CHARMING :THE EVOLUTION OF CALPURNIA TATE" FOR ALL AGES

 For some women, being born into the wrong century is a life changer. For Calpurnia Virginia Tate it was a struggle. In the late 1800’s, living in a small Texas hamlet, girls were supposed to follow in their mother’s footsteps and learn to sew, knit, kneed and bake bread, and well… act feminine. But at age 12+ Calpurnia was interested in none of the above. Calpurnia was interested in science, the origin of the species, caterpillars and the natural world among other things.

Lamb’s Players in Coronado is currently mounting a world premiere musical of “The Evolution Of Calpurnia Tate” based on Jacqueline Kelly’s (Newbery Honor Book) book of the same name.

Christopher Vettel and Aubriella Navarro

With book and lyrics by Omri Schein, score by Daniel Lincoln and Ben Read, musical direction, this coming of age tale hums along with great speed in several vignettes bouncing back and forth telling the story. The production runs 90 min.

Geno Carr, Aurbiella Navarro and Christopher Vettel

The ensemble includes the Tate family consisting of  Calpurnia (Aubriella Navarro),  Father, (Geno Carr), Mother, (Jacquelyn Ritz), Grandfather, (Christopher Vettel ) and sons Harry and Sam (Max Leadley  and Jacob Mears) and Travis (Cole D’Agostino),  cook Viola (Sydney Joyner) and Lula (Milly Cocaning) Callie’s best friend sought after by her two older brothers. 

Luckily, all the women stuff  was for naught for Calpurnia, though. Grandfather was an avid scientist and when he finally took his nose out of his experiments to notice Calpurnia, or Callie Vee as she was called by her  siblings, he was so enthralled with her interest in science , grasshoppers and the like that they became forever and instant  comrades. In essence, she was his partner in scientific experiments, to her delight. Now she could become herself,  much to the chagrin of Mother who gave her the book on ‘Housewifery’ as a Christmas present. 

Aubriella Navarro as Calpurnia Tate

 A new dawn was approaching with celebration of the 19th century with hopes that women and especially girls would have more choices to make for their careers, but alas, it wasn’t until  1920 that the 19 Amendment, was certified. 42 years after it was introduced in Congress.  The hands of time move slowly when the rights of women and  women of color are involved, but look…women are going to the moon. Hope rings eternal for girls like Calli Vee. 

Kerry Meads excellent direction leaves no room for flaws. The all around excellent acting, singing and facial expressions, especially with a stage, half of which are youngsters, there is nary an error. But one can’t sing the praises more for seventh grader Aubriella Navarro, (no stranger to acting),  whose award winning performance is one for the books.  She’s a natural for this role tho’ I have yet to see her in anything else. Suffice it to say, hers was brilliant casting choice.

Sydney Joyner, Aubriella Navarro and Jacquelyn Ritz

Period costumes designed by Jemima Dutra and put together by Alyasa Hayden, Eduardo Muniga and Virginia Eastman satisfied the many costume changes. Nathan Peirson designed the lighting, Jessica Cueto, the many props, Mike Buckley the detailed set and Coni Brugman the wigs.

On the down side the music under the direction of Ben Read  and his four piece band, along with  sound designer Patrick Duffy overtook the voices in many instances making it difficult for this reviewer to make out the lyrics and oft times the dialogue. 

Perhaps younger ears will fare better, or the sound less amplified. 

For an evening of family fun, haul the kids out and enjoy!

See you at the theatre.

When:  March 23 and runs through May 5. 2 and 7 p.m. Wednesdays; 7 p.m. Thursdays and Fridays; 2 and 7 p.m. Saturdays; 2 p.m. Sundays

Where: Lamb’s Players Theatre, 1142 Orange Ave., Coronado

Tickets: $28-$82

Photo: Ken Jacques

Phone: (619) 437-6000

Online: lambsplayers.org

GLOBE’S “KING JAMES” OUT OF MY LEAGUE

The Old Globe Theatre, Sheryl and Harvey White Theatre in the round to be exact is currently mounting Rajiv Joseph’s “King James”. Joseph, Pulitzer prize winning  playwright “Bengal Tiger at the Baghdad Zoo” and “Guards at the Taj” (both seen here,) has stretched his muscle with his current offering, “King James”. 

It’s not about a king nor is it about King James. NO! , it’s references are to LeBron James the one time ‘Rookie  of the year who became the all-time leading scorer of the NBA (for those not knowing the initials:National Basketball League). Over time, he was referred to as King James. 

Oh, BTW he played for the Cleveland Cavaliers until he left to join the Miami Heat, another basketball team, to the wrath of his followers.

Caleb Foote and Joshua Echebiri

Supposedly, one does not have to be familiar with all those facts, but so much is referenced, it doesn’t hurt. For all intents and purposes, “King James” is about male bonding. Both characters in the play Matt (Caleb Foote) and Shawn ( Joshua Echbebiei ) are die heart Cavalier fans, never met and live in worlds apart. What bonds them together in friendship is basketball. 

TMI?  Yours truly has little to no factual information about basketball players or their records.  The last time my husband and I followed basketball was in the ‘50’s when Bob Cousy played for the Boston Celtics. 

Caleb Foote and Joshua Echebiri

Both Foote (who played in “Hand to God” at the Rep. years ago) is a high energy, oft times over the top bar owner of an upscale bar who needs money to pay off some debts. He is white. Echebiri has his heart on being a screen -writer in LA or NY, and is Black.  

Matt has premiere Cav. seats for sale that Shawn wants to buy. Their first meeting is casual with a give and take about the price of the tickets and a lingering conversation that one might call a casual introduction. Both seem to be loners. 

The 2+ hour show is divided into four quarters and runs the span of a twelve year period. With the changing tides, the friendship goes back and forth with more of the friendship deepening as they learn more about each other’s families and desires, thoughts and emotional turmoil.  The first act has lots of quick witticisms and  banter but needed something more to hold this reviewer’s attention.

The play picks up speed in the second act, third quarter when feeling comfortable and letting his guard down, and in an angry exchange of James’ leaving the Cav’s high and dry, Matt  blurts out “that LeBron should know his place”. A silence fell over the theatre. Here you have it. Racism rears its ugly head between two best friends. It takes years before we see them together again.

Scenic designer Lawrence E. Moten III shows Matts work-place, an upscale bar called La Cave du Vin  in Cleveland Heights, Ohio where the two meet and a completely separate design for Matt’s parents eclectic upholstery store with a stuffed armadillo in the window where Shawn helps out at times, giving him access to Matt’s parents that takes an interesting turn. 

Both sets are detailed with enough room in the round for director Justin Emeka to move the two characters around so that neither is facing one direction for any length of time. Over  time they are more comfortable with each other and, as Matt says, “We’ll get through this life together.” 

As plays go, “King James” would not be my all- time high of plays to see again. I would say two hours stretched the limits of my endurance of basketball facts to the core. Even though male bonding is an interesting topic and the actors worked wonders with the material, it’s just that basketball as the metaphor to use for male bonding as seen through the male eye is out of my league. 

You be the judge. 

See you at the theatre. 

 

When: 7 p.m. Tuesdays through Thursdays; 8 p.m. Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays. Through March 31

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

Photo: Rich Soublet II)

Tickets: $33 and up

Online: theoldglobe.org

 

“CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME”: ANOTHER MARVELOUS PRODUCTION FROM CCAE THEATRICALS IN ESCONDIDO.

Photos  by Kari Cadel

 It all started when Wellington,  15 year old Christopher Boone’s (Daniel Patrick Russell) neighbor’s dog was found dead (by means of a fork, no less)  in his backyard. Christopher loved that dog as did everyone in his neighborhood of Swindon England.

Wellington’s death became a mystery to everyone.  Who would have, could have killed the dog? Everyone closest to Christopher wanted ‘to let dying dogs lie’. But Christopher, emulating his favorite Private Eye Sherlock Holmes, began setting out on his own to solve the mystery of the dead dog over the strong objections of his father, Ed (an outstanding Nathan Madden). 

He went about the neighborhood interviewing his neighbors and writing their words  down in a little red notebook that became his own private diary.

If this was all there was to Christopher; but it’s not. Christopher is a mathematical genius who did not like to be touched…by anyone, ever! He had behavioral issues some attributed to autism but were never spelled out loud in the show. 

He went to a ‘private school’ where he excelled in math but needed help with getting through, well, life, so his helper/mentor, Siobhan (Allison Spratt Pearce is perfect) shadowed him most of the time guiding and suggesting and letting the audience in on what’s going on.

Over the course of events we learn that his mum has died, but she really has not. He makes a trip to London all by himself, he finds his mum alive, he passes his math performance test with flying colors and prepares to go on furthering his education, which he is confident of doing All this is written in his red notebook,  which eventually becomes a published best -selling book that eventually is  the foundation of this splendid production with deft direction by J. Scott Lapp. 

All well and good, but it’s the makeup of the production that will gives CCAE another Oscar(Award) for outstanding work including incredible choreography by, Natalie Iscovich,  outstanding projection designs by Blake McCarty, Scenic/Cinematography, Matthew Herman, Lighting Mike Billings, Costumes, Janet Pitcher, Wigs and Hair Peter Merman, and Sound by Jon Fredette.

With the high energy ensemble acting, (Melissa Fernandes, Drew Bradford, Berto Fernandez, Dallas McLaughlin,  playing several townspeople),  the choreography; the everything that makes (I saw it on the closing performance) this particular production so special. Is a once in a lifetime treat. Such preciseness both physically and watching this young boy’s mind work to figure out ways to make his life doable is an extraordinary experience. 

If you ever get a chance to see a production of “The Curious Incident of the Dog In the Night-time”  do!   

See you at the theatre.

Coming up next at CCAE: MOTOWN, March 29 and 30.

 

 

“ TARTUFFE”, AN ALL TIME SCRUMPTIOUS SHOW AT NORTH COAST REPERTORY THEATRE.

North Coast Repertory Theatre is presenting Molière’s -French comic actor and dramatic theoretician- “Tartuffe”. Deftly directed by Richard Baird, translated into English verse by Richard Wilbur and with a stellar cast, the 2+ hour production rolls along with the audience so engrossed, it hardly notices the passing of time. It will be playing through April 7th.

Kate Rose Reynolds and Bruce Turk

Set in Paris in 1664, it’s right out of this year’s political playbook if you think about it. Rumors, lies, accusations, fraud, deceit, gossip, allegations and religious hypocrisy are the ingredients associated with the man revered by MMe Pernelle (Kandis Chappell) and her rich patron son, Orgon (Bo Foxworth), the barefooted and irreverent Tartuffe (Bruce Turk). 

 Tartuffe, (Turk a most talented and perfect actor to be in this role) who presents himself as a humble and religious man, one might say priestly, is invited into Orgon’s home because of his religious nature and is so revered by Orgon that he (Orgon) breaks off the engagement of his daughter Mariane (Shantè DeLoach) to Valere (Jared Van Heel) and promises her hand to Tartuffe.

Katie Karel, Bo Foxworth, Shante DeLoach 

Things go from bad to worse as everyone in Orgon’s household can see right through Tartuffe . They do everything in their wake to put a stop to this silliness, except it’s not so silly:  it's madness and meanness spoken in rhyming verse. 

Whether it’s Orgon’s son, Damis (Rogelio Douglas III) itching for a duel, or his maid Dorine (Katie Karel) who can spot a louse and an imposter a mile away and isn’t afraid to say, or his lovely wife Elmire (Melanie Lora) whose advances she tries to subvert, the play has its many laughs while fraught with danger from the likes of Tartuffe. Kandis Chappell (making two brief appearances) is duped into thinking the world of Tartuffe as well. The only calm one in the house is Orgon’s brother, Cleante (Christopher M. Williams) but to no avail.  Rounding out the cast Kate Rose Reynolds who appears as several characters including a soldier of the guard to the King. She ends up saving the day, but you have to go to see how!

Rogelio Douglas iii

Eventually, everything falls into place as we all hold our collected breaths’, while watching the rags to riches Tartuffe get his due.

Adding much depth to this excellent production is long time set designer Marty Burnett’s grand living room, with, the elegant period costumes by Elisa Benzoni, Ian Scotts sound design Matt Novotny’s lighting  design, and Peter Herman’s wigs befitting each character. 

Melanie Lora, Bruce Turk

Two thumbs up to Richard Baird and his all-star cast for a scrumptious day/evening of theatre. It doesn’t get much better than this for a 300 + year old theatre piece that seems so relevant today.

Bruce Turk and Bo Foxworth

Much truth is said in jest and this satire of grand proportions couldn't have been said any better or performed in such grand manner. 

Bruce Turk, Melanie Lora and Bo Foxworth (Under the table)

See you at the theatre.

When: 7 p.m. Wednesdays and Thursdays; 8 p.m. Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. and Sundays. Extended through April 7th.

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

Tickets: $54-$79

Photo: Aaron Rumley

Phone: (858) 481-1055

Online: northcoastrep.org

BYR “HOW I LEARNED TO DRIVE” …HOLD ON TO YOUR STEERING WHEEL.

It’s ironic that Women’s History Month meets Paula Vogel’s 1998 Pulitzer Prize winning play, “How I Learned to Drive”. They are on a collision course. Women’s History Month honors women and their outstanding achievements. Vogel’s play puts them in a box forcing them into believing that they are sex objects.

Set in Maryland in the 60’s and 70’s, 17 year old Li’l Bit (Megan Carmitchel) was taught by her instructor uncle Peck (Francis Gercke) on how to navigate both lanes of life: driving with both hands on the steering wheel and growing up learning about sex by her perverted uncle. 

Emilee Zuniga,Francis Gercke, Karson St. John, Megan Carmitchel , William Huffaker

 Backyard Renaissance Theatre is now mounting this seldom produced play through March 16th and it is well worth a trip downtown to see it. Years ago, (1998) the now defunct San Diego Repertory Theatre broke ground and produced it. Resurfacing now is all the more important because of the headlines revealing rampant pedophilia in the church and in some homes where children are not safe from their parents or relatives. 

In "How i Learned To Drive" Vogel takes the audience on a rollercoaster ride in this tragicomedy play showing the seduction of a pedophile uncle and his sometimes willing, other times questioning niece. 

                       (background Emilee Zuniga), Francis Gercke and Megan Carmitchel (center)
 

The play weaves back and forth between the reality of what is and the cartoon-like members of the family who, for the most part, close their eyes to their bright yet troubled teenager. The only one who pays her any attention is Uncle Peck where  his intentions go beyond teaching her how to drive. He actually started molesting her when she was 11.

The 90+ minute memory play lasts years beyond Li'l Bit's college graduation where she  tries to put a stop to it over time, but for reasons unknown to those fortunate enough to have never walked in her shoes, she does not. 

In a brilliantly nuanced production, director Anthony Methvin and his excellent cast where award winning Megan Carmitchel as Li’l Bit, is always made to feel convinced that she is in control and Francis Gercke as Uncle Peck, takes advantage of her in ways she never suspects, reluctantly believes him and is convinced she is in control.

Megan Carmitchel and Francis Gercke

Vogel’s play unfolds like a Greek tragedy, acknowledging pedophilia on the one hand and almost excusing it on the other.Adding to the cast and acting as both Greek Chorus and family members are William Huffaker, Karson St. John, and Emilee Zuniga. All three play multiple roles, but for the most part, we recognize them as returning family members filling in the blanks of  Li’l Bits memory bank. 

The comic relief comes from the Hillbilly ranks of the family members who, unwittingly think nothing of “letting it all hang out.” Most of what they talk about around the dinner table is sex, sex and more sex.

Cartoon like pictures by Yi -Chien Lee of the years and make of cars is depicted on the back wall with lighting by Curtis Mueller. George Ye’s  designed the sound, and  Jessica John Gercke. designed the costumes. What stood out to me  was associate director of  intimacy director, Hanna Meads. Never before, this.

Megan Carmitchel and Francis Gercke

 

As Actor Of The Year recipient of The Craig Noel Awards last year for her role in “Osage Orange County”, again at Backyard Renaissance production,  Megan Carmitchel has proven her brilliance yet a second time and this one is no easy fete.  

I usually sign off with “Enjoy”.  For this show I will offer that you sing the praises to BYR for the guts to mount this controversial show and will to continue bringing excellence to the theatre. This one is not an easy sit.  

See you at the theatre. 

When: 7:30 p.m. Thursdays through Saturdays; 3 p.m. Sundays. Through March 16

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

Tickets: $18-$40

Photo: Daren Scot

Phone: (760) 975-7189

Online: backyardrenaissance.com

 

LA JOLLA’S “REDWOOD”: A VISUAL SENSATION; A CATHARSIS FOR THE SOUL; A TRANSFORMATION OF THE HEART.

Idina  Menzel

I’ve been to see the Redwoods twice. Once in person with my late husband years ago and the second time at The La  Jolla Playhouse. 

I know, I know. There are no redwoods at the Playhouse, but believe it or not I had the experience of a lifetime at my second visit as I sat almost motionless throughout the 2 hour give or take  intermission-less  production of “Redwood”, a World Premiere Musical  with book by Tina Landau, music by Kate Diaz conceived by Tina Landau and Idina Menzel, lyrics by Kate Diaz and Tina Landau, with additional contributions by Idina Menzel and last but not least it is by directed by Tina Landau.  

I must also confess, I learned more about the redwoods than I ever thought I could. For example, a redwood tree reaching the height of the Empire State Building has very shallow roots; but roots that intermingle and intertwine with the roots of other redwoods giving it stability; that the redwoods have a heart, resilience, are fire proof, and experience growth spurts even getting thru the most difficult of times, i.e., fires.

Idina Menzel

And so, it is here that we find Jesse, (Idina Menzel) an always in charge, A Type personality who can’t cope with her bosses demands, and is at wits ends trying to cope with the loss of her 23 year old son while not getting what the needs from her wife Mel (De’Adre Aziza), who wants to remember only the good times. 

It is at this point Jesse takes off from her home in New York to parts unknown, stopping here and there and meeting up with a young man  (Zachary Noah Piser) urging her on, before she finds herself in Eureka, Ca. resting at the foot of a giant Redwood. Her sleep is interrupted by two scientists, Finn and Becca (Michael Park and Nkeki Obi Melekwe) who are on sight studying the health of the redwoods for future generations. She is on private property and is told to leave, in no uncertain terms especially by no nonsense Becca.  

Idina Menzel and De'Adre Aziza

After trying to get her to leave, she finally convinces Finn, the botanist of the two, to let her stay and the longer she stays, it becomes a game changer for Jesse, who realizes that this is just what she needs in the way of her transforming her life. And yes, you guessed it, she too found herself learning to climb the giant redwood and even staying a night or two on a platform many feet above the ground.  

I can imagine how exhilarating it was for Jesse, since at that moment, I could feel a rush within. And it is here that the visuals (Hana S. Kim, media designer) engulf you into the picture. Sitting in the front row I felt the world of the redwoods wash over me. 

Malecio Estrella and  Co. Bandaloop choreographed both movement and scaling the giant tree. Yes Jesse, Becca and Finn all had a part in the climbing to the awe of this reviewer. I can’t remember seeing anything like this in all my years of covering theatre even the play “K9” too many years ago at the once S.D. Rep. downtown. 

                                                  Zachary Noah Piser and Idina Menzel

The most disappointing element of the program is the music. There are more than a dozen songs written by Kate Diaz with lyrics by Tina Landau, with additional contributions by Menzel . That said most of the ‘dialogue’ is sung through and that was the most difficult for yours truly to hear and follow. Not -withstanding, most of the music sounded repetitive. 

What did not disappoint was the amazing quality, overall, of the cast. Each and every one outstanding for their contributions. 

What did not disappoint was Menzel, who is on stage throughout, as she finds her center and is able to show her vulnerability, her new strength, her core, her resilience and  use her powerful voice.

Michael Park and Idina Menzel

What did not disappoint was an emotional pull toward all of the characters even though some have less to do and say than others, but are necessary to the overall story.

One of the stronger and more forceful of the cast is Nkeki Obi Melekwe’s Becca who, surprisingly said she has a Jewish mother and was telling Jesse (assuming her character is also Jewish) to make sure she practiced Tikkun Olam or to repair and improve our broken world by acts of kindness and performing good deeds. 

Park’s Finn is the balance between the three, kind, gentle patient and understanding and Zachary Noah Piser ( “Still”) shows up as several characters thru out and I will leave it at that (no spoilers). 

It takes a village: Haley Bennett, Musical Director, Scenic Design, Jason Ardizzone, Costume Design, Toni-Leslie James, Lighting Design, Scott Zielinsky, Sound, Jonathan Deans, Hair Design, Geo Brian Hennings, Vertical Movement and Staging, Melecio Estrella Bandaloop.

Nkeki Obi-Melekwe and Idina Menzel

Director Landau whose cast is excellent overall brings out the best and the worst that life throws at us. Menzel gives it her all finally reconciling her grief and hopefully ready to make the world and herself a better place in which to live.

See you at the theatre.

Enjoy.

When: Runs through March 31. Show times vary.

Where: Sheila and Hughes Potiker Theatre, La Jolla Playhouse, 2910 La Jolla Village Drive, La Jolla

Tickets: Some tickets may be released daily.

Photo: Rich Soublet.

Online: lajollaplayhouse.org/show/redwood