“SCAPIN” AT NORTH COAST... A LAUGH A MINUTE

Vaudeville is alive and kicking in San Diego thanks to North Coast ‘s production of Bill Irwin and Mark O’Donnell’s “Scapin” (Scu-pan), now playing through Aug. 3rd.

Adapted from Moliere’s 1671 comedy “Les Fourberies de Scapin”, Scapin revolves around two wealthy, aristocratic young men, Octave (Miles Blue) and Leander (Tim Frangos), who have their hearts set on pretty yet penniless women. In order to avoid their father’s wrath, the two enlist the aid of Scapin (excellent Paul Slade Smith), a cunning and cleaver servant to help sort out their predicament. Scapin leads the cast of characters through a wild jaunt of exhortation, deception and trickery. 

David Ellenstein and James Newcomb

Think Commedia dell arte, slapstick, Vaudeville and lots of improvising and what you have  is mishagas. (craziness)

But Smith, a playwright in his own right, isn’t the only character who stands out, although he is wonderful, director Christopher Williams  is blessed with a bevvy of heavy weights including artistic director Davis Ellenstein who plays Geronte, Octaves father and James Newcomb who is Argente, Leanders father. Omri Schein is Sylvestre, the mute, who is pee in pants funny, and David Mc Bean, dressed like Elton John is on the (ahem player piano.) 

Since Geronte and Argente are tight wads who refuse to spend a dime on the future of their sons marrying penniless  girls, they do everything in their power to hold on to their money. 

Omri Schein, James Newcomb and Paul Slade Smith as Scapin

But wait, they haven’t met up with the likes and schemes Scapin who is always one step ahead of the stingy fathers. Together with Sylvestre, they manage to trick both fathers’ into giving them the amounts of money the sons need for their weddings. 

For most of Act I this wrangling goes on to the amusement of opening night audiences. Just watching the shenanigans going on between Scapin and Sylvestre (even the optics are a hoot; Smith towers over Schein by about a foot) are enough to give one the giggles. 

Gabbie Adner and Miles Blue

By Act II we are all warmed up and ready to meet the blushing (tongue in cheek) brides who are offering themselves up to Octave and Leander, but not until the fathers are completely flummoxed and Ellenstein’s  Geronte is tied up in a cloth sac and is the object of Scapin’s wrath as he is pounded with  plastic baguettes and salami, some even coming from front row audience members. 

Yours truly as well was caught up in the mayhem when Geronte (Ellenstein), on the run, grabbed me by the arms and gave me THE stare!

Cast with Paul Slade Smith in center

Even though the women were the reason for all this madness, their roles were short lived but significant in the overall outcome. Gabbie Adner and Marie Zolezzi are the betrothed and Sophia Oberg is an also ran. 

To say that all’s well that ends well would be a mockery to the Bard, so I will not say it.  

See for yourselves.

James Newcomb and Omri Schein

Elisa Benzoni created the colorful and comical costumes. Matthew Novotny, the lighting, Matt Fitzgerald the sound, Michael Wogulis, props, Pater Herman, wigs and as a final farewell to set designer Marty Burnette,  who we lost recently to a heart attack, his set design that, as always, is spot on perfect for this romp.  

Laugh till you drop!

See you at the theatre.

When:  Runs through Aug. 23rd. 7 p.m. Wednesdays and Thursdays; 8  p.m. Fridays; 2  and 8 p.m. Saturdays; 2 and 7 p.m. and Sunday

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

Tickets: $63.50-$85.50

Photo: Aaron Rumley

Phone: 858-481-1055

Online: northcoastrep.org

 

OLD GLOBE’S FAST PACED “CYRANO” TRUE TO FORM

The Old Globe Theatre in Balboa Park is currently remounting Jason O’Connell and Brenda Withers’ newest adaptation of the play “Cyrano de Bergerac by Edmond Rostand in the Sheryl and Harvey White Theatre in the round and set in America rather than France. 

While staged as a full on production in 2009, and directed by Darko Trenjak, it has been pared down to a rather speedy ninety minutes and with a cast of five, some  who play multiple characters. It is directed with  a deft hand by Annie Tippe with humor and tragedy that at plays end one almost felt for Cyrano who was blinded by self-depreciation and loathing. 

 Cailen Fu as Roxane and Michael Braun as Cyrano 

Michael Braun is the love sick and hopeless romantic,  Cyrano, consummate poet with a sensitively perched extra- long nose (on an otherwise handsome and strong face). He is  a swashbuckling swordsman (he calls it panache), stage actor and army captain who longs for his love, the beautiful Roxane (Cailen Fu) who is in love with a shy young soldier in his brigade,  Christian (Max Monnig). 

Others in the cast playing the multiple characters include Maria Elena Ramirez as Le Bret and others, and Philip Taratula as Count Deguiche and others. Both lend some comedy  as a warm up for what’s to come later. Yours truly found this madcap introduction to the secondary characters rather confusing and difficult to keep up with. 

Max Monnig as Christian and Cailen Fu as Roxane

We meet up with the characters backstage at the playhouse where Cyrano is preparing to perform. There he changes into the swashbuckling swordsman with a feathered cap and an application of white  paint to symbolize and exaggerate the size of his nose while quietly romanticizing his desire for Roxane. 

Cailen Fu as Roxane, Michael Braun as Cyrano, and Max Monnig as Christian

Cyrano is so typical of someone who is thus consumed with a personal physical flaw that he can’t see the good in himself. Unfortunately, he the man, who was head over heels in love with the beautiful Roxane doesn’t feel deserving of reciprocal love, becomes a voice for the man who confesses his love for her and whose love she returns. 

Michael Braun as Cyrano and Cailen Fu as Roxane 

Adoring her from afar and protecting her lover with their secret, the mystery of the origin of the love letters becomes a lifelong preoccupation for Cyrano while his life’s desire fades into the background and both Roxane and Cyrano grow old as platonic rather than intimate lovers.  

He continues to visit her for fifteen years in the Convent. As the two grow older together, tenderness between them develops and while nothing is ever said,  beneath the surface their true love is felt up to his dying days. 

Michael Braun as Cyrano and Cailen Fu as Roxane

The real life Cyrano was also a popular poet and sci-fiction writer. Rostand’s model for the beautiful Roxane was based on the life of De Bergerac’s cousin who lived with his aunt, Catherine de Bergerac at the Covenant of the Daughter of the Cross. Both Braun and Fu are excellent in their interpretation of both characters. Fu is beautiful, soft, sincere and completely honest and witty in her feelings and that comes through throughout. Her change of heart comes when she realizes that looks are only on the outside trappings. We see her mature from a girl to a woman when she understands that what really counts is goodness on the inside. 

Braun is handsome, nose et.al. and never looses sight of who he is either as poet, soldier, swordsman or antagonist to his enemies. Remaining cast members fill their roles convincingly. 

Max Monnig as Christian and Michael Braun 

Credit Afsoon Pajoufar the minimal set design consisting of a series of foot stools moved about, some real and plastic food, mirrors, a set of stairs acting as an acting platform or balcony. Haydee Zelideth for the array of easily transformed costumes, Christopher Bowser for the atmospheric lighting and Brandon Wolcott for the sound design.  

As I mentioned above, the show clocked in at about 90 fast paces minutes. It felt much longer to me. You be the judge.

Have fun and enjoy.

See you at the theatre. 

When:  Runs through Aug. 16. 7 p.m. Tuesdays through Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays

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

Tickets: $44 and up

Photo: Rich Soublet II

Phone: 619-234-5623

Online: theoldglobe.org

 

CYGNET’S “ARCADIA”, ANOTHER GO AROUND FOR MURRAY.

 Long Before Tom Stoppard wrote “The Coast of Utopia”, his epic trilogy of the 19th revolution in Russia which garnered seven Tony’s this year including one for himself and one for The Old Globe’s Jack O’Brien, he wrote “Arcadia” which won the Oliver Award for Best Play in 1994. In 1968, he was first introduced to American audience with  his Tony award winning play “Rosencrantz and Guildenstern Are Dead.”

No one can deny that Tom Stoppard has a way with words, nor can they deny that artistic director Sean Murray has added a new dimension to the already success at his new home at The Joan Theatre in Liberty Station.

Artistic director, Murray, who has directed this  current show at The Joan, in the Dottie Studio, has directed this show in the past with a very different and less mature cast. None-the -less, “Arcadia”, now on stage through Aug. 9th. still tells the same tale.

Marti Gobel and Richard Baird

The story is about two sets of characters in the same upper class setting, separated by two centuries yet connected by the same issues as sex, art, the environment and mathematics.

The action takes place in a large room with a long table as the centerpiece on the Coverly Estate which serves as a classroom for young and gifted Thomasina Coverly (a beautiful and very young Harper Haden) and her tutor Septimus Hodge (Corydon Melgoza, smooth and irresistible), Septimus has no idea how much turmoil she will throw into his world. 

Harper Haden and Corydon Melgoza

Thomasina is not only bright, impetuous and full of surprises for her rather prudish tutor, she is also a romantic in an age where romantics are scorned  and bright young girls were to be seen and not heard. 

But Stoppard, in his inimitable way, while writing on an intellectual level, (moral philosophy, thermodynamics, quantum mechanics, laws of chaos, Newton’s law of motion)  aims for the heart with Thomasina asking  Septimus for a definition of carnal embrace. Stunned to bumbling, he explains that it is “like the practice of throwing one’s arms around a side of beef”. 

Marti Gobel and Tanner Vydos

In her studies, when not romanticizing and coming to grips with her own sexuality, Thomasina has come across Newton’s Law of motion when she discovers it odd that when one stirs jam in rice pudding it will not come together again if they swirl it in the other direction. From there she goes on to say that if one could stop every atom in motion, one could write a formula for the future. 

With a few changes of props, it becomes a meeting place, two hundred years later, for Hanna Jarvis (a  convincing Marti Gobel) who is writing a book about Lord Byron’s mistress and is now researching a book on the estate. She is also a  horticulture enthusiast. 

Fred Harlow, Harper Haden and Corydon Melgoza

Lady Croon (Melanie Lora) a houseguest of the Coverly’s, another scholar who wants to restore the decline of the garden complains to Noaks  the gardener ( a bumbling Manny Fernandes). 

Valentine Coverly, (Tanner Vydos) the now owner of the property, understands that Thomasina was on the right track from reading her diaries, portfolios and letters left behind by the young girl. He finds the books filled with equations that feed solutions from one equation to the next. He can’t understand how she knew this because this process  had only been practiced during the past twenty years. But he knew she was right. 

Barnard Nightingale (a powerhouse and  flamboyant Richard Baird) is seeking information about Byron for a paper he is presenting. Characters float in and out showing off the chicanery and cover-ups of the Coverly family, which neatly blend into the findings of the researchers later on. 

Baird at his prime, never missing a Stoppard beat as his booming voice could clear a crowded room.  Ms. Haden was simply charming (but distinctively difficult to understand with her soft voice and heavy British accent) as the young Thomasina who inquisitively and through a series deductions and mathematical configurations spouts theories that had yet to be discovered. Jarvis  is a perfect foil for Baird as the two compete along different lines for information about the earlier goings on of  Byron.

Melanie Lora and Harper Had

Filled with deep philosophical debate of ‘what ifs’, Stoppard finally shifts back to the early 19th century where  Thomasina and Septimus dance to the music (a waltz)  heard outside the house. She is now 16. He kisses her on  the mouth and sends her off to bed. Segue to now, Gus (Zev Lerner) gives Hanna a drawing  of Septimus, the Hermit she has been researching, and they too, dance to the waltz. 

Following the goings and comings of the good folks at Sidley Park is something like trying to follow the second law of thermodynamics a century before it was discovered (heat cannot pass from a colder body to a warmer body only from a warmer body to a colder body.) It’s like watching a stream of water breaking off into two tributaries and ending up in the same place after taking different paths. It’s a fine mind game while entertaining. Both play periods are loaded with social and sexual intrigue, thanks to both Stoppard and Murray and his fine cast. 

Remaining cast members include: Fred Harlow, Byron LaDue, and Paul Morgovo.

Credit Chris Rynne for lighting, Heather Larson for the scenic design, Elisa Benzoni for the period costumes and then some, George Ye for sound, Peter Hermann for the period wigs and makeup, Bonnie Durben for props including the Turtle, Vanessa Dinning is dialogue consultant and Mars  Larson as stage manager. 

Corydon Melgoza and Melanie Lora

Stoppard’s “Arcadia” is a philosophical exercise using art, sex, mathematics and the environment to create a thinking comedy. Having seen it three times, my opinion has not changed much about the play.  I think it’s rather pompous and self -serving. Interesting only in the fact that some of Byron’s poetry was quoted and Richard Baird rocked the house down, but other than that, I’ll pass on a third time. 

See you at the theatre.

Enjoy at your leisure. 

The play runs over two hours with one 18 min. intermission. 

When:  Runs through Aug. 9. 7 p.m. Wednesdays through Fridays; 2 and 7 p.m. Saturdays; 2 p.m. Sundays

Where: Cygnet Theatre at The Joan, 2880 Roosevelt Road, Arts District Liberty Station, San Diego

Tickets: $32.50 and up

Photo: Karli Cadel

Phone: 619-337-1525

Online: cygnettheatre.com

LOOKING AT “NORTH BY NORTHWEST” THROUGH A DIFFERENT LENS.

Move over Alfred (Hitchcock that is), make room for Emma (Rice that is).

Alfred Hitchcock is by far one of my very best movie/mystery makers. With the exception of “The Birds” and “Vertigo”, some of my favorites include “Rear Window”, “Strangers On A Train”, “Dial M For Murder”, “Psycho” and “Notorious” to name a few. 

Lest we forget ,“North By Northwest” his 1959 thriller/nail biter film noir that has been hijacked by Emma Rice who conceived, wrote and directed this West Coast premiere at the Old Globe Theatre in Balboa Park, began in England’s York Theatre Royal in 2025. 

In some ways it reminded me of Patrick Barlow’s adapted, fast paced 2005 “The 39 Steps” seen some time ago at The La Jolla Playhouse and re done at Lamb’s Players Theater.  No need to let a good thing go when it’s in our grips.

Danny Collins as Roger Thornhill and Patrycja Kujawska as Eve Kendall

But it’s all about “North By Northwest” and I must confess that in my wildest dreams I could never have imagined the how, the when and the where Rice and company could  have reimaged (for those who know the movie by heart) the abduction of the innocent and suave Roger Thornhill (Danny Collins) caught up in a case of mistaken identity,  the inventive crop dusting scene, Mt. Rushmore images, the quick changing scenes, but they were all there, while yours truly was following along like the disciple she is. For the most part it was part laugh out loud, part amazement, part OMG, really? and part mouth open wonder; all deliciously so.  

(from left) Karl Queensborough as Phillip Vandamm, Simon Oskarsson as Valerian, Danny Collins as Roger Thornhill, and Bryony Pennington as Anna 

With a most talented cast of extremely versatile dancers and  flight director Kev McCurdy working along- side (Etta Murfitt, choreographer, movement director and intimacy coordinator), lighting designer Malcolm Rippeth who focuses on noir lighting, a set design to simulate all the different places Thornhill ran to and away from (Rob Howell) with two sets of revolving doors to depict changes in scenes, period costumes to fit the times and places (Rob Howell). This is exciting theatre. 

The cast of North by Northwest,

Picture the inside of The United Nations building, a car chase, a train escape, a hotel room, an elegant home on top of Mt. Rushmore in South Dakota, a hand crushing scene atop the Mt. and a frantic rescue done in frenzied time all taking place in the most precise Hitchcock pattern, sans suitcases. (inside joke)

What wasn’t needed was the little person called the Professor (Katy Owens) who spoke in a heavy British accent and told us what was happening. It drove me to distraction.

Why???

from left) Bryony Pennington, Evangeline Dickson, Patrycja Kujawska, Simon Oskarsson, and Karl Queensborough as United Nations Workers 

But credit to Danny Collins, the nimble  footed lead who could dance circles around Fred Astaire while running in place at a speed faster than the speed of light when needed. His partner in crime, Eve Kendall (the Eva Marie Saint role) played by Patricja Kujawska, the par amour, who helped him in and out of difficult places, is equally engaging, tipping the light fantastic and breaking out lip sinking (credit Simon Baker as sound designer and composer) at the most unexpected times. (“Get Happy”, “Orange Colored Sky”).

Danny Collins as Roger Thornhill and Patrycja Kujawska as Eve Kendall 

Following the movie to the letter  (with the unexpected proselyting at the very end), the implied homosexuality, (as it seems is included in most of Hitchcock’s plays) the bidding war at the auction house and an Abraham Lincoln secret briefcase with high secrets inside all come together nicely.

The  cast, some playing many parts are: Karl Queensborough as the nasty villain Phillip Vandamm, (and Rogers mother played in drag), Simon Oskarsson, Byron Pennington and  Evangeline Dickson. 

Helen Lainsbury is Company Sage Manager on book. Becca Trimbur is Company Manager. 

The cast of North by Northwest,

No debating, Hitchcock was a mastermind of mystery, “North By Northwest” the movie ran a little over 2 hours. Rice’s production ran at least that long, much too long for this reviewer’s Alice B Toklas to take.  

Suggestion: Cut it down at least 20 -30 minutes.

If you’re looking for some fancy free fun with a tale to tell, Emma Rice has one and the Old Globe is performing it. 

Enjoy.

See you at the theatre.

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

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

Photo:  Rich Soublet II.

Tickets: $43 and up

Phone: 619-234-5623

Online: theoldglobe.org

 

MEGAN CARMITCHEL SHINES IN “THE RISE AND FALL OF LITTLE VOICE”

Backyard Renaissance Theatre is known for staging, oft times off beat shows. Not that “Who's Afraid Of Virginia Woolf ?” or “Streetcar Named Desire” are off beat by any stretch of the imagination. But case in point is their current production, “The Rise and Fall Of Little Voice” by Jim Cartwright.

Cartwright penned it in 1992. It opened in 2012 at the Yvonne Arneud Theatre to the  fascination of London audiences.

Now Backyard Renaissance Theatre with a handful of brilliant talent to pull off this painfully sad but funny show in the hands of director Anthony Methvin,  shows the strength of their commitment and the seriousness of their dedication to the above.  

That Megan Carmitchel was a part of the two productions mentioned is a tribute to her versatility is seen in her role as LV (Little Voice); stunning , superb and outstanding would be understatements to describe her performance.  

Megan Carmitchel (bottom) Jessica John (top

Set in 1992 in a dilapidated working class terraced house located in the town of  Scarborough in North Yorkshire, Northern England, LV (Carmitchel) spends almost all of her time  upstairs in her tidy room polishing and listening to the records her late father left her along with the cherished phonograph he left as well.  

Downstairs her very drunk and controlling mother, Mari (Jessica John) stumbles into the house, bottle in hand and staggering until she passes out. LV rushes down stairs, carries Mari on to the small sofa where they both land on their backs. 

Megan Carmitchel

After some wriggling, LV manages to slide out from under, and hustle back up to her precious records.  Some might call her autistic since she has developed a talent for mimicking or impersonating torch singers a- la. Judy Garland, Billy Holiday, Doris Day, Julie Andrews , Marilyn Monroe, Édith Piaf and the like filling her world with music and song. On the other hand, she barely manages to speak in one syllable words when she does speak.

Jessica John and Teri Brown

When Mari’s small time, grungy agent Ray Say ( Francis Gercke) hears LV sing one night, unbeknownst to her, he somehow convinces LV to perform in public. The more Ray is fixated on LV’s talent, the more Mari’s jealousy rages, and eventually her relationship with Ray surfaces for just what it is, greed for the buck, and disregard for their relationship. He has some very ugly words for her!

Ray has big plans for LV. His shady friend Mr. Boo, (Daren Scott) owns a sleazy nightclub LV is taken to, to ‘perform’ which turns out to be a disaster. But never one to give up, Ray tries other softer tactics which work. When LV comes to the mike to perform, the theatre is silent, a hush falls over the audience and Carmitchel, in her own pitch perfect voice, impersonates all of above personalities to a tee. Ray sees a way capitalize on her talents and only sees dollar signs.

Jessica John and Francis Gercke 

In Mari and LV’s little circle, Sadie (Teri Brown) their neighbor, is a sounding board for Mari’s rants. Silent through most of them, she too is taken in by LV’s talent.  But when Billy (Layth Haddad) the telephone guy turns a soft and understanding ear to LV, a deep and possibly the only friendship she has, finds its way to LV’s heart.  

Toggling back and forth between comedy and tragedy, director Methvin understands the polarities and plays them beautifully.  When the play opens with a drunken’ scene as the lights go out due to a blown out fuse (which happens often)  it is in contrast to LV quietly dusting off her precious records upstairs (Yi-Chien Lee). Yes! we  can feel the tension that chaos is about to begin. 

Layth Haddad, Jessica John, Megan Carmitchel Francis Gercke, Daren Scott and Teri Brown (Lto R)

As mentioned earlier, the ensemble is without fault. Jessica John has no doubt gotten the inebriated act down to perfection. Both funny and tragic, her Mari  is another contradiction in what she has and what she wants. As a mother and alcoholic; domineering to a fault, all she wants is attention and to be the center of her world.  

Francis Gercke is a son of a bitch to Mari when he’s ready to dump her and a softie to LV when trying to convince her to sing; another contrast in polarization. 

Megan Carmitchel

Teri Brown’s Sadie does yeoman’s work as she listens carefully to Mari’s rants/monologue after monologue and sees the harm done to LV; another contrast in polarization. And Mr. Boo (Daren Scott) adds more sleaze to the overall atmosphere. I might add, he does it well.

Layth Haddad’s Billy adds a bit of comedy and reason to his role as the starry eyed -bushy tailed telephone engineer until he sheds ‘light’ on LV’s life in ways no one might have expected. Let's just say that Little Voice finally finds her voice.

Jessica John and Daren Scott

And last but not least , Megan Carmitchel’s LV is above reproach. The staggering sound of her voice as she belts out song after song is worth the price of admission and then some. 

Credit lighting designer Curtis Mueller for the array of blackouts, Evan Hart March for the musical arrangements, Taylor Peckham as music director, Jeffrey Neiitzel as props director, Brenna Maienschein for costumes (LV gown is beautiful), Layth Haddad as flight director, Xavier Garcia as stage manager and Nan Pace as house manager. 

Enjoy.

See you at the theatre.

When:  Runs through July 3. 7:30 p.m. Thursdays through Saturdays; 3 p.m. Sundays

Where: Backyard Renaissance Theatre at the 10th Avenue Arts Center, 930 Tenth Ave., downtown

Tickets: $15-$50

Photo: Michael Makie

Phone: 760-975-7189

Online: backyardrenaissance.com

 

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

 No one can say that Artistic Producer 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’. 

Eboni 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 Eboni Muse as Motormouth Maybelle, Seaweed’s mother and owner of the hangout where she protects her children in times of stress.  Eboni 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 21 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