A Heartfelt Production with Humor and Depth

The Marin Theatre rendition of Harvey Fierstein’s “Torch Song” is a well-crafted and engaging production. Directed by Evren Odcikin, this adaptation of the “Torch Song Trilogy” captures the spirit of the original while offering a fresh take that feels both current and resonant.

Dean Linnard’s performance as Arnold Beckoff is truly exceptional. Linnard embodies the character with remarkable depth and authenticity, seamlessly transitioning between moments of biting humor and profound vulnerability. His portrayal captures the multifaceted nature of Arnold, making him both relatable and deeply compelling. Linnard’s nuanced performance anchors the production, drawing the audience into Arnold’s journey with a captivating blend of charisma and emotional resonance. He is also very funny at times, delivering lines with impeccable timing and a sharp wit that keeps the audience laughing.

The supporting cast enhances the production with strong performances. Nancy Carlin, as Arnold’s mother, skillfully portrays the complex mix of disapproval and deep affection that defines their relationship. Her interactions with Linnard are particularly compelling, adding depth to the story’s exploration of familial bonds.

Patrick Andrew Jones and Kina Kantor, playing Ed and Laurel, provide solid support with authentic portrayals of their characters’ relationships with Arnold. Edric Young’s role as Alan injects a sense of hope and optimism, while Joe Ayers, as David, brings an intensity that highlights the more serious themes of the play.

Odcikin’s direction ensures a well-paced performance, blending comedic and dramatic moments effectively. The production design, including contributions from Sarah Phykitt (set design), Ray Oppenheimer (lighting design), Lana Palmer (sound design), and Jessie Amoroso (costume design), creates a visually appealing and immersive experience that captures the essence of 1970s and 80s New York.

The strength of this production lies in its ability to balance lighthearted humor with heartfelt moments. The dialogue is sharp and often funny, while the play’s more serious themes are handled with care and sensitivity. The exploration of love, identity, and acceptance feels as relevant today as ever.

In its condensed format, “Torch Song” retains the emotional impact of the original trilogy. This Marin Theatre Company production respects Fierstein’s work while bringing a fresh perspective that speaks to contemporary audiences. It is a compelling show that will appeal to both longtime fans and those new to the story.

In summary, Marin Theatre’s “Torch Song” is a strong production with excellent performances, thoughtful direction, and a well-executed blend of humor and depth. It offers a powerful reminder of the enduring need for acceptance and the timeless quest for love. This production is well worth seeing.

artist + AI = art

Artificial Imagination: How AI is Redefining Creativity

Introduction
In the realm of creativity, a profound shift is underway. Artificial Intelligence (AI) is no longer just a tool for automating mundane tasks; it has started to play a significant role in artistic and creative processes. From painting and music composition to writing and digital design, AI technologies are transforming the landscape of creative industries, challenging our traditional notions of art and the artist.

The Creative Collaboration
The integration of AI into the creative sectors is not about replacing artists but enhancing their capabilities. Consider the world of digital art, where AI algorithms now assist artists by suggesting variations and iterations that would take humans much longer to conceive. This partnership between human and machine enables artists to explore new artistic territories and push the boundaries of traditional media.

In the music industry, AI is used to analyze trends and styles to generate compositions that are both novel and familiar, striking a balance that appeals to both producers and audiences. These tools are not just labor-saving devices; they provide artists with a starting point for their own creative input, accelerating the creative process and enriching the final product.

Democratizing Creativity
One of the most significant impacts of AI in the creative world is its potential to democratize creation. Advanced software platforms that incorporate AI are now accessible to amateurs and professionals alike, leveling the playing field. For instance, AI-driven graphic design tools can suggest layouts, color schemes, and typography, enabling users with minimal design experience to produce work of professional quality. This accessibility is transforming hobbyists into creators, opening up avenues for innovation and expression that were previously gated by skill level or resource access.

AI as an Autonomous Agent
As AI technology continues to evolve, we are witnessing the rise of machines not just as tools but as creators in their own right. AI-generated artworks are beginning to populate galleries, some fetching hefty sums at prestigious auctions. These creations challenge our perception of art and raise questions about creativity’s origins—can a machine be creative, or is it merely simulating creativity based on algorithms and data?

The notion of an AI “artist” also sparks a debate around authorship and originality. As machines create art that resonates with human audiences, the lines between human-made and machine-generated are blurring, leading to both excitement and existential questions within the creative community.

Future Prospects and Ethical Considerations
Looking forward, the role of AI in creativity is poised to expand. With advancements in technology, AI could soon offer more personalized and emotionally aware creations, potentially writing books or composing music that cater to the emotional states or tastes of individual users. However, this future also necessitates a careful consideration of ethical issues. As AI takes on more creative work, questions about intellectual property, the value of human artistry, and the transparency of AI processes become increasingly pertinent.

Moreover, as we delegate more creative tasks to machines, we must consider the impact on human creativity. Will AI stifle human creativity, or will it spur us to new heights by freeing us from repetitive tasks and opening new paths for innovation?

Conclusion
AI’s integration into the creative industries is a testament to the evolving relationship between humans and machines. Far from the dystopian views that machines might replace us, the reality is shaping up to be much more collaborative and transformative. As we navigate this new landscape, the challenge will be to harness AI’s potential responsibly while fostering human creativity, ensuring that we maintain the essence of what makes art profoundly human.

Book Club Fun & Games

Karen Zacarías’ “The Book Club Play,” as staged by Ross Valley Players, transforms an ordinary book club into an exhilarating theatrical experience, blending humor, interpersonal drama, and literary charm with finesse. Under the skillful direction of Mary Ann Rodgers, the play thrives as a vibrant ensemble piece that delightfully captures the spirit of communal book discussions intertwined with personal stories and sharp, witty dialogues.

The production features an array of compelling performances, with each actor bringing depth and authenticity to their roles. Jannelly Calmell shines as Jennifer McClintock, embodying a rich tapestry of emotional nuance and resilience. Matthew Travisano’s portrayal of William Nothnagel captures the essence of a conflicted intellectual with both gravity and grace. Elena Wright, as Ana Smith, delivers a commanding performance, expertly navigating the emotional complexities of her character, making Ana’s journey the centerpiece of the narrative.

The set design by Ron Krempetz remarkably recreates a living room that feels both cozy and expansive, reflecting the internal worlds of the characters. Valera Coble’s costume designs meticulously accentuate the personalities, enhancing the visual storytelling with their thoughtful and expressive choices.

What truly sets this production apart is its ability to maintain a light-hearted tone while exploring deeper themes of identity, change, and the impact of literature on life. The inclusion of a documentary film crew in the storyline adds an interesting layer, bringing a meta-theatrical element that enriches the narrative without overshadowing the character-driven humor and drama.

Ross Valley Players’ “The Book Club Play” is a must-see for those who cherish literature and the complex, often humorous dynamics of group discussions. This production not only entertains but also invites audiences to reflect on their own experiences with books and the people with whom they share them. It’s a warm, engaging, and thought-provoking evening of theatre that celebrates the joy of reading and the bonds it can forge.

Theatrical Brilliance in “The Late Wedding” by Christopher Chen

From the opening scene, “The Late Wedding,” directed by Erin McBride Africa, captivates with its intricate tapestry of narratives, each a reflection of Italo Calvino’s whimsical and philosophical style. Staged at the Kentfield Campus Studio Theatre, this production offers a refreshing and genre-bending exploration of love and marriage.

Christopher Chen’s script, inspired by Calvino’s literary explorations, masterfully intertwines elements of a spy thriller, sci-fi love story, and an anthropological tour through marriage customs. The result is an intellectual feast that challenges the audience’s perceptions of narrative and relationship dynamics.

The cast delivers stellar performances, with each narrator bringing unique depth and perspective to the interconnected fables. The fluidity of their transitions and the palpable chemistry among the actors enrich the play’s thematic complexity and emotional resonance.

Erin McBride Africa’s direction is a highlight, providing a clear vision that beautifully meshes the surreal with the everyday. The play’s pacing is impeccable, ensuring that the audience is engaged from start to finish, weaving through laughter and introspection alike.

The set design deserves special mention for its minimalistic yet versatile arrangement, which effectively supports the play’s dynamic shifts in tone and setting. Coupled with Landers Markwick’s evocative score, the production’s atmosphere is both enchanting and thought-provoking.

“The Late Wedding” is not just a play; it’s an experience. It invites you to journey through its fables, urging you to ponder the essence of love and the complexities of human relationships. Scheduled performances continue on May 10, 11, 17, and 18 at 7:30 pm, with matinées on May 12 and 19 at 2 pm. This is a must-see for anyone who appreciates profound narrative art and innovative theatrical expression.

In a world where theatrical innovation is often sought but seldom found, “The Late Wedding” emerges as a beacon of creativity and introspection—a testament to the enduring power of storytelling.

A Triumph of Courage and Music

Sonoma Arts Live Theater Company breaks new ground with their latest production, “The Hello Girls.” Directed by the talented Maeve Smith, this new musical brings to light the remarkable story of the brave women who volunteered to serve their country during World War I, even before they had the right to vote.

Set against the backdrop of war-torn Europe, “The Hello Girls” follows the journey of the female switchboard operators, known affectionately as the “Hello Girls,” who were recruited by Army General John Pershing to assist in the war effort. Despite facing numerous challenges and obstacles, these courageous women played a pivotal role in communication on the front lines, ultimately helping to secure victory for the Allies.

What sets “The Hello Girls” apart is its captivating score, composed by Peter Mills. From soulful jazz melodies to lively ragtime tunes, the music adds depth and emotion to the story, transporting the audience to the tumultuous era of the Great War. Under the expert guidance of Music Director Aja Gianola-Norris and choreographer Jonathen Blue, the cast delivers stellar performances.

Speaking of the cast, Sonoma Arts Live has assembled a talented ensemble of local actors who breathe life into their characters with authenticity and passion. Jenny Veilleux shines as Grace Banker, Emily Evans compels as Helen Hill, and Sarah Lundstrom delivers a standout performance as Suzanne Prevot. Each actor brings a unique energy to the stage, making the story of the “Hello Girls” all the more compelling.

But beyond its entertainment value, “The Hello Girls” also shines a spotlight on an often overlooked chapter of history. Director Maeve Smith’s meticulous research and dedication to authenticity ensure that the audience gains a deeper understanding of the sacrifices and contributions of these extraordinary women. It’s a story that deserves to be told and remembered, and Sonoma Arts Live has done justice to its legacy.

As I left the theater, I couldn’t help but feel inspired by the resilience and courage of the “Hello Girls.” Their story serves as a reminder of the indomitable spirit of women throughout history and the power of music to transcend boundaries and unite hearts. “The Hello Girls” is not just a musical—it’s a testament to the human spirit and a celebration of the unsung heroes of the past.

“The Hello Girls” runs from April 19 to May 5 at the Rotary Stage in Andrews Hall, Sonoma Community Center. Go now and prepare to be transported on a journey of courage, camaraderie, and music that will stay with you long after the final curtain call.

Enjoy it now!

Forever Plaid at 42nd Street Moon

Be transported back in time to the golden era of music with 42nd Street Moon’s production of “Forever Plaid.” Directed by Daniel Thomas, this fun musical revue is an evening of laughter, nostalgia, and toe-tapping tunes that leave you humming long after the final curtain falls.

From the moment the lights dim and the quartet of singers takes the stage, you are whisked away on a mirthful musical journey filled with classic 4-part harmonies and pitch-perfect melodies. Starring Edu Gonzalez-Maldonado as Jinx, Kevin Singer as Frankie, Justin P. Lopez as Sparky, and Matt Skinner as Smudge, the quartet delivers standout performances that showcase their exceptional vocal and comedic talents.

Under Tim Fletcher’s musical direction and Brittney Monroe’s choreography, each song and dance number is executed with precision and flair, transporting the audience to a bygone era of music and entertainment.

But what sets this production apart is its interactive elements. Throughout the show, the cast seamlessly engages with the audience, inviting them to participate in the fun and adding spontaneous asides that keep the laughter flowing. From witty banter to unexpected audience interactions, each moment feels fresh and lively, creating an immersive theater experience that captivates from start to finish.

The set design by Justin Kelley-Cahill and the lighting design enhance the whimsical atmosphere of the production, while the musical arrangements by James Raitt breathe new life into beloved classics from the 1950s. From “3 Coins in the Fountain” to “Love Is A Many-Splendored Thing,” the hit parade of songs have you singing along.

Besides being entertaining, “Forever Plaid” also carries a message of camaraderie and friendship that resonates long after the final bow. It celebrates the power of music to unite people and uplift spirits, reminding us of the timeless appeal of harmony and melody.

Overall, “Forever Plaid” at 42nd Street Moon is a delightful theatrical experience that leaves you smiling from ear to ear. Whether you’re a longtime fan of musical theater or simply looking for a night of pure entertainment, this production is for you.

Experience the fun of “Forever Plaid” at the Gateway Theatre in San Francisco from April 18 to May 5, 2024.

Joseph Cillo
Publisher & Editor-in-Chief
ForAllEvents

SFBATCC Reviewer

Stanford Live presents Book of Mountains and Seas, a work of vocal theatre created by Huang Ruo, composer and librettist, and Basil Twist, director and designer. Performed in the Bing Concert Hall April 6 and 7 2024. Ruo, formerly Composer in Residence at the Concertgebouw in Amsterdam collaborates with Twist, a third-generation puppeteer to bring to life four ancient Chinese creation myths. Transcribed in the 4^th Century BC this performance is told through twelve singers, six puppeteers and two percussionists. The impressive Ars Nova Copenhagen perform the vocals while puppeteers deftly move surrounding and across the stage with object puppetry such as flags, lanterns, rocks – and finally, a magical surprise!

The four myths tell the story of The Legend of Pangu and the creation of our planet – how the mountains, seas, rivers, lakes, suns and mankind were created – and each story is different visually and dynamically. The lyrics are based on original Chinese texts from oral and written history with summarised English supertitles projected on the circuar black background of the stage. An impressive array of percussion instruments is placed on both sides of the stage whose mesmeric sounds melt in and out of the stories.

Singers in long black robes gently move to different places on the stage for each part of the story, with only their faces lit reflecting from their open song books. It’s dramatic and curious. Twist is well known for exquisite puppetry and here objects that evoke wizened driftwood are carefully placed and transform into different landscapes with ease. There are many highlights to note in this production, such as a spirit bird that flies around, brought to life by several puppeteers; The Legend of Ten Suns is particularly memorable with a beautiful choreography of lanterns that emotively change colors; the delicate songs and quality of the vocalists is ever present, and the contemporary percussion music is at once haunting and reverberatingly beautiful. Inspired lighting design plays an important part of the storytelling in this piece with tight focus pin lights on the evolving landscape center stage and later, shadows bouncing off the high ceiling of Bing Hall adding atmosphere and scale.

Ruo and Twist have created an outstanding and unique piece of theatre with music. Experiencing this seventy five minute performance is surreal and stunning allowing us time to breathe and be transported. A vital quality that is so effective is the time Ruo and Twist take to develop this new world with respectful restraint minute to minute. The stories unfold seamlessly – and without realizing it we are breathing with the visceral imagery and sound taking us to mystical places that we do not want to end. If you have the opportunity to see this show, do so – it’s Highly Recommended!

More Information about Stanford Live
https://live.stanford.edu/

o, composer and librettist | Basil Twist, director and designe

Ensemble Photo by Robin Jackson

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

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

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

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

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

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

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

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