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Dirty Rotten Scoundrels

By Joseph Cillo No Comments

 


Smooth cons. Sharp twists. Big laughs. Song & dance.

In this musical take on the iconic con-man comedy, two swindlers clash on the sun-soaked Riviera: Lawrence, the polished gentleman who charms rich women out of their fortunes, and Freddy, a scrappy upstart with big stories and no filter. When they target the same seemingly sweet heiress, the bet is on—first to extract $50,000 wins the turf. But as fake identities stack up and the schemes spiral, this fast-paced romp builds to a final twist that flips the game in all the right ways.

This is a BIG production

Bold, bright, and bursting with talent. With a 13-member cast, the show comes to life in a full-throttle staging that matches its mischief, glamour, and comedic punch.

Cast & Crew Kudos
Larry Williams brings just the right polish and poise as Lawrence Jameson — smooth, unflappable, and always scheming with flair. Drew Bolander’s Freddy is a full-throttle chaos engine, diving into every gag and pratfall like he’s auditioning for a cartoon. Joanna Lynn Bert plays Christine Colgate with a wide-eyed sweetness that keeps us guessing — is she a mark or a master? Julianne Bradbury hits all the right notes as Muriel, with warmth and comic spark, while Tim Setzer’s Andre delivers dry charm in every line. Emma Sutherland (Jolene) has great presence, and Seana Nicol leads a tight ensemble as Dance Captain, backed by a spirited cast that brings nonstop energy to the stage.

While all are excellent, this is truly an ensemble piece — fast-moving and well-oiled, thanks in part to sharp music direction from Aja Gianola on keyboards and excellent scenic and scene projections that glide us from one caper to the next. Director Carl Jordan’s touch keeps the con rolling without a hitch.

Scoundrels in Action – a whirlwind of charm, chaos, and Riviera mischief.

Photo Credit: Katie Kelley

Slick cons, bold mischief, and full-throttle song and dance — Dirty Rotten Scoundrels delivers the goods. No kidding.


Sonoma Arts Live presents Dirty Rotten Scoundrels
Now through June 27, 2025
Thursdays, Fridays, and Saturdays at 7:30pm
☀️ Sunday matinees at 2 pm
Rotary Stage, Andrews Hall
Sonoma Community Center
276 East Napa Street, Sonoma, CA

Tickets start at $30 and can be purchased online at:
www.sonomaartslive.org
Credit cards accepted. Advance booking strongly recommended for weekend performances.

★★★★★

Authorship & Creative Statement

Each review is created through my proprietary FocusLens℠ method—an original editorial process shaped by firsthand experience, critical insight, and structured narrative design. Original photography, graphics, director quotes, and animated elements are incorporated to enhance reader engagement and visual impact. State-of-the-art scaffolding systems support organization and phrasing, but every sentence and decision reflects my own voice and judgment. These are not AI-generated reviews—they are authored, shaped, and published by me.

The Last Goat: Tensions Rise (and Truth Slips) on a Dying Island

By Joseph Cillo No Comments

 


A stranger arrives. A balance breaks. Survival gets personal.

From the first quiet moment to the final reckoning, this drama never lets go.
Set on the crumbling island of Kasos in 1177 BCE, The Last Goat tells a quietly tense story of survival, longing, and control. Young Kori dreams of escape. Her grandmother Melina clings to the life they’ve managed to preserve. When Nikolis, a charming castaway with a shifting story, arrives, their fragile balance begins to crack. Desires clash, lies deepen, and the three hurtle toward a dangerous confrontation none of them may survive.

The setup: An island. A castaway. A collision of needs and secrets.
Kori and Melina live alone on the edge of a vanished world. They’re scraping together survival after a mysterious collapse has emptied their island. Then Nikolis washes ashore, claiming nobility and shipwreck. Kori sees possibility. Melina sees threat. As truths unravel and motives shift, the story becomes a tense standoff over freedom, safety, and power.

Cast


Photo Credit: Central Works

Performance Highlights

Liris Robles brings restless energy to young Kori.
She captures the ache of youth trapped by obligation, swinging between hope and heartbreak with fearless openness.

Jan Zvaifler’s grandmother Melina is the kind of role that simmers until it burns.
With quiet control and emotional weight, Zvaifler turns suspicion and survival into something riveting. Every glance, every pause lands with meaning.

André Amarotico gives Nikolis both charm and threat.
He shifts effortlessly from sympathetic castaway to manipulative outsider, keeping the audience unsure where his loyalty—or danger—truly lies.

Director Highlight


Gary directs his own script with focused restraint.
As both playwright and director, he builds a tightly wound story of emotional standoff, slow revelations, and unspoken danger. The result is ancient and modern at once—just like the world of The Last Goat.

Very Up-Close Theater
The setting alone deserves mention. Central Works stages its productions in a 49-seat theater tucked inside the Berkeley City Club—one of the most intimate performance spaces in the Bay Area. You don’t just see the actors—you share air with them. Every seat is close enough to catch a glance, a twitch, a whispered aside. The design wraps around the action, with seats arranged along two sides and a few directly across, enclosing the performers in a tight, all-surrounding frame. It’s not just theater—it’s an experience. You feel like you could step into the scene, or that the scene might spill into your lap. Emotional nuance lands with full force in this space, where the fourth wall is less a barrier and more a gentle suggestion. Very special.

An Observation—and Suggestion
The play opened with a well-executed projection onto a screen at the front of the set—briefly setting the scene with time, place, and atmospheric motion. It was effective, evocative… and then, used no more. What began as an excellent design element simply vanished. As later transitions relied on drawn-out lighting fades—some clearly allowing for costume changes—the energy dipped. From the audience, we found ourselves wondering: what happened to that strong visual cue? Continued use of projections could have sustained the mood and cohesion of an already thoughtful production.

Delicious Uncertainty
No one gets exactly what they want in The Last Goat—and that’s what makes the ending so satisfying. Nikolis is exposed, but not expelled. Kori is wiser, but still stuck. Melina survives, but her grip slips. The dagger returns to the mantle, but the danger hasn’t passed. It’s not resolution—it’s reckoning. And in that charged, open-ended moment, the story earns its silence. No neat bows. Just tension, truth, and a final birdcall that echoes long after blackout.

Tension lingers like a storm.

 


CATCH IT IN BERKELEY
The Last Goat runs June 28 – July 27, 2025 at the historic Berkeley City Club, 2315 Durant Avenue, Berkeley, CA.
Performances: Thursday & Friday at 8pm, Saturday at 7pm, Sunday at 5pm.

Tickets are $35–$45 (Fri–Sun) and Pay-What-You-Can on Thursdays and preview nights (June 26 & 27).
Same-day sliding scale tickets ($20–$45) are available starting at noon on the day of the show.

For tickets and info, visit centralworks.org or call 510.558.1381

★★★★★

Authorship & Creative Statement

Each review is created through my proprietary FocusLens℠ method—an original editorial process shaped by firsthand experience, critical insight, and structured narrative design. Original photography, graphics, director quotes, and animated elements are incorporated to enhance reader engagement and visual impact. State-of-the-art scaffolding systems support organization and phrasing, but every sentence and decision reflects my own voice and judgment. These are not AI-generated reviews—they are authored, shaped, and published by me.

Shore Excursion — San Pedro to Terranea

By Joseph Cillo No Comments

 


Ruby Princess Cruise Ship Shore Excursion
Blending History, Scenery, and Just the Right Amount of Fancy

Stepping off the Ruby Princess, you’re greeted by a private driver who’s ready to whisk you away on a day filled with ocean views, good food, and maybe even a falcon. This shore excursion is part history lesson, part scenic drive, and part “wow, this is really nice.” Your only job? Show up and soak it all in.


First Stop: San Pedro Waterfront

8:45 – 9:45 AM 1 hour

The San Pedro Waterfront is where history and hustle shake hands. On one side, there’s the Battleship Iowa, a floating chunk of American history. On the other, local vendors hawking crafts and snacks, proving that the entrepreneurial spirit is alive and well. Take a stroll, grab something salty or sweet, and enjoy the harbor air. You’ll feel productive without actually doing much, which is what vacations are all about.



On to the Lighthouse, a Beacon of History

10:00 – 11:15 AM 1 hour 15 minutes

At Point Fermin Lighthouse, history stands tall—literally, on a cliff overlooking the Pacific. Built in the 1870s, this Victorian beauty once guided sailors to safety and probably gave its keepers the best office view imaginable. The guided tour dives into the nuts and bolts of lighthouse life, while the surrounding park offers ocean vistas that make you wonder why you don’t live closer to the coast. You’ll want to linger, but there’s more to see.



The Drive of Drives: Scenic, Rugged, and a Little Bit Fancy

11:15 – 11:45 AM 30 minutes

If Palos Verdes Drive isn’t one of the most scenic roads in California, it’s definitely trying to be. This stretch of asphalt clings to the cliffs like it knows the view is worth the risk. Waves crash below, Catalina Island floats hazily on the horizon, and just when you think you’ve seen it all, there’s Trump National Golf Club Los Angeles. It’s got greens so immaculate they probably have their own staff of hairdressers. You won’t stop here, but you’ll give it a nod as you cruise by.

Experience for yourself here in this Where’s My Map video: Palos Verdes Drive South


Terranea Resort: Where the Views Steal the Show

Noon – 2:30 PM 2 hours 30 minutes

Arriving at Terranea Resort, you get the feeling they built the place just to impress you. The cliffs drop straight into the Pacific, and on clear days, Catalina Island makes an appearance like it’s showing off. This is your chance to relax, play, or both:

  • Guided Nature Hike (45 minutes): Walk along trails that hug the cliffs while the ocean does its best to outshine everything else.
  • Falconry Experience or Archery Session (30 minutes): Where else can you bond with a bird of prey or fire an arrow with a view that deserves its own Instagram account?
  • Pickleball Game (45 minutes, available with advance reservation): It’s the sport everyone’s talking about, and at Terranea, it comes with an ocean view.
  • Lunch at Nelson’s (1 hour): Perched on a cliff with the Pacific stretching out before you, Nelson’s serves up fresh seafood that tastes as good as the view looks. Fish tacos, clam chowder, oysters—whatever you order, pair it with a California wine or a cocktail. If dolphins show up below, consider it a bonus.


Back to the Ship, Full of Good Memories

2:30 – 3:00 PM 30 minutes

The ride back along Palos Verdes Drive is your last chance to soak in the scenery and reflect on the day. You’ll return to the Ruby Princess with a phone full of photos, a belly full of seafood, and at least one story that begins, “So, this falcon…”


Final Thoughts

This shore excursion is more than a day trip—it’s a curated experience. From the hustle of San Pedro to the quiet luxury of Terranea Resort, every stop offers something to remember. Whether it’s history, nature, or just a really good lunch you’re after, this journey delivers. And hey, if you didn’t take a picture of Catalina Island, did you even go?

 


Travel Adventurers

 

 

Joseph Cillo

 

 

Mary Buttaro

Strong cast, steady direction and a riveting script make “Constellations” -– now playing at The Pear Theatre — a must-see production

By Joanne Engelhardt No Comments

With a running time of about 85 minutes performed without an intermission, “Constellations,” written by British playwright Nick Payne in 2012, is a fascinating examination of love, beekeeping, string theory, heartbreak and cosmology – NOT cosmetology!

It’s obvious that director Reed Flores steadily guided his cast of six to find new ways to explore the two characters in Payne’s play.  It was his idea to use six actors – three men and three women – to play the two roles.( Payne originally conceived and wrote this play as a “two-hander” – meaning it’s meant to be performed with just two actors.)

Even more interesting, Flores switches his cast around so that if a person attends “Constellations” next Thursday, and then decides to see it again with a friend a few days later, the actors would likely be playing what is described as a different track than the ones they played the first time.

Payne’s characters, Roland, a beekeeper, and Marianne, a physicist, meet at a party and find they are both curious and surprised by the profession of the other.  As Roland attempts to convey his joy at helping bees – and how they contribute so much to life on earth – Marianne discovers she is fascinated by something so completely foreign to her world.

In turn, Marianne captivates Roland by talking about her profession that is world’s away from his.  She is, she tells him, a physicist who spends her days on a computer working through complex topics like quantum mechanics and the belief that there are multiple universes that direct people’s lives.  Despite their very different backgrounds, they fall in love and move in together. But eventually they break up when Marianne admits to having sex – more than once – with a man she works with.

From left: Vivienne Truing and Thomas Nguyen
Photo credit: Reed Flores

Fast forward several years and they accidentally run into each other at a ballroom dance class.  Marianne surprises Roland by telling him that she happened to notice his honey (now bottled and sold at a nearby farmer’s market), so she bought some.

Both are at the ballroom dance class because they are going to weddings –- as guests — and each admits to being a terrible dancer.  It’s charming to watch them try to dance a rudimentary box step without stepping on each other’s feet!

Eventually they realize that they love each other and marry.  What happens after that won’t be revealed here.  It’s best to watch how it all unfolds at The Pear.

While all six actors in “Constellations” are universally excellent, Vivienne Truong stands out for her gut-wrenching acting as she deals with a serious illness.. Sahil Singh also demonstrates sincerity  as he shows sympathy for Marianne.

From left: Raven Douglas and Sahil Singh
Photo credit: Reed Flores

Louis Stone-Collonge’s simple, yet amazing set design adds much to this show.  The floor is covered with blue and pink string designs, a nod back to the fact that Marianne studies string theory, while the back wall is dotted with various sizes of white balls, reminiscent of outer space.

Lighting designer Carsten Koester also deserves mention because his lighting must be precise, going on and off quickly as one set of actors stops talking and another pair start their conversation.

From left:  George Alexander K. and Elana Swartz
Photo credit: Reed Flores

“Constellations’ includes four other actors (Elana Swartz, George Alexander K., Thomas Nguyen and Raven Douglas), and all show their acting chops in this production.  Occasionally Douglas speaks too softly, especially when her back is turned to some of the audience, which means a few of her lines are hard to hear.

Nevertheless, thanks to Flores’ steady direction, such a fine production deserves full houses for every performance.

Note: “Constellations” comes with a warning that the play has mature content.

The Pear Theatre presents “Constellations” by Nick Payne.
Now through July 20, 2025
Thursdays at 7:30 p.m., Fridays and Saturdays at 8 p.m.  and Sunday matinees at 2:00 p.m. No performance on Friday, July 4.
Pear Theater, 1110 La Avenida, Mountain View, CA 94043
Tickets are $45 and can be purchased online at www.thepear.org. For more information, call Pear Theatre at
650) 254 – 1148.

Delightful performances and a socko set highlight TheatreWorks’ production of “Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean, a New Musical”

By Joanne Engelhardt

The first thing anyone attending the TheatreWorks Silicon Valley production of “Come Back to the 5 & Dime,  Jimmy Dean,  Jimmy Dean, a New Musical” sees is the unbelievably detailed set created by Nina Ball.  It’s the interior of the “5 & Dime” store in the small town of McCarthy, Texas.

That’s where the entire play takes place, save for one short scene in the store’s restroom.

The TheatreWorks version of Ed Graczyk’s 1976 play is a musical, and it’s having its world premiere at the Mountain View Center of the Performing Arts, directed by Giovanna Sardelli, TheatreWorks’ artistic director.

As the play opens,  Loretta (skillfully performed by Judith Miller) is cleaning the lunch counter with a cloth and trying to kill an errant fly with a flyswatter.

There’s no mistaking that audience members are now witnessing what life is like living in McCarthy in the 1970s.

But this is no ordinary day.  It happens to be the 20th anniversary of the day James Dean died. His small but loyal Texas “fan club” vowed to get together to commemorate his death — and they plan to meet at the 5 & Dime store where they have a small cabinet filled with his photos.

First to arrive is Mona, realistically played by Lauren Marcus.  Mona walks in, looking bedraggled after a long, hot bus ride.  Loretta greets her and says she’ll perk up with a glass of Orange Crush.  Mona drinks a bit, then runs out the door to look for her son,  Joe, the boy she says is the result of once having sex with James Dean.

Mona later returns and remembers the cabinet full of James Dean photos at the 5 and Dime.  She runs over to turn on a string of white lights surrounding the photos.  Then she opens her suitcase and pulls out a piece of concrete that she says she picked up when the bus stopped at James Dean’s crumbling down house.

Next to arrive is a buxom blonde named Sissie (amusingly performed by Stephanie Gibson).  Dressed in a short red-and-white dress and cowboy boots, Sissie sashays around and sings the song “Big Time Country Singer.”   Bursting into the restaurant next is Hayley Lovgren as Stella Mae. Stella May is a robust woman with a voice to match.  She’s a hoot to watch as she belts out “Goddamn! I Love Texas!”

From left: Judith Miller as Loretta, Lauren Marcus as Mona and Stephanie Gibson as Sissy.

Photo: Kevin Berne

A very tall redhead wearing sunglasses enters next, dressed in a white suit.  The other women look at her but don’t recognize her.  When she takes off her sunglasses, she smiles at them and tells them she used to be named Joe, but 15 years ago she changed it to Joanne and is now transgender.

This is Shakina, who not only performs in the show but also wrote the lyrics for the songs.  Her rendition of “Survival” is nothing short of riveting and a play highlight.

On her heels enters a shorter woman wearing what almost looks like a nurse’s uniform.  She’s holding an orange and green dress in a plastic bag over her arm.  Ashley Cowl disappears into her role of Edna Louise, provoking the audience’s sympathy when she’s berated by Stella May.

But Joanne comes to her defense, which effectively shuts up Stella May.

Another highlight is Lovgren and Cowl singing the song “El Cajon Chiquito” in both English and Spanish, with Lovgren singing the English lyrics and Cowl singing them in Spanish.

Later,  the women collectively put up a big sign that says “The 20th Anniversary Reunion of the Disciples of James Dean.”

The next scene is about a talent show when all of the women were in the 1955 class of McCarthy High School. This part of the play needs some work because it seems somewhat out of place (or perhaps it just needs to be more closely integrated into the rest of the play).

From left:  Shakina as Joanne and Hayley Lovgren as Stella Mae.

Photo: Kevin Berne

The lone male in the show is Ellie Van Amerongen who plays both Mona’s son  Joe as well as Jimmy Dean.  (Mona insists that Joe’s father is James Dean,  who Joe does resemble. Yet the other women aren’t sure whether what she says is true or is a figment of her imagination.)

As music director,  Jacob Yates does a fine job of both playing the keyboard and leading the small band consisting of Stephen Danska and Tim Roberts on guitar, Kendra Kop on bass and Artie Storch on percussion.

Alina Bokovikova’s costumes seem to fit the roles of each actor in “Jimmy Dean,” and Y. Sharon Peng’s wig and hair design is spot on. Although Kurt Landisman’s lighting is excellent, sound design by Cliff Caruthers needs some fine tuning so that every actor can be heard distinctly in all parts of the theater.

This production contains mature language and themes, including violence and references to sexual interactions. Parental guidance is suggested; not recommended for youth under 13.

 

TheatreWorks Silicon Valley presents “Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean, a New Musical” based on the play by Ed Graczyk.  Book by Ashley Robinson, music by Dan Gillespie Sells and lyrics by Shakina.
Now through July 13, 2025
Tuesdays through Sundays

Mountain View Center for the Performing Arts
500 Castro St, Mountain View, CA 94041

Tickets are $44 – $94 and can be purchased by calling (650) 903-6000 or online at www.theatreworks.org

Empathy coach, office crazies populate Do You Feel Anger? at Marin Theatre

By Woody Weingarten

Empathy coach Sofia (Sam Jackson, right) looks on as Jon (Joseph O’Malley, left), Jordan (Phil Wong, second from left) and Howie (Max Forman-Mullin) laugh in Do You Feel Anger? Photo by David Allen.

By WOODY WEINGARTEN

If you think the phrases “non-reciprocal blowjob,” “piss chart,” and “life is an oblong” are inherently funny and might be even funnier if they’re each repeated about 49 times in 90 minutes, go see Do You Feel Anger? at the Marin Theatre.

If you believe several adult characters acting like acting-out, clueless toddlers crammed into an office playpen of debt collectors might be funny in a slapschtick, farcical way, do go.

And if you consider mysterious or untethered themes, an O. Henry ending, a marvelous secondary set spotlighting three toilets, or good lighting and sound effects between scenes as items that might satisfy your cerebral or sexual needs, go.

A recent gray-haired audience liked the show’s office absurdities enough to applaud more than a little when it was over, enough to periodically chuckle quietly or even cackle or guffaw on rare occasion. On the other hand, a woman in the front row volunteered a three-word stinger: “That was painful!”

The plot? Sofia is an empathy coach newly hired to buoy the consciousness of three workers drawn by playwright Mara Nelson-Greenberg as somewhere between the classic personas of TV’s hilarious satire, The Office, and David Mamet’s biting dark satire, Glengarry Glen Ross.

The staff is overseen by a fourth cartoonish character, an office manager who doesn’t know what a woman’s period is and who joins the others in the belief that empathy is a bird.

Eva (intentionally played by linda maria giron with a grating ever-screechy voice and theater-shaking laugh) keeps getting mugged, or is delusional about it, or maybe both, and is obsessed with being a mermaid.

Jordan (left) and Howie goof around while Sofia watches. Photo by David Allen.

Howie (exquisitely portrayed by Max Forman-Mullin as a macho man-child whose anger is always on the brink and whose horniness is almost always on display) is physically and verbally over the top.

Jordan (a Phil Wong tour de farce distortion whose bug-eyes are aways in humorous motion) joins Howie as a resident misogynist.

Jon, the manager who’s interested only in having his mandated documentation signed by Sofia even if she’s unsuccessful, is skillfully delivered by lanky Joseph O’Malley with legs that jerk and slide like a ballet dancer on coke.

Jesse Caldwell, by the way, is excellent in his cameo monologue as Marcus, a geezer bomber-wannabe who’s seemingly lost the key to his dementia ward.

And Atosa Babaoff acquits herself well in dual roles, that of Janie, a woman who’s permanently ensconced in the bathroom, and Sofia’s long-suffering mom who’s featured in a parallel storyline that ultimately ties some stuff together.

It should be noted that there’s a major disconnect between the entire cast of crazies and Sam Jackson, who inhabits Sofia with a serious insatiable need to please. That gap might have been shortened.

Director Becca Wolff might also have sliced the text a bit or added an intermission; the workplace comedy feels a tad long in spite of being timed at an hour and a half.

All the acting’s worth seeing and there are, to be sure, a few wonderful lines. Such as “Everyone’s starting to say the clitoris is a hoax.”

Not incidentally, a “piss chart” is never explained in the show but one Google keystroke will instantly indicate that it’s used as an unclear metaphor based on its definition of a color map designed to illustrate hydration and urine levels. Who knew?

Do You Feel Anger? Will play at the Marin Theater, 397 Miller Ave., Mill Valley, through June 29. Tickets: $47 to $85. Information: 341-388-5200 or info@marintheatre.org.

Sherwood “Woody” Weingarten, a longtime voting member of the San Francisco Bay Area Theater Critics Circle and the author of four books, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.com and https://vitalitypress.com.

Review Midsummer Night’s Dream

By Peter Robinson

Ain’t Love Grand When It Happens
Peter Robinson’s review of A Midsummer Night’s Dream at Marin Shakespeare Company

To follow the story in A Midsummer Night’s Dream the audience needs to pay careful attention. There are

three main storylines: the tangled love affairs of four young Athenians, a feud between the fairy king and queen, and the rehearsals of a group of amateur actors who prepare a play for Duke Theseus and Hippolyta’s wedding. The Marin Shakespeare’s production does a good job at presenting the complexity of these themes and keeps the action moving.

Add to that Puck, the mischievous fairy, introduces magic to meddle with the lovers’ relationships, causing chaos and confusion. Puck (Rob Seitelman), delivers his key line with the gusto it deserves:”Lord, what fools these mortals be!” The play culminates in the resolution of these conflicts and the celebration of multiple weddings.

The Lovers: Hermia, Lysander, Helena, and Demetrius are all intertwined in a complex web of love and infatuation. Hermia loves Lysander, but her father wants her to marry Demetrius. Helena loves Demetrius, but he is uninterested in her. The acting in these relationships underlines the intriguing and ever-changing nature of love and restored my own faith in the creative imagination of dreams. So it is a story of order and disorder, reality and appearance and love and marriage.

This production developed the magic and escapism essential to this play, and I admired the energy of the overall performance. In the dance routines the actors made good use of their knee pads in the skilled choreography. 

In the play a group of amateur actors, the “Rude Mechanicals,” add to the comedic mix and eventually  present their play during the wedding festivities of Theseus (Johnny Morenoand) and Hippolyta. Steve Price plays a memorable Bottom.

This is an enchanting and entertaining night at the theater and the audience is left with provocative questions about appearance and reality—things are not quite what they seem and how quickly order can change into disorder in a matter of moments. So yes this sixteenth century drama is relevant today.

A tip for older theatergoers attending an evening production, take a blanket as it gets chilly by the second half. I’d support a fund for bringing in outdoor heaters as the play ends close to 10 pm. 

The play runs until July 13 at Dominican University.

Broadway’s Best Night Ever

By Joseph Cillo

 


Field of Dreams, Sonoma


Transcendence Theatre Company kicked off its 2025 Broadway Under the Stars season with a fast-paced, feel-good celebration of beloved musicals—and opening night truly lived up to the title Broadway’s Best Night Ever.

Before the performance began, the mood was already festive. Wine in hand, a light dinner from local purveyors, and conversations buzzing under a soft Sonoma sunset set the tone for an evening that felt more like a summer party than a typical night at the theater.

When the lights came up, the energy went even higher. The revue featured material from more than two dozen Broadway shows, performed by a powerhouse cast with Broadway and national tour experience. With seamless transitions and engaging pacing, the production moved from show-stopping solos to high-voltage ensemble numbers with polish and style.


Highlights

The tap numbers stole the show. I Got Rhythm exploded with precision and energy, earning spontaneous applause for its sheer rhythm and showmanship. And while I Am Changing is traditionally known for its vocal power, this production layered in unexpected tap flourishes that gave it added dimension and flair.

The show also included a few emotional turns—especially during the “Life Trio” (Love Changes Everything, Being Alive, and You’ll Never Walk Alone) and a beautifully delivered I Dreamed a Dream from Les Misérables. Later numbers like What a Feeling, Bohemian Rhapsody, and This Is Me added a contemporary jolt that kept the momentum strong all the way to the finale.


Full Program

ACT ONE

  1. Overture – Gypsy

  2. I Hope I Get It – A Chorus Line

  3. The Wizard and I / Defying Gravity – Wicked

  4. All That Jazz / Cabaret – Chicago / Cabaret

  5. Jersey Boys Medley

  6. Love Changes Everything – Aspects of Love

  7. Being Alive – Company

  8. You’ll Never Walk Alone – Carousel

  9. I Got Rhythm – Crazy for You (tap)

  10. My Days – The Notebook

  11. All I Ask of You – The Phantom of the Opera

  12. A Musical – Something Rotten!

  13. I Am Changing – Dreamgirls (with creative tap flourishes)

ACT TWO

  1. Found – Dear Evan Hansen / Tonight – Hamilton

  2. Tonight / Something’s Coming – West Side Story

  3. I Dreamed a Dream – Les Misérables

  4. Anything Goes – Anything Goes

  5. The Music of the Night – The Phantom of the Opera

  6. Aquarius / Let the Sunshine In – Hair

  7. Mamma Mia! Medley

  8. What a Feeling – Flashdance

  9. Sing, Sing, Sing – (featured in Fosse)

  10. Bohemian Rhapsody – (featured in We Will Rock You)

  11. This Is Me – The Greatest Showman

  12. This Is the Moment – Jekyll & Hyde


Sonoma Setting

The Field of Dreams venue has matured beautifully into Transcendence’s new home. Their previous residence, Jack London State Historic Park, had its own magic—with dramatic stone ruins and wooded trails—but here, the atmosphere is smoother, more refined. Gently sloping lawn seating, golden-hour skies, and well-balanced staging give the production a lush, polished finish that suits both the performance and the place.


Who Should Go

If you love Broadway—or even just the joy of live performance in a beautiful setting—this show delivers. It’s ideal for date night, family night, or a group outing with friends. Casual or dressed up, everyone felt welcome.


️ Details at a Glance

What: A high-energy revue of songs from over 25 Broadway musicals, performed under the stars by a top-tier cast of Broadway veterans and rising stars
When: Opening Night – June 12, 2025
Where: Field of Dreams, Sonoma (Broadway Under the Stars Summer Series)
Cost: Tickets start at $35, with discounts for youth, subscribers, and groups
Box Office: transcendencetheatre.org | (877) 424‑1414

Authorship & Creative Statement

Each review is created through my proprietary FocusLens℠ method—an original editorial process shaped by firsthand experience, critical insight, and structured narrative design. Original photography, graphics, director quotes, and animated elements are incorporated to enhance reader engagement and visual impact. State-of-the-art scaffolding systems support organization and phrasing, but every sentence and decision reflects my own voice and judgment. These are not AI-generated reviews—they are authored, shaped, and published by me.

A Midsummer Night’s Dream – at Marin Shakes

By Joseph Cillo

Marin Shakespeare Company
Forest Meadows Amphitheatre, San Rafael
June 13 – July 13, 2025

Not a full review — just a spotlight worth sharing

I only caught the second half of this Midsummer Night’s Dream, so I’m not filing a full review—but what I did see? Wildly inventive.

Director Bridgette Loriaux gives us a Shakespeare that’s more futuristic fantasia than fairy tale. Set in a reimagined Athens that feels like it crashed through a cosmic portal, this production leans into myth, movement, and mischief. The choreography brings a pulse to the story, with fluid physicality and stylized movement keeping everything in motion—even when the lovers lose their way.

Visually, it’s striking. Tonally, it’s bold. And though I came in midway, it was clear: this production has vision, energy, and a fresh approach that makes Midsummer feel surprising again.

If you’re curious about what Shakespeare looks like reimagined in a sleek, sci-fi future, this one’s for you.

Comment from the Director
In speaking about her vision for this reimagined Midsummer, Director Bridgette Loriaux shared:

“Like any living entity, art must breathe freely, take time to grow and flourish, and have its own unique heartbeat—it must change and evolve. As a storyteller, it is my job to engage human beings through an experience that affects them in the moment and, hopefully, long after they have left the theatre. I look forward to innovating pieces of work and creating an atmosphere where the artist and audience build a relationship. Shakespeare’s language, poetry, and timeless themes allow my curiosity to dive and take flight with collaborators who seek the same journey. He allows me to ignite a dialogue with the actor and the observer—to invite spontaneity, madness, joy, and self-reflection. Every idea, every image and movement sequence is inspired by the profound and elegant language of William Shakespeare.”


Ticket Info

Runs through July 13
Forest Meadows Amphitheatre, 890 Belle Ave., San Rafael (Dominican University campus)

You can grab tickets online—either single admission or a Summer Series Pass if you want to catch more of MSC’s 2025 season:

This is outdoor seating—blankets, cushions, and layers encouraged. Picnics welcome! And by 10 pm, with that signature Marin breeze kicking in, you’ll be glad you brought something warm to wrap around you.


Learn More

Get the full rundown of cast, crew, and creative concept:
Explore the Digital Program: https://www.marinshakespeare.org/a-midsummer-nights-dream-2025/

★★★★★

Authorship & Creative Statement

Each review is created through my proprietary FocusLens℠ method—an original editorial process shaped by firsthand experience, critical insight, and structured narrative design. Original photography, graphics, director quotes, and animated elements are incorporated to enhance reader engagement and visual impact. State-of-the-art scaffolding systems support organization and phrasing, but every sentence and decision reflects my own voice and judgment. These are not AI-generated reviews—they are authored, shaped, and published by me.