No Child. . . Figaro The Full Monty The Musical of Musicals A Midsummer Night's Dream OCTOPUS It's Murder Mary! Brooklyn Boy
NO CHILD… Written and performed by Nilaja Sun; directed by Hal Brooks. Berkeley Repertory Theatre’s Thrust Stage,
AN INSPIRING 70 MINUTE SOLO PERFORMANCE
Using the term “solo performance” is not appropriate when fascinating, talented Nilaja Sun takes the stage. Unlike Danny Hoch’s “Taking Over” where he devoted distinct sections of time to his nine characters, Nilaja brings to life a stage full of characters with almost instantaneous alacrity. She starts with a dedicated gimpy janitor cleaning up the original Off Broadway (Narelle Sissions) brick and linoleum set design (local scenic design by Sibyl Wickersheimer) instantly morphing to multiethnic students with a few adults thrown in. Although there is a plethora humor, it is a dead serious tour de force example of the transforming power of art.
The title refers to the ostensible failure of George W’s promise of “No child left behind.” Nilaja Sun, raised in the Lower East Side of New York City, worked as a teaching artist within the public schools for nine years. Her experiences during those nine years are the basis for her “story about a play within a play within a play." Sun, being behind in her rent, and needing money, undertakes to stage a play using an unruly and neglected “worst”10th grade class in
She complements the diction and speech patterns with body language, arm movements and facial expressions expertly bringing individualism to the polyglot language of the students. The entire production demands your attention since the words and inflections are “street-speak” lingo that are at times almost unintelligible. As rehearsals progress, their projection and diction show improvement and each student gains self confidence; thus proving the transforming power of drama in particular and art in general.
Under the dedicated tutelage of director Hal Brooks, the show has had phenomenal success wherever it has played, winning six awards in 2007 including the coveted Obie Award for Distinguished Performance. Although Sun’s acting credits are impressive “No Child. . .” heralds her breakout performance. She starts her National Tour here in
The opening night standing ovation was a testament to Sun’s brilliant performance with a message for all of us. Do not miss this show.
Courtesy of TheatreWorld Internet MagazineFIGARO: Conceived by Steven Epp and Dominique Serrand . Text by Steven Epp; Directed by Dominique Serrand. Presented by Theatre de la Jeune Lune at Berkeley Repertory Theatre's Roda Theatre,
A FIGARO FOR OUR GENERATION
Have you ever wondered what happened to your favorite fictional stage/opera icons? A trip to Jeune Lune’s brilliant production of “Figaro” on Berkeley Rep’s Rhoda stage will capture your heart while learning the fate of the major characters in Mozart’s comic opera “The Marriage of Figaro.” Steven Epp has created a text using parts of Beaumarchais’s trilogy about the loveable, nefarious meddler named Figaro and those surrounding him.
The time it is 15 years after Figaro’s marriage, revolution is raging in
The complicated plot of Mozart’s opera unfolds bit by bit until it is gradually pieced together like a jigsaw puzzle. The unadorned stage comes to life with eye-catching scenography and video projections (created by Serrand) on the back wall with a separate strip for super titles. The entrance and exits of youngsters must be seen to be believed. An impish red-headed Figaro (Bryan Boyce), a domineering Count Almaviva (Bradley Greenwald), a gorgeous Countess Davinia (Jennifer Baldwin Peden), a petit Susanna (Momoko Tanno) and a randy Cherubino (played by a girl Christina Baldwin) are all in excellent voice with great acting skills to compliment their singing. The excellent 7th Avenue String Quartet using music adaptation by Bradley Greenwald are conducted by Jason Sherbundy on the piano.
Whereas Epp cuts a broad, vigorous swathe with his of characterization of Fig, Serrand relies on the unspoken word; he is brilliant with his non-verbal skill of conveying the Old Count’s inherited rights and privileges with a raised eyebrow, ever so slight cocking of his head, or a pregnant pause, as he awaits Epp’s capitulation into servitude. Fig may vocally protest, “What did you do to deserve your privilege?” or “I am not your servant”, but his actions convey otherwise. In an epitome of understatement, Susana (or was Davinia) insists, “Keep Figaro out of it. . . he complicates matters.” And complicate them he does, but Davinia and Susanna have their turn at adding complications to trick the lecherous Count, even resorting to dressing love smitten, randy Cherubino in woman’s clothing.
Physicality is rampant and begins early with the entrance of a functional (stripped down) barber’s chair introducing a hilarious sequence as Fig reverts to his primary occupation as a barber. In an ingenious directorial conceit, a chair is used to define character, emphasize anger and create humor.
With the French revolution about to begin, Mozart's librettist, Lorenzo da Ponte, removed "political" content that would have offended the Viennese imperial censors. A Lujune Lune production without social significance is not to be. Epp has expertly woven political/social significance into his script; “What did we gain with the revolution?” along with unkindly, yet humorous, references to the American Revolution and the lack of benefits in a democracy.
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THE FULL MONTY; Book by Terrence McNally, Music & lyrics by David Yazbek; Directed by John Maio, Music Direction by Pat King, Choreography by Katie Kimball. Masquers Playhouse, The derivation of the term “full monty” is questionable, but since the smash movie, “The Full Monty”, hit the screens in 1997, there is no doubt that it means “taking it all off.” In the musical stage version at the Masquers Theater in Point
Terrence McNally has Americanized the original English version, moving the locale to
The tone for the show is set when Dave’s wife, Georgia (dynamic voiced Sara Breindel) bursts onto the stage, with backup (Linda Woody-Wood, Sue Claire Jones, Patty Penrod) belting, “It’s a Women’s World.” Then we are treated to Buddy “Keno” Walsh (hunky Casey Bair) coming out with a full suit, deftly stripping down to a G-string that is the stimulus for Jerry and Dave starting their own male/stripper revue.
Auditions are a necessity and these are ones you will never forget. Previously, Jerry and Dave recruit their first member when they rescue suicide-bent Malcolm MacGregor (Kyle Johnson) by offering him alternative ways to commit suicide (Big Ass Rock). First to audition is “Horse” (limber limbed Wendell H. Wilson) who brings the house down with the song and dance “Big Black
Harold Nichols (Chaz Simmonds) a former plant supervisor and an accomplished dancer, is recruited to teach the crew how to dance. Harold and Dave have a charming duet “You Rule My World” referring to their love for their wives.
Anna Albanese, with the guys as backup, opens the second act with a show stopper “Jeanette’s Showbiz Number.” Kyle Johnson has his turn to shine with his plaintive tenor voice “You Walk With Me.” Actually, even though the action leads to the finale with a full monty, the show can stand on it’s own as a paean to perseverance as they work through there insecurities, develop strength of character and renew and find love.
The six-piece orchestra under Pat Kings direction keeps right up there with John Maio’s fast clip direction that uses the aisles along with the entire stage and Katie Kimball’s properly hectic choreography. Running time: 2 hours 40 minutes with intermission.
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Bay Area Premiere:
Runaway hit now extended until June 21st!
THE MUSICAL OF MUSICALS (The Musical!). Music by Eric Rockwell, Lyrics by Joanne Bogart,Book by Eric Rockwell & Joanne Bogart; Director/Choreographer Mindy Cooper; Musical Director Brandon Adams. Center REPertory Company
GREAT FUN AND FANCY STAGING
From a personal viewpoint, “The Musical of Musicals” is a “must see” production. It is handsomely staged and has a brilliant cast of four with marvelous musical director (Brandon Adams) at the on-stage piano occasionally allowed to partake of the lyrics but not given the chance to dance. Director and choreographer Mindy Cooper keeps the pace brisk and hilarious. The show is probably more enjoyable to those with a knowledge and love of musicals since the entire show is a satirical parody and put down of blockbuster musicals written by famous composers and lyricists.
You certainly will get your money’s worth with five mini-musicals parading on a fantastic set(s) (Robert Broadfoot) with the proscenium arch lined with old fashion light bulbs that are in continual motion and marques of similar ilk. The tone is set with a short silent film (Jeffery Draper), in sepia tone, of the famous melodrama of a damsel in distress saying, “I can’t pay the rent”, a mean landlord insisting “You must pay the rent, or else. . .” and our hero coming to the rescue (most of the time) with “I’ll pay the rent!”
After the short film, the superb four-member cast, all with great singing voices and comic timing, belt out the five versions of that melodrama. Rogers and Hammerstein are the first to be skewered with the show “Corn”, a parody of “
Thus, it is with the other four mini-musicals. “A Little Complex” takes aim on Steven Sondheim musicals (“Into the Woods”, “Company”, “Sweeney Todd” and “Sunday in the Park with George”). The set designer throws in cutout figures from George Seurat’s painting. This time landlord Jitter is a mad artist planning to murder his tenants for throwing his paintings into the trash.
It’s Jerry Herman’s turn to be parodied in “Dear Abby” with Milissa Carey doing the honors with knock-offs of Mame and Dolly Levi as she flounces down the moveable stairway. Mark Farrell has his turn in a terrible wig and drag outfit insisting “I Am What I Am” parody from “La Cage Aux Follies”. Jitter is a mad artist/landlord who plots to murder his tenants for throwing his artwork out with the trash.
Act two opens with a hilariously devastating send up of Andrew Lloyd Webber’s “Evita”, “Jesus Christ Superstar”, and “Phantom of the Opera” including a dolled-up scooter you’ve never seen before, or never will see again, for the subterranean boat. The well-known crashing of the chandelier is hilarious despite, maybe because, of the shtick that goes with it. Adding to fun, memories of “Starlight Express” are evoked when roller skating is introduced. The segment, sung in operatic style, includes of resistive as no-talent Junita (Marcus) hopes to pay the rent by becoming a star (like Jesus Christ Superstar).
Kander and Ebb have the dubious honor of being picked as the “best for last” with “Speak Easy.” This is not true because all of the mini-musicals are a pleasure to watch and there is no best segment. However, it does the honor of having, as you would expect, the most raunchy, complex plot line. Combine “
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A Midsummer Night's Dream: Comedy. By William Shakespeare. Directed by Tim Supple.
A DEVILISH PUCK AND RAUNCHY BOTTOM
Multilingualism is the de rigueur in present day world and we herald the concept of “one world” but it is a concept and not an actuality. In the Asian continent of
“Mid Summer Night’s Dream” is a mythical play that transports us, as we suspend belief, from the mortal world of
The staging and performing are eye popping as the 23 cast members climb and descend on silk ropes, engage in martial arts, dance up a storm and clamber up and down a bamboo framework covered with white silk sections that are eventually removed to reveal the bare framework. Those who left at intermission missed a second act that included a ubiquitous Bollywood dance production number well worth seeing. Overall, Shakespeare is not well served but the totality of the production is worth a look-see. Running time two hours and 30 minutes with intermission.
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OCTOPUS by Steve Yockey; directed by Kate Warner, presented by Magic Theatre and
Encore Theatre Company at Magic Theatre, Bldg D,
May 10 –
DRAMATIC PRODUCTION WITH A STELLAR CAST
Magic Theatre is giving Steve Yockey’s new play “Octopus” a powerful production. Every budding playwright should be as fortunate. This is a production co-sponsored by the Magic and Encore Theatre Companies, both dedicated to the development of new plays. Octopus received its world premiere at Actor's Express in
There is a monster at the bottom of the ocean and that monster is the specter of the AIDS virus that is apparently being ignored by young gay men. Yockey adroitly and humorously explores the ramifications when a newly formed gay couple indulges in a night of sexual passion with an older dedicated gay couple. What begins as a conventional play with young Blake (Patrick Alparone) and his lover Kevin (Eric Kerr) debating whether to go ahead with a planned foursome with Max (Liam Vincent) and his lover Andy(Brad Erickson) whom they have casually met at a bar. Doubts arise about commitment, the true meaning of love and the desire to be hedonistic, at least for one night. Though Blake remains reluctant, the party occurs and scene one ends.
Yockey gradually and insidiously transforms the structure of the play from realism to allegorical mysticism when Max arrives unannounced to tell Blake and Kevin that he threw Andy out because he tested positive. There is no need to tell Kevin the implications of “testing positive.” Blake, in his naivety says, “It’s not even something that people get anymore,” and refuses to be tested. Lack of commitment, as exemplified by the breakup of Andy and Max, seeps into Kevin and Blake’s relationship when Kevin states, “I don’t know if I could stay with you if you test positive?”
Warner's staging is a gem of inventiveness as she actually floods the stage with water while the sound effects and lighting (Jarrod Fischer) evokes the unseen monster. There is no protagonist and Yockey shares incisive dialog almost equally between his characters. Patrick Alparone’s projection of Blake’s attractive and loveable demeanor draws the audience’s empathy. Eric Kerr as Kevin expertly radiates confusion generated by the telegrams as well as his inner torment. Liam Vincent progression from self assured dominant male to cringing, pathetic wallowing in self-pity (and water) is eye opening. Rowan Brooks’ adroit switch from a dripping wet to dominant delivery of evil news (“You must take notice!”) feels as real as it is startling. Brad Erickson as the effete Andy strikes a note of recognition.
The 70 minute running time without intermission is sufficient to express the authors mission that , the ”monster” is still with us and commitment is needed to survive.
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A World Premiere Comedy: IT’S MURDER MARY!, by Andrew Black & Patricia Milton, Directed by Allen Sawyer. The New Conservatory Theatre Center (NCTC) (Decker Theatre),
5 ADDED DATES: July 5th at 8pm, July 6th at 2pm, and July 10th,11th 12th, at 8pm.
P.A. Cooley has been---sorry IS-- an icon in
Artistic Director, Ed Decker, an aficionado of Agatha Christie mysteries, who desired a gay murder mystery for NCTC “along the lines of “10 Little Indians”, commissioned the play. Playwrights Andrew Black and Patricia Milton accepted the challenge coming up with a gem. Seven diverse characters, with one exception, unknown to each other, received written invitations to a secluded
The inevitable happens. A thunderstorm with genre sound effects and frightening music (Sound by Michael Gurnari) with flashes of lightning and stage black outs (John Kelley lighting designer) to send chills up the spine. Of course, the roads are closed, the landline telephone is cut and cell phones will not work. (“Can you hear me now?) All this takes place on a charming living room set (Hunter Jamison) decorated with movie posters, of which one has peep holes for the eyes (now what movie was that in?) and the ubiquitous sliding doors.
Director F. Allen Sawyer keeps the characters moving as the slap-stick humor and verbal puns pile up and the phrase, “There’s only us here and one of us must be killer!” keeps getting repeated. If you expect to get clues for “Who’s the Killer?” and “What’s the motive?” you will not find it in this review. Do expect to hear a number of old jokes but also be ready to laugh at local references and political digs at George “W”. Even with the macabre nature of bodies falling on the sofa, tension building and an occasional joke falling flat, the evening is an unqualified success to lift your spirits. Running time less than 2 hours.
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CAST: Matthew Lai as Eric Weiss, Safiya Arnaout as Melanie Fine, Timothy Beagley as Ira Zimmer, Jerry Jacob as Manny Weiss, Allison Porto-Yale as Alison, Joseph Rende as Tyler Shaw and Robin Steeves as Nina
MOMMA’S BOY MAKES GOOD?
If you are a successful writer who grew up as a bright Jewish boy in
Margulies’ alter ego, protagonist Eric Weiss (Matthew Lai), has returned to
Weiss is on stage during the entire episodic six-scene play and director Moyer keeps the story line flowing using simplified set changes with appropriate musical bridges. This format smoothly and logically brings the other characters into the mix while emphasizing how separate individuals react to fame and fortune still keeping an aura of universality to the writing. Author Margulies would certainly be pleased by the multi-faceted performance of Matthew Lai in the role of his alter ego.
Next up is pushy Ira Zimmer (Timothy Beagley) who, through family circumstances, has been unable to escape the
Envy and jealousy become the key words when he returns to his living quarters, the apartment of his estranged wife Nina (Robin Steeves). There is a cool welcome. Nina is an unpublished writer and Weiss’s phenomenal skyrocketing career further alienates her. With no possibility of reconciliation, Weiss again cannot go home. Before departing he rummages through the proverbial packed box of personal items to be taken away. Margulies uses this device allowing the couple to share past experiences creating greater understanding of their broken relationship in particular and broken relationships in general.
The fourth scene could stand alone as a one-act play. Why would an attractive young girl, Allison (Allison Porto-Yale), half his age, go to a book signing and end up in his room? The answer is that there are groupies who seek out celebrities, including novelists, just for the thrill of doing it. Weiss is learning there is a dark side to celebrity status. The exuberance of Potro-Yale’s performance keeps Weiss off balance and the audience responds with appreciative applause when she reluctantly is sent away but not before she asks, and receives, a book signing.
Margulies takes a page from Mamet (Speed the Plow). The book has been optioned for a movie under the guidance of producer Melanie Fine (Safiya Arnaout). There is a sharp change of pace suggesting farce with satiric overtones which quickly changes to dead earnest when Melanie suggests the script is “too Jewish” for general audiences offering massive changes in the script. Sadly, Arnaout’s excessive mugging unbalances the relationships. Weiss is further demoralized when the actor Tyler Shaw (Joseph Rende), selected to play the
In the final scene, Weiss has lost control of the movie script. He returns to
Once again, Ross Valley Players have created a production that demands a visit. With one exception mentioned, the assembled actors under the adept direction of Phoebe Moyer are winners. Running time of 2 hours and 15 minutes.
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