June/July Reviews

June/July Reviews

Dylan Thomas' Poetry Comes to Life in Porchlight Staging

Dylan Thomas' Under Milkwood, a poetic Play for Voices about small town
characters living their life styles and dreaming of their hopes and
ideals is converted into a dramatically viable stage play by stage
director Randall Stuart and the cast of the Porchlight Theatre Company.
After Thomas, who was essentially a poet and wrote for the BBC and for
radio and the cinema, wrote this play he kept reworking it. It may be
that he believed that it was still inaccessible to theatergoers whose
interest did not lie primarily in verbal and poetic storytelling. Each
scene in the play is permeated with Thomas' love for words as he
describes the lives of sixteen inhabitants in a small peaceful Welsh
town as night falls on a Spring eve. We meet the blind Captain Cat,
haunted by the memory of his only love Rosie Probert, Reverend Eli
Jenkins, the sexy, licentious Polly Garter, Butcher Beynon, among
others Yet, the bits and pieces of the happenings and relationships of
sixteen characters do not only grab us through their dramatic actions
but also through Thomas' lyrical and verbal narration and the magic and
sound of his words. And all of these female and male characters of all
ages are depicted by Megan Cole as The Voice serving as narrator, a
device essential to any story-telling piece.

First enacted by Thomas as a solo performance at Harvard in 1953 and
later as a stage performance in New York, was thus never put into the
play form that Thomas desired. Thomas hoped it would become "a piece, a
play, an impression of voices, an entertainment out of the darkness, of
the town in which I live, and to write simply, warmly and comically
with lots of movement and varieties of moods, so that, at many levels,
you come to know the town as an inhabitant of it."
Although Thomas' initial solo performance of this voice piece was said
to have been beautifully performed, what Porchlight has succeeded in
doing is to transform the work into one that could be staged as a play.
As in the productions of Word for Word Company that successfully
dramatizes as it interprets literary works in the Bay Area and world
wide, Porchlight has brought the piece to life and given it the
dramatic injection needed to place it in the category of a stage play.
As we watch each scene we are pulled into the happenings of the
villagers to sometimes sigh over their losses or laugh at their
eccentricities. This difficult challenge that Porchlight has met places
the company on a high level of staging achievement. In short,
Porchlight has successfully dramatized and physicalized a play not yet
perfectly suited for play performance.

Expertly directed by Randall Stuart, Act One is filled with verbal
descriptions that, although sometimes delivered too rapidly, are
revitalized through the homogeneous acting of the entire cast and the
rhythm and variety of stage movement on a simple wooden stage with
small levels and few props or furniture that allow the actors to move
up and down and across the stage with ease. Act Two, that introduces
songs and is less verbally inclined, provides a strong and entertaining
conclusion. Original Music and musical direction is provided by Kathy
Stephan.
Staging Under Milk Wood under the large Redwood trees of the Redwood
Amphitheatre in the Marin Art and Garden Center is a tour de force for
Porchlight. It brings a moving tableau of life in a small town offering
a humanly lyrical and universal dramatization of time that passes and
the events that reflect the desires and hopes of its quaint inhabitants.
Under Milkwood plays until July12. For info about Porchlight
prooductions call 415.251.1027 or visit www.porchlight.net
Annette Lust, Member Bay Area Theatre Critics Circle.

Sexual Perversity in Parma at ACT

American Conservatory Theatre's season finale, "'Tis Pity She's a
Whore," offers audiences a fresh encounter with a startling, rarely
performed play written in the 1630's by John Ford. "'Tis Pity" is a
play about overwhelming passion, the kind of passion that refuses to be
quenched no matter how vigorously it is attacked, a passion between a
brother, Giovanni (Michael Hayden) and his sister, Annabella (Rene
Augesen). This is a morality play complete with incest, revenge and
family honor.
Director Carey Perloff and her wonderful cast play this
pre-Restoration melodrama for all it is worth in Candice Donnelly's
lavishly costumed production. Inventively staged by Carey Perloff in a
deconstructed Baroque cathedral by Walt Spangler, the play is set in
Parma, Italy. With clear and gripping poetry, Ford paints a decadent
landscape of greed and corruption, helmed by a vicious amoral clergy.
"There is a lot of ambivalence in the play about what is 'normal' in a
toxic society," says Perloff, "and it's paradoxical because while we
know the lovers are siblings, their love seems almost pure next to the
corruption around them."
The twists and turns painstakingly taken during the first act come
unstrung in the second leading to enormous amounts of bloodshed and
revenge and ends up painting everyone with the same bloody brush so
nobody ends up looking very good.
This is a show where those cast in smaller roles have scenes allowing
them to excel. James Carpenter as the supposed doctor, Robert Sicular
as the father of Giovanni and Annabella, Susan Gibney as Hippolita,
Sharon Lockwood as Putana, Anthony Fusco as Vasques and Jack Willis as
a Cardinal are outstanding in their roles.
Adding an edgy, rapturous element to the play's murky world is cellist
and vocalist, Bonfire Madigan Shive, who provides the exhilarating live
one-woman score. "I consider my work in this production to be a
'living score'" says Shive. "I'm shaping the sounds based on each
character's emotional interior, so in a sense, the music will serve as
the heartbeat of the play."
"'Tis Pity She's a Whore" plays at A.C.T. at 8 p.m.
Tuesdays-Saturdays, 2 p.m. Wednesdays, Saturdays and Sundays, 7 p.m.
Sundays through July 6. For information about future prodctions at
A.C.T., call 415-749-2228 or go online at www.tickets@act-sf.org.

Coming up in the fall at A.C.T. will be the West Coast Premiere of
"Rock 'n Roll" by Tom Stoppard.
Flora Lynn Isaacson

The Full Monty Sells Out at The Masquers

The Full Monty has been playing to sold out houses at The Masquers
Playhouse in Point Richmond since May 23. This musical is an
Americanized version adapted from the 1997 British film of the same
name; Terrance McNally wrote the book, and David Yazbek wrote the
score. The show is directed by John Maio, with music direction by Pat
King and choreography by Katie Kimball.
According to Director John Maio, audience members are drawn to this
musical for the "perceived provocation story line of six average
unemployed blue-collar Buffalo steel workers, low on both cash and
prospects, who decide to present a strip act at a local club after
seeing their wife's enthusiasm for a touring company of professionals.
As they prepare for the show, working through their fears,
self-consciousness and anxieties, they overcome their inner demons and
find strength in their camaraderie.
Rousing music opened the show with Ben Barron on the guitar, Pat King
on piano, Barbara Kohler on drums and percussion, Jo Lusk on the
keyboard and flute, Julio Reyes and Vince Lucchesi on the bass and Jim
Ware on trumpet.
Director John Maio cleverly stages this show with actors entering from
the audience. The highlight of the show was the auditions the steel
workers held for male strippers. Wendell H. Wilson stole the show as
"Horse" (an Afro-American stripper) and Anna Albanese brought down the
house as Jeanette, the piano player for the auditions, rehearsals and
the show.
Other notable performances in the cast were Todd Carver as Jerry, who
organized the group, Lucas Masch who winningly plays Jerry's young son
Nathan, Jerry's unsympathetic ex-wife Pam, played by Steph Peek, Tucker
Matthews as Dave, a chubby unemployed steel worker who has a flair for
comedy and Dave's wife Georgie, the organizer of the women who go to
the strip club is energetically played by Sara Breindel. Kyle Johnson
as Malcolm and Greg Milholland as Ethan give sensitive performances as
two lost souls who find each other. Chaz Simonds and Lise Lindsley
also did nice work together as Harold and Vicki Nichols.
The scenic design by Rob Bradshaw was great and the lighting design by
Debbi Sandmann was effective. Tammy Berlin's costumes were sensational.
My only criticism was the show seemed too long (3 hours) and could be
cut and tightened in its pacing. This show contains nudity, adult
language and is not recommended for children under 16.
The Full Monty runs thru July 5 at 105 Park Place in Point Richmond
For information or reservations, call 510-232-4031 or visit

www.masquers.org. Next up at the Masquer's will be The Petrified Forest
by Robert E. Sherwood August 22-September 27.

Jacques Brel Is Alive and Well and Living at Marin Theatre Company

"Jacques Brel Is Alive and Well and Living in Paris" is a celebration
of Brel's astonishing musical compositions celebrating his timeless
relevance and enduring passions. Brel enjoyed a brief surge of
recognition during the 1960's Cultural Revolution when Eric Blau and
Mort Shuman gathered his best-known songs into this multi-faceted
review. It ran four years at Lower Manhattan's Village Gate and
subsequently there have been occasional small productions around the
country.
According to Jasson Minadakis, Artistic Director of MTC, this revival
offers an opportunity for a new general to become acquainted with
Brel's genius as a songwriter while refreshing the memories of those
who saw earlier shows. It is a musical review with a diverse blend of
ballads, tangos, boleros, and classics, each telling a story of love,
war, adventure and broken dreams. Brel's songs embrace love but
anticipate its end. They speak longingly of living to the fullest but
warn of approaching death. They hold out hope for a better world but
regret mankind's unswerving devotion to war.
Kent Nicholson's imaginative staging begins with the lovely Alison
Ewing poking her head out of the curtain to begin "Ca Va." Utilizing
Eric Blau's and Mort Shuman's inspired English translation of the
original French lyrics, the cast of Alison Ewing, Kristin Stokes,
Robert Brewer and Noel Anthony captures the full emotional range of
Brel's songs.
Kate Boyd's scenic design and lighting contributes much to capturing
the essence of this musical. Callie Floor's casual costumes set the
exact right tone. A seven piece orchestra (piano, accordion, guitar,
violin, mandolin, bass and drums) led by Music Director Steve Sanders,
are on stage all of the time and contribute much to capturing the
Parisian mood.
Each of Brel's songs is artfully staged by Director Kent Nicholson as
a little play, with a beginning, middle and end. Some of my favorites
in Act One are "Marathon" by the entire group, "Madeleine" with the
entire group holding a bouquet of flowers, "Fanette" the wistful ballad
performed by Noel Anthony, "Amsterdam" with which Noel Anthony closes
Act One with the entire group. Alison Ewing also opened the second act
"Ne me quitte pas" sung beautifully in French, and later she performed
"Marieke" in Flemish, a highlight for me. Act Two ended with another
favorite, "Carousel" performed by the entire ensemble.
"Bravo" to the Marin Theatre Company for their very fine work.
Coming up next at MTC will be "Frankie and Johnny in the Clair de
Lune" by Terrance McNally and directed by Jasson Minadakis from
September 11-October 5, 2008. . For ticket information, call
415-388-5208 or go online at www.marintheatre.org
Flora Lynn Isaacson

Stagemedia's Innovative "Trap Door"

Inspired by a dream, composer Lisa Scola Prosek's new opera, "Trap
Door," tells the story of Private Able, his experiences in Iraq, and
his homecoming to the U.S. where he is on trial for shooting an
un-armed Iraqi man. Composed in bell canto style as a classic, dark,
surreal comedy, with Commedia Dell' Arte direction by Jim Cave. The
opera examines the daily routines of a U.S. soldier, his interaction
with the independent contractors, the media, his fellow soldiers, the
"enemy," and his attempts at finding meaning in all of it.
Prosek's exciting score sets the tone for this opera. Her chamber
orchestra is conducted by Martha Stoddard and includes Michel Taddei
(double bass), Eduard Prosek (trumpet), Katrine Wreede (viola), Beth
Snellings (cello), and Phil Freihofner (oboe). I especially liked the
interaction of the music with the plot.
A realistic video by filmmaker, Jacob Kalousek, makes you feel as
though you are there. Prosek uses footage from Iraq to establish the
sense of place and color like an intense orange to make the audience
feel the heat. "Trap Door's" cast features Clifton Romig (baritone) as
Private Able, Mark Hernandez (tenor) as Omar, the taxi driver, Bianca
Showalter (soprano) as Jane the Journalist, Eliza O'Malley (soprano),
as the Prosecuting Attorney, Maria Mikheyenko (soprano) as Ashley the
Independent Contractor, James McGoff (baritone) as the Independent
Contractor and the wonderful Roham Shaikhani as the Vezier/Visor, a
role performed entirely in mime.
All of the singers have beautiful operatic voices, but my only problem
was understanding their words. A diction coach would have been helpful.
For information about The Lab productions visit wwwl.thelab.org
Flora Lynn Isaacson

"Just a Minute" Equals Moments in Time

From the moment we step into the theatre at the College of Marin's
Senior Performance Workshop, Director Suresa Dundes has made us very
aware of time. Her magnificent set contains a large clock dial on the
floor with Roman numerals and 8 clocks on the wall stage left
imaginatively arranged to include an artist's palate clock, a Mickey
Mouse watch clock and a heart-shaped clock. There are 9 clocks on the
wall stage right with a clock in the shape of a blackboard, a pottery
bowl clock and a clock with birds on the dial. Also hanging from the
ceiling is a mobile clock.
Suresa begins her program with what she calls "rush writing," 3
minutes of stream of consciousness writing on the theme of "Just a
Minute." Judy Baldassari describes preparing for Sunday brunch, Jorge
Werbin thinks of all the things that need to be done in one day and
Suresa Dundes describes boundaries in breaking up.
Highlights in Act One are Norma Anapol's beautifully written "Dream
Group"—a group which she has attended for 17 years for discussing and
analyzing dreams, Jim Scheller's "The Perfect Pocketbook," Jorge
Werbin's "Catharsis" and Judy Baldassari's "True Believer."
In the Act Two that also begins with rush writings, Jim Scheller
describes a poker game in "Looking Around the Table" with descriptions
of the other players and Normal Anapol in "I'm Sure I Said" tells of
her 17 years in Senior Performance class. A highlight of Act Two is
Sandy Steinman's "Rehearsal," previously performed last April at the
Dominican Fringe of Marin Play Festival. Other highlights in Act Two
include Suresa Dundes' "Atonement," a dialogue with Kate Gordon about
boyfriends and "Hummingbirds" by Jorge Werbin. Normal Anapol concluded
the program with "What I Know."
"Just a Minute, A Miscellany of Monologues, Dialogues, Poetry and
Memories," was written and performed by the Senior Performance Workshop
at College of Marin on Saturday, June 14 at 8 p.m. and Sunday, June 15
at 2 p.m.

Flora Lynn Isaacson

Come to the Cabaret

There was a cabaret and there was a Master of Ceremonies and there was
Berlin.
Between the 1st and 2nd World Wars, there was a period in Germany which
was
characterized by terrible poverty, terrible decadence and inflation.
Going to
the cabaret was a way to escape.

The S.F. Playhouse is presenting Cabaret as its final show of the
2007-08
season. Cabaret is directed by Artistic Director, Bill English. This
legendary
landmark musical premiered on Broadway in 1966. Joe Masteroff's book
for Cabaret
was based on John van Druten's play, "I am a Camera" inspired by
Christopher
Isherwood's "Berlin Stories." The lyrics for Cabaret are by Fred Ebb
and music
by John Kander.

Weimar Berlin of 1931 turns into a dark nightmare. The morally
ambiguous
inhabitants are determined to escape the real world by taking sanctuary
in the
cabaret. Cabaret opens at the Kit Kat Klub. The Emcee begins by telling
us to
"leave your troubles outside--here life is beautiful."

We get the feeling we are in a real cabaret with tables extended into
the
audience. The high energy of the opening number, "Willkommen" gets us
off to a
great start. I like the way the musicians were placed center stage
above the
action and the way Brian Yates Sharber as the Emcee draws us in.

Our hero Cliff (Daniel Krueger) is introduced in the second scene as he
meets
Ernst (Will Springhorn Jr.) upon arriving in Berlin, who directs him to
Fraulein
Schneider's house as a place to stay. Fraulein Schneider is sensitively
portrayed by Karen Grassle. Soon we meet Herr Schultz, delightfully
played by
Louis Parnell who is having a romance with Fraulein Schneider.

There is much shifting back and forth from the Kit Kat Klub and
Fraulein
Schneider's house and these transitions are handled beautifully,
particularly in
the New Year's scene with a wonderful blending of the Klub and the
residence.

When Cliff goes to the Kit Kat Klub for the first time, Sally Bowles
(Lauren
English) has a fabulous entrance with "Don't Tell Mama." Sally meets
Cliff and
moves in with him and the love story develops. Lauren English has
wonderful
stage presence portraying Sally's free spirit. She also handles the
British
accent quite well.

Act One ends effectively when the Emcee spins a gigantic globe of the
world,
reminiscent of Charlie Chaplin in "The Great Dictator," and sings the
chilling
"Tomorrow Belongs to Me." In Act Two, the cabaret, once a safe haven
from the
outside world, becomes increasingly threatened by the Nazi's in their
rise to
power. The Emcee played by Brian Yates Sharber makes a wonderful mirror
reflecting what is happening in the outside world. Sally English brings
down the
house as Sally Bowles singing the theme song, "Cabaret."

Other actors who give able support are Tania Johnson as Fraulein Kost,
a German
prostitute who also rents from Fraulein Schneider, and Will Springhorn
Jr. who
plays Ernst who started out as a friend of Cliff until Cliff realizes
Ernst is a
Nazi.

I was bowled over by how well the actors performed their parts and how
well they
sang, danced and played musical instruments--truly a versatile cast!
The Musical
Director Martin Rojas-Dietrich (who also plays Max, the owner of the
Kit Kat
Klub) has the musicians in a framed proscenium upstage center, making a
sensational impression and the sexually provocative choreography by
Barbara
Bernardo is charged with excitement. All of the above is overseen by
Director
Bill English who makes us see that Cabaret speaks profoundly to us in
our own
time.

The flexible set designed by Kim Tolman is too wide for the space and
the
imaginative costumes by Valera Cobb are particularly colorful. In this
critic's
eye, the main criticism is in the miscasting of Daniel Krueger as Cliff
who is
weak compared to the rest of the cast. He smiles too much and is wooden
and
stiff. Also, the extreme width of the stage leads to blocking problems
on
extreme stage left. Overall, however, Cabaret is a fabulous show and
everyone
should be encouraged to see it.

Cabaret plays all summer, through September 20 at the S.F. Playhouse,
533 Sutter
Street (one block off Union Square b/n Powell and Mason). For
information and
tickets, contact the S.F. Playhouse Box Office at 415-677-9596 or go
online at
ticketweb.com.

Flora Lynn Isaacson

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