Skip to main content
Dec 09 2024
Love0

Little Women

By Joseph Cillo

 

Hits All the Right Notes

Sonoma Arts Live’s Little Women the Musical is a dazzling, toe-tapping journey into the lives of the March sisters—a family so full of charm, drama, and sisterly squabbles, you’ll feel like you’ve been adopted on the spot. This show takes Louisa May Alcott’s classic story, gives it a melodic boost, and leaves you wondering why your own family doesn’t burst into song about their problems.

Here’s the plot in a nutshell: Meg is the reliable older sister who dreams of settling down, Jo is a literary firecracker trying to take on the world with her pen, Beth is the kind soul who’ll make you cry just by smiling, and Amy is the youngest sibling whose life goals include traveling to Europe, making art, and always getting her way. Add in Marmee, their wise and warm mother, and you’ve got a recipe for a story brimming with humor, heart, and just enough drama to keep things spicy.

Sandra Ish, making her directorial debut with Sonoma Arts Live, has taken this timeless tale and whipped it into a smart, snappy production that never drags. Ish’s direction balances laugh-out-loud moments with scenes that’ll have you clutching your seatmate for emotional support (and maybe their popcorn too).

The cast is a powerhouse ensemble. Lauren Hartley’s Jo is the kind of hero who can melt your heart while defiantly stomping on every societal rule. Hannah Passanisi as Meg exudes classic elegance, while Joanna Lynn Bert’s Beth will quietly steal your heart. Emma Sutherland’s Amy? A scene-stealing tour de force of sass and ambition—she’s the sibling who always gets the best lines and knows it.

Photo Credit: Katie Kelley

The supporting cast keeps things lively. Nathaniel Mercier’s Laurie is boy-next-door perfection, and Daniela Innocenti Beem’s Marmee anchors the show with a calm, nurturing presence. The rest of the ensemble delivers memorable moments that add depth and humor, from grumpy grandpas to sharp-tongued aunts.

And the music! Oh, the music. The songs range from tear-jerking ballads to toe-tapping ensemble numbers, each one perfectly crafted to tug at your heartstrings or make you grin like you just won the lottery.

The Rotary Stage in Andrews Hall is an ideal venue, drawing you right into the March family’s world. With holiday treats and hot cider on opening night, it’s the kind of experience that makes you want to hug everyone on your way out.

Sonoma Arts Live’s Little Women the Musical is heartfelt, hilarious, and wholly uplifting. Whether you’re a die-hard fan of the March sisters or a newcomer to their story, this production will leave you feeling warm, fuzzy, and maybe even inspired to break into song about your own holiday plans. Get your tickets at sonomaartslive—trust me, you don’t want to miss this one!
Dec 03 2024
Love0

Shore Excursion — San Pedro to Terranea

By Joseph Cillo

 


Ruby Princess Cruise Ship Shore Excursion
Blending History, Scenery, and Just the Right Amount of Fancy

Stepping off the Ruby Princess, you’re greeted by a private driver who’s ready to whisk you away on a day filled with ocean views, good food, and maybe even a falcon. This shore excursion is part history lesson, part scenic drive, and part “wow, this is really nice.” Your only job? Show up and soak it all in.

First Stop: San Pedro Waterfront

8:45 – 9:45 AM 1 hour

The San Pedro Waterfront is where history and hustle shake hands. On one side, there’s the Battleship Iowa, a floating chunk of American history. On the other, local vendors hawking crafts and snacks, proving that the entrepreneurial spirit is alive and well. Take a stroll, grab something salty or sweet, and enjoy the harbor air. You’ll feel productive without actually doing much, which is what vacations are all about.


On to the Lighthouse, a Beacon of History

10:00 – 11:15 AM 1 hour 15 minutes

At Point Fermin Lighthouse, history stands tall—literally, on a cliff overlooking the Pacific. Built in the 1870s, this Victorian beauty once guided sailors to safety and probably gave its keepers the best office view imaginable. The guided tour dives into the nuts and bolts of lighthouse life, while the surrounding park offers ocean vistas that make you wonder why you don’t live closer to the coast. You’ll want to linger, but there’s more to see.


The Drive of Drives: Scenic, Rugged, and a Little Bit Fancy

11:15 – 11:45 AM 30 minutes

If Palos Verdes Drive isn’t one of the most scenic roads in California, it’s definitely trying to be. This stretch of asphalt clings to the cliffs like it knows the view is worth the risk. Waves crash below, Catalina Island floats hazily on the horizon, and just when you think you’ve seen it all, there’s Trump National Golf Club Los Angeles. It’s got greens so immaculate they probably have their own staff of hairdressers. You won’t stop here, but you’ll give it a nod as you cruise by.

Experience for yourself here in this Where’s My Map video: Palos Verdes Drive South

Terranea Resort: Where the Views Steal the Show

Noon – 2:30 PM 2 hours 30 minutes

Arriving at Terranea Resort, you get the feeling they built the place just to impress you. The cliffs drop straight into the Pacific, and on clear days, Catalina Island makes an appearance like it’s showing off. This is your chance to relax, play, or both:

  • Guided Nature Hike (45 minutes): Walk along trails that hug the cliffs while the ocean does its best to outshine everything else.
  • Falconry Experience or Archery Session (30 minutes): Where else can you bond with a bird of prey or fire an arrow with a view that deserves its own Instagram account?
  • Pickleball Game (45 minutes, available with advance reservation): It’s the sport everyone’s talking about, and at Terranea, it comes with an ocean view.
  • Lunch at Nelson’s (1 hour): Perched on a cliff with the Pacific stretching out before you, Nelson’s serves up fresh seafood that tastes as good as the view looks. Fish tacos, clam chowder, oysters—whatever you order, pair it with a California wine or a cocktail. If dolphins show up below, consider it a bonus.


Back to the Ship, Full of Good Memories

2:30 – 3:00 PM 30 minutes

The ride back along Palos Verdes Drive is your last chance to soak in the scenery and reflect on the day. You’ll return to the Ruby Princess with a phone full of photos, a belly full of seafood, and at least one story that begins, “So, this falcon…”

Final Thoughts

This shore excursion is more than a day trip—it’s a curated experience. From the hustle of San Pedro to the quiet luxury of Terranea Resort, every stop offers something to remember. Whether it’s history, nature, or just a really good lunch you’re after, this journey delivers. And hey, if you didn’t take a picture of Catalina Island, did you even go?

 

Travel Adventurers

 

 

Joseph Cillo

 

 

Mary Buttaro

Nov 29 2024
Love0

Waitress

By Joseph Cillo

 

A Rabelaisian Pie-Filled Musical Romp at SF Playhouse

“Waitress” Serves Up Sweet, Savory, and Soul Pie

If pies could tell stories, the world of Waitress would be a delightful tapestry of charm, heart, and humor—each slice revealing a tale of resilience, love, and laughter. At San Francisco Playhouse, this production serves up those stories with warmth and flair, offering a mix of wit, poignancy, and Sara Bareilles’ captivating music. Directed by Susi Damilano, the show is a feast of humor, heartbreak, and hope, baked to perfection. It’s fun, thoughtful, and just a bit bawdy—like a good night at the diner, with plenty of sass on the side.

Jenna: The Picasso of Pies
Jenna, played with extraordinary depth by Ruby Day, isn’t just a waitress—she’s an artist in the kitchen. Each day’s events filter through her emotions and emerge as one of Today’s Pies. A bitter fight becomes “Burnt Bridge Blackberry,” a spark of hope turns into “Second Chances Strawberry.” Jenna’s pies aren’t just desserts; they’re edible diary entries—part Picasso, part Betty Crocker. Ruby Day captures Jenna’s quiet strength and vulnerability, making her journey utterly compelling.

A Cast Full of Flavor
The cast brings Jenna’s world to life with remarkable energy and heart:

  • Ruby Day (Jenna) embodies her character with grace, humor, and heartfelt emotion, anchoring the story with a powerful performance.
  • Tanika Baptiste (Becky) is brash and bold, delivering hilarious one-liners while showing glimpses of deep loyalty and wisdom.
  • Sharon Shao (Dawn) is charmingly quirky, bringing a lovable awkwardness that makes her scenes a joy to watch.
  • Zeke Edmonds (Dr. Pomatter) finds the perfect balance of humor and humanity as the charmingly awkward doctor with a heart of gold.
  • Michael Parrott (Ogie) is the comedic highlight, turning “Never Ever Getting Rid of Me” into an unforgettable show-stopper.
  • Louis Parnell (Joe) adds gravitas and warmth as the diner owner, whose gruff exterior hides surprising depth.

Even the ensemble shines, rounding out a cast that feels as real and relatable as the characters they portray.

Photo Credit: Jessica Palopoli

Songs That Stir the Soul
Sara Bareilles’ music is the beating heart of Waitress, offering songs that range from gut-wrenching ballads to toe-tapping anthems. Here’s the full list of musical numbers:Act 1:

  • “What’s Inside” – Jenna and Company
  • “Opening Up” – Jenna, Becky, Dawn, Cal, and Company
  • “The Negative” – Becky, Dawn, and Jenna
  • “What Baking Can Do” – Jenna and Company
  • “Club Knocked Up” – Nurse Norma and Pregnant Patients
  • “Pomatter Pie” – Band
  • “When He Sees Me” – Dawn and Company
  • “It Only Takes a Taste” – Dr. Pomatter and Jenna
  • “You Will Still Be Mine” – Earl and Jenna
  • “A Soft Place to Land” – Jenna, Becky, and Dawn
  • “Never Ever Getting Rid of Me” – Ogie, Dawn, and Company
  • “Bad Idea” – Jenna, Dr. Pomatter, and Company

Act 2:

  • “I Didn’t Plan It” – Becky
  • “Bad Idea (Reprise)” – Jenna, Dr. Pomatter, Becky, Cal, Dawn, and Ogie
  • “You Matter to Me” – Dr. Pomatter and Jenna
  • “I Love You Like a Table” – Ogie, Dawn, and Company
  • “Take It from an Old Man” – Joe and Company
  • “Dear Baby” – Jenna
  • “She Used to Be Mine” – Jenna
  • “Contraction Ballet” – Jenna and Company
  • “Everything Changes” – Jenna, Becky, Dawn, and Company
  • “Opening Up (Finale)” – Company

From the emotional ballad “She Used to Be Mine” to the upbeat “Opening Up” and the quirky “Never Ever Getting Rid of Me”, the score blends humor and heart with Bareilles’ signature warmth, leaving the audience humming as they head home.The World of the Diner
Jackie Scott’s set design transforms the stage into a cozy, nostalgic diner, making it feel like a character in its own right. Kathleen Qiu’s costumes bring authenticity and flair, while Michael Palumbo’s lighting design creates a warm, inviting atmosphere. Nicole Helfer’s choreography adds movement and energy, keeping the pace lively and engaging.A Must-See Treat
Waitress is more than a musical; it’s a reminder that life’s messiness can be turned into something beautiful and meaningful. It’s funny, touching, and full of heart, with a cast and creative team that clearly love the material as much as the audience does.Performances run through January 18, 2025, at San Francisco Playhouse (450 Post Street, San Francisco). Tickets are $35-$135. Visit sfplayhouse.org or call 415-677-9596 for tickets.

Like a good pie, Waitress hits all the right notes—sweet, tart, and just a little bawdy. Treat yourself to this slice of theatrical perfection. You’ll laugh, you’ll cry, and you might just leave craving a second helping. 

Nov 24 2024
Love0

Irving Berlin’s White Christmas

By Joseph Cillo

 

A Star-Spangled Holiday Spectacle at 6th Street Playhouse!

Irving Berlin’s White Christmas at 6th Street Playhouse is a heartwarming holiday classic that’s joyful, uplifting, and brimming with the spirit of the season. With its dazzling production numbers, timeless songs, and touching storyline, this musical feels like the holiday equivalent of a warm blanket and a cup of cocoa—comforting, familiar, and exactly what you need this time of year.

The story centers on Bob Wallace and Phil Davis, Army veterans turned entertainers, who team up with the talented Haynes sisters, Betty and Judy. Together, they conspire to help their World War II General save his Vermont inn—a property so charmingly picturesque it might as well come with its own snow globe. Along the way, romance blooms, friendships deepen, and the community rallies to show gratitude and love. And yes, in true musical fashion, the solution to all of life’s problems involves putting on a big show. Because if a tap dance number can’t save the day, what can?

Under Megan Bartlett’s inspired direction, Joseph Favalora’s sharp choreography, and Janis Dunson Wilson’s superb music direction, the production shines with energy and polish. The cast performs with such charm and charisma, you can almost hear them say, “No worries, we’ve got this” every time they glide across the stage. Whether it’s the dynamic duets, the elegant dance routines, or the showstopping ensemble numbers, every scene feels like a celebration of holiday cheer—and maybe a subtle reminder to dust off your own dancing shoes.

Two performers who truly stood out are Ginger Beavers as Martha and Elliott Harrison as Susan Waverly. Ginger Beavers brings warmth, wit, and impeccable timing to her role, but it’s when she starts belting and camping that she truly shines, commanding the stage with an energy that says, “Step aside, this is my moment!” Her performance adds both humor and heart, like the perfect balance of cinnamon and sugar in a holiday treat.

Elliott Harrison, just 9 years old, delivers a delightful performance as Susan Waverly. With her youthful energy and sincerity, she lights up the stage like a Christmas tree in Rockefeller Center. Her enthusiasm is contagious, and her talent is undeniable—a true joy to watch.

And let’s not forget Dwayne Stincelli as General Waverly, who brings a steady, heartfelt presence to the stage. From the opening scene, he sets the tone with warmth and charm, anchoring the story in loyalty and tradition. He’s the kind of character who makes you want to stand a little straighter, even if you’re just sitting in the audience.

Performers in Action

Photography by Eric Chazankin

The show highlights Irving Berlin’s timeless songs, including:

Act I:

  1. Happy Holiday / Let Yourself Go – Bob Wallace, Phil Davis, and Ensemble
  2. Love and the Weather – Bob Wallace and Betty Haynes
  3. Sisters – Betty and Judy Haynes
  4. The Best Things Happen While You’re Dancing – Phil Davis and Ensemble
  5. Snow – Bob, Phil, Betty, Judy, and Ensemble
  6. What Can You Do with a General? – Martha Watson, Bob, and Phil
  7. Let Me Sing and I’m Happy – Martha Watson
  8. Count Your Blessings Instead of Sheep – Bob Wallace and Betty Haynes
  9. Blue Skies – Bob Wallace and Ensemble

Act II:

  1. I Love a Piano – Phil Davis, Judy Haynes, and Ensemble
  2. Falling Out of Love Can Be Fun – Martha Watson, Betty, and Judy
  3. Sisters (Reprise) – Bob Wallace and Phil Davis
  4. Love, You Didn’t Do Right by Me / How Deep Is the Ocean? – Betty Haynes and Bob Wallace
  5. We’ll Follow the Old Man – Bob, Phil, and Male Ensemble
  6. Let Me Sing and I’m Happy (Reprise) – Susan Waverly
  7. How Deep Is the Ocean? (Reprise) – Betty Haynes and Bob Wallace
  8. The Old Man – Bob, Phil, and Male Ensemble
  9. White Christmas – Full Company
  10. I’ve Got My Love to Keep Me Warm – Full Company (Post-Curtain Call)

Visually, the production is stunning. The vibrant costumes, nostalgic set design, and warm lighting immerse the audience in a world of snow-covered wonder. It’s the kind of stagecraft that makes you forget for a moment that it’s 60 degrees outside and you’re in Santa Rosa, not Vermont.

Of course, the music is the heart of the show. With Irving Berlin’s unforgettable songs, each number feels like a gift wrapped in melody and nostalgia. By the final curtain, you’ll find yourself humming along and maybe even wondering why life doesn’t come with its own musical soundtrack.

White Christmas is not just a show; it’s an experience. It reminds us of the joy of giving, the power of community, and the importance of treasuring the people in our lives. It’s a show that feels like a holiday card brought to life and is truly a fun way to kick off the holiday season.

DETAILS:
Running through December 15, 2024
6th Street Playhouse, Santa Rosa, CA
️Book your tickets today via the Box Office: boxoffice@6thstreetplayhouse.com or by calling 707-523-4185.

Nov 16 2024
Love0

The 39 Steps

By Joseph Cillo

 

Clown Theater at Its Finest

What’s the deal with The 39 Steps? Is it a spy thriller? A comedy? A quick-change circus act? The answer is yes! And Masquers Playhouse pulls it all together into one hilarious, high-energy masterpiece. This is clown theater at its finest—chaotic, clever, and downright entertaining.

The story follows Richard Hannay, your everyday man who suddenly finds himself tangled in a whirlwind of spies, murders, and mistaken identities. Played by Gene Mocsy, Hannay exudes charm and bewilderment as he navigates a series of increasingly absurd situations. Mocsy anchors the show with a perfect balance of humor and heroism, making him the ideal lead for this wild adventure.

Amy Stringer dazzles in her roles as Pamela, Annabella, and Margaret. With every costume change, she brings fresh energy, wit, and comedic timing to her characters, showcasing her versatility and making each one memorable.

The real fireworks come from Samuel Barksdale and Damion Clark, the play’s Clowns. These two human chameleons morph into over 100 characters between them. They’re spies, cops, sheep (yes, sheep), and everything in between. Watching them switch hats, accents, and props at lightning speed is like seeing a masterclass in comedy. Barksdale’s physical theater expertise and Clark’s award-nominated comedic chops create a duo that’s as captivating as they are hilarious.

The minimalist staging adds to the charm. Chairs turn into train cars, lampposts become weapons, and the audience is invited to imagine the rest. This clever use of props and staging keeps the focus on the actors and their antics, making the production all the more engaging.

The 39 Steps isn’t just a play—it’s an experience. It’s fast, funny, and full of surprises, blending suspense and silliness into a show that reminds us why live theater is so special. Whether you’re a Hitchcock fan or just looking for a good laugh, this production is a must-see.

So grab a ticket, sit back, and enjoy the ride. The 39 Steps is spy thriller meets clown comedy, delivered with impeccable wit and heart. Don’t miss it!

Nov 16 2024
Love0

Blithe Spirit

By Joseph Cillo

 

A Perfect Holiday Treat

The Ross Valley Players’ Blithe Spirit is the perfect counterpoint to the hustle and bustle of the holiday season—hilarious, unpredictable, and just a little bit haunting. Noël Coward’s timeless comedy is served up with sharp wit, mischievous humor, and enough ghostly shenanigans to keep audiences thoroughly entertained, offering a much-needed escape from the holiday rush.

Director David Abrams masterfully brings this classic to life, guiding the audience through the wildly entertaining world of Charles Condomine, a novelist who simply wanted a quiet séance for inspiration but ends up with his ex-wife’s ghost haunting his living room – and life. Malcolm Rodgers plays Charles with a delightful mix of smugness and mounting panic. His current wife, Ruth, is portrayed with fiery brilliance by Jessica Powell, while Ashley Garlick’s Elvira floats in (literally and figuratively) with a sparkling blend of charm and chaos.

Garlick’s portrayal of Elvira is a true standout, and her costume only enhances her performance. Draped in ethereal gray hues, she embodies the perfect ghostly presence—so much so that you might be tempted to reach out and see if your hand would pass through her. Her “gray ghostle” look is a testament to the production’s attention to detail, and her mischievous yet elegant demeanor is a delight to watch.

And then there’s Madame Arcati, the eccentric medium played by Tori Truss. With boundless energy and whimsical charm, Truss steals every scene she’s in, making Madame Arcati both hilariously odd and utterly endearing. Supporting roles by Robert Molossi and Amy Dietz as the Bradmans, and Lizzy Bies as Edith, the hilariously overzealous maid, add additional layers of humor and memorable moments.

The production’s special effects, designed by Nathan Abrams, are a highlight. From flickering lights to subtle supernatural touches, the effects bring Coward’s otherworldly comedy to life. And the grand finale? It literally brings down the house, delivering a spectacular ending that has to be seen to be believed.

The elegant set by Tom O’Brien, paired with Frank Sarubbi’s atmospheric lighting and Bruce Viera’s eerie sound design, transports audiences straight into the Condomines’ home—minus the ectoplasmic drama, of course.

Written during the turmoil of World War II, Coward’s script remains as relevant and refreshing as ever. In today’s world, Blithe Spirit offers a much-needed reminder to laugh at life’s absurdities and cherish its fleeting moments of joy. Abrams’s direction captures this essence perfectly, making the production an ideal holiday treat.

Running through December 15, 2024, Blithe Spirit is a holiday must-see. It’s clever, it’s heartwarming, and it offers the perfect blend of escapism and laughter. Whether you’re a longtime fan of Coward or new to this comic masterpiece, this production will leave you in high spirits—pun fully intended.

Grab your tickets now to experience this holiday gem. Trust us, you won’t want to miss Elvira, Madame Arcati’s séance or the unforgettable finale!

Oct 27 2024
Love0

GhostRave

By Joseph Cillo

 

Boundary-Breaking Journey Across Time and Identity – a Work in Progress at Magic Theatre

GhostRave, presented as a workshop production by TigerBear Productions at Magic Theatre, invites audiences to “Club Timesend” in San Francisco’s South of Market district, where theatre, rave culture, and immersive storytelling converge. Written, directed, and produced by Jerome Joseph Gentes, with music direction by Sharon Shao and an electrifying score by composer and DJ Brandon M.P. Roberts, this indigiqueer electronic opera explores time, space, and culture with a unique blend of energy and innovation.

The story follows Chayson, an indigiqueer bike messenger from 1990s San Francisco, who is transported to the 1890 Ghost Dance in western Nevada by the legendary Trickster, Coyote. Together, they embark on a journey where Chayson meets Indigenous beings and spirits, while themes of hope, despair, and identity come to life. Roberts’ music is central to the experience, using harmonic mixing and beat-matching techniques that turn the performance space into a pulsating dance floor, blending electronic beats with storytelling that feels both personal and universal.

As a work in progress, GhostRave embraces a casual, experimental style that lets actors carry scripts, giving the production an open, flexible atmosphere. Running around two hours, the show could benefit from an intermission to allow audiences a brief pause and, potentially, some trimming—about 15 minutes—to keep the pace tight and engaging. Despite its workshop nature, the cast and crew deliver a rich performance, with W. Fran Astorga as Chayson, Dany Benitez as Coyote, and Justin P. Lopez as Gabriel/Okaga anchoring the story with impressive depth and presence.

Under Shao’s music direction, the musical numbers shine as highlights, especially songs like “Everywhere But Here,” “Want To Dance,” and “Vocabulary,” which bring emotional intensity and skill to the production. Projection design by Carlos-Antonio Aceves, lighting by Desired Effect, and sound mixing by Finn Roy further elevate the atmosphere, creating an immersive dance-club ambiance where the audience is encouraged to sit, stand, or dance as they please.

Produced by the team behind Unbound and Deal With The Dragon, TigerBear Productions uses this workshop run to test and refine GhostRave. Audience feedback will shape the production’s future, helping to craft an even more immersive experience that blends indigiqueer identity, music, and community engagement in innovative ways.

GhostRave is a daring, boundary-pushing experience that blurs the lines between opera, theatre, and dance club. With further refinement, it has the potential to become a groundbreaking production that challenges and delights audiences with its bold approach to storytelling.

Oct 19 2024
Love0

The Contest

By Joseph Cillo

 

A Riveting Rivalry Between Renaissance Giants: High-Stakes Drama and Clever Wit

The Contest is a captivating historical drama that brings to life the legendary rivalry between Michelangelo and Leonardo da Vinci during the height of the Italian Renaissance. Written and directed by Gary Graves, the play transports the audience to Florence in 1504, where these two titans of art are commissioned to paint murals in the Great Hall of the Palazzo Vecchio. Their competition is not just about artistic superiority, but about their very legacies and the future of Renaissance art itself.

The play sets up a dramatic clash of egos and ideals. Leonardo da Vinci, the established master of science and art, is pitted against Michelangelo, the young and passionate sculptor who has just completed his iconic David. Their contrasting approaches to art—Leonardo’s meticulous, intellectual style versus Michelangelo’s raw, emotional intensity—are at the core of this narrative. Adding to the tension is Niccolò Machiavelli, the cunning political figure who orchestrates this contest, turning it into a battle not just of skill but of wills.

The performances by Nathaniel Andalis (Michelangelo Buonarroti), Alan Coyne (Niccolò Machiavelli), and Christopher Herold (Leonardo da Vinci) are terrific. The trio skillfully navigates the fine line between ambition and insecurity, giving depth to their portrayals of these historical figures. The sharp, clever script brings a layer of intellectual playfulness to the production, with moments of biting wit and humor, especially in the verbal sparring between the artists.

An interesting element in The Contest is the clever use of projected visuals by the character of Leonardo da Vinci. These projections offer glimpses into his scientific and artistic mind, using diagrams and sketches from his work. The slides add humor and creativity, contrasting Leonardo’s intellectual approach with Michelangelo’s emotional intensity. This modern touch brings lightheartedness to the historical drama, making it both engaging and entertaining for the audience.

The actors further enhance this experience by creating the murals with their words and gestures. Through their expressive performances, the audience is drawn into a world where they “see” what is not physically present—imaginative and wonderful scenes of artistry and competition. This subtle magic allows the production to be visually stunning without elaborate props or set pieces, showcasing the talent of the performers and the power of theatrical imagination.

The intimate setting of the Berkeley City Club plays a significant role in enhancing the impact of the production. With a seating capacity of 49 seats, the venue allows for an exceptionally immersive experience. The small theater space ensures that every movement and word resonates with the audience, making the tension between Michelangelo and Leonardo all the more palpable and personal. The close quarters create an atmosphere where the audience is fully absorbed into the intense rivalry unfolding on stage.

Gary Graves, the playwright and director, is a Central Works veteran who has been instrumental in the development of over 75 world premieres. His ability to craft compelling narratives rooted in history, art, and political intrigue shines in The Contest. The clever script—filled with moments of subtle irony and humor—adds an extra layer of enjoyment to this rich historical drama. The play is part of a larger thematic series, The Prince, of which The Contest is “Part 3,” continuing Central Works’ tradition of creating plays that examine power dynamics, politics, and human ambition.

The Contest is a gripping exploration of genius, competition, and the quest for immortality through art. It is a play that will resonate with lovers of history, art, and intellectual drama. With its clever dialogue, creative use of visuals, terrific performances, and thoughtful direction, The Contest stands as a must-see production for the theater season.

Oct 19 2024
Love0

Beautiful: The Carole King Musical

By Joseph Cillo

A Musical Masterpiece: Beautiful: The Carole King Musical Shines at Spreckels Theatre

Last evening, I had the privilege of attending Beautiful: The Carole King Musical at the Spreckels Theatre, and it was nothing short of a masterpiece. Every element of the production was executed with precision and passion, making it a truly memorable experience. The performance was superb, with standout performances that brought Carole King’s incredible journey to life.

Julianne Bretan’s portrayal of Carole King was both tender and powerful, capturing the essence of the iconic singer-songwriter. Her emotional depth and vocal strength made every moment on stage a delight. The chemistry between Bretan and Noah Vondralee-Sternhill, who played Gerry Goffin, was palpable, perfectly illustrating the ups and downs of their complicated relationship. Likewise, Tina Traboulsi as Cynthia Weil and Drew Bolander as Barry Mann brought humor and heart to the show, balancing the emotional weight of the narrative with light, witty exchanges.

Musically, the show shines as it takes the audience through an iconic songbook that defines a generation. Julianne Bretan’s performance of “So Far Away” was deeply moving, while “Will You Love Me Tomorrow?” and “You’ve Got a Friend” were standout moments that tugged at the heartstrings. The powerhouse duet of “You’ve Lost That Lovin’ Feelin'” performed by Drew Bolander (Barry Mann) and Tina Traboulsi (Cynthia Weil) was electrifying, showcasing the dynamic partnership between their characters.

The musical direction by Lucas Sherman was flawless, as the band did justice to Carole King’s beloved catalog, including timeless hits like “It’s Too Late”, “Up on the Roof”, and the uplifting “(You Make Me Feel Like) A Natural Woman”. Each song, from “Take Good Care of My Baby” to “Pleasant Valley Sunday”, was delivered with passion and authenticity. The choreography by Karen Miles was energetic and fun, adding vibrancy to musical numbers like “The Locomotion”, with Aja Gianola shining in that performance, and “I Feel the Earth Move”, bringing the audience to their feet.

Director Sheri Lee Miller ensured that the pacing was tight, the storytelling engaging, and the characters relatable. The production’s stunning visual appeal was elevated by the set design by Eddy Hansen, which perfectly evoked the different eras of Carole King’s life, transporting the audience from early New York City recording studios to concert stages. Adriana Gutierrez’s costume designs brought the 1950s, ’60s, and ’70s to life with colorful and era-appropriate costumes that helped tell the story of King’s rise to stardom.

The supporting cast, including notable performances from Michael Arbitter, Mary Gannon Graham, and Charles D. Wade I, elevated the entire production, contributing to an ensemble that was unified and dynamic. The set and costume designs beautifully complemented the emotional tone of the show, further immersing the audience in the story.

Here’s a list of songs featured in the show:

  1. “So Far Away” – Julianne Bretan as Carole King
  2. “1650 Broadway Medley”
    • “Safe in My Arms” – Ensemble
    • “He’s Sure the Boy I Love” – Ensemble
  3. “It Might As Well Rain Until September” – Julianne Bretan
  4. “Some Kind of Wonderful” – Ensemble
  5. “Happy Days Are Here Again” – Ensemble
  6. “Take Good Care of My Baby” – Ensemble
  7. “Will You Love Me Tomorrow?” – Julianne Bretan
  8. “Up on the Roof” – Ensemble
  9. “On Broadway” – Ensemble
  10. “The Locomotion” – Aja Gianola as Little Eva
  11. “You’ve Lost That Lovin’ Feelin’” – Drew Bolander and Tina Traboulsi
  12. “One Fine Day” – Ensemble
  13. “Chains” – Ensemble
  14. “Walking in the Rain” – Ensemble
  15. “Pleasant Valley Sunday” – Ensemble
  16. “We Gotta Get Out of This Place” – Ensemble
  17. “Uptown” – Ensemble
  18. “It’s Too Late” – Julianne Bretan
  19. “You’ve Got a Friend” – Julianne Bretan
  20. “(You Make Me Feel Like) A Natural Woman” – Julianne Bretan
  21. “Beautiful” – Julianne Bretan
  22. “I Feel the Earth Move” – Julianne Bretan

Beautiful: The Carole King Musical is a triumph in every way, and I highly recommend it to anyone looking for an uplifting and inspiring evening of theater. Whether you’re a longtime fan of Carole King or discovering her music for the first time, this production will leave you with a newfound appreciation for her extraordinary talent and legacy.

For tickets and more information, visit the Spreckels Performing Arts Center website or contact their box office. This is a show you don’t want to miss!

Oct 16 2024
Love0

Yaga

By Joseph Cillo

 

A Mesmerizing Blend of Myth and Mystery: Marin Theatre’s Yaga Reimagines the Power of Baba Yaga

At Marin Theatre, the mythical and the mysterious come together in Yaga, a darkly comedic crime thriller that masterfully reimagines the ancient Slavic figure of Baba Yaga. Directed by Tony-nominated Barbara Damashek and written by acclaimed Canadian playwright Kat Sandler, Yaga delivers a fresh, feminist take on the traditional “wicked witch,” reclaiming her as a symbol of female power, wisdom, and transformation. Running through November 3, 2024, this U.S. premiere deftly combines noir detective story elements with folklore, mystery, and a dash of dark humor.

Plot Encapsulation: A Dark Mystery with Folkloric Roots

The play follows a big-city private investigator, Charlie Rapp (Adam KuveNiemann), who is called to a small, isolated town to investigate the mysterious disappearance of a young heir to a yogurt empire. Partnering with local police officer Carson (Rachel Clausen), Rapp uncovers a tangled web of secrets involving a forensic bone expert, Katherine Yazov (Julia McNeal), whose shadowy past hints at her connection to the mythical figure of Baba Yaga. As the investigation deepens, the play veers into the supernatural, revealing that the folklore surrounding Baba Yaga may not be just an old wives’ tale, but something far more real and threatening.

The detective story unfolds as a clever whodunit, but as layers of myth and mystery unravel, the line between the real world and the supernatural begins to blur. Baba Yaga’s ancient magic creeps into the plot, challenging the characters to confront their own inner truths and weaknesses. The play delivers suspense and dark humor as the detectives follow a trail of clues, leading to a surprising and mystical conclusion.

Baba Yaga: A Witch Reclaimed

At the heart of Yaga is Baba Yaga, a figure deeply embedded in Slavic mythology, known for her ambiguous and often fearsome nature. Historically depicted as a crone who devours children and lives in a hut perched on giant chicken legs, Baba Yaga has long represented both the terrifying and the untamable. Yet, as modern reinterpretations show, she is also a figure of immense wisdom, independence, and power. In Yaga, Sandler reclaims Baba Yaga as a complex antihero—both a symbol of ancient justice and a figure of female empowerment.

Baba Yaga’s presence looms over the play as a force that disrupts the mundane world, drawing characters into her orbit as they grapple with their own truths. This production taps into the modern cultural fascination with witches as figures of resistance and transformation, reclaiming them as icons of autonomy and rebellion against societal norms.

Outstanding Performances: A Showcase of Versatility

One of the standout features of this production is the virtuosity of its cast. With just three actors—Rachel Clausen, Adam KuveNiemann, and Julia McNeal—playing a total of 14 characters, the performances are nothing short of extraordinary. The actors shift seamlessly between roles, often within a single scene, keeping the audience engaged and on edge.

Julia McNeal’s portrayal of Baba Yaga is a true highlight. She embodies the ancient witch with a mix of menace, humor, and mystery, capturing Baba Yaga’s complex duality as both a figure of fear and wisdom. McNeal’s performance anchors the play’s exploration of feminine power and transformation. KuveNiemann and Clausen complement her with sharp, witty performances that bring depth to the detective story unfolding around her.

Brilliant Direction and Design: A Perfect Fusion of Genres

Under the direction of Barbara Damashek, Yaga skillfully blends its noir mystery elements with the mystical folklore of Baba Yaga’s world. Known for her Tony-nominated work, Damashek ensures that the play moves seamlessly between humor, suspense, and moments of supernatural wonder. Her direction keeps the pacing tight, allowing the actors’ quick transitions between characters to feel natural and dynamic.

The set design by Carlos Aceves and lighting by Kurt Landisman add to the atmosphere, transforming the stage from a mundane small town to the eerie, otherworldly forest realm of Baba Yaga. The design elements heighten the play’s contrasts between the ordinary and the magical, reinforcing the themes of transformation and duality.

Themes: A Feminist Reclamation of the Witch Archetype

At its core, Yaga is about power—particularly, the power of women and how that power has been misunderstood, vilified, and ultimately reclaimed. Baba Yaga serves as a symbol of female autonomy, embodying the idea that strength can be both feared and respected. The play’s feminist undertones challenge the audience to reconsider their views on witches and powerful women, drawing parallels between Baba Yaga’s myth and contemporary struggles for gender equality.

By reclaiming the figure of Baba Yaga, Sandler turns the traditional “wicked witch” on its head, transforming her into a powerful antihero who represents the untamable spirit of women who live by their own rules. Yaga explores how society treats such women—whether they are revered or demonized—and invites the audience to embrace the complexities of these archetypes.

The Horn and the Phoenix: Symbols of Power and Transformation

As the play builds toward its conclusion, two powerful symbols emerge in Yaga: the Horn and the Phoenix. These motifs enrich the play’s exploration of power and change, aligning closely with Baba Yaga’s role in the story.

The Horn, often associated with summoning and authority, represents the call to uncover hidden truths and confront deeper mysteries. In Yaga, it symbolizes the awakening of characters to the ancient forces at work beneath the surface, as they delve into the disappearance of a yogurt empire heir. Just as the horn calls attention to something urgent, it echoes Baba Yaga’s role in awakening the hidden, untamed power within.

The Phoenix, a legendary bird that rises from its own ashes, represents renewal, transformation, and the cycle of life and death. Baba Yaga’s myth aligns with this symbolism—she is both a destroyer and a guide toward new beginnings. The Phoenix mirrors the characters’ journeys in the play, as they undergo their own transformations, emerging with new understanding and self-awareness. As the play reaches its final moments, these symbols tie together the themes of destruction, rebirth, and the characters’ evolution.

Conclusion: A Must-See Theatrical Experience

Marin Theatre’s Yaga is a mesmerizing blend of folklore, mystery, and feminist commentary that will leave audiences thinking long after the final curtain. With its sharp performances, brilliant direction, and thematic depth, Yaga offers a fresh take on the myth of Baba Yaga and the power of transformation. Whether you are drawn to the mystery, the symbolism, or the exploration of female empowerment, Yaga is a theatrical experience that shouldn’t be missed.