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Jul 10 2015
Love0

San Francisco tribute to Broadway singer Ethel Merman lacks pizazz

By Woody Weingarten

[Woody’s [rating: 1.5]

Denise Wharmby plays singer Ethel Merman, backed by Martin Grimwood (left) and Don Bridges, in “Call Me Miss Birds Eye.” Photo by Kevin Berne.

The original Ethel Merman.

Ethel Merman died in 1984 at age 76 — after giving more than 6,000 Broadway performances.

So the mezzo-soprano’s been lifeless quite a while.

Sadly, I found “Call Me Miss Birds Eye,” a new revue at A.C.T.’s Geary Theatre in San Francisco that’s a tribute to her career, equally lifeless.

It lacks all the brassiness, bravado and sheer energy the big-voiced, big-haired Merman brought to audiences.

Denise Wharmby — as The First Lady of the musical comedy stage — and her two backup singers, Martin Greenwood and Don Bridges, hit every note correctly.

With more than a hint of their native Australian accents.

But without pizazz.

Except when Wharmby, a San Rafael transplant from Tasmania, impressively holds notes for as long as the long-winded Merman might have.

Critics heralded that Queens, N.Y.-born superstar — who supposedly never took a singing lesson — for her precise enunciation and pitch.

Wharmby imitates both well.

Yet fails to capture Merman’s spellbinding over-the-topness.

Impressive, on the other hand, is that the revue is done entirely in Bel Canto style — that is, without a mic or amplifiers, the same acoustical Italian vocal technique Merman utilized for five decades.

It works, not counting when the guys muffle their voices by facing the wings instead of the audience.

The beauty part of “Call Me Miss Birds Eye,” though, is the songlist itself, with the crème de la crème of American Songbook composers represented.

Socko tunes include Irving Berlin’s “There’s No Business Like Show Business,” Merman’s theme; George and Ira Gershwin’s “I Got Rhythm,” from “Girl Crazy,” the thrush’s first Broadway outing; and Julie Styne and Stephen Sondheim’s “Everything’s Coming Up Roses” from “Gypsy.”

And although more than a third of the 33 songs contain astonishingly clever lyrics by Cole Porter, I’d still say the most amusing piece is “New Fangled Tango,” in which the Mutt and Jeff duo use their size difference for comedic effect.

Wharmby’s frequent gown changing can also be entertaining.

Despite my sense that the men occasionally tread vocal water just to give her time to switch costumes.

The 95-minute show would definitely improve via still or video projections, extra props, and choreography not limited to hands.

Instead of merely relying on the changing colors of a huge backdrop caricature of Merman.

Having previews, moreover, might have eliminated missed cues, vocal timing that was off, and an embarrassing moment when an exiting Wharmby almost knocked Bridges over.

Adding continuity would be advisable, too, since details presented about Merman’s life are skimpy — there’s not one allusion to her penchant for telling vulgar stories and dirty jokes in public, and only a quickie reference to four marriages that “wilted as quickly as the wedding bouquets.”

The show’s title, a play on the words of a Merman hit, “Call Me Madam,” refers to the star rejecting a change Berlin wanted to make within a week of opening.

She unnerved him with, “Call me Miss Birds Eye. It’s frozen.”

Merman, who loathed anyone sharing her spotlight, would have loved the idea that when she died every Broadway house dimmed its lights upon hearing the news.

And she’d have loved that 30 years later her fame hasn’t dimmed.

The musical director of “Call Me,” Graham Clarke, doubles as artistic director of Acoustic Voice of Australia, which produced and is presenting the revue. He firmly believes this pre-Broadway outing is a choice vehicle for those who want to immerse themselves in Merman songs and nostalgia.

That’s wishful thinking, I suspect.

Opening night, many patrons were checking watches with regularity — and about a quarter of the crowd left at intermission.

Clearly an audience that reviews a show with its feet.

“Call Me Miss Birds Eye” plays at the American Conservatory Theater, 415 Geary St., San Francisco, through July 19. Night performances, 7:30 p.m. Thursdays through Sundays. Matinees, 2 p.m. Saturdays. Tickets: $20 to $65. Information: (415) 749-2228 or www.act-sf.org.

Contact Woody Weingarten at www.vitalitypress.com/ or voodee@sbcglobal.net

Jul 10 2015
Love0

Call Me Miss Birds Eye: A Celebration of Ethel Merman is not ready for Broadway

By Kedar K. Adour

(r-l) Martin Grimwood, Denise Wharmby and Don Bridges in Call Me Miss Birdseye playing at the Geary A.C.T. Theater

Call Me Miss Birds Eye: A Celebration of Ethel Merman: Musical: Australia’s Acoustic Voice @ A.C.T.’s Geary Theater, 415 Geary St., San Francisco, CA. (415) 749-2228. www.act-sf.org.  July 8 – July 18, 2015 

 Call Me Miss Birds Eye: A Celebration of Ethel Merman is not ready for Broadway [rating:0]

The advertising for Call me Miss Birdseye created expectations for an evening of charming/ nostalgic theater. The show was written by the multitalented Londoner Jack Tinker and put together by Australia’s ambitious Acoustic Voice Theatre founded in 2012 and works exclusively with “bel canto” technique without the use of amplification. It would seem perfect for a celebration of Ethel Merman whose diction was perfect–every word could be understood–and in those pre-microphone days, her big voice could be heard in the last row of the last balcony. She was praised lavishly in her first stage appearance.

That first appearance was in 1930 as the second lead in George and Ira Gershwin Gershwin’s Girl Crazy which starred Ginger Rogers.  She stopped the show belting, “I Got Rhythm” and she continued gaining fame never being in a flop. She starred in five shows by Cole Porter: Anything Goes, Red, Hot, and Blue, Du Barry Was a Lady, Panama Hattie, Something for the Boys. Gypsy by Jule Styne and Stephen Sondheim was Merman’s greatest show and Mamma Rose her greatest part. 

Denise Wharmby, in the role of Ethel Merman does have a pleasant clear voice that reaches the back rows but never reaches the heights of the incomparable Merman. Her renditions of the songs that Merman made memorable do create a bit of nostalgia since they have become part of the Great American Songbook.

The evening is a combination of song and narrative that she shares with male backups Martin Grimwood, Don Bridges and musical director Graham Clarke on the grand piano. For some odd reason Don Bridges, who handles most of the narration also occasionally strums on a guitar that adds not a whit to the story line.

The staging is bare-bones, sophomoric and the humor is forced. Then there is an unintelligible first skit attempting to explain the title of this show that falls flat, as do most of the skits intended to inject humor. The opening skit is reference to the fact that Merman started her working career as a stenographer with a great skill at shorthand that she used throughout her life . . . even to typing her own contracts.

The song list of about 35 songs starts with Irving Berlin’s “There No Business Like Show Business” and is unfolded in mostly chronological order starting with  “Blow, Gabriel, Blow”, “I Get a Kick Out of You”, and “You’re the Top” by Cole Porter in Anything Goes.

The running time is one hour and 40 minutes with an intermission at which time many seats were vacated.

CAST: Denise Wharmby, Martin Grimwood, Don Bridges and Graham Clarke.

CEATIVE STAFF: Jack Tinker, Writer; Rick Wallace, Director/Choreographer ; Damian Muller, Designer; Daniel West, Stage Manager; Rooster Productions, Scenic design.

Kedar K. Adour, MD

Courtesy of  www.theatreworldinternetmagazine.com.

 

Jul 10 2015
Love0

Jazz-classical flute player nurtures affinity for bluegrass

By Woody Weingarten

Matt Eakle, virtuoso flute player. Courtesy photo.

“What’s a jazz and classical flute player like you doing in a bluegrass sextet like this?”

Because I’ve known Matt Eakle for years, I don’t need to ask: He and mandolin doyen David Grisman blend their distinct virtuoso sounds to make extraordinary music.

Matt’s been part of David’s bands for 26 years.

And he’ll be one-sixth of the Grisman sextet at Sonoma State University’s Green Music Center, Weill Hall and lawn, at 3 p.m. Sunday, July 12 as part of the Dawg Day Afternoon Bluegrass Festival.

Also on that bill are the Del McCoury Band and dobro master Jerry Douglas presenting the Earls of Leicester.

Asked about his favorite from the upcoming playlist, Matt cites “Watson’s Blues,” which is dedicated to blind guitarist Doc Watson, the first performer to invite David onto a stage at age 17.

The tune gives Matt, who delights in stretching musically, “an opportunity to recreate the classic ‘twin fiddles’ bluegrass sound, something flute players don’t get to do very often.”

Another stretch came recently when he performed in Coblenz, Germany, at a 13th century church — a Bach sonata duet with a pipe organist.

Often, Matt also gets to meander into unmapped melodic territory with David, whose bluegrass sextet explores folk, rock, string jazz, Latin music, klezmer-influenced tunes, soul and funk.

Their collaboration dates to 1985, when David “was auditioning bassists for a European tour and I happened to be at a bassist’s house. I’m a good sight-reader because of my classical training so I was able to read all the songs he’d brought on my first try. We both were astonished at the cool sounds mandolin and flute made when they blended together. Four years later, he called me for a jam session and I ended up in his band.”

The 58-year-old’s actually been playing flute since he was 12 — in junior high.

“They only had a piccolo at first, so that’s what I started on. But when they got a flute a month later, I switched. It was so easy compared to the piccolo that I fell in love right away.”

Later musical training included studying with the son of the San Francisco Symphony’s principal flautist and learning “improvisation by the seat of my pants.”

Not to mention playing alongside virtuoso musicians.

And he’s performed with Jerry Garcia, Stephane Grappelli, Chris Isaak, Bonnie Raitt and Linda Ronstadt.

He’s even done a couple of gigs — a benefit for Bread and Roses in Novato and another for homeless men being sheltered in San Anselmo — with my jazz pianist wife, Nancy Fox.

Matt Eakle (second from right) has played in bands led by Dave Grisman (third from left) since 1989. Courtesy photo.

Matt, despite being an environmentalist, lets no grass — blue or otherwise — grow under his feet.

He performs with his own quartet, the Matt Eakle Band; plays with the Murasaki Ensemble, a quintet led by Shirley Muramoto, who excels on koto, a classical horizontal harp-like string instrument frequently used for court music in Japan; puts in tons of freelance appearances; and teaches jazz and classical flute.

The flute player — he’s turned off by the word “flautist” — has sparse spare time.

He runs nearly every day, often barefoot.

Sometimes he runs to the top of Bald Hill, just west of his adopted town of San Anselmo, where he’s lived since 1998 with his wife, Lucia.

He supplements that with pushups and pull-ups (scoliosis forced him to give up standing on his head).

He’s slowed down on yanking out non-native plants from San Anselmo’s Faude Park, however, though he’d done it for years. In fact, as chair of the town’s Quality of Life Commission, I’d handed him a Green Award for his weeding.

Matt’s recorded three albums of his own, from which his favorite jazz piece is “Speak Low.” He admits attributing the Kurt Weill composition “to the wrong person on my CD, ‘Flute Jazz,’ but they don’t care because I send the royalties to the right place.”

What makes him unique as a flute player?

“My emphasis on sound and tone coloration and the fact that I surrender completely to the groove.”

I’ve more than once watched him perform at Iron Springs Pub in Fairfax, where he sways his body like a dancing Spiderman.

That, he explains, is “just my natural reaction, what happens to me, and I try not to interfere with it.”

Future Green Music Center events, in addition to the July 12 Dawg Day Afternoon Bluegrass Festival, include appearances by Jay Leno July 31, Natalie Cole Aug. 1, Steve Martin Aug. 20, Dwight Yoakam Aug. 21, Chris Botti Sept.11, Wynton Marsalis Sept. 17 and Kristin Chenoweth Sept. 25. Tickets: $20 to $175. Information: 866-955-6040 or gmc.sonoma.edu.

Contact Woody Weingarten at www.vitalitypress.com/ or voodee@sbcglobal.ne

Jul 08 2015
Love0

“Cymbeline” – Marin Shakespeare Company

By Joe Cillo

Paul Abbott as Cymbeline, Rod Gnapp as Belarius, with Zack Purdy and Patrick St. John as the Princes with Jed Pirario as Pisanio.

William Shakespeare’s Cymbeline, Marin Shakespeare Company.

Directed and adapted by Robert Currier, with a cast of thousands- no, not really. No one really knows much about Cymbeline, Shakespearse’s convoluted rom-com (in today’s parlance), except that it’s alleged to be one of his last plays.  It is believed to have been written in 16ll and to echo the Bard’s own coming to terms with his family as he approaches his final act. Director Robert Currier has effectively trimmed the play to a manageable couple of hours and still maintain its coherence, continuity and major and minor plot twists.  To his credit as well is his clever incorporation of contemporary tropes, such as Nat Curries’ additional lyrics to Brooks’s and Warner’s “That’s Amore.” Another that elicited delightful laughter from the audience was Rod Gnapp’s (the leader of the uncouth Mountain Folk of Wales, Belarius) deliberate breaking of the fourth wall to clarify the multiple names for his “adopted” sons to help us make sense of the confusion.  The play is upbeat and never loses our interest thanks to the actors who maintain high energy throughout.  Kudos to composer Billie Cox for her musical adaptations from Shakespeare’s lyrics as well as original compositions.  She created lovely musical interludes in the style of the era, everything from romantic ballads, a rock tune played on a ukulele no less; a madrigal, a monologue mimicking Gibert and Sullivan; an Irish dirge and a jaunty woodsman tune.  Cox also designed the sound for the outdoor arena, enabling us to hear every word and song lyric.

Cymbeline is the bellicose King of the Britons, beautifully played by a believable, heavily-bearded Paul Abbott.  Cymbeline ruled when Rome occupied Briton and battles were still being fought over payment of the tribute owed Rome. His daughter and only heir is Imogen (a sweet yet strong and determined Stella Heath).   In order to ensure that she will stop at nothing to attain her goal, she at one point disguises herself as a boy.  Cymbeline’s (nameless) narcissistic and perfidious Queen (Lee Fitzpatrick) had a son (from a previous marriage?), Cloten (Thomas Gorrebeeck).   He is spoiled and self-indulgent, a dandy with shoulder-length blond locks.  He swans about on stage flipping those locks, seeing himself as the proverbial God’s gift, yet cannot understand why he’s rebuffed!

Thomas Gorrebeeck as Cloten and Lee Fitzpatrick as his mother, the Queen

The plot begins to confuse when it is revealed that Imogen had two brothers who were kidnapped as infants by Belarius, from Cymbeline and their mother.  We meet him and his charges near play’s end.  The boys, Guiderius, known as Polydore (Zack Purdy) and Arviragus, known as Cadwall (Patrick St. John) are now twenty-something strapping mountain dudes in their own right, but innocent of their rightful heritage.  They leap agiley about the mountain set created by set designer Jackson Currier.  Then there’s Posthumus, a poor orphan, raised by Cymbeline.  He’s shy thus non-assertive and hopelessly in love with Imogen. Actor Thomas Gorrebeeck plays both Cloten and Posthumus, two totally different characters.  Unless you followed the cast list, you’d never know this, which attests to the actor’s versatility. A delightful, expressive Jed Parario, who moves about the stage like a dancer, plays Posthumus’s loyal servant, Pisanio.

Imogen and Posthumus    Stella Heath as Imogen and Thomas Gorrebeeck as Posthumus

Others vie for Imogen’s hand.  Davern Wright credibly acts the part of the most aggressive suitor, Iachimo, rightly billed as “a smarmy” Italian.  His cohort played by Zack Purdy is Philario; in the mix is a Frenchman played by Rafael Sebastian.  Glenn Havlan returns to Marin Shakes for a third season after a successful run of “Taming of the Shrew,” by Theater of Others in San Francisco of which Havlan is the founder and director.   In “Cymbeline” he plays a musician as well as a rather thankless rôle as Calius Lucius, the Roman Consul; Xander Ritchey played his Captain. Caius’s soldiers are played by Carolyn Doyle and Isabelle Grimm. Shakespeare most always writes otherworldly characters into his plays.  “Cymbeline” is no exception: Debbie Durst plays Cornelius, a doctor in the ruler’s court.  She is referred to as a witch, carries a wand, and is dressed in a black cowl and flowing gown.  Ms. Durst delivers her portends with commanding, yet wry ominousness.   Lee Fitzpatrick also plays a Goddess (the dead Queen?) and Annika Gullahorn is double-cast as a court gentlewoman and an Otherworldly Mercury.

Costume designer Tammy Berlin deserves praise for her work in this production.  A costume can either make or break the believability of a character. “Cymbeline” will play at Marin Shakespeare’s Forest Meadows Amphitheatre, Dominican University of California in San Rafael, through July 26.  Go to: www.marinshakespeare.org for more information and a schedule of upcoming plays..

Jul 03 2015
Love0

Fiddler on the Roof given an unique outing by Berkeley Playhouse

By Kedar K. Adour

FIDDLER ON THE ROOF: Musical Drama based on Shalem Aleichem’s stories. Book by Joseph Stein. Music by Jerry Bock. Lyrics by Sheldon Harnick. Directed by Jon Tracy. Choreographed by Matthew McCoy. Musical Direction by Rachel Robinson. Berekeley Playhouse, Julia Morgan Theater, 2640 College Avenue, Berkeley, CA. (510) 845-8542 x351 or visit www.berkeleyplayhouse.org.       June 25 – August 2, 2015

Fiddler on the Roof given an unique outing by Berkeley Playhouse [Rating: 3]

It has been over 50 years since Fiddler on the Roof made its debut on Broadway running for a record of over 3000 performances. There have been four Broadway revivals and a highly successful 1971 film adaptation. Since its release for public performance it has become a popular musical being performed by High Schools, community theaters and professional groups. It has played in many venues in the Bay area with four or more National Tours making successful stops in San Francisco. The latest showing is by the ambitious Berkeley Playhouse in the comfortable 350 seat Historic Julie Morgan Theater.

This play with the major character Tevye who talks to God (not a very good listener) is populated with believable characters brought to life with an extremely competent cast (with minor caveats) under the trademark direction of Bay Area icon Jon Tracy. It is the most innovative, physical production of Fiddler seen to date by this reviewer. The masterful score is brought to life by a seven piece band with the marvelous, unseen, Christina Owens doing the honors on the violin.

The story is well known with universal appeal even though the time is pre-revolution Russia and the place is Anatevka a poor rural Jewish town steeped in “Tradition” told by Tevye (Michael RJ Campbell) and the Company in the prolog. The always inventive director Tracy has elected to have  ALL of the Company sitting on the periphery of center stage for the entire performance. More about that later.

Tevye and wife Golde (Sarah Mitchell) have five daughters, three of marriageable ages who break with tradition to marry for love rather than to those “traditionally” chosen by the father.  The oldest Tzeitel (Abbey Lee) wishes to marry the poor tailor Motel (Kirk Johnson) rather than the butcher Lazar Wolf  (Berwick Haynes) a rich old widower.  Free spirited Hodel (Jade Shojee) falls in love with revolutionist Perchik (Joel Roster)  and Chava (Grace Ng) marries the Christian Fyedka (Luke Myers). Woven into this break with tradition is the concept of family being challenged by social values intertwined with social upheaval.

The songs are some of the finest written including “Matchmaker, Matchmaker”, “If I Were a Rich Man”, “To Life”, “Miracle of Miracles”  and the plaintive “Sunrise, Sunset.”

 Michael RJ Campbell earns most of accolades as the poor dairy farmer Tevye but his comic timing misses a beat. This is most noticeable in the scene about selling the cow with Lazar Wolf (Berwick Haynes). Sarah Mitchell handles the role of a typical Jewish mother with restraint and is marvelous in the “Do You Love Me?” duet with Campbell. Abbey Lee, Grace Ng and Jade Shojaee are charming as Tevye’s daughters and have a show stopper  with the “Matchmaker, Matchmaker” number.

Director Tracy who cut his teeth as a director in 2007 with the SF Playhouse production of First Person Shooter is much in demand in the Bay Area and has become known for the physicality and uniqueness of style. It is worth seeing this excellent production of Fiddler to catch up on his progression.

There is no “roof” for the Fiddler to mount but rather a wooden ramp placed on a diagonal on the rear wall created by floor to ceiling aged wooden planks with gaps between them. This gives Tracy the entire width of the stage to move his cast and to bring his characters and ensemble from the wings producing tableaus that burst into action. To indicate the passage of time, both weekdays and years are unobtrusively projected on the planks.

Added to this unique staging are the authentic costumes created by Liz Martin and spirited choreography by Matthew McCoy although there is too much stomping that becomes distracting.

 Recommendation: A should see production but a bit long at two hours and 50 minutes with intermission.

CAST: Tevye, Michael RJ Campbell; Golde, Sarah Mitchell; Tzeitel , Abbey Lee; Hodel, Jade Shojaee; Chava, Grace Ng; Lazar Wolf, Berwick Haynes; Yente, Jennie Brick; Motel, Kirk Johnson; Perchik, Joel Roster; Fyedka, Luke Myers; Avram, Tom Curtin; Constable, Johnny Debernard; Rabbi, John Hale; Sasha, Zach Hansen; Shaindel, Bonnie Lafer; Boris, Charles Peoples Iii; Mordcha, Jeanine Perasso; Nachum, Billy Raphael; Mendel, Salim Razawi; Yussel, Victoria Siegel. Ensemble: Bennie Brown, Sabrina Fiora, Andrew Humann, Jude Mcentee, Benjamin Nguyen, Abby Peterson, Lonnie Sears, Jessica Rose Slaght, Abe Soane, Shelby Stewart, Madeleine Wack,  Denise “Dee” Wagner.

CREATIVE TEAM:  Director JonTracy; Musical Direction by Rachel Robinson ; Scenic Design by Catalina Niño; Lighting Design by Drew Kaufman; Costume Design by Liz Martin; Sound Design by Taylor Gonzalez; Prop Design by Devon LaBelle.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

 

Tevye (Michael RJ Campbell – Member Actors’ Equity) dances with his daughter Chava (Grace Ng) at “The Wedding”, in Berkeley Playhouse’s production of Fiddler on the Roof directed by Jon Tracy. Performed at the Julia Morgan Theater, June 25 – August 2, 2015. Photo by Ben Krantz Studio.

Jul 02 2015
Love0

‘Book of Mormon’ finds its way to San Jose

By Judy Richter

Funny, obscene, energetic, sacrilegious.

These are all ways to describe “The Book of Mormon,” the wildly popular musical presented by Broadway San Jose.

Winner of nine 2011 Tony Awards, including best musical, it’s the brain child of Trey Parker (who co-directs), Robert Lopez and Matt Stone, the threesome that wrote the music, book and lyrics. Parker and Stone also are known for creating “SouthPark.” Lopez is co-creator of  “Avenue Q.”

Taking off on the requirement that pairs of young Mormon men must spend two years as missionaries trying to gather converts, the musical focuses on two opposite personalities. Handsome, egotistical Elder Kevin Price (Billy Harrigan Tighe) hopes to go to Orlando, Fla. Instead, he’s paired with dorky, insecure Elder Arnold Cunningham (A.J. Holmes) to serve in a village in Uganda.

Kevin is sure he can convert the villagers, but he and Arnold quickly learn that they’re more focused on day-to-day survival. They’re also threatened by the thuggish General (Corey Jones), who wants to circumcise all of the females.

After some traumatic experiences, Kevin decides to leave, while Arnold stays.  He’s attracted to and has established a rapport with Nabulungi (Alexandra Ncube), a young woman in the village. The villagers are bored when he tries to read the Book of Mormon to them, but they perk up when he uses his tendency to lie in order to embroider its stories with some vividly imagined improvisations.

As for the ways this show can be described, it can be quite funny, but it’s liberally laced with obscenities and religious mockery that some people might find offensive.

Perhaps the most lasting impression comes from the energetic dancing by the 36-member cast (choreography by co-director Casey Nicholaw) and fine performances by everyone, especially the principal characters, led by Holmes as the puppy-doggishArnold. Ncube as Nabulungi is a show-stopping singer, as shown in “Sal Tlay Ka Siti,” her way of pronouncing Salt Lake City.

Even though this is a road show, production values are high with sets by Scott Pask, costumes by Ann Roth, lighting by Brian MacDevitt and sound by Brian Ronan. Justin Mendoza is musical director.

Running about two and a half hours with one intermission, “The Book of Mormon” might not be to everyone’s tastes, but it garnered a loud, enthusiastic response at opening night.

It runs through July 12 at the San Jose Center for the Performing Arts. Tickets and information are available by calling (800) 982-2787 or visiting www.BroadwaySanJose.com.

 

Jun 30 2015
Love0

Reviews and Previews of Bay Area Summer Theatre

By Linda Ayres-Frederick

Love and Information by Caryl Churchill at  ACT’s is a collection of 57 self-contained scenes on the title’s subject –each lasting from five seconds to five minutes with over 140 characters played by a talented ensemble of twelve actors. Each scene contains from one to 3 actors and the entire show runs about 90 minutes. This theatrical kaleidoscope employing video and film is staged imaginatively by Director Casey Stangl in the newly opened Strand Theater at 1127 Market Street, SF.  Continuing through August 9, 2015. Tickets $40-$100 415.749.2228/ act-sf.org.

Aurora Theatre Company’s closes its 23rd season with DETROIT by Lisa D’Amour. This Bay Area Premiere of the Obie-winning satire features Amy Resnick, Jeff Garrett, Luisa Frasconi and Patrick Kelly. Ms. Resnick is wildly funny as Mary who with her husband Ben–newly unemployed–are attempting to survive in their suburban home.  Welcoming young Sharon and Kenny who met at rehab and have just moved into the long empty house next door, the older couple’s values get threatened when the backyard barbecue turns dangerous and threatening.  Director Josh Costello keeps this dark comedy moving as we watch the social fabric of the American psyche fray strand by strand. DETROIT plays through July 19 at the Aurora Theatre in Berkeley. Tickets $32-$50 510.843.4822/ auroratheatre.org

Extended through July 5th is Custom Made Theatre’s SF Premiere of Grey Gardens, the Musical directed by Stuart Bousel with Musical Direction by David Brown. Based on a true story and the documentary, Grey Gardens  (book by Doug Wright, music by Scott Frankel, Lyrics by Michael Korie) is a fascinating exploration of Jackie Kennedy’s aunt and cousin who in 1973 she discovered living in a squalid Long Island Mansion and hanging on to reality by a thread. The stellar cast brings to life this musical exploration of the American dream gone wrong and what it means to become a social pariah by examining both the back-story of the family and the fate they couldn’t possibly have imagined. Heather Orth and Juliana Lustenader lead the cast in spot on performances. Tickets $20-$50 www.custommade.org/tickets.

Upcoming July 9th – Aug 2nd and back for the fifth time, don’t miss Custom Made’s longest running show in their 16 year history, the hilarious Book of Liz by David and Amy Sedaris about everyone’s favorite squeamish nun Elizabeth Donderstuck and her famous cheeseballs at Gough Street Theatre.

And as of  Sept 1st, Custom Made will have a new home at 533 Sutter Street, 2nd floor, between Powell and Mason. More news at www.custommade.org/tickets.

Around the corner at the Phoenix Theatre at 414 Mason Street, Off-Broadway West  just completed their run of Harold Pinter’s modern classic The Birthday Party ably directed by Richard Harder. The Birthday Party is about Stanley Webber (Adam Simpson), a one-time piano player in his 30s, who lives in a boarding house, run by Meg (Celia Maurice) and Petey Boles (Graham Cowley), in an English seaside town. Two sinister strangers, Goldberg (Keith Burkland) and McCann (James Centofanti), who arrive supposedly on his birthday and who appear to have come looking for him, turn Stanley’s apparently innocuous birthday party–organized by Meg with their saucy neighbor Lulu (Jessica Lea Risco) as a guest–into a nightmare. This is ensemble acting at its best. Sound and Lighting Design by Ian Walker create additional elements of foreboding on Bert Van Aalsburg’s believably English set. OBW’s next production will be in 2016. www.offbroadwaywest.org

For Discount tickets to many of these and other theatre events check out Goldstar.com

Linda Ayres-Frederick

 

Jun 30 2015
Love0

Economic malaise personified in ‘Detroit’

By Judy Richter

The title of Lisa D’Amour’s play, “Detroit,” is a symbol rather than a geographic reference. In fact, that city is never mentioned, and the action takes place somewhere in suburbia.

Aurora Theatre Company is giving the four-person play its Bay Area premiere. As it opens, a middle-aged couple, Ben (Jeff Garrett) and Mary (Amy Resnick),  have invited their younger new neighbors over for a backyard barbecue.

Mary, a paralegal, and Ben are barely getting by after he’s laid off from his job as a loan officer. Meanwhile, Kenny (Patrick Kelly Jones) and Sharon (Luisa Frasconi) have next to nothing, not even furniture for his late aunt’s empty house. They’re trying to start over after meeting in rehab, they say.

As their friendship continues, cracks in Ben and Mary’s relationship are revealed.

In his program notes, artistic director Tom Ross says, “Detroit refers to the state of economic despair Americans were experiencing in 2009,” when the play was written.

Directed by Josh Costello, this production lacks a sense of ensemble because Garrett’s Ben tends to be one-dimensional. He often wears an expression of surprise, as if he doesn’t quite understand what’s happening. The other three actors create more complex characters.

Costello also allows one scene near the end to get out of control. It starts when the wives decide to go off on a camping trip, leaving the husbands to their own devices. The men are just about to enjoy a boys’ night out, when the women unexpectedly return. The scene devolves into a too loud, too long drunken dance party that’s no fun for the audience.

The backyard set is by Mikiko Uesugi with lighting by Kurt Landisman,  sound and music by Cliff Caruthers, and costumes by Christine Crook.

Running about 100 minutes without intermission, the play does have its amusing moments and interesting scenes, but, at least as presented in this production, it doesn’t seem to merit being named a Pulitzer Prize finalist for 2011.

“Detroit” will continue through July 19 at Aurora Theatre Company, 2081 Addison St., Berkeley. For tickets and information, call (510) 843-4822 or visit www.auroratheatre.org.

 

Jun 29 2015
Love0

DETROIT (the play) goes out in flames at Aurora Theatre.

By Kedar K. Adour

Kenny, Mary, Sharon, and Ben (l-r, Patrick Kelly Jones*, Amy Resnick*, Luisa Frasconi, Jeff Garrett*) have a wild backyard barbeque in Aurora’s Bay Area Premiere of Detroit

DETROIT: Comedy/Satire. Written by Lisa D’Amour. Directed by Josh Costello. Aurora Theatre Company, 2081 Addison St., Berkeley, CA. Box office: (510) 843-4822 or www.auroratheatre.org. June 19 – July 19, 2015

DETROIT (the play) goes out in flames at Aurora Theatre.  [rating:2]

Have you ever wondered what qualities make a play an award winner and who are the judges that make those decisions? After seeing Aurora Theatre’s production of Lisa D’Amour’s play Detroit be assured that those questions may be foremost in your mind. On opening night the audience gave appreciative applause but not the usual standing ovation from their loyal subscription base.  In fact, more than one audience member took furtive glances on their wrist watches during the 100 minute, without intermission running time.

First, the title is a metaphor for implosion of the American Dream typified by the decay of the city of Detroit that was so pertinently documented in a recent issue of National Geographic Magazine. The end of jobs and loss of income leave little hope for a return of a local productive society nor a way out personal quagmires. D’Amour spends 90 of those 100 minutes semi-demonstrating these points based on the lives of two unlikeable couples. She has tacked on a 10 minute monolog for an elderly man who bemoans the “good-old-days” reemphasizing the societal destruction.

All the action takes place in the backyards of two adjacent homes. A married couple, Mary (Amy Resnick) and Ben (Jeff Garrett) are giving a barbeque for a couple who have moved into the run-down unfurnished next door home. They are Sharon (Luisa Frasconi) and Kenny (Patrick Kelly Jones). They are impecunious and recovering drug addicts trying to rebuild their lives. Ben has lost his job as a bank clerk and they are living, barely, off of Mary’s salary as a para-legal.  Ben is attempting to build a web site that will help those in financial trouble.

Not much happens until late in the play when all hell breaks loose emphasizing the old adage “in vino veritas.” Before the author gets to that point her methods of character development mainly involve monologs. Those monologs are disguised as conversational dialog usually when one of the characters is under the influence of alcohol or drugs or is having a psychiatric break. Since this a satirical comedy there is a modicum of humor but there are long lapses between laughs. Symbolism abounds but is hardly intellectual or remarkably cogent.

The ending is a stunner (not to be revealed here) and accolades are deserved by the artistic staff of set designer Mikiko Uesugi, sound Designer Cliff Caruthers and light designer Kurt Landisman even though the scene changes are a bit cumbersome.  Much of the fault of this production can be attributed to the heavy-handed approach of director Josh Costello and the physicality of the staging that could benefit with a lighter touch.

The actors give it their all with Amy Resnick giving her usual professional performance ably supported by Luisa Frasconi and Patrick Kelly Jones. Jeff Garret gives a confusing performance as Ben but it may be director Costello’s interpretation of the part.

CAST: Luisa Frasconi as Sharon; Jeff Garrett as Ben; Patrick Kelly Jones as  Kenny & Frank; Amy Resnick as Mary.

ARTISTIC STAFF: Director, Josh Costello; Wesley Apfel, Stage Manager; Daniel Banato, Props Artisan; Cliff Caruthers, Sound Designer; Christine Crook, Costume Designer; Kurt Landisman, Light Designer; Mikiko Uesugi, Set Designer; Lias D’Amour, Playwright

RUNTIME: 1 hour and 40 minutes with no intermission. Recommendation: Pass on the content but a should see for the staging.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazie.com.

Kenny, Mary, Sharon, and Ben (l-r, Patrick Kelly Jones*, Amy Resnick*, Luisa Frasconi, Jeff Garrett*) have a wild backyard barbeque in Aurora’s Bay Area Premiere of Detroit

Jun 28 2015
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Rogers & Hammerstein’s “South Pacific”, SRT at Santa Rosa Junior College, Santa Rosa CA

By Greg & Suzanne Angeo

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

AnnEliza Canning Skinner, Riley McFarland

Fresh and Lively “South Pacific” a Highly Watchable Kickoff to SRT’s 44th

The Summer Repertory Theatre Festival has been celebrated at Santa Rosa JC for 44 years now. For the uninitiated, the SRT festival features scores of theatre students, including locals and those from various universities and colleges across the country. It’s remarkable, but this is one of the few remaining repertory theatre companies in the United States. The company consists of stock actors, each having a role in multiple shows. This way, they are exposed to playing vastly different characters in different plays over the course of a season, a real learning experience and trial by fire for many. One of the most beloved musicals by Rogers and Hammerstein, “South Pacific”, is one of three festival shows being presented in the 75year-old 400-seat Burbank Auditorium on the JC campus.

First presented on Broadway in 1949, “South Pacific” was a smash hit, loosely based upon an anthology of short stories called “Tales of the South Pacific”, about island life during World War II, written by noted author James Michener. The story, released as a classic musical film in 1958, has become a long-time favorite that transcends the decades. Its sweet, gentle humor and social consciousness (unusual for the day) seems more timely than ever. And then there’s that music…gorgeous and highly singable, the kind of stuff you just can’t get out of your head, or your heart.

Emily Kristen Morris, Noah Weisbart

The production team under director James Newman really does justice to this wonderful piece. There are the usual suspects in local theatre – during the overture, the trumpets were a bit off-key – but overall, this is a remarkable achievement by triple-threat performers who hopefully will stay in the game and go on to even bigger successes.

The true standout and incandescent star of the show is Emily Kristen Morris as Ensign Nellie Forbush, the happy-go-lucky “Cockeyed Optimist” who finds herself in a risky romance. Morris is in fine voice, and has the acting and dancing chops to match. Nellie’s unfortunate love interest is Emile, a French expatriate who appears to be hiding something. Noah Weisbart’s portrayal often comes off a bit stiff, and while he possesses a quality baritone he may be singing below his range at times. Some awkward staging also obscures the chemistry between Emile and Nellie in their first scenes together, but they recover.

Noteworthy performances include a winsome Michaela Jose as Bloody Mary, who delivers a fresh, sincere interpretation of the role with songs like “Bali Hai” and “Happy Talk”; Riley McFarland plays Lieutenant Joseph Cable, whose romance with an island native girl Liat (played by talented dance captain AnnEliza Canning Skinner) underscores the racial tensions at the heart of the story. McFarland gets off to a slow start but grows into his role.

Snappy choreography by Anne McAlexander combines with orchestration by music director Nancy Hayashibara and ensemble vocals by the cast on some really memorable numbers: “There is Nothin’ Like a Dame”, the rousing, enthusiastic tribute to the female sex, is performed with great harmony by those Navy boys; “I’m Gonna Wash That Man Right Out’a My Hair” is simply adorable, performed with klutzy, clownish delight by Morris and ladies of the chorus, joined by some of the guys for a laugh. But the high point of the show comes with the opening of Act II. It’s then that we are able to witness a true rarity on local stages – a tap dance number, done really, really well. Its high-energy stomping percussion is exciting to see and over much too quickly. More, please!

Of course, it’s always nice to watch attractive young people romping about onstage. But when their boundless energy and budding talent is this laser-focused on their performances, it becomes a joyful experience. Their lively spirit carries the show, rolling right over any opening-night jitters or stumbles of inexperience.

If you’ve only seen the film, you are in for a surprise, because there are striking differences from the stage production in the way the story unfolds. But with lots of great music performed by this kind of talent, there’s no way you can go wrong. SRT’s production of “South Pacific” is the perfect summer confection, presented with heart and soul.

Ensemble Cast – Men

When: Now through August 8, 2015

Performances: Weekdays (except Mondays) and weekends

2:00 p.m. matinees, 7:30 p.m. or 8:00 p.m. evenings

(See www.SummerRep.com for details)

 

Tickets: $18 to $25

Where: Burbank Auditorium at SRJC

1501 Mendocino Avenue

Santa Rosa, CA 95401

(707) 527-4307

 

Other shows being presented by SRT Festival at SRJC:

“Emma” by Jane Austen (Newman Auditorium)

“Peter and the Starcatcher” (Burbank Auditorium)

“Tartuffe” (Newman Auditorium)

“Little Shop of Horrors” (Burbank Auditorium)

 

Festival runs through August 8, 2015

 

www.SummerRep.com