Kedar K. Adour

Kurt Vonnegut’s Slaughterhouse-Five, or The Children’s Crusade: Adapted by Eric Simonson. Directed by Brian Katz. Custom Made Theatre Company, Gough Street Playouse,1620 Gough St. (at Bush), San Francisco, CA 94109. Gough Street Playhouse is attached to the historic Trinity Episcopal Church 510-207-5774; www.custommade.org. September 16 –October 12, 2014

Slaughter House -Five a hit at Custom Made.   [rating:4]

Kurt Vonnegut’s fame as a writer and social commentator on the futility and horror of war is well deserved. That fame was burnished when it was published in 1969 when the youth of the United States were rebelling against the futility of the Vietnam War that began in 1954 and became the burden of the U.S.A. in 1964. His writing captured the frustration of the populous and is labeled metafictional, where fact is intertwined with fiction forcing the reader to intellectually recognize the dichotomy and appreciate both.

Slaughterhouse-Five is a satirical novel following a soldier named Billy Pilgrim through actual World War II experiences intermingled with his travel to the mythical world of Tralfamador where death (“And so it goes.”) is an extension life. Vonnegut also takes us into forays of the minds depicting the hallucinations of his characters.  If you have read the book you will marvel at Custom Made’s adventurous staging and almost fully understand the multiple scenes that are simplistically, adroitly and powerfully staged by Brian Katz, one of the Bay Area’s best directors.  For those who are unfamiliar with the novel be advised to stay alert and the multiple non-linear scenes will coalesce.

Vonnegut’s experiences in World War II were the impetus for the novel with special reference to being a prisoner of war is Dresden when the city was fire-bombed by the Allies.  The only reason he lived through that nightmare was that he and other prisoners were housed in a concrete building labeled Schlachthof Fünf (Slaughterhouse #5).  He did not see the fire-bombing: “The attack didn’t sound like a hell of a lot. . .Whump. . . When we came up the city was gone.” The before and after of that incident is a significant thread throughout the novel.

The journey of the novel to a stage play begins with an adaption by Vince Foxall produced in London. Eric Simonson adapted and directed a new version for Chicago’s famed Steppenwolf group using many technical gimmicks. Simonson’s final adaptation appeared Off Broadway in 2008 and it is this version used by Custom Made. Following the storyline of the book the play maintains its non-linear structure and Katz has elected to abandon physical props relying on fast paced scenes and computer generated projections to buttress the dialog.  

Most, if not all, of the characters are there beginning with a narrator called

Man (Dave Sikula) who is a stand-in for the author. Sikula is perfect for the role. Recognizing individual actors would require an extended review. It is a true ensemble production with each actor adding a quality performance to the whole doing justice to Vonnegut’s most popular work. Running time is one hour and 50 minutes without intermission.  Recommendation: Intriguing. A should see and will stimulate you to read the novel.

 

Cast: Ryan Hayes- Billy Pilgrim; Brian Martin- Young Billy Pilgrim; Dave Sikula – Man; Alun Anderman /Myles Cence – Billy Boy (alternating performances); Stephanie Ann Foster -Valencia/Derby/Ensemble; Sal Mattos -Weary/Rosewater/Ensemble; Chris Morrell – Chetwynde/Campbell/Ensemble; Jessica Jade Rudholm – Barbara/Tralafamadorian/Ensemble; Carina Lastimos Salazar – Montana Wildhack/Dotty/Ensemble; Paul Stout* -Kilgore Trout/Reggie/Ensemble; Sam Tillis – Lazzaro/Rumfoord/Ensemble

Production Crew: Brian Katz, Director; Cat Howser, Stage Manager; Christine Keating, Asst. Director; Sarah Phykitt, Scenic Designer; Maxx Kurzunski, Lighting Design
Karina Chavarin;  Costume Design Rebecca Longworth, Video Design Liz Ryder;  Sound Design; Daunielle Rasmussen;  Movement Stewart Lyle, Technical Director; Perry Aliado; Dramaturge.

Kedar K. Adour, MD

An Audience with Meow Meow: A Musical Play. Arrangements by Lance Horne.  Berkeley Repertory Theatre, Rhoda Stage, 2015 Addison St., Berkeley. (510) 647-2949. www.berkeleyrep.org.  September 5 – October 19, 2014.

An Audience with Meow Meow at BerkeleyRep earns her reputation.

 [rating:3]

There are a myriad of laudatory reviews about the entertainer Meow Meow whose given name is Melissa Madden Gray. She is an Australian-born actress, dancer and cabaret performer who tours internationally. Most of her time has been spent in in the UK where she has earned plaudits for the musical adaptation of The Umbrellas of Cherbourg, appeared in La Clique at Roundhouse, created the role of Maîtresse  in the West End at the Gielgud and earned the Edinburgh International Festival Fringe Prize. In 2011 she wowed audiences in her premiere of Meow Meow in Concert. This time around she has teamed up with Emma Rice, my favorite director from the Kneehigh group who brought Brief Encounter to San Francisco before a triumphal run on Broadway.

At the risk of being labeled as contemning or an elitist old fogy this reviewer had not heard of Meow Meow nor seen a performance by Lady Gaga and the definition of a person being a “post-post-modern” phenomenon escapes me. Also, a performer who condescends to give me an “audience” seems pretentious.

In fairness to Meow Meow she is a superb performer and “an audience with” could be a simple reference to the fact that much (most?) of the show is with audience participation. After a spectacular opening with Meow Meow in a fantastic costume (Neil Murray), amidst brilliant lighting (Alexander V. Nichols), suspended high on the stage she is winched down to stage level for an Apache type dance with tuxedo clad dancers Michael Balderrama and Bob Gaynor (Choreographed by Tiger Martina). The dance humorously degenerates into a series of debilitating miscues for the male dancers forcing them to the wings.

She is now on stage level, devoid of garish costume, and the “down to earth’ portion of the evening begins as audience participation kicks in. The outstanding quartet of onstage musicians playing eight instruments never misses a beat even when they are required to accompany Meow Meow in her wide range of songs from every genre.  Her ability to interpret the many songs is phenomenal, even while rolling of the floor singing to a stand-up stage microphone. She is on the floor quite often especially when she entices audience members to the stage and intertwines her lithe body between them. It is very, very clever and brings much laughter. Since this part of the act worked well with three audience members why not try it with four, or was it five, chosen at random from the front rows? It works again and earns accolades.

Meow Meow earns her much admired reputation but her method of receiving a “standing  ovation” is suspect. She mosh pitted the audience and left them standing for the final song. Running time 90 minutes without intermission.

CAST: Meow Meow; Michael Balderrama as Dancer Sergei Romanov/ a Dark Prince of the Stage; Bob Gaynor as Dancer Jonathan Spooner/ a Dark Prince of the Stage; Band,Russ Gold (drums & percussion), Lance Horne (conductor & piano), Jessica Ivry (cello), and Pat Moran (bass, guitar, mandolin & trombone).

ARTISTIC STAFF: Written and starring Meow Meow; Choreograph by Tiger Martina; Music Supervision by Lance Horne; Adapted and directed by Emma Rice.

PRODUCTION STAFF: Musical Arrangements, Lance Horne; Additional Arrangements, Martin Lowe; Scenic & Costume Design, Neil Murray; Lighting Design, Alexander V. Nichols; Sound Design, Simon Baker; Physical Comedy Consultant, Geoff Hoyle; StageManager, Michael Suenkel; Dramaturg, Robert Egan; Assistant Stage Manager, Leslie M. Radin.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

 

COCK: Drama. Written by Michael Bartlett. Directed by Stephen RupschNew Conservatory Theatre Center (NCTC), Walker Theatre, 25 Van Ness Ave @Market, San Francisco, CA 94102. 415-861-8972, boxoffice@nctcsf.org.

September 5 – October 12, 2014 

COCK (Fight) given a “should see” performance at NCTC . [rating:4]

When you attend New Conservatory Theatre Center’s latest show you will be in for four rewards and one disappointment. The four rewards are a first look at the new marvelous configuration of the intimate Walker Theatre, an extremely well written/thoughtful play, fine acting by an attractive cast and simplistic/ingenious direction. It is an engrossing 90 minute evening that is marred by failure of the actors to project thus many of the lines never leave center stage. That fact has been relayed to Artistic Director Ed Decker by members of the audience and will certainly be corrected.

 First, disregard the salacious street vernacular of the title Cock. With even a little bit of imagination that meaning could be worked into the discussion of this play since one of the characters does not have one. But that is getting ahead of the story.  Decker has allowed the resident set designer Devin Kasper, with concurrence of director Stephen Rupsch to reshape the space into a black-box with the seating on all sides. The title of the play refers to an emotional battle between the protagonists that is a bitter cock fight. The acting area is a sand covered arena for the battle.

That battle is between the trio of John (Stephen) and M (for male, Todd Pivetti) and W (for Woman Radhika Rao) with F (for Father Matt Weimer) thrown in as a ringer. John is having a homosexual identity crisis and might possibly be bi-sexual. John has met and sexually enjoyed a new experience with W while still professing love for M.  There are no new insights into the internal conflicts of John but author Bartlett has entwined the territorial rights of W with those of M keeping the audience interested in the outcome.

Stephen McFarland as the conflicted John turns in a superb performance with Todd Pivetti as a sounding board for the professed justifications. M is not about to give up his territorial rights. Radhika Rao handles the most difficult role of W with strength and gives a convincing portrayal earning empathy from the audience. Matt Weimer as F gives a convincing and professional performance in his brief time in the cock fighting ring.

Cast:  Stephen McFarland, Todd Pivetti, Radhika Rao, and Matt Weimer.

Production Team: Scenic design by Devin Kasper, lighting design by Christian Mejia, costume Design by Michelle Mulholland, Sound Design by James Ard, Dialect Coaching by Patricia Reynoso, Stage Management by Vanessa Ramo.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

 

Lydia Singleton (Louise, front), Derek Jepson (Justin)., Louis Schilling (Bingham) and Eileen Fisher (Pamela) star in Ross Valley Players’ production of ‘The Fox on the Fairway.’ Photo by Robin Jackson

THE FOX ON THE FAIRWAY: Farce by Ken Ludwig and directed by Juliana Rees. Ross Valley Players Barn Theatre at the Marin Art & Garden Center, 30 Sir Francis Drake Blvd. in Ross. 415-456-9555 or www.rossvalleyplayers.com.  September 12-October 12, 2014

The Fox on the Fairway earns kudos at Ross Valley Players. [rating:4]

Ross Valley Players (RVP) has been treading the boards for 84 years and in this their 85th season has returned to what they do best, comedy/farce. It is an appropriate move since some of their more ambitious productions are beyond the ability of this community/non-equity theatre. They have again turned to a Ken Ludwig farce to regain applause and elicit laughter from the audience.

Two years ago they earned five stars for their production of Ludwig’s Lend Me a Tenor that has an almost a perfect ingenious farcical plot. This time around Ludwig’s plot is a strained and a bit “by-the-numbers.” The broadly drawn characters, ridiculous story-line, risqué double meanings, love gone awry and fast/ furious physical activity that uses the obligatory four doors needed for farce are all there. Not only do they have the aforementioned four doors, they have  huge French doors upstage center overlooking the golf course (Set by Ken Roland).

The time is the present and the place a tap room of the Quail Valley Country Club. The annual tournament between Quail Valley and Crouching Squirrel Golf Clubs is about to begin. Quail Valley has never won. This year Bingham (Louis Schilling), the Quail Valley president has brought in an expert golfer to assure they will win. He did not count on the deviousness of Dickie (Javier Alarcon); Bingham’s counterpart of Crouching Squirrel who has squirreled away Bingham’s  expert golfer. Bingham has made a huge bet with Dickie before he knew about the loss of his expert golfer. As luck would have it Bingham has hired a gofer, young Justin (Derek Jepsen) who shoots golf in the low 60s (for you non-golfers a low score is good). Quail Valley is on the way to a win but not before we meet all the characters who have made brief declamatory statements to the audience befitting the personalities of their characters before the plot begins.

Along with the three mentioned characters there is young scatter-brained Louise (Lydia Singleton) who works at Quail lodge and is in love with Justin. Unhappy sex-starved Pamela (Eileen Fisher) is married to Dickie but is oddly a member of the Quail Lodge Club but she has her reasons that become clear in the second act. Finally, there is Muriel, Bingham’s masculine wife who wears camouflage clothing and hasn’t been ‘drilled’ for years.

The scene is set and the golf tournament begins. We hear the partial results over a loud speaker. In the meantime Louise has lost her heirloom engagement ring in the toilet. She must not tell Justin who goes goes berserk under stress. As the golf games goes on, Quail lodge is ahead by 8 shots but alas there is a rain delay with Quail Lodge ahead by 8 shots with the18th hole to be played the next day.

All is set for the hysterical act two. Without giving away the surprises it is safe to say, Justin goes berserk, alcohol  (champagne) flows, Pamela and Bingham express their true feelings, (the truth of ‘in veno veritas’) with an recalcitrant open microphone announcing it to the entire club. Muriel enters in a butch outfit and adds further complications when she learns that her treasured sweater shop is part of the bet between Bingham and Dickie.   It is a wild time with all the doors being used with entrances and exits galore. The denouement is a humdinger.

The seasoned director, Juliana Rees an Equity actor, keeps the mayhem in check allowing the actors to emote. Yes, the term emote is correct, since the acting is rightfully very, very broad in the doctrine of farcical acting. Two of the actors are new to RVP including young handsome Derek Jepsen who worked under the legendary James Dunn and Louis Schilling who has played in venues throughout the Bay Area. Jepsen’s performance foreshadows a promising career in the theatre. Javier Alarcon who almost stole the show from James Dunn and Wood Lockhart in Tuna Texas is great as devious Dickie. The elegant Elleen Fisher exudes the sex written into her role and is matched in quality by Lydia Singleton as the ingénue. Sumi Narendran makes the most of her unenviable role as Muriel.

This review is being written on the last preview performance and tightening is needed that is surely to be corrected as the run progresses. Running time 2 hours with an intermission. Recommendation: A should see production.

CAST: Javier Alarcon  as Dickie; Eileen Fisher as Pamela; Derek Jepsen as Justin; Sumi Narendran as Muriel; Louis Schilling as Bingham;  Lydia Singleton as Louise.      

ARTISTIC STAFF: Director, Julianna Rees; Production Manager, Mark Toepfer; Stage Manager, Will Lamers;  Asst Stage Manager, Lisa Immel; Set Design, Ken Rowland; Costume Design, Michael A. Berg; Lighting Design; Property Design, Maureen Scheuenstuhl

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

 

A MIDSUMMER NIGHT’S DREAM: Comedy by William Shakespeare and directed by Shana Cooper. California Shakespeare Theater, Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda, CA 94563. (just off Highway 24 at the California Shakespeare Theater Way/Wilder Rd. exit, one mile east of the Caldecott Tunnel.). 510.548.9666 or www.calshakes.org. September 3–28, 2014.

An earthy/athletic A Midsummer Night’s Dream at CalShakes [rating:4]

A Midsummer Night’s Dream is probably the most produced of Shakespeare’s plays. CalShakes closed out their 2009 season with Aaron Posner’s version that featured the inimitable Danny Scheie as Bottom who is magically turned into an ass to woo bed and punishTitania Queen of the Faires. Once again, CalShakes closes out the 2014 season with another production of Dream with the scene stealing Danny Scheie as Puck and he does not disappoint.

Peter Brook’ version of Dream (1970 and 2012) is the standard by which all other production must be measured. It was a ‘dream’ production with trapeze artists flying high and brilliant staging creating awe within the audience. The talented director Shana Cooper, using multicasting, has brought the major cast down to eight in this earth bound production. They cavort in drab but inventive surroundings (set by Nina Ball) with stacks of cord wood backed by intertwined branches signifying the magical forest where most of the action takes place. That drab stack of cord wood magically sprouts flowers before the evening ends.

The play takes us from the mortal world of Athens to the charmed forest of the fairy band under the rule of Titania (Erika Chong Shuch) and Oberon (Daisuke Tsuji). In Athens, Theseus (Daisuke Tsuji) and Hippolyta (Erika Chong Shuch) are preparing for their marriage.  Director Cooper sets the tone for the entire play with a fantastic physical mating ritual that must be seen to believe as Tsuji and Shuch roll around on the stage with athletic agility, never missing a dialog line, before he carries her off into the wings.

A secondary storyline involves the Hermia (Tristan Cunningham) who is betrothed to Demetrius (Nicholas Pelczar ) but loves Lysander (Dan Clegg) and Helena (Lauren English), in love Demetrius.  Hermia’s father Egeus (James Carpenter), under the law of Athens, offers Hermia the choice of death or life in a nunnery. It is here one of the most quoted line appears: The course of true love never did run smooth.  The truth of that statement is about to begin when Hermia runs off into the forest with Lysander.

Demetrius and Helena are in hot pursuit of the eloping lovers and everything goes awry. Troublemaker Puck, Oberon’s sidekick, then screws everything up. He is ordered to place a magic potion in the eye of Demetrius but places the potion into the eye of Lysander. It is not Puck’s fault that Athenians dress alike? Of course when Helena is the first person Lysander sees it is love at first sight. Oberon seeing the mistake, orders Puck to rectify the error by placing the drops into the eye of the proper Athenian, Demetrius. Alas the first person Demetrius sees in Helena and all hell breaks loose with both men pursuing Helena.

The physical action of the scene with the battling lovers as designed by Erika Chong Shuch, directed Shana Cooper and performed by the actors with the help of the ensemble is worth the price of admission.

In the meantime we meet The Mechanicals who are arranging to put on a performance of the tragedy Pyramus and Thisbe at the nuptial ceremony of Thesus and Hippolyta. Liam Vincent has the frustrating role as Peter Quince their director. The egocentric Bottom (Margo Hall) gets his comeuppance when Puck turns him into Ass complete with long ears, hairy body and a tale. The rest of the Mechanicals take off leaving Oberon to fall in love Bottom/The Ass. Alas, Puck intones, “Lord, what fools these mortals be.”

Before the evening ends there is the staging of Pyramus and Thisbe that has the audience in hysterical laughter.  James Carpenter as Starveling, Catherine Castellanos as the Wall,  Craig Marker as Flute (in drag) double the fun by playing their parts absolutely straight increasing  the frustration exhibited  Liam Vincent as the director.

Scheie gets to return in the final scene as Philostrate, Master of the Revels and displays his scene stealing ability. The play has been truncated and running time is 2 hours and 20 minutes with an intermission. Recommendation: A should see production.

CAST: Featuring: Daisuke Tsuji* (Oberon, Theseus, Ensemble); Erika Chong Shuch* (Titania, Hippolyta, Ensemble); Danny Scheie* (Puck, Philostrate, Ensemble); Dan Clegg* (Lysander, Ensemble), Nicholas Pelczar* (Demetrius, Ensemble); Tristan Cunningham* (Hermia, Ensemble); Lauren English* (Helena, Ensemble); Margo Hall* (Bottom, Ensemble); James Carpenter* (Egeus, Starveling, Ensemble); Catherine Castellanos* (Snout, Ensemble); Craig Marker* (Flute, Ensemble); Liam Vincent* (Peter Quince, Ensemble); Travis Rowland (Fairy, Ensemble); and Parker Murphy (Fairy Ensemble).

CREATIVE TEAM; Set Designer – Nina Ball; Costume Designer – Katherine O’Neill;

Lighting Designer – Burke Brown; Composer/Sound Designer – Paul James Prendergast; Voice and Text Coach – Lynne Soffer; Movement Director – Erika Chong Shuch; Resident Fight Director – Dave Maier; Stage Manager – Karen Szpaller; Assistant Stage Manager – Christina Hogan; Assistant Directors – Adin Walker, Rebecca Deutsch; Movement Collaborators – Travis Santell Rowland, Parker Murphy; Assistant Lighting Designer – Krista Smith; Assistant Movement Director – Melanie Elms; Production Assistant – Christina Larson

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Life Could Be a Dream: Musical. Written & Directed by Roger Bean. Music Direction by Brandon Adams. Choreography by Lee Martino. Center REPertory Company, Lesher Theatre, 1601 Civic Drive in downtown Walnut Creek.  925.943.7469 or www.CenterREP.org.  August 29 – October 5, 2014

Life Could be a Dream is a smash hit at Center Rep. [rating:5] (5 of 5 stars)

In reference to musical genres it seems that a generational gap is common. In Life Could be a Dream the time is the 60s and the place is Springfield, a middle-class America town where the Democrats sit in the back pews at church. That dichotomy is suggested when the unseen mother yells down to the cellar playroom (fantastic set by Michael Carnahan), “you’re not going to play doo-wop in this house” or something to that effect.  Never fear, the fantastic five cast members rock the auditorium with an exuberant musical tribute to that era that eventually morphed into rock-n-roll.

Along with the superb cast Center Rep has brought along the multitalented Roger Bean from New York to direct his opus glorifying the doo-wop era. Yes, it is that Roger Bean who wrote the fantastically successful The Marvelous Wonderettes, and its sequels, that are still playing in theaters across the country. His methodology is deceptively simple by taking an elementary plot, adorn it with songs that forward the action gradually working in conflict and ending on a happy note. He has selected a plethora of doo-wop songs to die for starting with “Sh-Boom[Life Could be a Dream] working in the famous ones “Tears on My Pillows”, “Fools Fall in Love”, “Only You”, “I Only Have Eyes for You”, “Sunday Kind of Love of Love”, “Unchained Melody”, “The Magic Touch” along other lesser known ones to keep everyone dancing and singing through this ‘must see’ 2 hour and 10 minute (including an intermission) show.

Four of the characters are Springfield High School grads and former members of the Glee Club “Crooning Cupcakes.” That signifies that they all have singing talent. Unemployed Denny is putting together a doo-wop group to compete in a talent show with the winner getting a one year world tour gig. Initially it is a two man group, Denny and inexperienced Eugene (Tim Homsley). Enter fellow Glee Club member Wally (Jerry Lee) who joins the group suggesting they get “Big” Earl owner of Big Stuff Auto to sponsor them and pay the $50 entrance fee.

It seems that “Big “ Earl can’t make their audition and his daughter Lois (Sharon Retkerk) is sent to check them out.  As one would expect when a beautiful girl enters into a male bastion there is going to be conflict and there is. That conflict escalates when she suggests her father’s head mechanic Skip, raised on the wrong side of town, with his talent for singing dancing and guitar playing be brought in making the group a quartet. How about a name? Ok, let’s be “Denny and the Dreamers.”

Early on you can guess the rest of the story but before the end you will be entertained with terrific doo-wop numbers, charming humor and fine acting by all who are members of Equity. One local favorite is Ryan Drummond who has an enviable CV, fine singing voice, is a great dancer and shares a role in the ensemble numbers. Beautiful Sharon Rietkerk’s name appears as lead actor throughout the bay Area and is a dream in the eye-popping dresses (Costume Design by Bobby Pearce ) created for her. Did I mention she is a whirlwind of a singer and dancer?

Most of the humor is divided between Tim Homsley and Jerry Lee with Homsley the audience favorite who grows from an insecure, inexperienced nice guy who had been rejected by Lois in the 4^th grade into an integral group member. Both Lee and Homsley have their individual share of the spotlight in solo numbers.

Last but hardly least is hunky Derek Keeling, imported from New York to play the role Skip who is Lois’ love interest.  The stage radiates sex during some of his numbers. He like Drummond fit in the ensemble mode when required.

The total production is enhanced by the artistic crew’s efforts with spot-on direction by Roger Bean, choreography by Lee Martino and the unseen band led by musical director Brandon Adams.

Recommendations taken from previous reviews that fit this production to a T: Spectacular, affectionate, high-flying, fabulous, delightful, idiotically infectious etc. and is pure nostalgia.

CAST: Ryan Drummond, Tim Homsley, Derek Keeling, Jerry Lee, and Sharon Rietkerk .

CREATIVE TEAM: Written and Directed by Roger Bean; Music Direction by Brandon Adams; Choreographed by Lee Martino; Set Design by Michael Carnahan; Costume Design by Bobby Pearce,  Lighting Design by Kurt Landisman; Sound Design by Jeff Mockus; Stage Managed by Kathleen J. Parsons

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

FUNNY GIRL: Musical. Music by Jule Styne. Lyrics by Bob Merrill. Book by Isobel Lennnart from an original story by  Miss Lennart. Hillbarn Theatre, 1285 E Hillsdale Blvd, Foster City, CA (650) 349-6411 or www.hillbarntheatre.org.    August 28 – September 21, 2014.

Ambitious Funny Girl at Hillbarn a winner. [rating:4] (4 of 5 Stars)

In this their 74^th season the Hillbarn players under their new Executive Artistic Director Dan Demers have mounted the musical Funny Girl that will forever be associated with Barbara Streisand. She starred in the Broadway show that ran for over 1300 performances and reprised the role for another long run on the West End in London before giving an almost Oscar winning performance in the 1968 movie. When the Paper Mill Playhouse, Millburn, New Jersey produced the musical in 2001 the New York times critic noted “ Few theater companies outside of summer stock, dare to attempt [the] grand spectacle  that propelled Barbara Streisand’s career . . .”

The story is based on the life of Fanny Brice (Melissa Wolfklain) shortly before and after World War I, told with humor, music and song of  her trials, tribulations and successes. It is told in flashbacks with the opening scene backstage at an unnamed theater where she is awaiting her husband Nick Arnstein (William Giammona) who has been released from prison. She reminisces of her time in the Henry Street tenements of Lower East Side Manhattan.

Her mother Mrs. Brice (Tracy Chiappone) is playing cards with the ladies poker club (Maureen O’Neil, Stephanie Case and Regina Quigley). We are reminded in song “If a Girl Isn’t Pretty” chances for star-struck Fanny who is not a beauty to make the big time are minimal. Not to be dissuaded (“I’m the Greatest Star”) she cons local dancer Eddie Ryan (Justin Buchs) to teach her dance steps that lead to a part in the Ziegfeld Follies.

Boy does she take advantage of that small part!! While the tenor (Steven Ennis) is singing “His Love Makes Me Beautiful” and the scantily dressed Ziegfeld Girls are parading down the stairway, Fanny ambles down (very reminiscent of Alice Gooch in Mame) as a pregnant bride creating a classic comedy routine. Rather than fire her, Ziegfeld gives her a role in his shows and you know the rest of the story.

Love enters Fanny’s life after meeting gambler Nick Arnstein and for her it is love at first sight (I Want to Be Seen with You Tonight) and they both go to the Henry Street Party. At this point Fanny and Nick as a pair or alone sing three of the most memorable songs ever written: “People”, “You Are Women, I Am Man” and “Don’t Rain on My Parade.” It is a great first act curtain.

To revive interest in the audience for the second act there is the obligatory upscale ensemble number “Sadie, Sadie” (married lady). Yes she marries Nick and as the axiom goes, “The course of true love never did run smooth.”

If there is a theme, other than ‘try, try again’ to obtain your dream, it is love is truly blind but it can be overcome.

The book, lyrics and songs are cleverly written and the show is deftly directed by Dan Demers. He wisely has not attempted to mimic the shenanigans or voice intonations of Fanny Brice but allowed Melissa WolfKlain to create a unique, nuanced and believable performance.  It helps that she is a real pro with excellent stage presence and tremendous singing voice. Accolades go to Justin Buchs as Eddie Ryan, Tracy Chiappone as Mrs. Brice and William Giammona, Nick Arnstein.

The ensemble under James Zongus choreography/direction are a delight with their exuberance and polish and earn extra awards for “Rat-tat-tat-tat” tap dance sequence. All this with the cast wrapped up in charming/humorous/revealing costumes by Lisa Cross and wigs/make-up by Dee Morrissey. Not to be forgotten are the 18 member orchestra that do not miss a beat. You too should not miss this charming, entertaining evening with the caveat it does go on for 2 hours and 45 minutes with an intermission.

Cast List: (In Order of Appearance) Melissa WolfKlain, Fanny Brice; Jen Butler, Emma (Fanny Brice U/S); Tracy Chiappone, Mrs. Brice; Maureen O’Neill, Mrs. Strakosh; Stephanie Case, Mrs. Meeker; Regina Quigley, Mrs. O’Malley; Richard Ames, Tom Keeney; Justin Buchs,  Eddie Ryan; Steven Ennis, Ziegfeld Tenor; William Giammona, Nick Arnstein; Dennis Lickteig, Florenz Ziegfeld, Jr. ENSEMBLE: Rachelle Abbey, Christine Baker, Paige Collazo, Jessica Maxey, Lauren Schneider, Emily Mannion, Matt Gill, Jon Toussaint.

Production Team: Directed by Dan Demers; Musical Direction by Joe Murphy; Choreography by James Zongus; Scenic Design by Kuo-Hao Lo; Lighting Design by Don Coluzzi; Props by AJ Diggins; Sound Design by Alan Chang; Costume Design by Lisa Cross; Make-Up and Wigs by Dee Morrissey.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

 

Melissa WolfKlain as Fanny Brice in Hillbarn Theatre’s production of Funny Girl. – See more at:

 

The entire company sings of Fanny Brice’s success in the number “Henry Street.” – See more at:

From Left to Right: Mrs Brice (Tracy Chiappone), Mrs. O’Malley (Regina Quigley), Mrs. Meeker (Stephanie Case), and Mrs. Strakosh (Maureen O’Neill) all play poker and talk about Fanny and her dreams of becoming a Ziegfeld Star. – See more at:

 

Fanny Brice (Left, Melissa WolfKlain) and NIck Arnstein (Right, Will Giammona) Sing the iconic song “You are Woman, I am Man” –

Photos by Mark & Tracy

 

WATER BY THE SPOONFUL: Drama by Quiara Alegria Hudes. Directed by Leslie Martinson. TheatreWorks, Mountain View Center for the Performing Arts, 500 Castro Street, Mountain View. (650) 463-1960 or visit www.theatreworks.org.

August 20—September 14, 2014

Water by the Spoonful given a Prize winning performance at TheatreWorks. [rating:5]

TheatreWorks once again demonstrates its standing as one of the Big Three theatrical groups, along with A.C.T. and Berkeley Rep, in the Bay Area. This time they have mounted a stunning and powerful production of Water by the Spoonful. The play won, and deserved, the Pulitzer Prize for drama in 2012. It is the second part of her “Elliot Trilogy” plays dissecting the life of a Puerto Rican Iraq War veteran living in Philadelphia. It is a standalone play in the trilogy with Elliot (Miles Gaston Villanueva )being the only character from the other plays. It is a play for our time and transcends ethnic stereotyping.

For this reviewer who does not do Facebook, Twitter, Linkedin, have an IPhone or enter chat rooms it was a learning experience. The aforementioned means of communication have replaced personal social interaction and in Quiara Alegia Hudes play she demonstrates their omnipresence in our digital world.

The play’s construction is a fascinating jigsaw puzzle intermingling present day personal action, internet connectivity, out of body experiences, didactics and symbolism. The symbolism of course involves water beginning with the ‘spoonful of water’ and ending with a Puerto Rican waterfall. (Marvelous projections by Erik Scanlon on Erik Flatmo’s three level split set).

In an early scene Quiara Hudes, a trained musician and composer who wrote the book for the Tony Award winning In the Heights”, introduces Yazmin (Sabina Zuniga Varela), cousin to Elliot and a music composition professor. Using John Coltrane’s music as examples, she lectures the students (the audience) on the meaning of dissonance. The tone is set for very dissonant relationships.

Elliot, a wounded Iraqi War veteran would be actor, works in a menial job in a sandwich shop and is the caretaker for his dying aunt who raised him.  He has his own demons from the war experience. When the aunt dies, Elliot and Yazmin search for his birth mother who gave him up as child.

In a parallel story taking place in the digital world , the birth mother Odessa (Zilah Mendoza), known as Haikumom online, functions as a leader in a chat room dedicated to recovering ‘crack-head’ drug addicts. The members of the chat room trust her guidance and are unaware of her own demons.

  The other members of the chat room are “Orangutan/Madeleine” (Anna Ishida); “Chutes & Ladders/Wilkie” (Anthony J. Haney) and “Fountainhead/John.”( Patrick Kelly Jones). Orangutan is in Japan. She had been given up by her mother, adopted and raised in Maine but has returned to Japan to discover her roots. Chutes & Ladders is a middle-aged black man, lives in San Diego and works in a dull office job.   Fountainhead is a former leader in the digital world who has kept his addiction secret from his family. There is seventh character that occasionally roams on stage, is the Arabic ‘Ghost’ in Elliot’s imagination and does not fit very well into the intricately constructed play.

The acting of the each major actor is distinctive, believable and memorable under director Leslie  D Martinson’s  tight control as she moves them like chess pieces on Flatmo’s unique multi-level set amongst brilliant projections and dissonant music. Running time 2 hours 25 minutes with an intermission. Highly recommended.

CAST: Miles Gaston Villanueva as “Elliot”; Sabina Zuniga Varela as “Yazmin”; George Psarras as “Professor Aman/Ghost”;  Zilah Mendoza as “Odessa/Haikumom”; Anna Ishida as “Orangutan/Madeleine”; Anthony J. Haney as “Chutes & Ladders/Wilkie”; Patrick Kelly Jones as “Fountainhead/John.”

Artistic Staff: Scenic Designer,Erik Flatmo;Costume Designer,Anna R. Oliver;Lighting Designer,Steven B. Mannshardt;Sound Designer,Gregory Robinson;Projections Designer,Erik Scanlon;Dialect Coach,Kimberly Mohne Hill;Casting Director;Leslie Martinson;Los Angeles Casting Director, Julia Flores;Stage Manager,Randall K. Lum;Assistant Stage Manager,Stephanie Schliemann.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

 

Berlin to Broadway with Kurt Weill: Musical Revue. Music by Kurt Weill text by Gene Lerner.  Directed by Ellen Brooks, Musical direction by Bruce Haines. Masquers Playhouse, is located off of Highway 580 (Richmond Parkway exit) at 105 Park Place, Point Richmond.   (510) 232-4031 or www.masquers.org.  August 22 – September 20, 2014

The Masquers’ BERLIN to BROADWAY with Kurt Weil ends on a “Happy Note” [rating:4] (4 of 5 Stars)

The mention of the name Kurt Weill automatically brings to mind three things. They are The Threepenny Opera, Lotte Lenya and the song “Mack the Knife.” You are in for a big pleasant surprise when you attend, and you should, the charming but uneven production of Berlin to Broadway (B to B) at the Masquers’ well-appointed 99 seat theatre in Port Richmond. In this their 59^th year of producing plays they have accepted the challenge of mounting a musical revue that requires quality singers and actors.

They seem to have a plethora of actors/singers at their casting calls to make even the problematic shows work. B to B requires a tenor ((Nick Hengl), baritone/bass (J. Scott Stewart), soprano(s) (Tina Marzell & Gayelan Tietje-Ulrich) and a mezzo-soprano (Maria Mikheyenko). The role of the narrator is shared by the entire cast.

This musical revue using the biography and songs of the musical genius Kurt Weil first appeared in 1972 at the experimental Theatre de Lys Off-Broadway in New York City. It is a tribute to Weil’s work and chronologically unfolds beginning in 1928 Berlin where we are introduced to his longtime collaborator Bertholt Brecht and his sole-mate/wife Lotte Lenya and the rest of the cast. They are putting on their version of  John Gaye’s Beggar’s Opera renamed The Three Penny Opera. The milieu of that era is reflected in song with “How to Survive” and an ensemble rendition of “Mack the Knife.”

With rise of Nazism and objection to the musicals Happy End and Rise and Fall of the City of Mahagonny, there is an exodus from Germany to Paris and London. Those two shows had social consciousness with antiwar sentiment that is apparent in all of his later work . From those shows, the writers extracted, amongst others,  “March Ahead to the Fight, “Bilbao Song”, “Surabaya Johnny”, “Alabama Song”, “Pirate Jenny” with “Sailor’s Tango” ending the first act.

An often heard critical comment about plays: “There is a ‘problem’ with the second act. That was not so at opening night of the Masquers’ musical revue of Berlin to Broadway.  The second act is a humdinger appropriately ending with “Happy Ending.”

When Weil moved to America  in 1935 his diligent and superb musical compositions led to collaboration with such noted librettists as (alphabetically) Maxwell Anderson Marc, Blitzstein, Bertolt Brecht, Jacques Deval, Michael Feingold, Ira Gershwin, Paul Green, Langston Hughes, Alan Jay Lerner, Ogden Nash, George Tabori and Arnold Weinstein.

From the many Broadway shows, the writers of B to B have selected some of the most notable songs and the women in the cast have show-stoppers. First up is Jenny Matteucci , in a gorgeous blue-sequined gown to nail “September Song” from Knickerbocker Holiday. Audience favorite diminutive Tina Marzell steals the limelight with “Saga of Jenny” followed by

Maria Mikheyenko’s trained contralto voice singing “My Ship” both from Lady in the Dark.  Beautiful Gaylen Tietje-Ulrichbly is extremely competent in the most difficult role as Lotte Lenya. Nick Hengl and J. Scott Stewart earn accolades for their acting and song interpretations.

And then the cast has great support by the fine six piece on stage orchestra headed by musical director Bruce Haines on the piano. Running time a little over two hours with an intermission.

CAST: Nick Hengl, Tina Marzell, Jenny Matteucci, Maria Mikheyenko, J. Scott Stewart, Gayelan Tietje-Ulrich.

ARTISTIC STAFF: Directed by Ellen Brooks; Musical direction by Bruce Haines; Costumes design, Maria Graham; Lighting design, Ellen Brooks, Production manager, Arthur Atlas; Properties, Jean Rose, Set Design, Malcolm Rodgers; Sound Design, Billie Cox; Stage Manager, Betsy Bell Riger.

ORCHESTRA: Piano, Bruce Haines; Percussion, Barbara Kohler; Synthesizer, Dean Starnes; Flute,       Crystal Diamond; Trumpet, Brett Kelin; Double Bass, Vincenzo Delarosa.

PRODUCTION TEAM: Costume Assistant,  Daniel Yelen; Lighting & Sound Technician, Judy Zimola; Set Construction, Rob Bradshaw, Norman DeVeyra, John Hull, Heinz Lankford, Malcolm Rodgers, Bob Westman; Postcard/Poster, DC Scarpelli; Program Layout & Design, Linda Ellinwood; Lobby Manager, Anne Collins; Scenic Coordinator, Rob Bradshaw.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

Photo by Budinger & Scarpelli

 

 

Fetch Clay, Make Man: Hip Hop Drama by Will Power. Directed by Derrick Sanders.Marin Theatre Company, Marin Theatre Company (MTC), 397 Miller Avenue, Mill Valley, CA 94941.(415) 388-5208  or www.marintheatre.org. West Coast premiere. August 14 to September 7, 2014.

Fetch Clay, Make Man West Coast premiere at MTC   Rating: ***1/2 stars of 5

A former Professor of drama who taught fledgling playwrights strongly suggested that a play’s title is integral to attracting an audience. Will Power, whose play Fetch Clay, Make Man is receiving a thought provoking production at Marin Theatre Company before it moves on to Maryland’s Round House Theatre might wish to rethink the title.  Or, maybe not. It is definitely intriguing and possibly appropriate considering there are various ways of interpreting it.

Former Hip-Hop artist author Will Powell most likely is still influenced by his stint with Anne Bogart’s ensemble based SITI Company where he collaborated with three other authors to dramatize the story of black man John Henry who in the 1800s died working on the railroad and was made famous in song. That title was Steel Hammer and the plight of Blacks was stunningly depicted at the Humana New American Play Festival in a multi media production.

Whereas John Henry accepted his role in a white society, Powell’s inspiration, the former heavy weight boxing champion Cassius Clay (Mohammed Ali played by Eddie Ray Jackson), was equally as powerful as John Henry but did not accept a subservient role. Clay refers to himself as “The People’s Champion” and is honored as a leader in the Civil Rights Movement. Powell imagines an intimate relationship between Clay and the famous comedian and film actor Stepin Fetchin (Roscoe Orman ) whose real name was Lincoln Andrew Perry.

The production is a multimedia staging relying heavily on projections and music to create the atmosphere of the 1960s era. The time is 1965 and the place is Clay’s dressing room in Lewiston, Maine where he is training for his second fight with ex-con Sonny Liston. Clay has converted to the Islamic religion eventually taking the name of Mohammed Ali. He is despised by my many whites and there have been death threats. He is protected by a cadre of the Muslim Brotherhood with a private bodyguard Brother Rashid (Jefferson A. Russell). The then 27 year old Ali has married Sonji (Katherine Renee Turner) who rejects the acquiescent role of Muslim women and their traditional dress.

Ali has summoned the controversial Perry who has parlayed his characterization as “laziest man in the world” into a respectable fortune and being the first black man to receive screen credit. In Power’s mind, Perry was, if not equal, almost as important to Civil Rights in the 60s as was Clay/Ali.  Stepin is in Lewiston as the “secret strategy man” to teach Ali the infamous “anchor punch” used by legendary heavyweight champion Jack Johnson.

In order to give credence to his concept about the importance of Perry’s role in furthering Civil Rights, Power has written a second story line about Perry’s conflicts in Hollywood in general and his relationship with white William Fox (Robert Sicular) the head of 20th Century Fox Studio.

There are personal levels of conflict woven into the overpowering inequalities suffered by the blacks and the rage of the white populous depicted in the projections.  There is the individual animosity of Brother Rashid (a perfect Jefferson A. Russell) to “uncle Tom” Stepin Fetchit that bristles with frightening rage. Perry’s general conflict with 20^th Century Fox studio and specific relationship William Fox is not well defined. The individual schism between Ali and his wife Sonji bristles with authenticity and is the best scene in the play. Eddie Ray Jackson has the physical attributes to portray Ali and the acting ability to give credence to the role. Katherine Renee Turner as Sonji captures the audience with her strength under adversity.  Roscoe Orman seems uncomfortable as Stepin Fetchit/ Lincoln Andrew Perry.

There are many levels for discussion generated by this play including what is meant by the title beyond the obvious fact that it reflects the name of the characters in the play. In the Qur’an (Koran): “God created man from clay.” Ali always emphasized that he was God’s creation both “handsome and strong.”  Thus fetch clay [and] make [a] man [of God]. Running time 2 hours and 15 minutes including the intermission.

CAST: Eddie Ray Jackson (Clay/Ali), Roscoe Orman (Stepin Fetchit); Jefferson Russell (Brother Rashid), Robert Sicular (William Fox); Katherine Renee Turner (Sonji Clay)

ARTISTIC STAFF:  Director, Derrick Sanders;  Scenic Designer, Courtney O’Neill; Lighting Designer, Colin Bills; Costume Designer, Heidi Leigh Hanson; Sound Designer, Christopher Baine; Video Designer, Caite Hevner Kemp; Stage Manager, Sean McStravick; Properties Artisan, Kirsten Royston; Casting Director, Meg Pearson; Dramaturg, Margot Melcon; Assistant Director, Edgar Gonzalez.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com