Rosine Reynolds

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.

 

 

 

“Journey’s End” is a romantic title for the R. C. Sherriff play that just opened at The Barn Theatre in Ross.  To get a better idea of what it’s about, go up close to the stage, and examine the set. Rough beams cross the ceiling, sweaty-looking cots sit on either side, wrinkled old papers are pinned to the walls, dirt spreads over the floor, and a view through the curtained opening shows more dirt outside. “Journey’s End” is not an idyll; it’s a war story. This is a British dugout in W. W. I France,  and the trench outside leads into battle. One of the play’s first lines is, “It’s coming pretty soon now.” Flashes in the sky outside and booms from distant artillery confirm that. But when?

 

This mid-season production from Ross Valley Players departs from the rest of the season, especially from the two comedies that bracket it. “Journey’s End” shows the tedium of waiting for battle and the ways the plucky cook maintains service, no matter what food he has to work with.  Captain Stanhope, who’s been here three years and whose nerves are “battered to bits,” numbs his existence with alcohol, while a newly-arrived junior officer is excited about the prospect and thinks it’s “an amazing bit of luck” that he’s been assigned to Stanhope’s battalion.

 

This all sounds remarkably real, and it was. Sherriff served in the war and was twice wounded. It has been said that “Journey’s End” was his tribute to those who didn’t survive. It came to the stage in London in 1928, with an appropriately young Laurence Olivier in the role of Stanhope. The Ross Valley production was directed by James Dunn, who’d seen the play in London in 2005 and was determined to bring it to Ross Valley, where it is having a west coast premiere. Dunn’s respect for the material shows in every scene.

 

The British accents seem natural and the pronunciations unaffected. Stanhope is referred to as “Stanup;” the town of Ypres is called “Wipers.”

 

The set, so important to the mood of the story, was designed by Ron Krempetz and assembled by Ian Swift. The Army costumes, helmets included, were  collected by Michael Berg. Maureen Scheuenstuhl arranged the dugout’s props.

 

Stephen Dietz, who plays the self-controlled 2nd Lt. Trotter, also designed the very effective sound effects. Ellen Brooks and Ian Lamers did the lights, which become more important as the play goes on.

 

Francis Serpa has the role of idealistic young Lt. Raleigh. Tom Hudgens is Lt. Osborne, everybody’s “uncle,” and Philip Goleman is the terror-stricken Hibbard.

 

Sean Gunnell portrays Pvt. Mason, the tireless cook, with Jeff Taylor as the Company Sgt. Major. David Yen appears in the Olivier role as edgy  long-termer, Capt. Stanhope, explaining his alcohol consumption as, “I couldn’t bear to be fully conscious all the time.”

 

Two former Peninsula  lads — Ross Berger and Steve Price — are double-cast. Berger plays Lance Cpt. Broughton and a German soldier, and Price is both Capt. Hardy and the Colonel.

 

R. C. Sherriff, says James Dunn, didn’t set out to write a pacifist play, but that’s what he wrote. It’s a strong and moving piece of theatre, and it comes almost 100 years from the beginning of that war.

 

“Journey’s End” will play at The Barn Theatre in Ross Thursdays through Sunday, Feb. 16. Thursday performances are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m. Ticket prices range from $13 (children and students on Thursday nights) to $22. A “Talkback” with director and actors will take place after matinee performances in February.

 

To order tickets, call the box office at 456-9555 or see the website, www.rossvalley.players.com.

 

 

 

Celebrating its “four-and-twentieth” season, Marin Shakespeare Company has reached even farther into theatrical history and come up with a pre-Shakespearean hit, Thomas Kyd’s “The Spanish Tragedy.”
Kyd’s play was packing playhouses by the time Shakespeare arrived in London, and “Spanish Tragedy” was revived over and over, even after The Bard began producing his own work. He certainly would have seen it at least once, and dramatic evidence suggests he borrowed from it here and there.
Shakespeare’s “Hamlet,” for instance, is rooted in the young prince’s vow to avenge his father’s death, a vow inspired by the father’s angry ghost. In “The “Spanish Tragedy,” it is the father who’s bent on getting revenge for his murdered son. Revenge is a character that lingers onstage in company with the ghost of another murder victim. (Revenge looks and sounds not at all as you might expect.)
The ghost’s former love — now a bereaved young woman — could almost stand in for Ophelia, and “Tragedy’s” smarmy, sneaky young nobleman could double for Iago, the villain in “Othello.” To top off the resemblances, Kyd even scripted a play-within-a-play as payback for the guilty parties, and as in Shakespearean plays to follow, the bodies begin to pile up.
Director Leslie Schisgall Currier has revived this gory old favorite, set it in a multi-level castle and cut it down to a manageable two hours and forty minutes’ playing time. The action begins with a tolling bell and a long funeral march of white-masked mourners. The deceased follows the march, describing the foul deeds that have made him a ghost. Ghost stays visible throughout the play, accompanied by Revenge.
The Duke of Castille, the King’s brother, describes the battle and shows off its most famous prisoner, Balthazar, Prince of Portugal. Horatio has helped apprehend him, though the Duke’s son, Lorenzo, claims that he was the real nabber. Lorenzo’s sister, Bellimperia, captures Balthazar’s attention, and in no time, speculations begin that a marriage between the two would cement peace between their nations. The young lady, however, had been the sweetheart of Don Andrea, now the Ghost pacing the battlements. She is not available, though her servant vows that the lady’s affections have recently turned to Horatio. This information enrages Balthazar; Horatio’s too much in his way.
But despite all the royalty represented onstage, the most complex character in “The Spanish Tragedy” is the judge, Hieronimo. When he finds his beloved son murdered, Hieronomo’s reaction is similar to King Lear’s over the corpse of his daughter, Cordelia. Justice now equals revenge.
In this large, outdoor performance space, trained voices enhance the show. Julian Lopez-Morillas is superb as Hieronomo, commanding the stage with a big voice and big emotions. Scott Coopwood, as the Duke of Castille has a similar presence, as does Jack Powell as the Viceroy of Portugal. Both Elena Wright in the role of Bellimperia and Jessica Powell as Hieronimo’s wife, Isabella, have roles with heavy vocal demands. Erik Johnson plays the ill-fated Horatio, and in three widely varying roles, Steve Price, who grew up on the Peninsula, portrays a Portuguese nobleman, a petitioner and a hangman. In a last-minute substitution on opening night, Liam Hughes took over the role of Balthazar. Twenty-five additional cast members round out this generously-sized production.
“The Spanish Tragedy” will play at the Forest Meadows Amphitheatre on the Dominican University campus until August 11 and in repertory with “A Comedy of Errors” after July 27. Friday, Saturday and Sunday evening performances are at 8 PM, with Sunday matinees at 4 PM. For tickets, directions and more information, call 499-4488.
As with all outdoor performances, dress for the weather and bring extra layers as the theatre gets cooler after dark. Picnics are welcome.

620 words By ROSINE REYNOLDS

This “Tuna” Bites Back
Tuna, Texas is a fictional small town with a small town’s closeness. However, this community is not the pies- and-picket fences of Andy’s Mayberry, Hank Hills’ Arlen, Keillor’s Lake Woebegone or anyplace in “Our Town.” Tuna is more tumbleweed and barbed wire.
This town starts its mornings with local news from radio OKKK, delivered by veteran newscasters Thurston Wheelis and Arles Struvie. Today’s headline concerns the death of an important citizen, Judge Bruckner, beloved for being the judge who ordered the most hangings. The judge was found wearing a women’s bikini bathing suit. (This story will be corrected later as to the kind of swim suit it was.)
There follows a commercial from Didi’s Used Weapons, which, even though used, are “absolutely guaranteed to kill.” A standard Texas weather report follows, predicting “rain from all directions,” a dust storm, locusts and Tropical Storm Luther.
We then get a close-up look into the Buford household, where Mrs. Buford is being interviewed about her work on the Censorship Committee. The Committee objects to “Roots” in the public schools, saying that it “only shows one side of the slavery issue.” “Romeo and Juliet” is also on their list because of its “rampant disregard for parental authority and teenaged sex.”
But all is not harmony in Tuna. Many townspeople are at odds with the local animal lover, Petey Fisk of the Humane Society. (Petey has nightmares all through hunting season.) Mrs. Pearl Burras loves animals too, as long as they’re chickens, which she defends with modern science. Mrs. Buford doesn’t love animals as much as she used to before her Jody began collecting dogs. But Jody’s sister Charleen is having a personal crisis because she didn’t make cheerleader, and now she’s a senior.
There is, of course, a church, and the Rev. Spikes arrives to deliver a one-size-fits-all eulogy for the Judge. The Deity is also called upon for various needs throughout the story.
A genuine Texan, Linda Dunn, directed “Greater Tuna” for the finale of Ross Valley Players’ 82nd season. Its spoofs are, she says, “all these things I grew up around.” And it was on a visit back to the Lone Star State to see her mom that Ms. Dunn saw a production of “Greater Tuna” with more than two in the cast.
Originally created by three men – Jaston Williams, Joe Sears and Ed Howard — the show’s twenty characters were played by just Williams and Sears, each taking on multiple roles. The show debuted in Austin in 1981 and went on to become first in a series of four. It has since developed a loyal audience, even having an online General Store with its own merchandise.
Ross Valley Players’ version uses a cast of seven, including a number of recognizable names. Jim Dunn plays newscaster Thurston Wheelis as well as Elmer Watkins. Wood Lockhart is his partner, Arles Struvie, but is also Didi Snavely, the weapons saleslady. News banter between Wheelis and Struvie are highlights of the show.
The versatile Steven Price carries five parts, only four of whom are human. Robyn Grahn plays all the Bumiller children. Tom Hudgens (another Texan) is both the beleaguered Petey Fisk and the very proper church lady, Vera Carp. Jeffrey Taylor portrays three townspeople, including the Sheriff, and Javier Alarcon plays four others.
Michael A. Berg costumes all these people right down to the slip showing and the ear-flap hats.
“Greater Tuna” will be at The Barn Theater in the Marin Art & Garden Center, Ross, through Aug. 12. Thursday performances are at 7:30; Friday and Saturday shows are at 8 p.m., and Sundays at 2 p.m. For complete information and ticket prices, see www.rossvalleyplayers.com, and for reservations, call 456-9555, ext. 1.

“King John” – Good Play about a Bad Guy

Just as hurricane names are retired after they cause devastation, the name John
seems to be off-limits for British kings. One John was plenty. This was the same king who usurped his brother’s throne while Richard was on the Crusades and the same who harried Robin Hood. He’s also the king who was forced to sign the Magna Carta in 1215 when his over-taxed barons demanded their “ancient liberties” back.

Marin Shakespeare’s Managing Director, Lesley Currier, has revived the Bard’s seldom-seen “King John” with a dynamic blend of fine acting and history. To appreciate this production fully, be sure to read Ms. Currier’s program notes before the action begins.

John has succeeded his popular brother, Richard Lionheart — killed in France by a crossbow — and is receiving an ultimatum sent by Philip, King of France, to relinquish all English claims to French territory. John refuses, though war between the two countries is sure to result. The ambassador leaves, and a pair of brothers arrives, one of whom claims to be King Richard’s illegitimate son. John’s mother, Elinor, sees the resemblance, and the older brother is knighted Sir Richard. He’s eager for the fight.

Back in France, King Philip’s ambassador delivers the bad news that England will not negotiate, and war is imminent. The court shelters young Arthur, son of John’s older brother Geffrey, and his devoted mother Constance, Geffrey’s widow.

(Those who are keeping score can see that there are now three possible claimants to the throne. Will there be more?)

A full-scale war erupts around the amphitheatre, after which it’s agreed that John’s niece, Lady Blanch, should marry Lewis, the French Dauphin; Arthur will be given a land grant as a consolation prize. Sir Richard, who has taken a fancy to Blanch, calls this peace agreement “most base and vile.” Everyone’s taking sides. Austria switches its allegiance to England; Cardinal Pandulph, the Pope’s emissary from Rome, is turned away, but first he excommunicates John and warns that France must not become his ally. King Philip chooses to remain with the Church, and the fight continues.

Shakespeare, by all accounts, never traveled, so it’s pardonable that he might have thought France and England were closer neighbors. But here’s where the Director’s program notes are essential.

Elizabethan audiences were proudly English and disdainful of foreigners. Besides, Gloriana herself might be in the audience. So Shakespeare’s French are shown as foppish and arrogant, his Austrian’s a brute in animal skins, and his Catholic emissary is deceitful. This way, even though King John is known to be a bad guy, he’s not as bad as the others.

There are thirty-three in the cast, and the ensemble playing is seamless. Scott Coopwood is a masterful King John, chilling in his conversations with Hubert (James Hiser.) Barry Kraft plays the beleaguered French King, torn between his love of country and this duty to the Church. Steven Muterspaugh portrays the Cardinal, accurately predicting John’s end. Liz Sklar, mother to young Arthur, holds the audience with her grief when Arthur’s been spirited away to England, and Erik MacRay is the ambitious Sir Richard.

And yes, there is another heir. In a wonderful concluding scene, Sir Richard will deliver the crown, and the Plantagenets will be redeemed.

“King John” plays at the Forest Meadows Amphitheatre in Dominican University, San Rafael in repertory with “Midsummer Night’s Dream” through Aug. 12. Parking and restroom facilities have been remodeled and greatly improved since last season. The amphitheatre is still outdoors, though, so playgoers should dress for the weather.

Ticket prices range from zero (under 18 on Family Day matinees) to $22. For complete information or reservations, please see www.marinshakespeare.org or call the box office, 499-4488.

To close its 45th season, Marin Theatre Company has assembled a load of big talent: Producing Director Ryan Rilette, four well-matched Equity actors and a script by Parisian playwright Yasmina Reza, who based this play, “God of Carnage,” on an incident from her son’s teens. It’s a quick (75 minutes) two-handed slap to the audience that builds fast and doesn’t let down until the final minutes.

At the outset, two couples are seated in the Novaks’ apartment, and Veronica Novak opens with, “So this is our statement.” These people are transacting some kind of business, and as the conversation continues – with interruptions and amendments — it’s clear that they are not friends.

The Raleighs’ son Benjamin has fought with young Henry Novak and has broken two of his teeth with a stick. (“Should we say Benjamin was ‘armed’ with the stick, or should we say ‘equipped?’) Bravado was probably involved, but isn’t bravado a type of courage? This is not the type of thing one expects in Cobble Hill Park, which is always so safe, not like Whitman Park.

Alan Raleigh’s cell phone makes the first of many intrusions. Alan’s an attorney whose client, a pharmaceutical company, has discovered an unfortunate side effect from one of its medications just before the shareholders’ annual meeting. Alan’s concerned about insurance coverage in case of litigation.

All agree that Benjamin should apologize to Henry, though Alan chuckles that their son is “a savage.” His wife affirms that Alan has never been “a stroller dad.” Veronica, slipping automatically into her hostess role, offers clafouti and coffee, explaining the secret of combining pears and apples together, then asks if young Benjamin understands that he’s “disfigured” his playmate.

There is talk of a gang; there is talk of a snitch. And there is a genuine gut reaction from Annette Raleigh shortly after her husband gets another phone call and asks for the definition of ataxia.

These four never leave the stage, but outsiders influence the conversation: calls from Alan’s office, calls from Michael Novak’s mother (who might be taking the suspect medication,) and concerns about Nibbles, the missing pet hamster.

Unfortunately, a bottle of rum is brought out. This veers “God of Carnage” into “Who’s Afraid of Virginia Woolf” territory, in which the characters drink and bicker and nobody leaves. One final phone call turns the mood and suggests that the carnage is mopping up.

Ryan Rillette has done a brilliant job of moving the players around the stage to indicate their shifting loyalties. Stacy Ross as Veronica Novak performs both the best tantrum and the most tender scene in the play. Remi Sandri shows her husband Michael living out his fantasy of himself as a combination of Spartacus and John Wayne.

Warren David Keith as Alan Raleigh depicts the perfect successful man who’s also a social embarrassment, and Rachel Harker’s Annette gets an audience cheer when she takes charge of her husband’s cell phone.

Meg Neville has costumed the characters in family groups: the Novaks are stylishly casual, the Raleighs more formal. Set designer Nina Ball has provided a comfortable, sleek apartment with one brick wall hung with African masks and two vases of blood-red tulips. All these details are significant.

An audience member leaving the theatre behind us was comparing this play with its film counterpart and said, “The movie lags. This one really moves!”

“God of Carnage” will be at the Marin Theatre Company, 397 Miller Avenue in Mill Valley, through June 17, every day but Monday. Tuesdays, Thursdays, Fridays and Saturdays are at 8:00 p.m., Wednesday is at 7:30 p.m. Matinees are Thursday, June 7 at 1:00 p.m., Saturday, June 16 at 2:00 p.m. and every Sunday at 2:00. Sunday evening performances are at 7:00 p.m.