Dramatic, Lyrical and Moving…

Lynn Ruth [rating:4] (4/5 stars)

The Thrill Peddlers present….
TINSEL TARTS IN A HOT COMA
Music and lyrics: Scrumbly Koldewyn
Book: Sweet Pam” Tent
Directed by Russell Blackwood

“The Cockettes were basically complete sexual anarchy
Which is always a good thing.
John Waters

“The Cockettes were the first hippie drag queens,” said filmmaker John Waters,  “Insane hippie drag queens on and off the stage.”  And that sentence sums up that outrageous and delightful group of wild, flamboyant hippies, transsexuals, gays and rebels that managed to destroy all our sacred cows on and off the stage.  They created a series of drug infused ostentatious musical shows so camp only the sub-culture in San Francisco could understand them.  Their musicals were disorganized and wild, filled with glitter and nudity, mad and maddening yet irresistible to anyone ready to accept the unacceptable.

When they brought the original production of “Tinsel Tarts in a Hot Coma” to New York In 1971, the establishment simply could not handle their “in your face” exuberance. It was critic Lillian Roxon who realized that, inexperienced, chaotic and rough as they were, the group blazed a trail for a cultural evolution we are experiencing today “Their influence will be felt years from now,” she said. “Every time you see too much glitter or a rhinestone out-of-place, you (will) know it’s because of the Cockettes.”

Russell Blackwood, director of the Thrill Peddlers fell in love with the Cockette spirit and in 2009 he re-invented the Cockette production Pearls Over Shanghai  and followed it with Vice Palace.  Now, we have his re-imagining of  Tinsel Tarts In A Hot Coma the 1971 musical originally performed by The Cockettes at The Palace Theatre in San Francisco.

Blackwood’s interpretation of that production is on stage now at the Hypnodrome theatre and if you like splashy costume, great energy and not much plot, this production is your cup of tea.  Three of the original Cockettes are in this version of the musical that blossomed in San Francisco and died in New York.   Two of them, Scrumbly Koldewyn and Pam Tent also rewrote the book and added 18 songs from the original four-page outline used in that first production.  For this reviewer, Scrumbly Koldewyn is worth hearing and seeing anytime he takes to the stage.  His musical talent is beyond words, so original and exciting are his compositions; so thrilling his keyboard technique. Pam Tent steals the show in a parody of Hedda Hopper and no one can resist her.

The energy and enthusiasm of the cast is infectious and everyone who sees the show cannot help but have a wonderful time.  This production is so much more than a musical,  It is a happening and great fun from the opening number Ain’t We Deluxe to the spirited finale loaded with flashing breasts, swinging dicks, glittering gams and feathers, Hades Lowdown.

The question is: Are we so jaded by all that has gone before that the Cockette spirit is just a bit too over the top for today’s audiences?  “It’s nothing but a high school musical,” said one member of the audience. “All the performers put out lots of effort and enthusiasm, and the songs were clever….but  I didn’t see any reason for the nudity in the finale. I’m hardly a prude but it just seemed out of place.”

The truth is naked bodies aren’t that shocking anymore and too much glitter and glitz is boring.  We have all been there, done that and seen it so many times before.  That said; if you want a fun evening that does nothing to enrich you but everything to tickle your funny bone, don’t miss this fast-moving, melodic farce.  Tinsel Tarts in a Hot Coma is a production you’ll not soon forget: more colorful than a rainbow, and as delightful as a surfeit of ice cream and cake.

The sixties are gone; dope will never be as cheap
Sex never as free and rock & roll never as great.
Abbie Hoffman

TINSEL TARTS continues through June 1, 2012
Thursday-Saturday @ 8pm
The Hypnodrome Theatre 575 Tenth Street, SF
Tickets: brownpapertickets.com or 800 838 3006
Info: thrillpeddlers.com 415 377 4204

NAKED IS AS NAKED DOES

The male body is hairy and lumpy
And should not be seen by the light of day
Richard Roeper

For Shame

Americans do not mind seeing people murdered on their television screen and they love watching heads flying and limbs severed at the movies.  They like the rat-a-tat-tat of gunfire, bodies strewn across the pavement and little children crying for their lost mummies and daddies.   The more violence the better.  That is the American way.

The truth is that violence and tragedy make great entertainment.  So does pornography.  Americans actually prefer to watch lust happening even more than they like doing it. What a thrill to see a man and women tearing each other’s genitals to pieces or whipping and chaining each other for the sheer pleasure of hearing them scream.  Porn is almost as popular in America as violence.  We watch both every day and love it all.

But let some poor schnook walk outside to get the newspaper in the altogether and he ignites public outrage. “It offends me to see anyone that way,” said one insulted observer. “It is disgusting.”

That is why San Francisco decided to compromise its image of freedom of expression and tolerance of the odd-ball and ban public nudity from its streets.  No more can raunchy old men spread a towel on a stone bench and sun themselves in the Castro district.  No more, can its citizens strip to the flesh to bathe in the afternoon sun.  San Francisco now supports the theory that our bodies are so hideous they must be concealed in public.  No matter, that liberated women, forward thinking men and eating disorder specialists are trying to make us comfy with our diverse shapes and sizes.  In San Francisco, it is pc to be ashamed.

Now, it seems that the Japanese, too are offended by nudity, but they have taken it one step further.  They do not want to see representations of the human body, much less the real thing. Michelangelo’s David  was presented to the town of Okuizumo and the inhabitants ran for cover.  “It’s frightening the children and worrying the adults with its nakedness,” said one of the town’s bigwigs.

I can only assume that they have also stripped their museums of reproductions of Van Gogh’s NUDE WOMAN ON A BED or Renoir’s AFER BATHING not to mention Whistler’s shocking NUDE GIRL WITH A BOWL.

Obviously, the very sight of a naked body horrifies the more sensitive among us.   It is difficult to understand why we think the sight of a penis or a breast will frighten our children more than the sight of shattered limbs and battered heads. Will our innocent youth smash the bathroom mirror when one day they see those very banned organs protruding from their own bodies?

The truth is that in America our bodies are considered repulsive and offensive unless we film them and flaunt them on a screen.  The only answer to this dilemma is to cover every baby at birth with ornamental tattoos so that as they mature, no one will recognize the new growth.  And everyone will be amazed when it rises to an occasion.

I don’t even like to be naked
In front of myself!
Camryn Manheim

MARIN THEATRE COMPANY PRESENTS
THE WHIPPING MAN
by Matthew Lopez
Directed by Jasson Minadakis
Starring L. Peter Callender, Nicholas Pelczar and Tobie Windham

The people made worse off by slavery
Were those who were enslaved.
Thomas Sowell

Marin Theatre consistently gives us exceptional productions and Jasson Minadakis is without equal as a director.  Any production he touches becomes thought provoking, meaningful theater at its best. THE WHIPPING MAN is no exception.  “Set a week after the fall of Richmond at the end of the Civil War and spanning the date of President Abraham Lincoln’s assassination, THE WHIPPING MAN explores a moment in our history when everything changed and anything seemed, and perhaps actually was, possible,” says Minadakis.  “Matthew explores how faith is one of the strongest ways to build family and community and to honor history…..….Faith in ourselves, our family and friends, our community or a divine power is the light that parts the darkness.”

The faith in this play is Judaism.  When the Southern Aristocracy owned slaves, those people became a part of their family.  Although they were possessions, they were still expected to follow the moral constructs of the people who owned them.   Simon (L. Peter Callender) and John (Tobie Windham) are Jewish. They belonged to Caleb’s (Nicholas Pelczar) family.  The play opens in Caleb’s now almost destroyed home in Richmond, Virginia in 1865 on a Friday night during the Jewish Passover.  It is important to understand the Jewish humanistic philosophy when you watch this play because it colors each characters reaction to one another.  Jewish law forbids unethical treatment of slaves and encourages owners to make them part of the family.  They were forbidden to physically abuse their slaves or to sell them to harsh masters.

And yet, these people were property and no matter how well meaning the master was, there were moments when he fell from grace.  In this play Caleb’s father who was portrayed as a kind, humane man beat both Simon and John, and violated Simon’s wife.  Caleb was overbearing and cruel to John even though the two grew up together as brothers.  As Simon explains, ”You did it because you could.”

Caleb disillusioned by the cruelty and bloodshed of the war has abandoned his faith. “I stopped believing.  It’s as simple as that,” he tells Simon.  And Simon who still believes there is a higher power to protect them all says, “God doesn’t like fair weather friends.  “  He continues, ”You don’t lose your faith by stopping believing; you lose your faith by not asking questions.”

As the play develops, we are asked to question where justice begins and why men abandon their sense of humanity when they have power over another.  The acting in this play is nothing short of amazing.  L Peter Callender is a supreme artist and anyone who has the privilege of seeing him perform on stage knows he is unforgettable in any part he plays.  He outdoes himself in this play.  He carries the action and he is breathtaking every moment he is on that stage.  Tobie Windham is perfect as the rebellious angry brother and Caleb is right on the mark as the disillusioned son of a Jewish plantation owner who finally sees how little help his faith was to him when faced with impossible choices not just on the battlefield but in a home where people were subjugated to humiliation because they were owned.

The production is a masterpiece on every level and we have Jasson Minadakis to thank for that. He is both the director of this fine and memorable piece of theater and artistic director of the theater.  One can wax eloquent about the set, the lighting and the action…but there are no words to substitute seeing the play for yourself.  It is far more that a work of fiction on a stage.  It is a reflection of what life means and how we can all try to live it with honor and dignity.

Whenever I hear anyone arguing for slavery,
I feel a strong impulse to see it tried on him personally.

ABRAHAM LINCOLN

THE WHIPPING MAN continues until April 21, 2013
Marin Theatre Company
397 Miller Avenue
Mill Valley, CA 94941
415 388 5208
www.marintheatre.org