September 09 Reviews Continued September 09 Reviews
September 09 Reviews Continued
From: jeanlust@aol.com
To: Annettelust.foraallevents@blogger.com
Date: Fri, Sep 18, 2009 12:55 pm
SEPTEMBER 09 REVIEWS CONTINUED
ROCK OPERA AMERICAN IDIOT HAS BERKELEY REP SPECTATORS ROCKING
Grammy Award winning Punk Rock Green Day's album, American Idiot,
released in 2004 and that led to the creation of the theatricalized
version in the form of a rock opera, premiered at Berkeley Rep on
September 16th to a rollicking, warm audience. Directed by Michael
Mayer, the talented director of Spring Awakening, and choreographed by
Steven Hoggett, the piece is comprised of nineteen actor/singers and a
band on stage.
In this rock opera it is the theatricality of the lyrics that project a
youth's rebellious journey against his world and himself. Only a short
recited line here and there supports the dramatic action. We are first
introduced to the songs ".The American Idiot" and "Jesus of Suburbia,"
sung by John Gallagher in the role of Johnny, Matt Caplan as Tunny, and
Michael Esper as Will. At one point Johnny blasts out " I forgot to
take a shower," a line used as a thread of the action later. In the
next set of songs, Johnny and his buddies expose their malaise, the
futility of their existence, boy/girl relationships, sex, a pregnant
girl friend, drugs, violence, guns, death, and other adventures
depicting their sordid demise. The ending songs of this d
ramatization
of self destruction and the search for redemption are more mellow.
"We're Coming Home"=2
0and "Whatsername: bring the youthful exploits to a reassuring end. And
as the piece draws to the final scene Johnny repeats the line "I forgot
to take a shower!" suggesting his reconciliation with a more structured
world and self .
Christine Jones creates a spectacular set of a warehouse with
scaffolding and multiple T.V. video screens on a back wall that
simultaneously change images along with brightly glowing strobe lights
to suggest an electrifying atmosphere.
Costumes by Andres Lauer are causal togs worn by young people.
Although The American Idiot rock opera remains basically a brilliant
collage of songs well fused together under the theme of youthful
disillusion rather than an opera providing dramatic conflict and
development of dramatic action and characterization, this rendition of
angry and dissatisfied youth succeeds is pulling at our heart strings.
Its popular success Is due primarily to the beautifully written lyrics,
the masterful musical rendition, the high voltage energy of the
singers, and the realistic and timely portrayal of disheartened youth.
American Idiot plays through November 1, For information call
510-647-2949 or click on www.BeerkeleyRep.org.
Annette Lust
PREMIERE OF DALE WASSERMAN'S "PREMIERE" OPENS RVP's 80th SEASON
The Ross Valley Players kicks off its 80th
season with "Premiere"--the
last play written by award-winning playwright Dale Wasserman. Wasserman
was the Tony Awa
rd-Winning author of the book for "Man of La Mancha" and the stage
version of "One Flew Over the Cuckoo's Nest."
Author and Journalist, Abby Wasserman, niece of Dale Wasserman, brought
this play to RVP. According to her, "Dale's "Premiere is a rather old
fashioned play. It is an intimate drawing room play perfectly suited to
the Ross Valley Players' theatre. Premiere is marvelously lighter fare
for my uncle. It is about a very successful comedy playwright who
yearns to be a writer of serious plays. The story features a husband
and wife that
Really love each other and has playfulness about it. This extremely
personal play depicts Dale's thoughts and feelings about the theatre
and theatre community woven throughout this play. He comments and makes
fun of academics, authenticity, fakery and producers."
A famous comedic playwright, Gil Fryman (Ron Severdia) decides to prove
to the world that he can write more than fluff and can be as
universally accepted as Shakespeare. So "The Tragedy of Alcibiades" is
born. Severdia is overly serious as befits a writer of comedy and
adores his wife, Becky (Molly McGrath) As Becky, McGrath is both lively
and lovely, affectionate but unpredictable with a frivolous sense of
humor. Becky's father, Dr. Eli Brand as played by Wood Lockhart is both
worldly wise and skeptical,
just avoiding cynicism by virtue of his
affectionate humor. His son, Peter Brand (Edward McCloud) is20a
theatrical producer, though more accurately a dilettante with an
avocation. The cast is rounded out by Buzz Halsing with a wonderful New
York accent as Lefty Guggenheim, a highly ethical book forger with a
love of language, and Judy Holmes as Professor Justinia Hawkins, who is
very British and learned on the subject of Shakespeare.
According to Director Robert Wilson, in this play Wasserman breaks the
fourth wall and each character, with the exception of Professor
Hawkins, has a wonderful monologue to the audience.
Premiere plays through October 11. For tickets or more information,
call 415-456-9555 or visit www.rossvalleyplayers.com.
Flora Lynn Isaacson
DEATH AND THE MAIDEN—A TOUR DE FORCE BY MARIN ACTOR'S WORKSHOP
Marin Actor's Workshop opened Death and the Maiden September 11, 2009
to a sold-out house with a standing ovation.
September 11 is not only a dark day in the annals of infamy for the
United States of America. It is an ominous day in Chile's history as
well. On September 11, 1973, Chile's democratically elected government
presided over by President Salvador Allende was overthrown in a violent
coup staged by General Augusto Pinochet and his allies in the American
intelligence community. For years after, Chilean citizens were rounded
up, tortured and many of them "disappeared" never to be seen again.
Death a
nd the Maiden is Chilean playwright Ariel Dorfman's fictional
creation of the dark days and=2
0years that followed 9/11/73. To further commemorate the date, the play
was published on September 11, 1991 and that is why September 11 was
picked as opening night for the Marin Actor's Workshop production of
this politically and emotionally charged play.
Heather Shepardson gives an amazing performance as Paulina Salas
Escobar, the heroine of Death and the Maiden. Greg Land gives a
sympathetic performance as her husband, Gerardo, a legal activist
appointed to investigate thousands of people tortured and murdered in
the 1970s in this South American country. What a pleasure to see Terry
McGovern act as Dr. Roberto Miranda, the man Paulina accuses of
blindfolding and torturing her.
I was bowled over by this taut and suspenseful production! A lot of
credit goes to Director Liz O'Neill and Producer Ken Bacon. I was very
impressed by the news reel footage at the beginning to set the scene
and the filmed concert at the end, the use of video of Miranda and the
lighting and sound effects to create suspense. There was not a dull
moment! Run, don't walk to get tickets for Death and the Maiden at
Marin Actor's Workshop.
There will be three more performances, September 18-20. For
information, contact www.marinactorsworkshop.com or call 415-453-8858.
Flora Lynn Isaacson
PEN OAKLAND WRITERS' THEATRE PRESENTS A NIGHT OF SHORT PLAYS
Pen Oakland,20a Bay Area Chapter of the International Organization of
Poets, Essayists and No
velists. is an inter-racial group of about 20 members. They staged
previews of three plays on September 13.. The first play, "The Boy, the
Girl and the Piece of Chocolate" by Jack Foley directed by Lewis
Campbell, the Drama Director at Performing Arts High School in San
Francisco, examines how one piece of chocolate can
portray an entire relationship as the characters battle over who will
eat the last piece. The cast includes the Boy played by Fabian Herd and
the Girl played by Margery Bailey. In this short comedy, well directed
by Lewis Campbell, the actors perform with variety and a sense of comic
timing. They each end the play with a short poem. The Boy presents
"Truly I Have Lost Weight, The Skeletal Event of Primality" and the
Girl presents "Who Do We Fall In Love With If Not Ourselves."
The second play, "Firing Blanks At Moving Targets" was written by Doug
Howerton and directed by Michael Lange, a faculty member at San Jose
State University. This play follows the group "Move" in the 1970s in
its opposition to the technological age and the cruelty of animals
through inhumane procedures. John Africa, a revolutionary leader,
played with revolutionary zeal by Charles Du Bios, and his
revolutionaries (Move) take on Liberty and Justice with teachings from
the radical anti-technology manifesto "The Book." Reggie James gives a
strong perfor
mance as Daniel Cramel, a poet peacenik with his rendition
of "A Crack In
the Liberty Bell."
The final play, "The Trial of Christopher Columbus" by John Curl and
directed by Kim McMillon, was set in Columbus' dungeon cell. This
historical drama examines the explorer's misdeeds towards the Native
American population, and recreates the events that took place in the
Caribbean island of Hispaniola (modern-day Haiti and Dominican
Republic) between 1492 and 1500. Kim McMillon. Along with a cast of ten
Paul Abbott gives an especially moving performance as Columbus. When
these three plays are presented at Live Oak Park Theatre next weekend,
a fourth play will be added, "The Remember Woman of Una," written and
directed by Tennessee Reed. A supernatural, science fiction myth, this
mystical one-woman show explores the Remember Woman of Una.
Performances of the PEN OAKLAND WRITER'S THEATRE will be held
Thursday-Friday, September 17-18 at 8 p.m. at Live Oak Theatre in
Berkeley, 1301 Shattuck Avenue at Berryman. Tickets are $7-$10 on a
sliding scale. For info, contact www.penoakland.org.
Flora Lynn Isaacson
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Clifford Odets' Relevant Awake and Sing
Presented as a family tragic-comedy, Clifford Odets' 1935
Awake and Sing depicts the depression of the thirties
in a NewYork Jewish family. From the start of the play,
a lovable but annoying Grandfather Jacob, in advising
his grandson to make something of himself cites
Isiah in the Bible who with these words encouraged
God's people to go ahead despite their hardships.
Throughout we witness Odets' criticism of capitalism.
The playwright even introduces a despicable character in
the role of rich Uncle Morty who prides himself with having
provided a roof over the heads of his sister's family.
Aside from the playwright's timely criticism of the economy
of his era, Odets and veteran director Joy Carlin captivate the
combative argumentive characteristics of this New York
Jewish family with authentic New York Jewish accents
(except for Charles Dean who brilliantly plays the moronic
father more like an Irishman that may have been intentional).
Ellen Ratner creates a strongcharacterization of the Jewish
mother with her qualities and drawbacks who makes the
wheels of the family affairs go round.Ray Reinhardt as the
grandfather is not only highly convincing but succeeds in
bringing the tension level of Acts One and Two down
to balance the high emotional renditions of both acts as he
offers pieces of philosophical wisdom. Reinhardt's role is
instrumental in
bringing about a crescendo in the action
that resolves all tragically but with spirit.
Sets by Nina Ball succeed in placing a dining and living room
in a condensed stage space.
This production is a lively one rendered relevant by Odets in a true to
life
portrayal of a despairing family resolving personal family problems and
attempting
to survive economically during a depression.
On opening night spectators were invited to view an expanded 2600
square foot
space added to the present area the company now occupies to be
utilized for rehearsals, readings, and workshops of new productions
as well as a conference room and for offices.
Awake and Sing plays until Sept. 27. For info call 510-843-4822
or visit www. auroratheatre.org.
Annette Lust
Twelfth Night Or All You Need Is Love
Around the Dawning of the Age of Aquarius
Marin Shakespeare Director Leslie
Currier calls it an adaptation of Shakespeare's
play by both herself and Robert
Currier made into a musical version full
of contemporary poetry and references.
They used about 40 tunes from the 1960s
and 1970s including tunes made popular
by the Beatles, Rolling Stones, Sonny and
Cher, Carly Simon and Bob Dylan.
In Illyria, the most hip, far out, psychedelic
place in the world, beautiful girls
costumed in pink welcome us to the court
of Duke Orseno (William Ellsman), where
we find the despondent Orseno pining for
the Countess Olivia (a gla
morous Cat
Thompson). We meet Viola (the lovely
Alexandra Matthew) who was washed up
on the seacoast with the Sea Captain in a
strong performance by Terry Rucker singing
"Bridge Over Troubled Waters." Viola
laments her twin brother Sebastian (Alex
Curtis) whom she thinks has drowned in
the shipwreck. Viola disguises herself as a
man and joins the service of Duke Orseno
in order to remain safe. As Cesario she
represents the Duke to convey his love to
the Countess Olivia. However, the Countess
falls hook, line and sinker thinking she
is a man. Feste, a wandering clown and songster,
has returned to Olivia's house with a guitar
and sings many songs in an amazing
impersonation of Bob Dylan! His performance
is balanced against the play's
weightier character, the abused haughty
servant Malvolio (Jack Powell) remarkably
performed by Jack Powell.
The plays other comic business is
boisterously interpreted by Director Robert
Currier as Sir Toby Belch and Camilla
Ford as Sir Andrew Aguecheek with Shannon
Veon Kase as a mischievous Maria.
This threesome is pivotal in providing
this production with its lively pace. William
Elsman is amusingly broad as Duke
Orseno and Steve Budd is convincing and
appealing as Antonio, the loyal sailor who
befriends and helps Sebastian played with
amazing dexterity by Alex Curtis.
Next up at Marin Shakespeare is: Julius Caesar at the
Forest Meadows Amphitheatre at Dominican University in
Sa
n Rafael: 499-4488 www.marinshakespeare.org.
Flora Lynn Isaacson
Happy Days By Samuel Beckett
Directed by Jonathon Moscone, life
can get sticky at times, where we find
ourselves stuck in various situations that
imprison us with the help of our own neuroses—
our inability to let go of our various
issues. We get stuck in various complicated
situations like relationships or jobs;
we can get bogged down in a house or
books or furniture, the list is endless. In
Beckett's play Happy Days, we witness the
quintessential metaphor where the main
character is stuck in an enormous mound
of dirt, it's a veritable burial ground that's
slowly swallowing her up. Winnie cannot
move from the waist up, she's literally, figuratively
and metaphorically "up to here
in shit". We relate to her as her imprisonment
in this dirt seems so familiar. We feel
her stickiness, her growing desperation,
her denial of the horror of her situation as
the dirt climbs higher and higher promising
to eventually bury her.
The only thing that keeps Winnie
going is her ability to speak. She babbles,
filling up her days with noise and also with
her daily habits like brushing her teeth
and combing her hair. We see the reason
for Winnie's noise, it's the ability, amidst
the misery, to somehow keep up a "happy
face." We see that it's the little things in
life that keep her going, the little j
oys, the
small stuff that helps her through her days.
Dr. Patty Gallagher's amazing performance
is full of emotional power and
conviction, she held us enthralled for the
entire play as she expressed a huge range of
emotion with only her face and portrayed
layers of meaning with her eyebrows, her
eyes, and her mouth.
Winnie conjures up our worst nightmares—
an absurdist world where our
lives are meaningless. She forces us to take
a closer look at what we're doing with our
days; are we wasting our time on Twitter,
endless emails and meaningless babble
or are we writing that book, painting that
picture and making our music. Are we
leaving something behind—a legacy that
will survive the burial ground that inevitably
creeps up daily on our lives like a calming
balm, till there's nothing left but dirt.
Thru Sept. 6 at Cal Shakes in Orinda.
For Midsummer's Night Dream, Sept 16 to Oct. 11,
visit www.CalShakes.or call 510-548-9666.
Info: www.CalShakes.org
Carol Dunne
Theatre You Can Eat
Four Plays by John Robinson Last Saturday
evening I attended four short one-act
plays under the heading "Theater You Can
Eat" presented by The People's Theatre. It
was performed upstairs at the restaurant
at Pena Pachamama on Powell Street in
SF. "Wake Up Cup," "The Toss Up," "Ceviche"
and "Chocolate." Brought to life by
four outstanding20actors, Treacy Corrigan,
Tim Hendrixson, Mary Knoll and John
Patrick Moore, unfortunately, the writing
left much to be desired. The performances
were the best thing about these pieces as
the writing seemed dull and lackluster.
These short one-act plays are a call out
to writers in the Bay Area, we desperately
need some good writing so these outstanding
actors can do their thing. Playing
at Pena Pachamama in San Francisco
through Sept. 6.
John Robinson's one act Work of Art
will be performed at the Fringe of Marin
in Nov–Dec. Info: 673-3131 mornings 10
to 2 p.m.
For Theatre You Can Eat productions
info, visit Theatre You Can Eat on line.
Carol Dunne
Robot's Revenge Rocks Redwoods
Robot's Revenge, a relevant pantomime, written by
Dr. Annette Lust (Artistic Director of the Fringe of
Marin for 23 seasons) was performed for a
capacity audience at the Redwood Retirement Center,
Mill Valley, on July 23, 2009.
Robot's Revenge was masterfully directed by professional
Russian Director Sasha Litovchenko from the Ukraine.
Pantomime is one of the most complicated forms of drama
to direct as it relies strongly on body language. Sasha achieved
amazing precision for each character's movement.
Music specially composed for this production was by
noted composer Aaron Jay Kernis and performed by pianist
Evelyne Lust. There was a musical theme for the entrance
of each character. First we have The Robot
superbly performed by Erica Badgeley who won
2nd place honors for Best Actress at the Marin Fringe
Festival. Johann Schiffer entered next with a strong
performance as The Engineer who controlled The Robot.
The Engineer's Wife was delightfully portrayed by
Christine Clemmons and Lauren Rigor
rounded out the cast as a dignified Company President.
The Bay Area Theatre Critic's Circle Awards for Best Play
went to Robot's Revenge on May 5, 2009. Robot's Revenge
had a clever curtain call and was enthusiastically received
by the audience in the question and answer session in which
they compared it to the silent movies.
Also on the bill was The Rime of the Ancient Mariner
by Samuel Taylor Coleridge (abridged with an Ax) and
adapted and performed by veteran Fringe actor Steve North. \
Steve North opened his presentation reciting the Coleridge
ballad dressed all in black. There were two darling children
onstage, Jonah and Delphine who exhibited a great deal
of stage presence as they stood with the Albatross.
After the Ancient Mariner kills the Albatross,
Steve North sheds the black coat, wears the Albatross
around his neck and performs high comedy reminiscent
of Steve Martin and he had the audience roaring.
Thanks to Jim Gomez, program director at the Redwoods,
for arranging the Fringe program and Bravo to all of the
participants for a very entertaining evening.
Flora Lynn Isaacson
A Historical Tragedy
of Betrayal and Revenge Julius Caesar,
which opened Saturday, August 29, 2009 at
Marin Shakespeare, is hardly a straight tragedy; and if it were,
it would not be mainly Caesar's. It falls in the tragical-historical
category and if anyone is a hero, Brutus is.
At the core of Julius Caesar is the assassination scene. Following
his triumphant return to Rome after defeating Pompey in battle,
Caesar is murdered by seven of his advisors including Brutus,
one of Caesar's closest allies. It is in this scene upon seeing that
Brutus is among the conspirators that Caesar utters the famous
words, "Et tu Brute," establishing betrayal as the primary theme
of the play. In directing Julius Caesar, Director Robert Currier faced
the directorial challenge of making a play about the assassination
of Caesar in 44 BCE Rome, relevant to 21st century Bay Area
audiences. It was left up to Currier to shape the action so
that it supports and deepens an audience's understanding of the text.
Currier assembled a strong cast with well known Shakespearean
actor, Barry Kraft in the title role. Kraft brought Jay Karnes from
the Oregon Shakespeare Festival to play Brutus. Even though
Shakespeare's play is called Julius Caesar, the play actually centers
on Brutus and his struggles with loyalty and friendship when
persuaded by Cassius (brilliantly played by Jack Powell) to
conspire against Caesar. William Ellsman portrays an eloquent Mark
Anthony and Cat Thompson20sympathetically portrays Portia,
the wife of Brutus. Alexandra Matthew plays Calpurnia, the
concerned wife of Caesar. The major episodes in Act I
are vigorously executed.
However,the play breaks in two in the middle. In Act II,
the choral scene between Brutus and Cassius is played up
because it affords fine scope for two excellent actors,
Karnes as Brutus and Powell as Cassius. In Act II,
Shakespeare fails to cast the historical facts in the revenge-
tragedy mode. Neither Anthony (Ellsman), nor Octavius
(Carl Holvick-Thomas) becomes that appealing figure, the sorely
tried avenger consecrated to a great task. Instead, they remain
Anthony and Octavius, famous persons from the pages of
Roman history. Cassius as played by Powell is the best character
Drawing-the genuine radical and drive-wheel of revolution.
Anthony as played by Ellsman is a straight and sure-fire role
embellished with splendid orations. Brutus, beautifully portrayed
by Karnes, is a real challenge and is not the hero-villain whose
fall inspires awe, nor the eager hero who commands our sympathy.
The set design by Mark Robinson is admirable. The costumes by
Clare Townsend are imaginative and Billie Cox produces an
effective storm scene with lightening and thunder.
Although this production seemed overly long (almost 3 hours),
I do applaud the efforts of Director, cast
and crew to bring the story of Julius Caesar to life for us.
Julius Caesar plays August 29-September 26 in repertory20with
12th Night at Forest Meadows Amphitheater, Dominican University
in San Rafael. For tickets, call 415-499-4488 or
visit www.marinshakespeare.org. Flora Lynn Isaacson
Monday Night Marsh
The Marsh at 1062 Valencia Street, San Francisco has evolved
into the City's premiere showcase for performance artists.
The Monday, August 17 performance was a mixed bag.
The first performer, Steve North (Best Actor, Fringe of Marin
for "The Perfect Crime," Fall 2008) was the brightest and funniest
star of the evening with "How To Write A Play In 10 Minutes
or How To Write 10 Plays In A Minute or How to Write 10
Minutes In A Play". His opening was an audience grabber
and he established an essential conflict while telling a story
and building up to a climax in a very humorous way.
The second performer was Larissa Garcia (Best Actress,
Fringe of Marin for "Memoirs of a Virgin" Spring 2009).
Garcia performed "A Bearded Lady" with script and music
by Billie Cox. Garcia moves beautifully and has a good
sense of comedy. She needs to show us more comedy
throughout and should revise her ending which is confusing.
Both Steve North and Larissa Garcia did a short piece of what
they will be performing, "How to Write A Play" and
"The Bearded Lady" at the 24th Fringe of Marin opening
November 13 through December 6, weekends at Meadowlands
Hall, Dominican University, San Rafael (excluding
Thanksgiving weekend). For information, call 415-673-3131
20between 10 a.m. and 2 p.m. and some evenings after 8 p.m.
The third performance was by Andy Robbins entitled
"Upon Further Review." This piece was much too long
and needed shaping. It was all over the map in time
sequence and lacked focus. The best part was the piano
lesson. Andy Robbins asks us the following question
which stayed with me, "Do you remember the first person
in your life who really saw you?"
The final performance of the evening was
"What I Hid During Nap Time" written and
performed by Mary Van Not.. Van Note had great
stage presence and facial expression, however
I found her hard to understand at times.
Monday Night Marsh continues Mondays at 7:30 p.m.
Admission is $7. For information, please contact
Patti Meyer at patti@themarsh.org or call 415-641-0235.
Flora Lynn Isaacson