STERLING CAST SHINES IN BACKYARD RENAISSANCE “THE WAVERLY GALLERY”

 “The Waverly Gallery” by Kenneth Lonergan, is one of those heart wrenching , bittersweet  comedy/dramas that when done well, will leave you exhausted, on the verge of tears or more, and drained. So, it is with the production at the Backyard Renaissance  Company on 10th Ave Downtown under the deft direction of artistic director Francis Gercke and an ensemble hard to beat. 

Katie MacNichol and Deborah Gilmour Smyth

Billed as  semi -autobiographical, what happens in Gladys Green’s (Deborah Gilmour Smyth) family can and is happening in families across the nation. She…………is suffering from Alzheimer’s disease, although you wouldn’t know it when we first meet her in her Greenwich Village art gallery. Her family struggles to keep some sort of balance in their lives while coping with the possibility of their mother/grandmother going down that slippery slope toward dementia. Her daughter and son-in law live on the  Upper West Side of Manhattan where she has dinner with them every Wed. night.

Deborah Gilmour Smyth as Gladys

What stands out most is the credibility and humanity of each and every cast member as they come to grips with their emotional highs and lows. Tom Zohar is Daniel Reed, Gladys’s grandson. As the playwright’s alter ego he breaks through the fourth wall and tells us about Gladys and then slips right back into his role as Daniel. 

Alexander Ameen, Katie MacNichol, Tom Zohar and Deborah Gilmour Smyth

Alexander Ameen and Katie MacNichol (who goes through a range of emotions from helplessness to impatience, anger, devotion and acceptance) are her son in law and daughter Howard and Ellen Fine, and William Huffaker is Don Bowman, a quirky artist from Mass.(with his broad R’s intact) whom Gladys allows to use her space to show his art along with offering him a place to sleep in a cot in the back of the gallery much to the chagrin of her family. 

William Huffaker and Deborah Gilmour Smyth

Both MacNichol and Ameen are perfect as they go through the stages of recognizing what will happen to their family as the burden of Gladys’s illness weighs in the balance. Will she/ won’t she have to eventually have to live with them when she reaches a point of not being able to live on her own? 

But the focus is, after all on Gladys, and Ms. Smyth has never been as amazingly on target as she is with Gladys. In all the years I’ve followed her career, she has the ability to transform herself into her character. 

Deborah Gilmour Smyth and Tom Zohar

With Gladys, she embodies this woman and that’s what makes it so gut wrenching and real. Like her family, you want to remember her as a vibrant and active, no nonsense woman, (who has a law degree) feisty and fun loving who loved to entertain and throw big dinner parties, but now her absent mind gets in the way and memories of her in the now, take over.

Tom Zohar (in background) William Huffaker and Alexander Ameen

These are questions addressing so many families across the nation; the what ifs. 

On the technical side, Duane McGregor’s  and John Zamora set design makes good use of the 10th Avenue space separating it into three functioning areas; a dining room, gallery and sitting room. Logan Kirkendall sound design, (using church bells to mark time is most significant and deafening but necessary.) 

Curtis Mueller’s lighting effectively  separates the three playing areas and Jessica John Gerck's costumes put the finishing touches to an already very finished show. 

Cast

Don’t miss this timely play. 

It plays through Nov. 22nd.

See you at the theatre

Enjoy!!

When: Previews begin Nov. 13. Opens Nov. 22 and runs through Dec. 6. 7:30 p.m. Thursdays through Saturdays; 3 p.m. Sundays

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

Photo: Michael Makie

Tickets: $15-$50

Phone: 760-975-7189

Online: backyardrenaissance.com

 

“MASTER CLASS” CAMPBELL MASTERS THE MASTER TO PERFECTION

If you are looking for perfection in a theatre performance look no further than Sandy Campbell’s channeling of Maria Callas in Terrence McNally’s ‘Master Class’.  

It is now playing through Dec. 14th at Legler Benbough Theatre at Scrips Ranch Theatre in conjunction with Roustabouts Theatre Company. Under the skillful  direction of Phil Johnson and dramaturge Tim Botsko, Campbell approaches her students with passion, conviction and purpose.  

Campbell, who sings like a nightingale herself, is no stranger to hard work, endless rehearsals and hours, no a lifetime of commitment to mastering her craft as both singer and actor. 

She is well known to San Diego audiences for her award winning performance as Lucille Frank in the Alfred Uhry/Jason Robert Brown musical ‘Parade’, and more recently in Cygnet’s Follies. Her credits are too long to list; just know that this master is taking on another master. 

Maria Callas was indeed, the La Divina. From an overweight, nearsighted youngster born in the U.S. to ‘an overbearing mother’ and beautiful sister, to her struggles with poverty during the war in Greece, to her musical education there and her rise to recognition, her bel canto voice became her passport to fame, fortune and her talk of the town, temperament. 

She slimmed down mid -career, and turned herself into a svelte and glamorous prima donna; the envy of her rivals and there were many. When her voice failed, she turned to teaching a Master Class at Juilliard College. That was in 1971. Based on true events, McNally’s piece picks  up during one of these sessions where she critiques three advanced Juilliard students.   

She enters the stage: Manny (Kyle Adam Blair, also musical director) the Accompanist at the school, takes his place and settles in. Callas (Campbell) follows. She is dressed in a drop dead stunning and fitting to the bone expensive black pants suit, matching scarf, ‘Italian shoes’ and ‘Chanel Bag’. (Dawn Fuller-Korinek)

‘No applause. We’re here to work’. ‘Singing is serious business.’’ You’re scared to death of me” Eh? Is that it? I don’t bite. I promise you. I bark…’ She addressed the audiences as she would a class she is teaching. At times she throws a little humor into the conversation, asking the audience a question and then bringing it right back to her class

Campbell and Sara Frondoni

Bark she does, frightening to death her three students; soprano Sophie De Palma (Abigail Grace Allwein), singing Amina’s final aria from Bellini’s opera “La Sonnambula.” ‘You sang it. You didn’t feel it. It’s not a note we’re after, it’s a stab of pain’. 

Soprano Sharon, ‘Astonish us Sharon’ (Sara Frondini) singing from Verdi’s “Macbeth” and tenor Tony (Ben Read) beautifully singing Cavaradossi’s  “Recondita armonia” from Puccini’s ‘Tosca’.  

  She goes after them singularly interrupting them at every turn, for one thing or another while allowing her mind to drift back to her glory days with her recordings singing some of her favorite and well- recognized arias play in the background.  Her voice no longer what it was, she speaks the words in perfect Italian diction.

Abigail Grace Allwein, Ben Read, Sara Frondoni and Sandy Campbell. 

She recalls her La Scala debut, her rivals, her critiques of Dame Joan Sutherland (her looks and size, ‘a 12 foot Lucia?) and her relationship with Aristotle Onassis and the heartbreak that followed their breakup in 1977 just before Onassis married Jaqueline Kennedy. He never married Maria and refused to allow her to have their child which she so desperately wanted. 

No doubt, Campbell has perfected her role of Callas even at the expense of the backstage manager ( Tim Benson) badgering him first for a pitcher of water, pillow to sit on and then for a footstool to rest her feet since her feet don’t touch the ground on the chair they gave her. This she does with an exasperated look, but with satisfaction when all is said and done.

Ben Read, Sandy Campbell with Kyle Adam Blair

Callas was one tough, uncompromising lady, oft times quite vicious and petty when complaining about her rivals.  One can almost feel sorry for her but… ‘The only thanks I ask is that you sing properly and honestly. If you do this, I will be repaid.’

As for Campbell, she IS the star of this show reprising it after ten years. She is impeccable, professional and flawless. You don’t have to be a fan of opera, or even a Callas fan to enjoy this show, but you will be blown away by Campbell’s performance.

Dixon Fish designed the set, sound and projection design/co -producer, Ted Leib, props design  /set dressing/scenic painting Duane McGregor,  Peter Hermann, wigs and Jill Drexler is the Artistic Director of Scripps Ranch Theatre. 

Enjoy.

See you at the theatre. 

When:  Runs through Dec. 14. 7:30 p.m. Fridays and Saturdays; 2 p.m. Sundays

Where: Legler Benbough Theatre, 783 Avenue of Nations, Allied International University, San Diego

Tickets: $30-$52

Photo: Daren Scott

Phone: 858-395-0573

Online: theroustabouts.org

 

WORLD PREMIERE “WORKING GIRL THE MUSICAL” AT PLAYHOUSE NEEDES FINE TUNING.

Opening nights at the theatre are always exciting. Opening nights at world premieres are most exciting. Opening nights at a world premiere with the person in the form of Grammy, Emmy and Tony Award winning Cyndi Lauper in the audience is overly exciting especially since Lauper wrote the music and lyrics based on the movie by Twentieth Century Fox Motion Picture, “Working Girl” by Kevin Wade IS the world premiere.

JoJo Levesque and Anoop Desai

Joanna  “JoJo” Levesque (a wonderful Cyndi Lauper look alike) stars as Tess McGill, the working girl, think secretary/girl Friday,  from Staten Island who takes the ferry to the city every day with her best friend Cyn to her job in a brokerage firm.

There  she stands up for herself in a man’s world. (“Something More”) This is in the 1980’s when women were just starting to break the glass ceiling, but the odds were against them in an office run by men who were in the majority, while the women got coffee, made copies of papers and did odd jobs. 

Cast

When Tess finally gets a woman boss, Katherine (Leslie Rodriguez Kritzer over the top funny), who at first wow’s her then undermines her by stealing an advertising idea away from her and using it as her own, Tess gets a real glimpse into the corporate world.  This in turn leads to Tess meeting the handsome Jack (a versatile singer and dancer “Dream in Royalty”, Anoop Desai) an investment advisor, who tries to win her idea back from Katherine, who is away on a skiing trip.

Lesley Rodriguez Knitzer and Cast

When  Katherine returns and finds out about Tess’s relationship with Jack, the you know what hits the fan and Cyn, (Ashley Blanchet) Tess’s best friend takes the fall, and it's not OK.  

JoJo Levesque and Ashley Blanchet

With book by Theresa Rebecka  and a total of twenty tunes written by Lauper, the musical runs over 2/12 hours with the first act seemingly never ending.  As for the overall production, (I must admit I never did see the movie) as a romcom it’s fine, but this version needs work, and quite a bit. 

It rambles, strays, is redundant, at times not very inspiring, that is until the last  production number “Picture It” with the entire cast, Tess, Cyn and Jack. and needs culling, big time. 

Chris Ashley (his last at the playhouse directed. He will be moving to Roundabout Theatre Co. in New York.

Linda Cho’s costumes are to die for 80’s, Sarah O’Gleby’s choreography is snappy. AMP featuring Erica Jiaying Zhang, scenic design, Amanda Zieve, lighting, Gareth Owen, sound, Hanna Finn, Projections, Charles G. LaPointe, hair and wig design, with Stephen McBride as Musical Director. The all woman band is led by Julie McBride. 

While “Working Girl, the film was written by a man, and Anoop Desai’s Jack is a standout, and handsome  there are plenty of women in this production that make it loyal and true to the working women of the world then and now!

Enjoy. 

See you at theatre.

 When: Showtimes are at  7:30 p.m. Tuesdays-Fridays; 2 and 8 p.m. Saturdays; 1 and 7 p.m. Sundays at the 

Where: Mandell Weiss Theatre, La Jolla Playhouse, 2910 La Jolla Village Drive, UCSD Campus, La Jolla. 

Photo: Rich Soublet II.

lajollaplayhouse.org.

“RENT” HITS THE GROUND RUNNING AT NVA.

Jonathan Larson’s Tony Award-winning (it won 10 nominations including a Pulitzer Prize for Drama) rock opera, based on Puccini’s opera La Boehme, hit the Carlsbad based theatre, New Village Arts, running and never looked back. To some it sounded like a blast heard round the community. 

According to Artistic Director and founder Kristianne Kerner, she has been trying to get the rights to the show for ten years.

Those in attendance on opening night showed their appreciation to the excellent cast  (some newcomers to NVA) and the glorious  production, under the deft direction of Kym Pappas, had the feeling of being special to have been witness to the playwright’s  genius by clapping, weeping, cheering, and standing ovations. It is in equal terms, groundbreaking and heartbreaking as well as funny and smart.   

Larson, who composed the music, wrote the lyrics, and lived the experiences (for over seven years) along with other East Village “bohemian” artists and enduring the  AIDS epidemic, has to be smiling down at his work. He died in 1996 from an aortic dissection the day before its first preview performance of “Rent”.

Josh Bradford and Brennen Winspear

Brennen Winspear has all the right tools and quite at ease as the narrator Mark Cohen, i.e., Larson, a film-maker documenting events and people of the neighborhood including his roommates, lovers and other strangers. His roommates, Roger, ( a disarming and brooding Josh Bradford), a talented musician with a beautiful voice is HIV positive and just off drugs. His new squeeze, Mimi (a dazzling and oft fragile Lena Ceja) also fighting addiction, sing one of Larson’s memorable duets “Another Day”. One of the most memorable however is “Seasons of Love”… 

Brennen Winspear, Josh Bradford, Shannon McCarthy, Lena Ceja
Van Angelo Xavier J. Bush and Eboni Muse

(“525,600 minutes! 525,000 journeys to plan.

525,600 minutes - how can you measure the life of a woman or man”?) But when Collins (Van Angelo) and company sing “I’ll Cover You”, and “Goodbye Love”, my heart broke. 

When the roomies  find out that they are being evicted from their cold water flat by none other than their ex roommate, Benny (Juwan Stanford) who married for money, they ban together with the homeless in the neighborhood and stage a protest. Theirs is a story of survival, friendship, community, love and dreams. 

Van Angelo, Shannon McCarthy, Lena Ceja

The company is  made up of at least fifteen members; all talented and spirited and deserve high grades. Not a one weak link in the cast. Having seen a few productions of  “Rent”, I must admit this is by far the best of the best!

Musical arrangements by Steve Skinner, Original Concept/Additional Lyrics by Billy Aronson, Musical Supervision by Tim Weil, Tamara Rodriguez Choreographed,  and Lynn Christopher Scott Murrilo designed the busy and functional set, Carter Vickers props and Thomson acted as Dramaturg. 

Lena Ceja

For an evening of absolutely wonderous satisfaction, innovative music, something to think about in the coming year, “Rent” has my vote by far. 

Cast

“In these dangerous times, when it seems that the world is ripping apart at the seams, we all can learn how to survive from those who stare death squarely in the eye every day and we should reach out to each another and bond as a community rather than hide from the terrors of life” Jonathan Larson

Nuff said.

Enjoy.

See you at the theatre.

When:  Runs through Dec. 24. 7:30 p.m. Thursdays and Fridays; 2 and 7:30 p.m. Saturdays; 2 p.m. Sundays

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

Tickets: $35-$80

Photo: Dupla Photography/Jason Sullivan

Phone: 760-433-3245

Online: newvillagearts.org

‘Vanya and Sonia and Masha and Spike’ Inaugurate the New Dottie Studio

 If it’s farce you are looking for, head down to the Dottie Studio, Cygnet’s 150 seat new black box theatre in the Joan complex with seating on three sides,where Christopher Durang’s Tony Award (Best Play) winning farce “Vanya and Sonia and Masha and Spike” is now being produced in a way only Durang can imagine.

Familiar with Chekhov? No? Well you don’t have to be according to Durang. If you’re a stickler for detail, it will help because the folks in ‘Vanya and Sonia’ all have names based on Chekhov’s characters and well… take on familiar personalities, not necessarily their names sakes but ‘a blend’ of his characters from “Three Sisters”, “The Seagull” or “The Cherry Orchard”. You pick. 

We know this right off the bat from Vanya, (truly believable Andrew Oswald ) who manages to tell us that both parents were professors and ‘active in community theatre’. (That’s in case you had no idea about the names) “Having professors for parents had its drawbacks”. “What 7 year old child knows who wrote “The Imaginary Invalid”? Father became so enraged when I said Neil Simon. I mean, I was only 7”. (Hint: French playwright Molière) 

Deftly directed by Anthony Methvin, “the two plus hour production has its very funny moments and some aha moments. 

The setting(Ye Chien Le) is a peaceful country farmhouse situated in Bucks County, PA. with a nearby pond that is the central lookout place for the clinically depressed and neurotic Sonia, an excellent, in fact at her very best, Shauna Wride and the much-repressed Vanya’s morning connection. They settle there in their morning room to stare out, drink their coffee and possibly catch sight of the blue heron that frequents the pond. 

Since their parents, whom they dedicated their adult lives to died, things are rather dull (the operative word) at the old farmhouse. On this morning coffee and how much milk is in it, is the topic of conversation. “I have two pleasant moments every day in my effing life, and one of them is bringing you coffee” laments Sonia. This after Vanya said he liked the cup he mixed for himself better. When he suggests that she move from the morning room to another she shares that she is in constant mourning…always keeping her sadness to herself. He: “I hope you are not going to make Chekhov references all day”. 

Shauna Wride and Andrew Oswald

As we move along, things pick up substantially when their housekeeper Cassandra (a hoot and a howl  Daisy Martinez) comes on to the scene with musings of ‘The Ides of March’ even though it’s late August. Better still ‘Beware of Greeks Bearing Gifts’ or better yet, “Beware of the middle of the month”. She confesses she sees visions…shadows. “It may be my curse to see these shadows and my duty to warn you”.

Daisy Martinez

At the crux of ‘Vanya and Sonia’ is the not so welcomed homecoming of their once famous actress and control freak sister Masha (Eileen Bowman). She is planning on attending a costume party one of their wealthy neighbors is throwing. She has her Snow White costume all set and insists her siblings dress as the Dwarfs. Sonia counters by being The Evil Queen a la Maggie Smith. And Spike, (Sean Drew) in his almost all togethers, well he’s Prince Charming and  Marsha’s squeeze.

Masha, who has been married five times, is now shtupping her new plaything, Spike who has to be young enough to be her son. Spike’s claim to fame is that he is an also ran. He nearly landed a part in the sequel to “Entourage, Entourage 2”. The fact that he’s a bit slow, matters not to Vanya as it’s more of a distraction to him every time Spike strips down to show off his muscular body than it is for him to be flirting with their next door neighbor Nina (Emma Nossal). More on her later.

  Over the years Masha supported her siblings in order for them to take care of their ailing parents. She also kept the farmhouse and all its accouterment paid for. Now with her fame fading, money becomes a big issue. Her plans to sell then property does not sit right with any of the occupants of the house including Cassandra who, with the help of a Voodoo Doll tries to curb Masha’s appetite for a quick sale. 

Andrew Oswald and Eileen Bowman

All is fair play in Act II when Sonia and Vanya find a voice, each having their own epiphany. Sonia gets a call back from one of the party guest she met , the night before., but can’t remember who.  When he asks her to dinner she vacillates almost going into her lack of confidence mode, Sonia  finally mustering the nerve to dine with him to the delight of the opening night crowd. Wride shines in this scene as she does with every other depressed word she utters. She’s a perfect fit as Sonia.  

Vanya goes off on…well everything from climate control to licking stamps to cell phones, to Davy Crockett and coonskin hats, to the Lucy Show to video games and typewriters. It’s a ten or so minute rant; it’s a bit over -done, but done well by the talented Oswald. 

As for Masha, she’s another case. Ever affected to a fault, she nearly collapses from her over enthusiasm espousing her talents and woes. “I’m having a hard time. Do you mind? I’m getting older, my five marriages didn’t work out…. And I just feel old and vulnerable”. And in a moment just too funny for words, she bemoans to Sonia that the reason she didn’t cry at their parent s funeral was because “I hide my feelings”. Sonia, “Nonsense, you parade your feelings”….”It’s exhausting being around you”. Bowman’s performance while dramatic and animated is a bit over the top; fingers in hair and finally collapsing on the sofa. Indeed exhausting!

Emma Nossal

From this exchange both Sonia and Masha have a go at it. Vanya gets involved, Spike (whom Vanya has google eyes for)leaves to be with his other beloved, Nina is happy with her newly found acting abilities (she plays a molecule) and I want to say they all lived happily ever after, but I doubt it. 

Credit costume designs to Heather K. Nunn, especially Marsha’s Snow White costume and  Sonia’s slim, spangled dress a la Maggie Smith. Spike for his Kings outfit and lack of any discernible matching outfits and Nina’s flowing molecule gown. 

Sound design, Evan Eason, props, Bonnie Durban, Lighting, Curtis Mueller, Stage Manager, Jared Blake Halsell, and, of course Wigs by our favorite master of hair and wigs, Peter Hermann. 

Listen carefully. Laugh lines seem to drown out blocks of dialogue coming right after them. For a good laugh or two, it’s worth a try. After all it is Christopher Durang, in case you mistook him for Chekov.

See you at the theatre.

PS. I must admit, this is by far the best production of Vanya and Sonia and Masha and Spike" I have seen over the years.

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

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

Photo: Karli Cadel

Tickets: $58 and up

Phone: 619-337-1525

Online: cygnettheatre.com

MOXIE’S “BLUES FOR AN ALABAMA SKY”: A PLAY FOR ALL SEASONS

Pearl Cleage’s “Blues for an Alabama Sky” is being given a stunning outing at Moxie Theatre through Oct. 26th. With careful direction by Desireé Clarke Miller, a beautifully detailed set by Michael Wogulis, Danita Lees perfect period costumes, Colby Freel’s magical lighting, and one of the most balanced ensembles assembled on any stage by far. This slice of Harlem Renaissance life is as current today as it was in the 1930’s. 

Deja Fields 

Cleage’s play takes place in 1930’ Harlem. It brings to life four friends and an outsider whose dreams, emotions and politics are on a collision course. While examining feminist, gay, conservative and social issues, the story weaves real live heroes of that era into the lives of the fictional ones. 

Janine Taylor, Xavier Daniels, Deja Fields and Kevanne La'Marre Coleman

Angel(Deja Fields) is a down on her luck blues singer who just broke up with her gangster boyfriend; a hard luck story awaiting a happy ending, Guy (Kevane La’Marre Coleman , a costume designer, is an optimist. He talks about Josephine Baker who is going to commission him to design her clothes, and promises him a trip to Paris. His open gayness is completely acceptable to his friends. Rounding out the foursome is Sam (Xavier Daniels) is a Dr. who delivers Harlem’s babies and bootlegs, by night. He never seems to get enough sleep. and Delia (Janine Taylor) who is a woman suffragette. Delia lives across the hall from Angel and Guy (best friends) and she is hell bent on opening a women’s clinic for women. She follows the teachings of Margaret Sanger. 

Carter Piggee, Deja Fields, Janine Taylor Xavier Daniels, Kevanne La' Marre Coleman

When a tall handsome stranger, Leland Cunningham ( Carter Piggee), from Alabama  comes into the lives of the four friends, everything gets turned up -side down. 

Deja Fields is compelling as Angel the down on her luck blues singer who shares an apartment with Guy, who in his own way takes care of her. As the central character, Deja’s every move is under scrutiny and she plays it to the hilt. 

Kevane Le’Marre Colman’s Guy is perfect as the gay, brutally honest and clever neighbor who has all the best lines in the play and play them he does. 

Carter Piggee and Deja Fields

Janine Taylor is the beautiful and soft, across the hall neighbor Delia who finds her soulmate in the kind hearted and level headed Dr. Sam (Xavier Daniels) who is forced to make an unpopular decision on behalf of Angel. 

Carter Piggee as Leland Cunningham is the tall, handsome and charming mannered stranger from Alabama whose views are repugnant to the friends he is trying to win over. 

                          Xavier Daniels and Carter Piggee

In the 930’s the world was in flux while four friends tried to struggle through them in their own inimitable way, much like the chaotic world we live in today: depression,  poverty and violence much like the chaotic world we live in today.

Pearl Cleage found the right formula for the right time and Moxie Theatre’s excellent production which is thought provoking is right on time.

Enjoy.

See you at the theatre.

When:  Runs through Oct. 26. 7 p.m. Thursdays through Saturdays; 2 p.m. Sundays

Where: Moxie Theatre, 6663 El Cajon Blvd., Suite N, Rolando

Tickets: $20-$59

Photo: Jason Sullivan

Phone: 858-598-7620

 

“Follies” Hits ‘The Joan’ Full Force.

 Is it a coincidence that over 40 years have passed since the Stephen Sondheim/James Goldman “Follies” opened the inaugural season in what used to be Cygnet Theatre, this past weekend?

Starlight Musical Theatre opened its 45th season with Sondheim’s award winning “Follies” in the summer of 1990 at the San Diego Civic Center starring Don and Bonnie Ward. 

Patti Goodwin

It has not been staged here in San Diego since then when Cygnet’s artistic Director Sean Murray felt he had not the right venue (i.e. a large enough stage) to meet the needs of all the Follies Cast and Zigfield like Follies girls. (A Pretty Girl Is Like a Memory)

Karole Foreman

“Follies” is short on script but long on underlying meanings. It’s about mixed memories, lost opportunities, rivalries,  misunderstandings, unhappy marriages and past animosities. All these  feelings weave through  the former Weisman girls, Phyllis and Sally (Karole Foreman and Sandy Campbell). It doesn’t help that their husbands Ben and Buddy (David S. Humphrey and  Russell Garrett) show up for the reunion as well. (“Too Many Mornings” Ben and Sally)

 

Set (Ralph Funicello/Andrew Hull) in a soon to be run down theatre of happier days, a reunion of ageing showgirls is about to take place. They show up one by one, looking, remembering, sighing and greeting the next set of past performers.

Dance number

Here is where the story veers off and the narrative is not about the music. As they come together, past and present memories weave through and tangled feelings abound, and the ghosts of their pasts are played out right before our eyes  Oft times it’s difficult to follow since it first appeared that there were two stories two sets of couples (young and older) and my mind was a bit boggled. 

The concept of “Follies” is unusual. When done well, as it was on the opening night at The Joan, it works most of the time. It works magnificently when the entire cast outdoes itself and especially under the direction of Murray. 

Leigh Scarritt

With a stellar cast and a few good recognizable tunes, you can’t go wrong: Sandy Campbell, who never disappoints, is exceptional  and always at her very best voice (“Losing My Mind” “In Buddy's Eyes”), Karol Foreman  (“Could I Leave You?”) is vibrant, octogenarian Patti Goodwin came out of retirement to belt out (“Broadway Baby”), one of my favorites, Melinda Gilb ("Who's That Woman") brought the house down with her funny antics, and  stunning Anise Ritchie and elegant looking Dagmar Krause Fields  (ensemble) all fit in nicely. Lest we forget,  sassy, sexy Leigh Scarritt never fails to disappoint (her  bittersweet “I’m Still Here” is so her character), another of my favorites. 

Ralph Johnson, Leigh Scarritt, Kiai Buglr, Anise Ritchie and 
Melinda Gilb.

The also ran men in the show, are good but compared to the women, with the exception of Ralph Johnson, David S Humphrey take second fiddle. Humphrey is a rich tenor and it was great seeing him back on stage, (remember him from “Forever Plaid”?) Eddie Yaroch and Amanda Naughton make a fine couple as Emily and Theodore Whitman.

Sandy Campbell, David Humphrey, 

Katie Banville Choreographed, Elisa Benzoni designed the costumes, Peter Hermann (my man) did the wigs and makeup,  Matt Lescault Woods, sound, Amanda Zieve, lighting. 

Patrick Marion leads a seven piece orchestra with Kyle Bayquen on Bass, Devon Henderson, Trumpet, Kaeylin Henderson,Trombone, Nathan Hubbard, Drums/Percussion, Amy Kalai, Reeds and Patrick Marion Conductor and keyboard. 

Abby Depuy and Dagmar Krause Fields 

Coincidence or not, 35 years might be a lifetime for some, but for The Follies’ Girls it seems  like a blip in time.

Good luck for future performances at the new Joan and thanks to both Joan and Irwin Jacobs for having the foresight to dream.

Enjoy. 

See you at the theatre.

When:  Runs through Oct. 19th. 7 p.m. 

Wednesdays through Fridays, 2 and 7 p.m. Saturdays, 2 p.m. Sundays

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

Tickets: $44 and up

Photo: Karli Cadel Photography

Phone: 619-337-1525

Online: cygnettheatre.com

La Jolly Playhouse Gets To The Heart of “The Heart” In 90 Minutes, Or 24 Hours or 5,400 pumps of a Heart At Rest.

 It may be a coincidence, that one of my grandsons is a facilitator for patients about to receive some body part transplant or another.  Although he has nothing to do with the actual transplant, he talks to the family about the decisions they may or may not have to make. 

Another coincidence is that he works at UCSD, the setting of our play, “The Heart”, based on a 2013 the medical fiction “Reparer les Vivants” written by Maylis de Kerangal, with book and additional lyrics by Kait Kerrigan and musical lyrics by Anne and Ian Eisendrath.

Jason Tam and Zachary Noah Piser

The play chronicles the accidental death of a 19 year old surfer, Simon Lamar (a shining star Zachary Noah Piser), who after a morning of surfing at one of our local beaches, was on his way home with two of his buddies when the van they were driving  crashed into a tree. Both boys were wearing seat belts, but not Simon who was sitting in the middle. By the time they got Simon to the hospital emergency room, he is  pronounced brain dead, but his heart is still beating. 

Scene from The Heart (Wren Rivera center)

Life and death decisions will have to be made in the time it will take for the parents, Marianne and Sean (soberingly played by *Kenita Miller and Jason Tam) to decide whether or not to ‘harvest’ his organs; if there is a compatible, and healthy recipient. Thomas (Lincoln Clauss “Quicksand”) is the coordinator, who tries to make them understand what’s at play. 

There are no less than 9 characters playing multiple roles introduced, in part at times that when all is said and done, form complete characters. Heidi Blickenstaff ( A star in her own right and beautifully in control) is both head nurse in the OR and Clair (“Nobody Gets Out Alive”) the recipient of Simon’s heart, defines the gray line between life and death. The dichotomy of it all: being dead and alive at the same time. It’s mind-boggling, one yours truly never thought about before. 

All this happens under the expert direction of Artistic Director Christopher Ashley and precise Choreography under Mandy Moore. It felt to me that the action of the play was rolling along at a faster than fast pace while the characters seemed to be moving in slow motion.

Scene from The Heart

Every step is choreographed precisely, detailed, down to a science on Robert Brill’s neon lit and flashy stage. 

Gareth Owens sound design is surrealistic when Simon’s parents want him to hear the sound of the sea when his heart is removed.

Scene from The Heart

Video Designer Lucy Mackinnon’s graphics show medical records and an organ bank database. There are three screens set up on the long stage of the Potiker Theatre so everyone in the audience has the ability to see. 

The Eisendraths' 16 song score with musical conductor Wendy Bobbitt Cavett, who keeps to a beat, the times of a beating heart. 

The La Jolla Playhouse and staff deserve a big BRAVO for bringing this innovative piece to the fore. 

Tissues recommended. 

See you at the theatre.

When:  Runs through Oct.5th. 7:30 p.m. Tuesdays through Fridays; 2 and 8 p.m. Saturdays; 1 and 7 p.m. Sundays

Photo:  (Rich Soublet II)

Where: La Jolla Playhouse’s Sheila and Hughes Potiker Theatre, 2910 La Jolla Village Drive, UC San Diego, La Jolla

Tickets: $30-$119

Phone: 858-550-1010

Online: lajollaplayhouse.org

GLOBE’S “DECEIVED” IN EXCELLENT HANDS.

Set in the perfectly appointed (Paige Hathaway) sitting room of a middle class house in a square in London , 1901, Bella  and her husband Jack, along with their faithful maid, Elizabeth, and their flirtatious servant Nancy, strange things begin to happen. 

Unexplained noises come from the attic, the gaslights dim every now and then, jewelry ominously disappears, and feigned illness fill this house. The problem is that Bella seems to be the only one affected by these disturbances. Jack tries to convince Bella that she is imagining things. After all, Bella’s aunt went mad. Perhaps Bella inherited the same condition?  Oh! I love this stuff!

Some of you might remember the 1944 movie “Gaslight” with Charles Boyer and Ingrid Bergman, or the original 1938 stage version of this psychological thriller that could send chills up your spine. 

Brittany Bellizeare

“Deceived”, now playing in the round on the Sheryl  and White Theatre through Sept. 7th, and excellently directed by Delicia Turner Sonnenberg,  and adapted for the stage  by Johanna Wright and Patty Jameson is every bit a tingle as was the original movie. 

Sonnenberg, founder of Moxie Theatre, has assembled first rate cast for this double treat of a mystery. 

Brittany Bellizeare has the perfect demeanor to handle the confused Bella. Her movements, her looks tell one story about the beginnings of someone losing it. At first, she can’t fathom the disappearing jewelry, the dimming lights, the unpaid bills, the attic noises and the misplaced picture of her beloved aunt. 

Brittany Bellizeare and Travis Van Winkle

Travis Van Winkle’s Jack is at first self- assured in convincing Bella that something is wrong with her. He keeps sending her to her room to rest as he flits about coming and going supposedly to his club. But really?

Kennedy Tolson’s Nancy, the maid,  has an ace up her sleeve, but we don’t learn of that until later. What we do know is that she flirts a lot with Jack, and he with her. 

The prize, however, is Maggie Carney as Elizabeth, the housekeeper. She is loyal to Bella and wants to protect her from the evils that lurk in the house. It’s difficult, not to chuckle every time she is on stage. Just her looks, can bring a chuckle. Yours truly has never seen her at this level of excellence. 

The production lasts a good two hours and toward the end of Act I, the tide seems to be turning for Jack as Bella begins to see the light and plays along with Jack.

Brittany Bellizeare and Travis Van Winkle

In the second act, turnabout is fair play and Bella is her own rescuer and plays Jack like a drum but he’s too dense and otherwise occupied to  get her drift. Of the four characters, Jack is the weakest link (the only male) while the two playwrights keep Bella and the women at the center of the action. 

Nicole Jescinth Smith’s elegant early century costumes are impeccable for the woman of the house, Jacks neat attire and the servant’s outfits are neatly in place. 

Maggie Carney and Kennedy Tolson

Bryan Ealey’s lighting, especially the working gas lamps along with Paige Hathaway’s scenic design make it all the more authentic.   Fritz Patton designed the original music and sound design and  

Andrea Caban was dialect coach. 

Gas Light is the perfect adaptation for a stage revision especially under the expert direction of Ms. Sonnenberg. 

Overall, I would give this production a two thumbs up.

Enjoy. See you at the theater.

 

When:  Runs through Sept. 14th  7: p.m. Tuesdays through Thursdays; 8 p.m. Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays

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

Photo:  Jim Cox

 Tickets: $47 and up

Phone: 619-234-5623

Online: theoldglobe.org