Hedda Gabler

I have to confess that despite my 71 years of living and 15 years as a theater critic, I had never seen Henrik Ibsen’s “Hedda Gabler” until we caught a performance at the Art Theater of Davis last weekend. It took a bit of research, both before and after seeing the play, to answer some questions I had.

While I like the new theater built in the Third Space building, there are a few complaints. First, there are approximately 30 folding metal chairs and four chair pads. The lucky first four to arrive spend a more comfortable couple of hours than the unlucky bunch who follow them. Patrons might like to think of bringing their own chair pads.

The second complaint is that on Thursday, the temperatures had gone up to 90 in the afternoon and the theater was beastly hot. This is only going to get worse as summer arrives, so people may want to plan accordingly with fans or whatever they have that will make things more comfortable for them.

This is a new translation of the Ibsen classic, translated by Adam Siegel and adapted by Timothy Nutter (who also plays Eilert Loevborg)

The play first opened in Munich in 1891 and was not well received. Germans liked their heroines to be docile and Hedda is anything but. This bride of only six months is already bored with married life, barely tolerates her bookish husband, and manipulates everything and everyone around her.

Art Theater’s Hedda (Tatiana Ray, an Acme alum) gives a beautiful, subdued performance, shrinking from her husband’s touch, yet sparkling in conversations with Judge Brack (John McLean), a family friend who is not so secretly in love with Hedda. Hedda has some of the most gorgeous costumes of the production, particularly her red velvet Act 3 number (costume design is by Nutter, who also designed the set and directed the show, in addition to adapting the script).

Husband Joergen Tesman (Tyler Shaffo) is a man who is head over heels in love with his wife, and lives in a fantasy world where she loves him, too. He is willing to put himself in debt to provide her with everything she wants. Shaffo’s Tesman is an affable guy. Sometimes you roll your eyes at his inability (or unwillingness) to see situations right under his own nose, but you still root for him.

The Tesman of this production tosses “ya” into his speech at odd times. He’s the only one who does and it makes one wonder why? Is this the nod to the Norwegian origins of the play? It sticks out like a sore thumb every time.

Judge Brack, though revealed to be unscrupulous, is a likeable rapscallion and McClean gives a strong performance as the third party in the marriage of Hedda and Tesman.

Tess Chism plays Hedda’s old school chum, Thea Elvsted, herself also in a loveless marriage, who has been working with Loevborg on his new book. Chism gives a fine performance despite being sabotaged by the most awful looking wig I have ever seen. Apparently someone decided that since the character is Norwegian, she should have a blond wig. This one shimmers unnaturally, comes undone, and shows her real dark hair in many places.
Lisa Halko gives a very strong performance as Aunt Julle, Tesman’s loving aunt, who has raised him from early childhood. Julle is thrilled that Tesman has found a wife, who is both beautiful and high-born, and anxiously awaits the news of an expected baby, though Tesman is too dense to understand her not-so-subtle hints.

Nutter is a powerful Loevborg, who was once Hedda’s lover and Tesman’s former colleague, now in competition with him for a teaching position. Loevborg is a recovering alcoholic and when he falls off the wagon at a party and confesses to Hedda that he has lost his priceless manuscript, instead of letting him know that, in fact, she is the one who lost the manuscript, she gives him a gun and encourages him to commit suicide.

The final character in this play is the butler/family retainer Berte (Dylan Wright). I liked his performance very much but there was just something “wrong” about it. His character seemed out of place in this drama and it was not until I did some research after the play that I realized the role was written to be a housekeeper, Bertha. Everything he did was wrong for a butler, but right for a housekeeper. I’m surprised that the role was given to a man.

This production sometimes lacks energy and on the night I attended it seemed like there were some difficulties remembering lines, though that may have been my imagination, as the cast covered well, if there were. But it is an ambitious project for the fledgling company and on the whole they carried it off well.

The Tempest

Acme Theater Company is doing it again. This weekend the group is presenting its 31st Memorial Day program free to the city of Davis for its support throughout the company’s history.

This year’s gift is Shakespeare’s “The Tempest,”which can be seen at the Davis Arts Center’s outdoor amphitheater and is, as always, completely free. Bringing your own blankets or chairs is recommended.

(Barbeque items are also for sale starting at 6:30 p.m., before the show begins. But you have to pay for those!)

“The Tempest,” performed by Acme for the first time, is described by director Betsy Raymond (who is directing for the first time) as “full of romance, slapstick comedy and magic and is also a play woven with revenge, manipulation, and moral gray areas.” Whew. That’s a lot.

In fact, at the end of the play, I saw some Acme alums standing in a circle trying to explain pieces of the plot to each other, and a young woman was talking with people sitting next to me, saying “Well, I read this in 10th grade, but I got nothing.” A man was telling his wife that he didn’t have time to read the synopsis on his cell phone at intermission, so had missed a lot of the plot.

The company, at least in Act 1, was also battling for audience attention with the cars on Covell Boulevard, and the train whistles; both of which seemed to have died down by Act 2.

However, with all of that, the group put on an excellent performance in which some actors stood head and shoulders — sometimes literally — above the rest, though all did a fine job.

Colin French, is playing Ariel, a puckish spirit who is bound to the magician Prospero (Brian Stewart), who rescued him from a tree, where he was imprisoned by a witch. French, a sophomore (with two more years to mature in Acme) gave the standout performance of the evening. It was a thing of magic, as he runs hither and thither, popping in and out and just enjoying his role to the hilt.

No slouch, either is the Prospero of Brian Stewart. Prospero is the exiled Duke of Milan, secretly enjoying being imprisoned on an island with all his books and not having to run a country, but whose goal is to restore his daughter, Miranda (Danielle Schlenker) to her rightful place on the throne.

To help him achieve that goal, he manipulates a meeting of Miranda with Ferdinand (Matthew Fyhrie), son of Alonso, King of Naples (Andre Martinez), who believes his son perished in the shipwreck. Schlenker and Fyhrie make a beautiful young couple, who fall in love at first sight.

Also bound to Prospero is Caliban (Benton Harshaw) son of the witch who bewitched Ariel. Harshaw gives an intense performance, particularly effective when he uses a gravely voice to express his feelings toward Prospero.
Leo Goldstein gives a performance worthy of Ray Bolger as Trinculo, the king’s jester, with floppy limbs and seemingly very few bones in his body. He is friends with Stephani (Tina Simpson) and the two of them have many drunken revels together and they plot with Caliban to overthrow Prospero, a plan that is easily quashed.

Another excellent performance is turned in by Raphael Gorga, as Gonzalo, a Neopolitan courtier who was helpful to Prospero and Miranda when they were shipped off to sea, and is now an advisor to Alonso.

Set design for this show is by Brian Stewart and Aaron Hirst, who have created a blank canvas on which the action takes place, aided by the lighting design of Arina Ushakova and Wil Forkin. However, the set design takes in the specific qualities of the Arts Center, by using the trees and the many doors into the building as part of the action.

This is a high-energy show, which shows good promise for Betsy Raymond’s future directing career. The price is right and you won’t be disappointed if you stop by the Arts Center to see a performance.

Vanya and Sonia and Masha and Spike

Who knew that Chekhov could be so funny?

Well, not Chekhov, exactly, but playwright Christopher Durang who has penned the Tony award winning “Vanya and Sonia and Masha and Spike,” now entertaining patrons at the B Street Theater, under the deft directorial hand of Buck Busfield.  Durang does a mashup of those 19th century Russian characters and themes and sets them down in 21st century Bucks County, Pennsylvania.

There is nothing subtle about this Chekhovian knock off, as Durang hits us over the head with blatant references to works such as “Uncle Vanya,” “The Seagull,”  “Three Sisters” and “The Cherry Orchard.”  In fact, the small grove of unseen cherry trees in the backyard of the Pennsylvania home is mentioned so often as “the cherry orchard,” I felt like the old Thurber story about the unicorn (“I said there’s a unicorn in the garden...”) We’re gonna mention it until we’re sure you get it!

But the audience did get it and laughed approvingly (and often uproariously) throughout the delightful play.

Vanya (Greg Alexander) and his stepsister Sonia (Stephanie McVay) have lived their entire lives in their family’s farmhouse, caring for their ailing, now deceased, parents, while sister Masha (Jamie Jones) has been traveling around the world as a successful movie star. (“I can’t help it if I’m beautiful and intelligent and successful, can I?”)

Vanya and Sonia, in wonderful deadpan portrayals, remain trapped and regretful at how much of life has eluded them. Their lives are so routinized that Sonia is thrown for a loop when Vanya gets his own coffee one morning.  Together they wait for the birds each morning, wondering if their favorites will show up.

Cassandra, the new age-y clairvoyant cleaning woman (Tara Sissom, in an often over the top performance) warns them about terrible things coming in the immediate future. (“Beware of Hootie Pie!”)

One of those terrible things is an unexpected visit from Masha and her boy toy, the vacuous Spike (the muscular Jason Kuykendall, who removes his shirt a lot and does a wonderful reverse strip tease, putting his clothes on). Masha has come home to announce her decision to sell the family home (which, for some reason, she owns, her siblings being merely occupants).

Jones does a wonderful turn as the queen of the slasher film, who can’t understand when suddenly the world does NOT revolve around her.

Add to the mix the young star-struck, would-be actress next door neighbor, Nina (Mary Katherine Cobb), who idolizes Masha and is obviously very alluring eye candy to Spike.  Cobb, who has been a member of B Street’s internship program, is making her first appearance with the “big people” and turns in memorable performance.  Davis residents may remember seeing her mother, Mary Cobb, in local community theater performances many years ago.

Things get shaken up at a costume party, to which the reluctant Vanya and Sonia have been convinced to attend with Masha, as part of her entourage, elves to Masha's Snow White.  Sonia finds her gumption and creates her own costume, which outshines Masha.

The party turns out to be a life changing shift for all of them and leads to a memorable monologue for Vanya about the days of “Ozzie and Harriet,” and Bishop Sheen, the days when people still wrote letters and licked stamps, his disconnect from today’s world and despair for the future.  It’s a masterful performance by Alexander.

This is a laugh-out-loud funny production performed by a first rate cast which does the comic genius of Christopher Durang proud.

Good People

David Lindsay-Abaire may not be the name of a playwright on everybody’s lips.  Some may know him as the man who wrote the look and lyrics for “Shrek, the Musical,” a lightweight piece not likely to make much of an impression.

So expectations were not high going to Capital Stage to see his “Good People,” directed by Stephanie Gularte.  Just shows you how expectations can deceive.

This is a fabulous play, tightly directed, wickedly funny, painfully seriously, deeply moving, and ultimately decidedly memorable.

The play is set in South Boston, or “Southie,” which many of us probably came to know thanks to Ben Affleck and Matt Damon’s “Good Will Hunting,” an area known as a working-class, predominately Catholic neighborhood, and home to some of the oldest housing projects in the United States. (In fact, the playwright grew up in South Boston and lived there until he won a scholarship to a private school, which he credits with changing his life.)

The story centers on Margaret (called “Margie,” with a hard “g” sound), a feisty single woman who has lived all of her life in Southie, who struggles every day to keep herself and her handicapped adult daughter going.

Rebecca Dines gives an amazing performance as Margie, with a thick Southie accent, a chip on her shoulder, and a sense that life just keeps beating her down over and over again but she is determined to fight back. Dines’ performance is one of those that, years later, you will remember and say smugly that you were there to watch her.

As the play starts, Margie is being fired from her job by her boss Stevie (Brandon Lancaster), a lifelong friend and now manager of a Dollar Store.  She has been late one too many times, lateness the fault of the late arrival of her quirky landlady Dottie (Linda Montalvo), who takes care of Margie’s daughter while she works. Dottie makes silly rabbits out of flower pots as a way to supplement her income.

Suspecting what is coming in her meeting with Stevie, Margie plays the “I remember your mother” card, to no effect.  Stevie is a good guy, and well meaning, but he has to report to “corporate,” which has ordered him to fire Margie after many write-ups for tardiness.  He offers to help her get a new job at the Gillette factory, where his brother works, but she feels she is too old for the physical demands.

Margie faces the loss of her apartment and having to move to the streets with her daughter since Dottie is threatening to move her son into the apartment if Margie can’t come up with the rent.

Margie, along with Dottie and Jean (Lori Russo) play Bingo as their one night on the town and over the cards, Jean suggests Margie look up her old boyfriend, Mike (James Hiser).  Mike got out of Southie, got a good education and is now a successful fertility doctor, married, and living in the upper class Chestnut Hill. Maybe Mike can give Margie a job in his office.

After unsuccessfully avoiding her, Mike (James Hiser) finds himself confronted face to face, when Margie shows up at his office.  Things are awkward, then sad, then confrontational.  Margie finally wrangles an invitation to his birthday party the next night, where he implies she might meet someone who has a position open in his office.  When Mike later calls to explain the party was called off because his child was sick, Margie smells a rat.

She shows up at his house anyway, where his wife Kate (ZZ Moor), unaware of their past history, treats her with dignity and respect and a big platter of cheese.

The play does a 180 here, and the comedy we had been laughing at so heartily up to now turns serious, things are revealed that are better left unsaid, Hiser does an excellent job of holding in his anger until he must explode–and does.  Moor is wonderful as the clueless wife, just trying to be a good hostess, who gets a big dose of things she had no business knowing.

The play ends up back at the Bingo parlor with a lively discussion taking place and a surprising conclusion.

Capitol Stage’s production of “Good People” is marvelous and shouldn’t be missed.

Thoroughly Modern Millie

'Thoroughly Modern Millie' is silly.

But the play knows this, and doesn't pretend to be anything but silly.

The Woodland Opera House has a talented, energetic actors, dancers, and musicians who bring this silly tale to life, under the direction of Staci Arriaga, with musical direction by James C. Glica-Hernandez.

While there is no doubting the talent on the stage, this production has a couple of problems.  The first is that there is nowhere in the program where you can find out the name of the playwright, only the copyright holder.

In fact, the book is by Richard Morris and Dick Scanlan, with a new score by Jeanine Tesori. The music is augmented by others like Gilbert & Sullivan, Jacques Offenbach, Walter Donaldson (“Mammy,” with lyrics in Cantonese, complete with supertitles), and Victor Herbert.

That this production reached the stage at all is somewhat of a miracle. It became Scanlon’s obsession.  He was an actor/writer/director recovering from an illness at a friend's summer house, who had only one videotape for entertainment: 1967's somewhat mediocre Julie Andrews/Mary Tyler Moore film musical of 'Thoroughly Modern Millie.'

As Scanlon watched the movie over and over, he began to think he could turn it into a much better stage show. Sticking to his guns during the next several years, he finally got a meeting with the film's screenwriter, Morris. The rest, as they say, is history.

The musical became 2002's most honored new show, winning six Tony Awards, including best musical, best choreography, best orchestrations and best costume design.

The second problem with the Opera House production is the pit band.  It’s wonderful to be able to have 8 musicians to provide an authentic band sound, but in a house like this, without a real orchestra pit, there is always the difficulty of the vocals on stage being heard over the music in the pit.  No matter how good each is, if one drowns out the other, it does not do a service to the performers.

In fact, audibility was a problem throughout the production, a rare problem for Woodland. Though the script seemed to be funny, we rarely heard audience laughter, and then it was for some physical comedy on stage.  Funny lines often went without laughter.  This may be due to the performance we saw being opening night, and perhaps things will even out during the run, but it was sad to miss so much of the show.

But that’s just the bad news.  The good news is that this is a strong, likeable cast, starting with Amy Jacques-Jones in the title role.  Millie has just arrived in New York after escaping from Salina, Kansas.  She’s ready to bob her hair, shorten her skirts, and find a job working for a rich man whom she will ultimately marry.  Jacques-Jones is just great, very charismatic on stage and she dances up a storm as well.

After a mugging, wherein she loses her purse and one shoe, she meets Jimmy Smith (Seth Rogers), an apparent ne’er do well to whom she is instantly attracted, despite her life plan to marry a millionaire.  Jimmy helps her find a home in a hotel for young women, run by Mrs. Meers (Eva Sarry), who has an evil gleam in her eye.  Meers, we discover, runs a white slave operation on the side and, assisted by Ching Ho (Tomas Eredia) and Bun Foo (Hugo Figueroa), who speak no English and whose “Chinese” is translated on supertitles, she kidnaps women and ships them off to Hong Kong where they will be  sold into prostitution.

Sarry is deliciously evil and switches in and out of a faux Chinese accent (really more of a faux Japanese accent, but let it pass...), depending on which face she is presenting at the time.

Eredia and Figueroa are believable Chinese characters, and really are the good guys in the melodrama part of this silly story, as they are only working for Meers in order to bring their mother over from Hong Kong.

Millie gets a job working for the very wealthy Mr. Trevor Graydon (Horacio Gonzales). One of the show's highlights is her job interview ('The Speed Test'), which borrows a patter song from Gilbert & Sullivan's 'Ruddygore,' with new lyrics by Scanlan.

Along the way, Millie falls in love with Jimmy; it's also love at first sight for Millie’s friend, Miss Dorothy Brown (Petra Favorite) and Trevor Graydon, who instantly break into Victor Herbert's 'Falling in Love with Someone' - from 'Naughty Marietta' - as they meet each other.

But all is not about to end happily ever after, because Mrs. Meers decides to kidnap Miss Dorothy. It's up to Millie, Jimmy and Mr. Graydon - with assistance from Muzzy Van Hossmere (the incomparable Deborah Douglas-Hammond), Manhattan's most celebrated chanteuse - to get her back.

The show includes lots of plot twists and identity mix-ups, but the plot is irrelevant; the show really is about Jeanine Tesori and Dick Scanlan's music, Arriaga’s choreography and the talented cast's energetic performances.

A Chorus Line

There is one singular sensation out at the DMTC Performing Arts Center, as the Davis Musical Theater Company presents its latest production of “A Chorus Line,” directed by John Ewing, with choreography by Pamela Lourentzos.

Before the show started, co-producer Steve Isaacson was delighted to announce that as a result of a successful internet fund-raising campaign DMTC was able to afford more realistic mirrors on the stage, and what a difference it made!  When those mirrors rotated around to face the audience, there was a literal gasp at how wonderful it looked.

For those unfamiliar with this show, it is not your run of the mill plot show.  There is no boy-meets-girl story, and while the finale is triumphant for some, not for all.  There is also no “star” of the show.  It is a show which depends on a very strong ensemble, which is precisely what director Ewing has assembled for this production.

The show takes place in one day, at a cattle call for dancers for an upcoming unnamed Broadway show.  Twenty three dancers show up for an audition for eight roles, and they go through not only a 2 hour grueling dance audition, but also must plumb the depths of their psyches to convince director Zach (Dean Shellenberger) that they would work well in this show.  Most will be eliminated.

When Diana (Rachelle Jones) sings the show’s signature song, “What I Did for Love,” near the end, the audience has a very good idea of what exactly singers, dancers, and actors do for love in order to perform.  Jones’ rendition of this song is very moving.

The opening number, “I Hope I Get It” blends brash optimism, fear, and insecurity, as each dancer expresses his or her hopes for finally landing a job.

Part of the audition process involves answering some very pointed questions about the dancers’ past lives, and their responses take us through the songs of this Marvin Hamlish-Edward Kleban musical. 

Mike (Trey Quinn) tells of being dragged to his sisters dance classes as a young boy, falling in love with what the students were doing, and, on a day when his sister couldn’t get to class, stealing her shoes and running to take her place. And there he stayed “for the rest of his life.”

Bebe and Maggie (Rebecca Crebbin-Coates and Cooper Johnson) sing the lyrical “at the ballet,” remembering their days dancing ballet and how it saved them from unhappy home lives.

The cute, but not very talented Kristine (Jessica Arena) and her new husband Al (Scott Scholes) try to explain Kristine’s problems with staying on tune.  (It is worth noting that the role of Al in the 1985 movie was played by the late Tony Fields, a Davis High graduate)

Caitland Martin plays the over exuberant, sensual Val whose career has been plagued not being a beauty, no matter how talented she may be (“Dance: Ten, Looks: Three”)

Cassie (Christina Castro) is Zach’s former mistress, who left the chorus line to have a career as a solo performer.  With the lack of success, she is back trying to get into the chorus.  Zach is particularly harsh with her and Castro emotes effectively in her song “The Music and the Mirror,” as she tries to explain that this is all she has now.

Sheila (Jori Gonzales) has a tough exterior which hides her own insecurities.  When Zach insists she let her hair down (literally), she begins to open up.

Devon Hayakawa plays Connie, a role played in the movie by Davis’ Jan Gan Boyd.  Hayakawa is the youngest in the cast, but you’d never know it.  She is easily on a professional level with the rest of the cast.

But if the evening went to one performer in particular it was to Peter Giovanni, playing Paul, a painfully shy man hiding a secret he dares not to reveal to the cast at large.  Giovanni gives such a poignant performance that it moves the audience to tears.

In truth, it is Paul’s secret (he’s gay) which dates this musical.  In this day and age, nobody would care, and I suspect Paul would not be quite so pitiful, but in 1975, when the play opened on Broadway, we were still three years before Harvey Milk was elected to public office in San Francisco, and several years before anybody ever heard of AIDS.  “Gay Pride” was unheard of.

Given that, it may be surprising that “A Chorus Line” won nine Tony Awards that year and went on to be the longest running musical in Broadway History (15 years), until it was dethroned by “Cats.”

But the show’s appeal cannot be denied.  And when the cast assembles on stage, dressed in gold and white and standing in front of those gorgeous mirrors, it takes your breath away.  Rockette precise they’re not, but oh so all but. 

DMTC knocks it out of the ballpark with this production.!

Funny Thing Happened on the Way to the Forum

 

A sparkling new production of “A Funny thing Happened on the Way to the Forum,” directed by Michael Laun, exploded onto the Sacramento Theater Company stage over the weekend and left the audience weak from laughter.

Described by Laun as “perhaps one of the most brilliantly conceived musical comedies ever written,” “Forum” has not been seen on the STC stage since the 1981-82 season. The show almost never saw the Broadway stage, due to a plethora of problems.  Jerome Robbins was hired to direct, but then dropped out of the show.  Phil Silvers was expected to star, but refused (as did Milton Berle who felt the performance schedule was too rigorous).  Finally Zero Mostel was cast and George Abbot hired to direct, but when the show was not working in its out of town performances, Robbins was brought back to fix it.  But there was bad blood between him and Mostel (who never forgave him for “naming names” during the period of the Black List.  In fact Mostel and Jack Gilford, also in the show, had both been blacklisted and Gilford’s wife–“the sweetest lady in the world,” according to Mostel – was also named). 

However, realizing that Robbins would be good for the show, Mostel agreed to work with him as long as he didn’t have to socialize with him.

Stephen Sondheim's most tuneful musical is a madcap musical sex farce set in ancient Rome and based on the comedies of Plautus (254-182 BC).  The book is by Burt Shevelove and Larry Gelbart with musical direction (and recorded music) by Samuel Clein and choreography by Scottie Woodard.  As the lights go up on Scenic Designer Kelly James Tighe’s massive set featuring three buildings, many doors and many exits, one does not have to wonder what kind of show is about to be presented.

The intent of the play is clear from the moment Prologus (the incomparable Michael RJ Campbell), who later plays the slave Pseudolus, introduces the action with the hit song from the show, “Comedy Tonight.” As the song progresses, other characters are introduced and demonstrate their importance to the plot  

Most memorable of these initial characters are the courtesans in the house of Lycus (Jeffrey Lloyd Heatherly) – Tintinabula (Lindsay Kristine Anderson), Panacea (Jennifer Martin), The Geminae (Gina Coyle and Kevin Foster), Vibrata (Andrea St. Clair) and the towering Gymnasia (Renee DeGarmo).  The gyrations over, under, and around Pseudolus are memorable.

Campbell dominates as the slave who will do anything to win his freedom.  His wing man is Hysterium (Scottie Woodard, who gives an aptly named performance!)

Pseudolus is slave in the house of Senex, an old man, played by Joe Vincent, returning to the Sacramento stage after an absence of 50 years.  He has obviously aged well. 

His wife, Domina, is the delicious Lenore Sebastian, alternately harpie and seductress and with the help of an incredible wig makes it believable, as the song states, that she will be playing Medea later this week.

Their son Hero (Matt Surges) is feeling the stirrings of puberty and has fallen in love with the beautiful, yet vacuous Philia, a virgin (Megan Odell on the night I saw the show, alternating with Meghan Greene, both of whom are part of the Young People’s program).  Philia has been brought to Rome to be sold to the Miles Gloriosus (Jacob L. Smith) and has been programmed to give her body to her owners, but her heart remains with Hero, an arrangement that doesn’t really sit well with Hero.

When Jacob L. Smith as Miles Gloriosus strides onto the stage to claim his bride, he was making his STC debut and the audience was blown away by his powerful voice. He’s the perfectly cast self-centered “hunk” for this play!

Jim Lane plays Erronius, an old man who is roaming the world looking for his two children, stolen in infancy by pirates.  Lane’s role is a small (though pivotal) one, but each time he comes on stage, he garners gales of laughter.

Matt Dunn, Gina Coyle, and Kevin Foster are “the proteans,” or “everybody else,” playing males and females. soldiers and eunuchs each with a quick change of costume and adjustment of vocal level.

This play has everything needed to make it enjoyable – funny characters, funny situations, mistaken identities, endless chases...and a happy ending, of course.

The Value of One

The Pamela Trokanski Dance Theater, now in its 29th season at its workshop on Del Rio Place, is presenting “The Value of One,” with two remaining performances this weekend.

The piece includes approximately 20 dancers with a mix of ages from 7 to 85. There are members of the Pamela Trokanski Dance Theater (Nicole Bell, Sara Delorena, Evelia Fernandez, Sharon Riddle, Irem Sogutlugil, Michele Tobias and Trokanski herself), the PTDT Apprentice Company (Annie Cui, Maddie English, Alison Luck, Kate Macauley and Lindsey Su) and The Third Stage, Northern California’s only multi-generational contemporary dance company (JoAnne Craig-Ferraz, Mia Mangney, Ece Midillioglu, Denise Odenwalder, Cindy Robinson, Marla Shauer, Allegra Silberstein and Adrienna Turner).

The work explores the ripples people leave behind their lives, often without their knowledge. It shows how individuals are affected by interactions with others.

It asks how people are defined at different stages in life, whether they are 7 or 83 or somewhere in between.
The show begins with a recorded message introducing the theme, and explaining that all actions have repercussions. The African proverb, “If you think you’re too small to make a difference, try sleeping in a closed room with a mosquito” was used to remind people that one person using their cell phone could affect the entire audience. (It was one of the best “turn off your cell phone” messages I’ve ever heard.) “The needs of the one do not outweigh the needs of the others,” the audience was reminded.

The entire group assembled for the opening number, “Stand” by R.E.M., segueing into a number about individual uniqueness, with Michele Tobias talking about her grandfather’s comments that any day that he woke up “on the right side of the dirt was a good day.”

The whole piece was shaped by individual dancers who had recorded feelings about their lives. Ece Midillioglu, 7; Adrianna Turner, 10; and Mia Mangney, 12; described interactions with school friends, the problem of moving to a new school and the influence of a special teacher.

Ece and Adrianna danced to a song by Jewel (“All About Me”) which energetically showed the joy of being a young girl. As they danced in mirror image to their story, six dancers performed along the back wall of the stage, bringing smiles to the audience.

“The World,” by Matthew Ryan, danced by Nicole Bell, explored the “Butterfly Effect” postulated by Edward Lorenz, which says that a change as small as the beating of a butterfly’s wing in one part of the world can affect something else in another part of the world.

A group dance to music by Ane Brun showed sheer joy, “Love, Love, Love … Jump for Joy!”

Allegra Silberstein, the oldest dancer at 83, told of growing up on a farm and the life steps that brought her to becoming the poet laureate of Davis. Silberstein’s moving work sets a wonderful example for anyone who thinks that active life ends at any certain age.

“Hands,” with music by Jewel, asks the audience to find meaning in and connection to the world around us. “If the whole 13.8 billion-year history of the universe was laid out and scaled to the length of a football field … our part of that field, the entire history of human beings, takes up the span of one adult human hand.”

So, knowing this, one might question why would people ever even get out of bed? Although I think that the better question might be: What do we do with that hand?”

In a section that Bob Fosse would love, the dancers explore their hands, connection to each other and to the world and, indeed, “what we do with that hand.”

Tobias was back again, exploring her relationship with her twin sister and how that shaped her life. Evelia Fernandez danced about her father and hiding emotions; Sara Delorena danced about leaving her mother and alcoholic stepfather; Denise Odenwalder talked about a ring challenge; and a “Sand” solo, with music by Nathan Lanier, was danced by Irem Sogutlugil.

By the end of the show, the dancers had drawn the audience into their very personal worlds and let them see how their experiences have shaped — and are shaping — their lives.

The show runs a little over an hour and is a good way to spend an afternoon.

Visiting Mr. Green

 

It’s another one of those generational bonding plays that we have seen lately (witness “4000 Miles” at Capital Stage and last at Sacramento Theater Company’s own “Six Dance Lessons in Six Weeks”). STC is presenting “Visiting Mr. Green,” a two man show starring the always wonderful Gary S. Martinez as 86 year old Jewish widower, Mr. Green, and new-to-STC Ryan Blanning as the rising young executive, Ross Gardiner.

The play is a first by playwright Jeff Baron. It premiered in Stockbridge, Massachusetts in 1996, had a year-long run off Broadway. It has since had more than 300 productions in 37 countries and has been translated into 22 different languages. It has been nominated for 10 different awards around the world for “Best Play,” and won 7 of those awards.

Director Marie Bain explains that the play deals with “the universal concepts of family, friendship, rejection and forgiveness” and discusses the concept of which is more important, the individual or the community?”

Martinez gives a flawless performance as the elderly curmudgeon, grieving for his recently deceased wife, and too proud to admit that he is helpless without her. His life is spiraling out of control. The 60-something Martinez is perfect as the 86 year old Green. Every time he slowly walked across the stage or tried to get into or out of his recliner I saw many of the 80-somethings I see at the local Senior Living facility.

Blanning is initially not very likeable as the brash, smug, impatient young man, forced by a judge to perform community service for the next six months, visiting Mr. Green once a week, as punishment for driving recklessly and nearly hitting the old man.

Green wants nothing to do with any help from anyone, especially Ross, and Ross doesn’t want to be there, but the judge won’t let him off.

The play is two acts, with four scenes in the first act and five in the second. There are black-outs at the end of each scene, the following scene taking place a week later. In this manner, we see the slow growing of a relationship, if not exactly friendship, between the two men.

After two sparring rounds between the two, in Act 3 Ross has a breakthrough when he brings Green soup from his favorite kosher deli and Green discovers that Ross, too, is Jewish. The wall between them begins to crack a little bit.

Over the rest of the play there is a growing, if wary, friendship between the two men, both of whom are harboring deep hurts. Ross is gay and has been disowned by his family. Green’s daughter married a non-Jew and he has not spoken with her in years. Green insists that Ross just needs a good woman, Ross can’t understand Green’s disowning his daughter because of whom she loves.

With these revelations, the script develops problems. Anybody who has been in any discussion about race, religion, or sexual orientation in the last 20 years will find the dialog uninspired, cliche, and repetitive. Though the play is set in 1996, it is being performed in 2014, when it is no longer shocking in most circles to be gay, so that aspect of the plot seems old and tired, though Bain does what she can to make it seem fresh.

The conclusion is predictable, though there will be a few misty eyes before the finale.

It is difficult to understand the appeal of this play, though the awards it has won have mostly been in countries where to be gay, or orthodox Jewish may be less accepted than here in this country, so it may be an eye opener for audiences there.

Still, “Visiting Mr. Green” is worth seeing, if only for watching Gary Martinez at work, and seeing Ryan Blanning’s transformation from an unlikeable to sympathetic character.

Scenic designers Jarrod Bodensteiner and Renee Degarmo have created a nice apartment so homey you felt like you could sit down and read the newspaper on the couch at intermission.

Wrong for Each Other

When I think of David Mamet, I think of wordy plays. But the new-to-me Canadian playwright, Norm Foster, leaves Mamet in the dust as far as “wordy” goes!

Foster’s play, “Wrong for Each Other,” is playing at the B Street Theater through April 13, under the direction of Lyndsay Burch. Foster is a favorite for B Street, having previously presented several of his plays, such as “Mending Fences,” “Old Faces” and “The Foursome.”

“Wrong for Each Other” is about two characters, Norah (Melinda Parrett) and Rudy (Kurt Johnson), who have a chance meeting in a restaurant, where Rudy is dining with a bunch of co-workers and Norah is dining alone.

We learn that the pair divorced three years and nine months ago (but who’s counting?). The awkwardness of their meeting soon resolves into the old familiarity, as Rudy gradually decides to share his meal with Norah so the two can visit. Some have subtitled this play “The Anatomy of a Relationship,” and as it progresses, we quickly learn all about the relationship between Norah and Rudy.

The action moves from the present to the past and back again seamlessly. A memory that starts in the present ends up acted out in the past, as the pair change location on the set. Set designer Samantha Reno has created a deep set, where the present takes place toward the audience and the past more toward the back of the stage, with the separation between now and then indicated by something small like the addition or removal of a piece of costume (a scarf, a hat, etc.), or a slight change in lighting.

The set itself is warm and colorful, in blues and yellows with accents from flowers and here and there. A wonderful turntable enables the back of the set to change, while the front remains static.

As the play proceeds, we begin to wonder how these star-crossed lovers ever got together in the first place. She’s a high-class, city businesswoman, into jazz and classical music. Rudy’s father runs the market where she buys her fruit and vegetables. Rudy himself is a house painter who wants to own his own business and buy a house in the country some day. He likes sports; she knows nothing of baseball or any other sport.

Norah’s only requirements of their relationship, stated early on, is that Rudy always tell the truth, and that he not cheat on her, both of which he does, of course. But truth-stretching is part and parcel of their relationship, even now, nearly four years after the fact. (“Are you seeing anyone?” “No.” “What’s her name?” “Susan.”)

In the hands of Parrett and Johnson, under the direction of Burch, the verbal sparring of the two characters is a delight to behold. The actors are pros and have worked together often. They are so at ease with each other that one might forget that this is a stage production.

They are funny, poignant, dramatic and desperate, each in turn. The scene after their first intimate encounter is particularly funny, as both are so ill at ease and not sure what, if anything, they have started.

This is a play that will appeal to anybody who has ever loved anybody and been in a relationship that either worked … or didn’t.

Foster’s brilliance is that he seems to always have something unexpected upcoming. I won’t spoil the ending, but it was one I had not expected, and that’s always when a play is at its most entertaining.

Art Theater of Davis (feature)

 

Just like Mickey and Judy, Timothy Nutter found himself a stage and is putting on a show.

The Davis native, a student of Hanneke Lohse and Pamela Trokanski (among others) has been teaching dance at the Davis Art Center and the Davis Holistic Health Center. Nutter attended college at Purchase College (State University of New York) and at Antioch College in Ohio. He studied at the Conservatory of Dance, produced his own dance shows and ran an independent improv dance troupe.

But after his return to Davis, he decided he wanted to start a theater. Seeing a niche in this community that has a musical theater company (DMTC), a couple of groups devoted to Shakespeare (the Davis Shakespeare Ensemble and the university’s Shakespeare on a Shoestring) and a group that does both musicals and comedies (Woodland Opera House), he realized that nobody was really doing contemporary modern drama.

He started the fledgling Art Theater of Davis with some friends he knew from ballet. Ania Mieszkowska, for example, is a director, teacher and theater practitioner to more than 30 years experience in the United States and England. She moved to Davis with family nine years ago. Since her arrival, she has worked as a drama coach and taught ballet and Pilates at The Davis Art Center, Pamela Trokanski Dance Workshop and Applegate Studio.

Once they had the seed of an idea, the next step was finding a venue. Nutter first talked with various churches in Davis. His first thought was to produce something by Austrian poet and novelist Rainer Marie Rilke.

“I thought, people like Rilke so we’ll put something together that will be fun, different and interesting,” he said.
But he ran into rental problems.

“To have a one-day event in a church is plausible, but to put on a theater event that runs for a few weeks takes so much more time. You have to control lights, space, etc., people in and out, set pieces, noise, etc. And God forbid there might be some kind of content problem or ideological conflict. That was a dream that died on the vine,” he said.

Event insurance was also a problem, as the theater company would have to cover insurance at a church venue, which could run into thousands of dollars for the two-week run of a show.

And then he found Third Space, the multipurpose space housing shops, studios, workshops and the like on Olive Drive behind Redrum Burger. He talked with the owner to ask if he would allow a theater to start in his building. It was perfect, with affordable rental rate and no insurance problems.

They created a little gem of a theater that seats 40 to 50 people (on folding chairs, some of which have padded seats), but is just perfect for the kinds of plays Nutter wished to produce.
“It’s been pretty good,” he says. “They didn’t realize how serious we were about changing part of their building, and they didn’t realize how much furniture we were going to be storing here, but it’s been a positive all around because I personally cleaned up a lot of the space and took out shelving they didn’t want anyway. We’re using a room that was underutilized and now it’s a theater, so it’s been good for everyone.”

There has really only been one big problem, so far — where to store all the set pieces, especially when the flea market is being held once a month. “My biggest fear was that someone would buy one of our set pieces!” Nutter said.

For help in casting his show, he joined the Sacramento Area Regional Theater Alliance and advertised through that group, as well as an ad in The Enterprise and individual emails to people Nutter knew who were doing the same kinds of plays he was interesting in putting on.

A multi-talented guy, Nutter also did all the graphic design and printing, so he made up fliers that he put up all over Davis.

“I have no web design skills so couldn’t create a web page other than the Davis Wiki,” he said. “I hadn’t joined Facebook, but then the people I was working with said there is no way you can do this without joining Facebook, so I set up a page on that social media.”

Next came the problem of money. “We started in my garage with my bank account — and I’m a dance teacher,” he said with a laugh. “I just sold off some of my estate and we had lots of lucre to work with.

“That was part of the push for Facebook, but what we did was a funding campaign (like Kickstarter), and 29 or 30 people donated to help us get money to rent costumes and house money to work with for buying lumber, paint, etc.,” he added. “It has mostly been publicized by me, my friends and the 12-actor cast.”

When he first began this project, Nutter thought he would do one play and see what happens, but as he got into it, it seemed that the best way to get funding was to have a plan in mind, which involved not only his first production, but future productions as well.

“Now that the first has come together and we learned we could raise money for this one and people are happy and excited, I’m planning to do more,” he said. “The next play would be a Brecht in the spring and I’m hoping to do another production in the summer and fall.

“My plan is not to go away. I talked with UCD but they have no plans for summer. I was able to rent costumes from the theater department. They were very helpful.”

Nutter sees his new theater as giving more opportunity for people outside of university to perform.

“We need more people,” he said. In fact, he had to write two minor characters out of “Three Sisters” because he couldn’t find 14 actors.

With the success of “Three Sisters,” it is hoped that there will be more interest in future productions, both in actors and in audience. While this is not a conventional theater, it’s easy to find, parking is sufficient and you can stop at Redrum Burger for dinner on your way to the show.

And with good production values and talented actors, it should become a real asset for Davis.

You Can't Take It With You

“You Can’t Take it With You” is the 1937 Pulitzer Prize-winning comedy by George S. Kaufman and Moss Hart. It ran for nearly 900 performances on Broadway and was made into a movie in 1938, directed by Frank Capra.

Now on the Winters Community Theatre stage, under the direction of Anita Ahuja, this revival is a comedy guaranteed to keep the audience laughing through all three acts.

It is the story of the rather odd Sycamore family, with eccentric Grandpa Vanderhof at its head. This is one of Tom Rost’s better roles. He lives his life by the philosophy “don’t do anything that you’re not going to enjoy doing.” He goes to circuses, commencements, throws darts and collects stamps, and he hasn’t paid taxes in more than 35 years.

Daughter Penny Sycamore (Dona Akers) is a would-be playwright who has a file of half-finished scripts. When we first meet her, her plot is stuck in a monastery, and she can’t figure out how to get out, so she switches to work on the “war play” for a while.

Husband Paul Sycamore (Jesse Akers) is a man who doesn’t have a lot to say, but spends his time down in the basement with “Mr. DePinna” (Rodney Orosco), designing and building fireworks for the upcoming Fourth of July celebration.

Daughter Essie (Lori Vaughn) is a dancer who spends her entire life doing pirouettes and leaps about the house as she spends time inventing new candies (she was played in the movie by a very young Ann Miller). Is Essie any good? “She stinks!” says her teacher, Boris Kolenkov (Phillip Pittman, in a commanding, overpowering performance), who calls her “my Pavlova” and encourages her because she is having such a good time. The fee he gets for her lessons is also a great incentive.

Jim Hewlett plays Ed Carmichael, Essie’s husband, a xylophone player and printer who often accompanies Essie musically and who distributes her candies with the fliers he prints to accompany them. Hewlett is always such fun to watch on stage because of his exuberance. He is obviously having a great time with his characters.

Alice Sycamore (Kathleen Dodge), Penny and Paul’s other daughter, comes the closest to being a normal person. She loves her family to death, she frequently tells everyone, but when faced with introducing them to her boyfriend Tony (William Haggerty), the son of her boss, she sees their oddities and is embarrassed. Will the family’s eccentricities hurt their relationship?

Alexis Velasquez gives a solid performance as Rheba, the maid who somehow manages to keep the family in shape. Her boyfriend Donald (Manny Lanzaro) also gets drawn into the family dynamic and escapades.

If you have ever seen Germaine Hupe on stage, you will be blown away by her performance as Gay Wellington, an actress Penny brings home for a reading of one of her plays. Trust me, this is a side of Hupe that you have never seen before. She is a delight.

Tony’s parents, Mr. Kirby (Michael Barbour) and Mrs. Kirby (Ann Rost), show up for dinner a night too early and are thrust into the height of the craziness of the Sycamore household.

In the middle of the confusion, government agents (Mike McGraw, Lou Velasquez and Larry Justice) show up to take Ed to jail for plots against the government, and end up arresting the entire stage.

When all are released and back home again, Kolenkov brings the Grand Duchess Olga Katrina (Laure Olson), now defected from Russia and working as a waitress in a New York restaurant, home for dinner. I would like to have been a fly on the wall when Kauffman and Hart came up with that plot line from left field.

The production suffered from some opening-night jitters, with lots of lines missed, but the rest of the cast covered beautifully. The audience didn’t mind. They were too busy laughing.

Second Best Bed

When the curtain goes up on a stage and you see three doors on the left side and three doors on the right, you are pretty certain that madness, mayhem and hilarity will ensue.

Woodland Opera House’s world premiere of “Second-Best Bed” by Sacramento playwright Matthew Abergel does not disappoint.

Once you stop trying to make any logic whatsoever out of the fact that five people — an American student, her gay best friend, a British professor, an over-the-hill British actress trying to make a comeback, and a Jewish woman — just happen to show up on the same day at some obscure rural British B&B, run by a creepy guy with an ax in his hand, all looking for a final play that it is rumored Shakespeare might have written and hidden before his death, then you can just enjoy the comedy on its own merits … and there is a lot to enjoy.

“Second-Best Bed” is Abergel’s first full-length play, though he has been working on it ever since he was in grad school. Appearing as the nervous Frederick in Woodland Opera House’s production of “Noises Off!” rekindled his desire to write his own play, and with the help and support of writers’ groups in Sacramento and San Francisco he was able to complete it and present it to former Opera House Executive Director Jeff Kean, who agreed to produce it.

The show is directed by Abergel’s husband, Robert Cooner, who also directed (among other plays), that infamous “Noises Off!” for Woodland, so he knows how to wring the most comedy out of a script.

The story begins when Judy Cobb (Analise Langford-Clark) and her BFF Jerry Jackson (Scott Martin) arrive at the Cock and Bull B&B. The guy in charge, Toby Fowler (Dan Sattel), is a little odd and gives them unpleasant thoughts of the Bates Motel.

Naturally, when things are at their creepiest, a storm begins to form and they realize they are trapped at the B&B for the night.

Enter Dr. Charles Kennington (the always hilarious Jason Hammond), a professor of English literature who arrives all full of bluff and bluster.

The cozy little group is rounded out by Penelope Brooks (Patricia Glass), an over-the-hill British actress, and Goldie Goldstein (Renee D. Mercer), who drips Jewishness as elaborately as Scott Martin swishes his way through the gay character of Jerry — both enough to be easily recognizable, but yet without making either character a caricature.

Though everyone is trying to keep it secret, it turns out they are all looking for the elusive manuscript and trying to find a way into Toby’s bedroom to check to see if it might be hidden in his bed (more suspension of disbelief that a manuscript hidden 400 years ago would still be there!).

Act 2 kept the audience laughing almost throughout the entire act, as there are suspected kidnappings, life threats with unlikely weapons, unbelievable costumes (kudos to costume designer Denise Miles), unexpected couple pairings and, always, the search for the elusive manuscript. To say more would spoil the fun.

If this is an example of what we can expect from Matthew Abergel in the future, I would say he has all the makings of a popular playwright, and I look forward to seeing his next work.

Blue Man Group

“I loved it. Brave, adventuresome, amusing, challenging and those drummers rock! The woofers and subwoofers they used blew my hair backwards!” was a comment on Facebook by someone attending The Blue Man Group’s performance this week at the Sacramento Community Center.

The Blue Man Group is unique. There is definitely nothing like it anywhere. The group’s website even says “Blue Man Group cannot be explained; it can only be experienced!” It describes itself as “an explosion of comedy, music and technology.”

The group was founded in 1987 by Chris Wink, Matt Goldman and Phil Stanton and consists of three actor-musicians who wear bald caps, painted with electric blue latex paint. (There are four Blue Men listed in the program, so there is no way of knowing who is on stage for any performance.)

They do not speak, but interact silently with the audience. They play drums, sometimes with colored liquid poured onto them so that it splashes into the air. They play intricate PVC pipes, they are backed up by “Blue Man Swing,” a small combo group located on two platforms above the stage. And there is lots of technical stuff going on, with strobe lights, special game-type characters projected, and lights turned out into the audience.

Technical elements sometimes can be problematical, and the curtain on opening night was held for 45 minutes while they fixed a technical glitch (which I guess was fixed, because nothing seemed to go awry during the performance).

There is a cameraman to videotape certain portions of the show and project it on the back screen, especially when the group is interacting with the audience, not only the people in the “poncho section” (the first three rows, where people are almost guaranteed to get splashed and are given complimentary ponchos when they arrive), but also climbing on the seats of the back audience, creeping up the aisles and peering intently into the faces of unsuspecting audience members.

There is an electronic message crawl above the stage, sending notes out to the audience. On opening night the audience was invited to speak “Happy Birthday” to someone and someone else was called out, informing him that he had not updated his Facebook status in the past minute and a half.

The audience loves it and it begins a nice bond between the performers and the audience.

The finale is a many-minutes-long dance party, with the audience standing and batting huge multi-colored balls around while a cannon on stage shoots streamers of paper out into the audience.

As I read this, I realize that they are right — you can’t explain Blue Man Group, you can only experience it. Some members in the audience left long before the end, others were screaming wildly for an encore.

Critics were offered earplugs in case we wanted them. I wore mine and at one point removed them and quickly put them back in again. The noise level can be ear-shattering, but if you are used to rock concerts, I suspect this is part of the attraction.

It is definitely a not-to-be-missed experience, if only to say you’ve seen them. It’s not going to be to everyone’s taste, but if this rather stilted description sounds good to you, you’re gonna love it!

One thing is for certain … you’ll never think of Twinkies the same way again … or marshmallows either.

Three Sisters

It was an auspicious beginning for Davis’ newest theater — The Art Theater of Davis — as it presented its first production, Anton Chekhov’s “Three Sisters,” directed by co-founder Timothy Nutter, who is also credited with original script adaptation and set design.

I have to make one comment first off. If you know nothing about Chekhov, or about this play, it would behoove you to do a little research before seeing the show. While the program gives the names of the characters and the actor who plays which character, Chekhov rarely uses the actual name of the character in his script. Other than the three sisters, their brother and his wife, nobody else is called by his or her program name.

Baki Tezcan, for example, gives an excellent performance as Vershinin, the lieutenant colonel commanding the artillery battery in town, who enters into an affair with sister Masha, but it was not until I got home that I realized which character he was because he is only referred to by his military title in the script.

Steve Buchanan plays Tuzenbach, in love with youngest sister Irina, but is only ever called “Baron” in the play.

The only reason I knew that the servant they call “Nanny” is named Anfisa was because I had met the actress when the show was in rehearsal.

Trying to keep up with which actor plays which part is impossible.

The program also gives no help as to how much time has elapsed between the acts. Act 2 takes place nearly two years after Act 1, but as the set is the same, the characters are the same and, I believe, the costumes are the same, how are we to know how much time has elapsed, which is an important thing to know, given the changes that have happened in the family during those two years.

Act 3 is a year later and takes place in a bedroom though since the family has been talking of moving to Moscow, there is no way until well into the act that you realize this is not a Moscow apartment, but a bedroom in the house seen in the first two acts. One should not assume that everyone in the audience is familiar with the play before they see it.

However, this should not have any reflection on the actual performances by the actors, which were, for the most part fine.

Sarah Cohen gives a stern and compelling performance as oldest sister Olga, the matriarch of the family, following their father’s death the year before. Olga is a spinster who does not have much joy in her life. She longs to have married “any man, even an old man” if one had asked her, but she has compassion in her soul and takes a job (school headmistress) she does not want in order to have a home for her aging servant, Anfisa (Scarlet O’Connor, a beautiful job as a doddering old woman fearful of being fired because she is no longer capable of doing her job).

The middle sister, Masha is played by Tatiana Ray. She is 21 at the start of the play and unhappily married to Kulygin (Adam Siegel, who has serious projection problems throughout the first three acts). Her behavior, especially in Act 2, where she vacillates between hysterical, uncontrollable laughter to the depths of depression, bent over, holding a pillow in front of her as perhaps her barrier against the world, might indicate that she suffers from manic depression. She also has the most biting wit and the clearest perception of the family condition.

Irina (Claire D’Angelo) is celebrating her 20th birthday at the beginning of the play. She is young and idealistic and full of dreams of her future life in Moscow, where she knows she will find true love. Ultimately she suffers the greatest loss and though her dreams have been squelched, she resolutely decides to move to Moscow anyway.

Tyler Shaffo is Andrey (Andrei), the youngest child and only male in the family. He, too, plans to move to Moscow, where he knows he will have a shining career as a professor, but by Act 2 his dreams have faded. He is saddled with a shrewish wife and a baby and is stuck in a job as secretary to the County Council. Shaffo has the perfect look of a young Russian intellectual.

Natalia (called Natasha in the play) is played by Cheryl Leohr. She enters the family as a very shy, insecure girl, in love with Andrei. She dresses poorly and much fun is made of an inappropriate belt that she wears (though it appears to match her dress nicely … perhaps costumer Ania Mieszkowska could have made it just a bit more inappropriate!). By Act 2, however, she is a mother and throughout the rest of the play she gradually becomes the boss in the house, especially after Andrei runs up a huge gambling debt and has to mortgage the house in order to pay it.

Patrick Hunt is particularly good as Chebutykin, the old doctor (“nearly 70″), who starts the play as a fun person who has given up drinking and is living a clean life, but later reverts to his old ways and while drunk blurts out a shameful family secret. Irina is his favorite of the three sisters and he is forever bringing her gifts (some speculate that as Chebutykin once had an affair with the girls’ mother, that Irina is really his child, though there is nothing in the plot to address that).

The smallness of the theater (a little gem of a space carved out of part of Third Space, the multipurpose space housing shops, studios, workshops, etc. on Olive Drive behind Redrum Burger) brings the audience into the family and makes us all feel, at times, like uncomfortable guests at a dysfunctional family dinner.

Grapes of Wrath

Today’s newspapers are filled with stories of climate changes that are wiping out crops and causing the price of some goods to skyrocket, anger over migrant workers taking away jobs for the locals and greedy bankers ready to foreclose on homes and turn families out on the streets.

Was there ever a more perfect time for the revival of John Steinbeck’s Depression era story, “The Grapes of Wrath,” now at UC Davis’ main theater.

The climatic change was the yearly dust storms that rolled across the plains, killing off crops and making the soil uncultivable. The migrant workers of the 1930s were “Okies,”coming from Oklahoma to California on the promise of farming work, as welcome then as are today’s Mexican migrant workers. And haven’t there always been heartless bankers ready to foreclose on a family’s mortgage in order to line their own pockets?

“The Grapes of Wrath” was the perfect choice for director and Granada Artist in Residence Miles Anderson. Anderson writes that by the age of 14 he had read all of Steinbeck’s great novels and that his mother’s upbringing in Southern Rhodesia (now Zimbabwe) was “deprived and penniless,” so this story of the Joad family resonated with him.

He also found it significant that UCD is located in a farming community, just 150 miles north of Salinas, where Steinbeck lived and worked.

In Frank Galati’s adaptation of the story (which won the Tony Award for Best Play in 1990), music is added (by orchestra members Kristen Guggenheim, Stephen Robinson and Cole Sutliff), though this is not a musical. The musical numbers are stuck in at certain points to lend an air of period authenticity and strike the proper tone, a lovely background for a funeral and a lively accompaniment for a camp dance, for example.

John Zibell, the only Actor’s Equity actor in the production, is a wonderful Tom Joad, very noble, very dedicated. Tom has just been released from prison (“on parole,” he has to tell everyone who assumes he has escaped!) and returns to find his family home abandoned, the family having packed up and preparing to move to California because of a flyer they received saying that 800 jobs are waiting to be filled.

The family piles into a marvelous wreck of a truck (on loan from the San Francisco Opera) and proceed through several adventures, both good and bad, to head for California. On the way they bury both Grampa (Ned Jacobson) and Gramma (Lindsay Beamish), both of whom are delightful oldsters, totally devoted to each other and bereft at the thought of leaving their lifelong family home. Grampa has to be drugged to get him on the truck.

Ma Joad is a wonderful character and Janlee Marshall gives her both pride and stoicism, a woman whom life has tried to beat down, but who refuses to give up on hope. It is she who is determined to keep the family together.

Cooper Wise is Jim Casy, the former preacher who has lost his ability to preach because he just doesn’t believe any more, though when needed, he can manage to find words for grace before meals, or for a burial.

There are others in this cast who are also strong and add to the overall success of the work. David Orzechowicz is Pa Joad, a hard-working sharecropper who is determined to believe that he will find work if he can just get his wreck of a truck to California.

Amanda Vitiello is Rose of Sharon, all “growed up,” married, pregnant and already feeling beaten down by life, even more so after her husband Connie’s (Kyle Roddy) desertion and the death of her child.

The children, Ruthie and Winfield are double cast and played — on the night I attended — by Ella Kroll and Geoffrey Votaw (who is so cute he steals the show, though very professional while on stage). In other performances the roles will be played by Isabella Park and Django Zibell (“Tom Joad’s” real-life son).

Anyone who has seen the movie will remember Henry Fonda’s iconic “I’ll be all around” speech, as he prepares to leave his family to spare them having to hide him from the police. Fonda gave it the weight of any major speech, but in this production, Tom is just talking to his Ma and it’s his way of letting her know that he is leaving … and that he plans to work for better working conditions for people like the Joad family.

Steinbeck shone the spotlight on cruel and inhumane treatment of some people by other people, but he also showed that there is goodness and hope in the world. It is a message that we would all do well to remember, whether we are the downtrodden, or those in a position to do something about the conditions of our fellow man.

Romeo and Juliet

In fair Verona does Sacramento Theater Company set its scene.

That would be Verona, New Jersey, 1930.

Two mob households, both alike in dignity – the Italian Capulets and the Jewish Montagues.

For Sacramento Theater company, this is the first time in its 69 year history that it has presented “Romeo and Juliet,” but director Ed Claudio’s updated vision proves, once again, that the themes of family conflict and young love haven’t changed since the time of Shakespeare and remain relevant today.

The character of Romeo has always bothered me.  He’s head over heels in love with Rosaline, to where he cannot eat, cannot sleep and risks sneaking into a ball at the enemy Capulet home in hope of seeing her.  But on viewing the young Juliet, all thoughts of Rosaline dissolve and suddenly he is head over heels in love with Juliet.  Does not bode well for a lasting relationship.

Good thing he doesn’t live long enough to attend another ball and see another beautiful girl. (oops...spoiler alert!)

Despite the failings of Romeo’s character, there are no failings in the performance of Andrew Joseph Perez, a handsome, muscular young man with a six pack he’s not embarrassed to show off.  Perez appeared in the recent Capital Stage production of “The Elaborate Entrance of Chad Deity,” where he played a wrestler. A lot of the moves he perfected in that production come in to play in his fight scenes in this production, and he climbs Juliet’s balcony effortlessly...more than once.  (Not surprisingly, Perez is also the fight choreographer for the production)

Denver Skye Vaughn may be a recent university graduate, but her Juliet looks every bit 15, a waifish figure who has to display a range of emotions from giddy young girl experiencing her first love, to defiant daughter who is going to have her Romeo despite the feelings of her dictatorial father, to fearful wife, taking a potion which will knock her out long enough for everyone to think her dead, to distraught widow, unable to live with her husband dead.  She nails each emotion and takes the audience along with her for the roller coaster ride.

Amazing how much can happen in the space of a couple of days!

Despite all the murders and suicides in this play, usually classed as a tragedy, there’s a lot of funny stuff.  In fact, act 1 is hilarious.  Director Claudio explains that there are many elements of comedy before and even after the deaths of some of the major characters in the story.  With comedienne Amy Kelly as the Nurse you can’t help but have laugh out loud scenes.  She is larger than life and dominates nearly every scene in which she appears.

There is little comedy, however, in Kirk Blackinton’s Capulet, whose rage at his daughter more than just borders on domestic violence.  He is a smoldering cauldron whose sadness at the death of his daughter comes a little too late.

Matt K. Miller is back on the STC stage as the wise Rabbi Laurence, a departure from the Friar Laurence of the original.  (Some dialog changes had to be made, as a rabbi is unlikely to invoke the name of “Holy St. Francis” which became “Jumping Jehosaphat”)

The supporting cast is very strong, with Dan Fagan as Benvolio, Sean Patrick Nill as Tybalt, Jeb Burris as Mercutio, Kristine David as Lady Capulet.  Kevin Frame and Ernestso Bustos, as a cop and the Constable are also quite effective in their characterizations.

Scenic designer Anna Katharine Mantz has designed a beautiful wooden set with many levels, the house of each of the families on opposite sides of the stage.

This is a beautiful looking, strongly acted production which has something for everyone, from broad comedy to exciting fight scenes to delicious eye candy to sexy romance to tear-jerking tragedy.  What’s not to like?

South Pacific

 

Before the start of the opening performance of the Davis Musical Theater Company’s excellent new production of Rodgers & Hammerstein’s “South Pacific,” producer Steve Isaacson shared that it was exactly 30 years ago that night when his wife, Jan, woke him to announce that the two of them were going to start a new theater group.

Thirty years later, DMTC is going stronger than ever, with this new production proof of the pudding.  And, sadly, the message of this show rings as true today as it did when it premiered in 1949. Themes of xenophobia, hatred and fear of people who are not like “us” permeate this story of a young Navy nurse on a South Pacific island falling for a handsome middle-aged French ex-patriate,, but unable to make a commitment to him when she discovers that he has children by a Polynesian woman.

While this show has many memorable tunes, like “Some Enchanted Evening,” “Younger than Springtime,” “Bloody Mary,” and “I’m Gonna Wash that Man Right Outta My Hair,” it is the bitter song, “You’ve Got to be Carefully Taught,” sung by Lt. Cable when he realizes that his inbred distaste for people with dark skin will prevent him from marrying the young girl he has come to love which still rings true today.

You’ve got to be taught to be afraid
of people whose eyes are oddly made
and people whose skin is a different shade...
You’ve got to be taught before it’s too late
Before you are six or seven or eight
To hate all the people your relatives hate...

Director John Haine has a first-rate cast for this show.  Laura Woodruff plays Nellie Forbush, the nurse who struggles with the idea of mixed-race children.  She is a strong personality, yet softens when with Emile deBecque (Travis Nagler), the plantation owner she has known only a few days.

Woodruff and Nagler have powerful voices and a lovely chemistry together.  Nagler is not a pretty-boy leading man, but a strong, barrel-chested man who exudes both strength and tenderness.

DeBecque’s children are played by Mckenna Lincoln and Andrew Montano, who are the least likely looking siblings you’d want to see, looking quite different from one another, but so darn cute it doesn’t matter.  Both have mastered their lines in French beautifully.

Bloody Mary, the Tonkinese woman who sells grass skirts and shrunken heads to the military is portrayed beautifully by Dannette Vassar in a role that seems tailor-made for her.  Vassar does not have the vocal power of some Marys, but with clearly modulated tones, the power of her “Bali Hai” comes across just as well as any other.

She is also a woman who is looking for a good future for her daughter, Liat (Ana Chan) and has eyes on Lieutenant Cable, newly arrived on the island, as a mate for the young girl.  She has no qualms about prostituting the girl if it will get her a rich American husband.

Scott Scholes is simply wonderful as Lt. Cable.  He is innocent, idealistic, tortured by his conflicted feelings for Liat...and has a great set of pipes on him too.

The military hierarchy come in the persons of Captain George Brackett (Richard Lui), and Commander William Harbison, played by Ben Bruening, who has been absent from the DMTC stage for 8 years.  It was such a welcome familiar face to see again.

Comic relief is provided by Seabee Luther Billis (Gabe Avila), a wheeler-dealer who knows what he wants and how to get it.  His duet with Nellie at the base’s Thanksgiving Day festival was very funny.

This is a large cast who move well on stage, thanks to the choreography of Katherine Coppola.

The small DMTC budget is never enough for lavish sets but the set and lighting designs of Steve Isaacson managed to create a very believable South Pacific isle.  The silhouette of the volcanic island Bali Hai against a plain sky which changed colors at various times in the day was the perfect effect, and deBecque’s plantation was lovely.  There was even a beach shower with real water for Nellie to wash that man right out of her hair.

This one’s a real winner. 

Elemeno Pea

There is a moment early in the production of “Elemeno Pea” — currently at the B Street Theater under the direction of David Pierini — that sets this particular production a step above the mere run-of-the-mill character study comedy that playwright Molly Smith Metzler may have intended it to be.

The character Michaela (Melinda Parrett), a billionaire’s latest trophy wife and mistress of the expensive manor on Martha’s Vineyard, has just returned home unexpectedly. She has had a terrible shock and she needs the support of her paid assistant and friend-for-hire Simone (Lyndsay Kail). Simone is, at the moment, entertaining her sister Devon (Stephanie Altholz) for the weekend (with Michaela’s permission) in the estate’s luxurious guest house.

Michaela bursts through the door and falls into Simone’s arms, starting to bare her soul, needing Simone’s support The two women are sitting together, Michaela revealing a stream of very personal things she and Simone have discussed before and suddenly she realizes there is someone else in the room.

Without moving her body or doing anything obvious, we see Michaela change from the vulnerable woman she had been back into the in-charge matriarch. We see an ever-so-slight change in facial expression, an invisible mask coming over her face, a determined relaxation of the body, the smile just a touch more gracious and more phony, the emotions suddenly put in check as she steps into hostess mode and greets the visitor.

It’s an amazing transformation, with Parrett barely moving a muscle, but it’s an obvious change. It could have been played much differently, more broadly perhaps, but this subtle transformation is an indication of what a well-directed, tightly performed work this is. Parrett is a wonder throughout the play, whether she is the center of the action or a part of the background, her emotions always apparent in the way she sits, the way she moves, the way her mouth trembles ever so slightly.

But Parrett is only one of the talented cast of five that includes Lindsay Kail as Simone, a talented author, unappreciated by even her family, who put her dreams on hold and sold her soul to the devil, in exchange for a hefty salary, a chance to live in luxury, wear designer clothes, travel around the world, and have everything she thinks she wants.

The price is being at the beck and call of Michaela 24/7. We see the conflict in Simone, who professes to love her life, but whose nervousness at the way her sister Devon treats the house gives her away as she carefully and precisely returns duck decoys to their rightful place when Devon moves them.

Devon (Stephanie Altholz) has just come through a terrible relationship, is working at the Olive Garden and sleeping on a beanbag in her mother’s basement, but she wouldn’t trade it for all of Simone’s luxuries, if it means giving up who she really is. She does not have an unexpressed thought and she quickly becomes the raspberry seed in Michaela’s (and Simone’s) wisdom tooth, refusing to relax her principles even when a handsome bribe is offered. Altholz makes her the character to whom we most relate.

Alex Robertson plays the handyman Jos-B (because Michaela already had a Jose … think about it) who appears to be Michaela’s puppy dog, flattering her with pet names, chaste kisses and overt sexual banter while he really hates the woman and has no compunction about talking about his real feelings behind her back. He is another of Michaela’s “friends for hire” who does not hesitate to drop the charade when the situation presents itself.

Rounding out the cast is Kurt Johnson as Ethan, longtime friend of Michaela’s husband, and Simone’s fiancé. Ethan is a caricature of the stereotypical Martha’s Vineyard resident, in salmon-colored trousers and absurd bleach-tipped coiffure and a vocabulary full of verbal texting shortcuts.

It is difficult to understand what Simone sees in him, unless it’s her chance to finally express her independence. Johnson plays this character to the hilt and seems to be having the time of his life doing it.

This is a very funny play that pits lives of the rich vs. the lives of the rest of us. The rest of us come out the winners.