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As I See It

9 to 5 The Musical

By 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.

Tartuffe

By 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

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.

Ladies of Broadway

By 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

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.

Eureka Day

By Joseph Cillo


Satire with a Sharp Edge

Jonathan Spector’s Eureka Day was prescient when it premiered in Berkeley in 2018. In 2025, it feels uncanny. Just as Marin Theatre opens its revival, Florida’s Surgeon General has announced plans to eliminate all vaccine mandates, including for schools. What once seemed like satirical exaggeration now plays like a headline. The result is eerie, funny, and unsettling all at once.

At Marin Theatre, in partnership with Aurora Theatre Company, Eureka Day returns under director Josh Costello, who directed the World Premiere in 2018 at Aurora Theatre Company and now helms this Marin Theatre production. The play’s premise is simple: a private Berkeley school prides itself on inclusivity and consensus until a mumps outbreak throws the vaccine debate into overdrive. Idealism collapses, social media erupts, and the parents’ progressive bubble pops.


Lisa Anne Porter (Suzanne), Leontyne Mbele-Mbong (Carina), Howard Swain (Don), Teddy Spencer (Eli), and Kelsey Sloan (Winter)
Photo Credit: David Allen

Lisa Anne Porter (Suzanne) is perfectly opinionated — and perfectly awful in the way only a self-assured parent can be. Howard Swain (Don) nails the role of the procedurally accommodating figure, forever eager to keep every voice at the table. Together, they embody the comedy and tragedy of consensus culture run amok.

The rest of the ensemble matches that precision. Charisse Loriaux (Meiko) begins with calm authority that steadily unravels under pressure. Teddy Spencer (Eli) brings wry detachment, a cool counterpoint to the chaos. Kelsey Sloan (Winter), in her Marin debut, blends in seamlessly with crisp timing. And Leontyne Mbele-Mbong (Carina) lends steady poise, grounding the turmoil with quiet strength.

In some ways, the play is a comedic commentary on everyone being politically correct and trying to please everyone — an impossible task!


Costello shapes the action like a pressure cooker, none more so than the infamous “Zoom meltdown” scene. Equal parts hilarious and horrifying, it echoes countless school-board meetings and neighborhood threads. Scenic designer Richard Olmsted and costume designer Maggie Whittaker nail Bay Area chic, while Teddy Hulsker’s projections and Ray Archie’s sound design make the digital noise uncomfortably real.

Eureka Day is funny, biting, and alarmingly current. Spector’s satire dares us to laugh at dysfunction even as today’s headlines remind us how close we are to the edge.

sharp, timely, painfully funny


To See Eureka Day
Marin Theatre, Mill Valley
August 28 – September 21, 2025 (Opening September 2)
Tickets: marintheatre.org or (415) 388-5208
Prices: $38 – $89 (+$6 fee per order)

★★★★★

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.

Featherbaby

By Joseph Cillo

 


Surreality with Bite

World premieres are always unpredictable. David Templeton’s Featherbaby takes that truth and runs with it — or rather, flies with it. This is a play told largely through the mind of Featherbaby, a rambunctious, foul-mouthed Amazon parrot who narrates, manipulates, and disrupts the lives of the humans around it.

The central tension comes when Angie, a quirky crime-scene photographer, brings Mason, a reserved puzzle competitor, into her world. Featherbaby does not approve.

Feeling threatened and territorial, the parrot wages war on Mason, biting (literally drawing blood), cursing, and scheming to sabotage the relationship. It’s needy, vulgar, and aggressively manipulative — not, from my perspective, an attractive character at all. But that is the point: this is a parrot with personality to spare, and the play’s drama and comedy spring from its relentless, often unsettling behavior.

At Spreckels, the title role alternates between Gina Alvarado and Matthew Cadigan. On the night I attended, it was Alvarado’s turn. She threw herself into the part with fearless commitment. At times her performance tipped toward the theatrical extreme, but always with conviction. She made the parrot magnetic and disturbing in equal measure, pulling the audience into a surreal but oddly familiar emotional tug-of-war.

Mercedes Murphy, Gina Alvarado, Nate Musser

Photo Credit: Jeff Thomas

The other characters — Mercedes Murphy as Angie and Nate Musser as Mason — provide the human framework. Yet in many ways they function as enablers, allowing Featherbaby’s bad behavior to dominate. Director Skylar Evans leans into this imbalance, crafting a production where the bird’s chaos drives the arc from conflict to an unexpected, if uneasy, connection between Featherbaby and Mason.

The design team reinforces this off-kilter world. Eddy Hansen’s lighting and set sketch out an environment where reality blurs into imagination, while Jessica Johnson’s sound design sharpens every moment of comic violence or tenderness.

Featherbaby is not cozy theater. It’s messy, bold, and occasionally vulgar. But that’s exactly its strength. Templeton has written a play that dares to put an unlikeable character at the center and challenges the audience to wrestle with it. And with Gina Alvarado’s performance, Featherbaby becomes hard to forget.

 

Featherbaby — needy, vulgar, manipulative … memorable.

And if one talking parrot isn’t enough, click here to experience another.

To See Featherbaby
Spreckels Performing Arts Center, Rohnert Park
August 29 – September 14, 2025
Fridays & Saturdays at 7:30 p.m.; Sundays at 2:00 p.m.; additional matinee Saturday, September 13 at 2:00 p.m.
Tickets: spreckelsonline.com or (707) 588-3400
Prices: $14 – $34

★★★★★

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.

Dirty Rotten Scoundrels

By Joseph Cillo

 


Smooth cons. Sharp twists. Big laughs. Song & dance.

In this musical take on the iconic con-man comedy, two swindlers clash on the sun-soaked Riviera: Lawrence, the polished gentleman who charms rich women out of their fortunes, and Freddy, a scrappy upstart with big stories and no filter. When they target the same seemingly sweet heiress, the bet is on—first to extract $50,000 wins the turf. But as fake identities stack up and the schemes spiral, this fast-paced romp builds to a final twist that flips the game in all the right ways.

This is a BIG production

Bold, bright, and bursting with talent. With a 13-member cast, the show comes to life in a full-throttle staging that matches its mischief, glamour, and comedic punch.

Cast & Crew Kudos
Larry Williams brings just the right polish and poise as Lawrence Jameson — smooth, unflappable, and always scheming with flair. Drew Bolander’s Freddy is a full-throttle chaos engine, diving into every gag and pratfall like he’s auditioning for a cartoon. Joanna Lynn Bert plays Christine Colgate with a wide-eyed sweetness that keeps us guessing — is she a mark or a master? Julianne Bradbury hits all the right notes as Muriel, with warmth and comic spark, while Tim Setzer’s Andre delivers dry charm in every line. Emma Sutherland (Jolene) has great presence, and Seana Nicol leads a tight ensemble as Dance Captain, backed by a spirited cast that brings nonstop energy to the stage.

While all are excellent, this is truly an ensemble piece — fast-moving and well-oiled, thanks in part to sharp music direction from Aja Gianola on keyboards and excellent scenic and scene projections that glide us from one caper to the next. Director Carl Jordan’s touch keeps the con rolling without a hitch.

Scoundrels in Action – a whirlwind of charm, chaos, and Riviera mischief.

Photo Credit: Katie Kelley

Slick cons, bold mischief, and full-throttle song and dance — Dirty Rotten Scoundrels delivers the goods. No kidding.


Sonoma Arts Live presents Dirty Rotten Scoundrels
Now through July 27, 2025
Thursdays, Fridays, and Saturdays at 7:30pm
☀️ Sunday matinees at 2 pm
Rotary Stage, Andrews Hall
Sonoma Community Center
276 East Napa Street, Sonoma, CA

Tickets start at $30 and can be purchased online at:
www.sonomaartslive.org
Credit cards accepted. Advance booking strongly recommended for weekend performances.

★★★★★

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.

The Last Goat: Tensions Rise (and Truth Slips) on a Dying Island

By Joseph Cillo

 


A stranger arrives. A balance breaks. Survival gets personal.

From the first quiet moment to the final reckoning, this drama never lets go.
Set on the crumbling island of Kasos in 1177 BCE, The Last Goat tells a quietly tense story of survival, longing, and control. Young Kori dreams of escape. Her grandmother Melina clings to the life they’ve managed to preserve. When Nikolis, a charming castaway with a shifting story, arrives, their fragile balance begins to crack. Desires clash, lies deepen, and the three hurtle toward a dangerous confrontation none of them may survive.

The setup: An island. A castaway. A collision of needs and secrets.
Kori and Melina live alone on the edge of a vanished world. They’re scraping together survival after a mysterious collapse has emptied their island. Then Nikolis washes ashore, claiming nobility and shipwreck. Kori sees possibility. Melina sees threat. As truths unravel and motives shift, the story becomes a tense standoff over freedom, safety, and power.

Cast

Photo Credit: Central Works

Performance Highlights

Liris Robles brings restless energy to young Kori.
She captures the ache of youth trapped by obligation, swinging between hope and heartbreak with fearless openness.

Jan Zvaifler’s grandmother Melina is the kind of role that simmers until it burns.
With quiet control and emotional weight, Zvaifler turns suspicion and survival into something riveting. Every glance, every pause lands with meaning.

André Amarotico gives Nikolis both charm and threat.
He shifts effortlessly from sympathetic castaway to manipulative outsider, keeping the audience unsure where his loyalty—or danger—truly lies.

Director Highlight


Gary directs his own script with focused restraint.
As both playwright and director, he builds a tightly wound story of emotional standoff, slow revelations, and unspoken danger. The result is ancient and modern at once—just like the world of The Last Goat.

Very Up-Close Theater
The setting alone deserves mention. Central Works stages its productions in a 49-seat theater tucked inside the Berkeley City Club—one of the most intimate performance spaces in the Bay Area. You don’t just see the actors—you share air with them. Every seat is close enough to catch a glance, a twitch, a whispered aside. The design wraps around the action, with seats arranged along two sides and a few directly across, enclosing the performers in a tight, all-surrounding frame. It’s not just theater—it’s an experience. You feel like you could step into the scene, or that the scene might spill into your lap. Emotional nuance lands with full force in this space, where the fourth wall is less a barrier and more a gentle suggestion. Very special.

An Observation—and Suggestion
The play opened with a well-executed projection onto a screen at the front of the set—briefly setting the scene with time, place, and atmospheric motion. It was effective, evocative… and then, used no more. What began as an excellent design element simply vanished. As later transitions relied on drawn-out lighting fades—some clearly allowing for costume changes—the energy dipped. From the audience, we found ourselves wondering: what happened to that strong visual cue? Continued use of projections could have sustained the mood and cohesion of an already thoughtful production.

Delicious Uncertainty
No one gets exactly what they want in The Last Goat—and that’s what makes the ending so satisfying. Nikolis is exposed, but not expelled. Kori is wiser, but still stuck. Melina survives, but her grip slips. The dagger returns to the mantle, but the danger hasn’t passed. It’s not resolution—it’s reckoning. And in that charged, open-ended moment, the story earns its silence. No neat bows. Just tension, truth, and a final birdcall that echoes long after blackout.

Tension lingers like a storm.

 


CATCH IT IN BERKELEY
The Last Goat runs June 28 – July 27, 2025 at the historic Berkeley City Club, 2315 Durant Avenue, Berkeley, CA.
Performances: Thursday & Friday at 8pm, Saturday at 7pm, Sunday at 5pm.

Tickets are $35–$45 (Fri–Sun) and Pay-What-You-Can on Thursdays and preview nights (June 26 & 27).
Same-day sliding scale tickets ($20–$45) are available starting at noon on the day of the show.

For tickets and info, visit centralworks.org or call 510.558.1381

★★★★★

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.

Shore Excursion — San Pedro to Terranea

By Joseph Cillo

 


Ruby Princess Cruise Ship Shore Excursion
Blending History, Scenery, and Just the Right Amount of Fancy

Stepping off the Ruby Princess, you’re greeted by a private driver who’s ready to whisk you away on a day filled with ocean views, good food, and maybe even a falcon. This shore excursion is part history lesson, part scenic drive, and part “wow, this is really nice.” Your only job? Show up and soak it all in.


First Stop: San Pedro Waterfront

8:45 – 9:45 AM 1 hour

The San Pedro Waterfront is where history and hustle shake hands. On one side, there’s the Battleship Iowa, a floating chunk of American history. On the other, local vendors hawking crafts and snacks, proving that the entrepreneurial spirit is alive and well. Take a stroll, grab something salty or sweet, and enjoy the harbor air. You’ll feel productive without actually doing much, which is what vacations are all about.



On to the Lighthouse, a Beacon of History

10:00 – 11:15 AM 1 hour 15 minutes

At Point Fermin Lighthouse, history stands tall—literally, on a cliff overlooking the Pacific. Built in the 1870s, this Victorian beauty once guided sailors to safety and probably gave its keepers the best office view imaginable. The guided tour dives into the nuts and bolts of lighthouse life, while the surrounding park offers ocean vistas that make you wonder why you don’t live closer to the coast. You’ll want to linger, but there’s more to see.



The Drive of Drives: Scenic, Rugged, and a Little Bit Fancy

11:15 – 11:45 AM 30 minutes

If Palos Verdes Drive isn’t one of the most scenic roads in California, it’s definitely trying to be. This stretch of asphalt clings to the cliffs like it knows the view is worth the risk. Waves crash below, Catalina Island floats hazily on the horizon, and just when you think you’ve seen it all, there’s Trump National Golf Club Los Angeles. It’s got greens so immaculate they probably have their own staff of hairdressers. You won’t stop here, but you’ll give it a nod as you cruise by.

Experience for yourself here in this Where’s My Map video: Palos Verdes Drive South


Terranea Resort: Where the Views Steal the Show

Noon – 2:30 PM 2 hours 30 minutes

Arriving at Terranea Resort, you get the feeling they built the place just to impress you. The cliffs drop straight into the Pacific, and on clear days, Catalina Island makes an appearance like it’s showing off. This is your chance to relax, play, or both:

  • Guided Nature Hike (45 minutes): Walk along trails that hug the cliffs while the ocean does its best to outshine everything else.
  • Falconry Experience or Archery Session (30 minutes): Where else can you bond with a bird of prey or fire an arrow with a view that deserves its own Instagram account?
  • Pickleball Game (45 minutes, available with advance reservation): It’s the sport everyone’s talking about, and at Terranea, it comes with an ocean view.
  • Lunch at Nelson’s (1 hour): Perched on a cliff with the Pacific stretching out before you, Nelson’s serves up fresh seafood that tastes as good as the view looks. Fish tacos, clam chowder, oysters—whatever you order, pair it with a California wine or a cocktail. If dolphins show up below, consider it a bonus.


Back to the Ship, Full of Good Memories

2:30 – 3:00 PM 30 minutes

The ride back along Palos Verdes Drive is your last chance to soak in the scenery and reflect on the day. You’ll return to the Ruby Princess with a phone full of photos, a belly full of seafood, and at least one story that begins, “So, this falcon…”


Final Thoughts

This shore excursion is more than a day trip—it’s a curated experience. From the hustle of San Pedro to the quiet luxury of Terranea Resort, every stop offers something to remember. Whether it’s history, nature, or just a really good lunch you’re after, this journey delivers. And hey, if you didn’t take a picture of Catalina Island, did you even go?

 


Travel Adventurers

 

 

Joseph Cillo

 

 

Mary Buttaro

Broadway’s Best Night Ever

By Joseph Cillo

 


Field of Dreams, Sonoma


Transcendence Theatre Company kicked off its 2025 Broadway Under the Stars season with a fast-paced, feel-good celebration of beloved musicals—and opening night truly lived up to the title Broadway’s Best Night Ever.

Before the performance began, the mood was already festive. Wine in hand, a light dinner from local purveyors, and conversations buzzing under a soft Sonoma sunset set the tone for an evening that felt more like a summer party than a typical night at the theater.

When the lights came up, the energy went even higher. The revue featured material from more than two dozen Broadway shows, performed by a powerhouse cast with Broadway and national tour experience. With seamless transitions and engaging pacing, the production moved from show-stopping solos to high-voltage ensemble numbers with polish and style.


Highlights

The tap numbers stole the show. I Got Rhythm exploded with precision and energy, earning spontaneous applause for its sheer rhythm and showmanship. And while I Am Changing is traditionally known for its vocal power, this production layered in unexpected tap flourishes that gave it added dimension and flair.

The show also included a few emotional turns—especially during the “Life Trio” (Love Changes Everything, Being Alive, and You’ll Never Walk Alone) and a beautifully delivered I Dreamed a Dream from Les Misérables. Later numbers like What a Feeling, Bohemian Rhapsody, and This Is Me added a contemporary jolt that kept the momentum strong all the way to the finale.


Full Program

ACT ONE

  1. Overture – Gypsy

  2. I Hope I Get It – A Chorus Line

  3. The Wizard and I / Defying Gravity – Wicked

  4. All That Jazz / Cabaret – Chicago / Cabaret

  5. Jersey Boys Medley

  6. Love Changes Everything – Aspects of Love

  7. Being Alive – Company

  8. You’ll Never Walk Alone – Carousel

  9. I Got Rhythm – Crazy for You (tap)

  10. My Days – The Notebook

  11. All I Ask of You – The Phantom of the Opera

  12. A Musical – Something Rotten!

  13. I Am Changing – Dreamgirls (with creative tap flourishes)

ACT TWO

  1. Found – Dear Evan Hansen / Tonight – Hamilton

  2. Tonight / Something’s Coming – West Side Story

  3. I Dreamed a Dream – Les Misérables

  4. Anything Goes – Anything Goes

  5. The Music of the Night – The Phantom of the Opera

  6. Aquarius / Let the Sunshine In – Hair

  7. Mamma Mia! Medley

  8. What a Feeling – Flashdance

  9. Sing, Sing, Sing – (featured in Fosse)

  10. Bohemian Rhapsody – (featured in We Will Rock You)

  11. This Is Me – The Greatest Showman

  12. This Is the Moment – Jekyll & Hyde


Sonoma Setting

The Field of Dreams venue has matured beautifully into Transcendence’s new home. Their previous residence, Jack London State Historic Park, had its own magic—with dramatic stone ruins and wooded trails—but here, the atmosphere is smoother, more refined. Gently sloping lawn seating, golden-hour skies, and well-balanced staging give the production a lush, polished finish that suits both the performance and the place.


Who Should Go

If you love Broadway—or even just the joy of live performance in a beautiful setting—this show delivers. It’s ideal for date night, family night, or a group outing with friends. Casual or dressed up, everyone felt welcome.


️ Details at a Glance

What: A high-energy revue of songs from over 25 Broadway musicals, performed under the stars by a top-tier cast of Broadway veterans and rising stars
When: Opening Night – June 12, 2025
Where: Field of Dreams, Sonoma (Broadway Under the Stars Summer Series)
Cost: Tickets start at $35, with discounts for youth, subscribers, and groups
Box Office: transcendencetheatre.org | (877) 424‑1414

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.

A Midsummer Night’s Dream – at Marin Shakes

By Joseph Cillo

Marin Shakespeare Company
Forest Meadows Amphitheatre, San Rafael
June 13 – July 13, 2025

Not a full review — just a spotlight worth sharing

I only caught the second half of this Midsummer Night’s Dream, so I’m not filing a full review—but what I did see? Wildly inventive.

Director Bridgette Loriaux gives us a Shakespeare that’s more futuristic fantasia than fairy tale. Set in a reimagined Athens that feels like it crashed through a cosmic portal, this production leans into myth, movement, and mischief. The choreography brings a pulse to the story, with fluid physicality and stylized movement keeping everything in motion—even when the lovers lose their way.

Visually, it’s striking. Tonally, it’s bold. And though I came in midway, it was clear: this production has vision, energy, and a fresh approach that makes Midsummer feel surprising again.

If you’re curious about what Shakespeare looks like reimagined in a sleek, sci-fi future, this one’s for you.

Comment from the Director
In speaking about her vision for this reimagined Midsummer, Director Bridgette Loriaux shared:

“Like any living entity, art must breathe freely, take time to grow and flourish, and have its own unique heartbeat—it must change and evolve. As a storyteller, it is my job to engage human beings through an experience that affects them in the moment and, hopefully, long after they have left the theatre. I look forward to innovating pieces of work and creating an atmosphere where the artist and audience build a relationship. Shakespeare’s language, poetry, and timeless themes allow my curiosity to dive and take flight with collaborators who seek the same journey. He allows me to ignite a dialogue with the actor and the observer—to invite spontaneity, madness, joy, and self-reflection. Every idea, every image and movement sequence is inspired by the profound and elegant language of William Shakespeare.”


Ticket Info

Runs through July 13
Forest Meadows Amphitheatre, 890 Belle Ave., San Rafael (Dominican University campus)

You can grab tickets online—either single admission or a Summer Series Pass if you want to catch more of MSC’s 2025 season:

This is outdoor seating—blankets, cushions, and layers encouraged. Picnics welcome! And by 10 pm, with that signature Marin breeze kicking in, you’ll be glad you brought something warm to wrap around you.


Learn More

Get the full rundown of cast, crew, and creative concept:
Explore the Digital Program: https://www.marinshakespeare.org/a-midsummer-nights-dream-2025/

★★★★★

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.