“BUTTERFLY” SOARS WITH CORINNE WINTERS AS CIO-CIO-SAN.

Corinne Winters and Adam Smith (Kari Cadel)

 Everything that could go right in this season’s production of Madama Butterfly by Giacomo Puccini did. The only thing not to like about Puccini’s gorgeous yet tragic opera, “Madama Butterfly”, is the way it ends. That aside, The San Diego Opera Company with Canadian Yves Abel conducting (to perfection) the San Diego Symphony Orchestra, and Jose Maria Condemi directing debut, San Diego audiences have lots to brag about. 

The Metropolitan Opera first produced “Madama Butterfly” in 1907. It starred Geraldine Farrar as Cio-Cio San and Enrico Caruso played Pinkerton her American suitor, soon to be fly-by-night husband. 

 In 1900, Puccini saw David Belasco's play 'Madame Butterfly'.  It's based on a short story by John Luther Long which in turn was based  partially on the semi-autobiographical 1887 French novel ‘Madame Chrysanthéme’ by Pierre Loti who wrote about his experiences and service in Nagasaki.

Puccini’s  two act (oft times three) opera is so popular, the music so exquisite, the story so tragic yet enticing that it is one of the more popular operas to don any company’s repertoire. The San Diego Opera has staged this timeless opera so many times it’s hard to keep up.

Stephanie Doche and Corinne Winters

This particular  “Butterfly” soars beyond comparison. With the  winning combinations of American soprano Corinne Winters  as Cio-Cio San, mezzo-soprano Stephanie Doche, her servant, protector and confidant Suzuki, tenor Adam Smith  making his San Diego  debut as Pinkerton, and Korean baritone Kidon Choi  as Sharpless the American consul, bass-baritone Scott Sikon, Cio-Cio San’s uncle the  formidable bass-baritone, this production is by far the most comprehensive, the most evenly staged and the most beautifully sung. From my memory I can count at least five other productions that I have seen, and hands down, Corinne Winters et al. give more authenticity to the overall production  than any of the past five I’ve seen.  

Cio-Cio-San is a fifteen -year old Japanese girl in love with love at the prospect of marrying an American sailor who will take her out of the world of the geisha and make an honest woman of her. Little does she know, Pinkerton's ulterior motives; ‘a girl in every port’. ‘He declares that some -day he will take a real American wife.  The swagger of Pinkerton in the beginning shows the way we treated anyone different and especially those across the seas. 

Promising that he will return, she waits three years for his ship The Abraham Lincoln to return to Nagasaki harbor with him aboard for them to settle down as husband and wife. (Un Bel Di… is a tear- jerker, absolutely gorgeous). In the meantime she goes about her every day tasks mostly praying to Pinkerton’s God and wondering what’s taking so long for her prayers to be answered. 

Her father committed suicide, she has been shamed, is  running out of money and refuses to marry the wealthy Prince Yamadori (a strong Soren Pedersen). By the time she realizes Pinkerton will not be coming back to her she brings out her son, fathered by Pinkerton, an adorable  youngster (Five-year-old )  who on a bad day is called ‘Trouble’ (on a good day Joy) who  introduces him to Sharpless who has the nasty job of telling Butterfly that Pinkerton is married to another.

Addison Smyres Corinne Winters and Kidon Choi

In the two plus hours Winters shows her  maturity from a gushing schoolgirl to a mature woman with responsibilities and tough decisions to make. Throughout, her sumptuous voice rings like a bell. Her movements for a small woman who oft times is holding her youngster, she never wavers; is never hampered and every situation as staged is perfect. Her maturity also comes in her actions and the way she comports herself in difficult times. While never taking anything away from her strong, determined voice, there is softness about her thinking; a resignation of what the future will hold for her and her son. She waits throughout the night while a superb (Coro a bocca chiusa) ‘Humming Chorus’ can be heard in the distance. 

Smith, making his San Diego debut is impressive and sure of himself with a soaring voice as well, and I might mention quite  handsome. Kidon Choi’s Sharpless the American consul comes across as sympathetic toward Butterfly and put out with Pinkerton. Although Pinkerton, later on,  does show some remorse, but too little too late. He knows what Butterfly will have to do to maintain her dignity.

Jon Gunter’s one unit set is highlighted by a series of sliding screens, flower petals adorn the stage.  Alice Bristow’s costumes are gorgeous especially the beautiful kimono Butterfly wears on her wedding day. Last but not least, Thomas Hase’s effective and subtle lighting design shows the time changes from daylight to moonlight to dawn to daylight is perfect as Butterfly waits the night for the Abraham Lincoln to dock. When he does arrive, he has his American wife along (Emily Weinberg) and all she can do is wait and watch and promise to bring 'Trouble' up as theirs knowing Butterfly will make the ultimate sacrifice for herself and her child. 

Bring tissues. 

The only other disappointment is that it played for only two performances. 

See you at the theatre

“SENSE OF DECENCY” : A MUST SEE FOR THE AGES

 North Coast Repertory Theatre in Solana Beach is currently mounting the world premiere production of  “Sense of Decency” by playwright Jake Broder in collaboration with author Jack El-Hai who wrote the non -fiction book “The Nazi and The Psychiatrist”. This spy thriller will keep you on your toes from the time you meet Hermann Göring in his  prison cell to its  explosive and thought provoking ending just after he was condemned to die by the the Tribunal. It will be playing through May 19th. 

Lucy Davenport and  Brendan Ford

Toward the end of World War II, (1946-1958)  as the Nuremberg Trials were about to begin, Dr. Douglas M. Kelly (Brendan Ford) was sent to Nuremberg to interview Hermann Göring (Frank Corrado) to see if he was mentally capable of standing trial. 

What he found  was a man bigger than the two of them together. Both actors in their own play, Göring the Nazi, a larger than life character, trifles with Kelly the psychiatrist, who practices his machinations, card tricks along with his Rorschach Technique on Göring. It’s a cat and mouse game that doesn’t end well for either man. 

Connecting the  dots from Nuremberg to the  U.S., Kelly calls his wife Dukie (Lucy Davenport / Emmy Göring,) every day to get an update on what he’s thinking and what methods he is using during their ‘interviews’.  In the phone calls, there were certain hints that Kelly was developing a deep fondness for his adversary.

Brendan Ford and Frank Corrado

Göring, who could be charming, was also like a hawk, swooping down on Kelly when the conversation came up about the ‘Master Race’, the Jewish Problem’ and how ‘once a lie is told over and over again, people begin the believe it as fact. Kelly had no place to hide when Göring tells  him that the Germans took everything they learned about race, immigration, oppression  and slavery from OUR playbook before, during and after the Civil War. In fact, he goes on, 'we even fought a war to keep and deny blacks from voting'. Ugg. Still going on today.

Kelly wanted to turn his interviews  into a book, but the scales never balanced in his favor. In a sense he lost his footing after his book was published and nothing he could do would change that among his peers.  His spiral downwards was not pretty. 

Brendan Ford’s Kelly shows remarkable growth as the mild mannered Dr. to someone needing help himself. His mood changes were off the charts toward the end. As for Frank Corrado’s  Göring, you could always see the wheels spinning, planning his next moves against Kelly. His was a master performance. Ms. Davenport does well as both wives who had their own stories to tell. 

Brendan Ford and Frank Corrado

Directed by both artistic director of NCR David Ellenstein and playwright Jake Broder  “Sense of Decency” is  packed  with too many side stories (not that they aren’t fascinating and true to the core) but there was not enough time in one hundred minutes to put in so much history. With some tightening and possibly culling “Sense of Decency” should soar. 

Marty Burnett’s prison set looks accurate, Matt Novotny’s lighting is spot on, Elisa Benzoni designed the costumes, Peter Herman’s wigs are always perfect,  projections are by Matt FitzGerald’s and Steven Leffue, sound.

Frank Corrado as Hermann Göring 

As a practicing Jewish person all my life, I have seen, witnessed and been on the terrifying side of anti-Semitism. As a youngster it was frightening. As an octogenarian I see it raise its ugly head again by corrupt leaders who should be in jail right now, not in the spotlight.  

It makes no Sense.  There is no Decency. 

The great senator from Massachusetts Joseph Welch asked Joseph McCarthy, at the height of the Communist witch hunts, “Have you no decency, sir?”

Remember the words: 'NEVER AGAIN'. Let's practice. 

See you at the theatre. 

Where :North Coast Repertory Theatre

 987 Lomas Santa Fe Suite D

Solana Beach, CA 92075

Through May 12th

Ticket Prices: Start at $$49.00

Box office: (858) 481-1055

Photo: Aaron Rumley

Email: boxoffice@northcoastrep.org

“NATASHA, PIERRE & THE GREAT COMET OF 1812”: CYGNET THEATRE AT ITS BEST.

If you are looking for something ‘out of this world’ to do this weekend, you might want to head on to Cygnet Theatre in Old Town and settle in for the show(and I mean ‘show’) of a lifetime.  It has been extended to continue through May 26th.

“Natasha, Pierre, & The Great Comet of 1812”  by Dave Malloy is adapted from a short slice of life in a chapter from “War And Peace” by Leo Tolstoy. It  is a musical adaptation, (Electro Pop Opera) and is sung throughout by the entire cast who are enormously talented and led by Patrick Marion’s  musical geniuses. Sean Murray directs with precision, Katie Banville’s choreography ranges from waltz to Troika to Russian  Kazotsky. Luke H. Jacobs does it best. 

Luke H. Jacobs  (center)

In their quest for the meaning of life, all the characters in ‘Comet’ are looking for love in all the wrong places: Natasha (Selena Ceja) can’t wait for her betrothed Andrey (Brian Mackey), to return from the war, so she hooks up with the rascal Anatole (Michael Louis Cusimano).

Kürt  Norby

Pierre (Kürt  Norby), is wealthy but unhappy in love and life. His reaction to the comet is very different from all the other’s. He is inspired by it as opposed to being afraid of it.

His rogue wife is Helene (Jasmine January) Anatole’s sister ‘ who is up to no good  and there is Sonya (Megan Carmitchel) Natasha’s bestie whose mission is to keep Natasha safe especially from Anatole.

The play opens in 1850 at a ball in St. Petersburg. It is here we meet Pierre who has his story to tell when not drinking.  Soon after back to Moscow so that  Natasha can meet Andrey’s family, which by the way, did not go very well. Here in the home of  Márya Dmítrievna, (Linda Libby) is where all the intrigue, mystery, merriment, chicanery takes place. 

Brian Mackey and Selena Ceja

One thing we can count on is the meticulous direction coming from Sean Murray with assistance from Sandy Campbell. With all the moveable parts on Mathys Herbert’s intricate set (and that includes running through the audience and house) ‘Comet’ is as immersive as it is quick witted and unexpectedly and deeply personal especially for Pierre (Norby) who is excellent at trying to right the wrongs in his life. No one can fault him for not having a powerful set of vocal chords either. 

Megan Carmitchel and Selena Ceja

Selena Ceja’s Natasha is both beautiful and vulnerable as the innocent young girl never suspecting Anatole to be anything but smitten in love. Cusimano, dashing, deceiving and devilish who almost makes it to the finish line with Natasha but for the quick witted Sonya. Ceja has an operatic voice that soars above the rest with Carmitchel coming in second. But it’s not even fair to compare. Both are excellently talented. 

Michael Louis Cusimano

Did I mention that everyone in the cast has strong and powerful and  beautiful voices and… play several instruments through-out. Marion’s seven piece band and an assortment of instruments never overtake the soloists. 

Amanda Zieve’s lighting design dazzles, Shirley Johnson’s period costumes are stunning and fitting, but the enchanting masks in a scene from the opera, blew my mind. Peter Herman’s wigs and makeup are picture perfect. Last but not least Matt Lescault-Woods sound design (as I mentioned above) never over powers the voices.  

 For over two hours, we the audience are treated to one of best shows playing now in San Diego. You won’t want to miss “ Natasha, Pierre And the Great Comet of 1812”.

Enjoy.

See you at the theatre. 

Through May 26th

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

Tickets: $44 and up

Phone: (619) 337-1525

Photo: Karli Cadel

Online: cygnettheatre.com 

 

“THE 39 STEPS” AT NEW VILLAGE ARTS BOGGLES THE IMAGINATION

For Alfred Hitchcock buffs, the Tony Award winning “The 39 Steps” currently showing at New Village Arts Theatre in Carlsbad through May 12th  is a virtual smorgasbord with all the toppings and enough goodies to satisfy every taste. 

If you’ve never heard of the great moviemaker/director Hitchcock or his “39 Steps” think “Rear Window”, “The Birds”, “North By Northwest”, “Dial M For Murder”,  “Vertigo” and  “Psycho” for starters. There was always his television show Alfred Hitchcock Presents that lasted about ten years. 

Clown 1(Reden Magtira) Clown 2 (Kenny Bordieri)

Hitchcock’s wry sense of humor both in the movies and on TV is evident from the outset, as each of his TV shows opened with music from Gounod’s “Funeral March”of a Marionette" as the body of the rotund Hitchcock walks into a silhouetted caricature of the man himself. And he manages a cameo appearance in every one of his movies. Now, if you still have no recollection of any of the above mentioned forget I said anything and just enjoy the excellent production at New Village Arts deftly directed by Dr. AJ Knox

John Buchan’s 1915 book “The 39 Steps” with original concept by Simon Corble and Nobby Dimon and the film version was adapted for the stage by Patrick Barlow. That all may sound like Who Killed John but you ain’t heard nothing yet! It is also based on the Hitchcock 1935 spy thriller of the same name and is considered a classic in this particular genre.

“The 39 Steps” follows the same patterns for which most other Hitchcock thrillers are known. It is a combination Victorian melodrama and Elizabethan drama and is said to have been the first of many of Hitchcock’s murder mystery to set this tone. 

It goes something like this: lonely and depressed by current events young man, Richard Hannay (Dallas McLaughlin) goes to theatre (Palladium to be exact) because he’s bored; man is watching a performance of “Mr. Memory” played by Reden Matira/clown. He also plays about every other character, male and female, with assorted accents.  He is a man with a photographic memory. He is introduced by the Emcee/clown (Kenny Bordier).

Dallas McLaughlin and Erica Marie Weisz

In the middle of Mr. Memories act, a fight breaks out and a mysterious woman from the audience fires shots. The lonely man soothes an agitated and hysterical woman and takes the gun from her. The mysterious woman (Erica Marie Weisz) is Annabella Schmidt who convinces the man to take her back to his apartment. 

Back at his flat she gives him some cockamamie story that she is a government spy and is being chased by foreign assassins who have stolen government secrets. She is a being followed by the bad guys, one of whom has a joint missing from one of his pinky fingers.  She also reveals the conspirators are in a German espionage organization called (you guessed it) “The 39 Steps”

The next morning girl winds up stabbed with his bread knife in her back. He finds her strewn across his lap when he wakes up in his chair. In her hand is a map of Scotland Yard. (Another clue?)  Concerned about being falsely accused of murder he takes it on the lamb with the map and the chase begins. 

Erica Marie Weisz and Dallas McLaughlin

On the run, over the meadows and through the woods cutting across cold misty London countryside, farms, county estates, dangerous foggy sea cliffs, choo-choo-train chases from England to Scotland, and spooky taverns, encountering various and sundry red herrings and a bevy of suspicious looking characters who may or may not be guilty of the crime and or the subterfuge, Hannay is determined to get to the bottom of The 39 Steps conspiracy. 

So far this tongue in cheek thriller is all too familiar. And when Richard is being chased by the police on the train and meets a beautiful young woman and kisses her to hide from the police, we have to think “North by Northwest”. 

Dallas McLaughlin and Erica Marie Weisz, Reden Magtira and Kenny Bordieri

Again, you really don’t have to be an Alfred Hitchcock fan or have to have seen any of his movies to enjoy this delicious little caper that NVA is honing in on. The play that has but four players (three men and one woman) playing 140 characters running, changing clothes, locations and accents at a frenetically faster than a humanly possible rate of speed, so much so, that by play's end the audience is winded and chuckling at the same time. It's probably one of the most physically exhausting play you might see in some time.

And it  takes a village to set the stage for a production like  this to be mounted: Frank Seed designed the sets, sparse as they are, Grace Wong, the costumes (that sometimes didn’t make it in time to complete the change), Dialect Coach, Gerilyn Brault, Sound Design, Dr. AJ Knox. Prop Designer  Mc Kenna Foote. Erica Marie Weisz  for wigs, and Hannay's wig is designed and maintained by Kevane La'Marr Coleman. 

In his  notes, Knox conveys a note of optimism: “We see a call for the creation of a kinder, gentler world. How we get there, of course, is a comedy of errors. And that’s the fun of it”. Sit back and let your imaginations carry you to places you might never want to visit. 

Enjoy. 

See you at the theatre.

When: Through May 12

Where: 2787 State Street, Carlsbad, Ca. 92008

Tickets Prices:  $28.00 -$48.00

Phone: 760 433 3245

Photo: Daren Scott

Online: info@newvillagearts.org

SAN DIEGO PREMIERE “RIDE: A NEW MUSICAL” PUTS WOMEN IN THE DRIVERS SEAT

 What does a nice Jewish girl, Annie Cohen Kopchovsky’s (a/k/a Annie Londonderry), from Boston by way of Latvia do on a dare? Why, she proves herself to two wealthy Boston merchants  that she can face their  challenge of being the first woman to ‘circle the globe on a bicycle in 15 months and… win the reward money of ten thousand dollars.  

Married at an early age  and  being tired and bored  with  being a wife and mother, while selling advertising space,  Annie up and left  her husband and three small children. It was unheard of in 1984-5.

Londonderry took her name when one of the  sponsors Londonderry Lithia Spring Water, an account she represented, showed a woman on a bicycle. At 24 she had a chance to be “Annie Get Your Bike”.She was determined to make her mark, and so she did.

With book, lyrics and music by Freya Catrin Smith and Jack Williams and direction by Sarah Meadows ‘Ride’ premiered in London to rave reviews. This current version is the reimaged version of the London show. It will be playing at the Old Globe Theatre on the Don and Darlene Shiley Stage through April 28th.

Livvy Marcus and Alex Finke

Our play opens in Joseph Pulitzer’s office (Amy Jane Cook Scenic and costume)where Annie (Alex Finke) will try to convince Joseph Pulitzer that she is capable of a journalism job to provide a travelogue of her trip. His secretary Martha, (Livvy Marcus) chimes in that the one and only projector they have in the building is not working. After some mighty fine convincing Annie pulls Martha into the equation and the two begin the travel adventures by reenacting their journey. 

As Dr. Seuss says  “O The Places You’ll Go”, and go they did. 

They traveled from the Boston State House to New York City, then boarded a French liner; sailed from Paris to Marseille. When she left Marseille she went to Alexandria, Colombo, Singapore, Saigon, Hong Kong, Shanghai, Nagasaki and Kobe. From Yokohama, Japan to the Golden Gate Bridge to Los Angeles, Arizona, New Mexico and El Paso making it around the world  in fourteen days arriving back in Boston (loved the authentic Boston accent. I felt  like I was right at home) fourteen months after leaving. 

Alex Finke as Annie under a Jerusalem Tree

An amazing story teller she, the media goes crazy writing about her adventures. Can you imagine?

Mind you, there is drama, an accident or two, illness and romance , she even lectured,  along the way, but as she tells it and even sings it, nothing would stop her not even an injured leg and broken wrist. 

Alex Finke, who plays Annie, has an overabundance of bouncing energy as she singing, (there are about 13 musical numbers starting off with "The Worlds Greatest Story) dances and is on stage for almost the entire 90 minutes. It is at this juncture that we meet her secretary, stage struck Martha (Livvy Marcus) who plays several characters including the men she meets on her travels. 

Livvy Marcus with Alex Finke

Amy Jane Cooks sets are unusually creative; some dropping down from the ceiling, others disappearing into the fireplace. Some costume changes are required. Annie’s  feminine skirt had to be adjusted for her to be able to ride the cycle so they were streamlined. Jennifer Jancuska's choreography is upscale and ambitious. John Bulleid created the illusions.  Andrew Johnson’s sound was way too loud and drowned out many of the songs Finke was singing including one in Yiddish (“Lullaby: Shlof Mayn Kind”) a sentimental lullaby about her past life with her children.

And here in comes the rub. As I completely enjoyed the travelogue, the adventures and the scenery, including the different modes of transportation when cycling was impossible, the side stories pulled me away into another world of storytelling. It felt as though two different plays were playing out side by side. I got sidelined  and  was somewhat confused, especially during the segment when Annie sings about what she did for her children and of her  romantic interests . 

Alex Finke and Livvy Marcus

Taking nothing away from the actors, both do remarkable  work; singing, dancing and bouncing ideas off each  other. And watching Marcus morph from a shy almost reticent woman to a strong half leading lady/man is amazing.  

According to the Jerusalem Post “Annie Londonderry Kopchovsky will be remembered as a woman who transcended the limitations of her time and displayed independence and bravery, making an important contribution to Jewish women’s history in particular, and feminist history in general.”

See you at the theatre. 

When: Previews, Saturday through Thursday. Opens April 5 and runs through April 28. 7 p.m. Tuesdays and Wednesdays; 8 p.m. Thursdays and Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays

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

Tickets: $29 and up

Photo: Jim Cox

Phone: (619) 234-5623

Online: theoldglobe.org

“ALADDIN” AND HIS MAGIC CARPET GLIDE INTO CIVIC WITH FLAIR

With all the glitz Broadway and Las Vegas can muster, “Aladdin” glides on his magic carpet to the Civic as effortlessly as Genie (Marcus M. Martin) holds us in his grips the moment he’s let out of his magic lamp. (“Friend Like Me”).

Marcus M. Martin (center)

And while the star is the wayward street urchin, Aladdin (Adi Roy with his three besties, Kassim (Colt Prattes), Omar (Nathan Levy), and Babkak (Jake Letts),  and their senseless antics,) tries to woo princess Jasmine, the beautiful but kickass Senzel Ahmad,  no one in the musical entertains and holds us hostage as Martin aka Genie does. 

Marcus M. Martin 

The 1992 Disney animated film of the same name is based on the Arabic folklore “One Thousand and One Nights” as it follows Aladdin’s trail finding the magic lamp with Genie in it. At the time the film was  released, it was the highest grossing film that year.

Adi Roy as Aladdin

As the story goes, Aladdin is broke and needs some kind of something to get money to live. Petty pick pocketing and stealing won’t do the trick. After he finds the magic lamp and releases Genie, he gets three wishes. He is totally smitten with the Sultan's daughter. He disguises himself as a wealthy prince hoping to impress the Sultan’s (Sorab Wadia) daughter and eventually ask for her hand in marriage. 

Aladdin and his three besties 

Any resemblance to the film will have to be gleaned from the movie and the songs, (20 or so) with music by Alan Menken, lyrics by Howard Ashman, Tim Rice and Chad Beguelin and book by Chad Beguelin, not from the glitz seen from top to bottom and side to side with Bob Crowley scenic design package, Ken Travis’ sound design, native San Diegan Gregg Barnes costumes are elegant looking, lavish,  beautiful and colorful  and period perfect, Natasha Katz’ lighting, and direction and the never ending (everything from ‘Chorus Line’ swanky, glimmering dancing, to belly dancing, (to what almost looked like bottle dancing) choreography by our own born and raised Casey Nicholaw.

This tour (it was here 10 years ago on its first national tour) is pure entertainment from the busy streets of Agrabah to the palace gates. The cast is one of the ‘There is so much going on that’s it difficult focusing on Aladdin’s pals (named above) who are always at the ready for Aladdin to either break away from some sinister plots by the sorcerer Jafar (Anand Nagraj) and his side -kick  Iago, ( Aaron Choi) both humorously effective and pretty bumbling and sinister. Both are Jasmine's nemesis.

Senzel Ahmady and Adi Roy

The fast paced plot with an overabundance of talented ensemble members slows down a bit when the two lovers (“A Whole New World” ) manage to finally come together and it looks like the real deal when they magically fly above the city on their magic carpet; it is truly the stuff of fairy-tales, and the chemistry is convincing.  

Danny Troob’s orchestrations along with musical director James Dodgson rich sounds coming from the pit puts this production in the must see column.

Billed as a family show, and with several cuts from the original book /story this wonderfully entertaining production is well worth the trip downtown for the whole family.

Company

Enjoy.

See you at the theatre.

When: 7 p.m. Wednesday ; 2 and 7:30 p.m. Thursday ; 7:30 p.m. April 5; 2 and 7:30 p.m. April 6; 1 and 7:30 p.m. April 7

Where: San Diego Civic Theatre, 110 Third Ave., Downtown

Tickets: $34 and up

Photo: Deen van Meer

Online: broadwaysd.com