Thursday, December 21, 2023

“A Black Family Christmas”. How Traditions Are Made.


 It’s interesting how traditions are made. I’m not talking Traditions” as in “Fiddler On The Roof”, No, I’m bringing it closer to home. In my family, which isn’t big by any stretch of the  imagination, one of my daughters chose to have the High Jewish holidays at her house and another would have Thanksgiving and Chanukah at hers. Easy greasy until the families expanded, but that’s for another time. 

The Black’s (yes,  that’s their name) of 1222OceanFront in Carlsbad, have a whole different story to tell, and tell it they do at New Village Arts Theatre in Carlsbad through De. 24, 2023. It’s called “A Black Family Christmas”. Pun or no pun intended, it was originally written by Dea Hurston back in 202

Victor Morris andMilena (Sellers) Phillips

Now after two years and a theatre named for her, it has been updated with new faces, music and more input from some of the original cast members Milena (Sellers) Phillips with direction by Kandace Krystal. 

What’s different from the many White Christmases I’ve seen?  Well, for one the characters are black save for one adopted son Javier (Matthew Javier) who is white and gay... and whose boyfriend Brian (Jacob James) is gay, black and Jewish, that’s different. It doesn’t get any more inclusive than that. 

Oh, and the house is decorated (Reiko Huffman) with symbols that include Kwanza Candle in the kitchen and masks art work from different black artists. The interior of the house is beautifully crafted and warm and homey looking


All in all, the family included in Hurston’s play, as mentioned above, is pretty much seen through a black perspective. But the overall message is that family is family and with few exceptions this Black family has its up’s and downs, crisis and suspicions, secrets and confessions, love /hate relationships, misunderstandings as seen through the eyes of people of color.

The Black family has lived on 1222 Oceanfront before the price of houses went skyrocketing and is now worth millions. When Dorothy Milena (Sellers) Phillips and her late husband James bought the house at that address, even though they could barely afford it, they needed a way to come up with enough for a down payment. By that time the neighbors were bitching because a black family was moving in. and no one made it easy for the Black family.

With the help of their extended family the money came through and for close to thirty years Dorothy hosted the family Christmas two day gathering for the length of the loan.  Over the years, traditions were made and kept. 

The traditional foods were Italian because they could only afford pasta and the fixings. Dorothy’s famous lemon aide was a specialty for her now grown son, James, JR (Halin Moss). In fact, he looked forward to having some as he and his now wife Aada (Kiara Hudlin) were heading to Carlsbad from San Diego for the holidays. All he talked about was his lemon-aide and the special relationship he has with his mother. For Aadya, she couldn’t get Dorothy to recognize her if she stood on her head and whistled the blues. 

Lizzy (Portia Gregory a hoot and a howl) Dorothy’s sister comes to the dinner with her specialty and food and presents.  She’s also carrying the ashes of her late husband, June, kept in a good sized Santa doll large enough to stand alone on the fireplace mantel so he can be included. Gregory is a hoot and a howl as the know it all sister who introduces Dorothy to her co -worker Victor (Victor Morris, who also plays James Sr. when the play opens). 

Halin Moss and Kiara Hudlin

Both she and Victor work at the Post Office and Lizzy wants them to get together. Victor is no shrinking violet either. He’s a towering good looking ‘cowboy’ who adds a whole new dimension to the dynamics of the family. He also lives on an avocado ranch in Fallbrook. Morris gets the show’s funniest and best song, the yodel-filled “Cowboy Christmas,” where he re-enacts how he wooed Dorothy on a gondola at the Venetian resort in Las Vegas. 

The show is pack full of laughs, some heartbreak, growing up, reality fixes for all members and would be members of the Black family.

Matthew Javier, Milena (Sellers)Phillips and Halin Moss

 Phillips also has some pretty sensual moves when she remembers dancing with Victor on a Vegas trip. The fact that everyone could sing and the entire cast looked like they were fully involved makes for a truly magical evening. Look for it to become a holiday regular. 

It’s not every day that a new musical /comedy/drama is as ready for audiences as 1222 Oceanfront. With most original music (“Cascabelos”, “Christmas Morn”, “Merry Christmas to Me”, “Cowboy Christmas”) by co- creator Milena (Sellers) Phillips and of course the usual traditional Christmas music, (“Silent Night”, “Hark The Herald Angels Sing”) it has a real holiday feeling especially under the deft direction of Kandace Krystal.

Music Direction Korrie Yamaoka, Stage Manager: Rosalee Barrientos, Scenic Design Reiko Huffman, Costume Design Zoë Trautmann, Props Designer Aria Proctor, Lighting Design Mashun Tucker.

The show runs a bit over 2 hours of fun, singing just plain something new. Enjoy

See you at the theatre.


When: 2 p.m. Wednesdays. 7:30 p.m. Thursdays. 8 p.m. Fridays. 2 and 7:30 p.m. Saturdays. 2 and 7 p.m. Sundays. Through Dec. 24th.

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

Tickets: Check with Theatre

Phone: (760) 433-3245

Photo: Daren Scott

Online: newvillagearts.org


Tuesday, December 12, 2023

Shout Out to Diversionary Theatre For Its Outstanding Production of Tennessee Williams “The Glass Menagerie”




There are some things that are absolute in Diversionary’s “The Glass Menagerie” as directed by Lisa Berger: Shana Wride is absolutely splendid as the tragic and manipulative Amanda Wingfield, the domineering, southern belle and matriarch of the Wingfield family. If there was ever a role cut out for an actor, this one is a perfect fit for her, trust me on this one. 

Tennessee Williams’ memory play “The Glass Menagerie” still resonates after all these years. It opened in Chicago in 1944 and subsequently moved to The Playhouse Theatre in New York in 1945. It went on to win the New York Drama Critics Awards.

Luke Harvey Jacobs, Shana Wride, Kirk Brown, Julia Belanova


It is told in flashback by young Tom Wingfield (Williams’ alter ego played subtly by Luke Harvey Jacobs)  after he returns home after abandoning his disabled sister. He recalls the family dynamics in a somewhat dreamy atmosphere created by Vida Huang and haunting music in the background by sound designer Remus Harrington. 

Breaking the fourth wall, he tells us that he would rather be any place than at his mother’s house. He longs for adventure, action and escape. He’s annoyed at her nagging, her interfering, her stories of past glories and her pettiness. 

Everything he does; drinking, writing and spending most of his off hours at the movies, a tale Amanda refuses to believe, pushes him closer to leaving. The one thing he can’t ignore is his affection for his sister, who like a delicate creature disappears into her own world of glass figures and figurines. So shy, is she, she can’t even attend typing classes for fear of having to talk to fellow students. 

Tom, like his father before him, cannot stand the confines of his small apartment, the restrictions of his job, and finally the oppressive personality of his domineering mother. (“The stage magician gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion.")

The setting is the St. Louis apartment of Amanda Wingfield and her two adult children, Laura (Julia Belandova) and Tom. The time is 1937 and the country is in the middle of the depression. Tom works in a shoe factory (Williams sold shoes for a time) and Amanda sells magazine subscriptions from her home, much beneath her status as a genteel Southern belle when a young girl.  

Money is tight but hope springs eternal for Amanda, the faded yet once popular belle, as she glides around their apartment recalling her glory days as a teen growing up in the south. Her repeating and reliving her past encounters with her own ‘gentlemen callers fascinates Laura, who longs for a gentleman caller of her own, but it annoys the hell out of Tom.




Kirk Brown and Julia Belanova

Amanda doesn’t comprehend why none come to call on Laura, her emotionally fragile daughter whose noticeable shyness (in most productions a limp from early bout of Polio) has her cut off from reality and plunges her into a make believable world of a glass animal collection, her favorite being the unicorn a solitary and mysterious creature, much like Laura was to her mother.  

But the crux of the story revolves around ‘the gentleman caller’ Jim O’Conner (a wonderfully gifted Kirk Brown), set against this suffocating atmosphere in which both Laura and Tom struggle to fight off the overbearing oppression felt by them by Amanda. 

Amanda hounds Tom to find a suitable caller for Laura so she too may have the thrill of entertaining as she had done years ago and possibly as a means of supporting Laura after she dies. Amanda, however, fails to recognize that Laura’s frailties will throw her into a tailspin and set her back years, which in fact they do.  

When Tom’s ‘friend’ Jim finally does come for dinner, in Act II, Laura discovers that she knew him in high school and had a crush on him. Devastated, she refuses to join them in dinner. Amanda just doesn’t get it and forces Laura to spend some time with her gentleman. Jim is the only positive person in the household, he laughs, talks about his classes in public speaking and he’s appealing and when he  finally gets Laura to open up, she too, becomes slightly lively,

She shows him her glass collection pointing out her favorite, the unicorn. Unfortunately, in a clumsy dance attempt, they bump into the table it is sitting on and knocks off the horn. As nice as Jim is to Laura, he already has a girl and all hopes of his returning another time are faded for any further relationships for Laura. 

‘Menagerie’ was Williams’ first successful professional play and his most autobiographical. Laura or Rose, his sister, (as was her given name), who was thought to be mentally ill because of her instability, underwent a frontal lobotomy that just about sent her brother over the edge. Some even suggesting that it was the cause of his heavy drinking, or his being gay as suggested by Dramaturg Jesse Marchese.

With the exception of Laura’s (Julia Belanova) role in Act I Burger’s production hummed along without a catch. The emptiness of her character left one with the idea that she mightn’t have been on stage at all. Things do liven up in Act II though, when Laura comes out looking like a new person with a wig to cover her very short boyish haircut. But it was not to be her fate. Her fate is sealed.



Shana Wride and Luke Harvey Jacobs

The last words that Tom Wingfeld, speaks: “Blow out your candles, Laura, - and so goodbye.” is a heartbreaker for anyone with a heartbeat. 

Were there tears at the end of the production? You bet. This bitter sweet play is so relevant for this time of year when family relations, loneness and separation are at the fore of many family dynamics, it cannot be ignored. 

Kudos also to Leah Osterman, props, Katie Paulson, costumes, Bailie  Molsberry, stage manager, Eliza Vedar , sound designer/composer, especially  Dramaturg Jesse Marchese, and of course Diversionary Theatre for its splendid production. 

See you at the Theatre. 



 
Dates: Through Dec. 23rd
Organization: Diversionary Theatre
Phone: 619 220 0097
Production Type: Drama
Price: $20.00-$65.00
Where: 4545 Park Blvd.#101
Photo: Andrea Agosto


Tuesday, November 28, 2023

“Proof” Of Good Theatre Resides In Backyard Renaissance’s Production


 Backyard Renaissance Theatre Company is completing its sixth season with David Auburn’s  award winning “Proof” .  “Proof” was the longest running Broadway Play in two decades” according to Playbill Magazine. A Broadway play typically runs about nine months to a year. Auburn’s long running “Proof’ lasted as long as some musicals, thrillers and comedies” .

I am no mathematician. Not by any stretch of the imagination. So, when a play about the proof of a mathematical problem is put before me, even in an artistic setting, I am in awe. But I needn’t have worried. “Proof “is as much  about relations, family relations, father daughter affection for and pride in, and mental health as much as it is about proving a mathematical theory. And…as director  Anthony Methvin, has thrown some much needed humor when least expected.

Liliana Tatwatte and William Huffaker

Family dynamics, old wounds and new concerns, an outsider who has access to the deceased professor’s papers and a case of mental instability are the ingredients for this engrossing and very well done play, set (Yi-Chien Lee) on an old and decaying back porch of the family’s run down house in suburban Chicago.

When the play opens Catherine’s (brilliantly played by Liliana Talwatte) father (Francis Gercke),a  little heavy handedly comes up from behind her and wishes her a happy birthday. She is twenty five this day and he offers her champagne and a suggestion she party with friends, which of course, she replies 'she has no friends'. 

The play moves back and forth in time and unfortunately, what we don’t know until later revealed, is that her father, Robert, is dead and this is the day of his funeral. 

Francis Gercke and Liliana Talwatte

Over the course of time, Catherine tries to sort out what life without her father would look like. She has been his caretaker for the last five years and his student since she can’t remember. She knows that she has the same genius genes as he and worries she might inherit his mental instability. She is looking for a new start, a new beginning, perhaps going back to finish her college degree.That is about to happen when Robert’s nerdy grad student Hal ( a bit too much over the top William Huffaker) comes into the picture. Hal has been working with Robert going through his notes compiled in a series of some 103 notebooks. Now that her father is dead, she doesn't trust him to be alone with his papers. She also has an investment in the material.


Liliana Tatwatte and Wendy Maples

Adding to the family dynamic, Catherine’s sister Clare (a smart and powerful Wendy Maples) a force in her own right, descends on the family home demanding that they sell the family home and Catherine  goes back to New York with her and live there. 

But, where has she been all this time when Catherine dropped out of school to care for their father? 

Will Hal and Catherine learn to trust one another? 

Is Catherine really the stuff of which her father is made? 

More questions than answers, but worth the 2 ½ hour wait to find proof of what’s really on Auburn’s mind: genius, greatness  or madness.  As an aside, when Robert was Catherine's age, he was a certified genius. 

You be the judge.

This is the third time yours truly has seen this show; once on Broadway in its original production, once here in San Diego at the now defunct San Diego Rep. where Gercke played the nerdy student and now downtown at Backyard Renaissance Theatre. One can understand why it played on Broadway for two decades.

Wendy Maples and William Huffaker

There are many components to every piece of theatre. Without being too detailed, there are things to look at beside just the play: costumes, music, lighting, sets and direction are but some of the considerations not to mention the actors who take their trade very seriously and directors that put the pieces together to make sure that  proof of good theatre continues.  

San Diego stands with some of the best Regional Theatre companies in the country. As for this company, production values  run high. Hats off to Curtis Mueller, lighting, Matt Lescault-Wood, sound, Jessica John Gercke, costumes Chad Ryan, technical director. and of course Anthony Methvin.

Cast

Enjoy. 

See you at the theatre.



Dates: Runs Nov 25 and runs through Dec. 9. Showtimes: 8 p.m. Thursdays through Saturdays; 3 p.m. Sundays

Where: Tenth Avenue Arts Center, 930 Tenth Ave., downtown

Tickets: $18-$40

Phone: (760) 975-7189

Photo: Daren Scott

Online: backyardrenaissance.com




Thursday, November 9, 2023

“MAMMA MIA”





“Mamma Mia” the jukebox musical is making its 25th Anniversary North American Tour. This week it landed in San Diego at the Civic Theatre\downtown. 

“Mamma Mia”! has been performed in more than 40 countries and across five continents, including: Belgium, Greece, Japan, New Zealand, South Africa and the United Arab Emirates.  The first non-English production started in Hamburg, Germany, on November 3, 2002.  Many international tours have run over the past several years.

It’s  a fun musical with the songs and music of Benny Andersson and Bjorn Ulvaeus written originally for ABBA and are the main attraction. The book by Catherine Johnson, is so ho hum that after a while, you just look forward to hearing the music which is made to fit around the story of the young Sophie Sheridan (locally grown Alisa Melendez “I Had a Dream) who is planning a conventional wedding to the handsome and muscular Sky (Grant Reynolds)  “Lay All Your Love On Me”) and always dreamed about having her Dad walk her down the aisle. 


Jalynn Steele, Christine Sherrill, Carly Sakolove

No problem for those who know who their Dad is. Not so in the life of Sophie. You see her mother Donna (Christine Sherrill), feisty, forty- something and who used to be part of a singing group called the “Dynamos”. She is still single but way back then she had a tryst with three different young men when they were all young and foot loose.  It all happened somewhere on a small Greek Island 21 years ago. 

Donna never told Sophie about them but for the sake of expediency Sophie gets hold of an old diary of her Mom’s. After reading it Sophie finds out the names of  three men in her mom’s life, who at that time she was gaga over and possibly had affairs with. Without consulting her Mom, she sends all three an invitation  (that was supposed to come from Donna) to the wedding.


Jim Newman,Victor Wallace, Rob Marnell

The mystery: Donna knows nothing of this and the three men, now into the same forties as Donna are flummoxed as to why they have been invited to a wedding of someone they know little about.There is Sam (Victor Wallace ...“Knowing Me Knowing You”), Bill, (Jim Newman and Harry (Rob Marnell). All three left the island leaving Donna behind. She now runs a nice little hotel and cantina and ekes out a living for both herself and Sophie.  

None knew she was ‘with child’ and now they, all three potential Dads’ show up thinking Donna invited them. She’s as confused as they, especially after Sophie asks all three to walk her down the isle.  (“Thank You For The Music”)Needless to say, it all works out; conundrum aside, and ABBA fans get to hear no less than 23 favorite songs including “Dancing Queen”, “Mamma Mia”, “Take A Chance On Me”, “Winner Takes It All” “Voulez-Vous”, “Knowing Me, Knowing You”, and  “Slipping Through My Fingers”,  among others all under the direction of Phyllida Lloyd, and his high energy, uniform dancing with choreographer Anthony Van Laasy, brilliant lighting  by Howard Harrison, sound designers (too loud) Andrew Bruce and Bobby Atki



Grant Reynolds and Alisa Melendez

The production is filled with a combination of youthful energy and mature and over the top funny/ hysterical shenanigans.  The night I attended the entire ensemble was on top of their game that left the audience on their collective feet when the whole cast came out for curtain call in their full on pull up Lycra costumes coordinated by Lucy Gaiger.

Melendez looking heavenly in her wedding dress, hrr credits include“Almost Famous” and “Rent” has a lovely and even  (“I Have A Dream”) voice and with acting credits to go along; “I want my Dad to walk me down the aisle”  bit. 

There is strong chemistry between Christine Sherrill’s  Donna and Melendez’ Sophie that lends credibility to their mother daughter relationship. (“Slipping Through My Fingers”). Sherrill  has the right chops for the Abba sound and uses them to her advantage. 

Donna’s old girlfriends and singing buddies (the “Dynamos”) Tanya and Rosie (Jaylynn Steele and Carly Sakolove) who were also invited to the wedding helped steal the show with their antics and good humor, (“Dancing Queen”) 

Sakolove is a hoot as the prankster of the three and her little shtick with Newman’s Bill is a hoot. (“Take A Chance on Me”)

Other than that, the three ‘fathers’ are about as exciting as watching grass grow. They come, they go, and they bring little pieces of forty- year history with them that refuses to be reconciled any time soon.  

Victor’s Sam and Sherrill’s Donna dance a dance but seem miles apart until the last scenes (no spoiler here in case you’ve never seen the show). He wants to talk, she wants to have nothing to do with him, or so it seems. (“The Winner Takes It All”) 

Cast

The talented ensemble of young people, who do a good amount of dancing (and with fins on their feet to boot) create some semblance of excitement on the island with Patrick Parks ’s Pepper making a big pass at Tanya as she plays him like a violin. 

But it’s the dancing along with the 23 or so Abba songs that give this particular musical most of its pizzazz. It takes a village to mount a show filled with this much youthful energy, mature and hysterical shenanigans and over the top and funny performances that follow.

So?What’s not to like? In this reviewer's opinion, nothing. 

Go, see, enjoy, sing along and have fun, it’s  Abba after all.  


See you at the theatre.


Dates: Through Nov. 12

Tickets: $39-$169

Phone: 619.564.3029 

Production Type: Jukebox Musical

Photo: Joan Marcus

Where: San Diego Civic Theatre Downtown, SD

3651 4th Avenue San Diego, CA 92103





Friday, November 3, 2023

" THE LITTLE FELLOW (OR THE QUEEN OF TARTS TELLS ALL)"


 Kate Hamill’s world premiere production “The Little Fellow or The Queen of Tarts Tells It All” is in a saucy, sexy, shameless and spicy production at Cygnet Theatre in Old Town through Nov. 19th. With Rob Lutfy at the helm and a solid cast of four playing several roles, the show is on solid footing

The subject is  based on the life and times of 19 century courtesan Harriette Wilson, who, at the age of thirteen became a prostitute at the biddings of her father. But it is at this point, later on in life that Hammill picks up the story. We learn the backstory as the action moves forward.

Keiko Green with MJ Sieber

In the words of Sir Walter Scott, “far from beautiful; but smart and saucy, with the manners of a schoolboy”…She was boisterous, rude vulgar, bold and outspoken, fought and chewed tobacco, spat and carried a riding crop and wore men’ clothing. She counted some of the most influential men in the country as her clients. She was called “The Little Fellow or The Queen of Tarts”.

Keiko Green and MJ Sieber

In 90+minutes the beautiful and sexy, moody and oft domineering Keiko Green  as Harriet is all of the above. When we first meet, she is chasing one of her clients around her sitting room and slapping him with her riding crop. That may be THE most playful scene in the show as it gets nastier as she meets up with others the likes of The Duke of Wellington Arthur Wellesley (MJ Sieber Green’s real-life husband)plays several men’s roles, including The Marquis of Worcester, Lord of Berwick & others), who at her demand promise her a yearly income if their names are not mentioned in her tell all books, which  made her a rich woman in her own right. As her reputation grew she was called the “top of the bottom”.


Rachael VanWormer and Keiko Green

Along the way, she has run ins with several women in the same profession like Julia and others (Sofia Jean Gomez) but with altogether different mindsets. Julia, another prostitute  is softer and when approached, choses her words carefully except when they disagree and then the shouting, over each other, begins.  

Past her prime ( the time is 1800’s) and rejected by many of her clients as they could, as at the time, men ruled and the only recourse she has is to grooms her maid Mary (Rachael VanWarmer) as a young and upcoming prostitute.

Keiko Green

Bitter and desolate Harriette, who was once at the top of her game, is showing the toll taken, is now an outcast, and one can see her devastation, alone in her home, but alone… 

After seeing Green’s performance in, “Exotic Deadly or the MSG Play”, there is no question of her super star quality. In one of her final scenes with  The Duke of Wellington  has tensions flying off the roof tops. This is a scene seared into the minds memory.

She is on stage the entire ninety minutes showing every side of her personalities. As for the rest of the cast one can only applaud the diverse nature of all. No easy task, this to speak in accents according to position in society and get it right.


Keiko Green and Sofia Jean Gomez

Yi-Chien Lee (scenic designer), Anne E. McMills (lighting designer), Steven Leffue (sound designer) Regency costume designs), Peter Herman (wigs and make-up design), and Alyssa Kane (properties designer) all contribute to making Cygnet’s world premiere of “The Little Fellow” a reason to rush to Old Town before it closes.


If you are not offended by the racy nature of the play, enjoy!

See you at the Theatre.




 


When:  Oct. 28 and runs through Nov. 19. Showtimes, 7 p.m. Wednesdays-Saturdays; 2 p.m. Saturdays and Sundays

Where: Cygnet Theatre, 4040 Twiggs St., Old Town San Diego State Historic Park

Tickets: $27 and up

Phone: (619) 337-1525

Photo: Karli Cadel

Online: cygnettheatre.com


Tuesday, October 24, 2023

"THE STRANGE CASE OF DR. JEKYLL AND MR. HYDE” READY FOR PRIME TIME


 STRANGE: Unsettling, unnerving, unusual.

 If you are looking for all of the above, to scare the bejesus out of you, or to just get in the Halloween mood  head to North Coast Repertory Theatre in Solana Beach and catch a wonderfully crafted  production of the Robert Louis Stevenson novella, “The Strange Case Of Dr. Jekyll and Mr. Hyde.

Jeffrey Hatcher’s new adaptation of Stevenson’s work, under the deft direction of Shana Wride with four actors transitioning back and forth from Hyde to Jekyll and back on Marty Burnett’s minimalist set  is a thrilling ride as in the haunted House at Disneyland. This gothic tale as directed by Wride is about as perfect a seduction as you will see anywhere.

L to R: Jacob Bruce, Ciarra Stroud, Connor Marx, Bruce Turk, 
                                            Kate MacNichol, Christopher M. Williams.

The battle over good vs. evil in the case of love, lust and horror plays itself out as the respected Dr. Henry Jekyll wrestles for the upper hand in trying to defeat and or hide the savage beast he has living within as his alter personality, Mr. Hyde goes astray, when he Jekyll,experiments with exotic and mind altering drugs after he finds he is able to bring out the more sinister side of himself. 

All the while the other personalities of Mr. Hyde are clever enough to move about under the cover of darkness mysteriously showing up whenever a crime, rape or murder happens. As Hyde is free to cause the sins for which Jekyll would be repulsed, the battle of who will win out gets more complicated for Jekyll. 

Using four different actors to show the different sides of Hyde is a great tool as all four playing Hyde are, in varying degrees of ready for prime time as his schizophrenic evil sides.  They are pretty menacing looking as they glare, some with sinister smiles getting ready to pounce. By this time the lights are ready to go out on Jekyll. 

The more mysterious and criminal the happenings discovered around both men, the more finger pointing is directed at the respected Jekyll as he roamed the streets at night committing heinous acts of sex and murder, in the guise of Hyde, that in another life would have repelled him. 

After we meet the players, the story swiftly moves from the foggy London streets to Jekyll’s living quarters (identified only by a bright red door that is moved back and forth to the Drs. medical offices to the laboratories and back to the streets of London.  

Bruce Turk, Katie MacNichol, Conner Marx, Jacob Bruce 

In a series of vignettes we follow the comings and goings of Jekyll and Sir Danvers Carew, vying for the same woman, a not so innocent Elizabeth  (Ciarra Stroud ). Her lifestyle as chamber maid and hotel clerk draws her to the younger looking, sexier and more sensuous Hyde showing us an edgier side than say what Jekyll thought it might be as he finds her in his travels. 

Jekyll still fears for her life and tries to stop Hyde from hurting her by stopping his experiments.  Whenever she appears, nothing good follows. At this point, we are witness to the strange transformations of the good doctor as he spirals downward into an abyss he cannot ascend. 

Stevenson’s novella is a classic read and was a success when it came out in 1885. Movies and stage adaptations, before Hatcher’s play, go more for the bizarre. Hatcher’s adaptation cuts to the quick and most directors, go for the fear and scare tactic especially when using different actors to show the many sides of evil; digging deeper into the heart of darkness. Welcome Shana!



Front: Bruce Turk with Connor Marx over his shoulder

For the most part all six characters in the play Bruce Turk, Katie MacNichol, Connor Marx, Ciarra Stroud and Christopher M. Williams are probably the best sextet of actors San Diego and areas around Wride could gather to pull this off and without flaw.

Played out on Burnett’s set with dim to dark looking lanterns arranged by lighting designer Matthew Novotny heart thumping sounding music (Melanie Chen Cole) and those look alike striped pants, check vest, walking sticks designed by Elisa Bonzoni oft times make it difficult to distinguish one from the other. 

Turk and Williams stand out as they embody the cunning Dr. Jekyll mocking and interrupting Carew (Jacob Bruce) at a lecture and showing off a superior self.  But turn about is fair play when Bruces’ Carew secretly undoes Jekyll while pretending to be his friend. By this time, it’s pretty obvious to the audience that Jekyll cannot undo what he began.

Connor Marx,  Jacob Bruce, Katie MacNichol

Make a note, there is no dripping blood or gore to repulse, just the substitution of a dead pig to replace a corpse in the good doctors laboratory that we do not see, but for the most part, watching the good/evil play out in real time is a bit of a trip. 

You will have ample time to catch it before the door closes on the eerie show. Just outside the Red Door, and to wide audience appeal, J&H has been extended through Nov. 15. 

The Strange Case Of Dr. Jekyll and M. Hyde" might be one of the best productions seen recently at NCR. 


Enjoy the show.
See you at the theatre.


When: 7 p.m. Wednesdays, Thursdays and Sundays; 8 p.m. Fridays and Saturdays; 2 p.m. Saturdays and Sunday. Through Nov. 18 (plus 2 p.m. Nov. 8 and 15)
Where: North Coast Repertory Theatre, 987 Lomas Santa Fe Drive, Solana Beach
Photo: Aaron Rumley
Tickets: $49-$74
Phone: (858) 481-1055
Online: northcoastrep.org

Tuesday, October 17, 2023

“Doubt: A Parable” One Excellent Production, No Doubt About It.

 John Patrick Shanley’s “Doubt: A Parable” is being mounted at New Village Arts Theatre in Carlsbad through Oct 22. 


Shanley’s 1994 play was originally staged off-Broadway at the Manhattan Theatre Club and transferred to the Walter Kerr Theatre on Broadway in 1995. It ran for 525 performances. It takes us back to the 60’s when suspicions might have aroused a Sister Aloysius but for most of the ‘Good Old Boys Club’ it was a blip on the radar screen.

No doubt Shanley, whose lightweight yet entertaining screenplay “Moonstruck” was a success in movie theatres, still had a story to tell about the actions of the church and how we as a society handle. them. This is no lightweight show.

Today it’s difficult to put aside the facts of the late 90’s with their breaking news admissions, accusations, and in and out of court settlements regarding the rampant pedophilia and cover up within the Catholic Church.

The environment in which this culture was hatched leaves us no choice but to draw the same conclusions Sister Aloysius did, as the facts unfolded at St. Nicholas. After the fact however, there were doubts about many things. Do the ends justify the means in finding answers? You be the judge.

Juliana Scheding and Kym Pappas

But Doubt is much more than a case to be made of a Priest’s actions and how it was handled by the Church’s hierarchy. It is more about our own doubts and our own beliefs, suspicions, tolerances and fears. Nothing, as they say, is all black and all white. And I imagine the discussions continue.

The play won the Pulitzer Prize, four Tony’s and the New York Drama Critics Award for Best Play. It has since been made into a movie starring Meryl Streep. “Doubt: A Parable”  starts off innocently enough. Father Brendan Flynn (Dr. AJ Knox)) is rehearsing his next sermon, “What do you do when you’re not sure, when you are lost, you are not alone.” he asks. It is about doubt and despair in which he concludes that when ‘One sees the truth, one does not doubt. When one veers off course, he is in doubt’.


AJ Knox as Father Flynn

This could be both good and bad. For Father Flynn’s reality, it is an omen. Later on, we see him as he prepares for another sermon on gossip, he is still upbeat and on target in the message of his sermon. That’s understandable in the wake of what’s to follow and the you know starts to hit the fan.

Father Flynn, the antagonist, is one of the younger, newer priests in the Parish and well -liked by the students and young Novices. He’s like one of them. He has a good sense of humor, is easily approachable, plays basketball and is ‘modern’ thinking.

On the opposite end of the spectrum is Sister Aloysius, the protagonist. She is of the ‘older school’; conservative, not much of a sense of humor that’s noticeable and does not believe in coddling the children. “Their (the teachers) first duty is to protect the children, it is not the ‘teaching sister’s’ place to be complacent.”

The piece takes off innocently enough when the young and inexperienced Sister James (Juliana Scheding) is brought into the picture. She is concerned about one of her students who went home with a nosebleed. Sister Aloysius who pooh pooh’s the whole nosebleed thing, asks her how their only African-American student Donald Muller is faring. Unbeknownst to Sister James, Sister Aloysius is no fan of Father Flynn. 

With some pretty extensive posturing by Sister Aloysius about her suspicions of sexual misbehavior on the part of Father Flynn, she engages Sister James, a wide eyed believer in showing enthusiasm in her subject matter, (contrary to those of Sister Aloysius) in a plan or plot to ‘keep her eyes’ on Father Flynn and report back to her on any changes in Donald’s behavior. 

Sister James had mentioned earlier that Father Flynn was seen taking Donald into the Rectory by himself after basketball practice. It seems that when he returned to class, she smelled alcohol on his breath. Afterwards, he sat back at his desk and rested his head on his arms in a disquieting way, she observed. More determined than ever to get to the bottom of the Father Flynn annoyance, Sister Aloysius’ determination to have his tenure terminated continues with a vengeance.


 

Sister Aloysius has drawn the lines of battle in her quest to rid the school of Father Flynn for the good of the school and the children, but finds it difficult to get Sister James on board as she soon learns. When she calls the boy's mother (Sherrell M. Tyler) into the school and tells her of her suspicions, Mrs. Muller doesn’t want any part fingering Father Flynn either.  She confesses that her son is ‘that way’ and she just wants him to finish out the school year at St. Nicholas so he can get into a good public high school. His father beats him, she says through tears, and he would ‘kill’ him if there were any trouble. .Tyler presents a pitiful, yet determined picture of a Mother Bear protecting her young. “At least Father Flynn takes an interest in the boy," she tells Sister Aloysius.

Under the deft direction of Kristianne Kurner and a  Brava and steadfast performance by  Kym Pappas  as Sister Aloysius, her persona is in expert hands as shown with tough, determined and unwavering attitude, body language and actions. Pappas’ Sister Aloysius moves the play while she walks the rocky but determined road to prove herself right.

She is one who persists in finding the truth and follows her instincts to this regard despite the lonely effort and devastating effect on others. Pushing back is the one whose career and reputation is on the line. Father Flynn is desperate as he finally pulls the pecking order card on Sister Aloysius.

When Father Flynn, portrayed by a nuanced and beautifully portrayed Knox realizes he is the subject of Sister Aloysius’ suspicions, he at first brushes it off, then takes notes to remember their conversations and confrontations (he’s too flustered to remember, he laments) and then proceeds to compose his sermon on Intolerance.

He later enlists the support of Sister James, who herself has come under the scrutiny of her superior for being too involved in her passion, that of teaching history. “Be more formal and cannier; not so warm”, advises Sister Aloysius. Wavering somewhat, the more he makes his case to her the more she is swayed toward believing there was no wrong doing on his part.


Sherrell M. Tyler

Scheding shows just the right amount of lightness, agony and compassion as her journey through this horrible ordeal causes her, in the end, to tell Sister Aloysius that she’s having trouble sleeping. To that end Sister Aloysius, despondent by angst responds, “Maybe we’re not supposed to sleep well”.

As for Knox, his is a tough road to walk. While mildly trying to convince both Sisters and the audience of his innocence there is an absence of any rash answer or persuasive behavior on his part to make us believe him even if we wanted to. Either Shanley didn’t give him much to build on or Knox just wasn’t giving anything away: smart move of course under Kerner’s direction.

True, he first defends his friendship with the young student as in helping out a troubled child, to then denying any wrong doing or guilt except to say there is an innocent explanation, to then cautioning Sister Aloysius that she has no right to act on her own and she is not following church policy, but it doesn’t cut the mustard. 

One gets the clear impression, as our options grow slimmer of no wrongdoing, that he is in fact guilty of sexually molesting the child. 

After Father Flynn leaves St. Nicholas, Sister Aloysius learns that he has not only been transferred out but given a promotion at another Church Parish School, and is in charge of the school. It is clear that she is beginning to doubt even her own convictions in her faith, her God and her religion as she grasps her cross and sobs into her sleeve. So, firm is her conviction that she must prevent other children from the likes of Father Flynn, she appears broken but determined. 

From the beginning of her suspicions it appeared that Sister Aloysius was a troublemaker and wanted things left as they were. In her quest to destroy that calm, pleasant, modern figure, Father Flynn, she seemed mean spirited, spiteful, power positioning and uncharitable. But evidently, she saw and felt things no one else bothered to and dug and dug until he made his own move to be transferred or be forced to answer more questions. Was she right? Was there doubt?



Somewhere one has to believe that there will always be a Sister Aloysius looking out for vulnerable children like the many whose stories broke our hearts as they were told to the public some years ago.

Shelby Thach’s  designed the lighting focusing harshly on Sister Aloysius bringing out her no nonsense personality.  Father Flynn was the only one whose dress (Kevane La’Marr Coleman) had any color. Christopher Scott Murillo designed set with three playing spaces defined by their use: the Pulpit (larger than life), Sister Aloysius’ office and an outside area where many decisions were made or confessed, Sound design; Marcus Rico with real crow like gawks which I also despise and props and assistant design Sofia Cassidy. 

If you are interested in some real drama with a questionable outcome; one that you will find yourself in doubt more times than not, this is your play.


Enjoy.


See you at the theatre.

 



Doubt When: 7:30 p.m. Thursdays through Saturdays; 2 p.m. Wednesdays, Saturdays and Sundays. Through Oct. 22.

Where: Conrad Prebys Theatre at the Dea Hurston New Village Arts Center, 2787 State St., Carlsbad

Tickets: $28-$48

Phone: (760) 433-3245

Photo: Jason Sullivan

Online: newvillagearts.org



Tuesday, October 10, 2023

A Ghoulish Romp With “The Addams Family “at San Diego Musical Theatre

If you’re looking for a fun theatrical treat, look no further than SDMT.  “The Addams Family-A New Musical Comedy” is  now playing through, well almost Halloween and how fitting)

Spending time with the Addams 'Family, Gomez, amazingly talented (Mauricio Mendoza) Morticia,his wife, Uncle Fester, Wednesday, Pugsley, and Grandma, and the zombie looking Lurch, the butler (Jackson Marcy) is a haunting, macabre -but one of a kind experience.


Mauricio Mendoza and Erica Marie Weisz

You’re in for a goulash romp through Central Park and areas most don’t live to talk about; the crypts of The Addams Family ancestors. It does sound a bit weird, but I’m in uncharted territory here

 “The Addams Family” with book by Marshall Brickman and Rick Elice and music and lyrics by Andrew Lippa is based on the Addams Family characters created by Charles Addams’ cartoons, but the story that was Broadway bound is original.

In 1964 “The Addams Family” became a TV series and later a morning cartoon for the Sat. morning contingency of kids who tuned in to watch cartoons long before electronic devices over took their brains. In the ‘90’s several movies appeared on the big screen. 


(front) AJGange,( l to r)Debbie Nicastro, Lena Ceja, Ryan Burtanog 

Jackson Marcy (back row)

The story opens at the crypts of The Addams Family ancestors.  Once a year they come out, so to speak, for a family reunion. This particular family visit didn’t end as well as expected for the ancestors. The gates of the crypts closed too soon leaving the dearly departed engaged in problem solving before the gates would open again for them.

Here’s the pitch: 18 -year -old Wednesday Addams (performed by the talented Lena Ceja) wants to host her boyfriend Lucas’ (Carson Marcy) from  swing state Ohio) family for a meet and greet dinner party. It will be a first for the Addams’ to dine with ‘outsiders. No doubt it will be an eye opener for the Beineke’s, Mal and Alice (Ryan Fahey and Alexis Zimmerman).

At the gates, Uncle Fester (an amazingly talented and cuddly cute (if you can call him that- Ryan Burtanog) “The Moon and Me”, tells the ‘family’ that he needs their help with the ‘Wednesday problem’. They cannot return to their crypt until Wednesday and Lucas (Carson Inouye) are happily married. (“Festers Manifesto”)

It seems daughter Wednesday has fallen in love with Lucas Beineke a young man she met one night wandering about the park. It was love at first sight; pledges were made and a ring exchanged. They want to get married but her family has a few objections. As an outsider, there will be some getting used to well… a different way of being.

A.J. Gange, Lena Ceja (center) Erica marie Weisz with ancestors

On the other hand,  love has transformed Wednesday from black sack to bright and happy; from all black to bright yellow, (the talented Chong Mi Land designed the costumes) a color her mother, Morticia, cannot, absolutely cannot abide But her biggest problem is telling her mother that she wants the family to invite the Beineke family to dinner for a ‘meet and greet’. 

All hell breaks loose when Mom Morticia ( the beautifully talented and fun loving Erica Marie Weisz) hears about the invite and dinner. She’ll reluctantly go along, but for a little revenge for not being kept in the loop, decides to play the “Full Disclosure” game with the new in-laws. (“Full Disclosure”


Lena Ceja 

In the meantime, mischief making son and brother Pugsley, (A. J. Gange) steals Grandma’s (Debbie Nicastro) magical truth potions ‘that will bring out someone’s dark nature’. At the dinner it was  intended it for Wednesday but it ended up being downed by Alice Beineke (a deliciously hysterical and physically adept and with an operatic voice to die for Zimmerman, who just about stole that entire scene.  And she does!


Mauricio Mendoza (center) with  Lurch and ancestors

Director Carlos Mendoza (yes his brother is Mauricio) and a sterling cast bring out the best there is with their collective talent to elevate a kooky romp in the park to a rather pleasant spell of charming but eerie entertainment. 

Mendoza ( Mauricio)  and Ms. Weisz are a natural together. There is a chemistry between the two that ignites when he is trying to calm  mother and daughter who do not agree on much, to get along. As both singer, dancer, and dead pan (pardon the pun) comic, his talents spill over as the very concerned and caring father while trying to cope with his suspicious and curious wife. (“Trapped” 


Alexis Zimmerman

Their famous tango “Tango de Amor” is one of the many happy surprises along with their “Let’s Live Before We Die” as the two make plans to travel the sewers of Paris. Yup. There’s that too. 

As for the stunning in all black talented and sexy Ms.Weisz, her musical pipes and characterization of Morticia are as comical as they are subtle and graceful. (“Just Around The Corner”) 

In comparison, the other Mom, Alice is an uptight and disappointed in her life wife who goes bonkers after she downs the ‘magic secret cocktail revealing secrets of the other half of her up tight husband who is, pardon the expression, mortified by her outbursts. Ryan Fahey, the outsider, with an underwritten character, who has forgotten how to be a caring human being finally gets with the program. 

As for the ancestor’s ensemble, one couldn’t ask for a more talented group. They sing and dance (Aaron Pomeroy choreographs and how about a ‘Bunny Hop’?) and pose like Greek statues on platforms. 

Once again Chong Mi Land shines with the all shades of grey fitted costumes that actually take on the look of granite. Mathys Herbert designed the sets, Michelle Miles, the lighting, Brandon Boomizad sound and Richard Dueñez Morrison, Music director and just a suggestion… lower the volume please.


Lena Ceja and A.J. Grange

 Guessing from the audience participation the day I attended, most were familiar with the overture from the TV theme. They were right in there snapping their fingers and swaying back and forth as the music started.

If you like ghoulish, you will love this show; it’s just this side of the macabre, but not to fear, it’s so morbidly funny you just might want to see it for a second time if but to believe your eyes. And if you are looking for a free liftoff to the moon get in touch with Uncle Fester “The Moon and Me”. 

See you at the theatre. 


The Addams Family

San Diego Musical Theatre

4650 Mercury Street in San Diego (Kearny Mesa)

Wed & Thurs at 7; Fri at 8; Sat at 3; Sun at 2

ends on Oct 29, 2023

for tickets, call 858.560.5740 or visit SDMT

photos by Heather Longfellow


 

Tuesday, September 12, 2023

Cygnet’s “Evita” Another Feather In Sean Murray’s Cap.

“Evita”,with an unforgettable score by Andrew Lloyd Webber and clever lyrics by Tim Rice. is  one of those oldies but goodies that has laged beautifully over the years starting out first as a Rock Opera concept album and in 1976 led to London’s West End where it picked up the Laurence Olivier Award for best musical. Some of the unforgettable numbers include Don’t Cry for Me Argentina,” “Oh What a Circus,” and “You Must Love Me.” 

Hat's off to Murray for bringing this innovative incarnation to us.




Berto Fernández, Ariella Kvashny

In his notes, Artistic Director and director of Cygnet’s current production, of “Evita”, Sean Murray points out that ‘there are two sides to this character called Eva Peron. Some remember her as a saint , others remember her as a destructive force’. Your call.

Just as a recap, the story follows the wayward Eva Duarte (Ariella Kvashny) whose soprano voice was a bit too piercing for yours truly, from her poor as church mice beginnings to her ultimate pie in the sky position as first lady of Argentina. Along the way she ruthlessly pushes ahead with her agenda first as the paramour of Tango singer Magaldi (Matthew Malecki Martinez) “On This Night of a Thousand Stars” and “Eva Beware of the City”) as he follows his warbled career to Buenos Aries. There she makes the case for herself with several men she thinks will improve her status. (“Goodnight and Thank You”) 

Matthew Malecki Martinez and cast of Evita

Once in the ‘city’ she climbs the social ladder first as an actress, then a radio celebrity where she manages to be present at many of the high society events that would ultimate bring her face to face with the up and coming general, Juan Peróne. (Berto Fernández played somewhat as a weak leader not the oft time thug he known to be). She manages to get rid of all of his (sleepover’s) “Another Suitcase In Another Hall” clearing the position for herself. And Vanessa Orozco, as Peron’s discarded mistress, gives a lovely and heart rendering vocal performance of “Another Suitcase in Another Hall.” 

Along the way his career takes off as she rallies  the working class that  in turn elevates him to President. (“The Art of the Possible”,  “I’d Be Surprisingly Good For You” and “A New Argentina”).

And so it went until she finally became First Lady, established her own fundraising charities, became a saint, a princess, a star in the eyes of the populace (“High Flying Adored”). She toured Europe in what was referred to as her Rainbow Tour. (“Rainbow High”, “Santa Evita”) She was greeted with awe in the beginning, but her fame started to wane when the Pope shunned her, she was snubbed in England and her health took a turn for the worse. She died at age 33 from ovarian cancer.


A.J. Mendoza, Cast of Evita

On the dark side of the coin, narrating, was Ché Guevara, outspoken critic of Evita. A Marxist revolutionary, guerrilla leader, diplomat and military theorist. Usually dressed in Army garb, costumer Zoe Trautmann chose to dress A.J. Mendoza (Che) in casual clothes as he moved around the theatre narrating the story.

Complete with actual film clips  (Blake McCarty) of the then Eva Peron, the production brings the audience up close and personal watching history unfold. 

I must admit that I love the score of “Evita” and this particular rendition was sung and danced throughout oft times in Spanish and oft in Engligh by a mostly Latinx cast. The dancing under choreographer Carlos Mendoza is some of the best yet. Between ballet ,ballroom, tango, and every movement in between was a feast for the eyes. 

With musical direction by Patrick Marion and a six piece orchestra backstage the 22 or so musical numbers just flowed from my collected memory with nary a missed beat from the cast.

Back home in Argentina (“Don’t Cry For Me Argentina”) she was the most loved, and admired woman in all of South America. It made no difference what she did, her followers never lost faith in her.

At the time of her untimely death, Argentina was a bankrupt country pretty much the condition she found it when she arrived there, but she always looked like a million dollars. 

Amanda Zieve designed lighting, Evan Eason designed sound, Mathys Herbert the simple, well marked set, Peter Hermann, wigs. Overall, tou won't want to miss this "Evita".Murray couldn't have done a finer job than he did with this Weber/Rice  musical "Evita". 



 When: 7 p.m. Wednesdays through Saturdays, 2 p.m. Saturdays and Sundays. Extended through Oct. 1st.

Where: Cygnet Theatre, 4040 Twiggs St., Old Town State Historic Park

Tickets: $37 and up 

Photo: Karli Cadel Photography