Greg & Suzanne Angeo

From left: Mark Anderson Phillips, Ben Johnson, Mark Bedard

Reviewed by Suzanne and Greg Angeo

Send in the Clowns

As a college student in his native Ireland, poet, novelist and playwright Samuel Beckett was inspired by Charles Chaplin and Buster Keaton. This is delightfully apparent in his seminal work “Waiting for Godot” being presented at Marin Theatre Company.  What is less apparent is a storyline or plot. This, as it turns out, was the playwright’s intent. “Godot” was so controversial during its first outing in Paris in 1953 that brawls erupted among theatergoers who had differing opinions on exactly what Beckett was trying to say. Originally written in French (Beckett’s favored language), its title “En Attendant Godot” translates literally to “While Waiting for Godot”, which is a much better description of what happens – or does not happen – onstage.

The curtain rises on Vladimir (called Didi) and Estragon (called Gogo), two clownish everymen calling up the friendly ghosts of Laurel and Hardy in their appearance and demeanor. They could be brothers, lovers or friends; it makes no difference. Both guys wear shabby ill-fitting suits and bowler hats, the uniform of silent screen comics. They linger near a barren tree by the side of a deserted road, and it’s obvious they’ve been there quite awhile, maybe for days. Who is Godot, and why do Didi and Gogo wait for him? This almost seems to be beside the point, and there are no real specifics in the dialogue. This overall vagueness, so intelligently designed by the playwright, has allowed audiences worldwide the freedom to make of it what they will, in much the same way the early silent comedies transcended language and culture. You can discover profound existential meaning, or let this comedy-of-the-absurd wash over you for pure enjoyment. It meets you where you are, whoever you are.

As Gogo and Didi pass the time, there’s much blathering on about nothing, and everything. There are farts, smelly feet, pratfalls and funny poses. There are discussions of halitosis, heaven and hell, suicide and mandrakes, memory loss and bladder problems. There are philosophical questions, songs and jokes. Mark Anderson Phillips infuses his Gogo with simple sweetness, the more earthbound of the pair. The assertive Didi is played with clumsy determination by Mark Bedard. Both actors are at the top of their game, cavorting on the razor’s edge between overt sentimentality and over-the-top silliness, where a tumble in either direction could spoil the effect. Like skilled trapeze artists, they keep their balance.

The peace is shattered suddenly, with a shout, when fearsome megalomaniac Pozzo (James Carpenter) bursts upon the scene. He is pulled along on a long, thick rope by a grim, wheezing, cadaverous-looking fellow called Lucky (Ben Johnson). This bizarre and unexpected event certainly rocks Gogo and Didi’s world, causing them much trepidation, then speculation. Carpenter lends Pozzo an air of controlled frenzy and a pathological need for attention. Johnson delivers an enormous performance as the mostly silent, dejected Lucky. His one turn to speak is like watching a great tree come to life. What at first seems to be a master-slave relationship between Pozzo and Lucky takes a strange and ironic turn between their first appearance and when they show up again near the end of the second act.

Just when we are beginning to doubt the existence of someone named Godot, a young boy who works for him (Lucas Meyers) arrives to deliver a message from his master to Gogo and Didi. It seems their wait will continue.

Instead of finding a need to fill every moment with some bit of business, director Jasson Minadakis (in his seventh season as MTC Artistic Director) carefully preserves the stillness between the lines with graceful timing and crisp, choreographic blocking of the characters’ movements. By focusing equally on the pair’s buffoonery and seemingly hopeless plight, and treating both comic and tragic elements of the play with an even hand, he reinforces the playwright’s intent in allowing the audience to identify with the characters as part of the universal human condition of interdependence.  While playing Estragon in the original 1955 London production, actor Peter Woodthrope asked Beckett what the play was really about. Beckett replied “It’s all symbiosis, Peter; it’s symbiosis,” The secret, revealed.

Beckett’s play tells us we’re all waiting, and chained to habits. It illustrates how we can be rooted to the spot by lack of imagination or fear of change, but we need each other, and there is hope if we face life together, whatever comes. This play carries deep pleasure straight to the heart, which explains why it has endured for almost 60 years, through all times and all cultures of the world.

When: now through February 17, 2012

8 p.m. Tuesdays, Thursdays, Fridays and Saturdays

7:30 p.m. Wednesdays

2 p.m. and 7 p.m. Sundays

2 p.m. Saturday, February 16

Tickets: $36 to $57

Location: Marin Theatre Company

397 Miller Avenue, Mill Valley CA 94941
Phone: 415-388-5208

Website: www.marintheatre.org

From left:  Zac Schuman, Dell Thomas,  Peter Warden, Mitch Thomas

 Reviewed by Suzanne and Greg Angeo

Photos by Eric Chazankin

 A Real Blast – From the Past

A diverse bunch of lively neighborhood kids gets together to celebrate love and life in 1950s America, to a soundtrack of smoking-hot rock’n’roll, soul, and rhythm and blues. Every song tells a story, and every singer has a story to tell. The musical revue “Smoky Joe’s Café” at 6^th Street Playhouse is a cavalcade of 39 classic songs by Jerry Leiber and Mike Stoller, songwriters that together changed American culture and history with their groundbreaking music.  Accompanied by a groovin’ seven-piece band led by music director Mateo Dillaway, 6^th Street presents one rowdy crowd-pleaser of a show. Timeless pop hits like “Young Blood”, “Searchin’”, “Poison Ivy”, “There Goes My Baby” and “Stand by Me” inspire foot-stomping and dancing in the aisles.

Conceived by musical theatre veterans Stephen Helper, Jack Viertel and Otis Sallid, “Smokey Joe’s Café” had its premiere at the Ahmanson Theater in Los Angeles in 1994. It went on to become the longest-running musical revue in Broadway history, nominated for seven Tonys in 1995. The show’s pretext is to tell the stories of these kids from the neighborhood, but using song instead of dialogue. There’s no plot, no story to speak of, just a string of sparkling tunes that pop up, one by one, to be interpreted by the performers, each with their own distinct character to play. This lack of structure and storyline allows a production the opportunity to explore and challenge their talent, and to craft their very own “Smokey Joe’s Café”.

At 6^th Street, the cast and crew grabbed this opportunity with both hands and ran with it, creating a fun, entertaining show. The performers consist of five men and four women, each with their own magnetic stage presence, set in motion by the great choreography and stage direction of Alise Gerard, who provides for dramatic arcs and comedic escapades within several numbers. The performers’ remarkable emotional range, phrasing and interpretation of the lyrics are guided by vocal director Janis Dunson Wilson.

Zac Schuman, with his soaring, pitch-perfect tenor, most notable in “There Goes My Baby”, and Mitch Thomas’ deep, melodic voice that booms like low thunder in numbers like “Keep on Rollin”, are standouts in a group of truly outstanding singers that include Marc Assad, Dell Parker and Peter Warden.  Their thrilling 5-part harmony – thanks in large part to the balancing effect of Thomas’ reverberating bass — induces goosebumps and shrieks from the audience.  The hyperkinetic Warden practically steals every number he’s in, which is most of them. At times he seems to be channeling Stan Laurel, other times Pee-Wee Herman, but in any case he’s clearly an audience favorite with his engaging vocals and rubbery reflexes.

From left:  Kelsey Meille Byrne,   Marc Assad, Emily Somple

As a total performance package, Emily Somple delivers star quality with a sultry assurance and throaty voice showcased in numbers like “Falling” and “Trouble”.  Each of the other ladies is a formidable talent as well: Amy Webber, Kelsey Meille Byrne and Olivia Chavez offer unique personalities and vocal qualities, individually and as a group. This gives a nice texture to the overall production. Highlights of the show include Webber’s powerful yet wistful “Pearl’s a Singer”, and Byrne’s steamy “Some Cats Know”.  The rousing ensemble closing number to Act One, “Saved”, is led by Chavez.

Director and choreographer Alise Gerard brings a lively, fresh spirit to the proceedings, coming less than a year after her sensational debut as choreographer for 6^th Street’s smash hit “The Marvelous Wonderettes”,  followed by “Great American Trailer Park Musical” and “It’s a Wonderful Life”. Unfortunately, this will be her last show for 6^th Street, at least for awhile – she’s taking her talented self to new digs in New York City. Santa Rosa’s loss is Broadway’s gain.

Even though it seems to run out of gas near the end, only to come roaring back for the finale, this infectious show makes true believers of all within eye-and-earshot, with cheers and whoops of appreciation throughout. After all is said and done – even with good lighting, sound and costumes – it’s the performers that make “Smokey Joe’s Café” an exhilarating, spirit-lifting experience.

 When: Now through February 10, 2013

8:00 p.m. Thursdays, Fridays and Saturdays

2:00 p.m. Sundays

2:00 p.m. Saturday, February 9

Tickets: $15 to $35 (reserved seating)

Location: GK Hardt Theater at 6^th Street Playhouse

52 West 6^th Street, Santa Rosa CA

Phone: 707-523-4185

Website: www.6thstreetplayhouse.com

Steven Abbott (left), Tim Kniffin

Reviewed by Suzanne and Greg Angeo

Sure and It’s a Grand Time You’ll Have

Storytelling is an honored tradition in Ireland dating back to ancient times. A bit of the Ould Sod is on merry display at Cinnabar, and it’s so infectious and transformative that it just might make you Irish – or at least make you wish you were.

“A Couple of Blaguards” unfolds in a series of zesty anecdotes set to music, laced with sharp wit and occasional naughty bits. It’s based on writings by Frank McCourt that later on inspired him to write his vivid autobiography “Angela’s Ashes”, about growing up in Ireland amid wretched poverty. He co-wrote “Blaguards” with his brother Malachy McCourt, an author in his own right.

Born in Brooklyn at the dawn of the Great Depression, as toddlers Frank and Malachy moved with the rest of the McCourt family to Ireland, land of their parents’ birth. They suffered terrible hardships there, but while growing up never lost their courage, or their sense of humor. The brothers eventually moved back to America, Frank becoming a respected high school teacher, and Malachy, a popular Broadway actor and saloonkeeper. In the 1980s they teamed up to write “Blaguards”, originally performed with the brothers playing themselves. It was so popular that professional theatre companies began staging it. It has been performed to rousing applause all over the world ever since, for over 20 years. Frank went on to craft his phenomenal 1996 best-seller “Angela’s Ashes” based in part on this material. Two years later, Malachy wrote a memoir of his own, “A Monk Swimming”.

The set by David Lear takes the form of a rustic, cozy pub complete with dartboard and a most inviting fireplace. The effect is enhanced by the cabaret-style seating for the audience used by Cinnabar this time of year. The local Irish-Celtic folk ensemble Youkali is on hand, joined by Cinnabar Music Director Jim Peterson, supplying the evening with lively, whimsical Irish tunes that weave in and out between the vignettes.

Director Sheri Lee Miller’s choice of a pub setting is fitting, yet ironic; a pub represents the prime source of the McCourt family’s misery. Frank and Malachy’s alcoholic father spent most of his paltry income in pubs with little to spare to feed, clothe or shelter his family. In Miller’s skillful hands, the pub becomes a focal point of release, an ideal setting for witty narratives and darkly humorous recollections.

Miller’s staging is an ingenious collaboration with her talented actors, Steven Abbott (Frank) and Tim Kniffin (Malachy), who tell their tales with song and spoken word. Besides the two main roles, the script requires Abbott and Kniffin to perform a dizzying multitude of characters from the brothers’ past. There’s a grandmother in there, along with various priestly tormentors, gossipy young ladies and dodgy childhood companions, all quickly assumed with the nimble flick of a scarf, facial expression or attitude. It’s a triumph of imagination and magic: taking what exists only in the minds of the actors, and bringing it onto the stage.  Each actor in turn is a pure delight. Kniffin takes the stage with assurance, exuding a boyish yet devilish charm as Malachy, playing the role with an arch goofiness.  Abbott has Frank nailed: brashness mixed with sensitivity, a scholarly yet vulgar fellow whose ambition leads him to accomplishment and acceptance.

“Blaguards” denies its harsh and bitter origins: A sweet spirit permeates the show, teamed with a ribald gaiety that’s irresistible. Memories take on a warm and hazy glow, like that of the fireplace, softening the years of grinding poverty and desperation. One can only conclude that while the McCourt boys have not forgotten, they have certainly forgiven, finding joy and strength in what remains.

When: Now through January 27, 2013

8 p.m. Fridays and Saturdays – January 12, 18, 19 & 26

2 p.m. Sundays – January 13, 20 & 27

Tickets: $25 to $35

Location: Cinnabar Theater

3333 Petaluma Blvd North, Petaluma CA
Phone: 707-763-8920

Website: www.cinnabartheater.org

From left: Mark Bradbury, Heather Buck, Natalie Herman, April Krautner

Reviewed by Suzanne and Greg Angeo

Photo by Eric Chazankin

Ambitious, Enjoyable Stage Adaptation of Capra Classic

Frank Capra’s tender tribute to the value of a single human being, and to life itself, is being presented in a fresh new way at 6^th Street Playhouse’s GK Hardt Theater. The world premiere of the newest original musical version of “It’s a Wonderful Life” makes for plenty of comfort and joy, with only a few bumps along the way.

Capra’s iconic fantasy film was based on an obscure short story “The Greatest Gift: A Christmas Tale” by American author and historian Philip Van Doren Stern. Stern could not find a publisher for his story, so he had 200 copies printed up as pamphlets, and put them inside the Christmas cards that he sent to his friends and family in December 1943. Somehow, one of these pamphlets fell into the hands of an RKO producer. Stern’s permission was obtained for film rights, an adaptation was written and kicked around, and in 1945 the motion picture rights were finally sold to Frank Capra. He was quick to see the emotional power and potential of the story, and the following year, through his production company Liberty Films, he lovingly crafted it into what many consider to be his most beloved film. In the late 1940s there were a couple of radio presentations, with Jimmy Stewart and Donna Reed reprising their roles. Within the past 20 years or so there have been a few other musical stage adaptations and even some live radio plays staged around the country. And, yes…Stern’s little story finally did get published!

Veteran Bay Area actor, teacher and playwright Larry Williams adapted the screenplay for his own original stage production, enlisting the considerable talents of 6^th Street Music Director Janis Dunson Wilson to create the musical score. Wilson also collaborated with Williams and Marcy Telles to create the lyrics. In an imaginative bit of storycraft, Williams rewrote the gender of some of the characters, and altered their circumstances somewhat. The lovable Clarence, Angel Second Class, morphs into the scampish girl-Angel Clara. She basically functions as the Ghosts of Christmas Past, Present and Future combined, showing George Bailey flashback scenes of his dream-filled childhood and youth, and finally, what the world would be like if he had never been born. Uncle Billy becomes an aunt, and some peripheral characters do a gender-bend as well, to mixed effect.

There are some notable musical numbers with strong vocal performances: Natalie Herman as Clara sings “Welcome to Bedford Falls” and a sweet serenade “Do You Want the Moon?” is sung by Mark Bradbury (George) and Heather Buck (Mary). Near the end of the second act, the bluesy ensemble piece “Pottersville” features a scorching torch-song solo by April Krautner, in her role as the seductive Violet. She, quite simply, brings down the house. “Ask Somebody to Dance” is performed by the lively ensemble cast, choreographed by Alise Gerard (“The Marvelous Wonderettes”). Other outstanding performers are Anthony Guzman (Bert), and Williams himself as the evil Mr Potter, the juiciest part in the show. He was so convincing in his role that, at curtain call, when he first appeared to take his bows, he received loud hisses and boos, and then laughter and applause.

Direction by Sylvia Jones and 6^th Street Artistic Director Craig Miller serves the story well enough.  The set is very simple, with fixed stations spotlighted to represent various locations around town, and scene changes are effectively achieved mainly by moving spotlights and furniture around. Sound trouble in the form of crackling mikes plagued the show throughout, and there were a number of ensemble cast members who had more than their share of pitch problems.

But the message hits home. Yes, it’s a wonderful life – each and every life – no matter how poor, humble or small we may think we are. This story seeks to show how everyone’s life has power and significance, how each of us touches another in unimagined ways. Sometimes in the telling, in its various and sundry versions, the story can be dark and frightening. But in its newest incarnation at 6^th Street, “It’s a Wonderful Life” is a bright and pleasant way to usher in the holidays for adults and children of all ages.

When: Now through December 23, 2012

8:00 p.m. Thursdays, Fridays and Saturdays

2:00 p.m. Sundays

2:00 p.m. Saturdays December 15^th and December 22

Tickets: $15 to $32 (reserved seating)

Location: GK Hardt Theater at 6^th Street Playhouse

52 West 6^th Street, Santa Rosa CA
Phone: 707-523-4185

Website: www.6thstreetplayhouse.com

Michael McGurk and Elly Lichenstein

Review by Suzanne and Greg Angeo

A Sentimental Journey With Mixed Blessings

 It’s Labor Day weekend, 1944, and all over America there are stars hanging in windows where the home fires are burning bright; stars that tell the world these families have men in the Armed Forces, fighting the enemies of freedom, fighting a battle with so much at stake. But the star in the window of one home in particular is not quite what it seems. In its world premiere at Cinnabar, “So Nice To Come Home To” is an intensely sensitive drama graced with spirit-lifting anthems and bright flashes of musical comedy. It’s a tender valentine to that time and place, and to that Greatest Generation, with a surprising twist to the story that makes it truly unique entertainment.

The idea for “So Nice…” was first hatched when Cinnabar Theater founder Jan Klebe approached local composer Richard Evans with a commission to write an original musical to help celebrate Cinnabar’s 40^th Anniversary this year. One condition: the material must be based on the work of JM Barrie, best known as the author of “Peter Pan”.  Barrie’s WW I-era play “The Old Lady Shows Her Medals” ultimately was chosen as the primary inspiration for this new musical.  Evans brought East coast playwright Kate Hancock on board, and together they updated Barrie’s storyline to a World War II home front setting. This is familiar territory for Evans, and one close to his heart; he grew up during the war, with family members in military service, and even played “big band” tunes with war veterans while in high school. He and Ms Hancock also partnered on the music, with Hancock penning the lyrics and Evans creating the original musical score.  Indeed, many of the songs in “So Nice…” are inspired by the period, especially those in the second half of the first act. Most of the music, however, includes song styles you might hear in more contemporary musicals.

The onstage talent in Cinnabar’s newest production is extraordinary. A special surprise is Cinnabar Artistic Director Elly Lichenstein in the lead role of lonely, middle-aged Kate, with her soaring operatic vocals and thread-the-needle emotional power. Broadway pro Michael McGurk as Ken, a young soldier home on leave, really dazzles in his performance. He embodies triple-threat stage presence by virtue of his excellence in acting, singing and dancing. Also outstanding is Stephen Walsh as everybody’s friend Al O’Donahu, who at one point finds himself as MC at the legendary Stage Door Canteen in a show “for the boys”.

Speaking of the boys, noted Bay area cabaret singer Michael Van Why is the show-stopping “Ziegfeld Man” Bill Brannigan, whose routine featuring a gaudy Carmen Miranda impression is an absolute scream. Evans told us that he wrote two numbers with Van Why specifically in mind, with a nod to his acclaimed 2009 appearance in “La Cage Aux Folles” at 6^th Street Playhouse.

A murky subplot of the story is Kate’s ongoing relationship with her ex-husband Harry, a business mogul played with stiff plutocratic authority by Bill Neely. Valentina Osinsi has a dual role as Kate’s resolute gal pal Jean and Harry’s new trophy wife Eleanore.  She is thoroughly convincing in each, very different role, with a lovely light soprano voice. Michael Van Why shows his versatility in a small, hysterically funny second role as Harry and Eleanore’s ancient and absent-minded butler, Tombs.

Director Ann Woodhead makes good basic choices in moving her actors through each scene. They do everyday tasks and walk about naturally as they speak. However, at times some elements of lighting and sound do not serve the story as well as they could. Lighting is a powerful tool of stagecraft that helps designate a change of scene, with varying colors and intensity. In “So Nice…” it’s used to excellent effect in some scenes. But at other times, like when Kate and Ken are visiting certain sights of New York City, the lighting remains unchanged, as does the set. Even though suspension of disbelief is usually expected of an audience, you don’t want them to work too hard at it. Sound presents another problem – during musical numbers, those seated in the first few rows on the right-hand side of the theater may have trouble hearing the performers’ vocals. Because of the orchestra’s placement, it just drowns out anyone onstage for those unlucky enough to be seated in the wrong place. Conductor Mary Chun’s four-piece band brings great energy to the musical score. For the most part, it’s effective in presenting the songs of the period, but recorded music and radio bits are essential to fill in the blanks, and they do.

Certain elements of the story seem to need further development to be fully satisfying, like the future of Kate and Harry’s relationship, or the way Ken comes into, and leaves, their lives. It seems like more could have been done to bring the tale full circle. But even so, this is a truly unique, surprising, and touching musical journey to a time our country cannot afford to forget.

When: Now through November 11, 2012

8 p.m. Fridays and Saturdays

2 p.m. Sunday November 11

Tickets: $25 to $35

Location: Cinnabar Theater

3333 Petaluma Blvd North, Petaluma CA
Phone: 707-763-8920

Website: www.cinnabartheater.org

From left: Liz Jahren, Samson Hood, Nathan Cummings, Gary Grossman, Sarah McKereghan

Reviewed by Suzanne and Greg Angeo

Photos by Eric Chazankin

Food for Thought – and Laughs

It starts with a trip to the grocery store.  It ends with populist upheaval.  In between are bits of zany slapstick and broad satire straight from the golden days of television – think I Love Lucy and The Honeymooners meet Mack Sennett, Italian-style. It’s social protest swathed in broad comedy, rage against the machine presented as Commedia dell’Arte.

We Won’t Pay! We Won’t Pay! by Italian playwright and anarchist Dario Fo was written in 1974 for the Italian stage. In 1997, Mr Fo was awarded the Nobel Prize for Literature, for “scourging authority and upholding the dignity of the downtrodden”.  Incredibly,  Fo had at one time been banned from the U.S. under the McCarran Act, a McCarthy-era law designed to keep out “subversives”. We Won’t Pay! was first translated into English in 1975 by Lino Pertile, with a newer adaptation by R.G Davis for his 1980 off-Broadway premiere of the show at the Chelsea Theater  Center. Davis is noted for founding the San Francisco Mime Troupe in 1959, and for his “divergent theatrical concepts”.   Then came the 1999 translation, by Fo’s friend and collaborator Ron Jenkins, for his premiere that same year at the American Repertory Theatre in Cambridge, Massachusetts. It’s the Jenkins version being presented at Cinnabar. It contains only the very subtlest contemporary references. But even without these updates, there is plenty for modern audiences to identify with.

Liz Jahren, Sarah McKereghan, Nathan Cummings

The story opens with the poverty-stricken but feisty Antonia and her friend Margherita realizing they are in big trouble when they come home from a shopper’s revolt against high food prices at their local grocery store. Their frantic efforts to hide some contraband food from their husbands (and the police!) are beyond hilarious. False pregnancies, wayward olives and not-quite-dead cops propel the madness to dizzying heights. The audience would be on the edge of their seats if they weren’t rolling in the aisles. This play is hysterically funny – hysterical, in every sense of the word.  These ladies and their husbands are pretty excitable folks.

Antonia is played with delightfully manic energy by Liz Jahren (Always Patsy Cline, Dirty Blonde, Who’s Afraid of Virginia Woolf?). She’s the rocket fuel that keeps this show soaring, with her high-decibel voice and animated mugging.  Nathan Cummings (She Loves Me, Crimes of the Heart) is her Giovanni, solid as a rock. Cummings presents a warm and nicely textured performance as the blue-collar hero with high ideals and a charming stubborn streak – he sulks in the closet when he doesn’t get his way.

Antonia’s adorable sidekick Margherita is played by Sarah McKereghan (Crimes of the Heart). Her reactions to her friend and the growing chaos around her are absolutely priceless. She makes good use of her huge eyes and pantomime skills. Margherita’s husband Luigi, a gentle, plodding clown played by Samson Hood (Born Yesterday, Cat on a Hot Tin Roof), has some of the funniest scenes in the show, drawing howls of laughter.

Gary Grossman, Liz Jahren

Multiple roles by master transformer Gary Grossman (Taming of the Shrew, 6^th Street Improv, Born Yesterday) include a “utopian subversive” cop, a state trooper, a grandpa, and a gay undertaker.  He draws upon his vast improvisational talents and impeccable timing, bringing a special nuance to each character.

Gabe Sacher and Harley Hubbard provide support in a couple of small roles as police back-ups. Sacher is especially memorable as a truck driver (miming his truck, no less), whizzing across the stage, blithely puffing on a cigarette, gone in a flash.

Director Laura Jorgensen wisely relies on the talents of her cast, keeping the staging simple and letting the actors shape the storytelling, ideal for this type of satirical farce. The set design includes some vintage appliances and decidedly modest furnishings.

The oddball ending moves us from raucous comedy to passionate polemic almost in the blink of an eye. Is it too rough of a landing? Can this transition be a little smoother? Possibly. But Mr Fo’s intent is to stir things up, turn convention on its pointy little head, and then make you laugh about it. In this regard, We Won’t Pay! We Won’t Pay! at Cinnabar is a roaring success.

When: Now through October 7, 2012

8 p.m. Fridays and Saturdays

2 p.m. Sundays

Tickets: $15 to $25

Location: Cinnabar Theater

3333 Petaluma Blvd North, Petaluma CA Phone: 707-763-8920

Website: www.cinnabartheater.org

From left: Clint Campbell, Jake Flatto, Trevor Hoffmann, Rebekah Patti

 Photos by Eric Chazankin

Reviewed by Suzanne and Greg Angeo
(Saturday, August 25, 2012 evening performance)

Disappointing Launch for 6^th Street’s New Season

For its season kickoff last year, 6^th Street Playhouse’s GK Hardt Theatre enjoyed a stunning triumph with “Kiss Me Kate”, and kept the momentum going with a string of standing-room only hits like “A Christmas Story”, “Cat on a Hot Tin Roof”, “The Marvelous Wonderettes” and “The Producers”.  There were also a number of remarkable shows at 6^th Street’s Studio Theatre. These successes raised the bar not only for local theatre overall, but for 6^th Street itself.  Whether their newest production “Seven Brides for Seven Brothers” can meet last season’s formidable challenge is far from certain.

As its 2012-2013 season opener, “Seven Brides” is a surprising choice for award-winning 6^th Street Playhouse. This lavish MGM movie musical from 1954 was a great success, with stars like Howard Keel and Jane Powell, and an outstanding supporting cast. But the stage adaptation by Gene de Paul, Johnny Mercer, Al Kasha and Joel Hirschhorn was not much of a crowd-pleaser when it first appeared on Broadway in 1982. Actually, it was a flop – it closed after only five performances, and didn’t do much better when it opened in London’s West End a few years later. It saw more success on tour in the U.S. and in revivals, but was never what you’d call a popular hit.

The story is simple and the premise is flimsy. In 1850 Oregon, rugged mountaineer Adam decides it’s time to get him a wife, so he descends from his remote mountain cabin into town. There he manages to charm the naïve but lovely Milly into marrying him, over the strong suspicions of the townsfolk. When she arrives back at the cabin with her bumptious hubby, she discovers they are not alone. His six uncouth, unwashed and unmarried brothers are living there with him. When these wild boys get the idea they’d like to be married too, they end up kidnapping six girls from town. All heck breaks loose, with a happy ending guaranteed. But the show at 6^th Street has problems.

To begin with, there’s the casting. While they do have good singing voices, it’s an understatement to say that most of the brothers do not look like outdoorsy types. It’s hard to believe these guys are supposed to be rough-hewn mountain men – felling trees, splitting logs and killing grizzlies with their bare hands. They’d look much more at home on the sofa, munching pizza and watching TV. Case in point: one especially embarrassing number has all six of Adam’s brothers surrendering their underwear to Milly for washing, and they end up doing a lively dance together shirtless, not a pretty sight. This is where unfortunate casting choices are painfully apparent. Some of the brothers display a little too much bouncing flesh in the process. If this is supposed to be funny, it doesn’t work.

In all fairness, there are a few standouts among the brothers: the acrobatic Trevor Hoffman as Benjamin, and Clint Campbell (so compelling as Brick in last season’s “Cat on a Hot Tin Roof”) as Caleb, not only look their parts but are also convincing as powerful, independent guys that still long for love and acceptance. Probably the best of the boys is Joey Abrego as the youngest brother Gideon. He shows both strength and sensitivity, and has a truly wonderful voice. It’s easy to see how a young lady might find him appealing and sympathetic.

As for the brides, there were some really good performances by Kate Kitchens as Alice, and Vanessa Bautista as Martha. And even though she plays a supporting role in this show, the delightful April Krautner as Dorcas steals every scene she’s in. She’s always funny and charming in her leading roles (witness last season’s “The 39 Steps” and “The Producers”), and she’s also tops at singing and dancing.

Rebekah Patti, Ben Knoll

Fledgling director Patrick Varner’s staging is inconsistent. The fight scenes are a bit awkward and some of the group scenes are disorganized, like traffic jams onstage. There are some impressive bits of acrobatics and tumbling, and some good dance numbers (by choreographer Alexandra Cummins). The best part of the show: a brief, inspired shadow-puppet chase sequence that includes some creative wagon wheel-rolling and pantomime, involving nearly the entire cast. But with only a few bright spots like these, the end results are less than uneven. Set design by Vincent Mothersbaugh and costumes by Erika Hauptman are merely acceptable, but the 10-piece orchestra more than holds its own under the always capable direction of Janis Dunson Wilson.

To support such a lightweight musical show and bring it across to the audience, you need the assurance of blazing triple-threat performers combined with excellent casting, directing, set design and choreography. Without the help of this talent, a weak story stays weak, and just limps along. “Seven Brides” at 6^th Street could use a crutch, maybe two.

When:  Now through September 16, 2012
8 p.m. Thursdays, Fridays and Saturdays
2 p.m. Sundays
2 p.m. Saturday September 15
Tickets:  $15 to $35
Location:  6^th Street Playhouse – GK Hardt Theatre, 52 West 6^th Street, Santa Rosa CA
Phone:  707-523-4185
Website:  www.6thstreetplayhouse.com

From Left: Marissa Keltie, Robert Parsons, L Peter Callender, Arwen Anderson, Julia Brothers

Stripped of artifice, such natural dialogue requires especially skilled actors able to translate the sometimes inarticulate words and pauses for the audience. It’s almost like musicians playing a jazz musical score, relying on the improvisational instincts and connectedness of the performers. Julia Brothers brings emotional dynamism to her role as Marty, the magnetic but vulnerable workshop instructor who ultimately learns more than she teaches. Like a butterfly emerging from a cocoon, Marissa Keltie as the introverted sixteen-year old Lauren keeps her character petulant and subdued, gradually revealing life-changing secrets. The renaissance-man James, Marty’s charmingly intense husband, is played with subtle power by L Peter Callender. In perhaps the most moving performance of the show, Callendar’s character recognizes the painful truth in his own life during a role-playing exercise that will have unintended consequences later on. The role of Theresa, on the run from an abusive relationship, is gracefully played by Arwen Anderson, displaying a fine sense of timing and nuance when interacting with the other characters. Robert Parsons as the dejected Shultz, freshly wounded by a divorce, delivers a performance that will resonate with men everywhere. The brief, stormy romance between Shultz and Theresa forms the sweet hub of the story. All five characters in turn grow and transform, sharing the experience with the audience right through to the surprising ending.

L Peter Callender, Robert Parsons, Julia Brothers

When: now through September 2, 2012

8 p.m. Tuesdays, Thursdays, Fridays and Saturdays

7:30 p.m. Wednesdays

2 p.m. and 7 p.m. Sundays

2 p.m. Saturdays August 11 and August 25

1 p.m. Thursday August 16

Tickets: $36 to $57

Location: Marin Theatre Company

397 Miller Avenue, Mill Valley CA 94941

Phone: 415-388-5208

Website: www.marintheatre.org