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Aug 24 2024
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The Comedy of Errors

By Joseph Cillo

Innovative Take on a Classic Comedy

On the unexpectedly cool Friday evening of August 23, I attended the revised opening of “The Comedy of Errors” at the open-air Forest Meadows Amphitheatre. The delay due to a cast illness didn’t dampen the spirit of the production, which impressed with its innovative approach and the resilience of its all-woman cast. The unique choice to feature women in all roles brought a refreshing twist to this Shakespearean classic.

For those unfamiliar with the play, “The Comedy of Errors” is a fast-paced and humorous story centered around mistaken identities. It begins with Egeon, a merchant from Syracuse, who is arrested in Ephesus. Egeon explains that he has been searching for his long-lost twin sons, both named Antipholus, and their twin servants, both named Dromio. Years ago, a shipwreck separated the family, and now both sets of twins find themselves in the same city without knowing the others are there.

The confusion leads to a series of comedic misunderstandings, including wrongful beatings, mistaken romantic advances, and wrongful arrests, as each twin is constantly mistaken for their sibling. The chaos peaks when both pairs of twins are present, causing everyone to doubt their sanity. The resolution comes when the twins are reunited, revealing the true identities of everyone involved and bringing joy to all.

The talented ensemble skillfully navigated the play’s intricate plot of mistaken identities, delivering a performance that was both lively and engaging. Wilma Bonet’s portrayal of Antipholus of Syracuse stood out, bringing charisma and depth to the role. Rebecca Pingree, who also contributed as a Co-Properties Artisan, added a delightful touch of humor to the proceedings.

The ensemble cast, each bringing their own flair to the performance, included:

  • Wilma Bonet (Member of Actors Equity Association)
  • Keiko Shimosato Carreiro (Member of Actors Equity Association)
  • Emily Cummings
  • Valerie Fachman
  • Elizabeth Jones
  • Asha Bagal Kelly
  • Charisse Loriaux (Member of Actors Equity Association)
  • Rebecca Pingree

Set in a cooper’s workshop, the production’s design by Nina Ball effectively transported the audience to Elizabethan England. Jon Tracy’s lighting enhanced the mood shifts throughout the play, while Tammy Berlin’s period-appropriate costumes added authenticity to the characters.

What made this production particularly interesting was the director’s imaginative concept of having an all-woman cast, a nod to what might have happened if women had taken the stage in Shakespeare’s time. This fresh perspective added a new dimension to the performance, challenging traditional gender roles in theater and highlighting the talents of the female cast.

While the production was engaging, it’s worth noting that familiarity with Shakespeare’s language and style enhances the enjoyment of the play. The fast-paced dialogue and complex wordplay can be challenging to follow, but for those well-versed in Shakespeare, this adds to the charm and humor of the experience.

Overall, “The Comedy of Errors” offers an interesting and thought-provoking take on a well-known comedy. The all-woman cast brings a unique energy to the play, making it an enjoyable experience, especially for those who appreciate Shakespeare’s work.

Aug 22 2024
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Show Pony from Berlin at Edinburgh Festival Fringe 2024

By Jo Tomalin

Created by still hungry and Bryony Kimmings and presented by Chamaeleon Berlin, Show Pony is about three performers Lena Ries, Anke van Engelshoven and Romy Seibt. They reflect on how their careers in the circus industry are seemingly over based on aging out of acceptable norms for circus skills performers.

Circus skills have moved into theatrical shows and are not bound by being presented in the traditional sawdust ring. However, it sounds like there is a real issue with this topic of growing older in this profession and the three performers from still hungry are being creative and taking a proactive approach.

Ries, van Engelshoven and Seibt stand before us in track suits and dance wear and strut around to jubilant music, each with a powerful presence. They are very good at what they do walking in lines and formations with perfect posture in different colour feather headdresses, then showing their individual circus specialisations, such as contortion, climbing the straps – and twirling while doing the splits on aerial ropes.

The show is structured in interesting sections with episodic titles projected on a large upstage screen. A microphone on a stand is the starting point for each section, when one of the performers announces the rules – and they all take part showing and telling what these rules really mean, and the claustrophobic affect they have on circus performers – and ultimately on each of these three performers.

We are told that these performers are in their forties and this is the bewitching hour for their careers when younger performers are sought out to replace them. However, from the skills they each perform they are very impressive with their expertise and it is difficult to see why they might not be rehired. This is why still hungry have done something very inspiring by creating this show. They are making original theatre and applying their formidable skills with their acting and storytelling skills to produce a fascinating delve into feminism, growing older in a young person’s circus performer’s world and stridently not accepting these labels!

One by one they share their own stories, background and how and why they were drawn to the circus and learning the skills to be able to perform in circus troupes. Ries, van Engelshoven and Seibt are sincere storytellers, effective actors when speaking their monologues that range from emotive, sad to humorous. Each story is different and moving in its own way.

For them the circus is or was everything to them and they reached high levels of skills in well known circus companies. Things are progressing in the circus world and multi skilled performers are sought out nowadays more than specialists in one skill. Other information about working in a circus environment or the perception of the public to individual acts is revealing and its not all pretty.

Video clips share some of the more difficult moments and fears in their lives poignantly. One of the last sections showing their older selves is amusing and imaginative but could benefit from editing to be shorter and still effective. Music selections during the show are engaging and complement the moments perfectly with sound design and original music by Tom Parkinson.

A theatrical take on three circus performers and what their future holds. When they have worked hard all their lives to achieve their hopes and dreams, what’s next for them? Very well acted by all three performers who go deep – with impeccable timing and crafting.

Highly Recommended!

More information:

Company: still hungry and Bryony Kimmings presented by Chamaeleon Berlin
https://chamaeleonberlin.com/en/on-tour-show-pony/#creativeteam

Aug 19 2024
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L’Addition at Edinburgh Festival Fringe 2024

By Jo Tomalin

A table is set in the restaurant with an empty wine glass on a white linen table cloth. Upstage are two chairs, a service station with wine, and other accoutrements. The duo of Bert and Nasi introduce themselves and do an informative preamble. They both wear crisp white shirts and black trousers.

Their banter is witty and fun, from a seemingly self-deprecating waiter and a mild mannered customer, or is it a customer and a waiter? Their verbal repartee describing what is to happen is hilarious, they get a lot out of so little! One tells us what we’ll see, and shows us with a gesture. They each play the moments well, such as when they both point upstage right and they look at us before the small bit of information is given verbally. This is repeated with the arms pointing to the left! They also do a play-by-play of important points. We are told after a while – it’s not complicated! This is seriously naïve and is surely an adventure!

Bert and Nasi are both at times still and silent, when their eyes slide sideways towards the audience to show disagreement. Sometimes Nasi is more persistent, and Bert is more placating – but not for long – and when they both agree, they run with the idea or new direction, whatever happens,

The waiter, is pouring wine into an elegant glass while the customer sits and watches, and sophisticated background music gives an air of a first class restaurant. There is a an atmosphere of expectancy – yet is it all in our mind? Is this an illusion? Suddenly they are in distress, maybe they are perfectionists this waiter and this customer? The third time around and the scene builds, it’s the same scene and they go off piste! What follows is a scene with similar actions and dialogue but with variations each time. At one point they realise that they’re over reacting, so they tell us not to panic! This is absurdist theatre at its best and the simple scene has ballooned into something else!

They create more absurdity by their economic use of gestures and props – and the short dialogue and things become clear for a while. In fact amongst the absurdity there is so much clarity about what is happening! Now and again Bert and Nasi come out of the scene to address the audience directly before a transition.

Directed by Forced Entertainment’s artistic director Tim Etchells and created with performance duo Bert and Nasi, L’Addition is set around a simple scenario that has been explored in every way to produce this unique and absurdist take on a scene in a restaurant that opens up opportunities for different emotions, meanings and some may say deeper exploration of clashes of humanity or world events.

Bert and Nasi are comedic when they look at the audience to share heightened reactions and sometimes very subtle reactions, verbal or nonverbal. They use all the space really well as they play and you can tell that they have played a lot when developing this show. They are not afraid to go to extremes in every situation in every moment, which may be why this piece is so well-crafted and builds so well. It’s a tour de force performance from Bert and Nasi.

They are modern day clowns, sophisticated absurdists in this devised show that is superbly performed. The story is based on simplicity of concept that is pulled apart with and served up with detail. Whether blaming each other, they dig deeper and find new levels of the story and their rapport. This takes nerve and is very well appreciated by the audience. Just when you think you have figured it out, they find motivation and another dimension, which generates new ideas for the scenes and extensions of thought.

Imaginative and creative. The banter is delicious. The inspired performance is all about the way they speak, react physically and play. They are multidimensional characters steeped in a totally original scenario, sublimely silly with integrity, and they know where they are leading us! With all the absurdity and the quirky charm of this duo, the seventy minutes seems a tad bit long and some very loud reactions from Nasi might benefit from some nuance in volume.

This is an intriguing exploration of two characters who work together and cajole each other in L’Addition, exceptionally well performed by Bert and Nasi.

More Information:

Bert and Nasi
https://bertandnasi.com/

Courtesy of www.FringeReview.co.uk
https://fringereview.co.uk/review/edinburgh-fringe/2024/laddition-here-now-showcase/

Aug 14 2024
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Dancing in the Street

By Joseph Cillo

A Sizzling Summer Block Party

A High Energy Summer Celebration with Sparkling Performances

Transcendence Theatre Company’s Dancing in the Street offers a vibrant mix of classic hits, lighting up Sonoma’s Field of Dreams from August 15-18, 2024. This show, set against the backdrop of summer in Sonoma, is a celebration of music that spans generations, bringing together beloved tunes from Motown, Elton John, Whitney Houston, and more.

A Talented Cast That Delivers

The cast is a strong ensemble of performers from Broadway and beyond. Becca Andrews makes a noteworthy debut, bringing energy and enthusiasm to her performance. Ginger Bess, with her experience in vintage jazz, anchors the show with a solid presence. Melanie Fernandez, recently seen in Natasha, Pierre, and the Great Comet of 1812, continues to impress with her vocal talents, adding depth to the ensemble. Patrick Garr, a veteran of Mean Girls and Hamilton, brings his characteristic charisma, and Elliott Litherland displays a commendable range in his roles.

Erin Maya’s powerful rendition of Whitney Houston’s “I Wanna Dance with Somebody” is a standout moment, showcasing her vocal strength and stage presence. Vasthy Mompoint, last seen in Hooray for Hollywood, adds a vibrant and dynamic touch to the production. David L. Murray Jr. and Devin L. Roberts contribute solid performances, while Valerie Salgado shines both as a performer and in her role as associate choreographer, helping to craft the show’s fluid and engaging choreography.

Music and Choreography that Captivates

Directed and choreographed by Eric Jackson, the show moves effortlessly from one iconic hit to the next. The creative team, including music director Nicolas Perez and lighting designer Paul Hudson, enhances the overall experience, creating a polished production that doesn’t overshadow the performers but instead complements them. Mark Zuckerman’s sound design ensures that the music and vocals resonate clearly with the audience.

The choreography is lively and well-suited to the music, capturing the essence of each era while keeping the audience engaged. The ensemble works together seamlessly, creating a cohesive and energetic performance that carries the audience along with it.

A Nostalgic Musical Journey

The musical selections in Dancing in the Street are carefully chosen to appeal to a wide audience. The Motown medley is a particular highlight, offering a nostalgic journey through some of the most beloved songs of the era. Elton John’s classics are given a fresh interpretation, and Whitney Houston’s hits, especially “I Wanna Dance with Somebody,” bring the house down.

Final Thoughts – Act Now!

Dancing in the Street is a delightful summer event, offering a mix of nostalgia and high-energy performances that are sure to entertain. While the show may not break new ground, it provides a thoroughly enjoyable evening that will resonate with fans of classic music. With only a few performances left from August 15-18, this is a show worth catching if you’re in Sonoma. It’s a spirited celebration of music that brings the community together.

For tickets and more information, visit Transcendence Theatre Company.

 

Aug 05 2024
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“Der Rosenkavalier” at Santa Fe Opera Festival 2024

By Carol Benet

“Der Rosenkavalier” at Sante Fe Opera

Carol Benet

Richard Strauss’ “Der Rosenkavalier” with the libretto by Hugo von Hofmannsthal at Sante Fe Opera festival 2024 could not have had a better production.  The fantastic third act is a deconstruction and amplification to the original.  The opera is the story of an aging aristocrat, the 32 year old  Marshallin (Rachel Willis-Sørensen), who is having an affair with a 17 year old Count Octavian (Paula Murrihy) and its aftermath.  

Aging and the passing  of time are the main themes of Strauss’ famous opera of 1911  The tale is timeless and the portrayal of Viennese society of the time historical.  The boorish uncle of the Marshallin Baron Ochs (Matthew Rose) pursues women of all levels of society and here he chases the maid Mariandel, non other than Octavian dressed as a woman, and Sophie (Ying Fang), the rich daughter of Herr von Faninal (Zachary Nelson).  Och’s marriage to Sophie would satisfy both him and Faninal wishing to elevate family’s social standing.  Baron Ochs, like many nobles, is in need of money.

“Der Rosenkavalier” is a four hour opera with one long intermission needed to change the set for the 3rd act.   Gary McCann’s set is brilliantly conceived and executed along with his fanciful costumes of traditional aristocracy in wild abandon of party goers. The third act is a dream scene when all the former pregnant victims and the illegitimate  children of the predatory Ochs come back to haunt him.  It is in a claustrophobic room set in two psychedelic colored neon-framed boxes.  Ochs is imprisoned in this a room with all his victims from which he cannot escape. Matthew Rose’s portrayal of Ochs with his excellent bass voice and comic acting  is one of the highlights of this production.  He is perfectly played as an overweight, toupee wearing bore whose name Ochs (“ox” in German) is appropriate.   Maybe Strauss is turning in his grave at this re-enactment of Act 3 but the audience loved it.

The correct coupling takes place at the end when Sophie and Octavian are together yet the Marschshallin blesses them both in this inevitable end of her affair. Sørensen aria’s and duets with Octavian are wonderful in her strong soprano voice and fine acting.  Ying Fang’s voice is gorgeous as Sophie and Rose’s acting and singing ability as Ochs enlivens the entire production.

Conductor Karina Canellakis presented a lively rendition of the music that was fun loving and at time filled with pathos as the Marschallin reflects on her life.  Bruno Ravella’s direction of this complicated and demanding opera is excellently creative.  I hope the production moves on to other venues.  It should.

“Der Rosenkavalier”  runs through August 15, 2024 at the Sante Fe Opera.  

Aug 05 2024
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Santa Fe Opera 2024

By Carol Benet

Sante Fe Opera Festival 2024

Carol Benet

In the middle of the most gorgeous scenery in the United States, with art everywhere and the dozens of restaurants with delicious food, Sante Fe in northern New Mexico boasts of one of the most important opera events in the world, the Sante Fe Opera Festival.

Operas takes place July and August in an architecturally splendid outdoor auditorium seating more than 2000 (Polshek Partnership Architects and acousticians Purcell & Noppe & Associates). Some operas are timed so that they start just before and during sunset so the wonderful  open background on the stage for two operas this season is filled with rich colors of the western vista introducing the universal and timeless beauty of nature.  

The 2024 season features five operas with one world premiere and four beloved classics.  “The Righteous” with music by Gregory Spears and libretto by former poet laureate Tracy K. Smith, is a slog,  It is over three hours of a story that tries to incorporate too many themes drawn from the 1980’s such as feminism, the war on drugs, Mid-East conflict, AIDS, political power grabs, unfaithful husbands, hypocritical preachers, social inequality and the such.  The opera needed a serious editing job that would let it focus on one or only a few of these important themes.

But the production was in place with conductor Jordan de Souza, director Kevin Newbury, set designer Mimi Lien and costumes by Devario Simmons, Japhy Weideman lighting designer and chorus master Susanne Sheston.

Both the wife and budding feminist Michele (Jennifer Johnson Cano),  the countertenor Jonathan (Anthony Roth Costanzo) with his closeted love for the preacher showed both vocal and acting expertise.  The opera deals with the question of who is “righteous” and the spiritual search for truth and good these ordinary characters seek.  The production borders on the soap opera level.

Two of the other operas in the season were the kind that make the Sante Fe Festival famous.  The comic “The Elixir of Love” by Gaetano Donizetti has an update to the 1940s in a small Italian town.  The simple story of an itinerant salesman Dulcamara (Alfredo Daza) who peddles a remedy that he claims can cure everything.  The poor car mechanic Nemorino (Jonah Hoskins) is in love with Adina (Yaritza Véliz) and buys the phony love potion.  Adina falls for the army bigwig Belcore (Luke Sutliff)  and they are to marry when Nemorino, who has inherited a fortune, intervenes and the right couple is united.  

Director Stephen Lawless has brought this favorite classic comic opera to a new level with a flashy red car from the period and characters flitting around in real motorcycles.  Ashley Martin-Davis’s costumes and set are colorful and fun.  Roberto Kalb’s conducting of the fine orchestra and Susanne Sheston’s choral direction are top-knot.

Also during the season is the favorite Verdi’s “La Traviata” which was a pure pleasure.  The  Armenian soprano Mané Galoyanb as Violetta was as fine a singer as actress in this heart throbbing story  of a courtesan in love with Alfredo (Bekhzod Davronov) whose father Giorgio (Alfredo Daza) intervenes to save the marriage prospects of his daughter.  Galoyanb has a bright future ahead.

“La Traviata” is filled with beautiful areas and ensembles throughout.  The director Louisa Muller has brought a new staging (set and costumes by Christopher Oram) placing the opera in Paris of the 30s before the Nazi occupation when everyone was in a party mode.  The parties here are wild as if the era was coming to an end as it was. Choreographer Matthew Steffens helps with the lively fun-loving scenes.  Conductor Corrado Rovaris is masterful in bringing out the joyful scenes as well as the deeply pathetic ones.  

Two more operas “Der Rosenkavalier” and “Don Giovanni” are on the roster for the Sante Fe Opera Festival that ends on August 24. 2024.

santefeopera.org or 1 800-280-4654
505-986-5900

 

Aug 04 2024
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“Don Giovanni” at Santa Fe Opera

By Carol Benet

“Don Giovanni” at Santa Fe Opera

Carol Benet

One of the most popular opera’s ever written, Mozart’s “Don Giovanni”, is currently through August 23, 2024 at the  Santa Fe Opera. 

With an undated concept by director Stephen Barlow  and set and costume designer Yannis Tavoris, it is placed in Victorian London.  Their idea to make it  a sort of Oscar Wildean “Picture of Dorian Gray” yet the idea is only minimally achieved.  The set, artist painting a portrait and several of Giovanni on the wall refer to the novel. And If you are close to the stage, you can see  the portrait’s age changes at times.  I was in mid-auditorium and could not see this.  

Nevertheless, the success of  the novel idea or not, this production was a great success.  It was amazing that Rachel Willis-Sørensen could step into the demanding role of Donna Anna at the last moment.  This fabulous soprano beautifully sang the grilling 4 hour performance of “Der Rosenkavalier” that I saw the night before.  As Anna in Giovanni she was equally spectacular.

“Don Giovanni” is a Don Juan story with a rapacious Don (Ryan Speedo Green) chasing anything wearing a skirt.  His servant Leporello’s (Nicholas Newton) famous aria recounts the  lists of his conquests, country by country, ending with Spain -over one thousand.

As it opens, Giovanni is running away from Donna Anna whose father has saved her from an attack.  The father Il Commendatore (Soloman Howard) chases Giovanni and is shot dead.  The rest of the opera is more conquests and eventual punishment for the Giovanni’s many rapes and the murder.

The action takes place on a rotating stage with scenes in the lobby and the outside entrance to the tony Savoy Hotel plus Giovanni’s portrait laden apartment.   Donna Elvira (Rachael Wilson), one of his conquests, pines for Giovanni throughout and there is much interaction between her and the Don and later Leporello with whom the Don has exchanged clothes to escape being caught.  

The Don also desires the servant girl Zerlina (Liv Redpath) on the night of her wedding to Masetto (William Guanbo Su).  He could do this legally due to  “le droit du seigneur”.  Donna Anna’s fiancé Don Ottavio (David Portillo) consoles Anna and helps her avenge her father’s murder .  His wonderful tenor voice sings two important arias. and the many ensembles.  In the end Giovanni is punished by the ghost of Il Commodore.

The opera has one famous song after another starting with the overture that anticipates many of them.  The singers in this performance are all excellent and well experienced in the great opera houses of the world including the Metropolitan (Willis-Sørensen, Green, Newton, Portillo, Howard, Su, Redpath).

Chorus Master Susanne Sheston leads the choruses in all this season’s operas.  The choruses are  made up of Apprentice Singers for all the operas.  They are participating in Santa Fe’s Opera program for young opera singers,  one of the most competitive and prestigious in the nation.

The entire  production “Don Giovanni” is one of the highlights of the season of five operas in the 2024 season of the Santa Fe Opera.  

santafeopera.org 

Aug 03 2024
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Collective Rage: A Play in Five Betties

By Joseph Cillo

A Bold and Thought-Provoking Journey of Self-Discovery

Collective Rage: A Play in Five Betties by Shotgun Players delivers a vibrant, engaging, and masterfully crafted exploration of identity, gender, and personal freedom, leaving the audience both very entertained and reflective.

This fun yet thoughtful production masterfully explores themes of identity, gender, and personal freedom. Directed by Becca Wolff and written by Jen Silverman, the play features five characters named Betty, each on a journey of self-discovery in a world filled with societal expectations.

Silverman’s writing is both sharp and insightful, giving each Betty a distinct voice and personality. The narrative intertwines humor and introspection, allowing the audience to reflect on the human experience in a way that is both entertaining and meaningful. The play’s structure, which includes a play-within-a-play inspired by Shakespeare’s “A Midsummer Night’s Dream,” adds depth and complexity to the story.

The performances by Atosa Babaoff, Skyler Cooper, Raisa Donato, linda maria girón, and Nicole Odell are fun, compelling, authentic – and sometimes, over-the-top. Each actor brings a unique energy to the role, making the audience feel connected to their characters’ struggles and triumphs. The chemistry among the cast enhances the play’s exploration of complex emotions and relationships.

 

The inventive set design by Angrette McCloskey transforms the stage into a dynamic and immersive world. Additionally, the thematic art installation in the lobby, featuring works by visual artists including Cara Goldstein and Suzanna Scott, enriches the overall experience and provides a visual extension of the play’s themes.

Becca Wolff’s direction skillfully balances the play’s humor and its deeper messages. Wolff’s vision allows the absurdity and humor of the story to shine while ensuring that the play’s exploration of identity and self-discovery remains impactful.

Silverman’s play challenges the audience to reconsider societal norms and stereotypes, offering a fresh perspective on the quest for personal happiness and authenticity. The play is an invitation to exercise a braver, more vital imagination about who we are and what we’re capable of, a theme that resonates strongly in today’s world.

Collective Rage: A Play in Five Betties is a bold and relevant production that is both entertaining and thought-provoking. Shotgun Players once again demonstrate their commitment to creating affordable, impactful theater that speaks to a diverse audience. This play is a testament to the power of storytelling and the importance of challenging the status quo.

 

Aug 03 2024
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The Prom at Sonoma Arts Live

By Flora Lynn Isaacson

 

Last Sunday, a sold-out house enjoyed the final performance of The Prom at Sonoma Arts Live. The audience was taken in immediately by the cast’s electric energy. The show was thoroughly entertaining thanks to their fine acting, singing and dancing.

The play is based on the book by Bob Martin and Chad Beguelin (lyrics also by Beguelin and music by Matthew Sklar).

This production highlights the many talents of Jonathen Blue. His direction, choreography, singing and acting are extraordinary.

According to Blue, the story of The Prom “belongs to anyone who has ever felt ostracized, excluded or treated differently for what they believe or who they love.”

The plot is “loosely based” on a real person–Constance McMillen, a high school girl who was banned from bringing a female date to her prom in 2010.

McMillen’s story got nationwide attention; the ACLU sued the school district, and won a case on her behalf. Five years later, the idea for The Prom was conceived by playwright/producer Jack Viertel.

According to Newsweek, Viertel envisioned a play about “a girl in Indiana who wants to take her girlfriend to a prom and some failing actors come in to help—but they mess things up.” He called Martin and Beguelin with the concept and they “dove right in, creating a farcical show,” that won a Tony Award for Outstanding Musical (2019).

The first act is set backstage in a Broadway theater where four actors learn the play they are appearing in is closing immediately. Scathing reviews have labeled their performances “self-indulgent” and “narcissistic.”

In response to the criticism, they talk about how to redeem themselves in the public eye by getting involved in a “worthy” cause.

Many causes are brought up but the Prom controversy interests the group the most so they decide to go to Indiana and take a stand.

Daniela Innocenti Beem (Dee Dee), Jeremy Berrick (Trent), Tim Setzer (Barry) and Chelsea Smith (Angie) are spectacular playing the “out of town actors” trying to combat the town’s intolerance. Their performances are delightful and full of humor. They bring life to the play’s clever dialogue and fabulous song with stage presence off the charts!

Hannah Passanisi (as Emma, the student at the center of the storm), Pilar Gonzales (Emma’s girlfriend Alyssa), and Julia Holsworth (Alyssa’s uptight mother) are equally impressive in their roles.

Laurynn Malilay’s creative set design and Christina Howell’s outstanding music direction add much to the show. Kudos also to Maeve Smith (costume design), Levi Klouse (lighting) and Jaime Love (Producer) for making this a memorable show.

Coming up next at Sonoma Arts Live is Young Frankenstein, directed by Larry Williams, September 6-22.