Kedar Adour reviews

THE FIRST GRADE WORTH A VISIT TO AURORA

noreply@blogger.com (Dr. Kedar Karim Adour) — Mon, 01 Feb 2010 22:39:00 +0000

Sydney (l, Julia Brothers) argues with ex-husband Nat (r, Warren David Keith) while their daughter Angie (c, Rebecca Schweitzer) watches in The First Grade. Photo by David Allen

THE FIRST GRADE: Comic drama by Joel Drake Johnson. Directed by Tom Ross. Aurora Theatre Company, 2081 Addison St., Berkeley. (510) 843-4822 or www.auroratheatre.org. Through Feb. 28. . 90 minutes.

JULIA BROTHERS TAKES COOKIE THERAPY TO THE NTH DEGREE

The First Grade is the fully staged anchor production in the Golden Age Project (GAP) that encourages playwrights and directors to explore life in the 21st century. The selection process involves scrutiny by group of local directors, dramaturges and one avid theatre lover/audience member. This 2009 winner, written by Joel Drake Johnson, a noted Chicago author, had an initial staged reading and underwent multiple revisions. The final script is a taut comic drama and under Tom Ross’s deft direction with a superb cast of Julia Brothers, Warren David Keith, Rebecca Schweitzer is another winner gracing the boards at the intimate Aurora Theatre.

The protagonist Sydney (Julie Brothers) is a dedicated middle-age arthritic teacher who loves her work but has a dysfunctional family that includes an alcoholic ex-husband Nat (Warren David Keith) still living in a section of their apartment and a depressed daughter Angie (Rebecca Schweitzer) with her off-stage Ritalin addicted young son. Sydney has a flippant motor-mouth with an unexpected extremely engaging personality. Her physical therapy session with young Mora (Tina Sanchez) degenerates into an interpersonal relationship of emotional dependency that eventually leads to a terrifying dramatic ending.

Before that occurs, Johnson has written stunning dialog that sparkles with dark humor defining the family interaction. Constructed in 8 scenes without intermission it grabs your attention for the entire running time of 90 minutes beginning with an opening monologue of Sydney addressing her first grade class (the audience) from the front of a sunny classroom. In scene three the set seamlessly rotates becoming Sidney’s kitchen (scenic design by Nina Ball) where most of the action takes place. Sydney and Angie verbally tangle further defining the dichotomy of personalities. Sydney’s satiric recriminating banter with Nat, who insists he is a working alcoholic, has a ring of believability and cutting humor. Woven into this turmoil is the suggestion that a cookie from the hidden cookie jar is better than therapy on a psychiatrist’s couch.

This family drama rapidly turns into a melodramatic thriller when Mora shows up at 2 in the morning followed by her estranged husband Jamie (Adrian Anchondo) and Hispanic-speaking father-in-law Rick (Paul Santiago). This penultimate scene bristles with action contrasting with the verbal encounters of the earlier scenes. One can consider Rick as the deus ex machina.

The acting is solidly competent with a great deal of chemistry between the cast. Julia Brothers is a joy to watch with her facial movements, impeccable timing and hand movements as perfect adjuvant to her expressive diction. Rebecca Schweitzer holds her own with her expert change in vocal pitch and body language revealing her depression, torment and rebellion. Warren David Keith, who won a Bay Area critics award as General Borgoyne in Aurora’s staging of The Devil Disciple, displays a totally different style of dramatic sensitivity that matches the aforementioned ladies. It is a play well worth seeing with the caveat that maybe too many hands were involved in making the soup. Problems are advanced and answers are not forthcoming.
Kedar K. Adour, MD
Courtesy of www.theatreworldinternetmagazine.com

noreply@blogger.com (Dr. Kedar Karim Adour) — Fri, 29 Jan 2010 17:59:00 +0000

Charles Dean, Kevin Rolston and Carrie Paff in the National New Play Network World Premiere of Sunlight at MTC. Photo by Ed Smith

SUNLIGHT by Sharr White and directed by Jasson Minadakis. Marin Theatre Company (MTC), 397 Miller Ave, Mill Valley, CA 94941. 415.388.5208 visit www.marintheatre.org . January 21 through February 14, 2010.

SUNLIGHT AT MARIN THEATRE BOASTS A SUPERB CAST

Sunlight is a world premiere of the play winning the 2009 Sky Cooper New American Play competition and receiving the prestigious Edgerton Foundation New American Play Award. Following this staging, it will travel to Arts West in Seattle, Phoenix Theatre in Indianapolis, and the New Jersey Rep as part of the National New Play Network (NNPN) Rolling World Premiers.

Sharr White is to be admired for taking the dramaturgical challenge that too few playwrights would attempt by having the action-taking place during the course of hours with a minimal cast of four. The cast, though minimal in number are the crème-de-la crème of the San Francisco Bay Area, includes Charles Dean, Wanda McCaddon, Carrie Paff and Kevin Rolston. In those few hours, Sunlight dissects the tangled history of a family in Academia where the faculty is preparing to take a vote of “no confidence” against patriarch/egoist/politically liberal, Matthew (Charles Dean) who is the flawed president of a New England University.

In the post World Trade Center disaster, civil liberties were suspended and there were horrible physical attacks against those of Arabic descent or look as if they were Arabic. Amongst those tormented/beaten was a 15-year-old boy who died of his injuries. The political aspect of the play revolves around that specific incident and the politically expediency instigated by the legal system of our government allowing torture to secure information from suspected terrorist. Into this political background, interpersonal relationships unfold that involve Matthew’s lawyer daughter Charlotte (Carrie Paff), her estranged husband Vincent (Kevin Rolston) the Dean of the Law School and formerly Matthew’s protégé. Politically conservative Vincent has written Pentagon legal memos authorizing torture of suspected terrorists. This dichotomy of views leads to one of the cataclysmic endings. The other is dynamically involved with Charlotte having been in the World Towers when the collapse occurred. The island of sanity in this rant-filled household is Midge (Wanda McCaddon) Mathew’s loyal personal assistant. To describe further the intricacies of the storyline would be do a disservice. Be prepared to be confused at the end of act one and to be very appreciative that the plays questionable construction does not interfere with the volatile ending before the curtain descends.

Under Jasson Minadakis’s intense direction the majority of the play is a constant rant. Charles Dean finds multiple layers of character as Matthew, most often played with loads of histrionics. However, even when he dominates the stage, it is Carrie Paff’s nuanced performance that attracts our attention. Kevin Rolston does a very creditable job in his thankless role and his description of the “catastrophe” that has emotionally crippled Charlotte is stunning. Wanda McCaddon has perfect timing in her role that injects much needed humor at crucial moments. All this ranting takes place on a handsome set by J.B. Wilson of a home befitting a New England College president.

Running time under 2 hours with an intermission.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

DADDY LONG LEGS A CHARMING BUT OVERLY LONG WINNER

noreply@blogger.com (Dr. Kedar Karim Adour) — Wed, 27 Jan 2010 01:26:00 +0000

Jerusha Abbott (Megan McGinnis), an orphan girl sent to a prestigious college by an anonymous benefactor she dubs "Daddy Long Legs," cannot imagine her guardian is actually the wealthy Jervis Pendleton (Robert Adelman Hancock) in the World Premiere of John Caird and Paul Gordon's DADDY LONG LEGS at TheatreWorks. Photo by Tracy Martin

DADDY LONG LEGS a new Musical Romance with book and directed by John Caird, music and lyrics by Paul Gordon and orchestrations by Paul Gordon. TheatreWorks, Mountain View Center for Performing Arts, 500 Castro St., Mountain View. 650-463-1960, www.theatreworks.org .

DADDY LONG LEGS A CHARMING BUT OVERLY LONG WINNER

Second acts have the notorious bad reputation as often being the ruin of superlative first acts. In the case of the co-world premiere of Daddy Long Legs, the second act comes to life with activity, conflict and character interaction creating a fine ending to the evening. Despite the superb acting, singing and stage presence of Megan McGinnis and Robert Adelman Hancock the first act tends to be overlong and repetitious. However, the genius of famed director John Caird (Les Miserables and Nicholas Nickleby)and composer/lyricist Paul Gordon (Emma, Jane Eyre) shines through this new age chamber musical making it an audience pleaser.

Do not go to the theater with the preconceived notion that the story line follows that of the movie with the same name starring Fred Astaire and Leslie Caron. The source for this version is the original epistletory 1912 novel by Jean Webster that has had many reincarnations as a play, as a musical(s), a TV serial and as a movie(s). The letters from the novel provide the inspiration for the dialog and lyrics. It still is a work in progress and is a co-production with the Rubicon Theatre Company in Ventura and the Cincinnati Playhouse in the Park. I am sure the producers have Broadway aspirations.

This Daddy Long Legs recreates the true feeling of the novel following a young girl’s growth into a self sufficient womanhood during the end of the 19^th and beginning of the 20 centuries. The girl is Jerusha Abbott ( McGinnis) a talented orphan living in the John Grier Asylum. Inexplicably an unknown wealthy benefactor, Jervis Pendleton (Hancock) offers to pay for her college education. Having only seen his shadow projected on a wall, she playfully dubs him “Daddy Long Legs”. The only stipulation on Jerusha is that she must write to “Mr. Smith”, Jervis’s pseudonym, once a month without the expectation of answering letters.

The letters are entertaining, informative and often humorous arousing the interest of her benefactor. Although it is a two handed musical, we through the letters sung in musical comedy type of recitative, get to meet and understand the personalities of those whom she meets. Caird smartly deviates from the book by allowing Jervis to write letters of reply but they are never mailed. The pair does eventually meet leading to a happy ending that is extremely touching.

You will not leave the theatre humming any of the tunes but Paul Gordon’s music and lyrics, played superbly by a 6 piece orchestra, have a haunting quality in perfect harmony with Jersuha’s rite of passage and Jervis’s progressing fascination with her sojourn and maturity. Highly recommended with the caveat that there is a 2 hour and 30 minute running time.

Kedar K. Adour, MD

Courtesy of www.Theatreworldinternetmagazine.com

ANIMALS OUT OF PAPER ANOTHER WINNER AT SFPLAYHOUSE

noreply@blogger.com (Dr. Kedar Karim Adour) — Tue, 26 Jan 2010 18:23:00 +0000

Origami hawk by Robert Land, photo by Corrie Bennett

ANIMALS OUT OF PAPER by By Rajiv Joseph. Directed by Amy Glazer. The SF Playhouse, 533 Sutter Street (one block off Union Square, b/n Powell & Mason), San Francisco. 415-677-9596, or www.sfplayhouse.org . January 23rd through February 27, 2010.

ANIMALS OUT OF PAPER ANOTHER WINNER AT SFPLAYHOUSE

SFPlayhouse has a well deserved reputation for mounting eclectic, often far-out and most often stimulating plays usually avoided by other Bay Area theatres. This time they have done it again with “Animals Out of Paper” an improbable three character play combining the artistic beauty of origami with theatrical savvy. For this show, they have imported David Deblinger, co-founder of the LAByrinth Theather Company from New York and Aly Mawji from LA to share the stage with our own Lorri Holt a multitalented local actor. It is a brilliant casting choice and their acting/interaction is perfect, bringing the on-stage characters to life creating a fascinating, attention grabbing and thoughtful evening.

What can one expect from the up-and coming author Rajiv Joseph who created an insecure high school math teacher Andy (David Deblinger), an international respected origamist Ilana (Lorri Holt) and a brilliant teenaged Indian student Suresh (Aly Mawji) with an innate skill in the art of “folding paper?” To refer to the art of origami as simply “folding paper” seems sacrilegious but there is frequent use of that term throughout the play. Each character conveys a different aspect of human compulsion, initially binding them into semi-cohesive relationship similar to the construction of an origami animal. Like an origami creation, once the paper is folded it can never return to its original shape.

Traumatically almost divorced Ilana lives in a windowless studio (another great set by Bill English with multiple origami animals hung from the ceiling), has become a recluse after her 3-legged dog has run away. She has written a successful book on origami that is greatly admired by insecure Andy whose compulsion is to keep a daily diary of his “blessings.” Those “blessings” are intimate written documentation of his delusional take on life and yet is beautiful in its simplicity. Through a bit of poetic license Rajiv Joseph brings Andy into Ilana’s domain (cocoon) encouraging her to tutor Suresh as her protégé. End of scene one.

Suresh now invades Ilana’s space with his dominating personality denigrating her method of artistic creativity. He creates his origami to the rhythms of Hip-Hop music, (cleverly intertwined as a motif into the play by Steve Schoenbeck’s sound design) labeling her personality as typical of a fugue. Whether Joseph is aware or not of the psychiatric implications of the diagnosis “fugue state”, (a condition usually resulting from severe mental stress that may persist for as long as several months), it is an appropriate description of Ilana’s mind set. Suresh’s obsessive compulsion for physical order compounds the tension with Ilana shouting “I need disorder!”. Kimberly Richards beautifully choreographs the semi-explosive confrontation between the two and is an adjunct to Amy Glazer’s top-notch direction.

Bill English’s visual concept of a windowless, claustrophobic all white set perfectly matches the pent-up emotions of the three diverse characters whose lives are irrevocably changed by their intricate folding into a theatrical origami gem that unfolds with a dynamic uncertainty. With all the characters and plot line in place, we are treated (almost subjected) to a standout evening not to be missed.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

BERMUDA AVENUE TRIANGLE A BAWDY WINNER AT HILLBARN

noreply@blogger.com (Dr. Kedar Karim Adour) — Sun, 24 Jan 2010 01:58:00 +0000

BERMUDA AVENUE TRIANGLE by Joe Bologna and Renee Taylor. Directed by Ron Lopez. Hillbarn Theatre, 1285 East Hillsdale Blvd. Foster City, CA 94404. 650-349-6411 or www.hillbarntheatre.org January 22 through Sunday February 7, 2010.

A HILARIOUS THROWBACK TO THE BORSCHT CIRCUIT

Having worked my way through college as a summer waiter in Catskill Mountains (affectionately known as the Borscht Circuit or the Jewish Alps), sitting through Hillbarn’s ribald production of “Bermuda Avenue Triangle” brought back mostly pleasant memories while eliciting open laughter at the improbable shenanigans of the three major characters. It is a riotous sit-com play without the intrusive canned laugh track of TV shows. The laughter erupts spontaneously and often from the appreciative audience that gave this production a standing ovation.

This is the fourth show of Hillbarn’s 69^th season called “Next of Kin” which presents shows involving family. It is an over-the-top ethnic comedy/farce with non-stop action taking place in a Las Vegas condominium where two well-meaning daughters (played efficiently by Kathleen Gabriel and Heather Galli) have dumped their widowed mothers, Fannie (Melody Cole) and Tess (Monica Cappuccini). What a condo created by Lee Basham described by Tess as “. . . it looks like it was painted with Pepto Bismol and Vicks Vapor Rub.” The daughters insist they want the mothers to enjoy their lives but the elder ladies seem to enjoy being miserable until con-artist/gambler/lothario Johnny Palolucci (Tom Baxley) changes all that.

Constructed in10 scenes, director Ron Lopez invests cast with broad acting styles, slapstick humor and directorial touches. Fannie is the long-suffering Jewish widow who weeps and whines in the early scenes and evolves into a seductively dressed blonde wigged vamp after Johnny leads her to the bedroom. Not to be upstaged, Tess is an Irish-Italian widow who spews maternal guilt until her seduction by Johnny after he frees her of the curse placed by her ex-Sicilian husband. Her dowdy clothes disappear and she enters act 2 wearing sexy, garish purple leotards kicking up her heels to rival the girls in a chorus line. Although Cappuccini’s Irish/Italian accent is grossly uneven, she and Cole are marvels in their transformations. Kudos goes to costume designer Mae Matos.

Tom Baxley is the cement that gives adhesion and verisimilitude to the improbable story. Moreover, as Johnny, is the catalyst to the ladies’ transformation, and eventually the relatively happy understanding between mothers and daughters. Anthony Silk does not give much depth to the unenviable role as the Rabbi “almost villain” when he tries to evict the trio who are breaking a “moral covenant” written into the condo by-laws. He skirts the issue by declaring they are not actually having a ménage-a-trois because Johnny beds each lady individually! You call it what you will, just go to see this show and have a great evening.

Kedar K Adour, MD

Courtesy of www.TheatreWorldInternetMagazine.com

COMING HOME at Berkeley Rep a winner

noreply@blogger.com (Dr. Kedar Karim Adour) — Fri, 22 Jan 2010 20:04:00 +0000

(l to r) At Berkeley Rep, Thomas Silcott, Kohle Thomas Bolton and Roslyn Ruff star in Coming Home by master dramatist Athol Fugard. Photo courtesy of kevinberne.com

COMING HOME by written Athol Fugard, directed by Gordon Edelstein. Berkeley Repertory Theatre's Thrust Stage, 2025 Addison St., Berkeley. (510) 647-2949 or www.berkeleyrep.org

COMING HOME AT BERKELEY REP A WINNER

The anti-apartheid “Blood Knot” was the first play that earned Athol Fugard international acclaim, and as a first play had minor faults that pervade his later work. Most of his overly long plays, constructed with slender plots, are a bit didactic and have a metaphysical touch. “Coming Home” has all these qualities and runs two hours and 30 minutes with a 15-minute intermission. However, Berkeley Rep’s magnificent physical staging, with a top-notch cast brilliantly directed by Gordon Edelstein is a not to be missed production.

“COMING HOME” is a sequel to “Valley Song” that expressed hope for the South African “colored” population after apartheid. In “Valley Song” 17-year-old Veronica Jonkers, raised by her grandfather Oupa Jonkers, leaves her country home to seek fame and fortune as a singer in Johannesburg/Cape Town. “Coming Home” is set 10 years later after disillusioned Veronica (the brilliant Roslyn Ruff) returns with her five-year-old son Mannetjie (Kohle T. Bolton) to the run down shack. Oupa has died and the shack is bare but ever-hopeful Veronica describes how she will fix up the place creating a cheerful home for Mannetjie.

Fugard creates a fascinating character named Alfred Witbooi (an incredible performance by Thomas Silcott) a local simpleton without formal education. He has salvaged and guarded Oupa’s belongings from the clutches of those who would steal them. His simple dialog and fond remembrances of young Veronica and her vibrant singing are expressed in the plaintive explanation to Mannetjie, “When she left, she made he whole valley empty.”

Fugard’s concern in this play is the failure of the government to acknowledge and care for those ravaged by HIV/AIDS. Veronica is one of those and hides her secret from the locals who are uneducated to the nature and transmission of THE disease. In Act one there is a 4-year shift in time shown with a swift, brilliant, unobtrusive scene change from the rundown shack to a colorful “home.” Mannetjie, now 9 years old (Jaden Malik Wiggins) is an excellent student with an antipathy to Alfred whose friendship is paramount to Veronica’s plans to provide and protect her son.

The metaphysical is injected into the play’s construction with the introduction of Oupa’s ghost who interacts with Veronica and later in the play with Mannetjie, once again expressing hope for the future with the symbolic planting of pumpkin seeds. The battle of wills between Mannetjie and Alfred takes up the major portion of Act 2 and the resolution may bring a tear to your eyes.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

PHÈDRE at A.C.T. is a long evening

noreply@blogger.com (Dr. Kedar Karim Adour) — Fri, 22 Jan 2010 16:08:00 +0000

Phèdre (Seana McKenna, left) tries to find the courage to share her secret with her nurse Oenone (Roberta Maxwell). Photo by Erik Tomasson.

PHÈDRE by Jean Racine in a world premiere translation by Timberlake Wertenbaker. Director Carey Perloff (A co production Stratford Shakespeare Festival). American Conservatory Theater (A.C.T.) 415 Geary Street, San Francisco, 415.749.2228, or at www.act-sf.org. January 15-February 7, 2010

ILLICIT LOVE AND POLITICS DO NOT MIX

One could hardly call Jean Racine, the 17th century poet and playwright, a modernist but his play "Phedre" certainly brings memories of recent illicit love and politics making news throughout the United States. A.C.T. commissioned a new version and adaptation by Timberlake Wertenbaker in 2008 that was work-shopped, with an eventual world premiere, at Canada's Stratford Shakespeare Festival directed by our own Carey Perloff. Perloff brought aboard American composer David Lang who created a stunning cello musical score that adds depth to a very verbose play. The Canadian cast, brought here for this production, included the talented Seana McKenna who astutely asked during early rehearsals, "I'm curious to know where we are in this play. Our characters pray to Greek gods, but we're wearing 17^th-century French costumes while speaking the text in a modern translation underscored with music by an experimental American composer." She hit the nail right on the head and no more explanation is needed about the present production except to say that there is a whole lot of exposition needed to make sense of the complicated interpersonal relationships.

The extensive exposition clearly defines the characters' personalities and the politics of ancient Athens. Phedre is the wife of Theseus (Tom McCamus), the unlawful King of Athens, who has not returned from an expedition. Six months has passed and rumor has it that he is dead. Hippolytus (Jonathan Goad) the son of Theseus and stepson of Phedre is secretly in love with Aricie, the true heir to the Athenian throne, being held captive by Theseus. Phedre wishes to preserve the throne for her son sired by Theseus. Phedre’s lust for Hippolytus (unconsummated) creates discord between visceral love, political ambition and parental devotion.

This brings to mind a cartoon from the New Yorker. Two young girls are conversing and the caption reads, “I guess oral sex is when they talk about it.” After a necessary, but dull, scene between Hippolytus and his tutor Theramene (Sean Arbuckle) to set the story in motion there is a spark interest when Oenone (Roberta Maxwell) and Phedre talk and talk about the lustful potential incestuous relationship. And, the story goes on from there with Phedre eventually taking poison giving McKenna an opportunity to indulge in a dramatic dying scene on Christina Poddubiuk’s gray dreary atmospheric set with David Lang’s dynamic cello music underscoring James F. Ingall’s moody lighting.

Running time is one hour and 45 minutes without intermission but if you consider Henri Bergson’s theory of relative time, it seems longer.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

THE VERDICT IS IN: BUTLER DID IT

noreply@blogger.com (Dr. Kedar Karim Adour) — Thu, 29 Oct 2009 00:34:00 +0000

Left - Right: Valerie Weak, Carrie Paff, Mark Anderson Phillips

WITNESS FOR THE PROSECUTION by Agatha Christie, directed by Michael Butler. Center REPertory Company 1601 Civic Drive in downtown Walnut Creek. Call 925-943-7469 or www.CenterREP.org . October 23 - November 21, 2009

THE VERDICT IS IN: BUTLER DID IT

An oft repeated dictum concerning murder mysteries is “The butler did it.” Happily in Agatha Christie’s Witness for the Prosecution there is no butler and thus it will be necessary for you to attend Center Rep’s entertaining production to solve the mystery. It is no mystery that director Michael Butler directs with broad strokes and he has done it again with this beautifully mounted production. When you do attend and recommend the play to others, please do not reveal the ending which is an unexpected shocker.

The play adapted from an Agatha Christie short story, appeared on London’s West End in 1953 and on Broadway a year later. It enjoyed great success being made into a movie with Charles Laughton, Elsa Lanchester, Tyrone Power and Marlene Dietrich. Its TV reincarnation was equally blessed with, amongst others, Ralph Richardson, Deborah Kerr, Beau Bridges and Diana Rigg. Center Rep has rounded up local luminaries Mark Anderson Phillips, Alex Moggridge, Mark Farrell, and Carie Paff for the major roles and they do no disappoint.

Charismatic Leonard Vole (Alex Moggridge) is accused of murdering a wealthy older woman and hires a noted and successful barrister Sir Wilfrid Roberts Q.C. (Mark Anderson Phillips) to defend him. All the available clues point to Vole as the killer and only his German wife Romaine (Carrie Paff) can and initially does provide an alibi. Act one sets up the details of the murder, defines the character of players leaving a strong suggestion that the trial may produce surprises.

The beautiful elegant wood paneled office set (J. B. Wilson) smoothly rotates from view for act two and the trial begins in a Criminal court of the Old Bailey. Prosecuting barrister Mr. Myers, Q.C. (Mark Farrell) opens his case with the arresting officer Inspector Hearne (Floyd Harden) followed by police surgeon Dr. Wyatt (John Hetzler) and later housekeeper Janet McKenzie (Tamar Cohn). Although their testimony is damaging to Vol, the brilliant cross-examination by Sir Wilfrid casts serious doubt on their testimony. The startling first surprise is that prosecutor Myers brings in Romaine as a witness for the prosecution (hence the title). Wives cannot testify against their husbands and it is shown that she is still married to another man thus nullifying her marriage to Vol. When all seems lost for a possible acquittal, Christie throws in another character to complicate the plot before the dramatic ending.

Phillips and Farrell carry most of the dialog and their battle in court sparkles. It is Carrie Paff who earns top honors for her dynamic performance giving her character(s) depth and personality. Maryssa Wanlass as Greta, the secretary, adds the needed touch of humor to break the ice in a staid barrister’s office. She is a perfect foil for tall, elegant John Hetzler whose physical appearance and demeanor are perfect, typifying an uptight pompous Britisher. Tamar Cohn as the Cockney housekeeper gives a frenetic try but does not quite reach the level to be a show stopper. One would wish that Agatha gave more lines to the presiding judge played by gentle, clever Ken Ruta who milks the role for maximum effect.

Butler is to be admired for adroitly controlling a 20 member cast, never allowing the action to sag and precisely putting the pieces of the jig-saw puzzle together while giving the minor characters their due as they strut their minutes upon the stage.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

THE CREATURE AT THE THICK HOUSE IS RIVETING

noreply@blogger.com (Dr. Kedar Karim Adour) — Tue, 27 Oct 2009 03:49:00 +0000

James Carpenter as The Creature. Photo by Alessandra Mello

THE CREATURE: Drama by Trevor Allen, adapted from Mary Shelley's "Frankenstein." Directed by Rob Melrose, with James Carpenter, Gabriel Marin and Garth Petal. Black Box Theatre, Thick House, 1695 18th St., San Francisco. 415-401-8081. or www.thickhouse.org. Through November 7, 2009.

THE CREATURE AT THE THICK HOUSE IS RIVETING

Although I cannot make comparisons to previous adaptations of Mary Shelly’s Frankenstein,t be assured that Trevor Allen’s The Creature must rate with the best of them. He has brilliantly distilled and intensified the crux of the story creating a humanistic yet terrifying creature without a name in a world that has rejected him. This Black Box Theatre world premiere play began as a live audio podcast two years ago. This Halloween must-see production ends November 7 and is sure to be sellout. Order your tickets now.

Casting outstanding local actor James Carpenter as the creature is a brilliant decision. He engulfs the role with dramatic authority, using a modulated diaphragmatic voice range that alternates and resonates with fear, desire for love, intelligence, rage and finally remorse. Stephanie Buchner’s effective lighting, Cliff Caruthers’ music/sound effects, Michael Locher's stark set and Rob Melrose’s tightly drawn direction enhance his dynamic performance.

Allen begins the story aboard Captain Walton’s artic expedition where he meets and rescues Victor Frankenstein from an ice flow. Frankenstein, the “father” of The Creature, is pursuing him to avenge the death of his brother and young wife. Allen, through Frankenstein, tells the story with cross monologs and occasional confrontations between the three. Gabe Marin ardently expresses Victor Frankenstein’s scientific preoccupation with immortality and projects believable change from self admiration, to revulsion, fear, rage and eventual understanding. Garth Petal as Captain Walton, initially displays skepticism of Frankenstein’s narration sends chills through the audience with his reaction when he first encounters The Creature.

Actual running time is about 95 minutes broken into a one hour first and a 35 minute second act adding up to a less than two hour evening allowing plenty of time to attend your Halloween parties. Do not miss this show.
Kedar K. Adour, MD
Courtesy of www.Theatreworldinternetmagazine.com

THE HORSES AT ALTERTHEATER GALLOPS AWAY WITH HONORS

noreply@blogger.com (Dr. Kedar Karim Adour) — Mon, 26 Oct 2009 19:26:00 +0000

Will Marchetti and Anne Darragh cut loose for a new adventure in The Horses by Brian Thorstenson, playing through November 15th at AlterTheater, 1609 Fourth Street (at F Street), San Rafael. Photo by DavidAllenStudio.com

THE HORSES, a world premiere commission by Brian Thorstenson. Directed by Tracy Ward. Storefront location: 1609 Fourth Street (at F Street), San Rafael. Tickets available online at http://www.altertheater.org/, by email at boxoffice@altertheater.org, or by phone at 415-454-2787. October 22nd-November 15th

THE HORSES AT ALTERTHEATER GALLOPS AWAY WITH HONORS

For the past five years, AlterTheater temporarily transforms storefronts along downtown San Rafael's Fourth Street into performance spaces. In their latest venue, sandwiched between Rebound Bookstore and FloorCoverings of Marin County they are producing The Horses, their first commissioned play written specifically for talented local favorite Will Marchetti and stage/TV/film actress Francis Lee McCain. It has been a collaborative effort with author Brian Thorstenson working with dramaturg Jayne Wenger and director Tracy Ward.

There are many plays, TV shows and movies reflecting on the changes we endure, and sometimes enjoy as we mature, the euphemism for getting older. The Horses is another play to add to the list and this time the AlterTheater group gets it right with a thoughtful, hilarious, bittersweet comedy with a mythical touch that is definitely must-see theatre. The storyline is recognizable but the writing and acting elevate the play beyond the ordinary. The impeccable performances by Marchetti (Marv) and McCain (Lois)are enhanced by Anne Darragh (Patsy) as the girl in Marv’s fantasy and Michael Ray Wisely (Michael) as the often put-upon son.

Marv, a retired 75 year old, living in a loving relationship with his wife Lois (Frances Lee McCain) is lounging on the sofa wearing his favorite old sweater, chinos and tee shirt. Lois, arranging a birthday party for his 75th, is preparing to ice his favorite German chocolate cake while encouraging slightly obstinate, yet loveable Marv to dress for the party. Their repartee displays the author’s ability to write brilliant conversational dialog that Marchetti and McCain nail to perfection. Within the conversations is more than a hint that Marv may be getting a bit senile, definitely forgetful but still with desires to take a one last fling trip. However, his forgetfulness does not interfere with his ability to fantasize that trip. In his mind, he visualizes Patsy who appears in the flesh and the sofa becomes his fantasy stick-shift Pontiac. Patsy disappears when Lois re-enters the multiple short scenes. Within the fantasy, rather than hear voices, he and Patsy hear the hoofs of free ranging thundering horses possibly symbolic of Marv’s desire to roam free. Anne Darragh has a tough job playing against scene stealing Marchetti with his mobile face, expressive body language and stage dominance. Sure, it’s a tough job but Darragh, the consummate professional holds her own and she is prettier than Marchetti!

Into the mix enters son Michael with a Bluetooth phone stuck in his ear and a new sweater for Marv. Here again Thorstensen displays his clever ability with realistic dialog when he intermingles Michael’s telephone conversations with the cross talk of Lois and Marv. It is uproarious. Further humor is extracted by superficial banter about Michael’s job of selling tassels. Wisely’s understated acting is the consummate foil for Marchetti and McCain but he never has the opportunity to test his skills against sexy Darragh.

The play takes 80 minutes with a charming twist at the end that will not be revealed here. Get thee hence, treat yourself to an evening of fun and at the same time supporting the AlterTheater.
Kedar K. Adour, MD
Courtesy of http://www.theatreworldinternetmagazine.com/.

TINY KUSHNER IS TONY KUSHNER’S PLAYGROUND

noreply@blogger.com (Dr. Kedar Karim Adour) — Sat, 24 Oct 2009 22:11:00 +0000

At Berkeley Rep, Jim Lichtscheidl stars in the West Coast premiere of Tiny Kushner, a series of short scripts by Tony Kushner. Photographer: Michal Daniel

TINY KUSHNER written by Tony Kushner, directed by Tony Taccone. Berkeley Repertory Theatre's Thrust Stage, 2025 Addison St., Berkeley. (510) 647-2949 or www.berkeleyrep.org

October 16 – November 29, 2009

West coast premiere in conjunction with the Guthrie Theatre cast of J.C. Cutler, Kate Eifrig, Jim Lichtscheidl and Valeri Mudek.

TINY KUSHNER IS TONY KUSHNER’S PLAYGROUND

In the Bay Area “Playground” is proving ground contest for budding playwrights who submit 10-minute plays on specific topics with the winners receiving a full production performed by professional actors. The Guthrie Theatre, in the process of preparing a Tony Kushner prospective, assembled a group of actors and read 10 or 12 of his short plays coming up with five that seem to fit together. Berkeley Rep Artistic director Taccone was asked to direct and the eventual outcome was Tiny Kushner now being performed with the Guthrie cast members.

You may find it difficult to understand how the five plays fit together. They are often esoteric and intellectual requiring knowledge (in order the plays are performed) of a minor royalty in Eastern Europe, Shakespeare’s sonnets, the tax revolt of New York City Housing Police, Dr. Arnold A. Hutschnecker, Nixon’s psychotherapist and Dostoevsky's "Grand Inquisitor" segment from "The Brothers Karamazov." Two of the plays do take place in “paradise” after death and a third involves dead Iraqi children so that is a fit. All are extremely well written, with clever, often times hilarious dialog and brilliantly performed. Never the less, by the end of the evening the totality is not really satisfying.

In the curtain raiser, Flip Flop Fly! we are transported to the moon in the great beyond to meet vivacious, happy-go-lucky former recording star Lucia Pamela (Valeri Mudek) and taciturn deposed queen of Albania (Kate Eifrig). Mudak gives terrific performance as the overly optimistic Lucia who eventually wins over the nasty former minor royalty and the play ends in song and dance.

Terminating or Sonnet LXXV or “Lass Meine Schmerzen Nicht Verloren Sein” or Ambivalence in which a frustrated psychotherapist (Eifrig) tries to disencumber herself of an overly dependent patient (J.C. Cutler). The patient and the therapist have homosexual lovers (Jim Lichtscheidl and Valeri Mudek respectively) who interject their thoughts into the often-hysterical interview process.

East Coast Ode to Howard Jarvis: a little teleplay in tiny monologues is based on true events and Lichtscheidl gives a masterful performance playing at least 20 different parts telling the story of the aforementioned 1990 tax evasion plot by New York City policemen.

After the intermission, Cutler and Eifrig return in Dr. Arnold A. Hutschnecker in Paradise. This time Cutler plays Hutschnecker, Richard Nixon’s psychiatrist and Eifrig an all-seeing “angel” listening to him complain about his five weekly sessions with Nixon. As with many psychiatric interviews, the patient expresses his own insecurities and fears as Hutschnecker digs up his fixation with Hitler.

Kushner is a political writer and his Only We Who Guard the Mystery Shall Be Unhappy

ends the two hour and twenty minute evening with a devastating indictment of the death of children in Iraq. Laura Bush (Eifrig) discusses Dostoevsky's "Grand Inquisitor" segment from "The Brothers Karamazov" as she prepares to read to invisible ghosts of three Iraqi children. Kushner creates a compassionate Laura Bush and Eifrig gives a heartrending interpretation to the part as the guardian angel (Mudek) acts as a sounding board for the injustice of the war in Iraq.

Dramatic, humorous, intellectual, esoteric and absorbing describe the evening.

Kedar K. Adour, MD

Courtesy of Theatreworldinternetmagazine.com

STEEL MAGNOLIAS AT HILLBARN A 3 STAR HIT

noreply@blogger.com (Dr. Kedar Karim Adour) — Sat, 24 Oct 2009 18:23:00 +0000

Featured from left to right are characters Annelle (Heather Galli), Truvy (Damaris Divito), M'Lynn (Mary Moore), Ouiser (Janice Leone), Clairee (Carolyn Ford Compton).

STEEL MAGNOLIAS by Robert Harling. Directed by Ann Kuchins. Hillbarn Theatre, 1285 East Hillsdale Blvd. Foster City, CA 94404. 650-349-6411 or www.hilbarntheatre.org. October 22 – November 8, 2008

STEEL MAGNOLIAS AT HILLBARN A 3 STAR HIT

After mounting a four star hit with Oklahoma, their first production of their 69^th (count them 69) season, the very competent Hillbarn Theatre has come up with a three star winner with Steel Magnolias. It is a women’s play filled with dialog and little action requiring character definition within ensemble performance. Hillbarn’s six women ensemble invests their characters with individuality that raises a smile, evokes sympathy and will create a lump in your throat.

Robert Harling's play had a successful Off Broadway run in 1987 and was a real winner when it appeared as a 1989 movie with and all-star cast of Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis and Julia Roberts. It is set in a Chinquapin, Louisiana hair salon and the six women spend over two hours talking about their past and present lives, gossiping, sharing hopes as well as recipes and get heir hair done. The six characters (alphabetically) are Shelby (Alexandra Bogorad), Clairee (Carolyn Ford Compton), Truvy (Damaris Divito), Annelle (Heather Galli), Ouiser (Janice Leone), and M'Lynn (Mary Moore),

Svelte Damaris Divito gives an energetic commanding air as vivacious Truvy, the owner of the hair salon. Heather Galli’s Annelle gives the right dollop of insecurity as the new girl on the block and her transformation to a born-again Christian is a marvel. Diminuative Alexandra Bogorad exudes hope, desire and love as the diabetic, soon to be wed Shelby and her bond with Mary Moore as her mother M’Lynn unfolds in stages with palpable chemistry. This is the emotional core of the play but it is Carolyn Ford Compton as Clairee and Janice Leone as Ouiser who is forever warring with M’Lynn’s husband that adds spark and great comic timing to the evening.

The story line unfolds slowly with a timeline of about 2 years divided into two acts and four scenes. Between the first and second scenes, Lee Basham’s perfect hair salon set occupying the full stage transforms from springtime to Christmas with the hanging of decorations. The writing cleverly defines the change in time and director Ann Kuchins paces the action accordingly as the six make their entrance and exits.

Even though it is an evening for the “girls” there is a touch of universal appeal and some one line zingers have the audience erupting in laughter.( Ouiser: Don't try to get on my good side, Truvy. I no longer have one!”) Running time 2 hours and 20 minutes with intermission.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

GROUNDSWELL AT SAN JOSE REP IS A STUNNER

noreply@blogger.com (Dr. Kedar Karim Adour) — Sat, 17 Oct 2009 16:37:00 +0000

(l to r) Thami (Dwight Huntsman) and Johan (Scott Coopwood) explain their diamond concession idea to (center) Smith (Peter Van Norden) in San Jose Rep’s West Coast premiere of Groundswell. Photo: Kevin Berne

GROUNDSWELL, written by Ian Bruce, directed by Kirsten Brandt. San Jose Repertory Theatre, 101 Paseo de San Antonio, San Jose, CA 95113-2603 or www.sjrep.com. October 10 - November 8, 2009

GROUNDSWELL AT SAN JOSE REP IS A STUNNER

South African playwright Ian Bruce who lived in exile for his activism, has returned to his native land to write about the country in the post apartheid years. Groundswell premiered in South Africa in 2005 and off Broadway this past summer where it received rave reviews. San Jose Rep has come up with a stunning production for its second staging in the U.S.A. that will keep you engrossed during the entire 90-minute performance. As an added benefit, the spectacular set alone is worth the price of admission.

The setting is a beachfront guest lodge in the South African diamond coast that is no longer mined by the big conglomerates. Yet, many, mostly blacks, attempt to scratch a living searching for alluvial diamonds that have washed down the local river and into the sea. It is a foggy wintry day in the lodge’s off-season with a far off bell that intermittently tolls to warn approaching ships. We gradually learn for whom that bell tolls. It tolls for all three of the diverse/dynamic characters whom Bruce has deftly woven into a suspenseful story line that underlines the effects on whites as well as blacks in the recently post-apartheid society.

Thami ( Dwight Huntsman) the black caretaker and Johan (Scott Coopwood) a white ex-cop who had been imprisoned for shooting a black live on the lodge. Johan has been partially disabled from the effects of bends from his job as a commercial deep sea diver searching for off shore diamonds. He works as a handyman. There is a strong friendship between the two as they both cast about for diamonds that will make them rich leading to an idyllic life for themselves and Thami’s family. They scheme to buy a government-run diamond concession and are vainly waiting for Johan to “win the lottery” to provide the needed money for their purpose. When Smith (Peter Van Norden), a disllusioned wealthy businessman who has been forced from his position to make room for an unqulified black arrives, the two desparate men see him as the investor they are seeking for their iffy get-rich scheme.

All are disappointed with the present state of affairs and the lives of these three men intersect with volatile consequences. Bruce dramatically explores the questions, without answers, of how are both white and black to live together. Who bears the responsibility for the transgressions of the past and what does the future hold? Bruce has given almost equal credibility for justifications for their actions. The writing, acting and directing will keep your eyes glued to the stage even when Bruce allows his characters to moralize their positions. Even the static expository moments dove- tail with the horrendous physical action. There is an axiom in the theatre that if a gun appears in the first act, it will reappear in the second act. A knife appears in the opening scenes and its use later is a harrowing experience.

Dwight Hunstman as good-natured Thami with a wide smile is refreshing but the transition to expressing festering anger lacks depth. While Scott Coopwood as Johan gives a gut wrenching performance, he defines his role with high-level energy that would benefit with a nuanced progression making his final exit more significant. It is seasoned actor Peter Van Norden as Smith who gives a layered performance shifting from indifference to outrage and mortal fear. Disregard the minor caveats because this is a not to be missed production. New Artistic Director Rick Lombardo has come up with two winners in a row.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

GOLDFISH AT THE MAGIC NEEDS SCUBA LESSONS

noreply@blogger.com (Dr. Kedar Karim Adour) — Fri, 16 Oct 2009 07:18:00 +0000

(l to r) Andrew Pastides as son Andrew and Rod Gnapp as dad Leo have a quiet moment in the final scene of Goldfish.

GOLDFISH by John Kolvenbach, directed by Loretta Greco. Magic Theatre, Building D, Fort Mason Center, San Francisco (parking lot entrance at Marina Blvd and Buchanan Street). 415-441-8822 or www.magictheatre.org. October 7 – November 8, 2009

GOLDFISH AT THE MAGIC NEEDS SCUBA LESSONS

To open its 2009-2010 season, Magic Theatre elected to perform two of John Kolvenbach’s plays in repertory with characters, in or mentioned in Goldfish, to appear in the world premiere of Mrs. Whitney. You may choose to see each short 90-minute play on separate nights or both on special nights. Earlier this year, Loretta Greco directed the world premier of Goldfish at South Coast Repertory Theatre. Magic’s Goldfish production is well worth seeing since director Greco and stage crew create continuity where confusion might reign during the 14 scenes, some only a few minutes long.

Early in the play single parent, Leo (Rod Gnapp), tells his 19-year-old son Albert (Andrew Pastides) goldfishes are a popular pet for children but it is also a very stupid pet capable of gorging itself to death if overfed. The imagery carries over to the dysfunctional relationship in the two families Kolvenbach has created. Even though the author is the darling of English theatregoers and has a slew of successes to his credit, the construction of this play would not receive a passing grade in a college playwriting class. He relies on extensive questions and answers to define character and it is only because his actors are superb performers that he is able to make it work. The play needs depth and the author should teach the goldfish to scuba dive. Apparently, Kolvenbach is fascinated with animal metaphors since he also adds a bird and antelope story.

There really is no protagonist since the author has given equal weight to son Albert and his father Leo and to daughter Lucy (Anna Bullard) and her mother Mrs. Whitney (Patricia Hodges). Nineteen-year-old obsessive-compulsive Albert is heading off to college leaving his irresponsible father behind. Before Albert departs, he attempts to instruct Leo about the detailed financial arrangements he has set up to prevent depletion of their finances. We later learn Leo has a perpetually losing gambling habit.

At college, equally dysfunctional Lucy with whom he, in his rigid way, falls in love accosts Albert. Their meeting and funky courtship is both humorous and touching. In a meeting of evasive questions and answers, we learn of Lucy’s parent problem when she returns home during Thanksgiving break to be with her alcoholic mother. Mrs. Whitney forbids Lucy to continue the relationship. Unfortunately, the early promise of a wacky/fantastic scene dissipates when Hodges inexplicably does not project her voice even to the first row of the audience.

Complications arise when “pugnacious” Leo who is deep in debt to gamblers, calls the College Dean to inform him there is no money for the next semester’s tuition. Albert’s return home allows Kolvenbach to write two dramatic scenes for Leo and Albert that Gnapp and Pastides nail. Patricia Hodges shows sparks of brilliance that needs to be nurtured, especially if she will be the lead in Mrs. Whitney the sequel to Goldlfish. Anna Bullard envelopes her kooky role with authenticity.

The staging (sets by Michael Locher, lighting by York Kennedy and sound design by Sara Huddleston) and Greco’s direction are outstanding. Magic’s production values and the top-notch cast create a not to be missed evening.

Kedar K. Adour, MD

Courtesy of www.theatrworldintenetmagazine.com

THE CHOSEN AT THEATREWORKS POWERFUL BUT OVERLY LONG

noreply@blogger.com (Dr. Kedar Karim Adour) — Wed, 14 Oct 2009 19:29:00 +0000

(l tor) Michael Navarra as older Reuven, Jonathan Bock as young Reuven and Thomas Gorrebeeck as Danny, in the baseball game that starts it all in The Chosen at TheatreWorks.

THE CHOSEN: By Aaron Posner and Chaim Potok, adapted from Potok's novel. Directed by Aaron Davidman. With Michael Navarra, Jonathan Bock, Thomas Gorrebeeck, Corey Fischer and Rolf Saxon. TheatreWorks, Mountain View Center for Performing Arts, 500 Castro St., Mountain View. 650-463-1960, www.theatreworks.org.

Through November 1, 2009

THE CHOSEN AT THEATREWORKS POWERFUL BUT OVERLY LONG

Within the past few weeks, Aaron Posner has been provided the Bay area with drama, humor and intellect. First up was the excellent Marin Theatre Company production of his dramatization of Chaim Potok’s My Name is Asher Lev followed by his direction of a modern dress version of A Midsummer’s Night Dream at Cal Shakes. Now TheatreWorks is offering a first rate staging of his adaptation (with Chaim Potok) of Potok’s first and most successful novel The Chosen.

It is a novel about the moral and psychological growth of the two major characters from conflicting religious backgrounds who become strong true friends. It is set in 1940s Brooklyn divided into Hasidic and secular Orthodox Jewish communities. Director Davidman mounted a bare-bones version at the Traveling Jewish Theatre in 1999. This time he has the good fortune to have the superb production values of TheatreWorks, including a stunning set by Gulio Cesare Perrone that visually captures the chasm between the two cultures and projections indicating time changes (Chad Bonaker).

It begins with an older Reuven Malter (Michael Navarra) as the narrator and interlocutor filling in details as the story progresses from a 1944 boy’s baseball game to 1948 post WW II adulthood. Young Reuven (Jonathan Bock) of the secular group and Hasidic Danny Saunders (Thomas Gorrebeeck) display open hostility that gradually and emotionally bonds into friendship. Nevertheless, it is also a dramatic look into the relationship of father’s and sons that breathes compassion into the play. The loving bond between Reuven and his father David (Rolf Saxon) contrasts with the silence between Danny and his father Reb (Corey Fischer). Danny who is “the chosen” to fill the religious obligation of his ancestors is conflicted with his desires to join the secular world.

Michael Navarra carries the story line beautifully without intrusion even though he is on stage at all times. Jonathan Bock as young Reuven radiates a natural charm that contrasts with Thomas Gorrebeeck’s brilliant depiction of Danny’s inner conflict as he reaches out for friendship. The silence between Danny and his father Reb speaks volumes especially with the juxtaposition of Reuven’s father played with heart and warmth by Rolf Saxon. Oddly, Corey Fischer while giving a commendable performance, has the unenviable task of delivery two extended sermon like speeches that could be shortened without loss of effectiveness. Running time 2 hours and 20 minutes.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

OLIVER THE MUSICAL BY CCMT A DELIGHFUL EVENING

noreply@blogger.com (Dr. Kedar Karim Adour) — Mon, 12 Oct 2009 22:18:00 +0000

(l to r) Ian Shoemaker as Oliver, Patrick Michael Dukeman as Fagin and Grant Lowenstein as The Arfurl Dodger in CCMT's production of Oliver!

OLIVER! The Musical. Music and lyrics by Lionel Bart is based on the novel Oliver Twist by Charles Dickens. Contra Costa Musical Theatre, Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek, 925-943-7469 or www.lesherArtscenter.org .

Through November 7, 2009

OLIVER! THE MUSICAL BY CCMT A DELIGHFUL EVENING

It’s almost 50 years since the original Oliver! The Musical debuted with rave reviews in London and was equally successful in its 1963 Broadway run. Since that time, it has made the rounds of community theaters throughout the country and now Contra Costa Musical Theatre (CCMT) has mounted a marvelous, spirited production with, count them, a 50-member cast and a 15-piece orchestra. The famed Pacific Boychoir Academy provides twenty-eight boys, 14 of whom play on alternate nights.

The story of Charles Dickens’s poor orphan boy Oliver born into a London workhouse has seen many reincarnations for stage, movies and television. The opening pages where young Oliver asks for more gruel to supplement his daily ration of only one bowl starts the ball rolling on this picaresque tale. After being abused by Mr. Bumble and Widow Corney, they sell him to undertaker Mr. Sowerberry who continues the abuse. Oliver runs away to London, meets up with the Artful Dodger who enlists him into Fagin’s stable of youthful street waifs who “earn their keep” as pickpockets. Oliver on his first venture to “pick a pocket or two” is caught, befriended by kindly Mr. Brownlow and ends up in a decent home. Alas Fagin and mean Bill Sykes want him back before he spills the beans about their unlawfulness. Nancy, Bill Sykes’ live-in girl friend, is sent to do the dastardly deed. Oliver is dragged back into the den of chaos and bad things happen, especially to Nancy, before almost all is set right.

Lionel Bart’s musical version keeps the plot intact and adds fabulous songs that will be repeating in your mind long after you have left the theater. The workhouse boys, who later double as Fagin’s gang, are great as they sing and stomp about with “Food, Glorious Food” before Mr. Brumble (Danny Cozart) and widow Corney (Melinda Meeng) severely chastise the boy before going into a seduction scene as she protests “I Shall Scream.” Cozart and Meeng are great as they play it as a laugh inducing vaudeville skit.

Young Ian Shoemaker as Oliver displays his singing and acting ability with the plaintive “Where is Love?” When he makes his escape to London Town, he is induced by the charismatic rapscallion, the Artful Dodger (Grant Lowenstein) to “Consider Yourself” one of us. Lowenstein’s stage presence and charisma are sure to lead him into frequent gigs in the Bay Area.

Then we meet red-bearded Fagin (Patrick Michael Dukeman) and his ruffians who perform a tricky song and dance with “Pick a Pocket or Two” as they teach the neophyte Oliver the ropes. Dukeman’s Fagin is priceless and he alone is worth the price of admission. But – he has to share the praise with his youthful ragamuffins when they join him for the ensemble numbers “It’s a Fine Life”, “I’d Do Anything For You” and “Be Back Soon.”

Nancy (poorly miscast Jennifer Stark) leads the ensemble to start the second act with the rousing “Oom-Pah-Pah” before she delivers the memorable song, “As Long As He Needs Me.” The most beautiful moments of the evening belong to Grace Chaffey, Matthew Gracy, Michlee Luebke and Adria Swan as a quartet singing “Who Will Buy?” (my red, red roses) as they are joined by Ian Shoemaker and the ensemble. You will might possibly empathize with Fagin (but I doubt it) as he vacillates between retiring from “the business” to take-up a somewhat conventional life with “Reviewing the Situation.”

CCMT has done it again with this audience pleasing, expertly directed and adroitly staged production of Oliver! Running time 2hours and 40 minutes with intermission.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

RENT: THE BROADWAY TOUR IS GOOD AND LOUD

noreply@blogger.com (Dr. Kedar Karim Adour) — Fri, 09 Oct 2009 16:43:00 +0000

The cast of Rent in Act 1 finale.

RENT: The Broadway Tour, written by Jonathan Larson and directed by Michael Greif. Curran Theatre, 445 Geary Street, San Francisco, CA. October 6 – October 18, 2009

RENT: THE BROADWAY TOUR IS GOOD AND LOUD

There is a theatrical axiom that states, “If the singing is not good, sing it good and loud.” The singing in Rent: The Broadway tour is very good and there is no need to increase the amplification, especially in the intimate Curran Theatre. Apparently this reviewer is in the minority. The audience on opening night not only enjoyed the blasting from the five piece on-stage orchestra, they also entered into audience participation. But, I digress.

Rent became an America rock music classic from day one when it opened in 1996 winning the Tony Award and Pulitzer Prize for drama. It played for 5,124 performances closing on September 7, 2008. Even while still playing on Broadway it made the rounds with successful national and international companies, with special San Francisco engagements in 2001, 2002 and 2006. The 2005 movie version was filmed on Treasure Island. There is a multitude of Bay Area fans and will add more aficionados of rock musicals. It has a great story line.

Inspired by Puccini’s La Boheme, many of the characters and plot structure are patterned after the opera. In 1880 during Puccini’s time, tuberculosis was the plague that led to Mimi’s tragic end. In Rent, 1880 Paris is replaced by 1980s New York’s East and AIDS replaces tuberculosis. It is a tale of the disenfranchised artists who struggle with poverty and disease attempting to leave a legacy. Roger (Adam Pascal), one of the protagonists, wants to be remembered forever with “One Song of Glory.” The major theme is defined in “Seasons of Love” with coupling and uncoupling of lovers. Roger couples with Mimi (Lexie Lawson) who, like himself, is infected with AIDS. You know how that story ends. Throw in a major sub-plot of eviction for non-payment of rent and you have a great title for the show.

The producers have wisely brought back Adam Pascal, Anthony Rapp and Gwen Stewart who starred in the original show, adding other original ensemble members completing an energetic and enthusiastic cast. Mimi’s low keyed entrance with “Light My Candle” is marvelously contrasted when she bursts on to the upper reaches of the set with “Out Tonight.” Justin Johnston in drag as Angel has a show stopper with “Today For You.” There are many of these individual set pieces in this true ensemble production. Unlike many traditional operas, the recitative in Rent is very precise and carries the story without confusion. Even though Act two shifts to a more serious emphasis, the theme of love and hope remains.

Running time about 2 hours with a necessary intermission to allow your inner ear hair cells to recuperate before being bombarded by the final act.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagzine.com

YOU CAN’T TAKE IT WITH YOU A SMASH HIT AT 6TH STREET PLAYHOUSE.

noreply@blogger.com (Dr. Kedar Karim Adour) — Sun, 04 Oct 2009 17:25:00 +0000

(l to r)Taylor Diffenderfer, Joe Winkler, Kate Brickley, Lowell Weller, Larry Williams & John Craven share a quiet moment in You Can't Take It With You (Photo byEric Chazankin)

YOU CAN’T TAKE IT WITH YOU by Moss Hart and George S. Kaufman. Directed by Charlie Queary. 6th Street Playhouse – GK Hardt Theatre, 52 West 6th Street, Santa Rosa. Located in historic Railroad Square

707-523-4185 www.6thstreetplayhouse.com. October 2 -25, 2009

YOU CAN’T TAKE IT WITH YOU A SMASH HIT AT 6^TH STREET PLAYHOUSE.

For their 2009 – 2010 season, the 6^th Street Playhouse has selected the theme of “From Rags to Riches.” After their first offering of the musical Oliver!, they have come up with a real winner with the 70-year-old Pulitzer Prize play You Can’t Take It With You, leaving the audience with satisfied smiles. Although originally a classic three-act play, it is well suited to the two-act format with a memorable climactic first act curtain. The play became a 1938 film with a star-studded cast including James Stewart and Lionel Barrymore garnering an Academy Award. This gentle comedy, right on from the start, unfolds effortlessly on a delightful multi-area set (John Connole), will surely receive a Bay Area Critics Circle award. As an American classic with 20 characters and therefore rarely performed, it may not come around again, so book your tickets now since I predict a sell out run.

Set in the 1930s, we are introduced to a memorable unconventional/idiosyncratic family with members of three generations living in one house. Grandpa Vanderhof (John Craven), a true philosopher, gave up the rat race of the business world 24 years ago, not paid income taxes since it was instituted 13 years ago and collects snakes. His daughter Penny (Kate Brickley) is married to Paul Sycamore (Joe Winkler) and is the parent of Essie (April Krautner) and Alice (Taylor Diffenderfer). Paul is a gadgetteer who builds fireworks in the basement, assisted by Mr. De Pinna (Chris Murphy), an iceman who came in years ago and stayed. Mr. De Pinna also models for Penny’s paintings. Essie, married to Ed (Peter Warden), makes candy that Ed sells. Essie, even after taking ballet lessons for eight years from Russian refugee Mr. Kolienkov (Keith Baker), she still is a terrible dancer. Ed plays the xylophone, is fascinated by printing and has an ancient printing machine on which he prints decorative notes to put in the candy boxes he delivers. Reba (Naomi Sample) is the black maid and cook who is dating Donald (Arnold House). “The two are really cute together, something like Porgy and Bess.” Alas, Alice is the only “normal” member of the household but she loves them all.

Alice works in the firm owned by straight-laced Mr. Kirby whose son Tony is her immediate boss. Tony and Alice are in love but Alice is reluctant to introduce the rich snobby Kirby’s to her nonconformist menagerie. When the Kirbys do arrive, a day before they are expected, pandemonium ensues with a hilarious second act curtain. Six other characters descend on the scene to create further complications, add humor to the action and are integral parts of the denouement. Special mention to Sarah Abbey as Gay Wellington a heavy drinking actress and Elly Lichenstein as exiled Russian Countess Olga carries herself with grace befitting royalty.

Kate Brickley plays Penny with maternal grace befitting her desire to see that all of her brood remain happy. John Craven is the epitome of graciousness keeping strictly in character when all is tumbling down. Handsome Taylor Diffenderfer and beautiful Lowell Weller carry out the star-crossed lover roles with sincerity. Keith Baker’s over-the-top Russian often dominates the stage with his booming voice as he strides about. Naomi Sample and Arnold House fit their description of Porgy and Bess injecting great humor in their roles. There is not a single weak character and be assured you will select your own favorites. Larry Williams and Nuria Ibars as the married Kirbys are wonderful in the game playing scene where truths are unearthed. Yes, there are star performers but this is an ensemble production and director Charlie Queary is the real star of the show.

The set occupies the entire stage a with a working area for Penny’s typewriter where she writes sex plays (never finished), dining area with large table, ancient working printing press and xylophone upstage, living area and stairs leading up and a front door hallway. Queary moves his cast with split second timing through this maze, never missing a beat yet allowing the actors to confront, avoid and communicate smoothly.

Running time about 2 hours and 10 minutes (with intermission) that will keep you amused and clapping. Once again, 6^th Street Theatre has come up with a stunning must see production.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

LITTLE DOG LAUGHED HAS A GREAT SECOND ACT

noreply@blogger.com (Dr. Kedar Karim Adour) — Fri, 02 Oct 2009 17:20:00 +0000

Michella Greeley, Matt Socha, Justin DuPuis and Danielle Perata reading the "outing" of movie star Mitch in the National Enquirer

THE LITTLE DOG LAUGHED by Douglas Carter Beane. Directed by Ed Decker. The New Conservatory Theatre Center (Decker Theatre), located at 25 Van Ness Ave. near Market St. in San Francisco, 94102. NCTC Box Office (415) 861 8972, or online at www.nctcsf.org.

THE LITTLE DOG LAUGHED HAS A GREAT SECOND ACT

An often-heard complaint about a play’s construction is that the author runs out of steam by the second act. Not so with Douglas Carter Beane’s The Little Dog Laughed (LDL). His second act is a humdinger similar to his brilliant As Bees in Honey Drown that played at NCTC with an extended run in 2008. The second act is worth the wait with its well-paced, zany story line expertly blocked, making up for a first act series of extended monologs used to set up the fantastic finish.

You could say that the two plays are joined at the hip since the present play utilizes Beane’s frustrating Hollywood experience when As Bees in Honey Drown was optioned for a movie 13 years ago. He wrote one draft and walked away when he was asked to “straighten things out.” He has written himself into the script of LDL but never appears on stage and is hilariously referred to as “He meaning Him or Him being He” in a three way telephone conversation for the ages.

There are only four on stage characters with a few people on the other end of the telephone. What would modern day authors do without telephones? Producers love them, telephones that is, since it cuts the cost of production and an author can introduce as many non-paid characters as he wishes. Beane is an expert with the use of the telephone.

First there is Hollywood agent/producer and lesbian Diana (Michaela Greeley) who is always on the telephone and is in New York City with her movie star client Mitchell (Matt Socha) to obtain movie rights for a play with a gay love story. Mitch is to be the star. Diana knows a gay actor is OK to play a gay role if “he is English and knighted.” A straight actor playing a gay role is the stuff that wins Oscar Awards (think Sean Penn in Milk). Mitch just happens to be a closeted gay who is having assignations with a “straight” $100 per night rent-boy Alex (Justin DuPuis).

Diane’s machinations to keep Mitch in the closet becomes extremely Daedalian and uproarious especially when a spark of love is ignited between the two young men. Alex happens to have a girl friend Ellen (Danielle Perata) making the situation more problematic.

Although the primary concept of the play is a scathing satire on the Hollywood vagaries and personalities, Beane weaves in questions of what is love and what constitutes happiness. Astute Ed Decker recognizes these interwoven themes and moves the characters on Kuo-Hao Lo’s gorgeous art deco set keeping the humor at a moderated pitch allowing the pathos to break through.

Greeley imbues the role of Diane with all the characteristics of a denizen from Hell, as the script requires, but too often relies on volume to express displeasure. To her credit she never misses a line, she has a plethora of them, and her harsh voice adds depth to the role. Matt Socha displays a touch of vulnerability that is charming while Justin Dupris in extremely likeable but just doesn’t quite make his character believable. My favorite is Danielle Perata who affects a New York accent as she searches for happiness.

Another triumph for Ed Decker and NCTC. Highly recommend the play that runs 2 hours and 10 minutes with intermission.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

HEIDI CHRONICLES OPENS CMTC SEASON AT THE NEXT STAGE

noreply@blogger.com (Dr. Kedar Karim Adour) — Thu, 01 Oct 2009 21:06:00 +0000

Roselyn Hallett, Juliet Heller

HEIDI CHRONICLES, THE by Wendy Wasserstein, Directed by Brian Katz. Custom Made Theatre Company (CMTC), The Next Stage, 1620 Gough St (at Bush), San Francisco. 415-651-4251 or www.custommade.org. September 25 - October 24, 2008.

HEIDI CHRONICLES OPENS CMTC SEASON AT THE NEXT STAGE

Custom Made Theatre Company (CMTC) that began in Boston in 1996, moving to San Francisco in 1998 establishing themselves in a second floor venue at Off Market, has found a spacious and comfortable new quarters at The Next Stage to begin their 2009-20010 season. They have dipped into their archives retrieving their 2006 production of The Heidi Chronicles that received rave reviews. It is an excellent choice since Wasserstein’s Pulitzer and Tony Prize winning play dovetails with CMTC’s commitment to producing plays with social conscience.

To depict men’s attitude toward women Wasserstein opens the play with successful art historian Heidi Holland giving a lecture on the lack of recognition of female painters from ''the dawn of history to the present.'' She then relies on flashbacks to delineate the timeline of Heidi’s 24-year Candide-type journey from high school activist to fully awakened feminist. That timeline contains historical political and cultural events that shape her personality. Along the way, her life long friend Susan offers support and advice on which ideal to grasp, those of women’s collectives, power lunches or the Boomer Generation at the end of the 20^th century.

Heidi’s male relationships include arrogant, opportunistic Scoop Rosenbaum who cons her into a sexual liaison and Peter Patrone a charming, gay pediatrician. Scoop becomes highly successful as the editor of “Boomer” magazine that is the gospel of the 1980s baby-boomer generation. At the end of the play, Heidi has an epiphany that she describes in a speech of ''Women, Where Are We Going?'' at her high school alumnae luncheon. With sudden intuition, she recognizes that the external pressures must be discarded and replaced by self reliance.

With the retrieval The Heidi Chronicles from their archive, they brought along Leah Abrams and Fred Pitts who received accolades for that staging to recreate the roles of Hiedi Holland and Peter Patrone. The company engaged seasoned performer Dan Wilson to play Scoop Rosenbaum and up and coming thespian Kelly Rinehart for the Susan Johnson role.To support these major roles, Wasserstein created 14 characters played by four actors as an ensemble. Creating a cohesive ensemble requires definition of individual characters while being an integral part of the whole. These two factors are only partially accomplished thus interfering with the flow of the play.

Brian Katz uses directorial conceits that are elusive and may not be grasped by the audience. For example, rather than use music to delineate the time changes, Katz elects to hang esoteric paintings ( created by artist Nicola McCarthy) by female artists specific to the era and with each scene change one or more of the paintings are carried off stage. Without diluting play’s relevancy and social impact, Katz mines moments of pathos and humor to deliver an interesting thoughtful evening in the theater. Running time 2 hours and 30 minutes.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

CALL ME MADAM AT 42ND STREET MOON STARS KLEA BLACKHURST

noreply@blogger.com (Dr. Kedar Karim Adour) — Tue, 29 Sep 2009 16:33:00 +0000

Klea Blackhurst as "The Hostess With the Mostess"

CALL ME MADAM, Music and lyrics by Irving Berlin, book by Howard Lindsay & Russel Crousse, directed by Dyan McBride, musical director Dave Dobrusky. 42nd Street Moon at the Eureka Theatre: 215 Jackson Street, between Battery & Front. 415-255-8207 or www.42ndstreetmoon.org September 23 –October 18, 2009

CALL ME MADAM AT 42^ND STREET MOON STARS KLEA BLACKHURST

NOTE: 42nd Street Moon, based in San Francisco, is one of a handful of companies in the United States whose mission is to present rarely-seen musicals from the classic Broadway era of the 1910s - 1970s. Initially the shows were semi-staged concert versions. Now the shows are staged performances without elaborate sets but are fully costumed with choreography.

For their opening performance of their 2009-2010 season 42^nd Street Moon has selected the 1950 Call Me Madam that ran for 644 performances on Broadway starring Ethel Merman as politically inept Mrs. Sally Adams, U.S. Ambassador to the tiny mythical Lichtenburg. Elaine Stritch played the part on its national tour. Those are tough cookies to follow but international cabaret/concert star Klea Blackhurst burst onto the stage belting her opening number “The Hostess With The Mostess” captivating the audience as she takes charge. Her voice and delivery is very reminiscent of Merman and that’s good.

As a musical satirical spoof of politics and foreign affairs it seems as cogent today as it was in 1950 when President Harry Truman appointed Perle Mesta, a Washington socialite and fabulous party giver, as Ambassador to Luxembourg. Our widowed Mrs. Sally Adams is of that ilk and she barges into Lichtenberg with Kenneth Gibson (Charlie Levy) her politically adroit but nerdy secretary in tow. As Eros would have it, she falls for Cosmo (Rob Hatzenbeller) their Foreign Ambassabor and Kenneth flips for Princess Maria (Gina DeGeiso). Both are theoretically off-limits, but that is the stuff that musical comedy made of.( Pardon the preposition)

There just happens to be a political angle that might require the U.S. to give money to the impoverished country “Too small to be a city, to big to be a town, too poor to have an army but they manage to play the game.” There are loads of Irving Berlin’s landmark lyrics and Klea has a ball with the “money, money, money” lines from “Can You Use Any Money Today” demonstrating America’s approach to foreign affairs. That should be enough of the plot to whet your appetite for a visit to the Eureka Theatre.

The music is a combination of bright, sassy, lively and lovely which leads to a big applause for DeGeiso and Levy for “It’s a Lovely Day Today.” Blackhurst and Hatzenbeller match the youngsters with the plaintive “The Best Thing for You” (would be me). The songs keep coming and are a joy to hear since ALL the singers are in excellent voice. The songs include”Marrying for Love”, “The Ocarina”, “Something to Dance About” and “Once Upon a Time Today.”Scarlett Hepworth, DC Scarpelli and John-Elliot Kirk as members of Congress have a semi-showstopper with “”They Like Ike.”

That brings us to the production numbers with Jayne Zaban’s perky first act choreography beginning with the opening number, carried on with “Washington Square Dance” and three charming lassies in an inventive touch as wind up dolls doing “The Ocarina.” In act two, there really is “Something to Dance About.” Costumes by Louise Jarmilowicz add a touch of pizzaz to the evening. Not to be forgotten is the music provided by reliable Dave Dobrusky with Nick DiScala doing yeoman service playing reeds (and the ocarina) adding depth to the score.

The many lesser roles deserve accolades since they add verve, humor and joy to the show, but it is Klea Blackhurst’s singing and stage presence that grabs the brass ring.

Highly recommended with running time of a pleasurable 2 hours plus that will leave you humming many of the tunes.

Kedar K. Adour.

Courtesy of www.theatreworldinternetmagazine.com

FIRST DAY OF SCHOOL A HILARIOUS RAUNCHY SEX FARCE

noreply@blogger.com (Dr. Kedar Karim Adour) — Mon, 28 Sep 2009 19:27:00 +0000

(l to r) Zehra Berkman, Bill English, Marcia Pizzo, Jackson Davis and Stacy Ross

FIRST DAY OF SCHOOL by Billy Aronson, directed by Chris Smith. The SF Playhouse, 533 Sutter Street (one block off Union Square, b/n Powell & Mason), San Francisco. 415-677-9596, or www.sfplayhouse.org . Through November 7, 2009.

FIRST DAY OF SCHOOL A HILARIOUS RAUNCHY SEX FARCE

SF Playhouse has a reputation for producing socially uncomfortable plays and they do not disappoint in their latest offering. If you go to see the World Premiere of First Day of School, and you should go, be prepared for raunchy, ribald, riotous rite of passage into adulterous sexual behavior that is not for the mythical Lady in Dubuque. It is what one would expect from author Billy Aronson who cut his teeth on MTV’s “Beavis and Butthead” and is credited for the original concept of Rent. With a star studded cast, directed by former Magic artistic director Chris Smith, cavorting on another splendid Bill English set, it is a must see show even if you are not into kinky sexual behavior. Just think of it as fantasy.

Aronson asks the question: What do married couples with school age children do when they send the kids off to school? In this play, three married couples become entangled in the desires of Susan (Zehra Berkman) and David (Bill English) who are anxious and agreeable to have sex outside the bonds of matrimony. To establish the set up, Aronson writes three identical scenarios where each unsuspecting participant is approached in a matter-a-fact manner. Susan takes the first step by asking confused, shy Peter (Jackson Davis) “Would you like to have sex with me?” His response is an extended hysterical monolog expressing hidden desires, marital fear, and Victorian conscience.

David approaches beautiful, blond and stunning Kim (Marica Pizzo) and after her expressive monolog response, turns him down with a suggestion that another time might be appropriate. Not to be dissuaded, David then asks Alice (Stacy Ross) whose spastic response could be a page from a psychiatrist’s notebook. End of scene one and the wall that has stretched across the front of the stage parts revealing the comfortable living room of Susan and David.

This is a farce so there are the obligatory four exits: front door, kitchen door, exit up a set of stairs to the bedrooms and downstairs steps to the family room. You guessed it. Peter shows up and Susan takes him up stairs. David returns home and Kim shows up. Before David can consummate an assignation with Kim, Alice enters and the fun begins, and what fun. Chris Smith’s direction is superb and the acting by the female cast members would win Tony Awards. Jackson Davis’s histrionic performance, initially hilarious, wears thin as the play progresses. Bill English’s unenviable role as the unflappable husband is handled with aplomb. End of Scene two.

In Scene three it is 4 years later and communal gatherings are continuing. Alas, within multiple relationships, problems arise but Aronson’s clever dialog, Smith’s adroit direction and the cast’s split second timing carry the day and alls well that ends well, or so it seems. You will have to go see the show to see the unexpected twist when Aronson throws two teenagers (Torie Laher and Miles Landberg) into the melee. Running time 90 minutes without intermission.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

ON THE VERGE AT CINNABAR THEATER MISSES THE MARK

noreply@blogger.com (Dr. Kedar Karim Adour) — Mon, 28 Sep 2009 06:03:00 +0000

A mirthful safari starring (from L to R) Liz Jahren of Sebastopol, Jessica Powell of Fairfax and Laura Jorgensen of San Rafael as three Victorian females equipped with dialog as pithy as their helmets, who encounter love and other life forms on geographic sojourn into glorious time travel.

Photo by Eric Chazankin

ON THE VERGE (or The Geography of Yearning) by Eric Overmyer, directed by Elizabeth Craven. Cinnabar Theater, 3333 Petaluma Blvd. North, Petaluma, California, 94942. 707-763-8920 or www.cinnabartheater.org. September 25 – October 11, 2009.

ON THE VERGE AT CINNABAR THEATER MISSES THE MARK

A few years ago, Ashland’s Oregon Shakespeare Festival produced a brilliant On The Verge. Having fond memories of that production, and having actively encouraged friends to see the Cinnebar staging, there was great expectation as I drove the 50 miles to their rather out of the way venue. Fond memories of Cinnabar’s fantastic version of Candide still exist and it was a disappointment to leave the theatre on this opening night with ambivalent feelings.

On the Verge is a feminist’s play written by Eric Overmyer that requires excellent diction to convey the philosophical convictions, hidden meanings and innuendos with his alliterative and verbose dialogue. The three female cast members of seasoned players, includes one Equity actor, who attack the authors lines with gusto garnering many laughs but often lack verisimilitude in their delivery. The lone male player, Tim Kniffin, becomes the most memorable character with his eight roles, although he, until the last act, appears only briefly with his entrance and exits. The staging and direction lacks cohesiveness and the action takes place on an almost bare stage with back wall projections such as “The Mysterious Interior” to suggest time, place and offer a bit of humor.

Much of the ambivalence is directed to the author who gives one the impression that he is saying, “Listen closely because my writing is deep, pithy, humorous and esoteric. It requires your full intention.” Be assured your attention will wander. Overmyer spends almost all the one hour and 20 minute first act setting up the premise that his three 1888 Victorian women are on a journey of “chronotinesis.” Alex, the youngest of the three time travelers says, “You mean time travel?” “No. People won’t believe ‘time travel’.”

It is 1888, three diverse women explorers begin their trek ostensibly to Terra Incognita encountering physical obstacles and natural disasters but continue their pertinacious trudge. They are dressed in floor length Victorian skirts, carrying knapsacks with provisions, pith helmets, maps, journals, machetes and the indispensable English umbrellas. Being feminists they disregard Alex’s suggestion that wearing trousers would make their odyssey much easier. They finally discover they are traversing the geography of yearning adrift in time ending up in the year of 1955. In their hegira toward the future, they discover the eight unlikely characters played by Tim Kniffin, their internal strengths as well as references to Burma Shave, “Ike” Eisenhower, pop culture, Rock n’ Roll, Cool-Whip etc and a variety of physical objects, the most important of them being a hand mixer that they assume has great significance.

The second act pulls the story out of the doldrums with Kniffin’s spot on characterizations. Liz Jahren’s believable transformation of Alex into a hippy as she discovers her métier as poet/songwriter is noteworthy and Laura Jorgensen's metamorphosis of unassuming Fanny into the object of Nick Paradise’s affections is charming. The show ends with the forgone conclusion that the ultimate feminist Mary would end up wearing pants. Running time is a long 2 hours and 40 minutes with intermission.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

SOUTH PACIFIC IS AN ENCHANTING EVENING

noreply@blogger.com (Dr. Kedar Karim Adour) — Thu, 24 Sep 2009 17:30:00 +0000

Keala Settle as Bloody Mary and Ensemble. Photo by Peter Coombs

SOUTH PACIFIC. Music by Richard Rodgers; lyrics by Oscar Hammerstein II; book by Mr. Hammerstein and Joshua Logan, adapted from “Tales of the South Pacific” by James A. Michener; directed by Bartlett Sher. Golden Gate Theatre. www.shnsf.com, through Ticketmaster by calling (415) 512-7770, at all Ticketmaster Ticket Centers September 18 – October 25, 2009

SOUTH PACIFIC IS AN ENCHANTING EVENING

The last professional road show of South Pacific playing San Francisco was as a vehicle for aging, over-the-hill singer Robert Goulet and it was a disaster. This time around, Best of Broadway has brought up an exciting new cast with great voices using the New York Lincoln Center version that swept the 2008 Tony Awards, winning seven honors including Best Musical Revival and Best Director for Bartlett Sher. While that stunning new production is still selling-out at the Vivian Beaumont Theater in an open-ended run, this National tour starting here in San Francisco received a standing ovation on opening night.

This Pulitzer Prize-winning 1949 musical based on James Michener's Pulitzer Prize winning book Tales of the South Pacific tells the story of four star-crossed lovers caught up in the war in the Pacific and emotionally torn due to ingrained racial prejudice. Woven into the romantic story line are the shenanigans of full-bodied native Bloody Mary (Keala Settle) and a group of Sea Bees led by Luther Billis (Mathew Saldivar). Carmen Cusak playing Nurse Ensign Nellie Forbush is a perky “Cockeyed Optimist” with a charming soprano voice that is a perfect match for the magnificent operatic baritone voice of handsome Rod Gilfry as plantation owner Emile de Becque. Their rendition of “Two Soliloquies” within the first scene sets the hesitant tone of their initial relationship that melts away when Gilfry sings “Some Enchanted Evening.”

The show is loaded with classic Rogers and Hammerstein gems: “Bloody Mary”, “There is Nothing Like a Dame”, Bali Ha’i”, “I’m Gonna Wash that Man Right out of my Hair”, “A Wonderful Guy”, “Happy Talk”, “Younger than Springtime”, “This Nearly Was Mine”, and heart tugging “You’ve Got to be Carefully Taught” that expresses the internal and external racism of that era. Anderson Davis as Lt. Joseph Cable who falls in love young native girl Liat (Sumie Maeda) creates a lump in your throat with his viscerally plaintive singing of the final song mentioned. Youngsters Christina Carrera and CJ Palma as Emile’s children are a joy to watch and hear with their duet of “Dites-Moi”. (On a personal note, Christina Carrera was is charming off stage as she is on stage when she gave me her autograph in front of the theatre!)

The 25-piece orchestra is superb as they play the music that has been restored to its original status. Although there are some technical glitches Michael Yeargan’s attractive sets and Donald Holder’s lighting add depth to the evening and the two hour and 50 minute running time fly by.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

MIDSUMMER’S NIGHT DREAM AN EVENING OF MAGIC WITH PUCK LEADING THE BAND

noreply@blogger.com (Dr. Kedar Karim Adour) — Mon, 21 Sep 2009 19:21:00 +0000

Danny Scheie as "Pyramus", Dan Hiatt as "Wall", and Lance Gardner as "Thisbe" in California Shakespeare Theater's production of A Midsummer Night's Dream, directed by Aaron Posner; photo by Jay Yamada.

MIDSUMMER NIGHT’S DREAM, written by William Shakespeare, directed by Aaron Posner, Co produced by Two River Theater Company. California Shakespeare Theater (Cal Shakes), Bruns Amphitheater, 100 Gateway Blvd., Orinda, CA 94563 (just off Highway 24 at the Shakespeare Festival Way/Gateway Exit, one mile east of the Caldecott Tunnel). 510.548.9666, or online at www.calshakes.org .

September 16 through October 11, and then move to New Jersey for a limited run.

MIDSUMMER’S NIGHT DREAM AN EVENING OF MAGIC WITH PUCK LEADING THE BAND

Cal Shakes’ closing show of their 2009 season has some very laudable attributes with good, but not great casting, and provides an evening of fun despite the fact that the promised balmy evening during our local heat wave was not forth coming. Director Aaron Posner, imported from the Two River Theater Company in New Jersey, has elected to use a relatively bare stage, cut some of Shakespeare’s lines, added modern dress/music and employed excessive physical action to garner laughs. It mostly works.

The remounting of this production tells the story of the vicissitudes of young obsessive love shaped by the real world and thrown in confusion in the magical forest world of fairies ruled by Oberon. Oddly, unless you count Puck (Doug Hara) as a fairy, Posner has dispensed with the fairies. After seeing, in Ashland, Mark Rucker’s depiction of the fairies as gay Folsom Street Fair characters dressed in drag, this may be a blessing. Who knows what Posner would envision? However, I digress.

In the real world, Helena (Lindsey Gates) loves Demetrius who is infatuated and wishes to marry Hermia (Erin Weaver) who loves Lysander (Avery Monsen). Hermia’s father Egeus (Dan Hyatt) appeals to ruler Theseus (Keith Randolph Smith entirely miscast as Oberon) to force Hermia to marry Demetrius. What are the star crossed lovers to do but run away and they do into world of the fairies. With Lysander and Hermia in hot pursuit everthing goes awry. Troublemaker Puck, Oberon’s sidekick, screws everything up with the magic potion.

Into this mix Shakespeare has thrown in a traveling band of actors who plan to perform at the upcoming wedding of Theseus to Hippolyta (Pegge Johnson). Included in that group is the egocentric Bottom (Danny Scheie) who is made into an Ass by Oberon to woe, bed and punish Queen of the fairies,Titania (Johnson again). You know the rest of the story.

Bringing in Doug Hara from Chicago’s Lookingglass Theater to play Puck is a stroke of genius. He holds the entire production together with his acting and fluid athleticism as he bounds about the floor of stage, into the aisle and atop the soaring rear set sharing space with a wooden moon. The young lovers do great justice to Posner’s use of physicality. It is the troupe of would be actors that includes Joan Mankin (Philostrate), Lance Gardner (Flute), Ted Barker (Starveling) and Patty Gallagher (Quince), Dan Hiatt as Snout and Danny Scheie as Bottom. Their presentation of the “tragic” love story of Pyramus and Thisbe is a hoot an’ a holler with enough shtick for an evening of stand-up comedy.

The entire production with special mentions listed above will partially warm the cockles of your heart even if the fog does roll in. Running time 2 hours and 30 minutes with intermission.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com