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

 

It’s a Memory Play. It’s a Love Story. It’s a Story of Assimilation. It’s a Trip of a Lifetime on a ‘E ’Ticket in San Diego Rep’s '57 Chevy”. Hop on Board

 There is something to said about memory plays that bring out the fuzzy feelings in some of us. In Emmy Award-winning writer, Cris Franco goes back to the days when his father Cris Sr. moved the family from Mexico to South Central Los Angeles, a culturally diverse neighborhood, where young Cris and his siblings flourished.

But nothing lasts forever and when the family grew financially, they moved to ‘the San Fernando Valley' when young Cris was only 10. In his own words, ‘where everything looked the same and lacked any diversity’. Their family stood out as the only Hispanic family in the neighborhood. On the other hand, Cris Sr. moved to a bigger shop and the family prospered even more. 

Salinas acts out in chapter and verse (85 minutes) the goings and comings of their family dynamics, of self a -confident and self -determined immigrant who bragged about coming to America ‘legally’ to give his family everything any family could dream of: ‘The American Dream’, a big screen color TV, sending his children to a private school, albeit Catholic and a big home in the burbs, like it or not. 

In his one man tour de force, Rick Salinas (of the original Culture Clash) becomes Cris Sr. and a host of characters (18 in all) including their ‘Tia’ Miss Mimi Barnes, who got him a job in a Volkswagen auto shop and a work visa to come to the America after Cris fixed her VW Bug. 

In describing his dad, Cris calls him Mexican duct tape; “he could fix anything”. His claim to fame was that he was a master mechanic, but dirt poor; “old Mexican eat the dirt poor”.  His specialty was fixing German automotive i.e. Volkswagens, but when push came to shove, his real love, next to his family was his '57 Chevy that he paid $1802.00. With this purchase, Cris felt he had achieved ‘the American Dream’. 

Rick Salinas as the Senior Franco

In his rendering, Salinas is a as busy as a queen bee in a beehive, moving all over the stage, (designed by Christopher Murillo) as an old garage, the Chevy, (“See the USA”) his home and using anything available in the mix and match of discarded clothes, furniture, an old vacuum cleaner, a wagon filled with anything and everything, ponchos to an old vacuum cleaner, and a wooden mixing spoon that he used as a shift lever for the Chevy when he was driving the family on outings on his day off. 

It is directed by Herbert Següenza (another original Culture Clash member) and artistic director Sam Woodhouse. Along with Salinas the memory play and excellent directing by the dynamic duo, Franco’s homage to his father is both heartfelt and rock bottom honest;  “a classic”,  especially when he admits that he will not follow in his father’s footsteps to follow in the family business but will become a writer instead, and lucky for us.                                  

Along with Murillo’s everything goes set design, Mextly Couzin’s lighting, Matt Lescault’s sound, Carmen Amon’s creative costumes and Fed Lanuzo’s music, Cinematography and projections/photography by Tim Powell and Elizabeth Barrett and stage manager Heather M. Brose it all comes together like a well oiled 1957 Chevy. 

Before graduating High School in mmmmm I drove a 1955 Chevy and thought I was Miss Goddamit of my senior class. 

Two thumbs up for the entire cast and crew...

57 CHEVY is available from San Diego Repertory Theatre through Aug. 15th. For show and ticket information go to www.sdrep.org

Photo Credit: San Diego Rep.

Delicious Combination of Acting, Directing and Playwriting Give NCR’S “Dr. Glas” A Tasty Morsel of Intrigue, Morality and Mystery.

 When you start thinking about a play you’ve seen for days on end, you might consider seeing more than once. Through the technology of streaming (a new phenomenon during Covid) it’s possible to go back and watch a play more than once sans an audience. None-the -less however it does have its advantages and North Coast Repertory Theatre has become a prime example of doing an exemplary job at it perfecting this type of filmed streaming. It is its eighth of this type. 

“Dr. Glas” is a short story by Hjalmar Söderberg published in 1905 in Stockholm, Sweden, where it was immediately condemned. And why not? It deals with abortion, women’s rights, and male dominance, infidelity, sexual perversity and murder.  

             Daniel Gerroll as Dr. Glas. (Photo Credit Aaron Rumley)

With the winning combination of playwright Jeffrey Hatcher (“Tuesdays With Morrie”, “The Turn of the Screw”, “Compleat Female Beauty” and a host of others), director David Ellenstein and celebrated actor Daniel Gerroll giving a tour de force performance as Dr. Glas, mark your calendars as a must see. 

Gerroll, after reading the book, brought the idea of writing a play based on the novel to Hatcher, who immediately took on the challenge. When Ellenstein was brought into the picture, the deal was sealed and voila the world premiere of “Dr. Glas” is streaming through Aug. 15h’ 

Hatcher frames the monologue in journal form as the good doctor jots his notes after seeing his most celebrated patients; the not so good reverend Gregorius and his youthful wife. Let your imaginations wander. Helga Gregorious can’t stand having sex with her husband (she’s having an affair outside the marriage). He demands she perform her wifely duties. In separate visits Glas promises her to talk to her husband whom he detests, yet finally convinces him to give it a break.  

              

After several visits by her,  Glas admits he’s in love with the reverend’s wife and let's his imagination run away with him. What to do about the husband he loathes and has thoughts about getting rid of? He does have those tablets laced with cyanide. He arranges a meeting. If nothing else. But, alas…

As the good doctor muses, “Morality’s place is among household chattels, not among the gods. It is for our use, not our ruler. And it is to be used with discrimination, with a pinch of salt”. 

Sadly, love has passed the good doctor bybut passes it off with a shrug, yet in another exchange he confesses that he wouldn’t’ trade places with anyone else. The Dr. totters on the edge the several morality questions. Yes, the cynicism gives this short piece (60 minutes) both comic and tragic edges as he explores the pros and cons of euthanasia and death by one's own hand and gives it a voice. 

Söderberg ’short story is a loaded cannon jammed with questions waiting to be answered and for an audience to experience. I hope you enjoy it as much as I did. Let’s just say that there’s more than a morsel to digest in this world premiere psychological thriller.

Director Ellenstein and Gerroll have the whole projected streaming perfected thanks to the excellent help. Scenic Designer Marty Burnett, Cinematographer / editor and stage manager Aaron Rumley, costumes/Elisa Benzoni, Prop Design Phillip Korth, photo credit Aaron Rumley. 

DR. GLAS will stream on Showtix4U.com July 21 – August 15, 2021.

A 30 min talkback follows the show. It's worth the listen.

Tickets:  $35.00-$54.00

Northcoastrep,org

At Moonlight Stage Productions of “Beauty and the Beast”, A Star is Born.

 If the stars, moon and sun were all in alignment, it couldn’t have been a more perfect year for Jenna Lea Rosen (Belle) to be born. The year of her birth, 1999 was the same year her parents were performing in the First National Tour of “Beauty and the Beast”. Now, a star in in the second production of Moonlight's showy of showy shows she is a standout. She has the poise , beauty, grace, charm and the chops that give this production the grounding it needs. (“Home” and “Change In Me”). 

Jenna Lea Rosen and Michael Deni as Beauty and the Beast. Photo by Adriana Zuniga Photography

Based on Disney’s animated film of the same name, this show has all the ingredients any youngster (and adults alike) would drool over. Beautiful heroine, bright and colorful costumes (Mela Hoyt Heydon) handsome prince (Michael Deni) before he was transformed into the Beast.  

Company by Ken Jacques Photography

Included in the large cast (24 in all) Buffoon/cad/bully Gaston (Evan White), Belle’s Dad, Maurice, an eccentric inventor (Johnny Fletcher), singing and dancing table utensils, teapots. The dancing silverware and other household items, signatures of the show, are always fun to watch especially (Michael Paternostro) as Lumiere the candelabra, whose lights are ready to extinguish any moment, Jerald Vincent as Cogsworth the clock and head of household is a kick, three silly girls Taylor Evans, Carly Haig and Kaitlyn O’Leary are part of the company and great dancers, Zane Comacho is a hoot as Lefou, Gaston’s punching bag and Bryce Hamilton is Madame de la Grande Bouche.  

“Be Our Guest” song and dance number, one of the most extravagant and as production numbers go, proved to be both lively, and jaw dropping. The more familiar theme song, 'Beauty and the Beast', sung by Bets Malone is lovely.  Madame de la Gran Bouche, (Bryce Hamilton) and the grand armoire is as a strong presence throughout and was most clever.  

Evan White as Gaston. Ken Jacques Photography

(Bill Burnes choreographed) and an adorable youngster, Chip (Abraham German) “Human Again” is the face inside the tea cup. The rest of the household are frozen according to the tasks they performed in the Palace. As the teapot, Mrs Potts, Bets Malone, is spot on. 

The story of Belle a beautiful young woman sought after and perused by local cad Gaston, her  journey of beastly cordiality and finally love begins when her father, an absent minded inventor, gets lost in the mystifying forest that lies just beyond the outskirts of her little French village and is beseiged by some pretty scary looking animsls (lighting designs by Jean-Yves Tessier. )

Unbeknownst to those living in the Provencal, there is a castle hidden deep in the woods where, years earlier, a Prince who had not been very Princely turned a beggar woman away from the castle when she asked for shelter. 

Before she is sent away, she handed him a rose which not only revealed her beauty, but cast an evil spell on the Prince, turning him into a Beast;  his servants into morphed household items and his castle, a  cold and uninviting prison. No B&B that! The curse, we find, can only be broken when the Beast learns to love and is loved in return. This must happen before all the petals from the rose, which is sealed in a glass jar, fall from its stem.  

 Back in the village, Gaston tries every means including manhandling Belle to convince her to marry him strutting across the stage, flirting with the audience, flexing his muscles and just plain being obnoxious and loathsome, as he offers an absurd proposal of marriage to Belle, who quickly turns him down. 

He’s the guy you love to hate for his larger than life ego. Yet he’s so ridiculous, that its fun watching him. Ms. Rosen, as mentioned at the top of this review, is charming as Belle the deal maker/breaker for the beast. She was in fine voice on opening night and needless to say everyone was rooting for her to tame the Beast and rid herself of Gaston.  She is just the right, charming choice as Belle. 

With lyrics by Howard Ashman and Tim Rice and book by Linda Wolverton and music by Alan Menken, who is no stranger to collaborating with other artists, worked on several Disney features such as “Little Mermaid”, “Pocahontas”, and “Aladdin”. His first successful work was in the off Broadway musical, “Little Shop of Horrors” in 1982. “Beauty and the Beast” made its Broadway premiere in April of ’94   based on the Disney animated film of the same name. It was the first animated film to be nominated for The Academy Award for Best Picture. 

L to R, Michael Paternostro as Lumiere, Jerald Vincent as Cogsworth and Jenna Lea Rosen is Belle. Photo by Ken Jacques.

Director JamieTorcellin is in the director’s chair, Elan McMahan in the pit, Jonathan Infante as production designer, Jennifer Edwards technical director and special shout out to Stanly Cohen as Stage Manager.  

The show continues at 8 pm through Aug 8th. at Moonlight Amphitheatre, Brengle Terrace, Vista Ca 92804. 

Tickets range from $17.00 to $59.00.

Photo by Ken Jaques and Adriana Zuniga Photography

The Art of The Story Makes its Its Way To “The Mango Tree”

 

The art of storytelling is as old as Bible Stories themselves. And it came to pass that when Beninese-American born Bibi Mama was growing up in Storrs, Connecticut she spent her early years “observing her father continue the Yoruba oral tradition through storytelling which inspired her love for acting”. According to her father, best -selling author Dr. Raouf Mamma, in a talkback after the show. ‘there was no TV, no internet, Face Book” just storytelling or folklore to make a point without hitting you over the head.

Moxie Theatre is presenting this original play  “The Mango Tree” as part of the SAY IT OUT LOUD Juneteenth Festival and the Black Artist Collective. Ms. Mama, co-directed with Claire Simba. Mama, a recent graduate from The Old Globe-University of San Diego MFA theatre program, is the solo artist who sets the mood, 

      Bibi Mama . Photo: Moxie Theatre

A young girl and her twin brother always celebrate their collective birthdays together, sharing adventures. One of their favorite things to do after their celebration, was to climb the large mango tree by the river’s edge. Although her brother is minutes older, she is the more adventurous egging him on to climb higher and higher, where she claims the mangos are best at the top. Hesitant at first, he surprises her this one day and climbs to the top sending down beautiful and ripe mangos. All is well, right?

But folklore isn’t exactly as it seems when meets the eye. In a sacred, lively and spirited performance Ms. Mama takes us through the ins and outs of lesson building, love of family, right and wrong, respect and dismay of the selfish ‘river goddess’, love and loss and caring after loved ones. It’s a story to be handed down and told from generation to generation, as did her father before her, the subtle and not so subtle. Meanie Chen Cole's sound design added a bit of adventure and mystery to Mama's journey.

The production will be streaming Friday, June 18th at 8:30, and Sat. June 19th at 6pm at moxietheatre.com for tickets.

 For more information on the Black Artists Collective go to sdblackartistcollective.com sayitloud. 

This production was filmed on MOXIE’s stage and the recorded performance will be streamed at scheduled performance times.

Each performance includes a pre-show interview with Bibi Mama and her father who is a storyteller and inspired this show.

There are lessons we can all learn from "The Mango Tree",

 Don't miss it.