Skip to main content
Dec 01 2021
Love0

“It’s a Wonderful Life, a Live Radio Play” presented by Avon Players, Rochester Hills MI

By 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 courtesy of Bryan Clifford

(At microphone) Max Schein

It’s A ‘Wonderful’ Homage to Auld Lang Syne

 

It’s that time again…for singing carols, giving gifts, warm memories. We look back not only on the year that just passed (which had more than its share of stress), but also on rose-tinted days gone by. Ah, nostalgia…

Continuing their celebration of 75 years of outstanding live theatre, Avon Players hits the spot with just the right holiday treat: “It’s a Wonderful Life”, Frank Capra’s classic film favorite from 1946, this time presented as a radio play that captures the era. Adapted from the film for the stage by Joe Landry, the message is universal and timeless, helped along with some angelic intervention. It tells the story of George Bailey, the embodiment of innocence, imagination and optimism. His hopes are dashed time and again, and finally, in desperation, he wishes he had never been born. Despite some dark themes, this is a story of true faith and friendship coming to save the day, with what is arguably the most heartwarming ending in history.

Jonathan Farrel, Foley artists Kim Bertolini, Chloe Schultz

It’s Christmastime, just after the end of World War II. Radio station WAVN in New York City is about to go on the air with a coast-to-coast broadcast of a live dramatic presentation of “It’s a Wonderful Life”. The show opens with a pantomime of the radio station cast and crew preparing for airtime, in a series of amusing vignettes, some just killing time before the broadcast, others studying their scripts, kids playing.

An old-time radio station is something you don’t see every day, not even in theatre. Avon Players (courtesy of set designers JD Deierlein and Brad Holoday) has built one for us, complete with a flashing “applause” sign and that fabled collection of sound effect devices called “Foley” that recreates everyday sounds, from footsteps on crunching gravel and splashing water to phones ringing, doors opening and closing. Add in great period costumes (Anne Curtis, Sheryl Rissel, Maya Rockafellow), music, and fun vintage radio commercials, and you’re there, transported back 75 years – when Avon Players was born.

Most of the actors – children and adults – are called on to play multiple characters, just like in real radio. It’s fun seeing and hearing them create a different voice and demeanor for each character. No costume changes here, just voice changes. This, and watching the Foley artists do their stuff, is what is so fascinating to watch, let alone following the dramatic developments onstage.

No real surprises for those familiar with the movie (which is just about everybody). The script is almost word-for-word from the film. Director Kevin Curtis keeps the interest up, and the action moving, in this play-within-a-play. Tom Arwady is sympathetic as the beleaguered George. There are solid performances by Dan Muldoon (absent-minded Uncle Billy),  Mark Misch (sweetly goofy Clarence the Angel) and Nikki Mullaly (George’s devoted wife Mary).

Nikki Mullaly, Tom Arwady

Max Schein could have a future in radio. He’s perfect as the golden-throated Announcer, then does a complete character turnabout as the stern Joseph, Senior Angel and Clarence’s heavenly boss. Other notable performances are by Jonathan Farrell (Harry Bailey, Bert, Schultz, Horace the Teller) and Richard G Marcil (Henry Potter, Old Man Gower, Mr Welch, Cop). During opening weekend, parts of the show seemed under-rehearsed, and there were a few uneven performances. Some of the actors didn’t project loudly enough to be heard clearly, all of which should improve with time.

But we can’t get enough of those Foley effects, and the warm atmosphere at WAVN. The effects – and the show – are delightful. There’s no better way for the whole family to get into the holiday mood.

 

Now through December 11, 2021

Tickets $21

Avon Playhouse

1185 Washington Rd

Rochester, MI 48306

(248) 608-9077

 www.avonplayers.org

Oct 11 2021
Love0

Lizard Boy: a review by Victor Cordell

By Victor Cordell

Kirsten “Kiki” deLohr Helland, Justin Huertas, William A. Williams. All photos by Kevin Berne.

Origin stories are as old as, well, human origins.  Societies, governments, clubs, and all manner of organizations craft stories to honor their legitimacy.  These myths tend to be self-serving glorifications that often stretch the truth and sometimes create legends out of whole cloth.  The brilliant and imaginative “Lizard Boy” origin builds on the slaying of the dragon responsible for the 1980 Mount St. Helens volcano eruption.

Kirsten “Kiki” deLohr Helland, Justin Huertas.

Rarely has this reviewer attended a play with less enthusiasm.  Traveling, I hadn’t slept in my own bed in a week; drove hundreds of arduous miles that day; rushed from an afternoon party in Big Sur; and would have to unload the car after driving another hour when the play and reception were over. What’s more, expectations were not favorable as the play’s profile falls outside of the wheelhouse of a traditional theatergoer on a number of criteria – a seeming appeasement to youth culture targeted at attracting a younger audience; comic superhero fantasy motif; a small cast (three hander); a contemporary “new musical;” online-arranged gay dating encounter.

Kirsten “Kiki” deLohr Helland, Justin Huertas.Suffice it to say, my predictions were wrong on all counts.  With “Lizard Boy,” youth is served and age is respected.  This is a big tent musical that will please anyone with an open mind and a caring heart.  The auteur, Justin Huertas who wrote the book, music, and lyrics, and who plays the lead role, has fashioned an absolutely riveting theater piece that pulsates with emotion and extracts enormous empathy.

In many ways, the play unfolds like “A Day in the Life,” as the action compresses into less than 24 hours.  Huertas plays Trevor, who has escaped his past into the anonymity of the big city – Seattle.  His loneliness prompts Trevor to seek connection through the gay social networking site, Grindr.  Linking up with the heavily hormonal yet sensitive Cary, portrayed in a dorky and lascivious manner by William A. Williams, their clumsy relationship sets off in fits and starts.

It is the time of the annual Monster Fest, and when Cary asks Trevor to take his makeup off, Trevor’s reality is revealed.  He wears none.  He developed lizard scales from being splattered by the blood of the Mount St. Helens dragon that he slayed as a five-year old.  So the subtext reveals the suffering of those who look or act differently, including those of minority ethnicity and those in any way disabled or disadvantaged.  Both young men feel dispossessed and seek acceptance and simple human compassion.

Justin Huertas, William A. Williams.

The third character is the super-antihero antagonist, with cover as a singer named Siren.  Portrayed with sexual allure and provocative maleficence by Kirsten “Kiki” deLohr Helland, she stomps and slithers in a skin tight red costume.  But because of their shared past at Mount St. Helens and her designs, Siren represents a threat to Trevor’s future.

The play works for a number of reasons.   First, it is hard not to care for the characters, particularly Trevor, who is trapped in a desultory existence through no fault of his own.  His pain and earnestness are palpable throughout, especially as he sings “Nobody Wants You.”  The dilemmas that the characters face are convincing and expressed eloquently, in large part through the music.  Not only do the charming and thoughtful songs propel the narrative, but the segues from dialogue to song and from one voice to another are uncommonly organic.  Along with the humor, the hand offs are exquisitely timed by all of the performers.

The music itself falls in the folk-pop-rock genre and is melodic and oh so listenable.  It is totally acoustic, with the dominant instruments being – get this – cello, ukulele, and guitar.  (Sidebar – when Seattle Rep commissioned Huertas to write a musical, which he had never done before, the single condition was that he play the cello in it!).  Collectively, the instruments act as another character, and in a fight sequence, they are simultaneously played and used as weapons.  The composer finds incredible two-and-three-part harmonies in ensembles as well as soaring solos to display Helland’s powerful pipes.

For those who expect visually descriptive sets to fit the plotline, looking at a stage more suited for a rock concert might seem a little disconcerting at first.  And some of the songs are even done in a “stand and deliver” storytelling style.  But what can I say?  It all works.  We have the imagination to fill in the blanks where necessary.

William A. Williams, Kirsten “Kiki” deLohr Helland, Justin Huertas.

The structure of the play is playful.  It seamlessly flashes back and forth in time, and some contemporaneous sequences flash between Trevor with Siren and Trevor with Cary.  The one thing that could stand improvement is that the conclusion becomes a little extended and confusing.  The minor flaw in no way undermines this powerful entertainment.

“Lizard Boy,” with book, music, and lyrics by Justin Huertas, is produced by TheatreWorks Silicon Valley and plays at Mountain View Center for the Performing Arts, 500 Castro Street, Mountain View, CA through October 31, 2021.

Oct 10 2021
Love0

Yogi Bear’s Yellowstone Park Camp

By Cathy Valentine

Campers welcome –  Yogi Bear’s Yellowstone Park Camp will be opening in Groesbeck Tx – just 36 miles east of Waco Tx in the spring of 2022.

A seven acre lake, white sand beach,  Wilbit obstacle course, pool , 150 RV sites, nine cabins,  two Conestoga wagons, and pavilion for activities, camp store and dog park are planned.

Just a short drive is Waco Tx,  a vibrant town with great jewels.  The Fixer-Uppers homestead.

Oct 08 2021
Love0

“Our Town” at the CCCT theater in El Cerrito echoes the stories of your town and mine”

By Charles Jarrett

On of my favorite community theaters whose work is quite professional and yet very reasonable in cost to attend, always becomes enjoyable under the capable direction of Executive Artistic Director Marilyn Langbehn. Located at 951 Pomona Ave. in El Cerrito, CA, the Contra Costa Civic Theater may seem a bit of a journey, but certainly not so far as required in attending many premium theaters in San Francisco.

This past week my wife and I enjoyed the opening performance of Thornton Wilder’s 1938 masterpiece, a three-time Pulitzer prize-winning play, Our Town. At first, an introduction to Grover’s Corners by the stage manager/narrator, who speaks to the audience about a small imaginary community town in New Hampshire, its townspeople, its values and simplistic history seems almost mundane.

Throughout the play, we are guided through introductions to members of this community, including two of its families (the Gibbs and the Webb family), their children, their choir leader, Joe Crowell delivers the daily newspaper, and Howie Newsom in the act of delivering the morning milk. Each act thereafter takes us forward through the years, demonstrating how the lives of this town’s families a hundred years ago, rings so familiar to our lives today. The play does not bother with fancy props, costumes or elaborate scenery, but it focuses on the concept that we often life without really appreciating what life has to offer. Once we die, (according to Wilder’s plot), and are able to look back on our life and see what we had, discovering that it is really too late to have any regrets. Major themes of the play include morality, appreciating life, companionship, marriage, and love, and of course the inevitability death, all aspects in the circle of life.

According to an article by writer Bud Kliment “Our Town’s encompassing significance was not immediately obvious, nor did it have an easy birth. The play’s long journey to its first performance in Princeton, and the genesis of Wilder’s mythical town, began in 1920 in Rome. Wilder, at 23, was a student at the American Academy, studying Italian, Latin, and notably, archaeology. He quickly realized that, although separated by thousands of years, ancient and present-day people were perhaps not very different from each other at all. That realization, his idea that human lives across centuries are universally conjoined by certain personal moments and milestone events, became a foundation of Our Town.”

The eight-member cast’s selection should be lauded not just for the outstanding talent of the actors themselves, but for the ethnic diversity as well. More specific information as to the casts performance history, the remaining production dates, Covid requirements, and a link to purchase tickets ahead of time are clearly disseminated at the company’s website, cccc@ccct.org/our-town. Tickets are quite reasonable at $35 each for adults, and youth (ages 13-16) at $15 each. Children 12 years of age or under and unvaccinated adults, are not allowed in the theater at this time. Evidence that you have had your Covid vaccinations is required and masks are required in the theater. No food or drinks are allowed or served inside the theater, masts are allowed to be removed while drinking or eating outside of the theater at intermissions only. The show runs approximately two hours and 50 minutes, including two intermissions. Performances on Fridays and Saturdays are at 7:30 PM (NOTE: THE EARLY START/TIME), and with Sunday performances at 2 PM occurring every weekend now through October 31.

Author Wilder is quoted as describing his effort in writing this story, “an attempt to find a value above all price for the smallest events of our daily life.” My wife and I found it once again as enjoyable as we did many years ago.

 

Attached photo is of: Justin P. Lopez as George Gibbs and Grace Dolezal-Ng as Emily Webb at the soda fountain in Contra Costa Civic Theatre’s production of OUR TOWN; photo by Ben Krantz.

Oct 01 2021
Love0

“Night of January 16th“ by Ayn Rand, Avon Players, Rochester Hills MI

By 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)

Scott Welborn, Rachelle Rodriguez, David Reynolds, Joe Munem, Ann Sweet

 

Photos courtesy of Bryan Clifford

Murder Mystery Welcomes You Back To Avon Playhouse

 

After more than a year-and-a-half, Avon Players welcomes theatregoers back home with a unique play by a controversial author and plenty of food for thought. Players president JD Deierlein and company have presented many remarkable shows over the years that showcase our amazing local talent. Now, to kick off their 75th season, they offer “Night of January 16th by Ayn Rand, the Russian-American writer and philosopher, best known for her groundbreaking novel “The Fountainhead”.

“Night of January 16th”, a courtroom drama about a sensational murder trial, introduced the novel concept of asking members of the audience to serve as the jury. There are two possible endings, depending on what the jury decides. The story is crafted as a classic whodunit, with red herrings and plot twists galore, especially near the end.

Rand’s original play was called “Penthouse Legend” and revolves around the alleged murder of Swedish businessman Bjorn Faulkner, a giant of ruthless capitalism who faced bankruptcy. His secretary and paramour, Karen Andre, stands accused. Rand has said she designed the play to illustrate the conflict between individualism and collectivism (much like “The Fountainhead”). This is not clear in its modern-day presentation, which could be due to numerous rewrites over the years. It premiered at Hollywood Playhouse in 1934 as “Woman on Trial” and ran for a month with generally positive reviews. After a major rewrite that Rand objected to, it went on to Broadway the following year and was a moderate hit (especially when celebrities in the audience served as jurors). Since then it has had more rewrites, regional productions and revivals, a film in 1941 and a final, “definitive” rewrite by Rand in 1968.

Tara Makar

The action takes place entirely in a New York City courtroom. There is only the testimony of witnesses to tell the story and from which the audience/jury must decide the verdict. A question arises: did Faulkner fake his death?

The opening scene gets off to a good start and is pretty engrossing, but soon the starchy dialogue and inert staging take their toll well into the first act. Without emotional outbursts, a courtroom doesn’t offer much chance for excitement.

A strong performance by Scott Welborn as District Attorney Flint moves the story forward as he compels testimony and grills the witnesses. Hosanna Phillips, as Faulkner’s accused murderer and mistress Karen Andre, spends most of the first act in a silent and sphinxlike pose, showing no emotion, except perhaps distain. When she finally does speak, it’s with one-dimensional anger. Later, on the witness stand, she gets the chance to demonstrate some passion, although she seems to underplay the role more often than not.

Faulkner’s widow, the platinum-blonde Nancy Lee (played for comic relief by Tara Makar), arrives to liven things up. Makar has a good stage presence, with the perfect little-girl voice and tough-girl attitude to take potshots at Karen, her haughty rival.

And at the end of act one, when Avon Players veteran Richard Marcil shows up as wiseguy gangster “Guts” Regan, it really gets interesting. He has some of the best lines, and mugs shamelessly whenever he gets the chance. The act ends with an amazing cliffhanger, and suddenly you can’t wait to find out what happens next. The second act builds on the momentum that carries the show to a lively conclusion. How does it end? The audience decides, and it’s different every night.

Hosanna Phillips, Aaron Barnes, Scott Welborn

This play marks Lia DiFonzo’s directorial debut, and it shows. Dry performances from many of the cast and an initial lack of energy don’t help. In the hands of a more experienced cast and director, with more imaginative stage business, better blocking choices and stronger reactions from the characters, it may be more engaging.

Even with the slow first act, the audience really seems to enjoy being in the theatre again after so long, even while wearing a mask, and most of the seats were occupied. Great period music before the show and during intermission helps set the mood.

 

 

Now through October 9, 2021

Tickets $21

Avon Playhouse

1185 Washington Rd

Rochester, MI 48306

(248) 608-9077

 www.avonplayers.org

Sep 29 2021
Love0

“RIPCORD” by Playwright David Lindsay-Abaire

By Flora Lynn Isaacson

The sub-title of this review might well be “RVP Versus the Pandemic” inasmuch as the show goes on in spite of Covid-19 mask mandates and social-distancing requirements…offstage. That said, this production is a worthy diversion from the restrictions we are enduring because of the pandemic. There is plenty of comic relief during the pandemic in this crazy/slapstick-comedy by Playwright David Lindsay-Abaire — thanks to its script, casting, directing, and acting.

Kudos to Co-Producer Heather Shepardson; Director, Chloe Bronzan; and to the Cast for stellar performances: “Abby” (absolutely outstanding by Tori Truss); “Scotty” (Beau Tran); “Marilyn” (Pamela Hollings); “Colleen” (Rebekah Kouy-Ghadosh); “the Clown” (Nate Currier); and (Peter Warden) masterfully performing multi-characters: “Derek,” “Zombie Butler,” and “Masked Man.”

Kudos to the Crew for creating our escape into the “safe space” of the living facility: Tom O’Brien (Scenic Design) with Scenic Artistry by Dhyanis Carniglia; Michael Walraven (Set Construction). Stage Manager Dianne Harrison’s talents and those of her assistants, Ben Vasquez and Raysheina de-Leon-Ruhs, were shown by the flawless property design choices and their use. Kudos to Bruce Viera (perfect Sound Design); also, to Michael A. Berg for his tasteful costuming; also, kudos to Richard Squeri for the excellent coaching of the sky-diving skit, combat and intimacy choreography, as well as practical effects; and to Tina Johnson for excellent Lighting Design.

Kudos to the Ross Valley Players Board of Directors Officers and At-Large Members:
President Carol Winograd
Vice-President/Exec. Producer Steve Price
Vice-President/Treasurer Allan Casalou
Vice-President/Business Manager Alex Ross
Secretary Ellen Goldman
At Large:  Stephanie Ahlberg, Michael Cohen, Mark Friedlander, Maureen Kalbus, Dee Kordek,
Maureen Scheuenstuhl, and Vic Revenko

Kudos also to Robin Jackson for the Program Photography and to Graphic Designer Mark Shepard; to Karen Topakian for the all-important Show Publicity; to Suzie Hughes as Program Consultant; and last but equally important: to Volunteer Coordinator, Eleanor Prugh, and to Webmaster, Andrew Wilson.

For sheer enjoyment this Ross Valley Players production is not to be missed. For performances at The Barn (30 Sir Francis Drake Blvd., Ross) on the grounds of the Marin Art and Garden Center to and including October 10, 2021, tickets are available online at RossValleyPlayers.com or by telephone: 415/456-9555, Ext. 1.

By Elle Alexa Simon
on behalf of Flora Lynn Isaacson, Critic San Francisco Bay Area Critics Circle

Sep 27 2021
Love0

Shout! The Mod Musical: a review by Victor Cordell

By Victor Cordell

Jamie Gussman as “Yellow Girl,” Heather Mae Steffen as “Blue Girl,” Christina Bolognini as “Orange Girl,” Melissa Momboisse as “Red Girl” and Amanda Le Nguyen as “Green Girl.” All photos by Steve Stubbs.

The ‘60s were a memorable decade of change.  But years ending in zeros are rarely true inflection points.  Many political historians point to President John F. Kennedy’s assassination on November 22, 1963 as the inception of that decade.  President Lyndon Johnson was able to enact his and Kennedy’s agendas for civil rights and poverty into law; political parties were realigned with Southern Democrats shifting to Republican in rejection of civil rights advances; and the U.S. commitment to the Vietnam War swelled irreparably.  Social historians note the impact that the Beatles had starting several weeks later.  The ensuing British Invasion brought with it new music, lingo, hair styles, mores, and more.  And the youth culture that began with Elvis Presley and Rock and Roll in the mid ‘50s exploded to become a dominant social and economic power.

“Shout! The Mod Musical” is a musical revue of the ‘60s shown through the experiences of five young adult women living in London, as conceived and curated by three American men (of course)!  The songbook draws from tunes of the era, predominantly those popularized by English songbirds, especially Dusty Springfield and Petula Clark (“Wishin’ and Hopin’” and “Downtown” for starters.)   The South Bay Musical Theatre cast brings strong voices, deft comedic skills, and great enthusiasm, resulting in a fine entertaining evening.  Don’t expect the significance or sophistication of Sondheim or Hammerstein, but for those old enough to remember, it’s a frothy retreat into nostalgia.  Younger people will get a slice of life snapshot of what it was like back in the day.

The show lacks a story arc.  Whatever narrative glue is largely provided by the women writing letters to an advice columnist at “Shout” magazine, with spoken replies coming from the unseen columnist.  The characters lack names but are identified by a particular color, which is dominant in the various outfits that each wears and relates to their behaviors.  Orange, performed by Christina Bolognini, is domestic; Red, played by Melissa Momboisse, is a mess of youthful contradiction; Blue, portrayed by Heather Mae Steffen, is poised and beautiful – and she knows it; Green, rendered by Amanda Le Nguyen, is slutty; and Yellow, characterized by Jamie Gussman, is loud – and therefore, probably American!

Heather Mae Steffen as “Blue Girl,” Christina Bolognini as “Orange Girl,” Amanda Le Nguyen as “Green Girl,” Jamie Gussman as “Yellow Girl” and Melissa Momboisse as “Red Girl.”

Essentially, the show is an amalgam of skits full of the expected tropes, with music that often ties to each mini-drama.  Not all work, but most produce the desired laughter.  In one, a Paul McCartney groupie, Gussman, repeatedly stalks her prey, and even combs his trash, coming away with – you guessed it – his broken comb.  In another favorite, characters are silhouetted against a back screen with Le Nguyen appearing as James Bond in “Coldfinger,” a takeoff on – well, you get it.  One recurring pastiche is several scenes that borrow directly from “Rowan & Martin’s Laugh In,” with music, action, and lights coming to a stop except for one spotlighted character who delivers a funny bit.

Several pantomimes, also spotlighted against an otherwise dark stage, work nicely.  My favorite is Steffen’s reacting with increasing dejection to a disembodied man’s deep voice telling her how her skin is being ravaged by age.  But in the end, she blossoms with hope and glee when the speaker offers the solution of purchasing his skin cream product.  Of course, much of the advice given is tongue-in-cheek.  An example is the reply to Momboisse’s sad but funny letter in which she declares herself ugly.  The response is that there are things that are worse than being ugly – like being French.

The performers are quite convincing with their English accents, and overall have strong mid-range singing voices.  As the performance proceeded, I found myself changing my mind on which artist had the best voice, which is a good thing.  I might go with Bolognini.  While the songs were well sung, raising the keys on some of them would have created more brightness and urgency in their voices, but perhaps the tradeoff would be a loss of power.  Otherwise, they do a pretty resolute job within the limits of the material.

The creatives play a large role in the success of the production.  Lee Ann Payne not only directs with a lively touch but choreographs a ton of movement and the dances of the day like the twist and the frug.  Debra Lambert’s masterly musical and vocal direction includes harmony arrangements of the many ensembles as well as conducting and playing keyboards.  Also, Y. Sharon Peng captures the period look of hair, makeup, and costumes, though more of the daring signature looks of Carnaby Street and Vidal Sassoon would work nicely.

“Shout! The Mod Musical,” created by Phillip George, David Lowenstein, and Peter Charles Morris with music written by numerous composers and produced by South Bay Musical Theatre, plays at Saratoga Civic Center, 13777 Fruitvale Ave., Saratoga, CA through October 16, 2021.

Sep 27 2021
Love0

Threats and Rewards

By Joe Cillo

I hadn’t been to a live performance in a theater in over a year.  Since I am totally vaxed and masked and meet the guidelines set by The Marsh, I decided to attend Marga Gomez’s Spanking Machine last night. Everyone obeyed the safety protocols throughout the performance.

Gomez is the perfect act to open at the Marsh to a live audience in over 18 months.

 

I’ve been following Ms. Gomez’ performances for decades.  I believe I saw one of her earliest performances at Theater Rhinoceros.  Even then, I thought she was unique and very funny.  Also poignant and very physical in portraying various characters.  Last time I saw her was at the Central Works theater in Berkeley.  She was acting in King of Cuba by Cristina García, a full-length play in which she appeared as Fidel Castro.  Since I hadn’t seen her in years, I wondered if I would recognize her.  However, as soon as she came on stage in typical Castro military garb, I knew it was her.  She has said that Spanking Machine would be her last solo performance.  She wants to write for other actors.  Hopefully she will appear in other people’s plays.  Whatever she does, I’m sure she’ll be a huge success.

 

In Spanking Machine, Gomez as Gomez talks about friendship with Scotty the boy in the third grade of her Catholic school who became her best friend and the first boy she ever kissed which made them realize that they were both gay even at that young age.  She knew it, but he didn’t- then.  She relates their friendship as being very sweet, poignant and devilish in that they were bent on pranking big people.  Spitting on them. Shooting them with water guns in subways, and doing other mean things children cook up to harass adults.  They, of course, as kids, think they’re hysterically funny.  However, if you misbehaved in class, you were threatened to be sent to the principal’s office to face the spanking machine.  The children didn’t exactly know what this machine did but all feared it.  Anyone who came back from suffering its effects did not want to talk about it for fear they would be sent back to face it again.  It was a threat that hung over them all through their school years.  Upstage on the set is a cardboard box with a black block letters on it that read: Spanking Machine.  We think that we are going to actually see this device.  But, of course, we don’t; however not seeing it, we can only imagine it as the traumatized children can.

She and Scotty lost contact with each other for 40 years until one day, she gets an email from him.  Gomez, as Scotty, types out his email, verbalizing the text in the raspy asthmatic Cuban-accented voice she gives him.

Gomez creates her characters not so much physically- well, that too- but relies more on voice.  He tells her he lives in Miami and invites her down for a visit.  She somehow gets the impression that he’s very wealthy.  Turns out differently as we find out during her stay in Miami.   He now lives with his wife and mother-in-law- a Cuban thing- who do not appear in the piece.  However, Margo gives us glimpses of their characters through her vocal delivery.  To indicate different situations and physical locations, she announces a costume change and will change to a tropical blouse for her Miami visit, a bomber jacket when she becomes truly comfortable as- what she comes to realize- a dyke.

Gomez doesn’t shy away from speaking about the sexual abuse that she suffered not only from men but from women as well.  She gives anecdotes about responding to an interesting man’s invitation and visits him in his apartment to see his collection of tropical fish only to hear him lock all the doors in his apartment. After managing to escape, she came away with a water-filled plastic bag of guppies when she was promised exotic tropical fish- one of the reason she agreed to visit him.  One of her male abusers has an extensive ceramic collection which in a wonderful depiction she doesn’t hesitate to destroy in order to get him to release her.  At one point she relates graphically how she was sexually abused. Thankfully, the necessary revelations about other bad stuff- sadistic treatment of brown kids by Irish nuns: Sister Kevin McGillicuddy (?) for one, for instance, are scattered among humorous anecdotes.  Her only props are a table, a tall stool,a chair and a shopping bag containing a few items. Through her verbal delivery alone she allows us to magically see the scene.

Spanking Machine does not run smoothly.  It has stops and starts. It as though she takes time to gather herself to talk about the trauma she has undergone throughout her life as a gay, dark-skinned Cuban, Catholic girl growing up in New York, whose only friend in the third grade was Scotty the first boy she ever kissed.

Marga Gomez’s one woman show Spanking Machine, is at The Marsh in San Francisco on Valencia Street between 21st and 22nd through October 23.  Tickets and information can be found at the Marsh web site: TheMarsh.org

 

 

 

Sep 20 2021
Love0

Working: a Musical: a review by Victor Cordell

By Victor Cordell

The cast – Linda Piccone, Jomar Martinez, Ray D’Ambrosio, Eiko Yamamoto, Izetta Fang Klein, Jason Mooney, Mai Abe in “Something To Point To.” All photos by Henry Wilen.

Few authors or media personalities from the last half of the 20th century are more associated with the common people in America than Studs Terkel.  So broad were his credentials that he was inducted both into the Chicago Gay and Lesbian Hall of Fame and the African American Writers Hall of Fame, despite being the heterosexual son of Russian Jewish immigrants.  Terkel’s hometown beat was a great laboring town, Chicago, the City of Broad Shoulders.  From a lifetime of communing in his community and across the country, he produced powerful oral histories based on interviews, particularly “Working” (1974) and the Pulitzer Prize winning “The Good War” (1985).

Waitress Linda Piccone, customers Mai Abe, Ray D’Ambrosio in “It’s an Art.”

Though the 1978 Broadway run by the musical based on “Working” was brief, a 2012 revision has enhanced its appeal to regional theater.  Just imagine some of the changes in the workplace in those 34 years, such as the role of computer-based technology, outsourcing, employee mobility, evolving expectations for performance, and growing gap between haves and have-nots.

Although the music in “Working” isn’t memorable, it works.  Lyrics are poignant and collectively build a balanced view of working life that hits the mark. With an ensemble cast of seven enthusiastic and convincing performers, Palo Alto Players offers a production that touches on all the right emotions – expressing and eliciting joy, sadness, pride, anger, and reflection on what our country is all about.

No plot line drives “Working,” rather it is episodic – a thematic musical revue with songs from several composers and limited dialog to enhance the vignettes.  These are stories of people prosperous and poor that paint a picture of American society through the occupations of its denizens.  Working people are honored, especially essential workers.  Unmentioned in the musical, but evident to lovers of the arts, is that the performers and creative people behind these artistic endeavors are the essential workers of our national culture.

Eiko Yamamoto, Linda Piccone, Izetta Fang Klein, Mai Abe in “Cleanin’ Women.”

Typically, the first criteria in assessing a person is what work they do, which sadly leads an observer in the song “Millwork” who sees a book in a laborer’s pocket to ask with surprise “Oh, do you read?”  One motif of work that is emphasized is the need for recognition and pride.  This is often depicted as doing something that everyone can’t do or having results to show from your effort.  You feel the self-esteem in “The Mason,” a song in which a stone worker boasts that what he builds will last forever.  You understand the skyscraper structural steel worker taking pride and being known for the courage to work in high places and producing tangible results.  You know that the firefighter possesses bravery and has tales to tell of saving people from fiery death.

At the other extreme are those who work in those “just” jobs like just a laborer.  One number that will tug at the heartstrings is “Just a Housewife,” a lament about how boring the work is and about always being defined by relation to others – someone’s mother, someone’s wife.  Worse yet is the denigration in the media that makes housewives feel small.  But the script flips for being just a waitress in the funny, bouncy “It’s an Art.”  This hash slinger has an attitude like Flo from “Alice Doesn’t Live Here Anymore.”  She views herself as a down-home philosopher and table-top artist who educates diners, considering her diners as spectators.  So maybe it’s not such a bad occupation if you have the right skills and approach it in the right manner.

Jomar Martinez as a caregiver, Eiko Yamamoto as a nanny in “A Very Good Day.”

There are too many interesting stories to tell them all.  But two countervailing themes can be sensed throughout.  The sad side of opportunities lost is expressly addressed in the song “If I Could’ve Been.”  But many workers who suffer menial jobs possess dignity and accept fate believing that the payoff from their labor will come in future generations as revealed in “Fathers and Sons.”  A philosophical coda concerns the notion that workers deserve acknowledgement and that contributions to success come from many, not few.  Wouldn’t it be fitting if every building publicly listed every person involved in its construction and every person who ever worked in it?

“Working” moves quickly and holds the attention from beginning to end.  It contains great insights into the conditions of work and the psyches of workers.  The production is well directed by Patrick Klein, and the visual elements from varied costumes (R. Dutch Fritz) to industrial set (Scott Ludwig) and dramatic lighting (Abby May) work well.  One weakness is the sound system.  On opening night, sound clarity suffered considerably in songs with multiple singers.  In addition, artists lost sound in their microphones briefly several times.  Acting is effective throughout, as the actors understand their roles and interact well with one another.  Singing sometimes stands out but other times is a bit wanting.

“Working,” adapted by Stephen Schwartz and Nina Faso from Studs Terkel’s non-fiction book “Working” with songs by Craig Carnelia, Micki Grant, Lin-Manuel Miranda, Mary Rodgers and Susan Birkenhead, Stephen Schwartz, and James Taylor, is produced by Palo Alto Players and plays at Lucie Stern Theater, 1305 Middlefield Road, Palo Alto, CA through October 3, 2021.

Sep 18 2021
Love0

“Fancy, a Country Jukebox Musical”, Meadow Brook Theater, Rochester Hills MI

By 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 courtesy of Meadow Brook Theatre

Larissa Klinger

           

        At Long Last, Live Theatre! Brand-New “Fancy” Strikes a Welcome-Back Note

                                                   **A World Premiere**

The story of “Fancy” has its origins in the 1969 hit song of the same name by Bobbie Gentry (of “Ode to Billie Jo” fame). The stage musical, in turn, draws from Reba McEntire’s 1990 music video of her chart-topping cover of the song, which provides extra visual and narrative details to flesh out the fictional title character’s life. It’s a classic “rags to riches” tale, in a similar vein as “Coal Miner’s Daughter”.  And because this is Country, there’s plenty of cheatin’, drinkin’, line dancin’ and down-home charm laced with just the right amount of pathos.

Co-librettists Susan DiLallo, a noted theatrical lyricist and writer, and Dan Wackerman, artistic director of Peccadillo Theatre Company in New York, created the book for their new jukebox musical “Fancy” several years ago. It had a two-day developmental lab presentation in March 2017 in New York City. It was never produced, however, until now, at Meadow Brook, under the skilled and watchful eye of director Travis W Walter and company. It’s the jubilant season kickoff marking MBT’s eagerly-awaited return to live theatre.

Eighteen-year-old Fancy lives with her dying mother and baby brother in a tiny, run-down shack. Knowing they are starving, with nothing else to do, Mama turns Fancy out of the house.

Ron Williams, Jacqueline Petroccia, Larissa Klinger and cast

Mama’s parting words to her confused and frightened daughter? “Be nice to the gentlemen, Fancy, and they’ll be nice to you.” Thus begins her journey from streetwalker to country music icon. As her star ascends, her life heads downhill: her son in prison, her marriage in shambles, she begins to draw closer to her sleazy manager for solace. The real question is, can Fancy ever forgive her mother?

We hear a parade of familiar classic and crossover country hits, made famous by the likes of Hank Williams, Johnny Cash, Merle Haggard and Bonnie Raitt: “Take This Job and Shove It”, “Friends in Low Places” and “He Stopped Loving Her Today”.

Larissa Klinger, Jacqueline Petroccia and cast

Larissa Klinger (“Spitfire Grill”) in the title role has a fine, strong voice well-suited for the wide range of songs, from “Mama He’s Crazy” to “I Never Promised You a Rose Garden”. She has an aura of directness and sincerity that makes her likeable no matter what she does. Her bold and brassy gal-pal Sally, with an eye for the gents, is played by the equally bold and brassy Jacqueline Petroccia (“Always…Patsy Kline”), delivering powerhouse vocals every time. She’s especially good in the lively toe-tapper “Redneck Woman” and “If You’re Going Through Hell”, a rowdy duet with Klinger.

In his MBT debut, lanky Max Falls is convincing as Ned, Fancy’s moody, boozy husband. Besides his strong performance, Falls offers good vocals and moves in some really excellent ensemble dance numbers (choreographer Debbie Williams) like “Long Neck Bottle”, and moving solos like “I Can’t Make You Love Me”. Newcomer Wyatt Cleaveland as rebellious son Travis and MBT veteran Ron Williams (“The It Girl”), memorable as manager Charley, round out the cast.

Max Falls (center) and cast

The first act is slow-paced, but over all, “Fancy” has some nice staging by director Walter, and Phillip Hall’s lighting effects range from mellow to creative. There’s a fine five-piece band directed by Zachary Ryan that accompanies the action. The flexible, bare-bones, rustic set by Kristen Gribben consists of panels on wheels that transform into barrooms, apartments, abandoned shacks, fancy hotels, and the Grand Ole Opry.

There’s a need to better connect the dots, which could be due to holes in the script, like hazy transitions that can make it hard to follow what’s happening. One scene moves from Fancy living on the street to working in a glass factory in the blink of an eye; another scene changes suddenly from a nightclub to her apartment with no explanation; in the absence of a better script, these could have been more clearly defined with lighting or set changes.

The Covid-19 pandemic has had a brutal effect on live theatre (and everything else). The ensemble cast may have been pared down from when the show was first scheduled to be presented last year. In some scenes where Fancy is performing in a concert venue, there are only a few in the cast playing audience members, where three or four times that number would have been more appropriate to simulate a large crowd.

“Fancy”, as it is, is a diamond in the rough. The potential of this show remains unfulfilled, despite the impressive talents of the Meadow Brook cast and crew. Perhaps another developmental lab is in order. But it’s still well worth seeing: Fancy’s compelling story, and the music, linger in the mind long after the show is over. You want to know more, and hear more, about this lady.

When: Now through October 3, 2021

Tickets $36 to $46

Where: Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

 www.mbtheatre.com

A special note: As Covid-19 is a constantly changing situation, MBT will be monitoring and adhering to the guidance given by the CDC, the State of Michigan, the Actor’s Equity Association, and Oakland University. Check the Meadow Brook Theatre website at www.mbtheatre.com for the latest information on efforts to keep everyone safe.

Meadow Brook Theatre is a nonprofit, cultural institution serving southeast Michigan for 55 years, supported in part by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, the Kresge Foundation, the Fred and Barbara Erb Family Foundation, the Shubert Foundation and the Meadow Brook Theatre Guild.