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Feb 24 2025
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The Angel Next Door at Meadow Brook Theatre, Rochester Hills MI

By Greg & Suzanne Angeo

 

Reviewed by Suzanne Angeo (Member, American Theatre Critics Association)

and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

 

Photos courtesy of Sean Carter Photography

Phil Powers, Mary Robin Roth, Chris Stinson, Olivia Ursu, David Aron Damane, Cheryl Turski

 

 

A Sparkling Valentine to the Theatre

 

The Angel Next Door (also known as Theater People) was adapted by noted American playwright Paul Slade Smith from a classic play by Ferenc Molnar called Play at the Castle.  It premiered in September 2023 at the North Coast Repertory Theatre in Solana Beach CA. Meadow Brook Theatre is one of the first to produce this version of the show, and it’s easy to see it ending up on Broadway. An uproarious comedy with a sweet surprise and a small act of heroism lurking at its heart, it takes off like a shiny new rocket and never comes down.

The time: 1948, the place: Newport, Rhode Island. We see a sprawling set, furnished like a huge, luxurious bedroom in one of those so-called “cottages” with glorious views of the ocean. Enter Charlotte (Charley) and Arthur Sanders, a married couple in their golden years who happen to be legendary playwrights. They also happen to be a bit down on their luck, but have written a brand-new original script for what they hope will be a hit Broadway show.  Tagging along is their young novelist friend, Oliver Adams, who wrote the story upon which the play is based. Oliver says his book, “The Angel Next Door” is all about his fiancée, and insists that’s just what she is…so pure and simple, lovely in every way.

Phil Powers, Chris Stinson, Mary Robin Roth

It turns out his “Angel” is the beautiful actress Margot Bell, who as luck would have it, is staying in the adjoining room. Charley and Arthur are over the moon that Ollie and Margot are engaged. They introduced the young couple at a party over a year ago. Now that Ollie has written his book, they have written their play with Margot in mind, and planned on offering the part to her during their stay. Trouble is, Ollie has been exaggerating a bit, as they soon find out. There are complications. And the walls, it seems, are very thin. To Ollie’s dismay, it becomes obvious Margot is, um, “entertaining” a handsome Broadway star in her room. In a stroke of genius, Charley comes up with a secret plan to save the day. Will the ruse work? Will Oliver be happy again? What follows is one of the best and funniest shows at MBT in recent memory, and that’s really saying something.

The script is top notch and the casting is impeccable. MBT veterans Mary Robin Roth as Charley, and Phil Powers as Arthur, have crackling chemistry between them, matching the snappy dialogue. Not to be outdone, Cheryl Turski as the surly housekeeper Olga nearly steals the show every time she’s onstage, with her uncertain accent and inhospitable hospitality. The innocent and romantic Ollie is played with winsome charm by Chris Stinson. He carries most of the emotional burden in the show with delicate finesse, balancing his comedy chops and dramatic skills. Then we have the lovely love of Ollie’s life, Margot, played with giddy panache by the equally lovely Olivia Ursu. She exudes a Betty Grable-like glamour tempered with goofy earnestness. Her amorous companion Victor, a hammy theatrical baritone, is played by the intensely charismatic David Aron Damane. He commandeers the stage like a Howard Keel type (think Kiss Me, Kate).

Mary Robin Roth, Olivia Ursu

 

In a show about the theatre, it’s vital to have great stagecraft, and Angel doesn’t disappoint, with lighting by Neil Koivu and scenic design by Donna Beagle. Charley and Margot get to wear some pretty gorgeous duds when dress-up time comes along, courtesy of costume designer Marley Boone. And also a great director – Travis Walter’s love for the theatre is apparent in big and small ways. From the broad physical comedy to the tenderly poignant, this is one of his strongest, and best efforts in recent years.

Impressive cast, excellent script, nonstop laughs…is there any reason NOT to see The Angel Next Door?

 

Recommended for audience members in high school and up

When: Now through March 9, 2025

Tickets $39 to $48    

Where: Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

This production is made possible through the generous support of the Michigan Arts and Cultural Council, the National Endowment for the Arts, the Fred and Barbara Erb Family Foundation, the Shubert Foundation and the Meadow Brook Theatre Guild.

Meadow Brook Theatre is a professional theatre located on the campus of Oakland University in Rochester, Michigan. MBT is a nonprofit cultural institution serving southeast Michigan for more than 58 years.

Feb 17 2025
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Waste

By Joseph Cillo

 

Scandal, Politics, and Power Plays

Once deemed too scandalous for the stage, Waste, Harley Granville-Barker’s 1906 political drama, is back—and it still packs a punch. Running through March 2 at Marin Theatre, this revival, directed by former A.C.T. Artistic Director Carey Perloff, wrestles with ambition, scandal, and downfall in a way that feels eerily familiar.

At its core, Waste follows Henry Trebell (played by Marin Theatre Artistic Director Lance Gardner), a fiercely ambitious politician on the brink of reshaping England’s education system by stripping the church’s influence from public schools. Trebell is relentless, methodical, and principled—until his private life implodes. A careless affair with neglected socialite Amy O’Connell (Liz Sklar) leads to an unintended pregnancy and a botched abortion, triggering a scandal that shatters his career overnight.

The production leans into stark minimalism, with scenic designer Arnel Sancianco crafting an austere, almost clinical setting—a fitting backdrop for the ruthless world of politics. Trebell’s so-called allies, including Lord Horsham (Daniel Cantor) and Midlands politician Blackborough (Mike Ryan), waste no time in cutting him loose the moment he becomes a liability.

There’s no denying Waste’s intellectual heft. But it’s a play where talk dominates action, and that won’t be for everyone. The opening act’s 30-minute seduction scene—more verbal chess match than sizzling romance—unfolds at a deliberate pace, testing the patience of modern audiences. From there, the drama becomes a series of high-minded debates on power, ethics, and governance as men in suits coldly discuss Trebell’s fate.

Despite this, the cast delivers performances that keep the energy from stagnating. Gardner brings gravity to Trebell’s unraveling, while Sklar’s Amy is more than just a plot device—she’s a woman caught in a system designed to discard her. Anthony Fusco commands the stage as Charles Cantelupe, the church’s mouthpiece, while Jomar Tagatac’s Dr. Wedgecroft injects rare moments of warmth. Leontyne Mbele-Mbong, as Trebell’s sister Frances, brings a quiet but powerful emotional undercurrent to the tragedy.Christine Adaire’s dialect coaching and Maggie Whitaker’s period-accurate costumes add polish, but Waste never quite shakes its sense of detachment. The weighty discussions unfold in crisp, measured tones—high drama for the mind, but not always the heart. It’s an intriguing study of how political and social norms evolve, but don’t expect a pulse-racing spectacle.

What was once a career-ending scandal—adultery and abortion—is now part of daily news cycles, making Waste feel both historically distant and oddly relevant. Fans of period dramas rich in political and philosophical debates will relish the experience. For others, its slow-burn intensity and verbose style may be more of a test than a treat.

One unexpected highlight? Marin Theatre’s lobby display. Jason Sheldrick’s sculptural installation on banned plays, along with striking artwork by Erica Deeman and Maeve O’Sullivan, adds an extra layer of depth to the evening—well worth arriving early to take in.

To Experience:
Waste
Marin Theatre, 397 Miller Ave., Mill Valley
Through March 2; 7:30 pm Wednesdays – Saturdays; 2 pm weekends
Tickets: $10 – $85
Info: (415) 388-5208 MarinTheatre
Reviewed by
Mary Buttaro
Mary Buttaro
Performing Arts Reviewer
+
Feb 16 2025
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Waste packs 1906 society’s ills into play paralleling today’s woes

By Woody Weingarten

Amy O’Connell (Liz Sklar) and Henry Trebell (Lance Gardner) contemplate an affair in Marin Theatre’s Waste. Photo by Chris Hardy.

 

By WOODY WEINGARTEN

It’s practically impossible to get away with cramming an excess of philosophical discussions into one drama.

Like abortion, adultery, misogyny, reproductive rights, scandal, suicide, public education, corruption and back-stabbing politics, and church and state morality.

But Carey Perloff, who for years was artistic director at the American Conservatory Theatre, has used a shoehorn to slide all of them into a 119-year-old British play almost seamlessly. She makes sure the accents hold; facial expressions, body language, and timing remain on target; lines sprinkled here and there to elicit laughter do so; and wave-like high and low vocal pitches preclude audience members nodding off.

The director/adaptor apparently could do little, however, about taking playwright Harley Granville-Barker’s 2½ talky hours (plus intermission) to slothfully reach the presumptive climax, which is predictable and therefore anti-climactic.

Waste is both the one-word title and descriptive reference point in the text to a multiplicity of subjects (including the brittleness of human lives).

Lance Gardner, Marin Theatre’s artistic director, paints a flawless onstage portrait of the heavily flawed main character, Henry Trebell, a politician who faces a series of emotional and real hurdles while hoping to eviscerate (“disestablish”) the Church of England.

Gardner, a Shakespearean-quality actor, hasn’t acted in years but must have ridden a theatrical bicycle — his ability to memorize roughly 4,672 lines in conjunction with the audience’s standing-ovation seem to demand he continue his sterling dual roles offstage and on.

Lord Horsham (Daniel Cantor) listens to Justin O’Connell (Joseph O’Malley) as Henry Trebell(Lance Gardner) enters the room and Charles Cantelupe (Anthony Fusco) looks on in Waste. Photo by Chris Hardy. 
He is supported by a nine-member cast that’s professional in every way: stiffly 
Edwardian when appropriate; chewing up the scenery when it’s called for; using 
extreme mugging or body language to convey attitude.

Kudos particularly belong to Liz Sklar (who plays Amy O’Connell, a fragile, conflicted woman on the prowl who repeatedly talks about her “right to choose”); Joseph O’Malley (sharply doubling as Walter Kent, Henry’s scaredy cat secretary, and Justin, Amy’s cuckolded husband); Anthony Fusco (Charles Cantelupe, a blustering church leader); Jomar Tagatac (Dr. Wedgecroft, confidant and friend to Henry, whom the medicine man calls a “visionary”); and Daniel Cantor (Lord Horsham, the cigar-puffing, incoming prime minister).

Noteworthy, too, is the singular angled set, Arnel Sancianco’s large cube with elongated horizontal openings on two sides, perhaps a visual reference to the many dualities in the text.

Waste was banned immediately after its 1906 debut because it deals with adultery and abortion. It was not produced again until three decades later — in a watered-down version. Its themes, however, are parallel to many of today’s dilemmas, and surely Perloff was happy to direct the original narrative for that very reason.

If your buttocks can handle the slow pacing and the fact that any hint of action takes place offstage, and if your mind has the capacity to permanently switch to on, go. If not, there are many mindless Family Feud, Law and Order, and Blue Bloods reruns waiting on your flat screen at home.

Waste plays at Marin Theatre, 397 Miller Ave., Mill Valley, through March 2. Tickets: $30 to $85. Info: 415-388-5208 or MarinTheatre.org.

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

Feb 12 2025
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Left Edge Theatre’s ‘Motherf– with the Hat’ is funny, heartrending

By Woody Weingarten

by Woody Weingarten, Bay City News   February 10, 2025

L-R, Sergio Diaz, Danny Bañales and Isiah Carter are among the excellent cast in Left Edge Theatre’s production of “The Motherf—- with the Hat” in Santa Rosa through Feb. 22. (Courtesy Dana Hunt/Left Edge Theatre via Bay City News)

Jackie, who dreams of settling down with Veronica, an addict, spies a man’s hat on her nightstand.

“That ain’t my hat,” he growls, and gets fired up to do battle—with her, the owner of the headgear and his own inner demons.

The difference between Romeo and Juliet and the star-crossed Puerto Rican lovers in Stephen Adly Guirgis’ “The Motherf—- with the Hat,” onstage in a Left Edge Theatre production in Santa Rosa, is that Shakespeare’s tragedy focuses on unadulterated young love, while “Mother” is seen through a prism of love desecrated by drugs, alcohol and sexual cheating.

“Motherf—-,” which packs a wallop, is devilishly funny in the first act (an early scene has Jackie sniffing their hand-me-down bed to find smells of betrayal). Yet it’s a poignant and heartrending unfunny drama in the second (“We’re broken,” insists Veronica).

This tragicomedy can’t help but make you think. Each of the dysfunctional, multidimensional

characters—all perhaps difficult to relate to for those who didn’t grow up with their kind of people or toyed with their kind of twisted morality—has complex depth, despite the torrent of f-bombs.

L-R, Danny Bañales and Mercedes Murphy appear in Left Edge Theatre’s “The Motherf—- with the Hat” onstage in Santa Rosa through Feb. 22, 2025. (Courtesy Dana Hunt/Left Edge Theatre via Bay City News)

They lie while craving honesty. All swear with abandon and relish sex as if it were the only life-force worth considering. All the while, they’re on mostly futile quests for loving relationships.

The play offers philosophical tidbits while spewing language of the streets. Yet there’s still room for a line like, “It’s funny how a person can be more than one thing, ain’t it?” Or for a woman to describe her man as having “a PhD in self-loathing” or to say about herself, “I’ve got about 10 minutes more of gravity before it all comes crashing down.”

Directed by Serena Elize Flores, The Left Edge cast is notable.

Danny Bañales artfully, and with deft slapstick, plays Jackie, a parolee alcoholic who struggles physically and mentally. Mercedes Murphy passionately portrays Veronica as someone who can’t help going past the red lines society has imposed on her. Isiah Carter is robust as Ralph D, the sensitive, 12-step sponsor who befriends Jackie. Grace Kent as Victoria, Ralph D’s frustrated wife, is filled with dichotomies. Sergio Diaz is Jackie’s gay, sex-addicted cousin Julio, a guy hell-bent on proving his manhood.

The 105-minute (plus-intermission) show is a rarity. It features fleeting male nudity and avoids female nudity. But its mainstay is naked emotion. In the final analysis, that’s nothing to laugh at.

“The Motherf—- with the Hat” continues through Feb. 22 at Left Edge Theatre, 528 Seventh St., Santa Rosa. Tickets are $33 to $44 at leftedgetheatre.com.  

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

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

Feb 07 2025
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Exotic Deadly: or the MSG Play

By Joseph Cillo

 

Theatrical Umami Bomb

Folks, if you’ve ever worried that your Chinese takeout is secretly brainwashing you, Exotic Deadly: Or The MSG Play might just blow your mind—or at least your taste buds. Keiko Green’s raucous, time-hopping, anime-fueled comedy, now at San Francisco Playhouse through March 8, takes a deep dive into one of America’s strangest food myths. And let me tell you, this show is as wild as a 3 a.m. ramen binge.

It’s 1999. Ami, a Japanese American high schooler with a knack for awkwardness (played with hilarious sincerity by Ana Ming Bostwick-Singer), finds out that her family played a role in creating MSG—the much-maligned seasoning that has fueled urban legends. Her quest to clear her family’s name takes a surreal turn when a mysterious and effortlessly cool new girl from Japan arrives. What unfolds is a hilariously chaotic and deeply resonant journey through teenage anxieties, family legacies, and, yes, the unexpected magic of instant ramen.

This cast? They’ve got chops (and not just the kind you eat). James Aaron Oh, Nicole Tung, Phil Wong, and Edric Young flip between characters faster than a late-night channel surfer, bringing the play’s rollercoaster of chaos to life. Director Jesca Prudencio keeps the energy high, the comedy sharp, and the sentiment sneaky—just when you think you’re watching a goofy teen adventure, bam, you’re contemplating identity, history, and why people think MSG is some kind of chemical boogeyman.

Visually, this thing is a feast. Heather Kenyon’s set design spins between school hallways and anime dreamscapes, Michael Oesch’s lighting zips from fluorescent to fantastical, and Kathleen Qiu’s costumes serve up vintage 90s nostalgia with a side of comic-book flair. It’s like someone took a Saturday morning cartoon, a sci-fi flick, and a coming-of-age drama, tossed them in a wok, and cranked the heat to high.

But here’s the real kicker: this play has bite. Green’s script is whip-smart, poking at cultural anxieties, generational misunderstandings, and the weird stuff we believe just because someone once told us to. (MSG bad? Says who? Probably the same guy who thinks gum stays in your stomach for seven years.)

Playing through March 8, 2025
San Francisco Playhouse, 450 Post Street, San Francisco
️ Tickets: $35-$135 | Get Tickets | Call 415-677-9596 to purchase by phone.

New! Audio Described Performance

For blind and visually impaired audience members, San Francisco Playhouse is offering live audio description and a haptic access tour on Sunday, March 2nd at 2 P.M.

So, should you see Exotic Deadly? Let’s put it this way: If you like your theater fast, funny, and just a little off-kilter (in the best way possible), grab your ticket before they vanish like a bowl of late-night ramen.
Feb 04 2025
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6th Street Playhouse’s ‘Groundhog Day: The Musical’ is whimsical fun

By Woody Weingarten
POSTED INARTS & ENTERTAINMENT

Review: 6th Street Playhouse’s ‘Groundhog Day: The Musical’ is whimsical fun

by Woody Weingarten, Bay City News  February 4, 2025

“Groundhog Day: The Musical,” a fun show based on the popular movie, runs at 6th Street Playhouse in Santa Rosa through Feb. 23. (Photo by Eric Chazankin/Courtesy 6th Street Playhouse via Bay City News) 

“Groundhog Day: the Musical” is a well-acted whimsical romp…
“Groundhog Day: the Musical” is a well-directed whimsical romp…
“Groundhog Day: the Musical” is a well-written whimsical romp…
…despite its intentional time-loop repetition.

The 6th St. Playhouse production in Santa Rosa is decidedly edgier, darker and more sexualized than the smash 1993 film starring Bill Murray about a nasty weatherman assigned to cover Groundhog Day in Punxsutawney, Pennsylvania, who finds his humanity after getting trapped in a time warp.

Nelson Brown plays weatherman Phil Connors in 6th Street Playhouse’s “Groundhog Day: The Musical.” (Photo by Eric Chazankin/Courtesy 6th Street Playhouse)

Nelson Brown, who alternates in the Phil Connors lead role with Garet Waterhouse, absolutely owns the stage. His frantic physical-comedy chops are extraordinary, and his voice is potent, too. Michelle Pagano as Rita Hanson, his female foil, plays her part much straighter, but has exquisite vocal cords.

Nelson Brown plays weatherman Phil Connors and Michelle Pagano is Rita Hanson in 6th Street Playhouse’s “Groundhog Day: The Musical.” (Photo by Eric Chazankin/Courtesy 6th Street Playhouse)

Ted Smith, who portrays insurance peddler Ned Ryerson, surprises with a soulful voice in his only solo, the plaintive “Night Will Come.”

A multi-racial chorus of singers in all shapes and sizes acquits itself well by starting and finishing together all the time.

Laughter from the audience occasionally drowns out a line or two, with the heartiest guffaws stemming from clever use of a vehicle that redefines minivan; three raucous drunks in a jeep; small dolls that stand in for a groundhog, a newborn, and a pooch.

But there’s a plethora of other gags. Director David Lear not only draws every possible chuckle from them, but he also creates awesome abbreviated, strobe-enhanced scenes and ensures music and lyrics by Tim Minchin and book by Danny Rubin are skillfully delivered.

The production successfully utilizes projections of falling snow and a speedway, and other highlights include cast members marching up the aisles of the cozy theater, a magnificent upbeat eight-person tap dance choreographed by Karen Miles, and a backstage seven-piece orchestra of live musicians led by Lucas Sherman.

Flaws? The first act is a bit sluggish. Occasional lyrics are muffled. Not much to gripe about.

Multiple words can define “Groundhog Day: The Musical.” Try one of these: bouncy, goofy, fun.
Multiple words can define “Groundhog Day: The Musical.” Try one of these: bouncy, edgy, fun.
Multiple words can define “Groundhog Day: The Musical.” Try one of these: bouncy, amusing, fun.

“Groundhog Day: The Musical” continues through Feb. 23 at 6th Street Playhouse, 52 W. Sixth St., Santa Rosa. Tickets are $29 to $55.95 at 6thstreetplayhouse.com.

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

 

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

 

Feb 02 2025
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Groundhog Day: The Musical

By Joseph Cillo

 

A Time Loop You’ll Actually Enjoy

There are two kinds of time loops. The kind where you wake up, brush your teeth, drink coffee, and do the same old thing until the sun explodes. And then there’s Groundhog Day: The Musical, where waking up to the same day over and over turns out to be a wildly entertaining, knee-slapping, show-stopping event.

Phil Connors, a weatherman with the charm of a wet sock and the patience of a raccoon in a garbage can, gets sent to Punxsutawney to cover the annual Groundhog Day festivities. He’s smug. He’s rude. He’s got the enthusiasm of a DMV clerk on hour six of their shift. And then—just his luck—he gets stuck in a cosmic do-over, reliving February 2nd again and again and again. What follows is a masterclass in poor decision-making, minor crimes, existential dread, and—eventually—personal growth.

Now, turning repetition into great entertainment takes skill, and this cast has it in spades. Garet Waterhouse, who took on the role of Phil Connors the night I attended, was worth the price of admission alone. His performance was sharp, witty, and full of the kind of energy needed to make Phil’s transformation believable. From his deadpan sarcasm in the opening scenes to his full-throttle commitment in the tap-dancing showstopper “Philanthropy,” Waterhouse commanded the stage with precision and charisma. Michelle Pagano played the steadfast and sharp producer Rita Hanson, keeping Phil on his toes.

This is a BIG production with a BIG cast, so you get a lot of bang for your buck! The ensemble was outstanding, filling the stage with vibrant energy and making every moment feel larger than life. Even as the same day repeated over and over, their dynamic performances ensured that no scene ever felt stale.

And just when things seem like they can’t get any better, along comes a tap-dancing number so synchronized, so electrifying, that audience members have been known to spontaneously combust with delight. (Well, not known known, but it could happen.)

ACT I: A Day That Won’t End

From the start, Groundhog Day hooks the audience with an energetic overture, setting the scene for the endlessly looping chaos to follow. The show launches into “There Will Be Sun”, a cheerful ensemble number that captures the Punxsutawney locals’ excitement about their favorite holiday. Phil, of course, is less enthused, and his sarcastic outlook is laid bare in “Day One”, a duet with Rita and the company, which humorously introduces his disdain for everything around him.

But then the time loop begins. The audience is pulled into the absurdity of Phil’s predicament as he cycles through “Day Two” and “Day Three”, each iteration growing more frantic. His frustration explodes in “Stuck”, where he desperately tries to escape the loop to no avail. His attempts to find meaning—or at least amusement—lead to “Nobody Cares”, a raucous drinking song featuring Gus, Ralph, and a very intoxicated Phil embracing the pointlessness of it all.

As Phil realizes he can act without consequence, the show shifts into the mischievous “Philandering”, where he indulges in every possible vice. But then, a glimmer of hope emerges in “One Day”, where Rita and Phil share a moment that suggests there might be a way out of this mess—if only Phil can figure out how.

ACT II: Finding a Way Forward

The second act kicks off with an Entr’acte, bringing the audience back into the swirling madness of Phil’s endless February 2nd. His shallow lifestyle starts to wear thin in “Playing Nancy”, where Nancy, one of the townspeople, reflects on the role she plays in Phil’s repeating story.

Phil’s journey toward self-discovery gains momentum in “Hope”, where he begins experimenting with different ways to live each day. His emotional shift is marked by “Everything About You”, where he starts seeing Rita—and life itself—through a new lens. The heartfelt “If I Had My Time Again”, a duet between Phil and Rita, captures the idea that perhaps a do-over isn’t such a bad thing if it’s done for the right reasons.

Then comes the tap-dancing spectacle of the night: “Philanthropy.” This number is the turning point in Phil’s transformation. Having embraced his endless February 2nd as an opportunity to help others, Phil dashes around town performing good deeds—rescuing townspeople, preventing accidents, and generally being the Punxsutawney superhero no one asked for but everyone needs. The stage explodes into a high-energy tap dance routine, featuring Phil and the ensemble, in a synchronized, electrifying sequence that showcases both the sheer talent of the cast and the show’s Broadway-level spectacle. Waterhouse threw himself into the number with the kind of commitment that makes an audience sit up and say, Now, that’s impressive.

Just when it seems like Phil might be getting it right, the mood darkens in “Night Will Come”, a haunting solo by Ned Ryerson that underscores the weight of time slipping away. But Phil pushes forward, using his knowledge to help others in “Philanthropy”, and by the time “Punxsutawney Rock” rolls around, he’s leading the town with newfound purpose.

The final emotional punch lands in “Seeing You”, as Phil at last learns the lesson the universe has been trying to teach him. And as the curtain closes with “Dawn”, the audience is left with a sense of triumph—because this time, Phil really has made it to February 3rd.

Show Details & How to Get Tickets:

Venue: 6th Street Playhouse, GK Hardt Theatre, Santa Rosa
Dates: Through February 23, 2025

Get Tickets: Visit 6thstreetplayhouse.com or call (707) 523-4185 for tickets and pricing details.

Run Time: Approx. 2 hours, 30 minutes (including intermission)
Content Warning: Some mature language, action, and themes. Parental discretion advised for patrons under 13.

The role of Phil Connors is played on alternating nights by:

  • Garet Waterhouse: 1/30, 2/1, 2/7, 2/8, 2/13, 2/15, 2/20, 2/22 (matinee), 2/23
  • Nelson Brown: 1/31, 2/2 (matinee), 2/6, 2/8 (evening), 2/14, 2/15 (matinee), 2/16 (matinee), 2/21, 2/22 (evening)

Final Thought:

Some shows entertain. Some shows dazzle. And then there are the rare ones that do both while making you rethink how you spend your own days. Groundhog Day: The Musical isn’t just a comedy—it’s a cleverly crafted spectacle packed with humor, heart, and high-energy performances.

With a stellar cast, sharp direction, and musical numbers that stay with you long after the curtain falls, this production proves that sometimes, getting stuck in the same day over and over might not be so bad—especially if it means seeing a show this good more than once.

 

P.S. Having just re-seen the original Groundhog Day movie, I’m struck by how well the musical captures its charm while adding fresh theatrical energy. Bill Murray’s iconic Phil Connors set the bar high, but the stage adaptation brings its own magic, especially with the added musical numbers and ensemble-driven storytelling. Fans of the movie will appreciate the clever nods while enjoying new layers of depth in this live performance
Jan 31 2025
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Six Degrees of Separation

By Joseph Cillo

A Con, a Couple, and a Whole Lot of Trouble

Sonoma Arts Live puts on a well-acted, professionally mounted production of Six Degrees of Separation, a play that’s as slick as its con-man protagonist—and just as unsettling. Directed by Libby Oberlin, this one isn’t your standard night of lighthearted theater. No, sir. This is a sharp-edged, fast-talking, morally murky piece of work that’ll have you laughing one minute and shifting uncomfortably in your seat the next.

At the center of the chaos is Paul, played with a whole lot of charm (and just enough menace) by Jonathen Blue. He’s a smooth operator who shows up battered and broke on the doorstep of a wealthy Manhattan couple, claiming to be Sidney Poitier’s long-lost son. He dazzles them, he wins them over, and then—well, things go sideways fast.

Flan and Ouisa Kittredge, the couple Paul manipulates, are played by Larry Williams and Mary Samson, respectively. Williams gives Flan the perfect mix of status-seeking vanity and barely concealed desperation, while Samson’s Ouisa evolves from amused hostess to a woman haunted by what Paul’s deception reveals about her own life. Together, this trio commands the stage, driving home the play’s biting commentary on privilege, trust, and self-delusion.

The supporting cast delivers strong performances, with Lukas Raphael as both Geoffrey and Dr. Fine, Felizia Rubio as Elizabeth and Ben, and Jake Druzgala taking on Woody and Rick. Tim Setzer adds depth as the Detective and Doorman, while Pilar Gonzales brings sharp energy to Tess Kittredge. Rounding out the ensemble, Beth Ellen Ethridge and Sean O’Brien portray Kitty and Larkin, further enriching the play’s web of intrigue and deception.

Oberlin’s direction keeps it moving at a crisp clip, with dialogue that pops and a pace that never lags. The humor is sharp, the tension real, and the whole thing wraps up leaving you wondering: Who’s really fooling who?

Now, fair warning—this play might not be your cup of tea. If you like your theater with clear-cut heroes and tidy moral lessons, this one may leave you squirming. But if you appreciate a play that’s as thought-provoking as it is unsettling, you’ll find plenty to chew on here.

Performances Through February 16, 2025

Andrews Hall, Sonoma Community Center (276 East Napa Street, Sonoma, CA 95476)

Show Days & Times

  • Thursdays & Fridays – 7:30 PM
  • Saturdays – 7:30 PM
  • Sundays – 2:00 PM

How to Get Tickets

Ticket Prices

  • Riser Seats – $42 | Floor Seats – $37
  • Balcony (General Admission) – $25
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Go see it. But don’t say you weren’t warned.
Jan 26 2025
Love0

The Spitfire Grill

By Joseph Cillo

A Musical Tale of Renewal and Hope

Ross Valley Players’ The Spitfire Grill is the kind of show that sneaks up on you. At first glance, it seems simple enough: a small-town diner, a troubled parolee looking for a fresh start, and a bunch of townsfolk with their quirks and grudges. But like a good pie cooling on the windowsill, it draws you in, layer by layer, until you’re hooked on its warmth and richness. Directed by Jay Manley, who has a knack for pulling the best out of both his actors and his audience, this production is a real treat.

The story centers on Percy Talbott (played with a compelling mix of grit and grace by Kyra Lynn Kozlenko), fresh out of prison and looking to start over in the tiny town of Gilead, Wisconsin. Armed with nothing but a page torn from a travel book, she lands a job at the Spitfire Grill, a run-down diner owned by the cranky but endearing Hannah (Kelly Ground, bringing just the right amount of vinegar to the role). The town, full of secrets and simmering tensions, seems as stuck as the grill itself. But as Percy settles in, she shakes things up, inspiring everyone to open their hearts a little wider.

Manley knows how to tug at your heartstrings without being obvious about it, and his cast delivers performances that feel real and lived-in. Kozlenko’s Percy is rough around the edges, but her vulnerability shines through. Ground gives Hannah the kind of weary strength that makes you want to root for her, even when she’s being ornery. And Julianne Bretan’s Shelby, the town’s quiet voice of reason, adds a lovely softness that balances the rougher edges of the story.

Additionally, Brad Parks as Caleb Thorpe, Kyle Stoner as Sheriff Joe Sutter, and Jane Harrington as Effy Krayneck round out the town’s dynamic. Bradley Markwick is effective as the mute, mysterious recluse.

The music, with its blend of folk and Americana, is like a favorite old record—soulful, heartfelt, and just a little bittersweet. Musical director Nick Brown and his small band give the score a warm, homespun feel that fits the story perfectly. Songs like “Shine” and “Forest for the Trees” linger long after the final note, thanks to the cast’s emotive delivery.

And let’s not forget the details: Ron Krempetz’s set design feels like it’s been plucked straight from a postcard of small-town America, complete with weathered wood and that unmistakable diner charm. Michele Samuels’ lighting design subtly shifts to mirror the characters’ emotional journeys, and Valera Coble’s costumes are perfectly small-town chic, if such a thing exists.

The Barn Theatre, nestled in the Marin Art and Garden Center, is the perfect setting for this intimate production. You feel like you’re right there in the diner, sharing a cup of coffee with Percy and the gang. And while the themes of redemption and community are timeless, there’s something about seeing this story now—at the start of a new year—that feels particularly fitting.

Don’t Miss This Community Gem

The Spitfire Grill isn’t flashy or over-the-top, and that’s its magic. It’s a show that feels like a warm hug, a good meal, or a deep conversation with an old friend. If you’re looking for theater that’s honest, moving, and just plain good for the soul, this one’s for you.

Tickets

The Spitfire Grill runs through February 23, at the Barn Theatre in the Marin Art and Garden Center campus in Ross.
Tickets $40 ($43.80 with booking fee) $25 for preview and ages 18 and under ($27 with booking fee)
Box Office boxoffice@rossvalleyplayers.com
Visit Ross Valley Players Online for showtimes and ticket availability