Renaissance Man

Rinde Eckert was in a taxi, heading to the airport on his way to Montreal, when he learned he was one of the top three nominees for a Pulitzer Prize for his 'Orpheus X.'

'I got a call from The Los Angeles Times, asking how I felt about none of the actual finalists have been chosen, and the award going to the fourth guy on the list,' Eckert recalled. 'The newspaper was looking for some sort of controversy.'

Eckert, who didn't realize his piece had been under consideration, was thrilled just to have his work nominated.

'I didn't care. I was happy to be close.

'The three of us who were Pulitzer finalists were very unconventional,' he continued. 'None of the pieces that were finalists made it to Broadway. They had, at best, been off-Broadway shows, but ultimately a Broadway piece was chosen.' (That would be David Lindsay-Abair's 'The Rabbit Hole.')

Eckert, a familiar name to UC Davis theatergoers, is back on campus as a Granada artist-in-residence. The Pulitzer near-winner will be presented for one performance only, at 8 p.m. Saturday at UCD's Main Theater, as a special American Repertory Theater presentation, prior to its heading off to a theater festival in Hong Kong.

This performance will be followed, next week, with a two-week run of Eckert's original piece, 'Fate and Spinoza,' now under development with a student cast.

Almost winning a Pulitzer has its advantages, Eckert acknowledges.

'It alerts people to some of the intricacies of the work, because the people choosing works for consideration aren't stupid, and they're aware of dimensions of a work that perhaps deserve attention. It helps to have someone in authority say, 'This stuff is worth getting. There's some deep stuff here.'

'That's an alert that says to the normal theatergoer, 'Wow ... I'd better take a closer look, because ... look, he was he was a finalist for the Pulitzer Prize! That isn't pig doots!' '

Eckert laughed.

In setting his piece, Eckert was inspired by the translation of a poem by German poet Rainer Maria Rilke, called 'Orpheus, Eurydice and Hermes.' In the classic myth, Orpheus is broken-hearted at the death of his love, Eurydice, and descends into Hades to bring her back to the living world.

'It's Greek,' Eckert explains. 'There is only Hades. There is no other place. They don't have any choice in the Greek world. They all go to Hades. Unless they're rescued in some way and made into a god, but that doesn't happen very often.'

In the Rilke poem, Eurydice already has become comfortable with the afterlife. Her memories of a life with Orpheus have faded, and she's not interested in returning to his world. She's perfectly content to remain in Hades:

Already she was root. And when suddenly, abruptly the god stopped her and in a pained voice said, 'he's turned around,' she did not understand and quietly answered 'who?'

Eckert's Orpheus is a rock star who substitutes an electric guitar for the traditional lyre. ('I needed to have him have mythic proportions, and the modern rock star fits that.') Eurydice is a street poet whose writing has become mundane and unsatisfying to her. She's struck by the taxi in which Orpheus is riding. He becomes obsessed with the woman, who dies in his arms.

He gives up everything to go to Hades, to bring her back to his world.

The trip is arranged by his agent.

'Agents always have connections,' Eckert laughs.

In Eckert's version, Eurydice no longer makes a sacrifice for Orpheus' poetic life, but for hers.

'She doesn't want to go back to what was terrifying and hellish for her,' Eckert explains. 'There's nothing for her up there.'

The 'X' in 'Orpheus X' indicates a variable that denotes the 'x' number of previous productions of the classic Greek myth.

'I've tried to honor each of the dimensions of the myth, while putting a spin on it that was of much more intrigue and interest to me, and would be a worthwhile addition to the great number of iterations of Orpheus, rather than trying to do yet another kind of straight-ahead depiction that already has been done extremely well.'

Whether a 'stunning music-theater production ... powerfully acted and gorgeously sung' (Variety), 'a multi-sensory extravaganza' (Tufts Daily) or 'a lugubrious and second-rate piece [that] nevertheless offers a fresh slant on a familiar but always haunting myth' (Edinburgh Festival Review), it's clear that in the hands of a masterful playwright/performer, Eckert's 'Orpheus X' will be an evening to remember.

*******

While 'Orpheus X' has been traveling around the world since 2006, 'Fate and Spinoza' will have its world premiere at the UCD Main Theater in a few weeks.

Christine Samson, a master of fine arts student playing a dual role (as are most of the actors), finds working with Eckert a novel experience.

'It's something he's creating as we go,' she said. 'It's the first time I've worked in a devised piece versus a pre-existing script. It's interesting to see his process, and what will and won't work as things change. Ultimately, it all makes sense and comes together.'

'I love working with Rinde,' said Hope Mirlis, who plays April Lansky. 'I love devised work; I love his language. I understand how his brain works, and I get his humor. He's an incredibly intelligent guy.'

The work grew out of Eckert's readings of Baruch Spinoza's 'The Ethics,' but as the work has progressed, the philosopher gradually has become more removed from the theatrical piece.

'I increasingly came to strip my character of the name 'Spinoza,' and it's come further and further into the fabric of the work,' Eckert said. 'It's imbedded in the work, certainly, but it's not an obvious connection.'

Eckert's Spinoza is a fatalist, and he hastens to assure me that Spinoza himself was no fatalist.

'Quite the opposite, in fact,' he said. 'He did have a lot to say about free will, and how free will is a kind of mistaken notion. He basically said that all of this religious lore is essentially superstition: stories you're telling yourselves for various purposes, but they have nothing to do with God. In the 17th century, this was radical stuff, which is why he was excommunicated. He was just too radical.'

Eckert's enthusiasm for the subject is infectious.

'This guy was writing in the 17th century. You suddenly appreciate why he survived. You realize he anticipated almost everybody. It's a remarkable work! He anticipated Freud. He identified subconscious desires.'

But how do you transform what might sound like a dry work of philosophy into a vibrant stage piece?

With music, dance, song, dialogue, visual intrigue and splendor.

'There's a line in 'Fate and Spinoza' that says any idiot can say 'God works in mysterious ways,' but only the scientists are proving it. We start the piece with this symbol of people looking up at a rocket launch of some kind, and then someone happens to say 'God forbid,' and it starts a discussion about whether the two characters believe in God.

'So we put that in the room to start with.'

Burlesque touches are added here and there for comic relief, while at the same time delivering powerful messages in the most matter-of-fact way.

Mirlis noted that the middle of the piece includes a big choral work, where the entire ensemble gathers and sings.

The play itself revolves around April Lansky, a wife, mother and engineer who designs satellites and telescopes. She's inexplicably compelled to revisit a hotel from her past, which is about to be torn down. While there, she encounters both the ghost of artist David (Spinoza) Cornell ... and the devil.

Through dialogue with these characters in the room that once was the artist's studio, April recovers what she lost 20 years earlier.

Spinoza's mythic presence permeates the work, as characters examine the past in order to come to terms with the present.

Spinoza concluded that most of what we claim about the world actually isn't true, and that free will is a figment of our imagination.

'Rinde's pieces always are theatrically surprising. He has that rare, happy knack of being both entertaining and thought-provoking,' said UCD theater and dance department chair Peter Lichtenfels. 'Rinde layers his pieces through singing, dancing, acting and playing musical instruments. I admire this range, and how he uses it to tell stories; that's why I'm so excited about his creation of 'Fate and Spinoza' with our students.'

The show was cast last quarter, and things were different right from the start, Mirlis explained, because Eckert gave the actors homework to complete during the quarter break.

'We had to come up with a sentence that used the words 'red' and 'hat.' We had to create a 30-second dance with a small box. We had to create a song in praise of Greenland, and we had to create an odd sound with either glass or metal. He wanted to see what we'd bring to the table, but he actually got some additional ideas. This play has been in his brain and in his book for awhile. We definitely were the next step, bringing it to the ensemble.'

'It's a great ensemble show with lots of energy,' said first year MFA student Rebecca David, who plays two minor characters. She loves the show for its 'otherworldly quality and its surreal set.'

'It takes awhile to generate a new work, especially in a university situation, where your time is really limited,' Eckert said. 'I'm usually working in professional situations, where my actors are there for eight hours a day, and they ain't doing nothing but this. We can go out to dinner after rehearsal, and discuss problems.

'Here, the cast disappears when rehearsal is over, because they have stuff to do, and they don't show up again until the next rehearsal.'

'I'm grateful to have a director who'll work with my schedule,' said Samson, an MFA student and mother who must plan around children's schedules. She explained her time constraints to Eckert before she was cast in the play.

'I needed some more mature actors within the company,' Eckert said, 'so I was willing to accept the limitations on her schedule.'

Samson, in her first year at UC Davis, finished her bachelor's degree at Sacramento State University in 1994, and then taught at Sacramento High School for several years before deciding to obtain her master's degree here. She'll eventually return to teaching.

What's ahead for Eckert, after he leaves UC Davis in March?

'I'm working on music for a performance at Joe's Pub in New York in May, and then I'm on a Guggenheim fellowship as a composer, so I'm doing a lot of compositional work over the summer. I have the money now to do that, thanks to Guggenheim.'

In the fall, he'll work with the medical school at the University of Iowa, under a grant from the Doris Duke Charitable trust. The piece will focus on issues surrounding blindness.

'I've interviewed doctors and people who are going blind. Out of that welter of information and impressions, I'll write a piece about the worlds that I've encountered, and some of the issues around blindness, and what it really is to see.

' 'Fate and Spinoza' actually is a precursor to that project. My artist is going blind, so I was imagining that maybe it would end up being a trilogy of pieces. I've been calling the Iowa piece the 'eye piece,' for lack of anything better. I thought the trilogy would be 'Fate and Spinoza' and 'The Eye Piece,' and then I'm doing another piece called 'Slide,' which is about perception.

'I suddenly realized that 'Fate and Spinoza' is about the lens and that transmission of light, so I've focused on the idea of the lens. The Iowa piece will be the retina: the place where light is collected and transmitted to the brain. It will be about blindness, to a degree, and then it will go into dealing with blindness.

'And then I wanted to get into perception: what happens in the brain after you get the information, and how does that stuff get over...'

And he was off.

As Eckert's fertile brain spewed a veritable cornucopia of ideas for future projects, I knew that the theatrical community would see a lot of this multi-talented man.

For decades to come.

Dinner With Friends

We never really know what’s going on in the lives of our friends when we part and they go behind their own closed doors, or so we learn in the Pulitzer Prize winning play, “Dinner With Friends” by Donald Margulies, now at Capital Stage, under the direction of Peter Mohrmann.

Karen (Jamie Jones), Gabe (Eric Wheeler), Beth (Karyn Casl) and Tom (Kenneth S. Figeroid) have been friends forever. In fact Karen and Gabe introduced Beth and Tom and now they spend lots of time together, their children play together.

As the play starts, Karen and Gabe, who are food and wine connoisseurs have just returned from a fabulous tour of Italy and are gushing to Beth about their eating, drinking and other food experiences, totally oblivious to Beth’s obvious state of disinterest and agitation. Karyn Casl is brilliant in this section of the play, completely conveying a woman whose life seems to be falling apart, trying to hang on to her sanity and stay focused on her friends, though her brain is a million miles away. Her pain is palpable and only the self-absorbed Karen and Gabe are unable to see it.

(Food is, by the way, central to this play, as each scene takes place in or around a kitchen, and fine foods and wines play an integral part in each of the discussions. The mouth-watering description of the dessert in Scene 1, which actually momentarily sidetracks an argument in Scene 2, sent me to Google looking for a recipe when I returned home!)

Karen finally notices that Beth is out of sorts and pulls from her the news that Tom has been having an affair and has announced that he is leaving their marriage.

Through the following scenes, we see what happens when close friends divorce, and the effect it has on their friends. Can you be friend with both husband and wife? Who is really the injured party? Aren’t there two sides of every story? If Tom has been Gabe’s best friend and Beth has been Karen’s best friend, where does that leave Karen and Gabe?

Margulies beautifully allows development of the effect of the break-up on the other couple. Karen feels betrayed when Beth finds herself a boyfriend, feeling she is rushing too quickly into another relationship, almost adamant that Beth break it off with her new love interest. Is Karen jealous that Beth is feeling the glow of fresh love? Or is she upset that this is someone Beth found on her own, without Karen’s assistance?

When Tom meets Gabe for drinks and extols the praises of his new girlfriend, Gabe is discomfited because he felt that he and Tom were going to “grow old and fat together,” and now Tom is feeling healthy, getting fit, and keeping up with a younger love interest.

Beth’s and Tom’s ability to move on is almost more difficult on Gabe and Karen than the news of their breakup was.

There is no resolution, or even a message, in this play. It’s simply an entertaining character study that gives much food for thought as we watch the chemistry between the characters, and their effect on one another. Just when we think one character is the bad person for whatever reason, we suddenly see things from the other side and it forces us to reassess who may be to blame. In the end, nobody is to “blame.” It’s just what happens.

The actors are marvelous. Jones and Wheeler are very funny as a couple absorbed in their passions for food and secondarily for each other. They are comfortable together and can’t seem to understand the temptations that have led to the break-up of their friends’ marriage.

Casl has perhaps the meatier part in the second relationship, conveying her utter despair and then her giddy happiness as she shares news of her new love with her friend.

Figeroid nicely portrays the man who never quite grew up into a responsible adult and who is ready to let himself be remolded into a middle-aged “man toy” for a new woman. It is not impossible to see this as a short-term relationship, but he’s enjoying it for all it’s worth at the moment.

Set designer David Fulk manages to find a way to use every bit of the Capital Stage stage to get more than one scene set at a time and somehow have it all work beautifully. The moveable windows were a particularly effective touch.

“Dinner with Friends” is a funny, yet thought-provoking play, that will leave you wondering what really does go on with your best friends behind closed doors.

Topdog/Underdog

Can anything good come of naming sons “Lincoln” and “Booth”? Especially if you admit you did it for a joke.

Lincoln (Hassan El-Amin) and Booth (Adrian Roberts) are the characters in a 2-act Pulitzer prize winning drama called “Topdog/Underdog,” written by Suzan-Lori Parks, directed by Benny Sato Ambush, and currently presented on the main stage of Sacramento Theater Company, through February 17th.

(You will never be tempted to play Three Card Monte again!)

The play had a successful off-Broadway run with actors Don Cheadle and Jeffrey Wright in the lead roles. It then had an extended run on Broadway in 2002, in which Cheadle was replaced by MosDef.

By all means get to the theater in time to see director Ambush give the pre-show talk, which is one of the best I’ve heard at Sacramento Theater Company and beautifully sets up the play you are about to see.

Entering the main theater you see the lights glowing softly on the beautiful set by Kathryn Kawecki (lighting design by Victor En Yu Tan). As the lights come up a the start of the play, we find it is a shabby room with thrift-shop style furniture.

“Topdog/Underdog” is the story of two brothers, Lincoln, the older and Booth, the younger. The men were abandoned as children by both of their and have grown up as best friends and support for each other. Through their interchanges (which often have the cadence and lyricism of poetry), it is clear that the pain of abandonment has sunk deep roots in both men and there is always something that brings them back to the parental love of which they were deprived throughout their lives. They are unable to trust anyone, as a result, even each other.

Both men are struggling to find their way in the world. Lincoln, having been thrown out of the house by his ex-wife is sleeping in a recliner in his brother’s room in a seedy boarding house. There is no bathroom; it is down the hall. Linc pays the rent, as he is the only brother with regular employment. He works at a local arcade, where he dresses as Abraham Lincoln (which includes covering up his dark skin with white make-up) and lets customers pretend to shoot him with a cap gun. In former days, Linc was a champion of the card game, Three-card Monte and could bring home hundreds of dollars a day which he’d bilked off of unsuspecting customers on the street. But he’s trying to become an honest man and has sworn off the cards. (“There’s more to me than that. There’s more to life.”)

Booth’s specialty is shoplifting. He can steal almost anything, from clothing to jewelry to large pieces of silverware. But he longs for Linc’s success with Three-card Monte and practices the banter and throwing the cards endlessly. He changes his name to “Three-Card.” He begs Linc for lessons and longs for the two of them to be partners in the game. He chides Lincoln for “dressing up like some dead white man” in order to make a living. Linc feels Booth is too bumbling to ever be a success at the con game.

As the play progresses towards its inevitable conclusion, there are mounting tensions involving employment and a girlfriend, and always a return to the core question: why did our parents leave, and did they ever love us? Are we worthy of love ourselves?

A very poignant scene has Booth waiting for his girlfriend to come for dinner. He has “boosted” tableware, silver service, flowers. He arranges and rearranges things, checks the food in the silver chaffing dish, and cries out for her to come. Linc arrives home to find Booth waiting at the window, certain that she will come, though she was due at 7 p.m. and it’s now 2 a.m.

El-Amin, Roberts, and director Ambush have worked together beautifully, to paint a well constructed picture of love and loss, of ambition and frustration, of the complexities that enter into family relationships and the tragedy that sometimes accompanies intense emotion.

It is a drama that will haunt you long after you have left the theater.

N*W*C*

I wish I could tell you the name of the play I saw at the Mondavi Studio Theater last night, but it can’t be printed in a family newspaper. “N*W*C*” stands for the racial slurs that are used for African Americans, Latinos, and Asians, but most newspapers use the shortened form to avoid being offensive. Publicity material from the University cautions, “Patrons should be advised that the production uses offensive language.”

The reaction to the title of the piece pretty much explains the purpose of writing and performing it in the first place.

The production was scheduled for only three performances, but brisk ticket sales necessitated adding a fourth performance, January 26th at 10:30 p.m.

N*W*C* is a 90-minute original work for the stage produced by L.A.-based Speak Theater Arts that co-writers Rafael Agustin, Allan Axibal, and Miles Gregley say “traces the origins and evolution of three derogatory terms that shaped our lives and took the place of a genuine understanding of our distinct cultures.” N*W*C* mixes comedy with the real-life stories of three young men from different ethnic backgrounds to deconstruct the notion of race in America.

It won the 2003 award for “Best Play” from the American Readers Theater Association, as well as the Audience Prize and four other major awards.

Gregley, Agustin and Axibal were all best friends (in itself an unusual thing, given their mixed racial ethnicity, the actors told the audience at a Q&A following the show) who developed N*W*C* as a one-night senior project while attending UCLA. It was so successfully received that a six-week engagement in downtown Los Angeles followed, and then they were booked for a national tour. It has now been touring for four years and has been playing to sell-out crowds across the country.

Neo-Nazis threatened one performance in Olympia, WA, while the National Association for the Advancement of Colored People sent out fliers condemning their use of the ethnic slur against blacks at another one (proving that the show really does bring people together, joked one of the actors).

The show begins with Axibal, dressed in a blue satin outfit you might find on any mannequin in Chinatown, stepping out from behind a panel chanting the Asian epithet over and over again. He is joined by Agustin dressed in stereotypical Latino garb joining in the chant with his own particular epithet, and finally Gregley, wearing a flowing full-length coat and a red feathered hat chants the “N-word” over and over. By the time the chant has finished, the audience is already starting to become inured to the terms.

Gregley lets the audience know how many times they have heard the N-word during the piece, Agustin repeats with how many times he has said the W-word, and when Axibal says that he has said the C-word 270 times, the other two complain that he always has to overachieve.

This sets up a section where the three men list the various stereotypes attributed to each of their ethnicities (such as the overachieving Asian).

They compare their individual experiences growing up, and learning first that they were different and then how those differences would set them apart in a predominately white world. (“You don’t know how to hate yourself when you’re 8 years old,” says Axibal. “That’s what school is for!”)

They talk about the things that they tried to do to blend in with their surroundings. In a funny monologue, Gregley talks about growing up in California and the culture shock he received when his mother moved the family to Georgia, where he had to learn to “be black,” when he was not accepted by his peers because looked and sounded too Californian.

Axial recalls how his mother promised him she would raise the money so he could have “the operation,” which he explains is the slitting of his eye-lids to make his eyes look more rounded, and more “western.”

Agustin shows headshots of himself as a blonde, when he bleached his hair to give himself a chance at being cast in shows when directors felt he looked too Latin.

In the end, the audience sees how we are all more alike than we are different, if we open ourselves to dialog with others.

N*W*C* is a funny show with a powerful message, the message being that everything really is all about race: the human race.

Imaginary Invalid

Warning: Attending a production at the Woodland Opera House any time between now and February 10 could be hazardous to your health. I’m serious. I will not be responsible for anybody who suffers convulsions of laughter, splitting of sides, or inability to breathe because of laughing.

The Opera House is presenting a madcap production of Moliere’s classic “The Imaginary Invalid,” translated and adapted by James Magruder and directed by Rodger McDonald, who also plays the title role.

The fun starts as the audience enters the opera house, along with costumed actors, who take their places in the box seats, and along side members of the audience and interact with each other and audience members.

A Nurse Maid, Jenn Smuda-Cotter begins the production with a speech comparing “classic” playwrights Wm. Shakespeare and Moliere and then all hell breaks loose with perhaps the most energetic opening you are likely to see on stage.

The members of the cast are anticipating the arrival of Argan, “the imaginary invalid” and the nonsense begins.

There are not enough superlatives to describe the Rodger McDonald’s Argan, the hypochondriac to end all hypochondriac who revels in reciting the ailments of and treatment of his bowels. Moliere takes lowbrow humor and raises it to new heights, and this translation uses just about every euphemism for the act of emptying one’s bowels as one can find. McDonald handles the slapstick humor beautifully and has a catalog of facial expressions that seems endless.

Amy Vyvlecka is Toinette, Argan’s servant, whose caustic relationship with her master is dependent on the chemistry between the two actors, and it’s a chemistry which works well in this instance. Toinette is the person in the house who really runs things, who knows everybody’s secrets, how to keep them and how and when to reveal them. Vyvlecka is delightful to watch, a real pro at work. She is the character that everyone seems to trust, thus she is enlisted to help Angelique (Marissa Gamble), Argan’s eldest daughter in winning Argan’s permission to marry the love of her life, Cleante (Ben Moroski).

Argan has betrothed his daughter to the son of his doctor, Dr. Diafoirus (Phillip Pitman), Thomas Diafoirus (Mark Garbe), a man repulsive to Angelique, but chosen by her father because, as he freely admits, he wants to be sure to always have a doctor in the house. Garbe beautifully handles the role of the bumbling simpleton trying to remember the flowery speeches his father has written for him, but failing miserably, while his personal mannerisms are grossly distasteful to just about everyone.

Gamble is adorable and spends most of the show lip-locked with Moroski. The two perform an impromptu “opera,” when Cleante poses as a music teacher in order to spend time with his love. In the “opera,” they are able to speak their love to each other, hoping Argan will not be aware of what is transpiring. Moroski is also very funny, with the woebegone look of a lovelorn loon, as he sighs for the love of his lady.

Argan’s second wife, Beline, is played by Anne-Marie Trout. The gold-digging Beline has married the miserly Argan to get his money after his death, but flutters about him like a dutiful wife. He calls her “Mommy” and she speaks baby talk to him until her duplicity is revealed. Trout is very funny and plays the exaggerated Beline to perfection.

Franchesca Jimenez as Louise, Argan’s youngest daughter, is cute as a button and has little to do in Act 1, but gets her chance to shine in Act 2, and shine she does as she feigns terror at her father’s anger.

The hilarity and nonsense of Act 1 is dulled a bit in Act 2, where Moliere takes the chance to present his views of the medical profession of the day (perhaps with good reason, since the playwright died shortly after “Imaginary Invalid” opened!). Jeff Nauer gives a solid performance as Argan’s brother, Beralde, but gets the unhappy task of delivering much the “serious” material and doesn’t get a lot of laughs, because there are none to be had.

However the show ends with a zany ceremony, arranged by Beralde and headed by Smuda-Cotter, and all ends happily.

The feel of this production is greatly enhanced by the fabulous costumes of Laurie Everly-Klassen and wigs of Klassen, Chris Medina, Rachel Klassen.

This a sparkling gem, from first to last. As the Nurse Maid states at the outset, Moliere doesn’t get as much attention as Shakespeare. Based on this Woodland Opera House production, it’s hard to understand why.

THIRDeYE Festival

The University of California Davis Department of Theater and Dance is presenting its annual THIRDeYE Theater Festival, showcasing the work of three talented student playwrights and three student directors at the Wyatt Pavilion Theater, through January 27th.

The plays are written in various UC Davis playwriting and English classes, some taught by Jade McCutcheon, reprising her successful 2007 role as Artistic Director for the festival.

Kellie Raines, who wrote last year’s delightful “Saving Trophies,” is back for her second THIRDeYE experience. This time it’s “Miracle Fish,” directed by Jason Masino, and inspired by a story from the Internet about a pair of men in London who found a fish they claimed had the word “Allah” on it. The men put it on display and people came to view the fish, nicknamed “Miracle Fish.” From this Raines formed the central theme of her play which is how we often look for answers or signs in objects and ephemera that are man made.

Heidi Kendrick is Samira, an aspiring writer suffering from writer’s block and wracked with guilt over an issue which is not revealed until midway through the play. She seeks guidance from a “Magic Eight Ball” (“Should I have told him no?”) Kendrick shines in this piece, nicely conveying her frustration and her reliance on outside objects to give her a sign that will help her make major life decisions.

Thomas (Kevin Ganger), with whom we assume she is romantically involved, arrives with his friend Matt (Roth Wiedrick). The men had been at a club and on their return home during a big storm Thomas asserts it began raining fish. A fish with the likeness of Jesus on it landed on their car windshield and the men plan to put it up for auction on eBay and become rich.

While Matt and Thomas are in the bedroom watching the bids on eBay rise, Samira’s former boyfriend, Steven (Mark Ferrando) arrives. Steven apparently dumped Samira for his Uruguayan boyfriend, Eluid (Nathan Lessa). Revelations are made, decisions are made, and Samira finds her inspiration in an unlikely place.

Scenic design of Samira’s apartment by Kelsey Nix, is particularly nice.

I didn’t feel nearly as bad during intermission following the second play, “Brigid’s Reign,” by John Crosthwaite (directed by Cary Babka), when a large group of people sitting next to me huddled and compared notes, trying to figure out what the play was about. I had difficulty following it myself. While the 8-member cast is strong, the combination of their Irish accents, Wyatt acoustics, and my seat on the side of the stage rather than in front made it difficult to catch large parts of the dialog, which made it nearly impossible to follow the plot.

The play was inspired by testimonies and legends surrounding the Troubles of Northern Ireland from the late 1960's to the mid 1990's. Seannan (Daniel Reano-Koven) loses his wife (Gia Battista) and daughter Brigid (Bridgette Davis) as a result of the violent Irish conflict. Reano-Koven brings an intensity to the role which underscores the pain of his loss, the depth of his guilt, and the anger which fuels the conflict that rages within him.

Seannan and his friend Jared (Bryan Marcus Pham, who has one of the best of the Irish accents)) come to America to stay with relatives. Katie Hulse gives a wonderful performance as Casey, the mother of the transplanted Irish-American family. Cory McDaniel, Ulysees [sic] Morazon and JT Reece are Casey’s sons. "Secrets drive the family apart, but experience brings them closer," says the playwright.

What do the ghosts (the afterlife in general having a huge impact on the play) have to say about the outcome of the living? I’m not exactly sure–and my seatmates at Wyatt Pavilion weren’t sure either!

“Ghost, Bathtub and Windmill,” a comedy by Elise Kane (who appears to have a particular love for bathtubs, as her performance art piece last year was entitled “The Bathtub Experiment”) was directed by Daniel Guttenberg,

Its nine-member cast is headed by Figg (Brian McFadden) and Czewski (Erin Cookston), the ghost of a Polish Holocaust victim, now working as a costumer in a New York theater. McFadden is wonderfully droll and Cookston gives a gentle dignity to the ghost of this little costumer.

Matt Moore is also quite funny as Alastair and Kelly Fleischman sparkles as the diva, Echo. Others in this excellent cast include Geoffry Jenson as Clifford, Alison Stevenson as Minnie, and Stephanie Hankinson, Cody Messick and Daniel Storrow as Producers.

The bathtub features prominently and is the location for some of the funnier bits of physical comedy.

THIRDeYE Theater Festival has once again shown us that talent is alive and vibrant at the Department of Theater and Drama!

Those seeking something fun to do this rainy weekend need look no further than the Acme Theater Company's production of 'A Thurber Carnival.'

How often do you get a chance to see someone wear a lampshade for a hat?

With Acme founder Dave Burmester gradually divesting himself of company responsibilities, longtime patrons have been concerned by what would happen to the company when he's not around.

'A Thurber Carnival' - directed by Emily Henderson, Daniel 'Pheelyks' Guttenberg, Alicia Hunt, Joshua Nielsen, Anthony Pinto, Jennifer Provenza Wallace, Betsy Raymond, Lisa Voelker and Dara Yazdani - leaves no doubt that Burmester has trained his actors well over the years. The alumni are more than competent to take over the reins of the company, after he directs his final play this summer.

'A Thurber Carnival' consists of 17 sketches based on a selection of Thurber's stories and cartoon captions, including the famous 'The Secret Life of Walter Mitty' and 'The Unicorn in the Garden,' along with lesser-known works. The show ran on Broadway in 1960; Thurber performed - as himself - in the sketch called 'File and Forget,' which rings even more true today, as the ultimate customer service nightmare.

The setting for 'A Thurber Carnival' is a raised scaffolding; a jazz combo - Hannah May, JT Rakitan, James Blake and Jonathan Kelly - occupies its center and performs before the show and during scene changes.

Large versions of Thurber's drawings hang at jaunty angles on the scaffolding, and make a perfect backdrop for the action on stage.

The cast has no weak links: Alex Kravitz, Hope Raymond, Kate McFarland, Delany Pelz, Elliana Bisgaard-Church, John Ramos, Sean Olivares, Vivian Breckenridge, Nathaniel Guttenberg, Emily Tracy and Ethan Jaffe all appear in several sketches.

While each sketch is excellent, little jolts of pleasure here and there raise the experience to 'outstanding.' Raymond, for example, is hilarious as an American woman trying to explain the 'real' plot of 'The Macbeth Murder Mystery' to McFarland. This brief bit could have been one of the less interesting sketches, but Raymond's accent and character make it a total delight.

Kravitz, taking on the Thurber role in 'File and Forget,' is exceptional. Tracy appears here briefly as Jeannette Gaines, and she almost steals the sketch.

Pelz is charming, but as a little girl in 'The Little Girl and the Wolf,' and as a termite in 'The Elephant Who Changed the World.'

Tracy is wonderful as the wife in 'A Couple of Hamburgers.' Jaffe is very funny in 'The Pet Department,' as a television host giving advice for pet owners. (The fireplace in this scene may be the most inventive part of the evening.)

In addition to the major cast, the 'Magic Hands Ensemble' - Geoffrey Albrecht, Kane Chai, Rachel 'Duckie' Cherones, Brandon Raphael, Celsiana Warwick and Genevieve Whitman - portrays everything from tables and ottomans to a potted plant, the flames in a fireplace and, yes, the standing lamp (with a lampshade on someone's head).

The Magic Hands Ensemble also presents an 'Improv Fable' at the start of the second act, during which they act out a sketch chosen at random from a fishbowl.

The opening and closing pieces - 'Word Dance, Part I' and 'Word Dance, Part II' - will be familiar to fans of 'Laugh-In'; this dance and stop-motion for one-liners (actually the captions to Thurber cartoons) was the inspiration for the weekly opening dance party on the 1960s television show.

Once again, Acme delivers a sparkling evening of gentle humor, expertly directed and acted.

Now in its 27th year, the Davis company just gets better and better.

La Cage aux Folles

Audience members at the Sunday matinee of Davis Musical Theater Company’s production of Jerry Herman and Harvey Fierstein’s “La Cage aux Folles” had a pleasant surprise in store for them. Since both Friday night’s opening performance and Saturday night’s performance had to be canceled due to the power outage, Sunday afternoon was the actual opening “night” and thus we were treated to the traditional opening night reception, complete with cake and apple cider.

It was a particularly pleasant surprise for the children in the audience.

One might think “La Cage aux Folles” is an odd show to which to take a child. It takes place in a female impersonators’ club on the Riviera and its principal characters are gay, sometimes outrageously so.

But at its heart, “La Cage aux Folles” is a love story. The love of two parents for each other and the love they have for their child, which leads them to make great personal sacrifices for that child; and the love of a young man for a young woman and their desire to get married, despite their disparate backgrounds.

Albin is one of my favorite musical theater characters. He is the headliner, “Zaza” at the nightclub La Cage aux Folles and has been the partner of Georges for 20 years. In Albin we see the pride in who he is and what he is and his hurt when he feels betrayed by his husband and their son, yet his ability to work through that with both imagination and dignity when he sees that their son is in trouble. An actor playing Albin has to be outrageously flamboyant when the role demands it, yet bring great heart to his relationship with Georges and he must make the audience feel his pain as he sings his signature song, “I Am What I Am.” Ryan Adame is such an actor. He nailed the song and his interactions with Georges brought tears to my eyes every time. It was a lovely portrayal.

Newcomer Martin Lehman is Georges, owner and emcee at the nightclub and trying to walk the fine line between his love for his partner of 20 years and his desire to help his son impress his would-be in laws. Lehman gives a solid performance that was always adequate and occasionally better than average. I don’t know who made the make-up decisions for Lehman (I was told that there was no make-up designer for the show), but someone should have helped him to look older than he did. He looked more like son Jean-Michel’s (Clocky McDowell) buddy than his father.

McDowell is a talented actor who had no trouble convincing the audience that he was head over heels in love with his Anne (Kris Farhood). Their “Anne on my Arm” is a lovely dance number. But losing the dark-rimmed glasses, and a bit of make-up magic would make him look less like a middle aged accountant.

Nic Candito is Jacob the outlandish butler/maid and delivers a funny performance whenever he appears on stage.

Anne’s parents are Edouard Dindon (Michael Manley) , the head of the Riviera’s equivalent of the Traditional Values Coalition, and his wife Marie (Monica Parisi). Parisi was the better of the two, while Manley’s acting left some things to be desired. However, he’s lovely in drag.

Mary Young is Jacqueline, friend of Albin and owner of the classy Chez Jacqueline; Marc Valdez and Jan Isaacson play Msr. And Mme. Renaud, owners of a café where Georges attempts to give Albin lessons in how to act like a real man to fool the prospective in-laws.

The production is directed and choreographed by Ron Cisneros. Some of the dance numbers were wonderful (particularly “The Best of Times” and the tap dancing in “We are what we are”) The pace of the show is slow, however, in great measure due to the length of time to change scenery. Some scenes had more life to them than others. And some, like the hors d’oeuvre scene between the two sets of parents, didn’t seem to make much sense (I believe in the original production it’s a dinner scene, which is much more logical.)

It is also rare that I find much to complain about in Jean Henderson’s costume design and she did have some gorgeous gowns for Albin, but the opening number by the Cagelles, in which they talk about their glitter and glitz was done in flowing multi-colored costumes that looked like badly fitting pajamas. I question whether a self-respecting drag queen would wear them to bed, much less to perform what is supposed to be a glitzy dance number. The later costumes with suitable feathers and glitter were much more appropriate.

I love this show and I think DMTC does a reasonably good job with it. As always a show that is designed to be a Broadway show-stopper is hampered by a lack of funding and a small cast. But given what they had available, there were enough good reasons to see the show – and if the weather will cooperate, there won’t be any power outages preventing that from happening!

Riverdance Farewell Tour

Riverdance is finally saying farewell.

Sort of.

It’s saying farewell to the United States, but taking 3 years to do it, wanting to say goodbye to every city where it’s played before. But it still hasn’t been to South America or Africa so there will be tours there in the foreseeable future and there is already a “farewell tour” traveling around Europe, another trip to China planned. There is talk of a permanent production in Dubai.

So although the performance at the Sacramento Community Theater (an 11-day, 16-performance run, which is almost sold out already) is Riverdance’s farewell to Sacramento, I think it’s fair to say that it will be a very long time until those crazy tap dancing Irishmen finally hang up their tap shoes!

Riverdance began in 1994 as a 7 minute filler act for the Eurovision Songfest, which was hosted that year by Ireland. The host country traditionally provides the entertainment while the votes are being tallied. With the talents of Michael Flatley and Jean Butler and the music of Bill Whelan, the original “Riverdance” was conceived. The number was broadcast to some 300 million viewers and was such a hit that producer Moya Doherty, composer Whelan and director John McClogan expanded the piece into a full length stage production.

“Riverdance–the Show” had its world premiere at the Point Theater in Dublin in February 1995 and to date has played over 10,000 performance and been seen live by more than 21 million people in over 300 venues in 32 countries and across 4 continents. The show has traveled well over 500,000 miles, played to a worldwide television audience of nearly 2 billion, sold over 2.5 million copies of the Grammy Award winning COULD and over 9 million videos, making it one of the best selling entertainment videos in the world.

If you’ve never seen Riverdance, the farewell tour will knock your socks off. If you’ve seen it, best to set aside all memories of previous performances and concentrate on this one because who could possibly match the flying feet of Michael Flatley or even the amazing dancing fiddling of Niamh Ni Charra, seen the last time the show played Sacramento in 2001. Fiddler Pat Mangan is has a delightfully engaging twinkle in his eye as he walks around the stage, but he doesn’t dance.

Riverdance has gone more high tech now, too, with projections to set the scene, such as the rocky structures of ancient times, the Norman columns of less ancient times, or the pastoral scenes indicating the failure of the land, leading to a mass migration out of Ireland, while the sonorous voice of John Kavanaugh booms out, setting the mood for the next scene.

The heart of Riverdance is its dance numbers. The now-familiar ramrod straight upper torsos and the inhumanely precise furiously tapping feet are never more spectacular than when all dancers are stretched out across the stage in a chorus line that rivals the Rockettes. There is also a mic along the edge of the stage so all those taps are amplified to get the most out of them. If you like tap, you’ll love this. If you don’t like tap, this is not the show for you!

Leading the dancers on opening night are Marty Dowds and Alana Mallon (the leads will alternate throughout the run). Dowds has legs which often seem to have the consistency of rubber bands as he taps furiously, perhaps at its best in “Thunderstorm,” a piece for the male dancers.

Also outstanding is the second act “Trading Taps,” with Dowds, along with Craig Ashurst and Marcus Maloney (now having immigrated to the United States), engaging in what might be called a “tap rumble” with a couple of African American street kids, Parker Hall and Jason Bernard.

Riverdance also demonstrates the similarities of Irish dances with and influences on other cultures. Thus Carmen Armengou brings a fiery flamenco to the stage danced in a pool of red light and backed by a projection of the sun, and of tongues of fire.

Members of the Moscow Folk Ballet Company, led by Yuri Zhivoglotov and Anna Brovkina bring high energy and high leaps and some circle dancing that relies heavily on centrifugal force.

The Riverdance singers provide soothing and sometimes downright delicious harmonies, led by the clear soprano of Laura Yanez. In Act 2, baritone Michel Bell brings down the house with his “Heal Their Hearts.”

Lighting designer Rupert Murray also deserves high praise for making lighting a principal “character” in this production. Shafts of light flashing across the stage before the finale are a light show in themselves.

If you are one of those rare individuals who has never seen Riverdance, treat yourself (if you can get tickets) to see this production. If you have seen it before, you’ll enjoy seeing it again. The whole thing may have become a bit too mechanized after 14 years, but it’s still an enjoyable evening.

Vivien

It’s a very special actor who can bring a legendary figure to life and make it believable, without making it a caricature. Some examples are Hal Holbrook’s Mark Twain, Jim Brochu’s Zero Mostel, Philip Seymour Hoffman’s Truman Capote, and Judy Davis’ Judy Garland. Now Janis Stevens has come along and provided us a magnificent Vivien Leigh, currently gracing the stage at Sacramento Theater Company, under the direction of Peter Sander.

It was while working together at Sierra Repertory Theater that Stevens and playwright Rick Foster developed the idea for “Vivien,” no doubt inspired at least in part by the actress’ remarkable resemblance to Vivien Leigh. But it is Foster’s delicately woven script, combined with Stevens’ resemblance and her ease at inhabiting the character which makes this play work so beautifully.

From the moment one enters the “Stage Two” theater, one is instantly “in” the theater. Scenic designer Myke Kunkel has created the feel of a backstage gone to seed – a ladder draped with red velvet, a chaise on which other material and props rest, bits of scenery tossed here and there, fading posters on the wall, and the ever present ghost light illuminating the dark.

A friend of mine, who knew Vivien Leigh years ago when she was appearing on Broadway, told me that at the end of every performance she floated out onto the stage for her bow and then suddenly turned and seemed shocked to discover that there were 2,000 people who had been watching her for the past two hours. The description aptly describes the ethereal persona which Stevens embodies, as she glides into the darkened theater, ostensibly to read for an upcoming production of Edward Albee’s “A Delicate Balance.”

The audience quickly realizes that things are not happening in real time. The play is set in 1967, just before Leigh’s death, at age 53, from tuberculosis. It begins as the infamous “actor’s nightmare,” finding onself on stage, in underwear, unsure of which play is being presented and what exactly are the lines.

But as the play progresses, the intricacies of Leigh’s life are revealed, including her tempestuous marriage to Lawrence Olivier (“Larry Boy,” she calls him), which brought her some of the greatest joys and deepest pain in her life. We learn her feelings about the movie roles which defined her – Blanche DuBois in “Streetcar Named Desire” and, of course, Scarlett O’Hara in “Gone with the Wind,” roles of which she is proud and yet minimizes the performances, as her real love was acting on the stage.

She describes winning her first Oscar (for “Gone with the Wind”) and the problems that caused for her overlooked husband (who lost to Robert Donat’s “Goodbye, Mr. Chips”), so much so that she hid it away until he finally won his award years later.

The longer the 90 minute, one-act performance continues, the more blatant is the actress’ manic-depression evident. She has imaginary conversations with Noel Coward, Winston Churchill, John Gielgud, and Peter Finch, each of which peels back another layer of the veneer and gives us a deeper glimpse into the demons of the woman. Stevens floats effortlessly between the complex, overlapping emotions.

Stevens, like Leigh, is by turn coquettish, seductive, petulant, angry, seamlessly moving from mood to mood.

We get bits and pieces of her most famous roles, and marvel at her ability to create the role of Lady Macbeth, for example, while at the same time ranting against Olivier for never making the movie which would have given her the opportunity to play the role for a wider audience. Again, here is the beautiful marriage of actress and playwright, the scene magnificently written and deliciously presented. Over and over again one is aware of the way the two artists have brought out the best in each other.

The 90 minutes flew by and the audience rose in a body to give Janis Stevens a well deserved standing ovation at the conclusion of the performance, including, I noted, a seasoned reviewer in the front row who rarely stands for anything. High praise indeed, and well earned.

Starry Messenger

What if you could come back to life in, oh, say three or four hundred years and find out how things that were important in your life all turned out?

That’s the premise of “The Starry Messenger,” a 75 minute one-act play by Rick Foster now at Capital Stage for one more week prior to being made available for travel to schools for the 2007-2008 academic year.

“The Starry Messenger” is part of a series of touring plays by Duende Drama, a group out of Sonora, which has been touring these educational mini-plays to area schools since 1998 and which has recently teamed with California Stage to reach out to local county schools. Judging by the rapt attention from the audience, comprised of a sprinkling of adults among a crowd of young people, the program is wildly successful.

The setting is “a school assembly in California.” Sister Maria Celeste (played by Keri Fuller on the night we attended, but alternating with Bonnie Antonini) wheels in a draped figure in a wheelchair. She introduces herself as the daughter of Galileo Galilei and explains that he has been dead since 1642, and that since his death he has been so depressed he has refused to wake up again because he feels that his work was for naught. It is her plan to bring him back and show that the world ultimately accepted his concepts. She elicits the help of the audience to literally raise the dead by chanting “the earth moves around the sun” over and over again.

The draped figure stands, looking dazed at hearing what he feels are the voices of angels, and begins to speak. It is Galileo himself, played by 84 year old Mitch Agruss (whom some may remember from the years when he was the beloved “Captain Mitch” on the popular local TV program). Agruss is a robust man with a twinkle in his eye who grabs the audience instantly as he begins to interact with his daughter.

Over the next hour plus, an amazing amount of physics and world history is imparted in delightful, entertaining fashion so that learning the effect Copernicus had on Galileo’s life, or how the Catholic Church felt about his work was as easy to absorb as the plot of “High School Musical.”

Physics and astronomy concepts were reinforced with easy to understand visual aids, and there is even a bit of suspense leading to the scientist’s discovery that his theory of the movement of the tides was not accurate.

This production is part play, part classroom, but it is as enjoyable as any other play, and it’s worth the prices of admission if only to see an old veteran thespian like Agruss strut his stuff.

While Agruss is the heart and soul of this play, Fuller was the motor which kept it moving smoothly. Her irresistible wide-eyed enthusiasm kept the audience’s attention and if Agruss faltered slightly, her non-stop narration was able to get him back on track with slip hardly noticeable.

“The Starry Messenger,” in conjunction with two other plays, will be available for school productions after the first of the year, but this is equally enjoyable (and informative!) for adults and would be a fun one-act play to share with a young person during the holiday season, if one is looking for something fun to do with the kids during the vacation period.

Davis Children's Nutcracker

(Photo is of my son Paul,
in the first production in 1977)
----------------------------------------------------

Davis would be quite a different town if Bob Bowen didn’t like beer and girls.

Bowen was working with the Department of Parks and Recreation at the time of his graduation from Davis High School. He enrolled in UCD as a political science major along with his best friend Tom Eddy (whose father was the manager of one of the banks downtown and whose mother taught in the Davis schools for many years).

As the boys were signing up for classes, Eddy dared Bowen to take a ballet class. Bowen asked what he would get if he accepted the dare. “I seem to remember there was beer involved,” he laughs today.

Bowen enrolled in Jere Curry’s dance class. Curry was delighted to have a male enroll, especially one who seemed to be able to walk and talk at the same time. Bowen weighed the pros and cons of continuing with the class.

“There were 25 women in leotards and me. I could play intramural sports with a bunch of sweaty guys or hang out with some good looking gals.”

Fortunately for the town of Davis, Bowen continued dancing.

In 1972, Roger L. MacDonald contacted his friend Jere Curry to ask for help with a project he was undertaking to raise money for a Sacramento boys’ home (a project which grew into what is now “Best of Broadway”). MacDonald was looking for someone who could perform in a few numbers and act as the emcee for the show. By now Bowen was a regular in Curry’s classes and was even taking lessons Curry taught on the side at the Oddfellows’ Hall. Curry sent Bowen to MacDonald, who immediately cast him.

Over the next few years, Bowen watched MacDonald at work. “I saw the logistics of how you get massive numbers of people on stage and off stage. Doing a small show with a dozen people is one thing; doing a major cattle call with hundreds of people is another. I got a sense of the logistics of how to produce that.”

At the same time, Bowen continued to work part time for the Department of Parks and Recreation and perform with local theater groups. Then the Veterans Memorial theater opened in 1973.

It was like a serendipitous big bang. All the elements fell into place. Bowen been involved in the holiday recreation program for the elementary school kids, when they were out of school in December.

“We would do such things as cooking (which was mildly interesting to some kids, but mostly they were making a mess) or showing movies. (We borrowed 16 mm movies from everybody that we could for free). We also did some basketball, and occasionally took busloads of kids to Sacramento to see the ballet version of ‘The Nutcracker,’ but the program really wasn’t very creative and I was thinking maybe we could do better.”

Then Bowen happened to see an issue of “Women’s Day” magazine and an article about how to put on a production of The Nutcracker for pre-school or elementary school children. A lightbulb went off in his head. “It was a pared down version. It didn’t involve copyright so I could rewrite it (which I did a lot). It doesn’t take full orchestra. It’s just a little stage production.”

The other elements that played into the production of the very first Davis Children’s Nutcracker in 1977 were that since it would be a city production, there were no up front costs for rental of the theater and Bowen had a ready-made crew in the staff of the recreation department.

He was able to twist the arm of some friends Kate Boyce (now Bowen’s wife) and Dina Williams (now Dina Silver) to make simple costumes, burlap tunics over tights for most of the basic costumes. They borrowed a few costumes which had been made by costumers Ann Ough and Marinka Pfaff from the Davis Art Center. Since there was no children’s theater at the time, they were available.

Sets would also be very simple, a chair and a Christmas tree made out of cardboard boxes, with a green tree painted on one side for the party scene and a snow-covered tree on the backside for the fantasy portions of the show.

Bowen put a notice in The Davis Enterprise for children between the ages of 5 and 12 to audition at the Chestnut Park Roundhouse. He didn’t know if anybody would come, and he promised that everyone who auditioned would have some role in the production. In fact, about 50 children showed up.

Scott Cauchois was the prince in the first production (“I eleven years old and was one of the taller guys,” he says). Now a software salesman living in La Jolla with his wife, Scott’s fondest memory was just working with Bob Bowen. “I remember his enthusiasm. He made it a very fun and pleasant experience.”

I myself have a warm spot in my heart for The Davis Children’s Nutcracker because all five of our children performed in the first two productions. In fact my son Ned first met his now wife, Marta Wilson, when both were in the clown group. (To commemorate that meeting, I decorated their wedding cake with clowns and balloons.)

That first show took two weeks to rehearse and only one performance was scheduled. Bowen didn’t know if he could sell all 325 seats in the Vets theater, but he actually over-sold seats and had to turn Mayor Sandy Motley away at the door because she had no ticket and had no child in the production.

Unwittingly, Bowen had started a Davis tradition which is still going strong 30 years later. He continued to direct the shows for the first ten years, at which time his now-wife Kate directed some shows, while Bob continued to act as producer. Kate had graduated from UCD and had been teaching for two years, but needed money and when Bowen suggested she help direct The Nutcracker, the timing worked into her schedule.

“Barbara Wells, my principal at Pioneer School, knew that The Nutcracker was an important community event, so she arranged my schedule so that I could have every afternoon off leading into the show. She always supported any type of children’s theater,” said Kate, adding that “It has come full circle. Pioneer has just built a multipurpose room with a stage and dedicated it to Barbara Wells.”

Others knew the importance of The Nutcracker to the community too. Kids who had been in earlier productions came back to work as leaders for the various groups of children, or to work on the technical aspects of the show.

“It was ‘the thing’ to do on your Christmas vacation,” my daughter Jeri says. “It’s where all your friends were.”

"We were the crew that built The Nutcracker," Ned boasted. "Bob Bowen created the show, and then the tech part of it took off when we showed up." "We" was a group which included his siblings Jeri and Paul, Greg Wershing, Jon, Joel and Chris Lee, Paul Kagiwada, and Phil Sequeira, among others.

Ned is now 40 and is still working backstage at the show, having returned to work with his friend Wershing, who began working backstage when he was 15 and whose sons have now performed in the show for several years.

Jeri explained that “The tech crew was always looking for the ‘oooo’ factor -- how many times an audience said “oooo” during the course of the performance.”

“It was all about upping last year’s performance,” laughed Phil Sequeira, who remembered the “Vegas curtain” year, when Bowen found some glittery curtain and they found a way to use it in the show. “With Bob it was always, ‘we have this cool thing–how can we use it in the show,” explains Ned, remembering when they used a hot air balloon during the soldier/mouse fight scene because Bowen had found a hot air balloon.

Chris Wong (“the eternal Nutcracker guy,” Jeri says) was responsible for building most of the more spectacular effects, like the huge flower that rose up out of the floor with petals that slowly opened to reveal the Sugar Plum Fairy.

“We were insane,” laughed Jeri. “We had the run of the place and we had Bob Bowen who trusted us and was willing to go along with anything we wanted to try” (like drilling holes in the stage floor and filling tubes with flour that they could blast through the holes when a canon supposedly went off).

The popularity of The Nutcracker kept building and by the tenth year the city had to institute a lottery system to cast the show because they had reached the maximum number of kids (200) who could participate.

In 1977 there were 8 groups of clowns, mice, soldiers, Russian dancers, etc. In 2006 there were 18 groups, including some that Tchaikovsky never envisioned, like country line dancers, bees, birds and insects, and gnomes.

By 1997, Bob Bowen’s job duties took him away from what was now the Department of Parks & Community Services and Carrie Dyer took over as producer of The Nutcracker, a job she shared with Marianne Moore, even the year both were pregnant. Dyer continued to produce through 2006. “It’s a lot of work; it’s exhausting, and the rehearsals take a toll on your own family,” she said, “but it started as a work assignment and became something I really loved doing.”

In 2007, Dyer stepped down and turned production duties over to Shannon Clegg and Kristen Hilton. “They worked with me last year and are taking over this year,” she said.

For Sally Hosley, whose three boys have all performed, it is the highlight of her year. “My oldest son is now16 and he has been performing or working with The Nutcracker since he was in the first grade.” She adds that her sons found it a treat to move through the ranks of the show and end up as group leaders.

She credits Ann Smalley, who has directed the show for the past 17 years. “It wouldn’t be what it is without Ann.”

Smalley’s 28 year old daughter was a snowflake at the age of 6 and when the city asked her to help, she readily agreed. “I enjoy theatrical things, I love children and I love music. I love The Nutcracker and I am blessed to be able to do it. I was in right place at the right time. It wouldn’t be Christmas without this in my life. My children grew up with it.”

Ryan Kreidler, the Nutcracker in the current production, is a real pro, having worked his way up from Teddy Bear to Russian Dancer to now the lead in the show. “It’s a lot of stuff to learn, but the fun keeps me coming back,” he said.

“Ann is an incredible lady,” says Laurie Carpenter, whose children have been part of The Nutcracker since they moved from Benicia six year ago. “It’s a way for us to kick off the holidays. We cross our fingers each year. We’ve been fortunate even in the lottery system we’ve been called. I can’t imagine our holidays without it.”

“For anybody who has become a part of The Nutcracker, it remains a part of their lives forever,” said Carrie Dyer.

Bob Bowen still can’t quite believe how his little germ of an idea has blossomed. “Long after all of us are gone it will be quite a legacy to say you did something that takes on a life of its own. I had no idea.”

The city of Davis and hundreds of Davis children owe a debt of gratitude to that challenge that Tom Eddy tossed out to his friend Bob Bowen so many years ago.

A Christmas Carol

It’s a foggy night in Sacramento town.

Sacramento Theater Company’s new fog apparatus is very effective in creating the proper atmosphere for the 20th anniversary production of “A Christmas Carol,” directed this year by first time STC director Michael Laun. Laun has a few new tricks up his sleeve, giving a fresh new look to the STC annual favorite.

The fun begins before the audience enters the theater, with a nicely decorated lobby, complete with Christmas tree, the “real” Santa for the little kids to visit, and a group of carolers on the small lobby stage, getting everyone in the mood.

And then, of course, there is STC’s 1987 specially commissioned adaptation of the Dickens classic, by Richard Hellesen (who was in the audience on opening night of this anniversary production). Music was written by STC’s then resident composer David de Berry.

“I was trying to turn a lot of narrative into a lot less stage dialogue,” said the playwright. “David was trying to write wonderful new music that would sound like wonderful old music you hadn’t heard before.”

In the end the collaboration succeeded in both goals, evidenced by its continued popularity 20 years later. Hellesen used the device of having the characters tell the story as they move sets and then move in to become the characters about whom they are speaking. DeBerry’s music does indeed sound like old Christmas music that you can’t quite place, but you’re sure you’ve heard somewhere before.

As always, STC has assembled a stellar cast. This the fourth year I’ve seen this show and I have to confess a special preference for Matt K. Miller in the role of the quintessential Scrooge, Ebenezer. Miller becomes a crusty curmudgeon who is able to express the anger of a man at the end of his life, the pain of loss, the pathos of man whose feelings are being reawakened, and the exuberance of a small child equally well. The “a-ha!” moments of Ebenezer’s life are skillfully handled.

Patrick Murphy steps into the chains of Jacob Marley, come to warn his old partner of the pain that will befall him if he does not change his ways. Marley sets up the visits of three spirits who will help him to look back over his life in the hope of helping him make some changes before it is too late.

Katie Rubin (whom audiences may remember for her emotional, riveting one-woman show last year) makes an unusual entrance as the Ghost of Christmas Past (later playing Mrs. Cratchitt), who takes Ebenezer on his 3-night journey of discovery. Rubin brings a real tenderness to the role which adds an extra layer to the ghost’s character.

Reprising her role from last year, Anna Miles is Ebenezer’s sister Fan, who comes to bring him home from school. She sings the beautiful “Home at Christmastide,” reminding Ebenezer of the young beggar child (Joelle Jacoby) he had spurned the day before. (Miles alternates in this role with Amanda Salmon.)

STC Managing Director Mark Standriff again tackles three roles in this show. He first appears as a “Subscription Gentleman,” come to ask Scrooge for a holiday donation for the poor. He is next seen as the ebullient Fezziwig, Ebenezer’s old boss (whose wife is played by the marvelous Lucinda Hitchcock Cone). Fezziwig celebrated Christmas as a grand holiday, meant to be celebrated with vigor (giving Ebenezer pause, as he remembers his refusal to give his clerk an extra lump of coal to warm his hands), and finally Standriff is the larger than life Ghost of Christmas Present, whose entrance is always the high point of the production.

The Ghost shows Ebenezer the party at the home of his nephew Fred (Brett Williams), who has never given up trying to establish a relationship with the brother of his late mother.

He is then shown the meager but loving celebration at the home of Scrooge’s clerk, Bob Cratchitt (Gillen Morrison reprising the role he played so beautifully last year, as well as this). Ebenezer is moved by the ailing Tiny Tim (tiny Jackson Margolis, who alternates in the role with Campbell Salmon, who played the role last year).

Howard Gray is appropriately sepulchral as the mute Ghost of Christmas Yet to Come.

In the end, of course, Scrooge’s heart grew three sizes that day.
And the minute his heart didn't feel quite so tight, he bought food for the Cratchitt feast.
And we can assume that over at Nephew Fred’s, he himself carved the roast beast.

The STC Christmas Carol is a not-to-be-missed Christmas experience. It’s 20 years old and just gets better and better.

A Christmas Story

There are certain elements of a show which are sure-fire crowd pleasers: a beloved story, preferably with a holiday theme, and a cast that includes cute kids.

Based on the loud applause, the audience filled with families, and the raves I heard expressed when leaving the Woodland Opera House following its current production of “A Christmas Story,” by Philip Grecian, based on the stories of Jean Shepherd, this show is indeed a real crowd pleaser.

Unfortunately, it’s possible to be a crowd pleaser in spite of problems with the production.

The problems begin at the beginning with the narration of William Powers as the adult Ralph, who is remembering a very special childhood Christmas. Powers had difficulty with his lines throughout the show, often stumbling over them, repeating, them, or seeming to forget them. He improved significantly as the show progressed, but even when he did remember his lines, his delivery seemed stilted.

As the adult Ralph narrates, we follow the young Ralphie Parker (Drew Thomsen), the boy whose one dream for Christmas was an official, Red Ryder, Carbine-action, 200-Shot, Range Model, Air Rifle. Ralphie fantasizes meetings with Red Ryder himself and campaigns to convince his parents to get him the rifle for Christmas, though his mother (Jeannie Pytel) poo-poo’s the idea with every mother’s perennial excuse, “You’ll put your eye out.”

Drew Thomsen certainly looks the part. With his big glasses and innocent expression, you feel the boy’s longing for the perfect Christmas present. Unfortunately much of his dialogue was unintelligible as he tended to rush his lines. I also blame director Bobby Grainger for the failure of what should have been one of the biggest scenes in the play. We have watched Ralphie go through hopes, prayers, and all sorts of tricks to convince his parents that he should be given the wonderful rifle. Yet, when he has given up all hope of receiving it, and then opens the box which contains the rifle he desires so strongly, he is expressionless. There is no surprise, no excitement, no joy, no nothing. One of the biggest anti-climactic moments you’re likely to see on a stage. Having seen what Thomsen can do in his Elly-nominated performance in “Boxcar Children,” I know he is capable of much better.

Most of the rest of the children in the cast are from one family. William Black plays Randy, Ralphie’s little brother who likes to hide under or behind furniture. When his mother dresses him up to go outside, he looks like a character out of South Park.

Emma Black is Schwartz, friend and classmate of Ralphie. Since Schwartz is never out of jacket and cap, it’s not obvious that the actor is actually a girl and she plays a convincing boy.

Sara Black is Esther Jane Alberry, who has a crush on Ralphie. She’s adorable and succeeds in communicating much without saying much.

Jordan Black is the bully Scut Farkas. Her height gives the perfect size differential to make her convincing as a bully, and I always thought the career path she follows (which we learn from the narrator) seems ideally suited to someone who grew up as a bully!

The last two children in the cast are Sam Kyser as Flick, who makes a memorable image getting his tongue stuck to the icy metal pole in the school yard, and Jocylyn Favors as Helen, another classmate.

Mark Fejta is “The Old Man,” Ralphie’s father, and is very funny. He has some nice physical shtik and does it well. Jeannie Pytel plays an typical 50s wife, who lets her husband take the limelight, but who is really the central figure in the family. The parents’ various scenes in Ralphie’s fantasy are particularly good.

Regina Stafford plays Ralphie’s teacher who does a fabulous Margaret Hamilton impression in one scene.

The Act 2 visit to Santa scene may have been one of the best in the show and the setting for it was very imaginative.

Jeff Kean and Doug Keowen have created a fun set with indoor and outdoor scenes ingeniously designed.

I wish that this had been a better production since so many elements were good, but when pulled together just didn’t work as well as it should have, though the improvement in Act 2 gives hope for a better Act 1 in future performances.

Every Christmas Story Ever Told

If you’re trying to decide which of this season’s holiday theatrical offerings to attend, why not just see them all at one sitting?

Capital Stage Company is presenting “Every Christmas Story Ever Told!!” by Michael Carleton, John Alvarez and Jim Fitzgerald with original music by Will Knapp, directed by Greg Alexander. It is, in a nutshell, hilarious.

A man sitting behind me told his companions that he had seen the play the year before but had laughed so much that he didn’t remember a lot of it, so had returned to see it again. That pretty much sums it up.

In the same vein as the “reduced Shakespeare” productions, the authors have taken just about every beloved holiday story ever told, added a bit of Christmas history from around the world (who knew that Christmas had such a black side?) and a few familiar classic Christmas commercials, and blended them all more or less seamlessly into about an hour and a half of laughter. The play ends with a zany rendition of every Christmas carol ever sung, complete with choreography. Sort of.

Of course, the thing that makes all this zaniness work is three incredible actors, Eric Wheeler, Gary S. Martinez, and Anthony D’Juan, playing, conveniently “Eric,” “Gary,” and “Anthony.”

Eric is the one who wants to put on a traditional version of Dickens’ “A Christmas Carol” the way it was written and who tries valiantly to do so, though his fellow actors are tired of doing only Dickens and want to salute all the other “B.H.C.s” (beloved holiday classics) instead. Eric finally relents, on the condition that he also be allowed to perform the straight version of “A Christmas Carol” too.

The trio elicits suggestions from the audience for favorite movies, television programs, Christmas foods, traditions, commercials, etc. It doesn’t stop at Christmas, but also gives a nod to Chanukah ("It bears similarities to other Jewish festivals: They tried to kill us. We survived. Let's eat!") and Kwanzaa ("The best part of Kwanzaa is that you'll never see a special called 'A Very Brady Kwanzaa'.")

But the meat of the show is the retelling of all the stories you know so well.

Wheeler gets a chance to display his comic expertise as such characters as the Grinch, Hermey (the elf who wants to be a dentist in “Rudolph the Red-Nosed Reindeer”) and, in act 2, makes a terrific Scrooge/George Baily in a salute to “A Christmas Carol” and “It’s a Wonderful Life.”

D’Juan is hilarious in all of his roles, but especially as the Ghost of Christmas Future, where he does an unbelievable charade.

Martinez is loveable in a “cowardly lion” sort of way, a big man with the gentleness and simplicity of a child, bringing all the heart-tugging moments. He gives a beautiful rendition of Linus’ “True Meaning of Christmas” from “A Charlie Brown Christmas,” and he plays nearly all the characters (except George Bailey) from “It’s a Wonderful Life.” In the midst of all the frenzy on stage, Martinez becomes the heart of the season.

They nearly don’t do “Rudolph the Red-Nosed Reindeer” because of copyright infringement problems, but decide it’s OK if the hero becomes Gustav the Green-nosed Reingoat,

A section on fruitcake gives an opportunity to revisit the set of the old “Dating Game” and there are salutes to Christmas in Australia and in W(h)ales. Over the course of the 60 minute first act, nearly every well known Christmas show is covered, even if it is only in bad puns or passing comments.

During the 15 minute intermission, the audience is invited to participate in another BHC tradition – buying stuff (candy, drinks, subscriptions to the rest of this year’s season, etc.)

Act two is only twenty minutes long and is designed to be the Eric’s promised “A Christmas Carol” until Gary realizes that they have forgotten “It’s a Wonderful Life.” Not until you have seen these two shows interwoven do you realize how much alike the two classics are. (Wheeler also does a pretty good Jimmy Stewart impression.)

Jonathan Williams has designed a clever utilitarian set that folds and unfolds. Rebecca Redmond is credited with costume design–and some of those quick changes are quite ingenious. The lighting design of Steve Decker and sound design of Brad Thompson are also critical to the effectiveness of this play.

Save yourself a bit of extra time for holiday shopping by getting your fix of BHCs in one spot. “Every Christmas Story Ever Told!!” is an absolute delight. Evening start times for this show only are 7 p.m., so the kids can enjoy it as well.

Noises Off

(the review)

Done right, Michael Frayn’s hilarious farce, “Noises Off” is probably the funniest comedy you’ll ever see on any stage. It requires impeccable split-second timing, incredible agility, a breakneck pace, and even for an American cast, a proper British accent.

Set designer John Iacovelli describes it as “daunting for even professionals.”

Thanks to director Jules Aaron and a fabulous cast, “Noises Off” is “done right” on UCD’s Main Stage, where those who will be fortunate enough to obtain tickets (opening night was nearly sold out) will have the opportunity to laugh until their sides ache until December 2.

“Noises Off” (which refers to sounds which are meant to be heard from offstage) is the story of a hapless English acting troupe who are touring a production of a farce called “Nothing On.” It is a comedy in three acts, the first of which is the dress rehearsal for the play, which is opening the next day. Matt Rapore is perfect as the director, “Lloyd,” who sits in the audience and despairs of ever getting things right before opening night.

Act 2, which is almost more mime than actual recited lines, takes place at a matinee performance one month later, as seen from backstage, when the cast has been together long enough that interpersonal relationships are starting to interfere with the performance on stage. The stage manager, Poppy (Kate McGrath) gets a chance to shine in Act 2, and shine she does, suitably harried by the antics of the actors, and struggling with her own personal problems.

By Act 3, the tour has fallen apart and everyone is just trying to get through the last performance, which they barely do. It’s hard to know which is the funnier, Act 2 or Act 3. There are also a lot of sardines involved.

When I interviewed the actors a week ago, I learned that some had extensive stage experience, and at least one had never been on stage in a performance before. Director Aaron has created such a well-run machine that it would be impossible to pick out the veterans from the neophytes. All turn in excellent performances.

Amy Kronzer, as Dotty/Mrs. Clackett (the former being her real name and the latter her name in the play within the play) is an excellent character actress. The young Kronzer was completely believable as the over-the-hill dotty Dotty, who can never quite remember her lines or her blocking. Dotty is the anchor around which most of the action revolves and Kronzer takes her job of being very funny very seriously.

John Crosthwait is the elderly, alcoholic, nearly-deaf Selsdon, who plays a Burglar in the play and who really isn’t ever sure where he is or what he’s doing. Crosthwait could not be better at bringing this character to life.

Looking better than anyone should look in lingerie is Emily Somers as the empty-headed Brooke/Vicki. Somers (who assures me she really is a brunette) is the ideal vacuous blonde, obsessed with her looks and her figure and oblivious to everything around her.

Samuel Hardie is hilarious as the inarticulate Gary/Roger, who thinks he is making helpful suggestions, but who never actually finishes a thought. His is an amazingly athletic role and some of the things he is able to do are incredible. Gary, perhaps more than most, needs to be razor sharp, and Hardie is.

Belinda/Flavia is the peacemaker. She is the one who always tries to calm people but doesn’t help much when she spreads gossip about her fellow cast members. Alice Vasquez handles this task quite well. She may not have the same amount of slapstick that most of her fellow cast members do, but she’s perfectly suited for the part.

Ben Moroski is the mild-mannered Frederick/Philip, who is susceptible to nosebleeds at the mere mention of violence, yet manages to have several pratfalls of his own throughout the evening.

Matthew Kronzer is very funny as the laconic Tim, the overworked stagehand / bookkeeper / understudy.

An imposing solidly built set is integral to the performance of this multi-door comedy and designer John Iacovelli’s set fills the bill magnificently. Stage manager Emily Hartman, whose job it is to keep everything running smoothly is an unsung heroine of this play and must be given kudos for a job well done.

While a review doesn’t generally mention the printed program, this one, by Maish Simon, Lily Wong, Melanie B. Glover and Janice Bisgaard is not to be missed–be sure to read it carefully.

They say laughter is great medicine. If such is the case, this production of “Noises Off” is the perfect therapy for the woes of your day to day life!

Virgo: Hebrew Rising

The Sacramento Theater Company program cover describes comedian Brian Diamond’s one-man show, "Virgo: Hebrew Rising" as "anxiety done to perfection." Personally, I found it a bit "over done."

Diamond is the son of two deaf parents, one Jewish and one German, raised as the only white kid in Compton, California, and later a trailer trash kid in a more affluent area of Pollock Pines. He was a funny looking kid with weight problems and a lazy eye, while his brother Lance was handsome and popular.

Diamond is someone who has seen a lot of pain and frustration in his life. Following in the footsteps of countless comedians and monologists before him, the comedian took his pain and turned it into an act, perhaps finding the sharing of his life and his problems with an anonymous audience as therapeutic (and more profitable) than working things out in psychotherapy.

Combining bits from his comedy routines with speculation about the factors which have made him he is the way he is, and slide shows of his family and friends, Diamond attempts to sort out the complexities he sees in his life.

"I have no control over my life or my career. I have no job, no money and no girlfriend. My life’s a country western song!"

The jumping off point for all this introspection is his break-up with his live-in girlfriend Shana, whom he loves very much. Instead of being emotionally distraught by her leaving, he is more upset by the fact that his living expenses just doubled. He gives a complicated (and funny) financial calculation balancing the decision about finding a new apartment with keeping the old one and paying Shana’s part of the rent. And he wonders why he is more concerned with money than he is with the loss of the love of his life. When did he become the guy who found money so important? Is it because he grew up not having any?

Over the course of the hour and 45 minutes (about 45 minutes too long), he asks rhetorical questions about why this part of his life is that way it is, and why that part of his life is the way it is. He wonders whether it is nature or nurture. For example, is he neat, orderly, and methodical because he was born a Virgo, or because that’s how he was raised. (As the Aquarian daughter of a Virgo mother and the mother of a Virgo son, I enjoyed this section)

The best part of the material comes early in the show, as he gives the audience an idea of the pros and cons of growing up with deaf parents (how it affects his relationship with the administration of his various schools is particularly funny). He also uses more sign language more during this section of the show and one gets a fascinating view of what it’s like to both speak and sign at the same time.

The prologue emphasizes the dual ethnicities of Diamond’s parents, though the comedian himself seems to dwell on his Jewish father and his Jewish ethnicity and we learn little about his German mother, except that she seems to have bonded with several unsavory men over a period of time. We don’t learn what role he feels the German part of his ethnicity has played in making him the man he is today.

Diamond is a likeable guy and his material is funny in a gentle rather than a "socko" sort of way. It is a pleasant evening, but the material does begin to wear thin after the first hour.

The piece is directed by Matt Foyer, with a simple set by Myke Kunkel and lighting by Dale Marshall.