Evita (Feature Article)

Eva Peron, C 1949

“She was rancorous, revengeful, foul mouthed, low class, not in the sense of money, but in spirit.  She was really a resentful person.  If she didn’t like someone, she was very mean to them.”

Marta Induni, whose granddaughter Jackie is part of the cast of Davis Musical Theater Company’s “Evita” pulled no punches in expressing her feelings about Eva Peron.  Induni is a native of Argentina and came from a very “politically aware” family.  She was 15 when Juan Peron’s wife died so has many memories of her years as the first lady or Argentina.

“It was a very bad time,” she remembers.  “It was the triumph of the mob.  Sometimes they did some things for some people that helped them so there were lots of fanatics who really loved them and admired her.”  She recalls that though Eva had been an actress, appearing in bad movies prior to her meeting with Peron,  the movies were all confiscated after she became the first lady of Argentina.

“She had absolutely no taste but they got very good people to make her look presentable.  All her clothes were from Dior.  She had good features but she was not a beauty.  She was the lady of hope, like she was the virgin Mary or something like that.  But she was a whore.”
                                               
Induni is one of a handful of people from Davis’ Latin America community who are involved with the upcoming DMTC musical (Coury Murdock from Nicaragua is playing Che Guevara and George Morales of Honduras, a member of the ensemble, are two others.  Daniel Silva, the concertina player, is learning the bandoneón, a particular type of concertina popular in Argentina, by Skype from a woman in Argentina).  Induni feels the musical may glorify the Perons, but she thinks it has beautiful music and she was surprised at how accurately Buenos Aires, and the class distinctions of that time were portrayed in the movie.

Patricia Maccari, another member of the ensemble, grew up in Argentina and moved to Davis with her husband in 1999. She understands the Peron era from both sides because her mother’s family were among the poor who got the worst of the Peronistas and her father’s family lived in an industrial area which benefitted from the policies of Juan Peron.

“My dad’s side worked with iron and metal.  They had their own workshop at the back of the house.  My aunt remembers Peron and Evita’s visit to Mendosa, the area where they lived, which is a very productive industrial province.  (The wine industry is big there.)  Peron would build complete neighborhoods and would give the workers all these benefits.  So that side of the family supported him.  My grandfather was one of the workers who enjoyed the benefits of the government.”

In the musical, Che Guevara (whom Eva never met) is the one to point out all of the duplicity of the administration.

“He’s a metaphor for the far left people,” said Induni.  “Peron sometimes did things that weren’t so bad, so it was hard for a very left wing person to oppose them, but at the same time he was a Nazi.  It was a very strange combination of things.”

Jan Isaacson has done extensive research on how the Tim Rice-Andrew Lloyd Webber musical came to written.  “It was really more Tim Rice,” she explained, saying that at the time Lloyd-Webber was busy with a musical version of Jeeves and Wooster with Alan Ayckbourn and came late to the Evita project.  She explained that he initially planned to tell the story from the viewpoint of Evita’s hairdresser, until he thought Che Guevara would be more interesting than some unknown hairdresser.

Elaine Paige, the original Evita, said that the role changed her life.  “Eva was a wonderful actress: strong, forceful, but with a vulnerable side.”

The vulnerable side was particularly apparent in her last days, Induni remembered.  “Peron exploited her to the end.  She was practically dying and he was on one occasion in a convertible and she was standing there with a fur coat and looked like a ghost.  He was passing her around when she was dying.”

She remembers seeing reports about Eva’s death.  “I was in high school when she died.  They announced her death and they embalmed her body and put the glass-topped coffin in the lobby of the Labor Department building.  All state employees had to go, like it or not.  There were long queues of people. People sincerely wanted to see her.  Each time somebody came to kiss the glass that covered the coffin, there was a nurse with some cotton and alcohol cleaning for the next kiss.”

When I asked Induni whether her family went to see her, she scoffed and said certainly not.

Love her or hate her, there is no denying that Eva Peron, at one time called the most powerful woman in the world, was a force to be reckoned with and, thanks to Tim Rice and Andrew Lloyd-Webber, it appears that her legend may live forever.

Third Date

THE THIRD DATE actor Gary Weinberg

When you hear that there is going to be a whole show about prostate cancer, it may give you pause. Surely not the way you want to spend an hour and a half of your life.

However, “The Third Date” by Robert Lautz is not a depressing show about a disturbing subject. Along with the inevitable poignant moments and a lot of information about prostate cancer there are also a lot of laughs because, let’s face it, cancer can be funny. Really! It’s what gets us through the really rough times. This is a witty, revealing and enjoyable play. Trust me.

This one-man show, directed by Maggie Adair Upton, is part of two new plays being presented at the Wilkerson Theater as part of California Stage Theater Company’s “Sac Solo Series 4.” (The other is “Sleeping in the Middle of the Bed,” written and starring Richard Winters.)

This the second play by playwright Lautz, a former Davis resident whose “The Meaning of it All” premiered at the Wilkerson Theater three years ago. At that time I said that it was a promising start and that I hoped it would not be another five years before we see more from Lautz.

Lautz took that as encouragement. Using his own experiences as a cancer patient, and working with dramaturge Lauren Sullivan, he has improved upon his freshman entry and is solidly in his sophomore year as a playwright.

Gary Weinberg plays Richard Montauk, a successful advertising man whose life is thrown into turmoil when he is diagnosed with an aggressive form of prostate cancer. He’s kind of an unlikable male chauvinist pig whose wife has divorced him, but who, at the start of the play, is at the beginning of a possible new relationship and is uncomfortable, not quite knowing what could happen.

He then takes us back through his diagnosis, his endless treatments, his medications, his fights with the insurance company, the frustration with doctors. It’s a no-holds-barred journey which includes the dreaded digital prostate exam, the colonoscopy and endless humiliating procedures (as a woman who has gone through several pregnancies, I took fiendish glee seeing a man put in those compromising positions that we know all too well!)

There is no pussy footing around with terminology either. He calls a penis a penis. Many times. In fact, at one point he reads a whole bunch of colloquial euphemisms for that appendage, similar to the list for “vagina” in “The Vagina Monologues.”

There is helpful information to be had too, like the fact that chemotherapy kills testosterone and that if a man ever hopes to function sexually again, he must take Viagra every night, not for sexual performance, but to ensure that he will continue to have nocturnal erections which will keep his musculature in shape.

Women will also identify with his reactions to hot flashes, another side effect of the chemotherapy.
At the end of his treatment, he is broken, physically and emotionally and ready to re-examine his life and decide how to reshape it in order to become a better person.

Weinberg gives a marvelous performance in a 90-plus-minute piece that is loaded not only with the day-to-day thoughts of a cancer patient, but also a lot of technical information and jargon. Director Upton has cleverly used the device of Montauk referring to his journal to read the audience bits that he has written during his journey … it is obvious that it gives actor Weinberg a chance to remember where in his delivery he is, but it works and is a forgivable crutch, given the amount of material he is dealing with.

Weinberg was also dealing with a sweltering theater at the premier performance. Though the air conditioning worked at the start of the play, by the end of it, everyone in the audience was fanning themselves and Weinberg had sweat pouring off his face.

I sometimes think that the California Stage organization and its three theaters are some of the best theater in Sacramento that nobody has heard of. The small Wilkerson Theater had fewer than 25 people in the audience for its opening performance, which is a shame, as this is a good play with an important message and should have a wider audience.

One additional note: The play is dedicated to Cathy Manzano, a “Birch Lane Mom” who lost her battle with breast cancer in 2009.

“The Third Date” runs Saturdays only (matinee and evening performances) through July 4.

The Explorers Club

(from L to R) David Silberman, Greg Alexander, Dave Pierini, John Lamb,
Jason Kuykendall, Stephanie Altholz

An outrageously funny comedy has them rolling in the aisles at the B Street Theater in Sacramento.

“The Explorers Club” by Nell Benjamin is tautly directed by Buck Busfield assisted greatly by Technical Director Steven Schmidt and Scenic Designer Meg McGuigan.  There isn’t a noticeable false movement or shaky piece of equipment in the play, which is key to its enjoyment.

Jason Kuykendall is Lucius Fretway, the acting president of the Explorers Club, a good old boys’ club of 1879 London.  Lucius wants to propose Phyllida Spotte-Hume (Stephanie Altholz) for membership as she has recently discovered the lost city of Pahatlabong and is set to present to Queen Victoria a member of the NaKong tribe (looking for all the world like an escapee from Blue Man Group–or a Smurf).  Lucius feels this qualifies her for admission to the Club, which has never had a female member. 

(The Royal Society, which debuted in 1660 did not admit a woman until 1945, Canada’s Royal Society barred women until 1938 and France’s Academy of Sciences would not elect a woman to full membership until 1979, even blackballing Marie Curie).

Lucius’ proposal rocks the membership - Professor Sloane (David Silberman), a biblical archaeologist who has proof that ancient Jews migrated to Ireland and that all Irishmen are really Jews; Professor Cope (Allen McKelvey), a herpetologist with a beloved snake named Rosie; and Professor Walling (Greg Alexander), obsessed with his pet guinea pig.

Phyllida’s wild tribesman has a name too long to pronounce, so she has called him Luigi (after a former boyfriend) and rewards him for proper behavior with treats, much like one would a dog.  John Lamb’s performance steals the show and would be worth the price of admission alone, were it not that the rest of the cast is so perfect as well.

It is clear that Lucius is in love with Phyllida.  He has, after all, named a plant after her, but any hopes for a romance are dashed by the return of the club’s rightful president Harry Percy (David Pierini), a larger than life explorer who claims to have just discovered the “east pole,” and who takes an instant shine to the woman and, unlike Lucius, is not shy about letting her know his feelings.

The action in this farce is rapid fire and unrelenting.  Delivery of drinks from the bar, by Luigi, who fills in for the missing bartender after his disastrous introduction to Queen Victoria sparks an international incident, is hilarious.

Winston Koone is Bernard Humphries, secretary to the queen, come to the Explorer’s club to capture the offending Luigi and Eason Donner is Beebe, an explorer whom Percy abandoned and left to the natives, returning to exact revenge.

Outside there are angry crowds representing several different groups who have bones to pick with someone inside...or with each other.

Don’t attempt to make sense of any of this, just relax and enjoy the laughs which are non-stop.

Meg McGuigan’s set is gorgeous, giving a real feel of one of those wood-paneled men’s clubs, with overstuffed furniture, Persian rugs, and trophies on the wall, where stuffy old men go to share brandy and cigars without the intrusion of the fairer sex.

Paulette Sand-Gilbert adds authenticity with her beautiful costumes, particularly the Navy costume for Harry Percy (which he admits he had worn in a production of “H.M.S. Pinafore.”)

This show takes you prisoner from the first line and does not let go until you are weak from laughter two acts later.

My Fair Lady

From left, William Parry as Colonel Pickering, Glory Crampton as Eliza Doolittle and Paul Schoeffler as Henry Higgins perform in “My Fair Lady,” produced by Music Circus at the Wells Fargo Pavilion through June 14.
Charr Crail/Courtesy photo

Alan Jay Lerner and Frederick Loewe’s “My Fair Lady” is the lead-off to another fun Music Circus season. (It will be followed by “Big River,” “Bye Bye Birdie,” “Peter Pan,” “West Side Story” and “Hair.”)

This production is directed by Glenn Casale, who also directed “My Fair Lady” at Music Circus in 2001.

Based on George Bernard Shaw’s “Pygmalion,” this popular classic tells the story of Henry Higgins, a self-centered, overbearing linguist who claims to be able to take a flower girl from Covent Garden, give her lessons in grammar, elocution and etiquette, and in six months pass her off as a lady of refinement at an embassy ball (or make her qualified to be a lady in a flower shop, which is even more difficult).

Paul Schoeffler (reprising his role from 2001) is a strong and powerful Higgins, the Music Circus sound system sometimes at such a level that it was almost painful. Nonetheless, he turns in a masterful performance and is at his best, perhaps, in his final song, “I’ve Grown Accustomed to Her Face.” He first expresses his anger that Eliza has left him, and then realizes how much he has come to care for her and how much he will miss her.

Making her Music Circus debut, Glory Crampton, who played Eliza under Casale’s direction in Pittsburgh, has a gorgeous voice and is believable both as the raggedy flower girl and the elegant lady. Her “I Could Have Danced All Night” was a particular delight as she revels in the joy of finally having “got it” and celebrating with Higgins and his pal, Colonel Pickering.

Under Casale’s direction, Eliza’s first correct pronunciation of “The rain … in Spain … falls mainly … on the plain” is halting and unsure; she gains confidence the more she repeats the phrase correctly. Casale’s Eliza did this in 2001 as well and it reads more accurate than the smooth versions we see in other productions.

William Parry is Colonel Pickering, a fellow linguist who joins together with Higgins to pay for Eliza’s lessons and insist that she be treated with respect. It is because of Pickering, ever the gentleman, that Eliza learns how a lady should be treated, not just how she should behave.

Eliza’s father, the irrepressible Alfred P. Doolittle, is played deliciously by Stephen Berger. Doolittle, who attempts to sell his daughter to Higgins, later believes Higgins has ruined his life by mentioning him as one of the most noted spokesmen on middle-class morality of this country to an American billionaire, who leaves the dustman a sizable inheritance.

Doolittle has two outstanding numbers in the show, “With a Little Bit of Luck” and “Get Me to the Church on Time.” Both showcase choreographer Bob Richard’s work at its best.

The character of Freddy Eynsford Hill, played by Jason Forbach, has got to be one of the sappiest characters in musical theater history. All he has to do is hang around Higgins’ house and moon over Eliza, with whom he fell instantly in love when he met her at Ascot.

He sings “On the Street Where You Live” many times, fully and in segments. Fortunately, Forbach has a magnificent voice, but I’ve always felt kind of sorry for poor Freddy.

Shannon Stoeke plays Professor Zoltan Karpathy, a former student of Higgins who now uses his learned talents “more to blackmail and swindle than teach.” Higgins’ triumph is Karpathy’s report on this mysterious Miss Doolittle’s real background.

Toni Sawyer plays Mrs. Higgins, Henry’s mother, who takes a liking to Eliza and cheers her on when she finally has the gumption to stand up for herself.

Mary Jo Mecca is a steadfast and loyal housekeeper, Mrs. Pearce.

Marcy Froehlich is credited with costume design and the costumes are magnificent, particularly Eliza’s ball gown. But the real standout of the costumes are for the Ascot Races scene, perhaps the most famous scene in the play. The dresses are wonderful, the hats amazing.

But it is sad that the audience gets to really see only half of them, since the characters kind of mill around the stage while singing. How much better it would have been to make use of the Music Circus’s mechanical turntable — they have it, why not use it? — so that the costumes pass by all sections of the house, allowing all in the audience to fully appreciate each of them.

I also take issue with the fact that the characters freeze when watching the race, but nobody moves, no heads turn as the sound of hoofbeats pass by. You would think that each character is interested only in the split second that the horses pass where he or she is standing and not in the actual outcome of the race.

The finale of the show is very slightly different from the original, and a wonderful change in staging, which shows how much self-confidence Eliza has gained in the past six months. Bravo on a very slight but significant improvement.

The Heart of Robin Hood

Maid Marian and her clown Pierre run away to the forest and attempt to join Robin Hood's gang of Merry Men in Acme Theatre's “The Heart of Robin Hood.” From left are Much Miller (Camila Ortiz), Robin Hood (Benton Locke-Harshaw), Maid Marian (Callie Miller), Pierre the clown (Wil Forkin), Wil Scathlock (Tina Simpson) and Little John (Aaron Hirst). Courtesy photo

Was there ever a more perfect play for a bunch of exuberant adolescents than “The Heart of Robin Hood”? Written by David Farr and directed by Emily Henderson, the production is this year’s gift to Davis by members of Acme Theatre Company, with free performances set on the Davis Arts Center stage through Monday.

Everyone knows the story of Robin Hood, right? Lovable rogue running through Sherwood Forest with his band of Merry Men, robbing from the rich to give to the poor. Wikipedia lists 68 movies either about Robin Hood or featuring Robin Hood, dating back to 1908. (They say the best of all the movies was the 1938 version featuring Errol Flynn.)

There are movies made in England, Italy, Germany, Russia, India and Japan. There are animated films, including one featuring Tom and Jerry, and another one starring vegetables.

In his “The Heart of Robin Hood,” Farr puts his own spin on the story, borrowing from Shakespeare now and then, and making it a rollicking good time. The cast members were always in motion, making use of the whole area, including the trees and the grassy hill (no need to build a prop tree when there is a real tree growing out of the stage that can be climbed!).

There were umpteen sword and/or stick fights (kudos to fight director Dan Renkin), and everybody, on and off stage, looked like they were having a marvelous time.

This is more of a feminist version, where Robin Hood (Benton Harshaw) really is an outlaw, who robs from the rich … and then keeps what he gets. But it is Marian (Callie Miller), the bored princess who is looking for adventure, who goes into the forest with her friend Pierre/Peter (William Forkin) disguised as a man (Martin of Sherwood) who helps Robin find that he really gets more satisfaction from helping the poor. (He also learns that girls aren’t so bad after all.)

Forkin has a big role, as play announcer, castle jester and Marian’s best friend. He is flamboyant as Pierre, and brave as his alter-ego, Peter.

Miller has an awful lot of on-stage time and she just gets stronger as the play progresses. She also does surprisingly quick costume changes. (It always amazes me how you can put on a hat and suddenly nobody recognizes you!)

Likewise, Harshaw is more like a big kid playing with his friends (Aaron Hirst, Tina Simpson and Camila Ortiz), but as things get more serious, he becomes more adult and responsible and, of course, his reward for that is the hand of the princess, once she takes off her hat and he can recognize her.

The man you love to hate is Colin French as the sleazy Prince John, determined to wed Marian before her father (Noah Papagni) can get home to stop the marriage. He’s deliciously evil at every turn.

Eliza Buchanan plays Alice, Marion’s social climbing sister who wants to marry well, and the more titled the better. Buchanan’s performance sneaks up on you and you suddenly realize what a very good actress she is.

Trevor Rinzler and Sky Falyn play siblings Jethro Summers and Sarah Summers. I’m not sure if Rinzler is old enough to be in Acme yet. Falyn definitely is not, but both of them were extremely good as the children of a man ultimately hanged for non-payment of taxes. Their dog Plug (Sarah Zaragoza-Smith) gave the perfect salute on the death of Prince John’s hitman, Guy of Gisbourne (Ricky Houck).

“The Heart of Robin Hood” is fast, fantastic, fabulous fun, presented by a group of young actors who know just what they’re doing. They give the audience a simply splendid time.

Temperatures were cold on opening night, so dress warmly, but Acme also has blankets to lend if you need them. There is a pre-show barbecue, and at intermission there are cookies and hot chocolate for those who want them.

Dan Renkin (Feature Article)

Benton Locke-Harshaw as Robin Hood, crouching; Dan Renkin, fight choreographer;
and Callie Miller as Maid Marian rehearse for the Acme Theatre Company
production of "The Heart of Robin Hood," set for Memorial Day weekend. Renkin,
a Davis High School graduate now working in New York theater,
flies home every year to teach young Acme actors
realistic-looking sword-fighting skills.
Courtesy photo

When Robin Hood’s merry men engage with the Sheriff of Nottingham’s posse in Sherwood Forest this weekend, you can be sure that their swordplay will be a) realistic and b) safe.

This is due to fight coordinator Dan Renkin, a Davis High School graduate now working in theater in New York, who has returned to his hometown every year for the past six years to work with the young actors of the Acme Theatre Company to teach them the fine arts of stage fighting and handling those unwieldy swords.

Acme will present “The Heart of Robin Hood” Friday through Monday at the Davis Arts Center. The free production is its annual gift to the community as thanks for local business and community support of the company for high school-aged thespians.

Renkin never imagined he would have a career in theater, much less in New York. In fact, his whole career was really a series of fortunate accidents.

He remembers that as a young kid he enjoyed the productions of the Sunshine Children’s Theater, but didn’t get involved himself until some friends were doing a summer show with Acme at the Pence Gallery.

He came into the production late, but “they said ‘you can be one of the people we’ve never seen before for the funeral scene at the end.’ And so I got to stand around thinking ‘I’m not sure what I’ve gotten myself into, but this is really fun!’ ”

He graduated from Davis and headed off to UC Irvine to get a liberal arts degree “because that’s what we do in my family,” but in his second year, he realized he really missed doing theater.

“I wonder if they do that here,” he thought.

Renkin found an active theater program and began getting involved. He was also taking film classes on the side.

“Then there was a moment when I realized I had screwed up and had accidentally taken the first two quarters of the theory class that was required for the film major, but not for the minor,” he said. “There was no reason not to go ahead and get a second B.A. in film. I had no idea what was coming next.”

What came next was the recommendation of a friend who was working at the New York Conservatory.

“She spent a year on the phone with me saying ‘not only is this a really good program, but this would be a really good place for you.’ ” And so he went to New York.

He enrolled in the Circle on the Square Acting School and felt right at home immediately when the first person he met when he entered the building was Paul Shapiro, a fellow graduate of Davis High School. (Renkin later would collaborate with another DHS graduate, Ari Kreith, who runs Theater 167 at Manhattan’s West End Theater.)

“One of the teachers was B.H. Barry, the first fight director ever to win a Tony and the man credited with the birth of fight directing in America,” Renkin recalled. “He taught stage combat, which I had a little smattering of in undergraduate (days), just enough to convince me that it was not meant for me. I’m not athletic.

“But his teacher had been Errol Flynn’s stunt double, so he had certain standards for how you perform. All his drinking buddies and peers were people like Harold Pinter, writing very earthy, kitchen-sink stuff, not like Noel Coward, and he wanted to figure out how to make the fights natural like that.”

Barry found that he would treat fight scenes the same way he would treat them as an actor. It was easier to stage and the actors could remember it better; they also performed it more convincingly because they owned it.

“It became kind of an existential thing. And that made sense to me,” Renkin said. “That’s when the thing that was most terrifying to me became fun. When someone is quite literally the most skilled in the world at this thing that they do and they invite you to come learn more about it, you go!

“So I started going to his class. I assisted him on my first Broadway show, hoping that there would eventually be a second.”

Renkin also began filling in when Barry was unable to teach a class and eventually he began doing his own fight choreography (“I find mall atrias, for some reason, are a great inspiration for choreography ideas — I could slide down this railing, and jump over that table …”)

Then, six years ago, he was contacted by Acme Artistic Director Emily Henderson about helping with a show. She explained that Libby Renkin, Dan’s mother, had come to an Acme show and mentioned that her son did fight choreography and might be able to help out on their next production.

“So I cold-called this total stranger and said ‘I’m doing this play and it has 17 different fights and do you think you could come for a week?’ He said sure,” Henderson said. “It was really wonderful. He knew our style and everything worked perfectly.”

Added Renkin, “We had to explain to the kids who I was, and that I had been in Acme and graduated from Davis High and was now working in New York. When I told one of the students the year I graduated he said, ‘That’s when I was born.’ I responded with something completely unprintable, and we got along famously after that.”

It has been a win-win situation for everyone. Acme actors have learned professional fighting from a master, Renkin gets to come home on a regular basis to visit his parents, and Davis reaps the benefits of one of Acme founder Dave Burmester’s success stories.

How many other young-adult theater groups have an official fight choreographer who learned from the guy who learned from the guy who was stunt double to Errol Flynn and who introduced fight choreography to this country? Pretty cool.

Cinderella

Kecia Lewis and Paige Faure perform in Rodgers and Hammerstein’s "Cinderella,"
presented by Broadway Sacramento at the Sacramento Community Center Theater
through Sunday. Carol Rosegg/Courtesy photo

It was like going to a royal wedding at the Sacramento Community Center for the opening of Rodgers and Hammerstein’s “Cinderella.”

There was a royal white Cinderella coach drawn by white horses on which you could have your picture taken, which pulled up in front of the theater. The red carpet featured a parade of pint-sized princesses with tiaras and sparkly shoes. (Left your tiara at home? No problem. You can buy one in the lobby.) In the lobby you could also pose in front of the stairway to the palace.

In the theater itself, the stage was dominated by a magnificent forest of trees which, over the course of the evening, would move in all sorts of wonderful ways to make different configurations.

In the orchestra pit there was a real live orchestra with a real live conductor (Jay Alger). So many musicals these days use synthetic music that the sound of a full orchestra of more than a dozen musicians and 20 real instruments was as refreshing as six months at the seaside.

Then there was the production, which features the most spectacular magical costume change I have ever seen — the sort that makes you want to hit “rewind” so you can see it again because you can’t believe what you just saw (kudos to William Ivey Long, costume designer). And if that wasn’t spectacular enough, or in case you missed it the first time, they’ll do a variation of it in the second act — just as spectacular.

There’s even a real fire-breathing dragon to start things off. No expense has been spared on this production!

This is not Disney’s Cinderella. Many of the traditional elements are there, but this version was written in 1957 as a TV vehicle for Julie Andrews. Then there was a 1965 version with Lesley Ann Warren and a 1997 version with Whitney Houston and Brandy.

The current book by Douglas Carter Beane, is a more politically correct version of the familiar story. Cinderella’s (Audrey Cardwell) main goal in going to the ball is to warn Prince Topher (Andy Huntington Jones) of the terrible things going on in his country.

While he has been out slaying dragons and fighting giants, he has left the running of the country to his power-mad Lord Chancellor, Sebastian (Branch Woodman), who has brought the citizenry to starvation and eviction from their homes.

Stepsister Gabrielle (Kaitlyn Davidson) is not evil at all, and really wants nothing to do with becoming queen because she is secretly in love with Jean-Michel (David Andino), the social activist who is trying to get his message to the prince. Gabrielle, in fact, helps Cinderella get to the ball so she herself can sneak off to work in a soup kitchen with Jean-Michel.

The Fairy Godmother, Marie (Kecia Lewis), is not the cuddly little grandmother from the Disney film, but an over-the-top vision in purple and sequins (her own transformation is pretty spectacular, too), there to push Ella to take charge, make her own decisions, and fight for her own destiny.

There is still an evil stepmother (Paige Williams), who does make Ella do all the dirty work, but she’s not as mean as we have come to expect.

Stepsister Charlotte, an audience favorite, who tries desperately to fit her foot into the glass slipper, is the comic figure in the show and her “Stepsisters’ Lament” tickles the funny bone.

Anna Louizos’ scenery is sumptuous and the costumes are show-stoppers, especially in the waltz scene where the lighting design of Kenneth Posner made it magical.

It was nice to hear the sound of an old-fashioned musical. Though none of the songs were familiar, they were unmistakably Rodgers and Hammerstein. In fact, one song (“Now is the Time”) sounded like it could have been lifted from “South Pacific,” and I was surprised to read later that it had, in fact, been cut from that show.

This is a production that will entertain all generations in the family, from grandma down to the toddlers.

Spoiler alert: The prince ends up with Cinderella.

There is a Happiness that Morning Is

As a critic, you are sometimes sent to review shows that sound like they are going to be pretty dull, but you go anyway. KOLT Run Creations’ “There is a Happiness That Morning Is,” at the Wilkerson Theater in Sacramento, was one of those shows. Based on the poems of the Romantic poet, William Blake, how exciting could it be?

It’s one of the perks of being a critic — the opportunity to discover gems like this that you otherwise would never think of seeing. Written by Mickle Maher, the premise for this one-act play is that two professors at a private college were observed having sex in the quad in full view of their students and the dean of the college. They have been ordered by the dean to apologize to their classes or lose their jobs.

Professor Bernard Barrow (Greg Hanson), who teaches a morning class in the poetry and prose of William Blake, goes first. Obviously still in the throes of after-glow, barefoot, dirt-covered, with leaves in his hair, he waxes poetic (literally, speaking in rhyme), rhapsodizing on the love-making and his 20-year relationship with Ellen Parker (Kelley Ogden) and railing against the administration and parents who were appalled by this very natural expression of the lovers’ passion for one another.

He chooses the poem “Infant Joy” (“I happy am, Joy is my name, Sweet joy befall thee!”) as he explains why he cannot be apologetic about the incident. Maher’s brilliant script, combined with Hanson’s delivery, make this a hilarious monologue.

In less skillful hands the device of using the rhymes of Blake and adding rhyming dialogue to fit the situation at hand might fall flat, but in the expert hands of both Hanson and Ogden it becomes a wholly accessible conversation for the audience.

I thought at one point that this must have been what it was like to see Shakespeare’s plays when he wrote them, when there was no such thing as “Shakespearean English” because it was just the language everyone spoke.

The afternoon class, led by Professor Parker, is quite different. As opposed to Barrow’s casual dress and demeanor, she is prim and proper, in a demure suit, with every hair in place. Though she leads off her class with an apology, it is, again, not for the incident itself, but, using Blake’s “The Sick Rose,” she apologizes for her years of conformity to the system (“O Rose, thou art sick! The invisible worm”).

As she warms to her subject, the obscenities flying out of her mouth are in sharp contrast to her appearance and again, the end result is a hilarious monologue.

However, Bernard decides to sit in on her class and this leads to as public an argument as their earlier love-making.

Rhymes and decorum go out the window when the dean (identified as “Man” in the program, and played by Greg Parker) interrupts. To say more about his role in this production would be to spoil the fun for the audience, so let’s just say that his character brings an unexpected intensity to the plot.

This show is so much fun that my only fear for it is that, given the remote location of the Wilkerson Theater and the perhaps unknown reputation of KOLT Run Creations, it might not be seen by as many people as should see it. Do yourself a big favor and buy a ticket. You will not be sorry.

Snow White

 

Several years ago, I wrote a feature article about the opportunities for children to participate in theater in this area — groups like the Woodland Opera Company’s Rising Star Workshop and Youth Summer Theater Camp, and the Davis Musical Theatre Company’s Young People’s Theater program. They’re active programs that have only grown since my original article. So I decided to check the finished product for both Woodland and Davis.

A few weeks ago, I reviewed Woodland’s “A Year with Frog and Toad,” and this weekend I went to see DMTC’s “Snow White and the Seven Dwarfs.” I was pleased to see that both shows were an excellent example of the kind of theater experience young people are being given.

“Snow White” — with books, lyric and music by Carol Weiss, who writes musicals for children — is not Disney’s “Snow White.” For starters, there are dwarfs Keeper, Grinder, Cutter, Woeful, Muse, Picker and Poker. Also, the mirror plays a major role throughout the story.

The DMTC cast has 30 or so young people, ages 7 to 18, and is directed by Kendra Smith, who has done an excellent job showcasing a disciplined, talented cast.

Choreography by Jessica Arena and Jan Isaacson is impressive and the kids perform beautifully. The Act 2 starter, “Every Deed You Do” was outstanding and could easily stand on equal footing with any community theater stage, adult or young people, in the area.

Director Smith had told me that this production was to be done in steampunk style and I admit I had to research it. Huffington Post tells me, “It’s all about mixing old and new: fusing the usability of modern technology with the design aesthetic and philosophy of the Victorian age.”

The look abounds everywhere, in the costumes (particularly the hats) and in the set (designed by Stephen Giannetti).

Becca Paskowitz is a commanding Queen, her performance impressive in one so young (15). She also has a beautiful voice and, though this is a huge part, she carries herself like a pro throughout.
Her sister, Witch Wicked, is played by 15-year-old Cassidy Smith, who is every bit as impressive as Paskowitz. The two make an evil pair to be reckoned with and are more central characters than Snow White herself.

Snow is played by Isabelle Giannetti, a lovely, innocent girl whose only fault is being too beautiful. Giannetti handles the role beautifully.

Tylar Traum is the Mirror, a character dressed in silver standing inside a big frame, who communicates with everyone only in rhyme, and occasionally steps out of the frame to have a more personal confrontation. Traum was a delight to watch.

Jonthan Kalinen didn’t have much to do as the Prince, but in his brief appearances he comported himself well and sang a beautiful “Love Song” with Snow White.

Sir Pompous is the Queen’s cousin and Anthony Swaminathan shows a real comic flair in portraying this bumbling royal.

Jack Driggers is Keeper, the head dwarf, and does a good job with this small role, while Nate Fechner as the dwarf Woeful seems quite subdued until near the end when he shines wonderfully.

The other dwarfs are Sophia Nachmanoff, Devin Mitchell-Silbaugh, Stella Silver, Christian Duran and Elysia Martinez.

There are many other members of the YPT as ladies and gentlemen of the court, and the younger members play birds, bears, foxes, hedgehogs, as well as a rabbit, a fawn and a skunk. The ensemble works well together and it is wonderful to see how much they have learned in the Young People’s Theater.

“Snow White” continues through May 24. I saw it on the second weekend and the house was nearly three-quarters full, so it is obviously quite popular. Children especially will have a great time and might get bit by the performing bug themselves when they see how much fun everyone is having on stage.

The Homecoming

Julian Lopez-Morillas, Brian Harrower, Melinda Parrett and Ryan Snyder
perform in "The Homecoming," running through May 31 at Capital Stage. Courtesy photo

Harold Pinter’s “The Homecoming,” now considered by many to be his masterpiece, is celebrating its 50th birthday this year. It cemented the playwright’s reputation as “Britain’s foremost living dramatist.”

Though the play is seldom performed these days, Capital Stage is presenting a polished production directed by Janis Stevens, in which strong performances are given by a wonderful ensemble of six performers, four of whom are new to Capital Stage.

Is this a dark comedy with dramatic elements, or a dark drama with comedic elements? Yes. There is heavy drama in this story of a dysfunctional blue-collar family living in a working-class area of North London, but there are also lots of funny moments among the five men of the family and the newly introduced sister-in-law.

The family dysfunction is established early with the attempted conversation of the grizzled family patriarch, Max (Julian López-Morillas), with his suave, immaculately dressed son Lenny (Ryan Snyder), who steadfastly ignores him.

In turn, we meet the other men in the family — Sam (Joe Higgins), Max’s brother, a somewhat disheveled limousine driver, and Joey (Brian Harrower), a demolition man by day and would-be boxer at night. He’s the butt of his father’s cruel jabs, who tells him that he’d be a pro if he ever learned “how to defend and how to attack.”

We learn that Max’s wife died several years before, so the house has been without a female presence for a long time. It has become a man cave where each man lives in his own world and barely speaks to the others, though Max seems to do the cooking, to lots of criticism (“Why don’t you buy a dog? You’re a dog cook.”).

These four actors inhabit their vastly diverse characters flawlessly. López-Morillas is riveting as the bellicose Max, who can be sentimental when the mood strikes him, but who mostly spends his time yelling at his sons or complaining about his life.

Higgins gives Sam a somewhat androgynous persona, very proud of his popularity as a limousine driver, but rumpled in appearance and very definitely subservient to Max.

As for Lenny, Snyder is perfection. He is such a cool customer, but with such an underlying hint of something sleazy behind that polished veneer that we aren’t surprised to discover, in Act 2, that he is a pimp.

Harrower’s Joey is as different from brother Lenny as you can get. His body language conveys his insecurity, how he knows he’s the runt of the litter and only hopes that his dreams of becoming a champion prize fighter will change his life.

Into this mix come Teddy (Christopher Vettel) and his wife Ruth (Melinda Parrett), who have been living in the United States for the past six years and have dropped by, unannounced, en route home from Venice so that Teddy can introduce Ruth to his family.

Teddy is a professor of philosophy at a university and smugly considers himself quite a cut above his low-class family. Based on the awkwardness of their interactions, one wonders why he bothered coming home at all.

There is something “off” with Teddy and Ruth from the beginning. Their relationship seems strained. There are also doubts about the truth of their life in the United States. Presumably, they have had three children over the past six years and later Teddy talks about how he wishes he was home because the kids would be playing in the pool by now. Given what would have to be their ages if they had been born within the last six years, that seems hardly plausible. It adds another layer to the question of the relationship between Teddy and Ruth, alluded to later.

Vettel looks like he just walked out of a classroom, so accurate is his portrayal of the effete college professor.

Nobody does cold, aloof women as well as Parrett, and in Ruth, she has a gold mine to work with. Though she and Lenny see each other from across the room, it is obviously lust at first sight, and their banter throughout the play give us some of the funniest lines.

In short order, the life the men have been living is disrupted by the sexual tension created by the presence of a woman in the house and each of them lusts after her in different ways and for different reasons. Ruth is objectified, but turns that around and takes power from the feelings the men have for her, which also gives her the power to stand up to Teddy, when he insists that they return to the States immediately. Parrett is masterful when she first begins to bark orders at the men.

Ultimately, the men invite her to remain with them, while Teddy goes home, so she can be Max’s wife substitute, a mother-substitute for the sons, and perhaps earn her living working as a prostitute for Lenny.

As Teddy picks up his suitcase while Ruth settles into Max’s overstuffed chair with a contented sigh, it seems that the “homecoming,” after all, is Ruth’s.

The Jacksonian

Kurt Johnson and Jaime Jones perform in “The Jacksonian,”
playing now at the B Street Theatre.
In the background is Jason Kuykendall and Gina Hughes. 
Courtesy photo

 
The best thing that can be said about Beth Henley’s “The Jacksonian,” now at the B Street Theatre under the direction of Buck Busfield and Jerry Montoya, is that with only one act, it lasts only 90 minutes.

Watching the audience leave the theater silently and one of the performers slipping out unobtrusively into the parking lot without glancing at anyone leads me to believe I am not alone in that opinion.
 
Henley is a Pulitzer Prize-winning playwright; my husband turned to me at the end of this show and said, “I don’t think she won the prize for this one.” (It was for “Crimes of the Heart.”)

This story is Southern Gothic set in a seedy hotel in Jackson, Miss., with a load of family dysfunction thrown in just for fun. Publicity for the play says that it is “set against the backdrop of the civil rights movement,” but other than the fact that it takes place in Mississippi in 1964 and contains quite a bit of racist language, you’d never know it.

The set is quite nice (designed by Samantha Reno), with a bar along the back side, one of the hotel’s guest rooms toward the front, and an alley with an important ice machine along one side.

Dentist Bill Perch (Kurt Johnson) has moved into the hotel after having been thrown out by his wife Susan (Jamie Jones). He sees it as a trial separation. She holds him responsible for a hysterectomy he agreed to while she was under anesthesia. Daughter Rosy (Gina Hughes) is made the go-between, carrying messages back and forth to each of her parents.

As Dr. Bill plunges deeper into depression, he takes to sniffing nitrous oxide with the same sadistic glee as Orin Scrivello in “Little Shop of Horrors.”

The hotel bartender, Fred Weber (Jason Kuykendall) ,seems cheery and affable until he becomes weird and one wonders what he is hiding.

Housemaid Eva White (Tara Sissom) is voluptuous and sensual and desperately looking for a man, upset that she has been dumped by Fred and setting her sights on Bill, whose idea of “penetration” seems to be sticking his finger in her mouth. (Ironic that her name is “White,” as she is the most racist of the group).

One of these characters will die before the play ends, and another of the characters will be the murderer … and ultimately do we really care?

Disappointment with the script aside, the actors were fine. Johnson is pleasant and affable to begin with, hopeful for a reunion with his wife and a loving father to daughter Rosy. and then slowly deteriorates as periodic meetings with Susan go from bad to worse.

Jones is always fun to watch and she does “anger” wonderfully. I never figured out what she was wearing to the hotel, under her fur coat — a long flimsy formal gown, or her nightgown. In either event, it was perhaps a strange costume choice by designer Shelley Russell-Riley.

Hughes, as Rosy, seems to change in age from younger to older, depending on her hope for her parents to reunite, and her desire to flirt with Fred. She is plagued by a bad case of acne (another appropriate character name, perhaps), which doesn’t really seem to serve much purpose to advance the plot, other than to point out that she has been ostracized by peers for it. Until “acne” was mentioned, I thought she had a horrible make-up accident.

Kuykendall seems the most likable of the bunch until he shows his true colors as he leers at Rosy and begins to creep her out.

Sissom’s character delivers perhaps the most memorable line of the night, referring to her relationship with God, “Every Sunday I get His forgiveness. Regular, like a bowel movement.” Now there’s a conversation stopper!

The scenes are presented out of sequence, which adds to the confusion and leaves one feeling, at the end, that this is a muddled melodrama without much point.

Pirates of Penzance

Photo by Barry Wisdom

Saving the best for last, the Sacramento Theater Company closed out its current season with a sparkling new production of Gilbert & Sullivan’s “The Pirates of Penzance,” directed by Michael Laun and choreographed by Ryan Blanning, with musical direction by Samuel Clein.

I was somewhat concerned, checking the program and seeing that there did not appear to be a women’s chorus, other than the principal women and how were they going to get both a band of pirates and a bunch of policemen with only five non-principal men?

Silly me.  This show is so tightly directed and so exquisitely choreographed that the small cast was more than adequate.  The whole show moved with the precision of the Rockettes. Every move was sharp and crisp with wonderful little bits added, such as the Pirate King’s interaction with the small band, and in one spot the spectators, in unison, following an exchange between two characters with the head turns of an audience at a tennis match.

It was a dream cast.  Michael RJ Campbell was outstanding as the Pirate King, with eyes that flashed, and body language that left no doubt whatsoever that he was In Charge of things. 

Gary S. Martinez was beautifully befuddled as Major General Stanley, plagued with agony over his lie to the Pirate King to save his daughters from being carried off to the nearest Doctor of Divinity to be married.  Stanley’s “Modern Major General” may be the most famous of Gilbert & Sullivan’s patter songs and Martinez delivered it flawlessly, with impeccable diction.  And just when you are left breathless at the speed with which he spews out these lines, he speeds it up.

Zak Edwards is making his STC debut in one of his dream roles, Frederic, the apprentice pirate celebrating his 21st birthday and finally out of his indentures and able to live a blameless life.  And he is a dream in the role, with a full steady tenor and wonderful actor to boot.

Aviva Pressman is likewise making her STC debut in the role of Mabel, who captures Frederic’s heart.  Whether not so coyly enticing Frederic or militantly leading the band of policemen to attack the pirates, she is a powerhouse.

Ruth, the piratical maid of all work, is deliciously portrayed by Martha Omiyo Kight.  She is the only female face young Frederic has seen in his life and tries to convince him that she has won her way into his boyish heart (though, as she was his nursemaid when he was a baby, this has always struck me as somewhat creepy!)

The second act trio of Ruth, Frederic, and the Pirate King was great fun and, as did Joseph Papp in his modernized version of this operetta, STC opted to include the “Matter Matter” trio from “Ruddygore,” in addition to the song “Paradox” because it just fits so well.

Mabel’s sisters, Edith (Miranda D. Lawson), Kate (Katherine Cooper) and Isabel (Abbey Williams Cambell) were fun, but it is the youngest, Lucy (Courtney Shannon) who stands out by blending in so beautifully that you just want to watch her the whole time.  This role is double cast and Shannon will share the role with Meghan Greene.

Jeffrey Lloyd Heatherly is the Sergeant of Police, big and blustery and not at all enthused about going off “to glory and the grave.”

I must also give kudos to whichever of the scenic designers (Jarrod Bodensteiner, Renne Degarmo or Brian Watson) was responsible for the ever changing (but very subtly) sky.

If I have any criticism at all, and it is a very slight one, it is that I wonder if body mics were necessary.  Everyone had a big voice that easily filled the small theater, one mic malfunctioned all night long and a couple of other performers had such strong voices that the amplification was almost overpowering.

On the whole, however, this is just a superlative production.  I’ve been following Gilbert & Sullivan around the world for some 50 years and I think this ranks up there as one of the best productions of “Pirates of Penzance” that I have seen.

The Wizard of Oz

The Davis Musical Theater Company has opened a perfectly charming production of “The Wizard of Oz,” directed and choreographed by Jan Isaacson.

While this is a bare bones production, as far as tech is concerned, there is nothing bare bones in the delightful performances, the costumes or the choreography.  The production is a mostly faithful interpretation of the iconic movie.

Cass Olson is a lovely Dorothy, sweet and innocent and full of wonder, yet longing for her Kansas home.  She has a strong, clear voice that gives perfect pitch to “Over the Rainbow” and she has good rapport with all of her fellow actors.

“Pico Taormina” (who has his own Instagram account) was one of the best behaved Totos I have seen.  He entered the stage when he was supposed to, stood when he was supposed to stand, ran off stage when he was supposed to, and never barked once.  He even chewed Professor Marvel’s hot dog when he was supposed to.  The last time I saw this show, at a different theater, Toto was so obstreperous he disrupted every scene he was in.

Dannette Vassar is an Auntie Em to be reckoned with, while the Uncle Henry of Scott Daughterty was more subdued.  Both appear later in Oz, with Daughterty also playing the Captain of the Winkie guard.

Edward Arakelyan is just wonderful as the Scarecrow (and in Kansas, the farmhand Hunk).  He is winsome and engaging and it’s no wonder he and Dorothy become BFFs.

Gabe Avila maneuvers around in that big Tin Man suit and was also the farmhand Hickory.  He has a big heart in that empty chest of his.

And what can one say about Steve Isaacson as the Cowardly Lion (and farmhand Zeke).  He’s big and cuddly, with a powerful voice.  He is wonderfully reminiscent of Bert Lahr and is truly a Dandy-lion.

The delightful Brian McCann is Professor Marvel and, in Oz, the Wizard.  This role is just perfect for him and he is so much fun to watch on stage.

Lucinda Otto must have been channeling actress Billie Burke because she sounded just like her as Glinda.  She enters and leaves from the wings instead of in a magical bubble, but while there She’s perfect as the Good Witch of the North.

Sarah Kraemer, on the other hand is not good at all...which means she was very good portraying the Wicked Witch of the West (and nasty Kansas neighbor, Almira Gulch).  She had a marvelous time chewing the scenery and at times with that green makeup, her eyes seemed to glow as she spat out her hateful words at...well...everyone.

Fiona Cubbage and Veronica Kyker were great at the Mayor and Coroner of Munchkin land, while Ava Guisino, Lexi Telles and Gillian Cubbage were the cutest Lullabye League you’ve ever seen, particularly six year old Gillian, who stole the show whenever she was on stage.

The other Munchkins, flying monkeys, jitterbugs, snowmen, apple trees, Ozians, and Winkies were a mixture of adult actors and members of DMTC’s Young People’s Theater.  All were delightful. 

Special note should be made of Ryan Everett, who played the lead snowman, as well as other roles throughout the show, and stood out from the rest for his dancing ability.

DMTC needs a video person.  The show could have been enhanced in several places by using projections for, for example, the tornado, the flying monkeys, and the Witch’s “Surrender Dorothy” written in the sky, but they did as well as could be expected within the constraints of a small budget.

The yellow brick road, for example, was played by Tessa Hickman, also an excellent dancer, who wore a yellow tux with a long brick-printed tail, who went ahead Dorothy to show her the way.  It was a little odd, but it worked.

The review would not be complete without mentioning the DMTC orchestra, which sounded better than usual, and the marvelous costumes of Jean Henderson, who must have had a wonderful time putting this show together.  It showed. I loved that all the Kansas costumes were in grey, black and white, saving the explosion of color for Oz.

Bring your kids, bring your grandkids, and bring yourself, if you loved the movie.  You’ll have a wonderful time at this production.

Little Shop of Horrors

It’s always interesting when a director takes a new approach to a familiar show. Sometimes it works, sometimes not so much.

Based on the Roger Corman 1960 film of the same name, the musical “Little Shop of Horrors,” with book and lyrics by the late Howard Ashman and music by Alan Menken, had its world premiere off Broadway in 1982, where it ran for more than 2,200 performances.

The movie musical version, starring Rick Moranis and Steve Martin, was produced in 1986, and in 2003, “Little Shop of Horrors” hit the big time with a real on-Broadway production.
A new production, directed by Jason Hammond, opened last weekend at the Woodland Opera House.

“Little Shop” is the story of Seymour Krelborn (Spencer Alexander), a nerdy employee at Mushnik’s Florist shop, a failing business on Skid Row. Seymour, somewhat of an experimental botanist, bought an odd plant from a Chinese flower shop during a solar eclipse. He named the plant “Audrey II” to honor his colleague, Audrey (Christianne Klein), for whom he has tender feelings.

Audrey, however, is in an abusive relationship with a dentist Orin Scrivello (Dan Sattel), whose mother encouraged him to go into dentistry because of his love of inflicting pain.

Audrey convinces Mr. Mushnik (Gil Sebastian) to display Audrey II in the window of his shop and it begins to attract customers. But the plant soon starts dying because Seymour can’t figure out what to feed it. Accidentally pricking his finger, he then discovers Audrey II needs human blood to thrive.

Seymour is in the position of having to find more and more blood to feed his plant, while the plant grows to eventually practically take over the flower shop, when Seymour finally learns the terrible truth about her.

Traditionally, Audrey II is a large blob of fabric that has an opening through which food can be tossed. An unseen puppeteer manipulates the plant while its voice, sounding like the voice of Satan, booms out ominously from a speaker somewhere.

In this production, Audrey II looks more like — sorry I have to say it — a giant vagina, with a gaping opening through which the indomitable Deborah Hammond stands and sings as the voice of the plant. Though Hammond is definitely menacing, it just doesn’t give the same degree of horror as the original staging.
The actors, however, are excellent. Alexander is a wonderful nerd, uneasy, especially around Audrey. He’s uncomfortable in his new role as celebrity as the fame of Audrey II spreads. And he is both horrified and repulsed by the things he is willing to do to keep Audrey alive.

Klein is sweet as the ditsy Audrey who believes she is unworthy of anyone but an abusive male because she is a woman with “a past.” Yet she fails to recognize that Seymour is in love with her.
Actually, anyone would fall in love with her as she sings “Somewhere That’s Green,” her wistful wish for her perfect dream life. I liked that Klein used a Bronx accent, but didn’t go overboard with it, as some actresses do.

When Audrey and Seymour finally confess their feelings for each other, their duet “Suddenly Seymour” is a lovely break from all the horror going on in their lives.

Sebastian was an appropriately grouchy and blustery Mr. Mushnik, who rescued Seymour from a Skid Row orphanage and gave him a bed under the shop counter and allows him one Sunday off every two weeks. He is not above offering to adopt Seymour if it will ensure that he will keep Audrey II at the flower shop.

Doing his best to steal the show in the small, but important role of the nitrous oxide-sniffing dentist Orin Scrivello, Sattel is deliciously unlikable. A Michael Imperioli lookalike, Sattel is also able to transform himself rapidly into several other small roles, with several looks, including that of a woman.

The trio of doo-wop singers who act as a quasi Greek chorus throughout the show are Emily Jo Seminoff, Julia Spangler and Erin Bruni. They each get a moment to shine and display their strong voices.

Also, Lenore Sebastian appears in the small role of a Skid Row homeless woman. A consummate actress, Sebastian makes the most of her character, though she has no lines to speak.

Jason Hammond and Denise Miles are credited with costume design. Those for Audrey are particularly appropriate while the red gown for Hammond is stunning, and the transformation of the girls’ trio from drab Skid Row clothes to sequined dresses was fun.

Special mention should be made of the small orchestra — Jia-Min Rosendale, Dale Proctor, Scott Plamondon, Alex Rieff and Dave Gill — who provided the perfect accompaniment.

There is no great message in this show, unless it’s “if you find a strange plant which appears suddenly following a total eclipse of the sun, walk by and leave it alone.” But this musical is fun for the whole family.

Buyer Cellar

Playwright Jonathan Tollins wants everyone to know that his hilarious one-man play, “Buyer Cellar,” now at the B Street Theater, is a work of fiction.  In fact, actor Nick Cearly takes great pains to explain to the audience before the play starts that this whole story is Tollins’ fantasy based on the then-newly released Barbra Streisand book, “My Passion for Design,” in which she photographs the rooms in her mansion and takes the reader on a tour.  But Tollins has never been in Streisand’s house and he certainly would do nothing to upset  "someone as famous, talented and litigious as" Barbra Streisand.  “The whole thing is preposterous,” Cearly says.  “You know that, right?”

The one thing that is true, apparently is that the book shows a shopping mall in the basement of Streisand’s house, set up with different stores (including a toy shop, vintage clothing shop, and soda fountain) to display the many tsatskes collected over her lifetime.

Cearly also tells the audience that he doesn’t “do” Streisand and that there are lots of Streisand impressionists out there (“some of them women”) and that while Streisand will appear in the piece, it won’t be an attempt to mimic her, but rather to suggest her.

Explanations out of the way, let the fun begin. Over the next 90 minutes, I can’t remember laughing so hard in a long time.

Cearly plays Alex More, an out of work actor (he was recently fired from Disneyland for threatening an obstreperous child with a churro) who is offered a job by some mysterious person in an estate in Malibu.  He explains to the audience that he ultimately learns this is the home of Barbra Streisand and hastens to assure us that though he is an out and proud gay man, he is not a Barbra Queen or a Judy Queen, though his boyfriend Barry is and so he knows a bit about Streisand through Barry.

Alex’s job is to sit in the mall all day, keep the shops organized and await the only customer who will ever shop there.

She arrives on the third day and decides to shop in the toy store, where she is taken by a certain French doll and asks the price.  It’s all play acting, but Alex, the actor, is up to the challenge and there is a fun give and take with him and Streisand, who doesn’t want to pay full price (for this doll which she already owns).  The interplay sets up a relationship between the two which continues over the coming weeks, as Streisand shops for this and that and the conversation between the two becomes more intimate, two somewhat lonely people developing a fantasy friendship.

Growing bolder, Alex tells her she should play Mama Rose in Gypsy and swept away by his enthusiasm she hires him as her acting coach

Barry, who at first was omigawd thrilled that his boyfriend would be in the presence of Streisand, begins to grow jealous and, feeling her behavior is becoming very odd, warns Alex not to get too involved and that he is just her plaything du jour.

But Alex sees a real friendship developing with the megastar, especially when she invites him upstairs to tour the main house, where he makes a social blunder which brings an end to his employment and teaches him a lesson about real friendship.

The play is never not double-you-over funny, though has moments of poignancy, the whole thing handled beautifully by the talented Cearly, who smoothly handles several different personalities with body posture, facial expression, and slight voice changes.  He is at his best in handling both sides of conversations with Streisand.

This is a not to be missed production if you like funny, if you like Streisand, and if you like to see a talented actor at the top of his game.

Once

 

“Once,” with the book by Enda Walsh and music and lyrics by Glen Hansard and Marketa Irglova, is not your typical Broadway musical. It was based on the movie by John Carney, made for an unbelievable $150,000.

Proving that you don’t need lots of CGI or to spend billions of dollars, this low-budget film became a big hit and won the 2007 Academy Award for best song and the 2007 Independent Spirit Award for best foreign film. It also grossed more than $9 million in the United States alone.

In 2011, the New York Theater Workshop brought a stage version to Broadway. It opened to a sold-out extended run, and picked up eight Tony awards. Now “Once” has come to Sacramento and, judging by the waves of crowds flowing into the Sacramento Community Theater, it is going to be a mega-hit here, too.

The original songs from the movie are in the stage show, though the book has been expanded.

This is a quiet show that doesn’t hit you over the head with any message. There are no fancy tech pieces flying about, no glitz, no loud synthesized music. It’s a love story — or it isn’t — and it’s a joyous celebration of music and relationships between people, through making music together. Its brilliance is in the impeccable direction of John Carney, and in the wonderful performances of the actor-musicians.

The set is a Dublin pub, slightly more expansive feeling than a real Irish pub, but they have lots of stage space to fill. The set design is by Bob Crowley, who cleverly includes a large mirror behind the bar, which allows the audience to see both sides of conversations that take place at the bar itself.
The musicians start “jamming” about 15 minutes before the show actually begins and audience members are permitted to join them on stage to enjoy the music, both toe-tapping Irish tunes, and the less-well-known, but equally lively Czech music.

The show begins without fanfare and, in fact, you aren’t sure it has really begun until the lights in the theater slowly begin to dim.

The hero, identified only as “Guy” (Stuart Ward), is a disillusioned young musician whose girl has just left to go to America and who has lost his confidence in himself and his ability to write music that others want to hear. He’s about to give up his dream of a musical career and continue to work in his father’s vacuum cleaner repair shop.

The heroine, identified as “Girl” (Dani de Waal), is a Czech young woman who hears Guy sing his song of unrequited love (“Leave”) and is taken with his passion. She offers to let him clean the vacuum cleaner she just happens to bring into the pub and in return she will pay him with music. She is an accomplished pianist.

DeWaal is a quietly winsome yet vulnerable Girl and her optimism about Guy’s talent is hard to resist. Over the next week she forces Guy to believe in himself again, to get a loan from the bank to pay for a recording session and, over 24 hours, to record a CD. Though that may seem a bit far-fetched in reality, you really do believe that this could be possible.

Girl’s costume helps in keeping space between herself and Guy as, though they are obviously having feelings for each other, she keeps her hands in her pockets almost all the time. We find out why in time.

A huge part of what makes this musical work is the musician-actors. Every musician on stage is also an actor — and a dancer, dancing some wonderfully choreographed numbers (movement by Steven Hoggett). Particularly delightful is Benjamin Magnuson (who also plays the bank manager) dancing with his cello, with moves Woody Allen never thought of in “Take the Money and Run.”

Also delightful is Evan Harrington (guitar, percussion, ukulele) as Billy, the owner of the pub. He’s big and blustery with that wonderful hair-trigger Irish temper that adds such authenticity to his performance.

Tina Stafford (accordion and concertina) plays Baruska, Girl’s mother, who seems to be developing a “thing”for Billy.

The only non-musician on the stage is Sarah McKinley Austin, as the child Ivanka. She is appearing in her first touring Broadway show and is adorable.

The final duet, “Falling Slowly,” with Girl at the piano and Guy on his guitar, is achingly beautiful and is at once a promise of a happy ending and a bittersweet reality of what might have been, and never will be.

This is an unforgettable musical and should appeal to everyone.

Point of Departure

UCD’s master of fine arts in dramatic arts program brings together actors, choreographers, designers and directors to work collaboratively over two years in a range of traditional and experimental pieces.

The finale of the program is for each student to choose to create an individual exploration or to work with one or more of their cohorts investigating research questions surrounding theater, dance and performance.

This year’s performances examine war, sex, technology, cross-dressing and more, under the collaborative title of “Point of Departure.”

A two-night event is taking place on the campus right now. The two pieces of Program 1 are being presented on Saturday at 8 p.m. and Sunday at 2 p.m at the Arena Stage in Wright Hall. Program 2 can be seen on Friday, Saturday and Sunday at 8 p.m., starting with two pieces on the Wyatt Theater stage and then moving to the Della Davidson Studio for the final piece.

The “Echo Theater Suitcase Project: Yolo County” is the work of Daniel Bear Davis and his talented cast. The ensemble has been working together for the past six months in a process of continuous inquiry into our personal relations to war and the military.

A multi-generational group relate stories dealing with war experiences. The show is powerful and in some instances gut-wrenching as people relay either their own memories or experiences of others.
Audience members are given cookies and asked to think about their own sense memories, the sounds, smells and sights that evoke powerful past memories, while a veteran talks about his post-traumatic stress disorder triggers. It is a well-integrated piece that combines acting, dancing and video.

Performers are Cynthia Arellanes, Hien Huynh, Tiffany Martin and Ian Rowland, plus veterans Jim Corbett, a Vietnam vet, and Francis Resta, a veteran of World War II, who performs wearing his oxygen tank. Resta’s performance in particular was quite moving, especially when he dances the waltz with another performer.

At the conclusion of this piece, the theater is emptied and the audience asked to stand in the halls outside while the configuration is changed (and chairs blocked off).

“iGeneration,” the brainchild of Christopher Wolfe, answers the question “How have you been affected by smartphones?” Cast members Karina Chahal, Jesse Chung, Claire Wonjeong Jeong, Nicole Pinto, Michael Poole, Andre Starr, Edward Sukla, Lily Tanner and Christopher Wolf perform with cell phones in hand, the lights shining up into the cast members’ faces.

The story unfolds in Internet-speak and involves making and breaking of relationships, the debate over “winkie faces” and “Bitmojis,” and an active video game. It ends with a very cleverly choreographed cell phone hand-off from person to person and back again that must be seen to be understood.

In the talk-back with Wolfe following the show, the audience members were very enthusiastic and excited that the piece so accurately depicted their lives. For those of us who grew up in the day of dial telephones, it was a little less relatable.

“iGeneration” is an ongoing project. This is the first in a series of theatrical investigations into smartphones and how they affect us. It will be interesting to see where Wolfe takes the investigation from here.

Evening two begins with my personal favorite of the whole program. “Indecency (& Other Bawdy Bits)” is a one-woman show by JanLee Marshall as Mary Frith (aka Moll Cutpurse), a notorious pickpocket, pimp, and fence in 16th-century London.

Dressed in her favorite costume, this cross-dressing woman addresses questions about: What is indecent? What is it to be a woman on the stage in the 16th century? — as well as our fascination with celebrity and indecency.

Marshall has an easy rapport with the audience and her piece involves both monologues and conversation with the audience. She is so at ease in her skin that when her work is interrupted by a knock at the back door by latecomers, she makes it part of the act without missing a beat.

By the end of her work, I wanted to rush home and do some investigation about Mary Frith, who seems to have been a fascinating woman.

From the bawdy 16th century to the lascivious present, Joyful Simpson’s “Tales of a Sexual Tomboy (a one-woman comedy)” is definitely not for the tiny tots, or anyone offended by blatant sexual conversation. While there is nothing visually offensive, there is certainly a lot implied and mimed.

Simpson is a very funny woman, not afraid to reveal (and exaggerate on) her sexual exploits from a very early age. She’s not afraid of telling her truth, whether joyful or painful.

“I have taken a fair amount of poetic license with my stories to maximize their theatricality,” she explains. Still, she mentioned that her parents will be coming this weekend and I wonder if she is going to edit herself a bit for that performance!

For the final work, Brandon Gonzalez’s “Vibrant Matter,” the audience left the Wyatt Theater and walked over to the new Della Davidson Studio. Gonzalez’s work examines how objects might use us or have an effect on us.

In a multi-media work that includes video, sculpture, design and choreography, a floral quilt interacts with a piece of foam, a video dances on air currents and human bodies transform into still-life images. The results were fascinating. This quilt actually came to life, the video on airwaves was mesmerizing and the final piece did amazing things with balance.

The talk-back following the Program 2 pieces was interesting, and helpful in answering those unanswered questions.

The Whipping Man

Photo by Barry Wisdom

Whoever thought a guy named Lopez would write such a gripping play about black Jews in the South at the end of the Civil War? But playwright Matthew Lopez has delivered an unforgettable drama now on the Sacramento Theatre Company’s Pollock stage, under the direction of Buddy Butler.

The notion that there were a number of Jewish families living in the South during the Civil War is perhaps not surprising — though we rarely hear of them as a group apart from everyone else — so it is also not surprising that some of their slaves, particularly those raised from childhood with Jewish traditions, would have converted to Judaism, or that spirituals like “Go Down, Moses” would be an integral part of a Passover Seder.

The play covers three days in April 1865. Gen. Robert E. Lee has surrendered to Gen. Ulysses S. Grant and young Caleb DeLeon (Sean Patrick Nill), wounded and barely able to drag his gangrenous leg, has returned to the family estate, to find the place in ruins.

His father and the rest of the family (including the now-emancipated slaves) have taken shelter elsewhere until it is safe to return to Richmond, Va. The house is being watched by former slaves Simon (Michael J. Asberry), and the younger John (Anthony Simone).

Simon, who has obviously been with the family for many years, is devoted to them and to keeping the house safe from looters, while the opportunistic John is thrilled to be looting the nearby mansions for little luxuries like liquor, candles, silverware and a mattress and rug that will help them to survive until things settle down and the family returns.

There is an uneasy reunion of the former slave and former master, as Caleb falls into his old habit of ordering the older man about. Simon reminds him that given his emancipated status, the boy should make requests rather than issuing orders. It takes a bit for this shift in relationships to sink in.

The rich are now poor, and the slaves are now free. Caleb has lost his faith, while Simon and John continue to believe and practice their adopted religion. Discussions of faith and religion take prominence as the three men try to make sense of this new, uncertain world.

“Were we Jews or were we slaves?” John wonders aloud to Caleb, recalling the years before the war.
“Were we the children of Israel or we just the heathen that were round about you? Because we couldn’t be both, that was clear. And now you say you’ve given up praying just as easily as that.”

It is clear that Caleb’s leg must be removed to save his life, but the former soldier refuses to go to the hospital, so Simon, with some little medical experience, assisted by John, performs the deed.

Fortunately for the audience, there is a convenient blackout to cover Caleb’s screams and when the lights come up again, the surgery is over and Caleb is lying comatose in bed.

As the two-hour play moves forward, tempers grow short, old wounds are aired, long-buried secrets are revealed and all comes to a head during a Passover Seder.

One could not ask for a better cast. Asberry imbues Simon with a quiet dignity in the face of the horror around him, and a hope that on his return, his former master will keep his promise to give him money so that he and his family can get their own little house.

His speech when he learns of President Lincoln’s assassination, given with tears running down his face, had many in the audience crying with him. He also sings bits of spirituals in several spots, displaying a deep, rich voice that left the audiences wanting more.

Nill gives a notable performance, and manages to handle the task of being bed-ridden and comatose for a long part of the action, though he is given the opportunity to express himself on two good legs in a flash-back scene.

Simone’s John is a cynical character who has a sense of style in the new duds he liberates from deserted mansions, and he has a devil-may-care attitude, until topics turn more serious and he shares his memories of “the whipping man,” to whom the father would take his slaves when they needed to be disciplined.

His character confronts reality when he finally understands that his feelings about the DeLeon family may have been mistaken.

This is a powerful play that not only examines a little-known chapter of Southern history, especially in the post-Civil War era, but also raises questions about race, religion and responsibility.