Kedar Adour

l-r: Angel “Brigitta” (Kari Yancy) charms a perplexed “Count Willy Palaffi” (Sean Thompson) in
I MARRIED AN ANGEL at 42nd Street Moon, playing Oct 30 – Nov 17 at The Eureka Theatre. Photo credit David Allen

I MARRIED an ANGEL (1938): Music by Richard Rodgers. Lyrics by Lorenz Hart
Book by Richard Rodgers and Lorenz Hart. Based on the play by Janos Vaszary. 42nd Street Moon, Eureka Theatre, 215 Jackson St., San Francisco. Box Office:  415/255-8207 or www.42ndstmoon.org.   October 30 -November 17, 2013
A charming, vivacious  1938 musical I MARRIED AND ANGEL by 42nd Street Moon  [rating:4] (5/5 stars)

Greg MacKellan is a master at staging old fashioned musicals and has done it again with the 75 year old Richard Rogers and Lorenz Hart fantasy I Married an Angel that ran for a year on Broadway followed by a one year National tour that ended in San Francisco’s Curran Theatre in 1940.  This production at the Eureka Theatre is studded with fine singing, acting and dancing including this reviewers favorite musical comedy star Bill Fahner whose role as Harry Mischka Szigetti is sort of the deus ex machina.
The play is based on the play by Hungarian Janos Vaszary, and the action takes place mostly in Budapest,  so be ready for other names to match. Bachelor Count Willy Palaffi (Sean Thompson) has dumped American fortune-hunter Anna Murphy (Halsey Varady) stating that any woman he marries must be an angel and ‘poof’ an Angel (Kari Yancy) appears complete with wings. After a night of love-making prior to marriage (oh, horrors) Angel loses her wings. Never fear, they legalize the affair and the fun begins.
Willy’s private bank is in trouble and there will be a run on the bank if new money is not forth coming. But this is all hush-hush from his investors. Angel’s angelic nature does not allow her to tell a lie that creates havoc as well being hilarious. Truth does not will-out whenl Willy’s sister Countess Peggy Palaffi (Allison Rich) teaches her the social graces of being less than truthful.
Beware a woman scorned. That happens to be Anna who spills the beans. The potential savior is unattached romantically inclined deep pockets Harry and he is the object of Peggy and Anna’s desires all be it for different reasons. Before the evening ends a quartet of Angels (Victoria Stewart-Davis, Megan Stetson, Abby Sammons, Elena Ruggiero).
Enough of the convoluted plot. It is the lovely songs of Rogers and Hart that are sung by the fine voices of matinee idol handsome Sean Thompson, saccharine sweet Kari Yancy, dominate Allison Rich, comedic Halsy Varady and scene stealer Bill Fahrner.

l-r: “Henry Szigetti” (Bill Fahrner) gets a little too cozy with “Brigitta” (Kari Yancy) much to the consternation of her husband “Count Willy Palaffi” (Sean Thompson)

They are aided and abetted by Zack Thomas Wilde’s choreography that includes soft shoe and tap numbers. Nathaniel Rothrock, a look-alike to Sean Thompson, does the honors with his solos and when he shares the stage with many of the ladies. He out does himself in the show stopping  “Roxy Music Hall” production number.
The first act setting up the plot and characters is a bit slow and runs a tad too long but the second act is an energetic roller coaster leaving the audience with a warm feeling as they leave humming the tunes. Running time 2 hours and 30 minutes.
Honors go to the entire production crew: Directed by GREG MacKELLAN; Music Director: DAVE DOBRUSKY; Choreographer: ZACK THOMAS WILDE; Stage Manager: KRIS VECERE; Production Manager: HECTOR ZAVALA; Set Design: HECTOR ZAVALA; Costume Design: RUTH RASER TIMBRELL; Lighting Design: DANNY MAHER;  Props: STEPHANIE SUAREZ; Intern/Set Painter: ARAEL DOMINGUEZ; Woodwinds: NICK DI SCALA; Rehearsal Pianists: KEN BRILL & JONATHAN ERMAN.

Kedar K. Adour, MD
Courtesy of www.theatreworldinternetmagazine.com

Kedar Adour

forallevents.com/reviews/

DON’T DRESS FOR DINNER: Sexual Farce by Marc Camoletti, adapted by Robin Hawdon and directed by Michael Butler. Center REPertory Company 1601 Civic Drive in downtown Walnut Creek. 925-943-7469, or  www.CenterREP.org. . October 29 – November 23, 2013

DON’T DRESS FOR DINNER a four door farce at CenterREP  [rating:4] (5/5 Stars)

Don’t Dress for Dinner is being pedaled as “brilliant sequel to REP’s hilarious and stylish sold-out hit, Boeing-Boeing.” Unfortunately this reviewer did not see that show or any other production so this review is strictly based on what transpired on the stage on Halloween Night. It is a classic farce with the obligatory minimum of four doors and is directed at breakneck speed with more than sufficient physical shtick to supplement the hilarious misunderstandings that build and build until even the actors may be confused about who is doing what to whom.

Amongst his many other laudable directorial attributes Michael Butler is a master at directing farce. He has taken a mediocre convoluted play, populated it with a superb cast and added directorial conceits to create a laugh filled evening.  The popularity of Don’t Dress For Dinner is attested by the fact that after a two year run in France Camoletti’s play was adapted for the English stage and had a six year run in London. The only connection to Boeing,-Boeing are the male leads Bernard (Liam Vincent) and his best friend Jack (Cassidy Brown).  

The time has shifted from 1960 to 1970 both the miscreants are still up to their nefarious ways. Bernard is married to a hot bodied Italian Gabriella (Nika Ericson) and they live in a converted chic modern French farm house (terrific set by Eric Flatmo) and he has a mistress Suzanne (Brittany Danielle).  In the original play the wife was French named Jacqueline and one can assume that director Butler could pump more energy into the play with a more volatile wife and he does.

Gabriella is about to go visit her mother. While she is away the sneaky Bernard has planned a birthday party for Suzanne. Robert has been invited to the party. A Cordon Blue chef named Suzette (Lyndsy Kail) has been hired from an agency to prepare the dinner. This will cause great confusion when both Suzanne and Suzette respond to the diminutive “Suzi.” Confusion will be compounded when Gabriella intercepts telephone call discovering that Robert is coming. She, come hell or high water, is not about to go visit dear mama because Robert is her lover.

When Suzette arrives Robert assumes she is Suzanne and in short order she is conned (for two 100 franc notes) to go along with the charade. When dumb blonde sexy Suzanne shows up, [wearing a very expensive coat that is integral to the plot] she has to pretend to be the cook but she is more of a short order cook rather than a Cordon blue chef.

There are the obligatory four doors needed before a play can be a farce. The country house is actually a converted barn with the two spare bed rooms that were formerly a cow stall and piggery. That detail gets a lot of guffaws when decisions must be made as to who will sleep with whom and where.

Cassidy Brown*, Lyndsy Kail*

Liam Vincent creates a marvelous priggish Machiavellian Bernard who gradually uses all those around him to cover up his misdeeds. Nika Ericson’s incendiary Italian has perfect control hiding her own peccadillo with consummate composure and controls the stage when it is time to play the “wronged wife.” Amongst the female roles, Lyndsy Kail is the audience favorite morphing from an ordinary girl to a seductive model, to niece actress or to whatever is needed for the cover-up earning every franc proffered by the two timing men. The audience burst into applause when she is stripped of her maid costume to play the role of mistress.  Brittany Danielle is completely believable as the not too bright sexy Suzanne.

The major accolades belong to Cassidy Brown with his mobile face, elastic body that would get him a job in Comedie del Arte, and his superb double takes.  Khary L. Moye adds a touch of class with his underplayed depiction of a possibly wronged husband and can be considered a deus ex mechina.  No further explanation will be given.

A brilliant directorial touch involves a large, low fuzzy white ottoman downstage center where Butler gives every member of the cast time to cavort.  Although he uses broad comedy just short of slapstick there is directorial sophistication and intricate timing to obtain maximum humor from the script. Running time two hours with intermission.

(From Top to Bottom)Lyndsy Kail*, Nika Ericson* Brittany Danielle*, Khary Moye,

Production Crew: Set Design by Erik Flatmo, Lighting Design by Ray Oppenheimer, Costume Design by Maggie Morgan, Sound Design by Matt Stines, Stage Manager Kathleen J. Parsons*

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Nika Ericson*,Lyndsy Kail*, Khary Moye, Brittany Danielle*

Cassidy Brown*, Lyndsy Kail*

Kedar Adour

forallevents.com/reviews/

In her one-woman show The Pianist of Willesden Lane, piano virtuoso Mona Golabek chronicles her mother’s escape from the Holocaust. Photo courtesy of mellopix.com

THE PIANIST OF WILLESDEN LANE: Solo Performance.  Based on the book “The Children of Willesden Lane” by Mona Golabek and Lee Cohen. Directed and adapted by Hershey Felder. Berkeley Repertory Theatre, Thrust Theatre, 2015 Addison Street @ Shattuck, Berkeley, CA 94704. (510) 647-2949 or  www.berkeleyrep.org. EXTENDED THROUGH January 5, 2014

THE PIANIST OF WILLESDEN LANE earns a standing ovation at Berkeley Rep

 [rating:5] (5/5 stars)

Just four months ago Berkeley Rep mounted a highly successful and critically acclaimed solo performance of George Gershwin Alone written and performed by the author who has set his sights on demonstrating that music can and does sooth the savage beast. This time around he has directed and adapted a true story based on the book The Children of Willesden Lane by Mona Golabek & Lee Cohn proving “music has the power to help us survive.”

 The primary survivor in the book is 14 year old Lisa Jura a fledging pianist studying with a master teacher in 1938 Vienna. When the Nazis issued laws preventing her teacher from giving Jews lessons her dreams of a concert debut of Grieg’s Piano Concerto in Vienna are dashed but not crushed and her resiliency is dramatized in words, projections and stunning piano music.

Mona Golabek, an accomplished pianist is the daughter of Lisa Jura and she gives a heart wrenching performance without histrionics often allowing the piano music do the speaking. Grieg’s haunting A Minor concerto frequently weaves in and out of the narrative reminding the audience of Lisa’s heartbreak.

After the devastating crystelnach (the night of the broken glass) seats on the kindertransport train were in great demand as families were vying for passage to a safe haven in England for their children. The one ticket available to the Jura family was given to the middle daughter Lisa because of her potential as a classical pianist.

After being unable to live with a relative she was assigned to a beautiful county estate called Peacock Manor where she was assigned household chores. When she was denied the privilege of playing the piano and told that the piano was for show and not to be played, she returned alone to London alone and assigned to the house on Willesden Lane packed with children. A piano became her salvation and that of the adults as well as the children.

During the Blitzkrieg the museums were stripped of their art and the famous pianist Myra Hess convinced the authorities to allow her and fellow musicians to use the museums as concert halls. Every week a single masterpiece painting was hung in the hall. The music continued even during the Blitz.

Lisa’s talent was recognized and she was given an audition for a scholarship to the Royal Academy of Music. Golabek gives a charming description of that audition both in words and brief cords of classical music with snippets from Bach, Beethoven and Chopin.

Mona Golabek is a master at the piano both in interpretation and body language. All the interludes are played without sheet music and include Beethoven, Debussy, Chopin, Grieg, Bach Rachmaninoff and Gershwin.

Mona Golabek as Lisa Jura

Her brilliant piano interludes and quiet dialog are enriched with slide and video projections on four gilt edged frames hung above the lone piano elevated on center stage.  Lisa Jura’s resiliency, bravery and the power of music played dazzlingly by her daughter Mona Golabek is an evening not to be missed.  Just when you thought the show was over and applause erupted from the appreciative audience, many with tears in their eyes, Lisa Jura returned to the stage to give her much delayed concert debut with Grieg’s Piano Concerto in A Minor, opus 18; third movement.

Running time an unforgettable 90 minutes without intermission.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Kedar Adour

forallevents.com/reviews/

UNDERNEATH THE LINTEL: Solo Drama by Glen Berger. Performed by David Strathairn. Directed by Carey Perloff.  American Conservatory Theater (ACT), 415 Geary St., San Francisco, CA. (415) 749-2228 or www.act-sf.org. October 23 – November 17, 2013.

UNDERNEATH THE LINTEL an intellectual bemusement at A.C.T. [rating:3](5/5stars)

With a title of Underneath the Lintel one might expect that a “Lintel” is a tree and we may be in for an evening of romantic endeavor or pithy philosophizing. We do get a bit of unrequited romance and some mundane philosophy before the stage lights black out, but it seems to be an afterthought in Glen Berger’s solo drama that began as a one night theatrical piece performed by the author in 1999 at the Yale Cabaret.  There have been many revisions since the first professional performances began in 2001. Since then it has been staged throughout the world with the first local production at the Live Oak Theater in Berkeley in July 2013. It received good reviews.

Those good reviews may be related to the production being mounted in a 99 seat theater with minimal props and a fine local non-equity actor (Mike Mize) giving a big performance to a small intellectual bemusement. However, as often happens at A.C.T, one of the premiere acting companies in the nation, there has been a propensity to over-produce a less worthy script. So it is again with Under the Lintel pretentiously subtitled An Impressive Presentation of Lovely Evidences.

Director Carey Peroff has wisely selected award winning/nominated David Strathairn to play the of an obscure, introverted yet obsessive librarian to deliver Glen Berger’s well researched, sometimes obtuse and other times imaginative lines. However, the play is not the thing but Strathairn’s acting carries the evening as he rambles around on Nina Ball’s cluttered set.

That set is integral to the story. Strathairn, playing the unnamed Dutch librarian, has rented a second-rate music hall theatre to deliver a lecture to a small audience about his “evidences” proving a certain biblical myth is an actuality.  On stage right there is a large chalk board that is used to aid in listing “his evidences” that he produces one by one, appropriately tagged and numbered, from his non-descript suitcase. That suitcase has been with him on a world-wide quest as he finds “evidences” that have convinced him that the myth of the Wandering Jew is reality. To illustrate his “evidences’ he also uses a slide projector and a tape player.

Although the story of the Wandering Jew has numerous variations, depending on the country or the era in which it is told, Berger elected to use the storyline of a Jewish shoemaker whose shop was along the route Jesus was forced to take to the site of His crucifixion. The shoemaker while standing “underneath the lintel” (the supporting beam of his window) refused to offer Jesus assistance when He collapsed on the doorstep. Jesus was said to say, “I will see you again when I return.” That return is the second coming of Christ and is yet to happen and the Jew is forced to live in perpetuity and never resting.

The Librarian’s quest began with his fascination and obsession with the late return of a dog-eared Baedeker’s Travel Guide. That book is 113 YEARS late and there are notations in the margins as well as a claim check for cleaning a pair of trousers. The cleaning establishment is still operating in London no less. Our intrepid Librarian heads off to London. Thus the journey begins. With each “evidence” uncovered another is found, has been duly numbered and presented to the audience as proof of his theorem. 

His has been fired from his job (without a pension) and is now free to roam. One wonders where he got the money for travel but remembering this is a mythical tale . . . maybe, we must suspend disbelief.  He travels, in order of his “evidences’ from: 1. Hoofddorp, Netherlands,  2. London, England, 3. Bonn, Germany, 4. Derby, England, 5. Dingtao, China, 6. New York City, New York, 7. Brisbane, Australia, 8. Acropolis, Greece, 9. Paris, France, 10. The coast of Norway, 11. Juneau, Alaska, 2.Uxmal, Mexico, 13.Stamford, Connecticut, 14. Easter Island.

David Strathairn as The Librarian showing the map of his travels

His journey is liberally illustrated with his slides and Perloff moves him about in a hectic manner probably conveying his restlessness. Near the end of his lecture, the librarian frantically shows photos of inscriptions “I was here” to prove his points and even invokes the memory of the ubiquitous “Kilroy was here!” Yes there is humor but the stretches between laughs are a bit tedious.  Running time 90 minutes without intermission.

Creative Team: Nina Ball (scenic design), Jessie Amoroso (costume design), Alexander V. Nichols (lighting design), and Jake Rodriguez (sound design).

Kedar K. Adour, MD

Courtesy of www.theatreworlditernetmagazine.com

Kedar Adour

forallevents.com/reviews/

DIRTY LITTLE SHOWTUNES!: Musical Revue. Written by Tom Orr. Conceived and Directed by F. Allen Sawyer. Musical Direction by Scrumbly Koldewynn. Choreographed by Jayne Zaban. Starring (alphabetically): Rotimi Agbabiaka, David Bicha, Daryl Clark, Jesse Cortez, Tom Orr, Randy Noak. New Conservatory Theatre Center (NCTC), Decker Theatre, 25 Van Ness Ave, San Francisco, CA. 415-864-8972 or www.nctcsf.org Through November 10-2013. [rating:5]

DIRTY LITTLE SHOWTUNES! is back and good as ever at NCTC.

The spellchecker in MS Word keeps trying to correct the spelling of ‘showtunes’ to ‘show tunes.’ But it is not to be in this review of this revue since there is nothing ‘correct’ about the 16th incarnation of this hilariously energetic production that defines the basic three “Rs”. . . Racy, Ribald and Risqué. It earns the exclamation mark that is integral to the title.

The entire evening is a parody of songs from about 25 Broadway shows lasting about two hours including the 20 minute intermission. That intermission is needed to regroup your brain cells that have gone astray trying to identify which song is from which show. We reviewers received a list of the songs and the shows involved. (A little secret: There is a stack of sheets listing the songs behind the box office desk. Just ask and you shall certainly receive.)

Rotimi Agbabiaka

The marvelous Tom Orr and David Bicha are the only hold-overs from the original show and they are matched song for song and dance for dance with the naughty energetic Rotimi Agbabiaka, the willowy charming Randy Noak and the innocent (in looks only) Jesse Cortez that you will not recognize in drag.  Daryl Clark was absent from some shows and in football parlance is probably on injured reserve.

The show would not be complete without the extremely talented musical director Scrumbly Koldewynn who has aged gracefully since his Cockette days and is riot when he deserts his piano to take the stage in a simplified English Busker jacket (complete with white buttons) for the second act entr’acte patter song, “Stupid Silly Paranoid Theatric Superstitions!” (“Supercalifragilisticexpialidocious!” – Mary Poppins).

(l to r) Jesse Cortez, Tom Orr, Randy Noak, Rotimi Agbabiaka

The ensemble reminds us in an opening number “Parody Tonight” (“Comedy Tonight” – Funny Thing Happened on the way to the Forum) that probably protects them from plagiarism law suits. Consider “How Do You Solve Your Problem Gonorrhea?” (“How Do you Solve a Problem like Maria” – The Sound of Music), “Turn in Your Fag Card” (“Brush Up Your Shakespeare” – Kiss Me Kate), “Bossy Bottoms” ((“Bosom Buddies” – Mame), I Am The Very Model of A Modern Homosexual (The Pirates of Penzance) and “The Lady is a Man” (“The Lady Is A Tramp” – Pal Joey)

The list goes on and on with each member of the cast getting to strut their stuff upon the stage receiving great appreciative applause. The ensemble numbers are humorously choreographed and the drag costumes a hoot and a holler. They don’t frolic in the most stunning drag costumes until the second but in act one two “nuns” bring down the house with the naughty, naughty Maria number.

Favorite production numbers are “The Leatherman & Drag Queen Suite” (South Pacific, Guys and Dolls, Westside Story, and Oklahoma) and “Nude” (to the tune of “Mame” with  choreography stolen from The Full Monty). To answer your question “Do they do the full Monty??” you will have go see the show. Highly recommended by this reviewer and my straight-laced seating companion.

(l-r), Jesse Cortez, David Bicha, Tom Orr, Rotimi Agbabiaka, Randy Noak in the “Nude” number (The Full Monty).

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Kedar Adour

forallevents.com/reviews/

NEXT FALL: Drama by Geoffrey Nauffts and directed by Kirsten Brandt.San Jose Repertory Theatre, 101 Paseo de San Antonio, San Jose. (408) 367-7255. www.sjrep.com.  October – November 10, 2013. [rating:3] (3 /5 stars)

An unsettling NEXT FALL at San Jose Rep.

Twenty five plus years ago there was a plethora of plays dealing with the HIV-AIDS epidemic and as that topic had become over saturated in the theatre interest has shifted to the legal ramifications of gay and lesbian relationships. There were numerous instances where a gay or lesbian was denied visitation rights and health care decision making for a partner and some states have legally sanctioned those denials. Geoffrey Nauffts’ Next Fall dramatizes one such specific case in this second play of San Jose Rep’s 2013-2014 Season.

The sold out original 2009 Off-Broadway production by Naked Angels was extended three times and the entire cast moved to Broadway in 2010 receiving good but mixed reviews. Brantley of the New York Times called it “artful, thoughtful and very moving” and critic David Cote named it “the little play that could.” It played for 132 performances. The reviews of a more recent New York and regional productions were not as well received.

One could rightly suspect that the casting and direction could be responsible for the wide range of the critical reviews but the author must share much of that criticism for setting up a hot button issue with disparate characters and dilutes the impact of the primary point at issue. He attempts to reconcile certain religious belief of the “sin” of homosexuality with a compatible loving same-sex relationship and for questionable reasons has included a taciturn white male with attraction for black men. 

Adam (Danny Scheie) and Luke (Adam Shonkwiler) All photos by Kevin Berne

Adam (Danny Scheie) is an outwardly gay 40 year old unsuccessful writer who enters into a satisfying sexual and emotional relationship with deeply religious young actor Luke (Adam Shonkwiler) who recognizes the concept of sin and rationalizes that transgression by praying after having sex.  Luke has not come out to his family consisting of a bigoted born again Christian father, Butch (James Carpenter), his mother Arlene (Rachael Harker) divorced from Butch and an unseen stepbrother.  In the theatrical world every gay man must have a female confidant. In this play she is named Holly (Lindsey Gates). The dubious male mentioned above is named Brandon ( Ryan Tasker).

(l to r) Brandon (Ryan Tasker), Holly (Lindsey Gates), Adam (Danny Scheie), Arlene (Rachel Harker) and Butch (James Carpenter) grapple with issues of love, faith and acceptance

The play opens and mostly takes place in the waiting room of a Jewish run hospital. The fact that it is a Jewish hospital is integrated into Nauffts’ dialogue as is mention of other religions to prove one of his major tenets. Luke has been in an accident and eventually his condition deteriorates. Before that happens, Luke’s parents arrive and conflict arises as to Adam’s rights of visitation and medical decision making.

The play is non-linear with shifts back in time defining the relationship of Adam and Luke and filling background on the other characters. In that first scene, for some unfathomable reason, Lindsey Gates’ portrayal of Holly is loud conveying insensitivity that is not justified in later scenes. When Adam, who was away when the accident happened, arrives Arlene is the mollifying influence.

The storyline is predictable with only a modicum of surprises but also with a good dollop of humour. One of the funniest is a direct steal from La Cage aux Folles, when Luke attempts to de-gay the apartment by hiding fixtures and paintings before his father makes a surprise visit. With that job incomplete Butch arrives with Adam alone in the apartment. Carpenter and Scheie, both consummate actors, play off each other like finely tuned instruments and when Carpenter departs the non-physical duel is a draw.

There is more than a bit of discussion about salvation and redemption and at times seems to be proselytising. Where the first act lays the groundwork, Act 2 has powerful drama as the here-to-fore bantering between Butch and Adam verbally erupts and includes physicality with crushing emphasis that Adam has no say in the decisions that must be made concerning the dying Luke.

(James Carpenter), Holly (Lindsey Gates), Arlene (Rachel Harker) and Adam (Danny Scheie) confront personal beliefs and each other

Adam is Nauffts’ protagonist and has the lion share of dialog. Danny Scheie is a master at playing an effeminate gay man and to his credit he subverts those tendencies to give a subdued performance but there always seems to be a desire for the flamboyancy to emerge. Adam Shonkwiler’s sincerity as the religious Luke seems genuine and he makes a splendid foil for the flippant Adam. Bay Area icon James Carpenter give strength to  the role of Butch and one would wish there were more for him to do.  Of the other actors Ryan Tasker as Brandon, with minimal dialog, deserves accolades.  

Annie Smart’s spacious set allows the scene changes to move smoothly without intrusion on the action but somehow seems inappropriate for this “family-values” play. Director Kirsten Brandt decision to place an early flash-back scene on a high platform on stage left for the intimate first meeting of Adam and Luke seems self-indulgent.

With the recent legal strides of recent years, this play would be more cogent in the 1980s. Running time 2 hours and 20 minutes.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Kedar Adour

forallevents.com/reviews/

(L-R) Michael Van Why as Albin/Zaza and Stephen Walsh as Georges

LA CAGE AUX FOLLES: Musical Comedy. Book by Harvey Fierstein / Music and lyrics by Jerry Herman. Based on the play by Jean Poiret. Music direction by Mary Chun / Stage direction by Sheri Lee Miller. Cinnabar Theater, 3333 Petaluma Blvd. North, Petaluma, CA 94952.

707-763-8920 or www.cinnabartheater.org.  

LA CAGE AUX FOLLES a Grand and Gaudy show at Cinnabar

Sonoma County’s Cinnabar Theatre has mounted a colorful, hilarious, heart-tugging production of La Cage aux Folles which received a deservedly thunderous applause from an appreciative audience on opening night. The spacious stage of this 99 seat theatre has been converted into the night club “La Cage aux Folles” with a six piece band to back up the cast of 15 talented performers.  Thankfully, all that is missing is cigar/cigarette smoke for further authenticity.

That cast assures us in the song “La Cage aux Folles” that this is a ‘grand and gaudy’ place where you can meet your ‘mistress, boyfriend and wife’ at the same time! This new version that originated in London in 2008 traveled to Broadway in 2010 receiving accolades and awards on both sides of the Atlantic.  All the original songs are left intact and are given excellent renditions with professional singing and acting with the purposely graceless dancing by the hysterical, “hilarious kickline of Les Cagelles feature(ing) J. Anthony Favalora, Jean-Paul Jones, Quinn Monroe, Valentina Osinski, and Zack Turner.

(l to r) Quinn Monroe, Jean-Paul Jones, J. Anthony Favalora, and Zack Turner are in the hilarious kickline for “La Cage aux Folles,” (Photo by Eric Chazankin)

 This exciting and loving staging is not the flashy overproduced original musical comedy that was a smash hit on Broadway but a new more intimate show with heart. Because the recent defense of marriage act fiasco is still fresh in our minds, La Cage is even more politically/socially significant than its original performances 30 years ago.

Georges (Stephen Walsh) and effeminate transvestite Albin/Zaza (Michael Van Why) have been married for more than 20 years raising a son Jean-Michel (Kyle Stoner) born after a drunken one night liaison of Georges with Sybil a show girl (who does not appear in this new version) 24 years ago. Jean-Michel has fallen in love with Anne (Audrey Tatum) the daughter or Edouard (Stephen Dietz) and Marie Dindon (Madeleine Ashe). Mr. Dindon is the chairman of a committee to protect T.F.M. (Traditional Family Marriage) and is dedicated to removing every vestige of homosexuality from the Riviera.

Poor Jean-Michel feels that he cannot introduce Albin/Zaza as his mother and asks Georges to send Albin/Zaza away for a couple of days while they change the frou-frou apartment décor to a more staid appearance. And what are they to do with Jacob (James Pelican) the star-struck butler who dresses as a maid? [Side Note: the tall, gangly James Pelican would be hit in Charlie’s Aunt]Conflict arises and the bitter-sweet fun unfolds.

In this revision George pokes his head and then body through the stage curtain (believe it, there is an actual curtain) and introduces the up coming scenes to the audience and cues the band. First up are the Le Cagelles appearing as silhouettes behind transparent scrim panels then bursting out with dance and song with “We Are What We Are” as Georges joins in. What a great way to start.

After a swift scene change, (you will be amazed at the swift/mostly smooth scene changes) our ‘heroine’ Zaza has a copasetic solo “A Little More Mascara” before our Les Cagelles again flood the stage. You never know when they will flounce on and off the stage and that is part of the fun.

Charming Kyle Stoner is slight of build with a soft tenor voice shares his thoughts with Georges in an exuberant love song “With Anne on My Arm” that mirrors George’s plaintive love song to Albin “With You on My Arm” and the beautiful “Song on the Sand.”

While Zaza is performing with the Cagelles (“La Cage ax Folles”) George and Jean-Michel have redecorated the apartment that is now as ascetic as a Monk’s quarters with the statue of nude David replaced by a wooden cross, and butler/maid Jacob in a white wig and footman’s garb. The stunned Albin silently takes center stage for the haunting “I Am What I Am” that captivates the audience as the curtain closes on Act one.

After this marvelous first Act the anticipation of what is yet to come permeates the audience and they are not disappointed.  The scene where Georges and stage manager Francis (Miguel Evangelista) try to teach Albin “Masculinty” is a riot even though it is a direct steal from Tea and Sympathy. And more fun comes after two touching scenes defining the true meaning of “family”  no matter what are the genders involved with the tender “Look Over There.”

Then the Dindons arrive and it is too complicated to describe all the details. Suffice it to say that as usual Stephen Dietz adds zip to any part he plays even when he is the unlikeable chairman of the dastardly T.F.M! Don’t ask how it happens or why, the creators of the show have slipped in “Cocktail Counterpoint” sung and danced by ALL the family when Albin shows up as ‘mother’ in a sedate full length gown. Later, his faux pas after the charming “The Best of Times” creates pandemonium before the finale with most of cast members in drag. The costumes (Clay David) are a drag queens dream.

What really makes the La Cage aux Folles work is the fine acting of Stephen Walsh and Michael Van Why. They have a plethora of charisma that can be felt by all. Be assured you will be humming two or more of Jerry Herman’s songs on the way out of the night club “La Cage aux Folles.” Running time of 2 hours and 20 minutes.

Kedar K. Adour, MD

Courtesy of www.theatreworldintermagazine.com

Kedar Adour

forallevents.com/reviews/

Holly (Delia MacDougall) and Nathan (Robert Sicular) meet over lunch to conduct political negotiations in Kenneth Lin’s WARRIOR CLASS, receiving its California Premiere October 9 – November 3 at TheatreWorks at the Mountain View Center for the Performing Arts. Photos by Tracy Martin

WARRIOR CLASS: Drama by Kenneth Lin. Directed by Leslie Martinson. TheatreWorks, Mountain View Center for the Performing Arts, 500 Castro St., Mountain View. (650) 463-1960 or www.theatreworks.org. October 15- November 3, 2013

A bromidic WARRIOR CLASS deftly staged at TheatreWorks

When a play does not create excitement but has laudable qualities it is difficult to write an unfavorable yet fair review. The California premiere of Warrior Class at TheatreWorks on Thursday night created that dilemma. It has an excellent three person cast helmed by Leslie Martinson, an award winning director and is being performed on a superb, clever rotating set by Eric Flatmo. If we accept the adage “the play’s the thing” therein lays the fault. There is nothing original about the plot and the characters are hardly likeable.

 Author Kenneth Lin is an Asian-American writer with more than creditable curriculum vitae. His livelihood is apparently earned as a TV writer. Not only is he a staff writer on Netflix’s “House of Cards” but is the creator of a new limited series, “American Way,” for USA Networks. That is probably explains why Warrior Class has the feel of TV potboiler.

All three characters have flaws and Lin deftly inserts exposition disguised as normal dialog to flesh out his characters’ background and motivations. It all revolves around Julius Lee a charismatic Asian-American who has beaten an entrenched Democrat incumbent for seat in New York State’s House of Representative after giving an impassioned speech that turned the election in his direction. Julius (Pun Bandu)has all the credentials to progress up the political ladder.  He is an educated, charismatic son of Chinese immigrants as well as being a decorated ex-Marine. He is now ready for a step up to the NY Senate or US House of Representatives. He is labeled “a Republican Obama.” Problem: He has a “incident” in his background that could derail his and the Party,s aspirations.

Nathan Berkshire (Robert Sicular) is the savvy political strategist advisor to Julius and the Party assigned to make the incident “go away.”  It is not until the second act that he is given humanistic traits to soften his Machiavellian nature and he prides his profession as being the “warrior class.”

In the opening scene Nathan meets Holly Eames (Delia MacDougall)the former live-in girlfriend with Julius while they were in college. When Holly split from Julius he became enraged, viciously stalking her causing Holly’s mental breakdown leading to their exodus from college. He joined the Marines and she eventually married now living in Baltimore with her husband a discredited financier who needs a job.

It just so happens that there are a few appointee jobs that Julius and the Party control. Holly has come forward with details of the past, intimating that if her husband is given one of those jobs the “red flag” will disappear. That is the set-up for the play that is introduced in the first scene where Nathan has his first “back room” chat at the B & O Steakhouse with Holly.

Julius (Pun Bandhu) and Nathan (Robert Sicular) have
a tense discussion

The remainder of the play shifts between Julius’s home in a posh New York suburb and the B&O Steakhouse. The negotiations take some unexpected nasty turns giving a modicum of tension to the play. Nathan’s “warrior class” takes a verbal beating before the curtain descends. After that happens, Julius pulls out his popcorn machine making a making a bowl of his comfort food that is introduced early in scene two. . . thus an ambiguous ending to the evening. Running time one hour and 40 minutes including the 15 minute intermission.

Kedar K Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Kedar Adour

forallevents.com/reviews/

Kedar [rating:2] (2/5 stars) 

Jessica Lynn Carroll (Caroline) and Devion McArthur (Anthony) in the National New Play Network Rolling World Premiere of I and You by Lauren Gunderson, running now through November 3 at Marin Theatre Company . Photo by Ed Smith

I AND YOU: Drama. By Lauren Gunderson. Directed by Sarah Rasmussen. Marin Theatre Company, 397 Miller Avenue, Mill Valley, CA 94941. (415) 388-5208 or www.marintheatre.org. October 10 – November 3, 2013. 

I and You at  MTC  needs work.

The adage “there’s trouble in River City” did come to mind when Artistic Director  Jasson Minadakis  informed the audience before the show began that this production is first of four “rolling world premieres” of  I and You and intimated that there would be changes made. Also in a local newspaper fluff piece interview of the author she admitted that during rehearsal, at the suggestion of the cast, she excised significant blocks of dialog. It might be possible that those cut are the reason there is an abrupt change in the tenor of the play that seems artificial.

Gunderson has received accolades for her other plays, three of which are playing locally, and the dialog in I and You attests that those accolades are warranted. However she must share some of that credit with Walt Whitman’s poetry.

It is a two character play with disparate teenagers thrown together in a class project to deconstruct Whitman’s poetic autobiographical “Leaves of Grass” by discussing his meaning of the pronouns “I” and “You.” It is a very blatant ploy by Gunderson to give universality to the personal relationship evolving between the protagonists.  Henri Bergson’s concept of relative time is suggested since their project is due the next morning.

Those two are chronically ill semi-recluse Caroline (Jessica Lynn Carroll) and talented basketball player Anthony (Devion McArthur). The author adroitly introduces the troubled background of the pair with believable dialog as the relationship changes from antagonistic to empathy ending with understanding in a cataclysmic ending.

Whereas Caroline who is white is immersed in her stuffed turtle doll, Elvis Presley movies and photography, African-American Anthony is a saxophonist enamored with John Coltrane and Walt Whitman.  Anthony’s unexpected arrival in Caroline’s attic bedroom is met with hostility but his patience gradually turns Caroline’s taciturn nature into an agreeable partner adding depth to their assigned project. Before that stage is reached there are the expected and unexpected serious bumps on the road to understanding. A couple of those bumps are very dramatically directed by Sarah Rasmussen but her chore is difficult because the storyline lacks cohesion.  This may change on the play’s journey through three more “rolling world premieres.”

Jessica Lynn Carroll gives a believably fine performance changing from a frightened unlikeable teenager to a compliant partner as she becomes engrossed in Whitman’s poetry and Anthony’s subtle persistence.   Devion McArthur, who was imported from the New York theatrical scene, is new to Marin Theatre Company but one would hope it will not be his last visit to the Bay Area.

Michael Locher’s magnificent set of Caroline’s attic bedroom complete with the trappings expected of a teenager is a beauty but may be superfluous overkill for this problematic 80 minute play that may be better served with a more moody ambiance to accentuate the surprise ending.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

Kedar Adour

forallevents.com/reviews/

Kedar [rating:5] (5/5 stars)

Superman (Lucas Coleman) defeats the Grimaldi brothers in 42nd Street Moon’s production of  IT’S A BIRD…IT’S A PLANE…IT’S SUPERMAN (All photos by Patrick O’Connor)

“IT’S A BIRD…IT’S A PLANE… IT’S SUPERMAN: Musical Comedy. Music by Charles Strouse.  Lyrics by Lee Adams. Book by David Newman & Robert Benton. Directed by Dyan McBride. 42^nd Street Moon, Eureka Theatre, 215 Jackson St., San Francisco.

(415) 255-8207 or visit www.42ndStMoon.org. October 2 — October 20, 2013.

It’s etc…etc… SUPERMAN flies high at 42^nd Street Moon

First of all don’t just call the marvelous show bouncing around the Eureka Theatre stage Superman. The title is, It’s a Bird…It’s a Plane…It’s Superman. That is as it should be; the long title defines the man of steel since it was 75 years ago that our hero was jettisoned from the planet Krypton becoming an icon of the comic book world.

The longevity of our comic book ‘defender of truth and justice’ overshadows the 1966 Broadway production that lasted for only 129 performances even though it listed such notables as Bob Haliday (Superman/Clark Kent), Jack Cassidy (Max Mencken), Patricia Marand (Lois Lane), Linda Lavin (Sydney) and Michael O’Sullivan (Dr. Abner Sedgwick).

With one exception (not to be mentioned here) the cast of 42^nd Street Moon’s staging probably could match the Broadway cast! And they did not use any wires to send Superman flying off stage.  Tall, lean (if not muscular) handsome Lucas Coleman as Superman takes magnificent leaps on and off stage that are a hoot and a holler although he has a bit of trouble undressing in the telephone booth (yes, the booth is there on stage right).

Clark Kent’s phone booth. Lucas Coleman

The casting director for this terrific spoof had a stroke of genius turning scientist Dr. Abner Sedgwick, into a female and rounding up Bay Area favorite comedienne Darlene Popovic for that adversarial role adding a disheveled fright wig signifying her madness. When Dr. Sedgwick’s nefarious plan “A” to destroy Superman goes awry she simply shrugs, “It’s a long alphabet.”

Of course Lois Lane (Jen Brooks), star reporter who has been save 15 times [shall we try for 16?] by Superman, is there along with gossip columnist Max Mencken (Brent Schindele) and his secretary Sydney (Safiya Fredericks).  Jen Brooks plays the Lois Lane role straight (as it should be) but has her moments and is in fine voice with three memorable songs of “We Don’t Matter at All”, “What I Often Wanted” and “ I Am Not Finished Yet.”

Brent Schindele almost steals the show as a whirlwind of hot air and aggrandizement whenever he is on stage with “The Woman for the Man” and especially when he is the foil for Safiya Fredericks’ over-the-top belting of “Ooh, Do You Love You!”  Popovic and Schindele share the spotlight in their duet “You’ve Got What I Need” when non-Nobel Prize winning Dr. Sedgwick is planning “Revenge.”

 Yes there is a convoluted storyline that fits perfectly into the action of this satiric spoof gracing the art deco set (Alvin Shiu) with 1960’s costumes (Felicia Lilienthal) and tricky choreography (Staci Arriaga) at the Eureka Theater.  Veteran director Dyan McBride keeps the 16 member cast vivaciously moving on and off stage and has a great ensemble to aid her.

That ensemble includes Mama Grimaldi (Diahanna Davidson) and four “Amazing Grimaldis” played by Scott Maraj, Steven Sloan, Michael Doppe and Kyle Valentine mostly dressed in one piece tight fitting purple wrestling costumes and are whirlwinds of physical activity. They play double and triple roles with quick costume changes.

l-r: Lucas Coleman, Safiya Fredericks, Diahanna Davidson, Catherine Gloria, Nicole Renee Chapman, Ariel Leasure, Darlene Popovic, Brent Schindele, Trevor Marcom, and Jen Brooks

Then there are the “Mod Young Ladies of the Metropolis” Catherine Gloria, Nicole Renee Chapman and Ariel Leasure who are knockouts in varied brightly colored costumes to match the imaginative set as they sing and dance vivaciously.

The comic book ambiance is maintained throughout with production numbers designed around individual panels of “Meanwhile” “Suddenly” “Later” and “Finally” with ‘written’ sound effects of “Pow!”, “Bam!” and “Zonk!” and others.

This show is one of the best that 42^nd Street Moon has produced and it is an auspicious start to their 21^st Season. Next up is the Rogers and Hart musical I Married and Angel  playing October 30 – November 17, 2013.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Kedar Adour

forallevents.com/reviews/