“THE COLOR PURPLE” A MUSICAL ABOUT LOVE: A DREAM COME TRUE FOR NVA

 When people think of “The Color Purple”, the first thing that comes to mind is the movie with Oprah Winfrey and Whoopi Goldberg.  But long before the movie entered the picture, Alice Walker, the first Black woman to win a Pulitzer Prize for fiction, wrote the novel “The Color Purple” about a queer Black heroine set at the beginning of the twentieth century, in rural Georgia. The musical adaptation came out in 2005. Her Pulitzer Prize was awarded in 1982. 

Now, in the midst of racial, identity (even after celebrating Juneteenth) and religious tensions, the Dea Hurston New Village Arts Center in Carlsbad is mounting a beautiful, colorful, thoughtful and meaningful production/musical of Ms. Walker's novel through July 21st.

Cast 

Every cast member is black and on opening night several of the cast members were understudies; but no matter, they were excellent and but for the fact that the changes were in the program, no one would have known, least of all yours truly. 

Marsha Norman wrote the book for this musical with music and lyrics by Brenda Russell, Allee Willis, and Stephen Bray with deft directing by Kandace Crystal. 

Taylor Renee Henderson and Nio Russell

The story traces fourteen year old Celie (Nio Russell) through her growing up, years to her-self -realization of her becoming a woman, to her trials and tribulations as a young girl trying to protect her sister, Nettie (Taylor Renee Henderson) to being forced into an abusive marriage to Mister (Kirk Brown) by her cruel ‘Pa’ (Kevane La’Marr Coleman) to meeting entertainer Shug (Hadiyyah Noelle) who Celie nurses her back to health after being run down from some 'nasty woman's disease'. Both find comfort and love with and for each other. The story takes place over a time period from 1909 to 1947

Jasmine January is perfect as a defiant Squeak along with the chorus of churchgoing ladies (somewhat like a Greek Chorus) led by Juanita Harris who shows up with her other church ladies to give us information about the comings and goings of the good the bad and the ugly.   

Nio Russell and Hadiyyah Noelle

Celie’s sister in law Sofia (Erin Vanderhyde Gross) who has the balls to be aggressive in her marriage to Harpo (an excellent Kingsley Jackson), is worn down by society and incarcerations. Celie befriends her as well. In case you hadn’t noticed, Ceile has the patience and character of a saint. The story is uplifting and forgiving. However, if the musical or novel came out today in theatres it would most likely be banned as it was when first was published. 

Ebony Muse, Kingsley Jackson  and Jasmine January

New Village Arts  technical and creative casts are to be congratulated for outstanding performances including Leigh Scarritt’s musical direction and Alyssa ‘Ajay’ Junious choreography, and especially Janet Pitcher’s amazing costume designs in the second act depicting the colors and fabrics of Africa. (I’m jealous).  Pitcher who has been designing costumes for years is also responsible for showing the passing of times as the characters get older and settle in to themselves. Between Jacqueline Dennis’ wigs, Kevin ‘Blax’ Burroughs lighting design and Reiko Huffman’s outlined set design and Marc Akiyama’s sound everything looks and feels picture perfect.

Nio Russell and Taylor Renee Henderson

Celie, who has a right to be bitter with what the world has thrown at her, shrugs off the negative and finds the good in everyone and is able to finally reap the rewards of finding happiness. Russell is able to come across as that woman in both vocal acumen and  sincere acting. The tunes from the musical including “Huckleberry Pie” “Mysterious Ways”, “Somebody Gonna Love You”, “Too Beautiful For Words”, “What About Love”, “The Color Purple”, “I’m Here” are among the musical numbers that speak to the characters in ways that almost want to make you up and dance. 

The Color Purple by Alice Walker has been challenged and banned from school libraries and classrooms in the United States since its publication in 1982. The book has been criticized for its "depictions of violence, sexual abuse, and other issues, including: Racism, Sexism, Poverty, Explicit language, Sexual scenes, Incest, Drug abuse, Troubling ideas about race relations, Man's relationship to God, African history, Human sexuality, Religious objections, Homosexuality.” 

Unfortunately, we have not come a long way Ms. Walker.

Let’s just say  “The Color Purple” is a dream come true for the cast and crew of New Village Arts and now more than ever must be seen. 

Enjoy.

See you at the theatre.  

When: Opens June 22 and runs through July 21. 7:30 p.m. Thursdays and Fridays; 2 and 7:30 p.m. Saturdays; 2 p.m. Sundays. 

Select Wednesdays at 2 p.m.

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

Tickets: $33 and up

Phone: (760) 433-3245

Photo: Daren Scott

Online: newvillagearts.org

“BALLAD OF JOHNNY AND JUNE”. AN ODE FROM THEIR SON

 Johnny and June Carter Cash were married for thirty five years. Some might call it a fairy tale romance, others might consider it a marriage of convenience. Both had spouses when they met, as snippets of their lives  and of how and when it began and ended are seamlessly segued into the story.   

This new musical/ ballad about these legends is now making its world premiere on the stage of The La Jolla Playhouse at the Mandell Weiss Theatre through July 7th. With book by Robert Cary and Des McAnuff,  music by Johnny Cash, June Carter Cash and others, choreographed by Byron Easley and directed by McAnuff,  the tell all tale saga looks to be a rousing success.

John Carter Cash, the only biological child of the musical couple, in collaboration with McAnuff ‘tells it like it was behind the scenes from different points of view’ giving us, the audience, the option to see the royal  couple through a different lens. Narrating the story and playing guitar, the talented 25 year old Cash Or JC (Van Hughes) goes back to the beginnings of the Carter Family where June was a singing sensation on her own. and Cash was coming up through the ranks. Some say they first met at The Grand Ole Opry in 1958.

Patti Murin, Christopher Ryan Grant and Van Hughes

others have differing opinions. 

The story and the music  zigs and zags through the Carter’s to the Cash Family and John’s strict bible thumping family with a no good father, a brother who died in a work accident as a young man, and a would be singer. Where and when they met again is open to speculation, but let’s just say the attraction was there. from the start. June’s family  was a singing family and from the outset looked rather ‘normal’ if you will. The story takes us through the different/difficult  stages of their lives; their drug addiction, alcohol abuse, physical abuse, emotional turmoil and making music together.

Cash started his musical career at Sun Records in Memphis in 1954 where he had an impromptu jam session with Elvis (who was already a star in his own right), Jerry Lee Lewis, Carl Perkins that soon became called the ‘Million Dollar Quartet.’ Several versions of this show have been seen locally and with equally talented actors.  Christopher Ryan Grant played Cash on Broadway. (Locally, Charles Evans Jr. comes to mind.)

Original photo Elvis at piano

But in 1956 success followed him again with one of his all time favorites, “I Walk The Line”, (His signature song). “Ring of Fire” written by June and was later re -recorded by Johnny with a new twist  became another instant success. It was surrounded by all kind of speculation as to how and why the song was written. Let’s just say it's a dandy of a song. Moons later a wonderful musical of “Ring of Fire’ was produced at The Laguna Playhouse. There are no shortages of Johnny Cash impersonators and they are all worthy. The production at The Laguna Playhouses production might be considered a Jukebox musical dedicated to The Man In Black, whereas our new production is not. 

Patti Murin and Christopher Ryan Grant

For this current production Christopher Ryan Grant is exceptional as the elder Cash with a deep bass baritone voice to match his good looks. Patti Murin is a perfect choice as June; pleasant, fun good looking warm and personable. There was also strong connection between the two on stage. Maddie Shea Baldwin, Drew Wildman Foster, Bart Satto, Paula Leggett Chase and Correy West play multiple roles, family and sort of round out some missing pieces as well as play multiple instruments.  So much talent on one stage, so much toe tappin’ hand clapping and foot rocking, rockabilly  brought the audience together having a blast. 

Cash made a pair of recordings, one from Folsom Prison( “Folsom Prison Blues”)  and the other from San Quentin that went gold. He was never an inmate, so they say, but spent the night on seven occasions for minor disruptions. He described himself as ‘The Man In Black” having a soft spot for the underdog. 

Scene showing the couple performing together.

With live orchestra on stage (musicians everywhere) the orchestra is conducted by keyboard/ music director Lisa LeMay. Musical supervision, arrangements and orchestrations by Ron Melrose, Robert Brill (who was in the house on opening night) designed the set with an open and airy feeling like the inside of a train in the background, makeshift homes and the stage of the Grand Ole Opry. Costume design by Sarafina Bush, lighting by Amanda Zieve, wigs by Alberto “Albee” Alvarado, projections by Sean  Nieuwenhuis.

Patti Murin and Christopher Ryan Grant

As an aside: The connection with the Playhouse and McAnuff goes way back to when Mc Anuff directed Roger Miller’s “Big River” (one of my all-time favorites). Cash saw it on Broadway and became an instant admirer of both Miller  and Des. So, it made sense that the younger Cash would migrate to La Jolla and work together with McAnuff and push for on his take of the backstage story of his parents. 

I did happen see Johnny Cash live when he was honored at Kennedy Center Honors Awards in 1956 where his daughter Rosanne Cash paid tribute to him and sang “I’ll Walk The Line”, and  I believe when he performed live from Folsom Prison in 1968 and he sang “The Folsom Prison Blues”.   

My Dad was a country /western fan as well as loving opera. Go figure! So, I just tagged along and developed a love for both. 

From The Playhouse, The Ballad Of Johnny and June” will move to Edmonton, Canada which is co-producing the show in November. 

We wish them well. 

Story well told, familiar music that I could understand, a look back in fond memory of one of the nation’s legends and an evening well spent. 

Enjoy. 

See you at the theatre. 

When: June 9 and runs through July 7. 7:30 p.m. Tuesdays-Fridays; 2 and 8 p.m. Saturdays; 1 and 7 p.m. Sundays

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

Tickets: $25-$119

Phone: (858) 550-1010

Photo: Rich Soublet II)

“FAT HAM”: A "HAMLET" REDO

 The restaging of “Fat Ham” by playwright James Ijames’ 2022 Pulitzer Prize winning play, which also earned 5 Tony nominations, is currently playing at the Old Globe through June 23rd. 

To say that sooo much is happening in Ijames play would be an understatement: Based loosely on Shakespeare’s “Hamlet”, ghosts appear and magically disappear, karaoke, board games and charades are played out. Juicy (Sola Fadiran) our main character, is front and center in this redo of Shakespeare’s work.

The play unfolds as a tragic/comedy but with a whimsical take on the revenge tragedy of Shakespeare’s “Hamlet” when the Danish King is killed and Hamlet goes off the deep end to think that his uncle killed his father and married his mother. But you don’t have to know all this to appreciate “Fat Ham”. Just follow the bouncing ball.

Sola Fadiran, Ethan Henry, Felicia Boswell

Juicy’s problems begin when his friend and cousin Tio (Xavier Pacheco) sees a ghost and tells him what he just saw. Since Tio is almost always stoned, Juicy ignores him until the ghost demands, that Juicy “make his killers thighs into hams, his intestines into chitlins” and serve him up butchered on a table”.  That killer would be Rev (Ethan Henry ) or Juicy’s uncle.

Juicy is an overweight, black,  gay man who doesn’t want to avenge his father’s killer. He just wants to keep attending the University of Phoenix and get his degree in Human resources. He’s not about revenge. According to both uncle and father, Juicy is too soft. They want him to be more like a man but Juicy does not want to be guided by the violence that preceded him.  He wants to break that cycle of strong man tactics and be guided by fate, compassion, identity, family and connection as seen through the eyes of the Black Experience. 

Sola Fadiran

The action begins when Juicy is busy getting ready for a backyard BBQ to celebrate Tedra’s, (Felicia Boswell)  Juicy’s mother’s  marriage to her dead husband’s brother. All the necessities are brought out from Maruti Evans realistic one story home in  the burbs somewhere in the deep south. Evans set design looks like any other peaceful backyard with BBQ, tables and the like. What ensues there, however, is pandemonium. 

m, Xavier Pacheco, Tian Richards, Sola Fadiran

Tedra is bounding with excitement and wants everyone to get along but with this group, as each of her invited guests come to celebrate, the comedy/drama unfolds in waves of chaos and mayhem. Family friend Rabby (Yvette Cason who is a scream and a half and often steals the show) along with  her daughter Opal (m) have as much to reveal as do Juicy and Marine son Larry (Titan Richards). They all have their own stories/secrets to tell. 

The dramedy is emboldened by strong leadership with director Sideeq Heard directing  a solid ensemble and individual standout performers sure of themselves and knocking out as much comedy, empathy and tragedy in equal parts as to draw us in in most unexpected ways. 

Sola Fadiran and Felicia Boswell

Felicia Boswell is one amazing singer and performer. Soft as a mother and a sex crazed woman who can’t stand to be alone. She has a pattern of marrying abusive men.  Ethan Henry (Rev/Pap) is as mean and abusive as the day is long taking no prisoners, Xavier Pacheco’s Tito gives an outstanding monologue wrapping it all up before a standout Las Vagas ending, with Bradley Kings lighting, Mikaal Sulaiman’s sound and Skylar Fox illusion design. Adding to that Earon Chew Nealey designed the wigs, hair and makeup and Dominique Fawn Hill, costumes.

All in all, it was one different night than one expected, but one that got one thinking that not everything has to fit neatly in a little package.  

Enjoy.

See you at the theatre. 

When: 7 p.m. Tuesdays and Wednesdays; 8 p.m. Thursdays and Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays. Through June 23

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

Tickets: $35 and up

Phone: (619) 234-5623

Photo: Rich Soublet II)

Online: theoldglobe.org

THELMA AND LOUISE : TL;DR: THELMA AND LOUISE: DYKE REMIX” DIVERSIONARIES QUEER VERSION OF THE SAME BUT NOT THE SAME.

For those of you who thought Thelma and Louise of the movie died when they went over a cliff at the Grand Canyon while police were in pursuit, think again. 

Yup, they are alive and well as lesbians in their blue ‘66 T Bird in their afterlife. Think if you will, that what we expect, isn’t always what we get. 

Good news/Bad news: I remember the movie: Good news.  The only thing I remember about it is the ending: Bad news. The good news is that “TL; DL, Thelma and Louise: Dyke Remix” is full of surprises. 

The two protagonists Sophia Araujo-Johnson and Sara Porkalob are talented as are the high energy and very loud band members. T is sweet and  naive and L's bestie. L  is protective of her best friend'. 'The Basass Band is a  rock band made up of folks who are not cis men.'

Sophia Araujo-Johnson and Sara Porkalob

 The film is about girlfriends Thelma and Louise our co hero’s. In the play Thelma or T (Sophia Araujo-Johnson) and L …you get the point (Sara Porkalob) are on a journey to discover ‘Is there a right or wrong way to be gay?” 

Several years in the making, this world premiere production  with book and lyrics by Ella Rose Chary, music and lyrics by Brandon James Gwinn and directed by Sherri Eden Barber, “TL; Thelma and Louise: Dyke Remix” is a co -production with Moxie Theatre. Now executive director Jenny Chase and interim artistic director Stephen Brotebeck are completing what former artistic director Matt Morrow started before the pandemic. 

Sophia Araujo-Johnson and Sara Porkalob

Back to the story. TL are not alone in making decisions as to the right or wrong way to be queer. There are  the band members to consider: Marie (Lyric Boothe), guitar, Henrietta (Faith Carrion), aux instruments, Blazer (MG Green) bass and  Cubby (Steph Lehane.), drums. They all have their own ideas and have no trouble expressing them with song, dance and prance.

They sing and act out about 16 or 17 musical numbers. Unfortunately, the sound was  too loud the night I attended. The autistics as well were  not very good so that yours truly could barely understand a word. I did however get the gist of the first number: “Why Do Strong Female Characters Always Gotta Die?” Good question.

Sara Porkalab

Along with their gay Encyclopedia “Lesbiannica” and some animation, a few characters dressed in furry overstuffed costumes, (a la lobster and unicorn) and quite a few F bombs, “TL; DR Thelma and Louise: Dyke Remix”  plus the band, rolled merrily along finding their way to a happy ending with the understanding that to be Queer is whatever you want it to be. 

Define it. Be it. Live it. Love it. Their quest to find the answers took about 90 minutes and then some.

Both Sophia Araujo-Johnson and Sarah Porkalob do great work as T&L. Both seasoned and looking great.  Much of what they have to go through seems tricky but they were able to make the journey into the Dyke Remix feel real.  

Lyric Boothe, MG Green, Faith Carrion, Steph LeHane, Sophia Araujo-Johnson

And while I did not hear the words to most of the lyrics, “The World Is Our Oyster”, “Love Yourself”, “Let’s Keep Going”, as listed in the program, all seemed like a good beginning. 

The creative team: Steven Leffue, Sound Design; Annelise Salazar, Co-Lighting Design; Colby Freel, Co-Lighting Design; Chanel Mahoney, Costume Design; Yi - Chien Lee, Scenic Design; Sierra, Projection Design, Leah Osterman, Projection Design; Jasmine Villalino, Stage Manager. 

As in all new works TL; Thelma and Louise: Dyke Remix” will need some fine tuning by taking what they have now and elevating it to something bigger, with more depth added to the story.  

Enjoy.

See you at the theatre, 

Through June 9. 7 p.m. Thursdays; 8 p.m. Fridays and Saturdays; 2 p.m. Sundays

Where: Diversionary Theatre, 4545 Park Blvd., University Heights

Tickets: $26.50-$71.50

Phone: (619) 220-0097

Photo: Talon Reed Cooper

Online: diversionary.org

 

“NEXT TO NORMAL” : EVERY FAMILY HAS ONE

I may be prejudice, but “Next To Normal”, with book and lyrics by Brian Yorkey, musical staging by Sergio Trujillo and music by Tom Kitt is one of my all-time favorite Tony Award winning shows.

“Next To Normal” opened on Broadway in 2009 and was nominated for eleven 2009 Tony Awards and won three, Best Score, Best Orchestration and Best Actress in a Musical for Ms. Ripley. Just for the frosting on the cake it also won the 2010 Pulitzer Prize for Drama. It will be playing at The Oceanside Theatre in Oceanside through May 26th. 

Someone must be paying attention. 

Danny Holmes, Melissa Fernandes and Berto Fernandez

Family illness is at the core of this heartwarming, touching yet gut wrenching and brilliant musical, bordering on operatic (it’s considered a rock opera) proportions. With and Melissa Fernandes and Berto Fernandez in the leads, this production pulses energy throughout.

Melissa Fernandes, Berto Fernandez, Salema Gangani

The story centers on Diana Goodman (Melissa Fernandes) at the heart of the Goodman family. The glue that holds it together, for better or worse, is her husband Dan (Berto Fernandez) 

For eighteen years the Goodman family, for reasons you will learn when you see the play yourself, has been struggling to cope with Diana’s Bipolar disease, anxiety and the trickle down effects of a series of mental disabilities, much to the detriment of their daughter Natalie (Salima Gangani) and son Gabe, (Danny Holmes) “Super Boy and the Invisible Girl”, and husband Dan.  

Melissa’s voice is vibrant, pulsating, solid and on mark. Her portrayal of Diana is heartbreaking, somewhat like an open wound that won’t heal. She is a lost soul deep in her schizophrenia with moments of lucidness that conjure both pathos and humor much to the credit of Yorkey’s lyrics.

Daniel Filippi,  Danny Holmes, Melissa Fernandes

Her interpretation of “I Miss The Mountains, I Miss The Pain”, where she recognizes that ‘everything is perfect, nothing is real”…and she misses her life, just about sums up her tortured and drug laden mind. It gives us insight to her agony. On the outside, she goes through the motions but just beneath the surface there is a ticking time bomb ready to explode at any moment. 

No one dies of an incurable illness in “Next To Normal”. The sickness that’s paralyzing this suburban family is a silent killer because it destroys life little by little red, green and white, chewable and swallow whole pill at a time. (“Who's Crazy/My Psycho pharmacologist”).

Melissa and Berto

Daniel Filippi making his Oceanside Theatre debut, is a perfect fit into this company’s rendering as one of Diana’s many psychiatrists. He has the look, the voice and the right comportment adding another dimension and a bit of comic relief to the role.  

Fernandez’ Dan, who has the patience of a saint, holds on desperately to what he thought he had and what he wants (“It’s Gonna Be Good”, “Better Than Before”). His performance is brilliant, painful and heartbreaking as he struggles, barely to keep it all together unerringly one breakdown at a time. His intense singing style, his words and emotions come on strong with eagerness and hope as he makes his way through the maze of his wife’s illness.  His, he relates after cleaning up from Diana’s attempt into the abyss, is just a slower suicide. (Catch Me I'm Falling"/“A Light in the Dark”).

Daniel Filippi and Melissa Fernandes

Salima Gangani’s Natalie gives a near perfect portrayal of the rebellious and musically talented teenager who finally comes back to the fold, from the devil you don’t know to the devil you do know.  (“Maybe/ Next to Normal”) Her soaring voice is beautiful with just the right amount truthfulness. Matching her in clarity and passion, as he moves when least expected in and out of their lives, touching them all, is Gabe (Danny Holmes), brother and son who holds the key to his families many secrets. (“I’m Alive”) His physical attributes, good looks and nimbleness give him the tools to tool around Reiko Huffman’s multi -tiered, wooden framed industrial looking set in the burbs.

Marion James Magtibay and Salima Gangani

Natalie’s stoner boyfriend, 16 year old Henry, comfortably played by Marlon James Magtibay, compliment the two as a they muddle through a budding relationship (“Super For You”) floundering and coming together. 

Fortunately for us director Frankie Errington, Dr. Randi Rudolph, Musical Director and Alyssa “Ajay” Junious, Movement Consultant formed the perfect troika to set into motion every step the cast took. 

Kevin “Blax” Burroughs’ lighting design created a ‘light unto the world’ as most of the characters has some sort of light object either on them or were arranging tiny lights in the outline of their suburban  home brought both light and darkness into this somber look at the underside of mental illness, yet always with a ray of hope at the end of the tunnel.  Props and set dressings where ‘things’ were stored or kept, and arranged by McKenna Foote. 

Zoë  Trautmann designed the current day clothing.

In the background the five piece band with Dr. Randi Rudolph conducting and on Piano, Nikko Nobleza on Guitar, Jared Pasimio on Bass, Mike Dooley on Drums and Abigail Allwein on Violin. 

Danny Holmes, Marion James Magtibay, Melissa, Salima Gangani and Daniel Filippi

Staging a musical about mental illness might not be for everyone, but I would recommend this one highly. Pulling the covers over our heads is not an option for helping someone in need and someone is in need every moment of every day. 

See you at the theatre.

When: 8 p.m. Fridays and Saturdays; 2 p.m. Sundays; through May 24

Where: Oceanside Theatre Co. at the Brooks Theater, 217 N. Coast Highway, Oceanside

Tickets: $40 

Photo: Ken Jacques

Online: oceansidetheatre.org 

Family, Friction, Food and Frolic All Jam Packed into “Stir” at The Old Globe.

The Old Globe in Balboa Park is mounting a world premiere production of “Stir” on the Sheryl and Harvey White Theatre in the round through May 26th. Deftly directed by Marcela  Lorca  and co-written by friends Melinda Lopez (Mariana) and Joel Perez (Henry), who also co- star. “Stir” is about food, family, frolic and  friction.

Melinda Lopez, Al Rodrigo, Joel Perez

Food has always been a panacea for love for my family. As a youngster I remember my grandmother (Bubbie) standing over a large pot of chicken soup all day long skimming the fat off the top. My guess is that her mother before her did the same; my mother did it and so did yours truly up to a point. My Dad owned a grocery and Deli and his love of food was in the way he handled it. My oldest daughter bakes Challah, my youngest daughter is a chef by profession and my middle daughter is always praised for her BBQ chicken. You might have noticed that the person writing this has absolutely no cooking prowess and she likes it that way. 

"Stirs" center is about many things: an old family recipe, ‘Classic Cuban Black Beans’ (the recipe is in the program) that brother and sister remember was the food the family ate when funds were low and when on camping trips in the White Mountains of New Hampshire when they were young; the Pandemic, isolation, and memories. 

Joel Perez with green pepper

As adults, Mariana lives in Upstate N.Y. with her soon to be divorced husband (their 2 adult daughters are out of the house) and Henry lives in Orlando, Fla. with their father, Papi (an authentic Al Rodrigo) in a senior retirement home. He went there to help his father with his sick mother and never left. Add to that the isolation brought on us by the Pandemic and you have a lot going on in this 90 or so minute show.  

Henry is gay and single right now. Both he and his father wrangle about where to scatter their mother’s ashes. Henry wants to spread his mother’s ashes in N.H. (his happy place) to finally put her to rest. Papi is not  O.K. with that. Now, ‘stir’ in the fact that the country has just gone through the roughest years of Covid 19, their mother's death. Mariana is still frozen in time. She has not left her house in 4 months and has  gone through cash and personal items like her car to pay for the divorce and is ready to sell their mother’s prized piano. 

Joel Perez, Melinda Lopez and Al Rodrigo

Brother and sister communicate through Zoom while sharing the Black Bean recipe. Yes, they are actually cooking on stage every step of the way. We see the steam coming from the fry pan, smell the onions as they are being diced and watch them ‘Stir’ the pot so as not to let anything burn especially their emotions.  

Commissioned by the Old Globe in their ‘Powers New Voices Festival’ along with “English’ and “Age Of innocence”, “Stir” was a  long time coming (16 weeks) because  both friends were out of work due to Covid. So, what do creative friends, living in different parts of the country, do? Why they Zoom. 

Melinda Lopez on Zoom

Just as an FYI, I still do Zoom classes with my friends, but we know in advance what we will be talking about. In “Stir’, it’s a crap shoot as to what will come up between sharing and cooking a recipe, airing out events that happened between siblings with different memories (I have that in my house)  

while still keeping the conversations and tensions above board before closing the computer down.

Scenic designer Diggle and Production Stage Manager Chandra R.M.S Anthenill cleverly designed the set so that there are two working tables almost mirroring each other with ingredients for the bean recipe, pots, pans, running water,  stove top, storage areas and space for the actors to move around in their ‘own space while never getting in the others’ way. They also carry their laptops so there is continuing talking to each other. Some of the script calls for Spanish but not so that an audience member would have to understand, it goes in and out so fast. 

Credit to lighting designer, Cha See, costumes by Christopher Vergara, and sound by Fabian Obispo. 

Joel Perez and Melinda Lopez

“Stir’ is both charming and funny, has great energy, and brings the past into view, all with a different take. Yes, we all felt isolated, frustrated, and lived in fear, but as we move on, we can look back and assess where we are now, and hopefully smile at our progress and the silly things we did to keep the home fires burning. "Stir" does all that and some.

Enjoy!

See you at the theatre.

When: Runs through May 26. 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: Sheryl and Harvey White Theatre, @The Old Globe.

 1363 Old Globe Way, Balboa Park

Tickets: $33 and up

Phone: (619) 234-5623

Photo: Rich Soublet II

Online: theoldglobe.org

 

“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