Alice in Wonderland IDEAL HUSBAND

Taking young children to live performances, like taking them down the cereal aisle at the supermarket, can be risky. Who knows what their reactions are going to be. You do not want your children to reveal that they carry the Philistines gene in front of the theater crowd of Marin. On the other hand, you would hope that one day they will be a part of that crowd which can sit through the unabridged version of Nicholas Nickleby without a headrest and without rapturous snoring.

The answer to their theatrical edification is entertaining entry-level shows. And, this summer, Marin Shakespeare has just the ticket: ALICE IN WONDERLAND. The cast includes many of the big names and talents in Marin theater: Darren Bridgett, Matthew Henerson, Mary Knott, George Maguire and Cat Thompson.

Most importantly, twinkling amid all the veteran stage stars, is perhaps the brightest new star to appear under the outdoor Klieg lights: Hannah Rose Kornfeld, superbly cast as the title character: Alice.

Watching young children in such ambitious, prodigious roles can be discomforting at first: as the play opens one is worried, like an over-protective parent, that something could go amiss. After two minutes of watching Miss Kornfeld take command of the stage, there is no doubt that she is up to the task and fully in control of herself and her environment. This twelve-year-old does it all: sing, dance, strut and fret, and all with crystal clarity, nuance, expressiveness, body language and enough stage presence to be up-staged by no one.

Although Charles Dodgson wrote the story with many asides to math and logic, and lots of word play, adapter-director Lesley Schisgall Currier prudently honed it into a delightful children’s play. Playful choreography by Cynthia Pepper, bright, cartoon-like costumes and colors by set designer Bruce Lackovic and costume designer Michael Berg dazzle young audiences. Close proximity audience interaction by the entire cast literally delivers the play right into the audience.

If you want your children to appreciate modes of entertainment beyond cable and the DVD player, you don’t want to miss this opportunity. For tickets, call the box office at (415) 499-4485 or visit www.marinShakespeare.org
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Jeffrey R. Smith; San Francisco Bay Area Theater Critics Circle

Reviewed by Jeffrey R Smith of the San Francisco Bay Area Theatre
Critics Circle

The Porchlight Theatre Company of Ross has clearly entered the world of
illusion with its current production of AN IDEAL HUSBAND by Oscar
Wilde. They have created the gilded ambiance of the British leisure
class, the Mayfair set, in a copse of Redwoods at the Marin Art &
Garden Center. Set Designer Elisa Forgelman and Prop Team John Craven,
Bronwen Shears and Liz Jahren, have spun a convincing highbrow setting
out of a rustic, weathered outdoor stage and a few well-selected garage
sale items.

Then too, the illusion does not stop with the stage and its trappings;
Costume Designer Liz Smith has elevated costuming to a sartorial art.
In a British play, costume is as important as accent in establishing
where the character falls on the social hierarchy. MS Smith seems to
have an eye for such fashion nuances: her designs accurately reflect
the period of the play and the social station of the characters.

Tara Blau performs remarkably well as the nefarious MRS Cheveley: a
social climbing mole from the unseemly classes who has penetrated the
British upper crust and is willing to exploit her position in any way
possible. Her character provides the element of camouflaged and
dignified sleaze: a trait rarely found outside of political life in
America.

Sam Congdon, now a junior at Tamalpais High School, plays the Footman.
His adroit bearing and clipped delivery on stage demonstrate that even
the servant class can show a measure of refinement.

Perhaps the most demanding role is that of Lord Goring, he is the
centerpiece, i.e. the witty Wilde figure. The script for Goring is rife
with irony. The lines must be clearly articulated so as not to miss the
irony yet must be spoken fluidly enough so as not to obscure the humor.
Graig Neibaur is superbly cast and delivers a stunning performance.

It is worth mentioning that Tom Watts on lighting surmounts the
challenges of outdoor theater at dusk. The sun sets unapologetically
directly behind the stage: for the first act the audience requires
sunglasses or welders masks. Then the naturally lighting has to be
progressively augmented by increasing watts from Tom. It is subtle work
and to Tom’s credit, the audience does not notice.

Director Elizabeth Craven has crafted a jewel in the forest. For
tickets to a delightful evening, visit the Porchlight Theatre Company
website at www.porchlight.net.

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