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Feb 15 2024

Don’t Miss Spamalot at NTC

By FloraLynnIsaacson Flora Lynn Isaacson

Photo: Top Row: Nicole Thordsen (Sir Robin), Izaak Heath (Sir Lancelot), John Griffin (Sir Bedevere) & Michael Coury Murdock (Sir Galahad). Bottom Row: Michael Hunter (Patsy) & Bruce Vieira (King Arthur). Photo by Jere Torkesen & HariettePearl Fuggit

Novato Theater Company’s current production Spamalot is an amusing and fun-filled musical on stage now through March 3. Based on the film Monty Python and the Holy Grail, the play won Eric Idle a Tony Award for Best Musical in 2005. This show is entertaining from start to finish thanks to excellent choreography and musical staging by Marilyn Izdebski who also produced the show.

The creativity of the director (Larry Williams) and production team along with the large cast’s fine acting, singing and dancing bring this hilarious parody of King Arthur’s legend to life. A wonderful live band features Daniel Savio (Keyboard, Conductor), Christopher Hewitt (Keyboard), Zack Miller (Bass) and Dean Cook (Drums). Savio’s musical direction brings out the best of John DuPrez’ and Eric Idle’s original music.

As Act One begins, the “Historian” (Bethe Jensen) appears on a castle balcony and provides an overview of life in England around the year 900. Incredible sound and energy comes off the stage as the music begins and the large ensemble performs the first song and dance number “Fisch Schlapping.” Next Bruce Vieira gives a powerful performance of “King Arthur’s Song”. He is a commanding yet comical King Arthur leading the quest for the Holy Grail.

Another highlight in Act One is a delightful rendition of the song “I’m Not Dead Yet” featuring Kevin Allen (Not Dead Fred), Nicole Thordsen (Sir Robin) and Izaak Heath (Sir Lancelot). The next scenes showcase the extraordinary talent of Dani Innocenti Beem as the Lady of the Lake. She sings “The Song that Goes Like This” beautifully with Michael Coury Murdock (Sir Galahad).

Other stand out performances include John Griffin as Sir Bedevere, Jere Torkelsen as God, Sir Not Appearing & Brother Maynard and Paul Hogarth as The French Taunter & Minstrel. The four main dancers (Abigail Burton, Shino Yamagami Cline, Olivia Ekoue Totou and Hannah Passanisi) add much to the show especially as “Laker Girls” (complete with pom-poms) and “Showgirls” as the setting moves to a Vegas-like Court of Camelot. Kudos to Tracy Bell Redig for her bold costume design.

In Act Two, King Arthur and his side-kick Patsy (Michael Hunter) get lost in the forest. They are soon joined by the full company for the play’s signature song “Always Look on the Bright Side.” Other stand out songs include Beem singing “Whatever Happened to My Part,” and Allen performing “Where Are You/Here Are You” as Prince Herbert.

Right before the finale, Arthur, Patsy and the Knights sing “The Grail’s Been Found” then the full company ends the show with a wedding scene reprising the song “Always Look on the Bright Side of Life.” Soon the whole audience is singing along and smiling.

Coming up next at Novato Theater Company is Noises Off by Michael Frayn, directed by Carl Jordan, June 20-July 14.

Feb 01 2024

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RVP’s Our Town–Superb!

By FloraLynnIsaacson Flora Lynn Isaacson

Jaeden Sanchez and Steve Price in Our Town

Photo by Robin Jackson

Ross Valley Players’ current production of Our Town is superb. The show runs now through February 25 at the Barn Theater in Ross. Director Chloe Brozan and the talented cast bring Thornton Wilder’s classic American story to life.

Following the play’s premiere in 1938, Wilder wrote “the audience was deeply absorbed…there was much laughter and applause.” The next run flopped in Boston but the Broadway show was a hit winning Wilder a Pulitzer Prize. At the time Eleanor Roosevelt said the play “moved and depressed her.” Her description ironically reflects the play’s main theme–that life is both “awful…and wonderful,” yet each moment should be treasured because “it goes so fast.”

As the show begins, it is clear this is a “play within a play.” The set is sparse, the stage mostly empty until the “stage manager” (played exquisitely by Lisa Morse) welcomes the audience and describes the small town and people of Grover’s Corners, New Hampshire. Morse is especially good at introducing characters and explaining events as she enters and exits the stage speaking directly to the audience.

The story focuses on two families and the changes in their lives during the years 1901-1913, especially the love that develops between George Gibbs (Jaeden Sanchez) and Emily Webb (Tina Traboulsi). Sanchez beautifully captures both his character’s youthful hope and later grief. Traboulsi is extraordinary and her range outstanding as her character matures and changes over time.

The rest of the cast (composed of both younger and older actors) is equally brilliant, especially Michael-Paul Thomsett (Dr. Gibbs), Lauri Smith (Mrs. Gibbs), Steve Price (Mr. Webb), Jennifer McGeorge (Mrs. Webb) and Ann Fairlie (Mrs. Soames). Price is convincing as a loving father and a man not prepared for the many changes taking place around him. Fairlie’s role may be small but her stage presence is off the charts. Kudos also to the rest of the incredible cast including Dalton Ortiz (Joe/Wally), Justin Hernandez (Howie/Sam), Alexandra Fry (Rebecca/Si), Tom Reilly (Professor/Constable/Mr. Morgan) and Peter Warden (Simon).

Thanks also to Michael Berg (excellent period costumes), Ronald Krempetz and Michael Walraven (set), Billie Cox (sound/original music) and Frank Sarubbi (lighting). Their creativity adds much to the overall mood and enjoyment of this production.

Coming up next at Ross Valley Players is The Divine Sarah, a musical by June Richards and Elaine Lang, directed by Jay Manley, March 15-March 31.

Jan 23 2024

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“The Curious Incident of the Dog in the Night-Time”, Avon Players, Rochester Hills MI

By Suzanne Angeo Greg & Suzanne Angeo

Reviewed by Suzanne Angeo (member, American Theatre Critics Association; Member Emeritus, San Francisco Bay Area Theatre Critics Circle), and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Photos by Bryan Clifford

Christopher on High

Captivating and Inspiring Whodunnit

What better way to enjoy Avon Playhouse’s snazzy new seating than to come see their newest presentation, the Tony award-winning play “The Curious Incident of the Dog in the Night-Time”? This uniquely brilliant show offers a glimpse of the world through the eyes of a courageous 15-year-old math genius named Christopher, who just happens to be on the autism spectrum. He finds himself in the middle of a (canine) murder mystery that leads down a rabbit hole of secrets held by those around him, including his family.

“The Curious Incident…”, by noted British-Irish playwright Simon Stephens, premiered in August 2012 at the Royal National Theatre in London, winning seven Olivier Awards. It went on to Broadway in October 2014 and ran for two years, winning multiple awards, including the Tony award for best play.

Christopher lives with his father in the southwestern English town of Swindon. It’s obvious the youngster has issues: He is an excellent student but can’t look people in the eye, cannot relate to others on an emotional level. When someone touches him, he reacts violently, sometimes striking out, sometimes collapsing on the floor in a fetal position. Despite these challenges, he is interested in the world and the universe beyond, determined to learn all he can. Then, suddenly his life is changed forever when he discovers his neighbor’s beloved dog has been killed, impaled by a very large garden fork. He is suspected of killing the dog but embarks on his own investigation to find out who did it, and clear his name.

Christopher + Dog

The story is presented in such an original and disarming way that you will be drawn in immediately, starting with the opening sequence featuring a backdrop of streaming projected images from the James Webb telescope, courtesy of projectionist Bryan Clifford. These images change dramatically during the course of the show and help tell the story, almost like another character. Christopher’s teacher Siobhan, played by Caitlin O’Brien with lyrical concern, serves as de facto narrator by reading from Christopher’s own writings about the mysterious happenings. You can see that Christopher (a remarkable Robert Carrigan) refuses to allow his so-called disability to limit his progress or stifle his bold curiosity. His father Ed (Luigi Murri in a strong performance) is trying to protect his son from the world, and from the truth. Joy Oetjens, as the wayward mother Judy, effectively shows the anguish and conflict in her own hidden life that leads Christopher on a dangerous journey in search of answers.

Six precisely positioned actors, identified only as Voice 1, Voice 2, etc, bear witness to Christopher’s strained interactions with his parents, teacher and neighbors. These Voice actors serve as inanimate objects (a microwave oven, a door, train station signs), and are also characters within the story, creating vignettes and pantomime in between various roles. Several black cubes, each about two feet square, serve as key set pieces that are moved around by the Voice actors into various configurations, depending on the scene.

Siobhan + Christopher

Lighting by JD Deierlein is stark and crisp, like the mind of the young protagonist. Lia DiFonzo’s precise, steady direction keeps the energy focused and keeps us fascinated from beginning to end. Under her guidance, the cast (as ensemble, and as individual actors) works with harmony and purpose.

Besides being a wonderful and entertaining mystery, this is a truly inspiring show for those who know anyone on “the spectrum”. Even in a world where people and objects are interchangeable, experiences are compartmentalized and comfort comes from mathematical calculations, there is great joy in achievement and discovery.

Christopher + Canis Major

Rated R for language and mature concepts

Now through February 3, 2024

Tickets $25.00

Avon Playhouse

1185 Washington Rd

Rochester Hills, MI 48306

(248) 608-9077

www.avonplayers.org

Jan 15 2024

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Chiromani at Ballet de l’Opera Paris

By Jo Tomalin Jo Tomalin

The Opera National de Paris in France offers an international program for Jeune Public -Young Audiences – featuring performances of professional dance, music, operas, ballet and musicals. Open to all, the program is geared towards young people and their families, teenagers and young adults who are offered a plethora of choices from these art forms throughout the season, and some companies offer workshops and talks from the artists. What a wonderful opportunity to discover world class performances and to develop a taste for the arts!

January 12 -15, 2024, this program presents Chiromani at the Amphithéâtre Olivier Messiaen, Opera Bastille, Paris. Chiromani, choreographed by Salim Mzé Hamadi Moissi and performed by Moissi and six dancers is named after the traditional fabric worn by women from the Comores, an Archipelago located between the African coast and Madagascar.

The dance traditions of this region range from 16th-century African Bantu and Muslim cultures to 19^th century French colonization to the present day. Moissi has created a hybrid of the physical expressions of life in Comores by blending tradition with modernity – including hip hop!

Moissi and his cast – several with dance awards from the Comores – are dynamic, athletic and graceful at the same time. The program states that there are traditional dances in the Comores for men and others for women but in this performance the women will be honored and dances will combine and feature both male and female dancers.

The abstract visual storytelling of the choreography, together with the inspired moody lighting design by Patrick Clitus result in a vibrant and visceral performance set to a melange of recorded music and sounds. The music ranges in styles and speeds with fast electric urban rhythms to slow processionals that curve around the stage in the ensembles, duets and solos. A highlight is a solo to pensive piano music, which is particularly moving. Beautiful imagery is created by the sincerity and creative physicality in the space – and later on in the costume change from street clothes to solid color gowns replete with several multicolored sections in each one.

The cast: Mohamed Abode, Saila Ali Ahmed, Takia Ali Ahmed Abdallah, Origine Mohamed, Salim Mzé Hamadi Moissi, Kamal Mzembaba, Nael Omar.

At the performance I attended on 12^th January, the amphitheatre was almost full and the performance was very well received by the audience. The energy and emotive performances of the dancers is outstanding and the choreography is from the inner soul with pure movement that is original and compelling. This company creates and shares a wonderful sense of community with us in the one hour performance – Highly Recommended!

More Information:

https://www.operadeparis.fr/en

https://www.operadeparis.fr/en/programme/season-23-24/shows-young-audiences

Jan 08 2024

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Bejart Ballet Lausanne at Ballet de l’Opera Paris

By Jo Tomalin Jo Tomalin

The Paris Opera presents guest company Béjart Ballet Lausanne at the Palais Garnier January 4 to 7, 2024. Béjart Ballet Lausanne is a world class company that continues to present works by Maurice Béjart.

This program features recorded music throughout, and comprises four pieces choreographed by Béjart and begins with Tous les hommes presque toujours s’imaginent, a work choreographed by Gil Roman, the company’s artistic director. Set to melodic and sombre music with energised sections by John Zorn, the large company of dancers play angels and tribe members. Costumes of earth tones with fascinating textured long skirts with sashes unify the ballet with the intriguing set of a low circular wall suggesting an amphitheatre. A larger wall center stage creatively becomes a video screen that adds another dimension to the relationships and visual storytelling.

The choreography blends small and larger groups moving across the stage, sometimes with Egyptian motifs. A trio of playful angels is delightful, lovely partnering in another section is elegant and another highlight is a duo that is so moving, fluid and emotive. There is also a contemporary wit in a section of delicious sinewy movement.

The following four pieces are choreographed by Béjart. Bhakti III is fourteen minutes long, is set to traditional indian music and features crisp solos and duos led by Shakti danced by Mari Ohashi and Shiva danced by Alessandro Cavallowith wonderful extensions. The mise en scene is supported by six dancers representing men in prayer on the floor thenstanding, chanting with yogic motifs and finger bell chimes.

The next piece, Duo is 9 minutes of pure joy, set to music by Munir Bashir that begins with flute sounds and perfectly complements the lithe long lines and fluid dance quality of Valerija Frank and Julien Favreau. The choreography includes the pair mirroring each other at times, acrobatic inspired movement – and a beautiful feeling of yearning as the music becomes melodic and haunting.

Dibouk is a glorious seven minute piece – and a main highlight of the program. Set to traditional jewish music, Kathleen Thielhelm and Dorian Browne change directions rapidly and have a visceral push-pull relationship that works so well to drive the visual storytelling. Lighting is creatively used in this piece almost as another character when we begin with a huge shadow on the wall that is ominous, then the lighting becomes warmer. The flow of this piece is wonderful – short and sweet!

Finally, the company performs 7 Danses Grecques, set to music by Mikis Theodorakis, with ensemble dances and two series of outstanding Pas de Deux featuring Kwinten Guilliams, Konosuke Takeoka; Oana Cojocaru, Masayoshi Onuki, Floriane Bigeon, Denovane Victoire. Dramatic moments include when the entire company moves together towards the audience! Big jumps and leaps, a rich blue backdrop, lovely ensemble work and smaller groups dance with precision and grace. Jaunty moments in the choreography are fun and add to the high level of technique and quality of dance in this company.

This is a superlative company performing a wide variety of dance pieces. Highly Recommended!

More Information:

https://www.operadeparis.fr/en/artists/ballet

Jan 03 2024

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Jiri Kylian Evening: Ballet de l’Opera Paris

By Jo Tomalin Jo Tomalin

The Ballet de l’Opera, Paris, presents a new production with work by renowned choreographer Jiří Kylián at the Palais Garnier, 8-31 December, 2023. The production, Jiri Kylián Evening, comprises three sections of four pieces performed by this company at the Opera national de Paris.

Kylián, from Prague, started his career in the Czech capital as a dancer and later became an acclaimed award-winning choreographer after moving to Europe. Kylián’s works have been performed worldwide and are known for their musicality, imagery and dry wit.

In the first piece, Gods and Dogs, with Kylián’s choreography, set design, costume design with Joke Visser, and music design, the choreography ranges from angular to lyrical motifs, beautifully danced. Deep echos and sounds of the music by Dirk P. Haubrich and Ludwig van Beethoven fill the large, storied Palais Garnier auditorium. There’s an edgy air of what’s going to happen, and suddenly a strange monster appears up high. The choreography is often low gravity muscular movement in ever changing combinations, including trios and solos with surprises in the movement from changes of direction and jumps. There is a dramatic moment when a curtain comes down centre stage, which seems to be metallic and shimmery – due to the beautiful lighting by Kees Tjebbes, which is a highlight of this intriguing piece. The wide curtain is very effective as it changes levels and sways, giving a lot of visual movement behind the dancers. Costumes are modern with long wide pants for the male dancers and short sleeve tops and shorts for the female dancers.

The second piece, Stepping Stones, choreographed by Kylián is very dramatic looking with black costumes, black backdrop, and a huge black triangle above the stage, which moves up and down and tilts. The other side of the triangle is an intricate wooden structure beautifully lit and adds to the atmosphere, with set and lighting design by Michael Simon. Costume design by Joke Visser is interesting, the male dancers in black shorts with narrow additions of red and green and female dancers’ black leotards include stylish front sections and straps with narrow, purple and teal stripes. Kylián’s choreography shows a traditional balletic foundation with modern extensions interspersed with quirky moments that complement the music choices of John Cage and Anton Webern very well. Several themes are expressed in this piece including mythology and ritual. A small group of dancers balance trays on their feet and move adeptly in unison in one part of the imaginative mise en scène across the stage, replete with a group of three large foreboding gold cats upstage. A section with a trio of three women is utterly glorious! The entire piece is on the music, quirky, and fascinating.

The third and final part of the evening comprises two notable contrasting pieces, Petite Mort and Secus Tänze, both choreographed by Kylián. Petite Mort is set to beautiful music by Wolfgang Amadeus Mozart when the starting image is of six male dancers holding large swords, and then dancing with them! This piece is moving and visceral in both dance quality and choreography, with highlight sections of six athletic duets and an outstanding section with five female dancers. Romantic but not sentimental with costumes by Joke Visser and set and light design by Kylián, yet another exceptional duet later in the piece dazzles with sublime muscularity and extensions. Wow!

Secus Tänze is a wild and delicious visual storytelling of a time gone by filled with wit, joy and vibrant choreography set to glorious music by Mozart, with set and costume design by Kylián and lighting design by Joop Caboort. The bizarre and charming sections are supported by the large hair and powdered make up design with pink cheeks together with white calf length dresses and ethereal expressive costumes. Choreography includes unusual lifts, twirls, skirt flourishes and fast movement. What really shows through in this piece is the quality of this large company of Etoiles, Premieres Danseuses, Premieres Danseurs and the Corps de Ballet of the Opera national de Paris. They relate to each other so well with facial reactions and their physicality in this piece that it adds another dimension to the performance. Don’t miss this program or the glorious end moments of the evening! Highly Recommended!!!

More Information:

https://www.operadeparis.fr/en/artists/ballet

Dec 21 2023

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Pick! ASR Film ~~ ‘The Crime Is Mine’ — French Screwball Satire Carves Up Justice, Feminism

By Woody Weingarten Woody Weingarten

By Woody Weingarten

Screwball comedies satirizing traditional love stories peaked in the early 1940s — after having begun to gain popularity during the Great Depression.

New examples of that romantic comedy sub-genre would manage to pop up every few years thereafter, but they’d usually fail to be as funny or polished as those of yesteryear.

But now comes The Crime Is Mine, a French-language satire (with subtitles, of course) that stands up with the best of them. The one-hour, 42-minute film time-warps back to 1930s Paris and provides a Duisenberg-speed storyline that repeatedly twists and turns as it focuses on a sexy, penniless actress who figures she can become famous by confessing to a murder she didn’t commit.

… “The Crime Is Mine” ain’t subtle, but delightfully tasty it is …

Scheduled for release on Christmas Day by Music Box Films, the flick lays onto the marvelous comedy, an equally marvelous carving up of feminism, the class system, show biz antics, and courtroom machinations.

In the final analysis, though, within weeks after watching the movie, you’re likely not only to have forgotten slices of the plotline but exactly who is who, especially when it comes to lesser characters such as the judge, the prosecutor, the police inspector, and a boyfriend (even though all are amusing) and exactly what who said to whom.

Nadia Tereskiewicz merrily plays blonde bombshell Madeleine Verdier, a talent-less wannabe who desperately craves stardom and her close-up. She’s aided in her quest for fame by her brunette BFF and starving garret roomie, Pauline Mauléon (played by Rebecca Marder), a young lawyer with no other clients who launches a campaign based on the notion of self-defense against sexual assault.

Supporting their skillful acting chops is Isabelle Huppert, a French icon who, while chomping on the scenery, portrays silent film star Odette Chaumette, the real killer turned blackmailer.

All the main characters, each of whom is self-serving, mug a lot (except the murdered producer) — and every now and then, Madeleine’s combined flightiness and earthiness may remind a filmgoer of Renee Zellweger playing Roxie Hart in Chicago.

… Rotten Tomatoes gave it a 100% rating

François Ozon’s direction of this adaptation of a 1934 stage play is almost as perfect. Rotten Tomatoes gave it a 100% rating with 22 credits so far.

With humor ranging from dry to frivolously farce-like, it’s virtually impossible not to like the film—whether or not you can relate to kooky but intelligent women who easily outmaneuver the men in their lives.

The Crime Is Mine ain’t subtle, but delightfully tasty it is — a cinematic soufflé that never falls.

-30-

ASR Senior Contributor Woody Weingarten has decades of experience writing arts and entertainment reviews and features. A member of the San Francisco Bay Area Theatre Critics Circle, he is the author of three books, The Roving I; Grampy and His Fairyzona Playmates; and Rollercoaster: How a Man Can Survive His Partner’s Breast Cancer. Contact: voodee@sbcglobal.net or https://woodyweingarten.com or http://www.vitalitypress.com/

Production	The Crime is Mine
Directed by	François Ozon
Run Dates	Opens December 25, 2023
Venues	TBA

Reviewer Score	Max in each category is 5//5
Overall	4.25/5
Performance	4.25/5
Script	4/5
Pick?	YES!

This story was first published on https://aisleseatreview.com, which publishes independent views and reviews on Bay Area arts, destinations, and lifestyle.

Woody Weingarten, a longtime member of the San Francisco Bay Area Theater Critics Circle, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.com and https://vitalitypress.com.

Dec 21 2023

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Dragon Lady–Magnificent!

By FloraLynnIsaacson Flora Lynn Isaacson

Sara Porkalob was given a standing ovation last weekend at Marin Theatre Company following her amazing one-woman musical show Dragon Lady. Porkalob’s energy and talent as a writer and performer is a joy to behold. She knows how to take the stage, sings like a superstar and acts with depth and emotion.

Like a gifted mimic, she changes her voice, accent, tone and mannerisms bringing multi-generational characters from her Filipino family to life. Kudo’s to Andrew Russell for his outstanding direction, Pete Irving for his beautiful original music and the live band Hot Damn Scandal (Irving, Mickey Stylin and Jimmy Austin) for never missing a beat.

The set is spectacular thanks to Randy Wong-Westbrooke (Scenic Design), Kahlil Gray (Carpenter) and Joshua Patterson (Painter). A huge dragon tail frames the stage and set of the Red Dragon nightclub. The club’s seating areas are upholstered in rich, red silk and velvet. Eerie lighting (Spense Matubang), a smoky mist and a jukebox that plays itself create a surreal mood.

The creativity and talent from all of those involved in this production is truly inspiring, especially Porkalob who bravely takes on the subject of generational trauma and bares every emotion. Even after the show, she shed a few tears on stage and her belief that “it is never too late to atone for the pain we inflict on the ones we love most and to forgive ourselves for past regrets.”

Coming up next at Marin Theatre Company is Bees and Honey, a new play by Guadalis Del Carmen, February 15 to March 10, 2024.

Dec 15 2023

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Emerging Afro Pinoy Choreographer “Ting” talks about Dance and Choreography

By Jo Tomalin Jo Tomalin

Agpalo “Ting” A.J. Alvarez-Maquinta talks about his background as a multidisciplinary artist, his choreography and storytelling to Jo Tomalin in San Francisco.

Photo by Aigerim Sharipova

Ting Alvarez: Photo courtesy of Ting Alvarez

Kinatao, Section 3: Photo by Chani Bockwinkel

Listen to our Interview with Ting here (17 minutes):

More information about Ting and the MPWRD Artists collective: MPWRDcollective.org

Interview originally published in the UK based online journal: The Fringe Review

Dec 11 2023

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Emerging Afro Pinoy Choreographer “Ting” talks about Dance and Choreography

By Jo Tomalin Jo Tomalin

Agpalo “Ting” A.J. Alvarez-Maquinta talks about his background as a multidisciplinary artist, his choreography and storytelling to Jo Tomalin in San Francisco.

Photo by Aigerim Sharipova

Ting Alvarez: Photo courtesy of Ting Alvarez

Kinatao, Section 3: Photo by Chani Bockwinkel

Listen to our Interview with Ting here (17 minutes):

More information about Ting and the MPWRD Artists collective: MPWRDcollective.org

Interview originally published in the UK based online journal: The Fringe Review