Hysterical laughter accompanies this campy “horror” show now on stage at Carlsbad’s New Village Arts.  The company has rightly developed a reputation for producing work that breaks down barriers and expands the reach of traditional community theatres under the artistic leadership of Kristianne Kurner. Here the theatre experiments with gender casting in their production of LITTLE SHOP OF HORRORS as directed by A J Knox. Even if the gender character assignments are outside traditional norms, audiences will certainly respond to the otherworldly talent inhabiting this bedraggled flower shop on “Skid Row (Downtown)”.

This critic enjoyed the privilege of attending the debut, award-winning production at the Orpheum Theatre in the East Village (NYC) in the early Eighties. Yes, it elicits delicious memories of superb performances, surprising directorial touches and the reach of an extraordinary puppet even into the audience. But it also induces a sadness at the loss of the talented Howard Ashman (director, playwright, lyricist) to the scourge of AIDS.  Composer Alan Menken has crafted fine scores with other musical partners, but even he would admit how deeply the loss has affected musical theatre both onstage and on the silver screen as well.

A peek in the window of that shop reveals a series of gender switches. First and foremost, Eboni Muse (“Audrey II”) embodies the blood-consuming plant, ever pleading for sustenance (“Feed Me”). This actress becomes a sort of stamen (perfect metaphor for the gender switch) at the core of the monstrous flower, free to roam in and out of the petals, and orchestrating the attendant “urchins” at will. She is a whirling dynamo of ferocity with decibel-splitting pipes who demands obeisance from all in her environment. Days after the viewing, I am still engaged in a battle within about whether or not this choice damages the original conceit, impacting the stuff of the play’s appeal. Conclusion? While I miss the booming, reverberating bass of the traditional Audrey II, Ms. Muse mightily impresses with her take on the role. Less thrilled I am, though, about the extent of the anthropomorphic changes in the puppetry.

Now on to the trio of “Urchins” that dart in and out of the action, initially conceived as a sort of girl group a la Ronettes (“Be My Baby”). Here, Natasha Baenisch (“Chiffon’) and Patricia Jewel (“Crystal”) remain unchanged, but Chris Bona assumes the mantle of the lead singer “Ronette” (now “Ronnie”). As a gender-altered character, Chris “kills” it ( as the young ‘uns would proclaim today). The trio blends well, contributing both with their acting and singing, undoubtedly making the Music Director, Benjamin Goniea, proud.

Also, in a third gender reversal, Melissa Fernandez (“Mushnik”) becomes the proprietor of the sad sack flower shop. This young lady is known throughout the area as a respected comedienne, and so serves as a perfectly legitimate candidate for this assignment. She doesn’t disappoint in this role, assuming a crusty, “no nonsense” approach. My personal preference, though, would be the more ethnic, long-suffering, curmudgeonly tack of the original gender for this character.

The central love angle of the story features two standouts as well. Sittichai Chaiyahat (“Seymour”) fully inhabits the nerdy clerk, giving resonance to a card-carrying, awkward wallflower afraid of his own shadow. His performance instigates the hubbub that accompanies Audrey II’s ascent in importance to the story.  In addition, his singing chops are right on the mark. Meanwhile, his co-worker and the sweetheart of his dreams, Cashae Monya (“Audrey”), ideally captures the Brooklyn ingenue who is laden with band-aids as well as fear of her current, demented boyfriend. Her plaintive rendition of the desperately hopeful “Somewhere That’s Green” almost results in one forgetting the acclaimed, original Ellen Greene version. These two performers provide reason enough to plan your visit to Carlsbad some time before August 4. 

And the final ingredient of this “camp” visit to Skid Row? Philip David Black (“Orin Scrivello”) plays the dentist, brutal misogynist and weird boyfriend of Audrey until he is not. There hasn’t been such a bizarro dentist in musical theatre since “Sandor” demonstrated his talents in BELLS ARE RINGING in the Fifties (btw I would love to see a local theatre take a crack at this gem). I digress…now back to Orin – the creepy tooth yanker who rides a motorcycle, tortures his clients and has a penchant for laughing gas. Mr. Black corrals the lunacy integral to this character just fine as well as excelling in the roles of other minor Joe Schmo’s that enter the loony bin at one time or another. 

Boosting the LIVE theatre experience, of course, are the five musicians comprising the backstage orchestra who are conducted by Tony Houck. Yay, LIVE music!

All of this extreme tomfoolery is under the direction of the capable A J Knox, assisted by Milena (Sellers) Phillips, who marshals some creative juices from his team of helpers (special shout out to Amanda Quivey’s witty costume designs). Choreographer Kevin “Blax” Burroughs handles the dance elements successfully.

Whenever this critic visits New Village Arts (NVA), he finds himself in awe of the genial nature of the Front of House staff aided by a group of devoted volunteers (“Village People”).  Well done, folks!

It seems as if this Carlsbad theatre’s committed partisans have another hit on their hands in LITTLE SHOP OF HORRORS. Hilarious summer entertainment is just around the block, San Diego! 

pc: Daren Scott

Theatre Curtain Calling… Reviewing the Situation

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Throughout Southern California, there are young artists breaking bread together while dreaming of becoming a theatrical force in their own community. In the instance of Oceanside Theatre Company,  the building blocks were laid a decade ago. Now, under the energetic leadership of artistic director Ted Leib, and with the active support of a dedicated board, the theatre aims to give those dreams a kick in the pants with their current foray into large scale musical theatre with MAN OF LA MANCHA. Are they heading in the right direction?  

Recent top notch productions of RED and OUTSIDE MULLINGAR speak well of the theatre’s potential, even though those shows are smaller in scale. Without personal knowledge of the financials here, at least by other measures this theatre is ready for the leap. The Dale Wasserman script with music and lyrics by the Mitch Leigh / Joe Darion team offers a worthy blueprint for future success without the ponderous demands of many other Broadway properties. This production of MAN OF LA MANCHA deserves to fill many of those seats in the Brooks Theatre in order to encourage continued growth for this dynamic group.of theatre artists. To be sure, it is a quality theatre experience for the citizens of Oceanside and surrounding communities as well.

Rudy Martinez (“Cervantes” / “Don Quixote”) lends his gravitas to the committed efforts of this cast of 15.  His talents are well known throughout San Diego in roles such as “Tevye” in FIDDLER ON THE ROOF and “SCROOGE” in A CHRISTMAS CAROL. The man serves as a lynchpin for this entire enterprise and director Ted Leib wisely taps him for this coveted role in the show which is largely ensemble driven. Rudy’s ability to embody nobility and idealism inform the entire production and reflects his aims in his own life without the trappings of a character.

On to the story. Cervantes and his devoted attendant Sancho Panza are unceremoniously thrust into a cavernous dungeon among a vast array of murderers, thieves and other unsavory types as they await justice from the Inquisition. In the meantime, they plead for their dignity (and their possessions among which is a valued manuscript). In a tribunal forced on them by their fellow prisoners, the new arrivals plead their case in the form of an entertainment reenacting the story of “Don Quixote”, a knight-errant consumed by the ideals of the code of chivalry. Of course, the story itself is loosely based on the Spanish classic novel of world literature bearing the same title. Its 1000 pages have alternately delighted and frustrated students ever since its original publication by Cervantes in 1605.

As for the other principals, Steve Lawrence gives his sidekick and squire “Sancho Panza” a whirl and hits the mark on the whole, although the balance of simpleton and devoted cheerleader sometimes falters. The other lead performance of “Aldonza”, a serving wench at a ramshackle inn they encounter on their journey, is in the hands of Tara Sampson (believe me, the name of Eydie Gorme was itching to fly from my quill pen). On opening weekend, Ms. Sampson still seems to be reaching for the hard-edged “wench” in her characterization especially in Act I; however, she handles the exacting vocal demands of Mr. Leigh’s music well.

Further, impressive in my manuscript are the featured performances of Bob Himlin (“Padre”), Taylor Magee (“Antonia”) and Olivia Pence (“Housekeeper” / “Maria”).

The heart and soul of this production, though, can only be the ensemble involving most of the cast. The power of MAN OF LA MANCHA soars or languishes with these dedicated thespians. In Oceanside their impact is undeniable thanks to the guidance of director Leib, the music direction of Lyndon Pugeda and the choreography of Katie Banville (with fights shaped by Emily Sperling). In most productions I review, I am rewarded when I focus on individuals in the ensemble during performance. Pleased as punch I am, therefore, to acknowledge noteworthy contributions by Timothy Cabal (“Pedro”), Jack Grable (“Anselmo”) and Jonah Duhe (Muleteer & guitarist).

Credit must be given to Oceanside Theatre Company for engaging a 6-PC live orchestra conducted by the always highly competent, animated Martin Martiarena including the veteran drummer Mike Massesa who deserves a special shout out. So many theatres try to cut corners by playing recorded music. Let me point out that any performing space has a cubbyhole somewhere to accommodate musicians. This is LIVE theatre, after all, and many thanks to OTC for acknowledging that reality.

As for the technical dimension of the show, minus a few quibbles here and there, the scenic work of N. Dixon Fish, with assistance from Mr. Leib, works well for this stage. The property design by Emily Sperling serves the production, too. Likewise, Kristin Drum lights the players effectively within the capabilities of the Brooks. Finally, kudos to the costume pros, Roslyn Lehman and Renetta Lloyd, who clothe these actors with distinction.

Mr. Leib assembles a worthy cast to interpret the brilliance of this Tony- bedazzled libretto. (N.B. Mr. Wasserman always has been quite vocal that the musical is based on his own teleplay “I, DON QUIXOTE” and NOT on the novel itself.) One stipulation. Not sure I agree with the necessity of altering the setting of the story by moving the time forward several centuries and relocating the action to South America. Otherwise, he deserves his own round of applause as far as I’m concerned.

When all the players gather onstage at the Finale to serenade the audience with “The Impossible Dream”, just as Cervantes and Sancho Panza are led away to face their judgment under the scrutiny of the Inquisition,  see if you agree that the moment breathes theatre magic. The show plays thru May 26, so there is still time to place it on your calendar.

pc: Ken Jacques

Theatre Curtain Calling… Reviewing the Situation

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ACTing/REACTing – the stuff of an actor’s craft. Coincidentally, the core of this comedic-drama now playing in Scripps Ranch somewhat mirrors that same process cleverly and – occasionally – achingly. Mark St. Germain’s play DANCING LESSONS aims to reveal two disparate characters existing in their own fragile, yet comfortable constructs for protection sake, and offers them opportunity to pierce each other’s bubble, leading to consequential results for both of them. The playwright serves up their interactions, by the way, with a heap of unique and sassy one-liners.

First, we meet “Senga” (Michelle Marie Trester), sequestered in her present day NYC apartment, choosing to shield herself from the touch of others in her life. She buries herself in alcohol, potato chips, pills and self-pity as she stagnates from depression about her circumstances. An unfortunate accident with a city cab has severely damaged one of her legs and she faces the prospect of potentially never being able to dance again. For this passionate professional, she believes that it would be almost a death knell if that were to occur. The development already has tanked her marriage plans; likewise, the fact that she’s gulping down a steady parade of medications, while concurrently indulging in way too much booze, signals an approaching personal unraveling in other ways as well.

Senga sabotages her engagement abruptly and hides the true nature of her situation from the aunt who raised her while she wallows in the muck of a life in crisis. She ACTs out her loneliness and desperation and REACTs by estranging herself from others. Then, an annoying knock on the door portends a change.

Enter “Ever” (Andrew Gumm), an autistic neighbor in her building, who proposes to pay Senga over two thousand dollars for a one hour dancing lesson. This science professor begs her for help in crossing the moat to conquer social demons he is likely to face in the setting of an awards dinner for his achievement as a professor of environmental studies.

Ever manages his own life by endlessly charting each turn that it possibly could take as it unfolds; that’s his process, if you will. He ACTs with precision after careful analysis and REACTs with devastating honesty to each and every variable. Now that both of Mr. St. Germain’s characters in this sweet story have been introduced, the reader has discerned that these two names are highly unusual. (Yes, there exists an explanation for each, but part of the joy of live theatre is being in the moment; therefore  the reader will receive no spoilers here.)

The sweetness plays out in a number of ways as these characters undertake their journeys to a redemptive discovery about the barriers each of them has constructed to avoid coming to terms with their own challenges. Senga and Ever have ACTed according to the dictates of their life experiences, then they REACT with understanding gained about the other’s “bruises”. Director Meg DeBoard has successfully guided these actors to engage – fitfully – to accommodate each other’s damaged personas in a quest for new possibilities in life.

Mr. Gumm brilliantly conveys the quirks and inadequacies of Ever, illustrated from the gitgo by his insistence that he can’t be touched, as he attempts to bridge the chasm between his normal coping mechanisms and an altered state of functioning. He begins his dance lesson, conducted in spurts by “teacher” Senga, requesting guidance for a fast dance aimed at “getting through” his award dinner experience with the least amount of disruption to his life’s schematic. As the lesson evolves, it becomes a slow dance of recognition that the ridiculously plotted circumstances of his routine may need a modicum of adjustment.

That slow dance, initially under the puppeteering of the damaged pro of Ms. Trester as Senga, evolves into a shared teaching arrangement between the two wounded marionettes. She begins the instruction pulling all the strings herself until his brutal, yet keen observations leave her best laid plans in a jumbled mess of tangled strings. And her redemption, the audience observes, may be in the offing. Who’s pulling the strings now? As for the actor Michelle Marie Trester, she continues a string of strong, character-driven performances lifting her to a pedestal of accomplishment likely to impress the San Diego acting community.

The physical production, shaped by producer Ted Leib, successfully conveys the vision of the playwright in the modest confines of the Legler-Benbaugh Theatre on the campus of Alliant International University.

DANCING LESSONS is a co-production of Scripps Ranch Theatre and Oceanside Theatre Company.  Similarly, last year’s admirable production of OUTSIDE MULLINGAR followed the same path (albeit in reverse order). The SRT portion of this run continues thru February 24. Then, the whole shebang heads north, soon to be appearing on the marquee of the Brooks Theatre in downtown Oceanside from March 1 – 17.

Wherever San Diego audiences choose to take in this worthy production, they are likely to find these characters endearing and charming. Both the humor and life lessons in this play may not increase one’s dance vocabulary, but joining these actors as they take a whirl on the dance floor, nevertheless, should be exhilarating!

Theatre Curtain Calling… Reviewing the Situation

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The walls are tumbling down (at least that’s the way this guy sees it). One of the joys of writing for this blog is the opportunity to visit theatres throughout Southern California while experiencing LIVE theatre at its finest. Some of these theatres boast the cream of the crop Equity actors on their roster, some advertise their professional credentials with glowing excerpts of reviews and some offer sincere testimonials from the experts. Then there are the community theatres that labor day in and day out at the altar of Thespis, hoping to do justice to the best of  dramatic literature often on a shoestring budget, yet with creative minds ablaze and talented actors ever at the ready. If the theatregoer only checks in with The Old Globe or the Pasadena Playhouse, he likely will miss a heckuva lot of passionate theatre featuring occasionally dazzling talent trodding the boards at these local venues. Case in point: CORONADO PLAYHOUSE.

Today’s theatre on the menu is A MAN OF NO IMPORTANCE playing for a few more weeks in the friendly confines of CORONADO PLAYHOUSE. It may be across the bay, but if the Arts enthusiast is missing the offerings of this place or the always stimulating work from the LAMB’S PLAYERS THEATRE (currently featuring ONCE) down the street, perhaps a reordering of priorities may be in order.

Now to the play at hand, a flawed musical with some glorious music and lyrics with an Irish tinge by the team of Stephen Flaherty/Lynn Ahrens and a book based on the movie of the same title crafted by Terrence McNally. This reviewer remembers when it bowed initially at the MITZI NEWHOUSE THEATRE at Lincoln Center in New York City (NYC). At that time It received uneven, yet respectful reviews highlighting the production’s many joys and bemoaning its deficiencies. Art can be moving without being perfect and that is my experience at today’s matinee performance.

LIVE THEATRE it is. My review filters the playgoing adventure by way of a lifetime of unique happenings in my own life. Another person sitting in that audience today undoubtedly will respond using her own guideposts and touchstones. That is as it should be.

The themes of this play are universal ones: friendship, respect, self-doubt, narrow-mindedness, community, etc. Ostensibly, the plot centers on a group of friends who gather together occasionally in the local church to earn their amateur acting stripes (and enjoy camaraderie) using the words of Oscar Wilde, one of Ireland’s famous playwrights. This year the director “Alfie Byrne” (Barron Henzel), who has built an enduring friendship with all of his actors via his job as ticket taker on the local commuter bus, chooses the scandalous play in the Oscar Wilde repertoire. Not the mainstays AN IDEAL HUSBAND, THE IMPORTANCE OF BEING EARNEST, LADY WINDERMERE’S FAN or A WOMAN OF NO IMPORTANCE…no, it’s SALOME (with John the Baptist’s head on a platter and the tantalizing “Dance of the Seven Veils” ready for the attention of these aspiring players.

If ever there were an ensemble piece, THE MAN OF NO IMPORTANCE is that play. The heart of this musical comedy-drama, though, takes three central characters among this ensemble and mirrors their interactions using the historical guide of Oscar Wilde himself, his lover Lord Alfred Douglas,“Bosie”, (Vander Turner) and the Marquis of Queensberry, Bosie’s father, (Ralph Johnson). Enough said about the particulars. It is better that the reader engage in his own “particular” adventures.

Director Manny Bejarano oversees the entire production and deserves our gratitude. Kirk Valles provides musical guidance to the actors and conducts the jaunty sounds of the 6-pc orchestra with flair. Patrick Mayuyu designs some rather distinctive choreography. Dialect coaching is in the hands of the amazing Vanessa Dinning. Likewise, a very capable Marcene Drysdale is responsible for the 60’s Dublin costumes.

As is the case with many plays, the show lives and dies with the work of the ensemble. Ladies and gentlemen, I hoist a Guinness to your success!

pc: Ken Jacques

Theatre Curtain Calling…Reviewing the Situation

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Puppets on Broadway? Let’s see…there was CARNIVAL!, FLAHOOLEY, THE LION KING, WAR HORSE and I believe Bill Baird had a show on the Great White Way as well. When AVENUE Q arrived on the scene in 2003, though, it actually resonated as a revolutionary event. Broadway would never be the same! (to wit HAND TO GOD provides an inkling of what may be coming). NEW VILLAGE ARTS (NVA) in Carlsbad reminds us of the daring and savvy aspects of the New York production in its rendering of the Tony winner on its stage. Still retaining the show’s fresh look at the social mores of our time, it’s an undeniable winner!

Not that it’s the only production of Jeff Whitty‘s AVENUE Q on the boards, but it is the only game in town at the moment. Originally its Broadway production played at the 800 seat John Golden Theatre. Since its closing at that theatre in 2009, it moved to New World Stages (499 seat STAGE 3) where it thrives even today. It now qualifies as an Off-Broadway production since it plays in a theatre with fewer than 500 seats.

The smaller confines of NVA’s modest theatre welcomes this production with open arms and brings even more immediacy to the enterprise. Just as both productions in NYC have continually updated the clever script, one can notice occasional changes to this version as well. The regional premiere in San Diego occurred a long time ago in The Old Globe production at downtown’s Spreckels Theatre, a cavernous 1463 seat facility, just after its renovation. Local audiences are fortunate to visit AVENUE Q in its friendly 99 seat Carlsbad playing space.

Growing up with SESAME STREET as we have (either as a parent or a child), it’s easy to relate to the environment on this make-believe street in the outer boroughs of NYC. What might be an eye-opener for some, though, is its adult themes. The outrageous, humorous conceits manage to make the proceedings palatable for most. Of course, if salty language, internet porn talk and puppet sex would offend, then it’s best to stay home and read a book. Obviously, this show was written by Jeff Whitty with music & lyrics by Jeff Marx and Robert Lopez, as a musical comedy for adults. Sorry kids!

The cast members of this production bring it home and create a deliriously funny time in the theatre. Zackary Scot Wolfe (as “Princeton” and “Rod”) gives a wondrous star turn in this show. All of us need a bit more of Mr. Wolfe in our creative lives. While he may be singing “It Sucks To Be Me” onstage, it certainly doesn’t suck to be an actor blessed with his talent.

Other hilarious performances are borne on the shoulders of performers Tony Houck (as “Trekkie Monster”) and Melissa Fernandes (“Lucy the Slut”). Cashae Monya dazzles again as “Gary Coleman”. Locals are sure to remember her brilliant performance in Cygnet’s THE LAST WIFE recently down in Old Town San Diego.

The remaining cast members enliven the audience experience as well in this ensemble driven show, a hallmark of NVA productions in general. Congrats to Gerilyn Brault (“Kate Monster”) along with cohorts Chris Bona, Ciarlene Coleman, Steven Freitas and Jasmine January. Well done actor/puppeteers!

AJ Knox directs this laugh riot with Nina Gilbert responsible for Music Direction (and conducting the lively band). Bravo to NVA for their commitment to live musicians with their productions.

Christopher Scott Murillo designs the clever, snazzy setting. Other production credits are commendable as well.

A special shout out goes to Lynne Jennings, puppet coach, who guides these actor extensions to a life of their own.

So, this reviewer urges a stroll down AVENUE Q to celebrate the art of being politically incorrect. Let the gang (with tongue planted firmly in cheek) try to convince us that “Everyone”s a Little Bit Racist” or that “The Internet Is for Porn”.

Theatre Curtain Calling…Reviewing the Situation

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It’s anything BUT… NEXT TO NORMAL down there in Coronado. Plenty of really strong performances are holding forth on that stage. No, it’s not the Lamb’s Theatre this time; instead, it’s the CORONADO PLAYHOUSE sending out some seriously significant sound waves. And it’s in the rock idiom!

A pleasure it is for me to appreciate the Music Direction (and bass underpinnings) of the extraordinarily busy Martin Martiarena and the drum magic of friend Mike Massesa. The band totally rock the premises while engaging the audience in the panoply of this ravishing Tom Kitt & Brian Yorkey score.

The recent high profile tragedies of Kate Spade and Anthony Bourdain highlight the need for all of us to delve into the daily struggles of our citizenry as they rumble through a host of mental health issues. This Tony-winning musical from a few years back is right on the money and deserving of a close examination.

In this production the talents of Seejay Lewis are on thrilling display as the son “Gabe”. Another standout proves to be the mother in crisis, one “Diana” played by Rebekah Rawhouser, who helplessly stands her family on its head as these victims feverishly attempt to cope with her chaotic thrashing. It should be noted that at its core this production features solid work from its entire cast. Yes, accolades deserved by all in this endeavor with a special shout out in particular to the undoubtedly proud papa, director Chad Oakley.

Only a few performances remain for this eye-opening and important production now on stage for a short time. All the while, in retrospect, my fellow audience members are seemingly mesmerized by the exploration of this strife playing out in Coronado’s inviting theatre space. Methinks it’s because the story hits very close to home for all of us.

Theatre Curtain Calling…Reviewing the Situation

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Maybe the wedding bells finally will chime.  At least that’s on the mind of “Karen Baedeker” (Kay Marian McNellen) as she considers whether or not to seize the day and embrace her romantic leanings or instead, listen to the practical urgings bouncing around in her noggin. FOR BETTER by Eric Coble, currently on the boards at Alliant University in Mira Mesa under the banner of the respected SCRIPPS RANCH THEATRE, offers a framework for exploring the journey down the aisle to the altar of wedded bliss. Not only that, it begins to delve into how communication technology can affect social discourse.

Karen allows herself to be smitten via long distance (not an unusual development certainly, although the attraction usually pauses before the lovebirds proceed down the aisle). Here it not only germinates, but also infuses her eager psyche which aches for the rewards of love, even as she receives the inevitable, cautionary advice from others. One of these voices of restraint, “Stuart Tramontane” (Kenny Bordieri),  actually carries a torch for Karen himself, although he has been unable over the years to utter those thoughts to his friend. Shy? Lacking self-confidence?

Similarly, “Francine Dexter” (Heidi Bridges), fulfilling her sisterly obligations, convinces herself that this looming arrangement portends disaster. Her own humdrum marriage to “Michael Dexter” (Charles Peters) seems to be headed to the rocky shores and that may explain her lingering doubts about Karen’s future happiness. Both she and Michael often hit the road to fulfill professional obligations, obviously straining their marital bond. Coble’s insertion of a too convenient, shared (i.e. Karen, Francine & Michael) family friend here strains credulity, especially since Michael has had a previous relationship with her.  

Meanwhile, this ditzy family friend “Lizzie Monohan” (Erica Marie Weisz), can turn on a dime as she blows with the wind while Karen flirts with alternate visions of her life while in the throes of  crisis. Does she throw in the towel because her paramour could not possibly be in love with her after such a short time. Or…does she fearlessly go forward, relying on the truth of her feelings. Rounding out the cast is father “Wally Baedeker” (Fred Harlow) who reveals himself as “steady eddy”,  buffeting himself and his daughter in the eye of the storm.

Throw in the complications brought about by distance (namely the concomitant intrusions and confusions of phone interactions) along with the ensuing complications in the plot and…voila!  This is the stuff of a manic – at times – comedy-drama.

Viewing an early performance undoubtedly does not offer this reviewer a complete blueprint for Mr. Coble’s work, so I must rely on a few impressions. For one thing, the tone of the play hops, skips and jumps around without the transitional cues necessary for an audience to fully engage. Yes, it’s obvious that the playwright is aiming for a staccato effect, but theatregoers may not always be able to hang on in the midst of the gale.

A somewhat different approach to pacing might have augmented the playwright’s vision. Also, it occurs to me that dedicated, specific “phones” in the scenery for each character (with the exception of luddite Wally) might have helped coherence.

The cast of this show is for the better with a dedicated shout out to Mr. Bordieri for his rickety, drunken stupor and Ms.Weisz for wafting in her flightiness so magnificently. Actually, though, the entire cast is accomplished and have been led down the appropriate path by director Eric Poppick.

On the technical side, Steve Murdock handles the sound chores with distinction. Bob Shuttleworth designs an attractive set for the varied goings-on. Likewise, Mitchell Simkovsky follows the play’s lunacy effectively, avoiding the descent into darkness that sometimes occurs when actors flit around the stage in this manner.

Frankly, this critic regrets that the script was unsatisfying occasionally. The technological elements of the dramatic writing seem to be window dressing instead of being endemic to the playwriting. Speaking of that technology, it’s likely that Coble “telegraphs” too many plot developments in advance (at least that is this guy’s impression). Ultimately, these Scripps Ranch players deserve a better script FOR BETTER.

Theatre Curtain Calling…Reviewing the Situation

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Reddy or not, here I come! Not talking about hide and seek, but John Logan’s TONY award-winning RED, the cerebral, engaging play now having its exhibition on stage at the BROOKS THEATRE in Oceanside. The community’s fledgling OCEANSIDE THEATRE COMPANY, under the artistic leadership of Ted Leib, continues to plant its flag in the San Diego theatre scene with thoughtful, professional drama. For example, this reviewer still has vivid memories of PICNIC and OUTSIDE MULLINGAR to name a couple. (Oh…and yes, I do know how to spell “ready” FYI.)

The two-hander in question explores not only the meaning of Art, but how it is perceived depending on the audience. The abstract expressionist Mark Rothko takes on a new assistant and reminds the young man from the beginning that he exists as an employee only and that “painting” for him will never be in the cards.

Logan’s play centers on a commission to.paint a series of murals for a newly constructed Four Seasons restaurant in a brand spanking new, architectural marvel in NYC – the Seagram building. That leads to much philosophizing plus introspection complete with numerous confrontations and power shifts, etc. This reviewer is not going to paint himself in a corner, but the interactions and connections between these two are vital and in flux, rather than staid. The dialogue crackles with an intensity and honesty that explores not only their dynamic, but also digs into what may be at the core of  movements such as these and – in particular – Mr. Rothko himself.

Does the audience care whether or not the Abstract Expressionists stamped out the Cubists? Are they fascinated with the impact of Pop Art on Rothko and his contemporaries? Certainly…and to that must be credited the structure of this TONY award-winning play of a few seasons back. John Logan’s canvas, with its word images vibrant as ever, is worthy of hanging in any museum. This might be an appropriate place to mention that the Oceanside Museum of Art collaborates with this theatre company in arranging a Brooks Gallery exhibit accompanying this production.

Now to the actors inhabiting this “studio” with such passion over the course of the two years in focus during the playl  First, it’s important to observe that Carol Naegele designs the spare setting with sensitivity and practicality.

“Mark Rothko” (Robert May) prowls his domain, alternating as an intimidating force of nature and a pompous professor with surety in his back pocket. Whenever he is not lording over his cowering “employee”, he is schooling him on the finer points of the true artist’s responsibilities along with the baggage of his own assessments as well.  His judgments concern those who have trod the path before him and those who muddy the waters (or the oils as it were) in these exasperating times. Mr. May creates a believable “Rothko”, totally immersed in his profession while tousling with his own identity as the world sees it and as he lives it.

The assistant (Luke Monday) could be the character with the more challenging task in Mr. Logan’s vision. He must play the milquetoast, bowing down to the master’s every whim. At the same time, though, he must shift the power meter as he continues his studies,  developing a self-concept that expands beyond the confines of this studio into the world beyond these walls. Mr. Monday meets the acting challenges resolutely. His previous featured performances in MEET ME IN ST. LOUIS and BILLY ELLIOT (wonderful in their own right) prove to be far eclipsed by this venture – a breakthrough for this young man’s career. Bravo!

Kevin Hafso-Koppman directs these players with distinction and deserves a citation to prominently display on his own easel.

Special shout out to Crystal Burden managing the stage behind the scenes. As is the case with many local stalwarts not in the limelight, she is a cog in a very complicated wheel. Actors rely on the expertise to support their work on stage.

On the OCEANSIDE THEATRE COMPANY’s palate of accomplishment, RED cannot be brushed away. It lingers…oh so vividly!

Theatre Curtain Calling… Reviewing the Situation

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A number of years ago this reviewer took in the much talked about national tour of WEST SIDE STORY at the Pantages Theatre in Hollywood.  That production’s raison d’ etre was its insertion of Spanish elements in a revised Arthur Laurents libretto. Well, of course, the changes actually were just frou-frou; everyone knows that WSS endures because of Jerome Robbins’ choreography for those spectacular dances. So, in that instance, the dancers replicated the master’s vision with panache, yet why wasn’t I bowled over? (Just to be clear, my seat was not located in nosebleed heaven!) On reflection therefore, I resolved to avoid the show for awhile because it did not possess the dynamism of a legendary classic anymore in my estimation.

Lucky for this guy, I decided to give it another shot. WEST SIDE STORY lives again on the intimate, in-the-round stage at the storied GLENDALE CENTRE THEATRE in Greater Los Angeles (LA). This review will concentrate on a stellar production rather than the famous Damon’s Steakhouse or the equally amazing Porto’s Bakery next door to the theatre.

Co-directors Danny Michaels and Orlando Alexander fashion a talent-rich, crowd pleaser of a show featuring some of the finest dancers in the region. Casting is the name of the game and these veterans deliver the goods. Then, Mr. Alexander adapts that Jerome Robbins’ choreography to the limitations of the tiny stage and allows the dances to breathe with danger, exuberance and beauty. Mission accomplished, gentlemen.

The central conflict of the drama, a 1950’s construct of gang warfare on the streets of the Upper West Side in NYC, loosely mimics Shakespeare’s Romeo & Juliet. Currently in the news at the time of its creation, the emergence of teen gang violence provided countless headlines which, sadly, still resonate today (60 years later).

The recipe of this masterpiece provides a fascinating read of musical theatre history. Take the headstrong, balletic genius of Jerome Robbins, mix in the high-minded, orchestral musicianship of Leonard Bernstein, add a dollop of the upstart Stephen Sondheim’s lyrical aptitude and stir to finish with the opinionated craftiness of Arthur Laurents, bringing together the disparate elements while fending off the competing egos and crafty machinations of the control-freak Mr. Robbins. Undoubtedly, it was – and still is in 2018 – a very wild ride indeed. Who knows what would have resulted if the kernel idea of basing the story in Los Angeles using Mexican gangs could have worked. Similarly, it remains hard to believe that the team seriously considered battles between Irish and Jewish gangs in an East Side Story version in New York as well. The “Jets” (the whites) and the “Sharks” (the Puerto Ricans) ultimately claim their turf in their collaboration and the resulting dramatic framework serves the musical play well.

The principals in this production fill the bill quite nicely. Chanlon Kaufman (“Tony”) impresses with his extraordinary vocals, reaching even to the stratosphere, along with his passionate commitment to following his heart. Ani Marderosian (“Maria”) brings a fine singing voice and a sweet delicacy to this immigrant’s plight. John Paul Batista (“Bernardo”) struts his stuff with smoldering resolve and a giant chip on his shoulder. Finally, Linda Neel (“Anita”) plants a capital “P” for pizzazz on these proceedings, demonstrating a depth of feistiness important to her character. Both Mr. Batista and Ms. Neel prove to be deliriously impactful dancers as well.

And watch out for this ferocious ensemble of singer/dancers! The ladies deliver a palpable excitement with precision and flourish (N.B. “The Dance at the Gym”). Likewise, the guys inhabit the space with an extraordinary zest (unusual to say the least). Each nook and cranny of this theatrical playspace benefits from the intensity on display from these dancers. “Cool”!

Shout out to a few rumblers, in particular, who catch my eye whenever in focus. Frankly, William Clayton (“Snowboy”) and Danny O’Connell  (“A-Rab”) often dazzle. Other moments elevate via the distinctive contributions of dancers like Sergio Salinas (“Chino”), Antoine Lee (“Anxious”) and Ethan Daniel Corbett (“Riff”). Yes, these cast members, who are integral pieces of the oft overlooked “ensemble”, represent their peers’ excellence winningly.

One notable qualification. A common refrain in this critic’s commentary, freely acknowledged, but it’s important to express disappointment that the producer did not choose to include live musicians in this  Glendale creative enterprise. The absence of this element contributes, unfortunately, to a devaluation of the musical theatre genre.

In the technical arena, Lighting Designer Jeremy Williams deserves his own spotlight. Take a bow for your dizzying achievement, sir. After all, it isn’t often that an audience member leaves the theatre “humming” the ellipsoidals, fresnels, gels and gobos!

Seeing WEST SIDE STORY again in this production at GCT feels as if this enthusiast is seeing it for the first time. Here’s hoping that the upcoming new movie version from Steven Spielberg manages to accomplish the same result.

(N.B. Also visit 85 C°Bakery Cafe while in Glendale, Greater Los Angeles (LA).)

Theatre Curtain Calling…Reviewing the Situation 

pc: Ashley Ann Caven (“Rock With You Photography”)

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Slamming doors can be so invigorating. It is especially so when integrated into a high calibre farce. Certainly one of the champions of this genre in our country has to be Ken Ludwig’s LEND ME A TENOR which lovingly satirizes the opera world in the hinterlands of Cleveland, Ohio. VANGUARD presents a new production of this gem currently on the boards at  WESTMINSTER THEATRE in Point Loma thru March 25.

Director John Spafford pulls out all the doorstops in staging this whirlwind exercise in desperation. “Maggie Saunders” (Ashley Stewart) is desperate to meet the world famous tenor “Tito Merelli” (Don Evans). Her father “Henry Saunders” (Adam Sheldon), the Manager of the Cleveland Grand Opera Co., seems desperate to strengthen the reputation of his “baby” through whatever means necessary. Even “Max” (Sean Doughty), Saunders’ assistant, desperately wishes to marry the boss’ daughter.

If the reader theorizes that the above examples conclude the desperation evident in this uproarious script, then think again. “Diana” (Connie Gonzales), the soprano diva in the production, reveals desperation as she yearns for that “one word” from the opera star that would catapult her career into high gear.

Then there exists the obvious desperation to mingle with the great Tito Merelli shared by the “bellhop* (Will McTaggart) and the Chair of the Opera Guild, “Julia Leverette” (Diane Neil). Who wouldn’t be determined to hobnob with such an acclaimed star who chooses to wade through the wasteland of Cleveland? Even Maria Merelli (Lisa Allison), Tito’s wife, desperately seeks his commitment in the bedroom. The competing attentions herald the organized chaos that dominates the proceedings.

Adam Parrocha’s inspired set design masterfully contributes to the comedy that flourishes throughout these goings-on. A 1930’s hotel suite struts its stuff winningly as a representation of Cleveland’s societal aspirations.

Messrs. Evans, Doughty and Sheldon form the core of this play’s potential and its challenges on the road to the gift of applause. With many tools at their disposal, this triumvirate of accomplished actors relies on panic, surprise and the press of time to thrillingly cavort in and out of the action. I do wish, though, that  there were fewer examples of huffing, puffing, harrumphing and other varied exhalations of air along the way. To this member of the audience, it reads as too much, too often. What’s required is a more measured, quiet desperation relying on other techniques such as facial expressions, body positioning, etc.

The other cast members largely succeed with their intermittent, frenetic intrusions as well. Especially notable is the “Diana” of Connie Gonzales who absolutely nails the voluptuous, divalicious antics expected of one who has uncontrollable operatic intentions.

In addition to Mr. Parrocha’s aforementioned major role in this production, the other mainstays on the technical team deserve credit as well. In particular, the costumes of Connie Gonzales pompously advertise the milieu. Likewise, Santiago Venegas lights the action with distinction.

The word on the street is that VANGUARD, under the artistic leadership of Don Evans, harbors healthy aspirations for theatre in Point Loma. The WESTMINSTER THEATRE offers pleasant surroundings and a nicely designed, comfortable environment for the Theatre Arts.

Consider a trip to this coastal community for a high velocity performance. Any regular theatregoer worth his salt must experience the hilarity of LEND ME A TENOR.

Theatre Curtain Calling…Reviewing the Situation

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