August reviews Jarrett Solo at Magic Theatre July reviews continued July Revies cont'd July Reviews Continued
August Reviews
An Enchanting Alice and Her Wonderland at Marin Shakes
Proof of the variety of Marin Shakes' repertoire is the staging of Lesley
Currier's adaptation and direction of Lewis Carroll's beloved classic tale Alice
in Wonderland, a striking contrast with Marin Shakes' artistic director Robert
Currier's recent staging of King Lear. Lesley Currier's fine adaptation of
the tale appeals to both adults and children. On the more adult level, Alice's
exploits and questions to establish her identity represent the inner voyage
that we all make throughout our lives. On the level that children easily relate
to is the fairytale world of Alice's enounters with the Mad Hatter, the Queen
of Hearts and other fantasy characters, whose logical yet silly answers to
Alice's questions have young as well as older spectators chuckling.
Currier's direction of the play is intimate and heartwarming, as if we are
sitting around the family fireplace listening to one of our favorite stories.
And thank God for the lack of cinematic effects, blackouts, and scenic changes
which would abolish the quaint personal quality of the production. Instead the
staging offers the unadorned merriment of Carroll's tale along with dance and
song and an ending note about Alice's dream to always keep the simple loving
heart of her childhood.
Members of a cast of all ages assume their roles very effectively with an
outstanding performance rendered by Hannah Rose Kornfeld as Alice, a twelve year
old whose acting and stage presence are the motivating power throughout the
production.
Sets by Bruce Lakovic are attractive but perhaps a bit oversized for the
intimate feeling of the play. Fanciful costumes by Michael A. Berg are what we
would imagine for the colorful characters in Alice's Wonderland. Original score
and sound effects by Billie Cox enhance the ensemble of the production.
Alice will be followed by The Comedy of Errors Sept 1-24. For info call
415-499-4485 or visit www.marinShakeseare.org.
A Sexy Detective Thriller at the Magic
Tracy Letts' Killer Joe winner of a Fringe award in August 1994, contains
the use of nudity that is not the shocker it is sleighted to be. Rather it
offers a highly realistic and unpretentious look at the life style, violent family
relationships, crude language and sex of a poor white trash family near
Dallas, Texas. The action begins with Chris entering his trailer home to tell his
father, Ansel, that because he needs money or will be killed he will ask Killer
Joe, a corrupt detective, to kill Ansel's former wife to pay his debt with
her life insurance money. Chris offers Dottie, his twenty year old sister, as a
down payment for the job. After the mother is killed and Killer Joe awaits his
pay, they discover that the mother left the money to her lover, Rex, also the
secret lover of Ansel's second wife, who is in cahoots with Rex to share the
money. After Joe seduces Dottie in a sexually provocative scene in which he
obliges her to take off all her clothes to don a gown and then moves in with
her, he announces he will marry Dottie. When Chris objects to his sister's
marriage to Killer Joe, the play concludes, as all good thrillers with violence and
killings.
Lee Sankowich's stage direction intensifies with mounting dramatic
confrontations, sometimes played with slow and at other times rapid pacing, that often
end in physical clashes. Killer Joe is spotlighted as a sadistic, controlling
cruel character with a tender spot for Dottie's innocence, while the naive
Dottie ends up revolting against all the evil surrounding her. The strength of the
production lies in the concentrated high energy collaborative playing of the
cast members as well as the intense and turbulent action of the play that has
audience members anxiously awaiting the outcome of this intriguing thriller.
Sets by Giulio Cesare Perrone wonderfully captivate the interior of the run
down trailer and Laura Hazlett's costumes enhance the players'
characterizations.
For information about Marin Theatre Company's two month run of Killer Joe,
now at the S.F. Magic Theatre until Aug.13, or for info about the upcoming
Orson's Shadow by Austin Pendleton, about Orson Welles and Laurence Olivier, call
415-388-5208 or visit www.marintheatre.org.
A Daring Merchant at Cal Shakes
Daniel Fish's experimental staging of Shakespeare's Merchant of Venice opened
as the recent Lebanon-Israel war peaked, supposedly about to be resolved but
with resistance on the part of Israel.The present anti-Israel feelings for the
inhumanity of Israel's attacks on Lebanon parallel Shakespeare's portait of a
cruel Jew requiring the justice of a pound of Antonio's flesh rather than
accepting double the amount of money owed him from Antonio, through the
generosity of Portia. Yet the defenders of Shylock ( as well as of Israel) go by the
philosphy "An eye for an eye and a tooth for a tooth." Shylock, who was spat
upon and publically humiliated by Antonio, believes in the justice of obtaining
his vindication.
All of this makes for good drama and a rich dialogue filled with wisdom. What
lessens the value of this meaningful drama is the attempt to introduce
innovative means into a work that is already so resplendent with dramatic
lyricism-like throwing whipped cream over a rich cream dessert. As a whole the
production's visual values are overly amplified as, for example, when the audience is
invited to follow some of the dramatic action on video screens above the stage
with a camera man moving about on stage to video scenes we don't really need
to see. Some findings in the production are innovative, such as Shylock and his
daughter living in a dumpster to represent a ghetto and Shylock, deprived of
money, having a garage sale at the play's end.
David Chandler as Shylock brings authenticity to the character as well as to
the play. Delia MacDougall plays Nerissa and the young lawyer with a
respectful interpretation of the Bard's lines. Jenny Bacon as Portia ( wearing a
different dazzling garment every time she appears) delivers Shakespeare's dialogue
as if she is in a modern day play. Andy Murray playing Gratiano in casual
shorts with an Anglo-Irish accent brings humor to his characterization.
The set by Andrew Lieberman is somewhat oversized, simple, and modern.
Costumes by Kaye Voyce match the modern set with Shylock's being one of the most
credible.
If we could chalk up this production as curiously experimental, which is one
of Cal Shakes' goals, then it is worth the trek up to Bruns Amphitheatre. And
the viewing of this Merchant will no doubt promise a lively reaction by all
who view it.
For info about Cal Shakes upcoming musical version of As You Like It Sept
13-Oct 15, after The Merchant ending Sept 3, call 510-548-9666 or visit
www.calshakes.org.
Over My Dead Body Trumps Mystery Story Writers
In a rollicking comedy about the attempts of three English mystery story
writers to accomplish the perfect and most original murder, the Ross Valley
Players' Over My Dead Body depicts a real murder that culminates in a surprise
ending. To top their careers as mystery writers, an eccentric threesome, comprised
of a middle-aged female, her former suitor, and an elderly, sleepy third
writer try to concoct a plan to kill an American they believe is responsible for
another murder, only to have us laughing at each of their failed ideas. When
they finally come up with their solution for their murder, that requires a sword,
a shotgun and a noose, it remains to be seen whether their idea will be
effective or if the intended murder will find its own solution.
Based on the Robert L. Fish novel The Murder League, Michael Sutton and
Anthony Fingleton's Over My Dead Body depicts the actual London Detection Club,
founded in 1928 by dectective story writers such as Agatha Christie, J. K.
Chesterton and E.C. Bentley.
Over My Dead Body has mystery story fans as well as non-fans guessing enough
to hold their interest and keep them laughing at these detective's attempts to
find the perfect murder. The staging is well directed by Ross Valley habitual
Cris Cassell and perfectly cast and acted out by veteran Barn Players Hugh
Campion, Anne Ripley, and Mitchell Field as the three detectives, along with the
remainder of the cast. Special mention for English born Roy Harvey, who
creates the absent-minded old English butler, Charters, with an amusing distinction.
Sets by James S. Anderson and costumes by Janice Koprowski evoke
an English living or reading room with characters in English style clothing.
The production is a fun and upbeat murder mystery.
Next up at the Barn in Sept. and Oct. is David Auburn's Proof directed by
Cris Cassell. For info call 415-456-9555 or visit www.rossvalleyplayers.com
Shepard's True West at the Artaud Gallery Space
Sam Shepard's True West by Panhandler Theatre and Colibrita Productions
occasioned the first staging in the Artaud Theatre Gallery, an intimate compact
space to be utilized by Bay Area Theatre companies.
True West begins on a low key, subdued note to introduce two combative
brothers who have grown apart in their life styles, one now living in the rough in
the desert and the other writing screen plays in town.When Lee leaves the
desert to visit brother Austin their differences and sense of rivalry become
confrontational. When Lee meets Austin's agent Saul and offers him a true west story
based on his own desert experiences that Saul will promote, Austin's sense of
rivalry is sparked so much that he refuses Lee's plea to help him write it.
Lee attempts to type out the dialogue himself and failing begins to trash
Austin's typewriter with a golf club. More violence ensues between the brothers
until the room is in shambles. When their mother suddenly returning from Alaska
sees the destroed room andone brother choking the other she decides to move
into a motel.
Shepard's True West is a true challenge in a space that has spectators
sitting in seats that are not mounted on levels to facilitate the viewing with
voices on stage not always being fully heard. Otherwise the cast makes a valiant
effort to stage one of Shepard's more difficult plays requiring several violent
movement scenes and a dialogue that is at times so anti-theatrical that it
risks becoming banal.. Kudos to Colibrita and Panhandler Theatre and to director
Gabrielle Gomez for their hard work to meet the challenge of overcoming these
difficulties.
True West runs on weekends until Aug 26. For information on the production
and upcoming shows call producerTanya Vlach at 415-626-4370.
Women "Jump" Into the Spotlight
Jump! Theatre Company presented an evening of excerpts by and about women on
July 19th. Gaetana Caldwell-Smith both wrote and directed the first play,
Cantaloupes, a meaningful and humorous piece about three women who meet for coffee
to try to forge creative paths through aging. Beth McLaughlin played the
younger 60 year old for whom sexual freedom will keep her young and beautiful.The
other two women, a generation older, were portrayed as more uptight,
especially Ann, played by Nena St. Louis. Carole Landis as Evelyn had a gift for comedy.
The second play, Terminally Female: A Cabaret, a multimedia, dance theatre
exploration of femininity across history and culture, was beautifully performed
by Satha Gandi, playwright and performer and imaginatively choreographed by
Alisa Clayton.
Mia Paschal's play, This Lily Was Fontana, is a very poetic piece played by
arresting performer Mia. She will be premiering it at the San Francisco Fringe
from September 7-16 at Original Joe's Cabaret Room.
Flora Lynn Isaacson for Annette Lust
Word for Word's Staged Reading of Government Preparedness
Word for Word Company's staged reading of Judy Budnitz's short story
Preparedness satirizes presidential power as a country's leader
protects his citizens in the face of oncoming disasters through routine
preparatory drills. The farcical interpretation of Budnitz's story mocks the
dictates of leaders as well as the frenzied futility of presidential advisors as
they attempt to prepare the country for a disaster. Budnitz creates a realistic
depiction of the world to come with a sense of humor.
Directed by JoAnne Winter, the cast included Joel Mullennix (who performed
an amazing semblance and caricature of our present president), Arwen Anderson,
Sheila Balter, Adrian Eifenbaum, and Gendell Hernandez, who energized the
audience with a rapid pace, coordinated physical movement and the liveliness of
their interpretations.
Up next among Word for Word's staged Off the Page readings is Angel Face
by Cornell Woolrich (writing as William Irish) on Aug. 12, directed by
Stephanie Hunt at Project Artaud. For reservations call (415) 621-1021.
Annette Lust, member Bay Area Theatre Critics Circle and Drama faculty
Dominican University
Jim Jarrett Solo Thru Aug. 27 at Magic Theatre
For All Events-Aug. 11
Jim Jarrett's Inspirational Drama Lecture at the Magic
Jim Jarrett's solo show, billed as a full-length play entitled Talk is Cheap;
Dreams Are Priceless, comes off more like a class on acting. Jarrett conducts
the class according to the Meisner technique, a technique that trains actors
to be authentic and believable and to be truthful on stage rather than to work
exclusively for fame.
Jarrett begins by addressing the audience as students in a class. "So you all
want to be actors! Well, we will see!" he exclaims, implying that this will
happen only if we all truly commit ourselves to this aim. Minutes later he
tests the strengths of purpose of his students, offering anyone who wants to leave
to go if he has the courage to quit acting. Video scenes of acting sessions
with actors follow, often driven to extremes to bring out the best in them.
"Yes, acting is not easy, he tells them, because you must make the material you
work with a part of your soul. It could take from ten to thirty years to
develop high quality acting."
The strength of this lecture on acting is the inspirational motivation that
Jarrett communicates through a kind of channeling of his forner master, Sanford
Meisner, who has influenced many of our finest actors. In fact Jarrett's
lecture on the values one should adopt in acting may also apply to other arts and
domains. Not only actors but stage directors, writers as well as artists and
individuals in other occupations leave inspired to bring out the light inside
of themselves through a truthful search for authenticity rather than by
superficial values of commercial or immediate success.
Jim Jarrett will open a drama school called The Meisner Technique School of
Acting for both adults and younger students in San Francisco in September. For
information call 208-720-7888.
Talk is Cheap plays through Aug. 27. For information call 415- 441-8822. or
visit www.magictheatre.org.
July Reviews Continued
Reviving Restoration Comedy at Cal Shakes
A Romp through the Restoration, as Sam Hurwitt titles his article on
Restoration Comedy, Amy Freed's newest play at Cal Shakes, is the perfect terminology
for this piece. According to Webster, romp signifies "a high-spirited,
carefree and boisterous play" or "an episode in lovemaking." Freed's play refreshes
this older form of bawdy 17th century comedy (referred to as sex comedy by Sam
Hurwitt) that she based on Colley Cibber's Love's Last Shift, or Virtue
Rewarded and John Vanbrugh's sequel to the latter intitled The Relapse, or Virtue in
Danger.
Borrowing the theme of adultery that was popular and unabashedly present in
17th cetury comedies, Freed has fashioned her play around a seducer who is
mismatched with a moralistic heroine.Yet the heroine pines over the supposed death
of her sex addicted husband, whom she learns is not dead but had fled from
her to France and now returned. She does her utmost to retrieve him with the
help of his friend who advises her to abandon her prudish manner and act like the
lascivious women who attract him. Although her husband is reattracted to her,
will she be able to transform his taste for variety and adventuresome
liasons? At any rate, with Freed's solution all's well that ends well when the play
culminates in a surprising turn of events.
The performances of Elijah Alexander as Mr. Loveless, the debauched husband;
Carolyn Kozlowski as the virtuous wife Amanda; Kaleo Griffith as Loveless'
faithful friend; Marcia Pizzo as Loveless' intriguing love interest; Alex Alioto
as Young Fashion are spirited and quick-witted. Farcical renditions are given
by Danny Scheie, who often steals the show as the effeminate Sir Novelty
fashion, Ron Campbell in several character roles, the caricatural roles of Rowman
Brooke and Bhama Roget, and former S.F. Mime Troupe actress Sharon Lockwood in
the broad farce parts of Hilaria and the nurse.
Although the production could be tightened in places, it is expertly directed
by Sharon Ott. Besides exuding liveliness and charm, Ott's staging offers
playfulness, audience interaction and actors spoofing their own performances.
Sets by Hugh Landwehr are exquisite and costumes by Anna R. Oliver are
divinely and traditionally styled.
Playwright Amy Freed and director Sharon Ott, along with the cast and
production team at Cal Shakes, have succeeded in vivaciously and tastefully restoring
the bawdiness of both of these restoration period plays.
Marin Shakespeare Tackles King Lear
As artistic director Robert Currier says in his director's notes, King Lear,
the Death Valley of Literature, one of Shakespeare's last great tragedies, is
often referred to as the Everest of dramatic art." And so Currier and Marin
Shakespeare have undertaken the staging of the play and make the arduous
physical, mental and emotional climb to breathlessly but successfully reach the
summit.This is not to say that this staging in which a king divides his kingdom
between his three daughters and is betrayed by two of his daughters and in which
courtiers overthrow their soverigns while we witness the horrors of poisoning,
suicide, eye gouging, stabbings, hangings, torture, lust and more can be done
without any flaws. Although the first section of the production unravels with
a slower rhythm and is low key performance wise, the second part offers a
high voltage dramatizaton of the play with dynamic performance renderings.
Currier and his cast lead us through riveting drama in such scenes as the eye
gouging of Gloucester (expertly performed by Jack Powell) for aiding the
detroned King Lear, or when veteran actor Barry Kraft as King Lear has us
teeter-tottering between his moments of insanity and lucidity as he faces the loss of
his kingdom and the death of the daughter who loved him. The emotional power
of these scenes still have us cringing after the performance.The remainder of
the cast interpretations come through (with the exception of a few weaknesses
in voice projection) with flying colors
The set (Bruce Lackovic), done in Japanese style with a convenient sliding
Japanese screen for exits and entrances, is quite effective and costumes (Abra
Borman) harmonize well with the Japanese style set.
Kudos to Robert Currier and Marin Shakespeare for victoriously rising to the
challenge of staging this most difficult and defying of Shakespeare's plays.
Alice in Wonderland plays at Marin Shakespeare until August 20 and will be
followed by The Comedy of Errors Sept 1-24. For info call 415-499-4485 or visit
www.marinShakeseare.org.
Ennio's Paper Doll Puppetry at Berkeley Rep
If you enjoy the art of origami (turning paper into representational shapes)
you would adore Ennio's clever paper costume transformations that caricature
pop culture celebrities. When this Venetian bundle of energy bursts on stage in
his first paper costume as Marilyn Monroe, the audience is already wildly
applauding. He continues his imitation of a long list of singers that he presents
in cartoon-like poses, moving so rapidly from one to the other that we can
hardly keep up with him. And whether or not we are familar with most of these
figures, they are all vivaciously and humorously created.
Especially captivating are his Mona Lisa in a picture frame, Madonna, Frank
and Nancy Sinatra, Cecile Dion, Elvis, Dolly Parton, Pavarotti, Doris Day,
Star Wars and much more. With only a snap of his fingers, Ennio moves from
classical to jazz notables as he tears off and replaces each of his costumes and
headgear designed by former Dior dressmaker, the Dutch Sosthen Hennekam, who is
also Ennio's co-creator and co-director. One of the most fun aspects of the
performance is the rapid guessing who Ennio is satirizing and who he will next
spoof among America's most famous. If Ennio's show offers little more than this
colorful divertissement, spectators are nonetheless highly entertained.
After Berkeley Rep, Ennio will continue his world wide tour that has been a
visual delight for audiences of all cultural tastes.
The Power of the Incurable at Jewish Traveling Theatre
Second Wind Production's recent staging of Ian Walker's A Beautiful Home for
the Incurable created a revealing depiction of an agoraphobe, a narcoleptic,
an apraxiac and a temporary amnesiac who, despite their illnesses, rise to the
challenge to help their friend Bunny Temple, who is victimized by identity
theft. When Bunny's friends learn that Bunny's money is being eaten up by a
wheeler-dealer posing as Bunny, they gather their limited powers to confront the
latter and commit some hilarious acts to ward him off, ending up adequately
defending themselves as well as proving the supposedly incapacitated
Bunny to be a true hero.
Ian Walker's play makes an impact in its presentation of the weaknesses of
so-called incurables, here depicted as fully capable of resolving difficulties
in their own manner. Walker brings solid content to his piece through his
experience in mental health clinics and work with adults in programs for mental
recovery. His piece offers us an empathetic look at the inner world of these
so-called incurables as they struggle to face the human condition.
Directed by Ian Walker as a comedy, the production comes off more as a
serious piece (with some comic moments) because we feel both horror as well as
sympathy for these victimized incurables.Walker also touches upon current issues
such as the influence of the media and society's preconceived self-worth notions
that mar our true judgment of others.
Walker's goal in this play well meets that of Second Wind Productions to
engage the S.F Community in contemporary social and political issues.
For info about upcoming Second Wind producions call 415-505-9155 or visit
www.secondwind.8m.com.
Musical Celebration of Billie Holliday at the S.F. Fellowship Theater
Carol Verburg's Lady Day in Love, recently staged at the Russian Hill
Fellowship Theater Guild, depicts the life story of Billie Holliday's struggle to
become one of the world's foremost jazz singers. When first introduced to Billie
we learn about her childhood when raised by a single mother, raped at 11 years
old, and her frequent thwarted attempts to become a black singer in America.
Despite her mother's prediction that her love for hustler Jimmey Monroe would
only lead to disaster, Billy married Jimmey to end up living with his
infidelity, got into drugs and became ill.
Kim Nalley, a leading local jazz singer, who runs Jazz at Pearl's in S.F.
North Beach, performs the role of Billie Holliday with an unbelievable likeness
to the singer and a voice that resounds throughout the theater in her numerous
vehemently applauded renditions.. Sadie Fagan as Billie's mother, Lady
Sunrise, adds humor and warmth to the piece. Ed L. Gillies III is a convincing Jimmey
Monroe and pianist T. Hall, who regularly accompanies Nalley in her jazz
shows, manifests his musical talent.
Directed by Courtney Brown, the strongest part of the production are Nalley's
song renditions. A number of the scenes of Billie's temptuous life are
dramatically written by playwright Carol Verburg to bring out the emotional tensions
and conflicts and racial prejudice of her day, that impeded Billie's attempts
to become the reknowned singer she became.
In Act 11, the director makes interesting use of the audience as part of
Billie's appearance at the prestigious Club Ebony where Jimmey reappears in the
audience to see Billie after a long absence.
Lady Day in Love plays Fridays and Saturdays until August 12. For information
about upcoming Fellowship Theater Productions visit www.fellowshiptheater.org
An Enchanting Alice and Her Wonderland at Marin Shakes
Proof of the variety of Marin Shakes' repertoire is the staging of Lesley
Currier's adaptation and direction of Lewis Carroll's beloved classic tale Alice
in Wonderland, a striking contrast with Marin Shakes' artistic director Robert
Currier's recent staging of King Lear. Lesley Currier's fine adaptation of
the tale appeals to both adults and children. On the more adult level, Alice's
exploits and questions to establish her identity represent the inner voyage
that we all make throughout our lives. On the level that children easily relate
to is the fairytale world of Alice's enounters with the Mad Hatter, the Queen
of Hearts and other fantasy characters, whose logical yet silly answers to
Alice's questions have young as well as older spectators chuckling.
Currier's direction of the play is intimate and heartwarming, as if we are
sitting around the family fireplace listening to one of our favorite stories.
And thank God for the lack of cinematic effects, blackouts, and scenic changes
which would abolish the quaint personal quality of the production. Rather the
staging offers the unadorned merriment of Carroll's tale along with dance and
song and an ending note about Alice's dream to always keep the simple loving
heart of her childhood.
Members of a cast of all ages assume their roles very effectively with an
outstanding performance rendered by Hannah Rose Kornfeld as Alice, a twelve year
old whose acting and stage presence are the motivating power throughout the
production.
Sets by Bruce Lakovic are attractive but perhaps a bit oversized for the
intimate feeling of the play. Fanciful costumes by Michael A. Berg are what we
would imagine for the colorful characters in Alice's Wonderland. Original score
and sound effects by Billie Cox enhance the ensemble of the production.
Alice continues until August 20 and will be followed by The Comedy of Errors
Sept 1-24. For info call 415-499-4485 or visit www.marinShakeseare.org.
A Sexy Detective Thriller at the Magic
Tracy Letts' Killer Joe winner of a Fringe award in August 1994, contains
the use of nudity that is not the shocker it is sleighted to be. Rather it
offers a highly realistic and unpretentious look at the life style, violent family
relationships, crude language and sex of a poor white trash family near
Dallas, Texas. The action begins with Chris entering his trailer home to tell his
father, Ansel, that because he needs money or will be killed he will ask Killer
Joe, a corrupt detective, to kill Ansel's former wife to pay his debt with
her life insurance money. Chris offers Dottie, his twenty year old sister, as a
down payment for the job. After the mother is killed and Killer Joe awaits his
pay, they discover that the mother left the money to her lover, Rex, also the
secret lover of Ansel's second wife, who is in cahoots with Rex to share the
money. After Joe seduces Dottie in a sexually provocative scene in which he
obliges her to take off all her clothes to don a gown and then moves in with
her, he announces he will marry Dottie. When Chris objects to his sister's
marriage to Killer Joe, the play concludes, as all good thrillers with violence and
killings.
Lee Sankowich's stage direction intensifies with mounting dramatic
confrontations, sometimes played with slow and at other times rapid pacing, that often
end in physical clashes. Killer Joe is spotlighted as a sadistic, controlling
cruel character with a tender spot for Dottie's innocence, while the naive
Dottie ends up revolting against all the evil surrounding her. The strength of the
production lies in the concentrated high energy collaborative playing of the
cast members as well as the intense and turbulent action of the play that has
audience members anxiously awaiting the outcome of this intriguing thriller.
Sets by Giulio Cesare Perrone wonderfully captivate the interior of the run
down trailer and Laura Hazlett's costumes enhance the pllayers'
characterizations.
For information about Marin Theatre Company's two month run of Killer Joe,
now at the S.F. Magic Theatre until Aug. 13, or for info about the upcoming
Orson's Shadow by Austin Pendleton, about Orson Welles and Laurence Olivier, call
415-388-5208 or visit www.marintheatre.org
Over My Dead Body Trumps Mystery Story Writers
In a rollicking comedy about the attempts of three English mystery story
writers to accomplish the perfect and most original murder, the Ross Valley
Players Over My Dead Body depicts a real murder that culminates in a surprise
ending. To top their careers as mystery writers, an eccentric threesome, comprised
of a middle-aged female, her former suitor, and an elderly, sleepy third writer
try to concoct a plan to kill an American they believe is responsible for
another murder, only to have us laughing at each of their failed ideas. When they
finally come up with a solution for a murder that requires a sword, a shotgun
and a noose, it remains to be seen whether their idea will be effective or if
the intended murder will find its own solution.
Based on the Robert L. Fish novel The Murder League, Michael Sutton and
Anthony Fingleton's Over My Dead Body depicts the actual London Detection Club,
founded in 1928 by dectective story writers such as Agatha Christie, J. K.
Chesterton and E.C. Bentley.
Over My Dead Body has mystery story fans as well as non-fans guessing enough
to hold their interest as well as keep them laughing throughout at these
detective's attempts to find the perfect murder. The staging is well directed by
Ross Valley habitual Cris Cassell and perfectly cast and acted out by veteran
Barn Players Hugh Campion, Anne Ripley, and Mitchell Field as the three
detectives, along with the remainder of the cast. Special mention for English born Roy
Harvey, who creates the absent-minded old English butler, Charters, with a
certain amusing distinctness.
Sets by James S. Anderson and costumes by Janice Koprowski evoked
an English living or reading room with characters in English style clothing.
The production is a fun play with an upbeat murder mystery atmosphere.
Next up at the Barn in Sept. and Oct. is David Auburn's Proof directed by
Cris Cassell. For info call 415-456-9555 or visit www.rossvalleyplayers.com
Women "Jump" Into the Spotlight
Jump! Theatre Company presented an evening of excerpts by and about women on
July 19th at 8 p.m. Gaetana Caldwell-Smith both wrote and directed the first
play, Cantaloupes, a meaningful and humorous piece about three women who meet
for coffee to try to forge creative paths through aging. Beth McLaughlin played
the younger 60 year old for whom sexual freedom will keep her young and
beautiful. The other two women, a generation older, were portrayed aws more
uptight, especially Ann, played by Nena St. Louis. Carole Landis as Evelyn had a gift
for comedy.
The second play, Terminally Female: A Cabaret, a multimedia, dance theatre
exploration of femininity across history and culture, was beautifully performed
by Satha Gandi, playwright and performer and imaginatively choreographed by
Alisa Clayton.
Mia Paschal's play, This Lily Was Fontana, is a very poetic piece played by
arresting performer Mia. She will be premiering it at the San Francisco Fringe
from September 7-16 at Original Joe's Cabaret Room.
Word for Word's Staged Reading of Government Preparedness
Word for Word Company's staged reading of Judy Budnitz's short story
Preparedness satirizes presidential power as a country's leader
protects his citizens in the face of oncoming disasters through routine
preparatory drills. The farcical interpretation of Budnitz's story mocks the
dictates of leaders as well as the frenzied futility of presidential advisors as
they attempt to prepare the country for a disaster. Budnitz creates a realistic
depiction of the world to come with a sense of humor.
Directed by JoAnne Winter, the cast included Joel Mullennix (who performed
an amazing semblance and caricature of our present president), Arwen Anderson,
Sheila Balter, Adrian Eifenbaum, and Gendell Hernandez, who energized the
audience with a rapid pace, coordinated physical movement and the liveliness of
their interpretations.
Up next among Word for Word's staged Off the Page readings is Angel Face
by Cornell Woolrich (writing as William Irish) on Aug. 12, directed by
Stephanie Hunt at Project Artaud. For reservations call (415) 621-1021.
Annette Lust, member Bay Area Theatre Critics Circle and Drama faculty
Dominican University
Word for Word's Staged Reading of Government Preparedness
Word for Word Company's staged reading of Judy Budnitz's short story
Preparedness satirizes presidential power as a country's leader
protects his citizens in the face of oncoming disasters through routine
preparatory drills. The farcical interpretation of Budnitz's story mocks the
dictates of leaders as well as the frenzied futility of presidential advisors as
they attempt to prepare the country for a disaster. Budnitz creates a realistic
depiction of the world to come with a sense of humor.
Directed by JoAnne Winter, the cast included Joel Mullennix (who performed
an amazing semblance and caricature of our present president), Arwen Anderson,
Sheila Balter, Adrian Eifenbaum, and Gendell Hernandez, who energized the
audience with a rapid pace, coordinated physical movement and the liveliness of
their interpretations.
Up next among Word for Word's staged Off the Page readings is Angel Face
by Cornell Woolrich (writing as William Irish) on Aug. 12, directed by
Stephanie Hunt at Project Artaud. For reservations call (415) 621-1021
July Reviews Continued
Reviving Restoration Comedy at Cal Shakes
A Romp through the Restoration, as Sam Hurwitt titles his article on
Restoration Comedy, Amy Freed's newest play at Cal Shakes, is the perfect terminology
for this piece. According to Webster, romp signifies "a high-spirited,
carefree and boisterous play" or "an episode in lovemaking." Freed's play refreshes
this older form of bawdy 17th century comedy (referred to as sex comedy by Sam
Hurwitt) that she based on Colley Cibber's Love's Last Shift, or Virtue
Rewarded and John Vanbrugh's sequel to the latter intitled The Relapse, or Virtue in
Danger.
Borrowing the theme of adultery that was popular and unabashedly present in
17th cetury comedies, Freed has fashioned her play around a seducer who is
mismatched with a moralistic heroine.Yet the heroine pines over the supposed death
of her sex addicted husband, whom she learns is not dead but had fled from
her to France and now returned. She does her utmost to retrieve him with the
help of his friend who advises her to abandon her prudish manner and act like the
lascivious women who attract him. Although her husband is reattracted to her,
will she be able to transform his taste for variety and adventuresome
liasons? At any rate, with Freed's solution all's well that ends well when the play
culminates in a surprising turn of events.
The performances of Elijah Alexander as Mr. Loveless, the debauched husband;
Carolyn Kozlowski as the virtuous wife Amanda; Kaleo Griffith as Loveless'
faithful friend; Marcia Pizzo as Loveless' intriguing love interest; Alex Alioto
as Young Fashion are spirited and quick-witted. Farcical renditions are given
by Danny Scheie, who often steals the show as the effeminate Sir Novelty
fashion, Ron Campbell in several character roles, the caricatural roles of Rowman
Brooke and Bhama Roget, and former S.F. Mime Troupe actress Sharon Lockwood in
the broad farce parts of Hilaria and the nurse.
Although the production could be tightened in places, it is expertly directed
by Sharon Ott. Besides exuding liveliness and charm, Ott's staging offers
playfulness, audience interaction and actors spoofing their own performances.
Sets by Hugh Landwehr are exquisite and costumes by Anna R. Oliver are
divinely and traditionally styled.
Playwright Amy Freed and director Sharon Ott, along with the cast and
production team at Cal Shakes, have succeeded in vivaciously and tastefully restoring
the bawdiness of both of these restoration period plays.
Marin Shakespeare Tackles King Lear
As artistic director Robert Currier says in his director's notes, King Lear,
the Death Valley of Literature, one of Shakespeare's last great tragedies, is
often referred to as the Everest of dramatic art." And so Currier and Marin
Shakespeare have undertaken the staging of the play and make the arduous
physical, mental and emotional climb to breathlessly but successfully reach the
summit.This is not to say that this staging in which a king divides his kingdom
between his three daughters and is betrayed by two of his daughters and in which
courtiers overthrow their soverigns while we witness the horrors of poisoning,
suicide, eye gouging, stabbings, hangings, torture, lust and more can be done
without any flaws. Although the first section of the production unravels with
a slower rhythm and is low key performance wise, the second part offers a
high voltage dramatizaton of the play with dynamic performance renderings.
Currier and his cast lead us through riveting drama in such scenes as the eye
gouging of Gloucester (expertly performed by Jack Powell) for aiding the
detroned King Lear, or when veteran actor Barry Kraft as King Lear has us
teeter-tottering between his moments of insanity and lucidity as he faces the loss of
his kingdom and the death of the daughter who loved him. The emotional power
of these scenes still have us cringing after the performance.The remainder of
the cast interpretations come through (with the exception of a few weaknesses
in voice projection) with flying colors
The set (Bruce Lackovic), done in Japanese style with a convenient sliding
Japanese screen for exits and entrances, is quite effective and costumes (Abra
Borman) harmonize well with the Japanese style set.
Kudos to Robert Currier and Marin Shakespeare for victoriously rising to the
challenge of staging this most difficult and defying of Shakespeare's plays.
Alice in Wonderland plays at Marin Shakespeare until August 20 and will be
followed by The Comedy of Errors Sept 1-24. For info call 415-499-4485 or visit
www.marinShakeseare.org.
Ennio's Paper Doll Puppetry at Berkeley Rep
If you enjoy the art of origami (turning paper into representational shapes)
you would adore Ennio's clever paper costume transformations that caricature
pop culture celebrities. When this Venetian bundle of energy bursts on stage in
his first paper costume as Marilyn Monroe, the audience is already wildly
applauding. He continues his imitation of a long list of singers that he presents
in cartoon-like poses, moving so rapidly from one to the other that we can
hardly keep up with him. And whether or not we are familar with most of these
figures, they are all vivaciously and humorously created.
Especially captivating are his Mona Lisa in a picture frame, Madonna, Frank
and Nancy Sinatra, Cecile Dion, Elvis, Dolly Parton, Pavarotti, Doris Day,
Star Wars and much more. With only a snap of his fingers, Ennio moves from
classical to jazz notables as he tears off and replaces each of his costumes and
headgear designed by former Dior dressmaker, the Dutch Sosthen Hennekam, who is
also Ennio's co-creator and co-director. One of the most fun aspects of the
performance is the rapid guessing who Ennio is satirizing and who he will next
spoof among America's most famous. If Ennio's show offers little more than this
colorful divertissement, spectators are nonetheless highly entertained.
After Berkeley Rep, Ennio will continue his world wide tour that has been a
visual delight for audiences of all cultural tastes.
The Power of the Incurable at Jewish Traveling Theatre
Second Wind Production's recent staging of Ian Walker's A Beautiful Home for
the Incurable created a revealing depiction of an agoraphobe, a narcoleptic,
an apraxiac and a temporary amnesiac who, despite their illnesses, rise to the
challenge to help their friend Bunny Temple, who is victimized by identity
theft. When Bunny's friends learn that Bunny's money is being eaten up by a
wheeler-dealer posing as Bunny, they gather their limited powers to confront the
latter and commit some hilarious acts to ward him off, ending up adequately
defending themselves as well as proving the supposedly incapacitated
Bunny to be a true hero.
Ian Walker's play makes an impact in its presentation of the weaknesses of
so-called incurables, here depicted as fully capable of resolving difficulties
in their own manner. Walker brings solid content to his piece through his
experience in mental health clinics and work with adults in programs for mental
recovery. His piece offers us an empathetic look at the inner world of these
so-called incurables as they struggle to face the human condition.
Directed by Ian Walker as a comedy, the production comes off more as a
serious piece (with some comic moments) because we feel both horror as well as
sympathy for these victimized incurables.Walker also touches upon current issues
such as the influence of the media and society's preconceived self-worth notions
that mar our true judgment of others.
Walker's goal in this play well meets that of Second Wind Productions to
engage the S.F Community in contemporary social and political issues.
For info about upcoming Second Wind producions call 415-505-9155 or visit
www.secondwind.8m.com.
Musical Celebration of Billie Holliday at the S.F. Fellowship Theater
Carol Verburg's Lady Day in Love, recently staged at the Russian Hill
Fellowship Theater Guild, depicts the life story of Billie Holliday's struggle to
become one of the world's foremost jazz singers. When first introduced to Billie
we learn about her childhood when raised by a single mother, raped at 11 years
old, and her frequent thwarted attempts to become a black singer in America.
Despite her mother's prediction that her love for hustler Jimmey Monroe would
only lead to disaster, Billy married Jimmey to end up living with his
infidelity, got into drugs and became ill.
Kim Nalley, a leading local jazz singer, who runs Jazz at Pearl's in S.F.
North Beach, performs the role of Billie Holliday with an unbelievable likeness
to the singer and a voice that resounds throughout the theater in her numerous
vehemently applauded renditions.. Sadie Fagan as Billie's mother, Lady
Sunrise, adds humor and warmth to the piece. Ed L. Gillies III is a convincing Jimmey
Monroe and pianist T. Hall, who regularly accompanies Nalley in her jazz
shows, manifests his musical talent.
Directed by Courtney Brown, the strongest part of the production are Nalley's
song renditions. A number of the scenes of Billie's temptuous life are
dramatically written by playwright Carol Verburg to bring out the emotional tensions
and conflicts and racial prejudice of her day, that impeded Billie's attempts
to become the reknowned singer she became.
In Act 11, the director makes interesting use of the audience as part of
Billie's appearance at the prestigious Club Ebony where Jimmey reappears in the
audience to see Billie after a long absence.
Lady Day in Love plays Fridays and Saturdays until August 12. For information
about upcoming Fellowship Theater Productions visit www.fellowshiptheater.org
An Enchanting Alice and Her Wonderland at Marin Shakes
Proof of the variety of Marin Shakes' repertoire is the staging of Lesley
Currier's adaptation and direction of Lewis Carroll's beloved classic tale Alice
in Wonderland, a striking contrast with Marin Shakes' artistic director Robert
Currier's recent staging of King Lear. Lesley Currier's fine adaptation of
the tale appeals to both adults and children. On the more adult level, Alice's
exploits and questions to establish her identity represent the inner voyage
that we all make throughout our lives. On the level that children easily relate
to is the fairytale world of Alice's enounters with the Mad Hatter, the Queen
of Hearts and other fantasy characters, whose logical yet silly answers to
Alice's questions have young as well as older spectators chuckling.
Currier's direction of the play is intimate and heartwarming, as if we are
sitting around the family fireplace listening to one of our favorite stories.
And thank God for the lack of cinematic effects, blackouts, and scenic changes
which would abolish the quaint personal quality of the production. Rather the
staging offers the unadorned merriment of Carroll's tale along with dance and
song and an ending note about Alice's dream to always keep the simple loving
heart of her childhood.
Members of a cast of all ages assume their roles very effectively with an
outstanding performance rendered by Hannah Rose Kornfeld as Alice, a twelve year
old whose acting and stage presence are the motivating power throughout the
production.
Sets by Bruce Lakovic are attractive but perhaps a bit oversized for the
intimate feeling of the play. Fanciful costumes by Michael A. Berg are what we
would imagine for the colorful characters in Alice's Wonderland. Original score
and sound effects by Billie Cox enhance the ensemble of the production.
Alice continues until August 20 and will be followed by The Comedy of Errors
Sept 1-24. For info call 415-499-4485 or visit www.marinShakeseare.org.
A Sexy Detective Thriller at the Magic
Tracy Letts' Killer Joe winner of a Fringe award in August 1994, contains
the use of nudity that is not the shocker it is sleighted to be. Rather it
offers a highly realistic and unpretentious look at the life style, violent family
relationships, crude language and sex of a poor white trash family near
Dallas, Texas. The action begins with Chris entering his trailer home to tell his
father, Ansel, that because he needs money or will be killed he will ask Killer
Joe, a corrupt detective, to kill Ansel's former wife to pay his debt with
her life insurance money. Chris offers Dottie, his twenty year old sister, as a
down payment for the job. After the mother is killed and Killer Joe awaits his
pay, they discover that the mother left the money to her lover, Rex, also the
secret lover of Ansel's second wife, who is in cahoots with Rex to share the
money. After Joe seduces Dottie in a sexually provocative scene in which he
obliges her to take off all her clothes to don a gown and then moves in with
her, he announces he will marry Dottie. When Chris objects to his sister's
marriage to Killer Joe, the play concludes, as all good thrillers with violence and
killings.
Lee Sankowich's stage direction intensifies with mounting dramatic
confrontations, sometimes played with slow and at other times rapid pacing, that often
end in physical clashes. Killer Joe is spotlighted as a sadistic, controlling
cruel character with a tender spot for Dottie's innocence, while the naive
Dottie ends up revolting against all the evil surrounding her. The strength of the
production lies in the concentrated high energy collaborative playing of the
cast members as well as the intense and turbulent action of the play that has
audience members anxiously awaiting the outcome of this intriguing thriller.
Sets by Giulio Cesare Perrone wonderfully captivate the interior of the run
down trailer and Laura Hazlett's costumes enhance the pllayers'
characterizations.
For information about Marin Theatre Company's two month run of Killer Joe,
now at the S.F. Magic Theatre until Aug. 13, or for info about the upcoming
Orson's Shadow by Austin Pendleton, about Orson Welles and Laurence Olivier, call
415-388-5208 or visit www.marintheatre.org
Over My Dead Body Trumps Mystery Story Writers
In a rollicking comedy about the attempts of three English mystery story
writers to accomplish the perfect and most original murder, the Ross Valley
Players Over My Dead Body depicts a real murder that culminates in a surprise
ending. To top their careers as mystery writers, an eccentric threesome, comprised
of a middle-aged female, her former suitor, and an elderly, sleepy third writer
try to concoct a plan to kill an American they believe is responsible for
another murder, only to have us laughing at each of their failed ideas. When they
finally come up with a solution for a murder that requires a sword, a shotgun
and a noose, it remains to be seen whether their idea will be effective or if
the intended murder will find its own solution.
Based on the Robert L. Fish novel The Murder League, Michael Sutton and
Anthony Fingleton's Over My Dead Body depicts the actual London Detection Club,
founded in 1928 by dectective story writers such as Agatha Christie, J. K.
Chesterton and E.C. Bentley.
Over My Dead Body has mystery story fans as well as non-fans guessing enough
to hold their interest as well as keep them laughing throughout at these
detective's attempts to find the perfect murder. The staging is well directed by
Ross Valley habitual Cris Cassell and perfectly cast and acted out by veteran
Barn Players Hugh Campion, Anne Ripley, and Mitchell Field as the three
detectives, along with the remainder of the cast. Special mention for English born Roy
Harvey, who creates the absent-minded old English butler, Charters, with a
certain amusing distinctness.
Sets by James S. Anderson and costumes by Janice Koprowski evoked
an English living or reading room with characters in English style clothing.
The production is a fun play with an upbeat murder mystery atmosphere.
Next up at the Barn in Sept. and Oct. is David Auburn's Proof directed by
Cris Cassell. For info call 415-456-9555 or visit www.rossvalleyplayers.com
Women "Jump" Into the Spotlight
Jump! Theatre Company presented an evening of excerpts by and about women on
July 19th at 8 p.m. Gaetana Caldwell-Smith both wrote and directed the first
play, Cantaloupes, a meaningful and humorous piece about three women who meet
for coffee to try to forge creative paths through aging. Beth McLaughlin played
the younger 60 year old for whom sexual freedom will keep her young and
beautiful. The other two women, a generation older, were portrayed aws more
uptight, especially Ann, played by Nena St. Louis. Carole Landis as Evelyn had a gift
for comedy.
The second play, Terminally Female: A Cabaret, a multimedia, dance theatre
exploration of femininity across history and culture, was beautifully performed
by Satha Gandi, playwright and performer and imaginatively choreographed by
Alisa Clayton.
Mia Paschal's play, This Lily Was Fontana, is a very poetic piece played by
arresting performer Mia. She will be premiering it at the San Francisco Fringe
from September 7-16 at Original Joe's Cabaret Room.
Word for Word's Staged Reading of Government Preparedness
Word for Word Company's staged reading of Judy Budnitz's short story
Preparedness satirizes presidential power as a country's leader
protects his citizens in the face of oncoming disasters through routine
preparatory drills. The farcical interpretation of Budnitz's story mocks the
dictates of leaders as well as the frenzied futility of presidential advisors as
they attempt to prepare the country for a disaster. Budnitz creates a realistic
depiction of the world to come with a sense of humor.
Directed by JoAnne Winter, the cast included Joel Mullennix (who performed
an amazing semblance and caricature of our present president), Arwen Anderson,
Sheila Balter, Adrian Eifenbaum, and Gendell Hernandez, who energized the
audience with a rapid pace, coordinated physical movement and the liveliness of
their interpretations.
Up next among Word for Word's staged Off the Page readings is Angel Face
by Cornell Woolrich (writing as William Irish) on Aug. 12, directed by
Stephanie Hunt at Project Artaud. For reservations call (415) 621-1021.
Annette Lust, member Bay Area Theatre Critics Circle and Drama faculty
Dominican University