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Apr 12 2015
Love0

Nick and Nora survives its resurrection by 42nd Street Moon

By Kedar K. Adour

(l-r) Brittany Danielle and Ryan Drummond (as Nick and Nora Charles), with Allison Rich and Nicole Frydman (front) in 42nd Street Moon’s production of Nick & Nora, playing April 1-19 at the Eureka Theatre. Photo by David Allen

Nick and Nora: Mystery Musical. Music by Charles Strouse. Lyrics by Richard Maltby, Jr. Book by Arthur Laurents. Directed by Greg MacKellan. Music Direction by Dave Dobrusky. 42nd Street Moon Theatre, Eureka Theatre, 215 Jackson St., San Francisco. April 1-19, 2015. Box Office:  415/255-8207 or www.42ndstmoon.org.

Nick and Nora survives its resurrection by 42nd Street Moon [Rating:2]

For aficionados of musical theatre from past generations there is a good reason to see 42nd Street Moon’s resurrection of the 1991 flop Nick and Nora since they probably will not have an opportunity to see a full scale production again. This is the first and only full scale production of the musical since it opened on Broadway in 1991after 71 previews of writes and rewrites to last a total of nine days on Broadway. As is their pedigree, 42nd Street Moon pulls out all stops with this staging giving its loyal audiences their money’s worth even though the plot is convoluted and the music non-memorable.

The story is based on the immensely popular 1930s “Thin Man” movies starring William Powell and Myrna Loy created from Dashiell Hammett’s novel. Nick (suave Ryan Drummond) and Nora (a miscast Brittany Danielle) Charles are an urban married couple with martini drinking Nick a whiz at solving murder mysteries and Nora wanting to match his abilities. Her competitive spirit is aroused and she takes on the assignment of solving the murder of a Hollywood actress Lily Connors (a marvelous Cindy Goldfield). As clues and miss-clues pile up the solution to the murder is equally unexpected as those from the movies.  Drummond commented in a pre-production interview “. . . movies. . . do not translate well to the stage.”

Greg MacKellan is a master at musical direction and moves the characters in and out of multiple and often non-linear scenes gracefully with panache gaining the most humor possible from the script. Staci Arriaga’s choreography is superlative and Hector Zavala’s 1930s costumes are gems with more than a touch of humor especially for the shoes! Megan Stetson’s dresses for her role as the fireball wanna-be actress Maria Valdez would be envied by Carman Miranda. She, Davern Wright and Justin Gilman have a song and dance show stopper with “Boom, Chika Boom” that is a highlight of Act two.It is Nicole Frydman as much put upon blonde Lorraine Bixby who steals parts of the show. Accolades also go to William Giammona as Victor, Allison Rich as an egotistical actress and hilarious Brian Herndon as director Max Bernheim the initially accused murder. OK, so that’s a tip off, but be advised to beware of red herring clues.

Running time two hours and 40 minutes with an intermission.

C A S T: Ryan Drummond* (Nick Charles); Brittany Danielle* (Nora Charles); Allison F. Rich* (Tracy Gardner); William Giammona (Victor Moisa); Michael Barrett Austin* (Lt. Wolfe); Michael Kern Cassidy* (Edward J. Connors); Nicole Frydman (Lorraine Bixby); Justin Gillman (Spider Malloy; Juan); Cindy Goldfield* (Lily Connors); Brian Herndon* (Max Bernheim); Megan Stetson (Maria Valdez); Reuben Uy* (Yukido); Davern Wright (Selznick, The Other Juan).

C R E A T I V E CAST:  Greg MacKellan (Director);  Dave Dobrusky (Musical Director); Staci Arriaga (Choreographer); Kris Vecere (Stage Manager); Hector Zavala (Production Manager/Set & Costume Design); Danny Maher (Lighting Designer); Yvonne Ortiz (Design Assistant); Nick Di Scala (Musician Woodwinds).

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

 

Apr 10 2015
Love0

The Braggart Soldier is a winning rollicking/ribald /romp at Custom Made

By Kedar K. Adour

Cast: Alan Coyne (Dexter – red cap), Kai Morrison (Major Topple d’Acropolis), Matt Gunnison (Haplus – blue cap), Jef Valentine (Hospitalides – old man), Eden Neuendorf (Convivia – ingénue), Darek Burkowski (Nautikles – bow tie, skipper outfit), Catherine Leudtke (Climax – dominatrix costume).

The Braggart Soldier or Major Blowhard  by Plautus. Adapted and directed by Evren Odcikin translated by Deena Berg. Custom Made Theatre Company, Gough Street Playhouse, 1620 Gough at Bush, San Francisco. (415) 798-CMTC (2682) or www.custommade.org.

The Braggart Soldier is a winning rollicking/ribald /romp at Custom Made [rating:4]

The more the world changes the more it remains the same is an aphorism associated with personal, impersonal and interpersonal behavior even though the world is being torn apart by war. Is that what multitalented local theatre icon Evren Odcikin is telling audiences in his staging of the 2200 year old Roman play, The Braggart Soldier,  by Titus Maccius Plautus?

Be assured there is no need to engage in intellectual banter after seeing/enjoying Custom Made’s latest mounting at the Gough Street Playhouse. The decision to bring in an Odcikin production was a brilliant move. It truly displays Odcikin at his best and in all respects. He has adapted Deena Berg’s translation, directed the play and designed the set.

The acting is appropriately and extremely broad. It is great comedia dell’ arte tomfoolery with costumes (Keiko Shimosato Carreiro) to match. The age old conflict between master and servant opens the show with Dexter (Alan Coyne) servant to Nutikles (Darek Burkowski) engaging in banter with braggart Major Toppole d’Acopolis (Kia Morrison) in order to gain his trust. It seems the Blowhard has stolen Convivia (Eden Neuendorf) lover of Nautikles and Dexter is brewing up a plot to return her to Nautikles.

Do not concern yourself with the relationships since Dexter who is on stage for most of the 95 minute play without intermission explains and introduces all the characters to the audience. When there is one character missing he inveigles a member of the audience to take the part. There are other forays into audience participation that are hilarious.

Deception is the key word in the plot with two houses separated by a backyard garden with Convivia struggling between the Blowhard’s house and the house of lecherous Hospitalides (Jef Valentine) where the lovers have secret trysts. Alas Blowhard’s servant Haplus (Matt Gunnison) has chased a monkey across the roof of Hospitalides’ house and (horrors) observed the lovers engaged passionate embraces nee sex?

 It’s a puzzlement (apologies to The King and I since the play is more like A Funny Thing Happened on the Way to the Forum) to Haplus. Dexter must now create an identical twin sister of Convivia. Here the plot thickens and the final character, a dominatrix, named Climax (Catherine Luedtke) is brought into the plot.

Enough about the plot. It is the staging; acting, costumes and directing that create a winning evening. Limber-limbed Alan Coyne contorts his body and face adding depth to his straight and double entendre lines keeping pace with Odcikin’s fluid direction. Matt Gunnison in his brief stints upon the stage as Haplus matches Coyne in physicality and almost becomes the audience favorite.

Eden Neuendorf and Darek Burkowski as the star crossed lovers somewhat underplay their roles but do gain audience approbation. Jef Valentine as Hospitalides has to overcome the hilarious cod piece attached to glorious costume. And finally, if you are into S & M, you surely should hire Climax given a scene stealing performance by Catherine Luedtke. Kai Morrison’s performance as the Blowhard is so good that you may say he deserves the beating he gets.

Before the lights go out to end the play Dexter asks Haplus what he thinks is the moral to the story. With “puzzlement” on his face, Haplus responds: “Never chase a monkey across the roof!”

CAST: Dexter, Alan Coyne; Major Topple d’Acropolis,  Kai Morrison; Haplus, Matt Gunnison; Hospitalides,  Jef Valentine; Convivia, Eden Neuendorf; Nautikles, Darek Burkowski; Climax, Catherine Luedtke*

CREATIVE TEAM: Director/Scenic Design, Evren Odcikin; Stage Manager, Grisel Torres; Costume Design, Keiko Shimosato Carreiro; Lighting Design, William Campbell; Sound Design, Liz Ryder; Properties Design, Cat Howser; Scenic Painter, Nicola McCarthy; Technical Director, Stewart Lyle.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com


Apr 09 2015
Love0

Seven Brides for Seven Brothers a hit at Derby Dinner Playhouse.

By Kedar K. Adour

Derby Dinner Playhouse presents: SEVEN BRIDES FOR SEVEN BROTHERS. March 31 – May 10, 2015; Pictured from left to right: Jordan Cyphert, Austin Stang, Jililan Prefach, Justin Ostergard, Dick Baker, Michael McClure, and Adam Raque (front)

Seven Brides for Seven Brothers: Musical. Derby Dinner Playhouse, 525 Marriot Drive, Clarksville, IN. 812-288-8281 or www.derbydinner.com.

May 31 –May 10, 2015

Seven Brides for Seven Brothers a hit at Derby Dinner Playhouse. [rating:4]

Last weekend, after arriving early in Louisville for the 2015 Humana New American Plays Festival, a glance at entertainment available in the area revealed an opening night for one of my favorite musicals. As luck would have it, the venue is the Derby Dinner Playhouse (DDP) that boasts it is in 40th year of productions, was only 10 minutes away across the Ohio River in Indiana. Be informed that this staging of Seven Brides for Seven Brothers is almost as fresh/fun today, although truncated, as the great 1954 MGM film.

There are minor caveats that do not deserve mention since the totality of evening will leave you with a pleasant glow. It is an evening of fun with a tuneful, colorful, energetic, crowd pleasing production that will have you humming the songs, admiring the hoe-down dancing and scratching your head wondering how resident director Lee Buckholz has managed to keep this mostly young cast of 24 in sync. The extremely competent cast is more than helped by energetic dancing (Choreographer Heather Paige Folsom), colorful costumes (Sharon Murray Harrah) and musical director Scott Bradley’s five-piece off stage band to enhance the shenanigans.

There are shenanigans galore beginning with Edward Miskie (Adam) and Jillian Prefach (Millie) in the featured roles doing superlative job surrounded with proficient hardworking dancers. Then there is a great book and music. Score is by Johnny Mercer and Gene de Paul and book by Lawrence Kasha and David Landay. The story line is faithful to the film with some songs dropped and others added. It is based on the “Legend of the Sabine Women” and “The ‘Sobbin’ Women” by Stephen Vincent Benet.

Set in 1850 Oregon lumberjack country, Adam has come into town singing “Bless your Beautiful Hide” looking for a wife. A Townsman says, “You won’t find one here. All our gals are spoken for.” Pretty Milly, a great cook, is available, accepts his proposal (Wonderful, Wonderful Day) and goes off to the mountain house ecstatically singing “One Man.”

Boy, is she in for a surprise. Adam has six scruffy, ill-mannered brothers who also need, not necessarily want, wives. Milly takes charge and turns these ruffians into almost gentlemen. The transformation is a joy to behold. The six brothers are scattered about the stage in bedraggled costumes and come back in eye-popping dress ready to sing “Goin’ Courtin” and go off to town to meet the gals.

The Church Social leads to confrontation with the town boys and we are treated to a dance contest ending in a rip roarin’ fightin’ dance number between six town boys and the six brothers fightin’ for six beautiful gals. It’s a draw but now the brothers have all fallen in love.

Adam has the solution. Go into town and carry off the gals just like in the myth of the Sabine women. Yep, there’s a song “Sobbin’ Women” with Adam and the brothers to end the first act.

The gals are stolen in a hilarious set of vignettes and carried off. An avalanche blocks the Pass, the only entrance to the homestead. The town-folks must wait until the Spring for the rescue. Love blossoms between the six brothers and the six gals. Love between  Adam and Milly is tested. Finally Spring arrives to the tunes of “Spring Dance”, “Glad You were Born”and “Love Never Goes Away.”

With the advent of Spring the Townsfolk arrive. After a series of confrontations all works out well as the six couples, with guns at their backs, leave the woods and end in a Church Yard for a reprise of “Wonderful, Wonderful Day.” And what a finale. All 24 are on stage dancing up a storm in “Wedding Dance.” Running time under two hours with an intermission.

CAST:  Edward Miskie, Jillian Prefach, Justin Ostergard, Michael McClure, Jordan Cyphert, Austin Stang, Dick Baker, Adam Raque, Sara King, Kayla Peabody, Eliza Donahue, Cami Glauser, Madeline Perrone, Matthew Brennan, Alex Craig,  Lem Jackson, Matthew Chappell, Jordan Moody, Chris Bryant,  Paul Kerr, Kiersten Vorheis, Kevin Cram, Elizabeth Loos.

CREATIVE STAFF: Directed/Scenic Designer, Lee Buckholz; Lighting Designer, Aaron Hutto; Sound Designer, David Nelson; Musical Director, Scott Bradley; Costume Designer, Sharon Murray Harrah; Choreography, Heather Paige Folsom; Stage Manager, Kevin Love; Properties Designer, Ron Riall.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

 

Apr 08 2015
Love0

A Month in the Country Not Always a Vacation

By Joe Cillo

A Month in the Country Not Always a Vacation
Russian drama requires some effort from American audiences. We must distinguish the Kolyas from the Katyas, the Alexseys from the Arkadys, and then we need to adapt to political and family systems that were in place at the time. Most Russian drama performed here is from Chekhov, but Ross Valley Players’ new production is pre-Chekhovian, “A Month in the Country” by Ivan Turgenev. Its Russian gloom has been brightened by an adaptation from Irish playwright Brian Friel and by lively direction from James Nelson.
First, the audience is warned that cossacks will be on hand to enforce the no cell phone rules, and then the garden wall opens to reveal a comfortably-furnished country estate with a card game going on in the background. The game is being made more difficult by the German tutor’s language struggles. When Herr Schaaf accuses his partners of “stealing the cat,” they stop and correct him: “the kitty.”
Natalya, the lady of the house, lounges on a nearby sofa, wheedling a long-time admirer to read to her and whining how sick she is of these “gloomy, airless rooms, just like those of the lace makers.” Michel, the admirer, clearly adores her, though it’s hard to see why.
Residents and visitors come and go with other complaints and needs. Natalya’s husband Arkady Islayev bursts in, full of enthusiasm for his new winnowing machine, but explaining to all who will listen about the need to supervise Russian workmen. Two household servants, Matvey and Katya, continue their disagreement about Matvey’s marriage proposal and whether or not he’s too old for her.
Anna, Arkady’s dignified mother lives here on the estate, and so does Lizaveta, a snuff-sniffing companion. Neither of them seems to have much to do, other than maintain the status quo.
A new member has recently joined the household: Alexsay, another tutor for the Islayevs’ son. Natalya is besotted with the handsome young man. The possibility of forbidden romance relieves her boredom, though he’s only twenty-one , and she’s twenty-nine. However, an attractive seventeen-year-old girl is also on the premises, a foster daughter named Vera, and she’s interested in Alexsey as well. Seeing Natalya’s distress, Dr. Shpigelsky says he’s found a perfect husband for Vera. It will turn out that the suitor is a rich neighbor, fifty-seven years old. This suggestion brings on more conflict. And when Natalya’s husband becomes dimly aware of Michel’s infatuation with his wife, he comes up with an astonishing way to keep everybody happy. Who will stay here? Who will go?
Director James Nelson sees Turgenev’s play as “the destructive and incendiary nature of desire,” with each character involved in “a web of romantic pursuit” that contrasts with their polite and ordered setting.
Ken Rowland designed the set for them, a garden and interior suitable for country gentility. Michael A. Berg fashioned costumes for the different social classes of the 1840’s.
Shannon Veon Kase has the difficult role of Natalya, petulant, spoiled and sometimes shrill in her discontent. Her devoted Michel, subtly played by Ben Ortega, seems genuinely lovable, though unloved. Tom Hudgens portrays Arkady, the tradition-bound husband, with natural authority, while Wood Lockhart depicts Dr. Shpiegelsky’s self-awareness and good humor.
Zach Stewart plays the appealing tutor, Alexsey, and Emily Ludlow is talented young Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayer.com

up with an astonishing way to keep everybody happy. Who will stay here? Who will go?
Director James Nelson sees Turgenev’s play as “the destructive and incendiary nature of desire,” with each character involved in “a web of romantic pursuit” that contrasts with their polite and ordered setting.
Ken Rowland designed the set for them, a garden and interior suitable for country gentility. Michael A. Berg fashioned costumes for the different social classes of the 1840’s.
Shannon Veon Kase has the difficult role of Natalya, petulant, spoiled and sometimes shrill in her discontent. Her devoted Michel, subtly played by Ben Ortega, seems genuinely lovable, though unloved. Tom Hudgens portrays Arkady, the tradition-bound husband, with natural authority, while Wood Lockhart depicts Dr. Shpiegelsky’s self-awareness and good humor.
Zach Stewart plays the appealing tutor, Alexsey, and Emily Ludlow is talented young Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayers.com

Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayers.com

670 words By ROSINE REYNOLDS

A Month in the Country Not Always a Vacation
Russian drama requires some effort from American audiences. We must distinguish the Kolyas from the Katyas, the Alexseys from the Arkadys, and then we need to adapt to political and family systems that were in place at the time. Most Russian drama performed here is from Chekhov, but Ross Valley Players’ new production is pre-Chekhovian, “A Month in the Country” by Ivan Turgenev. Its Russian gloom has been brightened by an adaptation from Irish playwright Brian Friel and by lively direction from James Nelson.
First, the audience is warned that cossacks will be on hand to enforce the no cell phone rules, and then the garden wall opens to reveal a comfortably-furnished country estate with a card game going on in the background. The game is being made more difficult by the German tutor’s language struggles. When Herr Schaaf accuses his partners of “stealing the cat,” they stop and correct him: “the kitty.”
Natalya, the lady of the house, lounges on a nearby sofa, wheedling a long-time admirer to read to her and whining how sick she is of these “gloomy, airless rooms, just like those of the lace makers.” Michel, the admirer, clearly adores her, though it’s hard to see why.
Residents and visitors come and go with other complaints and needs. Natalya’s husband Arkady Islayev bursts in, full of enthusiasm for his new winnowing machine, but explaining to all who will listen about the need to supervise Russian workmen. Two household servants, Matvey and Katya, continue their disagreement about Matvey’s marriage proposal and whether or not he’s too old for her.
Anna, Arkady’s dignified mother lives here on the estate, and so does Lizaveta, a snuff-sniffing companion. Neither of them seems to have much to do, other than maintain the status quo.
A new member has recently joined the household: Alexsay, another tutor for the Islayevs’ son. Natalya is besotted with the handsome young man. The possibility of forbidden romance relieves her boredom, though he’s only twenty-one , and she’s twenty-nine. However, an attractive seventeen-year-old girl is also on the premises, a foster daughter named Vera, and she’s interested in Alexsey as well. Seeing Natalya’s distress, Dr. Shpigelsky says he’s found a perfect husband for Vera. It will turn out that the suitor is a rich neighbor, fifty-seven years old. This suggestion brings on more conflict. And when Natalya’s husband becomes dimly aware of Michel’s infatuation with his wife, he comes up with an astonishing way to keep everybody happy. Who will stay here? Who will go?
Director James Nelson sees Turgenev’s play as “the destructive and incendiary nature of desire,” with each character involved in “a web of romantic pursuit” that contrasts with their polite and ordered setting.
Ken Rowland designed the set for them, a garden and interior suitable for country gentility. Michael A. Berg fashioned costumes for the different social classes of the 1840’s.
Shannon Veon Kase has the difficult role of Natalya, petulant, spoiled and sometimes shrill in her discontent. Her devoted Michel, subtly played by Ben Ortega, seems genuinely lovable, though unloved. Tom Hudgens portrays Arkady, the tradition-bound husband, with natural authority, while Wood Lockhart depicts Dr. Shpiegelsky’s self-awareness and good humor.
Zach Stewart plays the appealing tutor, Alexsey, and Emily Ludlow is talented young Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayer.com

670 words By ROSINE REYNOLDS

A Month in the Country Not Always a Vacation
Russian drama requires some effort from American audiences. We must distinguish the Kolyas from the Katyas, the Alexseys from the Arkadys, and then we need to adapt to political and family systems that were in place at the time. Most Russian drama performed here is from Chekhov, but Ross Valley Players’ new production is pre-Chekhovian, “A Month in the Country” by Ivan Turgenev. Its Russian gloom has been brightened by an adaptation from Irish playwright Brian Friel and by lively direction from James Nelson.
First, the audience is warned that cossacks will be on hand to enforce the no cell phone rules, and then the garden wall opens to reveal a comfortably-furnished country estate with a card game going on in the background. The game is being made more difficult by the German tutor’s language struggles. When Herr Schaaf accuses his partners of “stealing the cat,” they stop and correct him: “the kitty.”
Natalya, the lady of the house, lounges on a nearby sofa, wheedling a long-time admirer to read to her and whining how sick she is of these “gloomy, airless rooms, just like those of the lace makers.” Michel, the admirer, clearly adores her, though it’s hard to see why.
Residents and visitors come and go with other complaints and needs. Natalya’s husband Arkady Islayev bursts in, full of enthusiasm for his new winnowing machine, but explaining to all who will listen about the need to supervise Russian workmen. Two household servants, Matvey and Katya, continue their disagreement about Matvey’s marriage proposal and whether or not he’s too old for her.
Anna, Arkady’s dignified mother lives here on the estate, and so does Lizaveta, a snuff-sniffing companion. Neither of them seems to have much to do, other than maintain the status quo.
A new member has recently joined the household: Alexsay, another tutor for the Islayevs’ son. Natalya is besotted with the handsome young man. The possibility of forbidden romance relieves her boredom, though he’s only twenty-one , and she’s twenty-nine. However, an attractive seventeen-year-old girl is also on the premises, a foster daughter named Vera, and she’s interested in Alexsey as well. Seeing Natalya’s distress, Dr. Shpigelsky says he’s found a perfect husband for Vera. It will turn out that the suitor is a rich neighbor, fifty-seven years old. This suggestion brings on more conflict. And when Natalya’s husband becomes dimly aware of Michel’s infatuation with his wife, he comes up with an astonishing way to keep everybody happy. Who will stay here? Who will go?
Director James Nelson sees Turgenev’s play as “the destructive and incendiary nature of desire,” with each character involved in “a web of romantic pursuit” that contrasts with their polite and ordered setting.
Ken Rowland designed the set for them, a garden and interior suitable for country gentility. Michael A. Berg fashioned costumes for the different social classes of the 1840’s.
Shannon Veon Kase has the difficult role of Natalya, petulant, spoiled and sometimes shrill in her discontent. Her devoted Michel, subtly played by Ben Ortega, seems genuinely lovable, though unloved. Tom Hudgens portrays Arkady, the tradition-bound husband, with natural authority, while Wood Lockhart depicts Dr. Shpiegelsky’s self-awareness and good humor.
Zach Stewart plays the appealing tutor, Alexsey, and Emily Ludlow is talented young Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayer.com

Apr 08 2015
Love0

‘Death of a Salesman’ remains relevant

By Judy Richter

After years on the road as a traveling salesman, 60-year-old Willy Loman is exhausted, yet he continues to dream big, perhaps fooling only himself.

Willy (Randall King) is the title character in Arthur Miller’s Pulitzer Prize-winning American classic, “Death of a Salesman,” presented by San Jose Stage Company.

Willy lives in New York with his loyal, loving wife, Linda (Lucinda Hitchcock Cone), but his territory is in New England, requiring lots of travel and days away from home.

As the play opens, his two sons, 34-year-old Biff (Danny Jones), and the younger Happy (Jeffrey Brian Adams), are visiting for some time. Neither has successfully found himself. Biff and Willy continually clash even though — as seen in flashbacks to the boys’ high school days — both Biff and Happy once adored their father.

Willy is inspired by memories of his older brother, Ben (Kevin Blackton), who took chances and made a fortune. Also playing roles in Willy’s life are his neighbor and friend, Charley (Michael Bellino); Charley’s bright son, Bernard (Joey Pisacane); and Willy’s young boss, Howard Wagner (Will Springhorn Jr.).

Although the play focuses on Willy and his problems, it also looks closely at Biff as he tries to resolve his feelings about Willy, especially after a shattering discovery when Biff was still in high school.

As directed by Kenneth Kelleher, this production features fine acting from not only the principals but also from secondary and minor characters. Kudos especially to King’s Willy and to Cone’s Linda, who has some of the play’s most memorable, wrenching speeches.

Aided by projections, Giulio Cesare Perrone has designed a versatile set enhanced by Maurice Vercoutere’s lighting and Tanya Finkelstein’s costumes. However, the almost omnipresent music and sound by Cliff Caruthers, apparently meant to heighten the drama, become obtrusive, as if he and director Kelleher didn’t trust the power of Miller’s writing.

The two-act play runs about two hours and 40 minutes with one intermission. Written in 1949, it raises human concerns that are as profound today as they were then. This production reflects that relevance.

“Death of a Salesman” will continue through April 26 at San Jose Stage Company, 490 S. First St., San Jose. For tickets and information, call (408) 283-7142 or visit www.thestage.org.

 

Apr 07 2015
Love0

Miners’ hard lives take center stage in ‘Fire on the Mountain’

By Judy Richter

“Hard Working Miner” provides an apt opening to “Fire on the Mountain,” a musical examination of Appalachian coal miners’ lives presented by TheatreWorks as its 400th production.

Co-creators Randal Myler and Dan Wheetman interviewed hundreds of miners and their families from throughout the area and interspersed their words with three dozen traditional songs performed by a nine-member cast. Myler also directs the show, while Wheetman serves as musical director.

Four of them play string instruments such as guitar, banjo, fiddle and mandolin. The other five create somewhat consistent characters. All of them sing and dance.

Performed without intermission, the 90-minute show opens with descriptions of the daily lives of the miners and their families. They’re mainly light-hearted at first, but descriptions of their hardships are mixed in. The men worked six long days a week in dirty, dangerous conditions, sometimes standing in knee-deep water or lying on their sides for hours at a time. Photos from the time and place are projected onto two large screens to illustrate situations.

These people were virtually enslaved because they had to live in company-provided housing near the mine, shop in the company store with company-issued scrip and educate their children in company-built schools. One boy, played by Nik Duggan, says that when he was 8 years old, he lied and said that he was 10 so that he could work at the mine for 8 cents an hour.

A miner played by Robert Parsons says that coal company representatives convinced his parents to sell the mineral rights to their 1,000 acres of fertile farm land for 25 cents an acre — a mere $250.

Other issues that arise during the show include deadly black lung disease, acquired from breathing coal dust nonstop; the terrible environmental costs exacted on the land and water by strip mining; and efforts to join a union, the United Mine Workers of America.

One wrenching segment deals with an explosion that killed many workers outright and trapped dozens more with no hope of survival. Some miners always carried a tin of morphine with them, apparently to ease their deaths when no hope was left.

Besides Duggan and Parsons, the cast features Marie Shell, Molly Andrews and Harvy Blanks, who do most of the acting. Blanks and Andrews, an expert in Appalachian music, also do much of the singing. Instrumentalist-singers are Karen Celia Heil, David M. Lutken, Tony Marcus and Harry Yaglijian.

The rustic set is by Joe Ragey with effective lighting by Steven B. Mannshardt, costumes by Jill Bowers and sound by Brendan Aanes.

Although music forms the centerpiece of this show, the real impact comes from its message and its salute to a resilient group of people who endured hard lives for little reward.

“Fire on the Mountain” will continue through April 26 at the Mountain View Center for the Performing Arts, 500 Castro St., Mountain View. For tickets and information, call (463-1960 or visit www.theatreworks.org.

 

 

Apr 05 2015
Love0

Animal sounds become music for world premiere of magical ballet

By Woody Weingarten

[Woody’s [rating: 5]

“Biophony” dancers include (from left) Robb Beresford, Babatunji and Michael Montgomery of the Alonzo King LINES Ballet. Photo by Quinn B. Wharton.

Sound expert Bernie Krause (left) and choreographer Alonzo King do a joint interview.

Bernie Krause recording in the wild.

Bernie Krause’s been my friend more than 25 years.

In case you don’t recognize it, that statement’s a disclaimer.

A necessity — because the world premiere of “Biophony,” an exceedingly inventive Alonzo King LINES Ballet created collaboratively with Bernie, just exhilarated me.

Which I’m sure would have happened had I never heard of either of them.

“Biophony” is, simultaneously, aural and visual.

But my reaction was visceral.

Without warning, “Biophony” stripped away my desire and ability to experience it intellectually.

I’ve used the word brilliant in reviews before. I wish I hadn’t. I wish I’d had the foresight to know I’d need it for this three-way alliance (the third partner being English composer Richard Blackford, whose instrumentation has been tapered).

The experimental 38-minute piece opens with the clear chirping of an American cricket.

But the nine-movement work is performed without protracted breaks so I wasn’t always sure when I was being transported to the Amazon or Tanzania or the Arctic to hear a cornucopia of baboons and orangutans and chimpanzees, geese and ducks and exotic birds, wolves and pigs and giraffes, humpback whales, frogs, bees, creaking branches, waves and rain and thunder.

Even after reading the extensive program notes, I wasn’t always certain what critters or environmental elements were making the sounds I was hearing.

And I missed a lot.

A second, third or fourth hearing could be beneficial.

I was sure, though, that the natural sounds became incredibly melodic and worked divinely as a symphonic composition.

I was also positive Alonzo’s magical ballet blended perfectly with those sounds — a ballet that featured 11 dancers fashioning (on terra firma, sea and air) unconventional creature-like movements.

Bernie’d recorded the sounds in the wilds — jungle, tundra, wherever.

Alone mostly.

And in concert, so to speak, with the likes of Jane Goodall and Dian Fossey.

Almost ­ — after his first ecological recording in Muir Woods and his initial soundscape installation in 1983 for the California Academy of Sciences — 5,000 hours of field recordings of 15,000 species in their natural habitats over a 50-year span.

Presto!

Enter “Biophany,” which consists of handpicked highlights from that collection — soundscapes of animals in self-contained ecosystems.

A unique orchestra-chorus.

In a KQED interview the day of the opening at the Yerba Buena Center for the Arts in San Francisco, Alonzo said, “You want people’s…hearts to be opened.”

They were.

In an Exploratorium conversation, he said of his work: “I don’t want it to look like choreography…If it [does], it’s not working.”

He succeeded at that, too.

Alonzo’s choreography is impressionistic and impressive.

Ditto the minimalist costuming (diaphanous wisps can be found hither and thither).

And since the set is basically a black backdrop with tantalizing ambiance and floor mosaics designed by Axel Morgenthaler’s lights, audiences can easily imagine themselves in sundry milieus.

Alonzo, who’s dreamed up close to 200 ballets for the troupe he founded in 1982, conspicuously let the dancers be themselves (alternately original, acrobatic and graceful).

Bernie, meanwhile, mulled if audiences “would get” his underlying message — “an elegy and eulogy” for natural environs that are vanishing because of man-made intrusions.

Time will be the jury.

I must note, however, that ballet purists — especially those whose tastes are limited to productions like “Swan Lake”  — may be unable to wrap their minds around this breakthrough effort.

Is “Biophony” completed? Conceivably not.

In an email to me, Bernie wrote, “With the curtain [going] up in five hours, I’m still in the process of making changes.”

The previous night, after grueling deliberation, he’d eliminated the elephants.

Bernie’s normal conversation often contains heady words unfamiliar to most: Bioacoustician. Geophony. Anthropophony.

No matter. We’ll stay friends even if I don’t fully grok his vocabulary.

Our friendship can’t compare, anyhow, to his with my wife, which dates 62 years to their Detroit school days together.

But back to now.

In a 22-minute prelude, seven members of the Philharmonia Baroque Chamber Players played short pieces by Johann Sebastian Bach and George Frederic Handel while King’s company feverishly blanketed and owned the stage.

Bernie earlier had voiced a tongue-in-cheek fear “Biophony” might replicate the opening of Igor Stravinsky’s “The Rite of Spring” — incite tomatoes being thrown.

I saw no fruit hit the stage.

But I did feel whitecaps of applause as the audience — partially stunned by the brilliance of the work, partially stunned by a somewhat abrupt ending — rose to give “Biophony” an extended standing ovation.

“Biophony” will run through April 12 at Yerba Buena Center for the Arts, 701 Mission St. (at Third), San Francisco. Night performances, 7:30 p.m. Wednesdays and Thursdays, 8 p.m. Fridays and Saturdays. Matinees, 5 p.m. Sundays. Special gala performance, 6 p.m. Saturday, April 11. Tickets: $20 to $65. Information: http://www.@linesballet.org or 1-415-978-2787.

Contact Woody Weingarten at voodee@sbcglobal.net or check out his blog at www.vitalitypress.com

Apr 03 2015
Love0

Family confronts polite stranger in ‘Sister Play’

By Judy Richter

Sisterly bonds are enduring, as seen in “Sister Play” at Magic Theatre.

Written and directed by John Kolvenbach, it’s set in a deteriorating Cape Cod cottage where three family members are making their annual visit.

The book-packed, moldy cottage belonged to the father of Anna (Lisa Brescia) and her younger sister, Lilly (Jessi Campbell).

Anna, married to author Malcolm (Anthony Fusco), has been a surrogate mother to Lilly, now 30, ever since their father died some 15 years ago. Their mother had essentially abandoned them before that.

Lilly has floundered in life, drifting from one loser boyfriend to another, while the overly protective Anna tries to serve as her anchor.

In the meantime, low-key Malcolm loves his wife and does what he can to understand the sisterly dynamics and sometimes stay away from them.

Things change one night when Lilly goes out for a drive and brings back a drifter, called Man in the program but named William Casy (Patrick Kelly Jones).

Although his clothing is rumpled and dirty from his life on the road, the Texan is polite and well spoken, even eloquent. He’s attracted to Lilly, who reciprocates.

Malcolm comes to accept him, especially since he’s just read and liked Malcolm’s latest book. Anna wants him to leave and never return. She doesn’t trust him, especially where Lilly is concerned.

Thanks to William’s persistence, however, both sisters begin to alter their stances.

As the playwright, Kolvenbach has written some humorous lines. As the director, he elicits well-timed performances from all four members of this outstanding cast.

The two men are especially noteworthy, as is Campbell as Lilly. Brescia as Anna has perhaps the most difficult role because the character is so controlling and sometimes brittle, yet she means well and deeply loves her sister and husband.

Running just over two hours with one intermission, the play has interesting, sometimes off-kilter insights into family dynamics, especially between sisters.

“Sister Play” will continue through April 19 at the Magic Theatre, Building D, Fort Mason Center, San Francisco. For tickets and information, call (415) 441-8822 or visit www.magictheatre.org.

 

Apr 02 2015
Love0

‘Sister Play’ at Magic Theatre offers laughs, long toenails, mayhem and love

By Woody Weingarten

[Woody’s [rating: 5]

No one plays board games in the new comedic drama, “Sister Play.”

Lilly (Jessi Campbell, right) demands love from her older sister, Anna (Lisa Brescia), in “Sister Play.” Photo by Jennifer Reiley.

And there’s no jump rope.

Repartee is the main pastime adult sisters Anna and Lilly engage in, alternating clever lines that guarantee Magic Theatre audiences will laugh loud and long.

Playful, zigzagging yet revealing soliloquies also flow from the mind of writer-director John Kolvenbach to the mouths of the siblings.

The same is true for two other off-kilter characters, Malcolm (Anna’s wooly-headed husband), and William Casy, a enigmatic drifter from Texas whom Lily picks up from the side of a Cape Cod highway.

All their monologues seem to begin with logic but end in amusing morasses of fractured philosophy and religion.

In between?

Non-sequiturs. Hyperbole. Near-gibberish that sounds poetic.

The setting is a rundown cabin to which we’re introduced when Malcolm thinks aloud: “What percentage of this place is mold, do you think?”

But the key question is if family fortresses and defenders can be over-protective.

I unconditionally loved Kolvenbach’s character-driven play.

I loved how all four intimately intertwined — and how so much of the human condition unraveled so quickly.

I loved how long toenails and a foot fetish, towels and the singing of a Roy Orbison tune, “Blue Bayou,” became comic foils.

But always I could sense an underlying seriousness.

Such as an early metaphoric foreshadowing when frantic, Lilly (wondrously fleshed out by Jessi Campbell) insisted that Anna (played with steely older-sister determination by Lisa Brescia) put her total weight on Lilly’s lap.

Such as later discussions of getting pregnant.

Such as the funny asides and mental meanderings of Malcolm (through the artistry of Anthony Fusco, a Richard Jenkins lookalike and soundalike who’s an A.C.T. stalwart), and the marvelous deadpan drawl of Patrick Kelly Jones as William.

Whether the dialogue was rib-ticking or solemn, I couldn’t wait to find out what came next.

Now and then, though, I was faced with pithy character summaries.

I can still hear 30-year-old bed-hopping Lilly saying, “I have no idea what you’re talking about.”

And Anna griping to her late, lamented father, “You left me holding the bag.”

Add to those Malcolm’s assertion that “I’m a pamphlet between two related tomes…written in a language I don’t understand…two books telling one story.”

And this poignant couplet: Anna — “You seem lost.” Lily — “I am.” When this goes to two lines it is hard to follow.

The company’s artistic director, Loretta Greco, showed great perceptiveness when indicating in the program guide that Kolvenbach’s characters here, as usual, “binge on mayhem.”

Some of his skillfully crafted chaos was psychological (probing constructive love vs. smothering love).

Some was tangible (therapeutic book-throwing).

In either case, Kolvenbach’s timing — and each actor’s, in fact — must be labeled exquisite.

Magic devotees were probably already familiar with the playwright’s talent, because Kolvenbach’s “Goldfish” and “Mrs. Whitney” were staged there in 2009.

Yet “Sister Play” proves that even a basically flawless show can’t satisfy everyone.

One elderly woman, after telling me during the opening night’s post-play reception that the acting had been excellent, twice added, “I don’t understand what was funny.”

Rather than be rude, I left my response unsaid:

“In my opinion, almost everything.”

“Sister Play” runs through April 19 at the Magic Theatre, Building D, Fort Mason Center, Marina Boulevard and Buchanan Street, San Francisco. Night performances Tuesdays, 7 p.m.; Wednesdays through Saturdays, 8 p.m. Matinees, Sundays, 2:30 p.m. Tickets: $20 to $60. Information: www.magictheatre.org or (415) 441-8822.

Contact Woody Weingarten at voodee@sbcglobal.net or check out his blog at www.vitalitypress.com

Apr 02 2015
Love0

print publications

By Uncategorized

My print publications going back to 1981 can now be accessed online at the following link.

http://michaelfergusonpublications.blogspot.com/

Topics include:

J.D. Salinger, The Catcher in the Rye

Alan Turing

Was Abraham Lincoln Gay?

Janusz Szuber, They Carry a Promise

William Carlos Williams

Jeffery Beam

John Rechy, City of Night

Kobo Abe, The Face of Another

Heinz Kohut, The Two Analyses of Mr. Z

Yves Saint Laurent

Poetry

Portraiture and Art

Photography as cultural history

Psychoanalysis as a Scientific Discipline

Adolph Grünbaum

Psychoanalytic Theory of Male Homosexuality

Multiple Personality and Hypnosis

History of sex laws in the United States

Gays in the U.S. military

Religion and sexual culture

Christianity and sexuality

The concept of sexual orientation

Masculinity

Lesbianism

Gender identity, cross dressing, and transsexuals or intersex

Japanese sexual culture

Arab sexual culture

Sexual culture of American Indian tribes

Gun control