Ross Valley Players kicks off its 96th season with a fresh interpretation of Tartuffe at the Barn Theatre in Ross. Under Adrian Elfenbaum’s direction, Molière’s 17th-century satire of hypocrisy lands in late-1960s Southern California—an era awash in paisleys, flower power, and cultural upheaval. Richard Wilbur’s sparkling verse translation finds fresh energy in this groovy setting, where mod fashion and psychedelic flair sharpen both the comedy and the bite.

An unusual 5-act structure — a comedy built as a symphony of folly.

Unlike most modern 2-act evenings, Tartuffe moves in 5 deliberate steps, with intermission arriving after Act 3—a natural pause, just as Tartuffe has wormed his way deepest into the household. Each act raises the stakes until the family teeters on collapse:

• Act 1: Orgon brings home Tartuffe, hailed as a saint by him, a fraud by everyone else.

• Act 2: Orgon orders his daughter Mariane to marry Tartuffe, sidelining Valere.

• Act 3: Tartuffe makes a play for Elmire; Orgon, blinded, disinherits his son and signs over the estate. Curtain — and intermission.

• Act 4: Elmire stages the reveal; Orgon hides and hears Tartuffe’s brazen hypocrisy firsthand.

• Act 5: The tables turn—Tartuffe is exposed and justice restores the household.

The cast leans into this arc with gusto.

Steve Price’s Tartuffe is pious self-deprecation on the surface, lust underneath.

Price, who also produced, plays Tartuffe less as a silver-tongued seducer and more as a man dripping with false humility, forever bowing and scraping while his eyes are fixed on Elmire. The oily charm is subdued; what comes through is the mix of sanctimonious self-abasement and a barely concealed desire for Orgon’s wife. It’s an interpretation that underscores Tartuffe’s hypocrisy, though it sometimes left me wishing for more of the sly persuasiveness that would explain Orgon’s blind devotion.

Douglas Nolan (Orgon) is hilariously blinkered—the dad who’ll ignore a marching band in his living room if Tartuffe tells him to close his eyes. Stephanie Hunt (Elmire) is witty, grounded, and finally triumphant in the pivotal unmasking scene. Emily Anderson (Dorine) nearly steals the show with razor timing, while Chloris Li (Mariane) and Eliot Hall (Valere) keep the lovers’ subplot afloat with charm.

Photo Credit:Robin Jackson

This is a big cast, each carrying a heavy line load, and the delivery throughout the evening was crisp and professional. What took many by surprise was that the dialogue was spoken entirely in rhyme. It gives the play a buoyant rhythm and often lands a laugh, but it can also make some passages harder to follow.

Molière’s timeless warning: blind faith in false prophets can upend families and societies alike.

That’s the sting that gives Tartuffe staying power. Still, for me the evening was more intriguing than fully enjoyable. The verse kept me at a distance, the characters felt more like caricatures than people to believe in, and the sudden happy ending—famously revised by Molière to appease royal censors—lands as a contrived resolution. But that is the play itself, not the production, and others may find more delight in its clever rhymes and exaggerated characters.

Ross Valley Players offers a Tartuffe that is solidly staged and thoughtfully reimagined. Nearly 400 years on, the play’s mix of satire and farce still sparks discussion. In the Barn’s intimate setting, this production gives audiences a chance to see why Molière’s classic continues to endure—even if its style and conclusions may divide opinion.

Runs through October 12, 2025, at the Barn Theatre in Ross. Tickets $45 (discounts for members and youth under 18). RossValleyPlayers.com • 415-456-9555

Transcendence Theatre Company has matured beautifully into its new venue at the Field of Dreams, creating a uniquely Sonoma experience. This is not just a show — it’s a total night out. Dining al fresco, socializing with family and friends, enjoying food and drink under the Wine Country sky, and then being swept away by truly professional singers, dancers, and musicians in a Broadway-caliber performance. It’s a powerhouse combination that simply isn’t available anywhere else.

Following on the heels of their sold-out Beautiful – The Carole King Musical, TTC has brought back its audience-favorite Ladies of Broadway for a triumphant run at Sonoma’s Field of Dreams. I attended opening night, and the evening was nothing short of magical.

7 powerhouse performers — Terry Burrell (Dreamgirls, Into the Woods), Galyana Castillo (Sweeney Todd, Waitress), Diane J. Findlay (Hello, Dolly!, Sister Act), Kate Marilley (Beetlejuice, Billy Elliot), Vasthy Mompoint (The Prom, Mary Poppins), Kristin Piro (Spamalot, An American in Paris), and Libby Servais (Wicked, Lysistrata Jones) — lit up the Sonoma night sky with extraordinary voices and presence.

Photo Credit: Transcendence Theatre Company

From Golden Age classics such as Hello, Dolly!, Sweet Charity, and Gypsy to modern mega-hits like Wicked, Chicago, and Sister Act, the show offered both nostalgia and fresh energy. Each actress not only delivered showstopping numbers but also shared personal stories — moments that gave the evening a sense of intimacy and honesty. At times, it felt reminiscent of A Chorus Line, where performers reveal themselves through song and story, allowing the audience to glimpse the person behind the voice. For me, as someone from New York, the geographical references woven into their stories resonated especially strongly, grounding the night in both Broadway’s past and present.

Transcendence has clearly settled into its new home at the Field of Dreams. Everything runs smooth as silk — from the staging and sound design to the seamless transitions and overall flow of the evening. It takes time for any company to fine-tune a new performance venue, but Transcendence is now there — firing on all cylinders. The result is a confidence and polish that radiates from the stage to the audience.

What impressed most was the synergy. Whether it was Burrell’s commanding gravitas, Servais’s crystalline vocals, or Mompoint’s irresistible charm, each performer shone individually while blending seamlessly into a dynamic ensemble. The audience responded with cheers, laughter, and more than a few standing ovations.

More than a revue, Ladies of Broadway is a heartfelt tribute to the legends who paved the way and a joyful reminder of Broadway’s continuing vitality. On a perfect late-summer evening in Sonoma, it was easy to believe that the lights of Broadway shine just as brightly under the Wine Country stars.

Highly recommended — catch it while you can!

Tickets & Information

Ladies of Broadway runs through September 14, 2025, at the Field of Dreams in Sonoma. Tickets and details are available at Transcendence Theatre Company or by calling the box office at (877) 424-1414

Jonathan Spector’s Eureka Day was prescient when it premiered in Berkeley in 2018. In 2025, it feels uncanny. Just as Marin Theatre opens its revival, Florida’s Surgeon General has announced plans to eliminate all vaccine mandates, including for schools. What once seemed like satirical exaggeration now plays like a headline. The result is eerie, funny, and unsettling all at once.

At Marin Theatre, in partnership with Aurora Theatre Company, Eureka Day returns under director Josh Costello, who directed the World Premiere in 2018 at Aurora Theatre Company and now helms this Marin Theatre production. The play’s premise is simple: a private Berkeley school prides itself on inclusivity and consensus until a mumps outbreak throws the vaccine debate into overdrive. Idealism collapses, social media erupts, and the parents’ progressive bubble pops.

Lisa Anne Porter (Suzanne), Leontyne Mbele-Mbong (Carina), Howard Swain (Don), Teddy Spencer (Eli), and Kelsey Sloan (Winter)
Photo Credit: David Allen

Lisa Anne Porter (Suzanne) is perfectly opinionated — and perfectly awful in the way only a self-assured parent can be. Howard Swain (Don) nails the role of the procedurally accommodating figure, forever eager to keep every voice at the table. Together, they embody the comedy and tragedy of consensus culture run amok.

The rest of the ensemble matches that precision. Charisse Loriaux (Meiko) begins with calm authority that steadily unravels under pressure. Teddy Spencer (Eli) brings wry detachment, a cool counterpoint to the chaos. Kelsey Sloan (Winter), in her Marin debut, blends in seamlessly with crisp timing. And Leontyne Mbele-Mbong (Carina) lends steady poise, grounding the turmoil with quiet strength.

In some ways, the play is a comedic commentary on everyone being politically correct and trying to please everyone — an impossible task!

Costello shapes the action like a pressure cooker, none more so than the infamous “Zoom meltdown” scene. Equal parts hilarious and horrifying, it echoes countless school-board meetings and neighborhood threads. Scenic designer Richard Olmsted and costume designer Maggie Whittaker nail Bay Area chic, while Teddy Hulsker’s projections and Ray Archie’s sound design make the digital noise uncomfortably real.

Eureka Day is funny, biting, and alarmingly current. Spector’s satire dares us to laugh at dysfunction even as today’s headlines remind us how close we are to the edge.

sharp, timely, painfully funny

To See Eureka Day
Marin Theatre, Mill Valley
August 28 – September 21, 2025 (Opening September 2)
Tickets: marintheatre.org or (415) 388-5208
Prices: $38 – $89 (+$6 fee per order)

World premieres are always unpredictable. David Templeton’s Featherbaby takes that truth and runs with it — or rather, flies with it. This is a play told largely through the mind of Featherbaby, a rambunctious, foul-mouthed Amazon parrot who narrates, manipulates, and disrupts the lives of the humans around it.

The central tension comes when Angie, a quirky crime-scene photographer, brings Mason, a reserved puzzle competitor, into her world. Featherbaby does not approve.

Feeling threatened and territorial, the parrot wages war on Mason, biting (literally drawing blood), cursing, and scheming to sabotage the relationship. It’s needy, vulgar, and aggressively manipulative — not, from my perspective, an attractive character at all. But that is the point: this is a parrot with personality to spare, and the play’s drama and comedy spring from its relentless, often unsettling behavior.

At Spreckels, the title role alternates between Gina Alvarado and Matthew Cadigan. On the night I attended, it was Alvarado’s turn. She threw herself into the part with fearless commitment. At times her performance tipped toward the theatrical extreme, but always with conviction. She made the parrot magnetic and disturbing in equal measure, pulling the audience into a surreal but oddly familiar emotional tug-of-war.

Mercedes Murphy, Gina Alvarado, Nate Musser

The other characters — Mercedes Murphy as Angie and Nate Musser as Mason — provide the human framework. Yet in many ways they function as enablers, allowing Featherbaby’s bad behavior to dominate. Director Skylar Evans leans into this imbalance, crafting a production where the bird’s chaos drives the arc from conflict to an unexpected, if uneasy, connection between Featherbaby and Mason.

The design team reinforces this off-kilter world. Eddy Hansen’s lighting and set sketch out an environment where reality blurs into imagination, while Jessica Johnson’s sound design sharpens every moment of comic violence or tenderness.

Featherbaby is not cozy theater. It’s messy, bold, and occasionally vulgar. But that’s exactly its strength. Templeton has written a play that dares to put an unlikeable character at the center and challenges the audience to wrestle with it. And with Gina Alvarado’s performance, Featherbaby becomes hard to forget.