tempo.

SM: Despite the tragedy of Cline’s early demise, Always… Patsy Cline does not devolve into melodrama, but maintains its focus on the friendship of two women of vastly different circumstances, brought together serendipitously and steadfastly connected through mutual affection and appreciation.

Danielle DeBow (Patsy) and Karen Pinomaki (Louise) create the magic at Sonoma Arts Live.

CLP: It’s no mere jukebox musical. It’s an enjoyable – and laughable – tribute from an energetic housewife to a budding superstar. Two down-home gals who once bonded and became friends … always.

SM: This production will make believers of those unfamiliar with Ms. Cline’s music and will renew the enthusiasm of long-term fans through its outstanding combination of theatricality, virtuoso musical performances, gorgeous costuming and heart-warming true-life subject matter. An exhilarating, riveting, joyful piece of musical theatre!

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

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: [email protected]

 

ProductionAlways, Patsy Cline
Written byTed Swindley
Directed byMichael Ross
Producing CompanySonoma Arts Live
Production DatesThursdays thru Sundays until Dec. 18, 2022
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
Performance4.5/5
Script4/5
Stagecraft3.5/5
Aisle Seat Review Pick?YES!
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PICK! ASR Theater ~~ Thrilling “Jagged Little Pill” Triumphs in SF

By Sue Morgan

Like Alanis Morissette’s raw 1995 alt-rock/grunge album, which sold over 33 million copies, Jagged Little Pill can resonate long after the performance is over. The production shines unrelenting light on the often hidden or denied reality of human life. A week later, Morisette’s songs and images from the performance continue to play in my mind.

Diablo Cody (winner of the 2008 Academy Award for Best Screenplay for Juno) won the 2021 Tony award for Best Book of a Musical for Jagged Little Pill. Cody could have safely chosen to simply showcase Morissette’s music and lyrics in a standard jukebox musical, but instead elevated them with brilliant subtlety by creating a story using the dramatic archetype of the outwardly perfect family’s inward unraveling. She set the action in provincial whitebread Connecticut reinforcing the universality of the experience, rather than perpetuating the stereotype that life’s baser experiences occur only in impoverished places.

(L to R) Heidi Blickenstaff, Allison Sheppard and Jena VanElslander in the North American Tour of JAGGED LITTLE PILL. Photo by Matthew Murphy.

The story line focuses on the Healy family, a privileged group comprised of mom, Mary Jane, “MJ,” (Heidi Blickenstaff) a perfectionista, universally envied for her seemingly charmed life; dad, Steve (Chris Hoch), a corporate attorney who works 60 hours per week; son, Nick (Dillon Klena), who succeeds at every endeavor and has just been accepted to Harvard; and adopted daughter, Frankie (Lauren Chanel), who feels unseen within her family and is in a romantic relationship with her best friend, Jo (Jade McLeod).

…The women of JLP have the most powerful roles…

Some have criticized the playwright for piling too many “hot button” topics into one show. Cody pulls off the magic trick of invoking addiction, sexuality, alienation, rape (and the culture of disbelieving/blaming/shaming the victim), perfectionism, workaholism, and betrayal—issues that are all too commonplace—all while eliciting empathy, compassion, and ultimately, a sense of redemption, rather than judgment, ennui or despair.

Set pieces – living room, kitchen, classroom, hospital room, etc. – glide on and off stage, while a few elements are assisted by actors, but the pieces de resistance are the gorgeous screen projections that instantly, and to excellent effect, turn each setting into its intended location or accentuate a mood or aesthetic.

Sidi Larbi Cherkaoui’s astonishing choreography melds seamlessly with Tom Kitt’s musical arrangements which, together, nearly capture the intensity of Morissette’s album. The feral, seemingly unselfconscious, yet clearly precise, hip-hop movements recalled the cathartic vitality of early moshpit melees.

Two of the most astonishing numbers were expressionistic compositions performed by Jena VanElslander who mirrored both Mary Jane’s and Bella’s sexual assualts. VanElslander’s portrayal of the intoxicated victims of “date rape” was stunning in its technical virtuosity but also in its ability to make us viscerally feel the confusion, fear, disbelief and despair of the characters. I literally stopped breathing during the performances.

The women of JLP have the most powerful roles. Heidi Blickenstaff was perfection as Mary Jane, looking every bit the preppy soccer mom, even as she sidled into back alleys to await her drug dealer, whom she tried, unsuccessfully, to engage in small talk. Blickenstaff’s gorgeous and powerful voice was able to capture Morisette’s intensity, if not entirely her rawness. Her head-to-head battle with Lauren Chanel’s Frankie during “All I Really Want” was a fiercely poignant way to highlight the mutual sense of alienation felt by this mother and daughter.

Allison Sheppard and the North American Touring Company of JAGGED LITTLE PILL. Photo by Matthew Murphy.

Allison Sheppard as Bella was riveting in her performance of “Predator,” and did an outstanding job portraying Bella’s initial sense of self-loathing, gradually transforming into righteous indignation. The night’s show-stopper was “You Oughta Know,” performed by Jade McLeod, as Jo, who had half the audience on their feet as she belted out Morissette’s anthem to romantic betrayal. Both McLeod and Chanel more than held their own with the dancers in the troupe.

Jagged Little Pill may be the beginning of a trend in which jukebox musicals deal capably with grittier aspects of life. I salute Alanis Morissette and Glen Ballard, Diablo Cody, Diane Paulus, Sidi Larbi Cherkaoui, Tom Kitt and the rest of the creative team for making it beautiful, powerful and moving, while also making it real. Given the opportunity, I would gladly see it again.

Performance is 2 1/2 hours with one 15 minute intermission. Masks are not required, but strongly recommended.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ProductionJagged Little Pill
Written byDiablo Cody
Directed byDiane Paulus
Producing CompanyGolden Gate Theatre
Production DatesThrough November 6th
Production AddressGolden Gate Theatre
1 Taylor Street
San Francisco, CA 94102
Websitewww.broadwaysf.com
Telephone(888) 746-1799
Tickets$66 – $157
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script5/5
Stagecraft5/5
Aisle Seat Review PICK?YES!
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PICK! ASR Theater ~~ All the Right Notes: MMTC’s Raunchy “Rocky Horror Picture Show”

By Sue Morgan

The Rocky Horror Picture Show has been an audience favorite since it first premiered in London 49 years ago. The production made its US debut in Los Angeles in 1974.

Rocky pays sexually lurid and comical homage to science fiction and horror B movies of the 1930s-60s. After a film version was released in 1975, some independent and art-house theatres began a tradition of showing the film on a weekly basis, usually at midnight on Fridays and Saturdays. Audience members came dressed as their favorite characters and stood in front of the screen, performing in tandem with the film’s characters, while other members of the audience threw rice and toilet paper and sprayed one another with squirt guns (among other antics) inspired by the action onscreen. Both the film and theatrical versions are often resurrected – pun intended – around Halloween.

…a high energy romp…

The plot follows virginal and naïve newly engaged couple Brad and Janet who, after a flat tire on a stereotypically dark and stormy night, seek assistance at the nearest location, a creepy and foreboding mansion. Arriving drenched and more than a little afraid, they’re greeted at the door by butler-cum-ghoul Riff Raff who lures them into the dwelling with the promise of using the phone.

Mayhem ensues as the master of the house Dr. Frank-N-Furter, mad scientist and self-proclaimed “transvestite from Transexual, Transylvania,” replete in corset, fishnet stockings and outlandishly high heels, appears and invites Brad and Janet to his lab where, he sings, “I’ve been making a man with blond hair and a tan, and he’s good for relieving my tension.” The Frankensteinian man in question is the titular Rocky Horror.

The Marin Musical Theatre Company’s production – performed at Novato Theatre Company – is a high energy romp with exuberantly exaggerated simulated sex acts not at all appropriate for children, but very entertaining for mature audiences, especially those who appreciate camp with a capital C.

Photos by Jere Torkelsen

The show begins with a costume contest (winners get a brief cameo in the production) after which cast members give the audience a dance lesson to induct those new to Rocky into the fine art of performing the “Time Warp,” a raucous number involving expansive gesticulations and pelvic thrusts. The audience is also apprised of the tradition of spectators to heckle the actors during the production by shouting out prescribed and extemporaneous responses prompted by names of characters and other trigger words spoken by members of the cast. These proceedings successfully elevated the energy level in the house, ensuring the audience was excited for what was to come.

The cast was cohesive and mostly convincing in their respective roles. Stephen Kanaski did an outstanding job as Dr. Frank-N-Furter, combining seething sexual panache with the ability to strut like a runway model in ridiculously high heels. Added bonus: he can sing like there’s no tomorrow.

Sleiman El-Ahmadieh nailed his character, Brad, whose awakening from naivety to carnal rapture – and also his transformation from nerdy wimp to insatiable stud – were a pleasure to watch, and among the highlights of the show. Jenny Boynton’s voice and mannerisms were just right for Janet. Standouts characters include the Narrator (sultry Shayla Lawlor), Dr. Frank-N-Furter’s servant Columbia (Harriet Pearl Fugitt), and Magenta (Anna Vorperian), incestuous sibling of Riff Raff (Nelson Brown ). They all did fine work anchoring each scene with their sexy antics and wonderful vocal abilities.

Brown was appropriately creepy as Frank-N-Furter’s handyman/henchman, especially when fondling his sibling, Magenta. Ken Adams showed his wonderful versatility as wheelchair-bound Dr. Scott and biker/rocker/undead lover of Columbia, Eddie. Had I not anticipated having Rocky portrayed as a muscle-bound blond god in gold lame briefs, I would have loved Anne Clark’s female version, with her vacuous physicality and almost innocent sexuality. Ensemble members added a wonderful energy and vitality to the overall production. The addition of their voices helped each song reach an almost fever pitch of intensity.

“Rocky Horror” cast at work! Photos by Jere Torkelsen

Jenny Boynton’s spot-on choice of actors and direction made the production sizzle, as did Katie Wickes’ choreography. The spare setting worked within the parameters of the production. Daniel Savio’s musical direction was on point and all members of the band performed well. Krista Lee’s costuming was wonderfully true to the original show and film. Sound mixing by Simon Eves and lighting design by Michael Kessell lent a wonderful sinister ambience to the production.

Audience members are encouraged to dress in costume, to contribute to heckling the cast, and are given a list of suggested items to bring to the show in order to fully immerse themselves in the Rocky Horror Show experience. If you love over-the-top, sexually explicit, profanity-laced, hard-rocking theatre this show is for you!

Masks and proof of vaccination are required. Remember, no children allowed!

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ProductionThe Rocky Horror Show!
Written byRichard O’Brien
Directed byJenny Boynton
Producing CompanyMarin Musical Theater Company
Production DatesThru Oct. 31st
Production AddressNovato Theatre Co.
5420 Nave Dr. Novato, CA 94949
Websitewww.marinmusicals.org
Telephone---
Tickets$35 – $60
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance5/5
Script3/5
Stagecraft3/5
Aisle Seat Review PICK?Yes!
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PICK! ASR Theater ~~ A Spin on “The Moors” at MSW

By Sue Morgan

If the Bronte sisters and Alfred Hitchcock had a love child, they would produce The Moors, currently playing through October 23rd at Main Stage West in Sebastopol.

An absurdist gothic romance/surrealistic existential dreamscape/satiric black comedy by playwright Jen Silverman, the story is set in an eerie mansion on the desolate and windswept English moors, ̀a la the Brontes and involves gaslighting, madness and mayhem ̀a la Hitchcock.

…Intentionally lugubrious in tone, the plot is best left undescribed…

Silverman manages to elicit amusement, horror, compassion, revulsion, revelation, tension and relief from her audience and does so using characters as disparate as a scullery maid/parlor maid (Marjory/Mallory), a dominating house Mistress (Agatha), and her flibbertigibbet younger sister (Huldey), a hapless governess (Emilie), a bullied and lonely mastiff, and a wounded Moorhen. Branwell, the purportedly physically and sexually violent brother of Agatha and Huldey, is locked in the attic and never seen, nor heard. “Branwell” is the middle name of the Bronte sisters’ real-life brother.

Taylor Diffenderfer and Madison Scarborough in “The Moors” — Photo/Main Stage West

Intentionally lugubrious in tone, the plot is best left undescribed, as watching it unfold is a wonder to behold. Silverman is a master of imagination and one of the things I love most about her plays is being unable to anticipate what lies ahead.

The entire ensemble is excellent in their respective roles, and I can’t say any one performance outshone the others. Director James Pelican did an outstanding job of accentuating the outlandish with subtlety, which somehow increased the merriment while deepening the sense of foreboding.

The Moors is not for everyone, but those who enjoy a dark satirical farce (as I do) will have plenty to talk about with their friends after the show.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ProductionThe Moors
Written byJen Silverman
Directed byJames Pelican
Producing CompanyMain Stage West
Production DatesThrough Oct. 23, 2022
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Websitewww.mainstagewest.com
Telephone(707) 823-0177
Tickets$20– $32
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance5/5
Script4/5
Stagecraft4/5
Aisle Seat Review PICK!YES
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ASR Theater ~~ Sorkin’s “Mockingbird” Fails to Sing at Golden Gate Theatre

By Sue Morgan

Harper Lee’s classic novel To Kill a Mockingbird played a pivotal role in awakening the social consciousness of countless Americans as they studied the story in middle school and high school English classrooms across the nation. It holds a secure place, among others, at the very top of the Western literary pedestal as it tackled, with clear-eyed accuracy, the issue of racial injustice in this country.

Award-winning writer Aaron Sorkin (The West Wing, among many others) said he knew when he was asked to adapt Mockingbird for the stage, that “…there was no way I could get out alive.” Despite his early trepidation, Sorkin’s adaptation was a Broadway hit and has gone on to tour the country. It’s playing through October 9th at the Golden Gate Theatre in San Francisco.

…the national touring production in San Francisco felt tone deaf and oddly flat…

Sorkin did not have free rein in reimagining the story. His earliest attempt raised the ire of the Lee estate, which launched a lawsuit contending that the playwright had gone too far in modifying both the character and behavior of beloved Atticus Finch, the story’s kind-hearted, principled lawyer, played in the national touring production by Richard Thomas.

Richard Thomas (“Atticus Finch”) and The Company of “To Kill a Mockingbird.” Photo: Julieta Cervantes.

To move forward with the adaptation, Sorkin had to tone down his initial vision to meet the conditions set out in the suit. Given those constraints and believing that the original story, first published in 1960, did not stand the test of time, Sorkin made Atticus the primary protagonist, and dispersed the duty of narrator among Scout (Melanie Moore), her brother Jem (Justin Mark) and their friend Dill (Steven Lee Johnson).

He also gave additional voice to Calpurnia (Jacqueline Williams), the Finch family maid, and to Tom Robinson (Yaegel T. Welch), a black man unjustly accused of rape by a white woman.

While this sounds reasonable in theory, to this reviewer the national touring production in San Francisco felt tone deaf and oddly flat, despite its fraught content and the beautiful careening of Scout about the stage.

Melanie Moore (“Scout Finch”). Photo by: J. Cervantes.

Sorkin stated in an interview that, “Using black characters simply as atmosphere in 2022, it’s not only noticeable, but more importantly, it’s a waste because these two characters’ voices should be heard.” Sorkin therefore gave Calpurnia a few lines in which she was able to vent her feelings about Atticus’ philosophy of treating everyone (including rabid bigots) with respect, and her resentment of being expected to be sufficiently grateful to Atticus for agreeing to represent Tom Robinson in the first place.

These sentiments were no doubt in play in the minds of subjugated peoples at the time the novel was written, but Harper Lee understood that a black servant in 1936 Alabama would not have risked speaking them aloud to any white person, no matter how kindly they appeared to be. She was not using her black characters as “atmosphere,” but was accurately portraying their inability to give voice to their own inner fury for fear of risking their lives.

Melanie Moore (“Scout Finch”) and Jacqueline Williams (“Calpurnia”). Photo: J. Cervantes.

A lot a mansplaining took place, particularly around every potentially poignant moment. When Tom Robinson explained that he helped his accuser with her chores because he felt sorry for her, Sorkin had Atticus explain to the jury that Tom Robinson knew that it wasn’t appropriate for a black man to express feeling sorry for (and therefore, superior to) a white woman, but did so anyway as a means of reclaiming his own sense of dignity. These sorts of heavy-handed explanations felt unnecessary and contrived.

In terms of direction, there was also a strange sense of disconnect when the character Boo Radley was played by the same actor (Travis Johns) who earlier played Mr. Cunningham (to very good effect). Because no attempt was made to alter his appearance from that of the previous character, it felt somewhat confusing to see him appear from behind a door when those who were familiar with the novel were expecting Radley. Had there been obvious previous instances of someone playing multiple characters, it may have worked but, as that was not the case, it just seemed odd.

Sorkin added humor to the production. While there were many humorous scenes in the novel, they were primarily centered on the antics of the children and felt organic and in context. Sorkin’s humor involved jokes (Dill explaining that he won Jem’s pants playing strip poker, “but only with the men”) and exaggerated facial expressions by Calpurnia, meant to evoke laughs, which felt not only inappropriate, but almost obscene to this viewer as they appeared meant to convey her exasperation (rather than anger) with what the white folk were saying now.

It was as if Sorkin forgot that the piece is a drama. Or perhaps he couldn’t imagine a contemporary audience having the fortitude to hold space for the unrelenting injustice unfolding before them. Whatever his motivation, it undermined what should have been a roiling sense of outrage at the conclusion of the play. Instead we are left with a mild and wholly bearable sadness.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ProductionTo Kill a Mockingbird
Written byAdapted by Aaron Sorkin from the Harper Lee original
Directed byBartlett Sher
Producing CompanyNational Touring Production / Broadway SF
Production DatesThrough Oct 9th
Production AddressGolden Gate Theatre
1 Taylor Street
San Francisco, CA 94102
Websitewww.broadwaysf.com
Telephone(888) 746-1799
Tickets$56 – $256
Reviewer ScoreMax in each category is 5/5
Overall3/5
Performance4/5
Script3/5
Stagecraft3/5
Aisle Seat Review PICK?----
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PICK! ASR Theater ~~ The 25th Annual Putnam County Spelling Bee: F-U-N!

By Sue Morgan and Barry Willis

The 50th anniversary season of Petaluma’s beloved Cinnabar Theater is off to a rowdy, rollicking start with “The 25th Annual Putnam County Spelling Bee.” Winner of the 2005 Tony Award for Best Book of a Musical, “Spelling Bee” delivers an evening of light-hearted musical comedy.

In the auditorium of Putnam Valley Middle School, we meet six adolescent contestants: returning champ Charlito “Chip” Tolentino (Alejandro Eustaquio); Leaf Coneybear (Zane Walters), who designs his own clothing and spells while in a trance-like state; Marcy Park (Gabi Chun), a high-achiever who speaks six languages and for whom failure is not an option; William Morris Barfée (Trevor Hoffmann), who spells using a unique “magic foot” technique in which he writes the letters out with his foot as he recites them; Logainne “Schwartzy” Schwartzandgrubenierre (Tina Traboulsi), who spells words out on her arm before reciting them; and Olive Ostrovsky (Krista Joy Serpa), whose absent mother is on a nine-month-long spiritual retreat in India. Olive anxiously awaits the arrival of her father as she has not yet paid the entrance fee.

…”Spelling Bee” is not to be missed. Get tickets now! We mean it!

Each child – excepting Leaf – has won an individual school’s bee. The pressure is on-they’re vying for the chance to go to the national competition in Washington, DC.

“Spelling Bee” cast at work. Photo courtesy Cinnabar Theater.

The Putnam County event is hosted by a former Spelling Bee champion, and now the county’s top realtor, Rona Lisa Peretti (Karen Miles) and a dour school vice principal, Douglas Panch (John Browning). Peretti is a perky, all-smiles dynamo, while Panch is a no-nonsense adminstrator. They ride herd on a group of very smart, gregarious, and nerdy kids—and a few audience members pulled onstage, we hope not against their will.

It’s a quick-moving hilarious show backed by a great band (music directed by Bill Keck) with many intriguing subplots, lots of goofy action, and some stunning choreography by Bridget Condoni. Sam Minnifield puts in charming performance as Mitch Mahoney, a local bad boy doing his community service by helping out with the Bee. Donnie Frank’s costumes go a long way toward establishing each of the characters, all delightfully portrayed by some hugely skilled and enormously uninhibited actors. They’re all tremendous, but Trevor Hoffman, Gabi Chun, and Krista Joy Serpa are standouts. Wow!

Photo courtesy Cinnabar Theater.

Director Zachary Hasbany has coaxed the absolute maximum from a brilliant cast. The show by Rachel Sheinkin and William Finn is a recurring favorite among community theater troupes, and for good reason. It’s clean, harmless, happy, and uplifting—an absolute joy from beginning to end. Did we mention incredibly clever? “Spelling Bee” is not to be missed. Get tickets now! We mean it!

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]

 

ProductionThe 25th Annual Putnam County Spelling Bee
Written byRachel Sheinkin and William Finn
Directed byZachary Hasbany
Producing CompanyCinnabar Theater
Production DatesThrough Sept 25th
Production Address3333 Petaluma Blvd North
Petaluma, CA 94952
Websitewww.cinnabartheater.org
Telephone (707) 763-8920
Tickets$30 – $45
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script4/5
Stagecraft4/5
Aisle Seat Review PICK?YES!
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Pick! ASR Theater ~~ Transcendence Theatre’s “The Gala”—Truly a Night to Remember

By Sue Morgan

The setting sun illuminated dramatic, pink-tinged clouds as the audience took their seats beneath the open sky in Transcendence Theatre Company’s outdoor performance venue at Jack London State Park in Glen Ellen. The air was balmy and redwoods, silhouetted against the twilit firmament, perfectly framed the vineyard below. So began a magical evening as the performers took the stage for TTC’s final performance of the summer season: “The Gala.”

Hard to believe that director and choreographer Chip Abbot, associate director Billy Bustamonte, musical director Matt Smart and the rest of the creative team could surpass the excellence of Transcendence’s earlier productions “Let’s Dance” and “Hooray for Hollywood,” but “The Gala” is nothing short of a stunner! The talent and artistry on display were Broadway quality throughout .

…Choreography throughout the evening was tight, expressive and polished…

It would be too difficult to comment on the highlights of every outstanding performance during Sunday night’s show. Suffice it to say that nearly every number was a show-stopper! The opener, “on Broadway,” performed by the entire ensemble, was energetic, precise and joyful, promising wonderful things to come.

#317: (l to r) Kathleen Laituri, Ben Lanham, Colin Campbell McAdoo, & Ruby Lewis. Photo Credit: Ray Mabry Photography

“Beautiful City” from “Godspell” seemed written to showcase frequent Broadway performer Jesse Nager’s gorgeously smooth tenor. Resonating with gentle power and a palpable sense of yearning, Nager held the audience in thrall throughout the performance. Without the impediment of a ceiling, Nager’s vocals were remarkably crisp and soared unencumbered into the night sky. As the final notes slowly faded, twilight gave way to night, as if scripted. A truly transcendent experience!

Jesse delivered again, along with veteran Transcendence performers Colin Campbell McAdoo and Kyle Kemph, with an extraordinarily moving performance of “Bridge Over Troubled Water.”

Other standout vocal performances (again, among dozens!) were Ruby Lewis in “It All Fades Away” and Colin Campbell McAdoo and Ruby Lewis in “Shallow.” Upbeat songs were frequently followed by ballads, which lent a nice balance to both sets in the show.

The Gala Company. Photo Credit: Rob Martel

Choreography throughout the evening was tight, expressive and polished, with the dancers making even the most intricate moves seem almost effortless! Again, there were too many memorable numbers to enumerate, but I must mention the exquisite interpretive dances performed by Kathleen Laituri and Ben Lanham as well as the wonderful moves (and vocals) performed by Cecil Washington Jr., Colin Campbell McAdoo, Jesse Nager, and Kyle Kemph in the wonderful Four Seasons medley.

Lighting and sound were solid, with nary a hiccup to interrupt the flow. This production was outstanding in every respect and every member of the audience I spoke with said they were delighted and surprised by the enormity of talent on display throughout the evening. This was indeed “the best night ever!”

(l to r) Cecil Washington Jr., Colin Campbell McAdoo, Jesse Nager, & Kyle Kemph. Photo Credit: Ray Mabry Photography

In its 11th year, Transcendence Theatre continues to raise the bar as they bring ever greater talent and vitality to Sonoma County Wine Country. The non-profit company, founded by Artistic Director Amy Miller, and husband, Executive Director Brad Surosky, has been instrumental in supporting Jack London State Park by providing over $675,000 in much-needed donations to sustain the beloved historical landmark. The duo informed the audience of a matching grant that would provide $500k in additional funding if the company is able to raise commitments of $500k in donations by the end of October and have donations in-hand by the end of the year—a deeply worthy cause.

“The Gala” begins at 7:30 but come early to enjoy a picnic supper (food vendors are on site for those who prefer not to bring their own) and wine and beer provided by Transcendence sponsors while listening to acoustic music in the lawn area. Remember to bring a sweater or lap blanket, as the temperature can drop after the sun goes down.

Tickets range from $25 to $165 for VIP seating (which includes wine tickets, premium seating, and priority parking). Masks are recommended but not required.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

ProductionThe Gala
Written byTranscendence Theater Co.
Directed &
Choreographed by		Chip Abbot
Producing CompanyTranscendence Theatre Company
Production DatesThru September 18th
Production AddressJack London State Historic Park, Glen Ellen

2400 London Ranch Road, Sonoma
Websitewww.transcendencetheatre.org
Telephone(877) 424-1414
Tickets$25-$165
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
ScriptN/A
Stagecraft5/5
Aisle Seat Review Pick?Yes!
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PICK! ASR Theater ~~ “Fun Home” Hits the Mark at Left Edge Theatre’s New Location

by Mitchell Field / Sue Morgan

Intro by Mr. Field…

Reversing the Covid-related nationwide loss of theater venues, a brand new one has opened its doors in the North Bay: the “California” in Santa Rosa, CA.

Last week the 200-seat venue hosted a partisan opening-night crowd for Left Edge Theatre’s “Fun Home,” one of Broadway’s most controversial and ground-breaking productions, a musical adaptation of Alison Bechdel’s rich and complex 2006 tragicomic graphic memoir of the same name, with music by Jeanine Tesori, and book and lyrics by Lisa Kron.

A multiple Tony Awards winner, “Fun Home” was a finalist for the 2014 Pulitzer Prize for Drama. It’s a deeply personal yet refreshingly honest show, about family, gender identity and seeing one’s parents through one’s grown-up eyes.

The non-linear story follows Alison through her early life, as she recounts her fraught relationship with her long-suffering mother and her late father, a closeted gay man, who may or may not have committed suicide shortly after Alison’s confession of her lesbianism to her family. Despite having some pre-adult cast members, this show is intended for mature audiences and includes adult language and discussion of sexuality and suicide. At the same time it’s funny, sad, poignant, charming, endearing and surprisingly fun!

“Fun Home” is enjoying a number of local productions since its performance rights were recently released. Left Edge Theater has assembled an excellent cast, including Elizabeth Henry, Bethany Cox and North Bay stage veteran Anthony Martinez. Lucas Sherman (keyboard) and Grant Bramham (percussion) provide the music and Maureen O’Neill ably directs a troubling, charming, touching and entertaining evening of theater. Hurrah for this new venue!

Review by Ms. Morgan…

What joy to attend the Grand Opening of Left Edge Theatre’s new California Theatre in downtown Santa Rosa for the opening night performance of “Fun Home.“ Based on an autobiographical graphic novel by Alison Bechdel, “Fun Home” garnered five Tony Awards in 2015, including Best Musical and Best Original Score.

The September 3 sold-out performance at the California Theatre was packed with friends and family of performers and production company, and many fans of local theatre. Abuzz with excitement before the performance began, the audience generated appreciative, electric energy which remained throughout the night.

…there are…moments of poignant introspection, fun, and joyful revelation.

“Fun Home” is an exploration of Alison Bechdel’s memories of her family, her sense of alienation from her once-beloved father, and her awakening to her sexual identity as a lesbian, her first love, and the impossible cost of hiding her innermost self. “Fun Home” (short for “funeral home”) was the ironic nickname given by the Bechdel family to their family business, a mortuary run by Alison’s father Bruce, who was also a high school teacher, restorer of historic homes and a closeted gay.

The play begins as contemporary Alison, a graphic novelist, (capably played by Emily Jansen-Adan) stands at her sketch board trying to remember the details of her childhood as they unfold on the stage in front of her. Alison is also played as a young child and as a college student by Addison Sandoval and Rae Lipman, respectively.

While the subject matter is deeply fraught and sometimes tragic, there are also moments of poignant introspection, fun, and joyful revelation. The outstanding music elevates the production, contributing to a sense of intimacy as the audience listens in on the otherwise secret thoughts of the characters. The actors were clearly chosen for their singing, as well as acting chops, and all songs were deservedly met with enthusiastic applause.

Two performances stand out among many. In “Ring of Keys,” Addison Sandoval, (one of three child actors) playing “small Alison,” brilliantly conveys the dawning of her understanding of herself as “different” than other girls when she first encounters a very butch delivery woman and, with wide-eyed wonder and a foreign sense of yearning, sings, “. . . with your swagger and your bearing and the just right clothes you’re wearing, your short hair and your dungarees and your lace up boots, and your keys, oh, your ring of keys . . . I know you . . . ” Whether speaking or singing, young Addison does an excellent job throughout “Fun Home,” with a self-possessed sense of confidence and ease that make her a pleasure to watch. Addison, surprisingly, is a self-taught vocalist and has never had professional instruction.

Bethany Cox (Joan) & Rae Lipman (Medium Alison). Photo by Eric Chazankin

The second standout was Rae Lipman’s rendition of “Changing My Major.” Waking beside her new lover the morning after their first sexual encounter, Lipman’s Alison emanates a sense of passion, wonder and gratitude at the miracle of the liaison. As she sings, “I’ve never lost control due to overwhelming lust, but I must say that I’m changing my major to Joan. I’m changing my major to sex with Joan, with a minor in kissing Joan . . . ” she brings the audience along with her as she circles the bed staring with a mix of ardor and tenderness at her sleeping beloved.

In his sixth performance with Left Edge Theatre, Bay Area theater veteran Anthony Marinez manages to portray Alison’s father Bruce with nuance despite the fact that the character is an egotistical, tyrannical husband and often overbearing father. Evoking enthusiasm, passion, righteousness, explosiveness, violence, sadness, and overwhelming desperation, Martinez is deeply compelling, and his exceptional voice lends itself beautifully to the production.

Elizabeth Henry plays Alison’s mother Helen with determined self-control. We can feel her inwardly seething, even when smiling politely as Bruce talks to members of the Historical Society about his restoration of the family’s museum-like home, which she is expected to maintain to gleaming perfection. Her rendition of “The Hours” brought me to tears.

Every member of the cast performed their roles admirably, both in terms of acting and vocals. In a few songs the performers sang different lines simultaneously in an attempt to express the chaos in the home despite the placid exterior. Unfortunately, the ensuing cacophony was too much for this viewer.

There were a few minor technical difficulties, not a surprise given that it was the first outing for Left Edge in their new performance space. There were problems with microphones, the live orchestra was at moments too loud, and the seating to the far left of the stage sometimes left us looking at the backs of the actors.

Minor issues aside, Left Edge Theatre’s production of “Fun Home,” with wonderful acting and superb vocals and music behind an exceptionally well-executed script is one not to miss!

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

 

 

 

 

 

 

 

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: [email protected]

 

 

 

 

 

 

 

 

 

ProductionFun Home
Written byBook & Lyrics by: Lisa Kron.

Based on Graphic Novel by: Alison Bechdel.
Directed
Musical Direction		Maureen O’Neill
Lucas Sherman
Producing CompanyLeft Edge Theater Co.
Production DatesThrough Sept. 18th, 2022
Production AddressCalifornia Theatre
528 7th St.
Santa Rosa, CA
Websitewww.leftedgetheatre.com
Telephone(707) 664-7529
Tickets$15-$40
Reviewer ScoreMax in each category is 5/5
Overall4.5/5
Performance5/5
Script5/5
Stagecraft4/5
Aisle Seat Review Pick?Yes!
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PICK! ASR Theater ~~ Hershey Felder Delivers an Enchanted Evening in ‘Chopin in Paris’

By Sue Morgan

Hershey Felder swings wide the French door opening onto an opulent salon, replete with gilded framed mirrors, crystal chandelier and candelabras, luxuriously draped brocade curtains, elegant chaise longue and Victorian side tables. In the center of the room, mirrored surfaces gleaming in purple-gold “candle light,” stands a magnificent Steinway grand piano. Elegantly dressed in white starched shirt, narrow trousers, waistcoat, impeccably tailored frock-coat and cravat, he steps across the threshold. The spell is cast: Chopin has arrived.

The date is March 4th, 1848, mere days after the violent February Revolution in Paris and we, the audience, are among the privileged piano students (here for a lesson) from whose wealthy and illustrious families Chopin makes his living. Making a light-hearted joke about having just had “tea” in the rooms of a lady, Chopin – who had a reputation as a ladies’ man – proceeds to mesmerize his audience with detailed accounts which bring vividly alive the intimate details of his too-brief existence.

…Hershey Felder is simply a genius….

Over the following ninety minutes—no intermission—his students experience the full spectrum of human emotions. Using nothing but words and gorgeous renditions of many of his most famous pieces—gloriously executed on that spectacular Steinway—Chopin conjures those who inspired his genius and walks us through his musical passions and processes.

Several times breaking into his own narrative, Chopin invites his “students” to ask questions, responding to queries including, in part, the type and quality of sound of a piano typically played during that era, his greatest musical influence (Bach, from whom, he asserts, “we all just steal bits and pieces of his music”), and his feelings about his rival, Liszt.

Chopin played only thirty public concerts but made a reputation for himself in Paris playing in private salons at the homes of the city’s elite. While describing his distaste for pandering to some of his wealthy patrons, Chopin encourages his students who might find themselves playing under similar circumstances to ignore their surroundings and, “Play as if you are playing for God.” When he himself begins to play, one can only imagine the good favor with which God looks upon him.

Felder’s Chopin seems to have been resurrected, rather than contrived. Felder embodies the master with such seemingly effortless confidence that it is easy to lose sight of the fact that he has had to memorize almost everything Chopin is known to have uttered or written. That dedication to authenticity is, in part, what makes this performance so riveting. I do not enjoy the banal and often mistakenly applied term, “tour de force,” but even that phrase seems too mild to express the brilliance and artistry of Felder’s performance.

Hershey Felder is simply a genius. He is a conceptualist, playwright, virtuoso pianist, actor, and set designer. Did I mention that he also sings like an angel? In addition to the numerous solo shows Felder has created and starred in, including George Gershwin Alone, Beethoven, Monsieur Chopin and many others, he created his own arts broadcasting company during the Covid crisis, which allows him to reach a larger audience for his theatrical films.

 

Director Joel Zwick (My Big Fat Greek Wedding) uses a light hand, allowing Felder’s deep understanding of his character full expression in both movement and mannerism. The scenic design by Felder is perfect in its authenticity, truly bringing to life the luxurious and rarefied setting of a salon for the highest echelons of Parisian society in the mid-1800s. The pink porcelain swan, on the Victorian side table, is an artful touch. Lighting design by Erik S. Barry enhances the elegance of the setting with its rich purple tones and rose/gold effect. Dimming the overhead stage lights brightens the candlelight whenever Chopin plays.

Video projections using flame effects and renderings of buildings or participants in the salon are good effects, but the overly large and bright image of a female disembodied head (George Sand? Chopin’s sister Emilia?) is a bit disconcerting.

Felder gives his audience the gift of being transported to 19th century Paris to sit at the feet of one of the world’s most renown musical geniuses – with none of the discomfort or inconveniences of that time – and plays music of such beauty it elicits tears. If you love theatre, classical music, sublime acting, or all of the preceding, do everything in your power to see Hershey Felder: Chopin in Paris. And bring your friends.

They’ll thank you for the experience.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

 

 

 

 

 

 

 

ProductionChopin in Paris
Written byHershey Felder
Directed byJoel Zwick
Producing CompanyTheatreWorks Silicon Valley
Production DatesThrough Sept. 11th
Production AddressMountain View Center for the Performing Arts, 500 Castro St., Mountain View
Websitewww.theatreworks.org
Telephone(877) 662- 8778
Tickets$35 – $95
Reviewer ScoreMax in each category is 5/5
Overall5/5
Performance5/5
Script5/5
Stagecraft4/5
Aisle Seat Review PICK!YES!
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ASR Theater ~~ Hillbarn Falters with “The Four Gifts”

By Sue Morgan

The playbill for “The Four Gifts” notes that Joe Bradley was coaxed into letting his well-regarded autobiography be adapted for the stage.

Pity. This story of faith, loss of faith, drug and alcohol addiction, hitting bottom, becoming a priest, overcoming life-threatening obstacles, and Bradley’s heart-felt life of service to others, is evidently much more effectively expressed in prose.

As scripted and performed at Hillbarn Theatre, “The Four Gifts” fails to create a genuinely human character that the audience can connect with. The poorly executed script is further hampered by stilted language—I didn’t notice a single contraction—overly short scenes, and confusing casting. When asked before the play what role he played (the program didn’t delineate cast members’ roles), Randy Allen stated that he played several roles, including Father Joe, noting, “We’re all Father Joe.”

…the play’s acting…was strangely devoid of emotion.

It quickly became apparent that his meaning was literal as well as figurative as each of the ten actors in turn transformed into Joe by donning a gold cross on a chain, passing it along to the next player when it was his or her turn. It’s an interesting concept to express the universality of every human’s struggle but, in practice, disconcerting and awkward.

The Cast listen to a sermon given by Johnny Villar (R). *Photo Appears Courtesy of Actor Equity Association. Photo by Mark and Tracy Photography.

In contrast to the intensity of the subject matter, the play’s acting itself was strangely devoid of emotion. Perhaps because the players switched scenes and characters so often and quickly, they never had time to settle into a role before rushing off to the next scene.

The three screens onto which background scenes were projected at times worked beautifully but were otherwise ill-fitted to the images on display, adding a sense of vertigo, such as when a seminary wall tilted precariously to one side.

Joseph Steely (L) give Johnny Villar (R) council. Photos by Mark and Tracy Photography.

The screens were also sometimes illuminated to very good effect, exposing shadow play, such as the goings-on in a hospital room, or a patient in a hospital chapel, fervently praying while attached to an IV pole.

Costuming was appropriate, the lighting fine, and sound design spot on, but given the show’s conceptual and performances shortcomings, you might want to give “The Four Gifts” a pass.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

 

 

 

 

 

 

 

ProductionThe Four Gifts
Written byFather Joe Bradley and Antonia Ehlers
Directed byCara Phipps
Producing CompanyHillbarn Theatre
Production DatesThrough Aug 21st
Production Address1285 E Hillsdale Blvd, Foster City, CA 94404
Websitewww.hillbarntheatre.org
Telephone(659) 349-6411
Tickets$30-$58
Reviewer ScoreMax in each category is 5/5
Overall2/5
Performance2/5
Script2.5/5
Stagecraft2.5/5
Aisle Seat Review PICK?----
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PICK! ASR Theater ~~ Still Relevant: “Nan and the Lower Body” at TheatreWorks

By Sue Morgan

The two-hour drive from the Russian River to the Lucie Stern Theatre in Palo Alto proved to be more than worth the time to attend TheatreWorks’ world premier of Jessica Dickey’s remarkable “Nan and the Lower Body,” directed by Giovanna Sardelli.

Via a poignantly serendipitous series of circumstance, the production, which on the surface deals with women’s reproductive health, but at heart deals with every woman’s worth and right to be recognized as a human being, was originally scheduled to premier in 2020 but, due to the worldwide pandemic, was rescheduled for release a mere three weeks after what Dicky terms “this travesty; the overturning of Roe v. Wade.”

…a timely catalyst for deep reflection about the journey of women…

Dickey performs somewhat of a magic trick, successfully using both pathos and humor to express the urgency and maddening frustration of a midcentury medical system that ignored the number one cause of death in women (cervical cancer) due in large part to the discomfort of doctors and scientists in separating female anatomy from female sexuality.

Nan (Elissa Beth Stebbins) examines a slide as Dr. Papanicolaou (Christopher Daftsios), inventor of the Pap smear, watches in the World Premiere of “Nan and the Lower Body,” presented by TheatreWorks Silicon Valley July 13 – August 7.

Arriving in the US in 1913, Greek immigrant Dr. George Papanicolaou (skillfully played by Christopher Daftsios) toiled tirelessly for decades to develop and promulgate the use of the Pap Smear, allowing detection of cancers via analysis of cells found in women’s vaginal secretions.

Here, conceived as a jocular over-sharer and passionate champion of women’s rights, he exhorts all he meets to “call me Dr. Pap,” and enjoys frequent use of the word “vagina” to create discomfort in and shorten interactions with those who have interrupted his work. By contrast, in a deeply powerful scene, Pap’s face and gestures transform from angry frustration to compassionate tenderness as he gently places a series of unusable slides into the bottom of a garbage can, as if to honor the sacredness of the contents.

Nan’s character is based on Dickey’s maternal grandmother who became a cytologist. According to family lore, in 1952 she worked with Dr. Papanicolaou as a researcher, examining slides to ascertain the presence or absence of abnormal cells. Elissa Beth Stebbins’ Nan is a stolid woman determined to “do good” in the world both through the vehicle of her career and as a mother. Hired by Dr. Papanicolaou because of her insightful cover letter, outstanding academic performance and because she was “the only woman to apply,” Nan is secretly battling the baffling early stages of what will later prove to be multiple sclerosis.

Mache (Lisa Ramirez) meets Dr. Papanicolaou’s new assistant Nan (Elissa Beth Stebbins) in the World Premiere of “Nan and the Lower Body,” presented by TheatreWorks Silicon Valley July 13 – August 7.

In her first mainstage performance with TheatreWorks, Lisa Ramirez is compelling as Mache, Dr. Pap’s spouse, partner, former colleague, and test subject. Responding to her husband’s assertion that he knew she would be up to the task of being a doctor’s wife after seeing her bear an injury silently and without complaint, Mache momentarily cracks wide open as she admits that she remained silent because if she’d allowed herself to speak, she “would have sobbed.”

Jeffrey Brian Adams does a fine job as Nan’s husband, the minister Ted. In a riveting feminist discussion in which Dr. Pap asserts that women are superior to men because of the complexity and capabilities inherent in their anatomy, Ted insists that it is, paradoxically, essential for women to be seen simply as human beings if they are ever to be afforded the same rights and privileges as men. Ted points out that if women are seen to be “different,” they will continue to be subjected to separate rules.

Nan (Elissa Beth Stebbins) embraces her husband Ted (Jeffrey Brian Adams) after he visits her at work in the World Premiere of “Nan and the Lower Body,” presented by TheatreWorks Silicon Valley July 13 – August 7.

The various settings of the play—a university lecture hall, research lab, living room, night-time exterior—are depicted in keeping with the period with no outstanding features other than the lab’s examining table with stirrups. This adherence to the expected affords a lack of distraction so we can focus on dialogue and interactions between characters. Stagecraft by Nina Ball is superb, with one set literally splitting open in the center – half gliding off stage right and the other half stage left, after which the next set glides forward in a seamless motion that set off a chorus of appreciative gasps from the audience.

The Lucie Stern Theatre is itself a treasure. Set within a lovely neighborhood, it’s warm and inviting, spacious and well laid-out, with not a bad seat in the house. The outer courtyard with benches offered a lovely setting for the after-show reception.

“Nan and the Lower Body” acts as a timely catalyst for deep reflection about the journey of women (and the men who try to truly see them). When viewed through the lens of contemporary events, it also reminds us that progress is not always linear and must never be taken for granted.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

 

 

 

 

 

 

 

ProductionNan and the Lower Body
Written byJessica Dickey
Directed byGiovanna Sardelli
Producing CompanyTheatreWorks Silicon Valley
Production DatesThrough Aug 7th
Production AddressLucie Stern Theatre 1305 Middlefield Road Palo Alto CA 94301
Websitewww.theatreworks.org
Telephone(877) 662- 8778
Tickets$35 – $95
Reviewer ScoreMax in each category is 5/5
Overall4/5
Performance4/5
Script5/5
Stagecraft5/5
Aisle Seat Review PICK!Yes!
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ASR Theater ~~ Undead Cat Provokes Hilarity in MSW’s “Wink”

By Sue Morgan

Despite having read a synopsis of Jen Silverman’s “Wink” before attending the opening night performance at Main Stage West in Sebastopol, I was utterly unprepared for the existential poignancy and laugh-out-loud dark absurdist farce that awaited me.

The titular character, a cat named Wink, has gone missing. Wink’s human, Sophie (masterfully played by Ilana Niernberger, among the North Bay’s most versatile actors) is distraught but can’t prompt any concern from husband Gregor (John Browning). He’s long resented the affection Sophie expressed toward the animal, while maintaining a physical and emotional distance between herself and Gregor.

…a truly enjoyable evening’s diversion…

The simple set by David Lear—predominately a loveseat and wingback chair—alternates as a therapist’s office and the protagonists’ living room. Early in the story, Sofie destroys the room in a moment of grief, rage and roiling impotence. The mess remains throughout ensuing scenes, allowing the audience to perceive an appropriate façade and inviting us into the magical realism pervading this astonishingly original, brilliantly executed story.

Sam Coughlin may well have been a cat in a previous life, proved by his seamless embodiment of Wink. During his first appearance, the undead feline, driven by hunger, has risen from the grave. Coughlin, in flesh-toned briefs, moves about the set with grace, unbridled confidence and nearly-naked sexuality. He leaps effortlessly from floor to sofa back to window, sometimes draping himself languorously over furniture or an open lap, or rubbing seductively against a piece of furniture or the nearest human body part.

Michael Fontaine (L) as therapist Dr. Franz. Ilana Niernberger (R).

John Browning is utterly convincing as repressed, gaslighting husband and probable cat killer Gregor. While posturing as dismissive and unconcerned, Browning’s Gregor briefly allows us to glimpse an underlying thoughtfulness and vulnerability that allow us a few moments of compassion for his otherwise reprehensible character. The best villains always have redeeming qualities. The ensemble is rounded out by an adroit Michael Fontaine as therapist Dr. Franz, who sees both Sophie and Gregor professionally, but individually, reminding them that depression and dissatisfaction are synonymous with the human condition and that the proper course of action is to accept and steadfastly maintain both conditions.

Playwright Jen Silverman’s use of sophisticated language adds to the humor as Sophie attempts to explain the wrecked living room to Gregor. She invents a terrorist named Roland who, she says, came into their home, tore it up and pushed her menacingly (and, judging by her reenactment of the imaginary scene, quite seductively) against a wall. When Gregor asks how Sophie knows the assailant’s name and occupation, she explains that he told her “In a letter” which he communicated via “semaphore” from the roof of a nearby home.

John Browning (L) as Gregor.

Absurdities pile one on the other as the play progresses. Bent on revenge against Gregor, Wink moves in with Dr. Franz. The two begin sharing nightcaps and flirtations. While at first frightened and somewhat repelled by Wink, Dr. Franz is soon smitten with the cat and begins to let go of his dictum that life is nothing but responsibility and drudgery.

In a playfully sexual scene, Wink encourages Franz to loosen up by showing him how to walk and stand like a cat, placing his paws on Franz’ hips, reminding him that he has hips and shoulders. In one of the most poignant scenes, Wink announces that he’s leaving because he refuses to allow himself to be “skinned twice.” Franz implores Wink to tell him, before he leaves, if he has any feelings at all for him. Wink responds by rubbing himself lovingly against Franz, clearly moved by the gesture.

Ilana Niernberger at work in “Wink” at MSW.

As Dr. Franz begins to open up, Gregor is being swept down a maelstrom of rage and self-directed violence while, simultaneously, Sophie sheds her own persona, trading khakis and sneakers for black leather and combat boots, as she transforms herself into Roland in his over-the-top destructiveness and freedom from the constraints of civilized society. All three characters have taken unpredictable vectors thanks to Wink, who’s still out there somewhere, perhaps wreaking vengeance on another cat-hating egotist.

We might assume that one cat couldn’t have the power to upend the lives of three people, but that misgiving is put to rest in this 75-minute one-act directed by James Pelican. “Wink” sails along without a hitch toward a marvelously ambiguous conclusion—a truly enjoyable evening’s diversion.

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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]

 

 

 

 

 

 

 

 

 

ProductionWink
Written byJen Silverman
Directed byJames Pelican
Producing CompanyMain Stage West
Production DatesThru June 25th
Production AddressMain Stage West
104 N Main St
Sebastopol, CA 95472
Websitewww.mainstagewest.com
Telephone(707) 823-0177
Tickets$20– $32
Reviewer ScoreMax in each category is 5/5
Overall3.5/5
Performance4/5
Script3.5/5
Stagecraft3/5
Aisle Seat Review PICK!-----