San Diego’s “Tosca” Soars

What is it that draws us back to “Tosca” over and over again?

Surely, I’m not one to disagree with the many reasons for doing this opera over the years. I have to admit however, that my main reason for seeing any Puccini opera as often as I have the chance is, without a doubt, the story,the magnitude of score the  and of course, characters. 

Marcelo Puente with Madonna Painting

I could close my eyes and just listen to the music, it’s that beautiful and yes, glorious. Of course, the players are what make the music come to life and the director makes it possible for the performers to look as convincing as possible to make that happen around the music. 

I can’t, with accuracy, count the many times I have seen Tosca in previous productions here and elsewhere over the years, but if given the chance, I’ll see it again.

“Tosca” is about love, politics, power, jealousy, murder and religion in Rome at the turn of the century. The story is a political thriller, set in Rome in June 1800’s during the Napoleonic wars and a time of great political unrest. The action takes place over less than 24 hours, making it an intense experience!

Three very strong personalities, Tosca, her lover Cavaradossi and their adversary, Chief of Police Scarpia, form an unholy triangle with Scarpia holding all the power cards and Tosca and Cavaradossi  unwilling puppets in his perverse use of that control. 

Cast

Jealous by nature, Tosca just about seals her fate when Scarpia  convinces her that her painter lover, Cavaradossi is having an affair with ‘the beautiful painting of the woman with the blue eyes he is completing. No sense convincing Tosca it’s her because she has brown eyes, something they playfully banter about.  Cavaradossi convinces her to leave the chapel.  (Qual occhio al mondo può star di paro).

Michelle Bradley, who appeared here in 2019 in “Aida” and  whose “Tosca” will be the second time she’s performed it, continues to soar in this production. With crystal clear voice, making her persona Tosca as pure as her voice.  Our tenor Marcelo Puente, her lover Cavaradossi, with an equally powerful and robust voice make a glorious twosome as they were  intended to be. (“e lucevan le stelle”.

Greer Grimsley and Michelle Bradley

Bass Baritone Greer Grimsley who has mastered this role in past performances here in San Diego, is the bad guy Scarpia, with his misuse of power in the name of politics and religion. His one goal is to bed Tosca for the safe release of Cavaradossi after he is tortured for not revealing where his friend revolutionist Angelotti (Andrew Craig Brown) is hiding.

Conductor Valerio Galli who hails from Italy leads the orchestra with a bravissimo force that rocked the house; it was that powerful. 

Alan E. Hicks directs with a sure hand contrasting the moods of all three of his luminaries with mood swings back and forth from Tosca’s pious leanings to her playful back and forth of the Cavaradossi painting to Scarpia’s wooing Tosca to his force in trying to take her. Using her jealous streak as ammunition, he convinces Tosca of Cavaradossi’s wayward eye (Va, Tosca) then remembering he is in the church cries: “Tosca, you made me forget God”. He is an impressive figure. 

After being taken to Scarpia’s apartment on the upper floor of the Palazzo Farnese (Jean-Pierre Ponnelle set design is uninspired), in Act II, she still doesn’t fully understand the magnitude of her being there. The room is connected to the torture chamber, where he lets Tosca hear cries from Cavaradossi. 

Scarpia, whose lust for Tosca is all he can think about, wants her to surrender to him and when she does, he admits, Cavaradossi will go free. Grimsley is most convincing and handsome, almost too, unlike other Scarpia’s I’ve seen. His powerful voice was a most welcome one.  When she offers money, he claims he doesn’t take money from pretty women. What he does desire is Tosca. Tosca, mad with anguish and revulsion agrees, turning to God (Vissi d’arte) what has she done to deserve such suffering?  

For this reviewer there were some disappointments about this production. One was the passion between the lovers. Both Ms. Bradley and Puente are most attractive and excellent actors and soar in both duo and solo arias. Both are convincing enough when singing, but when together the passion, the thrill, the excitement didn’t translate or show through. One of the biggest puzzles that came up for me throughout the production was the fact that as ardently as they confessed their love for each other they never really kissed passionately.  Call me a romantic, but… it makes it more sense.

Marcelo Puente and Michelle Bradley

There seemed to have been an awkwardness about their intimacy leaving an overall feeling of wanting more from the lovers especially in the final scene, when Cavaradossi, whose fingers were dripping with blood from torture couldn’t write his final letter to Tosca (as is in the libretto) but asks the jailer to do it for him. (E lucevan le stelle) Nor could he hold Tosca’s hands as they professed their love for each other and in his final farewell to her (O dolci mani) both which he sang beautifully. 

Chris Rynne lighting was fine. Sets are undistinguished. Since we own the sets,(Andrew Horn) I’m guessing it was the lesser of the money spent. They worked, but not always to the benefit of some audience member’s sight lines, and Andrew Marley and Heide Zamora costumes are period on target.

“Tosca” has been performed by San Diego Opera with performances happening in 2016, 2009, 2002, 1996, 1986, 1981, 1974, and 1967. Is there a 10th in the wings?

See you at the theatre.

When: 7:30 p.m. Tuesday and Friday; 2 p.m. Sunday. 

Where: San Diego Opera at the San Diego Civic Theatre 1100 Third Ave., San Diego

Tickets: $25 and up

Photo: Karli Cadel

Phone: (619) 533-7000

Online: sdopera.org

Will Cooper’s “gUnTOPIa” ~Enough To Scare The Beejesus Out Of Anyone .

“gUnTOPIa”, Roustabouts Theatre original play by Will Cooper, one of the founding members of the Roustabouts, opened three years ago and immediately had to close because of Covid. “gUnTOPIa”, if you hadn’t already heard is a scathing satire about guns, family values, and the beliefs we have about the sanctity of a person’s worth, or not! 

The play takes place sometime in the 50’s revolving around the Nelson family, a typical nuclear family with mother, father, daughter and son…  all armed to the gills with guns of every size, shape and caliber. Anything unusual about that sight? According to them, no!

Daughter June and son Bobby are 'playing' with their guns when Bobby aims straight at his sister and shoots her dead. Unfortunately, Bobby didn’t have his safety on so he was reprimanded for being careless. ‘He always was an ace shot’. In the meantime, the police (Detective Rheingold) are called in to report a shooting to verify a body and call for it to be taken away. Bobby is sent to his room and the parents circle June without benefit of emotions. 

Katie Karel and Phil Johnson

The whole idea of a country being armed at birth is not only absurd but madness. Thankfully it's just a play with an idea. (For now) But here we are in 2023 where half the population is armed and the other half can purchase one if in the right place at the right time. I’m convinced it’s easier to purchase a weapon in some states, than it is to open some of my meds, so secure are they wrapped in hard core plastics. 

Not one scene in the 95 minute play do we see a character without a gun, nor do we escape the sounds (Jon Fredette) of shooting from both Glocks or semi powered weapons al la used in battle as background sounds.  

Thinking about these times I couldn’t help but think back to one of  my favorite musicals, “Fiddler On The Roof” when Tevye sings to Chavaleh,  “I don't understand what's happening today. Everything is all a blur”. It’s not that I don’t favor change, but this?  

Just the idea that Cooper had to mention in his notes that “Americans who favor stronger firearms legislation is just over 50% though over 70% see gun violence as a ‘big problem’, is enough to make your skin crawl. 

Phil Johnson and Katie Karel (front) Eben Rosenzweig,
Walter Murray, Veronica Burgess and Elena Bertacchi

With a dynamic cast starring Phil Johnson as Harry Nelson, Katie Karel as Mary Nelson, Elena Bertacchi as June/Alice and Eden Rosenzweig as Bobby, co -directors Rosina Reynolds and daughter Kate Rose Reynolds focus in with razor sharp accuracy the eccentricities of this family whose goal is to be the best sharpshooters, have  most prizes for accuracy in shooting and excellence in each category. 

While acting as your run of the mill family, they have good neighbors, and are respected in their community. But… with a sudden turn of events  all bets are off and Johnson’s Harry has somewhat of a mind changing experience that turns the theme into a head scratcher and not for the worst.

Johnson, who was in the original cast, gives us a realistic view of how some  parents  can never stop being parents. On the other hand, Karel’s Mary is pretty much his opposite by trying to have another child to take the place of June, and Rosenzweig’s Bobby is a spoiled brat and manipulator from the start. Bertacchi’s June has a soft touch that singles her out from the rest of her family. 

BackRow: Phil Johnson and Katie Karel
Front: Eben Rosenzweig and Elena Bertacchi

Support from Walter Murray as the Detective and neighbor Ed is interesting to watch as he goes through the motions of reporting dead bodies while in uniform and friendly neighbor Ed dressed the nines in hunting/ camouflage gear (no credit given for costume design) with a gun hanging everywhere. Veronica Burgess is Consuela, the social worker /mediator and yes, she is equipped with smaller guns tucked under her arms. It’s the law that everyone be armed. 

Michelle Miles designed the lighting. Dan R. Cheatham II is listed as Armorer, Alyssa Kane is props designer, Tony Cucuzzella designed the 50’s looking set and Nathan Waits, set construction with Maya Aizenman acting as Stage Manager. 

More from Cooper: “It’s truly a topsy-turvy world we live in, and I don’t want to accept it, and I don’t think any of us should.”

Check it out and see for yourselves.  

See you at the theatre.

When: Runs through April 1. 

Showtimes: 7:30 p.m. Thursdays and Fridays; 2 and 7:30 p.m. Saturdays; 2 p.m. Sundays 

Where: Moxie Theatre, 6663 El Cajon Blvd., San Diego

Tickets: $45

Phone: (619) 568-5800

Photo: Daren Scott

Online: theroustabouts.org 

Chekhov’s “Cherry Orchard” … Comedy? Tragedy? Or Both?

The word sardonic comes to mind when I think that Anton Chekhov called the last of his three most produced plays (“The Seagull”, “The Three Sisters” and “Uncle Vanya”), “The Cherry Orchard” a comedy ‘with some elements of farce’. I wonder what he would consider tragic, since most all of his characters in ‘Orchard’ are tragic figures and yes, some find themselves in ridiculous situations, but none-the-less his characters all fall under a spell of disappointment, sorrow, unrequited love and/or unhappiness.  

“The Cherry Orchard” was written in 1903 and published in 1904. It was before the revolution and into the beginnings of the downfall of Czarist Russia. In 1904 it was first directed by Stanislavski who called it a tragedy. 

Now under the direction of North Coast Repertory Theatre in Solana Beach, artistic director and director David Ellenstein, using Jean-Claude van Itallie adaptation, this translation is more modern  by today’s standards. A good sign, this. For the most part much of the dialogue is loud and clear with a few exceptions as when the actors are faced away from the audience.  

Cast from L to R 
Richard Baird, Katie MacNichol. Bruce Turk, 
Second Row:
Ted Barton, Sofia Jean Gomez, Amanda Evans, Riley Osburn

As for the excellent cast, one can’t ask for a stronger and well versed, with a bravado performance by Richard Baird’s Yermolay Lopakhin, the former serf , whose grandparents worked as serf’s in the orchard but now as a free and wealthy businessman, he has plans for the in debt ridden estate that now belongs to the long suffering, and broke Lyubov Ranevskaya (Katie MacNichol) and her delusionary and quite eccentric brother Leonid  Gayev (Bruce Turk). Both are locked in the past of what used to be.

Ranevskaya, the main focus of the play, is followed by an  entourage that cluster around her in varying degrees from king makers like Lopakhin and do nothing’s, like Trofimov (Michael Raver), a student at the local university, and once tutor to Ranevskaya’s deceased son. He is the  eternal student who believes he ‘is above love’. 

James Sutorius and Richard Baird

The old guard like Firs (James Sutorius) is the  long time butler in advanced stages of dementia, and neighbor Pishchik (Ted Barton ), another once rich landowner who is now broke and always asking ‘anyone’ for money

Bruce Turk and Amanda Evans

There are other  voices: daughter Anya, (Riley Osburn) is 17 years old and the most sympathetic towards her mother. It was she who went to Paris to bring her mother back to the estate after a dreadful time there. 

Adopted daughter Varya, (Amanda Evans) at 24 and is in love with Lopakhin and is the estate manager. She would love to be married to Lopakhin but… Her's is the most sympathetic character.

Marty Burnetts set lit by lighting designer Matt Novotny

And just when you thought it can’t get any more absurd  or eccentric there is Charlotte (Sofia Jean Gomez) Anya’s once governess. Anya is now too old for a governess so Charlotta entertains those at the estate by throwing her voice, doing ‘magic’ card tricks and out of the blue, munching on a cucumber. 

Richard Baird

When the play opens Baird’s Lopakhin is a self- satisfied, and wealthy merchant. He talks about plans to make the estate into a money making business. But when Ranevskaya and her entourage walk into what once was the nursery (Marty Burnett) all bets are off for any sense of normalcy that might follow. 

Sooner rather than later the estate will be on the auction block. Lopakhin, the new owner of the estate, orders his men to begin chopping the trees down and sounds of axes are in heard the background (Evan Easton), until he stops them while the family is still in the house. There we see the suitcases being lined up and ready to move on to the next stop, whatever that might look like, in what was once the nursery as Lopakhin dangles the keys ready to close up the house.

Katie MacNichol (seated)
Back:
Michael Raver, Sofia Jean Gomez and Ted Barton

And then a befuddled Firs stumbles into the empty nursery, wondering where everyone went.

Ellenstein et al have breathed new life into Chekhov’s least produced trilogy, “The Cherry Orchard”  with an overall excellent and well connected cast from Baird to MacNichol, to Baron and Sutorius to Turk who never ceases to amuse. 

Matt Novotny’s lighting enhances Marty Burnett’s set especially the outlined trees covered by the background scrim. Elisa Benzoni’s period outfits are class appropriate with Peter Herman’s wigs. Evan Easton’s sound of the trees being chopped down in the background puts a period at the end of an era.

You be the judge! Comedy? Tragedy?

See you at the theatre. 

When: 7 p.m. Wednesdays; 8 p.m. Thursdays through Saturdays; 2 p.m. Saturdays and Sundays. Through April 22.

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

Tickets: $57-$68

Phone: (858) 481-1055

Photo: Ken Jacques

Online: northcoastrep.org

“The Outsiders, A New Musical” Hits The La Jolla Playhouse~ A Powerhouse of Energy, Vigor and Vim.

The La Jolla Playhouse is currently offering the world premiere of “The Outsiders A New Musical” with Book by Adam Rapp (that comes from both Hinton’s novel and as well as the film adaptation) and music and lyrics by Jamestown Revival (Jonathan Clay and Zach Chance) and Justine Levine with musical supervision, arrangements and orchestrations by Levine. It is directed by Danya Taymor and choreographed by the amazing Kuperman Brothers Rick and Jeff. This musical version took Rapp and Levine eight years to get us where we are today with no less than 18 songs, some worthy (Robert Frost's brief ode to youth and decay, "Nothing Gold Can Stay”and “Runs In The Family”) others not. 

Going back into the past, it was two decades before “The Outsiders”, the movie, based on the 1967 novel by S.E. Hinton and Francis Ford Coppola’s 1980’s motion Picture was made that yours truly was finding her own way navigating through and past her teens. The feelings are real. They are scary, and who better to write about them than a teenager herself.

Cast of Outsiders

Hinton’s teens were different in the 60’s in Tulsa, Oklahoma where Hinton’s the Greasers and the Socs or Socialites was conceived. Her story takes place over a two year period as she reflects on her own life.  

She was sixteen, a teenager herself when she started to write her novel about two teen aged rival gangs who were fighting over a scrap of land to call their own that looked more like a discarded junk yard with spare tires, a jungle gym and used cars. It was the year “Cool Hand Luke” starring Paul Newman was at the Drive In Movie.

Cast

The play opens to a giant screen with the likeness of Newman. Not only was he Cool Hand Luke, he was COOL and everyone wanted to be like him. From there we meet the characters all twenty five of them; who they were and their coming of age, the agony and the mystery of their youth, their loss of innocence and their gradual but seldom aha moments. 

Brothers Ponyboy, Darrel and Sodapop (Brody Grant, Ryan Vasquez and Jason Schmidt), were orphans living on their own and struggling to get by. As best friends, as well as brothers, they squabble and make up knowing that they can always depend each other. Even better, their true friends Johnny and Two-Bit (Sky Lakota Lynch and Trevor McGhie) are as loyal as brothers. They could always count on them for back up.

On the other side of town, the Socs led by Bob (Kevin William Paul) and his ilk live. But when one of the Socs gals, Cherry (Piper Patterson) takes a liking to Ponyboy, more than the usual tension erupts, rumbles turn violent and consequences are yet to come. 

There were ‘rumbles’, (yes, one in particular on a rain soaked stage) where in time, no good would cause the demise of one. The Socs were a nasty bunch of wealthy trouble makers and they knew where to find it, so sure of themselves that they would always get the best in a fight. Neither group was going to give in to their better instincts.

Overall the two -hour plus production, with Taymor’s direction, AMP featuring Tatiana Kahvegian scenic design, Sarafina Bush’s costume design, Isabella Byrd’s lighting design, Justin Ellington’s sound design, Tal Yarden’s projections, Nicholas C. Parish wigs, Toshonna Ferguson’s makeup and the beyond amazing physical choreography by the Kuperman’s “The Outsiders The New Musical” will rock the socks off audiences here, and most likely New York. 

With a few minor tweaks (more character development for the Socs and bringing in a quasi-love interest didn’t resonate) this sturdy and stunning cast deserves a shout out for making this premiere world class production, warts and all, the success that it is. 

Over the years there have been and still are dangerous gangs out there and as society has changed they grow more dangerous. Yet for some, belonging to something to prevent us from being considered or feeling an outsider is as natural as apple pie whether it’s serving a good cause or making trouble. 

When: 7:30 p.m. Tuesdays and Wednesdays; 8 p.m. Thursdays and Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays. Through April 2

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

Photo:  Rich Soublet II

Tickets: $25 and up

Phone: (858) 550-1010

Online: lajollaplayhouse.org

  

Stunning “Sunday In The Park With George” ~Among the Best This Year

Seurat Pointillism Art

Recently, I spent a Sunday in the park with George, Seurat, that is. Stretching the imagination some-what, this ‘Park’ is located in Escondido, more specifically, The California Center for the Arts in Escondido where a spectacular production of the Stephen Sondheim/James Lapine’s "A Sunday on La Grande Jatte" is being produced through March 5th.

The piece is his pointillist masterpiece “Sunday In the Park with George” as imagined by Sondheim’s lyrics and music and Lapine’s book in the 1984 musical of the same name. The musical is as captivating and on point as is the story of the artist and his relationships to his work and to the world outside: ‘Design, composition, tension, balance, light and harmony; bringing order to the whole’ (Georges’ words), are exactly what director T.J. Dawson brings to the stage.

"Sunday In The Park" finished painting

Sondheim’s music is well, Sondheim. For the most part the story is sung through like an operetta. However, if you are not used to his atonal, rapid -fire lyrics and overstuffed narrative/dialogue, you might not be among his admirers but don’t let that get in the way of you missing this beautifully crafted theatre piece.  There isn’t a weak link in this entire production. Every note is prefect, every voice could be heard (Jon Fredette sound design) understood and admired within the entire sixteen member cast.

On the other side of the coin, we have artist Seurat’s Neo Impressionism or Pointillism (using tiny dots of various pure colors, which become blended in the viewer's eye.), that pretty much rocked the art world and was recognized for decades. “Even Van Gough admired Seurat’s expansive palette (noting on a visit to Seurat’s studio the “fresh revelation of color.”

And the third leg in this production is the outstanding cast with Broadway seasoned Will Blum as the moody Seurat whose main concern was the focus of his painting, ever always mindful of his mantra: Design, composition, tension, balance, light and harmony; bringing order to the whole.’ Blum couldn’t be more suited for the task. 

Cast of Sunday In The Park With George

As resolute as he was on his painting, his private life was in shambles with his mistress, Dot (ironic) (Emily Lopez) who was also his kvetchy model. If she wasn’t complaining about the hot weather she was complaining about her dress being too tight. In back of all this complaining, was the fact that Dot wanted more from the relationship than he was willing to give, even if it meant ignoring his mother Marie who was in the park every day with her Nurse (Bethany Slomka. She and the disgruntled boatman (DeAndre Simmons) as he stretches himself along the grassy area of the banks.

But Lopez has chops that can knock your socks off as both Dot in Act 1 and Marie, Seurat’s grandmother, in Act 2.  

Others fill in the scenery as Seurat is concentrating on his picture. Tucker Boyes the coachman Franz and his wife Frieda (Debra Wanger) argue, and a pair of American tourists complain about Paris while stuffing pastries in their mouths. There is talk of whether or not the new Eiffel Tower would change Paris and ruin their view of the scenery.  In the time it took for Georges to finish his masterpiece the Tower was completed. He began this work in the summer of 1884.

Emily Lopez and Will Blum

Other characters who interrupt, coming and going include: his painter friend/ mentor Jules (Nicholous Bailey) who is very critical of his work and predicts it will go nowhere, his snobbish wife Yvonne (Zanna Wyant), their feisty yet petulant daughter Louise (Catherine and Elizabeth Last) and the two soldiers (Juan Danner), one flesh and bones and the other painted onto the , Louiscanvas that the two Celeste’s (Tori Stamm and Liliana Rodriguez) fight over. ("Gossip") 

They all eventually became part and parcel of the finished product as they move in and out of the painting in the appropriate costumes (Janet Pitcher doing an amazing job as usual and Peter Herman, hair and wig design).  Over the course of time the now pregnant Dot is resigned to the fact that George will never marry her so she turns to Louis a baker (Elias Wygodny). She eventually ends up marrying him, and they move to New York but the child she carries is Seurat’s. ("We Do Not Belong Together")

Emily Lopez and Will Blum

Patrick Gates spectacular projections on scrims and canvases along with Michelle Miles sharp lighting design tell most of the story that is interrupted with song and narrative when first a white backdrop is revealed. Trees and water, sail boats and women with parasols can be seen emerging from the scrim when Seurat removes one of the trees from the bank giving way to what eventually becomes the framework for his piece. He labored over every dot and color combination for two years until he got it right. 

At the end of Act1, a most beautiful tableau emerges, the actors line up in their places as the finished painting comes into light that brings a soft hush throughout the theatre. It is stunning and breathtaking collective silence that brought me to tears as the company sings “Sunday.”

The second act takes place one hundred years later. Seurat’s painting is by now famous contradicting all his critics. Act II transfers to a Gala at the Museum of Modern Art where the guests debate about politics and art.

As the curtain goes up, we are privileged to see the full orchestra under the deft direction of Elan McMahan who never disappoints. 

Will Blum as Seurat

In this setting (George Gonzalez) we are introduced to George and Dot’s great grandson George (played by Blum) who is also an artist, but one of a different ilk. He is a digital sculptor who has invented a light machine he calls Chromolume #7. It is a laser machine that he claims is an ‘artistic reflection’ on his great grandfather’s painting, (“Putting It Together”) but he’s frustrated at what is now required of the commercial artist/painter having to do all the non-artistic work. 

All the characters in Act II (“It’s Hot Up Here”) are the same as in Act I but take on different, if not similar characteristics as the new characters emerge. Lopez is now Dot’s daughter Marie the 98 -year old wheelchair bound great grandmother urging George to “Move On”. Others are similarly placed in the modern world and in character. The second act ends as the first with all the players lined up making his detailed picture a vision to remember: ‘Design, composition, tension, balance, light and harmony. (“The Art of Making Art”.)

It comes alive in all colors reflecting the moods and seasons of the artist’s life in all its chaos yet seamlessly flowing from one painting to another, from one Sunday to another over the course of two years under the watchful eye of the painter. “Sunday”. 

CCAE, new to the community, in this its third production is spoiling San Diego and surrounding communities to expect excellence as its first three productions have already won awards from The San Diego Theatre Critics during its Award ceremony just recently. 

Sondheim, as mentioned earlier might not be your cup o’ tea. But you will be cutting off your nose to spite your face if you miss this one.  

When: 7:30 p.m. Fridays. 2 and 7:30 p.m. Saturdays. 2 p.m. Sundays. Through March 5

Where: CCAE Theatricals at the California Center for the Arts, Escondido, 340 N. Escondido Blvd.

Tickets: $35-$85

Phone: (760) 839-4138

Photo: Ken Jacques

Online: artcenter.org