Doorway To Heaven in Big Sur
Maple Ridge In Japan
A Hotel In The NetherlandsSheep Going Through San Boldo Pass, Italy
New York City Absolutely Massive Lightning StrikeCompletely Spanning The Hudson River.
Under The Iceberg
Fallen Tree Is Holding Back The DuckweedSolar Eclipse
The Way This Ice Froze
Smog Over Almaty, Kazakhstan
The Gulf Of Alaska, where two oceans meet but do not mix
The Eruption Of Mount Ararat
Philadelphia City Hall; Like being in San Francisco
Fire and Tornado
Bent Rail Tracks After A New Zealand Earthquake
Looks Like One Of The Buildings Is Draining Energy From The Other
Sun Curling Up A Wave
Mammatus Clouds KANSAS
Frosted Trees
This Cloud Looks Like A Feather
Washed Car
Atop Mt. Javornik, Slovenia
A Pile Of Timber Reflecting In A Puddle
Lava Skull Descending Into the Ocean
Sky That Looks Like A Rough Sea
Pancake Ice
Spiral Pine
Clouds In Hampton Roads, Virginia
Waterspout Over Tampa Bay
Tyler Jeffreys (above), Moshe Goodman (below). All photos by Squirrel Visuals.
Christopher Chen, born and raised in San Francisco, is one of the Bay Area’s favorite playwrights. Innovative in structure and subject, funny and thoughtful, his plays break new ground. But the title block on the program itself suggests that “The Late Wedding” goes a step beyond even his extraordinary. Rather than stating that the play is “by” the playwright, it indicates that the play is “from the notes of Christopher Chen.” This odd citation becomes the crux of the play’s structure and the basis for its criticism. Those who favor the absurd; who value creativity; who appreciate skit comedy; and who follow the work of the playwright will be most drawn to this play.
With their fully-staged production of Chen’s work, kudos to Mountain View’s Pear Theatre for leading the way in the return to indoor theater after 15 months of pandemic-imposed darkness. The adventuresome small company not only offers socially-distanced indoor performances to a play with a full cast, but also outdoor performances and online streaming, to accommodate all manner of theater lover. Hallelujah!
Carissa Ratanaphanyarat, Stephen Kanaski.
The company gives a spirited rendering of the play, directed by Sinohui Hinojosa. The cast is led by the highly animated Annamarie MacLeod as the narrator, who tries from time-to-time to inject meaning into the proceedings. Six other actors play multiple roles in the dozen-ish sketches that comprise the narrative. Largely, the performers fit the characters well and imbue them with verve, though not all are equally convincing.
So, what is the playwright up to? Chen acknowledges in the play itself the influence of Italo Calvino’s “Invisible Cities,” in which Emperor Kublai Khan discusses with merchants the cities that they trade in – thereby learning the nature of people in the various outposts. In the case of “The Late Wedding,” relationships replace cities. The unfolding of funny foreign social practices yields farcical situations that produce more smiles than hardi-har belly laughs.
The first three segments provide a humorous anthropological look at what conventional people would consider strange marriage practices in these fictional places. For example, in one venue, courtship is so revered and marriage considered such a letdown that true believers remain apart after marriage for as long as they can! In another, marriage is so open that parents routinely don’t know who the fathers of their children are.
Annamarie MacLeod.
The formula then shifts to what Chen calls interludes, which are also segments largely focused on relationships. In a thriller episode, a spy meets her handler and tries to prove legitimacy, despite having forgotten part of the passcode. In a latter segment, a spaceship seeks the celestial bodies of the Calaman Islands, which played as a separate honeymoon destination for the earlier couple who planned to live blissfully apart. While this closes one story loop, it doesn’t provide a prism through which to see the full procession of vignettes.
Many other playwrights have used absurdism as a central theme, such as one of Calvino’s inspirations, Luigi Pirandello, with his “Six Characters in Search of an Author.” And giving broad latitude to directors on fleshing out and casting shows with many roles has been done by the likes of Caryl Churchill in “Love and Information.” But as opposed to Chen’s play, those pieces convey the sense that they were completed as designed. That said, while much action in “The Late Wedding” is fanciful and disjointed, it is underscored by important themes such as social mores, time, perception, change, and morality.
Gaz Jameel, John S. Boles, Tyler Jeffreys.
“The Late Wedding” gives the sense that the playwright cobbled together several ideas that he couldn’t fully develop individually. The fact that attribution of the play is to “the notes of Christopher Chen” and that a comment within the play notes that it includes leftovers conforms with the thinking that the sketches are an omnium gatherum. It even raises the question of whether he is responsible for the final text. Also, extraneous “notes” appear throughout the play, including grocery lists and questions whether certain commentary in the manuscript was intended to be text or the playwright’s notes to himself. And the final support to the notion that the design is not premeditated is that there is explicit reference to writer’s block.
Of course, all of these diversions could be subterfuge – red herrings to make the audience think that the structure is chaotic rather than calculated to seem incoherent. In any case, it is provocative and entertaining. But ultimately, does the work stand on its own as patchwork comedy? As metatheatrical exposition? As an expression of absurdism? Is it art? It’s up to you to decide.
“The Late Wedding” from the notes of Christopher Chen is produced by Pear Theatre and plays on its stage and outside of that venue at 1110 La Avenida, Mountain View, CA, and streaming online through July 18, 2021.
Victor Cordell, PhD
American Theatre Critics Association
San Francisco Bay Area Theatre Critics Circle
Kedar [rating:5] (5/5 stars)
Lancelot (Wilson Jermaine Heredia*), King Arthur (Johnny Moreno*) and Guenevere (Monique Hafen*) at Knighting Ceremony Photos by Jessica Palopoli.
CAMELOT: Musical. Book and lyrics by Alan Jay Lerner.Music by Frederick Loewe. Based on “Once and Future King” by T.H. White. Directed by Bill English. Music director Dave Dobrusky. July 16 – September 14, 2013.
CAMELOT rides into San Francisco on Harley motorcycles!
We aficionados (with synonyms of connoisseurs, devotees, enthusiasts, fanatics) of the SF Playhouse are mostly inured to seeing volatile productions of the under-belly of society parade the boards of their theatre. They have done it again with an ‘in your face’ staging of the musical Camelot. If any of their productions can be summarized with Harold Ross’s 1925 quote from “The New Yorker”, “It has announced that it is not edited [produced] for the old lady in Dubuque” , this staging of the once (and hopefully future) uplifting King Arthur/Round Table/Camelot story is it.
Last year Bill English’s re-imagination of My Fair Lady at their former intimate Sutter Street Theatre was a success and played to substantial crowds throughout the summer. It seems that the “summer musical” has become a standard for SF Playhouse to catch the vacation crowds that swarm San Francisco. This year they are in the substantially larger venue (up from 99 to 265 seats) that has a huge stage with a plethora of technical equipment. For Camelot Nina Ball has created a massive set using two or three turntables, an integrated rear stage screen for impressive projects and to hide the (count them) eight piece orchestra under SF favorite Dave Dobrusky. The well-known and acclaimed title of Camelot will surely attract crowds.
Those crowds will be overwhelmed with the colossal staging but they will not be humming the charming tunes associated with the musical but rather be shaking their heads as many were on opening night. Although there was appreciative applause at the curtain, the usual spontaneous standing ovation was absent.
Wilson Jermaine Heredia* as Lancelot prepares to battle knights
It was absent for good reason despite a spectacular performance by Wilson Jermaine Heredia as Lancelot. Heredia is a Tony and Oliver Award winner for his role as Angel in the Broadway and London productions of Rent. Director English, using some of his own words, has created knights in the mold of grungy (costumes by Abra Berman) bikers (Ken Brill, Rudy Guerrero, Robert Moreno, George P. Scott), Guenevere (Monique Hafen) as an angry Goth princess, King Arthur (Johnny Moreno) as a day-dreaming dolt and Mordred as a potential to play Richard III. Charles Dean a Bay Area favorite who brought the house down with his role as Doolittle in My Fair Lady is cast as both the magician Merlyn and Arthur’s confidant Pelinore. Sadly, the only distinction in those characterizations is a change of costume.
There is much to like about this twisted version of what should be a romantic escapist evening that includes excellent singing voices (with exception of Johnny Moreno’s limited range), eye-catching projections, energetic acting and exuberant fight scenes staged by Heredia. The marvelous score and lyrics are still enchanting and include “Camelot”, “Follow Me”, “The lusty Month of May”, “How to Handle a Woman”, “Before I gaze at You Again”, “If Ever I Should Leave You”, and “I loved You Once In Silence.”
Running time 2 hours and 40 minutes including the intermission.
Kedar K. Adour, MD
Courtesy of www.theatreworldinternetmagaine.com
Love and Information by Caryl Churchill at ACT’s is a collection of 57 self-contained scenes on the title’s subject –each lasting from five seconds to five minutes with over 140 characters played by a talented ensemble of twelve actors. Each scene contains from one to 3 actors and the entire show runs about 90 minutes. This theatrical kaleidoscope employing video and film is staged imaginatively by Director Casey Stangl in the newly opened Strand Theater at 1127 Market Street, SF. Continuing through August 9, 2015. Tickets $40-$100 415.749.2228/ act-sf.org.
Aurora Theatre Company’s closes its 23rd season with DETROIT by Lisa D’Amour. This Bay Area Premiere of the Obie-winning satire features Amy Resnick, Jeff Garrett, Luisa Frasconi and Patrick Kelly. Ms. Resnick is wildly funny as Mary who with her husband Ben–newly unemployed–are attempting to survive in their suburban home. Welcoming young Sharon and Kenny who met at rehab and have just moved into the long empty house next door, the older couple’s values get threatened when the backyard barbecue turns dangerous and threatening. Director Josh Costello keeps this dark comedy moving as we watch the social fabric of the American psyche fray strand by strand. DETROIT plays through July 19 at the Aurora Theatre in Berkeley. Tickets $32-$50 510.843.4822/ auroratheatre.org
Extended through July 5th is Custom Made Theatre’s SF Premiere of Grey Gardens, the Musical directed by Stuart Bousel with Musical Direction by David Brown. Based on a true story and the documentary, Grey Gardens (book by Doug Wright, music by Scott Frankel, Lyrics by Michael Korie) is a fascinating exploration of Jackie Kennedy’s aunt and cousin who in 1973 she discovered living in a squalid Long Island Mansion and hanging on to reality by a thread. The stellar cast brings to life this musical exploration of the American dream gone wrong and what it means to become a social pariah by examining both the back-story of the family and the fate they couldn’t possibly have imagined. Heather Orth and Juliana Lustenader lead the cast in spot on performances. Tickets $20-$50 www.custommade.org/tickets.
Upcoming July 9th – Aug 2nd and back for the fifth time, don’t miss Custom Made’s longest running show in their 16 year history, the hilarious Book of Liz by David and Amy Sedaris about everyone’s favorite squeamish nun Elizabeth Donderstuck and her famous cheeseballs at Gough Street Theatre.
And as of Sept 1st, Custom Made will have a new home at 533 Sutter Street, 2nd floor, between Powell and Mason. More news at www.custommade.org/tickets.
Around the corner at the Phoenix Theatre at 414 Mason Street, Off-Broadway West just completed their run of Harold Pinter’s modern classic The Birthday Party ably directed by Richard Harder. The Birthday Party is about Stanley Webber (Adam Simpson), a one-time piano player in his 30s, who lives in a boarding house, run by Meg (Celia Maurice) and Petey Boles (Graham Cowley), in an English seaside town. Two sinister strangers, Goldberg (Keith Burkland) and McCann (James Centofanti), who arrive supposedly on his birthday and who appear to have come looking for him, turn Stanley’s apparently innocuous birthday party–organized by Meg with their saucy neighbor Lulu (Jessica Lea Risco) as a guest–into a nightmare. This is ensemble acting at its best. Sound and Lighting Design by Ian Walker create additional elements of foreboding on Bert Van Aalsburg’s believably English set. OBW’s next production will be in 2016. www.offbroadwaywest.org
For Discount tickets to many of these and other theatre events check out Goldstar.com
Linda Ayres-Frederick
The Annual San Francisco International Arts Festival (till June 7) Dazzles
by Jenny Lenore Rosenbaum
Until June 7, 2015, the San Francisco International Arts Festival (SFIAF) is a nearly three-week cornucopia of theater, dance, music, performance art and art exhibitions that few American cities can match in aesthetic diversity and sheer exhilarating power. San Francisco, with its world famous multi-cultural pizzazz, is the ideal setting to showcase and celebrate the power of Bay Area and global art to inspire, thrill and engender cross-cultural understanding.
Indeed, among the goals of visionary SFIAF Founder, Andrew Wood, is to nurture cross-cultural collaborations among the featured artists. Another is to showcase both emerging and established artists who often do not have U.S. or overseas representation (agents, producing organizations) and whose creations are rarely (and, in some cases never) seen in the States. Because the featured artists are not part of the American touring circuit, the 2015 lineup of performances cannot be seen elsewhere in the U.S., or the world.
Among the Festival’s other curatorial priorities and values is to serve as a catalyst for the emergence of enlarged audiences for the arts, to expand opportunities for artists to showcase their work globally, to heighten the public’s awareness of the transformative power of the arts (on mind, body and spirit), and to spark new perspectives — provocative and illuminating– on psychological, spiritual, social, cultural, political and environmental issues.
Now in its 10th year, the Festival and its partners have presented over 150 arts ensembles from the Bay Area and over 50 countries. This year the Festival is being co-presented with Fort Mason Center, the conglomerate of performing arts venues, museums and other cultural institutions stunningly situated along San Francisco’s waterfront, in the Marina district.
The featured work, including 150 ticketed performances, spans the gamut from traditional to innovative and avant-garde. Participating artists and companies are from Australia, the U.K., Belgium, Brazil, Ireland, Poland, El Salvador, Japan, South Korea, Austria, the Congo, France, Peru, Germany, Russia, Taiwan — as well as many American and local Bay Area performing and visual artists. Among the exhibitions is “Bearing Witness: Surveillance in the Drone Age” (curated by Matt McKinley and Hanna Regev).
Unquestionably, the world class SFIAF can serve as a model for cities, around the world, to nurture the performing and visual arts in ways that transcend the giving of pleasure to audiences. Even beyond this — the pleasure that of course is an irresistible and compelling goal of any performing or visual artist — a festival such as SFIAF offers other cascading, ever reverberating benefits.
It creates the kinds of cultural bridges and proffers powerful transformative perspectives sorely needed in an era blighted by war, international tensions and sectarian violence. In this arena, the SFIAF and the concurrent Venice Biennale can be seen as “co-conspirators” in the quest for nothing less than global harmony through the potency of the arts, for the kinds of cross-cultural admiration that perhaps, just perhaps, can work miracles. We can only hope the Festival will be an ever-reverberating annual force to work such magic, in San Francisco and throughout the world.
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SFIAF events will take place in a number of Fort Mason venues including Cowell and Southside Theaters, the Firehouse, the Fleet Room, and the Conference Center. For detailed information on daily performances, opening receptions, pre- and post-performance soirees, workshops and free shuttle buses to Fort Mason (departing from Valencia and 24th Streets, and Market and The Embacadero), go to: www.sfiaf.org // info@sfiaf.org// or call (415) 399-9554. Tickets: from $12 to $50 with some free events.
This Covered Wagon Needs a Tow Truck
How does the old-fashioned pioneer spirit handle modern problems? What does it do about bankruptcy, wrecked cars, obstinate offspring? The character of Mom in Marin Theatre Company’s “The Way West,” manages them by denying everything, telling stories or singing. These strategies have always worked for her, but Mom may have come to the end of the trail this time.
“The Way West” forecasts its journey with a wonderful set by Geoffrey M. Curley, a tilted construction of disordered tables and overstuffed furniture, ribbed over with arches that evoke the interior of a covered wagon. In it, Mom quarrels with her two daughters, Manda, the high achiever from Chicago, and Meesh, the loser who stayed home. Both of them often agree that they don’t know what Mom’s talking about.
Still, Manda’s going to help Mom complete the paperwork for bankruptcy, a procedure this lady sees as her last chance, and Manda’s old boyfriend, Luis, is available to help with the legalities.
There will be a lot of them. Has Mom really charged $3500 to an Elizabeth Arden account? Is it possible she’s paid $500 for a tiny bottle of “magic water” that her friend Tress is selling to her spa customers? Did Mom actually crash Meesh’s car in the garage? She doesn’t think so. “Prairie wisdom,” she says, “is not to talk about it.” And then Manda is downsized. The wheels have, as the title card says, come off this covered wagon.
Playwright Mona Mansour sees her own American mother as the inspiration for Mom and for the “theatrical moments” in the play. These are the stories Mom tells — real whoppers — that are supposed to illustrate to the girls how fortunate they are not to be dying along the route, starving and confronting ravening coyotes. She also tosses musical instruments at them like a cheerleader, rallying songs that urge “Roll, roll, roll!” or “Fight! Fight! Fight!” And even though this family has come to a dead stop somewhere around Stockton or Modesto, Mom’s core belief is, “The next place will be better.”
The songs are not old campfire favorites, like “Home on the Range.” They’re originals, composed by Megan Pearl Smith and Sam Misner. During the singing, Director Hayley Finn has the cast members sing not to each other, but to the audience; the same occurs with Mom’s stories. It’s unusual direction and seems to freeze any forward action.
Anne Darragh presents a warm-hearted, gullible Mom, the object of equal parts affection and exasperation. Marin Theatre Company newcomer Rosie Hallett plays daughter Meesh, who’s stayed at home much too long. Kathryn Zdan — as good a musician as she is an actress — has the part of Manda, the one who almost got away by going east.
Stacy Ross, MTC regular, here has a small, but effective role as Tress, the spa owner who has come to believe her own sales pitches. And Hugo E. Carbajal, another newcomer, carries two entirely different parts as boyfriend/legal advisor Luis and as the no-pay-no pizza delivery guy.
“The Way West” has a short run of only twenty-nine shows. It will close on Mother’s Day, May 10. Tuesday, Thursday, Friday and Saturday performances are at 8p.m., Wednesdays are at 7:30 and Sundays are at 7p.m. Matinees are every Sunday at 2p.m., also Thursday, April 30 at 1p.m. and May 9 at 2p.m.
Ticket prices range from $20 to $53, and discounts are available for teens, seniors, military personnel and their families. (Bring ID.)
For reservations or more information, call the Box Office, (415) 388-5208 or see boxoffice@marintheatre.org.
A Month in the Country Not Always a Vacation
Russian drama requires some effort from American audiences. We must distinguish the Kolyas from the Katyas, the Alexseys from the Arkadys, and then we need to adapt to political and family systems that were in place at the time. Most Russian drama performed here is from Chekhov, but Ross Valley Players’ new production is pre-Chekhovian, “A Month in the Country” by Ivan Turgenev. Its Russian gloom has been brightened by an adaptation from Irish playwright Brian Friel and by lively direction from James Nelson.
First, the audience is warned that cossacks will be on hand to enforce the no cell phone rules, and then the garden wall opens to reveal a comfortably-furnished country estate with a card game going on in the background. The game is being made more difficult by the German tutor’s language struggles. When Herr Schaaf accuses his partners of “stealing the cat,” they stop and correct him: “the kitty.”
Natalya, the lady of the house, lounges on a nearby sofa, wheedling a long-time admirer to read to her and whining how sick she is of these “gloomy, airless rooms, just like those of the lace makers.” Michel, the admirer, clearly adores her, though it’s hard to see why.
Residents and visitors come and go with other complaints and needs. Natalya’s husband Arkady Islayev bursts in, full of enthusiasm for his new winnowing machine, but explaining to all who will listen about the need to supervise Russian workmen. Two household servants, Matvey and Katya, continue their disagreement about Matvey’s marriage proposal and whether or not he’s too old for her.
Anna, Arkady’s dignified mother lives here on the estate, and so does Lizaveta, a snuff-sniffing companion. Neither of them seems to have much to do, other than maintain the status quo.
A new member has recently joined the household: Alexsay, another tutor for the Islayevs’ son. Natalya is besotted with the handsome young man. The possibility of forbidden romance relieves her boredom, though he’s only twenty-one , and she’s twenty-nine. However, an attractive seventeen-year-old girl is also on the premises, a foster daughter named Vera, and she’s interested in Alexsey as well. Seeing Natalya’s distress, Dr. Shpigelsky says he’s found a perfect husband for Vera. It will turn out that the suitor is a rich neighbor, fifty-seven years old. This suggestion brings on more conflict. And when Natalya’s husband becomes dimly aware of Michel’s infatuation with his wife, he comes up with an astonishing way to keep everybody happy. Who will stay here? Who will go?
Director James Nelson sees Turgenev’s play as “the destructive and incendiary nature of desire,” with each character involved in “a web of romantic pursuit” that contrasts with their polite and ordered setting.
Ken Rowland designed the set for them, a garden and interior suitable for country gentility. Michael A. Berg fashioned costumes for the different social classes of the 1840’s.
Shannon Veon Kase has the difficult role of Natalya, petulant, spoiled and sometimes shrill in her discontent. Her devoted Michel, subtly played by Ben Ortega, seems genuinely lovable, though unloved. Tom Hudgens portrays Arkady, the tradition-bound husband, with natural authority, while Wood Lockhart depicts Dr. Shpiegelsky’s self-awareness and good humor.
Zach Stewart plays the appealing tutor, Alexsey, and Emily Ludlow is talented young Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayer.com
up with an astonishing way to keep everybody happy. Who will stay here? Who will go?
Director James Nelson sees Turgenev’s play as “the destructive and incendiary nature of desire,” with each character involved in “a web of romantic pursuit” that contrasts with their polite and ordered setting.
Ken Rowland designed the set for them, a garden and interior suitable for country gentility. Michael A. Berg fashioned costumes for the different social classes of the 1840’s.
Shannon Veon Kase has the difficult role of Natalya, petulant, spoiled and sometimes shrill in her discontent. Her devoted Michel, subtly played by Ben Ortega, seems genuinely lovable, though unloved. Tom Hudgens portrays Arkady, the tradition-bound husband, with natural authority, while Wood Lockhart depicts Dr. Shpiegelsky’s self-awareness and good humor.
Zach Stewart plays the appealing tutor, Alexsey, and Emily Ludlow is talented young Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayers.com
Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayers.com
670 words By ROSINE REYNOLDS
A Month in the Country Not Always a Vacation
Russian drama requires some effort from American audiences. We must distinguish the Kolyas from the Katyas, the Alexseys from the Arkadys, and then we need to adapt to political and family systems that were in place at the time. Most Russian drama performed here is from Chekhov, but Ross Valley Players’ new production is pre-Chekhovian, “A Month in the Country” by Ivan Turgenev. Its Russian gloom has been brightened by an adaptation from Irish playwright Brian Friel and by lively direction from James Nelson.
First, the audience is warned that cossacks will be on hand to enforce the no cell phone rules, and then the garden wall opens to reveal a comfortably-furnished country estate with a card game going on in the background. The game is being made more difficult by the German tutor’s language struggles. When Herr Schaaf accuses his partners of “stealing the cat,” they stop and correct him: “the kitty.”
Natalya, the lady of the house, lounges on a nearby sofa, wheedling a long-time admirer to read to her and whining how sick she is of these “gloomy, airless rooms, just like those of the lace makers.” Michel, the admirer, clearly adores her, though it’s hard to see why.
Residents and visitors come and go with other complaints and needs. Natalya’s husband Arkady Islayev bursts in, full of enthusiasm for his new winnowing machine, but explaining to all who will listen about the need to supervise Russian workmen. Two household servants, Matvey and Katya, continue their disagreement about Matvey’s marriage proposal and whether or not he’s too old for her.
Anna, Arkady’s dignified mother lives here on the estate, and so does Lizaveta, a snuff-sniffing companion. Neither of them seems to have much to do, other than maintain the status quo.
A new member has recently joined the household: Alexsay, another tutor for the Islayevs’ son. Natalya is besotted with the handsome young man. The possibility of forbidden romance relieves her boredom, though he’s only twenty-one , and she’s twenty-nine. However, an attractive seventeen-year-old girl is also on the premises, a foster daughter named Vera, and she’s interested in Alexsey as well. Seeing Natalya’s distress, Dr. Shpigelsky says he’s found a perfect husband for Vera. It will turn out that the suitor is a rich neighbor, fifty-seven years old. This suggestion brings on more conflict. And when Natalya’s husband becomes dimly aware of Michel’s infatuation with his wife, he comes up with an astonishing way to keep everybody happy. Who will stay here? Who will go?
Director James Nelson sees Turgenev’s play as “the destructive and incendiary nature of desire,” with each character involved in “a web of romantic pursuit” that contrasts with their polite and ordered setting.
Ken Rowland designed the set for them, a garden and interior suitable for country gentility. Michael A. Berg fashioned costumes for the different social classes of the 1840’s.
Shannon Veon Kase has the difficult role of Natalya, petulant, spoiled and sometimes shrill in her discontent. Her devoted Michel, subtly played by Ben Ortega, seems genuinely lovable, though unloved. Tom Hudgens portrays Arkady, the tradition-bound husband, with natural authority, while Wood Lockhart depicts Dr. Shpiegelsky’s self-awareness and good humor.
Zach Stewart plays the appealing tutor, Alexsey, and Emily Ludlow is talented young Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayer.com
670 words By ROSINE REYNOLDS
A Month in the Country Not Always a Vacation
Russian drama requires some effort from American audiences. We must distinguish the Kolyas from the Katyas, the Alexseys from the Arkadys, and then we need to adapt to political and family systems that were in place at the time. Most Russian drama performed here is from Chekhov, but Ross Valley Players’ new production is pre-Chekhovian, “A Month in the Country” by Ivan Turgenev. Its Russian gloom has been brightened by an adaptation from Irish playwright Brian Friel and by lively direction from James Nelson.
First, the audience is warned that cossacks will be on hand to enforce the no cell phone rules, and then the garden wall opens to reveal a comfortably-furnished country estate with a card game going on in the background. The game is being made more difficult by the German tutor’s language struggles. When Herr Schaaf accuses his partners of “stealing the cat,” they stop and correct him: “the kitty.”
Natalya, the lady of the house, lounges on a nearby sofa, wheedling a long-time admirer to read to her and whining how sick she is of these “gloomy, airless rooms, just like those of the lace makers.” Michel, the admirer, clearly adores her, though it’s hard to see why.
Residents and visitors come and go with other complaints and needs. Natalya’s husband Arkady Islayev bursts in, full of enthusiasm for his new winnowing machine, but explaining to all who will listen about the need to supervise Russian workmen. Two household servants, Matvey and Katya, continue their disagreement about Matvey’s marriage proposal and whether or not he’s too old for her.
Anna, Arkady’s dignified mother lives here on the estate, and so does Lizaveta, a snuff-sniffing companion. Neither of them seems to have much to do, other than maintain the status quo.
A new member has recently joined the household: Alexsay, another tutor for the Islayevs’ son. Natalya is besotted with the handsome young man. The possibility of forbidden romance relieves her boredom, though he’s only twenty-one , and she’s twenty-nine. However, an attractive seventeen-year-old girl is also on the premises, a foster daughter named Vera, and she’s interested in Alexsey as well. Seeing Natalya’s distress, Dr. Shpigelsky says he’s found a perfect husband for Vera. It will turn out that the suitor is a rich neighbor, fifty-seven years old. This suggestion brings on more conflict. And when Natalya’s husband becomes dimly aware of Michel’s infatuation with his wife, he comes up with an astonishing way to keep everybody happy. Who will stay here? Who will go?
Director James Nelson sees Turgenev’s play as “the destructive and incendiary nature of desire,” with each character involved in “a web of romantic pursuit” that contrasts with their polite and ordered setting.
Ken Rowland designed the set for them, a garden and interior suitable for country gentility. Michael A. Berg fashioned costumes for the different social classes of the 1840’s.
Shannon Veon Kase has the difficult role of Natalya, petulant, spoiled and sometimes shrill in her discontent. Her devoted Michel, subtly played by Ben Ortega, seems genuinely lovable, though unloved. Tom Hudgens portrays Arkady, the tradition-bound husband, with natural authority, while Wood Lockhart depicts Dr. Shpiegelsky’s self-awareness and good humor.
Zach Stewart plays the appealing tutor, Alexsey, and Emily Ludlow is talented young Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayer.com
When we’re enjoying a well-staged Shakespeare comedy, life’s a beach, and this one comes complete with a lifeguard chair, a parked surfboard and an obliging Pepsi machine. As soon as the Beach Boys launch into, “Surfin’ USA,” the boardwalk comes to life with skaters, twisters, comic policemen and dancers doing “The Swim.” The Bard’s Ephesus, it turns out, looks a lot like SoCal’s Venice Beach.
Instead, it’s “The Comedy of Errors” at College of Marin, and its director, James Dunn, has explained that the play is a farce, with all the characters trying to find out who they are and what they’re supposed to be doing. It’s fast-moving, he says, and Dunn should know. This was the first production from COM’s new Drama Department in 1964, which he founded. The present “Comedy,” being shown in the James Dunn Theatre, is the Department’s 272nd.
But not everybody is welcome in Ephesus. A new arrival, pushing a vendor’s cart, is from Syracuse, and the Duke — the one on the beach trike — says the stranger has to pay a big fine or die at sunset; sorry, but that’s the law.
Egeon, the stranger, using props from the cart, explains his situation. He’s here in search of his missing family, separated from him in a shipwreck five years ago. He had twin sons, entirely identical, even to their names. Both were named Antipholus. (Odd, but there’s more.) On the same day in his former home, a servant girl gave birth to another pair of identical twin boys, and these were both named Dromio. The servant twins were raised to serve Egeon’s twins. So there are two Antipholi and two Dromii.
One Antipholus is already a respectable citizen of Syracuse, while the other is about to arrive, each accompanied by a Dromio. More remarkable still, each pair is identically clothed. Let the fun begin.
Shakespeare loved mistaken identity jokes, and this plot gave him all a writer could ask for: a jealous wife, a lovestruck kitchen wench, an impatient goldsmith and general confusion, another comedy standby.
However, Egeon’s death sentence remains since his ransom money keeps vanishing, and everyone comes together for his scheduled execution, including a surprise witness. Then the Duke turns out to be a good guy after all.
Familiar names have contributed to this antic anniversary show. Kenneth Rowland designed the set, Patricia Polen and Jennifer O’Neill provided the costumes and Linda Dunn arranged the props.
In the cast, former Belvederean Steven Price plays the long-suffering Egeon, Skylar Collins appears as a doubly-confused Antipholus, and a tireless Jon Demegillo takes on the role of the much-battered Dromio. Both Demegillo and the saucy actress who plays Angela, the goldsmith — Trungta (Kae) Kositchaimongkol — also assisted with set and costume construction.
Robert Garcia plays both the trike-riding Duke and the creepy Dr. Pinch, Eileen Fisher is Antonius’ wrathful wife, with Melanie Macri as her sister. Michel Harris doubles as Antonius’ friend and a Merchant. The Beach Police are composed of Jesse Lumb, Evan Louie and Jeremy Snowden. Keara Reardon is a Courtesan, with Jannely Calmell and Ariana Mahallati serving as Apprentices. Jeffrey Taylor is another Merchant. (All the merchants have colorful bits.) Christina Jaqua as the Abbess provides the necessary happy ending.
Another reason to enjoy COM’s production: Shakespeare’s original was five acts; this one’s two.
A fine exhibit of artifacts and memorabilia from all fifty years of shows is open to the public in the College of Marin Fine Arts Gallery. The exhibit, assembled by set designer Ron Krempetz, is a lively collection of costumes, props, photos and mini-sets, with videos around the room to bring previous shows to life. The exhibition will remain the length of the show, through March 22. It’s free, but donations are encouraged. The theatre lobby also has a photo display from the early career of the late Robin Williams, when he was a student at COM.
Opening night’s show was also honored with visits by Supervisor Katie Rice and by a representative from Sen. McGuire’s office, presenting the Drama Department with a Certificate of Recognition for its fifty years in the community.
“The Comedy of Errors” will play in the James Dunn Theatre at the College of Marin Fridays and Saturdays through March 21 and Sunday, March 22. Friday and Saturday shows are at 7:30 p.m.; the Sunday matinee is at 2 p.m. Prices range from $10 to $20.
For additional information, call the box office, 415-485-9385, or see brownpapertickets.org.
750 words By ROSINE REYNOLDS
Beach Blanket Ephesus at COM
When we’re enjoying a well-staged Shakespeare comedy, life’s a beach, and this one comes complete with a lifeguard chair, a parked surfboard and an obliging Pepsi machine. As soon as the Beach Boys launch into, “Surfin’ USA,” the boardwalk comes to life with skaters, twisters, comic policemen and dancers doing “The Swim.” The Bard’s Ephesus, it turns out, looks a lot like SoCal’s Venice Beach.
Instead, it’s “The Comedy of Errors” at College of Marin, and its director, James Dunn, has explained that the play is a farce, with all the characters trying to find out who they are and what they’re supposed to be doing. It’s fast-moving, he says, and Dunn should know. This was the first production from COM’s new Drama Department in 1964, which he founded. The present “Comedy,” being shown in the James Dunn Theatre, is the Department’s 272nd.
But not everybody is welcome in Ephesus. A new arrival, pushing a vendor’s cart, is from Syracuse, and the Duke — the one on the beach trike — says the stranger has to pay a big fine or die at sunset; sorry, but that’s the law.
Egeon, the stranger, using props from the cart, explains his situation. He’s here in search of his missing family, separated from him in a shipwreck five years ago. He had twin sons, entirely identical, even to their names. Both were named Antipholus. (Odd, but there’s more.) On the same day in his former home, a servant girl gave birth to another pair of identical twin boys, and these were both named Dromio. The servant twins were raised to serve Egeon’s twins. So there are two Antipholi and two Dromii.
One Antipholus is already a respectable citizen of Syracuse, while the other is about to arrive, each accompanied by a Dromio. More remarkable still, each pair is identically clothed. Let the fun begin.
Shakespeare loved mistaken identity jokes, and this plot gave him all a writer could ask for: a jealous wife, a lovestruck kitchen wench, an impatient goldsmith and general confusion, another comedy standby.
However, Egeon’s death sentence remains since his ransom money keeps vanishing, and everyone comes together for his scheduled execution, including a surprise witness. Then the Duke turns out to be a good guy after all.
Familiar names have contributed to this antic anniversary show. Kenneth Rowland designed the set, Patricia Polen and Jennifer O’Neill provided the costumes and Linda Dunn arranged the props.
In the cast, former Belvederean Steven Price plays the long-suffering Egeon, Skylar Collins appears as a doubly-confused Antipholus, and a tireless Jon Demegillo takes on the role of the much-battered Dromio. Both Demegillo and the saucy actress who plays Angela, the goldsmith — Trungta (Kae) Kositchaimongkol — also assisted with set and costume construction.
Robert Garcia plays both the trike-riding Duke and the creepy Dr. Pinch, Eileen Fisher is Antonius’ wrathful wife, with Melanie Macri as her sister. Michel Harris doubles as Antonius’ friend and a Merchant. The Beach Police are composed of Jesse Lumb, Evan Louie and Jeremy Snowden. Keara Reardon is a Courtesan, with Jannely Calmell and Ariana Mahallati serving as Apprentices. Jeffrey Taylor is another Merchant. (All the merchants have colorful bits.) Christina Jaqua as the Abbess provides the necessary happy ending.
Another reason to enjoy COM’s production: Shakespeare’s original was five acts; this one’s two.
A fine exhibit of artifacts and memorabilia from all fifty years of shows is open to the public in the College of Marin Fine Arts Gallery. The exhibit, assembled by set designer Ron Krempetz, is a lively collection of costumes, props, photos and mini-sets, with videos around the room to bring previous shows to life. The exhibition will remain the length of the show, through March 22. It’s free, but donations are encouraged. The theatre lobby also has a photo display from the early career of the late Robin Williams, when he was a student at COM.
Opening night’s show was also honored with visits by Supervisor Katie Rice and by a representative from Sen. McGuire’s office, presenting the Drama Department with a Certificate of Recognition for its fifty years in the community.
“The Comedy of Errors” will play in the James Dunn Theatre at the College of Marin Fridays and Saturdays through March 21 and Sunday, March 22. Friday and Saturday shows are at 7:30 p.m.; the Sunday matinee is at 2 p.m. Prices range from $10 to $20.
For additional information, call the box office, 415-485-9385, or see brownpapertickets.org.
African Drama in Troubled Times, Troubled Places
For its first production of the new year, Marin Theatre Company is presenting “The Convert,” a Bay Area premiere by Zimbabwean-American playwright and actress, Danai Gurira. The play is important for its originality. It’s an African period piece and a dual-language script set in the present Zimbabwe — Rhodesia in 1896 — at a time when native Africans had begun to strike out against the British colonists and other Africans who sided with them. It’s also another culture’s views of family loyalty.
The play opens with Jekesai, half naked, fleeing with her cousin Tamba from her forced marriage to a much-married older man. This flight will enrage her uncle, who was waiting to collect his “bride price.” Tamba takes her to a safe house, the home of Chilford, a young Catholic clergyman, not yet ordained, where Mai Tamba, Jekesai’s aunt, is housekeeper. The home is furnished with a few pieces of Victorian-style furniture and a small altar on one side of the room. The only other ornamentation is a large, wall-mounted crucifix that startles the young Shona girl. Before Chilford arrives, Mai Tamba throws a concealing, shapeless gown over her niece, then introduces her as a new student and convert. His claim to have the power of God with him will keep Jekesai safe from her enraged uncle. And because Chilford needs converts to improve his status with the Jesuits, he accepts the protege and changes her name to Ester.
Mai Tamba keeps the house in order, but keeps her beliefs to herself. She recites her prayers as required: “Hail, Mary, full of ghosts,” but privately scatters unknown herbs around the home and later upbraids her niece for not going to the family ceremony to honor the dead.
Others come to the home. Chancellor, a friend of Chilford, affects British dress and language because he wants to be part of the winning team. The two friends speak an ornamented kind of English together, while Chancellor’s fiance, Prudence, presents herself as more British than Queen Victoria.
The play’s accents, bilingualism and length make huge demands on both cast and director. MTC’s Jasson Minadakis has assembled a superb, all-Equity cast from locals and imports. Both Katherine Renee Turner (Jekesai/Ester) and Jefferson A. Russell (Chancellor) were together in MTC’s recent production, “Fetch Clay, Make Man.” L. Peter Callender (Uncle) and Omoze Idehenre (Prudence) have made many appearances in the Bay Area, including in Marin Theatre Co’s “Seven Guitars.” Elizabeth Carter (Mai Tamba) has multiple acting credits locally, while both Jabari Brisport (Chilford) and JaBen Early (Tamba) are making their Marin debuts in this play.
Excellent actors and direction will be necessary for “The Convert” to continue in production at other theatres. Ms. Gurira’s script is almost three hours long and burdened with lengthy speeches. “Wordy,” was a remark overheard at the first of two intermissions. Further, the accents can sometimes overcome the dialogue and make it hard to understand — especially during the speeches. This script will need a tune-up if it’s going to get “legs,” but meanwhile, Marin Theatre Company has given “The Convert” a fine introduction to the west coast.
“The Convert” will play at the Marin Theatre Company in Mill Valley Tuesdays through Sundays till March 15. Sunday matinees are at 2p.m. All evening shows begin at 7p.m. Ticket prices range from $20 — $58, with discounts available for seniors and military. For additional information, see the website, marintheatre.org, or call the box office, (415) 388-5208.