Kedar K. Adour

Bobby (Charlie Fields) and Georgia (Katherine Stein) dance up a storm in “Curtains” at Hillbarn Theatre

CURTAINS: A Musical Whodunit. Music and lyrics by John Kander and Fred Ebb and book by Rupert Holmes. Original concept and book by Peter Stone. Directed by Nancy Fitzgerald-Metzler Hillbarn Theatre, 1285 EastHillsdale Blvd., Foster City, CA. 650-349-6411 or www.hillbarntheatre.org.

May 7-31, 2015

CURTAINS at Hillbarn Theatre struggles upstream “In The Same Boat” [rating:3]

John Kander and the late Fred Ebb began their Broadway debut with the musical Flora the Red Menace in 1965. Since that time they have gone on to further fame with shows, to mention a few, such as Cabaret, Chicago and Kiss of the Spider.  Curtains began in Los Angeles before traveling to the Broadway in 2007 receiving mixed reviews but a number of Tony nominations with a Tony Award for David Hyde Pierce. After a run of over 500 performances it was released for local productions and the West Coast premiere at Foothill College, under the direction of the legendary Jay Manley in 2011 was a smash hit with equity actor Ryan Drummond in the lead role of Lt. Frank Cioffi.

When the faded screen star and supremely untalented leading lady Jessica (Deborah Rosengaus) of Robbin’ Hood is murdered during her opening night curtain call it is up to theatre aficionado Lt. Frank Cioffi to solve the case, save the show, and maybe even find love before the show reopens, without getting killed himself. It just happens that the victim is detested by the entire cast of 25 who are all suspects. The only non-suspects are the fine unaccredited off-stage orchestra. Yes, he solves that murder and two others that take place before the final curtain. The audience, in the final, final curtain call is warned, “For anyone telling the ending, it will be ‘curtains’.

The entire evening is a put-down, or is it send-up, of every musical comedy and mystery play to hit the boards. The time is 1959 when Boston was “the” tryout city for Broadway bound plays and rewrites were the de rigueur. Well with a dead leading lady would the understudy Niki (Brandy Collazo), be the “leading suspect” thus moving into the lead role? Or could it be Bambi (Jessica Maxey) the understudy’s understudy who would become the real understudy when Niki the understudy moved into the star role? Not so fast, the dictatorial egotistical director (Raymond Mendonca) has other plans, putting the lyricist Georgia (Katherine Stein) in the lead, separating her from her composer partner Aaron (Christopher M. Nelson) thus breaking up a potential romance. (Think Marvin Hammlish in They’re Playing Our Song). The corny rewrites of “In The Same Boat” begin, are rehearsed, dumped and re-rehearsed in hysterical fashion until they finally get it right in the second act.

Hillbarn mainstay Ross Neuenfeldt severely underplays the role of Lt. Coiffi to the point where his character becomes ineffective. Fortunately, he is supported by some talented cast members. Sasha Motalygo plays the hard-bitten lady co-producer and stage mother Carmen Bernstein with enough verve to take on the role of Rose in Gypsy.  She dominates the stage every time she belts a song. Then there is Jessica Maxey’s eye-popping transformation from bimbo Bambi to sexy acrobatic dancer that is a show stopper. Brandy Collazo  and Katherine Stein have beautiful singing voices that match their beauty. By far the most talented singer is tenor Christopher M. Nelson in his solo “I Miss the Music.”

Many members of the cast get to throw some great zingers adding greatly to the humorous raunchy lines . . . of which there are many (I would direct the Kama Sutra with a Richard Rogers score!.“Theater is a business and The Show Must Go On . . . horses—t replies the cast!)

On opening night there was an added treat; Artistic Director Dan Deemers fills in as Sid Bernstein and has more than a passable singing voice.

From this reviewer’s viewpoint, this production of Curtains like the play-within-the- play needs fixing to reduce the 2 hour and 35 minute running time and sharpen the direction.

CAST: Arlene Barruca, Alyson Chilton; Johnny Harmon, Amnon Levy; Roberta Wooster, AnJu Hyppolite; Niki Harris, Brandy Collazo; Bobby Pepper, Charlie Fields; Marjorie Cook, Christine Baker; Aaron Fox, Christopher Nelson; Randy Dexter, Daniel Norberg; Jessica Cranshaw, Deborah Rosengaus; Harv Fremont, Gregory Lynch; Jane Setler, Jessamy Collier; Bambi Bernet, Jessica Maxey; Oscar Shapiro, John Rinaldi; Georgia Hendricks, Katherine Stein; Connie Subbotin, Katie Hontalas; Detective O’Farrell, David Meacham; Ensemble male, Michael Vetter; Roy Stetson, Patrick Lahey; Peg Prentice, Patty Grewell; Christopher Belling, Raymond Mendonca; Lt. Frank Cioffi, Ross Neuenfeldt; Darryl Grady, Russell Ward ; Carmen Bernstein, Sasha Motalygo; Sid Bernstein, Dan Demers; Mona Page,Tori Heibel.

ARTISTIC STAFF: Choreographer, Jayne Zaban; Scenic Design, A. J. Diggins; Master Electrician, Aya Matsutomo; Assistant Lighting Design, Stephanie Dittbern; Properties Designer, Alexandra Nemchik; Costume Design, Valerie Emmi; Sound Designer, Jesse Scarborough; Hair & Makeup Designer, Emily Bright; Stage Manager,    Amanda Roccuzzo; Assistant Stage Manager, Michelle Klingler.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Bobby (Charlie Fields) and Georgia (Katherine Stein) dance up a storm in “Curtains” at Hillbarn Theatre

WHERE’S CHARLEY? Musical adaptation of Brandon Thomas’s 1892 farce Charley’s Aunt. Music and Lyrics by Frank Loesser. Book by George Abbott. Directed by Dyan McBride. 42^nd Street Moon, Eureka Theatre, 215 Jackson St., San Francisco. Box Office www.42ndstmoon.org or 415-255-8207.  April 29 – May l7, 2015.

Where’s Charley? is histrionically hysterical at 42^nd Street Moon [rating:4]

42^nd Street Moon closes its 2015 season with a winner. You do not have to be an aficionado of “lost musicals” to thoroughly enjoy one of the most attractive shows they have mounted in their 22 years of existence. They have come a long, long way from script-in-hand readings to full scale productions and have set the bar high for any future productions.

They have assembled a top-notch cast in beautiful period costumes (Rebecca Valentino) that San Francisco drag queens would die for. When the main character, Charley Wykeham (marvelous Keith Pinto) takes on the personae of his aunt Donna Lucia D’Alvadorez this improbable farce is a joy. As with many of the “lost musicals” setting the storyline in early scenes involves non-musical dialog and requires time to come up to speed. When it did the opening night audience had a treat.

You will not need a program to identify who is who and what is what but a short synopsis (and background data) is offered here. The original farce, titled Charley’s Aunt, was first produced in London in 1892 and is still making the rounds, including a movie with Jack Benny as its star. When the 1952 Frank Loesser and George Abbott musical, renamed Where’s Charley?, hit the Broadway stage with Ray Bolger in the lead it was an instant hit and eventually made into a movie with Bolger reprising his lead role.

The time and place is 1892 at Oxford University, England. The undergrads including Charley and best friend Jack Chesney (James Bock) are preparing for the Red Rose Cotillion. They need a chaperon who will allow a bit of hanky-prank (not a proper English word). Charley’s wealthy, widowed Aunt Donna Lucia (gorgeous Stephanie Rhoads) from Brazil fits the bill. Jacks father the widowed Sir Francis Chesney (John-Elliot Kirk) has lost his fortune and Jack suggests he marry the rich Donna. The best laid plans etc. unfold and Donna misses her train and will not show up on time. Charley is dressed as an older woman for his role in a student play and Jack cons him into playing his Aunt Donna. Good/bad idea.

The love interests are Charley loves Amy (Abby Sammons) and Jack loves Kitty (Jennifer Mitchell).  Complications abound when Amy’s father/Kitty’s guardian, the avarice minded “Spettigue” (Scott Hayes) decides he will pursue the rich Donna unbeknownst of the true identity (imposter) of “Charley’s Aunt.” Further complications occur when the real Aunt Donna arrives and her true love is Jack’s father.

Since this is a farce there should be the obligatory four (or more doors) to allow the quick changes and chase scenes. Scenic designer Hector Zavala and director Dyan McBride have devised a simple attractive set with the “doors” being open arches allowing breakneck speed in the many “chase scenes.” The staging of a tea party with Charley/Donna as host(ess) is an absolute riot.

You will be humming some of the tunes that include: “The New Ashmolean Marching Society and Students’ Conservatory Band”, “My Darling, My Darling”, “Make a Miracle”, “Lovelier than Ever” and the show stopper “Once In Love With Amy.”

Every member of the cast performs with élan and the singing voices are a pleasure to hear.  Keith Pinto who has often graced local stages has the right amount of class to make the swift changes from Charley’s aunt to Charley a joy to observe. In his solo of the signature song from the show, “Once in Love with Amy” he has the audience happily singing along with him.

 Abby Sammons and Jennifer Mitchell have almost identical soprano singing voices that are a pleasure to hear. Abby Sammons received thunderous applause when she belted “The Woman in his Room.” The patter song “The Gossips” just misses the mark.

This highly recommended 2 hour and 20 minute show (with intermission) ends with spiffy dressed cast performing “At the Red Rose Cotillion.”

CAST: Keith Pinto as Charley; James Bock as “Jack Chesney,”;  Roy Eilkeberry as “Percy”; Scott Hayes as “Spettigue”; John-Elliot Kirk as “Sir Francis Chesney”; Kate Leyva as “Violet”;  Maria Mikheyenko as “Doretta”; Jennifer Mitchell as “Kitty Verdun”; Noelani Neal as “Rosamund”; Stephanie Rhoads as “Donna Lucia”; Abby Sammons as “Amy Spettigue”; Zac Schuman as “Albert,”; Stephen Vaught as “Brassett/Wilkinson” and Tim Wagner as “Reggie”.

CREATIVE STAFF: Director. Dyan McBride; Musical Director, Lauren Mayer; Choreographer; Nancy Dobbs Owen; Set Design, Hector Zavala; Costumes, Rebecca Valentino; Lighting Design, Danny Maher; Stage Manager, Daniel Schultz, Props: Daniel Schultz;  Production Manager: Hector Zavala.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Photos by David Allen

Spettigue (Scott Hayes, back) takes an interest in Charley while he is disguised as his aunt (Keith Pinto) in 42nd Street Moon’s production of Where’s Charley? now playing through May 17 at The Eureka Theatre.

Keith Pinto, Abby Sammons, James Bock, Jennifer Mitchell, Stephanie Rhoads, and John-Elliot Kirk star in 42nd Street Moon’s production of Where’s Charley? playing April 29-May 17 at
The Eureka Theatre.

THE ADDAMS FAMILY: Musical. Written by Marshall Brickman & Rick Elice. Music and lyrics by Andrew Lippa. Based on the comic strip characters created by Charles Addams. Palo Alto Players, Lucie Stern Theater, 1305 Middlefield Road in Palo Alto. www.PAplavers.org or 650.329.0891.

April 24 – May 10, 2015

The Addams Family at the Palo Alto Players will rattle your cage. [rating:3]

One might wonder if Charles Addams, the creator of “The Addams Family” made famous on the pages of New Yorker magazine with his single-panel cartoons so ghoulish and macabre to be side splitting funny, would rise from his grave to appreciate the lasting legacy the theatre has bestowed upon him. There were a plethora of film and TV adaptations but there is only one musical that hit the Broadway stage in 2010 for an almost two year run before being released to community theatres after a national tour in 2011. The Palo Alto Players snapped up the option and the resulting production has Uncle Fester baying (making love) to the moon while pandemonium reigns below.

Photo credit: Joyce Goldschmid
Palo Alto Players’ The Addams Family – l-r: Betsy Kruse Craig (Morticia Addams), Doug Santana (Gomez Addams), Joey McDaniel (Uncle Fester)

Who is Uncle Fester (Joey McDaniel)?  He is the fifth member of the immediate (sort of living) Addams family that includes Gomez (Doug Santana), his wife Morticia (Betsy Kruse Craig), Wednesday (Catherine Gloria) and Pugsley (Leo Jergovic). There are serious questions about the Addams family DNA of Grandma (Linda Piccone). Then there are non-living ‘Ancestors’ that rise from the crypts to dance up a storm and contribute to the mayhem that unfolds.

There cannot be a musical without  a love interest and that is provided by bizarre Wednesday falling in love with a ‘normal’ boy Lucas. The parents of the lovers both object to the potential marriage of the mismatched couple. Another person who strongly objects is younger brother Pugsley Addams since Wednesday’s departure means that she would not be around to torture him. The only family member (excluding the questionable Grandma)  to approve of the mismatch is Uncle Fester who is in love with the moon and brings down the house with his trip to the moon to consummate his love in act two. He wants to help the young lovers and convinces the Ancestors not to return to the crypt and help. That is a great idea since the Ancestor ensemble perks up the entire performance.

While Wednesday pleads with her parents to be “normal’, Lucas (Adam Cotugno ) does the same with his parents Mal (Kennan Blehm) and Alice Beineke (Jen Wheatonfox). The plot is much too complicated for a brief review but be assured it almost makes sense and the music, although not memorable, carries the plot along and is very well sung by most of the cast.

The dinner scene where the hilarious game of “Full Disclosure” is being played and Pugsly’s trick backfiring leads to another show stopping scene by local favorite Jen Wheatonfox. Milquetoast Mal has a marvelous transformation that allows Kennan Blehm to share the spotlight with Jen Wheatstone. Linda Piccone milks her Grandma role to perfection.

Photo credit: Joyce Goldschmid
Palo Alto Players’ The Addams Family – l-r: Danielle Mendoza (Ancestor), Shahil Patel (Ancestor), Jen Wheatonfox (Alice Beineke), Kennan Blehm (Mal Beineke)

Doug Santana as Gomez Addams and Betsy Kruse Craig as Morticia Addams are perfect for each other with excellent comic timing and adequate voices to hold the appropriately disjointed story line in check. Their final song and dance romp before the curtain call is eye-popping, but they have to share accolades with David Murphy who blossoms from the quiet tall jack-of-all trades as Lurch to a whirlwind basso just before and during curtain call.

The running time of 2 hours and 30 minutes with an intermission is a bit too long but well worth a visit to the Lucie Stern Theatre.

CAST: Gomez Addams, Doug Santana; Morticia Addams, Betsy Kruse Craig; Uncle Fester, Joey McDaniel; Grandma, Linda Piccone; Wednesday Addams, Catherine Gloria; Pugsley Addams, Leo Jergovic; Lurch, David Murphy; Mal Beineke, Kennan Blehm; Alice Beineke, Jen Wheatonfox; Lucas Beineke, Adam Cotugno; Male Ensemble: Juan Castro, Zendrex Llado, Jomar Martinez, Shahil Patel, Michael Saenz. Female Ensemble: Jessica Ellithorpe, Yuliya Eydelnant, Jennifer Gorgulho, Danielle Mendoza.

CREATIVE STAFF: Director/Choreographer: Musical Director: Scenic Designer: Costume Designer: Lighting Designer: Sound Designer: Properties Designer: Hair & Makeup Designer: Stage Manager: Janie Scott Matthew Mattei Ron Gasparinetti Shannon Maxham Carolyn A. Foot Grant Huberty Pat Tyler Shiboune Thill Jeff Grafton.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Ken Talley (c. r. Craig Marker*) debates his future with family and friends (l-r, Harold Pierce, John Girot*, Nanci Zoppi*, Oceana Ortiz, Jennifer LeBlanc*, Elizabeth Benedict*) in Aurora’s production ofFifth of July

FIFTH OF JULY: Drama by Lanford Wilson. Directed by Tom Ross. Aurora Theatre Company, 2081 Addison Street, Berkeley, CA. (510) 843-4822 or at www.auroratheatre.org.

April 17 – May 17, 2015

Fifth of July does not ring true at Aurora Theatre. [rating:3]

There are times when theatre brings dramatic impetus to historical events. When Lanford Wilson’s play the Fifth of July hit the stage in 1977-1980 it was close enough to the end of the Vietnam War to be a cogent searing denunciation of a dark era in America’s history. Rather, the play is a taut personal family drama and does not reflect the horrific impact on thousands of Vietnam veterans that are still suffering from the effects of that conflict.

During that war there was a large anti-Vietnam war movement that was part of a larger Counterculture of the 1960s. Now, 40 years since the end of that war and 35 years since the production of Fifth of July the power of the original production has lost its visceral punch.

The action takes place on the afternoon of July Fourth and morning of July fifth in the Town of Lebanon, Missouri. Major characters in the play have been members of the counterculture that was rife with antigovernment rallies and the use of alcohol, marijuana and cocaine. Director Ross has inserted a wild bacchanal prolog in an apparent attempt to etch that era in the minds of the audience. Doing so undermines the charming quiet scene between Kenneth Tally (Craig Marker) and his lover Jed Jenkins (Josh Schell) that opens the play.

The family involved in this play has a last name of Talley and is part of a trilogy that was written non-sequentially beginning with the Pulitzer Prize winner Talley’s Folly (1979) and continues with Talley and Son (1981).  Aurora Theatre is honoring Wilson’s legacy by mounting all three plays. Talley’s Folly is playing to full houses in the in intimate Harry’s UpStage in the Dashow Wing with scheduled staged reading of Talley and Son on the main stage.

It is not necessary to be familiar with the first two parts of the trilogy since the only character from the previous plays who appears in the final play is Sally Friedman nee Aunt Sally. Ken Tally’s older sister June (Jennifer Le Blanc ) has had an out-of-wedlock child, Shirley ( Oceana Ortiz) now 13 years old. John Landis (John Girot) a former close friend/ classmate of Ken has married affluent Gwen (Nanci Zoppi) a wannabe country singer who has inherited and is running  a successful business.  The final character is Gwen’s guitar playing song writer Weston Hurley (Harold Pierce).

Ken has been living on the family estate with botanists Jed who has been planting shrubbery over the past two years to create an English style garden. Ken who has suffered bilateral above the knee amputations has been reluctantly preparing to return to his High School teaching job and has been transcribing the verbal ruminations of a brilliant eccentric friend who has been impaired by the Vietnam War.  The question of selling the family home to John and Gwen who wish to convert it to a recording studio plays a major role in the conflict.

With all the characters in place, and as with every family drama, secrets, hidden animosities and past experiences unfold. Lanford Wilson is a master at setting up the premises and effectively dovetailing their interaction. Humor abounds and by the end of the play there is resolution.

Craig Marker gives a stunning performance and Jed’s love is expressed realistically in Josh Schell’s taut underplayed delivery. Director Ross has allowed the remainder of the cast to give over-the-top delivery of their lines that often times is excessive. It is difficult to develop empathy with Oceana Ortiz, who is actually only13 years old, playing the bratty Shirley. Elizabeth Benedict playing Sally Friedman who has preserved her husband’s ashes in a chocolate box, gives the show much of its humor.

Richard Olmsted’s beautiful interior-exterior set takes up a significant portion of the small three-sided acting area. This limits director Ross’s ability to move his characters about when all eight actors are on stage thus detracting from their interaction. Running time two hours and ten minutes with an intermission.

CAST: Craig Marker, Kenneth Talley Jr.; Josh Schell, Jed Jenkins; John Girot, John Landis; Nanci Zoppi, Gwen Landis; Jennifer Le Blanc, June Talley; Harold Pierce, Weston Hurley; Oceana Ortiz, Shirley Talley; Elizabeth Benedict, Sally Friedman.

ARTIST CREW: Set Designer, Richard Olmsted; Costume Designer, Heidi Leigh Hanson; Lighting Designer, Kurt Landisman; Stage Manager, Susan M. Reamy; Sound Designer, Chris Houston; Properties, Laraine Gurke; Movement/Fight Consultant, Dave Maier.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Ken Talley (c. r. Craig Marker*) debates his future with family and friends (l-r, Harold Pierce, John Girot*, Nanci Zoppi*, Oceana Ortiz, Jennifer LeBlanc*, Elizabeth Benedict*) in Aurora’s production ofFifth of July

Anne Darragh (Mom), Kathryn Zdan (Manda) and Rosie Hallett (Meesh) in the West Coast premiere of Mona Mansour’s The Way West, on stage at Marin Theatre Company

The Way West: Comedy/Fable(?) with Music by Mona Mansour. Directed by Hayley Finn. Song arrangements by Misner and Smith. Marin Theatre Company (MTC), 397 Miller Avenue, Mill Valley, CA 94941. Phone: 415-388-5208 or boxoffice@marintheatre.org.  

April 16 – May 10, 2015

The Way West loses its way at Marin Theatre. [rating:3]

With the desire to foster and encourage playwrights a plethora of new play awards are popping up around the country. It seems inevitable that some questionable award selections lead to main stage productions.  The Way West, that is being given a full-scale treatment at the Marin Theater, was the winner of the company’s 2013 Sky Cooper New American Play Prize is one of those questionable selections.

The Way West received its world premiere in April 2014 at Steppenwolf Theatre Company in Chicago and the reviews were universally tepid, nay even critical. The play has been further developed in a five-day workshop in January 2015 at MTC and song arrangements by local Americana duo Misner and Smith added to the script. Although dramatically staged with a mostly top-notch cast the storyline hit more than a few ruts during this two hour (with intermission) multiple scene play ending with a whimper.

 The various scenes are introduced by large signs enfolding on stage left suggesting the content of the upcoming action beginning with “THE WAY WEST IS BEST.”  Partial list of other signs include, “Help is Here”, “Hope Springs Eternal”, “Another Mouth to Feed”, “Adapt or Die” and the penultimate one (paraphrased) “The Wheels Come Off.”

The main characters are a mother and two daughters; Mom (Anne Darragh), with early signs of dementia being cared for by her youngest illogical Michele (Rosie Hallett) and the eldest level-headed Amanda (Kathryn Zdan) has arrived to help Mom with her filing for bankruptcy. Mom, who lives in a depressed mid-valley town similar to Stockton, has a knack for telling dubious stories about the settling of the West. These improbable stories are the mainstay of the fanciful plot that injects humor into the evening that becomes a hodgepodge of purpose.

It all begins with a dramatic monolog by Mom before the string instruments are brought out and plucked by all three as they sing songs pertinent to the action taking place or about to take place. Although the music is germane the play is not a musical but rather a clever device that adds interest and humor.  

As the evening progresses author Mansour astutely builds solid characters with specific traits being buttressed by word as well as action. Michelle has, unbeknownst to Mom, has used Mom’s over extended credit cards to set up a scheme to earn money on Ebay. The level-headed Amanda lives well by keeping ahead of her creditors/debts by paying off the minimum on the balance.

Added to the script is upbeat, hyperactive Tress (marvelous underutilized Stacy Ross) who has helped drain Mom’s coffers with a hilarious improbable business venture. A questionable love interest for Amanda is present as Luis (Hugo Carbajal) who is there to help with bankruptcy. Carbajal has a great turn as a 30 plus year old pizza delivery man in the best scene in the play as the women try to pay for a delivery with expired credit cards.

Ann Darragh who is a mainstay on local stages does not disappoint in a difficult role. Kathryn Zdan earns the major accolades and receives great support by Rosie Hallett as her antithesis.

The set (Geoffery M. Curley) is a marvel of jumble framed by the skeleton of a pioneer wagon symbolic of Mom’s fanciful journey West told in implausible stories.

CAST: Carbajal (Luis/Pizza man); Anne Darragh (Mom); Rosie Hallett (Michele); Stacy Ross (Tress); and Kathryn Zdan (Amanda).

ARTISTIC STAFF: Directed by Hayley Finn; Scenic Designer, Geoffrey M. Curley; Lighting Designer, Masha Tsimring; Costume Designer, Christine Crook; Sound Designer,      Brendan Aanes; Composers/Music Directors, Sam Misner & Megan Pearl Smith; Stage Manager, Heath Belden; Properties Artisan, Kirsten Royston; Casting Director, Meg Pearson; Dramaturg,    Margot Melcon.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Anne Darragh (Mom), Kathryn Zdan (Manda) and Rosie Hallett (Meesh) in the West Coast premiere of Mona Mansour’s The Way West, on stage at Marin Theatre Company now through May 10.

Tracy Hazas as Mirandolina.

Mirandolina! Mistress of a Tuscan Inn: Comedy by Carlo Goldoni. Adapted and directed by Timothy Near., Center REPertory Company, 1601 Civic Dr. Walnut Creek, CA. 925-295-1413 or www.centerREP.org.  April 7 –May 2, 2015.

Mirandolina! beautifully staged by CenterRep in Walnut Creek [rating:5]

PR releases for Mirandolina: Mistress of a Tuscan Inn state it is an adaptation by the legendary Timothy Near of a ‘literal translation’ by Lisa Gottreich.  The question arises as to what constitutes a literal translation? Among the many synonyms of ‘literal’ are accurate, authentic, unvarnished and even simple. Take your choice while this reviewer opts for the unvarnished moniker since the production has enough innuendo with comedia del arte touches to keep you chuckling long after the curtain descends.

Timothy Near who directed this/her adaptation of Goldini’s comedy adds another star to her curriculum vitae after her stunning, award winning mounting of Rumors at CenterRep in 2012. She has brought along husband/CenterRep Artistic Director Michael Butler, Gabriel Marin and Mark Anderson Phillips from that show to fill key roles in this hilarious production. But the major accolades go to the ladies who put the egotistical male characters in their places even though they are theoretically the masters of women in this 1783 play.

Beautiful and independent Mirandolina (Tracy Hazas ) is running a Tuscan Inn at a time when women were considered incompetent to do so. She is in love with her handyman Fabzio (Ben Euphrat) whom she wishes to marry. Meanwhile the impecunious Marchese di Forlipopoli (Mark Anderson Phillips) and egotistical money-rich Count Cavaliere di Ripafratfa, (Michael Butler) vie for her favor. The foppish Marchese wants the dowery/money that will be attached to marriage with her. The Count, the cad, wishes her to be married so that he can take her as his mistress!

Then there is the professed misogynist Cavaliere di Ripafratfa (Gabriel Marin) who wants nothing to do with women. Don’t you just love the pompous male titles? He is about to get his comeuppance when Mirandolina cleverly tricks him into falling in love with her.

The pieces are not yet all in place since Goldoni introduces two beautiful actresses Ortensia (Lynda Di Vito) and Dejanira ( Lizzie O’Hara) to further complicate the plot as they side with the Count to throw all into further awry. Not to be forgotten is Center Rep favorite Colin Thomson playing Carlo, the Cavaliere’s Servant to add further humor to the plot(s).

Tracy Hazas is a statuesque beauty who plays the Mistress with authority and has comedic skills to carry off the necessary deception of Cavaliere who ends up unable to resist her. The accomplished Michael Butler adds the right schtick to his performance to steal more than one scene from his cohorts. You will not recognize

Mark Anderson Phillips as Marchese

Mark Anderson Phillips as he immerses himself in the foppish role of the Marchese but hardly comes off as second best. Then there is Gabriel Marin’s supercilious Count that often takes center stage bringing laughter with his asides to the audience. Dave Mair deserves a Tony for his staging of a duel to end all duels between Marin and Butler.

The duel to end all duels! Michael Butler and Gabriel Marin

To top all this great acting and directing are the stunning costumes by Victoria Livingston Hall and Nina Ball’s magnificent set with a central revolving stage that keeps the non-stop action zipping along at full speed even though the three hour running (with an intermission) time is a bit too much.  Highly recommended.  Your trip to the Lesher Center Rep venue will delightfully transport you to: The Age of Enlightenment, circa 1750. Mirandohina ‘s Inn, Florence, Italy.

Cast: Mirandolina, Tracy Hazas; Fabrizio, Ben Euphrat; The Marchese di Forlipopoli ,Mark Anderson Phillips; The Count di Albafiorita, Michael Butler; The Cavaliere di Ripafratfa, Gabriel Marin; Ortensia,Lynda Di Vito; Dejanira, Lizzie O’Hara; Carlo,the Cavaliere’s Servant,Colin Thomson; Luclo, a servant of the Inn, Joe Metheny; Sirena, a servant of the Inn, Kathryn Butler.

Creative Team: Directed by Timothy Near; Set Design by Nina Ball; Lighting Design by Kurt Landisman; Costume Design by Victoria Livingston Hall; Sound Design by Theodore J. H. Hulsker; Stage Managed by Nicole Langley.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

l-r: Robert Parsons, Harvy Blanks, Harry Yaglijian, Molly Andrews, David M. Lutken, Tony Marcus, Karen Celia Heil, and Marie Shell star in TheatreWorks Silicon Valley’s Regional Premiere of Fire on the Mountain, presented April 1 – 26 at the Mountain View Center for the Performing Arts.

Fire on the Mountain: By Randal Myler & Dan Wheetman.  Directed by Randal Myler. Musical Directed by Dan Wheetman. TheatreWorks at Mountain View Center for the Performing Arts, 500 Castro Street, Mountain View.  (650) 463-1960 or visit www.theatreworks.org.

April 1 – 26, 2015

Fire on the Mountain resonates with foot-stompin’ music at TheatreWorks [rating:5]

Fire on the Mountain receiving its breath catching regional premiere at TheatreWorks has its origins in the hard-scrabble lives of coal miners and their families in Appalachia. It is the passionate handiwork of the creators of It Ain’t Nothin’ But the Blues told as a musical revue using rhythms specific to that region. The authors make a distinction between commercial blue grass and old time music. Whereas the former is designed to entertain the latter is a musical history both melancholy and joyous and always gripping storytelling. Although the actually daily hardships continued on for month and years, the love of their land remained strong.

The show has been making the rounds of theatres around the U.S. since its premiere at Chicago’s Northlight Theatre in 2007. The reviews have been raves and the present staging continues that trend. Along with a talented cast of singers and actors most of the acting crew plays multiple instruments and all dance up a storm individually and in groups. Adding to the authentic music of the entire production are archival black and white photos projected on two large screens framing the stage.

The 90 minutes without intermission kept the audience riveted to their seats ending with a spontaneous standing ovation. Highly reccommended.

Cast: Molly Andrews, Harvy Blanks, Nik Duggan, Karen Celia Heil, David M. Lutken, Tony Marcus, Robert Parsons, Marie Shell, Harry Yaglijian.
Artistic Cast: Scenic Design, Joe Ragey; Costume Design, Jill Bowers; Lighting Design, Steven B. Mannshardt; Sound Design ,Brendan Aanes; Stage Manager, Gregg Rehrig; Assistant Stage Manager, Emily Anderson Wolf. 

Kedar K. Adour, MD

Courtesy of  www.theatreworldinternetmagazine.com.

l-r: Robert Parsons, Harvy Blanks, Harry Yaglijian, Molly Andrews, David M. Lutken, Tony Marcus, Karen Celia Heil, and Marie Shell star in TheatreWorks Silicon Valley’s Regional Premiere of Fire on the Mountain, presented April 1 – 26 at the Mountain View Center for the Performing Arts.

Sullivan Jones (The Angel) and Cheryl Lynn Bruce (Shelah) perform in Tarell Alvin McCraney’s Head of Passes, a poignant and poetic new play about the journey of family and faith, trial and tribulation at Berkeley Rep. Photo courtesy of kevinberne.com

Head of Passes: Drama by Tarell Alvin McCraney. Directed by Tina Landau. Berkeley Rep. Berkeley Rep’s Thrust Stage, 2925 Addison St., Berkeley. (510) 647-2949 or www.berkeleyrep.org. April 10 –May 24, 2015.

Head of Passes: A modern day parable of The Book of Job [rating:4]

Tarell Alvin McCraney burst on to the Bay Area theatrical scene five years ago when his trilogy The Brother and Sister Plays received spectacular productions at three different theatres.  Those plays explore life in the mythical Louisiana Bayou town of San Pere. They begot life at the Marin Theatre Company with their stunning production of In the Red and Brown Water before the baton for Part Two, The Brothers Size, was passed on to the Magic Theatre receiving a muscular standing ovation production under Octavio Solis’s direction. Part Three: Marcus: The Secret of Sweet, was handed over to A.C.T. who mounted a flashy stirring staging but did not match the muscular productions of Parts One and Two.

Berkeley Rep Stage receives the honors with his return to the Bay Area for Head of Passes as a co-production with New York’s Public Theatre. McCraney again sets his characters in the Louisiana Bayou in the mouth of the Mississippi called ‘the head of passes” where the land is below sea level and is ever shifting because of floods and tidal surges. In The Brother and Sister Plays it is hurricane Katrina that wreaks havoc and it seems a foregone conclusion that McCraney is setting us up for a similar disaster before the play ends.

The inspiration for the play is the Biblical “Book of Job” and was commissioned by Chicago’s Steppenwolf theatre where it was staged in 2010. The concept of Faith again takes center stage with the protagonist Shelah (Cheryl Lynn Bruce), an elderly widowed Black woman questioning, nay accepting God’s creation of death and destruction of her family and home.

(l to r) Cheryl Lynn Bruce (Shelah), Brian Tyree Henry (Spencer), and Francois Battiste (Aubrey)

The family consists of adult children Aubrey (Francois Battiste), and Spencer (Brian Tyree Henry) who are preparing a birthday party for her that is intended to be a surprise. Aiding in that endeavor is a preacher, Creaker (Michael Shepperd) and his son Crier (Jonathan Burke). Non-family uninvited persons include friend Mae (Kimberly Scott) and Shelah’s white doctor Dr. Anderson (James Carpenter). There is “The Angel” (Sullivan Jones), dressed in an elegant black suit and bow tie who wanders in and out of the action. He is seen only by Shelah. Also uninvited is the mysterious volatile sister Cookie (Nikkole Salter) whose arrival is antecedent to the climatic ending of act one.

 As in the Book of Job, when Job’s offspring are having a party a mighty wind sweeps in and collapses the house, killing Job’s beloved children, so it is with Shelah’s home and family. The set (G. W. Skip Mercier) and its fantastic destruction from wind and rising water almost over shadow the brilliant acting and tight direction by Tina Landau who kept the play in check.

Cheryl Lynn Bruce who created the role in its original production is a force of nature when, she like King Lear, rails against the elements questioning God in her 20 minute monolog in the second act. Yet through all this questioning she maintains her faith. Francois Battiste’s range of emotion from the love of his mother to hate for his half-sister Cookie can be felt across the apron of the thrust stage. James Carpenter brings compassion to the role as the doctor especially when he is forced to bring the news to Shelah of the death of her entire family.

To this reviewer there are two caveats; one being the ill-defined reason for the animosity between Cookie and Audrey and the other is the extended final monolog that could be trimmed to create a more powerful ending. Never-the-less this play is highly recommended with a running time two hours with an intermission.

Cast: Francois Battiste (Aubrey), Cheryl Lynn Bruce (Shelah), Jonathan Burke (Crier), James Carpenter (Dr. Anderson), Brian Tyree Henry (Spencer), Sullivan Jones (The Angel), Nikkole Salter (Cookie), Kimberly Scott (Mae), and Michael A. Shepperd (Creaker)

Creative team: Directed by Tina Landau, G, W. Skip Mercier (scenic designer), Toni-Leslie James (costume designer), Scott Zielinski (lighting designer), and Rob Milburn and Michael Bodeen (sound designers)

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Sullivan Jones (The Angel) and Cheryl Lynn Bruce (Shelah) perform in Tarell Alvin McCraney’s Head of Passes, a poignant and poetic new play about the journey of family and faith, trial and tribulation at Berkeley Rep. Photo courtesy of kevinberne.com

(l to r) Cheryl Lynn Bruce (Shelah), Brian Tyree Henry (Spencer), and Francois Battiste (Aubrey) perform in Tarell Alvin McCraney’s Head of Passes, a poignant and poetic new play about the journey of family and faith, trial and tribulation.

MAX UNDERSTOOD: Musical Drama. Book by Nancy Carlin. Music by Michael Rasbury. Lyrics by Nancy Carlin & Michael Rasbury. Directed by David Schweizer. The Paul Dresher Ensemble, in co-production with Fort Mason Center @ Fort Mason Center, Cowell Theater , San Francisco.

April 15 – April 26, 2015 Max Understood explores Autism in musical drama [rating:2]

Theatre functions on many levels other than to entertain. At times it is designed to forward social and political agenda (agitprop) and often to dramatize medical/psychological disabilities. Three striking examples of the latter include Larry Kramer’s The Normal Heart and Tony Kushner’s Angels in America (HIV), the musical Next to Normal  by Brian Yorkey and Tom Kitt (Bipolar Disease) and most recently The Curious Incident of the Dog in the Night-Time Simon Stephens’ adaptation of the novel with the same name (Asperger’s Disease).

The classification of Asperger’s disease has been removed from our medical lexicon and it is now listed as a degree  of Autism Spectrum Disorder (ASD) that now affects one in 68 individuals. To disseminate knowledge and unify research/treatment, April has been designated as ASD Awareness month and Max Understood is the latest “disability drama” with the major character a seven year old autistic boy named Max (Jonah Broscow).

The concept for this musical play had its beginning seven years ago and has had three workshop productions including a re-tooling at the Eugene O’Neill National Music Theater Conference in 2008 and an Off-Broadway outing in 2009. The present production is labelled as its world premiere co-produced by the Paul Dresher Ensemble, Fort Mason Center and the Behavioral Intervention for Autism group. Coinciding with this two week run is an installation of “Sound Maze for Max” at an adjacent venue.

Three of the major symptoms of autism are non-verbal relationship with people, repetitive physical activity and peculiar toy habits. These signs of ASD are dramatically, non-verbally portrayed in the opening scenes with Max standing against a white wall with his favorite toy, a Pegasus doll, performing continuous hand motions before his frustrating lack of interaction with his Mom (Elisa Youssef) and Dad (Teddy Spencer) are conveyed in song.

After these initial forays into characterization of the family unit, he leaves the protective mantle of home/family and Max’s foray into the outside world begins. First up are a group of unfriendly children before he is rescued by Munc (Jackson Davis) a working class gardener/philosopher with a leaf-blower. Munc’s introduction on the stage is a highlight of spectacular use of projections, lights and sound.

The play is handsomely mounted with a rotating steeply raked geometric elevated central stage used effectively for the scene changes that are taking place  in actual time and in the phantasy of Max’s mind.

Pictured (l to r) Hayley Lovgren and Jonah Broscow; Max helps Pegasus hang out the laundry and fly. Photo: Mark Palmer

Two of those phantasies include a live Pegasus and a mermaid, both bathed in beautifully orchestrated light and music. All the action is interspersed with Mom and Dad circling the revolving platform searching for Max who is unable to respond to their calls and his non-verbal the interaction  with the outside world continues.

The eleven year old fifth grader Jonah Broscow has a show stopper with his recitation of all the U.S. Presidents during his foray with the dumpster diving Albert (Jeremy Kahn) who nails the rap song “Rushed Up” with a projection of Mount Rushmore on center stage.

Pictured (l to r) Teddy Spencer, Hayley Lovgren, Jonah Broscow, Jeremy Kahn, Elise Youssef, Alyssa Rhoney; Abercrombie models/Presidents of the US get “Rushed Up” Photo: Mark Palmer

With the exception of the two mentioned songs the eclectic music is non-memorable but the actors put their hearts into their roles and the direction by David Schweizer is admirable. Running time is 75 minutes without intermission.

CAST:  Elise Youssef as Mom, Teddy Spencer as Dad, Jonah Broscow as Max, with Jeremy Kahn as Albert, Alyssa Rhoney as Fin, Jackson Davis as Munc and Hayley Lovgren as Peg.

CREATIVE STAFF: Direction by David Schweizer; Music director Jennifer Reason; Scenic design by Alexander V. Nichols; Lighting design by David Robertson; Projection design by Alexander V. Nichols and Micah J. Stieglitz; Costume design by Beaver Bauer and  Deborah M. Bauer; Choreography by Mary Beth Cavanaugh; Sound design by The Norman Conquest; Stage management Kevin Johnson.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

Pictured (l to r) Hayley Lovgren and Jonah Broscow; Max helps Pegasus hang out the laundry and fly. Photo: Mark Palmer

Pictured (l to r) Teddy Spencer, Hayley Lovgren, Jonah Broscow, Jeremy Kahn, Elise Youssef, Alyssa Rhoney; Abercrombie models/Presidents of the US get “Rushed Up” Photo: Mark Palmer

Carl Lumbly as Alfred, a cantankerous and aging West Indian immigrant, in Kwame Kwei-Armah’s intimate family drama, Let There Be Love, playing at A.C.T.’s Geary Theater through May 3, 2015. Photo by Kevin Berne.

Let There Be Love: Family Drama by Kwame Kwei-Armah. Directed by Maria Mileaf. American Conservatory (A.C.T.)Theater, 415 Geary St., S.F. (415) 749-2228 or www.act-sf.org. April 15 – May 3, 2015

LET THERE BE LOVE a ‘must see’ show at A.C.T. [Rating:5]

In 1957 Britain’s Arnold Wesker (now Sir Arnold) wrote a play titled The Kitchen that gave birth to the term “kitchen sink drama.” That spawned a myriad of plays of that genre that slowly lost favor with playwrights and today it is difficult to find such well written plays with classical beginning, middle and end (dénouement). Woven into the structure of Wesker’s plays are themes of self-discovery, love, confrontation of death and social/political disillusionment.  British born playwright Kwame Kwei-Armah can doff Wesker’s mantle with his latest play Let There Be Love receiving standing ovation production at the American Conservative Theatre (A.C.T.).

Just as Wesker’s kitchen plays unfolded in his world at the time they were written, so does Kwei-Armah’s Let There Be Love. The time is ‘Now’ and the place is London. There are two protagonists. The aging black Alfred (Carl Lumbly  who arrived in London in 1963 from his native Grenada and young white Marie (Greta Wohirabe) a part-time care giver newly arrived from Poland. Both have emigrated to seek a better life. A third character is Gemma (Donnetta Lavinia Grays) Alfred’s disenfranchised 35 year old daughter who refuses to be a sounding board, often responding with vitriol, to the irascible Alfred who has as undefined medical illness.

All the action takes place in the living room of Alfred’s home within a time frame of several months. The sparks between Alfred and Gemma explode in the first scene when he learns that his daughters have arranged for a caretaker to look in on him a few hours a week. The unseen daughter has married a white man and he refers to her children as “half-breeds” especially when he is smoking marijuana. This obviously is not conducive to genial family relationships.

With the dramatic entrance of Marie the play builds in well-defined incidents with fits-and-starts between Alfred and Marie ending in a predicable but plausible friendship. Although Alfred has denied Gemma’s request to move in with him, he eventually invites Marie, who is being abused by her boyfriend, to do so and he becomes her mentor and she his confidant.

Woven into the script are the songs of Nat King Cole that are played on a “state of art” radio-record player that were ubiquitous in the 60s. The songs, as well as the gramophone, add a touch of nostalgia as they dove-tail into the storyline when we learn that Alfred has terminal cancer and he is reading a book Final Exit that is a primer on gracefully ending one’s own life.

One could quibble about some inconsistencies in the plot but there is only praise for the tour-de-force acting of Carl Lumbly who has been a mainstay on Bay Area stages for the past few years. In this production his demeanor is a direct opposite of his brilliantly underplayed role in Tree at SF Playhouse.  Greta Wohirabe’s debut at A.C.T. is memorable. The Bay Area and beyond will have the pleasure of seeing her in multiple venues this coming summer. Donnetta Lavinia Grays as Gemma is a dynamic force in her confrontations with the vitriolic Alfred.

Maria Mileaf’s direction appropriately varies the pace keeping all the parts in balance including moving Lumbly around in a wheel chair. Running time is two hours and 10 minutes. Highly recommended. CAST: Carl Lumbly, Donnetta Lavinia Grays and Greta Wohirabe

CREATIVE TEAM: Maria Mileaf (director); Dan Ostling (set design); Russell Champa (lighting design); Lydia Tanji (costume design); Bart Fasbender (sound design).

Kedar K. Adour, MD Courtesy of www.theatreworldinternetmagazine.com  

Carl Lumbly as Alfred, a cantankerous and aging West Indian immigrant, in Kwame Kwei-Armah’s intimate family drama, Let There Be Love, playing at A.C.T.’s Geary Theater through May 3, 2015. Photo by Kevin Berne.