PABLO PICASSO IS ALIVE AND WELL!

     

 Not this Picasso! 

This Picasso!  

“A Weekend with Picasso” was the work of a lifetime for Herbert Siguenza; one that the actor/ artist had been preparing for a lifetime. He is simply wonderful, playful and completely at ease as Picasso’s alter ego in this wonderful tour de force.

 

“A Weekend with Pablo Picasso” was workshopped at the San Diego Rep. in 2010 as work in progress. Siguenza, a founding member of the performance group Culture Clash, wrote the piece, which includes quotes from Picasso’s writings. 

The piece was mounted once again three years ago at New Village Arts Theatre and now The San Diego Rep. is presenting the film adaptation of the play for your viewing through Oct.14th. 

I found it interesting…well alarming how my memory failed me after watching the streamed film version recently as I struggled to remember some of the scenes. Yes, some of the newer clips of film were taken outside his residence in the South of France 1957 but the rest was filmed on the stage of the San Diego Rep. The outside scenes were actually lovely and gave an openness to the production.

Herbert Siguenza takes on the role of Picasso with relish. He will tell you in chapter and verse about the man himself as he channels Picasso’s every move, mannerism, mood, philosophy, chuckle and thought. He dances, clowns, speaks several languages and gets dead serious about politics, past and present. It all starts as he is lathering himself in his bathtub. Speaking directly to the audience,  he agrees to let us in on his work habits only of we promise to leave at the end of the weekend.  

An accomplished arti/painter in his own right, Siguenza will paint a few portraits on stage; some still life and embellish some already finished products. He will tell you about the women in his life, (“When I kiss a woman, I leave my eyes open. I want to see everything”) his politics (with passion) and what a great person he is. Well? “I do not wish my celebrity on anyone…not even my worst enemies” …” The whole world demands from me”. 

He’s seventy-six at the time action takes place. “Time is a bandit. When it’s gone, it’s gone. Like a taxi meter. No argument. The older I get, the stronger the wind gets-and it’s always in my face. I’m afraid I have less and less time yet more and more to say”.

                

At the time of the play, the icon Picasso is to work on a commission for six painting and three vases for a wealthy patron. The play takes place over a three-day weekend in his studio in the South of France where he is working feverishly to complete his commission. Speaking directly to the audience, as the performance opens, he agrees to let us in on his work habits only of we promise to leave at the end of the weekend.  

Visuals of a painter at work are everywhere; a pencil drawing of a young Picasso, a photo of Picasso with his wife Dora Maar, cubist paintings, African art, a photo of Picasso working on Guernica, (Giulio Perrone scenic/with recreated styles and clothing that Picasso actually wore in famous photographs by Douglas Duncan 1957/59 that some might call casual elegance.). His studio is visual wonder packed with wooden packing crates, books, photos, food, clothing, easels, engravings with hand scrawled messages and reminders about. 

For this reviewer it was a pleasant trip down memory lane when things were simpler and going to the theatre was a treat and a time to gather with old friends. 

Yes, Picasso is alive and well and as long as we cherish the memories of Siguenza’s Picasso we can focus on that.

*******************************************************

The production is directed by Tim Powell and Todd Salovey, with Sam Woodhouse as Producer. The production team is rounded out by: Chelsea Smith (1st Assistant Director); Catharina Cojulun (1st Assistant Camera); Ashley McFall (Gaffer); Evan Rayder (Grip & Electrician); Matt Lescault-Wood (Sound Mixer & Recordist); Anastasia Pautova (Art Director & Costumes/Props); Sammy Moore (Set Design & Art Department Lead); Kate Reynolds (Location Scout); and Kim Heil (Associate Producer).

The cost of a ticket is $35.00 and can be purchased on line at: sdrep.org/picasso

                

 "The Niceties": Celebrating Sixteen Years of Plays By Women in Celebration of Women.

Congrats to Moxie Theatre on the opening of its sweet sixteenth season. No easy fete this, in the middle of a pandemic where theatres are closed to audience participation and involvement. 

Now the actors must rehearse through zoom and other creative measures. After final rehearsals the actors and necessary staff come together shortly before shooting the film version of the staged play.  Before this show begins, there is a short documentary as to how its all done.

This seems to be the norm so far as theatres getting their audiences as close to being there as not. By using this device, director Delicia Turner Sonnenberg managed to present to audiences a thoughtful, dramatic, informative and sometimes tense  production of "The Niceties" by Eleanor Burgess. 

Deja Fields and Mouchette val Helsdingen

"The Niceties" is a relative new play. It was developed at the Contemporary American Theatre Festival in Shepherdstown, West Virginia in 2017 and made its world premiere during the 2018-19 season in a co-production with the Huntington Theatre Company. 

Burgess studied History at Yale College. “The events in “The Niceties” are based on her own experiences and the clashes over diversity on the Yale campus. 

The play is as contemporary as BLM and racial discrimination in Ivy League Schools, though it has a history lesson that dates back further than 1619/The 1619 Project, perhaps in the 1500’s when the first slaves, about 350, were brought to American shores in Virginia by Portuguese and Spanish slave ships. 

When we first meet our two protagonists Janine, (Mouchette val Helsdingen) and Zoe (Deja Fields) in Janine’s office at an ‘elite university' in the Northeast, Zoe is waiting for American History professor Janine to read over and correct her grammar and historical content of the first draft of her history thesis. Zoe is fine with the grammatical corrections but not so much the corrections about her historical findings. (“I’m afraid you’re in for a substantial rewrite”)  Her paper , “A Successful American revolution was only possible because of slavery”.  Janine off handedly remarks it’s “one of the more imaginative ideas I’ve seen”.

If you weren’t already suspicious of this two hander, Zoe is an African American undergraduate student most likely from privilege and Janine is, well, white and tenured and from a generation ago where Blacks were told to be patient and not make waves.  We learn that she worked her way up the ranks with many publications.  She comes from a modest background, a child of working class parents, is gay, married with a grown, university student, and a son with whom she is estranged. 

It’s a setup that's able to segue deep into discussions of racism, sexism, diversity, privilege, power and the toxicity that permeates this country today. It was even more so when the play was written three years ago. It’s amazing what a change in administration can bring. 

As you might imagine the women duke it on just about every level of political discourse, from when the first slaves were brought to our shores to Googling history, to actually reading about it in hard covered books, to George Washington, the American Revolution, to the abolishment of slavery and what version of history you choose to see in the history books. 

When the volume of disagreements rises, and the combatents are ready for for the kill, all bets are off; all the niceties are left at the back door. And…unbeknownst to Janine, Zoe taped their conversations and posted them on line.  They went viral. In so doing it not only exposed Janine causing the end of her tenure, but put Zoe on notice that she too has ruined her chances of getting her dream job. 

In director Turner-Sonnenberg's deft hands and with some pretty compelling acting, each would earn high grades from this retired kindergarten teacher turned theatre reviewer. Watching the exchange of ideas was like watching a tennis match with the energy toggling from one woman to the other with whip-lash accuracy. At times I found myself rooting for one over the other and then vice versa. 

Both women are up to the task. Deja Fields’ Zoe is sure of herself, rather smug and is as confident in herself as the day is long. Mouchette van Helsdingen’s Janine shows a condescending side at the outset but soon realizes she might have met her  match. They take each other on like the dueling divas, but in the end, there are no winners no losers just differences of opinions. You might find yourselves like yours truly, yearning for discussion, which there was after the performance. 

It takes a village to make a production like “The Niceties” work.  The whole was carefully orchestrated and filmed by Canis Lupus Productions.

The all-female and non-binary Design and Production Team includes: Set Design, Julie Lorenz; Costume Design; Faith James; Lighting Design, Cynthia Bloodgood; Sound Design, Mason Pilvesky; Properties, Angela Ynfante; Stage Management, Beonica Bullard; Photos curtesy Moxie Theartre; Assistant Director, Vanessa Duran. 

“The Niceties,” the filmed version from Moxie Theatre, can be viewed through Oct. 4

Showtimes are 7 p.m. Thursday-Saturday and 2 p.m. Sunday; added 2 p.m. performances Sept. 21-24. .

Tickets ($35 per household, with discounts available) . Phone 858-598-7620 or  moxietheatre.com/playing-now/the-niceties

Running time: 2 hrs., 45 min.

Of her work, Burgess says, “I write to understand things, I write about things that confuse me, I write about things that trouble me, topics where I really thought I knew what I believed and then someone said something that shook me down to my core and all of sudden I realize that maybe I don’t know what I believe.” 

See you on Zoom at the theatre.

 

 "NECESSARY SACRIFICES": A DEBATE THAT STILL RAVAGES AMERICA

 ‘Emancipation is not abolition’. Slavery must be eliminated from every foot of American soil! Finish what you started. What you started. (Frederick Douglass)

Until I watched the excellent production of North Coast Repertory Theatre’s west coast premiere “Necessary Sacrifices” by Richard Hellesen directed by Peter Ellenstein, the two ideas didn’t seem that far apart. 

When President Lincoln issued the Emancipation Proclamation in 1863, he declared “that all persons held as slaves” in the Confederate State (if the states did not return to the Union by January 1st 1863 and if the Union won the war) “are, and henceforward shall be free, most assumed free meant ‘free’. What was left unspoken between the lines is what we have today. 

“A house divided against itself cannot stand.”

I believe this government cannot endure, permanently half slave and half free.

I do not expect the Union to be dissolved — I do not expect the house to fall — but I do expect it will cease to be divided.

It will become all one thing or all the other.” (Abraham Lincoln)

In case you have been hiding under a rock these last four years, The Civil War, to this day, is still being fought and we are indeed, contrary to Lincoln’s speech deeply entrenched in a divided house.

In an absorbing, close to flawless production we, the home audience (more on that later) are treated to conversations, according to history, that Frederick Douglass and Abraham Lincoln’ had in two meetings banter on the idea of the Negro soldier in the Civil War that could/ might have changed the course of history. 

To some degree it did, but in the long run, the idea of emancipation rather than abolition and all the ramifications that come with, are being played out in neighborhoods across this country, from north to south, east to west. In an age old debate that still ravages this country, African American are still not completely free. 

Hellesen’s play commissioned by Ford Theatre made its world premiere in 2017, takes us back to the summer of 1863/1864 in Abraham Lincoln’s office where the debate for equality for the ‘Negro soldier’ is on Douglass’s mind if he is to help Lincoln recruit ‘Negro’s to fight in his war. 

In a give and take that’s as real today as it was in 1863/4 both actors flex their acting skills as the back and forth takes them to places no one expected. Lincoln and Douglass offer differing takes on the same subject of slavery, the right to vote the war and politics and Lincoln’s reelection each one coming from a different point of view yet expect the same results. You know what that is a definition of?

The two skilled actors, tall, lanky and relaxed, personable and down to earth Ray Chambers as Abraham Lincoln gives the impression that he has all the time in the world to hear Douglass and his ideas out. Coaxing even prompting him to justify himself. There are also bittersweet and intimate conversations about their children and wives.  

Hawthorne James’ Douglass, solid looking, formal and eager to get a commitment from Lincoln is no holds barred with his wants from the president. Both hold fast offering their reasons; Lincoln sticking to the makeup and Constitution the idea of states rights and wanting to end and win the war and Douglass returning to reality of the necessary sacrifices of his men if things remain the same. Even pushing the envelope he expects the government (Lincoln) to grant the Negro the same rights as the white (man) and that included voting rights. 

Hawthorne is said to have done this show in concert style a few years ago. Both actors looked and gave the impression that they were more than comfortable in their respective roles. 

Voting for the Negro doesn’t happen until Feb. 26, 1869 when the 15 amendment granted African American men the right to vote. Women didn’t get the right to vote until Aug. 18 1920 (technically) when the 19th amendment passed, but it was some time before all states signed on. 

In an age of what some are calling this the new normal, everything is new and nothing is normal. Since the shuttering of theatres around the world, (as most indoor venues) theatre junkies (OK I’ll just speak for myself) have gone M.I.A. It’s almost like losing your best friend; no one to hang out most nights and especially on weekends. 

Streaming and Zoom chat rooms are popping up all over the place and watching interviews (North Coast Rep) with Artistic director David Ellenstein with actors you are used to seeing on stage are now becoming your best friends.

That being said, this particular production of “Necessary Sacrifices” comes as close to being in the intimate space of the theatre he as one can get without actually having you tush in a theatre seat. According to the theatre the actors rehearsed separately and when sets, costumes lighting were ready and the actors were in final rehearsal Aaron Rumley  filmed and edited following all the SAG guidelines. What we see is the filmed version that will be available for your viewing through Oct. 11th. 

Cost of tickets run between $24.00 and $40.00 at northcoastrep.org

The play together with accurate period costumes by Elsa Benzoni, Peter Herman’s wigs, Marty Burnett’s take of Lincoln’s casual White House office, Michael Silversher’s music and last but by no means least, Aaron Rumley’s editing and choreography. 

Coming up next “Same Time Next Year” by Bernard Slade. It will be running Oct. 21 to Nov. 15, 2020.

 

“Glass Menagerie” Resurfaces At Broadway Vista Theatre.

Tennessee Williams memory play “The Glass Menagerie” still resonates after all these years. It opened in Chicago in 1944 and subsequently moved to The Playhouse Theatre in New York in 1945. It went on to win the New York Drama Critics Awards. It is currently in a sobering, yet oft times superficially funny production in Broadway Vista Theatre (‘The biggest Little Theatre’) through March 22^nd.

Set design by Randall Hickman 

The play is set in the St. Louis apartment of Amanda Wingfield (Terri Park) and her two adult children, Laura (Marisa Taylor Scott) and Tom (Tim Baran). The time is 1937 and the country was in the middle of the depression. Tom works in a shoe factory (Williams sold shoes for a time) and Amanda sells magazine subscriptions from her home, much beneath her status as a genteel Southern belle when a young girl. 

Money is tight but hope springs eternal for Amanda, the faded yet once popular belle, as she glides around their apartment recalling her glory days as a teen growing up in the south. Her repeating and reliving her past encounters with her own ‘gentlemen callers’(seventeen in one day) fascinates Laura, who longs for a gentleman caller of her own, but it annoys the hell out of Tom.

Terri Park and Tim Baran as Tom

Amanda doesn’t comprehend why none come to call on Laura, her emotionally fragile daughter whose noticeable limp has her cut off from reality and plunges her into a make believable world of a glass animal collection, her favorite being the unicorn, a solitary and mysterious creature, much like Laura was to her mother. 

Baran’s Tom is narrator (Williams alter ego) speaking directly to the audience while also assuming the role of Tom: “The stage magician gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion."

As narrator breaking the fourth wall, he tells us that he would rather be any place than at his mother’s house. He longs for adventure, action and escape. He’s annoyed at her nagging, her interfering, her stories of past glories and her pettiness. Everything he does; drinking, writing and spending most of his off hours at the movies, a tale Amanda refuses to believe, pushes him closer to leaving.  The one thing he can’t ignore is his affection for his sister.

Nathan Wetter as Jim and Marisa Taylor Scott is Laura

Nathan Wetter’s Jim O'Connor Laura’s one gentleman caller is a breath of fresh air. His mere presence in the Wingfield’ s home casts an unusually broad shadow bringing with it a sense of hope and optimism even though his own dreams have been shattered. A popular athlete in high school and someone Laura once had a crush on and now a shipping clerk at the same shoe factory as Tom, his invitation to dine with the Wingfield’s brings a ray of hope for Amanda.

His repartee with Laura is sincere, convincing and winning and one that many hoped would have turned out differently for Laura. Wetter fills the bill perfectly as Jim. Unfortunately for Amanda who had high hopes for Jim, it began and ended in one evening. This is a tragedy of Greek proportions after all.

And so the last words that Tom speaks, “Blow out your candles, Laura, - and so goodbye.” breaks your heart as Tom, the one ally Laura has leaves the house to the two emotionally fragile women who are left to their own devices to survive; one’s imagination wanders to the next step.   

 ‘Menagerie’ was Williams’ first successful professional play and his most autobiographical. Laura or Rose, his sister, (as was her given name), who was thought to be mentally ill because of her instability, underwent a frontal lobotomy that just about sent her brother over the edge. Some even suggesting that it was the cause of his heavy drinking

Tim Baran, Terri Park and Marisa Taylor Scott

Williams would later expand on this literary form as he showed us in his ‘Menagerie’ with matriarch Amanda and her mood swings, (look at Blanche in “Streetcar”) her almost hysterical yearnings for her lost youth, her daughter’s inability to cope and her son’s threat of leaving them. Tom was, after all, the primary breadwinner in the family.  He was so much like his absent father, the one character never seen but for a photograph on the wall, that his leaving was but a matter of time.   

Doug Davis and Randall Hickman producers, set designers, lighting designers, costume designers, you name it are a two person dynamic duo responsible for the whole ball of wax including the choice of plays selections. According to Davis, ‘he and Randall love Williams and wanted to include one of his plays in this year’s lineup.’ On the lighter side, “Beau Jest” and “Brighton Beach Memoirs” (Neil Simon’s first of his ‘B’ trilogy) follow.

Nathan Wetter and Marisa Taylor Scott

Hickman directs as well as digging in on other projects to make this production user friendly. His set design is especially attractive, somewhat easily navigable in such a small space, slightly off center as are the characters, and on spot time period with props by both men adding touches into a glimpse of the times.

Under his direction the ensemble worked well together but individually, the overall the production was uneven on opening night. Terri Parks putting in a very strong Amanda, with every detail of her as the domineering mother and head of household was on target.  Its no wonder Marisa Taylor Scott’s Laura cowered under strong personality and Tom recoiled from her. She just didn’t get it.

Terri Park and Maisa Taylor Scott

Some grievances that distracted include the fact that Baran’s projection and enunciation wasn’t clear enough to meet my listening standards and Ms. Scott’s almost senile behavior (while it might have been in the script, she was painfully shy, delicate and compassionate and to my recollection an ‘emotional cripple’, but not senile) was disturbing.

And stepping off my soapbox, if there is one theatre or ten mounting a Tennessee Williams play, make every effort to see it (them). Not enough theatres are producing the classics. Here is your chance. 

Kudos to the men behind the curtains for their brave undertaking.

See you at the theatre.

Dates: Through March 22nd

Organization: Vista Broadway Theatre

Phone: 760-806-7905

Production Type: Drama

Where: 340 East Broadway Suite B, Vista, CA 92084

Ticket Prices: $25.00

Web: broadwayvista@gmail.com

Photo: Randall Hickman

North Coast’s “The Outsider” Tickles, Taunts And Jabs In Political Satire.

Paul Slade Smith’s “The Outsider” currently making a West Coast premiere on North Coast Repertory Theatre’s stage in Solana Beach through March 22^nd knocks a triple whammy (as in ‘sock it to me’); hit me over the head, in your face farce.

 It’s also a comedy and a tragedy and satire. You name it. As directed by artistic director David Ellenstein and with some of the best comedic actors San Diego has, along with very little subtlety, and warned by the ushers upon entering the house, “a visit to the loo before the show would be advised because non-stop laughing might lead to peeing your pants, it’s touted as being that funny”.

John Seibert as Ned Newley

Laugh we did, pee our pants, not so much, cry in our boots, almost and nod in agreement that what’s political satire today, could in fact lead to political tragedy tomorrow if the message weren’t so outrageously on target.

Smith wrote the play in 2015 when things weren’t as critical as they are now. The more we enter into the twilight zone of politics 2020 Smith’s political musings become the reality most would like to forget.

(L. To R)
Shana Wride, Christopher M. Williams, Louis Lotorto, John Seibert and Jacque Wilke

Ellenstein’s more than competent cast with the inimitable Jacque Wilke as Louise, who is hired as a temp to answer the phones  (“Just to let you know, phones are not my strongest area.”) is a breath of fresh air as the ever smiling optimistic receptionist who manages to eat all the waiting room candy and then ask it it’s OK? 

Bright lights like Wilke are a must in every production when ‘looking at the bright side’ is a necessity.

The brunt of the political ‘outsider’ in Smith’s play of the same name is the guy not quite ready to step into the shoes of the ‘insider’, a smooth talking governor, who was thrown out of office because of a sex scandal…don’t compare, it takes the fun out of it. No, he’s the polar opposite of the last guy to fall.

John Seibert as Ned and Loius Lorotto as Arthur Vance

Ned Newley (a quirky John Seibert) is/was lieutenant Gov. of his small New England State (Sounds like Vermont by way of references) but is suddenly propelled into the job of now being the head of the state.  He must make an appearance on TV announcing his new job. He is paralyzed at the thought of it and bumbles his way through a three-minute interview and swearing in ceremony that wouldn’t impress the least savvy of voter.  

When the reviews or polls come in by pollster extraordinaire, Paige, (a sharp and comically nimble Shana Wride) on his approval ratings as to his first ever TV appearance, he fails mumbling, stammering and trembling. But good news is in the way in the person of Arthur Vance (Louis Lotorto) a big shot  ‘on CNN every election night.’ He wants to be Ned’s political consultant/ advisor. Lotorto, last seen as Emperor Joseph II in the Rep's "Amadeus", pust in a convincing performance the man in the know of politics.

Dave Riley (an appealing and savvy comic in his own right Christopher M. Williams) who was the sole person on Ned’s staff as Lt. Governor, soon to be Governor, that is until there is a special election making it official, has his doubts about Vance and reluctantly goes with the flow. He invites TV reporter Rachel (an appealing Natalie Storrs) to question Ned but that too goes badly. 

John Seibert, Jacque Wilke, Natalie Storrs and Max Macke (in background) 

Timing, the say, is everything and on that score two things are evident: the timing of the show being produced at this particular junction just as the primaries for 2020 are in the news and are alignment with the sun, moon and stars, so too is the excellent timing of the actors especially when they get into some of the most outrageously hysterical situations. This is where PMP comes in.

John Seibert, Jacque Wilke, Natalie Storrs and Max Macke

Vance tries to persuade the public and Ned’s staff of two that being the ‘outsider’ might just be the way to go to win elections. He dumb’s Ned down to look like a country bumpkin clothes and all, (Elisa Benzoni) and promotes him as a man of and for the people. All this happens on Marty Burnett’s ‘official’ looking and handsome government office looking single set.

Truth will have it, as Ned’s fall and rise in the numbers game, the big surprise is that he’s smarter and sharper than anyone in the room on a one on one as with the TV soundman A.C. Petersen (a tongue tied one note spot on Max Macke) the ‘everyman’ Ned’s consultant’s are counting on.

Christopher M. Williams as Dave and John Seibert is Ned

Smith’s “Outsider” is a romp into the world of political extremes as seen through different lenses as the population shifts from one end of the spectrum to the other. Fortunately Director Ellenstein keeps the pace at elevated speed as we watch the transition of Ned from someone behind the scenes to just what the state needed in the person as, yes, everyman.

With a cast equal to the task everyone on board has their moments but no one will forget Ms. Wilke, whose performance is consistently at a at the top of her game.

Enjoy!

See you at the theatre.

Dates: Through March 22nd

Organization: North Coast Repertory Theatre

Phone: 858-481-1055

Production Type: Comedy/Satire

Where: 987 Lomas Santa Santa Fe Dr., Suite D, Solana beach, CA

Ticket Prices: Start at $46.00

Web: northcoastrep.org

Photo Credit: Aaron Rumley

“A Kind Of Weather” Makes World Premiere At Diversionary Current Fare.

Playwright Sylvan Oswald identifies as a transmasculine interdisciplinary artist. That’s a mouthful for those of us just getting used to the words ‘trans’ or ‘transitioning’ or ‘transgender’, gender nonconformity, transsexual, gender reassignment, queer gender or labeling ones self as we/they or us. In the words of other mortals, “Get used to it!~ 

August Forman and AndrewOswald in "A  Kind Of Weather" At Diversionary.

Just recently at the San Diego Theatre Critics Circle Awards Ceremony, gender -neutral “Best” awards were ‘transitioned’ into categories that used to be gender identified.

No longer applicable thanks to artists like Jeremy Wilson, who won Outstanding Lead Performer in a Play as Hedwig in Diversionary’s “Hedwig And The Angry Inch”, or Pig Pen’s/ Old Globe’s Bianca Norwood’s portrayal of Despereaux at the Old Globe’s “The Tale Of Despereaux”, gender -neutral is here to stay.

In program notes Executive Director Matt Morrow writes: “While A Kind Of Weather” is not a ‘trans 101’ or trans coming out story, it does explore how gender fundamentally influences our lives, and how we as humans are always in a state of transitioning.”

Kid, an impressive August Forman, now making an outstanding debut in Sylvan Oswald’s world premiere production “A Kind Of Weather” at Diversionary Theatre through March 8^th, gets an unexpected visit from his father Grey (Andrew Oswald -no relation to the playwright) whom he has not seen or been in communication with for some time.

August Forman as Kid in "A Kind of Weather" 

Why Grey shows up on Kid’s doorstep at his one bedroom apartment in Flatbush, N.Y. is anyone’s guess. Surely it’s an uncomfortable situation especially when he learns the stay is not just an overnight one. Nope. Suitcases indicate more than a one night stand.

The last time Grey saw Kid he was a she and now he is a transgender man on the verge of writing his memoirs about his transition. Unless I missed something, I’m still unsure of the Why of Grey’s visit unless it’s as simple as he’s lonesome and had no where else to go.

We learn Grey left his medical profession/practice and had an affair while married to Kid’s mother. The mother left the family home to spend time on Jamaica in a shabby motel room where both parents enjoyed good times. Shortly after she arrived on the island, she died. Period. Its no wonder Grey looked as confused as I felt. 

Marci Anne Wuebben and Andrew Oswald

Janice (Marci Anne Wuebben) was Grey’s par amour.  In flashback, she shows up during happier times when the couple was playful, in love and loving life. Why she left Grey after their affair is never fully explored.   

Oft times Grey is aware he’s in Flatbush, other times he thinks he’s in Jamaica, the island that is, not the Jamaica in the borough of Queens. There is no question he’s confused, sad and lonely. On the other hand, Kid seems pretty well adjusted for someone going through some tough life altering changes and all he wants is be left alone.

Kid is also a writer and on a book deadline. He is in the throws of a romantic affair with his book editor Rose (Andréa Agosto) and in between his life he’s trying to deal with his father’s acceptance of now having a son, depression, loss of wife, lover and especially his daughter; a quadruple whammy.

Cast of "A Kind Of Weather"

In the wings, Ricky (Solomón Maya) Rose’s boss, has concerns that Rose’s relationship with Kid will get in the way of her being a fair broker. Why his character is important to the story still  baffles me.

“A Kind Of Weather” as directed by Bea Basso, is time jumping and fluid as the prevailing winds. As a nonlinear piece the transitions from past to present to Flatbush to Jamaica can happen in the space of moments. Helping to follow with the transitions come when Forman and Oswald break the fourth wall and speak directly to the audience and to one another sharing family secrets and light banter.

Andrea Agosto and August Forman

As usual Diversionary is at the top of its game with an excellent cast. Andrew Oswald just having received ‘Outstanding Lead Performance Award’ from the San Diego Theatre Critics Circle for his role “Hour Of Great Mercy” at Diversionary continues on his roll as Grey, the displaced father in the middle of a life crisis. You can feel his pain, vexation and bewilderment that is a part of his mental being as he tries to navigate through life, as he knows it now.

Both men play well off one another and the exchanges they make are about as you would expect between parents and their offspring with one big exception, the tone between father and daughter is much different than between father and son. It shows once again that gender plays a significant role in how and what we relate to our children.

Andréa Agosto, Kid’s book editor, in this relationship with Kid shows signs of discomfort with her romantic involvement but remains confident in the book deal. She conveys that sentiment beautifully.

Marci Anne Wuebben is the breath of fresh air in the room that erases the underlying currents of despair when she and Grey relive their happier days, dancing and singing, drinking and being just young and frivolous again.

This ninety -minute no intermission play plays out on Yi-Chien Lee’s impressive wood slatted stage with all the intricacies leading to and from different locations.

Elisa Benzoni (another award recipient for costume design), designed the contemporary clothes matching each personality.

Andrea Agosto and August Forman

Lighting Designer Joel Britt’s lighting creates the changing moods and MaeAnn Ross’ sound complement the overall production.    

“A Kind Of Weather” is the first in a three play series on gender that Diversionary has on the docket. 

More to follow.

See you at the theatre.

Dates: Through March 8th

Organization: Diversionary Theatre

Phone: 619-220-0097

Production Type: Comedy/Drama

Where: 4545 Park Blvd. San Diego, CA 92116

Ticket Prices: Start at $15.00

Web: diversionary.org

Photo Credit: Simpatika