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Jul 17 2013
Love0

SEA OF REEDS

By Joe Cillo

Reviewed by Jeffrey R Smith of the San Francisco Bay Area Theatre Critics Circle

Josh Kornbluth is best described as the Woody Allen of the West.

Presently Josh is performing at the Ashby Stage a.k.a. the Shotgun Players.

Most of his previous work consisted of monologues delivered below street level (The Hungry Id (sic) in San Francisco and La Val’s Subterranean in Berkeley).

Now, merely twenty years into the business, Josh no longer descends below the sidewalk to get to the stage to perform in the case of SEA OF REEDS.

The fulcrum of SEA OF REEDS is his dilatory Bar Mitzvah at the sagely post-adolescent age of 52, four times the Hebrew National average for such ceremonies.

Josh explains, that as the son of communist parents, he spent his early years being a non-Jewish Jew and it wasn’t until he became a father that he became a humanist Jew believing that the collective imagination of man was actually God.

Assuming Josh is correct, God’s primary residence in Silicon Valley.

As prescribed by tradition, Josh is directed by his presiding rabbi to read a passage from the biblical prophets called the Haftorah.

Because Josh’s ceremony is in July, his reading assignment is from the Book of Numbers, Chapter 25 to be exact.

While most of Israel is hot during July, Josh holds his Bar Mitzvah in the Negev where one can bake matzo on the sidewalk.

In the passage Josh reads, the peripatetic Nation of Israel is temporarily abiding in Shittim; no scatological overtones intended.

Shittim was crawling with Moabite Shiksas and soon some wayward Israelites were dating—to use a PG-13 euphemism—the locals i.e. the Daughters of Moab.

As usual, one thing inevitably leads to the next; it’s a slippery slope: first it’s sidelong glances, then holding hands and in no time, these randy exogamous Israelites were kowtowing to the Pagan Goddess Baal Peor.

Baal Peor, is most politely translated, is the Cleft Deity; some theologians attribute modern pole dancing to her.

This Pagan Fertility Goddess demands rigorous obeisance and specific forms of surrender from her acolytes and votaries; none of which are PG-13 in priggish societies.

As reported in Numbers 25, Baal Peor revelry eventually spills into public view.

Zimri, the son of Salu, and his Midianitish consort Cozbi, the daughter of Zur make a public spectacle of themselves.

Phinehas, Zealous the Grandson of Aaron, is appalled by their exhibitionism.

Phinehas takes a javelin in hand and skewers both Zimri and Cozbi—the woman symbolically through her belly.

Thanks to Phinehas’ moral vigilantism it was believed that a plague was stayed from the children of Israel thereby saving thousands of lives: A seemingly happy ending.

Josh thinks he is expected to reconcile himself to this bit of tabloid zealotry.

Instead, his response is an elegant exhortation for tolerance and it is possibly the core message of the play.

If you go to the play, you owe it to yourself to stopping texting at this point and listen carefully to his Bar Mitzvah address.

One bay area critic has mistaken Josh’s earnestness and sincerity for didacticism—which is apparently a misdemeanor in theater.

The play is filling with amusing boyhood reminiscences of being raised peripherally Jewish without becoming Jewish.

It is filled with intelligent humor without falling back on the usual shticks like sex or politics.

Rather than going solo, this time Josh has Amy Resnick (who starred in Haiku Tunnel with him) to prod him along.

Amy is part director and part surrogate Jewish mother.

A quartet provides musical support as Josh plays the reeds of his oboe.

The play, while not elitist, is sophisticated humor; it prioritizes artistic success well ahead of popular success.

David Dower directs this delightfully entertaining piece.

For tickets call 510-841-6500 or go to shotgunplayer.org.

 

Jul 17 2013
Love0

SEA OF REEDS

By Joe Cillo

Reviewed by Jeffrey R Smith of the San Francisco Bay Area Theatre Critics Circle

Josh Kornbluth is best described as the Woody Allen of the West.

Presently Josh is performing at the Ashby Stage a.k.a. the Shotgun Players.

Most of his previous work consisted of monologues delivered below street level (The Hungry Id (sic) in San Francisco and La Val’s Subterranean in Berkeley).

Now, merely twenty years into the business, Josh no longer descends below the sidewalk to get to the stage to perform in the case of SEA OF REEDS.

The fulcrum of SEA OF REEDS is his dilatory Bar Mitzvah at the sagely post-adolescent age of 52, four times the Hebrew National average for such ceremonies.

Josh explains, that as the son of communist parents, he spent his early years being a non-Jewish Jew and it wasn’t until he became a father that he became a humanist Jew believing that the collective imagination of man was actually God.

Assuming Josh is correct, God’s primary residence in Silicon Valley.

As prescribed by tradition, Josh is directed by his presiding rabbi to read a passage from the biblical prophets called the Haftorah.

Because Josh’s ceremony is in July, his reading assignment is from the Book of Numbers, Chapter 25 to be exact.

While most of Israel is hot during July, Josh holds his Bar Mitzvah in the Negev where one can bake matzo on the sidewalk.

In the passage Josh reads, the peripatetic Nation of Israel is temporarily abiding in Shittim; no scatological overtones intended.

Shittim was crawling with Moabite Shiksas and soon some wayward Israelites were dating—to use a PG-13 euphemism—the locals i.e. the Daughters of Moab.

As usual, one thing inevitably leads to the next; it’s a slippery slope: first it’s sidelong glances, then holding hands and in no time, these randy exogamous Israelites were kowtowing to the Pagan Goddess Baal Peor.

Baal Peor, is most politely translated, is the Cleft Deity; some theologians attribute modern pole dancing to her.

This Pagan Fertility Goddess demands rigorous obeisance and specific forms of surrender from her acolytes and votaries; none of which are PG-13 in priggish or civil societies.

As describe in Numbers 25, Baal Peor revelry eventually spills into public view.

Zimri, the son of Salu, and his Midianitish consort Cozbi, the daughter of Zur make a public spectacle of themselves.

Phinehas, Zealous the Grandson of Aaron, is appalled by their exhibitionism.

Phinehas takes a javelin in hand and skewers both Zimri and Cozbi—the woman symbolically through her belly.

Thanks to Phinehas’ moral vigilantism it was believed that a plague was stayed from the children of Israel thereby saving thousands of lives: A seemingly happy ending.

Josh thinks he is expected to reconcile himself to this bit of tabloid zealotry.

Instead, his response is an elegant exhortation for tolerance and it is possibly the core message of the play.

If you go to the play, you owe it to yourself to stopping texting at this point and listen carefully to his Bar Mitzvah address.

One bay area critic has mistaken Josh’s earnestness and sincerity for didacticism—which is apparently a misdemeanor in theater.

The play is filling with amusing boyhood reminiscences of being raised peripherally Jewish without becoming Jewish.

It is filled with intelligent humor without falling back on the usual shticks like sex or politics.

Rather than going solo, this time Josh has Amy Resnick (who starred in Haiku Tunnel with him) to prod him along.

Amy is part director and part surrogate Jewish mother.

A quartet provides musical support as Josh plays the reeds of his oboe.

The play, while not elitist, is sophisticated humor; it prioritizes artistic success well ahead of popular success.

David Dower directs this delightfully entertaining piece.

For tickets call 510-841-6500 or go to shotgunplayer.org.

 

Jul 16 2013
Love0

‘The Loudest Man on Earth’ speaks volumes about deafness

By Judy Richter

By Judy Richter

Launching its 44th season, TheatreWorks takes its audience into possibly unfamiliar territory with the world premiere of “The Loudest Man on Earth” by Catherine Rush.

On its surface, this four-person play tells of a budding, unconventional romance between Haylee, a successful writer, and Jordan, a successful director. Haylee (the excellent Julie Fitzpatrick) is hearing while Jordan is deaf, as is Adrian Blue, the actor who portrays him. Blue, who serves as sign master for the production, is the husband of the playwright, who is hearing.

While the play is not strictly a portrait of their relationship, it does reflect things that have happened to them, Rush says in the program notes.

Haylee has a rudimentary knowledge of American Sign Language when she meets Jordan for the first time and interviews him. As they begin their relationship in New York City, she becomes more adept at understanding him and interpreting for him.

That ability becomes vital when they encounter other people, all well played by Cassidy Brown and Mia Tagano in roles that require versatility and quick changes. These encounters illustrate the gap between hearing and deaf cultures.

Between each scene, Jordanaddresses the audience in monologues of ASL and Visual Vernacular, a combination of ASL and mime. Even though Blue is a highly expressive actor, it’s not always easy to understand him without knowing his language.

On the other hand, there’s another scene in which Brown and Tagano play a Czechoslovakian couple whose language is incomprehensible to Haylee. This scene illustrates the stresses and obstacles that arise when people don’t understand one another’s language.

Director Pamela Berlin keeps the action flowing smoothly, aided by the flexible set by Jason Simms. The production also is enhanced by Tanya Finkelstein’s costumes, Paul Toben’s lighting and Cliff Caruthers’ sound.

Running 95 minutes without intermission, “The Loudest Man on Earth” is TheatreWorks’ latest main stage production to emerge from its annual New Works Festival. This year’s festival features staged readings of two musicals and three plays in rotating repertory from Aug. 10 to 18 at the Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto.

That’s where “The Loudest Man on Earth” will continue through Aug. 4. For tickets and information about the play or New Works Festival, call (650) 463-1960 or visit www.theatreworks.org.

 

 

Jul 16 2013
Love0

“Oliver1” comes to Redwood City

By Judy Richter

By Judy Richter

Staging “Oliver!” calls for a certain amount of ambition because of the challenges presented by Lionel Bart’s 1960 musical adaptation of Charles Dickens’ novel “Oliver Twist.”

One challenge is that all the scene changes might interrupt the dramatic flow. Thanks to an adaptable set designed by Jerald Enos, Broadway By the Bay minimizes the lapses. Still, this production directed by Jeffrey Bracco can feel episodic.

Another challenge is that the show requires many children. BBB succeeds on this count because most of the youngsters are somewhat older than one might expect. Hence the opening scene, “Food, Glorious Food,” at the London workhouse gets the show off to a good start.

Oliver Twist, the orphaned title character, is played by 12-year-old Shayan Hooshmand, who does a good job, starting with his memorable opening line, “Please, sir, I want some more,” as he tries to get another helping of the gruel served by the workhouse caretaker, Mr. Bumble (Robert Sholty). He also does well in his primary song, “Where Is Love?”

Later, he joins in on the show’s most successful song, “Who Will Buy?” which starts with five street vendors in haunting counterpoint and ends in a full-fledged production number, well choreographed by Pauline Kanter.

Other musical aspects are more mixed. Part of the problem is that Jon Hayward’s sound design is too loud and tends to distort higher notes. Another is that some principals mistake volume for emotion. Understanding the Cockney accents can be a problem.

Then there’s intonation, especially in “My Name,” sung by the show’s villain, Bill Sykes (Rich Matli). Musical director Samuel Cisneros’s orchestra also has intonation issues.

Back on the plus side is Ryan Mardesich as The Artful Dodger, who finds the runaway Oliver on the streets and takes him to Fagin, who harbors children and teaches them how to pick pockets. Fagin is winningly played by Jef Valentine, who has fun with “Pick a Pocket or Two” and “Reviewing the Situation.”

Dickens wrote “Oliver Twist” as a way to expose how cruelly and thoughtlessly orphans were treated in Victorian England. The musical softens some of those edges, but the basic idea is still there.

After Oliver has the courage to ask for more gruel, Bumble sells him to an undertaker, but Oliver runs away from there after getting into a fight. That’s when The Artful Dodger finds him. Oliver has more adventures after that, and the story ends on both unhappy and happy notes — unhappy for Nancy (Amie Shapiro), Bill’s girlfriend, and happy for Oliver, who winds up with his grandfather, Mr. Brownlow (Ron Dritz).

This production of “Oliver!” represents a milestone for BBB because it’s the first in the company’s long history to use local designers, artistic director Amanda Folena told the opening night audience. Besides the set by Enos, the realistic period costumes are by Margaret Toomey, who also serves as production manager. BBB has rented sets and costumes in the past.

Despite its shortcomings, the opening night production had enough pluses that it received an enthusiastic reception from the audience. It also served as a good introduction for those who have never seen this musical or its 1968 film.

“Oliver!” will continue at the Fox Theatre, 2215 Broadway, Redwood City, through July 12. For tickets and information, call (650) 579-5565 or visit www.broadwaybythebay.org.

Jul 15 2013
Love0

Lesley and Robert Currier Usher In Their 25th Season of Marin Shakespeare with The Spanish Tragedy

By Flora Lynn Isaacson

Photo by Eric Chazankin.  Elena Wright as Bellimperia in The Spanish Tragedy

Lesley Schisgall Currier directs the West Coast Premiere of The Spanish Tragedy (1587) by Thomas Kyd which is credited as the original Elizabethan revenge tragedy.  In introducing this type of revenge play to the stage, Kyd did tremendous service.  He paid very close attention to the weaving of his scenes.  This play is thought to have served as inspiration for Shakespeare’s Hamlet and Titus Andronicus.  Many elements of The Spanish Tragedy such as the play-within-a-play used to trap a murderer and a ghost intent on vengeance, appear in Shakespeare’s Hamlet.

This Marin Shakespeare Company’s production is so well written and performed that it can teach us all a lesson in passion, revenge and rage.  The plot of this play provides an attempted alliance between Spain and Portugal, haunting ghosts, murder, love and it all culminates in a dramatic end with a play-within-a-play.

Before the play begins, the Viceroy of Portugal (Jack Powell) has rebelled against Spanish rule.  A battle has taken place in which the Portuguese were defeated and their leader, the Viceroy’s son, Balthazar (Liam Hughes) was captured, but the Spanish officer, Andrea (Lucas Hatton) has been killed by none other than the captured Balthazar.  Balthazar’s ghost and the spirit of Revenge (Julia Schulman) are present throughout the entire play and serve as chorus at the beginning of each act.

Director Lesley Currier counters the absurdities and excesses of the play with a necessary measure of dry humor and for the most part, manages a good balance as she builds to the climactic play-within-a-play.

Julian Lopez-Morillas plays Hieronimo, a judge who arranges royal entertainment. He is traumatized and driven nearly mad with grief after the murder of his son, Horatio (Erik Johnson) and seeks revenge on those who orchestrated it.  Lopez-Morillas’ performance shifts from initial soft-voiced disbelief to the astonishing clarity of a man committed to his actions, however bloody the outcome.

Elena Wright is impressively dignified as Bellimperia, daughter of the Duke of Castille (Scott Coopwood) and lover of Horatio.  Julian Lopez-Morillas gives a stupendous performance s Hieronimo, as does Dashiell Hillman as the villainous Lorenzo, son of the Duke of Castille, who is responsible for Horatio’s death.

It is a rare treat to see a play so important and influential as The Spanish Tragedy. Surprisingly, this play is rarely performed.  Therefore, it is very special when it is done and done so beautifully.

The Spanish Tragedy runs July 12-August 11, 2013 at the Forest Meadows Amphitheatre, 890 Belle Avenue, Dominican University, San Rafael, CA.  For tickets, call the box office at 415-499-4488 or go online at www.marinshakespeare.org.

Coming up next at Marin Shakespeare will be A Comedy of Errors from July 27-September 19, 2013, adapted and directed by Lesley Schisgall Currier and Robert Currier.

Flora Lynn Isaacson

 

Jul 15 2013
Love0

THE LOUDEST MAN ON EARTH is stunning at TheatreWorks

By Kedar K. Adour

 

Haylee (Julie Fitzpatrick) and Jordan (Adrian Blue) share a tender moment in Catherine Rush’s unconventional romantic comedy THE LOUDEST MAN ON EARTH, receiving its World Premiere at TheatreWorks  July 10 – August 4, 2013  at the Lucie Stern Theatre in Palo Alto.

THE LOUDEST MAN ON EARTH: Romantic Comedy by Catherine Rush. Directed by Pamela Berlin. WORLD PREMIERE. TheatreWorks at the Lucie Stern Theatre, 1395 Middlefield, Palo Alto, CA. 650-463-1960 or www.theatreworks.org.  July 10 — August 4, 2013

THE LOUDEST MAN ON EARTH is stunning at TheatreWorks

The end of TheatreWorks 2012-2013 season is a heart gripping tour de force by 4 actors with the deaf Adrian Blue giving a superlative performance as his stage character Jordan negotiates the world of sound while in love with a non-deaf woman Haylee played superbly by Julie Fitzpatrick.  The play was a runaway hit of the 2012 New Works Festival where Blue and Fitzpatrick were joined by Cassidy Brown and Mia Tagano for those staged readings. That team is kept together for this fully staged World Premiere as an introduction to the 2013 New Works Festival that begins at the Lucie Stern Theatre in August.

This review has a very personal slant since, as a retired Ear, Nose and Throat doctor, the problems encountered by the protagonist Jordan were experienced by many of my patients.  There is an added interest considering that my first 1964 published medical article is entitled “The World of Silence.”

There is a semi-autobiographical bent to the play since Adrian Blue is married to the author Catherine Rush and they most certainly have encountered some of the obstacles faced by the onstage couple. Further, like the character Jordan, Adrian Blue is an accomplished theatrical director, actor and writer. A visit to the Palo Alto theatre will be instructional as well as heartwarming and entertaining.  The opening night audience responded with a well-deserved standing ovation.

Haylee is a dynamic journalist sent to interview the deaf Jordan who is rehearsing his cast for an upcoming production.  That interview sets the

Adrian Blue delivering a monolog

tone for the play as the two strong personalities slowly begin to understand each other as romance blossoms.  Jordan is the narrator and between the multiple scenes using American Sign Language (ASL) adding facial and body language “speaks” volumes to the audience.  You will be astounded that you are able to “hear’ what he is saying.

After a three month courtship they move in together and the problems arrive about adjusting to the hearing world around them.  Although many deaf persons learn to speak their speech patterns are distinctively different and proud Jordan has refused to learn and humorously describes himself as an “oral failure.”  Not only he an oral failure but a Jewish oral failure. That leads to a dramatic twist later in the play.

Cassidy Brown and Mia Tagano who play all the other roles are listed as Men and Women and perfectly portray the various personalities that entwine with the lives of Jordan and Haylee. They become police officers, the upper-class parents of Haylee, the Jewish parents of Jordan, insensitive friends, oriental waiters and others. Their masterful changing of costumes (Tanya Finklestein) and personalities is aided by the ingenious sliding paneled set (Jason Simms) that gives the illusion of being askew reflecting the skewed interaction of deaf and hearing world.

The evening is a total package of everything a theatrical production should be – a charming well written story, perfect acting, brilliant direction, ingenious staging while being highly instructional. What else could a theatre goer ask for? Running time is 90 minutes without intermission.  A must, must see production.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Adrian Blue as “Jordan” delivers several silent monologues

Haylee (Julie Fitzpatrick) and Jordan (Adrian Blue) share
a tender moment in Catherine Rush’s unconventional
romantic comedy THE LOUDEST MAN ON EARTH,
receiving its World Premiere at TheatreWorks
July 10 – August 4, 2013
at the Lucie Stern Theatre in Palo Alto.

Photo credit: Tracy Martin

Jul 14 2013
Love0

THE BOOK OF LIZ a runaway farce at Custom Made

By Kedar K. Adour

(l – R)Sister Butterworth (Ashley Cowan), Reverend Tollhouse (Dave Sikula) and Brother Brightbee (Christopher Kelly) admire (center) Sister Elizabeth’s (Jennie Brick) famous cheese ball in Custom Made’s The Book of Liz.

THE BOOK OF LIZ: A satirical Farce by The Talent Family of David and Amy Sedaris. Directed by Christopher Jenkins. Custom Made Theatre (CMTC), The Gough Street Playhouse attached to the historic Trinity Church, 1620 Gough Street (at Bush), San Francisco. (510) 207-5774 or www.custommade.org.Extended through August 21, 2011.

THE BOOK OF LIZ a runaway farce at Custom Made

In 2011 Custom Made mounted a very successful production of The Book of Liz that filled their intimate three sided stage every night and earned an extended run. It probably makes good business sense to remount the show at the end of their 2012-2013 season. From the enthusiastic response of the opening night audience, despite some technical glitches, that decision is seems justified.

The play is a satirical farce and the new cast and director have upped the energy level emphasizing the farcical element at the expense of the satire.  By doing so much of the double edged satiric dialog gets lost in the extremely broad acting and physical shtick.  The four cast members portraying 15 different roles deserve accolades for the sheer energy of their performances and must be physically and vocally exhausted by the end of the whirlwind 90 minutes on stage without an intermission.

The authors, David and Amy Sedaris, are known for their quirky, inane and cutting humor at the expense of hapless characters.  The initial group of characters inhabits the Cluster Haven Squeamish Religious Community under the leadership of Reverend Tollhouse (Dave Sikula) who in his opening prayer, kneeling on his beloved prayer cushion, is egotistical rather pious with a complimentary prayer to God as he praises himself rather than the Creator. Sister Elizabeth Donderstock, known as Liz (Jennie Brick) who is Sqeamish to the nth degree makes irresistible tasty cheese balls (traditional and smoky) and the proceeds from their sale keep the entire group financially solvent.

Reverend Tollhouse and Sister Constance Butterworth (Ashley Cowan) are critical of Liz’s liberal philosophy and poor Liz is removed from the annual Chastity Parade dedicated to the “dangers of casual glancing.” Further indignity is heaped upon on gentle Liz when the aggressive newcomer Brother Brightbee (Christopher Kelly) takes over the baking chores after demanding Liz’s recipes. Enough is enough says Liz she and hits the open road on a Candide type journey to discover the outside world.

First up on that road is Mr. Peanuts, who is one half of a Ukrainian couple who were professional cat-de-clawers. They have cockney accents (don’t ask) and befriend Liz who ends up in the Peanut costume.  Alas, the couple are deported back to Ukraine  due to a parking ticket. Never fear about our Liz who lands a job as a waitress in the Plymouth Crock Cafe (serving Pilgrim food such as English muffins) that hires only recovered alcoholics. (“If you sober up an alcoholic assholes . . . you end up with sober assholes!”) She also learns that homosexuals are the scourges of yard sales.

Complications arise because she has hyperhidrosis (for the non-medical that’s excessive sweating) but she is still offered a promotion to manager. Alas, her prudery will not allow her to get undressed for a physical exam and she would never wear a mini skirt that would display her thighs and legs!

Back at Cluster Haven, they cannot duplicate Liz’s tasty recipe, sales have plummeted they are being forced into bankruptcy.  Liz, who has remained a true Squeamish disciple returns and the special ingredient that made her cheese balls so tasty is discovered. They become financially solvent and everyone lives happily ever after with the moon and planet Saturn projected on the back screen.

The entire show is simply staged and you will recognize props from other shows. The multiple scenes are separated with blackouts allowing the costume changes. Jennie Brick’s cheerful attitude as the much put upon Liz is admirable: “I had to dress like a Peanut before I could feel human!” There are many vignettes that are handled adroitly by Ashley Cowan, Christopher Kelly and Dave Sikula but none is hardly memorable.  Directorially Jenkins has dispensed with an ensemble concept allowing his actors to loudly and individually “emote” often at the expense of the many delicious satirical lines not receiving their proper emphasis. When the technical glitches are corrected the scenes will flow smoothly adding zest to this zany, madcap, wacky satirical farce that will again attract full audiences.

Kedar K. Adour, MD

Courtesy of http://www.theatreworldinternetmagazine.com/

Jul 11 2013
Love0

OMG! I HAVE TURNED INTO THE MAIN COURSE

By Joe Cillo

YOU ARE WHAT YOU EAT, LIKE IT OR NOT

Everything you see I owe to spaghetti.
― Sophia Loren

First, it was horsemeat.  We thought we were eating succulent bits of beef but to our horror, we discovered we were shoving Dobbin into our lasagna.  Worse, we have been devouring him topped with cheese, tomato and soupçon of lettuce in our burgers.  We were horrified.  Tesco, a major seller of deceptive equine products ran full page ads apologizing for misleading their customers, insisting they had no idea that they were mislabeling their products.

The rest of the world scoffs at English fastidiousness. “So what?” they say in at least 358 different languages.   The French adore horsemeat…in fact they hint that is why they are so romantic in bed, in contrast to the British who apologize before they even mange to get started.  The Irish add a wine sauce to anything and once tasted don’t give a damn.

But horsemeat in our dinners is not the worst of it.  Oh, no.

Now that we have managed to come to terms with the brutal fact that the glorious winner of Epsom Downs faces a future in our goulash, we have another gastronomic hurdle to cross.  Sixty percent of the tuna we buy to fill our children’s lunch boxes and add flavor to our casseroles is not tuna at all.  It is escolar, an oily fish that causes diarrhea.  That is why so many of us have that irresistible urge to relieve ourselves after indulging in those cute canapés topped with a pimento.  And you thought it was the conversation.

The fact is that most restaurants serve escolar and tell us it is albacore tuna. No wonder we cannot figure out why that delicious Salad Niçoise sent us to the loo within moments of savoring it flavor. It wasn’t that drink you had to wash it down.  It was tacky escolar putting on airs.

Everyone knows that we are what we eat.  It is now apparent that when we feed our children stew, they could easily be neighing for their supper in a matter of weeks.  What is far more frightening, that tuna fish sandwich that every child cannot resist could very well send him swimming in the Atlantic never to return.  It has already happened in my family.

My Aunt Gert swears that the reason her daughter Penny became an Olympic swimmer was that she ate nothing but tuna fish for SEVEN years.  She stopped eating it that unforgettable day when she cramped up just as she was approaching the finish line in Rome in 1960.  She blamed her loss on nerves, but we know better.  It wasn’t the pasta either.

My mother’s staple casserole was tuna fish mixed with cream of mushroom soup topped with crumbled crisps. She served it at every party.  We never understood why everyone who ate it got the “flu” the next day.  We thought it was Ohio weather.

The moral of this shocking tale is that if you want to win the big fight, eat a bull and if you think you are gay, eat fruit.

Jul 09 2013
Love0

A new look at ‘Romeo and Juliet’

By Judy Richter

There’s nothing quite like young love, especially as depicted by William Shakespeare in “Romeo and Juliet.”

Focusing on that aspect of the play for California Shakespeare Theater, director Shana Cooper streamlines her production, starting with the title, condensing it to “Romeo & Juliet.”

She then reduces the cast to seven actors, all of whom, except for the two leads, play multiple characters. Some  characters are eliminated, and others are combined. Finally, she pares the text to mostly good effect, speeding the action while holding the audience rapt.

The familiar story takes place inVerona,Italy, where two families, the Capulets and the Montagues, have been feuding for generations. Street brawls are common.

Hence when young Romeo (Dan Clegg), a Montague, and not-quite-14 Juliet (Rebekah Brockman), a Capulet, fall in love at first sight, there’s not much hope for their romance. Nevertheless, they marry immediately, but because Romeo has killed one of Juliet’s relatives, he’s banished.

They have one night of bliss before Romeo must leave. When plans for them to reunite go awry, their next meeting leads to tragic death for both.

Both Clegg and Brockman embody the youthful impetuousness of their characters. Brockman is outstanding as her Juliet experiences a torrent of emotions.

Also representing the younger generation are Nick Gabriel as Tybalt and Paris, Joseph J. Parks as Mercutio and Arwen Anderson as Benvolio. Donning glasses, Anderson also appears as Lady Capulet, Juliet’s mother.

Representing the older generation are Dan Hiatt and Domenique Lozano. Hiatt plays the kindly Friar Laurence as well as Capulet servant Peter and Lord Capulet, Juliet’s father. Lozano plays Juliet’s caring nurse and Escalus, prince of Verona.

Although Romeo’s parents, Lord and Lady Montague, are relatively minor characters in Shakespeare’s play, they don’t appear in this version. Therefore, a short but crucial scene at the end is eliminated. In that scene, Lord Capulet and Lord Montague discover Romeo and Juliet’s bodies and finally reconcile. They see how much their enmity has cost them.

Design elements enhance the production, starting with Daniel Ostling’s spare set, which is open to the scenic vista behind the stage. Christine Crook’s modern costumes require only minor changes as the actors switch characters. The sound and mood-setting music are by Paul James Prendergast. Lap Chi Chu’s lighting is impressive. On opening night, for example, lights surrounding the stage and beaming upward during the tomb scene bounced off low clouds to create a brightly glowing circle overhead.

Dave Maier deserves credit for his ingenious, scary fight choreography.

For people seeing the play for the first time, this production is crisp, easy to follow, yet full of drama. Those who have seen the play many times will find much to enjoy and even discover because of director Cooper’s insights and creativity as well as a first-rate cast.

“Romeo & Juliet” will continue in Bruns Memorial Amphitheater, 100 California Shakespeare Theater Way (off Highway 24), Orinda, through July 28. For tickets and information, call (510) 548-9666 or visit www.calshakes.org.

 

Jul 08 2013
Love0

CHANCE shows great promise at the Alcove Theater.

By Kedar K. Adour

Richard Hefner as “Gregory” and Randy Roberts as “The Lady” in “Chance – A Musical Play About Love, Risk and Getting it Right”  Photo by Jay Yamada

CHANCE:  A Musical Play about Love, Risk & Getting it Right. World Premiere by Richard Isen.  New Musical Theater of San Francisco, Alcove Theater, 414 Mason Street, 5th Floor, San Francisco. 415-992-8168 or www.thealcovetheater.com   July 5 – 28. 2013

CHANCE shows great promise at the Alcove Theater.

Chance is the second offering for the New Musical Theater of San Francisco and after a few tweaks should match the long run (140 performances) of Absolutely San Francisco that inaugurated their season. The word ‘chance’ can be a noun, adjective, verb or adverb and in this bitter-sweet musical drama titled Chance refers to all its connotations and denotation. It is unfolding at the intimate new Alcove Theater of San Francisco that combines cabaret ambiance with semi-professional staging of new musical works.

Gregory (Richard Hefner), a 55 year old introverted gay industrial psychologist in a chance meeting on the internet meets a young rent-boy named Chance (Ken Lear) and takes a chance on hooking up with him. But before that happens in the play we meet the star of the show The Lady played by the wonderful ‘female illusionist’ (don’t use the words drag queen) Randy Roberts who has been involved in the play’s workshops going back more than one year. He is pitch-perfect in the part dressed in a stunning colorful sequined floor length gown with an open bodice and side slit showing off a pair of perfect gams.

Gregory has had a life threatening cerebral event and in his mind he conjures up the lovely movie aficionado The Lady who becomes his constant companion, internal sounding board and almost spiritual advisor. The story is told in flashback embellished with music beginning with the charming “The Way of the World.” The Lady is only in Gregory’s mind and does not interact with Chance, although they do sing duets and trios. The music is provided by an excellent trio put together specifically for this show by Tammy L. Hall (on the piano) with Caleb Herring on Bass and Ruth Price on percussion.

The play is divided into 14 scenes and each scene is introduced by an Oscar Wilde line that is pertinent to the action and lyrics. Those lyrics carry the plot forward as well as having a smidgen of universality.  Isen’s book at times tends to be overly dramatic but that is ‘the way of the world’.  His characterizations of Gregory and Chance become fully rounded by the end of the play with enough back stories being introduced to make their actions plausible.

Ken Lear as “Chance”

Ken Lear is a beautiful handsome hunk and he makes Chance’s seductive come-ons irresistible and his acting skills will make you want to forgive him for transgressions he inflicts on Gregory. Randy Roberts is the star of the evening playing the part of The Lady straight without ever breaking character.

Since the Oscar Wilde lines are so pertinent to each scene, director Kalfin should consider using projections rather than have the lines read by Tammy L. Hall from the far corner of the room.  On opening night half of those lines did not reach the rear of the hall.

My advice, take a chance and obtain a ticket for Chance and give this fledging group a chance to remain successful.  Running time about 2 hours including an intermission.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com