May Theatre Reviews April Theatre Reviews
May Theatre reviews
Thrill Killers Leopold and Loeb at the New Conservatory Center
In Stephen Dolginoff's award-winning musical drama "Thrill Me' directed
by Dennis Lickteig, the passion of a young future law student, Nathan
Leopold, for his future law student lover Richard Loeb leads from
smaller to larger and more and more crimes that eventually lands them
in prison. Based on a true event in Chicago in 1924, the musical play
develops step by step the relationship and events that end in their
demise.
Nathan's adoration and love for Richard, a follower of the superman
philosophy of Nietzsche, causes the former to do whatever the latter
commands in order to retain his love. The dramatic action revolves
around Richard's addiction to experiencing thrills and his need to
prove his superior intelligence that will propel the two on to commit
any kind of crime. This results in their progressing from small
robberies to the murder of a young boy only for the thrill of being
able to accomplish the crime.
This combination of the passion of a young lover for another student
who will do anything to win his love and pay the price for it along
with some of the suspense elements of a murder mystery is the basis of
this compelling Leopold and Loeb story. These romantic and suspense
elements offer both lyricism and drama to this musical theatre piece.
Stephen Dolginoff's book, music, and lyrics, well directed (aside from
a repetitive use of blocking and stage movement downstage center) by
Dennis Lickteig and Tim Hanson (Musical Director), are clearly and
vividly developed. The roles of actor/singers Ricardo Rust (Nathan) and
William Giammona (Richard) are believably, sensitively and emotionally
well rendered.
This seventy-five minute piece about an obsessive love and a youthful
need for the thrill of committing crime that destroys the lives of two
students offers dramatic content well performed and sung that pulls on
the heart strings of the spectator.
"Thrill Me" plays at the New Conservatory until May 4. For info (415)
861-8972 or visit www.nctcsf.org.
Annette Lust
Euripides Inspired Anti-War Trojan Women at the Aurora
Ellen McLaughlin's Euripides-inspired Trojan Women at the Aurora
Theatre depicts the fate of the Trojan women after the Greek defeat of
Troy. This drama is visually reinforced by John Iacovelli's set that
offers a modern depiction of the giant wooden horse that hid a few
dozen soldiers who then surprise attacked the Trojans, leaving behind
their wives and daughters to mourn their fate under the tyranny of the
Greeks.
McLaughlin, who herself has been an actress on and off Broadway and has
written plays that were nationally and internationally produced, has
created a work that requires a dynamic and increasing level of dramatic
performance throughout. The dramatic intensity increases as it moves
from the lamenting of these women's losses of their husbands and
fathers and the cruelty of their vanquishers to a scene of the now
demented Cassandra, the prophetic daughter of Hecuba, to another
horrific scene of the slaying of Hecuba's baby grandson by the Greeks,
and a final scene of the women being led away in barbaric enslavement
by Greek soldiers.
These high voltage scenes are knowledgeably piloted by veteran stage
director Barbara Oliver who worked with both professional as well as
student intern actors from U.C. Berkeley as members of the chorus to
create a mix of experienced actors with student actors. Although this
has lent a youthful dynamism to the production, the all-around
rendition, and particularly the stylization of the production does
suffer a bit at times from this mix of performers not acting and moving
on the same performance level.
More training of student actors could remedy this drawback.
Carla Spindt's role as Hecuba evokes a modern CEO in control of
all-even in tragic times. Nora el Samathy plays Helen like a 21st
century model. Sarah Nealis's Cassandra and Emilie Talbot's Andromache,
whose baby is killed by the Greeks, offer dramatically potent
characterizations that provoke our pity.
Julian Lopez-Morillas' Poseidon, god of the ocean, in a naval officer's
suit, plays the role with authority but wears an officer's hat that
covers half of his face (supposedly to give the effect of a mask) that
is distracting if not comical.
John Iacovelli's giant modern horse is a breathtaking sculpture
representing the fall of Troy but takes up a third of the stage space
to considerably limit the choral and other movements in the piece.
Costumes by Anna Oliver, with the exception of Helen who is dressed in
the attractive attire of a privileged female, are simple and plain to
suit the impoverished state of the Troy women.
One of the finest aspects of this production is the collaboration with
the drama department at U C Berkeley that integrates a number of drama
students into the staging to bring with it fresh artistic vitality. As
this production opens its doors to the merging of drama students with
professional actors, directors and playwrights in the Bay Area, it sets
a precedent for the same kind of collaboration in other parts of the
country.
The Trojan Women plays until May 11. For information call 510-843-4822.
Or visit auroratheatre.org.
Annette Lust
FRINGE OF MARIN Spring 2008. Call for Fall Short Plays for Fall 08.
The 21st Season of the Marin Fringe once again did not disappoint.
Program One staged six fresh, original short plays with themes ranging
from the state of war veterans to wanna-be lesbians.
The program led off with the excellent comedy, "Board Stiff," with a
clever script by Michael-Paul Thomsett who also directed. Six community
theatre (or semi-professional, as one member insisted) board members
gossiped as well as voiced conflicts about the status of their actors,
raising money, or whether oatmeal-raisin (touted by Pam, an effectively
prim Lynn Lewis) or chocolate chip cookies should be offered in the
fundraiser. Right off, George (Bill Lehrke) got the audience's
attention by screaming, "Hot!" as he set down his cup of coffee.
President Tracey (Linda Ward) tries to keep things together as Dexter
(Skye Pelicrow) tears them apart. Dorie (Erika Alstrom), in black top
over a white lace blouse, sits silently, taking in everything. Cut off
when she does begin to speak, she blows, jumping to her feet and
shouting, "I wasn't finished!" The play ends with a tableau of Pam
holding a box of oatmeal cookies, George, his coffee cup, and Dexter
and George choking each other as the rest look on in horror.
"Lesbian Rhapsody" written and directed by Carol Marshall, is a
light-hearted number featuring frustrated wives: Judy and Susie,
believably and naturally acted by Candice Brown and Janice Bacich. They
start off by dissing their husbands. One says, "Too bad we're not
lesbians." Entertaining this idea, they argue whether lesbians are born
or made. "What do lesbians do?" Susie asks. They drink wine, play
romantic music, dance to turn themselves on. When Judy puckers up to
kiss Susie, they break up, laughing hysterically, then decide that
their husbands aren't so bad after all.
The subject of the Iraq war, let alone its returning veterans, is a
subject that makes some people uncomfortable. Playwright David Talley's
brave "Heroes," partly based on a true story, tells of two generations
of Marines, played by actor Johann Schiffer in an honest portrayal of a
by-the-book Lance Corporal and his Colonel (John Clevenger). Schiffer
goes before his hard-line Colonel to sign papers declaring him PTSD. It
is revealed that the Colonel is a Vietnam vet who has seen his share of
horrors. He razzes the soldier for weakness; the Marine stands up to
him. When a gun is drawn, the suspense and tension had the audience
holding its collective breath. Talley gives his play a poignant ending,
in which the Colonel exposes another side of himself. The truth of
Talley's script is enhanced by Albert Goodwyn's fine direction.
Actress Molly McCarthy, in her role as Virginia Woolfe in Roberta M.
Palumbo's biographically interesting, but rather static, "Leonard &
Virginia", directed by Flora Lynn Isaacson, brought out impeccably
Woolfe's conflicts regarding marriage, children,and her staid suitor,
Leonard.(Charles Grant). The play suffers by its condensed time-frame
as it covers many years. Much of it involves the characters' sitting,
reading aloud letters they are writing to each other. Ms. McCarthy's
costumes are wonderful. When she puts on her cloche hat and long dark
coat, I couldn't help thinking that she would soon put rocks in her
pockets and throw herself into the river.
Robert Estes is a fine comic actor and writer of comedies. His "Bar
Scene" which he also directed, is a sad tale of two aging bachelors:
Don Juan (David Shirk) and Roger (Robin Schild), making the - - what
else? the bar scene. Gray-haired Don Juan, in loose shirt over a
T-shirt, cut-offs, and tennis shoes, replays his life as a 20 year old
and brags about last night's score with a woman decades younger Friend
Roger, bald with a fringe, glasses, and in a suit, though he enjoys
listening and relating experiences, tries to bring Don back to earth.
Roger has had a meeting with Don's score , but is conflicted about
telling Don. The girl, Christina, shows up. Played by Marion Durham in
, a wonderful enactment of the true-to-life mannerisms of a mixed up,
troubled, 19-year-old alcoholic. Christina brings up a startling
secret concerning the woman Don had had a one night stand with twenty
years ago.
Solo Artist Lynn Ruth Miller's monologue is a poignant memoir of
growing up with immigrant Jewish parents in America: a cold, stern
mother and a seemingly distant father. There's conflict between
Christmas and Hanukah. Her only source of love and affection comes from
her grandmother. While her mother wants to adapt to life in her new
country and dresses her children so, Lynn's grandmother dresses Lynn,
to the child's delight, in 19th Century styles, angering Lynn's mother.
Lynn's gifts to her mother are disdained. Yet she surprises her
daughter with a 16th birthday party at a hotel with a band. Thinking
her father is incapacitated after surgery, she receives the greatest
gift of all when he appears, asking her for a dance. Her best line goes
something like "Seymour (her friend) is afraid of Santa, but not Jesus."
The Spring 2008 Fringe Festival runs from Friday through Sunday, April
25 to 27, with awards given at the Sunday matinee at 2 pm.
For submission of Fall Fringe short plays, call 415-673-3131.
Gaetana Caldwell-Smith.
Program 2 Diversity is Key to Fringe of Marin's 21st Season
The first play of Program 2 was "Soul" written and directed by Sasha
Litovchenko, a Faustian legend about a man who sells his soul to the
devil. It is
sexily played by beautiful Jena Hunt. After the death of Man (Rick
Rotinger),
the beautiful Woman and the Angel (Anatoly) struggle for the Man's soul.
It offered an unusual staging of a bedroom in the back stage area with
eerie light
streaming through a backstage window along with other highly dramatic
scenes
such as a fatal car accident, expertly staged by the director.
"Seymour and Santa," a solo performance written and performed by
Sandy Steinman contrasted Hanukkah and
Christmas from a child's point of view. Seymour, Sandy's younger
brother
tells Santa that he is Jewish and is praised by his mother for standing
up for
what he is. Steinman's second solo, "Rehearsal ," like"Seymour and
Santa"
is another mother-daughter monologue. The mother is conducting a
rehearsal for her
5th grade daughter Roberta as she is making her "debut." The mother
tells Roberta to
stand straight and tall and speak slowly and loud. Roberta feels the
pressure
from her mother "who always wanted to be an actress." In both of her
presentations, directed by Suresa Dundes, Sandy Steinman brings us a
great
deal of humor and warmth.
"First Impressions" by Helen and John Gomez, a play about the
celebrated
fringe artist, Monet, was the most ambitious of the plays since it
combined
both theater and opera in its presentation. We open with an elderly
Monet
(played with relish by Byron Lambie) and his friend, George Clemenceau
(beautifully performed by Robin Schild) looking at Monet's painting of
the
"Water Lilies" and looking back over Monet's life. Clemenceau would
like
to publish a biography of Monet. They look back 50 years when Monet
was having difficulty painting a Japanese bridge. Monet marries his
model Camille
who gives birth to his child. Shawn Michelle Creighton has a lovely
operatic aria
as Camille. Dorothy Merlino plays Monet's mistress with grace and
style.
Monet's wife tells him he does not see the truth of each moment.
Miguel Garcia expertly handled the challenging direction.
"Flashlight," (my particular favorite) was written by Ruth Kirschner
and directed
by Rich Baker. This play is interestingly staged in complete darkness
with the
use of two flashlights. An art student, Arley Levine is discovered
working in the dark on the painting after hours by Woody, the school
custodian. Arley gets Woody who is an African to pose for her
painting. The dialogue and the performances of the two actors, Brianne
Kostielney and David Moore were
very moving as they develop a sense of trust of each other.
"Aria," iwritten and directed by Jenna Hunt, is a graduating
Dominican senior project "dramatizing passionate love in Italian
Verisimo
opera-style." Tosca, played by Jenna Hunt, is a girl in an abusive
relationship with a wealthy older man (Greg Land). She loves opera and
looks for records in trash bins thrown out by Deidra, a saucy waitress,
perfectly played by Merrily Martin. Tosca looks after her male
friend's
retarded brother Mutt (Emily Surface) whose pantomime was clever
but hard to understand. "Aria" is an imaginative piece and difficult
to execute.
The last play of the evening, "Horn of Vengeance" was written by Bobbie
Bradford
and directed by Steve Galiani. Jeff Taylor, who played a bank
president, had a
great sense of comedy. This bank president was being held up by the
Horn of Vengeance Liberation Army with Brittany Hogan as Colonel
Morgana
and Erica Badgeley as Oxblood, her stooge, who also had a great sense
of comic timing along with the excellent direction of Steve Galiani.
Bobby Bradford is an imaginative playwright whose plays are always
intriguing.
Thanks to Dr. Annette Lust, the Fringe of Marin is celebrating its 21st
season,
a great gift to the Marin community.
The Fringe of Marin plays at Meadowlands Assembly Hall, Dominican
University, San Rafael, through April 27. For
reservations/information,call 415-673-3131.
Flora Lynn Isaacson
Diversity is Key to Fringe of Marin's 21st Season
The Spring 2008 21st Anniversary Fringe Festival is producing 13 new
short plays and solos. Program Two opened with 7 of these plays. The
first play was "Soul" written and directed by Sasha. "Soul" is based
on the old Faustian legend of a man who sells his soul to the devil.
In this play, the devil is sexily played by a Beautiful Woman, Jenna
Hunt. After the death of Man (played by Rick Roitinger) the Beautiful
Woman and the Angel (played by Anatoly) struggles for the soul of Man.
The staging was unusual with a bedroom in the back stage area with an
eerie light streaming through an upstage window. The upper left stage
area was used for an automobile while the main action took place center
stage.
"Soul" was followed by "Seymour and Santa," a solo performance, written
and performed by Sandy Steinman and directed by Suresa Dundes. Sandy
Steinman contrasts Hanukkah and Christmas from a child's point of view
and wanting to fit in with a secular holiday with a Christmas tree and
being allowed to sing Christmas carols. Seymour was Sandy's younger
brother who told Santa he was Jewish and is praised by his mother for
standing up for what he is.
The last play of the first half of the program, "Flashlight," (my
particular favorite) was written by Ruth Kirschner and directed by Rick
Baker. This play is interestingly staged in complete darkness with the
use of two flashlights. An art student, Arley Levine is discovered
working in the dark on the painting after hours by Woody, the school
custodian. Arley gets Woody who is an African to pose for her
painting. The dialogue and the performances of the two actors, Brianne
Kostielney and David Moore was very moving as they develop a sense of
trust of each other.
"First Impressions" by Helen and John Gomez, a play about the
celebrated fringe artist, Monet, was the most ambitious of the plays
since it combined both theater and opera in its presentation. We open
with an elderly Monet (played with relish by Byron Lambie) and his
friend, George Clemenceau (beautifully performed by Robin Schild)
looking at Monet's painting of the "Water Lilies" and looking back over
Monet's life. Clemenceau would like to publish a biography of Monet.
They look back 50 years when Monet was having difficulty painting a
Japanese bridge. Monet marries his model Camille who gives birth to his
child. Shawn Michelle Creighton has a lovely operatic aria as Camille.
Dorothy Merlino plays Monet's mistress with grace and style. Monet's
wife tells him he does not see the truth of each moment—that he is
selectively blind. Miguel Garcia expertly handled the challenging
direction
Another solo presentation, "Rehearsal" brings back Sandy Steinman,
again directed by Suresa Dundes. Like "Seymour and Santa" this is
another mother-daughter monologue. The mother is conducting a
rehearsal for her 5th grade daughter Roberta as she is making her
"debut." The mother tells Roberta to stand straight and tall and speak
slowly and loud. Roberta feels under a great deal of pressure from her
mother "who always wanted to be an actress." In both of her
presentations, Sandy Steinman brings us a great deal of humor and
warmth.
The 6th play, "Aria" is written and directed by Jenna Hunt. "Aria" is
a graduating Dominican senior project "dramatizing passionate love in
Italian Verisimo opera-style." In "Aria," Tosca, played by Jenna Hunt,
is a girl in an abusive relationship with a wealthy older man (Greg
Land). She loves opera and looks for records in trash bins thrown out
by Deidra, a saucy waitress, perfectly played by Merrily Martin. Tosca
looks after her male friend's retarded brother Mutt (Emily Surface)
whose pantomime was clever but hard to understand. "Aria" is an
imaginative piece and difficult to execute.
The last play of the evening, "Horn of Vengeance" was written by Bobbie
Bradford and directed by Steve Galiani. Jeff Taylor, who played a bank
president, had a great sense of comedy. This bank president was being
held up by the Horn of Vengeance Liberation Army with Brittany Hogan as
Colonel Morgana and Erica Badgeley as Oxblood, her stooge, who also had
a great sense of comic timing due to the excellent direction of Steve
Galiani. Bobby Bradford is an imaginative playwright whose plays are
always intriguing.
Thanks to Dr. Annette Lust, the Fringe of Marin is celebrating its 21st
season, a great gift to the Marin community.
The Fringe of Marin continues to play at Meadowlands Assembly Hall,
Dominican University, 50 Acacia at Grand Avenue, San Rafael in November
08.
Play submissions underr 20 minutes are still being accepted until May
20. For infomation call Annette Lust 415-673-3131 mornings between 10
a.m. and 2p.m. and some eves after 8 p.m.
Flora Lynn Isaacson
Time Wounds All Heals in "Coronado" at S.F. Playhouse
The West Coast Premiere of "Coronado" by Dennis Lehane (Mystic River,
Gone Baby Gone) and directed by Susi Damilano opened March 22 at the
San Francisco Playhouse. Lehane introduces three plot lines in the
play's first scene which is set in a grimy, small-town bar, probably in
Texas. The word "Coronado" means "bar town."
"Coronado" does not follow a linear time frame. Past, present and
future are constantly intermingled, thus creating a puzzle by the
playwright to be figured out by the audience.
Lehane's characters, all grifters and losers, include a father and son
(Bill English and Chad Deverman) looking for a missing girl and a
stolen diamond; a psychiatrist and his high-strung patient (Louis
Parnell and Stacy Ross) who are entangled in an unethical affair, and a
pair of lovers (Will Springhorn Jr. and Kate del Castillo) who are
plotting a murder. By the time the play is over, we see that all of
the characters are inter-connected and their scenes together take place
in different time frames.
The ensemble cast, which also includes Lorraine Olson as a sympathetic
waitress, Phillip K. Toretto as a murder victim, and Rebecca Schweitzer
as the missing girl, Gwen, give fine performances.
The great set is by SF Playhouse Artistic Director Bill English with
vivid lighting by Cy Eaton and sound by Steven Klems. Valero Coble's
costumes were true to character.
"Coronado" is a suspenseful story under the smart direction of Susi
Damilano. Lehane plays fast and loose with his timeline and finally
integrates his characters in unexpected ways.
"Coronado" plays Wednesday-Saturday at 8 p.m. plus Saturdays at 3 p.m.
until April 26, at the SF Playhouse, 533 Sutter Street (1 block off
Union Square, between Powell and Mason).
For tickets or more information, call 415-677-9596 or go online at
Flora Lynn Isaacson
"Tragedy, a Tragedy" at Berkeley Rep
Night has fallen!" and that is pretty much the end of the story, except
that the newish kid on the block, playwright Will Eno has managed to
extend that thought for eighty minutes at BRep. TRAGEDY could even be
construed as a poorly constructed, unsubstantial imitation of Beckett.
In a TV newsroom, the seasoned anchor Frank (David Cromwell) sits at
his desk giving us the evening reports The BIG event is that "Night has
fallen."
The end of day as we know it; the end of the world; or is it they just
haven't gotten around to the morning yet to report if the sun has
bothered to come up? Surrounding the one interior newsroom location are
three other newscasters in the field to corroborate the story in
excruciating detail and vapid newspeak. The one female reporter
Constance (Marguerite Stimpson) is at a house describing its concrete
yard ornament — a broken-eared rabbit. The lights are out and no one
seems to be inside. Where did they go? Do we feel her pain over the
emptiness, or is it our sympathy for the actor caught in the
excruciating bind of having to say these words? A second reporter John
in the Field (Thomas Jay Ryan) talks about wishing his mother were
there to comfort him. Later when he suffers an anxiety attack,
Constance tries to calm him. Another newsman named Michael (Max Gordon
Moore) moves from one political location to another, with no visible
change. Wow! Is Eno trying to make a big pointarooney? All our
incompetent politicians have flown the coop. Don't we wish!
The premise is established and repeats with variations that run the
gamut from "A to A." It's the media in a repetitive loop that we all
witness every night, making news out of nothing. WE GET IT! … in the
first five minutes. And like any one-trick pony, it trots downhill
leaving unmentionables in our path. The real tragedy — if any — lies in
the enormous waste of artistry. If it werenen't for the noble cast of
five splendid actors — whose cumulative talent soars above the sewer
level of the piece — this member of the media would have walked out way
before the final blackout. Moments of humanity arise when the anchor
Frank thinks hehe's having a heart attack and none of his colleagues
are available to react. They are connected only via their electronic
equipment, which they occasionally turn off.
TRAGEDY is a show that might fare better while under the influence of
drugs. Although there were members of the audience (suspiciously
plant-like) who cackled in the first five minutes at every insipid
remark possible, even their forced laughter could not be sustained for
the duration. Simply stated this nightmare might make a great short
skit on Saturday Night Live, but in its present condition TRAGEDY lacks
the staying power for an evening of live theatre. Not recommended.
TRAGEDY: a tragedy continues through April 13 at Berkeley Repertory
Theatre, 2025 Addison Street, Berkeley. Tickets ($33 to $69) are
available by phone at (510) 647-2949 or online at www.berkeleyrep.org.q
Linda Ayres Frederick
The 7th Annual Bay One Acts Festival
When Three Wise Monkeys founders Richard Bernier, Aoise Stratford and
Dawson Moore first started this company, they had in mind a festival to
celebrate scores of talented local playwrights who were not being heard
in the Bay Area theatre scene.
Seven years later, they fulfilled their mission to give voice to eight
Bay Area playwrights, eight stories and the creative efforts of more
than 30 theatre artists—actors, directors, designers and technical
people.
The festival had two programs this year. Program One featured
playwrights and producing companies from BOA Festivals in the past
years. They symbolize the successes of their past efforts and
performances were held at the Eureka Theatre in San Francisco from
February 21-March 2. From Program Two, March 6-16, new playwrights and
companies were invited to come and perform as they are the symbol of
where BOA is headed in the future.
This critic attended opening night of Program Two on March 6. The
first play of the evening was "Manners and Civility" by the talented
Nick Olivero, who is currently the Artistic Director for Boxcar Theatre
located in San Francisco and the playwright of the wonderful "Big Co."
which played at his theatre last fall. Produced by Boxcar Theatre,
"Manners and Civility" was beautifully directed by Peter Matthews,
co-Artistic Director of Boxcar Theatre and the star of "Big Co." I
found the subject matter of "Manners and Civility" very distasteful and
disturbing. A man is tied to a chair in a child's nursery and is
mercilessly tortured throughout the play for a crime which he may, or
may not have, committed many years ago. Nick Olivero was trying to show
that our society creates monsters. The victim, Mark Auditore, was
expertly performed by John Hutchinson, and his torturer, Dr. Henry
Chauncey, who wore a suit and a tie, was given a very mannerly
performance by Michael Moerman. These two performers gave the strongest
performances of any male actor in the four plays I saw that evening.
The second play, "General Admissions," by Crish Barth was directed by
Paul Cello and produced by Climate Theatre. This play took place in a
theatre where Sheila, played by Laura Jane Coles (with expert comedic
timing), is taken out for her birthday by her husband, Dan, a rather
uptight man in his late 30's played equally well by Mark Lariviere.
Both actors performed in tandem, both listening and responding to one
another as they sat in the handicapped row of the theatre. There was a
wonderful response from the audience on their "laugh" lines.
The third play, "End of the Line" by Liz Ryan, was performed after the
intermission. This play, directed by Jeffrey Hartgraves and produced
by the Ensemble Theatre, was this critic's favorite as it had the most
substance. The setting was a small Irish town, the day of Patrick's
and Moira's father's funeral. Padraic (Americanized to Patrick),
played by Jeffrey Hartgraves, returns home from the States accompanied
by his younger "boyfriend" played by T.J. Lee. The playwright Liz Ryan,
the strongest female performer of the evening, played the lesbian
sister Moira who was resentful for having to take care of her father
for many years.
"A Toss of the Hat" by Mike Ricca ended the evening's performance.
This play was directed by Hans Summers and produced by San Francisco
Improv Alliance. The leading man, Chris is played by Clay Roneson who
is a good stand-up comedian in his many monologues to the audience.
"Making the Toss" is a good metaphor for the entire play. Chris is the
kind of guy who isn't sure where he's going, doesn't remember where
he's been and doesn't know how to get to where he is, but is happy to
be there all the same. The play takes place in a coffee shop where
Chris falls for a waitress, Lisa, played by Lauren Pizzi. Shaun Landry
as a middle-aged patron who loves her crossword puzzles almost steals
the show.
For information about future Three Wise Monkey productions see
www.threewisemonkeys.org
Flora Lynn Isaacson
Woman's Will Presents the 10th Annual 24-Hour Play Fest
The idea is simple: Seven local playwrights, seven local directors
(all women) and a bevy of actors have 24 hours to write, rehearse, and
perform seven short plays built around the theme: the Seven Virtues.
What amazed this critic was that all of the actors had memorized their
lines and all of the directors did a great job blocking the action.
My personal favorite play was "The Fundraiser" which demonstrated the
virtues of Generosity and Charity by Karen Macklin and was directed by
Lisa Edsal-Giglio. The cast featured Chijundu Okonmah and Danielle
Perata as friends attending the fundraiser, and Sandra Weingart, and
Vidya Sundaram as two sisters who were the fundraisers.
A close runner-up was "Burial" by Judith Offer which pointed out the
virtue of Diligence. This play was imaginatively staged by Lila
Neugebauer. The cast featured Dee Baily, Ron Dritz, Jennifer Graham,
Shirley Hall, Maggie Tenenbaum, and Karen Meredith-Wolf as members of a
choir who were to sing at a funeral. This play took many clever twists
and turns. Also high up on my list was "A Wake" by Marisela Orta which
showed both Patience and Forgiveness. The play was cleverly directed
by Elizabeth Williamson. The cast featured Tara Generalovich, Gina
Seghi, Leah Herman, Khamara Pettus. In this play, a dead woman rises
up to speak to each person who comes to call.
"Food Service" by Susan-Jane Arevalo displayed Humility and Modesty.
Debbie Lynn Carriger was the director who had a good eye for pantomime.
The cast featured Kate Thompson, Sarita Ocon (in a comedic performance
as a new waitress), and a sole male performer, Patrick Engle.
Judy Juanita's play "The Art of Benevolence" pointed out the virtue of
Kindness. Directed by Nakissa Etemad, the cast featured Tamar Kohn as
an elderly woman, and Tenaya Hurst as her daughter. Clare McNulty gave
a spirited performance as an Irish caretaker and Carlye Pollack was a
ghost.
After a fifteen-minute intermission, "Late Night at the DHC" showing
the virtue of Chastity opened the second half of the program. The DHC
stands for the Department of Homeland Chastity. This play was directed
on rolling chairs by Hester Schell and featured in the cast were
Michaela Greeley, Alexandra Kay and Katie Kruger.
"Immoderate" by Susan Sobeloff demonstrated Temperance and Moderation.
The director was Tamika White and featured Julie Kurtz, Mary McGloin,
and Eleni Zaharopoulos.
. Upcoming shows to be presented by Woman's Will are "The Good Person
of Szechuan," by Bertolt Brecht July 12-August 17, 2008 and "Macbeth"
by William Shakespeare, October-November, 2008. For information and
reservations, call 510-420-0813 or buy tickets online at
Flora Lynn Isaacson
"Shadowlands"—A Shadow of the World to Come at Ross Valley Players
"At all and every time joy or suffering are connected. Remain pious in
joy and be ready with courage for sorrow." This Old Saying sums up for
me the meaning behind William Nicholson's "Shadowlands" which opened
Friday, March 14 at the Ross Valley Players. "Shadowlands" takes place
at Oxford in the early 1950's where C.S. Lewis, the noted British
theologian is a don, who is living a contented and simple bachelor life
with his brother Warnie in the cloistered comfort of Oxford academia.
His comfort zone is shattered by the arrival of Joy Davidman Gresham, a
fan who has come to England to meet Lewis with her young son, Douglas.
Lewis, known as "Jack," is charmed by Joy's frank honesty, her
intellect, and her life-affirming sense of humor. As their friendship
deepens, Jack agrees to marry Joy "in name only" so she may obtain
English citizenship. When Joy is diagnosed with an advanced form of
cancer, Jack realizes he has fallen deeply in love for the first time
and marries her in her hospital bed. Joy gets better, leaves the
hospital, and the two honeymoon in Greece. Joy eventually dies after
three glorious years of remission.
Chuck Isen is well cast as C.S. Lewis with his clipped diction and
repressed emotions. Jennifer Reimer manages to be believable as Joy
with her blunt humor and intelligence. The strongest performance was by
Alex Ross as Jack's devoted older brother Warnie with his perfect comic
timing. Wood Lockhard supplies more comic relief as Lewis' colleague,
Christopher Riley.
The artful and utilitarian set design by Patrick Kroboth and scenic
artist Megan Kenyon, is comprised of huge bookcases and sliding walls.
At the back of the set was a magical kingdom meant to invite the world
of wonder discovered by children in Lewis' fantasy tales and discovered
by Joy's son, Douglas, when he enters the magical kingdom of Narnia and
brings back an apple from a tree there to his mother in the hospital
just before her recovery. Ellen Brooks' lighting design enhanced this
beautifully.
The strong acting ensemble in "Shadowlands" is ably directed by Linda
Dunn. I especially like the way she staged the more intimate scenes
front and center and the large group scenes at the rear of the stage.
C.S. Lewis gives a monologue to the audience from the pulpit at the
beginning and ending of the play on Love, Pain and Suffering. He
raises the question, "If God loves us, why does he allow us to suffer
so much?" He comes up with the answer that this world which seems so
substantial is nothing more than shadowlands of the life to come.
"Shadowlands" plays until April 20 at the Barn Theatre, Marin Art and
Garden Center, 30 Sir Francis Drake Blvd. at Lagunitas in Ross.
Performances are at 8 p.m. Friday and Saturday, 7:30 p.m. Thursday and
2 p.m. Sunday. For tickets, call 415-456-9555 or go online at
Coming up next at Ross Valley Players will be "Brooklyn Boy" by Donald
Margulies and directed by Phoebe Moyer from May 9-June 15.
Flora Lynn Isaacson
"Boston Marriage" at 6th St Playwhouse
Mamet writing about women? A comedy sprinkled wuth tenderness? Banter
laced
with lust, intrigue, rivalry? Go see Boston Marriage at the 6th Street
Playhouse
in Santa Rosa.
When entering the theatre, I was immediately transported to a
heavenly early
20th century parlor room. Set design by David Wright was richly
decorated with
startling light highlights created by David Lear.
Acting was one of the best I've seen at the Playhouse. Mamet is
challenging
for actors because of the unusual rhythm of phrases and words. The
actresses
carried the dialogue with ease and smooth pacing.
Danielle Cain as Anna is graceful, versatile in her physical
mannerisms and a
delight to the senses. Bronwen Shears as Claire had intriguing detailed
facial
expressions and hand gestures that held my focus. Tess Coughlin as the
maid...what a delight! A breath of fresh air...and she's only in high
school! I
hope to see her in more plays.
Thanks to Director Sheri Lee Miller, the length of the stage was
completely
used by the actors, props utilized and variety of movements between the
three
actresses kept my attention and the play moving in a steady pace. All
actresses
were natural in their interaction and creative in their unique postures.
Costumes by Pamela Johnson...beautiful, sensual materials and soft
colors
contrasting with rich. I loved watching the actresses flowing across
the room in their long trails behind them.
Curtain call bows with music and original exit dance gestures ended
the play For information on future productions call 707-523-4185
Nancy Long