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Apr 28 2014
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Palo Alto Players pleases audiences with ‘Young Frankenstein’

By Judy Richter

Mel Brooks has a knack for converting his funny, successful movies into funny, successful musicals.  “The Producers” came first, and then “Young Frankenstein,” which is delighting Palo Alto Players audiences.

Director Patrick Klein has assembled an outstanding cast and artistic team who have all contributed to a polished, hilarious production.

Set in 1934, the book by Brooks and Thomas Meehan concerns a successful American brain surgeon, Dr. Frederick Frankenstein (Steven Ennis), who must travel to Transylvania to claim the estate of his late grandfather.

When he arrives, he’s greeted by his grandfather’s humpbacked lab assistant, Igor (Joey McDaniel), and the comely Inga (Jessica Whittemore), who is to be his assistant, too. Also on hand is his grandfather’s housekeeper-lover, Frau Blücher (Linda Piccone).

He says he wants nothing to do with his grandfather’s work, which involved digging up dead bodies, implanting them with brains, and thus creating scary monsters that kept the villagers on edge.

Nevertheless, Frederick succumbs to the scientific lure, believing that if he implants a body with the brain of a brilliant, good person, the new creation also will be brilliant and good. Unfortunately, Igor mistakenly brings him an abnormal brain.

The resultant monster (Michael D. Reed) is a hulking, shuffling, inarticulate creature who gets loose and sends the village into a frenzy. As he crashes through the woods, he encounter sFrederick’s fiancee, Elizabeth (Lindsay Stark), who had never allowe dFrederick to touch her. She had arrived unexpectedly and found Frederick and Inga in a compromising situation. When she meets the monster, his physical endowments lead to a mutually satisfying union.

There’s more after that. Suffice it to say that the entire show is infused with Brooks’ zany, frequently risque humor as well as tuneful music with clever lyrics. Musical theater fans will find some songs with subtle references to other Broadway hits like “South Pacific” in “(There Is Nothing Like) The Brain,” “Annie” in “Together Again for the First Time” and “Fiddler on the Roof” in “Life, Life.”

Then there’s the direct use of an Irving Berlin hit, “Puttin’ on the Ritz,” that becomes a full-out, tap-dancing production number choreographed by Jennifer Gorgulho. Her work, so well executed by the ensemble and principals throughout the show, is inspired by the original Broadway director/choreographer, Susan Stroman.

Klein’s director’s notes say that when he saw the original Broadway production in 2007, he didn’t think it could be done in a regional theater because it needs “specific actors with impeccable comic timing, giant sets and a million costumes. In short, it requires a giant budget.”

Well, now the show is on a regional, nonprofessional stage without a huge budget, yet artistic creativity and an abundantly talented cast have allayed his concerns. Kuo-Hao Lo’s simple yet evocative sets easily adapt to frequent scene changes. Lighting by Carolyn Foot and sound by Grant Huberty enhance the often eerie moods, while Shannon Maxham’s costumes reflect both the era and the characters’ personalities. Musical director Matthew Mattei leads the mostly satisfactory orchestra.

As Frederick, Ennis is seemingly indefatigable, singing, dancing and acting his way through this demanding role with nary a misstep. Whittemore’s Inga is not only sexy but also multi-talented, as seen in the yodeling she does in “Roll in the Hay.”

McDaniel’s not-too-bright Igor is always amusing. And when it comes to comic timing, no one can beat Piccone as Frau Blücher. A longtime favorite of local theater, she can evoke peals of laughter from her silences and her expressive face, even when it’s deadpan.

Reed as the monster meets the physical requirement with his imposing, NBA-like height along with some agile dancing and operatic vocal abilities seen in his later scenes. Stark as Elizabethis an assured singer.

The men’s and women’s ensembles also are excellent as they sing, dance and portray all the extra characters needed in this show.

The two-act, nearly three-hour “Young Frankenstein” is an ambitious undertaking, but Palo Alto Players has surmounted its challenges to stage a thoroughly enjoyable evening of musical theater

 

Apr 28 2014
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THE LETTERS an Alfred Hitchcock type thriller at Aurora.

By Kedar K. Adour

Anna (Beth Wilmurt) plays a dangerous game of cat and mouse with The Director (Michael Ray Wisely*) in Aurora Theatre Company’s Professional Bay Area Premiere of The Letters. Photo by Sarah Roland

The Letters: Drama by John W. Lowell.  Directed by Mark Jackson. Aurora Theatre Company, Harry’s UpStage in the Dashow Wing, 2081 Addison Street, Berkeley, CA. (510) 843-4822 or at www.auroratheatre.org. Professional Bay Area Premiere. April 24, 2014 – May 25, 2014.

THE LETTERS an Alfred Hitchcock type thriller at Aurora. [rating:3] (3 of 5 stars)


THE LETTERS plays now through June 8 (added performances: Wednesday, June 4, 8pm; Thursday, June 5, 8pm; Friday, June 6, 8pm; Saturday, June 7, 8pm; Sunday, June 8, 2pm) at Harry’s UpStage at the Aurora Theatre in Berkeley.

In the era of black and white TV reception a popular show was Alfred Hitchcock Presents that played for one half hour (including a commercial) and inexorably built suspense with the bad guy (or girl) getting his comeuppance. The 75 minute two-hander, The Letters by John W. Lowell, is reminiscent of that era and at the same time can be considered a modern morality play for present times even though the action is set in 1935 Russia.

During that time the oppressive government engaged in wholesale spying on every level of the populous. There was strict censorship with bureaus set up to enforce the party rules and expunge any hint of “aberrant” behavior. Homosexuality was considered aberrant. This created a dilemma since an internationally famous music composer (think Tchaikovsky) had written letters that contained explicit sexual references. In an attempt to keep this from the world those letters, the driving force in the play, were heavily censored.

Anna (Beth Wilmurt) a low level worker in a censorship bureau has been summoned to the office of the Director (Michael Ray Wisely) ostensibly to be told of her elevation as head of that department. An apparently friendly, but guarded, interchange between the two starts out as casual conversation and gradually escalates into a pointed interrogation about copies of those letters that are missing.

The initially mousy demeanor of Anna undergoes subtle changes from insecurity, shock and disbelief to strength and control. Beth Williams captures those moods matching Michael Ray Wisely’s increasing personality changes from friendly supervisor who came up through the ranks of the military, to inquisitional leader threatening violence and finally to abject fear.

The play takes place in the confined space of the director’s office complete with photos of Stalin and Lenin on the walls and the characters dressed in period clothing (Ashley Rogers). Auteur Mark Jackson is listed as the director but there are no distinctive directorial conceits usually seen in his productions.   

This play inaugurates the company’s new 55 seat second stage performance space named Harry’s UpStage. The steeply raked seating area, which can be taken down for their café shows, allows excellent vision to the non-elevated performing area. Running time 75 minutes without intermission.

Harry’s upstage at Aurora

Cast: Beth Wilmurt as Anna; Michael Ray Wisely as Director

Designers & Crew: Lighting Designer, Joe D’Emilio; Costume Designer, Ashley Rogers; Set Designer, Maya Linke; Properties, Kirsten Royston; Stage Manager, Susan M. Reamy.

Kedar K. Adour, MD

Apr 27 2014
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Next to Normal: Please come back, we need you

By David Hirzel

It’s a little late in the game to be posting a review of this show:  today’s (4/27/14) 2:00 matinee was the last performance of Navato Theater Company’s Next to Normal.  It played to a full house—we were lucky enough to get the last two folding chairs before the box office closed for good and had to turn away the last of the eager late-comers.  News of this show had spread like wildfire, and with good reason.

It’s a musical, but not like any other you may have seen.  It deals with mental illness.  Very directly.  It presents the life of a modern American family, dysfunctional as any those we in the audience know from our own lives already.  But above all the tense interactions and confusions and denials lies a shadow.  The doctors have their ideas, their proposals, their drugs and procedures.  But they don’t know the causes of the turmoil and despair, and they can’t cure them.  The healing, partial and imperfect but a start towards something better, comes from within.  Director Kim Bromley sums it up in the liner notes.  “You are on your own path to discovery, as are these characters.”  I know I was.

Next to Normal  as drama, with its unflinching look deep into this family’s problems, is hard to watch.  For many, it looks to closely into their own.  But the intensity is leavened, lightened, by its presentation as a musical.  The music is driving and passionate, winsome and lyrical when it needs to be.   The singing and acting talent of each of the six on stage was uniformly superb.  I’ll briefly mention Julianne Thompson, whose nuanced performance as the teenaged daughter made this seem like a real family.  Like one you have known.  Alison Peltz’s portrayal of the bipolar Diana is beautifully, painfully accurate.

The show ends on a joyous note, a powerful anthem that brought the crowd to its feet.  So, why post a review now, when the show’s over?  Because this show, by this cast and direction, has put together a show that really ought to be seen by a much wider audience here in Marin.  I’d like to see a groundswell of support for another showing or two on a larger stage.  I know it would be difficult-to-impossible to arrange something like that.  The run is over, the set already dismantled.  But it’s a show that touched and moved me deeply, and will be impossible to forget.

Novato Theater Company:  5420 Nave Dr, Novato, CA 94949  (415) 883-4498

Website:  www.novatotheatercompany.org

David Hirzel website:  www.davidhirzel.net

Apr 26 2014
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NOT A GENUINE BLACK MAN a 10th anniversary success at Berkeley Rep

By Kedar K. Adour

NOT A GENUINE BLACK MAN: Dramatic Monolog. Written and performed by Brian Copeland.  Developed by Brian Copeland and David Ford. Directed by David Ford. Berkeley Rep, The Osher Studio, 2055 Center Street, Berkeley, CA 94704 (Located in the Arts Passage on Center Street between Shattuck and Milvia — just a block from Berkeley Rep) (510) 647-2949 or www.berkeleyrep.org.

EXTENDED THROUGH JUNE 28

NOT A GENUINE BLACK MAN a 10th anniversary success at Berkeley Rep [Rating:4] (4 of 5 stars)

Brian Copeland

You may wonder who is Brian Copeland and what does he have to say that has kept his dramatic monolog in the public eye for 10 years. Opening to rave reviews at The Marsh in San Francisco in 2004 the monolog and the performer have been equally well received throughout the United States. Last night he received a standing ovation at Berkeley Rep’s Osher Studio again demonstrating his skill as a performer but with a suggestion that over familiarity with his material has taken some sting out of his horrendous story of being a black man in a racist white environment.

The environment in question is Bay Area suburb of San Leandro that was a hotbed of racism in the 1970s when, at the age of eight, he moved with his family into an all-white neighborhood. There he his family received intimidation, racial slurs and eventually threat of eviction. Now at age 50 he is very successful radio and TV host and still lives in San Leandro that initially was 99% white but now is one of the most ethnically diverse communities in America.

He starts the evening with a few humorous anecdotes that quickly shift to startling stories of what he had to endure. The title for his monolog is attributed to a letter he received from a black listener to a radio show he was hosting. He was accused of not being “a genuine black man.” He questions of why black people say this of him. Are there distinctive traits, other than skin color, that deserve the label of being a genuine black man? The question is rhetorical and Copland moves on to tell the shocking stories of his life beginning with a father, Sylvester, who “went out for groceries and never came back.” When he did come back he was abusive to the entire family.

Copland is a master at changing his voice and using body language to depict the various people who inhabited his world. There is the thin voice of his mother who insists she was born in Rhode Island rather than Alabama. Then there are the strong declarations of his grandmother, the vicious diatribes of Sylvester, the childlike speech of his young sisters, and a plethora of characters that impinge on his life. He is masterful at becoming himself as an eight year old.

How he ever was able to rise above the hate and other tribulations that surrounded him is a story that deserves telling again and again. As a seasoned performer with an excellent director and he is able to balance much of the heartache with humorous quips to give the audience breathers between the dramatic sequences.  An unexpected shocker takes place at the end of act one when Copeland describes his bouts with depression and attempted suicide.

In act one Copeland’s change from the voices of his characters to his own mature voice seems at times to be by rote and does not fully express the monstrosity of the various incidents. In the second act that apparent lapse is not present and he reaches out with his professional demeanor to encircle the audience with his passion as they rose for a standing ovation. Running time about two hours with an intermission.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

Photo by Joan Marcus

Apr 26 2014
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WITTENBERG an intellectual hilarious romp at Aurora

By Kedar K. Adour

Hamlet (c. Jeremy Kahn*) is torn between Faustus (l. Michael Stevenson*) and Martin Luther (r. Dan Hiatt*) in Wittenberg

Wittenberg: A Tragical-Comical-Historical in Two Acts. By David Davalos. Directed by Josh Costello.  Aurora Theatre, 2081 Addison St., Berkeley. (510) 843-4822. www.auroratheatre.org. Extended through May 11, 2014.

WITTENBERG an intellectual hilarious romp at Aurora [rating:4] (4 of 5 stars)

The subtitle of David Davalos’ Wittenberg: “A Tragical-Comical-Historical in Two Acts”, is extremely descriptive of what you will see and hear in this laugh out loud, with occasional “Oh, no!” guffaws, production that is gracing the Aurora stage. Being familiar with Shakespeare’s Hamlet, Marlowe’s The Tragical History of the Life and Death of Doctor Faustus and the teachings of Martin Luther will enhance your evening. Consider what would happen at a meeting between fictional Hamlet, semi-fictional Faustus and real life Luther and you have the outline of Davalos’ smart, intellectual comedy.

Davalos postulates that Wittenberg University in Germany is common ground where the three could have met. In Shakespeare’s Hamlet he leaves Wittenberg returning to Denmark to avenge the death of his father.  Luther was a learned theologian and lecturer at Wittenberg where he nailed 95 Theses to the church door unmasking the corrupt practices in the Catholic Church leading to the Protestant Reformation. He and his followers demonized the real, self-proclaimed astrologer, physician and magician Faustus for witchcraft due to his dismissal of theology as false teaching.

Hamlet is portrayed as an ineffectual/vacillating senior student/athlete who still has not yet declared his major. That leaves him fair game for Luther’s theology and Faustus’ hedonistic philosophy as they vie for his soul. Davalos may try to give equal shrift to Luther’s and Faustus’ beliefs but after the scene where Luther proclaims that his cleansing bowel movement, actually brought on by a laxative given him by Faustus, was the cleansing of his soul, the advantage goes to Faustus.

The word ‘advantage’ has a more plebian definition when Hamlet plays a simulated tennis match with the unseen Laertes from a rival University. Copernicus enters in the rivalry when his concept of the earth moving around the sun is considered heresy.

All is not theology and philosophy since Davalos has written hilarious scenes liberally borrowing lines from Shakespeare and Marlowe irreverently subverting their intent.  He also invents the proverbial student ale drinking house, “The Bung Hole”, with a two stein minimum and ‘all the tripe you can eat.’

Dr. Faustus’ excessive appetite for living and female sex reaches a climax (actually multiple climaxes) during his dalliances with lover Helen while Luther is pontificating from the pulpit on the marvelous faux Cathedral set (Eric  E. Sinkkonen). Elizabeth Carter does quadruple duty as all four women in the cast giving each a distinctive flair.

Faustus’ (l. Michael Stevenson*) love interest, Helen (c. Elizabeth Carter*), flirts wildly with Hamlet (r. Jeremy Kahn*) after he wins a tennis match in Wittenberg


One could not ask for a more superlative cast that director Costello almost keeps in balance since the role of Faustus as played by Michael Stevenson is allowed to dominate the stage during his solo and ensemble time upon the stage. Jeremy Kahn should audition for the role of Hamlet in any forthcoming production of the Bard’s play since his depiction of the melancholy Dane rings true even though he must bound upon the stage in tennis regalia (brilliant costuming by Maggie Yule) to win his match with Laertes. Local favorite Dan Hiatt gives depth to Luther’s beliefs and has a subtle approach to comedy inherent in the script matching Stevenson scene for scene.  Running time 2 hours and 10 minutes with an intermission.

THE CAST: (in alphabetical order) Elizabeth Carter, Gretchen, Helen, Mary, Voltemand; Dan Hiatt, Luther; Jeremy Kahn, Hamlet; Michael Stevenson; Faustus; Jeffrey Lloyd Heatherly, Voice of the Judge; Daniel Petzold,, Voice of  Laertus.

DESIGNERS & CREW: Lighting designer, Jim Cave; Stage Manager , Leslie M. Radin; Properties, Laraine Gurke; Set designer , Eric Sinkkonen; Sound design, Chris Houston; Costume design: Maggi Yule

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com. 

 

Apr 25 2014
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Little Shop of Horrors, Andrews Hall at Sonoma Community Center, Sonoma CA

By Greg & Suzanne Angeo

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle

Matlock Zumsteg & Harry Duke

Shoppin’ and Boppin’ – This Horror Rocks

Andrews Hall is located inside the Sonoma Community Center, a beautiful, century-old Greek Revival building in downtown Sonoma. It’s a lovely drive from Santa Rosa down picturesque Highway 12, through bucolic scenes of vineyard and farmland. This serene landscape does little to prepare you for what’s in store, however, if you’re planning to see Little Shop of Horrors, presented at Andrews Hall by the Narrow Way Stage Company in its second season with the Sonoma Theatre Alliance.

This perky yet darkly comic rock-and-roll musical is based on Roger Corman’s 1960 film of the same name. It was adapted for the stage and first opened off-Broadway in 1982 and ultimately ran for five years. It garnered numerous awards, due in large part to the catchy songs by Howard Ashman and Alan Menken, who drew heavily from early Motown and other pop music from the early 60s. This ambitious production by Narrow Way is a fun and lively show, a pleasant way to spend an afternoon or evening. The best efforts of cast and crew are only partly hampered by the lack of space, which presents a challenge in shows of this kind. Especially if there’s a large, funky flesh-eating plant that takes up most of the stage.

The setting is a failing Skid Row flower shop.  Harry Duke as the schlumpy shopkeeper Mr Mushnik displays good instincts in presenting his character, who’s fallen on hard times. Duke seems to be channeling Tevye in Fiddler on the Roof. His perfect Russian Jewish accent pays off handsomely and his soft baritone lends a nice quality to the show.

Mushnik’s sad sack shop assistant Seymour (Matlock Zumsteg) finds an odd little plant one day during an eclipse, and brings it back to the shop. He soon discovers it needs more than just water and sunshine…it needs human blood in order to thrive. Seymour does his best to oblige, and the plant not only grows large and menacing, but develops a bellowing voice, demanding (in raucous song) even more from its hapless caretaker. Seymour makes a Faustian bargain with the beastly plant – success in return for human sacrifice. A perfect setup for laughs and rollicking rock and roll music, right?

Nora Summers & Matlock Zumsteg

Zumsteg gives Seymour a shy, nerdy likeability that goes beyond his comic strip confines.  His voice is well suited for the score, strong and steady. Seymour has an unrequited crush on shop girl Audrey (Nora Summers) who in turn has a weakness for no-goodnicks. Case in point: her current boyfriend, the sadistic biker-dentist Orin (Dallas Munger) who keeps her in black eyes and ace bandages. Summers plays Audrey as sort of a trashy-sweet innocent kid, not easy to pull off, but she does it and she’s the heart of the show. Munger, as Orin, comes off like a crazed hipster in black leather who just happens to carry a small can of nitrous oxide for a quick blast wherever he goes. Munger hams it up with mad abandon, but not-so-divine justice is waiting just around the corner for Orin.

The events in the story give theatre companies ample opportunity to explore their creativity in crafting puppets to represent the ever-growing ghoulish vampire plant, and Narrow Way gets to show their stuff in this regard. Music and voiceover artist Butch Engle gives the ferocious fern plenty of Wolfman Jack soul and campy attitude. He’s quite simply the best thing in the show and worth the price of admission. Engle is discreetly tucked away upstage on scaffolding above the action, along with the Skid Row Band, which is equally fabulous under the able direction of Justin Pyne. The score is simply infectious, and it’s almost impossible to resist the urge to jump up and dance on your chair. Songs like the rockin’ “Skid Row” performed by the company, Munger’s anthem “Dentist!” and the lovely, wistful “Somewhere That’s Green” sung by Audrey. Even perched on high way back upstage, you can still see the band, and at times Engle is more fun to watch than the plant.

Regie Padua, Alexis Long and Laura Levin as Ronette, Crystal and Chiffon – three street urchins that form a sort of doo-wop girl group Greek chorus – interpret the action onstage for the audience throughout the show. As characters, they provide a great bridge between scenes. As singers, they are only adequate; pitchiness and lack of sustained vocal quality create an uneven feel to the show.

Choreographer Alise Girard, so splendid in shows with large casts and elaborate dance numbers, isn’t as challenged with the small cast and stage this time, but does a commendable job nonetheless. Director Christopher Ginesi makes good choices and takes some creative risks that work most of the time. It takes ingenuity to fit a big show into a small space and have it work this well. With all its imperfections, this Little Shop is really entertaining and well worth a visit.

When: Now through May 4, 2014

8:00 p.m. Thursdays, Fridays & Saturdays

2:00 p.m. Sundays

Tickets $20 to $30

 

Andrews Hall at Sonoma Community Center

276 East Napa Street

Sonoma, CA 95476

(707) 938-4626

www.sonomatheatrealliance.org

Apr 21 2014
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SLEEPING CUTIE almost ready for prime time.

By Kedar K. Adour

Jesse Caldwell and Marissa Joy Ganz

Sleeping Cutie:A Fractured Fairy Tale Musical. Music by Doug Katsaros .Lyrics and book by Diane Sampson.Directed by Cindy Goldfield.Music Direction by David Aaron Brown.  Off a Cliff ProductionsSponsored by Playground @ Thick House – 1695 18th St. (Between Arkansas & Carolina Streets), San Francisco, CA 94107 Tickets: www.sleepingcutiemusicaltix.comor 415- 992-6677World Premiere – Limited Engagement –April 17 – May 11, 2014

EXTENDED THROUGH MAY 21, 2014

SLEEPING CUTIE almost ready for prime time. [Rating:3] (3 of 5 stars)

PlayGround is the Bay Area’s incubator for new playwrights and this 18th year of supporting fledgling writers is their most ambitious. They have elected to begin with a world premiere musical commissioned and supported by the New Play Production Fund. The play began as a ten minute Monday night reading in 2012 and is now a full length two act barrel of fun receiving its world premiere at the intimate Thick House. Although it provides a fun evening there is much to be done before it is ready for the road.

It is a very clever but hardly original concept that is outlined in a sprightly opening number “What it Isn’t” by the seven member cast and three man onstage band. It is a fairy tale with “action in a modern vein”, “not big or fancy”, and “no orchestra and no pit” because the “stage is too small.” Diane Sampson’s lyrics fit the eclectic music with an occasional banal rhyme earning a chuckling groan.

The promise of the rousing opening number is lost with Marissa Joy Ganz’s rendition of “Drummer Queen” a witty patter song listing the names of notable former drummers. Those names are unintelligible and Ganz never gains the audience’s approbation in this promising musical. The rest of the enthusiastic cast almost regain the momentum and get to have a reprise of “What it Isn’t” to open the second act.

The story line “in the modern vein” is based on the machinations of Bernie Madoff, who engineered the Ponzi scheme Enron Scandal. His role is listed as Father (Jesse Caldwell) with Ganz as his estranged teenage daughter Lucy. Lucy’s caretaker Mary (Stephanie Prentis), in an underwritten part is given two ballads to sing. One of those ballads “Some Way to Get Through the Night” is shared witha charming Luke Chapman playing blind Charlie, the love interest.  Then there is the semi-mysterious Woman (excellent Gwen Loeb) who is instrumental to a “happily ever after” finale.

Filling in the gaps with multiple roles are Man 1(John Patrick Moore) and Man 2 (Buzz Halsing) who give the show a boost when they make their entrances and exits. They get to perform soft shoe dances complete with canes as well as a cacophonic “Apocalypse” rock’n role number. They bring down the first act curtain with “Lawyerese.”

A label cannot be assigned to this show since the music is a pastiche of Broadway, jazz, rock and classical music that adroitly fit the storyline and add pizazz to Sampson’s lyrics. The finale by the company of “Deus Ex Machina” is a must see production number that partially erases the ambivalent feelings generated by this uneven production. Running time under two hours including an intermission.

CAST: Jesse Caldwell* (Father); Luke Chapman (Charlie); Marissa Joy Ganz* (Lucy); Buzz Halsing* (Man 2); Gwen Loeb* (Woman); John Patrick Moore* (Man 1) and Stephanie Prentice* (Mary).

Production: David Aaron Brown, Keyboard; Lily Sevier, Drums; Vincenzo DeLaRosa, Bass; Producer, Jim Kleinmann; Stage Manager, Bethanie Baeyen; Lighting Designer, Mark Hueske; Costume/Props Designer, Cindy Goldfield; Sound Designer, Josh Senick; Dresser, Melissa Kallstrom; Production Manager, Marcus Marotto; Production Assistant, Solia Martinez Jacobs; Publicist, Lawrence Helman; Casting Consultant, Annie Stuart; Associate Producer, Peter B. Miller

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Apr 19 2014
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Triumphant Trio Scores in Fences at MTC

By Flora Lynn Isaacson

Margo Hall as Rose and Carl Lumbly as Troy in Fences at MTC. Photo by Ed Smith.

 [rating:4] (4/5 stars)

Bay Area veteran actors Carl Lumbly, Margo Hall and Steven Anthony Jones give moving performances in Fences by August Wilson and brilliantly directed by Derrick Sanders.

Fences is a 1983 play by American playwright August Wilson set in 1957 in the yard of the Maxson’s home in the Hill District of Pittsburgh, Pennsylvania. Fences is the sixth in Wilson’s ten-part “Pittsburgh Cycle.”  Like all of the Pittsburgh plays, Fences explores the evolving African-American experience and examines race relations among other themes.  This play won the 1987 Pulitzer Prize for Drama and the 1987 Tony Award for Best Play.

The focus of Wilson’s attention in Fences  is Troy Maxson (Carl Lumbly), a 53-year-old head of household who struggles with providing for his family.  Troy was a great baseball player in his younger years but then spent time in prison for an accidental murder he committed during a robbery.  Because the color barrier had not yet been broken in Major League baseball, Troy was unable to make much money or save for the future.  He now lives a menial, though respectable life of trash collecting, remarkably crossing the race barrier and becoming a driver instead of just a barrel lifter.  He lives with his wife Rose (Margo Hall), his son Cory (Eddie Ray Jackson) and Troy’s younger brother Gabriel (Adrian Roberts)—an ex-soldier.  Lyons (Tyee Tilghman) is Troy’s son from a previous marriage and lives outside the home.  Jim Bono (Steven Anthony Jones) is Troy’s best friend who has recently moved out and rented a room elsewhere but is still in the neighborhood.  Makaelah Bashir injects a possible ray of future hope in her role asTroy’s illegitimate daughter, Raynell.

Derrick Sanders stages Fences with excellent attention to realistic detail and evokes solid performances from his very talented cast.  The fence referred to in the title is revealed in the final set of the play.  It is not immediately known why Troy wants to build it, but a monologue in the second act shows how he wants to keep the Grim Reaper away.  Rose also wanted to build the fence and forced her husband to start it as a means of securing what was her own—keeping what belonged inside in and what should stay outside, out.

Fences plays at Marin Theatre Company April 10-May 11, 2014 with performances Tuesday and Thursday-Saturday at 8 p.m., Wednesday at 7:30 p.m. and Sunday at 7 p.m. Matinee performances will be held at 2 p.m. on Sundays and also Thursday April 24 and Saturday, May 3 and 10.  Performances are held at Marin Theatre Company, 397 Miller Avenue, Mill Valley.  For tickets, call the box office at 415-388-5208 or go online at www.marintheatre.org.

Coming up next at MTC will be the West Coast Premiere of Failure:  A Love Story by Philip Dawkins and directed by Jasson Minadakis, June 5-June 29, 2014.

Flora Lynn Isaacson

 

 

 

 

 

 

Apr 19 2014
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‘Tribes’ explores family, deafness

By Judy Richter

Deaf from birth, a young English man born into a hearing family has become skilled at reading lips. A young woman, who could hear when she was born into a deaf family and has learned sign language, is losing her hearing.

Their differing backgrounds and abilities form the essential conflict in Nina Raine’s sometimes amusing “Tribes,” presented by Berkeley Repertory Theatre.

When they become romantically involved, Sylvia (Nell Geisslinger) teaches Billy (James Caverly) sign language. He then insists that he and his family communicate that way only, much to their dismay.

His family is a loud, expletive-prone, dysfunctional group presided over by his pompously intellectual father, Christopher (Paul Whitworth), and his mother, Beth (Anita Carey), a would-be writer. Like Billy, their other two adult children, Daniel (Dan Clegg) and Ruth (Elizabeth Morton), still live at home, unable to get on with their lives. Daniel has mental health issues, while Ruth aspires to be an opera singer until she hears a recording of herself singing.

The play’s title, “Tribes,” comes from the hierarchical nature of the community of the Deaf (capitalized in the members’ preferred style), depending on whether one was born deaf or became deaf and whether one’s parents were deaf or hearing. Signing and lip reading are other factors.

No matter how one is classified, however, the community is insular, Sylvia complains. Although she had been comfortable in it, she’s having doubts just as her hearing loss is worsening.

Although the concept is intriguing and worthy of consideration, it’s difficult to care about any of the characters except Billy and Sylvia. Christopher, the father, is too blustery and critical. Daniel, whose problems manifest themselves in hearing voices and stuttering, is dependent on Billy and doesn’t want him to leave. Ruth is a cipher who complains a lot and fights with Daniel. Beth, the mother, tries to be a peacekeeper, but she’s an enabler, too.

Some plot threads go nowhere. One of the lesser ones is what has happened to the boyfriend that Sylvia had when she and Billy met. The more glaring one comes after Billy gets a job as an expert witness who reads lips in videos involving criminal cases and his employer discovers that he invented some dialogue.

California Shakespeare Theater artistic director Jonathan Moscone has a good cast, but he needs to exercise a firmer hand on the scenes involving Christopher and sometimes Daniel, who can become manic.

Caverly, who is involved with the National Theatre of the Deaf, has played the role of Billy elsewhere and does a terrific job, especially with his concentration in watching others speak and with his speech, which is generally clear.

Geisslinger has a strong stage presence and convincingly embodies Sylvia’s conflicted emotions as her hearing dwindles. Todd Rosenthal’s set features floor-to-ceiling shelves filled with books, indicative of the family’s academic bent.

“Tribes” has been a hit at theaters in England and the United States, and Berkeley Rep’s opening night audience gave it a rousing ovation. Nevertheless, it’s not entirely satisfying.

It continues at Berkeley Rep’s Thrust Stage, 2025 Addison St., Berkeley, through May 18. For tickets and information, call (510) 647-2949 or visit www.berkeleyrep.org.

Apr 19 2014
Love0

TRIBES explores the world of silence at BerkeleyRep

By Kedar K. Adour

(l to r) James Caverly (Billy), Anita Carey (Beth), Dan Clegg (Daniel), and Elizabeth Morton (Ruth) take center stage in the Bay Area premiere of Nina Raine’s critically acclaimed family drama Tribes at Berkeley Rep.

TRIBES: Written by Nina Raine. Directed by Jonathan Moscone. Berkeley Repertory Theatre Thrust Stage, 2015 Addison Street @ Shattuck, Berkeley, CA 94704.510-647-2918 or www.berkeleyrep.org.  EXTENDED through May 18, 2014.

TRIBES explores the world of silence at BerkeleyRep. [rating:5] (5/5 Stars)

Every so often audiences are treated a production that can be described as the “whole package.” BerkeleyRep has done it again with Nina Raine’s Tribes. The play is intelligent, expertly crafted with one minor exception, populated with impressive actors, directed with panache, staged with lights, sound/music befitting the subject matter and performed on a memorable set (Todd Rosenthal).  The standing ovation was well deserved.

Be advised to pay attention since the major character is a man born deaf, living with his normal hearing family Tribe. Much of the dialog is in sign language with projections often translating what is said. Billy (James Caverly) is the youngest member of the family and was born deaf. Patriarch Christopher (Paul Whitworth ) and mother Beth (Anita Carey ) have made the decision to bring up Billy without the benefit of sign language. Intelligent Billy has become an expert lip reader and has learned to talk, although with the truncated words typical of the hearing impaired.

In the opening scene with Christopher, Beth and the older children, Daniel (Dan Clegg) and Ruth (Elizabeth Morton) involved in loud, contentious bantering Billy is quietly sitting at the dinner table unaware of the turmoil.  It is a clever way author Raine demonstrates Billy’s  lack of involvement within the family. It foreshadows future conflict.

The family is living in an academic world with retired professor Christopher trying to learn Chinese and Beth unsuccessfully writing a novel. Ruth is trying to be an opera singer and earns a few dollars singing in cafés and churches. Daniel is a perpetual student working on a thesis and has problems maintaining female companionship. He also hears debilitating voices in his head that he cannot separate from reality suggesting schizophrenia.

(l to r) James Caverly (Billy) and Nell Geisslinger (Sylvia) fall in love

Within the confines of the family Tribe there is a balance that appears at times to be tenuous. When Billy meets Sylvia he falls in love. She is born of deaf parents who carry a “deafness’ gene causing their children to be born deaf or become deaf at a young age. Sylvia is an expert at signing since, other than in writing, that was her means of communication with her parents. Her hearing loss is progressive. Sylvia introduces Billy to the Deaf community and for her sake he learns sign language.

Within the Deaf community there are severe schisms with strong proponents of signing versus lip reading with actual hierarchies established. When Gallaudet University of the Deaf hired a “hearing” President the student body rose up in defiance and he was replaced. The more militant group within the Deaf tribe insists that they are not “different” or “abnormal” and oppose hearing aids and especially cochlear implants.

Drama and conflict arise within the play when Billy questions his parents’ decision to bring him up “normally” without the benefit of sign language. That leads to a cataclysmic second act that will have you on the edge of your seat. When Sylvia is introduced to the family the interrelationships are even more complicated since she knows the “hearing world” that she is losing. When she goes to play the piano at the end of act one you will feel deep anguish especially since her external hearing is paradoxically replaced by noises within her head.

The cast is marvelous. Paul Withworth is a master at subjugating his personae into the characters he is playing. In Shining City at SF Playhouse he sat perfectly still for his entire time on stage and yet created a well rounded character. Underneath his vociferous demeanor in this play he still earns our belief that his intentions were noble. Anita Carey stands toe to

(l to r) Paul Whitworth (Christopher) and Anita Carey (Beth)

toe with Withworth adding luster to her talents. Nell Geisslinger makes you feel Sylvia’s fear of progressive deafness. Dan Clegg and Elizabeth Morton have been given histrionic roles and earn their share of accolades.

The greatest number of accolades go to James Caverly who is deaf, a graduate of Gallaudet University, is a member of the National Theatre of the Deaf and has played the role of Billy in Boston and Washington. His acting skills are a wonder. 

Chalk this play up as a “must see.” Running time 2 hours including a 15 minute intermission.

 CAST: Anita Carey (Beth), James Caverly (Billy), Dan Clegg (Daniel), Nell Geisslinger (Sylvia), Elizabeth Morton (Ruth), and Paul Whitworth (Christopher)

 Creative team: Todd Rosenthal (scenic designer), Meg Neville (costume designer), Christopher Akerlind (lighting designer), Jake Rodriguez (sound designer), and Joan Osato (video designer). (All photos by mellopix.com)

Kedar K. Adour, MD