Cynthia Gerber Rises to the Occasion in Lamb’s “The Bell of Amherst”

 Emily Dickinson wore many titles, least of all ‘poet’ until her death in 1886. During her lifetime she penned 1800 poems of which 10 were published. She was often called a recluse and eccentric. She lived in isolation with her parents, her brother Austin, whom she adored and her sister Lavinia. She refused to answer the door when someone approached, instead looked out the window to see who was calling. She dressed in all white, and during her later years stayed pretty much alone in her room. While most of her communications were through letter writing, her wish was that they be burned after her death.

At one time Ms. Dickinson predicted she would be “The Belle of Amherst” (“I am growing handsome very fast indeed! I expect I shall be the belle of Amherst when I reach my 17th year. I don’t doubt that I will have crowds of admirers at that age” Emily Dickinson Museum*) even though she attended but only one dance and that was at her high school dance, where it seems, all her romantic inclinations were dashed when the young man she had eyes on, asked about her sister, Lavinia. But that didn’t mean that she wasn’t a romantic. Her poems and future meetings with men of interest in the literary world, tell us so.

Playwright William Luce's (“There is a mystical energy, an inner tone in her writings,” Mr. Luce wrote in the author’s note to “Belle,”) in “The Belle of Amherst” that debuted in 1976. (It became Julie Haris' signature role). The one woman show at Lamb's is just as moving, a little less somber, with Gerber in the role, as the one I watched on TV with Harris.) This one runs about 100 minutes and  captures the essence of Dickinson including several of her short poems and how her mind works in selecting a topic or words to express her ideas.

Lamb’s Players Theatre artistic director Robert Smyth chose this particular play with seasoned actor Cynthia Gerber to open their 75th season and celebrate the reopening of the theatre after an absence of almost two years as a result of the pandemic. A wise choice in both circumstances. 

Ms. Gerber, who wanted to do this show over twenty years ago, is now up to the task for the role as a more mature and seasoned actor according to Smyth. She has the chops, the experience, the nuances and the credibility, agility and personality to portray Emily in every way beginning with her approaching the audience and offering them her favorite recipe for her chocolate cake. 

A great ice breaker. 

In that period of 100 minutes (without intermission), she flitts back and forth from one side of the stage to another, designed with Maple trees in full fall colors in the background to a sparsely designed interior by Mike Buckley. Buckley is also credited for the lighting design. Projections on a set of drapes in the background gave way to Michael McKeon’s projections of family members to particular words that interested Dickinson.  Jemima Dutra designed Ms. Gerber’s white outfit and Deborah Gilmour Smyth is credited for the sound design.

Gerber begins unraveling Dickinson's life, racing, in some instances, from one thought to another in no particular order. We do learn of her parents, her siblings, her nosey neighbors, her dear friends to little tid- bits of her community in Amherst, Mass where he father was a lawyer and served in Congress to her poems that really revealed her innermost thoughts. 

If ever a role was custom made for a solo actor, Ms. Gerber embodies that role. She’s affable, joyous, oft times sad and morbid, yet reflective. In other words, she too is having a good time with Emily as was everyone in the audience the night I attended.

I give it a two -thumbs up!

Photos by T.J. MacMillan

“The Belle of Amherst” plays through November 14, 2021 at Lamb’s Players Theatre, 1142 Orange Ave. in Coronado. Masks and proof of vaccination required.

For tickets: (619) 437-6000 or https://www.lambsplayers.org

“Shutter Sisters” Opens Globe’s Theatre in The Round

 Unlike the sisters in “Mineola Twins” by Paula Vogel recently seen at Moxie Theater,, “Shutter Sisters” by Mansa Ra now in a world premiere production in the Sheryl and Harvey White Theatre, Mykal (Terry Burrell and Michael (Shana Wride), there is no outward look-a-like resemblance to even suggest that the two have anything in common save they share the same name, different spelling.  No. Mykal (“my mom must have wanted a boy”) and Michael have something they share that siblings from the same family rarely think about: adoption. 

OH, it’s coincidental that they both work at a Shirley Shutter Sore in Atlanta, selling shutters of all makes and brands, What else? The locations of their respective stores are on opposite ends of the city so in essence, they never met.

Mykal is black and Michael is white. Both have been divorced. One has a daughter, the other is childless both are in their fifties, both have been adopted and both have a story to tell

Shana Wride and Terry Burrell

And tell their stories, they do, of their parallel lives in search of their identity.

Set in the round, each of the M’s tell their respective stories without ever looking at the other. Director Donya K. Washington has them talking to the audience most of the time. 

 Michael tells us she has two brothers. She did not know she was adopted but was aware that she didn’t look anything like her siblings or parents. Hers is a story of conflict and not feeling as if she belonged. Frustrated and lonely her mission was to find her birth mother and her place in her life after one of her brothers blurted out that she was adopted. This happened at their mother’s funeral.

Mykal, on the other hand, grew up in a loving family. She succeeded in getting ahead in business and knew the ropes to fit in.  She was smart, aggressive and witty. Her biggest fault was in not seeing through the dangers of hooking up with the wrong guy (“He was trouble, but I didn’t mind a little trouble”) who ultimately left her on her own only to have her move back in with her mother. She overcompensated by spoiling her daughter to death only to be spurned by her. 

Both M’s needed a connection.

In telling their stories Ra has framed a series of monologues designed to fit each personality and both actors embrace their stories with pathos, humor, sadness, pride, regrets and humbleness.  Both are excellent, but the simple truth is that Burrell has the lion’s share of the of the funny and clever lines and tells them with pizazz. Wride’s share of the stories are told in a self -questioning, sort of apprehsive but determined tone.   

                            

Wilson Chin’s set is filled with moving boxes of all sizes and shaped as if someone were moving in or out of someplace. Kara Harmon designed the Shirley Shutters aprons and Zach Murphy designed the effective lighting. Sound is always a challenge in the round. Inevitably someone’s back is facing you and mikes would be appropriate. That would be my suggestion. Sound designer Chris Lane is in charge so it is what it is.  

Ra’s “Shutter Sisters” does give food for thought along the spectrum, adopted or not. There’s always that unanswered question of what helps determine who we become, Nature vs. Nurture. 

“Shutter Sisters” plays through November 7, 2021 at the Old Globe’s Sheryl and Harvey White Theatre. Shows Tuesday, Wednesday and Sunday nights at 7 p.m.; Thursday through Saturday at 8 p.m., Saturday and Sunday matinees at 2 pm.

Photo: Rich Soublet II 

For tickets: www.TheOldGlobe.org or (619) 234-5623

On the Road Again With Octavio Solis'“Mother Road”

When John Steinbeck’s “The Grapes of Wrath” was published in 1939 it won the National Book Award and Pulitzer Prize for fiction. He was awarded the Nobel Prize for fiction., it was that well regarded. In the book, later made into a movie, it chronicles American families fleeing the Dust Bowl (Oklahoma in particular) states and headed for California where jobs were waiting for them. It’s truly a saga set in the great depression following the Joads family, struggling migrant farmers and follows them across Oklahoma to California

Dust Jacket from "Grapes of Wrath

Inspired by Steinbeck’s ‘Grapes’, Solis picks up, in a sense, where Steinbeck’s ‘Grapes’ leaves off only this time the characters, the ancestors of the Joad family, in particular William(Will) Joad (a venerable Mark Murphy) are on the road again, the Mother Road or Route 66 between Bakersfield, Ca. and Sallisaw, OK.  making the trip back. To say that along the way they were treated well or regarded with approval, would be a misnomer.                                            

Richard Jessie Johnson and Celeste Lamar

70 year old cantankerous William is dying of cancer. His last request is to meet and sign over his farm and land to the last heir and blood relative of the Joad clan. He is introduced to Martín Jodes (a handsomly perfect Richard Jessie Johnson) by Williams’ lawyer Roger (an always dependable Jason Heil.

Characters in "Mother Road"

Much to his chagrin William learns that Martín is of Mexican decent. Much to his relief he is an American citizen and migrant worker living in California. Not that he’s prejudice, he’s just a little kerfuffled that an ancestor of his could be Hispanic.

The long trip begins in Wills green Dodge pickup truck where on the way they add to their journey a menagerie of followers including a cross cultural makeup of everything and everyone indicative of what this country represents, the good, the bad and the ugly.

Along the way they pick up Mo a lesbian farm worker (Yadi Correa is pretty out there) who adds some much needed lightness and humor to the trek. She continues on the trip all the way with Martin and Will. James, (Cedric Lamar is outstanding and has been with the show from the beginning) an African American healer who saves Martín from a serious illness and gets him on the road to recovery. Others in the chorus include Javier Guerrero and Rubin Rubio. More homies hop on here and there and act as a Greek chorus of sorts filling in singing some of Solis’ music, reciting his poetry and telling stories. Others in the mix include Amelia (Celeste Lanuza) Martin’s lost heartthrob who keeps showing up looking rather celestial. They pledged themselves years ago. 

Sandy Campbell plays several roles including a waitress in a diner stop Martin and William take for a quick bite. She’s chastised by William who doesn’t agree with her attitude about the migration:( “Well, as I was sayin, y’all sure got farther than we ever did. My grandpa’s car broke down not five hundred yards from where we’re talkin right now. So we settled here. Didn’t quite have the spirit of you Joads. “Mister, I don’t know what your problem is, but you don’t judge my folks for the choices they made. To you, we’re nothin but a rest-stop meal and a potty break. But I raised a family here, and I have friends here, and the love I put in this town has been returned a hundredfold! I like where I'm livin, Mr. Joad. We don’t need your damn Oklahoma. Put that on your tab and shove it up your tailpipe." 

Jason Heil plays several characters but his main character is Roger, Williams’ lawyer and friend who finally shows his true colors when he thinks the farm should go to him. That’s another story and this is where Solis gets bogged down in the nitty gritty of too many stories that wander off, some connecting others not so much as the play comes full circle. 

Artistic director Sam Woodhouse works miracles again. Long as the play is it he kept moving at an OK pace. Charles Murdock Lucas scenery flashed on a giant screen showing the vast landscape as they drove past on their journey east. Jennifer Brawn Giddings is back doing what she does best as well, building the costumes. Chris Rynne designed the lighting and original music and sound designer is by Paul James Pentergast and Cedric Lamar is credited as movement and music coordinator and flight director. 

Mark Murphy and Richard Jessie Johnson

The entire cast along with Woodhouse deserves a two -thumbs up for consistency and endurance.  The play is well over two hours long. With some serious cutting and sticking to a more modern theme of healing the nation of its many stereotypes and letting the audience fill in with their own stories and drawing their own conclusions on how to reunite this country again, “Mother Road” would be more realistic if the audience concentrated on the heart of the story rather distracted by the side stories that were oft times difficult to place in the scheme of things.

It’s a good beginning, however for Solis and his “Mother Road”.

Where: San Diego Repertory Theatre, Lyceum, 79 Horton Plaza DowntownTimes: 7pm Wednesdays; 8pm Saturdays; 2 and 7pm Sundays, through Oct. 31st.

Photo: Rich Soublet II.

Face masks are required.

Talented Samantha Ginn Shines in Vogel’s “Mineola Twins”

Paula (How I Learned to Drive”, “Indecent”, “The Long Christmas Ride Home” to name a few) Vogel has given us another jolting look at how history repeats itself. When I was a senior in high school, I dated a young man who smoked Lucky Strike cigarettes. Instead of the logo on the package was a picture of Eisenhower with the saying, I Like Ike”. Did He? I have no idea because politics was the last thing on my mind and Ike seemed like a good guy. Well there was that scandal about a Vicuna coat and Joe (Have you no decency)McCarthy.

Cast of Mineola Twins 

Vogel, who has a penchant for striking while the fire is hot and zeroing in on social mores and issues of the times, has created a spoof (not always funny, though) with the current production at Moxie; “The Mineola Twins” and placing them in history through three presidents or throughout the ages. Why the twins? The only set of twins I know pretty much agree on most things. Not so much the Mineola Twins from Mineola, New York, in case you were wondering. While they may look identical, (their boobs and hair or wigs tell another story) their thinking covers the gambit from ultra conservative to off the cliff liberal.

Myrna, the good twin and Myra the bad twin have made a pact. They drew an invisible line in their bedroom (Reiko Huffman sets) never twain shall meet or ‘stay out of my space’. Both spaces are occupied by one actor, Samantha Ginn who plays the good, virtuous, unsullied, chaste and above it all Myrna, while on the other side of the same coin or room Myra is a cocktail waitress, drinks, is promiscuous, rebellious, and lives life to the fullest even taking up with Myrna’s sexually repressed fiancé, Jim (Emily Jerez) in a one night fling. She ends up coming out as a lesbian and lives with her wife Sarah (Desiree Clark) and son Kenny. 

Samantha Ginn  and Emily Jerez 
Photo Moxie

The “Twins” lives take off in different directions, both fighting for their individual passions. Myra is active in a radical anti-war group. She is seen disguised as her ‘twin’ robbing a bank as part of the anti-war group’s plan. As time moves into the late 60’s and 70’s Myrna has been in and out of mental institutions, has a teenage son (Kenny Philip Magin, not by Jim) is lobbying abortion clinics and is even willing to blow one up. She’s a popular host of a radio talk show ‘Talk Back, Give Back, Bite Back’. A surprise visit from Kenny (Philip Magin) Myra’s young son (yup by Jim) who idolizes his aunt is there for her autograph. Both boys are following in the path of their aunts, not so their mothers. I guess you could say turnabout is fair play. 

Emily Jerez, Samantha Ginn, Desiree Clark

The action moves back and forth in time and is spaced into dream sequences as defined by the clothes, the wigs and the situations we are witness to. Most of the time scene changes run pretty smoothly considering Ginn and others become fast change artists. Blackouts are at a minimum and keeps the story from lagging.

All characters play multiple roles, and convincingly. Danita Lee’s costume are 60’s 70’s and 80’s right, Missy Bradstreet’s wigs (there are multiple ones) define the decades, Christopher Loren Renda’s lighting is spot on, and Matt Lescault Wood’s sound design is, as always, excellent. 

Between the multi- talented Ginn at her best, Vogel as the expert story teller (her bible stories are a hoot especially the one about Jacob and Esau) and Jennifer Eve Thorn directing, ‘The MineolaTwins’ is a great opportunity for us to take a look at how we, as a society have regressed back to the past where abortion clinics are pretty much banned, lying to the public is an everyday sound bite, shootings are but a mention in the news, women are still sex objects, democracy is on the line, and people are dying of  Covid unnecessarily

Hats off to the Moxie's for consistently bringing women’s issues to the fore.

"Those who fail to learn from history are condemned to repeat it”  (George Santayna)

 

The Mineola Twins” plays through October 24. Thursdays at 7:30, Friday and Saturday at 8 p.m. and Sunday at 2 p.m.  

For information: www.moxietheatre.com

See you at the theatre

 

Roustabouts “Book of Leaves” Leaves Much to Think About

 One of the things I miss about living on the East Coast are the changing seasons. Right about now the foliage is bright with oranges, reds and yellows. By the end of the month the leaves will fall and one can almost burry oneself in a pile of fall colors. But for Walter leaves are not his main concern. The trees that he plants on his many acres of land in rural upstate New York, and in particular, the ‘family plot’ is a day’s work in some cases. 

On this particular weekend, Walter has invited his two grown children and their partners for a tell all meeting. Walter has cancer and his time on this earth is limited. His son Prince has been looking for his dream job as an actor, much to Walters chagrin. Prince’s girlfriend Silvia or Sylvie wants him to follow his dreams and Walter’s daughter, Beth and her husband Jack came looking for some of Walter’s estate money. They are broke having made some pretty risky investments. All in all, all five characters had ulterior reasons for the visit, and none correlated with the others. 

With all that said, much of the above reveal is known only to the persons with the secrets, soon to be uncovered to siblings and parent as the play moves forward. As is the case in many families, secrets, code words, and feelings often take on different meanings to different members. Oft times speaking directly to each other is not an option, so they speak around each other and through each other and about each other as was the case of the playwright’s characters. Family dynamics is so interesting to watch as long as it doesn’t involve our own. 

Co-founder of The Roustabouts Theatre, Will Cooper (“Margin of Error”) was the recipient of the San Diego Theatre Critics Circle Craig Noel Award for outstanding New Play “gUnTopia” in 2020 as well as other plays in progress. With his “Book of Leaves’ currently in a full reading, and premiering on line through Oct. 10th. “Book of Leaves” was a finalist at the Playwrights Development Center in Chicago. 

Justin Lang as Prince and Maybelle Shimizu as Sylvie
Photo by Michael Brueggmeyer

This virtual reading, directed by Kim Strassburger and starring Tom Stephenson as Walter, Leigh Akin as Beth, Justin Lang as Prince, Maybelle Shimizu as Sylvie. Durwood Murray as Jack and Kandace Crystal as Alice the real estate broker all make a convincing case for their causes; some more so than others. But the bottom line in Coopers “Leaves” is that the story is compelling and forces us to take another look at our own family dynamics. 

When Walter tells his grown children that he continued to keep their Books of Leaves (when they were young they all picked a favorite leaf from the back forest of trees and wrote something about it) current to this day, they rolled their eyes in disbelief, but when they looked inside, fond memories came rushing back. Or when the circumstances of their mother’s death finally were told, it crushed Beth. Beth never saw that coming, and when Prince announced that he was going to follow his dream in spite of it all, Cooper and Strassburger manage to be direct without being hurtful, gentle without being wimpy and relevant without being soapy. 

Tom Stephensen as Walter

The staging is a bit odd as the film version was originally a reading and each actor was in essence doing a solo, never really interacting with each other. It looked like nothing I’ve ever seen before. Sometimes it worked and other times the actors, with the exception of facial movements, looked like cutouts set in a living room or tree filled environment. (Michael Brueggemyer is director of Photography and Rebecca Crigler , stage directions.) 

Stephenson’s Walter was able to overcome, for the most part with his wonderful empathetic looks, relaxed demeanor and sincere smile. Justin Lang’s Prince the name is fitting as in 'sarcastically ("What a Prince of a guy") was convincing as the errant son and Durwood Murray had some great lines as Beth’s husband who, I felt was pretty verbally abused by his wife and Kandace Crystal is quite the card as a wanna be actor, as she convinces Walter to sell his property.

(l to r) Leigh Akin as Beth, Tom Stephenson as Walter, Maybelle Shimizu as Sylvie and Justin Lang as Prince.
Photo by Michael Brueggemeyer

Roustabouts Theatre has done some interesting works in the past. Some day in the near future I would like to see Book of Leaves as a full production in front of a live audience.  As an experiment, the story did bring out some much needed family reconciliations. 

Contact theroustabouts.org for more information.

Tickets: $10.00 available through Oct. 22

Running time 2 hours.

See you at the theatre.

"On Your Feet" Bristles With The Beat of Its Own Music

 Moonlight Stage Productions closes out it summer season with the Broadway jukebox hit, the uplifting and crowd pleasing musical, “On Your Feet” through Oct. 2nd. 

With book by Alexander Dinelaris and directed by James Vasquez, choreographed by Carlos Mendoza, and featuring the music of Emilio and Gloria Estefan & Miami Sound Machine, the production bristles with the beat of its own music and right out of the starting gate “The Conga” sets the tone.

Catalina Maynard as Consuelo and Ariella Kvashny as Gloria 
Photo by Adriana Zuniga

“OnYour Feet” traces the success story of the Estefan’s from the early beginnings when a young and naïve eighteen year old Gloria (Ariella Kvashny) is introduced to the lead singer, Emilio Estefan,(Eduardo Enrekiz) in the popular group “Miami Latin Boys” later known as “Miami Sound Machine. He comes calling for her to audition for his group. (“Anything For You”, “I See Your Smile”. All in all, there are 26 musical numbers.)

To say it was love at first sight (“Here We Are”) might be an understatement but Dinelaris’ book (their true to life story) makes us wait a while as their rise to fame for the young Latin’s get to know each other. 

Eduardo Enrikez as Emilio and Ariella Kvashny
as Gloria.
Photo by Ken Jacques

Their story weaves itself through a series of excellent dancing (how about that Salsa, and Cha Cha?) with a crew of some very talented cancers under the leadership of Mendoza and musical director Lyndon Peguda.( and Oh those beautiful costumes by Emilio Sosa) his business disagreements, his management style, and how he took charge of her career. It takes us back in time to their familial roots and shows us how the two made the crossover from Latin to mainstream outlets while not diluting or avoiding political controversies along the way by giving record executives lessons on the realities of the changing faces of America. 

Ariella Kvashny and Co. 
Photo by Ken Jacques

It unfolds in Cuba on a less than successful note for their getting together when Gloria’s mother, also named Gloria (Chrissie Guerrero) and her Consuela, an excellent Catalina Maynard are first introduced.Young Gloria’s mother wants nothing to do with Emilio, his band or his promises. There was no love lost between the two until Gloria’s near fatal accident while on tour years later.

Her reasons stem from the disappointments she experienced as an up and coming entertainer in Cuba when her husband, Gloria’s father (a solid Rudy Martines) an officer under the Batista regime after the revolution was imprisoned by Castro. Finally freed from jail, and he moved to Miami to be with his family.

He volunteered to go to Vietnam where he was exposed to Agent Orange and was later diagnosed with MS. All this was brought up when her mother finally confessed to her why she was so hard on Emilio.  

Ariella Kvashny as Gloria with members of the company
Photo by Fred Tracey

Her catalogue of songs includes “Anything For You”, “Don’t Wanna Lose You”, “Here We Are”, “Live For Loving You”, “When Someone Comes Into Your Life”, “Words Get In The Way”, “Come Out Of The Dark” that she sang on stage, returning to the spotlight after recovering from her horrific accident. No one knew if she would ever walk again. History will show that she did open the American Music Awards of 1991 after nearly a year of physical therapy and encouragement from both Emilio and her mother. 

The talent runs deep throughout the bouncy show and the chemistry between Enrekiz and Kvashny is strong and convincing. Young Diego Mendoza taking on multiple kid’s roles as their son Nayib(how about the Bar Mitzvah Boy, Jeremy (and the breaking of the wedding glass?)with enough rhythm and energy to keep the lights on. Keep your eyes open for that one. 

Blake McCarthy is credited for the projection design and Jean-Yves Tessler, the lighting. 

“Get On Your Feet” with the leads out front and the Miami Sound Machine in the background (on stage), the number that closed out the show must have gone on at least fifteen minutes while the entire audience was, in fact ‘On their Feet’. 

Hats off to Moonlight for keeping the lights on throughout the summer.

See you at the theatre. 

A New Look at A Seasoned Show: “A Chorus Line” At Moonlight Stage Productions Giving The Company a Three of Three ratings of 10’s

In 1975 the Marvin Hamlisch (music), Edward Kleban (lyrics), James Kirkwood and Nicholas Dante (book) and Michael Bennett (conceived and originally directed and choreographed) the musical hit Broadway and never looked back. It received 12 Tony Award nominations, winning for Best Musical, Best Book and Best Score culminating with nine in all. The show ran for 6,137 performances and became the fourth longest running Broadway show ever. 

The last of the last ‘musical within a musical, “A Chorus Line” was produced at Welk Village Theatre where it was abruptly halted due to the Pandemic. It’s ironic that one of the more recognizable tunes is “What I Did For Love” sung by Diana (Milan Magana) and company that just about says it all when it comes from the life’s work of everyone in show business. 

During intermission, I had a chance to chat with Producing Artistic Director Steve Glaudini who had tears in his eyes as he impressed upon me that a dancer’s life is about love, rejection and what is done for the love of dancing, being in a chorus line, auditioning knowing you may or may not make the cut, “(Oh God I need This Job”), possibly injuring yourself and laying bare your soul for the chance of the dance. The Pandemic changed all that and in the process left many behind in its wake. But the show goes on.

Every now and then, it’s good to see it again through new eyes (I’ve seen it at least three or four times over the years) just because it is one of the quintessential dance shows of Broadway’s past (by doing the math, it’s 46 years old), not to mention it is a damn solid and good show, it gives dancers the complete floor ( it starts out with 26 dancers and is whittled down to 8) on what goes into the process of becoming a dancer, and it gives the audience a chance to perhaps, understand how much hard work is involved in making something look so easy. 

Xavier J. Bush as Richie

What the show did not have at Welk was live music with Dr.Randi Rudolp and her 16 member orchestra, a sprawling stage setup outdoors (with spot on lighting by Jennifer by Jennifer Edwards). What Welk did have and continues to a have at the Vista location is director/choreographer Hector Guerrero (using the original dances) and about ten of the cast from Welk. Some of the cast and crew have different roles, but not to worry, each one past and present are excellent. 

The premise of the show is that Zach is conducting interviews for chorus line dancers being interviewed. We also get to see behind the scenes of what it looks like as dancers to go through the audition process before even getting close to the finished product. From there the finished product and in this case, the Big Production Number and finale, “One” (that singular sensation) that always brings the house down). 

Natalie Nucci as Sheila

In charge of these auditions in this show is the director, Zach (Tyler Matthew Burk) who barks out orders to this chorus of those wannabe chosen. He does this by relentlessly probing, questioning and eliminating while all the while getting under their collective skins by having each one gives a brief background of themselves as the “I Hope I Get It” mantra is chanted in the background. This is the heart of “A Chorus Line”. 

One by one Zach prods information from each with the usual suspects and personalities standing out over and above the others. Jessica Naimy as Diana, the brash Latina, who speaks of her toughness with one of her numbers, “Nothing” while relating a touchy, feely acting class she took in school on the one hand, and on the other hand later on in the show, belting out “What I Did For Love” with more emotional tremor than what was expected of her given her tough veneer. 

Cast

 Mike (Michael Jeffrey Scott Parsons) the youngest of twelve who tells how he used to mimic his sister at her dance class by learning her steps in “I Can Do That”. 

Sheila (a terrific Natalie Nucci) is tough as nails and has been around the block several times. In her number, “At The Ballet”, she reminisces about her parents and her dancing lessons and her dysfunctional family life.  The beautiful Jennifer Knox) is Cassie, Zach’s old flame and ex live in girlfriend, have a bit of an on stage why are you here moment ‘after all is said and done and you walked out on me’? Jennifer shows her talent as she dances her solo number that lasts at six or seven minutes if not longer, “The Music and the Mirror”. 

Several of the boys speak of their homosexuality but it’s Paul (Steven Ruvalcaba)) who is given the juicy part as he recalls the pain of his early childhood, his removal from Catholic School when he confesses that he is gay, his dancing in drag after he leaves school and his parents recognition of him as a young man. That monologue opens the floodgates for the audience. Ruvalcaba is a perfect Paul. Danny Gersonde is the flaming Bobby. He sashays his stuff for all to see. 

Jennifer Knox as Cassie

Holly Echsner is on target as Val, the skinny kid with no chest no behind to speak of but a great dancer none the less.  She ends up doing bit of body reconstruction and sings about it in another show stopper “Dance: Ten, Looks: Three” or (“Tits and Ass” showing off her now big breasts).

 Xavier J. Bush (Richie) is the tallest dancer I’ve seen but don’t underestimate; he can kick those babies out as far as the eye can see.  

Samuel Shea is Larry, Zach’s serious assistant who helps run the auditions and Trevor Rex is Greg the Jewish gay man who struts around like a prima donna and talks about his first encounter with a woman when it’s his turn to talk. All in all, the dancing is terrific, the musical numbers are timeless, the voices are all excellent and the passion of the dancers, on a scale of one to ten, hits a ten.  

Moonlight’s last show “Beauty and the Beast” was definitely child friendly. “A Chorus Line” is adult oriented. It is well worth to trip to Vista. 

Steven Ruvalcaba as Paul

According to fun facts on “Broadway Buzz”: director/choreographer Bennett thought up “A Chorus Line” from scratch but the famous interviews was based-hours and hours of tape of dancers sharing their life’s stories-was actually started by veteran Broadway dancers Michon Peacock and Tony Stevens in January 1974’ efore that first interview session, four of the dancers—Sammy Williams, Thommie Walsh, Priscilla Lopez and Kelly Bishop—were so nervous about the event that they met up at Walsh’s house and got stoned.

It was Neil Simon's then-wife Marsha Mason who called up Bennett and suggested (strongly) that he change the ending  and put Cassie into the show (she was not originally) to be less of a downer.

 Clive Barnes "The conservative word for “A Chorus Line” might be tremendous, or perhaps terrific."

I second the motion. 

Photo: Ken Jacques

Where: Moonlight Amphitheatre, Brengle Park, 1250 Vale Terrace drive, Vista

Phone 760 724 2100

Runs though Sept. 4th.

Tickets: $17.00 t0 $59.00

Online: moonlightstage company