CYGNETS “OKLAHOMA” NOT YOUR AVERAGE RUN OF THE MILL ROGERS AND HAMMERSTEIN MUSICALS.

Call it what you will: a rehashing, a renewing, a reimagining or a revival, Cygnet’s last show at The Theatre in Old Town,  “Oklahoma” by Rogers and Hammerstein II, still has the original Hammerstein lyrics and Rogers’ book and music. What’s different is it brings out a darker, oft more modern take on our star crossed lovers of Oklahoma,  Curly and Laurey. 

Cowboy Curly McLain (Michael Louis  Cusimano last seen on Cygnet’s stage in “Natasha, Pierre” in 2024), is one hell of a handsome leading man with vocals and smooth guitar playing.

Ariella Kvashny and Michael Louis Cusimano

He and Kvashny (Laurey), who make beautiful music together, (“People Will Say We’re In Love”) have this on again off again relationship, but it’s clear she only has eyes for Curly even though she flirts with hired hand, Jud Fry, (Jacob Caltrider), a misfit in both the cowman and farmer’s world. It’s a three way relationship that can only end in tragedy.

With music by Richard Rogers and book and lyrics by Oscar Hammerstein II (the first of their collaborations), the story unfolds in what was Indian Territories before Oklahoma became a state, pitting the farmers against the cowboys (“Farmer and the Cowmen”) as the basis for the big picture. (“Kansas City”, “Farmer and the Cowman”. “Oh, What a “Beautiful Mornin’” and of course “Oklahoma!” are but some of the great Rogers and Hammerstein tunes from this show that are forever etched in our collective memories. 

Paul Morgavo, Eli Wood, Jaxon Smith, Marc Caro-Willcox 

It’s tough keeping a good show down and every now and then it’s good to bring it back to the fore for some good old fashioned folk lore, lively entertainment and just plain great music. It opened on Broadway in 1943. 

Director Sean Murray, swaggering in his red cowboy boots and big black cowboy hat, directs this new take on what some are calling part classic and part reimaged, in combining the old with the new. And it works, overall!

Love stories and comedy (some tongue in cheek) abound in the triangular relationships between cowboy Curly McClain and farm girl Laurie Williams and the petulant Jud Fry, and Ali Hakim, Ado Annie and Will Parker. 

Based on the Lynne Riggs play “Green Grow the Lilacs”, “Oklahoma”, when it was still called Indian Territory,  sails or should I say dances (Jill Gorrie choreographs this show with original choreography based on Agnes de Mille) and sings its way through one musical number after another (some seventeen).

Jacob Caltrider

There is darkness:  In Jud’s smokehouse, where Curly seeks out Jud and taunts and teases him (“Poor Jud is Daid”) and a Dream Sequence with Laurey, who imagines the conflict within herself, recoils.  (“Dream Ballet” choreographed by Jordan Miller).

There is also much lightheartedness:  The silly romantic comings and goings of Ali Akim ( Ricky Bulda)  and Ado Annie (Jazley Genovese  (“I Caint Say No”); the on again off again romance of Curly and Laurey and the cowboy/farmer riff; the auctioning off of the goodie baskets, (“Farmer and the Cowman”).

Company

Ranking high on the Richter scale of outstanding performances Jacob Caltrider whose  presence wasn’t as much frightening (as others I’ve seen) but was rather sympathetic.  Looking young and vulnerable, he is almost awkward as he peruses Laurie, but changes on a dime when Curly gets in his way. 

Eli Woods’ Will Parker shines through in every direction with his strong dancing and acting. Wood’s trips all over himself trying not to get shot by Annie’s father, Andrew (Manny Fernandes) who is doing his due diligence, shotgun in hand aimed at Will, in case Ali, the traveling salesman,  (Ricky Bulda) does something to dishonor his daughter’s reputation. 

Ariella Kvashny, Michael Louis Cusimano

Cusimano and Kvashny, where the chemistry is there and the romance rings true to form, allow  the ongoing struggle between Jud Fry and Curley to reach a climax while both vie for her attention as it  reaches  a predictable, yet hokey take on the way the law worked then. It was interesting to watch as Aunt Eller held court.  (I hate to say it, but some things never change in some states.)

Linda Libby is Aunt  Eller, Laurey’s aunt who sings, dances and is part of the chorus. Along with the band on stage, she  is the first person we see sitting in her rocking chair , churning butter. When next Curly comes from the back of the house singing “Oh, What a beautiful Mornin’”, followed by “The Surrey With The Fringe On Top”. 

Linda Libby

As I mentioned at the outset, this is not your run of the mill Oklahoma, where everything happens around Aunt Eller’s farm house (scenic designer Mathys Herbert). If anything, this is truly an ensemble work of art where each character has his/her own place on stage and dances, sings, and acts to the hilt. 

Patrick Marion is musical director as well as playing Accordion and Mandolin. Kyle Bayquen on Bass, Erika Boras-Tesi on Cello, Sean LaPerreque on Violin/Viola, Dave Pschaida on Percussion, Cliff Thrasher on Sub Cello and Michael Reyes on Guitar/Banjo. All excel. 

Linda Libby Holding it together

Credit Lighting designer Anne E. McMills, Sound, TJFucella, Props, Jessica Cuoto, Wigs and Makeup Peter Hermann and Zoë Trautmann, Costumes to make this one of the most ‘interesting’, ‘different’ and colorful production of an ‘oldie but goody’ that’s OK  LA HOMA…OK! 

See It!

See you at the theatre. 

When:  Runs through Aug.31st. 7 p.m. Wednesdays-Fridays; 2 and 7 p.m. Saturdays; 2  p.m. Sundays.

Where: Cygnet Theatre, 4040 Twiggs St., Old 

Town San Diego

Photo: Karli Cadel

Tickets: $30 and up

Info: 619-337-1525

Online: cygnettheatre.org

 

DEANDRE SIMMONS SHINES AS DR. MARTIN LUTHER KING IN NEW VILLAGE ARTS “THE MOUNTAINTOP”.

 At New Village Arts Theatre in Carlsbad, under the direction of Durwood Murray, Jr., and starring DeAndre Simmons as MLK JR. , Katori Hall’s Oliver Award Winning play “The Mountaintop”, is in a stunning production.

The 1963 shooting of the Reverend Martin Luther King, Jr., Baptist Minister and civil rights activist, whose passionate 1963 “I Have a Dream” (before 200,000 at the Lincoln Memorial in D.C.) and “I’ve Been to the Mountaintop” sermons put him in the spotlight as #1 shaker of the Civil Rights movement. He was on the rise to becoming one of the greatest outspoken orators of his time. 

DeAndre Simmons

His ‘Mountaintop’ sermon was delivered at a rally in support of striking sanitation workers in Memphis, Tennessee in 1963. The very next day he was to lead a protest march in sympathy with the striking workers. To say that his life was in danger at all times would be an understatement. “Fear is his companion, his lover”. 

In what Hall conjures as a conversation between King and the pretty little chambermaid, Camae (Taylor Renee Henderson) sent (supposedly) by the hotel upon his request for room service, the play unfolds somewhat like a TV sit-com. 

The play opens as King (Simmons) is ushered into the room by his most trusted deputy and best friend Ralph Abernathy, whom he immediately sends out to get a pack of Pall Malls. Left in the room alone, he deadbolts the door pulls the curtains over the windows, turns on the lamp and he starts reciting the beginnings of his next sermon. (“Why America is going to hell…”) He then calls for room service.

When King gets a good look at the young lady holding a cup of coffee, with a newspaper covering her head against the evening’s rainfall, his eyes just about pop out of his head.  Both have no trouble flirting as in “I like what I see’ at a glance. This is her first day on the job. She tells him that while the coffee is on the house, any advances that he can pay her for ‘gettin’ my press ‘n curl wet out in this rain” would be appreciated. 

They jibe and play. He wants cigarettes with his coffee, she scolds because he doesn’t take care of himself. We glance at his frailties, his non-violent marches; does she like him better with or without his moustache? They debate seriously about the work he has yet to finish.  

He is paranoid about his room being bugged and she reminds him that he has FBI files thicker than a bible. His concerns about his role here on earth as a leader and Civil Rights Activist are contrasted against his playful self as a womanizer; a fragile human being who flirts with the chambermaid while speaking to his wife and children on the phone, has holes in his socks, likes to add a little something to his coffee and chain smokes.

Finally, after some bantering about his being afraid of the thunder and lightning she holds him close and refers to him by his childhood name. He’s suspicious she was sent to spy on him, but she admits that she was sent to help him make it through the night. 

 For those in the know, history left its mark for all to see as the television cameras rolled outside on the balcony of room 306 at 6:01 PM, April 4th 1968. Yours truly will never forget those moments.

Both Simmons and Henderson play beautifully off one another. Simmons is natural and easy; not trying to impersonate King or look larger than life. 

He was after all flesh and blood with many shortcomings.  Henderson is playful funny and delightful, cautious and with a purpose.  The chemistry flows from one to another and the laughs and chuckles are frequent as one might see in a sit–com.

But this play is anything but funny. It is thoughtful, riddled with emotions; enough for  the ending words of King to bring a tear or two to everyone’s eyes especially with his booming opera trained voice:

“God said I gotta get you ready to come on home”. And while he begs for more time she has to convince him that someone else will have to pick up the baton. 

“Will I die at the hands of a white man, too. Yes. Speak by love. Die by hate. Where will it be?

On the balcony just right there. How? Surrounded by those who love you. Will you be there to clean up the mess? It would be a honor, Preacher Kang”. 

Director Durwood Murray, JR, making  his directorial debut, surly knows his way around a theatre stage. Every movement, intonation and look is picture perfect.

Christopher Scott Murillo’s set is a copy of Room #306 at The Lorraine Hotel in Memphis, Tenn., with  a visual of the balcony behind the windows. Credit to projection designer, Michael Wogluis, props, Carter Vickers, sound Andre Buck, JR, lighting, Mashun Waits, and costume and wig’s Kevane La’Marr Coleman.

How many times must we live through these throat-paralyzing sequence of days of gun play, grief and muffled drums?” (Life Magazine, June 14, 1968.

This question, written after the assassination of Robert F. Kennedy (on June 5th 1968), followed by the assassinations of Martin Luther King, and of course before that, John F. Kennedy in 1963, and the attempt on the life of President Ronald Reagan in 1981 seems eons ago. We are still asking the same question today after 26 young children were gunned down at the Sandy Hook Elementary School in New Town, Conn! 

If you are old enough to remember the Texas School Depository Building, the Grassy Knoll, the Lorraine Hotel, and The Ambassador Hotel in Los Angeles and outside the Washington Hilton Hotel, I’m sure you are aghast at what’s happening in 2025.

I’ve seen “The Mountaintop” several times in the past. This one, by far, stands above the rest. 

Enjoy. 

See you at the theatre.

When: 7:30 p.m. Fridays and Saturdays; 2 p.m. Sundays. Through June 22

Where: New Village Arts, 2787 State St., Carlsbad

Photo: Jason Sullivan

Tickets: $25-$50

Online: newvillagearts.org

“ONE OF THE GOOD ONES” AT OLD GLOBE HAS AN IDENTITY CRISIS.

 In the 1967 controversial movie, “Guess Who’s Coming to Dinner”, starring Spencer Tracy, Katherine Hepburn, Sidney Poitier and Katherine Houghton, the plot revolves around a white woman bringing a Black man to dinner.  

It was at the height of the Civil Rights movement. MLK was assassinated a few months after that and  the family is thrown off balance. 

Benito Martinez, Angelique Cabral, Cree, Nico Greetham

But  in 2025 when  the Gomez Family, in Gloria Calderó Kellett’s eighty + minute sitcom, “One Of The Good Ones” now playing at The Globe Theatre through June 22nd.    discover that their recent college graduate daughter Yoli (Cree) has invited her special boyfriend, Marcos (Nico Greetham) for dinner, they all assume that he is Mexican because of his name. 

The Gomez Family has an identity problem, and I must say, one of their own making. It seems Mom, Ilana (Angelique Cabral) is of Puerto Rican and Latin-American heritage but doesn’t speak Spanish. Enrique is Cuban and he and Yoli, who studied Spanish in school,  speak it together all the time, much to Ilana’s chagrin. 

Nico Greetham, Benito Martinez, Angelique Cabral, Cree

When Marcos comes calling with a bottle of wine and a colorful piñata, the family is aghast to see that his skin color is white; and we are off and running! 

He has much splanin’ to do about how his parents are white but he was born in Mexico  and speaks fluent Spanish. And the battle of who is what and what  is what continues until Yoli tells her parents that she and Marcos are secretly married…and more. 

Nico Greetham, Cree, Benito Martinez and Angelique Cabral

Now the focus is on respect and the generational gap of how this generation has no respect for their elders as they did in Enrique’s day. Ilana, on the other hand, is thrilled for her daughter; wants to know everything about the relationship between the two young’uns, things even tho' Marcos doesn’t know the half of it. 

Here’s where the piñata comes in where everyone gets to vent their anger and frustrations out on the paper mache puppet filled with candy. Everyone has a go at it until it’s in shambles, causing uproarious laughter. 

Cree, Nico Greetham, Benito Martinez and Angelique Cabral

Kollett knows how to write a sitcom coming from a sitcom background and director Kimberly Senior surely has the knowhow to stretch out the laugh lines even though beneath the surface serious issues like  assimilation and privilege wait to come to forefront, but never do.  

Overall the cast works hard to make this sitcom work. Of the cast Beto Martinez stands out as the the most consistently funny and on target, Angelique Cabral shows signs of softness and understanding of her young daughter but Cree and Nico are all over the place. 

Takeshi Kata’s set, an upscale Pasadena Gomez residence makes a stunning background, with Sarita Fellows costumes, Jaymi Lee Smith’s lighting and Andrea Allmond and Jeff Gardner’s sound design complete the picture of this LOL comedy where the laughs come fast and furious making it almost impossible to hear half of the dialogue. 

And as for ‘the good ones, it's anyone's guess. 

Enjoy.

See you at the theatre. 

When: 7 p.m. Tuesdays through Thursdays; 8 p.m. Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays. Through June 22

Where: Old Globe Theatre, 1363 Old Globe Way, Balboa Park

Tickets: $29 and up

Photo: Rich Soublet II

Phone: 619-234-5623

Online: theoldglobe

“A BEAUTIFUL NOISE”: A NEIL DIAMOND MUSICAL SALUTE.

Several, or should I say eons ago, very good friends took me to see Neil Diamond perform in concert at the old Sports Arena on Midway. What can I say. It was mesmerizing, awesome and spellbinding. We had seats close enough to almost touch him. 

In my collection of CD’s (I know), I have at least three of his, with all the songs I heard recently at the Civic Center, brought to us by Broadway San Diego, “The Neil Diamond Musical: A Beautiful Noise”.  And what a beautiful sound it was. 

Nick Fradiani and Robert Westenberg

With direction by Michael Mayer, and book by Anthony McCarten, the story  is framed and unfolds in a therapist’s office as we meet  an older version of Diamond (Robert Westenberg) with his ‘doctor’, (Lisa Renee Pitts ) who practically has to drag information out of him. 

While the information he shares with her takes too long, we do learn about Diamond’s past, his Jewish roots, (“Brooklyn Roads”), where he grew up and lived with his immigrant parents and brother. (“America”). 

Hannah Jewel Kohn and Nick Fradiani

The twenty or so musical compositions sung perfectly by Nick Fradiani took us through this jukebox musical for over two hours starting out at a bar called Bitter End Coffeehouse to signing a contract with the mob to finally hitting the big time and going on tour, to concerts in almost every country, to meeting the then President, to his two marriages after leaving pregnant wife #1 and marrying  Marcia Murphy (Hannah Jewel Kohn) whom he met at the Coffeehouse). 

They stayed together for a little over ten years. “Love on The Rocks” and “You Don’t bring Me Flowers” (the one he did a duo with Barbara Streisand) We know it’s over for them when Kohn sings “Forever In Blue Jeans”. 

Nick Fradiani and backup singers

Sounding amazingly like Diamond himself with Nick Fradiani, the house came to a roaring frenzy,  standing and waving as he sang one of his most famous “Sweet Caroline”. In the show it refers to his seeing a picture on a magazine cover as his inspiration, but yours truly heard (and who knows) the he wrote “Sweet Caroline” as a tribute to  John F Kennedy’s daughter, Caroline. You decide.

‘Beautiful Noise’ refers to his ensemble dancers and backup singers including Cooper Clack, Chris Marsh Clark, Deirdre Dunkin, Ginger Hurley, Spencer Donovan Jones, Ellen McGihon, Tabitha Moruthane, Tasheim Ramsey Pack, Jeilani Rhone-Collins and J’Kobe Wallace with choreography by Steven Hoggett.

The backup band above the action is led by Conductor James Olmstead, and Fradiani’s glitzy costumes  are by Emilio Sosa with lighting by Kevin Adams and sound design by Jessica Paz, wigs and makeup by Luc  Verschuern. 

But in the end, we also learn of a lonely and depressed man/child (“I Am… I Said”, “Solitary Man”, “Shilo” ( his imaginary friend), “Hello Again”, “Longfellow Serenade”, “September Morn”, “Play Me”, “Holly Holy”, “Soon You’ll be a Woman”. 

“Soolaimmon”,  “Kentucky Woman”, Cracklin Rose”, Red Red Wine”, “Song Sung Blue” all fall into the category of lovely, bouncy and crowd pleasing, especially with Nick Fradiani sounding so much like Neil Diamond, down to the lowest of lows to those that reach their highest peaks. 

I’m all in. 

Sadly, we learn from the program notes that Diamond, now in his eighties,

suffers from Parkinson’s Disease and will not be playing at concerts. But that cannot stop his music from coming to us. 

Enjoy.

See you at the theatre.

 

When: 7:30 p.m. May 29; 8 p.m. May 30; 2 and 8 p.m. May 31; 1 and 6:30 PM through June 1st.

Where: San Diego Civic Theatre, 1100 Third Ave., downtown

Tickets: $51 – $231

Online: broadwaysd.com/upcoming-events/a-beautiful-noise

 

“MERRY ME” A RUN AWAY SEX FARCE AT DIVERSIONARY.

Did you ever go to a play expecting one thing and half way through realized it was something altogether different? 

When I attended “Merry Me” written by Hansol Jung and directed by Vanessa Stalling, at Diversionary Theatre, San Diego’s oldest LGBTQIA (SINCE 1986)  Theatre on Park Blvd,  I kept thinking, “What the F”!

Agamemnon? The Trojan Battle? Tony Kushner? Shakespeare?

Greek Mythology left my gray matter after college more than 50 years ago. But just to follow the dots, we do meet an Agamemnon family… only after Tony Kushner’s Angel (Michael Amira Temple) introduces us to them… and later on she has much more to say. 

Then there are the Memnon’s: General Aga Memnon (Troy Tinker Elliot almost a cartoon like character), Mrs. Sappho Memnon (Mak Shealy), Mrs. Clytemnestra Memnon (Jacquelyn Ritz) and    Private Willy Memnon (Coleman Ray Clark). Others include Dr. Jess O’Nope  (Andréa Agosto), the psychologist, they say who was married over 40 times and Lieutenant Shane Horn ( Winnie Beasley).

All the merry’s  in “Merry Me”  take place on an  unnamed island during the Trojan conflict in an Army Camp where there is a major power failure. Communication from one part of the base to another is done the old fashioned way; cups and a wire. 

Moving along, it seems that Lieutenant Horn was just released from the brig after serving time for seducing Clytemnestra, the General's wife.  

Horne wants to sign her therapist friend Dr. Jess O’Nope ( a very convincing Agosto) in a plot to pretend to have had conversion therapy to become heterosexual in order to satisfy all the soldier’s wives on the base. 

In the meantime, Willy Memnon (sweet and bewildered, the object of everyone’s jokes and straight) has married Sapph. When she meets Shane, all bets are off between herself and Willy. What to do

In this 90 min rom com where everyone gets to have their merry’s, do you think there is an underlying message here when Kushner’s Angel tells Jess to kill half of the human race (read men) with a hatchet. 

For this reviewer “Merry Me” is more of a runaway sex farce that goes off the charts so far it almost sinks from the weight of its own smugness. Between Greek Mythology, Shakespeare, pop culture, Tony Kushner, and, according to director Vanessa Stalling, “our struggles to find true satisfaction”,  I must say, it just was not my cup of tea.  

While the acting overall is wonderful, especially Michael Amira Temple’s angel) and the sets (Mathys Herbert), lighting design (Annelise Salazar) costumes design, (Clair Peterson) and sound designer/composer (Padre Crisafulli) are all in keeping with the play, it just did not resonate with me.

But that shouldn't stop you from seeing it. 

See you at the theatre.

When: Runs through June 15th. 7 p.m. Thursdays through Saturdays; 2 p.m. Sundays

Where: Diversionary Theatre, 4545 Park Blvd., University Heights

Tickets: $11.50-$61.50

Photo: Talon Reed Cooper

Info: 619-220-0097

Online: diversionary.org

 

“JAJA’S AFRICAN HAIR BRAIDING” : A POWERFUL COMEDY... TO BE TAKEN SERIOUSLY.

 As someone who owned a hair salon with my daughter for over thirty years, Jaja’s African Hair braiding Salon is a world apart and a mile different. 

Kicking off the la jolly playhouses 42nd season by mounting  Ghanaian-American Playwright Jocelyn Bioh’s award winning comedy Jaja’s African Hair braiding” (she also wrote “The Curious Incident of the Dog In The Nighttime”) as directed by Whitney White, hits all the right notes of joy, fear and expectation, especially in today’s climate of immigration paranoia and dread of deportation. 

Jaja’s salon is located in Harlem where most of the  women working there are West African immigrants with the exception of Jaja’s daughter Marie (Jordan Rice) who is a Dreamer. 

Victorie Charles and cast

The customers all consider Jaja’s a sacred and safe place where they can come sometimes, for the whole day, and when they leave, feel special oft times looking  like a new person with braids cascading down their backs. 

As for the ‘stylists’’ they come with  different personalities, from different countries, backgrounds and accents. They worry about being deported, but mostly, they work long hours in Jaja’s making a living to make ends meet. 

Set on a ghastly  hot summer day in 2019, Jaja’s daughter, high school graduate Marie, is running the salon as her mother is getting primped for her wedding day which  happens to be this particular day. 

Tiffany Renee Johnson, Bisserat Tseggai, Jordan Rice and Aisha Sougou

Not everyone in the salon, including Marie, is thrilled about Jaja’s choice of a new husband whom they do not trust (and for good reason which will be revealed, but no spoilers here). Jaja hopes that with this wedding she will be able to get her green card, her daughter can attend any college of her choice and deportation would be a thing of the past.

In the meantime , customers come and go, all with their own stories especially one wanting to look like  Beyoncé. 

The stylists work their fingers to the bone turning the customers’ hair from dowdy to cornrows, to jumbo box braids to cornrows to micro braids.

Tiffany Renee Johnson and Claudia Logan

Over the course of the day, this eclectic group of braiders laugh, dance, argue about which customers belong to who, watch African TV soaps, deal with jewelry hawkers peddling their wares, chide the skilled Aminata (Tiffany Renee Johnson), for giving her hard earned money to her lazy, out of work husband. And the beat goes on. 

To the letter, there isn’t a weak link in the ensemble which includes…stunning Jaja (Victorie Charles) who makes a brief but eye popping entranced in her wedding gown, Bea (Claudia Logan), Ndidi (Aisha Sougou) , Onye Eme- Akwari who plays several male roles and stylist Miriam ( Bisserat Tseggai), whose client (Mia Ellis) is a journalist.  Miriam is the only stylist whose story we hear about. 

Obie award winner and director, Whitney white, keeps the pace on the fast track, missing nary a beat. From braiding to sparring to dancing to having affection for one another, Jaja’s in Harlem is the place to be. 

David Zinn’s colorful set design is authentic looking from cans of hairspray on the shelves to two hanging tv sets to roll about chairs, mirrors on the walls and individual bags of hair looking like they are waiting to be braided.

Claudia Logan and Melanie Brezill, Jordan Rice in background

I couldn’t help but be blown away by Dede Ayite’s richly colored costumes( she became the first black woman to win a tony award for best costume design in a play) and Nikiya Mathis’ wig and hair design with Jiyoun Chang’s lighting.

Aisha Sougou (left) and Melanie Brezill

All of these women call America ‘home’ but in today’s world, they are outsiders. For Jaja and her followers, sadly, deportation is staring them in the eyes. 

Enjoy.

See you at the theatre.

When: Runs through June 15. 7:30 p.m. Tuesdays through Fridays; 2 and 8 p.m. Saturdays; 1 and 7 p.m. Sundays

Where: La Jolla Playhouse,  Mandell Weiss Theatre, 

2910 La Jolla Village Drive, UC San Diego.

Photo: Rich Soublet II)

Tickets: $30-$90

Info: 858-550-1010

Online: lajollaplayhouse.org

“THE COUNTER” OFFERS UP A CUP OF JOE AND FRIENDSHIP AT MOXIE THEATRE.

 I Once Read That “A Friend Is Someone Who Likes You.”  

What makes A Good Friend? Someone who listens? Someone you’ve known for a long time? Someone with whom you have a history? 

I can count on my one hand the number of good friends with whom I could share my inner most secrets. (One passed two years ago) 

In Moxie’s latest play, “The Counter” by Meghan Kennedy, Katie (a steadfast, rich and staunch Kate Rose Reynolds) and Paul (steady and sympathetic  as he goes Mark Stevens) see each other six days a week at the local diner where Katie is behind the counter and Paul, the customer, sits at “The Counter”. 

Paul comes in each morning at about six am and has his first an/ or second cup of coffee of the day while Kate fusses around in back of the counter filling napkin holders, making coffee, cleaning off counters, wrapping silverware in napkins Etc. 

At first the conversation is about as serious as how much ice is on the ground. (they live somewhere up up N.Y. State.)

This goes on for about two years until Paul breaks the ice and wants to become ‘friends’, real friends that share secrets.  

He has a favor to ask of her.

Mark Stevens and Kate Rose Reynolds

Paul is in a funk. He’s had it with his life: Been there, done that. He has lived in this town all his life; was a firefighter, was in the Peace Corps, is a recovering alcoholic, had a secret love affair with one of the town’s well known citizens and is ready to be done with it all.

Kate, on the other hand, moved to this icy town just two years ago. She’s running away from something/someone and is a bit hesitant to share this with Paul. But Paul wants to share secrets. You tell me yours and I’ll tell you mine.  Eventually the friendship and trust grows and an unlikely alliance forms. 

She’s been running away from an embarrassing romantic moment  and has saved twenty seven voice messages from her boyfriend. She has not answered any of them and refused to for some time. Paul wants her to drop some poison into his coffee some morning but doesn’t want to know when. 

Mark Stevens and Kate Rose Reynolds

In a series of short scenes and blackouts, director Desireé Clarke Miller slowly moves the story forward as we see the loneliness in each character develop, sad as it may be. 

Kate refuses to drop a lethal dose of poison as Paul asks, but both she and Paul listen to the messages on Kate’s phone. He encourages her to return the calls while  she wants no part of poisoning Him. “Do it yourself” she retorts. 

While all this is going on, Peg (Kara Tuckfield), Paul’s old flame and town Doctor comes into the coffee shop before Paul on the pretense of getting some coffee cake. When Kate sees the two of them together, she understands the deepness of their relationship and understands Paul’s pain. 

In eighty minutes, or so the characters in “The Counter” go from unknown to we almost know them. Kennedy barely scratches the surface of these two vulnerable 'friends', and while in this reviewer's mind it's still a leap of faith for such an encounter to happen, stranger things do happen.  

Julie Lorenz’ set design makes it look realistic with working coffee machine and all the accoutrements necessary for a working restaurant. Colby Freel’s lighting design sets the atmosphere for time passing.  

The play does tell us that it is it is a sad commentary on lost communication between people who don’t really talk but text. 

It’s a sad commentary on where we are as a society afraid to make new friends we can trust.  

And it’s a sad commentary when our feelings are hushed and empathy is lost. 

Be Patient. The play is about eighty minutes long; time enough for reflection.

See you at the theatre.

When: 7 P.M. Thursdays; 8 P.M. Fridays And Saturdays; 2 P.M. Sundays. Through June 1st.

Where: Moxie Theatre, 6663 El Cajon Blvd., Ste. N, Rolando

Tickets: $20-$48

Phone: 858-598-7620

Photo: Moxie Theatre

Online: Moxietheatre.Com

“HOUSE OF INDIA”

 The Old Globe in Balboa Park is presenting Deepak Kumar’s world premiere “House of India” on the Sheryl and Harvey White Stage through June 8th. 

It’s been a trend of late the use food, mostly ethnic, as the base of many plays. “House Of India” is that and much more. Based on the playwright’s own experiences of visiting his families favorite Indian Restaurant in Michigan when he was young, he set about putting pen to paper and ergo… “House Of India”.

Kumar moved his story to a strip mall in Ohio, where once it was a thriving business. But no more.

Built with the sweat, tears and dreams of Ananya’s (Mahira Kakkar) late husband, the two emigrated from India to open their (his) dream restaurant. Unfortunately, his life was cut short, leaving Ananya, her daughter, Vaidehi ( Supriya Ganesh) and their Thai friend, Jacob (Tommy Bo), who did the cooking with Ananya’s recipes, to carry on. For a time, the restaurant was bustling. 

Declining customers and sales gave way to Jacob suggesting integrating the Indian food with other foods (Indian Tacos?) to bring in more customers. That fell on deaf ears to both mother and daughter; absolutely not!

In the middle of this give and take, Ananya’s son Vikram (Deven Kolluri) shows up to supposedly write about the family restaurant. In case you ask, he’s on assignment, or so we are led to believe.

Supriya Ganesh, Tommy Bo, Mahira Kakkar, Deven Kolluri(back to us)

Now the whole mishpacha go round and round about the fate of the restaurant. But “House Of India” is more than that.  When the restaurant is vandalized, that was the last straw. Jacob suggests they make the restaurant into a fast food place and change the name; get rid of everything as it was, and go for broke, things don't break even for Jacob but he is determined.  

The acting is beyond wonderful; it’s sincere, heartfelt, realistic, and authentic.  At the core is Mahira Kakkar’s Ananya. Like most Moms, what she says, goes, much to the chagrin of Jacob. Jacob, on the other hand wants to make a big deal of the fact that the restaurant was vandalized; more like a hate crime. Naturally Ananya is beside herself with anger. 

Both she and Vaidehi (Supriya Ganesh) are vehemently opposed. Vaidehi has been working another job to help keep the restaurant afloat and has too much invested to let it go. She too is a star in her own right.

Deven Kolluri’s Vikram feels like an ‘also ran’ and needs more development if his character stays in the play. Tommy Bo is bursting with energy hard to capture. The question is, 'does he get his way?' You have to follow the dots in this surprising dramady. 

The playwright touches on immigration, (how this country was made on the backs of immigrants) racial violence, hate crimes, assimilation, family ties and priorities. (No spoilers here) but pay attention to Ananya’s last words.

Director Zi Alikhan lets the action flow at its own pace. 

Credit Chika Shimizu for set design, Cha See, lighting, Fan Zhang sound, and Rodrigo Muñoz, costumes. 

With a few small revisions here and there, this world premiere dramady should go places. 

Enjoy.

See you at the theatre.

When:  Opens May 15 and runs through June 8th. 7 p.m. Tuesdays through Thursdays; 8 p.m. Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays

Where: Sheryl and Harvey White Theatre, The Old Globe, 1363 Old Globe Way, Balboa Park, San Diego

Photo: Rich Soublet II

Tickets: $41 and up

Phone: 619-234-5623

Online: theoldglobe.org

“PERIL IN THE ALPS” OFFERS NON STOP FUN AT NORTH COAST REP.

 Run don’t walk to North Coast Repertory Theatre in Solana Beach where inhouse playwright Steven Dietz  (“Murder on the LInks”) is directing “Peril in the Alps” based in part on “Poirot Investigates” by Agatha Christie. 

Omri Schein and Valerie Larson

And who to play the Belgian sleuth Hercule Poirot? Well, none other than the mustachioed, slow and  deliberately stepping Omri Schein. With him is his sidekick Captain Hastings (Valerie Larson). Both are on the verge of trying to solve a double murder. 

Think it’s easy? Not when you have mistaken identity, twin sisters of Captain Hastings wife  (Dulcinea and Bella, an acrobat gone missing from an upscale hat shop ), bumbling police, ominous messages, a missing gun, dangerous trips, a missing doctor, extortion and cups of cacao. And beware of a little Smurf like character with a long beard.

(FR) Gabbie Adner, Omri Schein, Valerie Larson 
(BR) Brian Mackey, Amanda Sitton Christopher M Williams

Armed with an excellent cast of six (Gabbie Adner, Valerie Larson, Brian Mackey, Amanda Sitton and Christopher M. Williams) all playing  over two dozen  characters with the flash of an eye. It’s almost like having your head on a swivel as the scenes change from London, to Paris to the Swiss Alps on Marty Burnett’s slick stage design with cabinets on either side holding various articles and much help from the backstage crew and clever props designers. It’s almost like being on a tilt-a-whirl ride at an Amusement park. 

Omri Schein and Valerie Larson

Brava to costume designer Elisa Benzoni for the excellent period attire and I can’t even tell you how many hats were exchanged or changed during the length of the almost 2 hour show. Peter Herman’s wigs; perfect as usual, Matthew Novotny different shades of atmosphere and sound designer Rai Fettmann gives us the eeriness needed to cause shivers. 

All in all, you will not be disappointed. in fact, you will laugh till your sides hurt.

Enjoy.

See you at the theatre.

Runs through May 18th. 7 p.m. Wednesdays  and Thursdays; 8 p.m. Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays.

Where: North Coast Repertory Theatre, 987 Lomas Santa Fe Drive, Solana Beach

Photo: Aaron Rumley

Tickets: $57-$69

Phone: 858-481-1055

Online: northcoastrep.org

OLD GLOBE’S BROADWAY BOUND “REGENCY GIRLS” HITS ALL THE RIGHT NOTES.

TO THE WOMEN OF THE WORLD OF 1810:

YOU GOT FEMALE TROUBLES? THE REGENCY GIRLS CAN FIX THEM.

YOU NEED AN ABORTION? THE REGENCY GIRLS CAN LEAD YOU TO THE RIGHT PERSON.

YOU NEED TO FIND YOUR SWEET SPOT? YUP, THE GIRLS CAN DO "(JANE FINDS HER TINGLE”)

YOU NEED TO BE IN CHARGE OF YOUR OWN FATE? YES. THE REGENCY GIRLS CAN HELP WITH THAT AS WELL.


THE OLD GLD GLOBE’S RECENT OFFERING, THE WORLD PREMIERE  “REGENCY GIRLS” BY JENNIFER CRITTENDEN AND GABRIELLE ALLEN; COMPOSER CURTIS MOORE AND LYRICIST AMANDA GREEN, ALL WHOSE COMEDY CREDITS RANGE FROM ‘THE MARVELOUS MRS. MAISEL” TO “SEINFELD” COMBINE RESOURCES TO MAKE “REGENCY GIRLS”.

THE  WRITERS BEGAN WORK ON THIS PROJECT IN 2018 JUST ABOUT WHEN COVID HIT. THEN THE SUPREME COURT OVERRULED ROE V WADE IN 2022 ADDING TO THE MORE IMMEDIACY OF THIS SHOW.

QUESTION? WHAT TO DO IF YOU ARE SINGLE AND ‘WITH CHILD’, MIDDLE CLASS AND IT’S 1810, NOT 2025, BUT IN THIS CLIMATE, SERIOUSLY?

AS THE STORY GOES, FOUR MIDDLE CLASS WOMEN, JANE, (KATE  ROCKWELL) ELINOR,(ISABELLE McCALLA) HER MAID DABNEY(KRYSTINA ALABADO) AND ELINOR’S BEST FRIEND PETUNIA (RYANN  REDMOND) VENTURE OUT ON A BUGGY TRIP TO DISCOVER THE WAYS OF THE WORLD, BUT MOSTLY ABOUT THEIR OWN BODIES, BOTH SEXUAL AND ANATOMICAL. (“FEMALE TROUBLE”). THE BUGGY IS  BIG ENOUGH FOR LUGGAGE AND PERSONAL ITEMS.

KRYSTINA ALABADO, KATE ROCKWELL,ISABELLE McCALLA, RYAN REDMOND

SINCE BOTH ELINOR AND DABNEY ARE PREGNANT WITHOUT BENEFIT OF MARRIAGE, THEIR GOAL IS TO MEET UP WITH MIDWIFE/ABORTIONIST MADAME RESTELL (JANINE LAMANNA) AND GET INFO ON BIRTH CONTROL.


BOTH ELINOR AND PETUNIA DRESSED AS MEN AND  ARE ABLE TO GET ACCESS TO A RAUCOUS BAR SCENE WHERE THEY DRINK AND MAKE MERRY. (“MAN THINGS”) AND THEIR OPINIONS ARE MORE VALUED THAN THEIR FEMALE COUNTERPARTS.

Isabelle McCalla

THEY MEET UP WITH SEVERAL CHARACTERS ALONG THE WAY THE MOST MEMORABLE WOULD BE GABE GIBBS WHO PLAYS BOTH MASKED BANDIT GALLOPING DICK WHO ROBS THE WOMEN OF THEIR EARTHLY GOODS AND DINGLEY, ELINOR’S PAR AMOUR. HE’S DASHING, BUT AN OAF WITH A WANDERING EYE.

DECEIT AND PRETENCE ARE A REOCCURRING THEMES RUNNING THROUGH “REGENCY GIRLS” BUT IT’S LOADED WITH OUTRAGEOUS  FUN AND KNEE SLAPPING LAUGHS.

JOSH RHODES DIRECTS AND CHOREOGRAPHS A CAST OF NINE WITH SEVEN ENSEMBLE  MEMBERS AND FOUR SWINGS AND THERE ARE NO LESS THAN TWENTY SONGS RANGING FROM “MAN THINGS” TO “WERE NEVER GOING BACK THERE AGAIN”, “LEAVE IT TO THE MEN”, (OY) AND “USEFUL” AMONG OTHERS ALL UNDER THE BATON OF MUSICAL DIRECTOR PATRICK SULKEN.


YOU WON’T SEE ANY MORE ELEGANT, GLAMOROUS OR FITTING COSTUMES ANYWHERE THAN THOSE OF DAVID I. REYNOSO’S. ALL DESIGNED FOR THE PERSONALITIES THEY REPRESENT.

ANNA LOUIZOS DESIGNED THE SETS, ADAM HONORÉ, THE LIGHTING AND JASON CRYSTAL THE SOUND.

THE PRODUCTION GOES ON FOR 2+HOURS WHICH IS A MITE TOO LONG WITH ONLY ONE INTERMISSION.

I HAD IT FROM A RELIABLE SOURCE THAT THE FIRST ACT WAS EVEN LONGER. I KNOW THE MATERIAL IS GREAT FUN, BUT SOMETIMES WE HAVE TO LEAVE SOME OF IT ON THE CUTTING ROOM FLOOR.

BAR ROOM SCENE

TIGHTENING IT A BIT AND KEEPING THE HILARITY GOING SHOULD BE THE GOAL.

IT’S NASTY FUN WITH NO HOLDS BARRED AND HAS ALREADY BEEN EXTENDED ONCE.

IT IS LOOKING TOWARD BROADWAY. WHO KNOWS, BUT GET YOUT TICKETS BEFORE IT CLOSES.



When:  Runs through May 11. 

7 p.m. Tuesdays, Wednesdays and Thursdays; 8 p.m. Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays
Where: Old Globe Theatre, 1363 Old Globe Way, Balboa Park, San Diego
Photo: Jim Cox
Tickets: $45 and up
Phone: 619-234-5623
Online: theoldglobe.org

“ LA HAVANA MADRID”: AN IMMIGRANTS NIGHTMARE AS TOLD IN STORIES AND MUSIC

 New Village Arts in Carlsbad is currently presenting Sandra Delgado’s world premiere docudrama/musical “La Havana Madrid” based on true stories from immigrants back in the late 50’s early  60’s who came to this country to make a new life for themselves and families. 

They came from Columbia, Cuba, Puerto Rico, and for the most part landed in Chicago. If you are from Chicago (which I am not) you will recognize all the places mentioned in the stories told by the new immigrants just settling there. It is also about the stories and the music that puts this experience among one of the best and most relevant productions to be seen in the county given the political climate today. 

Michelle Caravia

Directed with his usual flair by Richard Trujillo, with original music by Cristian Amigo and original lyrics by Sandra Delgado.  It is set on the wide stage of NVA as designed by Christopher Scott Murillo and Scott Murillo like a nightclub (aka La Havana Madrid) with scenes showing various projections of the different time periods by Michael Wogulis and with elaborate period costumes by Jess Moreno Caycho. 

The Cast

The six very talented casts members (Lena Ceja, Fredy Gomez Cruz, Jawann McBeth, Alyssa Rodriguez, Leonardo Romero, Adrianna Cuba Cuentas and Paul Surel) plus two swings manage every Latin American dance number and lyric with precision and panache. Behind a curtain is a live band under musical director Carlos Ordiano on Bass others include: Joe Aportela, Percussions, MG Green, Guitar, Gabriella Hendricks, Horns and Carson Inouye, Keyboards. *

Lena Ceja

Standing in as the Emcee or the character La Havana Madrid is the exceptionally talented Michelle Caravia. Caravia sets the stage for the series of stories that follow beginning with the thousands of youngsters sent to America  and landed in Chicago as told my Maria (Alyssa  Rodriguez).  They were sent away to escape from the Castro takeover. Most were placed in foster homes, others sent to orphanages all over the city, or on their own to fend for themselves. 

Jawann McBeth

There are stories of gangs and riots in certain parts of Chicago and just like today, the police shoot randomly without regard of who or what gets killed as in one story a teenager was killed in the city because of the color of his skin, or a young Puerto Rican woman was attacked by gang members on the subway.  One couple said their vows in two separate churches in two separate countries; one in the States and one in Columbia. 

Lena Ceja

The stories and the music go on for two + hours with one intermission. There are so many more  stories and in much more detail than I could cover here that it would be well worth your while to see it for yourselves. 

One of the things I found entertaining was when the actors broke the fourth wall and chatted with the audience. It gave the production a feeling of community.

Alyssa Rodriguez

Aside from being an integral part of the Latino experience, the good , the bad, the ugly, I couldn’t stop thinking about the border raids, the busses filled with immigrants, both legal and illegal,  going off to places unknown, the random shootings, and the hate! And this is 2025 not 1959. 

Alyssa Rodriguez, Fredy Gomez Cruz, Lena Ceja

See for yourselves.

See you at the theatre.

*Artistic Director and founder of NVA  Kristiannne Kurner announced that after nine or so years of not having live music, NVA went all out and for “La Havana Madrid” the live band makes all the difference.

When: Opens March 29 and runs through April 27. 2 p.m. Wednesdays; 7:30 p.m. Thursdays and Fridays; 2 and 7:30 p.m. Saturdays; 2 p.m. Sundays

Where: New Village Arts, 2787 State St., Carlsbad

Tickets: $40 and up

Photo: Tanya Perez Photography

Phone: 760-433-3245

Online: newvillagearts.org