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Julius Caesar

By Joseph Cillo No Comments


Julius Caesar - Marin Shakespeare Company
Ancient Rome. Modern tensions. Terrific theater.

Under the summer sky at Forest Meadows, Julius Caesar is big, bold, sometimes funny, frequently violent — and thoroughly entertaining.

Director Jon Tracy takes Shakespeare’s familiar tragedy and makes us look at it anew.

Caesar has a Walkman and a guitar. Brutus and Cassius are sisters. Rome lives somewhere between the late 1960s and early 1980s. A massive wall dominates the stage, while helicopters, gunfire and military activity tell us that trouble is never far away.

This isn’t Shakespeare preserved under glass.

It’s alive.

This isn’t Caesar in modern dress. It’s Rome reimagined from the inside out.

The Story — In Brief

Julius Caesar returns to Rome enormously popular and increasingly powerful. Cassius fears he will become a tyrant and persuades Brutus and other senators that Caesar must die to save the Republic.

They assassinate him.

Mark Antony turns Caesar’s funeral into a devastating act of persuasion, the Roman people turn against the conspirators, and the struggle to save the Republic becomes civil war.

They kill Caesar to save Rome — and help destroy it instead.

That’s Shakespeare’s story.

What Tracy does with it is something else.

Johnny Moreno’s Caesar is the first surprise.

He appears in casual attire, headphones connected to a Walkman, acoustic guitar in hand. He takes his pills and struggles with a chord.

So much for the marble statue.

Moreno gives us an aging, vulnerable Caesar increasingly captivated by his own public image. The music grows. The crowds gather. Adoration builds.

The private man becomes the public Caesar.

Tracy makes Brutus and Cassius sisters, played by real-life sisters Bridgette Loriaux and Charisse Loriaux.

It’s an inspired choice.

And the Loriaux sisters are very good.

Their scenes together give the conspiracy an emotional dimension that goes well beyond politics. Cassius pushes. Brutus struggles. Family loyalty collides with political conviction.

Brutus isn’t simply at war with Caesar.

She’s at war with herself.

Politics starts the conspiracy. The sisters make it personal.

Everyone has a reason.

Caesar believes in his greatness. Brutus believes in honor. Cassius believes Caesar must be stopped. Antony believes in vengeance.

Nobody thinks they’re the villain.

That’s what makes them dangerous.

Tracy’s real subject isn’t simply assassination. It’s how people get there — how fear becomes conviction, conviction becomes certainty, and eventually something unthinkable begins to seem necessary.

Then comes Brady Morales-Woolery’s Mark Antony and the speech everyone knows.

Morales-Woolery makes the moment less about hearing famous words and more about watching persuasion happen.

Antony works the crowd, and before our eyes public opinion begins to turn.

The words haven’t changed. The crowd has.

Forest Meadows is a wonderful setting for all of this. Daylight fades. The hillside darkens. Tracy’s strange new Rome gradually takes over.

And somehow ancient Rome doesn’t seem very ancient anymore.

The result is accessible, imaginative, visually exciting and enormously entertaining Shakespeare — with something unsettling just beneath the surface.

More than four centuries later, Tracy makes the story feel immediate again.

That’s quite an accomplishment.

And perhaps that’s why Shakespeare survives.

We keep returning.

He keeps surprising us.

And this Julius Caesar leaves us with one particularly good question:

Who is telling our story?

Historical Footnote: What Happened After Caesar?


The great irony of Caesar’s assassination is that it accomplished almost exactly the opposite of what his killers intended.


Brutus, Cassius and their fellow conspirators believed killing Caesar would save the Roman Republic. Instead, his death unleashed another series of civil wars.
Mark Antony survived the assassination and initially joined forces with Caesar’s young heir, Octavian, to defeat Brutus and Cassius at the Battle of Philippi. Both Brutus and Cassius died by suicide.


Antony and Octavian then became rivals. Antony allied himself with Cleopatra of Egypt, but their forces were defeated by Octavian at the Battle of Actium in 31 BCE. Antony and Cleopatra subsequently died by suicide.
Octavian emerged as Rome’s undisputed ruler and, in 27 BCE, became Augustus, generally regarded as Rome’s first emperor.

They killed Caesar to save the Republic. Instead, Caesar’s death helped bring the Republic to an end.


JULIUS CAESAR
Marin Shakespeare Company
Forest Meadows Amphitheatre
Dominican University, San Rafael

Through September 13

Performance Schedule:
Thursday–Saturday at 7:30 PM
Sunday at 5:00 PM

Tickets: $22–$70
Youth: $10, ages 25 and under
Thursdays: Pay What You Will
Box Office: (415) 499-4488

Tickets & Information:

Marin Shakespeare Company — Tickets

Recommended for audiences who enjoy bold, imaginative theater, strong performances and Shakespeare that feels fresh, accessible and thoroughly entertaining.

Joe Cillo

Mr Bergmann of Deadman’s Point at Edinburgh Fringe 2026

By Jo Tomalin No Comments

Review by Jo Tomalin
ForAllEvents.com

Ronan Dempsey’s Performance is Riveting!

 

image of Mr Bergmann of Deadman's Point

 

Mr Bergmann is famous…as Ireland’s most famous unidentified man! Based on a true story, Ronan Dempsey of Nth Degree Productions, Ireland performs this new solo play. Dempsey is a highly skilled physical actor who brings his characters to life with delicious verve and singularity. The main character Dempsey plays is someone helping Mr Bergmann. There is a mix of the macabre with furtive humor in the dialogue and Dempsey is masterful at this genre of theatre, speaking with a lilting Irish accent and topping punch lines with the right balance of vocal emphasis and physical glee.

Dempsey talks to Mr Bergmann at the end of his infamous and curious life as if he is a friend. In fact, he may be Bergmann’s only friend given his circumstances. The news reported the true facts that years ago this gentleman had spent several days in Sligo erasing his identity and his body was found on a desolate shoreline. Dempsey plays the embalmer, trying to make a legacy with sharing this story as he chats with his latest client, Bergmann completely covered in a sheet, at first. This is fascinating stuff! And Dempsey ably leads us with energy and sensitivity into his world.

This show is crafted well and the theatricality is vivid. Brief flashbacks fill in their lives but the main action is the here and now. Using masks and effective transitions of place and time, with economy of movement Dempsey changes his body into the embalmer with a slight leaning forward, wildly expressive face and piercing eyes. Much of the humor comes from the way he speaks to Bergmann regaling him with folklore about nearby places, and tells him – and us – about how Irish nicknames are created. Balmy (his nickname) is an engaging character and it’s fascinating to be in his presence, in his domain, hearing about another side of life as we know it!

The story is undoubtedly interesting, mystical with a realistic yet poetic lyrical delivery of the embalmer’s inner musings that draws us in. Lively and endearing with a snappy wit Dempsey’s character talks using precise and deliberate gestures. He moves lithely like a stealthy weasel, and when he leans against a wall his body is angular and insect like!

The appropriately quirky atmosphere of the stage set, quick costume changes,and dynamite acting result in a very strong performance and outstanding delivery from Dempsey, with attention to detail, every moment is finessed. This lugubrious location holds its own secrets and it is the perfect setting. The play builds to a magnificent monologue performed with raw emotional depth and heatfelt commitment – we all have secrets it seems! Impactful and poignant to the end! Do not miss this new play, it’s 4 Stars Highly Recommended!

 

More Information:
Instagram  nth_degree_productions

 

MAMMA MIA!

By Joe Cillo, Joseph Cillo No Comments




A Greek island, a Sonoma summer night, three possible fathers, a wedding — and ABBA. What could possibly go wrong?

MAMMA MIA! arrives at Transcendence Theatre Company’s Field of Dreams with one enormous advantage.

We already know the music.

But knowing the songs isn’t enough. The trick is making us want to hear them all over again.

Transcendence does much more than that.

This is a virtually flawless production — terrific voices, exhilarating dancing, comedy, romance, heart and a company that seems to be having every bit as much fun as the audience.

From beginning to end, it works.


A Greek island may be the setting. Under the Sonoma sky, the Field of Dreams feels pretty close.

The Story

Sophie is about to be married on a Greek island. There’s only one problem.

She doesn’t know who her father is.

After discovering her mother Donna’s old diary, Sophie secretly invites three possibilities from Donna’s past to the wedding.

All three show up.

What follows is a joyful collision of old romances, new relationships, friendship, family — and ABBA.

The women provide the heart

Allison Pearce gives Donna Sheridan strength, humor and vulnerability, while Karsten Lane Flake makes Sophie appealingly confident and uncertain at the same time.

Then Donna’s old friends arrive.

Tiffani Barbour brings glamour and terrific comic timing to Tanya, while Lori Haley Fox is a delight as Rosie.

Fox has a special connection to MAMMA MIA!: she was in the original London cast, later performed on Broadway and appeared in the movie.

That’s not merely a résumé credit.

That’s practically ABBA citizenship.



And the men are every bit as good

The three possible fathers aren’t merely there to provide the mystery.

They are terrific.

Each creates a distinct character, each finds the comedy without forcing it, and together they give the story much of its warmth.

There isn’t a weak link here.


The women provide the heart. The men provide the mystery. And this cast provides the magic.

Thank them for the music

Director Tony Gonzalez knows MAMMA MIA! from Broadway, touring and Las Vegas productions. Choreographer Monica Kapoor also performed in the Broadway production, and Music Director Susan Draus spent four years music-directing its Broadway National Tour.

That experience shows.

And then there are the songs.

“Dancing Queen,” “Super Trouper,” “SOS,” “Take a Chance on Me” and “The Winner Takes It All” are everything we want them to be.

But several numbers go beyond simply being good.

They stop the show.

“Money, Money, Money” is one. “Voulez-Vous” is another.

The combination of voices, choreography, musicians and sheer theatrical energy turns familiar songs into genuine production numbers.

The live band drives the score, while the ensemble fills the stage with infectious movement.

Soon feet are tapping.

Then shoulders.

And sometimes the audience simply erupts.

By the finale, sitting still seems almost unreasonable.

And apparently, neither was stopping.

After the finale brought the audience to its feet in a standing ovation, the entire cast came roaring back onto the stage.

Not simply for a curtain call.

For two more rousing, full-production numbers.

The energy went right back through the roof.

It was the perfect exclamation point on the evening.


The show was over. The celebration wasn’t.

Broadway meets Wine Country

And Transcendence has one advantage no ordinary theater can reproduce.

Sonoma.

You arrive early. You picnic. The sun begins to disappear. Then the lights come up and Broadway meets Wine Country under the summer sky.

But on this night, even that description seems inadequate.

The picnic, the setting, the music, the performances and the production all become part of one experience.

You’re not simply going to a show.

You’re having a total theatrical evening.




You don’t leave MAMMA MIA! quietly.

What it adds up to

Beneath all that ABBA is a warm story about mothers and daughters, fathers and children, old friends, old loves, and families that don’t always form the way we expect.

Transcendence wraps it in a production in which virtually everything works — the principals, the ensemble, the band, the choreography, the comedy, the staging and that incomparable Sonoma setting.

There are good productions.

There are terrific productions.

And every once in a while, everything comes together.

This is one of those times.

Sometimes theater challenges us.

Sometimes it simply reminds us how good it feels to laugh, sing along and enjoy the ride.

Take a chance on it.

How to see it / Get tickets

Transcendence Theatre Company
MAMMA MIA!

August 13–30, 2026
Thursdays through Sundays

Field of Dreams
Sonoma, California

Pre-Show Picnic: 5:00 PM
Performance: 7:00 PM

Tickets: $44–$165
Gold, Premium and General Reserved seating available

Tickets & Information:
TranscendenceTheatre.org


Glob from Canada at the Edinburgh Fringe 2026!

By Jo Tomalin No Comments

Revewed by Jo Tomalin
ForAllEvents.com

Les Foutoukours’ Glob Dazzles at Edinburgh Fringe 2026Les Foutoukours

 

Two curious characters appear in front of us in white furry coccoon like costumes, each with a red nose. The gorgeous set evokes winter time, with several blue globes, leafless trees and a raised centre piece with hidden nooks and crannies!

The Canadian theatre company based in Quebec, Les Foukoutours comprise two performers: Rémi Jacques and Jean-Félix Bélanger who have created and performed in several shows encompassing clowning, acrobatics, physical expression and theatre, at least three of which have been presented at the Edinburgh Festival Fringe. In Glob, their latest show, they create an enchanting world of their own and they invite us in to spend time with them. Blue globes rise in billowing fog, while melodic instrumental music and interesting soundscape underscore most of the non verbal show. The gentle sounds are compelling and offer a refreshing change to the busy lives we lead.

What is this world? Where are we? And who are these gentle creatures?

They are playful and interact with each other and the audience by subtle looks, a shrug of the shoulder or minimal gibberish sounds. Their personalities are different and they revel in the moment of discovery in real time. What is impressive is their clear precision of facial expression, physicality and gestures, walking with an idiosyncatic shuffling movement gliding around the space!

The story and arc are well well crafted and beautifully performed with a variety of surprises! Discovery, joy, and pain are right in front of us when the two try to do things – or sense their limitations when they can’t do what feels entirely logical – they are learning about life in front of us.

This is indeed masterful clowning! When they move across the stage and make gibberish sounds of delight the audience reacts with giggles engaging their own sense of discovery following each second of this wondrous adventure.

In a melodic piano Interlude, an acrobatic routine emerges with exceptional slow extensions and physical balances, it is graceful, too. Glob’s movement based non verbal physical vocabulary and expressions between them are expertly performed and finessed. An example is a brief effective moment when one is learning to fly! Blue globes! How to make them all white? What else do they have to do today? A red ball arrives… and so it continues! This is a beautiful way to spend an hour transporting us away from our lives, allowing us to breathe, a rare moment, and it’s most welcome.

Productions by Les Foutoukours are always creative and imaginative supported by solid circus, clown and physical acting skills, and Glob is outstanding in every way. Their pure artistry and humour come across from rtheir subtle reactions and interactions. Whether clowning, juggling or balancing to beautiful music, Glob is a complete show for all that is entertaining, engaging, tender, well crafted and performed and will whisk you away into a beautiful land led by these two endearing characters. Don’t miss this show!  5 stars!!!!!

More Information:
Les Foutoukours
https://lesfoutoukours.com/en/home/

While Corte Madera 5th graders teach seniors to play a game, kids learn from them, too

By Woody Weingarten

by Woody Weingarten, Bay City News

(L-R) Cove Elementary fifth grader Nora Zalewski speaks with an Áegis Living Corte Madera resident in Corte Madera, Calif., on Monday, Dec. 15, 2025. (Kristy Dell via Bay City News)

“BINGO! OH, YEAH!” 

That could have been anyone yelling at a bingo palace, but this time it was a resident senior at Áegis Living Center in Corte Madera.

In the Marin County assisted living memory care facility, the game’s not all about winning; it’s the basis of a learning exercise.

Kids from Kristy Dell’s fifth grade class at Cove Elementary School, on field trips, have been teaching the gray-hairs how to play, how to follow the rules and still enjoy the game, while they, in turn, learn how to really talk with old-timers and how to learn from them.

Dell’s brainchild, the project also led her charges to read poetry and share artwork with their elders, make greeting cards for them, present a Constitutional play and follow up with a song, and teach and fold origami.

(L-R) Elementary student Ben Dell explains how origami works to an Áegis Living Corte Madera resident in Corte Madera, Calif., on Monday, June 1, 2026. (Kristy Dell via Bay City News)

All this took place during six different visits last year, and Dell can’t wait for the next semester, which starts in August at the East Corte Madera school. Although she believes that a good mix already was provided her 41-student, double-sized class (in which she supervises two other teachers), she’s convinced that the variety of activities can be increased.

“And I’d like the class to get more of the residents’ stories,” she says. “This year, my first of doing it, it was very kid-heavy, and I’d like to make it more resident-heavy.”

Dell’s son, Ben, was in the pilot program. “There was no greater joy than seeing the seniors light up upon seeing us,” he says.

Classmate Marlowe Uchrin echoes the positivity: “I loved going to Áegis because it was a great way to talk with people in our community and learn about the people around me. Looking back on elementary school will be a memory that will stay with me for a long time.”

On the senior side, Nancy Morrow reports that “what I liked best was how honest the kids were, and how willing they were to share their ideas with older people. I thought they were terrific.”

And Susan Perdiue says “the best thing about the fifth graders coming here was that they were very open, friendly, and polite. They were well prepared, and it was clear that were having fun, too.”

Dell had accurately warned the students upfront that “singing a song or playing bingo may not be as easy as you think it is — some seniors may be grumpy, not hear well, or not move around well, and you may have to make space for wheelchairs, walkers and canes, and learn to remain in what might be an uncomfortable situation.”

She had the kids role-play to see how it would work, how their behavior could have a big impact on other people, and how they could develop leadership skills. She also hoped to weave in what she believed was being lost these days — a sense of morals and ethics.

She wasn’t sure, of course, that her intergenerational idea would work. “You can talk to the kids about something like kindness, conflict resolution, empathy, or good communication skills, but until you put their feet to the fire, you don’t know if they really learn those things.”

Áegis, which sits on East Paradise Drive, also offers residents the following, according to its website, www.aegisliving.com — chef-prepared meals, a full-service salon, a private theater, a library, daily on-site licensed nurses, pet-friendly apartments, and transportation to shops and restaurants, medical appointments, and the Moraga Country Club.”

Still, Dell admits she wasn’t 100% comfortable during the kids’ first visit. That’s because “although half were all smiles, some were curmudgeonly about having kids in their space. By the end, though, everyone wanted to know when we were coming back.”

Kristy Dell teaches class at Cove Elementary School in Corte Madera on Thursday, May 7, 2026. (Angela Roche via Bay City News)

One senior who’d been hesitant at first, she remembers, “cried when one of the kids gave him a drawing of a car from the 1930s and, not assuming his age, said, ‘Maybe your parents drove this car.’”

The kids, who also led a holiday toy drive in conjunction with the Central Marin Fire Department, sidestepped potential minor problems.

Dell and they had decided together that they should do Q&A sessions so residents could throw un-censored questions at them. But one asked, “What was the last time you got into trouble and how?” The kids were cautious enough not to reveal any dark secrets and instead “answered about having an extra scoop of ice cream, not brushing their teeth, or not practicing their instrument for 15 minutes.”

Dell “didn’t think to warn them not to bring up politics. The facility has a social chair who asked a political question that was a little tricky, and all bandwagoned against Trump.

(R-L) Elementary student Marlowe Uchrin sits with an Áegis Living Corte Madera resident during a round of BINGO in Corte Madera, Calif., on Monday, June 1, 2026. (Kristy Dell via Bay City News)

That, she added, “also led to a discussion when we got back to class and did a debriefing about never making assumptions about other people’s beliefs about politics, religion, or anything else — and watching out for regurgitating what your parents or older siblings say, or what you overhear from anyone else.”

Dell’s excitement about how her program worked is easily summed up. “Everything went smoothly, and my overall take was that the kids were thrilled because a lot of them overcame fears, a lot pushed themselves out of their comfort zones, and a lot got to see the instant gratification of what can come from their kindness, their words, or their action.”

She, too, learned from the intergenerational sessions — “that there’s still good in the world, post-Covid, despite the news being the way it is. The kids found a way they could help, be vulnerable and kind, and see that those actions will pay back ten-fold when it might initially feel cheesy or be something they don’t want to do.

“And I learned that I can foster that.”

This article was first published onLocalNewsMatters.org, a nonprofit site supported by Bay City News Foundation http://www.baycitynews.org/contact/

 

Woody Weingarten, a longtime voting member of the San Francisco Bay Area Theater Critics Circle, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.com and https://vitalitypress.com. His books include Rollercoaster: How a man can survive his partner’s breast cancer, aimed at male caregivers; MysteryDates — How to keep the sizzle in your relationship; The Roving I, a compilation of 70 of his newspaper columns; and Grampy and His Fairyzona Playmates, a whimsical fantasy intended for 6- to 10-year-olds that he co-authored with his then 8-year-old granddaughter.

Documentary in Jewish film fest depicts Borscht Belt mega-success, Grossinger’s resort

By Woody Weingarten

Snapshots of Grossinger family are featured in documentary. Screenshot from We Met at Grossinger’s.

 

By WOODY WEINGARTEN

People with a mere two drops of cultural Jewish blood trickling through their veins are still likely to enjoy a new film centering on the heyday of the Catskill Mountains, We Met at Grossinger’s.

The historical documentary also focuses on family (the Grossinger’s and everyone else’s), and on kosher food and vacations and corny jokes.

And anti-Semitism.

Not to mention Jackie Robinson, Barney Ross, Eleanor Roosevelt, Mel Brooks, The Marvelous Mrs. Maisel, and name changing.

Plus a taboggan slide, all-you-can-eat food orgies, and Woodstock.

The nostalgic documentary virtually guarantees that viewers — non-Jews included — can smile at its homey (haimish) tales and “Jewish vibe,” and maybe even once or twice tear up.

But it’s also likely to frustrate, with Borscht Belt stars like Joel Grey being interviewed too rarely live — and segments with five living members of the Grossinger family not being labeled enough so it’s tough to grok who’s narrating at any given moment.

The keyword in We Met at Grossinger’s could be excess — excess menu choices, excess sports and dancing and other activities, excess passive entertainment, excess exhaustion, even excess sex.

All salted with joy, however.

The 1¾-hour doc begins with the notion of the upstate New York resort hotel starting as a place for immigrant Jews and their children — who’d suffered from deprivation abroad and were still banned from many, many venues in the United States — to escape from discrimination and the intolerable summer heat of New York City.

We Met at Grossinger’s pulls no punches, referring to signs like “No Jews or dogs allowed,” in golf and country clubs and so many other venues.

The film talks of the family beginning with a boarding house with seven rooms that took in $81 a week, then building a nest egg that allowed purchase of a bigger structure down the road. Ultimately, Grossinger’s rested on 1,000 acres on a lake.

The growth spurts jumpstarted other Borscht Belt folks building “everything included” complexes that at the area’s peak in the ‘50s included 537 other hotels.

The hotel’s first turning point, the film indicates, comes when co-founder Jennie Grossinger invites Barney Ross, in effect, to be a “boxer in residence.” Another milestone follows shortly thereafter when she invites Major League Baseball’s black race barrier-buster Jackie Robinson to the facility.

Later in the documentary, directed by Paula Eiselt, Robinson shows up for television’s first interracial hug in the episode of the groundbreaking Ralph Edwards’ reality show, “This Is Your Life,” that was a tribute to her.

First Lady Eleanor Roosevelt (left) is a house guest of Jennie Grossinger. Screenshot from We Met at Grossinger’s.

In its mid-section, We Met at Grossinger’s details the story of its main character, Jennie, overachiever/hotel hostess who’d left school after the sixth grade to help her family get enough to eat.

Also spotlighted are Jennie’s immigrant mother, Malka, who is surprisingly progressive for an Orthodox Jew; and her daughter Elaine, who readily admits she was long angry with her mom because the elder Grossinger had dumped her into the lap of a governess while Jennie made love to a hotel.

Often and at length.

Ironically, perhaps, the women form a trifecta of successive empowerment that ran one of the biggest cold-beet-soup and entertainment centers in the mountains.

Actor Debbie Reynolds and singer Eddie Fisher are among the thousands who married at Grossinger’s resort. Screenshot from We Met at Grossinger’s.

Throughout the flick, as might be expected, there are talking heads interspersed with short film and TV clips, photo album family shots, gag-lines, and name-dropping, name-dropping, name-dropping.

Factual tidbits can be amusing when we learn that Jenny’s yummy rye bread made its way onto supermarket racks, and that she compiled a Grossinger’s cookbook even though she has no time to cook.

We stop, too, for a moment to linger at Dirty Dancing, which used Grossinger’s as the inspiration for its location.

We also are fed references to more modern times — including the Covid-19 pandemic and Israel’s plight in the Middle East.

We Met at Grossinger’s, which is sold out for tomorrow’s screening in the 46th San Francisco Jewish Film Festival (at the Jewish Community Center San Francisco), will be shown again, as the fest’s Closing Night feature, at the Piedmont Theatre in Oakland, on Saturday, Aug. 1.

The film uses words well to create a mood. It sums things up with these phrases, “We have made this country a better place, we have actually made this country a funnier place.”

Then it proffers the slightly schmaltzy, feel-good idea that Jewish history has “lots of dark moments, but the Borscht Belt was anything but.”

The title is a bit misleading, of course. We Met at Grossinger’s sounds like a run-of-the-mill rom-com — implying, let’s say, an actress like Jennifer Grey, after a botched abortion, runs off with a testosterone-heavy Patrick Swayze — when, in truth, the doc covers an entire short-lived universe at a time when The American Dream was a good deal more accessible than now.

Woody Weingarten, a longtime voting member of the San Francisco Bay Area Theater Critics Circle, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.comand https://vitalitypress.com. His books include Rollercoaster: How a man can survive his partner’s breast cancer, aimed at male caregivers; MysteryDates — How to keep the sizzle in your relationship; The Roving I, a compilation of 70 of his newspaper columns; and Grampy and His Fairyzona Playmates, a whimsical fantasy intended for 6- to 10-year-olds that he co-authored with his then 8-year-old granddaughter.

Tam House helps low-income San Anselmo seniors afford housing through shared living

By Woody Weingarten

 

The front yard of Tam House 1 in San Anselmo, Calif., on Thursday, June 25, 2026. Tam House is a non-profit cooperative living facility in downtown San Anselmo, California, that provides affordable, shared housing for independent seniors aged 62 and over. (Suellen Lamorte via Bay City News)

By WOODY WEINGARTEN, Bay City News

Affordability is shaping up to be the buzzword for this year’s midterm elections, and housing is the central issue.

The solution to achieving widespread affordability is complex, certainly. But in upscale San Anselmo, Tam House offers a seemingly simple answer — lodging 21 single seniors in private rooms and communal spaces in two homes.

Low-income residents pay rents of only $1,130 (private bath) or $1,050 (bath shared with one other person).

Tam House, a nonprofit linked to the Ross Valley Ecumenical Housing Association (RVEHA), apparently achieves the “high quality affordable housing” that’s always been its goal. Because of that, it regularly draws kudos from its residents.

A whiteboard with handwritten daily task assignments for multiple people across the week, using various colored markers.
A whiteboard lists chores and the residents responsible for them at Tam House 1 in San Anselmo, Calif., on Thursday, June 25, 2026. Tam House is a non-profit cooperative living facility in downtown San Anselmo, California, that provides affordable, shared housing for independent seniors aged 62 and over. (Suellen Lamorte via Bay City News)

Peter Penhallow, a 72-year-old, has lived in Tam House 1 with 10 others for 3½ years. His attitude is upbeat. “I’m lucky to have a roof over my head at a reasonable price in a familial community in the town that I grew up in,” he reports.

Suellen Lamorte can see Tam 1 from her nearby home. She, too, as might be expected of a five-year member of the board, is a cheerleader. “I am honored to be a part of Tam House, which is unique and a good model that works so well it could be copied by communities all across the country. Seeing it just makes me happy.”

Tam House — which restricts itself to folks 63 or older willing to share chores such as washing dishes, sweeping floors, or light gardening — is subsidized by grants from a multitude of civic organizations.

And tradespeople sometimes give discounts to known residents, “because everyone seems to like the basic idea,” says Lamorte.

The facility is not assisted living, however, which means — she says — “that residents have to take care of all their daily functions alone and are mobile.”

Hal Russek, house manager for both buildings, explains that “generally, we are looking for people on fixed income, but whose funding is adequate so they can pay rent at this low rate.”

The maximum annual income for a working person is $65,000.

An older individual with blonde hair adorned with pink flowers wears a matching floral lei and an orange shirt, smiling gently at the camera.
Tam House board member Suellen Lamorte attends a Hawaiian themed summer barbecue in San Anselmo, Calif., on Thursday, Aug. 18, 2022. Tam House is a non-profit cooperative living facility in downtown San Anselmo, California, that provides affordable, shared housing for independent seniors aged 62 and over. (Suellen Lamorte via Bay City News)

No smoking is allowed but shared-living benefits include Comcast on flat-screen TVs in the two living rooms and access to wi-fi and a newspaper. Tam 1 has an upright piano.

A few current residents have cars and drive, and a handful do work (one, for example, is a crossing guard, another is employed by a dog-grooming place).

“Generally, people who come in are a few years short of or over 70,” says Russek, who makes sure to point out that “we no longer require funds from local, state or federal subsidies. Tam House should be able to sustain itself for generations to come.”

To be accepted, prospective residents need credit and criminal background checks; once in, each person is expected to get along with the others and be considerate. “One man was a dangerous hoarder whose place wasn’t safe. He was asked to move,” notes Lamorte, a retired teacher who has also volunteered for Marin Villages and Age and Disability Friendly San Anselmo.

Although alcohol is permitted, “inappropriate, intoxicated behavior is cause for termination,” the Tam House website proclaims ­— as are bullying, verbal threats, and violence, the last being a cause for action right on the spot.

Rent includes five dinners a week, Monday through Friday, freshly cooked by affable Martin (pronounced Mar-teen) Michael. Although no special diets are accommodated, health-conscious menus vary considerably. Examples include eggplant parmesan with orzo and green salads; cashew chicken with jasmine rice; salmon with avocado, brown rice, and veggies; pasta with artichokes and sun-dried tomatoes; roast lamb; beef stew; and chicken enchiladas with rice and beans.

Food, the Tam House Mission Statement says, is also “on hand for residents to prepare their own breakfasts.”

Tam House has no wait list, “but if you would like to be informed when a place opens up, just send us your email [to tamanager@comcast.net] and we will let you know,” says Lamorte, who had been San Anselmo’s representative on the Marin County Commission on Aging.

Physically, Lamorte adds, “Tam 1 is on Tamalpais Avenue, right downtown, and Tam 2 is on the corner of Woodland and Cedar, so each is within walking distance of the other as well as the library, parks, coffee shops, and restaurants.”

Tam 1 opened in 1982, Tam 2 in 2007. Both sit on quiet, tree-lined, residential streets.

It took the four organizational founders — Ross Valley Rotary Club, First Presbyterian Church of San Anselmo, and St. Anselmo Catholic Church and St. John’s Episcopal Church, both in Ross — several years of exploration and study before they could incorporate RVEHA in 1977.

Lamorte notes that no ceiling exists on how long an individual can stay, so it’s not surprising that the two Tam House buildings have become the site of “lots of friendships.”

No romances have been leaked to the press.

This article was first published onLocalNewsMatters.org, a nonprofit site supported by Bay City News Foundation http://www.baycitynews.org/contact/. ‘

 

Sherwood “Woody” Weingarten, a longtime voting member of the San Francisco Bay Area Theater Critics Circle, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.comand https://vitalitypress.com. His books include Rollercoaster: How a man can survive his partner’s breast cancer, aimed at male caregivers; MysteryDates — How to keep the sizzle in your relationship; The Roving I, a compilation of 70 of his newspaper columns; and Grampy and His Fairyzona Playmates, a whimsical fantasy intended for 6- to 10-year-olds that he co-authored with his then 8-year-old granddaughter.

Silly ‘Little Shop of Horrors’ brings laughs to Masquers Playhouse

By Woody Weingarten

By WOODY WEINGARTEN, BAY CITY NEWS

A short loop of old “coming attractions,” today known as trailers, precedes “Little Shop of Horrors” at Masquers Playhouse in Point Richmond.

The projected film clips are a perfect intro to the staged musical comedy. Included are a sci-fi wannabe thriller, “Earth vs. the Flying Saucers”; the fantastic “Bride of the Gorilla” with a young Raymond Burr in a pre-Perry Mason role; an imaginative box-office smash “Creatures of the Black Lagoon”; and a little-known horror entry, “The Vampire’s Coffin.”

On opening night, the hysterically funny clip from the silent film “The Alligator People” was so dated, the audience couldn’t help laughing; there was a similar response to excerpts from bad 1950s movies.

Masquers Playhouse’s silly production of “Little Shop of Horrors” combines a heap of over-the-top comedy, a touch of non-scary horror and a smidgen of unreal sci-fi. The music by Alan Menken and lyrics and book by Howard Ashman faithfully move the story along.

The principals in the show, which is based on the 1960s cult classic film, portray their characters with just the right amount of exaggeration to ensure the audience has fun: James Paul Gregory is the nerdy Seymour, who gets caught up in the need to feed an extra-terrestrial plant; Megan Ratto is Audrey, a sexpot who endures domestic violence from “a semi-sadist” biker just because; John Mannion as Mushnik, a Skid Row plant store owner, a sort of villain, manipulative boss and a guy who sprinkles Yiddishisms (oy vey, gevalt, matzah balls) into his speech.

L-R, Megan Ratto, Cassidy Hill, Dahlia Guidos and Caitlyn Curl appear in “Little Shop of Horrors” in Point Richmond. (Mike Padua via Bay City News)

A trio of foreground singers (Caitlyn Curl, Dahlia Guidos and Cassidy Hill), a throwback to Motown girl acts, is a ragamuffin Greek chorus; Cory Kahane portrays the show’s abusive dentist; he also plays numerous other minor comic roles.

The production is marvelously acted, charmingly stage-crafted, and wondrously amusing.

Most impressive is Audrey II, the bigger-than-life monster (voiced by Benjamin Pierson) that thrives by munching on humans, while also becoming a magnet for flower store customers. Starting as a small plant that bites its feeder’s hand, it grows into a huge people-eater.

Sharon Swingle and Joshua Symonds deserve special credit for their Audrey II puppet designs, and Soline Mason and Olivia Reed should get gold stars for running the giant puppet at the center of the action.

The show’s only tune that theatergoers are apt to leave singing or humming is “Suddenly Seymour,” like when the musical debuted in 1982. But on opening night in Point Richmond, a handful of folks could be heard growling, “Feed me.”

The next best song is the couple’s duet “Down on Skid Row,” in which Seymour moans about wanting to “get outta here.”

One of the show’s flaws is that many characters awkwardly enter and exit the stage by walking in front of the shop. And opening night had a few, likely one-off errors — when a clock fell off the wall and a metal bucket knocked off a counter noisily spun wildly on the floor.

Ably directed here by Symonds, “Little Shop of Horrors” had a somewhat checkered past before it became a campy cult classic. It was an off-off-Broadway show that premiered in 1982 and struggled to reach off-Broadway. It didn’t get to the Big Apple until 2003.

A curiosity: The 1960 Roger Corman movie that inspired the original play became the basis for a second version of the musical.

This rendition is two hours of bizarre, mirthful entertainment worth seeing.

“Little Shop of Horrors” continues through Aug. 2 at Masquers Playhouse, 105 Park Place, Point Richmond, through Aug. 2. Tickets are $30-$35 at masquers.org.

Sherwood “Woody” Weingarten, a longtime voting member of the San Francisco Bay Area Theater Critics Circle, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.comand https://vitalitypress.com. His books include Rollercoaster: How a man can survive his partner’s breast cancer, aimed at male caregivers; MysteryDates — How to keep the sizzle in your relationship; The Roving I, a compilation of 70 of his newspaper columns; and Grampy and His Fairyzona Playmates, a whimsical fantasy intended for 6- to 10-year-olds that he co-authored with his then 8-year-old granddaughter.

 

“La Tragédie de Carmen” at Merola Program

By Carol Benet

“La Tragédie de Carmen” at Merola Program

Carol Benet

The 2026 Merola Summer Festival presents the first of the two operas, “La Tragédie de Carmen”, on July 9 and July 11.

This is the Peter Brook’s reinterpretation of Bizet’s masterpiece, an opera that has lasted for decades and is one of the most produced at all opera companies. Peter Brook was the enfant terrible of the theater and film director who, based in Paris, changed the way the traditional masterpieces that he created to those that exemplified his idea of “empty space”, a pared down version. Before his death in 2022 he created plays, operas, films from 1943 through 2013.

The Merola participants presented an 80 minute without intermission opera on a bare stage highlighted with wonderful projections (Camilla Task). The principal cast of seven was substituted for what is usually a crowded, busy with movement, chorus, dance in a many peopled version. Brook’s “Carmen” consists of the most famous arias and duets and whips along with what the Merola portrays as a psychological drama about Carmen (Ariana Maubach) and Don José (Charles Styles) tragic relationship.

Starting with the sweet Micaëla’s (Anna Thompson) message to the Don from his mother, it is evident that she loves him but this is unrequited as he is fixated one the beautiful and tempestuous romani Carmen who has other suitors that arouses his jealousy. The suiitors are the bullfighter Escamillo (Raül Morales Velazco), Zuniga (Ryan Bryce Johnson) along with John Mburu as Garcia and Logan Wagner as the bartender Lillas Pastia.

Mezzo-soprano Ariana Maubach as Carmen and tenor Charles Styles as Don José.
Photo credit: Kristen Loken


A former Merola ’09 winner Stephanie Rhodes Russell conducts the fine Marius Constant chamber orchestra, with some chosen from the SF Ballet as is gifted harpist Annabelle Taubl plus the pianist a current Merola artist Deven Shah at the piano. The Brook idea of adding a recording of Bizet’s Overture is an innovation.

The director Mo Zhou (Merola ’15) was inspired by Buddhist scripture in this version of Carmen with its ideas of the reoccurrence of the Don’s love for Carmen and his eternal desire for what he cannot possess.

The Merola participants for “Carmen” are ready for their professional careers as they are excellent singers and convincing actors as well. In the future we will see them often on the opera stages worldwide.

The second Merola opera this summer is Ricardo Strauss’ “Ariadne aug Naxos” on July 30 and August 1. The operas takes place at the Caroline H. Hume Concert Hall at the San Francisco Conservatory of Music, 50 Oak Street near Davies Symphony Hall. Tickets merola.org or box office 415 864 3330.

‘Hollywood Does Abortion’ documentary covers half-century of progress and retreat

By Woody Weingarten

Screenshot from Hollywood Does Abortion documentary shows protest outside clinic.

By WOODY WEINGARTEN

Hollywood Does Abortion is all about Tinseltown not wanting to do them. Or eventually caving and depicting the issue through a right-of-center lens.

The one-hour, 39-minute documentary traces a controversial topic that’s appeared more and more frequently over the decades on bigger home screens and smaller movie-house surfaces. From troubled pre-Roe vs. Wade days through today’s troubled post-Dobbs times. Political progress and retreat.

It features what feels like hundreds of quick cuts — clip after clip from flicks and telecasts and newscasts, plus tons of heads that won’t stop talking. Producers and writers and analysts and you-name-its.

Virtually every position on the subject is explored a bit, so a viewer can’t escape learning something unlearned before.

The dense panorama begins with Norman Lear’s TV heroine Maude shoving history forward by contemplating an abortion, and the public backlash that series generated; it ends with a monotone thought-balloon that we should all be tolerant and try to make the world a little better; and detours along the way for gossip and a peek at Marilyn Monroe’s abortion or miscarriage or whatever that momentary headline-grabbing, national trauma was.

The film — which was executive produced by Rachel Bloom, who will be honored July 18 at with the Freedom of Expression Award at the 46th San Francisco Jewish Film Festival — is interesting but not compelling. That may be due to its being somewhat choppy (fragmented, if you will) and mostly chronological.

Bloom, activist and co-creator and acting star of the CW musical/comedy/drama series Crazy Ex-Girlfriend, probably couldn’t care less what critics say about Hollywood Does Abortion because, after having helped spearhead the pet project, it’s now out there, at festivals at least, and from her standpoint, the more publicity, the better.

But the doc isn’t unlike a high-school class in gender politics, emphasizing multiple historic pivots as if they were tiny subheads.

Showing dramatized pre-surgical exam is screenshot from Hollywood Does Abortion.

It flits, for example, from Dirty Dancing and its branding abortion as dangerous, whether illegal or not; to Evangelicals getting heavily involved politically; to Operation Rescue with its attacks on abortion clinics and doctors; to the era of folks again wanting the procedure to disappear under the rug and be safe, legal, and rare; to a tribute to Grey’s Anatomy and how consistent the TV series has been regarding a sensitive coverage of the subject; to the not unexpected reversal of Roe; to the evolution of abortion via a welcomed pill; to the rise of streaming and its shedding of pressures from corporate bigwigs and advertisers.

Hollywood Does Abortion, which has no explosions or car chases or, indeed, any action whatsoever, sidetracks momentarily into the evolution of gay relationships on screen, and to a dozen other headline topics. That’s its biggest flaw, trying too hard to do too much.

But there’s so much content — content that appears to change every second and a half — that pro-abortion activists can find plenty to love. And to hate.

Ditto, anti-abortionists.

Either way, it’s an immersive, mildly intriguing under-two-hour mental road-trip from that Maude show in the fall of 1972 to now.

Picturing happy post-birth, on screenshot from Hollywood Does Abortion, shows how Tinseltown and TV skirt controversial issue.