Joseph Cillo

Now, folks, there are plays that make you think, and then there are plays that make you smile, and Harvey does a fine job of the latter. Pittsburg Theatre Company’s take on Mary Chase’s Pulitzer Prize-winning classic is a warm, witty, and downright delightful production that invites audiences to leave their skepticism at the door and embrace the improbable—namely, a six-foot, one-and-a-half-inch-tall invisible rabbit named Harvey.

From the moment you see the production’s striking promotional artwork—a silhouette of a sharply dressed figure, only instead of a human head, it’s a rabbit—you know you’re in for something playful yet sophisticated. This clever visual sets the tone for a show that balances humor with heart, whimsy with wit.

At the heart of this well-paced comedy is Kirk Waller as Elwood P. Dowd, a man whose unwavering politeness and gentle nature make him instantly likable. Waller plays the role with an effortless charm, as if he were born to spend his days tipping his hat to an imaginary best friend. Suzanne Ochs as his long-suffering sister Veta Louise Simmons gives a sharp and hilarious performance, exasperated to no end as she tries to navigate the chaos that her brother’s unusual friendship causes. Skylar Clouse as Myrtle Mae Simmons, determined to escape social ruin, brings just the right mix of desperation and comedic energy.

The supporting cast is top-notch, with Brad Verla as Dr. Chumley, Phillip Leyva as Dr. Sanderson, and Mary Katherine Patterson as Nurse Kelly rounding out the ensemble with standout performances. Each brings their own flair to the production, ensuring that every moment is packed with humor, tension, or outright absurdity.

Visually, the production shines. Director and producer Dianna Schepers has orchestrated a show that feels both polished and heartfelt. The set design and sound, also by Schepers, transport the audience seamlessly between the Dowd home and Chumley’s Rest, capturing the play’s timeless whimsy. Jana McDowell’s costume design is a perfect fit for the era, and Mike Morris’ lighting design keeps the show feeling dynamic without distraction.

Adding to the production’s charm is the work of the stage crew and volunteers, including the talented students from Pittsburg High School’s Stagecraft class. It’s clear that this is a community-driven show in the best sense—full of heart, collaboration, and an appreciation for the magic of live theater.

A Note on Pookas and Harvey’s Whimsical Legacy

In Irish folklore, a pooka (púca) is a mischievous spirit that can bring good or bad fortune, often appearing in animal forms, like a rabbit or horse. Harvey embodies this tradition as an unseen but ever-present companion, guiding Elwood P. Dowd’s life in whimsical and mysterious ways. His presence, real or imagined, challenges those around him to reconsider what is “normal” and embrace kindness, imagination, and a touch of the fantastical. The play leaves it delightfully ambiguous—perhaps Harvey is just a figment of Elwood’s worldview, or maybe, just maybe, the six-foot-tall rabbit is more real than anyone dares to admit.At the end of the day, Harvey is the kind of play that reminds us life is better when we leave a little room for the unexpected—especially if the unexpected happens to be a well-mannered, invisible rabbit. If you get a chance to see this production, take it. You might just find yourself raising a toast to the unseen, the unconventional, and the utterly delightful.

How to Get Tickets

Performances of Harvey run from February 28 to March 9, 2025, at the California Theatre in Pittsburg, CA.

Tickets are priced at $22-$30 and can be purchased online at www.tickets831.com or by calling 925-427-1611.

Better yet, consider becoming a season ticket subscriber and enjoy Pittsburg Theatre Company’s full 2025 season, which includes Harvey, Chicago, and The 25th Annual Putnam County Spelling Bee.

Once deemed too scandalous for the stage, Waste, Harley Granville-Barker’s 1906 political drama, is back—and it still packs a punch. Running through March 2 at Marin Theatre, this revival, directed by former A.C.T. Artistic Director Carey Perloff, wrestles with ambition, scandal, and downfall in a way that feels eerily familiar.

At its core, Waste follows Henry Trebell (played by Marin Theatre Artistic Director Lance Gardner), a fiercely ambitious politician on the brink of reshaping England’s education system by stripping the church’s influence from public schools. Trebell is relentless, methodical, and principled—until his private life implodes. A careless affair with neglected socialite Amy O’Connell (Liz Sklar) leads to an unintended pregnancy and a botched abortion, triggering a scandal that shatters his career overnight.

The production leans into stark minimalism, with scenic designer Arnel Sancianco crafting an austere, almost clinical setting—a fitting backdrop for the ruthless world of politics. Trebell’s so-called allies, including Lord Horsham (Daniel Cantor) and Midlands politician Blackborough (Mike Ryan), waste no time in cutting him loose the moment he becomes a liability.

There’s no denying Waste’s intellectual heft. But it’s a play where talk dominates action, and that won’t be for everyone. The opening act’s 30-minute seduction scene—more verbal chess match than sizzling romance—unfolds at a deliberate pace, testing the patience of modern audiences. From there, the drama becomes a series of high-minded debates on power, ethics, and governance as men in suits coldly discuss Trebell’s fate.

Despite this, the cast delivers performances that keep the energy from stagnating. Gardner brings gravity to Trebell’s unraveling, while Sklar’s Amy is more than just a plot device—she’s a woman caught in a system designed to discard her. Anthony Fusco commands the stage as Charles Cantelupe, the church’s mouthpiece, while Jomar Tagatac’s Dr. Wedgecroft injects rare moments of warmth. Leontyne Mbele-Mbong, as Trebell’s sister Frances, brings a quiet but powerful emotional undercurrent to the tragedy.Christine Adaire’s dialect coaching and Maggie Whitaker’s period-accurate costumes add polish, but Waste never quite shakes its sense of detachment. The weighty discussions unfold in crisp, measured tones—high drama for the mind, but not always the heart. It’s an intriguing study of how political and social norms evolve, but don’t expect a pulse-racing spectacle.

What was once a career-ending scandal—adultery and abortion—is now part of daily news cycles, making Waste feel both historically distant and oddly relevant. Fans of period dramas rich in political and philosophical debates will relish the experience. For others, its slow-burn intensity and verbose style may be more of a test than a treat.

One unexpected highlight? Marin Theatre’s lobby display. Jason Sheldrick’s sculptural installation on banned plays, along with striking artwork by Erica Deeman and Maeve O’Sullivan, adds an extra layer of depth to the evening—well worth arriving early to take in.

To Experience:
Waste
Marin Theatre, 397 Miller Ave., Mill Valley
Through March 2; 7:30 pm Wednesdays – Saturdays; 2 pm weekends
Tickets: $10 – $85
Info: (415) 388-5208 MarinTheatre

Folks, if you’ve ever worried that your Chinese takeout is secretly brainwashing you, Exotic Deadly: Or The MSG Play might just blow your mind—or at least your taste buds. Keiko Green’s raucous, time-hopping, anime-fueled comedy, now at San Francisco Playhouse through March 8, takes a deep dive into one of America’s strangest food myths. And let me tell you, this show is as wild as a 3 a.m. ramen binge.

It’s 1999. Ami, a Japanese American high schooler with a knack for awkwardness (played with hilarious sincerity by Ana Ming Bostwick-Singer), finds out that her family played a role in creating MSG—the much-maligned seasoning that has fueled urban legends. Her quest to clear her family’s name takes a surreal turn when a mysterious and effortlessly cool new girl from Japan arrives. What unfolds is a hilariously chaotic and deeply resonant journey through teenage anxieties, family legacies, and, yes, the unexpected magic of instant ramen.

This cast? They’ve got chops (and not just the kind you eat). James Aaron Oh, Nicole Tung, Phil Wong, and Edric Young flip between characters faster than a late-night channel surfer, bringing the play’s rollercoaster of chaos to life. Director Jesca Prudencio keeps the energy high, the comedy sharp, and the sentiment sneaky—just when you think you’re watching a goofy teen adventure, bam, you’re contemplating identity, history, and why people think MSG is some kind of chemical boogeyman.

Visually, this thing is a feast. Heather Kenyon’s set design spins between school hallways and anime dreamscapes, Michael Oesch’s lighting zips from fluorescent to fantastical, and Kathleen Qiu’s costumes serve up vintage 90s nostalgia with a side of comic-book flair. It’s like someone took a Saturday morning cartoon, a sci-fi flick, and a coming-of-age drama, tossed them in a wok, and cranked the heat to high.

But here’s the real kicker: this play has bite. Green’s script is whip-smart, poking at cultural anxieties, generational misunderstandings, and the weird stuff we believe just because someone once told us to. (MSG bad? Says who? Probably the same guy who thinks gum stays in your stomach for seven years.)

Playing through March 8, 2025
San Francisco Playhouse, 450 Post Street, San Francisco
️ Tickets: $35-$135 | Get Tickets | Call 415-677-9596 to purchase by phone.

New! Audio Described Performance

For blind and visually impaired audience members, San Francisco Playhouse is offering live audio description and a haptic access tour on Sunday, March 2nd at 2 P.M.

So, should you see Exotic Deadly? Let’s put it this way: If you like your theater fast, funny, and just a little off-kilter (in the best way possible), grab your ticket before they vanish like a bowl of late-night ramen.

There are two kinds of time loops. The kind where you wake up, brush your teeth, drink coffee, and do the same old thing until the sun explodes. And then there’s Groundhog Day: The Musical, where waking up to the same day over and over turns out to be a wildly entertaining, knee-slapping, show-stopping event.

Phil Connors, a weatherman with the charm of a wet sock and the patience of a raccoon in a garbage can, gets sent to Punxsutawney to cover the annual Groundhog Day festivities. He’s smug. He’s rude. He’s got the enthusiasm of a DMV clerk on hour six of their shift. And then—just his luck—he gets stuck in a cosmic do-over, reliving February 2nd again and again and again. What follows is a masterclass in poor decision-making, minor crimes, existential dread, and—eventually—personal growth.

Now, turning repetition into great entertainment takes skill, and this cast has it in spades. Garet Waterhouse, who took on the role of Phil Connors the night I attended, was worth the price of admission alone. His performance was sharp, witty, and full of the kind of energy needed to make Phil’s transformation believable. From his deadpan sarcasm in the opening scenes to his full-throttle commitment in the tap-dancing showstopper “Philanthropy,” Waterhouse commanded the stage with precision and charisma. Michelle Pagano played the steadfast and sharp producer Rita Hanson, keeping Phil on his toes.

This is a BIG production with a BIG cast, so you get a lot of bang for your buck! The ensemble was outstanding, filling the stage with vibrant energy and making every moment feel larger than life. Even as the same day repeated over and over, their dynamic performances ensured that no scene ever felt stale.

And just when things seem like they can’t get any better, along comes a tap-dancing number so synchronized, so electrifying, that audience members have been known to spontaneously combust with delight. (Well, not known known, but it could happen.)

ACT I: A Day That Won’t End

From the start, Groundhog Day hooks the audience with an energetic overture, setting the scene for the endlessly looping chaos to follow. The show launches into “There Will Be Sun”, a cheerful ensemble number that captures the Punxsutawney locals’ excitement about their favorite holiday. Phil, of course, is less enthused, and his sarcastic outlook is laid bare in “Day One”, a duet with Rita and the company, which humorously introduces his disdain for everything around him.

But then the time loop begins. The audience is pulled into the absurdity of Phil’s predicament as he cycles through “Day Two” and “Day Three”, each iteration growing more frantic. His frustration explodes in “Stuck”, where he desperately tries to escape the loop to no avail. His attempts to find meaning—or at least amusement—lead to “Nobody Cares”, a raucous drinking song featuring Gus, Ralph, and a very intoxicated Phil embracing the pointlessness of it all.

As Phil realizes he can act without consequence, the show shifts into the mischievous “Philandering”, where he indulges in every possible vice. But then, a glimmer of hope emerges in “One Day”, where Rita and Phil share a moment that suggests there might be a way out of this mess—if only Phil can figure out how.

ACT II: Finding a Way Forward

The second act kicks off with an Entr’acte, bringing the audience back into the swirling madness of Phil’s endless February 2nd. His shallow lifestyle starts to wear thin in “Playing Nancy”, where Nancy, one of the townspeople, reflects on the role she plays in Phil’s repeating story.

Phil’s journey toward self-discovery gains momentum in “Hope”, where he begins experimenting with different ways to live each day. His emotional shift is marked by “Everything About You”, where he starts seeing Rita—and life itself—through a new lens. The heartfelt “If I Had My Time Again”, a duet between Phil and Rita, captures the idea that perhaps a do-over isn’t such a bad thing if it’s done for the right reasons.

Then comes the tap-dancing spectacle of the night: “Philanthropy.” This number is the turning point in Phil’s transformation. Having embraced his endless February 2nd as an opportunity to help others, Phil dashes around town performing good deeds—rescuing townspeople, preventing accidents, and generally being the Punxsutawney superhero no one asked for but everyone needs. The stage explodes into a high-energy tap dance routine, featuring Phil and the ensemble, in a synchronized, electrifying sequence that showcases both the sheer talent of the cast and the show’s Broadway-level spectacle. Waterhouse threw himself into the number with the kind of commitment that makes an audience sit up and say, Now, that’s impressive.

Just when it seems like Phil might be getting it right, the mood darkens in “Night Will Come”, a haunting solo by Ned Ryerson that underscores the weight of time slipping away. But Phil pushes forward, using his knowledge to help others in “Philanthropy”, and by the time “Punxsutawney Rock” rolls around, he’s leading the town with newfound purpose.

The final emotional punch lands in “Seeing You”, as Phil at last learns the lesson the universe has been trying to teach him. And as the curtain closes with “Dawn”, the audience is left with a sense of triumph—because this time, Phil really has made it to February 3rd.

Show Details & How to Get Tickets:

Venue: 6th Street Playhouse, GK Hardt Theatre, Santa Rosa
Dates: Through February 23, 2025

Get Tickets: Visit 6thstreetplayhouse.com or call (707) 523-4185 for tickets and pricing details.

Run Time: Approx. 2 hours, 30 minutes (including intermission)
Content Warning: Some mature language, action, and themes. Parental discretion advised for patrons under 13.

The role of Phil Connors is played on alternating nights by:

• Garet Waterhouse: 1/30, 2/1, 2/7, 2/8, 2/13, 2/15, 2/20, 2/22 (matinee), 2/23
• Nelson Brown: 1/31, 2/2 (matinee), 2/6, 2/8 (evening), 2/14, 2/15 (matinee), 2/16 (matinee), 2/21, 2/22 (evening)

Final Thought:

Some shows entertain. Some shows dazzle. And then there are the rare ones that do both while making you rethink how you spend your own days. Groundhog Day: The Musical isn’t just a comedy—it’s a cleverly crafted spectacle packed with humor, heart, and high-energy performances.

With a stellar cast, sharp direction, and musical numbers that stay with you long after the curtain falls, this production proves that sometimes, getting stuck in the same day over and over might not be so bad—especially if it means seeing a show this good more than once.

Sonoma Arts Live puts on a well-acted, professionally mounted production of Six Degrees of Separation, a play that’s as slick as its con-man protagonist—and just as unsettling. Directed by Libby Oberlin, this one isn’t your standard night of lighthearted theater. No, sir. This is a sharp-edged, fast-talking, morally murky piece of work that’ll have you laughing one minute and shifting uncomfortably in your seat the next.

At the center of the chaos is Paul, played with a whole lot of charm (and just enough menace) by Jonathen Blue. He’s a smooth operator who shows up battered and broke on the doorstep of a wealthy Manhattan couple, claiming to be Sidney Poitier’s long-lost son. He dazzles them, he wins them over, and then—well, things go sideways fast.

Flan and Ouisa Kittredge, the couple Paul manipulates, are played by Larry Williams and Mary Samson, respectively. Williams gives Flan the perfect mix of status-seeking vanity and barely concealed desperation, while Samson’s Ouisa evolves from amused hostess to a woman haunted by what Paul’s deception reveals about her own life. Together, this trio commands the stage, driving home the play’s biting commentary on privilege, trust, and self-delusion.

The supporting cast delivers strong performances, with Lukas Raphael as both Geoffrey and Dr. Fine, Felizia Rubio as Elizabeth and Ben, and Jake Druzgala taking on Woody and Rick. Tim Setzer adds depth as the Detective and Doorman, while Pilar Gonzales brings sharp energy to Tess Kittredge. Rounding out the ensemble, Beth Ellen Ethridge and Sean O’Brien portray Kitty and Larkin, further enriching the play’s web of intrigue and deception.

Oberlin’s direction keeps it moving at a crisp clip, with dialogue that pops and a pace that never lags. The humor is sharp, the tension real, and the whole thing wraps up leaving you wondering: Who’s really fooling who?

Now, fair warning—this play might not be your cup of tea. If you like your theater with clear-cut heroes and tidy moral lessons, this one may leave you squirming. But if you appreciate a play that’s as thought-provoking as it is unsettling, you’ll find plenty to chew on here.

Performances Through February 16, 2025

Andrews Hall, Sonoma Community Center (276 East Napa Street, Sonoma, CA 95476)

Show Days & Times

• Thursdays & Fridays – 7:30 PM
• Saturdays – 7:30 PM
• Sundays – 2:00 PM

How to Get Tickets

• Online: Sonoma Arts Live Ticketing
• Phone: Call Sue at 707-484-4874
• Email: sue@sonomaartslive.org (for wheelchair seating requests)

Ticket Prices

• Riser Seats – $42 | Floor Seats – $37
• Balcony (General Admission) – $25
• Thrifty Thursdays & Special First Saturdays (All Seats) – $25

More Info: Sonoma Arts Live Website | Facebook

Go see it. But don’t say you weren’t warned.