“This Beautiful City” Makes San Diego Premiere at Diversionary.

“This Beautiful City” the docu-musical ‘created from actual interviews with citizens of Colorado Springs, Co. the capitol of the Evangelical movement’ is the current fare at Diversionary Theatre in University Heights. 

As one of the oldest LGBT theatre's, Diversionary has been thriving for 33 years in what is/has been referred to as ‘America’s Finest City.

Cast of "This Beautiful City"

Artistic director Matt Morrow (one of our finest) has dusted off this eighteen- year old piece that is as relevant today as it was then; gathered together an outstanding cast of actors/musicians and is forging full speed ahead in highlighting a series of conversations and interviews from the good folk in Colorado Springs.

Those interviewed consist of believers, non-believers, gay, young, old, trans, disenfranchised, white, black, converts, and every one between. Both town and residents were on notice and all had their say. The interviews took place in 2006.

Emily Ackerman, Marsha Stephanie Blake, Brad Heberlee, Stephen Plunkett, Allison Weller  conducted the interviews. The play “This Beautiful City” is the end result of their labor that is now enjoying a somewhat satisfying, albeit too long, production at the University Heights theatre with a cast of six terrific actors playing more than a dozen or more of those selected.

Created by The Civilians, and written by Steven Cosson and Jim Lewis, with music and lyrics by Michael Friedman (“Take Me There”) the music translates well into the dialogue of the interviews. Between score and some spoken monologues, the piece does have a certain appeal. 

And so it begins as to the how, the why and the what of Colorado Springs,  ‘a gorgeous city…and a wonderful place to sell’, that started out as an experiment by a woman (Kim Heil) whose husband was transferred from Detroit to Colorado Springs and she became a transplant herself.

Her expertise was economic development; her calling to recruit about fifteen non-profit Christian evangelical organizations came down from the heavens, as the word of God. She recruited two to three employees from several small evangelical groups.

Victor E. Chan, and Kim Heil  (center) 

That was the beginning, twenty-two years ago. By the time this experiment took place and now, four had amassed revenues of over one hundred million dollars. (“If God was using me to make this city the evangelical capitol, I didn’t know it at the time”).

The Citizens Group got more than they bargained for in their interviews including the downfall of New Life Church’s founding (hypocrite) Pastor Ted Haggard, those experiencing drugs, gay rights, the non religious, a former drug addict, the old, the young and of course, the faithful.  

With all six in the ensemble (three male and three female) playing multiple roles telling their stories and singing the original lyrics, the play I want to say hums along, but hits a few snags with too much repetition and some unnecessary details.  The interviewees represent a diversity and not just evangelical, of residents eager to spin their respective tales. All are up to the task.

We first meet up with Kim Heil persuasive as the woman who started this whole migration. She also plays the fairness leader and RHOP member. Theo Allyn is flawless as the young woman who is an atheist activist  defending her Dad, who as it turns out comes out. She’s wonderfully authentic. Jasmine January is another multi-talented young woman whose roles change from Baptist minister to a senior in the church to Air Force cadet and others.    

Theo Allyn, Michael Cusimano and Jasmine January

Michael Louis Cusimano portrays the fallen Ted Haggard and in an excellent turn about as he also plays Youth Pastor, Air Force Cadet and others while strumming his guitar.

The ever-effervescent and diverse Tony Houck, musical director and part of the town’s conversation, plays several folks including church leader, Alt writer, RHOP leader and others.

Victor E. Chan is part of the Colorado Wranglers, the singing group “It’s A Long Road To Colorado”. He also shows the most anger in those interviewed as an Air Force parent, and a publisher who rails against the church establishment. 

Justin Humphries designed the multipurpose set, Blake McCarty projections and Curtis Mueller the lighting.

“This Beautiful City” was an eye opener to yours truly. I have always been rather cynical about the ‘holier than thou’s who think it’s their way or the highway.

Victor E. Chan

Unfortunately this piece, while poking fun along with the running dialogue, also reinforced my convictions. This past political year cemented them. When religion takes itself out of my life, I’ll be a happy camper.

PS Composer ("Blood Bloody Andrew Jackson") Michael Friedman passed way in 2017 of complications related to HIV/AIDS. 

See you at the theatre.

Dates: Through Dec. 16th

Organization: Diversionary Theatre

Phone: 619-220-0097

Production Type: Docu /Musical

Where: 4545 Park Blvd. San Diego, CA 92116

Ticket Prices: $15.00-$55.00

Web: diversionary.org

Photo: Simpatika

OnStage Playhouse Tackles “The Mystery of Edwin Drood” In A Big Way.

I have always regarded myself as a super sleuth so it was with relish that I found myself in the audience of OnStage Theatre and Turning Tydes production of  “The Mystery of Edwin Drood” or ‘who slew Edwin Drood’? For those not in the know, “Drood” was the last and unfinished novel that Charles Dickens wrote before his unexpected death.

Rupert Holmes, not to be confused with the Sherlock of the same name, came on to the scene in 1985. The musical ‘Drood’ debuted at the New York Shakespeare Festival and later transferred to Broadway where it ran for two years. The musical, “The Mystery of Edwin Drood” was revived in 2012 at the Roundabout Theatre Company. 

Chairman Georgia Ladd and cast

Holmes, who took home two Tony Awards for his busy little romp, is the culprit who came up with the idea to write a ‘musical mystery’ (along the lines of Mystery Theatre, and Dance Hall shenanigans), and turn Dickens’ book into a musical comedy; a who-dunit stunt and a ‘play within a play that all takes place in a 19^th century music hall (Alex Bezdeka and Jordan Hall Campbell). Here the characters step out of character as the dance hall entertainers and step into the characters in Dickens’ play as characterized by the author. 

It’s a study in turn on a dime characters, most taking on at least two roles in a faster than the speed of light costume changes (Summer Blinco and Andrea Pulliam) and all having some real chops to sing the more than dozen musical numbers. A fun one to watch “Off To The Races” is for a belly laugh with the whole company involved. 

I case you might not know Dickens’ “The Mystery of Edwin Drew” let me tell you that it's OK.  It is a convoluted mess with so many twists and turns that you should thank your lucky stars Holmes turned it into a dancehall musical while keeping the characters and the story intact. It's an easy way to know the story without reading it. He just put a different spin, some might call it a gimmick, adding the play within a play and music (for this production pre -recorded and directed by by Jordan Hall Campbell who was also in the choir of “Hunchback” at The La Jolla Playhouse) to add more entertainment value to the author's work.    

Cast of "Mystery of Edwin Drood at OnStage Playhouse

Leave it up to the smaller theatre’s, like the ‘little engine that could’ and OnStage Playhouse that keep chugging until they make it round the bend to produce a large show on a rather limited stage (costume changes were done in the theatre’s lobby) with an eighteen member cast and pull it off with flying colors.

Much to my surprise, having never seen this show, I was taken in immediately as the cast mingled throughout the audience encouraging them to take their seats, welcoming them to the ‘Theatre Royal’ and that a performance will soon begin. Some promoted themselves (don’t forget, there is voting at the end) and others just getting a bit cozy with everyone whose eye they caught.

Band Roll!- Da ta da da -and our Chairperson (a charming, appealing and direct Georgia Ladd) steps out from behind her podium (“There You Are”) and were off to the races.  

Jordan Hall Campbell, Tyler C. Jiles and Jacob Painter 

The characters are introduced and leading among them is Rose Bud (Summer Blinco who has a simply astonishingly wonderful voice) as the almost naïve fiancée engaged to Drood (Jordan Hall Campbell) who has been mysteriously murdered and missing for two months. Blinco’s turn with her contemporaries in Act I and their wonderful “Moonlight Quartet” is a showstopper.

Tyler C. Jiles (“Hunchback of Notre Dame at Moonlight) is John Jasper the leading character and uncle of Drood.  As the mover and shaker he is the suave, angry and the evil- minded music teacher/ drug addict and Drood’s major rival. Check out his voice as well.

He too is in love with Rose Bud, his student.  He is a complete standout and pretty attractive as evil goes, and rises to the occasion at every turn. Love his handlebar mustache.

 Kat Fitzpatrick is a hoot and a howl and one of my favorite characters, in a role starring  Chita Rivara on Broadway, as the opium dealing Princess Puffer. No spoilers here, but do keep your eyes out for her. (“The Wages of Sin”, “Don’t Quit When You’re Ahead” and “The Garden Path”) She is simply a hoot.  

Included in the list of folks to be watched are the Landless Twins (Jacob Painter as Neville and Kaitlyn Summers as Helena). They are from Ceylon or some far off country and are mysterious characters from beginning to end, but fun to see as they weave their way into the story.

Again, no spoilers here but beware of the vicar (Patrick O’Connor) acting holier than thou and oft times pompous and slimy. Keep yours eyes out for him.  

Unfortunately I voted for Allan Hopkins’ as the Durdles character because as the drunkard sexton and off in the background as part of the ensemble I thought he might be up to no good.  Sleuth status reduced.

Hats off to director Alex Bezdeka for reigning in her large cast and assembling a very talented company. Most of members take part in audience participation and create the overall dancehall atmosphere needed to breathe life into this large production. Overall not a weak link. 

The leads singers, dancers (Candace Carbajal) most of whom I had never seen before bring home the bacon in this rather bloated story of romance, mystery, mayhem and music. It runs a bit over two hours with intermission.

Theatre Poster

That leaves one unfinished piece of business. The body of Edwin Drood was never found. Hmmmmmmmm.

Do see it. Two thumbs up for a frolicking and rousing evening of theatre.

See you at the theatre.

Dates: Through Dec. 8th

Organization: OnStage Playhouse

Phone: 619-422-7787

Production Type: Musical

Where: 291 Third Avenue, Chula Vista, CA 91912

Ticket Prices: $25.00

Web: onstageplayhouse.com

Photo: Daren Scott

“Melancholy Play”: ‘A Contemporary Farce’ Where Playwright Sarah Ruhl, RULES

The list of Sarah Ruhl’s plays to her credit that are bold, surprising, thoughtful, magical, fanciful, farcical, off kilter, funny and poetic to mention a few have been sighted in San Diego over the years: “In The Next Room” or (The Vibrator Play”), “Dead Man’s Cell Phone”, “Eurydice”, “A Clean House”, “The Oldest Boy” and now on stage of InnerMIssion Productions an earlier 2002 work, “Melancholy Play” is making a San Diego premiere through Nov. 24th.

Is it really melancholy enough for anyone not on meds to stay away? I rather doubt it, unless you are Tilly (Hannah Logan) who is off her meds, and being melancholy is just part of her mental (questionable) makeup. “Cheerful people are the worst kind of people.”

Hannah Logan

Tilly and her melancholy moods thrive with her friends and acquaintances attention as they become in love, and in many ways, with her sadness. The deeper the melancholy the more they want to take care of her and the more they want to take care of her the more they love her. Seriously. Her inner and outer circle of friends and other lovers, love her in her state of melancholy, and not just in a platonic way. 

One has to wonder as well about those in her orbit that can fall so easily in love and so quickly (or so it seems) with someone as so well, eccentric.  There’s her therapist Lorenzo (Scott Striegel), who is rather confounded by Tilly. Striegel is pitch perfect as he weaves his own story into hers and continues to chide her for being off her meds. He then confesses he’s falling madly in love with her.

Then there’s Frank (Patrick Mayuyu) her tailor who falls in love with her and is rewarded in kind as she falls for him…that lasts until she falls out of her melancholia and he’s left with just the pin cushion around his wrist and sadness. Mayuyu shines in this role and as he grows as an actor he gets better and better.

Hannah Logan, Vanessa Dinning and Cristyn Chandler

Her hairdresser Frances (Cristyn Chandler beautifully acted) a physicist turned hairdresser falls for Tilly while cutting her hair is also in a dreamy world of euphoria and she too pictures herself with Tilly. When she brings Tilly home to meet to her girlfriend, Joan (Vanessa Dinning who plays a stunning viola) a nurse, well, do I have to spell that one out as well?

Director Carla Nell and her outstanding cast bring an emotional smorgasbord to the table with each of her characters carrying more than one in his/her basket of highs, lows, sorrows, happiness, pity, anger, acceptance, bewilderment, blues and almonds (oops) to the party. Sorry about the almonds but it kind of goes in with the category of 'farce'.

At the center of this emotional rollercoaster is Hannah Logan wonderfully fitting into Tilly’s DNA as the almost forever melancholy bank teller who’s tears everyone thinks are magical and whose proximity everyone adores and loves. And in an unexpected (unless you’ve read the script) turn about as fair play she becomes almost ecstatically happy.

It’s kind of a free wheeling pity party for those in Tilly’s world until Ruhl suddenly changes the equation and all bets are off when Frances looses her sense of smell and the story veers off into the fanciful of the almond where she turns into one (Amygdala: a roughly almond shaped mass of grey matter inside each cerebral hemisphere, involved with the experiencing of emotions”) and we end up with our heroine actually talking to the yup, almond and turning the tables one everyone. 

Patrick Mayuyu, Hannah Logan and Cristyn Chandler (behind frame)

Standing behind hanging blank picture frames set in a semi circle designed by Ron Logan (yes there is a connection) each character takes a place ready to step in and out from behind their frame to claim their piece of the story, and they do it convincingly in the 90 or so minutes it takes for the audience to get somewhat of a ‘picture’ (pardon the pun) of what and who they are.

Robert Malave’s lighting enhances the changing scenes to perfection. Carla Nell’s sound design along with Vanessa Dinning’s gripping viola playing adds a dimension that sends chills.  Kym Pappas’ costumes are more than fitting especially Patrick's Frank in pink shirt, suspenders and tie. I love it. 

Ron Logan's set washed in Robert Malave's soft lighting

For some up close and personal theatre, overall excellent acting and a rather odd duck of a play that you might not otherwise see, InnerMission Productions located in the Blackbox Space in back of Diversionary is the place to be these days.

See you at the theatre.

Dates: Through Nov. 24th

Organization: InnerMission Productions

Phone: 619-324-8970

Production Type: Farce

Where: 4545 Park Blvd. San Diego, CA 91226

Ticket Prices: $25.00

Web: innermissionproductions.org

Venue: Diversionary Black Box Theatre

Photo: Jim Carmody

“Dancing Lessons” Opens 15th Season At Broadway Theatre in Vista.

Vista’s Broadway Theatre is celebrating its 15^th year. It is about as intimate a theatre as you can imagine with maybe 50 seats, some as close to the stage as a foot-print away.

Yours truly is a relatively new comer to the theatre having seen perhaps a dozen or so shows there in the recent years; not close to the 107 over the years it boasts. I have always been pleasantly surprised at the quality of work coming from this small space. 

Mark St. Germian’s “Dancing Lessons” premiered in 2014 at the Barrington Stage Company in Pittsfield, Mass. It’s another two person play starring Gabriela Nelson (“Guadalupe In The Guest Room”) as Senga Quinn and Mike Martin (“King Charles III”) as Ever Montgomery. Both live in the same building, two floors above/below each other yet they had never met. But things were about to change

Gabriela Nelson and Mike Martin

“Dancing Lessons” with direction by Randall Hickman now playing at the Broadway Theatre in Vista through Nov. 18th, is more than intimate it’s a play whose characters are both flawed and struggling to keep balance in their lives. Being up close and personal almost puts us in the playing field watching the struggles each puts up with.  

Once the spell of the two strangers' uncomfortable introduction is defused the play dives right into the opposing personalities, both of who are predictable and vulnerable.

Ever Montgomery is a Dr./professor of Geosciences at the New York Institute of Technology. He also has Asperger’s Syndrome, a condition that is a ‘pervasive developmental disorder that hinders the patient’s inability to interact socially’.

It’s a form of Autism that the American Psychiatric Association doesn’t treat because those in charge decided it didn’t exist any more, but no one can convince Ever that he doesn’t have it especially when he interacts with others like Senga.

Senga is a Broadway dancer. She lives, breathes and drinks dancing. Unfortunately, she suffered a major leg injury that rendered her ‘off the dance card'  for a long time’. She pops pills and drinks her wine right out of the bottle to get them down. She hates talking on the phone and seems to relish listening to ‘downbeat’ music. She is in a pretty deep funk. 

Adding to her anguish, surgery is not an option since she is allergic to anesthesia, its life threatening to her. Her leg is in a brace and she’s depressed and would rather sit home alone and listen to her melancholy music.  

When Ever knocks on the door to her apartment (designed meticulously by Douglas Davis) to offer her a large sum of money to teach him to dance (“I don’t teach dance, I’m a dancer.”) for an event at which he will be the major recipient of an award, the story goes into overdrive as these two flawed human beings find themselves on a journey to learning more about each other than just dancing lessons or how to overcome depression or knowing the boundaries of hand holding.

Ever can’t stand to be touched and Senga, for all intents and purposes, can’t dance as she had in the past but she does have experience and humanity in dealing with others on her side. And so their dance lesson takes on a different rhythm, a different tune, a different step, a different meaning.

Having just seen Ms. Nelson in New Village Arts’ “Guadalupe in The Guest Room”, she is a master in persuasion as she tries to zoom in first denying she will never dance again to allowing Ever to pace himself into becoming comfortable with himself .

His journey is a bit more complicated since his illness gets in the way of his making noticeable strides. His actions seem just right, as his moves to look relaxed when in fact he’s a bundle of contradictions as when he sits in one of her chairs, is awkward and uncomfortable looking and when he tries to follow her dance moves and he’s as stiff as a board shaking his booty one has to muffle a laugh out loud moment.

On his plus side of the coin, his smarts and knowledge of the Internet allows him to be one -step head of her story and that’s in need of lots of revising. So far the score is LOVE or even as the equalizer on many levels. Yup, St. Germaine even tiptoes into that arena.

Martin, who was part of the ensemble in Coronado Playhouses “Charles III” has all the right moves as one afraid to be touched or intimate until he drops his barriers in a weak moment and all the filters fade.

St. Germaine’s (“Freud’s Last Session”) bitter sweet and touching play is a lesson in patience, the human condition and the need not to rush to judgment. When all is said and done, one would be hard pressed to point out which of the two was more flawed than the other.

Suffice it to say the playwright surely knows his subject matter and has a keen way of choreographing his characters to keep on track while director and lighting designer Hickman assuredly brings them to life with Nelson and Martin’s finding the right combination for us to embrace them blemishes et al. 

See you at the theatre.

Dates: Nov. 18th

Organization: Vista’s Broadway Theatre

Phone: 760-806-7905

Production Type: Romantic Comedy

Where: 340 East Broadway, Suite B Vista CA 92084

Ticket Prices: $25.00

Web: broadwayvista.com

Photo: Broadway Vista