HIGH VOLTAGE “HAIRSPRAY” ROCKS AT NEW VILLAGE ARTS THEATRE IN CARLSBAD

 No one can say that Artistic Director and Director of NVA’s production of  “Hairspray”, Kali Boston,  doesn’t know talent when she sees it, because it’s all laid out for us in living color through July 19th at the Carlsbad Theatre.  

Clive Barnes dance and theatre critic for The New York Times was quoted as saying that “Hairspray” was Broadway’s ‘Great Big Gorgeous Hit’. If you’ve never seen it LIVE, or it’s been too long since you’ve last seen it, now is your big fat opportunity to do so.

Winner of eight 2003 Tony Awards including Best Musical and directed by our own Jack O’Brien of Old Globe fame, the Broadway cast starred Marissa Jaret Winokur as Tracy Turnblad and Harvey Fierstein (the King or Queen of drag and the quintessential Edna Turnblad) as her mother, Edna. Both won Tony’s for their respective roles.

Linsey Schreck and Luxe The Drag Queen

“Hairspray”, based on the New Line Cinema film written and directed by John Walters who was also the creative consultant for the musical, with Mark O’Donnell and Thomas Meehan who wrote the book, original score by Academy Award nominated Marc Shaiman, and lyrics by Scott Wittman and Marc Shaiman, where times they were a-changin’.

For Baby Boomers and younger who may not remember the ‘60’s here are a few dances that thrived then: ‘Stricken Chicken’; ‘The Madison’; The Locomotion’; ‘The Handjive’; ‘The Bug’; ‘The Pony’; ‘The Mashed Potato’ and ‘The Twist’. 

Ebony Muse

Words like Afro, Beehive, Extensions, Perm, Pig Tails, Pompadour, Skunking and Teasing were made popular. The Civil Rights Act, Alfred Hitchcock’s “Psycho”, JFK, Bay of Pigs, Peace Corps, Cuban Missile Crisis and the death of Marilyn Monroe were a few items that made history in the early 60’s. That we were in for some trying times would be an understatement for years to come.

The time is the ‘60’s Baltimore (“Welcome To The 60’s” “Good Morning Baltimore”) where the Corny (Dennis Peters) Collins Show is the rage. Radio dance shows were big in the 60’s and in Baltimore the ‘Corny Collins Show’ was the thing to watch. 

Linsey Schreck

Tracy Turnblad (Linsey Schreck), a large gal by all standards with a big bouffant hairdo, wanted to try out to be a regular on the local dance program after it was announced that one of the girls left (for 9 months) for an unexpected vacation and the station was having a contest for the most popular dancer on the show. 

When Tracy finally becomes a regular (overcoming way too many obstacles to mention), she becomes an overnight teen celebrity to some, but a pain in the butt to the powers that be who did not want her on the show. They thought her too BIG (in size), too loud, too cozy with the African American community and too dumb to be a part of ‘their white world’ with its white dancers and white producer Velma (Alyssa Anne Schechter) VonTussel) and her conceited daughter Amber (Mikayla Kelley) who is ‘going steady with the oo-la-la handsome Link Larkin (Max Leadley). 

Max Cadillac and Luxe The Drag Queen

Then again there is the matter of Tracy’s parents. Her mother Edna (Drag Queen star Luxe The Drag Queen morphs from a bedraggled housewife doing other people’s laundry to a beautiful and loving Edna trying  to protect her daughter from getting hurt, while her dreams of becoming a famous designer are off in the distance. She is an absolute find and pulls off Edna as a most believable parent, wanting to be protective and giving in to her daughters dreams. And she looked great in her sequenced gown!

In contrast, her husband Wilber (Max Cadillac)) is just the right person, about half the size of Luxe,  to fit the bill in their loving and caring relationship. He is an off- beat inventor.  Their big production number “Timeless To Me” is worth the whole show. It’s fun, loving, caring and just sweet. It sums up the feeling of the show.

Irelynne Terranami and Alexander J. Brown

Big gal makes good is at the crux of Hairspray but one of the most important social upheavals of the century, integration, was about to happen right in front of our eyes. And… it isn’t every day that a big, let’s say generously endowed 15 year old local gal with a two tone bouffant, teased to the hilt becomes the star of the show.  Further, against all odds she falls for and gets the catch of the century, Link Larkin, and wins the approval of her hometown community. 

Cast with Dennis Peters (L)  Max Leadley and Linsey Schreck (center) and Alexander J. Brown and Irelynne Terranami (R)

The young and extremely energetic cast (hats off to director Ms. Boston  and choreographer Kara Mack) that shake the house up with such lively numbers as “Welcome to the 60’s”, “Good Morning Baltimore”, “You Can’t Stop The Beat”, “Hairspray”, “Without Love” “Mama I’m a Big Girl Now”. “Tight Hold”, and of course “You’re Timeless To Me” are to be given high grades. They ROCK!  

N.V.A.’s talent also includes Alexander J. Brown as  Seaweed J. Stubbs (an excellent dancer  with moves that brought the house down). He  is the handsome boyfriend of color to Tracy’s loony best friend Penny (Irelynne Terranami who never leaves her character). This, over the objections of Penny’s bigoted mother Prudy, (Jonni Garro) having a blast in her multiple rolls) as another prime example of the not so pretty racism that came out then and is still rearing its ugly head today. 

I would be remiss if I didn’t include Ebony Muse as Motormouth Maybelle, Seaweed’s mother and owner of the hangout where she protects her children in times of stress.  Ebony has a voice to die for and brought the house down when she belted out “I Know Where I've Been”. 

Cast with Linsey Schreck in stripes and Max Leadley far end.

In her program notes, Boston says that Motormouth is the moral center of the story, she is its engine…. and that progress has never been the work of one extraordinary person. It’s the work of communities. Yes, Virginia, it takes a village!

With a cast of about 15 deep including the ensemble and those playing multiple roles, this is one Hairspray you won’t forget for some time. 

Credit Erin Vanderhyde-Gross as music director, Jesus Hurtado for the scenic and projections with some Civil Rights marchers in the background, Jaeonnie Davis-Crawford, props designer, Marcela Alaniz for the 60’s looks dress, Amber St. James for the wigs, Afro’s et. al., Salisha Carr for lighting and Malick Ceesay as sound designer. Kate Vydos is stage manager. 

Enjoy. 

See you at the theatre. 

When:  Runs through July 19. 7:30 p.m. Thursdays; 2 and 7:30 p.m. Fridays and Saturdays; 2 p.m. Sundays Through July 19.

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

Tickets: $35-$70

Phone: 760-433-3245

Photo: Jason Sullivan/Dupla Photography"

Online: newvillagearts.org

“THE MONSTERS”

UC MFA graduate San Diego Ngoz Anyanwu’s “The Monsters” is currently being staged at The La Jolla Playhouse Mandell Weiss Forum Theatre through June 28th. It is in a co-production with Berkeley Rep. 

The play centers around half siblings Big (Sullivan Jones) and Lil (Anyanwu) and time travels back and forth over a period of about 40 years (which yours truly found very confusing).  Big has been absent from Lil’s life for about 15 years. 

Siblings are a strange lot, never- the less Big and Lil, who share the same father but didn’t grow up together will learn, as time will tell in this 85 minute action filled but emotionally charged production, that their similarities are more alike than their times apart. 

Ngozi Anyanwu and Sullivan Jones

The rapport between them is what makes this show work. It’s natural, real, authentic and believable. Big is a boxer in what’s called The UFC or Ultimate Fighting Championship. The most prominent fight promotion in MMA (Mixed Martial Arts). We first meet up with him as he’s jabbing striking in the Octagon (eight sided cage UFC fights are fought). His moves are beautifully choreographed by Adesola Osakalumi and it was like watching a ballet dancer,  

Into his life, a 9 or 12 year old Lil appears and from there we learn that alcohol and abuse is a familial theme both are trying to overcome, and or escape.  She’s a bit quirky when we first meet and not very likeable.Her sharp comebacks are so fast and while trying to be funny, they fell flat on these ears. It was, however,  interesting to watch her grow physically as she developed a defined look as in physically fit. 

Ngozi Anyanwu

Her dream was to become a boxer like Big. Over time, he becomes her teacher and mentor only to find that she turns out to be a better boxer than he. It doesn’t come easy though. Their relationship is like a push me pull you one, fragile, yet strong enough to finally build a trust that will ultimately show Lil taking care of Big in a role reversal, hopefully releasing all the monsters within. 

Directed by Tamilla Woodard, both Jones and Anyanwu are on the top of their game as they are physically immerged and meticulously engaged in their staged fights. 

Nina Ball designed the neon lighting (Reza Behjat) outlined Octagonal rink with lockers in the background. Celeste Jennings designed the appropriate  boxing look, UptownWorks- Daniela Hart, Noel Nichols and Bailey Trierweiler designed the sound, Sijara Eubanks , MMA consultant,  Chelsea Pace, flight assistant, Kristy Bodall, stage manager and  assistant production director, Eric Keen-Louie.

Sullivan Jones and Ngozi Anyanwu

Just reading about some of the physical workouts both Sullivan and Anyanwu had to do to prepare for this show reinforces the notion that theatre is not for the weak at heart. 

This particular story brings back memories of my own sibling rivalries and how much I miss them, monsters et. al.

Enjoy.

See you at the theatre. 

When:  Runs through June 28. 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 Forum, 2910 La Jolla Village Drive, UCSD, La Jolla

Tickets: $30-$74

Photo: Rich Soublet III

Phone: 858-550-1010

Online: lajollaplayhouse.org

 

“THE HOMBRES” : A PLAY ABOUT MEN FOR MEN LOOKING FOR A CONNECTION

 Just recently I took part in a discussion group where we talked about ‘the other’. When talking about ‘others’, we define them by our differences, looking past how much alike we are, but don’t give ourselves the time to meet face to face and listen. Imagine a world where we all looked at each other rather than past each other?

In Tony Meneses’ “The Hombres”, now showing on the Cheryl and Harvey White Theatre in the round, the playwright pens that he wanted to write a play about men, for men and starring men showing, if you will, the discomfort around men’s friendships especially if they have nothing in common. Let’s face it, women make friends over Latté in a nanosecond and no one thinks about it twice. Two guys together over Latté? HMMMMM. 

Jesse J. Perez and Jason Sanchez

In this all male dominated play, the only mention of a female or female name is when our main character, daytime/nighttime Latino yoga teacher, (a wonderful Jonny Beauchamp) Julián  gets a post it note from the woman who own the studio that the women in his yoga class are complaining that the Latino workers outside the studio are peeking in the windows and they feel intimidated. He has to talk with them and tell them to tone down the noise and stop looking in the windows. They, on the other hand, are Latino construction workers building luxury condos somewhere off a New Jersey transit line. 

Jesse J. Perez, Jason Sanchez, Martin Sola and Jonny Beauchamp

The foreman of the construction site, Héctor  (Martín Solá) enters almost shyly to answer the complaints. While there, he tells Julián that when the women leave the studio, they look less stressed out. He would be interested in taking yoga to relieve some stress, but cannot afford the price. After they agree on a trade (Hector used to clean apartments),  Hector goes off every night to take lessons, and over time their differences seem minimal. In the meantime,  his comrades can’t understand both his disappearance after work and his changing eating habits. At the same time, Julián has his own trust issues both with gay, straight and Hispanic men. He is Hispanic but doesn’t speak Spanish and feels vulnerable and intimidated as a gay man interacting with the construction workers on the job and outside his upscale yoga studio. 

Over time both men find common ground (Héctor used to be a custodian) and emotional support. When Héctor’s men notice the changes in him, one by one they converge on the studio at night after work for... well, yoga;lessons- that is all but the macho Beto (Jason Sanchez) who is a bitter pill while trying to defend his masculinity. 

Jonny Beauchamp, Jason Sanchez, Jesse J. Perez, Martin Sola and Robert Lenzi

James Vásquez directs with an eye toward excellence. Each character is finely tuned to represent a different personality. Sanchez is the standoffish. Solá’s Héctor can be mean spirited yet open to change, Perez’s Pedro is always cheerful, and the one non -Hispanic student we meet at the studio, Miles, (Robert Lenzi) must come to grips with his new role in life as in fatherhood.  

Jonny Beauchamp and Jason Sanchez

As mentioned earlier, Jonny Beauchamp knocked my socks off with his portrayal of Julián. As  dancer who would rather be dancing than teaching but is “not white enough for the white companies and not Latino enough for the Latino companies he settles as a  yoga teacher. He is amazingly articulate and thoroughly believable.

Prize winning set designer David I. Reynoso’s scape juxtaposes a yoga studio and construction site making the transition from one area to the next effortless. Reynoso is also credited for the costume design for both hard hats and yoga instructor. Brandon Rosen is credited for the lighting emphasizing the changing times of the day and night and Leo Rothenberg created the sound effects not only on the construction site but in the yoga studio. Jess Slocum is production stage manager.

Jonny Beauchamp and Robert Lenzi

Co-commissioned by Two River Theater and the New Jersey Performing Arts Center State Exchange, “The Hombres” premiered in 2022. It is referred to as a comedy, and yes, there is a bit of humor thrown in to give some levity, but for all intents and purposes it sets out to explore masculinity, vulnerability, love, recognizing and accepting ‘the other’ and strength. 

Added to that is  INTENTIONALITY, (as Julián repeats in the end), and there you might just have the right formula for success. 

Enjoy. 

See you at the theater. 

When:  Runs through June 21. 7 p.m. Tuesdays through Fridays; 2 and 8 p.m. Saturdays; 2 p.m. Sundays

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

Tickets: $44 and up

Phone: 619-234-5623

Photo: Rich Soublet II

Online: theoldglobe.org

“MOST HAPPY FELLA” HAS LOTSA HEART

Jeffrey B. Moss  directs Frank Loesser’s seldom produced play/ opera , “Most Happy Fella”  at the North Coast Repertory Theatre in Solana Beach, through July 5th. This reimaged version is filled with heart, gorgeous operatic voices and a strong ensemble headed by Gregory North and Lauren Weinberg who provide the sentiment expressed  through song and deeds.

The premise, while a bit iffy, tells of an older gent (North) Tony a grape grower, from Napa Valley who falls in love (at first sight) with a younger waitress, Amy (Lauren Weinberg) while dining in San Francisco where she waits tables. He is ready to marry and have many children. They correspond with each other and after a while he asks her to come to Napa Valley and marry him. Afraid she might find him too old, Tony sends a picture of his foreman Joel (a superb Chris Hunter) to her, and you can guess what happens when she arrives in Napa. 

Jacob Cartrider, Andrew Hey, Morgan Hollingsworth, Eli Wood

There are about 30 musical numbers (not listed in the program) in  Leosser's score, some familiar (“Standing On The Corner”) sung by a talented harmonizing group  of ‘farmhands’ (Jacob Caltrider, Morgan Hollingsworth, Eli Wood and Andrew Hey), all excellent. 

Shinah and Andrew Hay

Hay and his wife Shinah Hey provide most of the humor. Bethany Slomka (Hairspray) is Marie, Tony’s older sister who has her doubts about his marrying someone young puts the wrong ideas in Tony's head to the detriment of their relationship. Let’s say she’s a bit jealous.  Others in the ensemble include Isabelle Simone Pizzurro and Tori Hitchcock.

Gregory Martin as Tony

A piano on either side of the stage (Elan McMahan, who is also musical director, and Justin Gray) afford the live music.  Jason Maddy takes on the roles of several characters…and who knew? He has a lovely voice as well. All in all, ‘Fella’ , at NCR, is a well -conceived, and handsome show with lots of heart. 

Gregory North and Lauren Weinberg

Marty Burnett designed the functional set with sliding doors opening out to Tony’s farm (Matt Fitzgerald, projections) Matthew Novotny’s lighting design changed with the seasons and times of day, Alina Bokovikova’s costumes suited the characters well, Tristan King is credited with the sound design which happened to be quite clear on opening night, Meg Woodley, provided the wigs, Melissa Glasgow acted as choreographer and Michael Wogulis, props.  Vernon Willet, is production stage manager. 

Cast with Lauren Weinberg in center

“It’s everyone’s favorite musical they’ve never seen." 

Congrats to North Coast Rep for dusting off “Happy Fella” and bringing us an evening of fun and entertainment. Now we can see it!

Enjoy.

See you at the theatre.

When Runs through July 5th 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

Tickets: $68.50-$90.50

Photo: Aaron Rumley

Phone: 858-481-1055

Online: northcoastrep.org

 

“A ROOM IN THE CASTLE” OR… “THE ROOM WHERE IT HAPPENED”

MOXIE Theatre’s mission is "to create more diverse and honest images of women and for our culture." 

"The Room In The Castle" is just the third staging and West Coast Premiere of Gunderson’s play as Moxie Theatre in Rolando is closing out its 21st season. 

“A Room in  The Castle” deftly directed by Kim Strassburger (“The Lehmann Trilogy”) would only make sense then, that Ms. Gunderson’s ‘Castle’, all about Shakespeare’s Tragedy “Hamlet”, be told from a woman’s perspective, be directed by a woman and star three brilliant women.  

Dianne Yvette as Gertrude

Suffice it to say all three women Ophelia (Lyric Booth), Gertrude (Dianne Yvette) and Anna (Vanessa Dinning) are outstanding as the Acts play out, following the play, but from a woman’s perspective, of course while the men in question unfold as vilified for keeping their women blindsided, misguided, insane, imprudent and taken advantage of. At one point Hamlet orders Ophelia to the Nunnery after he forces himself on her. 

Inside the ‘Room’, or Ophelia’s chambers, Ophelia is singing a love song to Hamlet when Gertrude comes in full force and tells, yes tells Ophelia that she will marry Hamlet. Standing by Anna (Gunderson’s own addition as a Ladies Maid) helps Ophelia adapt to the fact she will marry Hamlet, and she will help make the arrangements. Ophelia is ever so hopeful that the marriage will be good as her song mentions. 

Lyric Boothe

One doesn’t necessarily have to know “Hamlet” but it wouldn’t hurt “To Brush Up Your Shakespeare”  even though the program notes pretty much give you a detailed wrap of each scene. 

As the Scenes unfold: “The Ghost Scene”, “The Nunnery Scene” “The Players Scene”, “The Queen’s Closet Scene”, “Ophelia’s Mad  Scene”, “Gertrude’s Drowning Scene”, “The Graveyard Scene” and finally “The Final Scene” , they are mashed together by two screens on either side of the stage as time rushes by.  (oft times a bit too loud and disturbing)

Lyric Boothe, Vanessa Dinning ad Dianne Yvette

Zoe Yahrling is credited for sound design, Michael Wogulis, projections and video design, Bonnie Durban for props Julie Lorenz for set design which is very sparse with a hanging chandelier that looks like crown hanging above, Anabel Olguin-Natale for costumes suited to each character with an added dagger necklace to complete the look and Stephanie Ma’Alona for lighting. 

Angel Page Smigielski, stage manager.  

Enjoy.

See you at the theatre. Not much time left!

When:  Runs through June 7. 7:30 p.m. Thursdays through Saturdays; 2 p.m. Sundays

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

Tickets: $20-$88

Phone: (858) 598-7620

Photo: Moxie Theatre

Online: moxietheatre.com

 

“KIM'S CONVENIENCE”

 The Old Globe Theatre in Balboa Park is currently mounting Ins Choi’s award winning “Kim’s Convenience”, a one act, 85 minute comedy-drama about family values, economics, changing attitudes, immigration, and overt prejudice with laugh line humor thrown in.  

Cho’s award winning play soon morphed into a T.V. sit-com and can still be seen on Netflix. It first went to Broadway and then to the U.K. It is set in Toronto where “Kim’s Convenience” is on a collision course with big box stores, high rising condos, rising prices and a shrinking customer base.

Brandon McKnight, Ins Choi and Kelly J. Seo

As an aside, Appa (or father) is on his own collision course with his daughter Janet (Kelly J. Seo), who wants to be a photographer and not take over Kim’s. While she does help out now and then, running the convenience store  is not in her future.   That doesn’t stop Appa from trying to school her in what to look for in the folks that come into the store as he accuses a black shopper of being a shoplifter.  

 Playing a smaller role, Umma (Esther Chung) who worries about the tension between Appa and Janet, is more interested in church functions.  It is in the church that she has a chance meeting with their estranged  son Jung (Ryan Jinn), whom we later learn, is a wiz  on Korean history and other notable dates Appa taught him when he was younger and living at home. 

Ins Choi and Esther Chung

Playwright Choi, who also plays Appa is both curmudgeon and stubborn, exasperating and funny, clueless and sharp, and is blatantly prejudice . He is at the center of this Korean family saga. 

Kelly J. Seo’s Janet brings out a brutally angry side criticizing her Appa but for the most part her interactions with her ‘gentleman caller’,  the local police officer (Brandon McKnight who plays all the other male characters) is worth a few laughs. 

Ins Choi

Ryan Jinn is excellent as their son Jung, especially after we get to really have an insight into him and his role in the family and family business. 

Weyni Mengesha directs with an eye on the laugh lines and moves right along through the laugh lines, making it difficult to hear the following dialogue. 

Joanna Yu’s set design is filled with just about anything and everything one can purchase in a convenient store. Wen-Ling Liao is credited for the lighting, Nicole Enu-JuBell, the video and projections, Ming Wong, costumes and David S. Franklin is production stage manager. 

I tried watching “Kim’s Convenient” on Netflix, but nothing I saw tickled my funny bone, so off to the next show. 

Brandon McKnight and Kelly J. Seo

Growing up my Dad had a market with groceries and cold cuts. I used to work there after school. The only lesson he ever taught me was not to interfere when he was in the middle of making a deal I thought he didn't understand. 'Nuff said!

Now a freeway runs through a once thriving business district where individual and specialized markets one thrived. I guess it’s the way of the world. 

Sigh!

See you at the theatre.

Enjoy

When:  Through Wednesday. Opens Thursday and runs through June 14. 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, Balboa Park

Photo:  Dahlia Katz

Tickets: $40 and up

Phone: 619-234-5623

Online: theoldglobe.org

“PURPOSE”: A GUT WRENCHING SAGA OF A FAMILY IN CRISIS.

 The La Jolla Playhouse is currently mounting Brandon Jacobs-Jenkins Pulitzer Prize and Tony Award-winning play “Purpose” at the Mandel Weiss Theatre through June  7th. 

In 2024 Jacobs-Jennings won the Tony Award for Best Revival of a Play for his 2011 production of  “Appropriate” which played at The Old Globe a year or so ago. Both “Purpose” and “Appropriate” are at opposite ends of the spectrum. Yet both are oft times are riddled with dark comedy sprinkled with complex matters of race, religion, legacy and above all, control. 

The story is loosely based on the life and times of Civil Rights leader Jesse Jackson. 

Stephanie Berry, Andrea Agosto, Cornell Womack and Matthew Elijah Webb

At the center is the Jasper family: Rev. Solomon (Sonny) Jasper (Cornell Womack), who in the prime of his life marched with Martin Luther King Jr. spoke at rallies and gave inspirational sermons in their church. His loyal  wife, who has a law  degree, Claudine (Stephanie Berry) has been at his side through the good, bad and ugly. Sonny was hoping his younger son Naz (Matthew Elijah Web) would follow in his footsteps but alas, to no avail.  His older son Jr. (Sean Boyce Johnson) a former senator, was just released from jail for embezzling and tax fraud. His wife Morgan (Crystal Dickinson), who helped her husband was scheduled to follow in prison.  In his retirement, he has taken up beekeeping. 

Breaking the fourth wall, with self-reflexive monologues, son Naz, (or as he is sometimes called their “weird son”) speaks to the audience, introduces his family, tells us of their trials and tribulations and the chaotic mess his family is in. We learn that expectations are not met, long time anger lurks just under the surface and lies are brought to the fore as the once held in high esteem Jasper family is on the cusp of unraveling.  

head of the table Cornell Womack

Most of the story takes place on one Chicago snow filled night and into the next day. Naz’s friend, Aziza (Andréa Agosto) had driven him home from a long weekend in Canada where they spent watching the falls at Niagara.  And just for you know what and giggles, Naz has agreed to be a sperm donor for Aziza who admits she is gay.  (Tuck that away for a later time) . What Aziza walked into was a storm much messier inside than the one outside.  She is encouraged to stay  at their house because of the nasty weather outside, and… Claudia is celebrating her belated birthday. And Jr. has just been released from prison. And…As a side note, yours truly had just come from a belated b’day party of her own that afternoon. 

Under the superb direction of Delicia Turner-Sonnenberg “Purpose” gives meaning to the saying… ‘to everything there is a purpose’. The ensemble is a tightly knit group balancing comedy, sombernes and tragedy; effortlessly and readily. And as individual characters, each personality is carefully drawn out to let us in on  the grief, anxiety and hurt they are all feeling.  Singling one out above the others would be a difficult task, but no doubt, Webb anchors the show in his own easy going inimitable  way.  "Purpose"  as poignant  as are the silly moments that keep the play and the characters alive and above water.   

Cornell Womack and Matthew Elijah Webb

Credit Lawrence E. Moten III for the detailed set of a high end Chicago home with floor to ceiling windows, covered in sheer curtains to see the weather changing with a larger than life portrait of M.L. King, Jr.  Hanging chandeliers designed by Sherrice Mojgani giving the living room, kitchen and staircase well lit. Costumes by Samantha C. Jones are casual, Lindsay Jones is credited for the original music and sound design. Hair, wigs and makeup by Alberto “Albee” Alvarado. Heather M. Brose is  stage manager and Annette Nixon is production manager. 

Matthew Elijah Webb, Stephanie Berry, Sean Boyce Johnson, Crystal Dickinson and Andre Agosto

“Purpose” runs close to three hours. It’s very wordy but oh so purposeful. Jacob-Jennings has touched on ideas of being on the spectrum, sexuality, faith and the ministry. All this in one not so neatly package. 

See you at the theatre.

You’ll kick yourself if you miss this show!

Please enjoy!  

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

Where: La Jolla Playhouse, Mandell Weiss Theatre, 2910 La Jolla Village Drive, UCSD

Photo:Rich Soublet II.

 Tickets: $30-$94

Phone: 858-550-1010

Online: lajollaplayhouse.org