June Reviews Continued

June Theatre Reviews Continued

Playful Wilde Boys at the New Conservatory

The world premiere of Richard "Scrumbly"Koldewyn's Wilde Boys presents
a decently tantalizing description of what goes on in a Victorian
England male parlour where young men sing and entertain gentlemen
callers in several respects. Scrumbly's description of male flirtation
in this Oscar Wilde ambience is discreet while director Michael
Mohammed has a hard time keeping his cast from making direct physical
allusions to the male anatomy that get many a laugh from his audience.
These sexually symbolic gestures and witty verbal ad-libs provide the
basic humor for this charming musical theatre that (although a tad too
long) delight audiences with its fresh and happy-go-lucky musical
content and playful stage action.
Among the most amusing, suggestive and risqué songs are "A Little Bit
of Cucumber" interpreted by Steven Satyricon, "Why Do the Men Run After
Me?," sung by Benjamin Pither in drag, "Young Boys Are Cheap Today",
sung by Casey Bair, Brandon Finch, Alex Kirschner, Benjamin Pither and
Steven Satyricon, "Johnny's Lump", interpreted by Steven Satyricon, and
"Salome's Dance," written by Scrumbly and sung by the whole cast.
The upbeat playfulness of this musical theatre could bring cheer to the
most maudlin of spectators.
Wilde Boys plays through June 24. For info about Wilde Boys and other
New Conservatory plays visit www.nctcsf.org or call 415.861.8972.

Jump Theatre Brings On Edge Works to the EXIT

In Gaetana's Caldwell-Smith's Peas Porridge (Winner of the Spring 07
Fringe of Marin Best Play Award) two sisters, Agrafiina and Zoey, in
San Francisco are caught in the aftermath of an earthquake or a
terrorist act that leaves them in tatters with no food and an almost
empty bottle of water. While attempting to find Agrafina's car with
emergency supplies in the destruction and smoke they encounter other
victims, namely a male figure crawling toward them, clinging to
Agrafina for help. The play needs no added dramatic action nor conflict
to grip spectators. It succeeds in leaving a frightening impact on
viewers as it obliges one to face the reality of what humans are
undergoing in other parts of today's world.
Adeptly directed and paced by Sasha Llitovchenko, the interpretations
of Kay Simon, Susan Donnelly, and Jeff Taylor leave the audiences
breathless.
Effective scenery is by Michael Michael B. Lewis and lighting by Ian
Walker. For information about further performances of this significant
work, visit www. jumpttheatre.com.
Jill; Anatomy of a Suicide, written by Nena St. Louis and directed by
Rebecca Longworth, portrays a young female artist with bipolar disorder
who has an inner voice that prods her to commit suicide. In this
autobiographical piece, Jill heroically combats the challenges of the
voice's torturous messages as she attempts to be an artist.
Nena St. Louis' strong stage presence and voice along with her talent
to create multiple characters and relate stories bring vitality to her
piece. To enhance the solo are the autobiographical nano-videos and use
of artist's drawings, scientific diagrams and other telling visuals.
For more information on Jill; Anatomy of a Suicide visit

www.jumptheatre.com
In Madison Clell's Cuckoo, based on her novel by the same name,
Madison, (played by Madison Clell) who has Multiple Personality
Disorder, combats the selves within herself that constantly disrupt her
relationship with her boyfriend. June, her 7-year-old alter (performed
by Pearl Marill) interrupts conversations and other actions between
Madison and boyfriend Jacob (Matt Lowe) that provide humor to a dismal
situation. Another comic feature of the piece are Madison's denials of
her condition before her boyfriend and psychiatrist (performed by
Gwyneth Richards with an authoritative German accent).
Misti Boettiger"s scene introducing Lisa's Story is a winner, offering
a very
amusing comparison between the Apple computer and a PC to explain they
are not compatible like the disturbing elements in certain illnesses.
Rebecca Longworth's direction of scenes in various places along with
her multimedia designs featuring Clell's artwork from her novel area
positive feature in this production.
Jump Theatre, founded in 2005 to produce works that portray real-life
mental illness experiences, has performed at the Marsh and the Exit and
plans to continue producing new original works. For more information
visit www.jumptheatre.com

Mike Daisey, "Genius" Raconteur at Berkeley Rep

East Coast storyteller Mike Daisey is back at Berkeley Rep integrating
his own raconteur genius to that of historically established geniuses
in Great Men of Genius. Of the four geniuses he presented (Brecht,
Barnum, Hubbard and Tesla) in his five and one half hour storytelling
marathon, I saw only the last two but heard that the first two were
even more captivating.
Mastermind inventor Nicola Tesla, born in 1856 in Croatia, came to
America and worked for Edison, who, when he refused to pay Tesla lost
him to Westinghouse, where he introduced the theory of alternate
currents, our present electric system. However, Tesla died impoverished
and insane. In between his anecdotes about Tesla, Daisey inserts his
own youth experiences and misanthropic views on life. One such
situation was when he entered his Nuclear Winter science project about
what the future holds for us into a Science Fair only to receive second
place because first place was given to a girl showing a hamster with a
wheel!
Daisey presents L. Ron Hubbard as the inventor of the Church of
Scientology, a litigious sect that foiled many, including celebrities,
into believing they would become enlightened. Daisey is quick to insert
other episodes of his own life such as the therapy sessions he hated
and the acting classes he found not too useful, calling them a form of
masturbation that led to nothing. He ends this section with how he
revisited his old naval officer hero grandfather who told him so many
wonderful tales, which, no doubt, were the inspiration for Daisey's own
career as a raconteur.
Mike Daisey, well directed by Jean Michele Gregory, is a comedic,
sharp, direct, sardonic and both a thought-provoking and entertaining
satirist.
The Mike Daisey show continues through July 1, followed by his new
piece Tongues Will Wague on July 3. For info. call 510-647-2949 or
visit berkeleyrep.org.
A Highly Imaginative Molière Invalid at ACT

For a good many Molière's Imaginary Invalid at ACT, adapted by Connie
Congdon, is highly imaginative and over the top, but oh so much fun.
Directed by native San Franciscan Ron Logomarsino, it is a delight to
both eyes and ears from the opening ballet of the bewitching doctors
conjuring up spirits in colorful period costumes to the ending musical
celebrating the Invalid's daughter's marriage to her chosen suitor
(played by Jud Williford) and the solution Argan (interpreted at times
like a stand-up comedian by John Apicella) finds to procure a live-in
doctor. The action centers around Argan's diseases and his constant
fear of heart failure that would permit his hypocritical wife Béline,
(played charmingly by René Augensen) to inherit his wealth along with
the help of a notary (Anthony Fusco, who also creates a wicked funny
apothecary). So to insure his health, why not give his lovely young
daughter Angélique (interpreted by a tall, elegant Allison Jean White)
to his Doctor Purjean's (played with authority by Stephen Anthony
Jones) nephew (Gregory Wallace) who is a doctor. But thanks to the
fiesty little servant Toinette (expertly played by Nancy Dussault, who
makes the wheels of the entire play go round), Argan's hopes will be
thwarted until Toinette finds the solution of solutions to satisfy
everyone.
For others this adaptation and production is everything else but a well
written satire about a miserly hypochondriac that contains within
itself farcical elements combined with keen psychological observation
of character types. It should appeal also to the eye and ear with taste
rather than through scatological and sexual allusions. It is a comedy
that stands on its own rather than a lampoon peppered up with clowning,
miming, commedia, opera, Broadway musical, ballet and all the other
seasonings thrown into a stew that aims to arouse laughter and little
more. The Bard's wisdom and knowledge of human nature somehow get
buried in the gregarious heehawing that resounds throughout the
audience. For this group of spectators this adaptation and production
are definitely not true to the spirit of one of Molière's finest
comedies.
Erik Flatmor's period sets and Beaver Bauer's sometimes flamboyant
costumes add to the visuals of the play while the original music by
Fabian Obispo is in keeping with the play's farcical tone.
The ImaginaryInvalid plays until July 8. For info call 415-749-2228 or
visit www.axt-sf.org.

Belfagor Opera at the Thick House

Lise Scola Prosek's satirically comic opera, Belfagor, was vibrantly
brought to life in a multi-media production at San Francisco's Thick
House June 1, 2
and 3. Based on Machiavelli's only known novella, Belfagor (also called
The Devil Takes a Wife) depicts a devil who returns to earth only to be
suffocated by the sheer social force to conform and consume to the
point of his own destruction.
Prosek adopted the Renaissance tradition of telling a dark and pointed
story with humor, lightness and stylization. The opening base clarinet
solo by Rachel Condry sets the tone for the opera, representing the
voice of Belfagor while the whole stage was enlivened by theoverture
conducted by Martha Stoddard. Jim Cave, who directed the opera in the
Commedia dell'Arte tradition, strove to enlighten and entertain the
audience with a clown presentation. The original evocative without
specificity of time or place.
Performed in Italian with subtitles, the opera features a virtual "Soft
Set" on a video screen by filmmaker/designer Jacob Calouseque.
The music's balance of exuberance and demonic drive was beautifully
rendered by the singers; Aurelio Viscarra's rich tenor as Belfagor and
ClliftRponig's deep bass as Donati and Hades. Maria Mikhey Enko, who
had a wonderful comic flair as Belfagor's wife with her insatiable need
for the new and the fashionable,was ably supported by soprano, Eliza
O'Malley and alto Gar Wei Lee. Roham Shaikhani was an excellent mime
setting up the stage in character and handling all of the costume
changes.Francesca's Complaint, an aria from an opera-in-progress,
Inferno, with music by Peter Josheff and text by Jamie Robles, was sung
by Eliza accompanied by Alexis Aldrich on the piano, which served as a
curtain raiser.
Because of the enthusiastic, sold-out audience response, discussions
are currently taking place for remounting Belfagor in another venue.
Flora Lynn Isaacson

Write Angles at College of Marin

Write Angles, a miscellany of monologues, musings and
memories presented on June 9 and 10 in the Studio
Theatre, Fine Arts Building at the College of Marin,
was written and performed by the members of the Senior Performance
Workshop of the Emeritus College of the College of Marin and
beautifully directed by Suresa Dundes. The members of the class shared
with us meaningful experiences from their lives that were both humorous
and touching. The set design was by Suresa Dundes and Michael Fox
and the lighting design by Erica O'Connor.
Flora Lynn Isaacson

Powerful Friedman Performance with Music and Humor

In Leslie Friedman's solo concert, "Story Dances and Jazz," featuring
the world premiere of "Meeting Brook Benton" on June 10 at 3 p.m.,
Veteran's Building, San Francisco, Friedman shared her personal
experience while intertwining story, dance and music. The dance was
both abstract and personal and the music classical jazz. Wearing a
short red velvet costume, she mixed several different genres--soft shoe
tap, modern dance, ballet and jazz.
In "Merely Circulating," Friedman as Helen Humes in a blue wool dress
performing jazz rhythms in a playful style exhibited the passion of a
supremely talented artist.
In "He Needs Me," recorded by Nina Simone, she wore a ballet costume
with a pink blouse and white skirt and performed this original piece in
a satirical style with jazz dance music as she became a playful cat.

Edward Elgar's "Concerto for Violincello in E Minor" provided the
background music for her Why? Because, divided into two separate parts.
In part one, Addagio, Leslie represented a memorial statue come to life
carrying bouquets of red paper poppies made by veterans. For this
Leslie wore a black costume. In part two, Allegro, Leslie, in a purple
jumpsuit, was both a man going off to war and her Aunt Ida waiting at
home. First she represented the innocents--the eager, young who see
horrors they can never anticipate. Here her imagery was vivid and her
movement inventive as she touched the full range of human emotion."I
can never think of war again without recalling this dancer who knows
how to move as though she has lost her leg" in this strong anti-war
piece.
In Leslie Friedman's final overture, a real tour-de-force, she portrays
all of the different characters represented in Verdi's "Luisa Miller."
She was imaginative and delightful and the audience had a great deal of
fun.

Friedman was supported by Jonathan Clark's rich bass baritone and Kevin
Kurth at the piano. Clark gave masterful performances of songs by
Charles Ives, Alva Henderson and was particularly moving in Richard
Strauss' "Dedication. "Kevin Kurth gave a delightful performance of
Ravel's Ondine.
For information on future performances, contact The Lively Foundation
at 415-346-8959 or www.livelyfoundation.org.

Flora Lynn Isaacson for Annette Lust

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