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Oct 08 2013
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It’s etc…etc… SUPERMAN flies high at 42nd Street Moon

By Kedar K. Adour

Kedar [rating:5] (5/5 stars)

Superman (Lucas Coleman) defeats the Grimaldi brothers in 42nd Street Moon’s production of  IT’S A BIRD…IT’S A PLANE…IT’S SUPERMAN (All photos by Patrick O’Connor)

“IT’S A BIRD…IT’S A PLANE… IT’S SUPERMAN: Musical Comedy. Music by Charles Strouse.  Lyrics by Lee Adams. Book by David Newman & Robert Benton. Directed by Dyan McBride. 42nd Street Moon, Eureka Theatre, 215 Jackson St., San Francisco.

(415) 255-8207 or visit www.42ndStMoon.org. October 2 — October 20, 2013.

It’s etc…etc… SUPERMAN flies high at 42nd Street Moon

First of all don’t just call the marvelous show bouncing around the Eureka Theatre stage Superman. The title is, It’s a Bird…It’s a Plane…It’s Superman. That is as it should be; the long title defines the man of steel since it was 75 years ago that our hero was jettisoned from the planet Krypton becoming an icon of the comic book world.

The longevity of our comic book ‘defender of truth and justice’ overshadows the 1966 Broadway production that lasted for only 129 performances even though it listed such notables as Bob Haliday (Superman/Clark Kent), Jack Cassidy (Max Mencken), Patricia Marand (Lois Lane), Linda Lavin (Sydney) and Michael O’Sullivan (Dr. Abner Sedgwick).

With one exception (not to be mentioned here) the cast of 42nd Street Moon’s staging probably could match the Broadway cast! And they did not use any wires to send Superman flying off stage.  Tall, lean (if not muscular) handsome Lucas Coleman as Superman takes magnificent leaps on and off stage that are a hoot and a holler although he has a bit of trouble undressing in the telephone booth (yes, the booth is there on stage right).

Clark Kent’s phone booth. Lucas Coleman

The casting director for this terrific spoof had a stroke of genius turning scientist Dr. Abner Sedgwick, into a female and rounding up Bay Area favorite comedienne Darlene Popovic for that adversarial role adding a disheveled fright wig signifying her madness. When Dr. Sedgwick’s nefarious plan “A” to destroy Superman goes awry she simply shrugs, “It’s a long alphabet.”

Of course Lois Lane (Jen Brooks), star reporter who has been save 15 times [shall we try for 16?] by Superman, is there along with gossip columnist Max Mencken (Brent Schindele) and his secretary Sydney (Safiya Fredericks).  Jen Brooks plays the Lois Lane role straight (as it should be) but has her moments and is in fine voice with three memorable songs of “We Don’t Matter at All”, “What I Often Wanted” and “ I Am Not Finished Yet.”

Brent Schindele almost steals the show as a whirlwind of hot air and aggrandizement whenever he is on stage with “The Woman for the Man” and especially when he is the foil for Safiya Fredericks’ over-the-top belting of “Ooh, Do You Love You!”  Popovic and Schindele share the spotlight in their duet “You’ve Got What I Need” when non-Nobel Prize winning Dr. Sedgwick is planning “Revenge.”

 Yes there is a convoluted storyline that fits perfectly into the action of this satiric spoof gracing the art deco set (Alvin Shiu) with 1960’s costumes (Felicia Lilienthal) and tricky choreography (Staci Arriaga) at the Eureka Theater.  Veteran director Dyan McBride keeps the 16 member cast vivaciously moving on and off stage and has a great ensemble to aid her.

That ensemble includes Mama Grimaldi (Diahanna Davidson) and four “Amazing Grimaldis” played by Scott Maraj, Steven Sloan, Michael Doppe and Kyle Valentine mostly dressed in one piece tight fitting purple wrestling costumes and are whirlwinds of physical activity. They play double and triple roles with quick costume changes.

l-r: Lucas Coleman, Safiya Fredericks, Diahanna Davidson, Catherine Gloria, Nicole Renee Chapman, Ariel Leasure, Darlene Popovic, Brent Schindele, Trevor Marcom, and Jen Brooks

Then there are the “Mod Young Ladies of the Metropolis” Catherine Gloria, Nicole Renee Chapman and Ariel Leasure who are knockouts in varied brightly colored costumes to match the imaginative set as they sing and dance vivaciously.

The comic book ambiance is maintained throughout with production numbers designed around individual panels of “Meanwhile” “Suddenly” “Later” and “Finally” with ‘written’ sound effects of “Pow!”, “Bam!” and “Zonk!” and others.

This show is one of the best that 42nd Street Moon has produced and it is an auspicious start to their 21st Season. Next up is the Rogers and Hart musical I Married and Angel  playing October 30 – November 17, 2013.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

 

Oct 07 2013
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A stunning but problematic Bengal Tiger at the Baghdad Zoo at San Francisco Playhouse

By Kedar K. Adour, Uncategorized

Kedar [rating:4] (4/5 stars)

Marines (Craig Marker* L, Gabriel Marin* R) guard Tiger (Will Marchetti*) in the Baghdad Zoo.

Bengal Tiger at the Baghdad Zoo: Drama by Rajiv Joseph. Directed by Bill English. San Francisco Playhouse, 450 Post St., S.F. (415) 677-9596 or www.sfplayhouse.org.

October 4 – November 16,2013

A stunning but problematic Bengal Tiger at the Baghdad Zoo at San Francisco Playhouse

Rajiv Joseph is no stranger to the Bay area where his play Animals Out of Paper was a smash hit in 2010 at the intimate 99 seat SF Playhouse and his The North Pool was equally well received at TheatreWorks in Silicon Valley in 2011. His 2011 Pulitzer Prize nominated play Bengal Tiger at the Baghdad Zoo is being mounted in the expansive new 300 seat theatre off Union Square.

This is Playhouse’s 11th season and befitting their expansion they have stretched their name to “San Francisco” Playhouse and prefer to label the 2013-2014 season as the beginning of their second decade with reassurance that they will continue to produce “gripping storytelling . . . dedicated to ‘Body and Soul’.”

Bengal Tiger at the Baghdad Zoo certainly is gripping, contemporary and thoughtful but also somewhat pretentious. The huge stage is a desert wasteland (sets by Bill English) strewn with concrete and rebar remnants of war with sand dunes projected on the rear wall.  The superb cast defuses Joseph’s pretension with sincere performances finding humor in the chaotic world that is post-war Iraq.

To make his points more universal and less personal Joseph uses anthropomorphism with the Bengal tiger being his narrator and creates ghosts returning from the recent dead to communicate with the living. He also includes a topiary garden filled with animals as a stand in for the Garden of Eden. It is a garden that has witnessed terror and Tiger assures a small disfigured child that God will not visit this place. Tiger has earlier informed us that animals are atheists.

The impact of the war in Iraq on the soldiers is a major theme as some turn into looters and others driven to insanity. There are the symbolic gold revolver and golden toilet seat ransacked from a Hussain palace playing an important symbolic role in the action and denouement. 

It also is a damnation of the war destroying Iraqi culture and subverting gentle people into abettors of the victors/invaders. One of these people is Musa (strong performance by Kuros Charney, holding his own with Marchetti, Marin and Marker) the once gentle gardener creator of the topiary animal garden and now acting as an interpreter. The horrors that he and his family have endured are ignored for the sake of survival. Set designer/director Bill English cleverly suspends the topiary animals above the stage effectively allowing the actors to roam freely among the animals.

San Francisco Playhouse’s production is the complete package with reference to the staging and acting but you too will probably leave the theatre with questions rather than answers to the complex nature of this play. Never-the-less do not miss Will Marchetti’s brilliant under-played Tiger, Craig Marker’s poignant descent into madness as Kev, Gabriel Marin’s tenacious depiction of Tom’s search for the looted gold objects and Kuros Charney’s growth from physical subservience to mental independence. Running time about 2 hours.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

 

Oct 06 2013
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CARRIE: The Musical gets new life by Ray of Light Theatre

By Kedar K. Adour

Kedar [rating:5] (5/5 stars)

CARRIE: The Musical. Book by Lawrence D. Cohen based on the novel by Stephen King. Music by Michael Gore and lyrics by Dean Pitchford. Directed by Jason Hoover. Ray of Light Theater Company, Victoria Theatre, 2961 16th St. (between Mission/Capp), San Francisco, CA 94103. www.rayoflighttheatre.com. October 4 –November 2, 2013.

CARRIE: The Musical gets new life by Ray of Light Theatre

There were ambivalent feelings expressed amongst some theatre critics about the new version of Carrie: The Musical at last night’s opening of Shocktoberfest where blood (and guts) littered the stage. They were expecting to see more blood flowing at tonight’s opening and all were anxious to see the reincarnation of the 1988 production labeled the worst musical ever and “New York Times critic Frank Rich likened to the Hindenburg disaster.” Surprise, surprise, the revamped, stripped down rewrite of Carrie was received with appreciative applause and a standing ovation.

Standing ovations are de rigor at Ray of Light (ROL) openings. They have a very dedicated loyal following since ROL consistently produce award winning shows with non-equity casts. For Carrie: The Musical they have rounded up a top-notch group with excellent singing voices and stage presence, a simplified staging relying on projections and lighting and a great director utilizing congruent choreography (Amanda Folena). The rather spectacular ending will have you jumping out of your seat.

This production can be considered a Chamber Musical consisting of part musical comedy and part opera. The story is based on the Stephen King novel that became a 1976 cult movie that was directed by Brian DePalma. For the record, a newer version will be hitting the screen this month.

Carrie (Cristina Ann Oeschger) is a shy introverted 17-year old High School student who does not fit in with any group and has a religious fanatic mother Margaret (Heather Orth) who has not taught her anything about becoming “a woman.” Carrie becomes terrified when she has her first menstrual period while taking a shower at school. Her ignorance is ridiculed and she shunned from the “in” group. When she discovers she has telekinetic powers (after all this sort of character is what made Stephen King famous), the final humiliating prank at the Senior Prom leads to catastrophic consequences.

The storyline is written in flash backs with the characters being interviewed by off-stage voices about “the incident.”  There is an attempt to add universality to the plot with the opening number of “In” where the student ensemble bemoan the fact that getting accepted into cliques is a major hurdle of growing up. Christine Ann Oeschger, who is a High School Junior, captures the audience with her first number “Carrie.” Heather Orth gives a magnificent performance with the operatic arias of “Eve Was Weak” and “Evening Prayers.” Her duets with Oeschger are mesmerizing and spine chilling.

Carrie’s nemesis Chris Hargensen (Riley Krull) gives added meaning to the word “bitch” often dominating the ensemble numbers with her presence. Among the “good guys” are students Tommy (Nitkita Burshteyn ), his girlfriend Sue (Courtney Merrell) and gym teacher Miss Gardner (Jessica Coker). Burshteyn’s full but soft tenor voice and disarming stage presence is a perfect match for the beautiful Merrell who radiates genuine compassion with her lines and soprano voice. Jessica Coker’s duet with Oeschger “Unsuspecting Hearts” is a gem.

Forget about most of the harsh criticism leveled at previous productions of this play and get your ticket for Ray of Light’s staging that captured the opening night audience and ended with memorable ‘bang’. Running time about 2 hours with an intermission.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Oct 06 2013
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Mauritius by Theresa Rebeck at Main Stage West, Sebastopol CA

By Greg & Suzanne Angeo

Reviewed by Suzanne and Greg Angeo

Photos courtesy of Main Stage West

Beware the Stampsters

Ilana Niernberger, John Craven

The latest presentation at Main Stage West, Mauritius is a uniquely intriguing caper chock-full of emotional tension and surprising plot twists, skillfully crafted into a roller-coaster ride worthy of Alfred Hitchcock. It’s a glimpse into the little-known world of high-stakes stamp collecting, where a single rare stamp can be worth killing for.

The story begins with estranged half-sisters Jackie (Ilana Niernberger) and Mary (Nancy Prebilich) who have just lost their mother but gained a large photo album. It’s filled with postage stamps that Mary’s late grandfather spent a lifetime collecting. One stamp in particular may be incredibly rare, the rarest of them all, and the fascinating story of its origins spins a tantalizing web. They suspect they may have a treasure, but whose is it? It’s plain to see their relationship was strained to begin with, but the tension rises to unbearable heights over such a fabulous prize. 

Jackie is determined to learn more about the stamps. Her quest leads her to the stamp shop of the aloof and nerdy Phil (Eric Thompson). She also meets long-time collector Dennis (Peter Downey) who shows an unusual interest in both Jackie and her stamps. The men soon arrange a clandestine meeting to introduce Jackie to their associate, the crafty and ruthless Sterling (John Craven). He proves to be a man with lots of money but few scruples.  

John Craven, Peter Downey, Eric Thompson

Award-winning playwright Theresa Rebeck’s work is widely produced throughout the United States and abroad. Her impressive resume also includes writing and producing for a number of popular television shows like NYPD Blue and Law and Order. Mauritius was originally produced in New York City at the Biltmore Theatre in 2007 and won a number of awards. Rebeck’s background in mystery and crime drama is evident in Mauritius’ tightly-written, punchy storyline.

The dialogue crackles with lightning-bolt exchanges between the characters. Niernberger delivers a fine-tuned, edgy performance as the frustrated and demoralized Jackie. For her, the precious stamps represent freedom from her repressed life after years of caring for her dying mother with no help from her absent half-sister. Prebilich presents Mary as a somewhat snooty, irritating person with a sense of entitlement and superiority. Thompson and Downey give superb performances, but it’s the charismatic John Craven that looms large as the sinister Sterling.

Subtle touches by director Elizabeth Craven makes the show fun to watch. There are allusions to activities happening offstage between the scenes, with sly surprises in store. The show does drag a bit in spots, especially in the first act when the character relationships are being established, and we begin to learn just how much these folks’ lives could change because of a tiny piece of paper. The scene changes also seem to slow the play down, instead of allowing the action to flow smoothly. But there’s enough energy and spellbinding suspense, propelled by the fine cast, to make this a highly watchable and unforgettable show. You’ll never look at stamps quite the same way again.

When: Now through October 13, 2013

8:00 p.m Thursdays, Fridays & Saturdays

5:00 p.m. Sundays

8:00 p.m. Thursday shows “Pay What You Will”

Tickets $15 to $25

 

Main Stage West

104 North Main Street

Sebastopol, CA 95472

(707) 823-0177

www.mainstagewest.com

Oct 05 2013
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Shocktoberfest 14 at Thrillpeddlers’ Hypnodrome a bloody/scary/humorously good show

By Kedar K. Adour, Uncategorized

 

Shocktoberfest 14: Jack the Ripper- An Evening of Horror, Madness, Spanking and Song. Thrillpeddlers at the Hypnodrome, 575 10th St.(Bryant & Division Streets) San Francisco 94103.Tickets are available at http://www.brownpapertickets.com/event/445136or for info call 415/ 377- 4202

Shocktoberfest 14 at Thrillpeddlers’ Hypnodrome  a bloody/scary/humorously good show

It’s that time of year when San Francisco’s unique and bizarre Grand Guignol Theatre slaps together a raucous, rowdy, raunchy, chilling, and gross or pick your own adjective evening of Shocktoberfest. Thrillpeddlers (www.thrillpeddlers.com) have been performing their unique brand of horror and fetish theatre in San Francisco since 1991 and Shocktoberfest has been in their repertoire since 1999 and if you do the math this is number 14 hence the title. This time around they are “honoring” the 125th anniversary of Jack the Ripper’s life.

Just in case you don’t remember . . . sorry, you don’t know about Jack the Ripper here is a brief synopsis of what that nefarious person did in 1888 London. In the seedy Whitechapel area of East London, he stalked, cut the throats and mutilated the abdominal organs of prostitutes (female not male). Because of his surgical and anatomical knowledge it was postulated he was a surgeon. He was never caught.

In 1934 a play Jack the Ripper by André de Lorde & Pierre Chaine was performed for Le Theatre du Grand Guignol in Paris. At the Hypnodrome this is the version that brings to life (and death) of what might have happened to Jack. Naughty Jack leaves a note pinned to his 5th victim telling the police that his next crime will occur in eight days in Whitechapel. Inspector Smithson (the elegant Norman McLeod) and devious Chief Inspector Richards (Jack Crow with a terrible English accent) bring in Dr. Nichols (the professional Jack Flaw) a ‘specialist’ in criminal profiling. The Bobbies con an incarcerated prostitute (beautiful Bruna Palmeiro) into being bait for Jack. Bad idea, especially since Richards is a devious sort. Why is it a bad idea?: Because Edith ends up dead with her bloody intestines actually spilling out on the stage. Never fear, justice prevails and Jack actually ends up hanging around.

Before Thrillpeddlers act out the piece-de-résistance discussed above they reach back into history and pull out the 1888 A Visit to Mrs. Birch and the Young Ladies of the Academy and perform the “brief” opening scene that acts out ‘Birchen Discipline’,  the art of discipline spanking. Horrors!! Three nasty young ladies where (Michelle Louise, Zelda Koznofski and  Bruna Palmeiro) pull down the briefs (they were called knickers in those days) and each take turns whipping  Sally’s (Julia McArthur) bare bottom. Hopefully the black and blue marks on Macarthur’s bottom are stage makeup and not real bruises.

Bruna Palmeiro, Michelle Louise, Julia McArthur, and Zelda Koznofski in “A Visit to Mrs. Birch and the
Young Ladies of the Academy

After intermission we are treated to Salome an original musical satire by Scrumbly Koldewyn an original and surviving Cockette. The always inventive and satirically inclined Scrumbly is at his best with the take-off on Oscar Wilde’s classic. The scene is Mrs. Taylor’s bawdy house where the drunken boys (wearing excessive cod-pieces) are entertained with dance and song by Salome (Noah Haydon is beautiful in drag) while King Herod (John Flaw) drools. Blood flows again from the severed head of John the Baptist . . . and my gosh and horrors, Salome kisses his lips!

The final set piece gets the full treatment in the world premiere of The Wrong Ripper; or Headline Noose; or, Pageant for the Handsome Accused. Rob Keefe inspired by the double murder of Blanche Lamont and Minnie Williams, which took place in 1895 at San Francisco’s Emanuel Baptist Church.  The similarity to the Jack the Ripper case produced a media circus and the SF Chronicle and Examiner vied for circulation superiority. It has a great cast including John Flaw and the three chorines, drag queen Noah Haydon, Tina Sogliuzzo and Bruna Palmeiro. Yes, of course there is blood but telling where and how would spoil the denouement.

John Flaw and TJ Buswell in “The Wrong Ripper

And as usual the evening ends with and their signature “Lights-Out Spook-Show Finale.” As the audience filed out of the theatre you could see heads shaking and questions being asked, “What the hell was that all about” and “what can they do next year?” The entire cast puts out a great deal of effort, and although there are uneven performances, the whole package is laudable from the choreography (Noah Hayden), costumes designers, directors and back stage crew. (Running time 2 hours and 30 minutes making it difficult to sustain interest for the entire evening).

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

 All photos by www.davidallenstudio.com

 

Oct 02 2013
Love0

Farah Goes Bang

By Mill Valley Film Festival
[rating=8]

road trip buddy comedy, sex farce, chick flick
US, 2013, English, 90 minutes, color

description
Farah Mahtab, a woman in her 20s, tries to lose her virginity while campaigning across America for presidential candidate John Kerry in 2004. Farah and her friends K.J. and Roopa follow the campaign trail across historic Route 66 on their way to Ohio, the central battleground state of 2004, seizing control of this charged moment in their lives and the life of their country. Roopa aspires to a job in politics, K.J. brawls her way through a personal motivation to end the war in Iraq, and Farah struggles to locate not just her desirability, but her desire. Though they’re advised to focus on “purple” states where Kerry stands a chance of winning, they naively campaign in states like Texas. We know how the election turns out–but will Farah meet her personal goal for their American odyssey?

farahgoesbang_tkt.jpg

contributors
cast Nikohl Boosheri, Kandis Erickson, Kiran Deol, Michael Steger, Samrat Chakrabarti, Lyman Ward
director Meera Menon
producers Laura Goode, Danielle Firoozi, Erica Fishman, Liz Singh
screenwriters Meera Menon, Laura Goode
cinematographer Paul Gleason
editors Meera Menon, Kate Hickey

summary review
Funny, interesting, filled with a number of interesting themes and ideas. Very well produced with good production values. Quite remarkable for a first film.

ratings
script/story [rating=8]
acting [rating=9]
cinematography [rating=8]
technical quality [rating=8]
afterglow [rating=8]
[rating=0]
Overall [rating=8]

 

trailer

see imDB info here

Farah Goes Bang

 

Oct 02 2013
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The Retrieval

By Mill Valley Film Festival
[rating=9]

Drama | History | Western, US, 2013, English, 92 minutes, color

description
Set during the Civil War, we follow 13-year-old Will, a fatherless black boy who has taken up with a bounty hunter gang. Gang leader Burrell sends Will on a risky mission to retrieve Nate, a wanted black man with a lucrative bounty on his head. To ensure Will’s return with Nate, Burrell threatens the boy with death if he doesn’t bring back his quarry. Will and his fellow gang member Marcus (another black man) find Nate digging graves in a Union graveyard and convince their unwitting prey to follow them back to Burrell’s gang, under the ruse that they’re leading him to see his dying brother. Along the way, the initially aloof Nate and Will begin to bond, developing an unexpected surrogate father-son relationship. As unforeseen events complicate the journey and Will grows closer to Nate, he is consumed by a wearying decision and a moral dilemma: Should he deliver Nate to the gang, or tell him the truth and risk death if the gang finds out he let Nate go?

 

 

 

 

 

 

 

contributors
director Chris Eska
cast Tishuan Scott, Ashton Sanders, Keston John, Bill Oberst Jr., Christine Horn, Alfonso Freeman
producers Jacob Esquivel, Jason Wehling
screenwriter Chris Eska
cinematographer Yasu Tanida
editor Chris Eska

summary review
An outstanding, satisfying film. Visually beautiful, thematically complex and poetic, it builds to an inevitable tragic and sorrowful dénouement‎ but ends with a sliver of hope for the future. Lingers in the mind.

ratings
script/story [rating=9]
acting [rating=9]
cinematography [rating=9]
technical quality [rating=9]
afterglow [rating=9]
[rating=0]
Overall [rating=9]

http://www.youtube.com/watch?v=bJqhzbTJ7kE

imDB info here
The Retrieval

 

Oct 02 2013
Love0

Mt. Zion

By Mill Valley Film Festival
[rating=3]

Art House & International | Drama
New Zealand, 2013, English, Maori, 93 minutes, color

description
Turei’s family are hard-working potato farm workers in rural New Zealand. A talented musician, Turei dreams of his band being the support act for Bob Marley’s 1979 tour. But it’s a dream that challenges the traditions and values of his upbringing and sets him at odds with his family – particularly his father, a true man of the land.

 

 

 

 

 

 

 

 

contributors
cast Stan Walker, Temuera Morrison, Miriama Smith, Ngawai Herewini, Troy Kingi, David Wikaira-Paul
director Tearepa Kahi
producer Quinton Hita
screenwriter Tearepa Kahi
cinematographer Tearepa Kahi
editors Paul Maxwell, Tearepa Kahi

summary review
Interesting insight into rural Auckland in the late 1970’s. Terrific music and the ceremonial welcome dances are the only highlights of this film, because the dialog is unintelligible. The decision to have Maori dialog with no subtitles is a disaster – you can’t understand what is going on, particularly where the scenes are all talk. Needs to be-done with subtitles.

ratings
script/story [rating=6]
acting [rating=6]
cinematography [rating=7]
technical quality [rating=1]
afterglow [rating=1]
[rating=0]
Overall [rating=4]

trailer
http://www.youtube.com/watch?v=X_Na-eWY4IY

see imDB info here
Mt. Zion

 

Oct 01 2013
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Theme gets short shrift in Cal Shakes’ ‘Winter’s Tale’

By Judy Richter

Judy [rating:3] (3/5 stars)

By Judy Richer

William Shakespeare’s “The Winter’s Tale” is a story of miraculous reunion and redemption after a long period of atonement.

People who aren’t familiar with the play would scarcely discern that theme in California Shakespeare Theater’s production, called “A Winter’s Tale.” Director Patricia McGregor conceives the play as presented by a traveling troupe with a small group of players.

Therefore, everyone plays multiple roles. That’s not unusual in contemporary Shakespearean productions, but it presents a serious problem here.

L. Peter Callender is first seen as Leontes, king ofSicily. He later is seen as a Bohemian shepherd who, in the play’s climax, travels to Sicilyto reveal crucial information.

However, since he can’t be two characters at once, this production cuts this scene, instead glossing over it with a hasty, almost incomprehensible narrative. Hence, the power and emotion of the final scenes are diluted.

In another misstep, an audience member is asked to play Time, who opens the second act and explains what has happened during the 16 years between the opening scenes in Sicilyand the following scenes in Bohemia. This narrative would be better delivered by an actor.

The director also has Autolycus, the roguish cutpurse played by Christopher Michael Rivera, grabbing too often at his crotch a la Michael Jackson.

The story focuses on Leontes and his pregnant wife, Hermione (Omozé Idehenre), who have been hosting the king’s longtime friend, Polixenes (Aldo Billingslea), king of Bohemia. Eager to return home, Polixenes spurns Leontes’ invitation to stay longer, but acquiesces when Hermione asks him.

Their conversation ignites an insane jealousy in Leontes, who accuses his wife of adultery, has her arrested and rejects their young son. After she gives birth to a daughter, he orders a courtier to abandon the baby in some forlorn place. When he is told that both his wife and son have died, he suddenly relents and begins a long period of regret and mourning.

In the meantime, the shepherd finds the baby and raises her as his daughter, Perdita (Tristan Cunningham). When she turns 16, she’s being wooed by Florizel (Tyee Tilghman), son of Polixenes.

When Polixenes learns of their courtship, he cruelly orders his son to give her up or be disowned. As was the case with Leontes 16 years earlier, Polixenes’ reaction is too extreme.

However, thanks to the shepherd, who knows that Perdita is a princess, she has a joyful meeting with her father, and Florizel is reconciled with his father.

Then the real miracle occurs. Paulina (Margo Hall), a lady in waiting, brings out a lifelike statue of Hermione, who comes to life before everyone. This production omits some lines that reveal what happened to her during the 16 years.

Although most of the principals do well, Callender is outstanding as his Leontes descends into irrational jealousy. On the other hand, Idehenre sometimes speaks so fast that her Hermione is difficult to understand. Similar problems occur sporadically with other characters.

Cal Shakes has been trying to reach out to more diverse audiences, as evidenced by this production, but in this case with this director, the Bard is not well served.

This production will continue through Oct. 20 at the Bruns Memorial Amphitheater, 100 California Shakespeare Theater Way(off Hwy. 24), Orinda. For tickets and information, call (510) 548-9666 or visit www.calshakes.org.

Oct 01 2013
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A WINTER’S TALE a ‘double header’ at CalShakes

By Kedar K. Adour

A WINTER’S TALE by William Shakespeare. Directed by Patricia McGregor. CalShakes, Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda. (510) 548-9666. www.calshakes.org.

September 25 –October 20, 2013

A WINTER’S TALE a ‘double header’ at CalShakes

When was the last time you saw a Shakespearean play produced as it was written?  Difficult question to answer? In modern times the Bard’s plays have tread the boards as “concept” performances and those concept performances have ranged from brilliant to outrageous and all descriptions in between. Then there are concept performances by Patricia McGregor that defy description and CalShakes’ production of the preposterous A Winter’s Tale fits in between with a touch of brilliance and an outrageous second act.

In Shakespeare’s time “a winter’s tale” suggests “an old wife’s tale’ and what you hear is hardly true and often embellished.  The play is divided into two parts with 16 years intervening. The first locale is King Leontes’s court in Sicily infused with high drama and the second the carefree land of Bohemia depicted by a May Pole with multicolored ribbons.  This being the end of the regular baseball season referring to the play as a ‘double-header” seems appropriate. 

Before the play begins director Patricia McGregor (her sister Paloma is listed as movement director) has members of the cast warm-up the audience with a juggling act and audience participation. Center stage is dominated by a psychedelic three level tower and stage right a small version a recreational trailer. The trailer may symbolize that we are going to be taken for a ride. 

Omozé idehenre, Margo Hall and L. Peter Callender

Before we take that ride to Bohemia drama unfolds when King Leontes (L. Peter Callender) and his wife Hermione (Omoze Idehenre) have entertained his best friend King Polixenes of Bohemia (Aldo  Billingslea) for the past nine  months. Leontes accuses Hermoine of making him a cuckold with Polixenes being the father of her unborn child.  No matter how earnestly Paulina (Margo Hall)  Hermoine’s lady-in-waiting defends the Queen, Leontes’ rage increases. Margo Hall matches Callendar’s histrionics line for line creating a dynamic confrontation. The female child is born and rejected.  Hermoine and the child Mamillius (Akili Moore alternating with Zion Richardson) heir to the throne die of broken hearts. The female child is whisked away by the courtiers and is rescued by a poor shepherd (Callender) and his son (Margo Hall). Eight cast members play double roles and are part of the ensemble. End of act one.

In the intervening 16 years the babe, now named Perdita (Tristan Cunningham) has blossomed into a beauty and has fallen in love with Florizel (Tyee Tilghman), Polixenes’ son and heir to his throne. True love never runs smoothly. The Prince Florizel cannot marry the commoner Perdita.

Before all gets resolved and the statue of Hermione mystically comes to life (after all the play is listed as a romance) Shakespeare introduces a rogue Autolycus (Christopher Michael Rivera) who is a peddler and a pick-pocket who becomes instrumental in the resolution of the play. Although Callender and Hall give yeoman performances, Rivera is the spark that keeps the story interesting.

Director McGregor has given the cast free range and the acting is extremely broad best described as emoting.  This Shakespeare play is often remembered as the one that includes a bear in the cast. The tall imposing Aldo Billingslea plays the bear with aplomb as he chases a hapless courtier off the stage to devour him.

All in all the drama, romance, redemption and staging make this a tongue-in-cheek evening worth seeing. Running time of this truncated production is 2 hours and 30 minutes.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

 
Omozé idehenre as Hermione, Margo Hall as Paulina, and L. Peter Callender as Leontes in Cal Shakes’ A Winter’s Tale by William Shakespeare, directed by Patricia McGregor; photo by Kevin Berne.