A theatrical trial that turns pain into power
Historical Background
In 1612 Rome, 17-year-old Artemisia Gentileschi—already a gifted Baroque painter—accused fellow artist Agostino Tassi of rape. In a world where a woman’s testimony held little weight, her decision to press charges was not only radical—it was dangerous.
What followed was a grueling public trial based on real court transcripts, now dramatized in It’s True, It’s True, It’s True. Under Roman legal customs of the time, it was Artemisia—not her attacker—who had to undergo torture to “prove” she was telling the truth. Her fingers were crushed with thumbscrews, a method known as the sibille, designed to test whether she could remain consistent in her testimony under excruciating pain. She did. Repeatedly, she declared, “È vero, è vero, è vero”—It’s true, it’s true, it’s true.
Gentileschi’s significance goes far beyond this act of bravery. She became one of the most acclaimed painters of her era, known for her vivid, emotionally charged portrayals of heroic women—often biblical figures exacting justice. Her work, especially Judith Slaying Holofernes, is often read as an act of artistic revenge and feminist defiance.
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Marin Theatre’s U.S. premiere of this award-winning Breach Theatre production is urgent, intimate, and emotionally arresting. The script, originally created by playwrights Billy Barrett and Ellice Stevens, fuses classical language with feminist commentary and unexpected theatrical devices.
Artemisia is portrayed with restrained strength and rising intensity by Emily Anderson, whose performance is both grounded and electrifying. As Tassi, Maggie Mason delivers a disturbing portrayal with calculated charm and menace. Supporting players Keiko Shimosato Carreiro as Tuzia and Alicia M. P. Nelson as the Judge/Judith bring clarity and depth to the courtroom ensemble.
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In an unexpected twist, the cast also moonlights as a punk/goth rock band, delivering bursts of LOUD music between scenes. Where this fits into the dramatic arc is not entirely clear—but it does keep you awake.
The story (true) is arresting, but the loud goth band takes getting used to — you are warned!
Director Rebecca Wear keeps the tempo tight and the tone volatile, drawing tension from every moment. The integration of modern movement, physical confrontation, and sly humor makes this more than a courtroom drama—it’s a reckoning.
Set designer Mikiko Uesugi keeps the visuals spare and symbolic, allowing Marshall’s lighting and Matthew Stines’ sound design to fill in the emotional textures. Costumes by Pamela Rodriguez-Montero offer period nods with a contemporary edge. Even the silences in this show speak volumes, thanks in part to intimacy coordinator Maya Herbsman’s precision and care.
Stage management is by Kevin Johnson, with production assistance from Sam Hannum.
In the final scene, Artemisia repeats “It’s true” not just as testimony, but as a kind of incantation—spoken dozens of times in this production. The sheer volume and repetition turn the phrase into something beyond words: a defiance, a protest, a reclaiming of power.
Gentileschi’s story may be centuries old, but It’s True, It’s True, It’s True makes it painfully relevant. This is not just about one woman’s testimony—it’s about who gets to tell the story, and who is believed.
Recommended for those who want their theatre with a pulse, a message, and a righteous fury.
Marin Theatre
397 Miller Avenue, Mill Valley
April 16 – May 4, 2025
Tickets: $47–$81
www.marintheatre.org | 415-388-5208
We are greeted by Monica inside the theatre, she holds a tray of sparkly stemmed glasses and offers us one. Is this a party? A celebration? Her silken red slip of a cocktail dress evokes an air of elegance and quiet expectation.
Now a film of a soldier in army gear speaks to us in Ukrainian (with english super titles translating the dialogue) as it is projected on the huge back wall of the stage. This is Antonina Romanova.
Monica is now active around the space. She is occupied and we are not sure what she is doing – but she is on a mission.
This is the intriguing start to Granica / The Border, a 2024 U.S. Premiere from Poland’s Wachowicz / Fret Studio produced by the annual San Francisco International Arts Festival 2025.
The Border is a true story about Antonina Romanova, a transgendered Ukrainian performance artist. From the dialogue of Antonina on film we discover that Antonina uses the pronoun She. Sadly she had to flee to Kyiv because she was not welcomed by people in the other places she lived, but was drafted into the Ukrainian Armed Forces to fight the invading Russian army in 2023.
The Border is performed by Monika Wachowicz who has worked with the Grotowski Institute since 2021 and is directed by Jaroslav Fret, the founder and leader of Teatr ZAR, a theatre director as well as the Director of the Grotowski Institute, the renowned art institution in Wroclaw, Poland. Although an actress and playwright, Antonina Romanova chose the army as a way of life in these war torn times.
Antonina tells us about life at the front where the inhabitants have vanished – but a curiously vivid moment describing all the dogs left behind is so compelling and draws us in immediately. The brief anecdotes of these dogs seeking warmth and humanity and Antonina’s personal story of underplayed bravery and great humility takes us to a place of empathy among the challenges and inner turmoil of war.
There is more to come when Antonina’s filmed narration finishes. Monica becomes another character as she shows moments of Antonina’s life so far, expressed through gestures, symbolistic physical actions, minimal words and with well chosen objects. This allegorical piece is poignantly impactful as we are guided through an experience of expressionistic reality, quiet brutality and fragile beauty. Unexpected, meaningful and original theatre theatre based on Antonina’s story from an idea by Monika Wachowicz. Recommended!
More information and Tickets:
Date(s) & Time(s): Thu May 1; 7:00pm, Sat May 3, 6:30pm
Duration: 60 mins w/out intermission
Venue: Theatre of Yugen’s NOH Space,
Location: 2840 Mariposa St, SF, CA 94110
The SFIAF runs from April 30 to May 11, 2025 and presents 50 companies and 100 concerts and shows in this year’s festival, including theatre, music, spoken word, dance and much more!
Are you looking for something exciting to do in San Francisco this week or next? Then check this out!
The annual San Francisco International Arts Festival (SFIAF) opens today and runs from April 30 – May 11, 2025. In this 12 day time span SFIAF presents 50 companies performing 100 concerts and shows across several performance genres: Dance & Cirque, Music, Performance Art, Spoken Word, Theatre and Visual Arts – all scheduled in San Francisco venues, mainly in the Mission. This is a true arts festival which also includes several lectures, performance workshops and even a series of fascinating walking tours led by San Francisco based Precita Eyes Mural Tours, focusing on different areas of San Francisco’s Mission.
Local, national and international performers present their works in a mainly 60 to 70 minute show format, so it’s possible to see more than one show an evening and several shows on weekends! All concerts and performances offer a wide and deep range of original,creative, imaginative and inspirational performing arts entertainment to enjoy – and the prices of tickets range from free to about $28.
If you are a theatre or music fan there are several international productions at this year’s festival that are very powerful in their own way and all are making their US debuts. While their themes and stories vary, these different productions combine issues of politics / policy /, human / civil rights, current affairs, equity and identity, offering different perspectives from distinct parts of the world. Andrew Wood, Executive Director of the San Francisco International Arts Festival travels far and wide to find interesting and talented performing artists to create this festival every year – and it’s certainly an exciting, entertaining and meaningful event in San Francisco’s cultural calendar – not to be missed!
Agathe et Adrien, an international award-winning circus duo from Montreal, Canada, perform their compelling visual physical strength and balance act in N.Ormes that transforms their circus skills into art telling a unique story.
In the Name of the Son by Green Shoot Productions from Northern Ireland is a solo play starring Shaun Blaney that chronicles the extraordinary life of Gerry Conlon (of the Guildford Four) following his release from prison in 1989.
From Poland, Granica / The Border is presented by Wachowicz / Fret Studio and takes as its focus the true story of transgendered Ukrainian performance artist, Antonina Romanova – a member of the Polish theatre ensemble, Teatr ZAR.
From Australia and the UK, Fairly Lucid Productions, MEMBER is an award winning, gripping tale of brutality and brokenness, MEMBER explores Sydney’s gay hate crimes (1970s–1990s). Written and performed by Ben Noble, it follows Corey, a father confronting his own homophobia. Accompanied by Simone Seales on cello.
Musician Duane Forrest from Canada performs Bob Marley: How Reggae Changed the World through an acoustic journey celebrating Bob Marley’s life and the roots of reggae. This interactive show invites audiences to reflect on the life of Marley, sing along and connect through the power of music.
More information is available on the SFIAF website about all the shows, concerts, getting tickets and the calendar: https://www.sfiaf.org/
See you there!
Theater review: An overly complicated JERSEY BOYS at Palo Alto Players offers danceable music, too many scene changes but a fine quartet of singers
By JOANNE ENGELHARDT on March 10, 2025
The opening night audience for the Palo Alto Players’ production of “Jersey Boys” had to try hard not to get up and start dancing in the aisles as the very likeable foursome that eventually became known as Frankie Valli and the Four Seasons went through a lot of iterations before becoming the quartet that was inducted into the Rock and Roll Hall of Fame in 1990.
Director Doug Santana found the right combination of singers when he selected James M. Jones to play Frankie Valli, Justin Kerekes to be Nick Massi, Andrew Cope as Bob Gaudio and Tyler Savin as Tommy DeVito. They split up many times, tried out other singers, but never found the sound they had together.
But sometimes all the quick scene changes and constant movement of props and people (17 actors, many of whom play multiple roles) gets in the way of the storyline and the songs.
Choreographer Witney Janssen kept busy with so many musical numbers, yet both the full production numbers and the small snippets of numbers are done well. Nick Kenbrandt keeps busy leading his large orchestra from the back of the stage – the better to enjoy all of “Jersey Boys’” wonderful musical numbers.
Costume designer Jenny Garcia also had her hands full creating costumes for the large cast. The costumes, especially for the dancers, are flashy, colorful and fun. One example: Danny Martin as Bob Crewe, a big-time music producer. (Martin’s outfit was made out of shinny satin bright yellow pants and a white satin shirt.)
John Mannion makes a commanding presence as a judge in a black robe as well as Gyp DeCarlo, a gangster, who makes life tough for several of the singers who owe the mob big time. (Every time DeCarlo shows up, several of the Jersey Boys owe him more money than they did in the previous scene!)
Melissa Momboisse also impresses in several roles, most especially as Lorraine (Frankie’s second wife). Skylar Riordan also plays a number of roles – including Joe Pesci! And he always seems to get on people’s nerves. The T also shows up in several roles – and each is memorable.
Finally, Samantha Kenbrandt is memorable in her role as Mary Delgado, although she also has several other roles as well.
At times there seems to be too many walks up one stairway to the catwalk by several actors, only to walk to the other side of the stage and down the other stairway. It just seems like filler.
Despite these shortcomings, the PAP production of “Jersey Boys” is definitely worth seeing. Especially if you’re of an age to remember all that wonderful “juke box music” like “Silhouettes,” “I Can’t Give You Anything But Love,” “Earth Angel,” “Short Shorts,” “Big Girls Don’t Cry,” “Walk Like a Man,” “My Boyfriend’s Back, “Bye Bye Baby” and so many more!
”Runtime for “Jersey Boys” is approximately two hours with one intermission.
Palo Alto Players at Lucie Stern Theater, 1305 Middlefield Road, Palo Alto 94301. Shows: Fridays and Saturdays: 2 p.m. and 8 p.m. Sundays: 2 p.m. and 7 p.m. Closes: Sunday, May 4. For tickets, call 650.329.0891 or visit www.paplayers.org
Theater review: Los Altos Stage Company’s CYRANO offers a different, somewhat odd and slow-moving take on Edmond Rostand’s play
By JOANNE ENGELHARDT on March 10, 2025
Why anyone involved in the current production of “Cyrano” at Los Altos Stage Company thought it would be a good idea to make Cyrano a woman (without a large proboscis) is somewhat puzzling. This version of “Cyrano,” called a new adaption by Jeffrey Lo and Max Tachis, has some things to recommend it – including several excellent performances.
Yet it drags at times, and the constant “ins and outs” of set changes, curtains and people become confusing to an audience who is likely there to better understand a new version of Rostand’s play.
Director Tachis found several excellent actors to cast for this production. Vivienne Truong stands out as the fair Roxane. When she’s on stage, the play moves along at a fast clip. Equally adept at commanding the stage (although rarely using his own words) is Jonathan Covey as the tongue-tied young man anxious to impress Roxane. As Cyrano, Maria Giere Marquis as Cyrano provides the glue that weaves the story together, though why the director had her walk off the stage and stand in the dark for a long scene is puzzling.
Edmond Rostand’s “Cyrano de Bergerac” to this day remains a wildly popular and much beloved play based loosely on the life of the title character who in fact famously sported in the early 17th century a large nose and a swift sword. To the long list of both rhymed and blank verse translated adaptations of the original work in French now comes a new, gender-bending version by Jeffrey Lo and Max Tachis staged with a number of character changes and updates to give an old tale still set in 1640 France a modern-day feel.
Humor and heart continue to reign in this story of a strange but deeply loyal love triangle, yet some of the twists and turns inserted sometimes pull this “Cyrano” in directions that are a bit plot puzzling and pace slowing.
There are a number of new characters including a four-person ensemble that acts somewhat like a Greek Chorus, often making sardonic or witty comments. Brittney Mignano stands out as a “reporter-type” who is usually angry about something or someone. Jeremy Ryan as Montfleury/Ragueneau is sweet and charming as the poet-chef who loves to cook up new things and share his edible goodies with whoever is around to try them. (The actors get to eat the food he brings out on trays – a nice touch of reality.)
At the beginning of the play, Gabriella Goldstein as the Countess de Guiche kowtows to her husband, Count de Guiche (Emery Mullligan), but she eventually breaks free from his overbearing personality and provides a sympathetic courageous counterpoint in Act 2.
Zachary Vaughn-Munck offers up many humorous asides, though he is just listed as a member of the Ensemble in the program. He plays the role of a town crier, loyal to the corrupt count who frequently provides fake news that the count loves to hear. As Diana, Lisa Burton Guevara usually has a look of dislike and distrust whenever Cyrano and Roxane are around, but she suddenly gets all aflutter whenever Ragueneau is around.
There are a number of big battles with various enemy armies, but none of them are shown here. Instead, Cyrano and many of the other characters dart behind the back curtain, but do not return. Cyrano does, of course, so that she dies onstage with Roxane holding her.
Costume designer Lisa Claybaugh has created some extraordinarily beautiful gowns for the women in the cast to wear – most notably the gorgeous one worn by Roxane. But some of the ones worn by men such as Covey as Christian are equally as lovely.
Interesting lighting designs frequently appear during the play, including a giant “C” as the audience enters. Later, large lights play across the stage and float into the nether, thanks to the efforts of lighting designer Carol Fischer. Most of the words were easy to hear thanks to sound designer Connor Diaz.
Due to many sexual innuendos and some swear words, this production is best seen only by older teenagers and adults.
Runtime for “Cyrano” is approximately 2 ½ hours with one intermission.
Los Altos Stage Company, 97 Hillview Ave., Los Altos. Shows: Fridays and Saturdays: 2 p.m. and 8 p.m. Sundays: 2 p.m. and 7 p.m. Closes: Sunday, May 4. For tickets, call 650.941.0551 or visit www.losaltosstage.org
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: Corbin Payne, Jackey Good, Eric Coles, Malik Jordan, Javier Alfonso Castellanos
A Heavenly Trio Takes the Stage at Meadow Brook
It’s been many years since they left this Earth, but Frank Sinatra, Dean Martin and Sammy Davis Jr, affectionately known as The Rat Pack, still have millions of fans around the world. They remain some of the most influential entertainers of the twentieth century. A story by noted writers James Hindman and Ray Roderick, and musical arrangements by John Glaudini, result in a funny, entertaining and highly original tribute to Frank, Dean and Sammy called The Rat Pack Lounge, now being presented as part of Meadow Brook Theatre’s 58th Anniversary season.
There’s no shortage of talent onstage, but you won’t see any Frank, Dean or Sammy impersonators here. Which means none of the performers look or sound much like the originals, although some trademark mannerisms can be glimpsed now and then: Dino’s ever-present cocktail glass; Frankie’s friendly swagger; Sammy’s infectious energy. But no matter: these guys can really sing.
The curtain goes up, and we find ourselves in Heaven and learn that God has a very important 3 o’clock meeting with three very important Heavenly residents: Frank Sinatra, Dean Martin and Sammy Davis Jr. It seems there is one unhappy dude down on Earth who, years ago as a child, was promised something by Mr Sinatra. A promise that was not kept. And Vic, the unhappy dude, is determined to commit suicide because the Las Vegas lounge he inherited from his dad is a failure. God says he will hold all three guys accountable and send them straight to That Other Place (where Peter Lawford resides) unless they return to earth and give the despondent Vic a reason to go on living. They will even get some help from an angelic emissary named Angie. So the boys are sent on a mission to save Vic, and themselves. The minor issue of not having physical bodies is resolved in a fun and unexpected way.
From left, seated: Malik Jordan, Eric Coles, Corbin Payne
Standing: Javier Alfonso Castellanos
Corbin Payne, a New York City-based singer and actor, does a convincing job of singing, and playing, Old Blue Eyes with a Jersey guy’s toughness tempered with kindness and warmth. Malik Jordan, a regional theatre veteran, captures Sammy’s joyous and exuberant spirit, and even does some excellent tap-dancing. A bearded Javier Alfonso Castellanos is a surprising choice as the clean-shaven Dino, but he offers a comic character turn, waving his glass and cigarette while delivering fine vocals.
The heartbroken saloonkeeper Vic is played with some initial restraint by stage, film and TV veteran Eric Coles. This sets the stage for Vic (and his establishment) to really burst into bloom in the second half of the show, revealing amazing talent and determination that more than justifies The Rat Pack’s journey back to Earth. His friend and accomplice, an angel named Angie (suspiciously like Rat Pack pal Angie Dickenson), is played with vim-and-verve by New York City native Jackey Good and practically steals the show whenever she performs (“Too Close for Comfort” and “I Love Being Here With You”) with her stunning dance moves and vocals.
Lighting by Scott Ross evokes a swinging 60s Vegas lounge vibe with magenta and acid green hues, warm baby spots and dappled heavenly starlight. Thunderclaps, lightning and the Voice of God are provided courtesy of Brendan Eaton’s sound design. The note-perfect musical numbers are performed by a swinging, jazzy four-piece band directed by Brent Frederick. The band is almost hidden upstage behind a translucent scrim which keeps them discreetly involved in the proceedings. Simple but effective period attire by costume designer Karen Kangas-Preston completes the effect.
A likeable cast, fabulous vocals and ingenious storytelling at the expert guidance of director Travis Walter make for a most enjoyable way to pass 95 minutes. The pace is lively, but without an intermission one can still get restless. There are 30 performances of 27 beloved songs, including “Volare”, “Come Fly With Me”, “Ain’t That a Kick in the Head”, “What Kind of Fool Am I?” and “Everybody Loves Somebody Sometime”.
Even if you don’t think of yourself as a fan of this kind of music, these five performers can make you one. As director Walter says, “People from all generations love the music of this era. The Rat Pack Lounge is a great and creative way to tie 30 songs together with a great story about the importance of keeping your promises.”
When: Now through May 18, 2025
Tickets $39 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
Note: All performers in this production are members of Actors Equity Association, a labor union representing American actors and stage managers in the theatre.
This production is made possible through the generous support of the Michigan Arts and Cultural Council, the National Endowment for the Arts, the Fred and Barbara Erb Family Foundation, the Shubert Foundation and the Meadow Brook Theatre Guild.
It likely takes someone like Jeffrey Lo, a Filipino himself and someone who writes, directs and also works with several Peninsula theaters in various capacities, to create such a warm, thoughtful play as “Writing Fragments Home” that tugs at our heartstrings. The near-capacity opening night audience at Hillbarn Theater last Friday night not only gave it a standing ovation but found so much to love about this special story.
What’s exceptional about this production is not only the story itself, but also the care with which Hillbarn Theater has produced it. Five fine actors (most especially Jen Cuevas as the mother, Mary Gwen, as well as Jomar Tagatac as her son, Jay) top the list for their strong, meaningful performances.
Director Reed Flores does an exceptional job of pushing his actors to find the right emotion throughout the play, while scenic designer Christopher Fitzer creates a warm and inviting set (the entryway and living and dining room of Mary Gwen’s home).
Nolan Miranda has come up with the right clothes for all of the actors to wear, most especially Mary Gwen’s many different nurse outfits that she wears to work each day. Both Pamila Gray’s lighting and Alan Chang’s sound add a lot to “Home” as well.
The crux of the storyline is that both Mary Gwen and her late husband, Ronaldo (nicely underplayed by Jepoy Ramos) sarificed a lot to leave the Philippines and their families to move to the United States. As Mary frequently reminds her son, “We did it for you. We wanted you to have a better life. This is when our story began: When we came to America.”
That’s why Mary is so concerned that their only child, Jay, has spent his life trying to write plays that have not been chosen to be produced. “You’re 40 now – the same age I was when we moved here,” she tells him. “You have a bachelor’s degree in playwriting – and now you’ve come back home. Why?”
Jay admits that he’s come back to his family home because he’s lost his job and has nowhere else to go. While allowing him to stay (for two months only, she says), he has to sleep on the living room couch so he doesn’t get too comfy! She also admonishes him that he should have considered a different kind of profession – like hers: Nursing. “You know what never goes away? Sickness!!” she declares.
If possible, take the time to go see this wonderful production before it ends on Sunday, May 4.
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Runtime for Writing Fragments Home is approximately two hours with one intermission.
Hillbarn Theater, 1285 E. Hillsdale Blvd., Foster City, CA 94404 Shows: Tuesdays: 7:30 p.m.; Wednesdays: 2 p.m. and 7:30 p.m. Thursdays and Fridays: 8 p.m. Saturdays: 2 p.m. and 8 p.m. Sundays: 2 p.m. and 7 p.m. Closes: Sunday, May 4. For tickets, call 650.349.6411 or visit www.hillbarntheatre.org
Madcap Farce with Big Ideas, Bold Performances, and a Pipe-Smoking Nun
Buttercup, the theatrical debut of St. Helena’s J.D. Murphy, now playing at Marin Shakespeare Company—is a smart, fast-paced, and delightfully ridiculous ride through 1880s France. Directed by Bay Area theater veteran Nancy Carlin, this new comedy delivers sharp satire disguised as farce, complete with door slamming, social skewering, and a heroine guided by visions of Joan of Arc.
From the opening moment, Lizzie Calogero sets the tone with comic precision as a witty, pipe-smoking nun who serves as our dryly observant narrator. With a raised eyebrow and the calm of someone who’s clearly seen it all, she introduces us to a world where social hypocrisy and comic mayhem go hand-in-hand.
Then the madness begins. The play features three doors onstage—always a good sign—and they’re constantly in use. But that’s not all. With a square stage setup, actors dash in and out from all four corners, weaving through the audience and into the action with perfectly-timed chaos. It’s physical comedy done right: choreographed confusion, crisp pacing, and just enough absurdity.
Gianna DiGregorio Rivera plays Buttercup with spark and sincerity, anchoring the show with warmth even as she leaps through farce-worthy hurdles. A former nun turned courtesan, Buttercup is determined to reunite with her baby daughter—and winds up in a traveling group of bourgeois couples, a cool-headed coachman, and a reserved Prussian officer. Her scenes bring both humor and heart, grounding the absurdity in real emotional stakes.
Nancy Carlin’s direction is tight, lively, and laced with nuance. She guides a strong ensemble—Rebecca Pingree, Titus VanHook, Brennan Pickman-Thoon, Richard Pallaziol, Norman Gee, Sarah Mitchell, and Brian Lohmann—through quick turns, layered dialogue, and rapid-fire entrances and exits, all while keeping the audience engaged and grinning.
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The production is visually sharp, thanks to a talented creative team. Scenic designer Randy Wong-Westbrooke crafts a clever, flexible space. Maggie Whitaker’s costumes are a parade of period flair and comic exaggeration. Lighting by Christian Mejia, sound by Ray Archie, and choreography by Bridgette Loriaux all work together to support the show’s quick rhythm and high energy.
Underneath the laughs, Murphy’s script offers commentary on class divides, hypocrisy, and resilience. The humor lands, but so does the message. Buttercup is farce with a brain—and a soul.
Performances run through April 13, at Marin Shakespeare Company, 514 Fourth Street, San Rafael. The show runs Thursdays through Sundays. Evening performances are at 7:30 p.m., with Saturday and Sunday matinees at 2:00 p.m.
Tickets are $20–35, available at purplepass.com/buttercup. More information at buttercupstage.com.
Murphy, known for his award-winning film Valley of the Heart’s Delight and political satire, proves he knows how to stir theater into the mix. Buttercup is quick, clever, and consistently fun. A terrific debut—and a thoroughly entertaining night out.
Smart, Funny, Surprisingly Moving
This fast, funny, and sharply observed musical revue dives headfirst into the absurdities of modern love. From first dates to second marriages, baby talk to retirement flirtations, it covers the full spectrum of romance — and Sonoma Arts Live delivers it all with polish, creativity, and heart.
Originally debuting Off-Broadway in 1996, the show has had a long and global life for a reason — it taps into something universal. The format is simple but effective: a series of musical vignettes covering the entire arc of modern love, from awkward first dates and mismatched expectations to marriage, parenting, and even senior romance. There’s no single storyline, but there’s plenty of emotional continuity — and the humor keeps things moving.
A distinctive and memorable element of this production is the use of full-screen cartoon strip visuals projected behind the scenes. The show opens with an extended comic-style introduction that takes a moment to adjust to, but by the second or third scene, the images feel like a natural part of the storytelling. They guide the audience smoothly from moment to moment, offering a playful, graphic-novel flair that adds charm and rhythm to the show’s structure.
The 4-person cast — Jenny Veilleux, Robert Nelson, Jourdán Taylor-Verde, and Sarah Lundstrom (pictured below) — is excellent. Each performer takes on a wide variety of characters and delivers crisp comedic timing alongside real emotional weight. It’s not easy to bounce from broad satire to quiet sincerity, but this group handles the shifts with confidence and style.
photo credit: Katie Kelley
Music by Jimmy Roberts and lyrics by Joe DiPietro offer plenty of memorable lines and melodies — from clever duets to heartfelt solos. Musical director Ellen Patterson keeps the pacing tight and the tone grounded. It’s light on its feet, but never shallow.
The design team deserves credit for making the whole thing feel seamless. Kate LeLand’s costumes help the actors move between roles quickly, with smart visual cues and a few delightful surprises. Carl Jordan’s scenic design is simple and effective, leaving plenty of room for both performers and projections to shine.
In his director’s notes, Carl Jordan shares how surprised he was at how personally cast and crew connected to the material. That connection is clear — there’s honesty beneath the laughter, and the result is a show that’s both fun and, at times, surprisingly reflective.
The opening night champagne-and-sweets reception set the tone for a festive and welcoming evening — a perfect match for a show that reminds us how strange, funny, and worthwhile love really is.
Whether you come with a partner, a group of friends, or just your own memories of trying to make love work, there’s something here for you.
Ticket & Venue Info:
$39 General | $34 Senior | $22 Youth
Andrews Hall, Sonoma Community Center
276 East Napa Street, Sonoma, CA
Tickets: www.sonomaartslive.org
707-484-4874 | sue@sonomaartslive.org
Now playing through May 4 — smart, funny, and well worth your evening.
| “A fast, funny, and uncomfortably accurate look at how we date, mate, negotiate — and occasionally escape — modern love.” |