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Mysterious woman, power shifts highlight ‘Venus in Fur’

By Judy Richter

Shifts in power and a woman who isn’t what she seems at first make David Ives‘ “Venus in Fur” a fascinating 90 minutes of theater.

Presented by American Conservatory Theater and skillfully directed by Casey Stangl, this well-acted, two-person play features Brenda Meaney as Vanda, a hopeful actress, and Henry Clarke as Thomas, a director/adaptor.

Thomas has had a long, unproductive day auditioning actresses for the role of Vanda in “Venus in Fur,” a play he’s adapting from “Venus in Furs,” an 1870 novel by Leopold von Sacher-Masoch. It’s from Sacher-Masoch that the term “masochism” has evolved.

Thomas is just about to go home from a sparsely furnished rehearsal studio (set by John Lee Beatty) to his fiancee when the breathless, flustered Vanda bursts in from a rainstorm and insists on auditioning. She says that because the woman in the two-character play is named Vanda, she’s perfect for the role.

She convinces Thomas to allow her to read from the first three pages of the script as Thomas reads the role of the male character, Severin.

Although she initially professes to know little about the play, it soon becomes apparent that she knows a great deal, having memorized many lines. Soon she and Thomas are not only reading the lines but re-enacting them.

The play-within-a-play concerns the dominant-submissive role in the sexual relationship between the fictional Vanda and Severin. Severin, like Thomas the director, has the power at first, but that power gradually transfers to Vanda, both the actress and the character.

Besides this element to Ives’ play, there’s also the question of who Vanda really is. Might she have supernatural qualities?

Costumes by Alex Jaeger speak volumes about each character. Thomas is casually dressed in jeans, a V-neck knit shirt and light jacket. Wearing stiletto heels, Vanda takes off her raincoat to reveal a sexy black leather miniskirt and black bustier to go with black stockings and black garters. The voluminous bag she carries contains a period dress for the Vanda character. It also contains a frock coat and butler’s jacket that fit Thomas perfectly even though they’ve never met. Likewise, she seems to have surprisingly accurate knowledge about Thomas, his fiancee and even their dog.

Sound by Will McCandless and light by Alexander V. Nichols from the outside storm heighten the tension in this 2012 Tony-nominated play, which has some sharply witty lines.

“Venus in Fur” has enjoyed great success around the country. This ACT production is sure to be a hit, too.

PEARLS OVER SHANGHAI is historically hysterical at Thrillpeddlers’ Hypnodrome.

By Kedar K. Adour, Uncategorized

PEARLS OVER SHANGHAI: Comic mock-operetta:  Thrillpeddlers at  the Hypnodrome, 575 10th Street, San Francisco, 94103 (Bryant & Division Streets).  For tickets: http://www.brownpapertickets.com/event/571738  or by calling 800-838- 3006.

March 27 – May 31, 2014

PEARLS OVER SHANGHAI is historically hysterical at Thrillpeddlers’ Hypnodrome. [rating:4] (5/5 stars)

Steven King’s admonition “They’re Back!” is the scary introduction to the return of the Gremlins. “They’re back” in reference to the Cockettes is partially scary and definitely thrilling in the remounting of The Fifth Anniversary Revival of Pearls Over Shanghai.  It is a special engagement for Thrillpeddlers’ Spring 2014 season and it seems new and is surprisingly fresh although the world premiere of the Cockettes was 45 years ago.

The present generation might legitimately ask “Who are (were) the Cockettes?”  They were

Rumi Missabu, “Sweet Pam” Tent, & Scrumbly Koldewyn (Composer); the three original Cockettes

hardly ‘legitimate’ but were a wild, wacky, wonderful and irreverent bunch who performed in the free-wheeling years of the 1960-70s at the Palace Theater in North Beach. Sadly there are only three members of the original group performing in this must see revival. Gratefully, auteur (writer, pianist, actor and director) Scrumbly Koldewyn, with the help of a tremendous artistic staff, is still around to produce music and lyrics that seem to spoof every conceivable music genre. He not only handles the musical direction he sneaks away from his piano accompaniment to take part in the storyline.

Scrumbly (that’s his real name . . . check out his web site) with the help of Link Martin, Peter Mintun and Richard Elfman come up with ballads, torch songs, opera, patter and pop songs for their spoofs that the cast of 20 plus wade into with gusto. The energy fills the miniscule stage and spills into the funky Hypnodrome venue.

The entire evening is a gender bender played with over-the-top performances infused with slapstick and sight gags too numerous to mention. The quality of the singing/acting ranges from great to so-so and you will have your favorites. The production numbers seem impossible to stage but the choreographers almost always keep them in line with more than an occasional individual doing a bit of mugging and spanking or playing to the front row of the audience. Even the occasional goofs seem directed into the action.

The costumes are to die for and appear new although those aficionados (and there are many) who will attend again and again will recognize some of them. The stage setting is a marvelous mash-up of oriental kitsch perfect for the twisted tale(s) being told. The make-up is indescribable with enough glitter for a dozen shows.

The two major stories involve Mrs. Goldberg (Pam Trent an original Cockette) and her three daughters (Delightful, Deluxe and Delicious who do a great take-off on the Andrew Sisters) arrive via luxury liner in Shanghai where virgins are a prime commodity. Yes, the girls are virgins (ha-ha) but they do not end up that way once they are abducted and (horrors) end up in an opium den half way through the second act. The journey to that nefarious place in tune with the “Opium Song” production number is one of the highlights (and there are many) of the evening.

.(l to r) Victoria Hibbert, Noah Haydon, Bryn Lux, (seated) Rose Bobrick,
& Roxanne Redmeat in Thrillpeddlers’ production of Pearls Over Shanghai,

The opera “Madame Butterfly” suffers the indignities of spoofing with the Captain of the ship falling for a hardly little and greatly hair-chested Eric Tyson Wertz as LiLi Frustrata. It is just an oversight that the locale is China and not Japan. There too many deserving individual accolades to list each separately but the cast and artistic crew are listed below.

Directed by Russell Blackwood Music by Scrumbly Koldewyn Book & Lyrics by Link Martin with additions by Scrumbly Koldewyn & Pam Tent

 The musical stars in order of appearance: The 3 Wobbling Robin Sisters – Zelda Koznofsky (Delightful), Birdie-Bob Watt (Deluxe), Jesse Cortez (Delicious); Steven Satyricon (Captain Eddy), Eric Tyson Wertz (LiLi Frustrata), Russell Blackwood (Mother Fu), Earl Paus (Chop Chop), Rumi Missabu (Madam Gin Sling), John Flaw (Chang), Sloane Smith (Woody), James Toczyl (Shangri La), Flynn Witmeyer (Hank, Wuwu), Bonni Suval (Lottie Wu), Gabriel Ross (Sebastian), Noah Haydon (Petrushka), Bruna Palmeiro, Diego Gomez, Jessica Finn, Bryn Laux (Whores), Rose Bobrick, Victoria Hibbert (Denizens), Steve Bolinger (Stewpot) and “Sweet Pam” Tent (Mrs. Goldberg).

Technical credits: Scenery by James Blackwood; costumes by Tina Sogliuzzo, Dwight Overton, Billy Bowers & Flynn DeMarco and Tahara; lights by Nicholas Torre; choreography by Noah Haydon and Bonni Suval.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

 

Venus in Fur a stunner at A.C.T.

By Kedar K. Adour

Venus in Fur: Fantasy/Comedy by David Ives. Directed by Casey Stangl. American Conservatory Theater (A.C.T.),  A.C.T.’s Geary Theater, 415 Geary Street, San Francisco. 415-749-2228 or www.act-sf.org. March 19 – April 13, 2014

Venus in Fur a stunner at A.C.T.

[rating:4](5/5 stars)

(Vanda (Brenda Meaney), an aspiring actress, convinces Thomas (Henry Clarke), the adaptor/director of a new play based on Leopold von Sacher-Masoch’s 1870 novel of the same name, to read with her. Photo by Kevin Berne.)

Words enter our lexicon for various reasons, some for their infamy others for ordinary reasons. Three words associated with infamy are ‘quisling’ with reference to Norwegian traitor Vidkun Quisling, ‘sadism’ for the sexual practices of the Marques De Sade and ‘masochism’ for Austrian Leopold von Sacher-Masoch who, in 1870, wrote the novel “Venus in Furs.” The play Venus in Fur is based on that novel and is a play within-a-play. However, it is as much about theatrical intrigue as it is a study of BDSM.

For those unfamiliar with the term BDSM, it is shorthand for bondage/discipline, domination/submission and sadism/masochism. Local audiences had a big dose of BDSM in 2012 at the Marines Memorial Theatre in the sold out run of 50 Shades! The Musical, based on the runaway best seller novel “50 Shades of GreyAt the risk of being labeled chauvinistic, little old ladies flocked to the theatre to be titillated by raunchy hilarious implications of sado-masochism. Be assured that ‘raunchy’ probably will not be used in reviews of this semi-intellectual extremely well-acted, clever and disturbing two-hander but it might be.

The proscenium arch curtain has been replaced with a non-descript scruffy drape that lifts to reveal a non-descript rehearsal hall to the sight and sound of thunder, lightning and flickering lights. Author/director Thomas Novachek (Henry Clarke) is bemoaning into a telephone the problems he has undergone auditioning women for a part in an adaptation of Sacher-Masoch’s novel. Enter Vanda Jordan (Brenda Meaney) loaded down with bags, losing a battle with a recalcitrant umbrella and three hours late for the audition. Her description of the tribulations she had to endure getting to the audition is hilarious and the audience responded with appreciative laughter.

The laughter continues with Vanda’s outwardly scatterbrained dialog ending with the plaintive resignation that the part for which she wishes to audition is “Somebody who isn’t me. I’m too young, I’m too old. I’m too big, I’m too small. My résumé’s not long enough. O.K.” Through what appears to be innocence without guile, she weasels her way into giving an audition even though she is told the subject involves masochism. Her response that brings down the house is “You don’t have to tell me about masochism, I’m in the theater!”

In the stage adaptation that Thomas has written there are two characters Vanda von Dunayev and Severin von Kushemski both from Carpathia. They meet when Vanda returns Severin’s copy of “Faust” containing a bookmark of Titian’s painting of “Venus with a Mirror” that she found by the fountain statue of Venus.  Severin, after a childhood incident with his aunt who whipped him as he lay on her fur piece, has become obsessed with a predilection to be enslaved by woman. Vanda Jordan’s off handed reply, “Oh! It’s about child abuse” sets Thomas into a defense of love associated with sado-masochism and Ives’ play moves into more serious and dangerous ground.

There is a constant shift back and forth to the present audition and the fantasy of the adaptation replete with appropriate thunder, light changes (Alexander V. Nichols) and incidental music (Will McCandless). Vanda, the neophyte actor, is much more than what she first seems to be. She has come scantily dressed in a leather dominatrix outfit replete with stiletto heeled shoes. Out of her tote bags she brings forth a white 1800’s style dress to play Severin’s Vanda .  Those tote bags also provide period costumes (Alex Jaeger) when the time shifts back to Austro-Hungarian Empire.

Brenda Meaney’s performance is riveting and her switch between the two different characters is a marvel to behold and it absolutely believable as she gradually morphs into the male dominant role while Severin/Thomas becomes the begging female subservient slave. Henry Clarke’s performance has more than a touch of verisimilitude with his switches back and forth into reality and fantasy but must play second fiddle to Meaney.

There is a plethora of mystery cleverly within into the play that fortifies Ives’ reputation as a master of dialog. Even with that accolade there are stretches of this 90 minute play without intermission that are redundant and tedious. This reviewer recommends it for the theatre aficionado but not the lady from Dubuque.

Cast: Henry Clarke as Thomas and Brenda Meaney as Vanda .

Artistic Crew: Scenic designer John Lee Beatty; Costume designer Alex Jaeger; Lighting designer Alexander V. Nichols; Sound designer Will McCandless.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Of Mice & Men at Cinnabar Theater in Petaluma and Book of Matthew at Spreckels Theatre Company in Rohnert Park

By Greg & Suzanne Angeo

Of Mice and Matthew  – a Pair of Must-See Dazzlers

Reviewed by Suzanne and Greg Angeo

Members, San Francisco Bay Area Theatre Critics Circle (SFBATCC)

Photos by Eric Chazankin

It’s been said that man can’t live by bread alone. Faith, love, flights of fancy and friendship all make life worth living. If you’re still not convinced, there are two important plays being presented at North Bay theaters that address these themes with great power, beauty and even humor, and they should not be missed.

Samson Hood, Keith Baker

Nobel Prize winner John Steinbeck wrote gritty and poetic stories about simple people facing common struggles in Depression-era America. Perhaps his most heart-wrenching and tender work, Of Mice and Men, is being presented at Cinnabar Theater. First published as a novella in 1937, it centers on the relationship between two drifters and has been called “an American masterpiece”. It was adapted for the stage by Steinbeck later that same year and had its world premiere in San Francisco.

The title was taken from a line in a poem by Robert Burns, “The best-laid plans of mice and men often go awry…”. They do, indeed. Brilliantly crafted characterizations are offered by Keith Baker and Samson Hood in the lead roles. Hood was born to play the simple-minded Lennie with his endearing, childlike innocence and large frame. Baker completely transforms himself yet again as George, a rough-hewn yet caring vagabond who dreams of a better life for himself and his vulnerable friend. Especially compelling performances as ranch hands by Tim Kniffin (Slim) and Dorian Lockett (Crooks) bring great depth to the story. If you have never seen Of Mice and Men in either its stage or film versions, be prepared – the story has some racially-charged moments and a shockingly tragic ending that’s impossible to forget.

Dorian Lockett

Sharp yet sensitive direction is by the wondrous Sheri Lee Miller, who had great success with her recent works: Cinnabar’s productions of Arthur Miller’s “The Price” and the smash hit“ La Cage aux Folles”, and “Annie Get Your Gun” at Spreckels Theatre Company. She employs a sense of urgency and naturalistic, overlapping dialogue which draws you into the action onstage. The shows have been selling out and the run was just extended, so be sure you make it down to Cinnabar.

Returning to the stage at Spreckels Theatre Company is  a brilliant comic drama, The Book of Matthew (Liebowitz), where we meet another type of dreamer – the snarky writer Matthew. First produced in 2009, this newest incarnation at Spreckels may be playwright/director Gene Abravaya’s best work yet and draws on his many years as a stage manager of hit TV sitcoms.

Jeff Cote, Jeffrey Weissman, Tim Setzer

Featuring an outstanding ensemble cast, the exuberant storytelling plays it mostly for laughs with vivid, well-drawn characters. in the title role, Jeff Cote rages against the disappointments of his life armed with a quiver full of wisecracks that he slings at anyone within range. Tim Setzer as his gaily flamboyant upstairs neighbor Vincent lights up the stage in one of his finest performances. An electrifying scene where he recalls the painful memory of a boyhood relationship holds the audience spellbound. Norman A Hall as Matthew’s father Howard, coping with the ravages of old age, has some of the most powerful, funny and tragic moments in the show.

The Book of Matthew is uproariously funny, heartwarming and moving by turns, with well-placed bits of magic. It’s fast-paced except for possibly one or two monologues that may drag on a bit. Every scene is thoughtful, centered and strongly defined right to the bittersweet ending. Direction by Abravaya is clear and sure – he knows these people well.

After all is said and done, Matthew makes a life-changing, joyful discovery. Like in that old Nat King Cole song, he finds “The greatest thing you’ll ever learn, is just to love and be loved in return.”

Madeleine Ashe, LC Arisman, Norman A Hall

Of Mice and Men at Cinnabar Theater

When: Now through April 13, 2014

8 p.m. Fridays and Saturdays

2 p.m. Sundays

Tickets: $15 to $25

Location: Cinnabar Theater

3333 Petaluma Blvd North, Petaluma CA
Phone: 707-763-8920

Website: www.cinnabartheater.org

 

The Book of Matthew (Liebowitz) at Spreckels Theater Company

When: Now through April 13, 2013

7:30 p.m. Thursdays April 3 and April 10

8:00 p.m. Fridays and Saturdays

2:00 p.m. Sundays

Tickets: $22 to $26

Location: Bette Condiotti Theater at Spreckels Performing Arts Center

5409 Snyder Lane, Rohnert Park CA
Phone: 707-588-3400

Website: www.spreckelsonline.com

 

WHY WE ARE SO ANGRY

By Joe Cillo

FURY

Anger is never without a reason,
But seldom a good one.
Benjamin Franklin

Whenever I go back to the San Francisco Bay Area, I am immersed in non-stop road rage.  Drivers swerve around you, hit the accelerator to get ahead of you, blast their horns to tell you to get out of their way and spew hate all over the highway.  I find myself getting just as angry as the other drivers as I try to weave my way through 6 lanes of traffic to get to my destination.  I come home exhausted, despising humanity and hating myself for succumbing to the hysteria that clogs our roads.

It is a glorious relief to come to peaceful Brighton where I walk everywhere, smile at everyone and love treading the streets. Humanity charms me when I am here and I find myself enjoying the kindly hustle and bustle on North Street.

I have always thought that road rage was so foreign to those who use public transportation in Britain, that they would sooner stage a massacre than be rude to another person.  Besides, it is not in the British personality to be rude or overbearing.  The people in this country are obsessed with being politically correct.

Or so I thought.

I just spent two weeks in London living in Stockwell and taking the tube to Leicester Square. That was when I was exposed to Tube Rage.  If I dared to try to tap my oyster card on the entrance gate during rush hour, I risked black and blue marks, mangled hips and fractured elbows.  When I approached the escalator, I was so terrified I shut my eyes and prayed to the almighty that my foot wasn’t crushed and I was not hurled down the moving staircase because I forgot to stand on the left.

It turns out that all this pushing, shoving, jostling and crushing is not due to rudeness at all.  It is the result of poor ventilation.  In fact the director of the British association of Anger Management warns that lack of oxygen is sure to cause uncontrolled acts of aggression.

What a relief!! I thought all those people shoving me around were ageist brutes who didn’t care that I am elderly and frail.  How wrong I was! When the British push you out of their way, it is a silent cry for air.

Which brings us right back to Brighton where fresh air is always swirling about us, filling our lungs with new oxygen from France.  I boarded a train at London Victoria and two people hit me in the shin in their rush to get to the coach first. One lady smashed her suitcase into my hip and another yanked my shoulder into a vertical position to reach the aisle seat.  The minute we all got off the train in Brighton, everyone was smiling, inhaling the lovely oxygenated air and loving one another.  A gentleman carried my case to the station, a lady held my arm lest I trip and two lovely young men with grandmother complexes bought me a coffee.

The oxygen cure would not work in America however.  It isn’t the air that infuriates them; it is the government.

 

 

Nymphomania (Volume 1) — Film Review

By Joe Cillo

Nymphomania (Volume 1)

Directed by Lars von Trier

 

 

This movie goes on my all time Ten Worst List.  It is one of the most awful movies I have ever seen.  I went with a friend and I tried to get him to leave after half an hour, but he insisted on sitting it out to the bitter end.  I think in part he was punishing me because it was my idea to go see this.

The title is an outright lie.  This is not about nymphomania.  The girl portrayed in this film is depressed, detached, and probably suicidal.  If she can be labeled as anything she is probably what they call a ‘borderline’ personality.  But she is definitely not a nymphomaniac.  Furthermore, the character of the girl is not at all convincing or realistic. She comes across as some man’s fantasy of a woman, rather than a real woman.  It is, furthermore, a hostile, derogatory fantasy.  It is a negative conceptualization of female sexuality by a man who seems to know very little about women or sex.

‘Nymphomania’ is not a formal psychiatric category.  It is not in the DSM-V.  It is an informal term that refers to an unusually strong sex drive in a woman.  I dislike this term and never use it.  It has a clinical ring to it and a derogatory cast.  More generally, the practice of categorizing people according to their sexual behavior is completely wrongheaded and leads to all sorts of misunderstanding, distortions, and bigotry.  This film is a very good illustration of that.

The friend that I attended this film with is a joyously married man of many years.  He was skeptical that such a thing as a ‘nymphomaniac’ even existed.  He thought it was something like Bigfoot, where you only see the footprints, but never encounter the beast itself.  He asked me if I have ever encountered such a woman.  I have encountered at least five women that I can think of, and have heard tell of others, who could qualify for this label.  They are a rarity in American society, and our culture does everything possible to discourage this outcome of female sexual development.  I think there would be many more such women if the culture fostered them.  I don’t call them ‘nymphomaniacs,’ I call them ‘volcanoes,’ or ‘furnaces.’  It is less abstract and more evocative of the awe and wonder that such women inspire.

This filmmaker confuses promiscuity with ‘nymphomania.’  Promiscuity can be motivated by many things, and the kind of promiscuity portrayed here is driven by depression, emptiness, low self esteem, anxiety, and loneliness — and possibly, at an unconscious level, rage.  ‘Nymphomania,’ as I understand it, is an unusually strong sexual appetite coupled with a ready and strong responsiveness to sexual stimulation.  It is anything but disengaged and detached, as represented here.  It is not necessarily promiscuous, in fact, such women tend to create stable relationships with one or more partners of both sexes.  Having multiple, ongoing sexual relationships is also not the same as promiscuity.   Promiscuity is shallow and anxious.  Nymphomania tends not to be.  So the filmmaker has chosen an inappropriate title for his film, because he doesn’t understand the woman he is trying to portray and clearly does not know anything about women with exceptionally strong sexual capabilities.

You can tell right away that this film was not made in America or by Americans.  A man goes out after dark to buy something at a convenience store in his neighborhood and on his way home notices a woman lying on the sidewalk bruised and bleeding.  He helps her to her feet, takes her to his apartment and proceeds to nurse her.  This is something that would never happen in an American city.  An urban American man would never pick up a bruised, bleeding, semiconscious woman off the sidewalk and take her to his apartment.  It is unthinkable.  So right away the story takes on a fantastic quality to an American audience.

It is never explained how she came to be battered and bleeding and semiconscious on the sidewalk.  She sits there through the entire movie with her face all beaten up relating the story of her life and carrying on a wide ranging philosophical discussion with this stranger she just met, when her entire life, as she retells, it is a series of encounters with an endless parade of men of the utmost superficiality and minimal emotional connection.  Why she would suddenly open up and begin to philosophically muse over her life with this stranger under these extraordinary circumstances is hard to fathom.  The movie consists of long philosophical discussions punctuated by simulated sex scenes.  The sex is not very good and neither is the philosophy.  If you want to see pornography, don’t go to this.  There is nothing erotic about this film at all.  It is actually a downer.

The film amounts to an attack on this woman’s character and behavior led by the woman herself.  I think this is the reason she is allowed to sit there on camera with her face all beaten up through the whole movie.  The filmmaker wants to make sure she is made as unattractive and unappealing as possible.  He hates this woman.  He wants to drive it home that this beaten up, uglified face is the well deserved outcome of her character and behavior.  This film is a very conservative affirmation of marriage and monogamy.

Things get increasingly ridiculous as we go along.  There is a long highly improbable scene of a ditched wife coming to Jo’s apartment with her three kids and bitterly berating Jo at length in the presence of her husband, who has just left her, for destroying her life and wrecking her marriage.  By the time she went away bawling I couldn’t blame her husband for leaving her.  There is a discussion of the differences in polyphony between Palestrina and J.S. Bach.  There is a sequence of a chorus doing a Palestrina chorale.  There is an explanation of the Fibonacci sequence and its relationship to the Pythagorean theorem.  We see a jaguar with a young fawn in its mouth.  Sex scenes are accompanied by chorale preludes from Bach’s Little Organ Book.  All of this is supposed to have something to do with nymphomania.  It’s totally crazy.

If you fail to listen to me and make the mistake of going to see this, keep in mind that what you are seeing is not nymphomania.  ‘Nymphomania’ is a lurid title to draw you in, but this ambiguous term does not describe the character of the woman portrayed.  Jo is, in fact, at the other end of the spectrum.

I couldn’t see any redeeming qualities in this film.  There is nothing good I can say about it.  Stacy Martin’s nude body is good.  You can hardly go wrong with a good looking naked girl, but that is not enough to sustain a full length movie in this day and age.  It is not that hard to see a naked girl any more.  And the movie is rather long, or at least it seems to be.  Sorry, but this one is a total loss.

Almost, Maine pleases at Altarena

By Kedar K. Adour

ALMOST, MAINE: Comedy by John Cariani.Directed by Carol Chacon. Altarena Playhouse, 1409 High St, Alameda, CA. (510) 523-1553 or www.altarena.org. March 14 – April 13, 2014.

ALMOST, MAINE pleases at Altarena [rating:2] (5/5 stars)

 Almost, Maine is a series of nine vignettes about the universal joys and pain of love encapsulated in the frigid mythical town of Almost, Maine. The first vignette is split into three very, very short segments comprising the Prologue for the first half of the show, an ‘Interlogue’ for the second act and an Epilogue that slyly/saccharinely suggests/enforces the platitude that absence makes the heart grow fonder and what goes around comes around.

The segments all range about 15 minutes or so and all are mostly two-handers with four competent actors playing 19 different characters. Many of the roles are similar and the cast does a creditable job giving each distinctive qualities. Author John Cariani does add specific traits to each individual but by the end of the evening (this reviewer attended a matinee) they all seem to blend into generic men and women with two or three being memorable.

Creating the mythical town of Almost, Maine gives the author leeway to inject fantasy and whimsy into everyday trials and tribulations of loving couples. First there are the glorious and mystical Northern Lights that fascinate Glory (not to subtle is it?) and later shooting stars for making wishes (beware of what you wish for) and so on. All the individual stories take place on a Friday night.

Speaking of Glory, in scene 1 entitled “Her Heart”, she carries her broken heart in a paper bag and luck/fate/kismet intervenes on her journey to view the northern lights. She meets East, a repairman and you guessed it, he ends up putting together the broken pieces of ceramic heart.

Almost, Maine has become the most produced play in the the United States by community theaters and High Schools. There have been dozens of international venues. It requires only four actors and needs minimal staging. To date there has been nearly 2000 productions.

The titles, in the order that Altarena has used are “Her Heart”, “Sad and Glad”, “This Hurts”, “Getting It Back”, “They Fell”, “Where it Went”, “Story of Hope” and “Seeing the Thing.”  You will have your own favorites. Three of mine being “That Hurts” with Steve Rhyne and Donna Turner with an ironing board being the major prop. “Getting it Back” with Emily Garcia and Stewart Lyle exploring the inequality of love given and taken and is it possible to get it back. The there are the slapstick shenanigans of Rhyne and Lyle playing two dear macho men who literally and actually fall for each other. As an afterthought, you will find out what happens when the other shoe falls and what happens when you mistakenly wish on a planet and not a real shooting star in “Where it Went.”

Running time a little over two hours with a 15 minute intermission.

Cast: Steve Rhyne (Pete, Jimmy, Steve, Chad, Daniel); Emily Garcia (Ginette, Sandrine, Gayle, Marci); Stewart Lyle (East, Lendall, Randy, Phil, Dave); Donna Turner (Glory, Waitress, Marvalyn, Hope, Rhonda ).

Production Staff: Artistic Director, Producer, Frederick L. Chacon; Director, Carol Chacon; Technical Director, Set Design/Construction, Stewart Lyle; Stage Manager, llona Herbert; Sound Design, Fred diNatale; Scenic Painter, Darrell Burson; Light Design/Construction, Frederick L. Chacon; Costume Design, Sydney Micheals; Props, Frederick and Carol Chacon; Stage Crew, Nikki Eggett, John Rivard, Nadine Paulino; House Manager, Star Valdez; Box Office Manager, Elaine Henninger; Photography, Patrick Tracy; Program, Laurel Wilton; Ushers, Bayview Women’s Club.

Kedar K. Adour, MD

Courtesy of www.theathreworldinternetmagazine.com

Steinbeck’s OF MICE AND MEN grips the heart at Cinnabar

By Kedar K. Adour

Cinnabar Theater in Petaluma presents Steinbeck’s masterpiece Of Mice & Men, starring Keith Baker (right) and Samson Hood as the famous friends George and Lennie. (Photo by Eric Chazankin)

OF MICE AND MEN: Drama by John Steinbeck. Directed by Sheri Lee Miller. Cinnabar Theater, 3333 Petaluma Boulevard North, Petaluma, CA.  707-763-8920 or visit www.cinnabartheater.org  March 21 –April 6, 2014.

EXTENDED THROUGH APRIL 13

Steinbeck’s OF MICE AND MEN grips the heart at Cinnabar [rating: 5] (5/5 stars)

Steinbeck’s OF MICE AND MEN grips the heart at Cinnabar [rating 5] (5/5 stars)a spontaneous standing ovation after the initial shock of the expected heart tugging horrendous coup de grâce ending that had the audience riveted to their seats and brought gasps from a grown man sitting nearby. It is the kind of production Cinnabar has consistently mounted. It is visually stunning, in an earthy inelegant manner that truly reflects the time and place of action, and with great acting and taut direction that deserves full audiences during its run.

The play had its origins in Steinbeck’s first professional short stories published in 1932 under the title of “Pastures of Heaven” that chronicled the arrival of newcomers to the Salinas Valley full of hope and dreams and intertwining lives.  In 2011 California Shakespeare Company produced a theatrical adaptation of those stories by Octavio Solis and directed by Jonathan Moscone. They are classic California stories of dreams that whither and only the land endures. By 1939 Steinbeck became the champion of the disenfranchised and eventually won the Pulitzer Prize for the dust bowl saga “The Grapes of Wrath.”

In 1937, two years before writing that seminal novel he wrote the novella “Of Mice and Men” fully planning it to be a stage play. He wrote the script for the stage production, first produced on Broadway in 1937 directed by directed by George S. Kaufman. It starred Wallace Ford as George and Broderick Crawford as Lennie and ran for 207 performances. Since then there have been two or three movies, the most notable is the 1939 version starring Burgess Meredith and Lon Chaney Jr. that was faithful to play and is well worth revisiting.

The original play was written in three acts beginning with the idyllic scene along the Salinas River where George (Keith Baker) and Lennie(Samson Hood), are spending the night before continuing on to their jobs as ranch hands. Lennie is a slow witted hulk with limited recall skills. George has become his de facto protector and purveyor of the dream to own that elusive piece of land where Lennie can raise rabbits and they can live “off the fat of the land.”

On the job they buck bales of wheat 10 to 11 hours a day and share the bunk house with cowboy Slim (Tim Kniffin), insensitive Carlson (Anthony Shaw Abaté) and old kind hearted Candy (Clark Miller), who lost a hand working on the farm for which he received $250 indemnity, and Whit (Kevin Singer). All are inured to living uneventful existences of playing horseshoes, card playing, storytelling and discussion of their trips “to town.” All avoid hot-headed Curly (James Gagarin) and his unnamed wife (Ilana Niernberger). Then there is Crooks (Dorian Lockett) a black man relegated to the barn due to rampant racism.

Title of the play is taken from Robert Burns’ poem “The Mouse”: “The best laid schemes o’ mice an’ men / Gang aft agley.” (The best laid schemes of mice and men / Often go awry.) Lennie’s affinity for soft furry mice that he unintentionally kills with his powerful hands telegraphs what is to happen before the play ends.

Samson Hood’s superb interpretation of the loveable mentally challenged Lennie steals the show with his imposing stature, wide-eyed childlike innocence yet powerful demeanor worthy of a Tony award. Director Miller keeps the interaction balanced with minor exceptions that occasionally do not ring true but do not detract from over-all excellence of the staging.

Cinnabar’s’ ensemble actors bring each of the characters to life and under Sheri Lee Miller’s sensitive direction you will feel the torment of Lennie and George and the claustrophobic environment that eventual destroys all dreams. There are touching scenes that will have you reaching out to individual characters. One such scene involving the fate of Candy’s ancient dog is a heart stopper and Clark Miller handles that role with unspoken internal devastation and eventually his joy of being allowed to “buy into” Lennie’s dream is palpable. Another is when Dorian Lockett makes you feel his racist isolation and his desire to join Lennie, George and Candy to that elusive piece of land where they can be free.

Keith Baker as George has the most difficult challenge of playing opposite Samson Hood’s perfect depiction of Lennie, but with exemplary timing and under-playing the role you feel his frustration and emotional attachment to his burden that is Lennie. Ilana Niernberger playing Curley’s wife exudes the sexual nature of the roll and will have you leaning forward in the fatal scene when she asks Lennie to stroke her hair.

(l to r) Cinnabar Theater in Petaluma presents Steinbeck’s masterpiece Of Mice & Men, featuring Kevin Thomas Singer, Samson Hood, Tim Kniffin, and James Gagarin. (Photo by Eric Chazankin)

The set  is a marvel with accolade’s well deserved by scenic designer, Joe Elwick and the creative support staff. This reviewer highly recommends it as a must see production. Running time 2 hours and 20 minutes.

CAST: Keith Baker (George), Samson Hood (Lennie), Anthony Shaw Abaté (Carlson), James Gagarin (Curley), Tim Kniffin (Slim), Dorian Lockett (Crooks), Clark Miller (Candy), Ilana Niernberger (Curley’s wife), Kevin Singer (Whit), and Barton Smith (The Boss).

 

Creative Team: Director, Sheri Lee Miller; Stage Manager, Ross Tiffany Brown; Scenic Designer, Joe Elwick; Costume Designer, Pat Fitzgerald; Lighting Designer, Wayne Hovey; Sound Designer, Jim Peterson; Fight Choreographer, Barton Smith; Assistant to the Director, Lauren Heney; Production Manager, Sharlyri Klein; Photographer, Eric Chazankin.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

 

THE BOOK OF MATTHEW (Leibowitz) a standing ovation winner at Spreckles Theatre Company

By Kedar K. Adour

(l-r) Norman A. Hall as Howard Leibowitz  and Tim Setzer as Vincent Alcedo give star performances in THE BOOK OF MATTHEW (Leibowitz), at Spreckles Theatre in Rohnert Park. Photo by Eric Chazankin

THE BOOK OF MATTHEW (Leibowitz), A Comedy about the seriousness of life: by Gene Abravaya. At the Bette Condiotti Theatre, Spreckels Performing Arts Center, 5409 Snyder Lane, Rohnert Park, CA. 707-588-3400 or www.spreckelsonline.com. Thursdays at 7:30 p.m., Fridays and Saturdays at 8:00 p.m., Sundays Matinees at 2:00 PM.  March 21 – April 13, 2014.

 THE BOOK OF MATTHEW (Leibowitz) a standing ovation winner at Spreckles Theatre Company

[rating:4] (5/5 stars)

 Spreckles Theatre Company is fortunate to have auteur (actor, director, playwright) Gene Abravaya as their artistic/managing director.  His enthusiasm and theatrical knowledge has brought quality productions to the North Bay making Rohnert Park a ‘destination’ locale.

For their latest endeavor he has reached into his personal repertoire restaging his first full length play The Book of Matthew that had its world premiere in the Bette Condiotti Theatre in 2009 (http://www.forallevents.info/kedaradour/2009/03/world-premiere-book-of-matthew-by-gene.html ).  He has rewritten the play with multiple changes and elected to direct it himself.

The first change is the adding of (Leibowitz) to the title that could be construed as a disclaimer for association with the “Gospel of Matthew” the first book of the New Testament. But there is the suggestion that Abravaya’s Matthew Leibowitz has similar traits to the Messiah who was rejected by Isreal but continued his teaching through his disciples.  (http://en.wikipedia.org/wiki/Gospel_of_Matthew)

Other changes include updating time references, musical selections, and making the characters typical New Yorkers. The directorial conceits, that are expertly projected by the superb cast, emphasize Jewish heritage without sacrificing universality. 

Matthew Leibowitz (Jeff Cote) is a 38 year-old writer with a stack of unpublished novels and rejection slips living in a cheap, unkempt 4th floor flat (great set by Eddy Hansen) on the “upper, upper Westside of Manhattan” (Think the mean streets of Harlem). He supports himself in two jobs as a waiter and pizza delivery man. His desire is to be a writer in the mold of Thomas Wolfe and has given up a lucrative position writing scripts for a TV soap opera in which his wife Maggie (LC Arisman) plays a pivotal character. They have split due to unwise one night sexual episode by Maggie with a hunky member of the cast.

Matthew’s closest friend is Vincent Alcedo (giving a Tony Award type performance by Tim Setzer) a flamboyant Hispanic gay actor who lives in the upper flat. His entrance and exits are through a fire escape window and he is privy to all that goes on in Matthew’s flat as the conversations drift, nay are probably amplified, through the shaft of an unused fireplace.

Matthew’s older brother Robert (exceptional Jeffery Weissman) a successful CPA with talkative wife Karen ( ebullient Madeleine Ashe) are planning a two week vacation and deliver the father Howard ( absolutely perfect Norman A. Hall) into Matthew’s care. He has become semi-catatonic after the death of his wife two years ago.

With the characters all in place Abravaya weaves an intricate plot structure with cogent dialog that his actors deliver with verisimilitude and understanding although there are stretches of exposition needed to back fill characterization. One such scene will give you a catch in the throat when Vincent spills his life story to Howard that leads to charming scene as Howard breaks his silence and a bond of friendship is created. The humor that abounds is spontaneous and never hurtful. Madeleine Ashe has a pitch perfect accent displaying Karen’s vociferous nature that makes Howard’s sly comment that there is no need for him to speak while living in her home brings spontaneous applause.

The play runs for 2 hours and 35 minutes including the 15 minute intermission and seems to lose audience attention with the re-introduction of Maggie into Matthew’s life. The excellent direction by Abravaya and the fine perforance by Jeff Cote in the lead role give added depth to  this well written and produced play.  

CAST: Matthew Leibowitz, Jeff Cote; Maggie Fitzgerald Leibowitz, LC Arisman; Vincent Alcedo, Tim Setzer; Howard Leibowitz, Norman A. Hall; Robert Leibowitz, Jeffrey Weissman / Understudy: Benjamin Privitt; Karen Leibowitz, Madeleine McGuire Ashe.

Production: Director Gene Abravaya
Set Designer: Eddy Hansen
Costume Designer: Pamela Enz
Lighting Designer: Eddy Hansen
Sound Designer: Daniel Mitchell
Stage Manager: Lyndsey Transue
Set Dresser, Prop Master, Scenic Artist : Elizabeth Bazzano

Publicist: Kim Taylor
Photographer: Eric Chazankin
Stage Crew: Jessica Johnson
Lighting Operator: Lyndsey Transue
Build Crew: Eddy Hansen

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

Shavian Comedy Arms and the Man at RVP

By Flora Lynn Isaacson

Kate Fox Marcom as Raina in Ross Valley Players production of Arms and the Man. Photo by Robin Jackson.

  [rating:3] (3/5 stars)

Ross Valley Players just opened the critically acclaimed romantic comedy, Arms and the Man by George Bernard Shaw.  This play takes place during the 1885 Serbo-Bulgarian war. It’s heroine, Raina Petkoff (Kate Fox Marcom) is a young Bulgarian woman engaged to Sergius Saranoff (Peter Warden), one of the heroes of the war who she idealizes.

One night, a Swiss mercenary soldier in the Serbian Army, Captain Bluntschli (Philip Goleman) bursts through her bedroom window and first threatens Raina, then begs her to hide him so he is not killed.  Raina complies, though she thinks the man a coward, especially when he tells her that he does not carry pistol cartridges, but chocolates.  When the battle dies down, Raina and her mother Catherine (Stephanie Saunders Ahlberg) sneak Bluntschli out of the house disguised in an old housecoat.

The war ends and Sergius returns to Raina, but also flirts with her insolent servant girl, Louka (Robyn Grahn).  Raina begins to find Sergius both foolhardy and tiresome but she hides it.  Bluntschli unexpectedly returns to bring back the old housecoat and to see Raina. Raina and her mother are shocked especially when her father, the distinguished Major Paul Petkoff (Ron Dailey) and Sergius reveal they met Bluntschli before and invite him to stay for lunch and to help them with their troop maneuvers.  Bluntschli’s return stirs several emotions in Raina and she starts to have feelings for her “chocolate cream soldier.”

Director Cris Casell has reverence for Shaw’s impressive combination of intellect, his perception of human nature, and high comedy.  On this last note, “high comedy,” she is a little over the top in her direction. Most of the cast is too much like cartoon characters with the exception of Philip Goleman as Bluntschli when she pictures him a realist. Kate Fox Marcom is appealing as Raina and Warden steals the show as Major Sergius Saranoff. Ron Dailey is impressive as Raina’s father.

High praise goes to Ken Rowland’s set design which is very colorful, Michael Berg’s costumes, Ellen Brooks’ lighting design and Billie Cox’s sound design. George Bernard Shaw gave Leopold Jacobson the rights to adapt his play into what became the 1908 operetta, The Chocolate Soldier with music by Oscar Straus.  Bluntschli is the kind of soldier who sneaks into enemy lines and into a lady’s boudoir armed with chocolates in place of cartridges.

Arms and the Man pokes satiric fun at the dangers, bravado and idealistic motives of romantic love.

Performances are held Thursday at 7:30 p.m., Friday-Saturday at 8 p.m. and Sunday at 2 p.m. All performances take place at the Barn Theatre, 30 Sir Francis Drake Blvd., Ross, CA.  To order tickets, call 415-456-9555 or go online at www.rossvalleyplayers.com.

Coming up next at Ross Valley Players will be Other Desert Cities a 2012 Pulitzer Prize Drama finalist, also nominated for five Tony awards written by John Robin Baitz and directed by Phoebe Moyer, May 16-June 15, 2014.

Flora Lynn Isaacson

 

 

 

 

 

 

 

Ross Valley Players