Sunday, April 23, 2017

The Bodyguard

I never saw the 1992 movie, “The Bodyguard,” so in preparation for seeing the musical version now at the Sacramento Community Center Theater, I rented it. I was unimpressed, and did not have high expectations for the stage show.

I was very happy to have my fears erased. From the explosive first couple of minutes, guaranteed to wake the sleepiest of snoozers, the plot of this musical, while staying true to the film, takes a back seat to the musical numbers, a tribute to Whitney Houston without attempting to imitate her.

This is a good thing, because while Houston was undeniably a wonderful singer, the same was not true for her acting. Deborah Cox, who plays Rachel Marron, the superstar whose life is being threatened, is a fabulous singer and a much better actress than Houston. Songs throughout the evening are sometimes gratuitous, but often are part of a concert Rachel is giving.

Rachel is threatened by a stalker who sends ominous letters and then sneaks into her dressing room and steals a dress. Manager Bill Devaney (Charles Gray) hires former Secret Service agent Frank Farmer (Judson Mills) as Rachel’s personal bodyguard. Frank reluctantly agrees to take the job when he learns of Rachel’s young son, though he has no interest in celebrities.

Mills, who is fierce and stoic, is a former regular on the TV show “Walker, Texas Ranger” and also appeared in such TV shows as “Law and Order SVU,” “The X-Files” and “Dexter.” He is perfect for the emotionally detached Frank — and, fortunately, does not sing.

The role of Rachel’s sister, Nicki, has been expanded and actress Jasmin Richardson has some musical numbers of her own. She is easily equal to Cox in quality (and is, in fact, Cox’s understudy), giving the audience an abundance of talent to enjoy.

But the real scene stealer is young Douglas Baldeo (who alternates in the role with Kevelin B. Jones III) in the role of Rachel’s 10-year-old son, Fletcher. A rendition of “Jesus Loves Me,” which features Fletcher with his mother and aunt, is a sweet moment in the show.

It is the music that keeps this otherwise pedestrian plot moving forward, but there are some eyebrow-raising scenes that grate. Frank, who is such a stickler for security, not only takes Rachel to a karaoke bar without back-up, but even encourages her to sing.

And as it is hate at first sight between Rachel and Frank, it is strange to find the two in bed together after the ruckus that erupts at the bar.

It also seems strange that he would whisk the family away to a deserted cabin in the woods and not realize that they are being followed by the attacker. Such carelessness may explain why he is a former Secret Service agent.

The shocking confession in the movie is not in this musical and the identity of the attacker is also different, and known by the audience since the start of the show.

The show has its problems, but overall it is enjoyable. And for Whitney Houston fans, it’s a chance to revel in more than a dozen of her famous songs.

Thursday, April 20, 2017

Daddy's Dyin' Who's Got the Will

Del Shores’ “Daddy’s Dyin’,Who’s Got the Will?” is playing to near sell-out houses at the Ooley Theatre, under the direction of Corey Morris, making his Sacramento directorial debut.

This black dramady is the story of the dysfunctional Turnover family, from Lowake, Texas, gathering after years of estrangement, for a death watch on father Buford.  All the children are desperate to find his will. but it is missing and Buford (Lew Rooker) is so demented, he is of no help.

The roost is ruled by Mama Wheelis (Deborah Shalhoub – Tony’s sister), Buford’s mother-in-law, who rules with a strong hand, doesn’t allow profanity or pre-marital sex in her house.  She has aprons for all occasions, including a black one for funerals.

Sara Lee (Adriana Marmo) is the “good child” who stayed home to care for her father, while sister Marlene (Elise Hodge) is a born again preacher’s wife who lives nearby and helps, when she can, with their father.

Evalita (Bethany Hidden) has not been home for years.  She arrives with metallic red hair and a costume in danger of having a wardrobe malfunction at any moment.  She’s working on husband #6 and hopes to use her inheritance to pay for costs to produce her first record.

Son Orville (Rob McCrea) is a stereotypical redneck wife-beater whose wife Lurlene (Elizabeth Anne Springett) is obsessed with her recent weight loss.

Rounding out the cast is Evalia’s barefoot boy toy Harmony (Mitchell Thompson) who is getting a little tired of Evalita’s self-centeredness, and finds a friend in Lurlene.

Thursday, March 30, 2017

The Glass Menagerie

David Crane as Tom and Janis Stevens as Amanda perform in Sacramento Theatre Company's
production of “The Glass Menagerie,” on stage through April 30.
Charr Crail Photography/Courtesy photo

“The Glass Menagerie,” now at Sacramento Theatre Company’s Pollock Stage, was the play that made Tennessee Williams a name in modern theater. The play was loosely based on his own life, his melodramatic mother, his emotionally and physically fragile sister, and himself as the would-be poet brother.

Purists who love this play may not be happy with the vision of director Casey McClellan, who has played rather loosely with the original stage directions.

This is described as a “memory play,” meaning that the action takes place in brother Tom’s mind, so important pieces of furniture and props are used, such as a table on which to eat and a couch, as well as a small table with four or five glass ornaments.

But most of the set and props, things that would not have been foremost in Tom’s memory, are mimed (designers Jarrod Bodensteiner and Renee DeGarmo). Lighting cigarettes, for example, involves an exaggerated match-lighting movement and an accompanying lighting effect (design by Jessica Bertine).

The mixture of set and no set, props and no props is a bit off-putting, though Tom warns “it is sentimental, it is not realistic.”

When an actor takes on a role, it is understood that he or she makes that role his or her own, under the direction from the director, and so David Crane’s overpowering, somewhat brittle Tom seems at odds with the wanna be writer/poet that the playwright described. But there is no denying that the performance is riveting, even though he approaches the role of the narrator of the story with the charisma of a snake-oil salesman.

It is the story of the Wingfield family forever affected by the unseen father, “a telephone man who fell in love with long-distance.” His departure left behind a mother and two children, one of whom is crippled (a word not allowed to be spoken) following a bout of polio.

There can’t have been a better choice than Janis Stevens to play the faded Southern belle, Amanda Wingfield, a woman rooted in the days of the “gentleman caller,” a cross between a strong matriarch and a flighty debutante. There is no doubt that Stevens knows who she is and gives a memorable, beautiful performance. She shines in her belle-of-the-ball finery, dressing up to meet a real gentleman caller, exuding all of the Southern charm she remembers from her youth.

Amanda wants only the best for her children — though her ideas of what they need are based on her own life, not the reality of the children in front of her.

Tom’s older sister, Laura (Katherine Stroller) is painfully shy and insecure, made even more so by the slight limp, which is barely noticeable in this production, but which bothers her a lot. Stroller fades into the woodwork, until her “gentleman caller” Jim (Eric Craig) shows up and there is a sweet scene between the two of them that shows the potential for Laura.

Jim is the gentleman caller Amanda has browbeat Tom into bringing home to meet Laura. She is unaware that he was Laura’s high school crush and the thought of his showing up in her apartment terrifies Laura. Jim was the high school star, but life has not treated him well. Still, Craig provides the one note of normalcy in this odd family dynamic.

The real “glass menagerie” of glass equine figures in this production seems to take on a very small role, but at the end of the play, one realizes more that it is, instead, the Wingfield family who are the glass menagerie, with their fragile, easily damaged egos.

Tuesday, March 21, 2017

Guards at the Taj

Mohammad Shehata, left, and Rajesh Bose star in "Guards at the Taj,"

The year is 1648 and the location is the Taj Mahal, the night before it is unveiled by the Mughal emperor, Shah Jahan, to the public.

The play is “Guards at the Taj,” an award-winning script by Rajiv Joseph directed for Capital Stage by co-founder Jonathan Williams.

There is no indication at the outset as to whether this is a comedy or a drama … and the answer is “yes.” As the play starts, there is fear that it is going to drag because of long silences between the two characters. Then it becomes very funny and after nervous titters, there are deep guffaws, but then it becomes very serious and even shocking.

Rajesh Bose (Humayun) and Mohammad Shehata (Babur) are outstanding actors who make this play come alive. The two play imperial guards stationed at the gate of the Taj Mahal, tasked with the duty of making certain no one sneaks in and sees the edifice before its unveiling the next morning. They are to stand at attention all night and not speak or turn around to look at the building.

Humayun is the rules guy. He stands stoically, as his job description demands, and rebukes Babur, who wants to chat. Babur is the goofball of the two … they are a real Odd Couple. It is Babur who sees the ludicrousness of standing still all night when they are the only two people around.

Eventually, Babur wears down Humayun’s reserve and the two joke and chat together, though until they reach that point one does wonder if this play is going to drag because of the uncomfortable silences while Humayun refuses to talk.

About the time the audience has settled in to enjoy this comedy, suddenly things aren’t so funny anymore and turn terribly black. The two guards have been given an unspeakable job of horrific brutality. To follow orders will change their lives forever. Each man is shaken to his core and in the aftermath one suffers severe PTSD, and the other must make an even worse decision.

This is the story of a bromance that is tested to the extreme. Even in the brutality, there is a sweetness in the relationship between Humayun and Babur. In the testing, the idea of “beauty” is analyzed and we learn how friendship of the men both sustains and ultimately destroys them.

Even in the midst of the horror, Babur brings a note of lightness with his dreams of fantastical inventions and “flying to the stars.” Humayun wants to invent a “transportable hole” to carry around so that one can escape any unpleasant situation, and they discuss the problems with trying to carry a “hole.” Talk of their inventions keep the men’s minds off of their horrific task, at least for a while.
Stephen C. Jones’ scenic design is simple, but handsome, while Timothy McNamara’s lighting and Ed Lee’s sound design add much to the atmosphere.

Perhaps the heroes of this production are the unnamed tech crew who have some amazing jobs between scenes and who get a round of applause each time they exit the stage. Not sure who is responsible for the “props” in Scene 2 but they deserve a round of applause, too (an ironic idea, when you think of it!).

“Guards at the Taj” is not going to appeal to everyone … and if you can’t handle brutality, perhaps you should stay home. But that would be a shame because this is an excellent play that will hold your attention and make an impact. You will be thinking about it long after you have left the theater.

Tuesday, March 14, 2017


Neil Simon wrote his comedy ”Rumors” at a time when he was at one of his lowest points. He was in the process of divorce from wife No. 3 (Joan Balm), and needed something funny to occupy his mind. Work was always cathartic for him and, having written many funny things, he decided to try his hand at farce, which is a different style of comedy.

Comedy is a work of art that is amusing and intended to be humorous. Farce, in contrast, is a type of comedy that is characterized by highly exaggerated and comic situations and crude and one-dimensional characterizations. It has no other aim than creating laughter. (Farce usually also involves a lot of doors!)

By its very nature, farce requires crispness of dialogue and a quick pace to the show. The funny lines (you can’t really call them “jokes’) should come fast and furious and flow one into the other.
The fine cast of the Winters Theatre Company production of “Rumors,” directed by Linda Glick, are probably presenting a comedy, but not really a farce. While the show is enjoyable, the spark that makes a farce pop is missing.

The situation involves a couple who have arrived at the home of friends, intending to celebrate their 10th anniversary with other friends. But nothing is ready, the wife Myra and the serving staff are nowhere to be found, and the husband, Charlie, is on the floor in the bedroom with a bullet wound in his earlobe.

Simon hits a bit of a sour note with the first scene in which a guest, Ken (Philip Pittman), is upstairs with the unconscious (and unseen) host and Ken’s wife Chris (Anita Ahuja) is downstairs waiting for a call from the doctor.

Ken, who is Charlie’s attorney, keeps asking if the doctor has called yet when he does, he tells Chris not to tell him anything and to get him off the phone. Both Ken and Chris are frantic, unsure what happened or what to do to protect Charlie.

In the meantime, the other guests keep arriving. Claire (Ana Kormos) and Lenny (Jim Hewlett) are in a state because someone just ran into their prized new BMW.

Ernie (Brad Haney) and Cookie (Laure Olson) are upset that there is no food available, so Cookie, who is a TV chef (and who wears the most amazing costume you’re likely to see) takes it upon herself to prepare something to eat.

The final couple are Glenn (Manny Lanzaro) and Cassie (Michelle Novello), who arrive feuding and who squabble throughout the play.

Each person has a secret he or she is hiding, which may involve themselves or a rumor they have heard about one of the other guests, and as the lies involved in keeping the others from learning their secret mount, so does the craziness.

All comes to a head when a police officer (Rodney Orosco) comes to investigate and is treated to a highly implausible but entertaining story by Lenny that brings the whole show to an end. Almost. The final minute is a surprise for all.

Excellent in this production are Kormer as Claire, who has a real natural presence on stage; Pittman as Philip, trying to find some normalcy in a situation that is anything but normal; and Novello as Cassie, who doesn’t really have much to do but be beautiful and angry, but does it very well.

The attractive set is designed by Gary Schroeder, Jesse Akers and Sally Alexander and yes, it has all those requisite doors.

The sound, however, is a shrill negative, as there is a telephone, a doorbell and a pager, and the sound crew never could seem to get which ring was which. Each ring was repeated endlessly and was very irritating, as everyone stood around talking about something ringing, but not doing anything about it. (And at some point, someone threatens to wrap the cord of the cordless phone around someone’s neck, which made no sense at all.)

Despite Simon’s stellar career, “Rumors” has moments when his writing is just sloppy. However, this production is still fun overall and the opening-night audience was very entertained by the zaniness on stage.

Sunday, March 12, 2017

The Tempest

Hope Luna as Miranda (also played by Monique Lonergan) and Matt K. Miller as Prospero |
perform in Sacramento Theatre Company’s “The Tempest.”
Charr Crail Photography/Courtesy photo

 When you cast Sacramento Theatre Company favorites Michael RJ Campbell, Gary Martinez and especially Matt K. Miller in anything, you know you will have a hit on your hands.

Such is the situation with the current production of “The Tempest,” directed by Aaron Galligan-Stierle, his first as director. The production, however, showed no evidence of a newcomer.

Miller is wonderful as Prospero, former Duke of Milan, deposed by his brother Antonio (Ian Hopps) and left to die on a raft with daughter Miranda (Monique Ward Lonergan in the production I saw. She shares the role with Hope Luna). All he is given is a box of books from which he has studied magic. The raft lands on an island, where he and his daughter have been for 12 years.

Prospero has cast spells over the island’s inhabitants. The spirit Ariel (Emily Serdahl), previously imprisoned by the late witch Sycorax, becomes Prospero’s slave. Serdahl is lithe and fragile-looking, playing a guitar to indicate when she is casting a spell.

Caliban (Atim Udoffia), a monster half-human-half-fish, is also enslaved by Prospero and becomes his muscle man. He is a bitter slave whom Prospero describes as “got by the devil himself.”
(It is an interesting casting choice, with Miller the very-white Prospero and Udoffia the very-black Caliban, which may upset some.)

In the midst of a tremendous storm, a ship is wrecked on the shore of the island. The scene features great effects by scenic designer Eric Broadwater and lighting designer Jessica Bertine, though it’s interesting that all the shipwrecked passengers arrive in clothes, designed by Jessica Minnihan, which are neither wet nor torn. Maybe some of Prospero’s magic?

The storm is a marvel, with tremendous wind blowing stage-height panels, strobe lights making convincing lightning and the music accentuating the sound of the wind, all while the actors do their best to portray being shipwrecked.

By fortuitous circumstances, the passengers on the ship include Antonio, Alonso, the King of Naples (Gregg Koski), his son Ferdinand (Sam C. Jones), brother Sebastian (Kevin Gish), and his adviser Gonzalo (Gary S. Martinez). There are also the king’s jesters, Michael RJ Campbell and Jake Mahler, who provide comic relief throughout the play.

This gives Prospero a chance to use his magic and cunning wiles to get his revenge on his brother. Miller’s Prospero, above all else a loving father working to make a match for his daughter with Ferdinand, comes across as less a vengeful king, but more a brother getting back at brother.

As for Miranda, she has lived on the island her whole life and her father is the only male figure she has seen, so this handsome young man sets her pubescent genes pulsing instantly.

Though the inhabitants of the island now are actually in three different places, there is little to indicate that in the set design, and it was sometimes confusing to figure out where exactly the current scene was taking place.

All’s well that ends well, however, and Prospero regains his status as king, the brothers patch things up, Miranda and Ferdinand live happily ever after, Arial and Caliban get their freedom, and Prospero gives a moving epilogue to the audience asking them to forgive him for his wrongdoing.

Wednesday, March 08, 2017

Concussed: Four Days in the Dark

I love Jack Gallagher.

No, wait a minute. I like Jack Gallagher very much. I learned that he is very selective about the people whom he claims to love, saving that term for those in his most intimate circle. Still, I can’t help but think that I really do love Jack Gallagher.

The comedian is opening his seventh one-man show and sixth for the B Street Theatre, his last being 2015’s popular “5 Songs,” a show about which he talks in this current production, “Concussed: Four Days in the Dark,” directed by Jerry Montoya.

Anybody who likes to bike (and who in Davis does not?) will relate to this story, which talks about Gallagher’s biking habits. In fact, the stage is set with huge interacting gears and a bike and the paraphernalia related to his love of biking.

It was, in fact, his love of biking that changed his life, and that ultimately brought about this show. Three years ago, while riding his bike home, he was hit by a car and three days later was diagnosed as having a traumatic brain injury.

The doctor ordered him to bed immediately. He was to stay in a darkened room with no stimuli whatsoever. No TV, no iPad, no radio, no internet, no nothing. He needed to give his brain a chance to heal.

This play, which is both touching and very funny, is like a free association of all the things you think of when you are trying not to think. His biggest fear was that he had lost the ability to find words.
Words are his life, and knowing how to find them, manipulate them, and the ability to cut and paste in his mind while doing a show to match the response of the audience was something he had done all of his professional career. What if he couldn’t do it anymore?

He was 61 when the accident happened, so he talked a lot about getting older, and the predominantly gray-haired audience laughed and nodded in agreement as he recounted, for example, how one gets out of bed when one reaches a certain age.

He talked of parenting his two sons, Declan and Liam, and what he wished he had done differently as a father. In fact, as he began to recover he took trips across the country with each of the boys, the northern route with Liam and the southern route with Declan, just being a couple of guys enjoying being together.

The experience of having a concussion, he believes, was transformative, and he says he’s become a better person as a result. He has learned the importance of being in the moment, not always living for the future. He learned the importance of speaking your love to those for whom you really love, and he even learned a little humility, now that he needs a few notes on stage during his 90-minute shows, something he was proud of not needing before.

(He admits that he can’t remember much about “5 Songs,” though one would not have known there was anything wrong, watching that show at the time.)

Gallagher is a remarkable comedian in that he knows how to work an audience, especially one like B Street, where the audience sits on three sides of the stage. At no point did anyone feel that they were just watching the back of his head. He had a way of unobtrusively involving everyone without being overly obvious about it. It was as if we were guests in his living room and he wanted to include all of us in his conversation.

He also made you feel like he was baring his soul just for you, while telling you that he is a very private person who bares his soul only to his most trusted friends and family.

Most in the audience were middle-aged or older but I think Gallagher’s humor would appeal to just about anyone. Well, maybe not to the two 20-somethings sitting next to me, one of whom slept through the whole show while the other thumbed through the program for 90 minutes. They missed something very special.

Tuesday, February 28, 2017

How to Succeed in Business

One undeniable thing about the Davis Musical Theatre Company’s new production of the 1950s-era musical “How to Succeed in Business Without Really Trying” is that, at nearly three hours, it is definitely long.

It is also important to remember, in the 21st century, this is a somewhat historical look at what life was like in the 1950s business world, where nobody thought anything about sexual harassment and women only worked so they could find a husband and settle down in the suburbs to raise a family and “keep dinner warm” for their hard-working husband, trying to rise to the top.

With that in mind, enjoy numbers like “Coffee Break” — what happens when everybody takes their break and there is no coffee. This is one of the better numbers in the show, and is a wonderful example of Ron Cisneros’ always-fun choreography.

There are outstanding performances in this production, directed by Steve Isaacson. Daniel Silva is wonderful as J. Pierrepont Finch, the window washer who decides to climb the corporate ladder with assistance from a 1952 self-help book by Shepard Mead. (David Holmes is the off-stage voice of Mead as he reads aloud what Finch is reading.)

Scott Minor is the perfect president of the World Wide Wickets Company, J.B. Biggley, whose overpowering presence takes charge so that you don’t even realize what a fabulous voice he has until he joins with femme fatale Hedy LaRue (Sarah Kraemer) in a beautiful duet, “Love From a Heart of Gold.”

Kraemer is a Kewpie Doll kind of escort and could easily play Adelaide in “Guys and Dolls.” Her job is to be the dumb mistress trying to find a place in Biggley’s corporation, and she does it well.
Chris Colbourn is the detestable Bud Frump, Biggley’s wife’s nephew, the worst case of nepotism. But Colbourn has made this role unique and you can’t take your eyes off of him when he tosses off one of his quips. It is a very memorable portrayal.

This is also an excellent vehicle for DMTC veteran Danette Vasser as Smitty, best friend of Rosemary (Jori Gonzales), Finch’s love interest. Vasser is also credited for lighting design and her pin spots for the angelic-faced Finch throughout the show are much fun.

As for Gonzales, she makes a lovely girlfriend for Finch, but her delivery often did not reach beyond the first two rows and it was difficult to hear a lot of dialog.

This is a surprisingly heavy dialog show, for a musical. Act 1 seems to drag a bit because of the length of time between the musical numbers, filled with dialog that may or may not be audible to the audience.
In the minor role of Miss Jones, secretary to Mr. Biggley, Chris Cay Stewart is the perfect stereotypical corporate secretary until she cuts loose during “Brotherhood of Man.”

“Brotherhood of Man” may be the best known of this musical’s numbers, written by Frank Loesser. It is the penultimate number in the show and will send the audience out with solid ear worms.

Veteran Mary Young, who sings in the chorus, is invaluable, lending her voice just a bit louder on those rare occasions when the women don’t quite hit the notes right. Like a herding dog, she gets them all back in order almost immediately, and then fades back into the chorus. It’s a marvelous bit of teamwork.

DMTC has a fun production here and it should bring lots of laughs for the audience.

Monday, February 27, 2017

Diary of Anne Frank

It is ironic that the Woodland Opera House is presenting “The Diary of Anne Frank” at a time when our government is rounding up illegal immigrants and putting them in detention centers and there is such controversy over refugees seeking asylum in this country.

Frank’s family tried to escape the Nazis by coming to the United States, but that opportunity was blocked by the government, fearful of allowing Nazi spies into the country,

We know, of course, that Anne died of typhus at the Bergen-Belsen concentration camp. Her dream had been to become a famous writer, and her diary has been translated into more than 60 languages and is perhaps one of the most famous books in the world.

The current production, by Frances Goodrich and Albert Hackett, newly adapted by Wendy Kesselman and directed by Dean Shellenberger, is a beautiful tribute to Anne Frank and to her family and their years hiding from the Nazis in the secret annex above Otto Frank’s office.

Rachel Trauner (Anne) has been part of the Opera House’s “Broadway Bound” program for several years, though she has appeared in only two musicals before, says her mother, who sat in front of us for this show.

Taking on such a huge role must have been daunting, but she brought Anne to life beautifully, the spirited 13-year-old who grows into a thoughtful teenager during her two years of concealment. She is mischievous, serious and thoughtful, and the real spark — and sometimes bane —of the family.
Set designer Don Zastoupil has created the claustrophobic world where eight desperate Jews hid for two years, keeping silent during the day and daring to “live” at night. Watching the eight practically climb over each other, with never any “alone time,” one gets a sense of what it must have been like as the group dealt with hope and fear at the same time, sometimes allowing themselves to laugh, often grieving the life they left behind.

Jessica Hanselman plays Miep Gies, an employee of Otto Frank, who was one of the handful of citizens whose assistance was vital to keeping the group alive. Hanselman gives Gies a gentle, sensitive portrayal though occasionally her projection lacked oomph.

Colin Coate plays Mr. Kraier, who assists Gies in bringing food and news to the extended family.
Otto Frank is played by Steve Mackay, the guiding hand and often calming influence on the others. Otto was the only survivor of the group, and the one responsible for bringing Anne’s diary, saved by Gies after their ultimate capture, to the world.

Analise Langford-Clark is his wife, normally another steadying influence but occasionally the pressure gets to her, too.

Gil and Lenore Sebastian play Mr. and Mrs. VanDaan, trying to hang on to their upper-crust lifestyle, while Mr. VanDaan deals with insatiable hunger and Mrs. VanDaan can’t bear to give up her fur coat, the last remnant of her former life, even if it means more food.

As Anne’s sister, Margot, Sammy Caiola is the epitome of a nerdy teenager who is slowly disappearing into her self as the conditions of their self-imposed incarceration become more overwhelming.

Mr. Dussel (Paul Fern) is a late addition to the group, a grumpy dentist who is the most troublesome, as he complains about everything and causes more conflict than perhaps anyone else, with the possible exception of Mr. VanDaan.

Hayden Taillon has the small role of Peter VanDaan, whose role in Anne’s diary was much larger, but Taillon plays the young man as a friend of Anne and a referee of his parents’ many quarrels.

Through Anne’s diary, this band of people have come to represent the millions who either survived or died during the Holocaust. In spite of it all, Anne never lost her optimism and perhaps her famous quote — “… in spite of everything, I still believe that people are really good at heart” — is something we desperately need to keep in mind these days.

Friday, February 03, 2017

Kinky Boots

What do you get when you mix singer/songwriter Cyndi Lauper with actor/playwright Harvey Fierstein? You get glitz and glam and a fabulous production, with a pair of shoes at the center of it.

The long-awaited “Kinky Boots” is now causing toes to tap at the Community Center Theater in Sacramento. It is a non-stop singing, dancing extravaganza with more sequins than may have graced the Community Center stage in years. The colors! The lights! The music! All pour out over the audience, which caught them with whoops and cheers.

The story (yes, there is one) is actually based on the true story of a five-generation family factory (W.J. Brooks) in Northampton, England. The whole town made shoes, but because of cheap imports that flooded the market in the 1980s and ’90s, many companies were going out of business and Brooks was forced to cut his staff by more than half.

Just as all seemed bleak, the current head of the factory received a call that would change his life. A fetish store in Folkstone commissioned him to create ladies’ shoes for men. Soon, Divine Footwear was born, a subsidiary of W.J. Brooks dedicated to making “kinky boots.” By 1999, the specialty shoes made up 50 percent of the company’s revenue.

(A sad P.S. to the story was that an American company dumped a big debt on Divine Footwear and they were forced to stop production.)

But proving that there is a silver lining to dark clouds, out of that story came an indie movie (non-musical) and now this amazing musical production showcasing the music of Lauper, her first-ever Broadway show, which won her a Tony for Best Musical and Best Original Score, as well as countless other awards.

“Kinky Boots,” however, is more than just the story of rescuing a factory and creating fabulous shoes. It’s about a guy who thought outside the box and took a chance on doing things a little differently. It’s about how unlikely people overcame their differences.

It’s about how two men come together and end up healing each other and accepting each other. And in the end they end up accepting themselves too.

Curt Hansen is Charlie Price, who really isn’t into shoes and who wants to break with tradition and go to London with his social-climbing girlfriend Nicola (Katerina Papacostas). But life changes for him when his father (Tom Souhrada) dies suddenly and Charlie must decide what to do with the factory, and its employees, who have been his lifelong friends.

J. Harrison-Ghee, as Lola, is a force of nature as he bursts though a shimmering curtain and joins the rest of the dancers at a seedy London club where he first meets Charlie. He inhabits the drag-queen role with every ounce of energy he has, and an assortment of gorgeous wigs and costumes. Seeing him on stage is worth the price of admission alone.

In the Fierstein-Lauper version of the story, both men are victims of failed parental expectations, which brings them a bond of understanding, beautifully highlighted in one of the show’s most moving songs, “Not My Father’s Son.”

Each man has his own signature song that comes from the depth of his pain. For Charlie it is “Soul of a Man” berating himself for not being as passionate as his father, and for Lola it is “Hold Me In Your Heart” an accept-me-for-who-I-am statement in the manner of “I Am Who I Am” from “La Cage aux Folles.”

Surrounding these two men are a host of talented actors, including Aaron Walpole as Don, the factory worker who, after a rocky start, learns to accept Lola for who she is.

Rose Hemingway plays Lauren, the girl who has a secret crush on Charlie and who is his biggest supporter when things go wrong. Her “The History of Wrong Guys” was gut-wrenching, and perhaps more lyrical than any other song in the show.

All’s well that ends well and Lola’s “angels,” a sextet of drag queens, save the day in the rousing finale, “Raise You Up”/”Just Be.”

After all, there’s no business like shoe business.

Wednesday, February 01, 2017

Becoming Dr. Ruth

Anne O’Sullivan got the audience’s attention right away.

“People don’t look at the elderly as sexual beings. … Worse, some older people don’t see themselves that way.” Since most of the people in the audience for the performance I attended had white hair, they were interested immediately.

O’Sullivan is playing famous sex therapist Dr. Ruth Westheimer in a new play, “Becoming Dr. Ruth” by Mark St. Germain, now at the B Street Theatre, directed by Jerry Montoya.

Like Julia Child (who worked for the OSS during World War II), the diminutive Westheimer has a more interesting back story than simply that of a cute little old lady who likes to talk about sex. In fact, though she delivers sexual advice throughout the 90-minute show, sex is actually the least interesting part of her story. The very last thing this show is is salacious.

The setting is Westheimer’s apartment in 1997, shortly following the death of her third husband, Fred Westheimer (to whom she was married for 36 years and raised two children). She is preparing to move across town and as the show opens, she is on the phone talking to one of the movers, to whom she ends up giving marital advice.

As the lights come up and she notices the audience, she hangs up the phone and begins talking to those watching. As she packs various items into boxes, she reminisces about them and the memories they evoke.

Westheimer was born Karola Ruth Siegel in Wiesenfeld, Germany, in 1928 into what seems to have been a close, loving Jewish family. Though not religious, she did get early training in Judaism by being taken to synagogue by her father, from whom she learned the lesson of always keeping a smile on her face and never allowing her negative feelings to show on the outside.

Her father was captured by the Nazis when she was 10 years old and taken to a labor camp shortly after Kristallnacht (“night of broken glass” when windows of stores, synagogues and homes were broken in the first night of a series of pogroms). Young Karola was sent to Switzerland under a program called Kindertransport, and thus avoided the fate of her family, all of whom eventually died at Auschwitz.

Life was not great for her in an orphanage in Switzerland and when she was 17, she moved to Palestine, where she lived on a kibbutz. She had her first sexual experience there … and liked it.
She joined the Haganah, part of the Israeli Defense Force, but because she was so short (4-foot-7) she was trained as a scout and a sniper. She was wounded by an exploding shell during the Israeli War of Independence in 1948 and it took several months before she could walk again.

The play continues to tell her experience trying to get an education in France and in the United States, where she eventually earned her teaching credential, something she had wanted all of her life.

Her first radio show ran for 15 minutes in 1980 and was immediately so popular that it expanded to an hour. The Dr. Ruth phenomenon was born, and continues to this day, where she still answers questions, but now through her website.

Director Montoya nicely moves Westheimer’s story through her apartment, designed by Alex Polzin. At all times, the audience feels like a visitor listening to a fascinating lady tell her story.

O’Sullivan honors Dr. Ruth and makes her a believable character rather than a caricature.

Some performances will have talk-backs following the show. Our talk-back featured a fascinating Holocaust survivor whose own story was as harrowing, or more so, than Dr. Ruth’s herself. By all means, stay.

Tuesday, January 31, 2017


Capital Stage’s current production of Harold Pinter’s “Betrayal” is a beautifully directed (by Janis Stevens), wonderfully acted, handsomely designed story of three people that we really don’t like very much at all.

The one-act play, which starts at the end of the story, works backwards in nine scenes to the beginning. The plot closely parallels Pinter’s own life at the time. The married playwright was in a seven-year affair with a BBC reporter, whose husband was his own best friend.

The set for this production, designed by Paul Kreutz, is very stark, but somehow compelling. It is an all-white stage with three platforms that overlap each other. A bed is suggested on the top level, with a lovely shimmering golden blanket (the only hint of color on the stage).

A table, bench and chairs are moved by the efficient stage crew from scene to scene to suggest the next locale. Three large screens stretch across the back, each showing a video that lets the viewer know the year, the season and the location. (Projections are by Russell Dow.)

As the show opens, Emma (Elena Wright) is waiting in a pub for Jerry (Chad Deverman). Dialog reveals that they have not seen each other in two years, and that they had a seven-year affair. They talk of her husband (whom she is about to divorce) and Jerry’s wife and whether the spouses ever knew of their involvement.

In the next scene we meet Emma’s husband Robert (Michael Patrick Wiles), who is the quintessential example of the British “stiff upper lip,” as he and Jerry dispassionately discuss the affair with Emma and whether they should get together to play a game of squash or not.

As the scenes move backward, we find betrayal everywhere. Emma lies to Jerry, Robert lies to Emma, Jerry lies to his wife, and to Emma. They have created the proverbial tangled web and lived it for seven years, and are still living with the consequences.

Elena Wright starts the story as a somewhat nervous yet likable Emma meeting her former lover after two years, but as their conversation continues, her need for reassurance that he still has feelings for her and her apparent willingness to give it another go gradually erase that likability and she starts to be annoying.

Costumer Gail Russell has chosen a violet palate for Elena, and in every scene she is wearing a new costume, but always in the same shade of violet, which is very becoming on her.

We don’t really start to dislike Jerry for several scenes. He seems an OK fellow, until he doesn’t. Russell has created a striking series of costumes for him, in colorful pastels that shouldn’t match, but do.

Wiles, as Robert, in contrast, is in a more nondescript costume that doesn’t really stand out, which matches his personality. Wiles does well keeping his anger quietly simmering just below the surface while engaging in polite conversation with his best friend, who is sleeping with his wife.

Graham Scott Green adds a much-needed touch of humor in his brief scene as the waiter in an Italian restaurant.

Perhaps the problem with this play is that there is no mystery. We know from the beginning how the relationship ends and there is nothing much surprising about how it begins.

The play is billed as one of Pinter’s “masterpieces,” but I much preferred his “Homecoming,” also directed by Stevens, which Capital Stage presented two years ago.

Friday, January 27, 2017

The Shape of Things

When I left the Lab Theatre in Wright Hall on the UCD campus after seeing a fine production of Neil LaBute’s “The Shape of Things,” directed by Gregory Holmes, my first thought was: “How in the world can I review this show?”

To discuss most of the plot is to destroy the discovery that audience members will make during the 90-minute one-act play.

And so I will try to be obtuse, but still give it the attention it deserves.

Taylor Church is Adam, a somewhat nerdy grad student working two jobs to put himself through school. One of his jobs is as a guard in the campus art museum.

Melissa Cunha is Evelyn, a free spirit, an art student working on a performance-art project, who has come to the museum to deface a statue she believes has been ruined by moralistic faculty members.
In trying to convince her not to use her can of spray paint, Adam finds himself attracted to her, and, despite his reticent nature, he ends up taking her out for coffee.

Out of this, a relationship begins to grow. Because of his feelings for her, so contrary to her open, almost amoral nature, he finds himself wanting to please her and begins to make improvements in himself.

The couple meet Adam’s old roommate Philip (Emile Rappaport), a brash, outspoken man who bristles at Evelyn’s ideas. They are oil and water, and an immediate animosity exists between them.
Philip’s fiancĂ©e Jenny (Kelly Tappan) is a mild-mannered, soft-spoken woman, interested in planning their upcoming wedding.

The four actors give excellent performances, particularly Cunha and Church, as they examine the meaning of friendship, loyalty, manipulation, love, betrayal and what constitutes “art.”

The scenic design of Elizabeth Kang consists of a series of white blocks, creatively assembled to represent tables, chairs and beds, each of which quite believable (who needs real furniture when you can work so creatively with blocks?)

The costume designs of Colleen Smith are particularly good, especially for what she does with Adam.
The mood is beautifully created by the lighting design of William Ebler.

As the play comes to an end, audience members will leave the theater talking about what just happened and how they feel about it.

People considering attending this show should be aware that it contains adult language and adult situations and is not suitable for children.

Wednesday, January 18, 2017

The Whale

Charlie is dying. He’s 600 pounds and housebound. He is grieving the loss of his partner Alan, and he is eating himself to death. His apartment is littered with the detritus of a diet of junk food: candy wrappers, pastry boxes, KFC buckets and a vat of some sort of sweet drink.

His COPD will take him soon — maybe tonight, because he’s having chest pains. But he refuses to go to the hospital because he has no insurance.

Charlie is the unlikely hero of Samuel D. Hunter’s “The Whale,” presented by California Stage and directed by Shawn O’Neal. The play is the recipient of the 2013 Lucille Lortel Award, Best Play, the 2013 Drama Desk Award for Significant Contribution to Theatre and the 2013 GLAAD Media Award, Outstanding Theatre.

Joel Mario Rickert gives a memorable performance as the reclusive Charlie, who teaches writing courses over the internet — but doesn’t use a webcam because he doesn’t want to be seen.

The most important person in his small circle is Liz (Melita Ann Sagar), a nurse, who visits every day, brings food, takes his vitals, and tries to encourage him to go to the hospital. They have known each other for many years and truly like each other.

But it is Elder Thomas (Thomas Dean), a young Mormon on his “mission” who makes the biggest impact. Fortuitously catching Charlie in the middle of one of his spells, he helps quiet the pain and get him back on track. He wants to tell Charlie about Mormonism so that he can be redeemed before his death. Elder Thomas, though filled with Mormon zeal and that fresh-faced missionary smile, is hiding his own secrets, we will learn later.

Along comes Ellie (Soren Lipman), who is Charlie’s rebellious 16-year-old daughter, from a brief marriage to her mother Mary (Aviv Hannan). Charlie has not seen the girl in 14 years, since he left her mother for Alan, but she keeps him up to date on the girl’s progress. Ellie has tracked him down and wants to meet him. She finds him disgusting, yet at the same time fascinating. She stalks out in anger many times, but she keeps coming back.

Despite the many obvious potentially negative aspects of this play, it is a surprisingly uplifting story of love, truth, raw emotion — and maybe redemption. No, Charlie is not converted. No Ellie does not fall into his arms and tell him she loves him. But it’s all OK in the end.

Charlie is a gentle, sensitive soul, beaten down by his circumstances, who affects those around him and who, conversely, is affected by them as well. There are wonderful conversations about Mormonism (it does not come out untarnished), parenting and taking control of your life.

This is an unusual play, but unique and one that is likely to stay with the viewer for a long time to come.

Tuesday, January 17, 2017

Beauty and the Beast

It’s a tale as old as time: She’s the daughter of the crazy old town inventor, ridiculed by the townsfolk for her bookishness and her dreams of finding her prince charming. He’s a prince with a curse on his head, hiding his hideous form away in a creepy old castle, feared by the townsfolk because he’s “different.” Spoiler alert — the two outcasts find each other, fall in love, and live happily ever after.

“Beauty and the Beast,” directed by Angela Baltezore, with musical direction by James C. Glica-Hernandez and choreography by Staci Arriaga and Eva Sarry, has waltzed onto the stage of the Woodland Opera House, there to enchant any in the audience who allow themselves to be swept into the story.

At the outset, I must give great kudos to set designers Mark and Christine Deamer, surely the best purveyors of trompe l’oeil in the area. One should carefully examine the set for Belle’s town to see what I’m talking about!

Dalton McNeely is the Beast, under a spell by a sorceress for being rude to her. He is turned into a hideous beast and all of his castle staff are slowly turning into household objects. The spell can be broken only if he learns to love — and if someone loves him in return.

Crissi Cairns is Belle, the spunky heroine who, to save her father, agrees to live in the castle of the beast forever. While she does not have a powerful voice, she has a clear, true soprano and her growing affection for the beast was touching.

McNeely could not have been more perfect as the Beast. His size made him impressive and, clad from head to toe in beastliness by costumer Denise Miles, he was a ferocious sight to see. However, watching him discover that he has feelings for Belle was lovely and when they waltz around the stage, it made the hardest of hearts melt. His first-act finale, “If I can’t love her” was a high point of the evening.

The town hunk is Gaston (Daniel Silva) who is the most handsome man in the world (according to him) and he wants to marry Belle, whether she wants him or not. Silva is suitably Trumpish in his self-grandiosity.

As his sidekick/flunky, Lefou, Eddie Voyce was appropriately subservient, but I wish they could have tamed his hair a bit.

Richard Lui is Maurice, Belle’s father, the crazy inventor who wanders off into the woods and gets lost  and then captured, at the Beast’s castle.

The Beast’s household staff always steal this show. Darryl Strohl-DeHerrera played Lumiere with the proper degree of foppishness and pulls it off despite having his arms raised above his head holding candles throughout.

Then there is Cogsworth (Erik Catalan), who is turning into a clock and dear Mrs. Potts (Kara Cummins), the teapot, with her little son Chip (Severin Sunshine Morena), a disembodied head on a tea cart. All were delightful. Morena sings the title song and it is lovely.

Jaelle LaGuerre is Madame de la Grande Bouche, the former opera singer becoming a Wardrobe, while adorable Franchesca Sonoyoma flits around the house as Babette, the flirty feather duster.

After the Beast allows Belle to return home to see her father, the town calls Monsieur D’Arque, of the local insane asylum, to commit him because they all feel he is crazy. Andy Hyun outdoes himself in his gleeful evilness.

This is a show that will amuse and delight children and adults alike, and at its end you will believe that miracles do happen, people can live happily ever after, and that inner beauty can tame the beast.

Monday, January 16, 2017

The Christians

Kurt Johnson, Darian Dauchan and Greg Alexander perform in
B Street Theatre's production of “The Christians.”
Rudy Meyers Photography/Courtesy photo

If you are Jewish, Muslim, Buddhist, atheist, or any other non-Christian religion or non-religion, you might want to steer clear of B Street’s new show, “The Christians,” by Lucas Hnath, hailed by the New York Times as “one of the freshest play-writing voices to emerge in the past five years.”

The show was apparently the break-out hit of the 2014 Humana Festival of New Plays in Louisville, Kentucky, and has received good reviews Off-Broadway and all across the country.

Though it more than meets the promise of “powerful and thought-provoking,” the piece assumes that everyone accepts the divinity of Jesus Christ and follows the teachings of the Bible.

Pastor Paul (Kurt Johnson) is the head of a church (presumably non-denominational since no specific religion is mentioned), which has grown from a small group into a megachurch, ministering to thousands of believers. He has the smoothness and likeability of a Joel Osteen. He has just paid off the final debt for this beautiful edifice, he announces.

The edifice is, indeed beautiful. Scenic designer Samantha Reno has created a beautiful church altar, with a huge stained-glass window behind a golden arch and side choir stalls in which a dozen unnamed choristers add to the authenticity as they sing several hymns.

There is a lot of talk about emotional distance between the pastor and his flock, only heightened by the use of hand-held microphones throughout the show, even in intimate scenes between the pastor and his wife (Margaret Laurena Kemp).

In an overly long sermon, which began to feel like real “church,” Paul examines an emotional struggle he has been having after hearing a missionary describe a particularly painful experience of violence following a car bombing. After much prayer and study, Paul began to question the concept of “hell” and whether there really was a “hell” that was designed for all non-believers (e.g., Jews, Muslims, Buddhists, etc.) He declares that from now on, his church rejects the concept of hell and would be all-inclusive.

This sets off a terrible division in his congregation, led by associate pastor, Joshua (Darian Dauchan) who adheres to what he believes is the strict interpretation of the scriptures.

Representing the congregants who are upset by the new thinking is one of the choristers, Jenny (Tara Sissom) who asks pointed and very difficult questions about the loss of hell and what that means for people like Hitler. When she dies, will she be in heaven with Hitler?

At first Paul’s financial backer Jay (Greg Alexander) stands by him, but as more and more congregants leave the megachurch to follow Joshua to his newly formed church, Jay also withdraws his support.

Discussion between Paul and wife Elizabeth is very painful and reveals not only cracks in religious beliefs, but in their marriage as well.

There are good dialogs going on in this show, but more and more I began to wonder if there were any non-Christians in the audience and how they felt about it, and I almost felt embarrassed to be sitting there ignoring other religions.

Friday, January 13, 2017

I Love You, You're Perfect, Now Change

From left, David Crane, Melinda Parrett, Jennifer Morrison and Jake Mahler star
in Sacramento Theatre Company's "I Love You, You're Perfect, Now Change.”
Charr Crail Photography/Courtesy photo

 “I Love You, You’re Perfect, Now Change,” by Joe DiPietro and Jimmy Roberts, is now on Sacramento Theatre Company’s Pollock Stage, directed by Jerry Lee.

This is a show that ran for 5,000 performances off Broadway from 1996 through 2008 and has been a favorite of small theaters around the country ever since. It has been translated into more than a dozen languages.

It is a pleasant “boutique musical” — a term used by STC Education Director, Michele Hillen-Noufer — which is guaranteed to appeal to white, older, married empty-nesters. For other demographics, perhaps not quite so much.

The show, while dated, is a celebration of the mating game. Act 1 explores the journey from dating and waiting to love and marriage, while Act 2 reveals the agonies and triumphs of in-laws, newborns, trips in the family car and pickup techniques of the geriatric set.

The cast consists of two men and two women. Melinda Parrett, frequently seen at B Street Theatre, has performed with STC twice before, but it is a debut performance for Jake Mahler, David Crane and Jennifer Morrison (so poignant in Green Valley Theater’s recent “Last Five Years”), all of whom are wonderful additions to the STC family.

The four are accompanied by Samuel Clein (alternating with Chris Schlagel), conductor and keyboard, and Annie Coke on violin.

The actors rotate through the approximately 20 roles in the show, from angst of the first date …

Will my hopes be met? Will my fear dispel?
Will I captivate? Or will I repel?
Will I show him/her just how wonderful I am?
Or will I be a date from hell?

… through marriage and the problems of finding intimacy when there are children in the house, all the way through trying to find a mate after a messy divorce, using a dating service (Parrett is very funny trying to figure out the new technology) and finding another partner following the death of the first, though each still loves the departed spouse.

Girl: Arthur, there is something I have to tell you, when it comes, to you know, I’m not the type of person who jumps in bed like an acrobat, it takes time with me,
Guy: Uh oh.
Girl: That’s a problem?
Guy: Depends, how much time you talking, cause if you’re talking years I don’t think either of us has that long.
Girl: I was talking a few weeks maybe,
Guy: No matter, I can live with that.

The scene is a less funny and more poignant moment that will touch the heart of those of us “of a certain age” who have attended too many funerals lately.

The longevity of this show is proof of its popularity, and with a load of talent like Mahler, Parrett, Crane and Morrison, along with Jerry Lee (who was in the show when STC did it in 2012), it can’t help but be another hit for the company.

Wednesday, January 11, 2017

42nd Street

Add cErnestine Balisi as Peggy Sawyer and Nathan Lacy as Julian Marsh
perform in the Davis Musical Theatre Company's production of “42nd Street.”
Fred Gladdis/Enterprise photo

 If you like tap dancing, you’re going to love Davis Musical Theatre Company’s sparkling new production of “42nd Street,” directed by John Ewing, with choreography by Terri Taylor.

This formulaic Depression-era story of a girl from the Midwest arriving in New York, determined to become a star, was first a Busby Berkeley movie vehicle for hoofer Ruby Keeler in 1933, with a book by Michael Stewart and Mark Bramble, lyrics by Al Dubin, and music by Harry Warren.

In 1980, David Merrick decided to bring the story to Broadway, under direction of Gower Champion. The stage version used only four of the songs from the original movie version and added songs from other musicals of the 1930s. The end result was nominated for several awards in 1981 and won a Tony for best revival in 2001.

The central figure of the story is Peggy Sawyer, played by Ernestine Balisi, with a sparkle in her eyes and a big Mary Tyler Moore smile. Peggy almost never loses her conviction that she can be a star and it’s hard to believe that nobody involved with casting can see that she’s a bundle of talent.

Wendy Carey is the aging diva, Dorothy Brock, who no longer has the talent she used to when she was the darling of Broadway. Though she has the belting ability of an Ethel Merman, they now have to get the chorus to dance around her to hide the fact that her steps are no longer up to par. Carey gives the role her all, and her final message of encouragement to Peggy is touching. (“Now go out there and be so swell that you’ll make me hate you!”)

Randal Costa and Monica Parisi play Bert and Maggie, the writers of the show, who step into the chorus when necessary. Parisi has the mannerism and voice of one of those old show-biz dames who have been around Broadway forever.

Kyle Jackson is Billy Lawler, the leading tenor with whom there is a hint of a romance with Peggy. Though the actor is 22 years old, he seems younger and the chemistry often appears forced. He has a fine voice, though had problems with his voice cracking on high notes on opening night, which contributed to the feeling that he is younger than the role called for.

Steve Isaacson had great fun as Abner Dillon, the Texas gazillionaire, sugar daddy to Dorothy. It’s the kind of role Isaacson loves to play and does so well.

But the standout performance was by Nathan Lacy, as Julian Marsh, the famous but acerbic director, who eventually sees the talent Peggy has and pushes her to the limits to step into the starring role after Dorothy has an accident. He gives her a pep talk when she gets nervous: “Two hundred people, two hundred jobs, two hundred thousand dollars, five weeks of grind and blood and sweat depend upon you. It’s the lives of all these people who’ve worked with you. You’ve got to go on, and you’ve got to give and give and give.”

Surely that’s enough to calm her down! “You’re going out a youngster but you’ve got to come back a star!”

When Lacy sings his signature song, “42nd Street,” it’s a show-stopping moment. The voice that was so memorable in the recent “Man of La Mancha” blew everyone away.

If there is anything negative to say about this Julian Marsh it is that his gray hair and the obvious age difference between him and Peggy make the one emotional moment between them a little creepy, where it would not have been with a more age-appropriate actor.

Perhaps the best part of this show is the nearly nonstop tap dancing. Choreographer Taylor has worked her chorus extremely well and there is nothing more thrilling than a stage full of tap dancers.

Someday, I hope DMTC finds its own sugar daddy so that when it does one of these better-than-average musicals, it can afford the sets to give it the look it deserves. The company does well with minimal sets, but oh for a bit of glitz and glam!

Monday, January 09, 2017


Dean (Meili Monk) lashes out at Josh (Ari Wilk) in the Acme Theatre Company
production of "Pronoun," on stage through this weekend.
Fred Gladdis/Enterprise photo

 He or she? Him or her?

We rarely think about pronouns as we speak to each other or about each other, but in “Pronouns” — the new play produced by Acme Theatre Company and directed by Emily Henderson — we are forced to think about the great meaning such simple words have.

This play, by Evan Placey, was commissioned as part of the 2014 National Theatre Connections Festival and premiered by youth theaters across the United Kingdom. It was written especially for young actors.

It tells the story of Dean (Meili Monk), a female-to-male transgendered teen in the middle of transition, trying to work through all the trials and tribulations, to say nothing of the hormonal effects of this change. While the issues that transgendered people, especially young people, encounter are many, this play focuses primarily on the interpersonal relations and how his transition affects not only Dean, but also his intimate circle of family and friends — his parents (Benton Harshaw, Sarah Thompson), his sister (A.J. Zaragoza-Smith), and his friends, especially Josh (Ari Wilk), his former boyfriend, who is still in love with the girl he dated for so long.

Dean’s idol is James Dean (Grey Turner), who appears in Dean’s fantasy life and gives him pointers on how to move and behave as a man.

While this is a serious work, comic relief is offered by Josh’s best friend Kyle (an exceptional performance by Ryan Johnson) and his girlfriend Amy (Cassidy Smith), who are planning the most ill-advised wedding you can imagine, arranged by Amy’s best friend Laura (McKella vanBoxtel).
There is also a comic touch added by the ensemble (Cory McCutcheon, Gracelyn Watkins and Megan Abbanat), who become school board members, doctors and any other group that Dean is likely to encounter.

Monk gives a wonderfully nuanced performance as Dean. The actress’ hair is a bit of a difficulty in portraying the transgendered young man, but by the second act, we have become accustomed to it and she is more believable as a he. His impassioned speech to the school board on the subject of tolerance vs. acceptance is powerful and embodies the whole point of the play.

It is a little confusing trying to figure out why the playwright put a man in the role of Dean’s mother and a woman in the role of his father, but Harshaw and Thompson do well as the estranged couple, tolerant of their daughter’s transition but confused by using the male pronoun to refer to him. Their own transition, switching costumes on stage to revert to the proper genders, is one of the most impressive scenes in the play, thanks in great part to Wilk’s lighting design.

As I say in almost every Acme production, this company always has projection problems, even in a theater as small as the Pamela Trokanski Performing Arts Center, so some crucial dialog may be swallowed. If all of them projected as well as Johnson and McCutcheon do, it would be a much more successful production.

But projection issues aside, this is an important production discussing an issue that rarely gets such a sensitive and understanding treatment. It’s the kind of show that Acme does best.

There will be a talk-back after each performance, with director Henderson and a panel of four or five members of the cast, as they explain how they prepared for the show and answer questions from the audience.

(And as an aside, anyone confused by the growing label LGBTQAI, it stands for lesbian, gay, bisexual, transgender, questioning, asexual and intersex, which should cover every possibility!)