Flora Lynn Isaacson

Melody Payne and Diego Hardy perform in Noises Off at Novato Theater Company. Photo by Jere Torkelsen.

Novato Theater Company presents Michael Frayn’s Noises Off on stage now through July 14. Carl Jordan’s fine direction, Michael Walraven’s magnificent set and the cast’s extraordinary talent make this a memorable, laugh out loud show–not to be missed!

Forty-two years ago the play premiered in London’s West End. According to The Observer, Frayn got the idea for the story when he was backstage watching Lynn Redgrave perform in a one-act play he wrote. He thought the show was actually funnier to watch from behind the stage and decided to create a farce where the audience can see what’s going on both in front of, and behind, the set. Later he admitted that staging both perspectives proved “fiendishly difficult.” The answer, of course, is a revolving set, which NTC Set Designer Michael Walraven has built with incredible skill, talent and creativity. Not only does the set revolve, but it has multiple doors, windows, stairs, British props and furniture—all central to the physical comedy.

As Act One begins, a theatrical company rehearses for their upcoming show called Nothing On–a farce. They are unprepared, missing lines and cues, mixing up their stage places and frustrating the play’s director Lloyd (Mike Pavone). Lloyd is involved with the assistant stage manager, Poppy (Rachel Kaiulani-Kennealy) but also with the dim-witted American actress, Brooke (Melody Payne) forming a love triangle. The stage manager Tim (Sky Collins) tries hopelessly to help Lloyd keep the show on track.

Because this is a “play within a play,” the cast performs dual roles–as actors in the theatrical company and their respective characters in the group’s upcoming play.

Jeffrey Biddle plays the actor Freddie whose character Philip flees to Spain to escape from the taxman at “Inland Revenue.”  Jane Harrington plays the actress Belinda whose character Flavia is Philip’s wife.

Heather Shepardson performs as both Dotty (an actress in the company) and Philip’s and Flavia’s Cockney housekeeper, Mrs. Clackett.

Diego Hardy plays the company’s lead actor Garry and his character Roger, a real estate agent interested in Philip’s and Flavia’s unoccupied home. Payne (along with her portrayal of actress Brooke) plays Vicki, who accompanies Roger to see the property.

Wood Lockhart is hilarious as the fumbling actor Selsdon playing a burglar trying to break into Philip’s home. Biddle plays a third character, a sheikh who wants to rent the house.

The cast members show incredible range playing multiple roles. Their comedic timing and great energy keep the audience amused from start to finish. There is plenty of silliness, buffoonery and horseplay in this farce–the usual slamming doors,  character’s tripping over each other, glass breaking and pants falling down–but also some unusual situations where a character kisses a cactus and a plate of sardines becomes an obsession.

Adding much to the production are perfectly timed sound effects and lighting thanks to Bruce Vieira and Frank Sarubbi. Kudos also to Kristy Arroyo (Set Painting), Walt Rugani (Set Carpenter) and Kate Leland (Costume Design).

Special thanks to Producer Electric Bill Weinberg and NTC President Marilyn Izdebski for bringing this show to production–and, with it, bringing much needed laughter into our lives.

Sonoma Arts Live presents Ken Ludwig’s Lend Me A Tenor on stage now through June 16. The play is a fun-filled farce with the usual elements of mistaken identity, exaggeration and physical comedy.

The story takes place in 1934 during the Cleveland Opera’s tenth anniversary celebration. The stage is set up like a hotel suite-divided in half with a sitting room on one side and a bedroom on the other. One door joins the two rooms but there are five other doors (entry, closet and bathroom) that become central to the story’s humor (typical with farce).

As the play begins, the Opera’s general manager, Henry (John Browning) and his assistant, Max (Robert Nelson) enter the suite reserved for the great Tito Merelli (Michael Coury Murdock), a virtuoso coming from out of town to perform at the gala.

Henry’s daughter Maggie (Katie Kelley) soon joins them but then disappears into the bathroom to hide until she can be alone with her idol Merelli.

Merelli finally arrives accompanied by his voluptuous Italian wife Maria (Tika Moon). Already jealous and suspicious of her husband’s infidelity, she explodes after discovering Maggie hiding in the bathroom. She leaves–driving her husband to panic right before his big performance.

As the story develops, the main characters find a way to keep the show on track–with the help of a hotel bellhop (Kevin Allen), the Opera Guild’s President (Kim Williams), and a sexy star soprano (Tara Roberts).

Larry Williams (Director) does a fine job leading an extraordinary cast including Murdock who is delightful in the role of the Italian tenor Merelli. Moon’s stage presence is impressive when she brings out the rage, scorn (and humor) of her character Maria. Other stand out performances include Nelson’s heartfelt portrayal of Max and Roberts’ seductive charm as Diana.

Allison Sutherland’s spectacular costumes and Carl Jordan’s vintage set design add much to the production.

Kudos to Jaime Love (Artistic Director) and everyone involved creating a memorable show—not to be missed!

Coming up next at Sonoma Arts Live is The Prom, directed by Jonathen Blue, July 12-28.

Marin Theatre Company presents Harvey Fierstein’s Torch Song May 9-June 2 in Mill Valley. This production is thoroughly enjoyable thanks to the extraordinary talent of the cast and creative team led by Director Evren Odcikin.

In 2017 Fierstein revised his1983 Tony Award winning play, Torch Song Trilogy, into a shorter, two-act version called Torch Song.The plot still centers on Arnold Beckhoff, a lonely Jewish man (and drag queen) looking for real love in New York City in the late 1970’s (before AIDS). As the story develops, the characters all struggle to find love despite the betrayal, confusion, judgment and unrequited feelings that often accompany it.

Dean Linnard’s range is incredible playing the role of Arnold. His performance is full of energy, touches your heart, makes you laugh and relate to his character’s yearning for love and understanding.

Patrick Andrew Jones (playing Arnold’s bi-sexual friend Ed) captures the essence of his character’s ambivalence and difficulty confronting his sexuality.

Kina Kantor is spot on as Laurel (Ed’s female lover) and Nancy Carlin (Arnold’s mother) is excellent showing the complexity of her character–a woman who loves her son but finds his “choices” difficult to accept.

Equally exceptional in their roles are Joe Ayers as David (a gay teen that Arnold takes in as a foster kid) and Edric Young who plays Alan, a sweet young man who gives up “hustling,” after Arnold saves him from a violent confrontation, falls in love with Arnold and becomes his lover.

Kudos to Sarah Phykitt for her incredible Scenic Design—especially the giant bed, Jessie Amoroso for the lovely Costume Design, Lana Palmer (Sound Design), and Nick Carvalho (Stage Manager). Their creativity and talent add much to this a memorable show!

Coming up next at Marin Theatre Company is Yaga by Kat Sandler, October 10-November 3.

Don’t miss The Book Club Play, presented by Ross Valley Players now through June 9 at the Barn Theater in Ross.

Written by Karen Zacarias and directed by Mary Ann Rodgers, the show will make you laugh and smile. It’s entertaining from start to finish thanks the extraordinary talent of the ensemble cast and creative team.

The stage (Ron Krempetz/Dhyanis) is set perfectly for a book club.  Ana’s comfortable living room has a well stocked bar, cozy couches, chairs, plenty of bookshelves and warm lighting (Ellen Brooks).

As the play begins, the members of the club introduce themselves one by one. First is Ana (Elena Wright), a journalist who holds the book club in her home. She has agreed to let a documentary filmmaker set up a camera to record the club’s meetings. Next is Lily (Chiyako Delores) who works with Ana at the local newspaper. Lily joins the club to meet people since she’s new in town.  Rob (Mark Vashro) is Ana’s husband. He admits he’s “not a big reader,” but likes the food and company at book club. Jen (Jannely Calmell) is a paralegal. She says books are her “best friends.”  Will (Matthew Travisano) works at a history museum—he’s well read, well dressed and dated Ana before she met her husband Rob.

After the introductions, Ana explains the camera is pre-set to record the group every two weeks when they meet. The food and wine flows as they discuss the first book selected, Moby Dick.

Later in Act One, a new character, Alex (Gabriel Ross)  joins the group for the first time. He’s a friend of Jen’s and a comparative literature professor. He doesn’t enjoy books anymore and claims his “connection” to books and people is “broken.”

Throughout the play, a separate character called “the pundit” (Marsha van Broek) appears between scenes offering wit and wisdom on various aspects of books and the book business. She is hilarious playing multiple roles (both male and female) including a retired librarian, secret service agent, Wal-Mart book stocker, prison bookseller and literary agent.

As the story develops and the group discusses Age of Innocence, Twilight, The Da Vinci Code, Harry Potter and other familiar titles, the characters recognize the powerful effect that books have on themselves and each other.

Special thanks to Steve Price (Producer) for bringing this touching comedy to the Ross Valley Player’s stage.

Coming up next at Ross Valley Players is Crossing Delanceyby Susan Sandler and directed by Adrian Elfenbaum, September 12-October 13.

Sonoma Community Center was packed last weekend for the final performances of the musical The Hello Girls, presented by Sonoma Arts Live.

According to Jaime Love, Artistic Director, it’s “about the first female U.S. military unit…groundbreakers who operated switchboards translating vital communications during World War I.” Serving as part of the U.S. Army Signal Corp., these bi-lingual women ironically did not even have the right to vote until two years after the war ended in 1920.

Based on the book by Cara Reichel and Peter Mills (music and lyrics also by Mills), the story comes to life with Maeve Smith’s fine direction and outstanding music direction by Aja Gianola-Norris.

The show is a real winner thanks to spectacular choreography by Jonathen Blue and lovely live music performed by members of the cast along with Elaine Herrick (bass/cello) and Erica Dori/Elizabeth Dreyer Robertson (percussion).

The ensemble cast is multi-talented. They act, sing, dance and some play musical instruments—all with great energy and range. Tina Traboulsi shines in her role as Louise (she also plays clarinet and guitar).  Mike Pavone is commanding as General Pershing and Jonathen Blue stands out with his powerful singing voice and strong acting as “Doughboy” Lt. Wassen.

Rounding out the fine cast is Caroline Shen (Bertha/piano), Emily Evans (Helen/violin), Sarah Lundstrom (Suzanne), Jenny Veilleux (Grace), Drew Bolander (Lt. Riser), Skyler King (Masterson) and Phi Tran (Morris). The actors’ dialects were spot on thanks to John Rustan (Dialect and Language Coach).

The set is simple so the costumes (Jaime Love/Maeve Smith), sound design (Tom Luekens) and lighting (Frank Sarubbi) add much to the overall mood. Kudos to the rest of the creative team and entire cast for creating a memorable show!

Coming up next at Sonoma Arts Live is Lend Me A Tenor,May 31-June 16 followed by The Prom, July 12-28.

Ensemble Photo by Robin Jackson

New Works at Ross Valley Players presents a delightful and entertaining new musical, The Divine Sarah by June Richards and Elaine Lang on stage now through April 7 at the Barn Theatre in Ross.

Lovely live music by Jon Gallo (Keyboard/Music Direction) and Diana Lee (Cello), fine direction by Jay Manley and the cast’s outstanding acting, singing and dancing bring Sarah Bernhardt’s incredible story to life. Co-producers Michael Cohen and Gina Pandiani hope this play will “honor Bernhardt’s artistic brilliance and inspire audiences with her passion, determination and resilience.”

Forty years ago Richards and Lang wrote and staged a reading of the play that included fourteen songs and ensemble music, but a full production never happened. Then a few years ago, Richards and Lang updated the script keeping the original music and songs in place. Next Manley agreed to direct the piece for Ross Valley’s New Works. He calls the show “a true labor of love,” and describes French actress Sarah Bernhardt (1844-1923) as “a pioneering woman…magnetic…able to cast a spell on the great playwrights of her day,” (Victor Hugo, Oscar Wilde and Edmund Rostand to name a few). He hopes the production brings “excitement, respect and awe for this magnificent star.”

Merrill Grant is brilliant playing Sarah, first as a young woman, then through the years as she develops into an accomplished actress and international celebrity. Grant’s singing is amazing and so is the voice of Lucas Michael Chandler who stands out in the role of Jean Mounet Sully, a fellow actor who became Bernhardt’s good friend and lover.

The other cast members show extraordinary talent and range playing multiple roles including Alexandra Fry (young Sarah /Regine), Keith Jefferds (Oscar Wilde/Czar Alexander III) and Robin Schild (Victor Hugo/Mark Twain). The rest of the company (Amy Dietz, Anna Joham, Julia Ludwig. Brad Parks and Ron Talbot) shines—their singing, dancing and acting adds much to the production.

Kudos to Ronald E. Krempetz (Scenic Design), Michael Walraven (Technical Director), Michael Berg (Costume Design), Michele Samuels (Lighting Design) and Lucas Chandler (Choreography) for the imaginative set, lovely costumes, creative lighting and wonderful dancing. Special recognition goes to John Diestler for giving the audience a look at the real Sarah Bernhardt with “Block” digital images of her placed all around the stage.

The New Works program presents new, original works by Bay Area playwrights and consists of a full production and staged readings on two nights each season. Along with The Divine Sarah, the four readings this season are AI Threesome by Joe Wolff, Dead People by Bridgette Data Portman (March 17), Cowboy and Widow by Lynn Lohr and Lance Belville with music by Dolan Ellis, Wayne Hamilton and Eric Peltoniemi and Swing Set by Keith Jefferds (March 24).

Coming up next at Ross Valley Players is The Book Club Play by Karen Zacarias, directed by Mary Ann Rodgers, May 10-June 9.

Marin Theatre Company presents the West Coast Premiere of Bees and Honey, a new play by Guadalis Del Carmen on stage now through March 10.

In an interview with the Theatre Times Del Carmen explains the play is “about love…we’re taught that love is this perfect and beautiful thing that can magically fix everything, but everyone leaves out the part about love being hard work. To see two people of color (specifically Afro-Latinx) on stage having a real and raw relationship is rare.”  Karina Gutierrez’ excellent direction and the extraordinary talent of Jorge Lendeborg Jr. (Manuel) and Katherine George (Johaira) bring Del Carmen’s powerful love story to life.

As the play begins, Juan Luis Guerra’s bachata song, “Como Abeja al Panal” plays in the background while Manuel and Johaira talk about the thrill of dancing to bachata music (popular in their shared Dominican culture). They reminisce about how they met before they got married and their first dance together. The lights dim and the music gets louder as they begin dancing in complete sync with one another. Their movements are rhythmic, sensual, intense and demonstrate the strong connection and passion they feel for each other.

But the spell is broken as the lights go up and the next scene takes us inside the couple’ small apartment.  As the story develops, their individual differences, work challenges, family conflicts, gender roles and sexuality all come into play illustrating how even the most loving relationships can be difficult.

The play requires both actors to express a broad range of emotions. Lendeborg Jr.’s acting is especially impressive when portraying his character’s vulnerabilities. George exeplifies her character’s ambivalence, frustration and sorrow.  Their performances are authentic, heartfelt and deeply moving.

Carlos Antonio Aceves (Scenic Design), Jeunee Simon (Intimacy Coordinator), Mark Ellis (Dance Consultant) and Kate Boyd (Lighting Design) all deserve special recognition for their contribution to this incredible show. In fact, all of the creative team and show staff makes it a memorable experience–not to be missed!

Coming up next at Marin Theatre Company is Harvey Fierstein’s Torch Song, directed by Richard Mosqueda, May 9-June 2.

Photo:  Top Row:  Nicole Thordsen (Sir Robin), Izaak Heath (Sir Lancelot), John Griffin (Sir Bedevere) & Michael Coury Murdock (Sir Galahad). Bottom Row:  Michael Hunter (Patsy) & Bruce Vieira (King Arthur). Photo by Jere Torkesen & HariettePearl Fuggit

Novato Theater Company’s current production Spamalot is an amusing and fun-filled musical on stage now through March 3. Based on the film Monty Python and the Holy Grail, the play won Eric Idle a Tony Award for Best Musical in 2005. This show is entertaining from start to finish thanks to excellent choreography and musical staging by Marilyn Izdebski who also produced the show.

The creativity of the director (Larry Williams) and production team along with the large cast’s fine acting, singing and dancing bring this hilarious parody of King Arthur’s legend to life. A wonderful live band features Daniel Savio (Keyboard, Conductor), Christopher Hewitt (Keyboard), Zack Miller (Bass) and Dean Cook (Drums). Savio’s musical direction brings out the best of John DuPrez’ and Eric Idle’s original music.

As Act One begins, the “Historian” (Bethe Jensen) appears on a castle balcony and provides an overview of life in England around the year 900. Incredible sound and energy comes off the stage as the music begins and the large ensemble performs the first song and dance number “Fisch Schlapping.”  Next Bruce Vieira gives a powerful performance of “King Arthur’s Song”.  He is a commanding yet comical King Arthur leading the quest for the Holy Grail.

Another highlight in Act One is a delightful rendition of the song “I’m Not Dead Yet” featuring Kevin Allen (Not Dead Fred), Nicole Thordsen (Sir Robin) and Izaak Heath (Sir Lancelot). The next scenes showcase the extraordinary talent of Dani Innocenti Beem as the Lady of the Lake. She sings “The Song that Goes Like This” beautifully with Michael Coury Murdock (Sir Galahad).

Other stand out performances include John Griffin as Sir Bedevere, Jere Torkelsen as God, Sir Not Appearing & Brother Maynard and Paul Hogarth as The French Taunter & Minstrel.  The four main dancers (Abigail Burton, Shino Yamagami Cline, Olivia Ekoue Totou and Hannah Passanisi) add much to the show especially as “Laker Girls” (complete with pom-poms) and “Showgirls” as the setting moves to a Vegas-like Court of Camelot. Kudos to Tracy Bell Redig for her bold costume design.

In Act Two, King Arthur and his side-kick Patsy (Michael Hunter) get lost in the forest. They are soon joined by the full company for the play’s signature song “Always Look on the Bright Side.” Other stand out songs include Beem singing “Whatever Happened to My Part,” and Allen performing “Where Are You/Here Are You” as Prince Herbert.

Right before the finale, Arthur, Patsy and the Knights sing “The Grail’s Been Found” then the full company ends the show with a wedding scene reprising the song “Always Look on the Bright Side of Life.” Soon the whole audience is singing along and smiling.

Coming up next at Novato Theater Company is Noises Off by Michael Frayn, directed by Carl Jordan, June 20-July 14.

Jaeden Sanchez and Steve Price in Our Town

Photo by Robin Jackson

Ross Valley Players’ current production of Our Town is superb.  The show runs now through February 25 at the Barn Theater in Ross.  Director Chloe Brozan and the talented cast bring Thornton Wilder’s classic American story to life.

Following the play’s premiere in 1938, Wilder wrote “the audience was deeply absorbed…there was much laughter and applause.” The next run flopped in Boston but the Broadway show was a hit winning Wilder a Pulitzer Prize. At the time Eleanor Roosevelt said the play “moved and depressed her.”  Her description ironically reflects the play’s main theme–that life is both “awful…and wonderful,” yet each moment should be treasured because “it goes so fast.”

As the show begins, it is clear this is a “play within a play.” The set is sparse, the stage mostly empty until the “stage manager” (played exquisitely by Lisa Morse) welcomes the audience and describes the small town and people of Grover’s Corners, New Hampshire. Morse is especially good at introducing characters and explaining events as she enters and exits the stage speaking directly to the audience.

The story focuses on two families and the changes in their lives during the years 1901-1913, especially the love that develops between George Gibbs (Jaeden Sanchez) and Emily Webb (Tina Traboulsi). Sanchez beautifully captures both his character’s youthful hope and later grief. Traboulsi is extraordinary and her range outstanding as her character matures and changes over time.

The rest of the cast (composed of both younger and older actors) is equally brilliant, especially Michael-Paul Thomsett (Dr. Gibbs), Lauri Smith (Mrs. Gibbs), Steve Price (Mr. Webb), Jennifer McGeorge (Mrs. Webb) and Ann Fairlie (Mrs. Soames). Price is convincing as a loving father and a man not prepared for the many changes taking place around him. Fairlie’s role may be small but her stage presence is off the charts. Kudos also to the rest of the incredible cast including Dalton Ortiz (Joe/Wally), Justin Hernandez (Howie/Sam), Alexandra Fry (Rebecca/Si), Tom Reilly (Professor/Constable/Mr. Morgan) and Peter Warden (Simon).

Thanks also to Michael Berg (excellent period costumes), Ronald Krempetz and Michael Walraven (set), Billie Cox (sound/original music) and Frank Sarubbi (lighting). Their creativity adds much to the overall mood and enjoyment of this production.

Coming up next at Ross Valley Players is The Divine Sarah, a musical by June Richards and Elaine Lang, directed by Jay Manley, March 15-March 31.

Sara Porkalob was given a standing ovation last weekend at Marin Theatre Company following her amazing one-woman musical show Dragon Lady.  Porkalob’s energy and talent as a writer and performer is a joy to behold. She knows how to take the stage, sings like a superstar and acts with depth and emotion.

Like a gifted mimic, she changes her voice, accent, tone and mannerisms bringing multi-generational characters from her Filipino family to life. Kudo’s to Andrew Russell for his outstanding direction, Pete Irving for his beautiful original music and the live band Hot Damn Scandal (Irving, Mickey Stylin and Jimmy Austin) for never missing a beat.

The set is spectacular thanks to Randy Wong-Westbrooke (Scenic Design), Kahlil Gray (Carpenter) and Joshua Patterson (Painter).  A huge dragon tail frames the stage and set of the Red Dragon nightclub. The club’s seating areas are upholstered in rich, red silk and velvet. Eerie lighting (Spense Matubang), a smoky mist and a jukebox that plays itself create a surreal mood.

The creativity and talent from all of those involved in this production is truly inspiring, especially Porkalob who bravely takes on the subject of generational trauma and bares every emotion. Even after the show, she shed a few tears on stage and her belief that “it is never too late to atone for the pain we inflict on the ones we love most and to forgive ourselves for past regrets.”

Coming up next at Marin Theatre Company is Bees and Honey, a new play by Guadalis Del Carmen, February 15 to March 10, 2024.