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Joe Cillo

Peter/Wendy at Custom Made Theatre

By Linda Ayres-Frederick

 Before the show begins, the lost boy and girls of Never- Never Land ask the audience individually what they did today and then write the answers in chalk on the floor. Dressed in various colored horizontal striped pyjamas, the cast continues this energetic process until the space is as filled with writing as the walls of the theatre are. The lights then dim to begin this stripped to its bare elements version of the familiar tale of a boy who goes back to find his shadow and fly away with the girl who sews it back on to a faraway place “second star to the right and straight on ‘til morning”.

 Custom Made’s Guest Director Jeremy Bloom talks about the show: “I have been developing this project in various incarnations off and on for ten years or so. Technically longer, because the story of Peter Pan pervades our culture and minds even in ways we’re not aware of. I had read J.M. Barrie’s prose version and was newly awakened to the depth of the story and its characters. Though I had seen several productions of the play (most often the musical, but also movies and adaptations like Hook), I realized I hadn’t ever seen a play version that felt as current and exhilarating as it felt to read the book for the first time. While the story is marketed towards children, the book was clearly told from the perspective of an adult who acutely understands how fleeting youth and life are…not in a depressing way, but in a hopeful and lyrical way that just makes you want to run outside and start hugging people which of course we can’t. Peter urges Wendy to think of her happiest thought in the whole world, so that she can fly away. One passage in the book, that I remember not really seeing as a kid, is the heartbreaking journey of the parents left alone in the nursery to mourn the disappearance of their child. I wanted to stage Peter Pan with a ton of heart and to focus on the dynamics of these archetypal characters and strip the play of its iconic costumes and swinging wires, so that we could focus more on the story.

 I first work shopped the play in a garage in Illinois in front of open doors that revealed a giant parking lot complete with a Buick playing the role of the Jolly Roger and lots of major running off into the distance using text from Peter and Wendy as well as sections of The Little White Bird, also by Barrie. Later productions include Walkerspace in Soho Rep ultimately enjoying an extended run this past June at the cell theater in New York.

The Custom Made production incorporates the best discoveries of these various workshops and uses the cast of seven actors who I couldn’t love more. Most of the cast is female, except for Peter Pan, using the minimum number of people – one lost boy, one flower, one mermaid, and so on.

The text speaks so profoundly about imagination, it is only fitting to strip the elements to their simplest using super low-tech and minimal objects at a fast pace. The play is 75 minutes with music throughout and not a single blackout. I hope that this exposes the humanity of the story and the complexity of the characters.”

The ensemble includes: Tinkerbell (Anya Kazimierski), Hook & Mr. Darling (Terry Bamberger), Mrs Darling/Smee (Kim Saunders), Peter (Sam Bertken), Wendy (Elissa Beth Stebbins), A Tiger Lilly (Jessica Jade Rudholm) and  A Lost Boy/A Mermaid (Jeunee Simon) performing on Joshua Saulpaw’s and Nicola McCarthy’s multilevel Set with Lighting by Colin Johnson and Sound Design by Liz Ryder.

 Peter/Wendy plays Thurs-Sat at 8pm. Sun 7pm through Dec 15 at Gough Street Playhouse, 1620 Gough Street (at Bush), SF, CA 94109 www.custommade.org

 Next at Custom Made: The Pain and The Itch by Bruce Norris directed by Dale Albright Jan 10-Feb 9, 2014.

by Linda Ayres-Frederick

 

FGHT FOR THE FINISH

By Joe Cillo

THE CLEAN PLATE CLUB

Life is uncertain;
Eat dessert first.
Ernestine Ulmer

Peter Svacha was halfway through eating his chocolate pudding, when the restaurant where he was eating told him it was closing time.  He was furious.  He left the place, got a chain saw, sliced a hole in the establishment’s door and crawled back to the table to finish his pudding.

I know exactly how he felt.  I too would obliterate anything that kept me from finishing my dessert.  I blame this determination on my mother.

My mother’s forte was creating yummy desserts.  She had one number that she always served after spaghetti dinner that was amazingly beautiful and absolutely luscious.  She would bake an angel food cake from scratch (my mother would have sooner danced nude on a fire hydrant than use a cake mix).  The finished product was so light she needed to weight it down to stay on the plate.  She whipped up a custard of eggs, milk, vanilla, sugar and pineapple juice and frosted her cake with it.  She decorated the entire production with pineapple slices, maraschino cherries and strawberries and served it with a lots of whipped cream and a flourish.

BUT there was a catch.  My mother never allowed us to touch dessert until we cleaned up everything she put on our dinner plates. Before we could tuck into her pineapple delight, we had to demolish spaghetti with meatballs, broccoli in a cheese sauce, a green salad and garlic bread. We suffered for that cake.  Indeed we suffered. We endured tummy aches, stomach spasms and guilt…but we managed to down it  and when we did, we finished it down to the last bit of pineapple.

My mother’s chocolate cake was the eighth wonder of the world.  It was made with six eggs, a ton of butter and enough chocolate to keep a candy store supplied for ten years. She topped it with a mint chocolate frosting to die for and set it in the middle of the dining room table so we could see what we had to look forward to at the end of the meal.

But first, we had to finish dinner. Remember?   She would serve us a huge slab of steak, potatoes with cheddar cheese, asparagus hollandaise, a tossed salad and wait until we cleaned our plates before we could touch that cake. I still feel the pain of forcing that cake into my packed middle but I know that even if my stomach burst, I would let absolutely nothing interfere with my demolishing that wonderfully melt in your mouth cake.

All I can say, is “go for it Peter Svacha. “ Finish that pudding and never count the cost.  For what is dinner without a sweet finish?? It is nothing more than duty with no reward, a rose with no fragrance, sex without climax. Life is to be lived, of course, but if it is to be savored, we must have dessert.

 

 

When did you last call Mom and Pop?

By Joe Cillo

BE GOOD TO YOUR PARENTS….OR ELSE!

Appreciating your parents is the only hope for civilization.
The Chinese Government & Lynn Ruth

China has decided it is a punishable crime for adult children to neglect their parents and I think that is a very wise decision. Wouldn’t it be wonderful for us all, if every nation followed suit?

It is about time someone took steps to stop the shameless way grown progeny are treating their parents these days. Elderly parents sit at home in their wheel chairs or on the sofa, counting the moments ‘til one of their offspring remembers that they are too weak and tired to get to Tesco’s; the hours tick by, their tummies gurgle, their heads ache and they stare at the door, praying it will open and the heir to their estate will appear bearing bubble and squeak and even a bit of pudding.

After all, parents have every right to expect their children to be there for them. Didn’t they clean up Junior when he got a bloody nose?  Didn’t they give their little princess dancing lessons so she could express her inner feelings? They let her get that disgusting tattoo of Frankenstein chewing a bunny and they never said a word when she appeared at the breakfast table, her hair dyed purple and three rings in her nose.

And that was before they became teen-agers.

They looked the other way, when their little darlings sold pot to the neighborhood grade-school kids, and the countless times they threw up on the couch from an overdose or got too affectionate with one another.  Remember that?

Didn’t they sacrifice that extra cruise, and the trip to see penguins copulate on an iceberg just so their son could go to university and their daughter could afford that abortion?  Of course they did.

And that is why the Chinese Government decided to step up to the plate and remind us that we owe Mummy and Daddy big time.  They were the ones who kept us alive through the bullying, the bike accidents, the shattered limbs and broken hearts.  Now, it is the children’s turn to keep their parents comfy and warm ‘til they breathe their last.  After all, there is always time to change the will, if they feel unloved.

Not that it will be easy if the law becomes universal. Take Mary Louise:  There she is galloping though her day, getting the kids to school, packing their lunches, rushing off to the office, picking up her darlings, and taking them to tap dancing and soccer, driving home, giving the house a quick dust, fixing dinner, greeting the father of her gang with a drink, serving food, cleaning the kitchen and collapsing in front of the telly.  At midnight, she and her hubby stagger up to bed, too exhausted to do what they used to do before they tied the knot. Suddenly, she sits bolt upright, snaps her fingers and says, “OH MY GOD!!!  I forgot to visit Daddy.  Now, we’ll never pay off this mortgage.”

And if her partner is a good sort, he says, “Don’t worry darling. I will visit you every Tuesday and bring chocolate.”

Farah Goes Bang

By Mill Valley Film Festival
[rating=8]

road trip buddy comedy, sex farce, chick flick
US, 2013, English, 90 minutes, color

description
Farah Mahtab, a woman in her 20s, tries to lose her virginity while campaigning across America for presidential candidate John Kerry in 2004. Farah and her friends K.J. and Roopa follow the campaign trail across historic Route 66 on their way to Ohio, the central battleground state of 2004, seizing control of this charged moment in their lives and the life of their country. Roopa aspires to a job in politics, K.J. brawls her way through a personal motivation to end the war in Iraq, and Farah struggles to locate not just her desirability, but her desire. Though they’re advised to focus on “purple” states where Kerry stands a chance of winning, they naively campaign in states like Texas. We know how the election turns out–but will Farah meet her personal goal for their American odyssey?

farahgoesbang_tkt.jpg

contributors
cast Nikohl Boosheri, Kandis Erickson, Kiran Deol, Michael Steger, Samrat Chakrabarti, Lyman Ward
director Meera Menon
producers Laura Goode, Danielle Firoozi, Erica Fishman, Liz Singh
screenwriters Meera Menon, Laura Goode
cinematographer Paul Gleason
editors Meera Menon, Kate Hickey

summary review
Funny, interesting, filled with a number of interesting themes and ideas. Very well produced with good production values. Quite remarkable for a first film.

ratings
script/story [rating=8]
acting [rating=9]
cinematography [rating=8]
technical quality [rating=8]
afterglow [rating=8]
[rating=0]
Overall [rating=8]

 

trailer

see imDB info here

Farah Goes Bang

 

The Retrieval

By Mill Valley Film Festival
[rating=9]

Drama | History | Western, US, 2013, English, 92 minutes, color

description
Set during the Civil War, we follow 13-year-old Will, a fatherless black boy who has taken up with a bounty hunter gang. Gang leader Burrell sends Will on a risky mission to retrieve Nate, a wanted black man with a lucrative bounty on his head. To ensure Will’s return with Nate, Burrell threatens the boy with death if he doesn’t bring back his quarry. Will and his fellow gang member Marcus (another black man) find Nate digging graves in a Union graveyard and convince their unwitting prey to follow them back to Burrell’s gang, under the ruse that they’re leading him to see his dying brother. Along the way, the initially aloof Nate and Will begin to bond, developing an unexpected surrogate father-son relationship. As unforeseen events complicate the journey and Will grows closer to Nate, he is consumed by a wearying decision and a moral dilemma: Should he deliver Nate to the gang, or tell him the truth and risk death if the gang finds out he let Nate go?

 

 

 

 

 

 

 

contributors
director Chris Eska
cast Tishuan Scott, Ashton Sanders, Keston John, Bill Oberst Jr., Christine Horn, Alfonso Freeman
producers Jacob Esquivel, Jason Wehling
screenwriter Chris Eska
cinematographer Yasu Tanida
editor Chris Eska

summary review
An outstanding, satisfying film. Visually beautiful, thematically complex and poetic, it builds to an inevitable tragic and sorrowful dénouement‎ but ends with a sliver of hope for the future. Lingers in the mind.

ratings
script/story [rating=9]
acting [rating=9]
cinematography [rating=9]
technical quality [rating=9]
afterglow [rating=9]
[rating=0]
Overall [rating=9]

http://www.youtube.com/watch?v=bJqhzbTJ7kE

imDB info here
The Retrieval

 

Mt. Zion

By Mill Valley Film Festival
[rating=3]

Art House & International | Drama
New Zealand, 2013, English, Maori, 93 minutes, color

description
Turei’s family are hard-working potato farm workers in rural New Zealand. A talented musician, Turei dreams of his band being the support act for Bob Marley’s 1979 tour. But it’s a dream that challenges the traditions and values of his upbringing and sets him at odds with his family – particularly his father, a true man of the land.

 

 

 

 

 

 

 

 

contributors
cast Stan Walker, Temuera Morrison, Miriama Smith, Ngawai Herewini, Troy Kingi, David Wikaira-Paul
director Tearepa Kahi
producer Quinton Hita
screenwriter Tearepa Kahi
cinematographer Tearepa Kahi
editors Paul Maxwell, Tearepa Kahi

summary review
Interesting insight into rural Auckland in the late 1970’s. Terrific music and the ceremonial welcome dances are the only highlights of this film, because the dialog is unintelligible. The decision to have Maori dialog with no subtitles is a disaster – you can’t understand what is going on, particularly where the scenes are all talk. Needs to be-done with subtitles.

ratings
script/story [rating=6]
acting [rating=6]
cinematography [rating=7]
technical quality [rating=1]
afterglow [rating=1]
[rating=0]
Overall [rating=4]

trailer
http://www.youtube.com/watch?v=X_Na-eWY4IY

see imDB info here
Mt. Zion

 

ownerBuilt

By Mill Valley Film Festival
[rating=1]

Animation | Theatercast | Documentary  | History
US, 2013, English, 49 minutes, color

description
Aural performance remade into an animated movie. combining theater, animation and storytelling. Based on actual accounts of events occurring on New Orleans’ Danziger Bridge September 4, 2005. Storyteller/narrator Noel reanimates the events of the past through a staged performance of Hurricane Katrina’s devastating effects on his home and community. Katrina and the ensuing aftermath destroyed Noel’s community, neighborhood and home. But he is rebuilding, and as he rebuilds, he tries to evoke the memories of what was, through the enlistment of his personal archives. His memories are complicated by the tragic Danziger Bridge events. As Noel reflects back on what has been lost, the story he tells about his neighborhood is affected by the story of innocent people attempting to cross a bridge in search of safe haven, and for Noel their plight clarifies the questions that arose in the aftermath of Katrina.

 

 

 

 

 

 

 

 

contributors
director Lawrence Andrews
producer Lawrence Andrews
screenwriter Lawrence Andrews
cinematographer Lawrence Andrews
editor Lawrence Andrews

summary review
An earnest effort to recast an oral performance into a movie format. Animation crude, visuals muddled, references obscure, sound murky. Doesn’t work.

ratings
script/story [rating=4]
animation [rating=1]
cinematography [rating=1]
technical quality [rating=1]
afterglow [rating=0]
[rating=0]
Overall [rating=1]

 
video

see imDB info here
ownerBuilt

 

Collapse

By Mill Valley Film Festival
[rating=2]

Dance | Drama | Allegory
US, 2013, English, 97 minutes, black & white

description
After 15 years away, Thorson (played by Russell Murphy, former San Francisco Ballet principal dancer) returns to the ballet company where audiences once flocked to see him. He has choreographed a ballet for troubled times but it’s not going to be easy to finance new work with funds for the arts drying up. As his original scheme collapses and he loses heart, a new experience, both transcendent and terrifying, seizes him.

 

 

 

 

 

 

 

 

contributors
director Rob Nilsson
cast Russell Murphy, William Martin, Anita Paciotti, Michelle Anton Allen, Dan da Silva
producers Rob Nilsson, Michelle Anton Allen
screenwriter Rob Nilsson
cinematographer Deniz Demirer
editors Stuart Sloan, Drow Millar, Deniz Demirer, Gustavo Ochoa

summary review
Interesting technically with its black and white, noire approach, extreme angles and close-ups. Becomes a mish-mash of pretentious avant images and muddled ending. A failed effort.

ratings
script/story [rating=3]
acting [rating=6]
cinematography [rating=8]
technical quality [rating=8]
afterglow [rating=1]
[rating=0]
Overall [rating=2]

 

trailer