“LOUISA GILLIS” MAKES WORLD PREMIERE AT NORTH COAST REP.

Playwright Joanna McClelland Glass is no stranger to David Ellenstein or The North Coast Repertory Theater. In 2021 her play “Trying” was produced and streamed at NCR during the Covid outbreak, again directed by Ellenstein.  At that time, I wrote  “The story is based on playwright Joanna McClelland Glass’ experience as an assistant to famed Attorney General and Chief Judge at Nuremberg, Francis Biddle, during the final year of his life”. 

As a matter of fact, I was able to see “Trying” at The Ford Theatre many, many moons ago when my late husband was in D.C. on business. At that time Glass was in her early twenties and Biddle was 81. Today Glass is 89 and still going strong, ergo “Louisa Gillis”. 

“Louisa Gillis” is a play of a very different stripe. It is oft called a mystery, but not in the usual sense. It’s more psychological than logical; actually, it oft times defies logic. But no spoilers here. It is funny, but not a comedy. It deals with old secrets, alcohol addiction and a letter of demands left behind by Louisa that keeps the family almost paralyzed and in a state of dysfunction. Putting them altogether and putting the pieces in the right places is the puzzle sought after by the audience and the playwright.  

Faline England, Caroline Renee, James Sutorius and Denise Young

The characters include Steven, (James Sutorius who also played Biddle in NCR’s “Trying”) Louisa’s ex; Celia, (Faline England) Louisa’s cast aside and bitter daughter by Steven; Lucy, (Caroline Renee) Louisa’s granddaughter (Celia’s daughter who is once remover from Louisa but has to deal with her mother’s drinking problem. She is also a college dropout), and his loving and kind Helga, (Denise Young) Steven’s now wife of forty years. 

Caroline Renee and Denise Young

And while we never actually see Louisa she is very much a part of each character for better or worse. Mostly the later. The wall of pictures in the background is a reminder of her existence. 

Steven is a retired college professor who can rattle off Shakespeare, Homer, Socrates, and any and all the great philosopher’s chapter and verse at the drop of a hat. But what’s bothering him right now is the fact that Celia, using the money she inherited from Louisa, has moved him to a retirement community facility in Connecticut far from his beloved apartment in New York City. And no laughing matter, he is close to death because of a heart disease, again, which Celia is paying his medical bills.

Sutorius, who played Biddle in “Trying”, is absolutely outstanding as Steven. He is on the money and his lines crackle! He may be next to dying in the play, but is very much alive with his deliveries and Glass has given him some doozies. 

Faline England as Celia

Ms. England had the drunk scenes down pat, but watching her reminded me of growing up with an alcoholic father. No laughing matter, that! She had a special affinity to Jack Daniels. Her daughter Lucy (Renee)  whose performance was also so natural and believable, was the one taking care of her. I had  rachmanus (sympathy) for her. Denise Young (who also happens to be Ellenstein’s wife) was gentle and caring of all the characters. As the outsider, she was able to get to her husband when no one else could. In the end, she was the catalyst  that brought some humanity and peace to this troubled family. 

Marty Burnett’s set, is as usual, functional and detailed. Matthew Novotny’s lighting specifically focuses on both places of residence (which could have been confusing). Elsa Benzoni’s costumes fit each personality, and Matt Fitzgerald’s sound brought on some heavy rain on cue.  

With Artistic Director Ellenstein at the helm,  and a few minor changes, Glass’ “Louisa” could go on to have a life elsewhere. 

The production is 95 minutes long without intermission.

Enjoy.

See you at the theatre.

When:  Runs through Feb. 8. 7 p.m. Wednesdays and Thursdays; 8 p.m. Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. and Sundays.

Photo: Aaron Rumley

Where: North Coast Repertory Theatre, 987 Lomas Santa Fe Drive, Solana Beach

Tickets: $58.50-$80.50

Phone: 858-481-1055

Online: northcoastrep.org

 

“SIX THE MUSICAL”: LOTS OF GLITTER WITH SOME HISTORY MIXED IN.

 

The Six Wives

I’ve been wanting to see “SIX The Musical” by Toby Harlow and Lucy Moss for some time now. It debuted at the Edinburgh film festival in 2017, was picked up on London’s West End and officially went to Broadway in 2021. It’s presented as a concert-style show as the queens compete to see who will score as the most popular. 

I love history and the thought of a musical about Tutor History, King Henry III and his six wives sounded intriguing: Catherine of Aragon was married to Henry the longest and for that she was sent to the Tower of London and died in isolation so Henry could marry Anne Boleyn, Catherine’s Lady in waiting. 

Anne was beheaded, followed by Anna of Cleves followed by Katherine Howard who was beheaded and finally Catherine Parr who outlived Henry but died in childbirth.

Emma Elizabeth Smith as Catherine of Aragon in the North American tour of “Six.” (Photo by Joan Marcus/Broadway San Diego)

The night I saw the show it was hoping with enthusiasm from young and old alike but mostly the younger set. (My date commented that we were probably 50 years too late to be overly zealous.) 

Aside from not understanding all the lyrics, (it was verrry loud, Paul Gatehouse), it was high in energy, eye blaring glitzy, sequine with costumes by Gabriella Slade, choreographed with precision by Carrie-Ann Ingrouille, and vibrant stage lighting by Tim Deilin. 

 The on stage band consisting of bass, guitar, drums keyboard, synthesizer are under the direction of music coordinator Kristy Norter. 

There is no substitute for the talent and strong voices on the stage on opening night with Emma Elizabeth Smith as Catherine of Aragon, (“No Way”), Nella Cole as Anne Boleyn (Don’t Lose Ur Head”), Kelly Denise Taylor as Jane Seymour (“Heart of Stone”), Hailey Alexis Lewis as Anna of Cleves (“Get Down”), Alize Cruz as Catherine Howard (“All You Wanna Do”), and Tasia Jungbauer as Catherine Parr (“I Don’t Need Your Love”). 

Finally, Girl Power wins out and the competition is dropped as all SIX sing “The Queens”. 

All this in just over 90 minutes without intermission. 

There is still time to catch it. It’s playing through Sunday Jan. 4th at the Civic Theatre.

Enjoy!

See you at the theatre.

Through Jan 4th 2026

San Diego Civic Theatre

1100 Third Ave

San Diego, CA 92101

STERLING CAST SHINES IN BACKYARD RENAISSANCE “THE WAVERLY GALLERY”

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

Katie MacNichol and Deborah Gilmour Smyth

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

Deborah Gilmour Smyth as Gladys

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

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

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

William Huffaker and Deborah Gilmour Smyth

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

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

Deborah Gilmour Smyth and Tom Zohar

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

Tom Zohar (in background) William Huffaker and Alexander Ameen

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

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

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

Cast

Don’t miss this timely play. 

It plays through Nov. 22nd.

See you at the theatre

Enjoy!!

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

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

Photo: Michael Makie

Tickets: $15-$50

Phone: 760-975-7189

Online: backyardrenaissance.com

 

“MASTER CLASS” CAMPBELL MASTERS THE MASTER TO PERFECTION

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

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

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

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

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

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

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

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

Campbell and Sara Frondoni

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

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

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

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

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

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

Ben Read, Sandy Campbell with Kyle Adam Blair

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

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

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

Enjoy.

See you at the theatre. 

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

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

Tickets: $30-$52

Photo: Daren Scott

Phone: 858-395-0573

Online: theroustabouts.org

 

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

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

JoJo Levesque and Anoop Desai

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

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

Cast

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

Lesley Rodriguez Knitzer and Cast

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

JoJo Levesque and Ashley Blanchet

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

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

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

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

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

Enjoy. 

See you at theatre.

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

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

Photo: Rich Soublet II.

lajollaplayhouse.org.

“RENT” HITS THE GROUND RUNNING AT NVA.

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

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

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

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

Josh Bradford and Brennen Winspear

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

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

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

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

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

Van Angelo, Shannon McCarthy, Lena Ceja

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

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

Lena Ceja

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

Cast

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

Nuff said.

Enjoy.

See you at the theatre.

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

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

Tickets: $35-$80

Photo: Dupla Photography/Jason Sullivan

Phone: 760-433-3245

Online: newvillagearts.org

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

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

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

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

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

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

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

Shauna Wride and Andrew Oswald

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

Daisy Martinez

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

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

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

Andrew Oswald and Eileen Bowman

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

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

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

Emma Nossal

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

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

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

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

See you at the theatre.

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

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

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

Photo: Karli Cadel

Tickets: $58 and up

Phone: 619-337-1525

Online: cygnettheatre.com