Laguna Playhouse, in concert with Lythgoe Productions, has fashioned an Americanized version of the classic, wildly popular, British holiday pantomime.  While it may not check all the boxes for our friends across the pond, it features plenty of verbal treasures ripe for its target audience (i.e. families anxious to entertain the children with broad, stageworthy antics, etc.).

The Sherwood Forest adventures celebrated in ROBIN HOOD & MAID MARION are populated with all the usual suspects.  In addition to the title characters, the attentive youngsters attending this performance encounter his merry band of cohorts including “Little John” and “Friar Tuck” and, of course, the villainous “Sheriff of Nottingham” (BOO!). Immersed in a selection of 1970’s disco hits from the likes of Donna Summer, the Pointer Sisters and the Bee Gees, the show benefits from these embellishments along with the musical interludes provided by resident Sound Designer Ian Scot  in addition to Jamjor Music.

Kristopher Lythgoe has crafted a book giving due credit to the basic story elements, carving out freedom for the hero to rob from the rich and give to the poor, allowing the heroine opportunities to demonstrate her cunning in addition to her physical prowess as well as providing the villain quite a few instances to be bamboozled, together with his coterie of bumbling henchmen. The script, though, screams for a few carefully designed entrances for “Robin” to generate cheers from the audience.  Not only that, this critic is not sure that all of the disco insertions warrant the “mirror ball”, although there can be no doubt the “Disco Inferno” set the Moulton Theatre ablaze and “Le Freak” offered choreographer Mason Trueblood a palette of bizarre, contorted movements which appear just right in amping up the silliness factor.

Mr. Trueblood’s dances provide jolts of energy to the zany goings-on and all of his dancers are right on the mark. Shout out, in particular, to James Velasco and Bryce Moyer who deserve some extra recognition for their notable prowess.

Title players Michael James Ryan (who may have been a bit “tight” – I know, insert GROAN here) and Sohm Kapilka (who still needs a  dose of demure near the beginning and a sprinkle of sly applied to her manipulative nature) will undoubtedly secure their footing as they settle into the run. Featured player  Jo Osmond (“Sherwood Sprite”) handles the narration with airy ebullience. Likewise, Tyler Shilstone (“Little John”) flexes the muscle appropriately, while Daniel Kim (“Friar Tuck”) approaches the altar of godliness with his own version of piety (in this case, no need for a diet anytime soon!). All in the Ensemble, no matter the task, perform admirably as well.

Sherwood Forest could not thrive for sure without the enormous contributions of two thespians who fill the stage with a heavy helping of mirth. This critic “sure would” like to recognize the talents of Jared Machado (“Will Scarlett”) and Andrew Lynford (“Sheriff of Nottingham”) respectively.  The former galvanizes the appreciation of the young ‘uns with a steady diet of glee, kneading the collective appreciation for these onstage hijinks.  The latter slithers around the stage with evil aplomb, prompting those in the seats to relish his undoing.  Bravo, guys!

As for the physical production, Ian Wilson succeeds with the scenic elements without getting lost in the forest.  Likewise, Nita Mendoza’s lighting is truly “lit”. In addition, Tiffany Maxwell’s costumes impress with special note warranted for the ladies of the Ensemble, “Robin Hood”, “Sheriff of Nottingham”, ”Sherwood Sprite” and the wedding party of the Finale.

Lastly, any observer would be remiss by not recognizing the contributions of Director Bonnie Lythgoe who squeezes the glue which melds this entire enterprise together. YAY!

In case you are wondering, Covid protocols currently in force do not require vaccinations, although face masks are required. Guests will be happy to know that compliance appears to be widespread. In fact, this critic only witnessed one mature gentleman ignoring this requirement throughout the show; then again, he may have been somewhat inebriated as evidenced by his occasional goofy exclamations.

So, join the merry band of outlaws in residence at the Moulton Theatre in Laguna Beach. Help the theatre celebrate its 100th Anniversary while you’re at it.  Don’t forget to bring the kids (who likely will welcome the opportunities to cheer and boo w/o the admonition of their parents).

pc: Mason Trueblood

Theatre Curtain Calling… Reviewing the Situation

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Well, it’s not exactly a runway, yet Jeanna de Waal, the actor tapped to embody the princess in La Jolla Playhouse’s new musical DIANA, certainly models quite an array of fashions from the Broadway costumer William Ivey Long to stunning effect. The challenge of a bio musical of this scope goes well beyond what’s in the closet though, because of the whole world’s fixation with this lady, relentlessly demonstrated in news coverage,  books, TV specials, and the cinema. All of us believe that she’s OUR Diana.

So, how far do the creators (Joe DiPietro, book and lyrics; David Bryan, music; and Christopher Ashley, direction) “replicate” the original model? For some, the physical resemblance and other features will satisfy. For other super fans, though, she possibly will be found wanting. Stay tuned for the verdict of New York critics, although this may be one of those “critic-proof” shows

The producers likely will stay with this lady as the production inevitably takes residence on the Great White Way. Talent matters and this actor is bursting at the seams with star quality. Ms. de Waal may be shorter than Princess Di, but her total immersion in the princess’s character soon becomes evident. This critic misses the shy, downward glance of the younger kindergarten teacher (at least it isn’t “reading” from the stage), but finds her to be completely in her element as the character develops her sense of self, mirroring Diana’s circumstances in her real life.

Audiences may be expecting the glare of the camera to focus only on the actor playing Lady Diana Spencer, but in this production there’s another lady who incites a paparazzi frenzy. That would be the Tony-winning, renowned actor who wears the crown in this musical: Judy Kaye (“Queen Elizabeth” and “Barbara Cartland“). Whenever she makes an appearance, she warrants immediate attention even as the spotlights go into their dance (some of her remarkable Broadway credits include NICE WORK IF YOU CAN GET IT, THE PHANTOM OF THE OPERA, SOUVENIR and MAMMA MIA). For purely selfish reasons, I’ll also list the long-forgotten Broadway show OH, BROTHER! via the piano of one of my favorite composers, Michael Valenti.

Also deserving of applause is the performance of Erin Davie (“Camilla Parker Bowles”), who earlier impressed Playhouse audiences in SIDE SHOW, and here delightfully gives us plenty of fodder as the villainess in the story of the fairy tale princess. The partnership on the dastardly side of things – yes, that’s the way Diana partisans view him – features Roe Hartrampf (“Prince Charles”) in all his stuffy glory. He touches all the bases with his characterization…and quite successfully.

Joe DiPietro’s book manages to be sympathetic to Diana while still giving due to the other corners of the love triangle. His libretto is often clever,  sometimes amusing and always respectful. Many of the most newsworthy players in the life of the princess appear on the stage. Gareth Keegan gets to show off his abs as “James Hewitt” and Bruce Dow engages in his usual antics as trusted butler “Paul Burrell”, one of the most colorful persons in her story. Even Nathan Lucrezio (“Andrew Morton”) enjoys the good fortune of portraying the icon’s biographer. (Tell us, Nathan, how weird is it to become Andrew Morton when the real one is sitting in the Mandel Weiss Theatre in the flesh watching you perform?) Overall, the elements of Diana’s story evolve so rapidly (in Act I especially) that audience members surely may not be able to catch their breath. Usually, it’s Act II that contains a boatload of serious book issues in a newly-hatched Broadway musical; however, this critic ventures that Act I holds the key to making this show rise to the occasion. At present, the feel of Act I registers as too episodic.  Stop and smell the roses, if you will.

Certainly, a pop rock musical score, composed by Bon Jovi’s David Bryan, seems definitely on the mark as accompaniment to the troubled life of the people’s princess.  After all, she was a close friend of the prolific tunesmith Elton John. Mr. Bryan’s output here seems less distinctive than that in MEMPHIS, his Tony-anointed Best Musical, but it does have its pleasures. “Snap, Click”, “Here Comes James Hewitt” and “The Dress” among a few other songs come to mind on reflection.

The always surprising staging, that is emblematic of Christopher Ashley, provides touches of elegance as well as opportunities for the more unseemly aspects of her story. Also, he honors her charitable work in Act II with reverence and minus a hurried approach in contrast to the earlier reference. Especially brilliant achievement on “This Is How Your People Dance” and “Him & Her (& Him & Her).

While necessarily ebullient at times, the choreography of Kelly Devine seems too frenetic. Though, in fairness, the ensemble dances up Diana’s stormy life to perfection. Well-disciplined and character-driven.

Ian Eisendrath handles the musical chores professionally with sparkling work from the ensemble, some wonderful jewel tones from Ms. De Waal as well as the other principals and a lively 9 pc orchestra suitably energizing the varying gifts of the score.

David Zinn designs a setting that pays homage to the beauty of Princess Diana with a nod to the joy her life represents, hemmed in by the pomp and circumstance of palace discipline and intrigue. Creative contributions of lighting designer Natasha Katz and sound designer Gareth Owen complete the rosy framework. And then there are those glorious threads of costume designer William Ivey Long!

Potential audience members who worry about the depiction of Diana’s tragic demise need not fret; with Mr. Ashley holding the reins of the production, rest assured that tastefulness rules the day.

Make no mistake about it, the creative staff have significant labors yet ahead, but this retelling of Diana’s story has already blossomed in response to the royal treatment so many have offered. Now Diana awaits her unveiling in NYC. Judging by the reception given by its audience tonight, it could be a crowning achievement for all involved. Oh, and Joe DiPietro and Chris Ashley, bring on more Barbara Cartland!

DIANA continues to enchant audiences on the campus of UCSD at La Jolla Playhouse thru April 14. Tickets are scarce.

pc: Little Fang

Theatre Curtain Calling… Reviewing the Situation

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TINY BEAUTIFUL THINGS centers on our shared sense of community  The rapt expressions on the faces of fellow theatergoers at Pasadena Playhouse drives that observation home. There are tears as well, occasional sniveling and full-throated laughter, too. This play engenders that sort of response for the eighty minutes we commiserate, laugh and search our own souls. “Sugar” (Nia Vardalos) acts as the prime-mover, I suppose.

Let me explain. Initially, the audience is introduced to an overworked mom beginning her day at home going through the routines that inform daily life. Checking her laptop, she unexpectedly encounters an invitation from an online advice columnist to assume the role of “Sugar” and take over the advice column from the online literary magazine, The Rumpus. While the offer is both surprising and out of the blue, she very quickly pooh-poohs the idea before abruptly changing course and agreeing to the proposal.

Let’s pause for a moment and examine how the premise of the play evolves. First of all, it is solidly connected to the bestselling book of the same title by Cheryl Strayed. The author gathered together a collection of letters from her own advice column which happened to be honest, gut-wrenching, raw testimonials about the personal struggles and possibilities in the life experience. Journalist Marshall Heyman, struck by the book’s revealing perspectives, passes it on to his friend Thomas Kail (whose claim to fame is the off-the-charts musical HAMILTON) and he shares it with Nia Vardalos. The playwright, also a respected actress, finds herself totally consumed by the individual stories within its pages and decides to bring it to the stage medium, inculcating input from all quarters including many interactions with Cheryl Strayed herself. A convoluted journey to be sure.

This critic actively speculates before viewing the production about the challenges inherent in such a dramatic endeavor. It suggests a static evening of theatre, enlivened by a heartfelt performance by its leading lady at the very least. By the time the evening ends, this viewer not only celebrates an exhilarating performance by Ms. Vardalos, but – unexpectedly – finds himself totally engaged in the quandaries of the anonymous (emphasis on “us”) people in our own lives. It doesn’t matter whether she could be in line at the grocery store cashier, monitoring the accuracy of the register pricing or he might be a police officer writing out a ticket for a traffic infraction for the umpteenth time. These conceivably could be the random folks in our lives who discard their anonymity during the course of this play. The story excerpts of several dozen lives within the framework of Sugar’s own life story burrow their way into our own inner monologues and they are far from a “static” exercise shoehorned into a stage vehicle.

Nia Vardalos‘ performance hits all the bases. Initially, she reveals her own awkwardness in responding to the random expressions of tumult that emerge from the column’s readers. Then, she readily begins to signal her willingness to enter their world – “listening”, answering with empathy and guiding self-appraisal. Eventually, she mulls over the internal strife of her own life and its parallels to the ones she seeks to advise. All the while she remains on a different plane from those readers, choosing to stay behind her own curtain of anonymity…until she doesn’t.

Thomas Kail‘s direction, here recreated by Sheri Eden Barber, enlists several actors in a small ensemble who give voice to the inner lives represented within the advice column. Giovanni Adams, Natalie Wollams-Torres and Teddy Canez are tasked with the burden of creating these snippets of character revelations and molding them into breathing, true-to-life human beings. No attempt to do more than suggest a change in milieu, education, etc. is in evidence. The aim is to present their humanity rather than pin them down to stereotypical (or atypical for that matter) features of a particular life experience. How do they fare? All of them are impressive in creating the onstage dynamic. The interactions involving Sugar serve to encourage the audience to question the possibility that, despite the intrusion of the computer, their interface is indeed “in the moment”.

In essence, how do all of us deal with the high moments as well as the unpleasant disappointments tucked into everyday existence on this planet? For example, how should a young man respond when the parents who rejected him at a crucial time earlier in his life now wish to turn the page? Or how does a loved one cope with indescribable loss and still manage to move forward?

Jeff Croiter‘s lighting suitably – and subtly – accents the smooth pacing of the individual stories. In fact, all of the technical credits are on the mark.

To the squeamish among the audience in matters sexual or language-related, one would be well-served to find a more saccharine Rodgers & Hammerstein musical playing at a different local theatre. What happens on this stage – instead –  impacts in a more raw, visceral (and sometimes hilarious) way. Always, though, it is real.

pc: Jenny Graham

Theatre Curtain Calling… Reviewing the Situation

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The word “sequel” can strike fear in the mind of an avid moviegoer. Why? Well…remember “Paul Blart: Mall Cop 2”? Need I say more?  I suppose the same would apply to a theatregoer, although there aren’t too many sequels in this genre. Might you remember BRING BACK BIRDIE or THE BEST LITTLE WHOREHOUSE GOES PUBLIC? I thought not. Because VIETGONE, the thrilling play by Qui Nguyen that wowed audiences at San Diego Rep in 2018, proves to be such a quality work of the theatre, I hesitated when I heard the announcement about a sequel bowing at South Coast Rep a year later. I needn’t have worried; POOR YELLA REDNECKS still requires some revision, yet it makes its mark as another important play about the immigrant experience in America.

Just as in VIETGONE, Qui Nguyen makes another appearance as a character (Paco Tolson) in this follow-up to the original play. In the former, it’s the playwright’s father who wraps up the story with his reminiscences about the Vietnam War and its impact on his life as an immigrant. Here it is his mother whose perspective rules the day. Her blunt exchanges with her son not only direct the evolution of the story, but inform the playwright’s colorful home life as well. Apparently, the writer actually conducted extensive interviews with both of his parents and his fresh “voice” reflects a keen understanding of their first-hand experiences.

Let’s head back to Arkansas, this time away from the regimen of Fort Chaffee to a less than modest existence in the “sticks”, as they are shoved via circumstances to El Dorado (also in Arkansas). In 1981, “Tong” (Maureen Sebastian) and Quang (Tim Chiou) have been married for six years. The lust of their initial attraction may have cooled a bit, worn down by the challenges of trying to thrive as immigrants in a foreign culture minus a hearty embrace by others. Tong latches on to paltry wages from a local diner while Quang scrapes by with a series of odd jobs without any permanence to his working life. To add to the challenge, Tong’s mother “Huong” (Samantha Quan) and the couple’s child live under the same roof.

The razor-sharp, unfiltered tongue of Tong’s mother captures a woman who believes she is trapped in the midst of an alien culture, seeing no reason to yield to the expectations of a way of life that is clearly anathema to her own. She does not respect the need to assimilate and coaches Tong and Quang’s son, “Little Man” (of course, also the “Playwright” as a youngster), to follow a path running afoul of  the wishes of her daughter. The key child character represents as a puppet lovingly designed and directed by Sean Cawelti, voiced by Eugene Young and manipulated by both Mr. Young & Mr. Tolson. Given the bullying that Little Man endures at school, Tong, conversely, believes that learning English would alleviate some of his problems. Herein lies the immigrant struggle on vivid display.

The tone of POOR YELLA REDNECKS is undeniably audacious as compared to the original. For example, the acclaimed comic book aesthetic reigns in the projections of Jared Mezzocchi within the overall umbrella of the flexible, yet always interesting scenic design of Amulfo Maldonado. Once again, Kung Fu emerges unexpectedly (this time in a Safeway grocery store), complete with nunchucks and swords (perhaps this segment, as executed, ultimately outstayed its welcome). Also, the music and sound design of Shane Rettig, aided by the hip arrangements of the accomplished Kenny Seymour (now busy conducting AIN’T TOO PROUD on Broadway) injects a heavy dose of propulsive energy into the proceedings.

The bountiful humor, often out of left field, insightfully peeks its head around every corner, priming the pump for a shocking complication in the immigrant couple’s life. The resulting push and pull in Tong and Quang’s quest for a new reckoning in their relationship, despite the pressures caused by their dire circumstances, demands an occasional yuck-yuck relief valve.

Furthermore, the rapping offers an unusual dimension to the chaos. It snatches key moments in the storytelling and permits passionate exploration of internal debate and resolution in an explosive format. Intense. Chilling. Devastating. Incidentally, Ms. Sebastian kills it in rapping mode. In truth, as the preeminent character in this sequel, hers registers as a truly astonishing performance.

Looking in the rear view mirror on the play as a whole, it appears as if Act 1 develops in fits and starts, and begs for more coherence in the storytelling. On the other hand, the second act gelled…remarkably. Satisfying. Surprising. Enlightening.

The coarse antics of Ms. Quan likewise impresses. Even Mr. Chiou, although less in focus within this script, undergoes a reordering of priorities which is quite moving. Well done. The rest of the cast play a variety of roles mostly with success, although the character of “Bobby”(Paco Tolson), dripping in comic book overkill, strains credulity on all levels. Downright weird.

Director May Adrales charts a steady path for this continued saga of adjustment for these Viet refugees on their journey thru the American way of life. Supposedly, two other pieces of the puzzle are likely to take a bow in the future. Whether or not the audience previously enjoyed the good fortune of seeing VIETGONE, the opportunity to sample the fresh voice of Qui Nguyen as a writer for the theatre should not be missed. It seems likely that Manhattan Theatre Club in New York City will be the next step in the journey of POOR YELLA REDNECKS, either at the Friedman on 47th Street or at City Center around the corner from Carnegie Hall.

pc: Jordan Kubat

Theatre Curtain Calling… Reviewing the Situation

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A teen suddenly loses a parent and wonders what could have been. Further, the parting words were angry ones. As a result, does she own any responsibility herself? She ponders how she can reconcile her feelings about her parent when nothing is the same anymore. Ultimately, can she move forward with peace and surety?

In so many ways, the introspection in this new musical now playing at The Old Globe in San Diego reminds me of DEAR EVAN HANSEN. In that show, Evan desperately seeks to find his way amid the chaos of his life. In LIFE AFTER, however, the chaotic world of a young teen arrives like a bolt of lightning. “Alice Carter” (Sophie Hearn) loses her father, “Frank Carter” (Bradley Dean), abruptly in an auto accident.  She then explores their relationship, its truths and its falsehoods, even considering her own culpability for the tragic event. All the while, the rest of the family members reveal their own coping mechanisms seemingly at odds with Alice’s thoughts.

Her mother “Beth Carter” (Mamie Parris) quickly seems intent on painting the wallpaper in her husband’s study. Her older sister, “Kate Carter” (Charlotte Maltby) wants to change the subject and move on. Alice has no intention, though, of burying that part of her life so abruptly, preferring instead to investigate the circumstances of her father’s fatal crash and her guilt surrounding it. In the process of delving into the details, she encounters uncomfortable revelations about her famous father.

Alice’s best friend. “Hannah” (Livvy Marcus) offers her encouraging advice along the way. Also, her respected schoolteacher, “Ms. Hopkins” (Dan’Yelle Williamson), lends a sympathetic ear to the troubled teen even as she seems to be pulling up stakes to take another position in a distant school. Alice continues to turn over stone after stone in her quest to make sense of the calamity.

Meanwhile, three ladies, each with a “Fury” character designation (Mackenzie Warren, Charlotte Mary Wen and Ximone Rose), act as a contemporary Greek chorus of sorts, observing, interjecting, challenging, and advising, while darting in and out of the action. According to mythology, these goddesses (the “Furies”) were bent on vengeance and invisible, even ugly and swarming with serpents. They were focused on assigning guilt in the midst of their anger and intent on comeuppance for the offender. Incidentally, these Furies on the Donald & Darlene Shiley Stage are far from ugly and they dispense with the snakes as well (thank goodness!).

And who holds the reins in this project? Britta Johnson is her name and she injects life into this family as the playwright, composer and lyricist (the whole shebang, if you will). As a young Canadian talent, the lady has made her mark with this show in theatrical circles among our  northern neighbors. Plenty of DORA awards (akin to our TONY‘s) have been showered on this musical before its journey to San Diego. Actually, it is important to recognize that there exists a wealth of theatrical know-how in Canada, centered in Toronto, the Stratford Shakespeare Festival, the Shaw Festival and other provinces near and far. In this remarkable musical, Americans seem likely also to discover this extraordinary talent  in the wake of the earlier, Canadian contributions of Bob Martin, Don McKellar, Lisa Lambert and Greg Morrison in THE DROWSY CHAPERONE as well as Irene Sankoff and David Hein in the more recent COME FROM AWAY.

Sophie Hearn comprises the core of this show as Alice Carter and she delivers the goods. Passionate, insecure, confident, energetic, emotional, complex – she represents all of these qualities as she wrestles with this perplexing and shocking disruption in her life as a sixteen-year-old. This critic’s twenty-five year career teaching students of this precise age leads him to the inescapable conclusion that Ms.Hearn has succeeded mightily in creating a believable path to the teen’s eventual self-actualization and tentative renewal and stability in the meantime. Oh, and she sings with passionate commitment, too.

Bradley Dean, as Frank Carter (the other central character in the play), demonstrates a bond with his youngest daughter which is meaningful and intense. His popularity on the speaking circuit has interfered with his connection to his teenage daughter, yet his actions in flashback dignify his love for Alice. He “phones it in” (not really, but a little humor rarely is out of place, right?). This Broadway veteran handles the demands of the drama along with the musical score with aplomb.

It seems as if Mamie Parris’ mother Beth often is shoved into the background and may need some additional attention as the libretto evolves. Of course, the necessity of highlighting that father/daughter relationship remains paramount and the correct balance properly challenges the creative team.

Other featured performances by Charlotte Maltby as the older daughter Kate, Livvy Marcus as the best friend Hannah and Dan’Yelle Williamson as the schoolteacher Ms.Hopkins all mimic the very real influences on a teen at this time of upheaval and they all score points in my book. As for the Furies, their theatricality in the staging is undeniable, but their function in the script may be more problematic. Possible  tinkering as the journey continues? Questions may need to be resolved going forward about intrusiveness, in particular. No doubt, though, that these ladies do demonstrate a raucous blend of musical talent as the unseen (yet seen, of course) trio comment on the proceedings. Lynne Shankel ably leads the small orchestra and does justice to the affecting music on all fronts.

The Old Globe could not have found a more suitable director than their own Barry Edelstein. This choice strikes me as one of the finest connections between a grand arbiter and dramatic material that this critic has witnessed in recent years. The complexity of the musical drama demands an inventive mind with a full grasp of the dramatist’s intentions and this happens to be a match in heaven. He marshals a steady control of the propulsive energy of the music and the possibilities for appropriate movement (compliments of Ann Yee) which keep the audience totally engaged. Well done, sir!

Prolific scenic designer Neil Patel, whose work is brilliantly augmented by the projection achievement of Sven Ortel, has a masterpiece on his hands. The lighting design of Japhy Weideman likewise paints incredible stage pictures. In fact, bravo to all of the technical contributors in this regard. The doors and windows which often shape the theatrical space create stage magic over and over again.

As many of you might have guessed, this critic considers LIFE AFTER a stunning achievement for all involved. The musical also speaks to the rarefied needs of a teenager, although it is an audience of “experienced” adults who leap to their feet upon the show’s conclusion. Note to theatregoer: See it again…and this time bring along your teen-aged children and/or grandchildren!

pc: Jeremy Daniel

Theatre Curtain Calling… Reviewing the Situation

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There he was…sitting right across the aisle from me in the New York State Theatre at Lincoln Center (Upper West Side, NYC) in the year 2000. Now I’m not one to worship celebrity per se, but being that close to Stephen Sondheim encouraged my heart to beat a little faster than normal, I must admit. I was there to witness one of the world’s greatest orchestras, the New York Philharmonic, interpret the poet of musical theatre’s masterpiece. Full voice to the richness of SWEENEY TODD, THE DEMON BARBER OF FLEET STREET was slated to be interpreted by the likes of Patti LuPone (my #1 diva crush), George Hearn, Neil Patrick Harris and Audra McDonald. In short, a musical banquet was on the menu. (Snap out of it, Bill!)

Back to the present and the South Coast Rep production of SWEENEY as the curtain is about to rise on the Segerstrom Stage. The memories from the above referenced grand concert are still cascading feverishly, now interspersed with the drumbeat of anticipation for still another interpretation of this classic by one of the nation’s finest regional theatres. The pre-performance audience instructions are in full swing. Finally, the shrill industrial whistle shrieks and the shroud of the Grand Guignol aesthetic, along with the organ panoply of gloom and doom, demands attention to the “The Ballad of Sweeney Todd”. I’m all in.

The Rep has gathered a first class cast to essay the gruesome story penned by Hugh Wheeler. It never achieves the horror of – let’s say – TITUS ANDRONICUS, real life Victorian bear-baiting or a host of stomach-churning slasher cinema, yet grinding murdered human victims into “meat pies” lies a healthy distance from the “syruptitude”(sorry, my word) of THE SOUND OF MUSIC. And the oven-ready “city on fire” of Victorian London is a whole lot more fun when contrasted with being “high on a hill with The Lonely Goatherd” strolling the Alps.

David St. Louis, as the title character, manages a steely and chilling demeanor, steadfast in his determination to right past wrongs perpetrated by certain Londoners. His soaring and resonant baritone slices to the core of songs such as “My Friends”. Only when he climbs to the higher register does his voice become a bit thinner.

His cohort in crime, Jamey Hood (“Mrs. Lovett”) captures the denizen’s scheming and amoral nature. Her lunacy and comic aplomb lands her performance in audience favorite territory. Likewise, her singing chops are worthy of adulation – a different approach from both Lansbury and LuPone, but nevertheless engaging. There were moments, though, when her performance became a bit too studied and deliberate in gesture and expression, straying from its organic roots.

Both Erica Hanrahan-Ball (“Beggar Woman”) and Conlan Ledwith (“Tobias Ragg”) stunned with their pivotal performances. Vocally impressive and affecting in their portrayals of characters on the edge bring these actors into rarefied focus. Bloody well done to these descendants of Thespis.

Noteworthy also are the turns by Juliana Hansen (“Johanna”), Devin Archer (“Anthony”) and Roland Rusinek (“Adolfo Pirelli”), satisfyingly doing justice to their featured roles in the production. Plenty pleased to see Brent Schindele, a local acting chameleon, shine as “Jonas Fogg” as well.

The whole lot of featured actors comprise the ensemble at one time or another. All of them can be singled out here or there for well-deserved recognition. Oh, and David O (he has to be tired of lame “O” jokes) has blended a beautiful sound from these talented singers. Not only that, he leads his orchestra of 10 in a knowing rendition of the ravishing score.

Director Ken Nicholson shapes the enterprise with distinction. The other creatives make their mark as well with a special shoutout to the scenery design of John Iacovelli. His canvas is not the Gershwin (nee Uris) on Broadway where SWEENEY TODD first played, but given the limitations of this smaller stage, a worthy effort even so.

I was certainly glad to be a part of this audience peopled with quite a few deaf citizens in our community.  In particular, I couldn’t avoid observing the enthusiastic interpreter enacting the grinding of the meat pies in the basement of the “shop”. South Coast Rep deserves credit for making this service available.

Of course, this afternoon’s performance of SWEENEY TODD could never erase my vivid, cherished memories of the NY Philharmonic concert. No matter…entering the world envisioned by Christopher Bond, the original playwright who provided the source material for the music and lyrics of the master Sondheim, always serves as a thrill. Anytime I can receive another dose of “A Little Priest” – especially when it’s “well done” – leads me to the conclusion that it has been a generous theatre feast! The barber’s razor at Costa Mesa sadly will rest as of February 16.

Theatre Curtain Calling… Reviewing the Situation

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Smart. Fresh. Timely. Innovative. Revelatory. Superbly Acted. Susie Reese and I visit SAN DIEGO REP’s LYCEUM SPACE for VIETGONE. Wowza! We had a *blast* swirling in the middle of this blast from the past. For both of us, the Vietnam story is a vital one that resonates with our generation vividly. This play rocks our world!

I had never been to this particular theatre in the Horton Plaza complex. So impressed. It offers desirous intimacy and this theatregoer appreciates seeing a play up front and personal (In this case almost in my lap).

The.performances knock my socks off. Ben Levin’s “Quang” impresses as the displaced South Vietnamese helicopter pilot who finds himself in America, separated from wife and child and anxious to return to his homeland. He encounters a fellow refugee (“Tong” played by Katherine Ko) an independent girl bursting with sexual energy and, unlike “Quang”, anxious to assimilate American culture. They go at each other in more ways than one, yet find a significant attraction despite their differences. Ms.Ko satiates her sexual energy with the attractive Mr. Levin, who initially has to be enticed into the coupling.

The “playwright” introduces VIETGONE as a “love story” and it certainly is that, although it speaks knowingly to immigration issues as well from a refugee’s point of view. As a matter of fact, Quang’s transformation near the end of the story is masterful in its depiction of the issues at the crux of the Vietnam War, then and now.

Oh…and the architecture of this non-traditional play is stunning. Draped in comic book regalia, it constantly arouses, carouses and surprises. Rapping, anyone? How about superhero theatrics!  Throw in a dash of hippiedom, a splash of redneck idiocy, some hokey kung-fu and a heavy dose of sexual hijinks and stir the pot.

Lawrence Kao alternately dazzles both as Tong’s brother “Nhan” and Quang’s best friend “Khue”. Meanwhile, Shaun Tuazon shakes things up as the dumb, yet sweet Arkansas soldier “Bobby” as well as offering an hilarious take on a redneck trekking on his gussied-up cycle. Also,Tong’s mother “Huong”, who stubbornly resists any influences from this weird culture in which she finds herself (and who has the hots herself for her daughter’s bedmate), is played and slayed by Emy Coligado; her performance is nothing short of priceless. Sidenote: Happy to see that Chris Bona understudies a number of roles in this show (A great opportunity to be in the company of such extraordinary talent).

In short, the above referenced ensemble of five continually mesmerizes throughout the show. Kudos to all!

Jesca Prudencio wraps (or should I say “raps”) this bravura acting package with a bow and presents it to a grateful audience. Quite the directorial achievement in my own comic book. I suspect that it could have been a challenging, yet zany rehearsal ride for this cast.

All technical credits are right on! Justin Humphres, in particular, does spectacular work with his flexible scenic design and incredible projections. Pow!

At the end of the evening I regret that the theatrical hoopla ends. The poignancy of Qui Nguyen’s marvelous play strikes home for this Vietnam Era veteran. I guess one could say that I am sorry it is VietGONE.

Theatre Curtain Calling…Reviewing the Situation

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Well over a year ago I sat comfortably in the MANDELL WEISS THEATRE on the campus of the University of California San Diego (UCSD) for one of the initial previews of LA JOLLA PLAYHOUSE’s production of SUMMER: THE DONNA SUMMER MUSICAL. While I did not judge it fair to review such an early performance of a multi-million dollar effort, I do wish to reflect on its prognosis since it has been running for quite some time on Broadway.

The look of the production was stunning in La Jolla. Robert Brill, with able assistance from the projections of Sean Nieuwenhuis, rocked the distinctive disco look amazingly well. Likewise, Paul Tazewell succeeded wholly and completely with the period costuming. In addition, Howell Binkley dazzled with the disco lighting. Even Charles G. LaPointe absolutely embellishes all the players with his full array of wigs. No doubt, outfitting an entire female ensemble with male wigs must have been an exciting challenge.

The musical direction by Ron Melrose crossed all the t’s and dotted all the i’s. And the sound design of Gareth Owen resonated, bringing all through the pearly gates to disco heaven.

Des McAnuff’s smart, conceptual staging easily captured the era while also giving the enterprise a contemporary flair. In addition, Sergio Trujillo’s choreography moved cleverly in tandem with those distinct disco rhythms.

All three ladies sharing the role of Donna Summer couldn’t have been finer: La Chanze, Storm Lever and especially, Ariana DuBose as “Disco Donna”. A star is born! The supporting players were satisfactory, yet not able to bring it to the next level. Meanwhile, the thrilling female ensemble flitted effortlessly through those precision dance numbers, yet their stature on stage read too diminutive in order to communicate the male gender on occasion.

So, why did the ever dwindling numbers of the New York press have so many issues with the show? IMHO, collectively, they were attempting to send a verdict to producers and creatives out there in the workplace: enough already with the jukebox musicals!

Even though two of the three leading ladies received TONY nominations, where were the nods for the technical creatives?

And the omission of Sergio Trujillo, in particular, was bewildering. No nomination? Well, at least the dance establishment in New York, responsible for the Chita Rivera awards, tried to make amends. Sergio was not only nominated for his dance achievement with SUMMER, but he also was named the winner of this prize.

The core failing of the show, though, was the book by Colman Domingo, Robert Cary and Des McAnuff. Ms.Summer’s messy life included scene after scene of domestic trauma. In La Jolla there didn’t seem to be a build to an increasing unraveling of stability. 

Based on the financial records published in PLAYBILL, it seems to me that the Broadway show is not long for this world unless the Nederlanders owe Tommy Mottola, the high-powered record executive and the lead producer, a few favors. It’s likely, instead, that there will be a non-union production that tours the country, recoups the Broadway investment and provides a great deal of entertainment for the masses as its ”Last Dance”. There are quite a few of us throughout America who have fond memories of the disco revolution as it exploded on the scene in the Seventies and Eighties!

Update: 1/6/19 Closed on Broadway with plans for a national tour.

pc: Joan Marcus

Theatre Curtain Calling…Reviewing the Situation

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BELLEVILLE. What a romantic environment to get a handle on young love in a still evolving, “green” marriage!  From the top of the show when “Abby” (Anna Camp) first enters the scene and finds her husband “Zack” (Thomas Sadoski) fully engaged with a porn viewing experience, the audience knows that turmoil lies ahead in this Amy Herzog play living and breathing on the stage of PASADENA PLAYHOUSE in Pasadena, Greater Los Angeles (LA).

The audience senses that this is destined to be a dissection of a typical domestic drama wherein the couple maneuvers the hills and valleys of a troubled relationship. One of the reasons this critic occasionally loves to enter an audience experience as a total newbie (stone cold clueless about the play) is borne out by the surprises provided by Ms. Herzog as the play unfolds. The reader likely will miss possible spoilers in this review so that this guy can protect the joy ride that the audience may choose to embrace. What begins as that aforementioned family drama proceeds unerringly to rarefied dramatic territory – a psychological thriller.

Lean forward in one’s seat time. Anxious glances at your companion time. Gritting the teeth time. And – ultimately – covering the eyes time. It’s all on the Playhouse stage.

Anna Camp delivers wonderfully as the slightly unbalanced, emotionally fragile expatriate, sequestered in Paris at her husband’s behest and not liking it one iota. Thomas Sadoski helplessly attempts to stabilize their relationship by catering to her whims. Nothing is as it seems, though, and the power balance between them shifts more than once. Both Ms. Camp and Mr. Sadoski fully inhabit their roles, setting up quite a few revelations arising from a disastrous date night.

Not only that, the other two actors in the production, landlords “Alioune” (Moe Jeudy-Lamour) and “Amina” (Sharon Pierre-Louis),  demonstrate conflicted relationships with their tenants and manifest key roles in the climactic moments in the play. Fine work from both of them.

No doubt director Jenna Worsham and her creative team elicit the promise of the script in guiding first rate performances and constructing exceptional technical trappings as well.

BELLEVILLE provides an Eiffel Tower ride to the top of one’s emotional thermometer. Amy  Herzog devises a crackerjack play here.  Aujourd’hui, now, today…get thee to the Pasadena Playhouse!

(N.B. Visit Oh My Pan Bakery & Tea House while in Pasadena, Greater Los Angeles (LA).)

Theatre Curtain Calling…Reviewing the Situation

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Quite the parade from LA JOLLA PLAYHOUSE lately to the Great White Way in Manhattan, New York City (NYC).Let’s see… fairly recently there were LATIN HISTORY FOR MORONS, SIDE SHOW, HANDS ON A HARDBODY, PETER AND THE STARCATCHERS, JUNK, INDECENT and COME FROM AWAY to name a few. Soon to open are ESCAPE FROM MARGARITAVILLE and SUMMER (a total of 32 from the Playhouse overall). Let’s not forget the new production of JERSEY BOYS which recently opened just off Broadway in a smaller theatre after its 11 year run at the AUGUST WILSON THEATRE. Oh, and FREAKY FRIDAY will be released in movie form soon. Whew!

Therefore, it would surprise me if the LJP production of THE CAKE fails to make the transfer soon as well. Attractive to producers, no doubt, are the following: Bekah Brunstetter (the playwright) writes and produces for NBC’s mammoth hit “THIS IS US”; the critic reviews have been positive; the issue of gay rights vs religious liberty remains forefront in the news; the 4 person cast is financially attractive to investors; it features a Broadway leading lady in Faith Prince; and, of course, the reputation of LA JOLLA PLAYHOUSE undoubtedly would play into the decision as well. I say let’s get this show on the road to NYC!

First and foremost, a writer’s dream comes to fruition with the casting for the show. It’s a coup that this star signed on for the gig; my familiarity with her dates back to her indelible performances in GUYS AND DOLLS, BELLS ARE RINGING and LITTLE ME among the seven shows in my Faith Prince memory book. Truly a lady who commands the stage. In this production she grandstands (in a good way) as “Della”, the proprietor of Della’s Sweet Shop in a small town in North Carolina. She reconnects with her cherished best friend’s twentysomething daughter, “Jen” (Aubrey Dollar), who previously had moved to NYC for a different perspective on life when her mother passed away. Della lives and breathes cakes (especially pink lemonade flavor), yearns to be a contestant on a TV bake-off show and prides herself on her gregarious nature in the community.

The playwright introduces us to this homemaking queen at the same time a visiting African-American, young lady, “Marcy” (Miriam A. Hyman), from New York City (NYC) seems to be interviewing her. Later developments reveal that Marcy, who happens to be a vegan (she spurns the thought of cake) is visiting North Carolina at the behest of her lesbian partner, to support her as she plans their hometown wedding.  When Jen encounters roadblocks, Marcy attempts to dissuade her from pursuing the Southern wedding plan, relying on her own past history dealing with prejudice. This event, though, specifically connects with her deceased mother’s wishes and the legacy Jen received for that purpose, so she remains persistent.

The fourth member of the cast, “Tim” (Wayne Duvall), gives us an intimate view of Della’s home life, and a hint that there is trouble in paradise.  Hilarity occasionally rules with Tim and – I have to say – he possesses the best “s…t – eating grin” in the universe.

Of course, the crux of the play involves the question of whether or not Della will bake THE wedding cake. Delineating the play’s layers of meaning includes several relevant questions besides the obvious one. For example, what challenges occur behind the scenes involving Jen and Marcy’s relationship? Similarly, how does the torturous decision affect the relationship of Della and Tim? Also, and perhaps most importantly, what implications for society do the issues related to change impact all of us?

The playwright uses her own childhood experiences lovingly as she digs into the truths of this charming artisan’s dilemma. Ms. Bronstetter develops the dramatic scenario sensitively, painting a picture of a friend in turmoil over honestly held views entrenched for a lifetime.

Intruding on the action periodically booms the voice of her favorite TV host from the bake-off show (Jeffrey Howard Ingman) with commentary on Della’s challenges.

David F. Weiner‘s setting deserves a blue ribbon. Other technical contributions by Denitsa Bliznakova and Elizabeth Harper deserve accolades as well.

Ultimately, the play’s value lies in the journey of these disparate characters tousling with their own value systems. Questioning. Accommodating. Rejecting. Moving on. All of the other joys of this production are just icing on THE CAKE.

Theatre Curtain Calling… Reviewing the Situation

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