“The Year to Come”: An All In The Family Revisit.

The American sitcom, “All In The Family” TV series played from 1971 through 1979. It reached TV viewing heights for five years topping the Neilson ratings from ’71-’76. Archie Bunker (Carroll O’Connor) was a bigoted, homophobic small man who thought putting down his Black neighbors, dingbat wife and meathead son-in-law; anyone in his orbit that was different earned the titles he bestowed upon them, was justified. (Sound familiar?)

For years we watched as he humiliated and belittled, confronted and laughed and we laughed along. In a look a like replay some thirty years later playwright Lindsay Ferrentino has penned a ‘new play’, “The Year To Come” now in a world premiere at the La Jolla Playhouse, through Dec. 30^th.   

Adam Chandler-Berat, Pomme Koch, Jonathan Nichols, Jane Kaczmarek Ray Anthony Thomas and Marcia DeBonis

Archie Bunker is dead, political correctness is rife (now someone wants to take “Rudolph The Red-Nosed Reindeer” off the air waves because he is being singled out as different) and comedy or not, yours truly was not laughing this time around, but instead was put off by most of Ferrentino’s ‘fun’ stuff especially the badgering and contempt for and of Frank’s gay son Jim (Adam Chandler- Berat) and his husband, Sinan (Pomme Koch), who happens to be Muslim.

Unfortunately Frank, (Jonathan Nichols) the patriarch, a Cuban-American married to Jewish Estelle (Jane Kaczmarek, “Malcolm in the Middle”) has replaced white Archie Bunker in this rewind family sit-com deftly directed by Anne Kauffman where both laughs and polite chuckles settled into the opening night audience where the otherwise period dated sound design by Brandon Wolcott and oft times anticipated give and take set in.

Cast of "The Year To Come"

Ferrentino sets her family’s comedy/drama in Florida 2018 and winds it back to 2000 New York and the crash into the Twin Towers. Do I remember that date? You bet your sweet bipppie I do. I can tell you, as most can that lived through that nightmare remember, and at some point, Frank a retired New York firefighter, remembers exactly what he was doing that day, wishing it might have been different. Regrets? He has many.

Pieces of the playwright’s family portrait help complete their journey from there to here as the narrative clicks back in time. After two and a half hours sitting through the vicissitudes of this dysfunctional family grounded in what some might refer to as a sit com, (there are some pretty serious undertones as well) the past catches up with the now, but it takes too long, revelations are predictable and the future is still unpredictable.

Pomme Koch and Adam Chandler-Berat

We begin in 2018 with Pam’s (Marcia DeBonis, consistent throughout) opening dialogue as she attempts to light up a smoke with an oxygen tank flanking her side, holding a cane and wearing a New Years Eve party hat. We soon later learn that she is Estelle’s sister whose husband Joe (Ray Anthony Thomas in a thankless role) is African American. Note there’s a bit of everything in this family unit and in the end all seem to be cordial and accepting of one another.  

Segueing back to 2017 and another New Years Eve and 2016 (Anna Robinson video designer keeps track of the years) and another New Years Eve we’re off and sailing back over the years. Throughout the course of the evening and passing years we do get to meet all of Frank and Estelle's family, the good, the bad and the ugly of the lot.

Unfortunately there is no one in this family interesting enough worth spending any more time with than we already have, although I could engage Peter Van Wagner’s turn as Pop Pop the guitar- playing Jewish Grand-Dad and survivor who in some year or other suffered a stroke. Most of the rest of his stage time is spent  in a wheel chair in a semi vegetable state.  

Jane Kaczmarek and Adam Chandler-Berat

Family matriarch Jane Kaczmarek’s Estelle feels more at home than anyone else on stage but really doesn’t have much to say or do; she’s busy getting favorite snacks of chips and onion dip out onto the patio. Mid way through the play she has an emotional breakdown in the pool that caught me by surprise. Her performance stole my breath. Jonathan Nichols’ Frank almost redeemed himself in that one scene with Estelle.

In their Florida retreat where the is sun is an all year happening, Frank put a screen covering the pool that was intended to catch any nasty ‘stuff’ the Vultures might drop. The Pool is the talk of the play. In the background images of other rooms can be seen; sliding doors, tables, palm trees, etc. Christopher Acebo designed the set)

Strong performances punctuate Kauffman’s staging. Husband and husband Chandler-Berat and Koch interactions while cute just scratch the surface of their lifestyle. They convince on some level.

Marcia DeBonis’ Pam can’t decide if she was better off under Obama than Trump when it comes to her insurance, as she continues to be glued to Fox News and lighting up another cigarette. Thomas’ Joe wants to get back into the comedy circuit but he’s not very funny. DeBonis’ character is a character throughout and Thomas’ Joe felt like an add -on.

Marcia DeBonis and Ray Anthony Thomas

Lap Chi Chu’s lighting design enhances and gives us a glimpse into where they used to live and now live. The changes especially after the snow dropping on Long Island to the sun in Florida is a big contrast with Dede Ayite’s drab winter cloaks and boots distinctly different from bathing suits and flip flops.  

J. Jared Janis’ wig, hair and makeup designs miraculously takes years off each character putting them in the right time frames as their younger selves and Dede Ayite’s costumes do the same. I would be remiss if I didn’t mention the pool one more time. It’s the center of activity; everything seems to revolve around it. Nice touch but those with front row seats might bring a tarp or two.

Politics and bullies, old, new, borrowed or blue is nothing new, it’s just more open out there in 2018. “The Year To Come” is a brand new play right out of the chute digging into the then and the now. Hats of to Ms. Ferrentino who beckons back to her own childhood experiences as the model for her latest play.

Jane Kaczmarek and Marcia DeBonis in background. Adam Chandler-Berat and Pomme Koch (front) 

With some proper cutting and sharpening of the characters characters, most who are just coping, “The Year To Come” could play out more meaningfully than what we see.

Serious family matters would matter more to this audience of one that while  expecting some laughs, deeper insight  into the why and the what would go a long way. Once Frank (a strong performance by Jonathan Nichols) outed himself, there was no going back for yours truly. What we don't need is another bigot like character filling the airwaves and legitimate stages.

 

See you at the theatre.

Dates: Through Dec. 30^th

Organization: La Jolla Playhouse

Phone: 858-550-1010

Production Type: Comedy

Where: 2910 La Jolla Village Drive,

Ticket Prices: $20.00-$86.00

Web: lajollaplayhouse.org

Venue: Mandell Weiss Theatre

Photo: Jim Carmody

Cygnet’s “A Christmas Carol” In Excellent Shape For The Holidays

Dickens “A Christmas Carol” is just as you remembered as seen on the stage at Cygnet Theatre in Old Town through Dec. 30^th.  It was like old times once again watching Tom Stephenson, as the bitter Mr. Scrooge causing pain and grief to all those wishing to spread Christmas cheer.

As the mainstay in Dickens story, the world of Tiny Tim and his family, the caroler’s on the streets and those spreading good cheer, Scrooge stands alone as he grinds out his famous –“Bah”- from putting more coal on the fire in his tiny office to offering a few coins for the poor to having the beejeasus scared out of him when he comes face to face with ghost his old partner, Jacob Marley (David McBean).

Tom Stephenson

Be prepared to expect an already ongoing Carol fest as you enter the theatre. All the fixin’s and soon to be characters are there. Getting us into the mood is the first order of business with Megan Carmitchel, Charles Evans, JR., Melissa Fernandes, Melinda Gilb, Patrick McBride, and David McBean. Songs and corny jokes (“What did the duck say when he got some lipstick?” “Put it on my bill.” Ouch!) Stuff like that warms up an audience and gives a quaint familiarity with 'Carol's' of the past.. And then, and then again there’s Scrooge played by the remarkably talented Tom Stephenson.

Credit artistic director Sean Murray for this adaptation. Billy Thompson’s, original score and Tom Stephenson’s incredible personification of Scrooge as he weaves his way through his all to lonely childhood to becoming the bitter and icy cold persona of Ebenezer Scrooge to the smiling (ear to ear) gentle, almost Santa looking picture with Tiny Tim on his lap at show’s end is a delight.

Cast (Ken Jacques)

Cygnet’s production is charming with just the right amount of fright factor and love to attract old and young alike although McBean’s Marley can be a bit over the top and frightening with his long unkempt gray (sometimes red) hair, arms stretching out and locked in chains crisscrossing his body.

With and an assortment of backlighting by Kyle Montgomery to make him look as if he just stepped out of his coffin (Oops, he did) and mile high shoes, the point is well taken. The bigger than life McBean steps into his role as if he was born to it.

Melissa. Fernandes is always a delight as she takes on about seven or eight characters including Scrooge’s housekeeper, Mrs. Dilber and Mrs. Cratchit the loving mother of Tiny Tim playing opposite Patrick McBride as Cratchit.

Melinda Gilb is the errant Cratchit kid always wanting more food, as the table grew bare by the scene, as well as one of those collecting for the poor. She also adds a bit of humor hamming it up in “Twelve Days of Christmas” before the show.  

Megan Carmitchel and Charles Evans, Jr. and Patrick McBride change characters with the blink of an eye. All lend their particular part of harmonizing making this “Christmas Carol” one fine choice for a holiday treat.

I was particularly impressed with the puppets (designed by Rachel Hengst, Lynne Jennings and Michel McKeon) and the way the actors handled them. It gives the show a very different and genuinely warm quality.

David McBean and Tom Stephenson (Ken Jacques)

Jeanne Reith’s 18^th century Victorian costumes (based on original design by Shirley Pierson), Andrew Hull’s multi purpose set with musical director Patrick Marion behind the piano in the background, Katie Banville’s choreography, Kyle Montgomery’s lighting design (based on original design by R. Craig Wolf), Matt Lescault-Wood’s sound, and Michael McKeon, Lynne Jennings and Rachel Hengst wonderful puppets all come together in this well organized production.  

 Enjoy!  

See you at the theatre.

Dates: Through Dec. 30th

Organization: Cygnet Theatre Co.

Phone: 619-337-1525

Production Type: Musical

Where: 4040 Twiggs St, San Diego, CA 92110

Ticket Prices: 35.00-$65.00

Web: cygnettheatre.org

Photo: Ken Jacques and Daren Scott

San Diego Rep’s “A Doll’s House, Part 2” A Case For Nora.

“Be careful what you wish.”

In Ibsen’s 1879 “A Doll’s House” protagonist Nora, rebellious and pissed off wife of Torvald Helmer walked out on her husband's home one fateful night. She slammed the door behind her after leaving her house keys and wedding band behind, stating the she ‘needs to make sense of herself…’ She never looked back.

That is until Playwright Lucas Hnath’s “A Doll’s House Part 2” opened on Broadway in April of 1917, after being commissioned by South Coast Repertory Theatre in Costa Mesa where Hnath picks up on the lives of the Helmer’s fifteen years after Nora said bye, bye.  

Sofia Jean Gomez and Linda Libby

After that final slam and fifteen years of hard work at being liberated, Norah finds herself knocking or banging on the very door she crashed shut when she left her husband of eight years, along with her nursemaid Anne Marie, to raise their three children.  

Now she hesitantly walks through that very same door into a place once called her doll’s- house. She needs a favor from Torvald that can help resolve some of the legal wrangling she is now being faced with, but will he?

It seems that when she left he never finished completing their divorce papers as he said he would, and she in her fifteen year successful journey of becoming a feminist writer (writing about women who leave their husbands based on her own experiences) designer and gadabout, believed all the contracts she signed on her road to success were legal and binding.

Ergo she acted and went about her business as a single woman but when the wife of a certain judge left her husband after reading Nora’s book, he went digging into her past and found she was never legally divorced. As a married woman she was not allowed to sign legal contracts, etc.  That spelled trouble for Nora especially if she didn’t publically retract everything she said against marriage in her published books.  

“A Doll’s House 2” currently at the San Diego Repertory Theatre on the Lyceum Stage through Dec. 16^th brings Nora (Sofia Jean Gomez) and Torvald (convincing René Thornton, Jr.) face to face once again.

‘Part 2’ is a continuation of Ibsen’s work, but the difference in tone reflects a difference in attitude and is like night and day watching the quick and sharp repartee between all characters.

Rene Thornton, Jr and Sofia Jean Gomez

The text is loaded to the gills with wit and charm as the players now fifteen years older, and the play itself over 130 years old, goes back into their past debates of what used to be before Nora left. “(Everything that was yours got thrown out after you left.”)

Some things change, others stay the same. Or, ‘the more things change the more they stay the same’. While some might dub Hnath’s play as a feminine piece, but to this reviewer, prejudiced as she might be, it is nothing more than the advancement of a women’s place in society and these days,wouldn't raise an eyebrow. Back then, well...

Nora was living out the feminist’s dream after she found herself living alone and content. She was pretty much her own woman, something the male establishment, then and now, finds difficult to digest. It was only in her success that her profession and single-mindedness and being single became a target of revenge and bribery by powerful men of the time. (Well? Ahem!)

Danny Brown and Sofia Jean Gomez

In this latest rendering of who, what and now lives in this new doll’s house, staged with assurance by the Rep’s artistic director Sam Woodhouse, we are given the opportunity to see and decide for ourselves how and if things progressed in the dozen or more years Nora was on her own.

 Greeting Nora at the door Anne Marie (Linda Libby) her once upon a time housekeeper/nanny who encouraged her former employer to come home after receiving a note from her, is a bit unnerved to see her. Now that Nora is inside the house, she has mixed feelings. But we carry on.  

Nora gets the last word with Anne Marie until she comes face to face with both Torvald, who already knew his runaway wife was back in town and is still the mean bastard he was when she left

Sofia Jean Gomez and Rene Thornton, Jr.

She asks and then demands he grant her a divorce. After he backs off by refusing her, (“Are you really after all this time going to stand in the way of me getting a divorce?” “I’m not giving you a divorce because you don’t deserve for this to be easy.”) the battle of the wills begins.

Their now grown daughter Emmy (a delightful Danny Brown) who a chip off the old block still believes in the old fashioned idea of marriage; the very same ideas that led women down the same primrose path Nora took, is about to get into the act. (“For the longest time I thought you were dead.”).  

Nora comes into the household looking like a million dollars (thanks to Jennifer Brawn Gittings classy outfit) with the snow at her back. Feeling a bit awkward, she brazenly makes herself at home by taking off her feathered hat and beautiful ruby red brocade cape that shows off  skin tight leggings, knee high boots and lose shirt like blouse; very Victorian looking. She settles in and and finds a comfortable spot for herself.    

She spars with her housekeeper, husband and daughter making her case known to them all.  When she leaves, walking through the same door she entered with the snow now in her face you know it’s been a long exhausting but satisfying day’s work.

Linda Libby and Sofia Jean Gomez

Both Gomez and Thornton play well off each other. It’s natural and easy to be convinced of their love hate relationship getting into the underbelly of what made them stay together, that is until Nora got fed up with the whole charade. Their banter fuels their feelings but will finally find closure they hope.   

Ms. Gomez, with credits to die for is delightfully charming and steely as Nora and never seems at a loss for words.  She stands by her convictions on what the world of women will look like: “In the future, 20 or 30years from now, marriage will be a thing of the past, and those in the future will look back on us, and they will be in shock, in total-just awe-at how stupid we are, how backward is our thinking…”True to her beliefs she is uncompromising.

Mr. Thornton is convincing but petty and vindictive as he makes his case that everything that happened fifteen years ago is about him rather than them as a couple. Over the course of the day, Nora convinces him that what happened to him also happened to them. Looking for a gentler and kinder Torvald? Stay tuned. 

Linda Libby a long time San Diego favorite is an absolute blast as The Helmer servant. If facial expressions could tell a story as hers is written in every move she makes and she more than anyone adds the humor needed to lighten up the winds of change that will be coming.  

Without a word, we know what she is thinking, as she responds to the series of questions one might ask of one many presumed dead. When she asks what Nora has been up to she gets an earful of how well and successful she has been. Her adventures into the world of feminism, has Anne Marie baffled.

Sean Fanning designed the living space Nora used to live in with grey- planked floors three windows looking out at the steady falling of snow, a few chairs and a bench placed strategically on a steeply raked stage bringing the action closer to the audience. Alan Burrett’s lighting reflects the different images of the snow drifting as Nora comes and as she goes, something one never thinks about when facing a snowfall.  

Rene Jean Thornton, Jr., Linda Libby and Sofia Jean Gomez

Witty, funny, blunt and compelling the exchanges come and go fast and furious. Hnath's operatic like drama is simply top of the line; theatrical and stunning in every way. It is a masterpiece in timing, credibility and pacing. It’s so engrossing that you don’t want it to end.

Two thumbs up.

See you at the theatre.

 Dates: Through Dec. 16th

Organization: San Diego Repertory Theatre

Phone: 619-544-1000

Production Type: Comedy

Where: San Diego Repertory Theatre

Ticket Prices: $25.00-$69.00

Web: sdrep.org

Venue: Lyceum Space

Photo: Jim Carmody