Oct 13 2025

“Catch Me If You Can” at Meadow Brook Theatre, Rochester Hills MI

By Suzanne Angeo Greg & Suzanne Angeo

Reviewed by Suzanne Angeo (Member, American Theatre Critics Association)

and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Photos courtesy of Sean Carter Photography

(from left) Timothy C Goodwin, Ashley Wickett, Tyrick Wiltez Jones, Stephen Blackwell (seated), Phil Powers, Katy Kujala, Richard Marlatt

Murder With a Twist of Fun

There was a lot happening 60 years ago. In 1965, the civil rights movement gained steam, the Vietnam war escalated, Medicare was established, student unrest took to the streets and a new murder mystery opened on Broadway. Just a year later, in 1966, Meadow Brook Theatre first opened, so for their 59^th season kickoff, it’s only fitting that they recapture a mid-60s vibe with that sublimely witty whodunit, Catch Me If You Can.

Not to be confused with the 2002 Leonardo DiCaprio film of the same name (and subsequent musical), this version of Catch Me If You Can is a world apart. Instead of following the capers of Frank Abagnale, this sparkling thriller in three acts witnesses a young husband’s descent into madness and enough red herrings to fill the Monterey Bay. There are darkly delightful comic touches galore, snappy dialog and suspense worthy of Hitchcock. The many references to Michigan locations are sure to please MBT audiences and is a feature of the original script, not added later, according to director Travis Walter.

Ashley Wickett, Tyrick Wiltez Jones

MBT’s stage transports us to a swank but cozy mountain home in the Catskills, where ad executive Danny and his new bride Elizabeth are spending their honeymoon. But it’s not much of a honeymoon, because the bride has gone missing and Danny’s in a panic. Suddenly an impostor claiming to be his wife appears with a priest, and Danny calls the local police. Bumbling Inspector Levine (or is it Clouseau?) shows up and isn’t much help. Not only doesn’t he believe Danny’s story; he appears ready to have him committed to a mental hospital! There seems to be a major conspiracy afoot, and it’s hard to see how he can get out of this one. Is there no one to help him?

Stephen Blackwell, Timothy C Goodwin

MBT veteran Stephen Blackwell (Strangers on a Train, Moriarty, Noises Off) is simply electrifying as the beleaguered Danny. Goofy Inspector Levine is played for perfect comic relief by Timothy C Goodwin (Blithe Spirit). Ashley Wicket (also the Fight Captain – be forewarned) alternates between sweetly cloying and drop-dead menacing as the prodigal bride Elizabeth (or is she?). Her companion, the mysterious priest Father Kelleher, is played with a kind of two-faced sympathy by Tyrick Wiltez Jones (numerous Broadway and Regional shows). In a small but pivotal role as local sandwich shop owner Sidney, another MBT veteran, Phil Powers (Fox on the Fairway, Noises Off), manages to steal every scene he’s in. And in the briefest of roles, just in time to throw a wrench in the works: Danny’s boss Mr Parker, played by a boisterous Richart Marlatt, and his (alleged) wife Mrs Parker, played by a giddy and prancing Katy Kujala.

MBT has done it again. Brisk pacing, courtesy of the amazing director Travis Walter, is the rocket fuel that propels this intensely maddening nail-biter. You’re on the edge of your seat the whole time (thank goodness for those two intermissions) and remain fully engaged with the action onstage. A lively script by Jack Weinstock and Willie Gilbert (based on a French play by Robert Thomas), clever 1960s set design (including furniture, telephones and other props) by Kristen Gribbin, great period clothing by Marley Boone and music by sound designer Allison Bucher all combine to make for one of the most entertaining shows yet presented at MBT.

When: Now through November 2, 2025

Tickets $40 to $48

Where: Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

This production is made possible through the generous support of the Fred and Barbara Erb Family Foundation, the Shubert Foundation and the Meadow Brook Theatre Guild.

Meadow Brook Theatre is a professional theatre located on the campus of Oakland University in Rochester, Michigan. MBT is a nonprofit cultural institution serving southeast Michigan for more than 59 years.

Oct 05 2025

Love0

Clever solo show at The Marsh Berkeley scrutinizes the search for a soulmate

By Woody Weingarten Woody Weingarten

Steve Budd’s face shows how he feels in Oy, What They Said About Love. Photo by Michael Prine Jr.

By WOODY WEINGARTEN

Steve Budd, in Oy, What They Said About Love, is committed — to not being committed.

Throughout the amusing and heartbreaking 70-minute solo performance at The Marsh Berkeley, he desperately wants to find The One, his beshert, his soulmate.

And he does. Momentarily.

The 50-year-old’s relationship is at best tumultuous — on and off, on and off again, on and off once more. From Kenya to Boston. From ultra-hot to icy.

The Oy in the title should be a dead giveaway: Budd’s clever one-man show is Jewish-oriented.

In it, he sings snippets of Hebrew songs and prayers, occasionally inspiring some audience members to do an impromptu unison sing-along. He also tosses in a handful of words that might not be familiar to every theatergoer. Like schmutz (dirt), traif (non-kosher), and shiksa (non-Jewish female).

The Oakland-based actor/writer/storyteller/standup comic embodies his own being and that of his wannabe wife, a strikingly beautiful Black émigré from Africa. She’s everything he desires in a woman — except she’s not Jewish. She’s willing to convert, however, and wants to have “Einstein kinky-haired kids” with him. Going from one tribe to another wouldn’t be a big deal, she submits.

Budd, a white-haired guy who knows exactly how to comedically utilize his rubbery body and face, explores commonalities and differences in relationships, and why his fail while others succeed. He also illustrates his bumpy journey by morphing himself into the personas of both genders of friends he’s interviewed.

He depicts, for example, Connor and Sarah (an interfaith couple who met at a Halloween party) on an escape trip to Canada, a visit to an Emergency Room because of an ear infection, and a heartfelt, long-withheld utterance of “I love you.”

He shows Gaby finally accepting Matt as her partner, after having met not cute but on Craigslist, by lowering her expectations.

He exquisitely describes folks through their own words. “He does not know how to blow his nose quietly,” for instance.

He also details his mother’s death. And switches the om chant to one emphasizing the word mom.

Steve Budd’s relationship crumbles. Photo by Michael Prine Jr.

The monologist’s acting chops have evolved enough so there’s no need for props or costumes or a set. The stage, indeed, is barren except for a chair and two undecorated blocks on which to sit. Infrequent lighting changes and recorded music do add some atmosphere.

Budd’s journey — directed by Mark Kenward and Kenny Yun —is at once funny and agonizing. And he displays it all while wearing a simple shirt with hoodie, darkish trousers, and old-fashioned black-and-white sneakers.

But, oy, he weaves his own written words into a narrative so real that it’s easy for the audience to visualize each character in his theatrical stockpile.

Oy, What They Said about Love will run at The Marsh Berkeley, 2120 Allston Way, Berkeley, through Oct. 25. Tickets: $25 to $35; reserved seating $50 to $100 (plus a convenience fee of $3 a ticket). Info: 415-641-0235 or www.themarsh.org.

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

Oct 01 2025

Love0

Novato Theater Company’ s toe-tapping ‘9 to 5: The Musical’ resonates in 21st century

By Woody Weingarten Woody Weingarten

Bethany Cox plays Doralee in Novato Theater Company’s “9 to 5: The Musical.” (Kara Schutz via Bay City News)

By Woody Weingarten, Bay City News

It was nearly impossible in 1980 to leave a movie theater screening “9 to 5” without singing Dolly Parton’s hit title tune. In 2025, it’s nearly impossible to leave the Novato Theater Company without singing or at least humming that same song.

The madcap film comedy, a cult classic set in the late 1970s, had a stellar cast, including Parton, due to unrevealed health issues), Jane Fonda, Lily Tomlin and Dabney Coleman.

The NTC musical can’t compete with Hollywood’s star power, of course, but it can equal the amount of pleasure the fast-paced, zany show delivers.

“9 to 5: The Musical,” with added music and lyrics by Parton, debuted on Broadway in 2009. Its wire-thin plot adhered to the film fantasy by Patricia Resnick, who adapted her original screenplay for the stage. A trio of working women daydream about getting revenge on the villain, their disrespectful, lecherous boss, Franklin Hart Jr. Under the influence of cannabis called Maui Wowee decide to kidnap and tie him up.

How does a throwback view of women’s place in the business world compare with today’s? One 18-year-old theatergoer in the workforce overheard after Sunday’s matinee performance said “not that much has changed. Men still make sexual comments all the time — and brag about sleeping with somebody when they haven’t.”

L-R, Lauren Sutton-Beattie and Andrea Thrope appear in Novato Theater Company’s production of “9 to 5: The Musical.” (Kara Schutz via Bay City News)

Andrea Thrope plays Violet Newstead (the Tomlin role), an angry long-timer passed over for a promotion; Bethany Cox portrays Doralee Rhodes (the Parton role), Hart’s sexy target (with long blond hair piled as high as Parton’s and almost as tall as Rebel Wilson’s in a current TV commercial spoof); and Lauren Sutton-Beattie plays Judy Bernly, (the Fonda role), the newbie secretary.

All three are noteworthy actors with robust voices that allow the lyrics to shine through in the bouncy, breezy community theater production. Also noteworthy are the rubber-faced comic chops displayed by show-stopping Amy Dietz as Roz Keith,who hounds Hart ever more than he pursues female flesh.

In the recent weekend performance, Larry Williams handled the role of Hart, a skirt looker-upper and bottom-pincher, with aplomb. Pat Barr portrays the sexist, egotistical, lying, hypocritical bigot boss in remaining performances.

Costumes designer Adriana Gutierrez provide wondrously eye-popping attire (such as pouring Violet into playful, colorful, Snow White outfit) and keyboard player Nick Brown conducted the just-offstage band with mastery, keeping members of the sold-out audience tapping their toes.

Board president Marilyn Izdebski, who also dons hats as choreographer, program co-designer, and producer, proved the old chestnut that if you want jobs done well, give ‘em to the busiest person around.

9 to 5: The Musical will run at the Novato Theater Company, 1520 Nave Drive, Novato, through Oct. 12. Tickets: $25 to $37. Information: info@novatotheatercompany.org or 415-883-4498.

This article was first published on LocalNewsMatters.org, a nonprofit site supported by Bay City News Foundation http://www.baycitynews.org/contact/.

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

Sep 24 2025

Love0

El Patio Teatro presents Entrañas in France at Festival Mondial des Théâtres de Marionnettes

By Jo Tomalin Jo Tomalin

Review by Jo Tomalin
For All Events

Entrañas

Entrañas tells the story of what we are made of – literally! Izaskun Fernández and Julián Sáenz López from El Patio Teatro in Spain create, direct and perform this fascinating object puppetry show with narration spoken direct to the audience. It’s part elegant apothecary and part character storytelling, and in total it works very well. This is a show where the audience will learn about what parts of the body are made of such aspotassium, water or nitrogen, other stuff and sometimes nothing. While we hear these facts it is a gentle science – not intense and and it is interesting, especially in the charming way Fernández and Sáenz lead us through their story. Taking turns to enlighten us about different organs and there uses they bring out organs that are made from beautifully crafted models and cut out old timey yellowed cards with line drawn diagrams. These objects are carefully handled and are placed just as carefully on a shelf, large table or held near a real life organ such as the heart or brain.

One of the most interesting things about this show is that Fernández and López treat the subject in a respectful way that is not at all ghoulish or squeamish but is warmly matter of fact with a dash of wit and humor! Theatre like this is vital and can serve so many reasons to not only entertain but also to help us understand what makes us tick.

Fernández and López are completely invested in their characters, encompassed in their handsome set of polished wooden shelves with objets on each one. It is a compelling stage set and frames them as they speak to us and very occasionally each other or with a non verbal reaction while bringing forth an object to share its story and valiant raison d’être.

Both Fernández and López wear costumes evocative of a time gone by that sets the tone of the show from the first sight of them. Original music underscores the show at times and adds to the atmosphere. The show I saw was performed in Spanish with well placed easy to read surtitles in French and English that are part of the set. This show was very well received by the audience. Entrañas was performed at the Médiathèque Voyelles theatre in Charleville-Mézières, France and produced by the renowned Festival Mondial des Théâtres de Marionnettes, September 2025. Highly Recommended! 4 Stars

More Information:
Instagram: @elpatioteatro @ikebanahartesescenicas
Website: https://ikebanah.es/en/home/

Sep 22 2025

Love0

Berkeley’s Shotgun Players cover wide swath of subject matter in challenging play, ‘The Motion’

By Woody Weingarten Woody Weingarten

Gabrielle Maalihan and David Siniako are awestruck as they enter a new universe in “The Motion.” All photos by Jay Yamada.

By WOODY WEINGARTEN

The Motion, a new sci-fi dramedy, provides laughable and challenging theater while occasionally making audience members believe their brains are about to explode.

In a good way.

Obie-winning playwright Christopher Chen crams about eight tons of material into 105 intermission-less minutes at the Ashby Theater in Berkeley. He explores, for example, morality, memory, identity, emotions, science, and animal welfare vs. animal rights.

Oh yeah, and love.

What’s dubbed a “metatheatrical sci-fi fable” is a five-character production with each of the Shotgun Players’ actors trying to out-superb the others as they try to figure out what it means to be human. The backdrop, the first of several universes that are explored, is a debate stage.

Dr. Alan James (played by David Siniako), “a humane doctor,” implies that critters have souls. To buoy his support of a ban on animal-testing, he describes in gory detail the vivisection of a bunny.

Dr. Sarah Matthis (Erin Mei-Ling Stuart) counters with facts, leading with the notion that 44% of testing does “no harm to animals of any kind” and attempts to show that most experimentation is on lower forms. “Fish are used to study cancer,” she reports, and “worms are used to test Alzheimer’s.” She declares that animals are sentient creatures that shouldn’t be mere tools in scientific research by humans. Along the way, she quotes 18th century philosopher Immanuel Kant and cites an illustration of not knowing who to toss overboard when there are five people in a lifeboat that safely holds only four.

Matthis’ alternately cocky and insecure anti-ban partner, Prof. Neel Serrano (Soren Santos), believes the key to settling the debate is by determining how to eliminate suffering. A ban, he warns, might “halt most medical experimentation in its tracks”

Gabrielle Maalihan and Soren Santos provide a love undercurrent.

Prof. Lily Chan (Gabrielle Maalihan), perhaps the most susceptible to emotions and thereby the most vulnerable debater, admits at one point that she has “this thing where I can’t allow myself to be happy.” In a crisis, she simply feels “so helpless.”

Moderator Jack Donovan (Erin Gould) futilely tries to keep the lid on the debate, circling back to the initial question when everything starts flying off the rails, with participants either talking over each other or flirting. He gets to deliver many — but by no means all — of the laugh-lines.

James, white-bearded, distinguished, and nattily attired, tries swapping one-upmanship lines and concepts with Sarrano, but ends up angrily blurting out, “Please stop interrupting me.”

After loud claps of thunder and blinding lightning flashes, the four debaters are transported to an alternate world in which they are momentarily trapped behind invisible walls. Reading each other’s thoughts, a concept that frightens all of them, is but a first step in a journey that leads to them evolving in other places where they learn to live in the present with AI as a sidekick.

To make the presentation immersive, audience members get to vote on how the debate affected them.

Playwright Chen is popular in the Bay Area. His works have been produced and developed by such companies as the American Conservatory Theater, Berkeley Rep, Magic Theatre, and SFPlayhouse,

Erin Mei-Ling Stuart (left), Gabrielle Maalihan (center) and David Siniako brave a bitter-cold snowstorm.

Artistic director Patrick Dooley founded the Shotgun Players in 1992 in, the website says, the basement of a pizza parlor with “20 eager actors and a bucket of black paint.” Their aim: “to make great, affordable theater.” In the following 12 years, the players performed in 44 different spaces before finding their permanent home on Ashby Avenue in Berkeley.

In a post-show conversation after an opening week matinee of the world premiere, audience members cheerfully dove deeper into the morality issues — politely debating one another and, now and then, ignoring TDooley, who was moderating the half-hour bonus.

During the conversation, he suggested that perhaps the audience might want to consider what the play’s characters and they, as well, have learned about themselves. In the program, he advises theatergoers to retain “a spirit of thoughtfulness and wonder. Stay open. Stay curious.”

Both he and Chen make it virtually impossible to do otherwise.

The Motion will run through Oct. 12 at the Ashby Stage, 1901 Ashby Ave., Berkeley. Tickets: $23 to $80. Info: 510-841-6500, ext. 303, or boxoffice@shotgunplayers.org.

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

Sep 18 2025

Love2

9 to 5 The Musical

By Joe Cillo Joseph Cillo

Funny… but true?

A Season Opener with Spark
Dolly Parton’s 9 to 5 is the first show of Novato Theater Company’s 105th season, and it’s a lively start. The production grows stronger as it moves along, ending with the kind of sparkle and punch that leaves an audience smiling.

But First, the Plot/Storyline
Based on the hit 1980 movie, 9 to 5 The Musical drops us into a late-1970s office where three very different women—Violet, the overlooked office manager; Judy, the nervous newcomer finding her footing after a divorce; and Doralee, the vivacious secretary battling her boss’s unwanted advances—band together against their “sexist, egotistical, lying, hypocritical bigot” of a boss, Franklin Hart Jr. What begins as daydreamed revenge turns into a wild reality when the women take matters into their own hands, kidnap Hart, and transform the workplace into one where productivity soars, fairness rules, and friendship flourishes. It’s a comic fantasy with just enough bite to feel pointed even today.

A Story with Staying Power
9 to 5 has an interesting history. The story began in 1980 as a hit Hollywood comedy starring Jane Fonda, Lily Tomlin, Dolly Parton, and Dabney Coleman. The film struck a cultural chord, tackling sexism in the workplace with humor and heart, while Parton’s theme song became a number-one single, winning Grammys and securing a place in pop culture. The popularity of the film was strong enough to inspire a five-season television sitcom during the 1980s, though it never quite matched the original’s impact. Nearly three decades later, the story found new life on stage. Dolly Parton expanded her famous anthem into a full score for 9 to 5: The Musical, which premiered in Los Angeles in 2008 before opening on Broadway the following year. The show earned multiple Tony nominations and went on to tour nationally, with audiences embracing its mix of comedy, empowerment, and high-energy music. The tale’s staying power was confirmed in 2019 when a West End revival brought the show to London’s Savoy Theatre, where it played to enthusiastic houses. From film to TV to stage, 9 to 5 has proved remarkably adaptable, reflecting both its timeless humor and the enduring resonance of its message about equality and solidarity in the workplace.

Direction, Music & Choreography
Director Larry Williams keeps the pace brisk and the tone fresh. He balances the broad comedy with just enough heart so the characters never become caricatures. Choreographer Marilyn Izdebski’s dances sparkle with energy and humor, while Nick Brown’s music direction ensures the powerhouse score fills the intimate Novato space with Dolly Parton joy.

A Personal Note
For me, the pleasure was watching the show gather steam. Early on, the cast was warming into their roles; but as the evening progressed, the energy deepened, the timing sharpened, and the performances lifted. By the second act, they were squarely in the flow, carrying the audience with them to a satisfying finish.

Bethany Cox, Andrea “Andee” Thorpe & Lauren Sutton-Beattie

Photo Credit: Marilyn Izdebski

Standout Performances
Andrea Thorpe, as Violet, makes her NTC debut in a dream role and delivers it with polish and passion. Lauren Sutton-Beattie gives Judy a blend of vulnerability and strength, winning over the audience in every scene. Bethany Cox is a delight as Doralee—witty, charming, and with a country twang that Dolly herself would tip her hat to. And as the dastardly Franklin Hart, Pat Barr leans into the villainy with just enough over-the-top bravado to make his eventual comeuppance delicious. The supporting players—Amy Dietz as Roz (hilariously unhinged), Nick Kealy as Joe (sweetly earnest), and the rest of the ensemble—round out a cast that works together like a well-oiled IBM Selectric.

Final Word
As much as 9 to 5 is a romp of workplace comedy, it also carries a thread of empowerment that still resonates. This production embraces both sides—the laughter and the message—while showcasing the growing strength of its cast as the evening unfolds. By curtain call, Novato Theater Company has delivered a season opener that feels fresh, fun, and rewarding, the kind of community theater experience that leaves you glad you were there. Don’t wait until 5 o’clock—get your tickets now.

The message still resonates and bites.

To Go
9 to 5 The Musical
When: September 19–October 12, 2025
Where: Novato Theater Company, 5420 Nave Drive, Novato
Performances: Fridays 7:30 pm; Saturdays 7:30 pm (Sept. 20, 27 & Oct. 11), plus Sat. matinee Oct. 4 at 2:00 pm; Sundays 2:00 pm; Preview Thursday, Sept. 18 at 7:30 pm
Tickets: General Admission $37; Student/Youth $25
Info: NovatoTheaterCompany.org or tickets@novatotheatercompany

★★★★★

Authorship & Creative Statement

Each review is created through my proprietary FocusLens℠ method—an original editorial process shaped by firsthand experience, critical insight, and structured narrative design. Original photography, graphics, director quotes, and animated elements are incorporated to enhance reader engagement and visual impact. State-of-the-art scaffolding systems support organization and phrasing, but every sentence and decision reflects my own voice and judgment. These are not AI-generated reviews—they are authored, shaped, and published by me.

Sep 15 2025

Love0

“The Prince of Egypt” at Avon Players, Rochester Hills MI

By Suzanne Angeo Greg & Suzanne Angeo

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

Ensemble cast

“Prince” Makes a Start for the Promised Land

“The Prince of Egypt”, a Metro Detroit premiere presented by Avon Players to kick off their 2025-2026 season, is a lightweight family-friendly musical. It was adapted for the stage by “Wicked” composer Stephen Schwartz , with book by Philip LaZebnik, from the 1998 DreamWorks animated film. It’s a reimagining of the familiar story of the life of Moses and his journey from the bullrushes to Prince of Egypt to leader of Israel, and the many miracles in between. It had its debut in Mountain View CA in October 2017, and opened in London’s West End in October 2020. Schwartz, who wrote the music for the DreamWorks film, also wrote the new music for the adaptation, bringing over five songs from the film.

You won’t see any camels or actual chariots, but there is a great musical score with many memorable numbers, courtesy of the excellent 11-piece orchestra directed by Matt Kush: “Deliver Us”; “Dance to the Day”; “Through Heaven’s Eyes”; “Never in a Million Years”; and “When You Believe”, which won Schwartz an Academy Award.

Emily Brown

What really makes the show is the truly amazing lighting and projection effects by director JD Deierlein that smoothly transition us from scene to scene, transforming the stage from temple and palace interiors, to the river Nile, to the pyramids and deserts. Not to be missed is the “Burning Bush” encountered by Moses that’s really hard to beat for sheer stagecraft wizardry.

All of the main cast members have strong vocal talents that do justice to the score and make “The Prince of Egypt” well worth seeing. Drew Gale offers an amiable Moses with a fine voice (“Footprints on the Sand”, “For the Rest of My Life”). Moses’ wife Tzipporah is played by Kionna Dailey with (at times) restrained energy and a superb voice (“Dance to the Day”). Other bright spots: the standout performances by Lori Smith as Moses’ sister Miriam, and Adam Wager as Ramses. The rest of the key cast members include Matthew Cason as Aaron, Ryan Gigliotti as Pharaoh Seti, Katherine Whitton as Ramses’ wife Nefertari, Scott Wickson as Jethro, and RJ Miller-Zelinko as high priest Hotep.

Lori Smith, Drew Gale, Kionna Dailey

Those of you who have seen the film already know, but for those first-timers, keep in mind that the script takes broad artistic liberties with biblical events. It presents a brotherly relationship between Moses and Ramses that simply did not exist (if they even knew each other), and softens the brutality of some of the curses that befell the Egyptians when Pharaoh refused to let the Hebrews leave.

“The Prince of Egypt” alternates between exhilarating (great music, dramatic lighting, vivid special effects) and frustrating (flaws in the script, lack of key character development, and questionable costumes – like Ramses wearing a karate uniform). But this is an impressive show nonetheless, very much enjoyed by the audience and ideal for family outings.

Now through September 27, 2025

Tickets $32.00

Avon Playhouse

1185 Washington Rd

Rochester Hills, MI 48306

(248) 608-9077

www.avonplayers.org

Avon Players Theatre is a registered 501(c)3 non-profit organization

Sep 14 2025

Love0

Comic drama at Masquers Playhouse deep dives into race, sex, sanity, and gun control

By Woody Weingarten Woody Weingarten

Wine leads to the release of some inner Big Scary Animals at the Masquers Playhouse. From left are Kim Saunders (Rhonda), Joseph Walters (Donald), David Zubiria (Clark), and Duane Lawrence (Marcus). Photo by Mike Padua.

By WOODY WEINGARTEN

It’s easy to forget that human beings are critters — unless you’re seated in the Masquers Playhouse in Point Richmond watching Big, Scary Animals. Then you can’t ignore our baser behaviors and instincts.

If you have any sense of humor at all, you’re apt to spend much of the 90-minute comic drama by Matt Lyle laughing out loud at the dialogue and feral antics of four Homo sapiens, Until the playwright’s “truth bombs” abruptly smack you between the eyes.

The hidden biases and contradictions of each character either ooze or explode in unexpected ways at unexpected moments.

The plotline is simplistic and predictable: A middle-aged, straight white couple relocates to Dallas in 2015, “a simpler time,” to be closer to their granddaughter. But they’ve unintentionally bought into a “gayborhood.”.

Midway through, all hell breaks loose when a polite dinner conversation with their gay black and Latino next-door neighbors deep dive into sensitive subjects — race, sex, sanity, the N- and C- words, and gun control, among others. Director Gabriel A. Ross milks all the bathos possible while ensuring that no potential laugh-line is downplayed.

The entire ensemble cast is superlative, with Kim Saunders standing out as Rhonda, a naïve Christian “cracker” whose inner big, scary animal can be triggered by a single action and a single glass of wine, and David Zbiria as Clark, a flaming, hysterically funny, Latino homosexual whose common sense eventually erases his emotional spasms. Duane Lawrence inhabits the character of Marcus, a serious black college professor whose secrets are bursting to be revealed, paralleling the inner angst and problematic memories of Joseph Walters as Donald, whose wife repeatedly labels him as stupid.

Consoling Joseph Walters (Donald, center) are Kim Saunders (Rhonda) and Tristan Rodriguez (Ronnie). Photo by Mike Padua.

Two others — Natalie Ford as Sophia, a 20ish black “slut” who tries to use her psych-major tools at inappropriate times, and Tristan Rodriguez as Ronnie, the straight couple’s “troubled” son who’s gently being seduced by Sophia — do the most with under-developed roles.

The audience at a Sunday matinee rocked the small theater with laughter and expressed its consummate pleasure during a 30-minute Talk-Back session afterward. One theatergoer summed up the show this way: “It was heavy butreally funny.” Another said, “My eyes are still wet.”

The director, meanwhile, said he thought one takeaway from the provocative show should be, “There’s a good chance that you have something in common with the person you despise.”

Big, Scary Animals will run at the Masquers Playhouse, 105 Park Place, Point Richmond, through Sept. 28. Tickets: $30 to $35. Information: 510-232-3888 or info@masquers.org.

Sep 12 2025

Love2

Tartuffe

By Joe Cillo Joseph Cillo

Groovy Spin on Molière’s Satire

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

★★★★★

Authorship & Creative Statement

Sep 11 2025

Love2

Ladies of Broadway

By Joe Cillo Joseph Cillo

Pure Broadway Brilliance in Sonoma

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

★★★★★

Authorship & Creative Statement