Suzanne Angeo reviews

“The Drowsy Chaperone” at 6th Street Playhouse, Santa Rosa CA

2012-01-16T12:15:00.000-08:00

Photos by Eric Chazankin

Jeff Cote

Reviewed by Suzanne and Greg Angeo

A Drowsy and Uninspired “Chaperone”

Theatrical risk-taking is admirable, but it’s also a crap shoot. With some shows, like musicals, the stakes are especially high. When a production is made up largely of Broadway-style song-and-dance numbers, and the company wants to ensure a hit with audiences, the first order of business should be to locate enough talent capable of rising to the occasion. If they can’t get the talent, it stands to reason the company shouldn’t undertake the production until they can. It’s like trying to leap a mile-deep crevasse and running the risk of only making it halfway across. The company has to decide ahead of time if they can afford to live with the results of such a leap. “The Drowsy Chaperone” at 6th Street makes a hop in the right direction, but lacks the necessary energy to propel it to the other side.

The material is good - “The Drowsy Chaperone” received 5 Tony Awards from its 2006 Broadway debut, including Best Original Score for music and lyrics by Lisa Lambert and Greg Morrison. The show also enjoyed a popular run and has been performed by hundreds of regional theatre companies here and abroad. At 6th Street there are some tantalizing but all-too brief moments of what the show could be, but isn’t. Out of a cast of 17, only four performers seem to get what it’s all about and have what it takes for this type of production. The truly outstanding Daniela Beem, in the title role, literally struts away with the show. She commands the stage with her lusty voice and style, and steals nearly every scene when she’s onstage. Taylor Bartolucci is excellent as the giddy bride-to-be Janet, but seems only slightly miscast as the ultra-glamorous showgirl who is willing to give it all up to marry the man she loves. Two other performers offer praiseworthy efforts: Jeff Cote delivers a very engaging and natural performance as the nebbishy master of ceremonies Man In Chair. Jon Rathjen is really fun to watch as the gleefully overblown gigolo Adolpho. But the brave attempts by these four are not quite enough to take the show where it needs to go.

(From left) Taylor Bartolucci, Daniela Beem

The rest of the cast seems to lack the enthusiasm or perhaps the understanding of what exactly they need to accomplish to make “The Drowsy Chaperone” a success. Strong choreography is the foundation of musical theatre. Choreographer Vicki Suemnicht’s results are cute but uncoordinated, what you might expect to see at a high school musical. The lone tap dancing sequence, which could have been thrilling, was anemic. The stagecraft, orchestra and costumes are mostly disappointing. Small creative changes, even in the lighting, could have made a huge difference in how the fantasy scenes come across. Direction and staging by Gene Abravaya lacks imagination, so unlike his successful work last year on 6th Street’s “The Final Scene”.

“The Drowsy Chaperone” promises “mix-ups, mayhem and a gay wedding” and it delivers. But that’s as far as it goes, and if you don’t expect any more than that, you just might enjoy it.

When: Now through February 5, 2012
8 p.m. Thursdays, Fridays and Saturdays
2 p.m. Sundays
2 p.m. Saturday February 4
Tickets: $15 to $35
Location: 6th Street Playhouse – GK Hardt Theatre, 52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"The 39 Steps" at 6th Street Playhouse Studio Theatre, Santa Rosa CA

2012-01-13T20:49:00.000-08:00

Photos by Eric Chazankin

Photo 1: (from left) Paul Huberty, April Krautner, Larry Williams
Photo 2: (photogs) Larry Williams, Paul Huberty
(in clinch) Adam Burkholder, April Krautner

Reviewed by Suzanne and Greg Angeo

Surrender to the Silliness

“The 39 Steps” is ambitious, strenuously funny, and perhaps the most truly unique theatrical presentation at 6th Street in recent memory. It’s a murder mystery complete with spies, secret organizations, narrow escapes, romance on the run…and silly walks. Come prepared to laugh till it hurts.

The idea for the story was taken from the 1915 novel by John Buchan, which inspired the 1935 film by Alfred Hitchcock, considered one of his best. Then it was adapted by Patrick Barlow, who turned the plot on its head with irreverent and insanely funny twists. He also called for the dozens of roles to be played onstage by only four actors, a theatrical device that has been used for many years. The first productions were in England beginning in 2005 in Leeds, moving to London’s West End by 2006. Its Broadway premiere was in 2008 where it won Drama Desk Awards and two Tonys.

The setting is pre-WWII London, with Nazi spies everywhere, plotting unimaginable mayhem. When ordinary citizen Richard Hannay aids a lady in distress, the lovely Annabella Schmidt, little does he know what lies ahead. There are train chases, plane crashes, strangely creaky doors and spoofy references to some of Hitchcock’s most well-known films. The reimagined story faithfully preserves Hitchcock’s famous “McGuffin” – his word for the basically incidental “something” in the story that his characters are chasing after, pulling the audience merrily along. In “North by Northwest” it was microfilm. In “The 39 Steps” it’s military secrets, and here the McGuffin ramains firmly in second place to the wildly entertaining situational mechanics that drive the characters.

Adam Burkholder, the lone actor with a single role as the heroic everyman Richard Hannay, displays incandescent flashes of Chaplinesque reactions and physicality. April Krautner in three roles (Annabella/Pamela/Margaret) has some of the most hysterically funny scenes in the entire play. The audience was laughing so hard it was difficult for some to breathe. Another crowd pleaser is Larry Williams who played dozens of roles. At one point he and his partner-in-clowning, Paul Huberty, demonstrate a dizzying array of characters just by changing hats - from porter to newsboy to constable to salesman and back again.

The roles are physically demanding, the pacing frenetic but brilliantly synchronized. There is a truly amazing scene on a speeding train where you really believe, through the physical illusion of the actors’ vigorously expressive pantomime, that their hair and clothing are being blown by the wind.

The second act seemed to drag a bit after the mad adrenaline rush of the first. Could the slowdown be due to exhaustion of the players? Maybe pacing adjustments would do the trick here. But things picked up again in due course.

Director Craig Miller, who wears three hats himself at 6th Street – as Stage Director, Sound Designer and Artistic Director – has employed some very nice staging techniques and has the actors forming a cohesive unit, with timing so essential to this kind of comic farce. The artistic staff deserves special mention for their efforts, including costume designer Pamela Johnson, scenic and lighting designer Vincent Mothersbaugh and most notably Michael Greene in charge of hair, wigs and makeup. 6th Street has scored again with this one, a marvel of physical comedy and plotline gymnastics that should delight anyone who loves to laugh.

When: Now through January 22, 2012
8:00 p.m. Thursdays, Fridays and Saturdays
2:00 p.m. Sundays
2:00 p.m. Saturday, January 21
Tickets: $10 to $25 (general seating)
Location: Studio Theatre at 6th Street Playhouse
52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"Almost, Maine" at 6th Street Playhouse Studio Theatre, Santa Rosa CA

2011-12-13T13:40:00.000-08:00

“Almost, Maine” by John Cariani
6th Street Playhouse Studio Theater, Santa Rosa CA

Photo by Eric Chazankin:
(Back, from left) Clint Campbell, Nikki Lyon
(Front, from left) Peter Warden, Autumn Mirassou

Reviewed by Suzanne and Greg Angeo

Totally Almost

It’s nine o’clock on a winter’s night in a little town called Almost, with the Northern Lights dancing overhead and romance brewing below. Presented in a series of nine short stories, “Almost, Maine” treads a path that borders the magical. The figurative becomes literal, the impossible becomes real. Broken hearts are carried in paper bags, bushels of love are kept in huge red satin pillowcases, and lovers literally “fall” for each other. The stories are told with playful metaphors, and many of them are profoundly moving, bright little gems.

Lovingly crafted by American actor and playwright John Cariani, each “mini-play” features a unique romantic situation that may, or may not, offer the characters a chance at happiness. Crisp, vigorous dialogue counterbalances odd circumstance, making for a delightful experience. “Almost, Maine” broke box office records when it premiered in Portland, Maine in 2004, and has gone on to be one of the most successful regional theatre productions in the U.S. Amazingly enough, when it appeared off-Broadway in 2006 it only ran a month, and was declared a flop by those big-city folks. What do they know?

Director John Shillington beautifully integrates the projected images, music and the actors’ movements onstage. One of his original songs with composer Robin Eschner is featured, sung by the two leading ladies who possess lovely voices. Projection screens flank the set and efficiently provide supplemental images to each scene: pastoral, utilitarian, comic or poetic, whatever is required.

The four actors (Clint Campbell, Nikki Lyon, Autumn Mirassou and Peter Warden) do a consistently fine job playing multiple characters, but there are some scenes where each, in their turn, shines with a special brilliance. Perhaps there could be more varied characterizations and risk-taking in a few scenes, but the performances are wonderful exactly as they are. Outstanding stories to look for include “Getting it Back”, “They Fell”, “Story of Hope” and “Seeing the Thing”, where each actor pushes boundaries and holds the audience in thrall. They say theatre is the actor’s medium, and in “Almost, Maine”, this theory is on full, spectacular display.

Judging by the audience reaction - knowing smiles, chuckles, belly laughs, and a raucous standing ovation at play’s end – there’s no “almost” about it. “Almost, Maine” is most definitely a warm-hearted treat for a frosty night, and well worth seeing.

When: Now through December 18, 2011
8:00 p.m. Fridays and Saturdays; 2:00 p.m. Sundays
8:00 p.m. Thursday December 15; 2:00 p.m. Saturday December 17
Tickets: $10 to $25 (general seating)
Location: Studio Theatre at 6th Street Playhouse
52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

Coming up at the Studio Theatre: “The 39 Steps”, a spoof on Alfred Hitchcock’s classic film; January 6 – 22, 2012

Coming up at the GK Hardt Theatre: “The Drowsy Chaperone”, a nostalgic musical comedy; January 13 – February 12, 2012

"A Christmas Story" at 6th Street Playhouse, Santa Rosa CA

2011-11-25T15:57:00.000-08:00

“A Christmas Story” adapted by Philip Grecian, based on Jean Shepherd’s original stories
Presented at 6th Street Playhouse’s GK Hardt Theater

Photo by Eric Chazankin - From left, standing:
Kim Williams, John David Vozaitis, Chris Schloemp, Ari Vozaitis

Reviewed by Suzanne and Greg Angeo

Oh, What Fun - Holiday High Jinks at 6th Street

We are SO in the mood for the holidays, and the folks at 6th Street Playhouse are serving up a grand kickoff to the season with “A Christmas Story”. It’s a night of golden memories indeed, as befitting this time of year. Will Ralphie shoot his eye out? Will the Old Man get to keep his jazzy leg lamp? Will the neighbor’s dogs get the Christmas turkey? If you’re in need of a pick-me-up, or just want to indulge in a heartwarming blast of holiday spirit, bundle the family on down to 6th Street.

This official stage adaptation by noted playwright Philip Grecian is based on the beloved 1983 film classic, which garnered a cult following and marathon TV runs each holiday season. The film, in turn, was based on a semi-autobiographical collection of stories by legendary teller of tales, Jean Shepherd. The story is set in 1938, that innocent year before Hitler invaded Poland and the start of World War II. It’s also the year the Red Ryder BB Gun first appeared on the scene and became the Holy Grail for nine-year-old Ralphie Parker.

“A Christmas Story” is told from Ralphie’s point of view as narrated by his grown-up self, Ralph (Mark Bradbury), who shares memories of his offbeat family life. Bradbury is an animated and engaging tour guide for Ralphie’s recollections of the Parker household as they get ready for “the best Christmas ever”. Ralphie (John David Vozaitis) is a highly imaginative kid, and his flights of fancy are staged in whimsical fantasy sequences throughout the show. Vozaitis took awhile to settle into his role, but eventually nails it and carries the show. Ralphie’s endearingly quirky father “The Old Man” (Chris Schloemp) is firmly at the center of Ralph’s recollections, doing battle with the furnace, the Oldsmobile and marauding packs of dogs. Ralphie’s stalwart mother (Kim Williams) and his eccentric little brother Randy (Ari Vozaitis) provide lovable comic support. His little friend Esther Jane (Alyssa Jirrels) knows how to tug at our heartstrings, and Ralphie’s.

Director Bronwen Shears is noted for her beautifully sensitive work in “Intimate Apparel” at 6th Street’s Studio Theater earlier this year. In “Christmas Story”, she proves her versatility by delivering a strong and creative interpretation of the gag-filled script. Shears employs the same storytelling technique used with “Apparel”, but has more space for expression in the larger GK Hardt Theater. The nice little comic vignettes and touching scenes are highly effective on the multi-level set. Working with young children onstage is not easy, but Shears has an excellent crop of talent to harvest in this piece - seven kids - and the results are sheer delight.

The “Christmas Story” cast and artistic staff have created a sweetly sentimental but wickedly funny show of the highest caliber. The single set by Paul Gilger serves multiple locales: inside the Parker home, outside on the street, and even Ralphie’s classroom, with help from actors wheeling set pieces on and off stage. The hilarious family car, a venerable Oldsmobile, is a sight that must be seen to be believed, and has the audience shrieking with merriment. Production issues in the show’s second performance are minor and will likely disappear: sound problems in the first act; the need of better follow-through with pantomime and clearer scene transitioning from fantasy to reality.

For most of us, the holidays mean observing time-honored traditions, because remembering what has gone before us is a way to find continuity within our lives. “A Christmas Story”, Jean Shepherd’s humorous, affectionate tribute to bygone America as he remembers it, is a fresh and entertaining way to connect with the past and find joy in the present. What better way to begin the holiday season?

When: Now through December 23, 2011
8 p.m. Fridays and Saturdays; 2 p.m. Sundays
8 p.m. Thursdays December 1, 15 and 22
8 p.m. Wednesday December 21
2 p.m. Saturdays November 26 and December 17
Tickets: $15 to $32
Location: 6th Street Playhouse – GK Hardt Theatre, 52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

“Bellwether” by Steve Yockey at Marin Theatre Company, Mill Valley CA

2011-10-20T15:26:00.000-07:00

Reviewed by Suzanne and Greg Angeo
Photo by David Allen Studio: Arwen Anderson (left), Kathryn Zdan

Yes, Virginia, There Really is a Boogeyman

When a show starts with a group of clean-cut people gathering onstage to insist “bad things just don’t happen here!” and “I live in a nice neighborhood!” you suspect they’re kidding themselves, but that’s only the setup, of course. “Bellwether” becomes a chilling indictment of human society and the media’s frenzied pursuit of fear-based “news” – that, and much, much more. Childhood terrors become real, heralded by mysterious, thunderous booms and a gathering shroud of fog.

Now in its 45th season, Marin Theatre Company once again shows how it earned its place as one of California’s top regional theaters. With the world premiere of “Bellwether”, playwright Steve Yockey, whose works are celebrated for their darkly amusing analysis of modern life, takes us down a rabbit hole that is part wonderland, part netherworld, one that’s most definitely not for the kiddies.

Jackie and Alan Draft and their 6-year-old daughter Amy are new residents of the suburban community of Bellwether, a seeming refuge of tranquility from the chaotic city life they left behind. Sure, they have a bit of domestic discord and meddlesome neighbors, but who doesn’t, right? What they and their neighbors don’t know is there is more than fog creeping in on little cat’s feet. And when Amy Draft suddenly goes missing, the relentless media coverage of her disappearance takes on a life of its own, creating its own reality. Everyone is on the attack and on the defense at the same time. There is a gradual, relentless build in the frustration and anxiety that reaches a bizarre, shocking crescendo at the very end of the second act. It’s the kind of cliffhanger that keeps an audience on the edge of their seats, rushing back from intermission to see what happens next.

Arwen Anderson as Jackie and Gabriel Marin as Alan invest their roles with an affectionate, subtle realism that makes the story’s unfolding events all the more terrifying. Their palpable tension, then anguish, and finally despair drives the audience with them around a totally bizarre bend in the road. Rachel Harker is riveting as their lonely neighbor Maddy, simultaneously expressing her needy and vindictive nature.

Kathryn Zdan as the Doll, a character that literally comes out of nowhere (and rightfully so), is a stunning cypher. Also totally unexpected is Amy, a little girl transformed, played by Jessica Lynn Carroll who brings sharp focus to the character in her short time onstage. There is a supporting cast of five, each in a dual role as neighbors, and as either reporters or detectives. Liz Sklar, Marissa Keltie, Millie Stickney, Danny Wolohan and Patrick Jones all display excellent ensemble acting.

The production of “Bellwether” at MTC presents stagecraft at its best. Lighting design by York Kennedy and sound design by composer/technician Chris Houston infuse the dramatic developments with strobe, spots and deep vibrating booms. The crafty set design by Giulio Cesare Perrone is contrived to reassure, amaze and terrify. And Fumiko Bielefeldt’s costume creations offer more to the story than just clothing – they vividly define each character, especially that amazing Doll.

Director Ryan Rilette uses creative and artful staging to manipulate the audience and take us where he wants with delightfully chilling effect. The show is tight as a drum with good pacing and rhythm throughout. Combining the actors’ creativity and solid instincts, Rilette’s direction is fully integrated with light, sound, costume and set design. The result is a visual and emotional feast. The story itself is not entirely satisfying, however. Its logic doesn’t seem to carry through, the resolution is a bit murky and open-ended, and you’re left with an uneasy feeling. But that’s very much like real life, isn’t it?

When: now through October 30, 2011
8 p.m. Tuesdays, Thursdays, Fridays and Saturdays
7:30 p.m. Wednesdays
2 p.m. and 7 p.m. Sundays
2 p.m. Saturdays October 15 and October 29
1 p.m. Thursday October 20
Tickets: $34 to $55
Location: Marin Theatre Company
397 Miller Avenue, Mill Valley CA 94941
Phone: 415-388-5208
Website: www.marintheatre.org

"Kite's Book" at 6th Street Playhouse, Santa Rosa CA

2011-10-06T17:24:00.000-07:00

“Kite’s Book: Tales of an 18th Century Hitman”
by Robert Caisley

Presented at 6th Street Playhouse
GK Hardt Theater, Santa Rosa CA

Photo by Eric Chazankin:
(from left) Rahman Dalrymple, Adam Burkholder

Reviewed by Suzanne and Greg Angeo

Have Sword - Will Travel

It’s an ominous sight: three huge gallows looming over the stage, smoke hanging in the air and a young man about to be torn apart by wild horses, but it offers only a clue to what’s in store. The West Coast premiere of “Kite’s Book: Tales of an 18th Century Hitman” at 6th Street Playhouse is a delight-filled black comedy supreme. And yes, there is gallows humor and glorification of the macabre, just in time for Halloween.

Charming assassin-for-hire Harry Kite chooses his clients carefully, based upon his own strict personal code. He is also a vigilante of sorts, a hero of the lower classes who takes matters into his own hands when he sees those in power, like corrupt judges and politicians, getting off scot-free with their crimes. In Harry Kite’s book, murder is the rational, even moral, thing to do. Thus he has become a celebrity - and a wanted man.

The play was conceived in the heat of the sensational early 1990s courtroom dramas featuring the scandals of O.J. Simpson, the Menendez brothers and Michael Jackson. Playwright Robert Caisley was a young teacher at Illinois Wesleyan University at the time. He was struck by the fact that the mob reaction to the trials he saw on TV reminded him of the teeming crowds gathered to observe the very public executions in 18th century London. His response was to craft a play that, despite its 1750s setting, has a bright, fresh message and is brimming with fascinating conflicts: liberal versus conservative, class warfare, illicit love and social Darwinism.

The system of crime and punishment in a society is a barometer of its social justice. Throughout human history the “haves” have imposed their rule upon the “have-nots” in a seemingly endless vicious circle. “Kite’s Book” vividly reminds us of our own times, with the distance of time providing a disconnect: a new way to see what’s happening right in front of us, on the stage and in the world. This Brechtian approach (named after the hugely influential German playwright and director Bertolt Brecht) also uses characters to represent ideas, rather than people, and in unexpected ways. It allows the audience to focus on the larger issues presented, rather than the individual characters. The audience carries this experience out of the theater and into their lives, with a lasting effect.

Director Craig Miller’s connection to “Kite’s Book” dates back to his college days at Illinois State University, where he and playwright Caisley met in the early 1990s. When Caisley returned to ISU in 1996 to present his new play “Kite’s Book”, Miller recalls being “absolutely enthralled” by the story. In the years since, he has waited for the opportunity to direct it, and is pleased to present it now at 6th Street. Miller came on board as Artistic Director earlier this year, and in that short time has proven again and again that he has considerable talents to bring to the party. Miller imbues this work with sensitivity, energy and dark humor.

At the beginning and end of the play, the actors assemble onstage as a “canting crew”, a period term used to describe a group of gypsies and thieves who speak in unison with the rhyming slang of the day set to verse, vaguely reminiscent of today’s hip-hop. The effect is spellbinding, rather like a subversive Greek chorus. The music of “Danse Macabre” by French composer Charles-Camille Saint-Saens provides the perfect theme. The raked stage showcases duels with pistols and swords, heavy romance, intrigue, and one silent, powerful scene that is simply too intense to describe in words.

The cast of characters is worthy of the tale, and each performer is brilliant in their own right. We have a wicked judge, Lord Hardwick (Barry Martin), and his beautiful, abused wife Mary Summers (Courtney Walsh). Two public officials, associates of the judge, couldn’t be more different: the fair-minded populist Romilly (Guy Slater) and the scheming, pompous Welles (Larry Williams).

Then there’s the crazed pimp Jack Wyld (Tice Allison) and his lovely, desperate floozy Nelly Sweet (April Krautner). A young vagabond actor Will Carew (Clint Campbell) falls hard for Nelly and tries to defend what honor she has left. In the title role is Rahman Dalrymple as the charismatic killer, who takes young Carew under his wing, and teaches him the fine art of mayhem. There’s a hilarious French executioner Emile (Ray Morgan), and an appearance by Welles’ children (Kate Kitchens, Preston Sigrist), two ghoulish moppets who will make you think of the Addams Family.

The artistic staff that makes this a truly quality production include Scenic Designer Jesse Dreikosen, Lighting Designer Theo Bridant, Costume Designer Tracy Sigrist and Craig Miller who, in addition to directing, also serves as Sound Designer. Special mention should be made of the Fight Choreographer, Marty Pistone, who makes the fight scenes look like natural extensions of the storytelling.

There’s good, there’s evil…and then there’s Harry Kite. Crime and punishment have never been so much fun to watch. “Kite’s Book” makes for truly satisfying and entertaining theatre.

When: Now through October 23, 2011
8 p.m. Fridays and Saturdays; 2 p.m. Sundays
8 p.m. Thursdays October 6 and October 20
2 p.m. Saturday October 22
Tickets: $15 to $35
Location: 6th Street Playhouse GK Hardt Theatre, 52 West 6th St, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"She Loves Me" at Cinnabar Theater, Petaluma CA

2011-09-15T12:43:00.000-07:00

Reviewed by Suzanne and Greg Angeo

Photo by Eric Chazankin: (L) Sheila Willey,(R) Roy Eikleberry

For its 39th season opener, Cinnabar Theater offers up a sweetly old-fashioned romantic confection, “She Loves Me”. The excellent cast, crew and director join their considerable talents to present a real feast for the eyes. The sets: divine, like brightly-colored jewel boxes. The costumes: gorgeous, capturing the look and feel of 1930s Budapest. The story: a charming classic about love and mistaken identity with intriguing twists and turns in the plot.

The musical is based on the rather obscure 1937 play “Parfumerie” by Hungarian playwright Miklos Laszlo, whose work was seldom translated into English. The story is probably most familiar as Ernst Lubitsch’s delightful 1940 screen adaptation “The Shop Around the Corner”. Eventually it was developed into its musical incarnation “She Loves Me” in 1963 by Joe Masteroff, with music and lyrics by Jerry Bock and Sheldon Harnick, noted for their work on “Fiddler on the Roof”. It had mixed success, but now seems to have become a sort of cult classic for lovers of musical theatre.

Even though the story is set in pre-World War II Budapest, modern audiences will be able to instantly identify with the characters. Georg and Amalia work at a perfume shop, each treasuring their correspondence with romantic pen pals whom they have never met (online dating, anyone?). Their working relationship is far from cordial, and they trade jibes and insults with gleeful malice. If only they knew those pen pals are much closer than they realize.

This revival of “She Loves Me” at Cinnabar has some hummable tunes with catchy lyrics, and the cast is top-notch. Roy Eikleberry (Georg) and Sheila Willey (Amalia) play the unwitting pen pals, delivering excellent vocals and engaging chemistry. Their cutely gullible co-worker Ilona, who yearns for that one big romance, is performed with great charm and energy by Cary Ann Rosko, who also possesses a remarkable mezzo-soprano voice. On furlough from his duties as Managing Director of Santa Rosa’s 6th Street Playhouse is Michael Fontaine as lovable shopkeeper Mr. Maraczek. James Pfeiffer is delightfully smarmy as shop clerk and all-around cad Kodaly. Peggy Brady as the gypsy violinist nearly steals the show whenever she strolls onstage, a virtuoso performer. Another show-stealer (and show-stopper) is talented youngster Frank Demma as the shop’s messenger boy Arpad.

Director extraordinaire Elly Lichenstein really has fun with this one, with elaborate staging, snappy bits of action and hilarious antics that make this a very entertaining show. The lush costumes by Julia Hunstein Kwitchoff and beautifully detailed sets by Mark Robinson put an elegant polish on the whole affair. The small offstage orchestra, skillfully directed by Mary Chun, is perfect for this style of music.

Even with all this going for it, there are times when this winsome dainty soufflé almost collapses under its own weight. At three hours long, it’s more like an operetta than a musical. Many of the songs in the first act are too much alike, coming one right after the other and having almost the same tempo, with few breaks for dramatic development. It seems like a half dozen songs could be cut from the first act, to streamline it and bring it more into balance with the second.

It’s still a sentimental journey worth taking. If you need an escape, if only for a few hours, this gently romantic musical comedy with just a touch of pathos will take you back to another time, one far removed from this one.

When: Now through September 25, 2011
8 p.m. Fridays and Saturdays
2 p.m. Sundays
Tickets: $25 to $35
Location: Cinnabar Theater
3333 Petaluma Blvd North, Petaluma CA
Phone: 707-763-8920
Website: www.cinnabartheater.org

William Shakespeare's "The Tempest", Forest Meadows Amphitheater, San Rafael

2011-09-01T20:40:00.000-07:00

“The Tempest” by William Shakespeare

Marin Shakespeare Company
Forest Meadows Amphitheater
Dominican University, San Rafael CA

Reviewed by Suzanne and Greg Angeo

Photos by Eric Chazankin:
Top photo - two of "The Qualities" collective
Bottom photo - Robert Parsons (l), Michael Torres

A Thrilling Tempest Comes To Forest Meadows

Many people avoid Shakespeare for much the same reason others avoid opera – they can’t understand what’s happening onstage. Elizabethan English is, for them, like a foreign language. But with help from the right director and actors, this barrier can be overcome, and the pleasures of Shakespeare made accessible. In this regard, is Marin Shakespeare Company’s amazing new presentation of “The Tempest” successful? Yes, because of the stunning use of creative storytelling and stagecraft. And no, because at times the language barrier remains in place.

But whether you are a Shakespeare fan or not, this is one show well worth checking out. The newest incarnation of Shakespeare’s classic fantasy-romance takes inspiration from Victorian-era sci-fi and literary works, and some modern ones too. If you enjoy the far-out tales of Jules Verne and H.G. Wells, and groundbreaking TV shows like Star Trek and The Wild Wild West, you will love this bizarrely electrified version of “The Tempest”. It’s loaded with extraordinary visual and sound effects that must be seen (and heard) to be believed.

“The Tempest” is a rich source of such oft-quoted expressions as “brave new world”, “what’s past is prologue” and “we are such stuff as dreams are made on”. Multiple themes are explored: Is science magic, or is magic science? Is vengeance important, or even necessary? Are people enslaved by power or culture? And that old favorite - is there such a thing as love at first sight? Some Shakespearean scholars suggest that the real underlying theme of “The Tempest” is colonialism - of the New World in general and the Caribbean Islands in particular. Watch closely for this one, you may just see it.

In Shakespeare’s original, Prospero, the deposed Duke of Milan, is a wizard stranded for 12 years on a remote island with his now-teenage daughter, Miranda. Their only companion is a strange and monstrous humanoid called Caliban. Prospero plots revenge against those who took his title and property from him, using magic as a powerful weapon.

In visionary director Jon Tracy’s adaptation at Forest Meadows, it’s 1901, not 1601. Prospero (Robert Parsons) is a mad scientist, assisted by the beastly Caliban (Michael Torres), who lusts after wild-child Miranda (Sarah Gold). Parsons is impressive overall, but he is so opaque in the interpretation of his lines in the opening scenes that Prospero’s intentions are not immediately clear. It’s only in the second half of the play that we begin to understand the true nature of his character.

Michael Torres as Caliban delivers a riveting and articulate performance. He makes his semi-monster the most sympathetic and well-drawn character of the entire show. Sarah Gold’s Miranda is sweetly boyish and rough-hewn, easy to understand and to like. Marin Shakes Artistic Director Robert Currier delivers a sturdy performance as Alonso, King of Naples, who arrives on the scene with his handsome young son Ferdinand (Alex Hersler) after a shipwreck on Prospero's island (which turns out to be no mere coincidence). Their fellow castaways, all turning in solid performances, are Christopher Hammond as Gonzalo, Scott Coopwood as Sebastian, James Hiser as Prospero’s treacherous brother Antonio, and in a bit of comic relief, the delightfully drunken duo Trincula (Lynne Soffer) and Stephano (Cassidy Brown). In a meet-cute moment, the lovely Miranda is instantly smitten by Ferdinand, played by Hersler with enough sincere charm and strength to captivate even the wildest girl’s heart.

What may be the most entertaining character in the show, presented with jaw-dropping style, is the spirit Ariel taking form as a collective of six automatons dubbed “The Qualities”. They were created by Prospero to carry out some shady assignments. The six actors perform in perfect unison, including acrobatic back-flips into various trap doors. They speak in unison, too, mouthing their lines wordlessly, like cartoon characters in an old anime film. The costume designer, Abra Berman, deserves special mention for her spectacular work, especially in helping interpret “The Qualities” with such imagination. Sound designer/composer Brendan Aanes has created a truly original sound track for this production with certain effects that can lift you right out of your seat. The set design by Nina Ball, and lighting by Ellen Brooks, have many unique and transformational elements, fully integrating with the score, sound effects and actors.

Director Jon Tracy holds the audience spellbound with his bold and imaginative realization. His “Tempest” is a brilliant achievement. One thing - just a tiny thing, really - seems a bit odd, given the liberties taken with the setting and approach. That is, having the actors use the Elizabethan pronunciation “Millen” instead of the more recognizable “Milan”. Authenticity doesn’t seem to be an important consideration here, so why say Millen when you mean Milan?

This is not just any play, and certainly not just any Shakespearean play. It is an uncommon adventure to a brave new world, an experience not to be missed, or forgotten.

When: Now through September 25, 2011
Performances: Fridays & Saturdays 8 p.m.; Sundays 8 p.m. & 4 p.m.
Tickets: $20 to $35
Location: Forest Meadows Amphitheatre at Dominican University of California
1475 Grand Avenue, San Rafael CA
Phone: 415-499-4488
Website: www.marinshakespeare.org

“Kiss Me, Kate” at 6th Street Playhouse’s GK Hardt Theatre, Santa Rosa CA

2011-08-09T22:39:00.000-07:00

Music and Lyrics by Cole Porter
Book by Bella and Samuel Spewack
Directed by Craig Miller

Reviewed by Suzanne and Greg Angeo

Photos by Eric Chazankin:

Left photo, Taylor Bartolucci (l), Barry Martin

Right photo, Barry Martin and Cast

Sweet “Kiss” From 6th Street

For the “Curtain-Up!” season kickoff at 6th Street Playhouse, Artistic Director Craig Miller and Managing Director Michael Fontaine have raised the bar of excellence for local theatre. Their spectacular presentation of the classic American musical comedy “Kiss Me, Kate” is a skyrocket of a show, one that is sure to resonate with a bang throughout the Bay Area. It’s absolutely the best show they’ve staged, a bit of Broadway right here in Santa Rosa.

“Kiss Me Kate” first appeared on Broadway in December 1948 to great critical and popular acclaim. It went on to see over 1000 performances in its first run, and received 5 Tony Awards in 1949, including Best Musical – the first ever to win this award. The book by Sam and Bella Spewack is supposedly based on the real-life theatre couple Alfred Lunt and Lynn Fontanne, whose backstage bickering was the stuff of legend. Many of the songs, among the best - and last - ever to be written by Cole Porter, became instant hits and are still popular today.

The musical’s theme is the ever-popular showbiz back-story. Set in postwar Baltimore, the action takes place entirely at Ford’s Theatre, where a talented theatre troupe is putting on a musical production of Shakespeare’s “The Taming of the Shrew”. Their two recently divorced lead actors, Lilli and Fred, are playing Katharine and Petruchio. They are plainly still carrying the proverbial torch for each other, a torch that blazes up when it’s fueled by jealousy and those chips on their shoulders. The offstage sparring of Lilli and Fred parallels the onstage animosity of Katherine and Petruchio. This battle of wills is grand, glorious fun, and carries the show from beginning to end.

At 6th Street, “Kiss Me, Kate” opens on a theatre’s bare stage, a solitary light bulb glowing on a stand. The cast arrives one by one, and before you know it, the company is assembled for the high-energy “Another Openin’, Another Show”, led by Daniela Innocenti Beem, who really knows how to belt out a number. Then the non-stop entertainment begins. The entire show is so good that it’s hard to pick standouts. The haunting “So In Love” and the ferociously funny “I Hate Men”, were both sung by the amazing Taylor Bartolucci as Lilli/Katherine. The performances of Bartolucci, and co-star Barry Martin as Fred/Petruchio, deserve special mention not only for their musical talent, but for their strong characterizations reminiscent of great Broadway performers of the past, which makes them ideal for this kind of show. The smoldering, jazzy “Too Darn Hot” was performed with exceptional sizzle and sass by the Company. “Brush Up Your Shakespeare”, a witty and charming routine by Jeremy Berrick and Rahman Dalrymple, drew cheers from the audience. Side note: these two wiseguys should take their vaudeville act on the road. They brought down the house.

Kudos to Director Craig Miller, who brings new vision to 6th Street after his arrival just a few short months ago from Houston, where he founded the Texas Repertory Theatre Company. He combines his formidable experience and profound love of theatre to bring us this affectionate tribute to the traditional Broadway musical. He has inspired his cast and crew to new heights, with meticulous staging and playful, subtle touches. They are his trademarks and can be seen everywhere, starting with the ensemble cast’s spot-on timing, perfect vocals and flawless momentum. The cleverly complex and colorful set design is by Paul Gilger, the local architect who designed the 6th Street Playhouse and whose resume reads like a who’s-who of entertainment. Top-notch Musical Director and Conductor Janis Dunston Wilson leads the 11-piece orchestra with such a spirit of fun and energy that’s it’s a delight to behold. The choreography is by veteran hoofer Tony Gianchetta who whipped the frisky cast of 19 into excellent shape.

There’s romance and laughs with sexy sirens, goofy gangsters, great music and dancing. It’s hard to miss when you combine the fabulous music of Cole Porter and a classic Shakespearean comedy. When you add amazing hand-picked talent into the mix, the success of “Kiss Me, Kate” at 6th Street seems guaranteed.

When: Now through September 4, 2011
8 p.m. Thursdays, Fridays and Saturdays
2 p.m. Saturdays (beginning August 13) and Sundays
Tickets: $15 to $35
Location: 6th Street Playhouse
GK Hardt Theatre
52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"The Petrified Forest" at Novato Theater Company Playhouse, Novato CA

2011-07-16T22:37:00.000-07:00

“The Petrified Forest” by Robert E. Sherwood
Novato Theater Company Playhouse, Novato CA
Presented by The Marin Actors’ Workshop and Ken Bacon

Photo by Eric Chazankin: From left, Ariana Hooper and Ken Bacon
Reviewed by Suzanne and Greg Angeo

A New Look at an Old Classic

“The Petrified Forest” at the Novato Theater Company Playhouse is a fresh take on this iconic Depression-era American story set in a diner in a tiny Arizona desert town, where there are Petrified Forests both literal and symbolic. This story about saviors, the saved, and the consequence of personal choice was originally presented on Broadway in 1935, starring Leslie Howard and Humphrey Bogart. Playwright Robert E. Sherwood said he based the Duke Mantee character, played by Bogart in both the Broadway and film versions, on infamous criminal John Dillinger. In preparation for the role, Bogart studied film footage of Dillinger to inform his portrayal of the complex and psychotic Mantee.

Director Terry McGovern, multi-talented founder and creative director of Marin Actors’ Workshop, has forged a truly enjoyable theatrical experience. McGovern’s staging, and set design by Eugene DeChristopher, are picture-perfect to show the characters in their proper setting, although at certain times “Forest” doesn’t seem to know if it wants to be a period piece, a modern one, or both. True, there is a solid 1930s look and feel, with a nod to the social issues of the time that would please even Woody Guthrie. But occasional bursts of contemporary music can be a bit jarring, especially after you’ve settled in and convinced yourself you have traveled back in time

Excellent performances make this show well worth seeing. Ariana Hooper’s diner waitress Gabby Maple is a winsome caged bird in her personal petrified forest, with dreams that may never come true. A wordless opening sequence with Gabby shows a charming glimpse of her inner life in pantomime. Ken Bacon (also serving as the show’s producer) offers an appealing interpretation of Gabby’s romantic hero, the vagabond writer-adventurer Alan Squier. Vaguely reminiscent of Indiana Jones - minus the bullwhip - Squier is clearly jaded and world-weary, but retains the strong sense of humor and bitter irony that lie at the heart of the story.

Gabby’s affectionate grandpa, Gramps Maple (Wood Lockhart), supplies wisecracks that season the story like dashes of Tabasco. Lockhart displays keen wit and sustains credible empathy with the other characters. Other noteworthy performances: Stacy Thunes shows great style and comic timing as the fiercely sophisticated Mrs Chisholm; there’s also fine ensemble acting by Mantee’s gang of desperadoes.

Fledgling actor Daniel Flores as gangster-on-the-run Mantee has a compelling stage presence, but his performance comes off as monochromatic. To paraphrase 1930s-era critic and writer Dorothy Parker: his emotions run the gamut from A to B. More stage technique and nuance will give needed texture to this pivotal role. In a July 10th Sunday matinee performance, the first act started off uneven, with dialogue timing and pacing issues. But have no fear - the play takes off like a rocket and stays there, once the gangsters forcefully inject themselves into the story.

“The Petrified Forest” will satisfy anyone looking for an entertaining and uniquely timeless story with lots of action, romance and social awareness thrown in for good measure.

When: Now through July 31, 2011
8 p.m. Thursdays, Fridays and Saturdays
3 p.m. Sundays
Tickets: $20 to $24
Location: Novato Theater Company Playhouse
Pacheco Plaza Shopping Center
484 Ignacio Blvd, Novato CA 94949
Phone: 415-883-4498
Website: www.novatotheatercompany.org
Marin Actors’ Workshop: visit www.marinactorsworkshop.com or call 415-453-8858

“Tiny Alice” by Edward Albee at Marin Theatre Company, Mill Valley CA

2011-06-15T21:25:00.000-07:00

Reviewed by Suzanne and Greg Angeo
Photo by Kevin Berne: Andrew Hurteau, Carrie Paff

Scary Good

Classic stories about deals with the Devil have always intrigued us, from “Faust” to “Damn Yankees” to “Rosemary’s Baby” and beyond. The spellbinding “Tiny Alice” by Edward Albee, which has inspired both outrage and admiration for almost 47 years, is one of the most original stories of this genre. In its newest production at Marin Theatre Company, “Tiny Alice” shines the spotlight on lofty distinctions: between heavenly faith, and that which passes for faith in the world of men; between the true God, and the god that man has created in his own image. But these concepts, provocative as they are in their own right, merely drive the story. The foundation of “Tiny Alice” lies in diabolical horror, pure and simple.

When it opened in December 1964, Albee’s eerie tale of God and Mammon with a supernatural twist was, to say the least, unexpected from the newest rising star of the Broadway scene. Albee was still being lauded for “Who’s Afraid of Virginia Woolf?” which in 1963 had captured five Tony Awards, including one for Best Play. As his newest work, “Tiny Alice” quickly became potent fodder for philosophical and theological discussion, but it was controversial and largely misunderstood despite six Tony nominations and the Award for Best Actress going to Irene Worth.

The premise revolves around the world’s richest woman, the mysterious and reclusive Miss Alice (Carrie Paff), who wishes to give away billions of dollars to the Catholic Church and every other religion as well. In the opening scene, her emissary, the unnamed Lawyer (Rod Gnapp), pays a visit to the Cardinal (Richard Farrell) to discuss how this huge bounty to the Church may be delivered. Verbal sniping between these longtime foes becomes a jousting match to see who can deliver the sharpest jabs. Farrell imbues the Cardinal with just the right amount of snarky pomposity to counter the primal viciousness of Gnapp’s Lawyer. In his role, Gnapp is the man you love to hate. He maintains a pedal-to-the-metal malicious intensity, all the while carrying a dark secret, no easy task for an actor.

It’s finally decided that the Cardinal’s trusted aide, the lay Brother Julian (Andrew Hurteau), will call upon Miss Alice at her palatial mansion to make the necessary arrangements to transfer the first billion dollars. Can Brother Julian serve two masters and still keep his faith? What happens next is impossible to describe without revealing too much and spoiling the fun.

Andrew Hurteau as Brother Julian displays masterful gifts not just as an actor but as a storyteller. Despite Julian’s meek demeanor, he is positively riveting in every scene. Carrie Paff’s Miss Alice is a Mephistopheles-like character, cool and ethereal one moment, a smoldering temptress the next, who is not what she seems. Her costumes (by Fumiko Bielefeldt) match her character, flowing like a choreographed dance of worldly seduction. Miss Alices’s Butler (Mark Anderson Phillips) is slyly aloof and dryly witty, less a butler and more a co-conspirator. His quirky, stylized mannerisms and cadence of speech give him an otherworldly quality.

The simple elegance of the set, by Scenic Designer JB Wilson, invokes an appropriately smoky sense of foreboding. The centerpiece of the entire show is the model house in Miss Alice’s library, designed by Wilson and detailed by Properties Artisan Seren Helday. This is one Dollhouse From Hell you won’t soon forget. It truly has a life of its own…more we cannot say. The original musical score by Chris Houston, with its atmospheric, pensive strings, essentially defines the story in sound.

We see director Jasson Minadakis as diamond-cutter, where one false move could mean disaster. Instead, the result is nothing less than a chilling triumph. After reading the play in college over 20 years ago, he became obsessed with staging it, and that obsession has really paid off. Under his guiding hand, the mysterious path of the story is clearly revealed facet by facet, scene by scene, and leads relentlessly to its nightmarish conclusion. Playwright Albee tells his audience to not analyze what they see and hear onstage – they should just “let the play happen to them”. Good advice, indeed. Mr Albee should be very pleased.

When: Now through June 26, 2011
8 p.m. Tuesdays, Thursdays, Fridays and Saturdays
7:30 p.m. Wednesdays
2 p.m. and 7 p.m. Sundays
2 p.m. Saturday June 25
1 p.m. Thursday June 16
Tickets: $32 to $53
Location: Marin Theatre Company
397 Miller Avenue, Mill Valley CA 94941
Phone: 415-388-5208
Website: www.marintheatre.org

"The Mystery of Irma Vep" at 6th Street Playhouse, Santa Rosa CA

2011-06-08T20:40:00.000-07:00

Reviewed by Suzanne and Greg Angeo
Photo by Eric Chazankin: Craig A. Miller (left), Ryan Schabach

Campy, Vampy Irma Really Hits the Spot

Charles Ludlam’s brilliant farce pays spoofy homage to just about every old mystery movie you can think of: “Rebecca”, “Laura”, “Nosferatu”, “The Mummy’s Curse”, “Wuthering Heights”, “The Werewolf” - a crazy quilt of fun and surprises that will keep you in stitches from beginning to end.

“The Mystery of Irma Vep” premiered in 1984 off-off Broadway to critical acclaim and awards. It was ultimately hailed by Time Magazine as one of the best plays of the year, going on to become one of the most widely produced plays in the United States. Included in the performance rights is an amusing clause that states the two actors that perform all seven roles must be the same gender, “to ensure cross-dressing”. Playwright Ludlam’s career included many adventurous off-Broadway productions under the auspices of his very own Ridiculous Theatrical Company, which fully lived up to its name. “The Mystery of Irma Vep” was his only hit, starring Ludlam himself and his romantic partner Everett Quinton.

Director Marty Pistone says his aim is to make his audience forget their troubles with laughter, and he hits his target. He comes from a family of New York vaudevillians and really knows his stuff, infecting his cast with his zany sense of the absurd, of slapstick, and of pure joy.

Craig Miller and Ryan Schabach play, in every sense of the word, a dizzying assortment of characters with quickie costume (and attitude) changes. These guys are so good you forget there’s just the two of them. We get to see them in dresses and trousers, flapping shrouds and stripper’s tassels. Even furry, pointy ears are donned at one point in the proceedings. Their chemistry and comic timing is impeccable, reminiscent of Laurel and Hardy, but perhaps a bit more on the subversive side.

After working behind the scenes as Sixth Street’s new Artistic Director, Miller takes the stage and it’s a pleasant surprise to discover he clearly belongs there. We hope he’s done hiding his light under a bushel, because he is nothing short of brilliant, a first-rate comic. The well-upholstered Miller sashays about in floor-length frocks and silly wigs, shattering the fourth wall time and again with comic bravado.

Schabach is superb, playing his several roles with perfection, making clever use of comic mugging, pratfalls and just plain shtick. The results are irresistible. His entrances and exits are particularly noteworthy and will make you smile days or even weeks later.

The amazing pianist and Foley artist extraordinaire Janis Dunson Wilson is fully involved in every bit of action from her station downstage left, providing a rich array of music, sound effects, cues, and more. The scenic designer David Wright deserves special mention for some really crafty set pieces integral to the story, from the stately manor to the Egyptian tomb and back. Can we say Mummy’s sarcophagus and moving bookshelves without giving too much away?

When the two gents and the lady finally come downstage center at the end of the show to take their bows, the audience jumps to its feet, whooping and cheering in a much-deserved standing ovation. This is one smart and funny feel-good show that everyone will enjoy. It's a scream!

When: Now through June 26, 2011
8 p.m. Fridays and Saturdays
8 p.m. Thursdays June 9, 16 & 23
2 p.m. Saturdays June 11, 18 & 25
2 p.m. Sundays June 5, 12, 19 & 26
Tickets: $15 to $32
Location: 6th Street Playhouse GK Hardt Theatre
52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"D'Arc: Woman On Fire" at Main Stage West, Sebastopol CA

2011-05-31T17:02:00.000-07:00

"D’Arc: Woman On Fire"
by Amanda Moody and Jay Cloidt

Main Stage West, Sebastopol CA

Reviewed by Suzanne and Greg Angeo
Photos by Mark Estes

Saints Alive

For some, theatre is entertainment, but for others, it must offer more – a sense of gravitas, enlightenment, provocation, stimulation, revelation. “D’Arc: Woman On Fire” has it all.

Told by means of an abstract musical presentation, it’s the story of a chain of intercession that has its beginning in heaven: Saint Michael the Archangel reaches out to 13th-century teenage French peasant girl Jeanne d’Arc; she in turn reaches out to present-day Joanne, an American woman whose grown daughter has gone missing in a chaotic, faraway land. Saint Joan makes her presence known to mother Joanne - and to us - in uniquely unsettling ways.

After first being presented in its nascent form in January 2006 at the Women On the Way Festival in San Francisco, and going on to performances at other venues, Amanda Moody and Jay Cloidt’s powerful musical score was released on CD in 2009 to critical acclaim. The North Bay premiere of “D’Arc” at Main Stage West (formerly Sonoma Repertory Theater) is a renewed collaboration between playwright/actor/singer Moody and composer Cloidt, joined by noted cellist Elaine Kreston and director Melissa Weaver.

In this newest version of “D’Arc” there are but two performers onstage, Moody and Kreston, supplemented by recorded music and vocals that blend seamlessly. The passionate score plumbs the depths of the human soul and soars with saintly ecstasy in warrior ballads like “Skin of Iron” and “Born In Blood”, the contemplative “Prayers”, the touching “Miracles”, and the wailing gospel of “10,000 Silver Doves”. Most hauntingly unforgettable is “If I Leave the House”, Joanne’s frantic anthem of fear. Musical styles range from blues to classical, from eerie electronic dissonance to what could be Native American spirit music.

The talent is beyond impressive; it’s formidable. Cellist Elaine Kreston’s richly deep chocolate brown tones provide vivid contrast for the fierce gleaming silver of Amanda Moody’s vocals, fully showcasing her four-octave range. Moody’s voice can be insanely shrill, whispery soft, operatically sublime; the roar of a lioness, the shriek of a child. As an actress, she has the difficult task of pivoting from the role of Saint Joan to Joanne and back again, over and over, throughout the 90-minute piece. She is truly superb, as gifted an artist and performer as could be hoped for on any stage, from here to New York to the West End.

Director Missy Weaver chose simple staging, possibly due in part to the narrow confines of the venue. This serves the story well, as it takes place entirely in Joanne’s apartment which has become her prison. The recorded sound coordination by director Weaver and technician Brendan Aanes is perfectly synchronized with the performers onstage. The light effects by technician April George cast stark shadows and blazing colors on Joanne’s world.

After all is seen and heard, the final blessing from Saint Joan to Joanne is unclear, although one gets the sense that Joanne learns to face her own reality fortified by the warrior maiden’s courage. She can finally emerge from her shell, literally and figuratively, to carry on in our frightening world.

“D’Arc: Woman On Fire” burns fiercely bright, a gift to those who appreciate original musical performance and unconventional storytelling.

When: Now through June 5, 2011
8 p.m. Fridays and Saturdays
2 p.m. Sundays
Tickets: $15 to $20
Location: Main Stage West Theater
104 N Main Street, Sebastopol CA
Phone: 707-823-0177
Website: www.mainstagewest.com

"Comedy Tonight" at Sixth Street Playhouse Studio Theatre, Santa Rosa CA

2011-05-03T20:41:00.000-07:00

Photos by Eric Chazankin:
Left Photo - Jesse Pennington, Autumn Mirassou
Right Photo - Laura Davies, James Pelican

Reviewed by Suzanne and Greg Angeo

A Funny Thing Happened On the Way to the Playhouse

Call it humor, parody, satire or any combination thereof, but “Comedy Tonight” is a pleasing collection of six offbeat, existentialistic short comedies by five award-winning contemporary American playwrights that will appeal to a smart and sophisticated audience.

The program gets off to a bright start with “Sure Thing” by David Ives, which deals with the dating game and how much better it all would be if we could just hit the reset button. Autumn Mirassou and Jesse Pennington deliver outstanding chemistry and timing with their slyly flirtatious performances. Judging from the guffaws, it appears to be an audience favorite.

Another delight is “The Tarantino Variation” by Seth Kramer, featuring three wise guys armed with nifty black suits, lots of attitude - and handguns. Ray Morgan, James Pelican and Jesse Pennington dance a warrior’s ballet with grimly determined silliness.

“Ties That Bind Featuring the Astounding Krispinsky” by Eric Coble is a compact and well-performed comic exercise on the meaning of life. The rubber-faced James Pelican has a kind of crazy, scene-stealing intensity, teamed with solid performances from Terry Gault and Autumn Mirassou.

Also among the best plays in the program is “Your Mother’s Butt”, a hysterically absurd therapy session by Oscar-winning writer Alan Ball, acclaimed for his work on the film “American Beauty” and HBO’s hit series “Six Feet Under”. James Pelican once again steals the show with his agile mugging, along with brave and capable support from Laura Davies.

There are two pieces that seem to fall short, if only by contrast with the excellence of the others. Both plays are brilliant in concept, and there’s still much to like. One, “The Actor’s Nightmare” by Christopher Durang, features a fine performance by Autumn Mirassou. The other, “Variations on the Death of Trotsky”, also by David Ives, has the good work of Nancy Lawson as a saving grace. They are longer than the other plays in the program, so they start off fine but then lose the focus, timing and rhythm so essential to comedy.

Director Robin Miller is a Sonoma County native just returning to theatre from a seven-year hiatus. She chose to direct these six plays and had no hand in their selection, but she deserves much credit for skillfully bringing them to life. Those two longer plays are a challenge that could benefit with from a bit more preparation.

“Comedy Tonight” may be a mixed bag of one-act treats, but it makes for an enjoyable, laugh-filled evening, thanks to the worthy efforts of its excellent cast and director.

When: April 29 to May 15, 2011
8 p.m. Fridays and Saturdays
2 p.m. Sundays
Tickets: $25 General, $20 Senior/Youth
Location: 6th Street Playhouse – Studio Theatre
52 West 6th Street, in Santa Rosa’s historic Railroad Square
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

6th Street Improv & Theatresports, 6th Street Studio Theatre, Santa Rosa CA

2011-04-28T18:37:00.000-07:00

6th Street Improv strikes a pose
Left to right: Michelle Jensen, Bridget Palmer, Diana, Gordon, Steve Page, Anita Barden, Craig Mason and Gary Grossman

Fun at Sixth Street Playhouse - IMPROV and Theatresports Events!

Laughter is the Best Medicine

Right here in our midst, a fine and funny tradition lives on. In the spirit of NBC’s Saturday Night Live, Chicago’s Second City, San Francisco’s Committee and Los Angeles’ Groundlings, we have our very own - Santa Rosa’s 6th Street Improv Comedy troupe. They say comedy is not pretty. It’s harder to pull off than drama. If that’s the case, then the 6th Street Improv folks are a very talented lot indeed.

Improv has an impressive history that dates back to the 16th century, beginning with the Commedia Dell’Arte of Italy. The concept of Theatresports, which emerged in the 1970s, involves two or more Improv troupes competing for votes from judges to the endless amusement of the audience. Just like with Improv, the ideas and suggestions for Theatresports sketches are provided by that same audience. It’s a truly interactive entertainment experience.

The cast of 6th Street Improv comes in all shapes and sizes – something for everyone! They are fine singers, snappy dressers and inspiring dancers. Oh, and they’re funny too! On a recent Saturday night, a Theatresports event was held with visiting Marinprov troupe as the unsuspecting victims of our home team 6th Street Improv. Artistic Director Stephen Page served as the frisky Master of Ceremonies. Enthusiastic Producer Bridget Palmer, along with her zany crew of Larry Williams, Kim Williams, Gary Grossman, Craig Mason and Michelle Jensen, played on the home team to roars of laughter. A grand time was had by all.

Their next performance is a special Mother’s Day Show on May 8th at 8:00 PM. There’s another show on June 18th billed as a “Vacation Getaway”. With lightning-like reflexes and razor-sharp wit, these dedicated troupers are good for at least a laugh a minute. At just $14.00 general admission, that’s only about 16 cents per laugh…a real bargain, especially in these tough times. We hear they’re available for your next party…something to think about.

For tickets, call (707) 523-4185 ext. 1
Or visit www.6thStreetPlayhouse.com

2011-04-17T18:51:00.000-07:00

“Cabaret” at Sixth Street Playhouse, Santa Rosa CA

Photo by Eric Chazankin: Marjorie Rose Taylor with Kit Kat girls

Reviewed by Suzanne and Greg Angeo

Liza Who?

In the capable hands of Sixth Street veteran and director David Lear, “Cabaret” explodes the boundaries of both stage and performance in an electrifying new vision of the celebrated musical. It’s fun, it’s sexy, it’s fascinating. It’s also just a tad disturbing…and rightly so.

“Cabaret” marks the twilight of anything-goes 1920s-era Berlin, and the ascendance of the Nazi movement in the early 1930s. The work is inspired by John Van Druten’s 1951 play “I Am a Camera” which was in turn based on the 1939 novel “Goodbye to Berlin” by Christopher Isherwood. Lear takes us back to the original story, leaving behind the Bob Fosse glamour but keeping intact the madness, grit and harsh reality of those turbulent times.

Originally produced on Broadway at the Broadhurst Theatre in 1966, “Cabaret” received eight Tony Awards including Best Musical and Best Director for Harold Prince, and Best Choreography for Ron Field. The original cast included Joel Gray as the Emcee and Lotte Lenya as Frau Schneider, with original music by songwriting team John Kander and Fred Ebb.

The primary setting of “Cabaret” is the Kit Kat Klub, a microcosm of Germany at the dawn of Hitler’s rise to power. Artists and transvestites, gays and lesbians, Jews and Communists still move freely about, living and playing as they wish under the gathering storm clouds. “Cabaret” presents us with two worlds: the fantasy nightclub with its sometimes saucy, sometimes menacing social metaphors that masquerade as musical numbers; and the city outside where real life happens. In true musical tradition, it also presents two love stories: one between Kit Kat chanteuse Sally and the American writer Cliff; and the other between landlady Frau Schneider and Jewish vendor Herr Schultz.

Under Lear’s direction, the air crackles with racy energy. The actors are infused with their roles; the characters are fully alive onstage. There are intriguing vignettes with bits of quirky action sprinkled throughout, even with the non-speaking characters.

The large cast is a collection of some of the best talent the North Bay has to offer. Case in point: the dazzling Marjorie Rose Taylor. She does Sally Bowles proud and fully owns the role. She is so good that you forget all about that Minnelli girl. Her Sally is slinky, flirty and gutsy, and has the world by the tail - or so she thinks. Ms Taylor possesses a fabulous voice as evidenced by her show-stopping “Don’t Tell Mama”, although on opening night there were pitch problems shared by other cast members that just might have been due, in part, to malfunctioning sound equipment.

Naively hopeful Clifford is played with jaunty confidence by Mark Bradbury. He has some charming duets with Taylor including “Perfectly Marvelous”. Shirley Nilsen Hall plays Frau Schneider opposite real-life husband Norman Hall as Herr Schultz. They both do a commendable job in building the intimacy that leads to ultimate heartbreak. Their numbers together are nicely done, especially “The Pineapple Song”.

Ralph Avalon is stunning as the mysterious, charismatic Emcee, a fresh take on the show’s pivotal role. Grim yet provocative, he has an excellent voice which is showcased in numbers like “If You Could See Her” and “Welcome to Berlin”.

The show’s true defining song is “Tomorrow Belongs to Me”, delivered with chilling assurance by members of the ensemble. The Kit Kat chorus girls morph from Rockette line-kicks to Nazi goose-steps, and charming gentlemen suddenly reveal Swastika armbands. The choreography is at times incredibly inventive, making good use of the stage which was specially expanded for this production. The costumes, while not always strictly period, are skillfully evocative of the overarching theme - decadence given over to despair.

This is an ambitious “Cabaret” with a dark twist, envelope-pushing at its best, risky and risqué. Its enduring message: even the most tolerant of people in a society can be influenced by those in power to turn on the ones they love, and betray their own values. Life is indeed a “Cabaret”, old chum.

When: April 15 to May 15, 2011
8 p.m. Fridays and Saturdays; 8 p.m. Thursdays
2 p.m. Saturdays and Sundays
Tickets: $15 to $39
Location: 6th Street Playhouse – GK Hardt Theatre
52 West 6th Street, in Santa Rosa’s historic Railroad Square
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"Rock 'n' Roll" by Tom Stoppard, SSU Evert B. Person Theater, Rohnert Park CA

2011-03-29T10:28:00.000-07:00

Photo by Jeff Thomas

Reviewed by Suzanne and Greg Angeo

With their production of Tom Stoppard’s “Rock ‘n’ Roll” in its North Bay premiere, it appears Sonoma State University’s Theatre Arts Department may have bitten off more than they can chew.

Despite its name, “Rock ‘n’ Roll” is not a musical lark. It’s an intricate, emotionally difficult and highly intellectual piece spanning the years 1968 through 1990, with the action alternating between Czechoslovakia and England. On the surface, it’s about family and personal relationships affected by differences in viewpoint and geography, but at its core is about the conflicting ideals of capitalism and communism. It puts forth the bold theory that human culture can influence and even destroy the best-laid plans of seemingly unstoppable political movements. Stoppard’s play is like a train barreling down the tracks, powered by the music of revolution and subversion – rock and roll. Does he suggest that rock music led to the fall of the Iron Curtain? Perhaps.

In many ways, “Rock ‘n’ Roll” contains elements of Stoppard’s own personal story. Born in Czechoslovakia before WWII and raised in England, he morphed from newspaper reporter travelling the world into one of theatre’s most challenging and original talents. The Tony Award-winning playwright of “Rosencrantz and Guildenstern are Dead” and “Travesties” also wrote screenplays for Terry Gilliam’s “Brazil”, Steven Spielberg’s “Empire of the Sun”, and “Shakespeare in Love” for which he won an Academy Award. “Rock ‘n’ Roll” is one of his newest plays, with its premiere on London’s West End in 2006, and a Broadway opening in 2007.

Very few universities are equipped with enough talent and understanding of Stoppard’s work to successfully mount a production of “Rock ‘n’ Roll”. Sadly, here it looks more like a class exercise. The transitions between scenes are indistinct. The actors’ movements onstage are very constricted and have an unnatural look, and most of the performances lack character development. Instead of aging characters moving through the years, for the most part what we see are SSU students play-acting, wearing period clothes, makeup and wigs.

This is especially frustrating because the venue is perfectly suited for a production of this stature. The acoustics, lighting and audio-visual effects are superb, as is the set design. The presentation of songs that introduce each decade is very well done, but this fine framework far exceeds the quality of the execution.

Even a USDA Prime steak in the wrong hands can be disappointing. What should be a pleasurably dense and meaty theatrical experience ends up tough and loaded with gristle. The cast and crew needs to go back to the kitchen.

When: March 25 to April 2, 2011
Performance schedule:
7:30 p.m. Friday March 25, Saturday March 26, Tuesday March 29, Friday April 1, Saturday April 2
2:00 p.m. Sunday March 27 performance with post-show discussion

Wednesday March 30 performance with special events:
• 5 p.m. Pre show event featuring SSU Music Professor John Palmer and live music
• 6:30 p.m. Faculty staff night/Open to the public; performance features ASL interpreters

Tickets: $9 to $16 Sonoma State University students FREE for all performances
Location: Sonoma State University, Evert B. Person Theater
Address: 1801 E. Cotati Ave., Rohnert Park CA
Phone: 707-664-2353
Tickets: http://www.brownpapertickets.com
Website: http://www.sonoma.edu/performingarts/

"The Ticking Clock Project" at Sixth Street Playhouse Studio Theater, Santa Rosa CA

2011-03-21T08:19:00.000-07:00

Photo by Eric Chazankin: From left to right: Kathleen York, Joan Hawley, Lois Pearlman, Laura J. Davies, Lauren Feige, Paige Picard, Shari Hopkinson, Jessica Short, Molly Umholtz, Tricia Siegel, Sheila Lichirie and Taylor Diffenderfer

Reviewed by Suzanne and Greg Angeo

Time to Let the Sunshine In

In so many ways, women have a secret society. Their often difficult decisions about having children, the most powerful of human experiences, have been hidden behind a veil of silence, shame and guilt. Now the sunlight breaks through with exuberant joy, revealing the brilliant rainbow of women performers in “The Ticking Clock Project”.

Playwright and novelist Jody Gehrman, whose roots are firmly planted in Northern California, has struck gold with this rousing and richly perceptive ensemble piece. “The Ticking Clock Project” had its world premiere in January 2010 at Mendocino College, where Gehrman teaches English. It’s based on stories she and her team of interviewers harvested from 150 women of all ages and backgrounds about their own biological “ticking clocks”. Their unique stories have been arranged like a symphony of voices, and the result is a form of performance art, ranging from profound to moving to hysterically funny, sometimes all at the same time.

The Studio Theater’s small stage is kept busy with the remarkable cast of eighteen, all from Sonoma county. Each performer plays multiple characters spanning the generations from teenage to senior citizen, straight and lesbian, married and single, homemaker and professional. Director Linda Reid is in fine form, making the space seem much larger than it is with creative but very simple staging techniques and orchestrating small groups of performers for each scene. Some of the original set pieces from Mendocino College serve as a backdrop.

This complex variety of characters passes in a breathtaking whirlwind of twenty short scenes filled with punchy dialogue. The cast is excellent, with some noteworthy performances by Taylor Diffenderfer, Victoria Hill and Sheila Lichirie. Maybe there could be a better balance between the two acts, at least on opening night; while Act One takes off as if shot from a cannon, Act Two doesn’t launch with quite the same energy, although it soon picks up the exhilarating pace, and garners a standing ovation at the show’s closing.

From beginning to end, “The Ticking Clock Project” is thoroughly entertaining and full of surprises. Immediately we recognize the women we know: our mothers, sisters and friends. But the real power of this amazing cavalcade is not only its relevance to women. It promises to be a real eye-opener for men too, offering them blazing insight into the “mysteries” of women and the choices they must make in life.

When: March 18 to April 3, 2011
8 p.m. Fridays and Saturdays; 8 p.m. Thursday, March 31
2 p.m. Sundays
Tickets: $10 to $25
Location: 6th Street Playhouse – Studio Theatre
52 West 6th Street, in Santa Rosa’s historic Railroad Square
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"The Final Scene" by Gene Abravaya at Sixth Street Playhouse, Santa Rosa CA

2011-03-08T18:30:00.000-08:00

Photos by Eric Chazankin:
Left photo, from left – Jennifer Weil, Eric Thompson, Paul Huberty
Right photo - Tice Allison

“The Final Scene”
An original play by Gene Abravaya
Sixth Street Playhouse’s GK Hardt Theater, Santa Rosa CA

Reviewed by Suzanne and Greg Angeo

The Bubble Machine At Full Blast

There’s a truism among writers: your very best work is about what you know from life. This, the second play by Santa Rosa playwright Gene Abravaya, proves there’s truth in that old saying. “The Final Scene” is a lively, surprise-filled comic romp with some very uniquely creative twists. It’s based on what Abravaya saw and heard during his four years working on the set of one of the most famous soap operas of all time, “As the World Turns”.

Jennifer Weil delivers a finely tuned, razor-sharp performance as fading actress and soap star Gretchen Manning. We learn that for 18 years, Gretchen has played Rosemary, the central character of “The Promising Dawn”, a long-running but tired soap opera. Poor Rosemary is about to be “killed off” the show, and Gretchen just doesn’t want to say goodbye. Her steely exterior shields a tender heart, and she has made close and caring friendships with the crew. She has made enemies as well.

“The Final Scene”, in its world premiere at Sixth Street, takes the form of a show-within-a-show, offering us a pleasurable glimpse into the mechanics of daytime drama in the 1980s. Through the eyes of some PBS documentarians who are there to film Gretchen’s last day, we also discover deeply personal and touching insight into the characters as they are being interviewed.

Gretchen’s leading man Jeremy Slade is played with sleazy determination by Paul Huberty, who also displays his talent for slapstick. There are standout characterizations; Freddie Lambert is Gretchen’s gritty but lovable personal assistant Richie, and the take-charge studio floor manager Shelly is played with comic authority by Kendall Carroll.

The unseen (but heard) documentary interviewer is voiced by Eric Thompson, who also makes a joltingly hilarious second act appearance as Jeremy Slade’s agent Milton Medthorne. In a really funny plot device, another offstage and unseen character, the TV show’s sound director Manny, inserts himself wordlessly into the story at just the right moments with sarcastic commentary in the form of song snippets and sound effects.

Peter Downey, as beleaguered “Promising Dawn” executive producer Joseph Whitmore, is a low-key but effective craftsman in developing his character. Rebekah Patti as his glossy would-be successor Allison delivers an uneven performance, although she does show promise. Studio cameramen Rocky and Boseman, played by Matthew T Witthaus and Tice Allison, and Julia Hoff in three small roles, offer droll and pleasing support.

There are some good moments, offset by some mediocre ones. Director Tim Kniffin makes good use of environmental theater techniques. All aspects of the stage area, auditorium, lighting and sound effects combine to transform the GK Hardt Theater into a TV sound stage. At times the blocking and pacing seem a bit off, possibly due to opening-night jitters. Set design is by Paul Gilger, who once again deserves kudos for providing the furniture, fixtures and equipment that brings us right into the show. Sound and light board operator Samantha Keppel deserves special praise as well.

“The Final Scene” fully justifies the sense of eager anticipation that always surrounds world premieres. It’s got all the ingredients of a great time wrapped up in a jazzy new package: well-executed comedy and drama, tenderness, surprises and a little lowbrow entertainment to boot. Who could ask for anything more?

When: March 4 to March 27, 2011
8 p.m. Fridays and Saturdays
8 p.m. Thursday, March 24
2 p.m. Sundays
Tickets: $15 to $32
Location: 6th Street Playhouse – GK Hardt Theatre
52 West 6th Street, in Santa Rosa’s historic Railroad Square
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"Intimate Apparel" by Lynn Nottage, Sixth Street Playhouse, Santa Rosa CA

2011-02-18T09:17:00.001-08:00

“Intimate Apparel” by Lynn Nottage
With Original Compositions by Chris Houston Music
Sixth Street Playhouse Studio Theater, Santa Rosa CA

Photo by Eric Chazankin: Marjorie Crump-Shears (L), Naomi Sample

Reviewed by Suzanne and Greg Angeo

Not many plays in Sonoma County are as important and moving as “Intimate Apparel”, but judging by the rousing response from a cheering audience, Sixth Street Playhouse’s stunning production would be a triumph of theatrical achievement anywhere.

Set in the Manhattan of 1905, “Intimate Apparel” is the story of a shy and thoughtful black seamstress named Ester (Naomi Sample), as plain as a scrubbed kitchen floor. The only beauty she possesses is that of her golden heart and her clever hands, so skilled at sewing luxurious silks into fine underthings for her clients - shady ladies grand and grandiose, and the occasional gentleman. She manages to stash away a goodly sum, sewing it into the lining of a patchwork quilt, in hopes of opening her own business some day.

First produced by Center Stage of Baltimore Md. in 2002, followed by a 2003 run at South Coast Repertory in Costa Mesa Calif., “Intimate Apparel” arrived off-Broadway at the Roundabout Theater and won the 2004 New York Drama Critics Award for Best Play. It was written by Pulitzer prize-winning playwright and novelist Lynn Nottage, a true master of the storyteller’s art. She is adept at crafting complex, emotional and satisfying tales that highlight the extraordinary challenges and joys in the lives of people of color.

In Ester’s world, she and her African-American friends are like small black islands in a scornful white sea, buffeted from all sides, taking shelter in each other’s companionship and support. Her boarding house manager Mrs. Dickson (Marjorie Crump-Shears) is one such friend, but two of her chummy clients, piano-playing hooker Mayme (Rebecca Frank) and wealthy white socialite Mrs. Van Buren (Erin Hoffman) have questionable values. What Ester doesn’t see is the love blooming right in front of her, in the form of her Orthodox Jewish fabric merchant Mr. Marks (Jeff Cote). Their strong, sweet bond is apparent, but the barriers of religion and race seem to stand between them.

Ester is fast losing hope of ever marrying, still a virgin at 35. One day, she gets a lifeline in the form of a letter from a young Caribbean man she has never met named George (Cameron Stuckey). He’s working on the new Panama Canal and says a mutual friend suggested he write to her. In shades of Cyrano, her responses are written for her by others, because Ester cannot read or write. George replies warmly with more letters, and in an interesting bit of stagecraft, is seen narrating his end of the correspondence through a transparent fabric screen from an upstage alcove, which serves to illustrate the barrier of space between them. George is a handsome man, and we can sense trouble ahead, before they even meet, and meet they do, when he declares he must travel to New York and marry her.

In the small Studio Theater, director Bronwen Shears, in collaboration with legendary set designer Paul Gilger, makes truly wonderful and effective use of the limited space by means of a “four corners” set. Spotlights shine on each area in turn, forming little windows into Ester’s life and the different people that connect her to the outside world. The play starts out slowly, unveiling scene changes that rotate to each of the four corners like a carousel, culminating in the center with the marriage scene at the end of Act 1. There is superb music throughout the production, with unforgettable numbers performed by Mayme. The gorgeous Dark Garden corsets worn by the characters are provided by costume designer Sarah Beata DeLong.

Naomi Sample as Ester delivers a finely understated performance worthy of a star. She commands the stage with her muted presence, a remarkable achievement for any actor. More showy is the beautiful Rebecca Frank as Mayme, who displays dramatic and musical chops that elevate the production to another level. Equally impressive are Marjorie-Crump Shears (the director’s own mother) as confidante Mrs. Dickson, and Erin Hoffman as too-friendly Mrs. Van Buren. Cameron Stuckey as George presents just the right combination of sincere affection, frustration and selfishness in his complex role. There is real poetry in the gentle, caring performance of Jeff Cote as Mr. Marks, perhaps the one role that seems to offer hope to the forlorn Ester in the end.

If there is anything wanting, it might be the need to move the production to a larger stage to allow for more freedom of movement, and maybe to emphasize more the context of 1905 Manhattan. Many people at that time had been born into slavery, and could well remember the Civil War which had ended just 40 years earlier. “Intimate Apparel” only suggests, in the gentlest of ways, the gross indignities and cruelty faced by black Americans in 1905. But it offers a compelling glimpse into a bygone era, and allows us to see not just how far we have come as a people, but how far yet we have to go. “Intimate Apparel” is one more step on that journey.

When: February 11 to February 27, 2011
8 p.m. Fridays and Saturdays; 8 p.m. Thursday, February 24
2 p.m. Sundays and Saturday, February 26
Tickets: $10 to $25
Location: 6th Street Playhouse – Studio Theatre
52 West 6th Street, in Santa Rosa’s historic Railroad Square
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"Cyrano" by Jo Roets at Sonoma County Repertory Theater, Sebastopol CA

2011-01-29T15:32:00.001-08:00

The Nose Knows - Outstanding Farewell To The Rep

“Cyrano” by Jo Roets, adapted from “Cyrano de Bergerac” by Edmond Rostand
Sonoma County Repertory Theater, Sebastopol CA

Photos by Jeff Thomas:
Allison Baker (front), Chad Yarish (back)
Keith Baker (front), Allison Baker (back)

Reviewed by Suzanne and Greg Angeo

In its North Bay premiere, “Cyrano” is a magical swan song, a bittersweet triumph that does honor to Sonoma County Repertory Theater, a culmination of 17 years of excellence in local repertory theatre. Sadly, The Rep closes its doors at the end of the show’s run.

Infused with pure enchantment from start to finish, Belgian playwright Jo Roets’ “Cyrano” is taken from the 1897 French play “Cyrano de Bergerac” by Edmond Rostand, a classic tale of unrequited love based on the real-life 17th century poet and swordsman of the same name. Roets offers us an inventive, delicious reduction of Rostand’s mighty work. Distilled down to a delightful tincture, “Cyrano” was conceived for children, first staged by the theatre group Blauw Vier based in Antwerp, Belgium back in the 1990’s.

By now nearly everyone knows the story: Cyrano loves the beautiful Roxanne. A gifted man who possesses great virtue and talent (and a nose of historic proportions), he fears revealing his love to her because he thinks himself ugly and unworthy of her, and he knows she loves the handsome Christian. Cyrano befriends Christian, who feels he lacks the wit and ability to communicate with Roxanne, so he asks the secretly smitten Cyrano to write love letters to her for him. And so the story unfolds.

At Sonoma Rep, the play’s opening scene is dialogue-free. The three actors suddenly emerge, gleefully leaping and dancing up the center aisle, through the audience and up onto the stage. They proceed to introduce themselves by demonstrating their characters in lively pantomime, with two of the actors showing us their several roles. Then the action really begins. Keith Baker plays Cyrano - and only Cyrano - with gutsy panache, a truly tragi-comic hero. Allison Baker is lovely and magnetic as Roxanne, the unattainable love of Cyrano, and also as the crotchety old servant Duenna. Three roles are performed with sly humor and subtlety by Chad Yarish: the apple of Roxanne’s eye, Christian, the villainous DeGuiche and Ragueneau.

Director Jennifer King, fresh from her stunning success with “Art” at Sixth Street Playhouse, shows once again her talent at encouraging and then orchestrating divergent personalities, providing the vivid contrast so vital in good storytelling. She is ably assisted by outstanding contributions from the cast and production crew, and it all comes together in perfect harmony. The use of music becomes a score intrinsic to the experience, enhancing the mood of important scenes and the emotional development of the characters. Really fine use of stagecraft further elevates this production to one of brilliance.

A striking feature of “Cyrano” is the use of unique Foley equipment onstage, which really increases the Fun Factor. In his play, Roets has written the sword fights as pantomime between the weaponless duelists, with incredibly entertaining results. Allison Baker as Roxanne provides the sound effects of the clashing swords, her facial expressions allowing us to see what’s at stake to Roxanne as a bystander. Other sound effects are delivered in truly original and delightful ways by each of the characters as the scenes require.

“Cyrano” clocks in at only 75 minutes with five short, punchy acts. It exploits to the max a traditional storytelling device – setting up the audience. It opens with joy-filled comedy, thus forming an intimate connection through humor by allowing the audience to care for and identify with the characters. This leaves them vulnerable to the inevitable punch in the gut: the tragic events that follow sting like salt in an open wound, like tears on a love letter.

Through our tragic hero Cyrano, we wonder – do appearances really matter? We also see that love is more than just words; it’s demonstrated in voiceless actions, sometimes over a lifetime. The entrée can be served as pretty poetry, giving rise to goosebumps and adoration, but it’s the actions of the lover that endure. Sonoma Rep’s “Cyrano” is a fitting tribute to its illustrious history. What a way to go!

When: January 19 to February 20, 2011
8 p.m. Thursdays, Fridays and Saturdays
2 p.m. Sundays
Tickets: $15 to $25
Location: Sonoma County Repertory Theater
104 N Main Street, Sebastopol CA
Phone: 707-823-0177
Website: www.the-rep.com

"Ring of Fire: The Music of Johnny Cash" at Sixth Street Playhouse, Santa Rosa CA

2011-01-17T20:27:00.000-08:00

“Ring of Fire: The Music of Johnny Cash” by Richard Maltby Jr and William Meade

Sixth Street Playhouse’s GK Hardt Theater, Santa Rosa CA

Photo by Raina Chazankin

Reviewed by Suzanne and Greg Angeo

“Ring of Fire: The Music of Johnny Cash” at Sixth Street Playhouse’s GK Hardt Theater is not a concert, and it’s not a revue. It’s more a musical biography, a “jukebox musical” that tells Cash’s story with classic country songs, along with projected family photos and short black-and-white film sequences. Informed by Johnny Cash’s compelling everyman rags-to-riches story, it’s an enjoyable show with heart and high spirits.

Based on songs written or performed by Cash, it seeks to capture his essence, his inner soul. Cash’s music is known for its wrenching, startling honesty. He and Bob Dylan had great mutual admiration for each other’s work. Dylan considered Cash’s lyrics “deep and rich, awesome and mysterious, all at once”.

Beginning in 1998, producer William Meade spent five years trying to convince Mr Cash to permit the use of his songs for a show he had in mind. Shortly before his death in 2003, Cash agreed, and the concept for “Ring of Fire” was born. The show itself was created by director Richard Maltby Jr, most noted for his Tony Award-winning shows “Ain’t Misbehavin”, based on the music of Fats Waller, and “Fosse”. Buffalo, New York saw the “Ring of Fire” world premier in the fall of 2005, with a Broadway opening in March the following year at the Ethel Barrymore Theater.

Malby’s original intent for the show was to present six singers as three couples: three men and three women – young, middle-aged and older - in different stages of life together. Through them, and Cash’s music, we are to see aspects of our own lives, but also, according to Maltby, to see “the contours” of Cash’s biography in the show.

Sixth Street director Michael Fontaine has veered somewhat from the original concept. He reduced the number of songs from the original 38 down to 34, and has increased the singers from six to seven – four men and three women - who seem to represent different aspects of Cash, or Cash’s life. It’s not clear, and this lack of focus runs throughout the show. A quartet of musicians performs onstage with the singers.

Several Cash songs with humorous lyrics bring laughs: “Flushed From the Bathroom of Your Heart” and “A Boy Named Sue” among others. Many romantic and sorrowful ballads in Cash’s repertoire are also presented, including the standards “I Walk the Line”, “Jackson” and of course, “Ring of Fire”.

The show opens on a weak note. The burden of storytelling falls to the seven singers, with inconsistent vocal quality from all but two. The results are uneven, and in places the show actually limps, never really hitting its stride. The Cyclorama upstage was not used to its fullest effect, and the staging could have been better, given architect Paul Gilger’s outstanding set design, which gives the production a truly professional look and feel. Lighting, while good, could have been better utilized, especially in dramatizing moments from Cash’s boyhood, with the possible exception of some authentic lightning flashes during “Five Feet High and Rising”, which describes a storm and flood.

There are glimpses of the show it could have been: rousing, foot-stompin’ “yee-haw” moments for sure, and emotional poignancy that rides almost entirely on the broad shoulders of Cash’s music. Despite its lapses, whether you’re a fan or just like a good show, “Ring of Fire” is worth seeing, just for the “deep and rich, awesome and mysterious” music of Johnny Cash.

When: January 14 to February 13, 2011
8 p.m. Fridays and Saturdays
8 p.m. Thursdays January 20 and 27, February 3 and 10
2 p.m. Saturdays January 22 and 29, February 5 and 12
2 p.m. Sundays January 16, 23 and 30, February 6 and 13
Tickets: $15 to $39
Location: 6th Street Playhouse – GK Hardt Theatre
52 West 6th Street, in Santa Rosa’s historic Railroad Square
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"Art" by Yasmina Reza at Sixth Street Playhouse, Santa Rosa CA

2011-01-12T20:12:00.000-08:00

“Art” at Sixth Street Playhouse Studio Theater
By Yasmina Reza, translation by Christopher Hampton

Co-produced with the Napa Valley College Repertory Theater

Reviewed by Suzanne and Greg Angeo

Photo by Raina Chazankin - from left: Tim Kniffin, Tim Setzer, Dodds Delzell

What is the purpose of art? Many volumes have been written and hours spent cussing and discussing the subject, and “Art” by French playwright Yasmina Reza at Sixth Street Playhouse offers a side-splitting answer in this engagingly analytical social comedy. It’s like Seinfeld on steroids, and it even includes a clumsy, hilarious brawl for good measure.

We are truly lucky to have Sixth Street, whose good choice it was in selecting this piece to kick off their 2011 lineup. The location, characters and references of “Art” remain in contemporary France, the original setting of the play, which allows us to observe the cross-cultural connections we all have. It was first produced to critical acclaim in Paris in 1995, and when it came to Broadway in 1998, it won the Tony award for Best Play. Since then, it has been performed in over 30 languages.

In just under 90 minutes, “Art” reveals in comic relief how even the best of friends can become over-analytical and hyper-defensive when taste, wisdom or motives are challenged. The slender plotline revolves around the purchase of a rather large, all-white painting by Serge, a stylish Parisian dermatologist and art collector. Thrilled with his new prize, he can’t wait to show it off to his two best buddies, Marc and Yvan. Their reactions to the simple white painting and the resulting war of words are the fulcrum of the story’s blazing satire, and challenge the validity of their friendship and even their own identities. Crackling dialogue by Reza (with translation by Christopher Hampton) draws us into the story from the opening lines.

At Sixth Street, it’s a privilege to watch such a superbly talented cast of three at work. Like the proverbial three-legged stool, if one is weak the whole thing collapses. No danger of that happening here. They are all solidly on the mark. Art aficionado Serge is played with warm and witty sophistication by the incredibly versatile Dodds Delzell. Marc, his somewhat cynical friend, is played with just the right amount of aloof but caustic concern by Tim Kniffin. Tim Setzer plays their friend Yvan, who, in his attempt to mediate their dispute, turns in a truly masterful comic display. Each of these actors knows his stuff. They move with razor’s-edge precision in perfect synch. The way director Jennifer King guides her actors’ movements is brilliant, like a well-choreographed ballet. Choice bits of music and lighting effects serve as punctuation marks for the story as it moves forward.

Reactions to art, from Dadaism to Impressionism, are intensely personal. It’s a transfer of emotion from the artist to one viewer - or a million - who are free to accept or reject, embrace or spurn. Opinions on art have ignited controversies and feuds, but in the end the purpose of art must be to provoke a reaction, and to inspire. Serge’s new painting, and Reza’s delightful play, both serve this purpose well. “Art” at Sixth Street is a fine work of art, indeed.

When: January 7 to January 23, 2011
8 p.m. Fridays and Saturdays; 8 p.m. Thursday, January 20
2 p.m. Sundays and Saturday, January 22
Tickets: $10 to $25
Location: 6th Street Playhouse – Studio Theatre
52 West 6th Street, in Santa Rosa’s historic Railroad Square
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

Sneak preview of guerilla music in action - Woody Guthrie at Cinnabar Theater in Petaluma CA

2010-12-17T09:18:00.000-08:00

Greg and I will be reviewing this production on Sunday, January 2nd, 2011. Here's a tiny sample and it's wonderful! Only a few minutes long...even our cat Bangbang loved it!

Captured live and now on YouTube - Whole Foods Market in Petaluma gets a Random Act of Culture from Heritage Music Theatre and Cinnabar Theater! Surprised shoppers witness a guerilla performance of "This Land is Your Land" featuring the cast and musicians of "Woody Guthrie's American Song", which will be presented next month at Cinnabar Theater. Go to www.cinnabartheater.org for showtimes and ticket info.

If the link below doesn't work from this post, either copy and paste it into your browser, or type in the website address:

http://www.youtube.com/watch?v=huSdqL1XlPQ

See you there!

Suzanne Angeo

"Ham for the Holidays" at Sixth Street Playhouse Studio Theatre, Santa Rosa CA

2010-12-01T18:56:00.000-08:00

“Ham for the Holidays” by Shad Willingham
Sixth Street Playhouse Studio Theatre

Reviewed by Suzanne and Greg Angeo

Photos by Eric Chazankin:

(Left Photo, left to right) Jimmy Gagarin, Kendall Carroll, Shad Willingham, Dodds Delzell, Christmas Collins, Samson Hood;

(Right Photo, left to right) Norman A. Hall, Shad Willingham

There’s certainly enough ham, and laughs, to go around in “Ham for the Holidays”, a delightfully original farce by Santa Rosa’s own Shad Willingham, presented by Sixth Street Playhouse’s Studio Theatre. In its second annual performance – an encore by popular demand - the goofy cast serves up generous helpings of broad comedy in this appealing dish that goes well with good times.

The setting: a late December morning in 1939 at small-town Georgia radio station WHAM, owned by that “old ham baker” Cab Hoxton (played to fullest cornball effect by Dodds Delzell). The station staff is in a tizzy over their special Christmas show, to be presented that very evening, with radio wunderkind and Ham for the Ages, Mr Orson Welles himself, to appear as a featured performer. But the complications are many, including a freak blizzard that may prevent the big star from showing up. Their whole program was to revolve around Welles – what to do? Local radio personality Dexter Armstrong (played by “Ham” director/writer/set designer Shad Willingham) has the answer. He brings forth his very own script, “Attack of the Space Robots from Outer Space”, which he insists they perform that night – with a few minor changes to fit the holiday at hand. His story’s plotline bears an uncanny resemblance to “War of the Worlds”. Mere coincidence?

Even with Welles as a no-show, there is still Dick McCann, played with relentless glee by Norman A. Hall. Uncle Dick is a narcoleptic Shakespearean actor (and brother of station owner Cab) ready and willing to supply whatever ham may be required between his frequent and untimely naps. Cab’s minimally talented but entirely daffy daughter Honey (Kendall Carroll) hopes to perform her tap dance routine on the show, oblivious to the fact that no one will see her. Samson Hood is wonderful as delivery man Sam Wainwright (mush, you wiener dogs, mush!), and also as a mummy-bandaged character in the second act, providing some of the most pivotal and funniest moments of the show.

Other WHAM radio talent on hand includes Christmas Collins as Violet Bicks, a stage veteran and dogged devotee of method acting, and youthful Timmy Wilkens (played by Jimmy Gagarin), who seems to be channeling Mickey Rooney. It’s not until the second act that we see these two really come into their own, with the audience laughing so hard they almost fall out of their seats. Collins in particular is brilliant, with her whirlwind of costume changes and comic mugging that draws prolonged applause.

As writer and director, actor and set designer, Shad Willingham has full creative control. His is a truly remarkable talent expressing obvious respect for this period in American culture with loving attention to detail. The small set is furnished with genuine 1930s period pieces (courtesy of Mill Street Antiques), right down to the wastebasket and file cabinets, and costumes are about as close as you can get to 1939 without raiding great-grandma’s closet. Genuine Foley equipment, providing radio sound effects, is put to good use. Following true comedic formula, Willingham sets up the audience in the first act, then gradually and skillfully cranks up the pacing to breakneck speed by the end of the second act, with punchline payoffs coming thick and fast. The cast, as ensemble players, demonstrates fine timing, so critical for a piece like this one.

“Ham for the Holidays” is a warm-hearted homage to traditional farce with its broad character sketches and pratfalls, and just the lightest tip of the hat to the screwball comedies of the 1930s. It deserves a special place at the table of Sixth Street holiday tradition, and hopefully will be seen again and again in the years to come.

When: November 26 to December 19, 2010
8 p.m. Thursdays, Fridays and Saturdays
2 p.m. Saturdays and Sundays
Tickets: $10 to $25
Location: 6th Street Playhouse – Studio Theatre
52 West 6th Street, in Santa Rosa’s historic Railroad Square
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"The 1940s Radio Hour" at Sixth Street Playhouse, Santa Rosa CA

2010-11-14T18:11:00.000-08:00

“The 1940s Radio Hour” by Walton Jones
Sixth Street Playhouse, GK Hardt Theatre
Santa Rosa CA

Photo by Raina Chazankin: (left to right) James Pelican (seated), Kelsey Mielle Byrne, Barry Riggins, Katie Kelley

Reviewed by Suzanne and Greg Angeo

For history buffs of the WWII era, and those fortunate enough to remember 1942 and the golden days of radio, “The 1940s Radio Hour” may not recapture those times in every way. But for theatre-goers looking for a unique evening of nostalgic and lively entertainment, with flashes of truly spectacular talent on display, they need look no further than Sixth Street Playhouse’s GK Hardt Theatre.

“The 1940s Radio Hour” originated at the Yale School of Drama in 1974. The first performance included then-student and luminary-to-be Meryl Streep. The show became a tremendous hit, and today there are hundreds of individual productions staged each year. The plotline and how it unfolds could be taken straight from an old showbiz movie, with all the usual suspects: talented youngster, crotchety but lovable producer, sexy siren, comic goofball, and, of course, those small-time performers looking for their “big break”. The story in a nutshell: it’s close to Christmastime 1942. At the Hotel Astor’s storied Algonquin Room in New York City, it’s even closer to airtime for radio station WOV’s weekly “Variety Cavalcade”. In just minutes the show goes live, but is the cast and crew ready?

“Radio Hour” wants to take us on a nostalgic journey to another time, but in Sixth Street’s production, attempts to recreate the WWII era only take us partway to our destination. For example, much of the women’s wardrobe by costume designer Tracy Hinman Sigrist appears to be from at least a decade later, maybe the 1950s (saddle shoes and long flowing skirts) or even the 1970s (handkerchief hem disco dresses). Where are those ever-present big Joan Crawford-type shoulders we long to see? The structured up-dos? The influence of military style that was everywhere in those days?

Other period details are lacking in some aspects of the music. The onstage musicians appear challenged in depicting the “Big Band” era, a time when artists like Glenn Miller and Harry James dominated the airwaves. Hallmarks of the Big Band sound - the use of a tenor sax, tight instrumental harmonies and crisp melodic horn sections - are sadly missing at times, but the show is redeemed. More than worth the price of admission are the musical stylings of Sonya Distel as Ann Collier, Kori Parlett as Geneva Lee Browne, and Katie Kelley as Ginger Brooks. Santa Rosa’s own rising star, 14-year-old Barry Riggins, dazzles in the “promising youngster” role of B.J. Miller. Not-to-be-missed are Distel’s smoky rendition of “Old Black Magic”; Parlett’s torch song “I Got It Bad”; and Riggins’ powerful “You Go to My Head”. Wonderful group treatments of “Boogie Woogie Bugle Boy” and “I’ll Be Seeing You” do musical justice to these classics. Also delivering standout performances are James Pelican in a pleasing comic turn as the zany Neal Tilden, and Dwayne Stincelli as frazzled broadcast producer Clifton Feddington.

Although it may fall short in certain areas of costumes and music, strong period authenticity is abundant in most other areas of “Radio Hour”. Technical aspects of sound, lighting, and especially set design by renowned architect Paul Gilger, effectively serve the setting. Artifacts like microphones and furniture, and some other vital elements of the production are faithful to the time. The comedy routines and radio commercials used in the story are based directly on those found in radio station archives. Especially delightful is the use of Foley – the art of reproducing everyday sounds on radio. We see actual Foley equipment in action, and it’s fascinating to watch.

Director Michael Fontaine, a regional theater veteran, could perhaps have been a bit more meticulous in his directing and research. “Radio Hour” suffers from the all too-common first act lethargy, but the second act is another story – it’s like a completely different show and makes it all worthwhile.

Even if it’s not a time machine, and doesn’t quite take you all the way back to 1942, “The 1940s Radio Hour” at Sixth Street will leave you longing for more – just one more song “for the boys”.

When: November 12 to December 12, 2010
8 p.m. Thursdays, Fridays and Saturdays
2 p.m. Sundays; 2 p.m. Saturdays beginning November 20
No performance on Thanksgiving Day, November 25
Tickets: $15 to $39
Location: 6th Street Playhouse – GK Hardt Theatre
52 West 6th Street, in Santa Rosa’s historic Railroad Square
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"Dead Man's Wake" by Larry Klein at West End Studio Theater, San Rafael CA

2010-11-04T22:47:00.000-07:00

“Dead Man’s Wake” by Larry Klein at West End Studio Theatre, San Rafael CA
Presented by Margot Jones and the West Coast Arts Foundation

Reviewed by Suzanne and Greg Angeo
Photos by Rick Banghart

In the Wake of Tragedy

Even if you’re not treasure-hunting, it’s always a pleasure to find a hidden gem, especially one in a hole-in-the wall setting. “Dead Man’s Wake” is one such gem, and with a bit more lapidary work and polishing, it just might end up on Broadway. Its world premiere is being presented at a former bicycle repair shop reborn as the 60-seat West End Studio Theatre in San Rafael. It is such an intimate venue, the story is so personal, and the performances are so compelling that you feel like a voyeur, somehow intruding in a very private family matter instead of sitting in a theater. And you come to care about these people, like they were your own family. Such is the skill of writer, director and actors.

The playwright is Kansas native and Marin County resident Larry Klein, who spent 38 years with the San Francisco Opera handling technical direction before taking his skills to the Marin Ballet. “Dead Man’s Wake” is his first full-length play, and it’s evident he possesses good instincts as a writer, crafting his characters with loving care, although he did take his time – he started writing it 40 years ago. The provenance of the story is right here in the Bay Area, loosely based on an actual incident that happened in 1969 to a Mill Valley family he knew, and inspired by tragedy in Klein’s own life. Margot Jones – with a background as choreographer, director, screenwriter and filmmaker – saw the potential of this fine work and agreed to serve as its producer through her West Coast Arts Foundation.

Director Liz O’Neill, who also ended up in a lead role when the original cast member left, is strong as both actor and director, a difficult task. Her portrayal of Leah, the family matriarch, shows a woman deeply in mourning and denial, who, with her two sons, struggles for control in the aftermath of her writer husband’s long illness and death.

There is potent chemistry at work between the cast members. You believe they know each other intimately, and the unspoken but deeply felt history of their lives together is the undercurrent of the piece, although at times the dialogue seems to be slogging through a marsh and could benefit from some trimming. William Elsman as the complex would-be poet Jess conveys emotional power and vulnerability, his father’s suicide casting a shadow over his soul, although at times Elsman skates dangerously close to the edge of melodrama. Jess’ brother Brian, played by Tyler McKenna, arrives home seemingly unfazed from four years in prison, full of enthusiasm and plans for the future, shaded by mistrust and disappointment. Brian’s fiancé and long-time house guest Andrea is played by Chloe Bronzan, who delivers a finely nuanced and intuitive performance. Terry McGovern is warm and natural as Tom, the family’s friend and counselor, who provides a sense of perspective and balance between the characters and the audience. Heather Shepardson in the role of Jess’ sometime girlfriend has a small but effective role.

The set feels just like home, with a cozy sofa and fireplace at your feet. You can almost smell the apple pie in the oven, and the table is set, ready for dinner, but there are some incongruities with props and lighting. Clothing, tableware and beverage bottles do not effectively recall the 1969 setting. While realistic thunderclaps, flashes of lighting and sounds of rainfall announce a storm outside, Leah declares the power is out and she’s been using candles. But the set lighting is still blazing bright, when soft candle-lighting would be more effective.

“Dead Man’s Wake” is the story of a homecoming. It’s also a story of tragedy, courage and the triumph of a family’s ultimate honesty - with themselves and with each other – that leads them to renewed hope in the future.

When: October 29 to November 14, 2010
8 p.m. Fridays and Saturdays; 2 p.m. Sundays
Tickets: $25
Location: West End Studio Theater, 1554 4th Street, San Rafael CA
Phone: 415-453-0552
Website: www.westcoastarts.org

"Becoming Walt Whitman" at Sixth Street Playhouse Studio Theatre

2010-10-13T20:18:00.000-07:00

“Becoming Walt Whitman” by David Beckman
Sixth Street Playhouse, Studio Theatre

Reviewed by Suzanne and Greg Angeo
Photo: Peter Warden (left) and Gabriel Grilli by Eric Chazankin

“Becoming Walt Whitman” in its Bay Area premiere at Sixth Street Playhouse is a gracefully written yet daring chronicle of the celebrated poet’s intimate family life, and how it may have shaped him into the force of nature he was to become. It also shows, with humor and pathos, the genesis of “Leaves of Grass”, the work for which Whitman is best known.

Santa Rosa playwright and poet David Beckman has created a beautiful and deeply engaging tribute to a man who described himself thusly: "Walt Whitman, an American, one of the roughs, a kosmos, disorderly, fleshly, and sensual, no sentimentalist, no stander above men or women or apart from them, no more modest than immodest".

Beckman, who had a professional background in New York City as an actor and writer, was inspired to write “Becoming Walt Whitman” after studying literature at Brown University in Providence R.I. and later reading a biography that ignited a tireless curiosity to uncover more about the man. He wanted to know the origins of Whitman’s use of free verse, radical ideas, strange imagery and sexual frankness dubbed “obscene” by critics of his day. Beckman addresses these issues with unflinching directness and it’s for this reason that the performance is recommended “For Mature Audiences”. The play had its first staging in 1993 at the Powerhouse Theatre in Santa Monica, CA.

As Walt Whitman, Gabriel Grilli is a fine actor in the cerebral sense: he combines intense sensitivity and intelligence with a certain joie de vivre which is very appealing. In the physical sense, he moves with authority, but we miss the burliness one associates with the poet. Missing as well are the sensual warmth and raw, unrefined earthiness so powerfully expressed in Whitman’s poetry.

The rest of the superb ensemble cast play multiple roles. Steve North, as Walt’s invalid father and the phrenologist Mr Fowler, practically steals the show. His distinctively piercing baritone voice and eccentric rendition of each character is truly delightful. There is a tender moment between Walt Sr. and his son where their unresolved conflicts no longer seem to matter, if only for an instant.

In a stroke of brilliance, playwright Beckman suggests that Walt’s youngest brother Ed, who is portrayed as developmentally disabled, may have served as muse and inspiration for the poet’s stream-of-consciousness prose. The performance of Peter Warden as Ed Whitman is truly extraordinary, capturing the attention and hearts of the audience at once and completely. An especially poignant scene near the end of the play has Ed and his brother Walt exchanging fragments of thought expressing love and hope that seem to spring directly from one of Whitman’s poems.

One of the more challenging dualities was taken on with agility by Landon McPherson. He played Walt’s brother Andrew, then removed his glasses as lover-coachman William. Anthony Abate is first-rate in his dual parts: the psychotic Jesse and the distinguished Oliver Wendell Holmes. Taylor Diffenderfer possesses a natural stage presence in the roles of Mary and Liz. Three other parts were played with flair by Jacquelyn Wells.

Direction and staging by Russell Kaltschmidt is effective and powerful, cleverly using the Studio venue from every angle. The production was scaled down from the 1993 original, which called for 22 characters, but it loses none of its dynamics. The action on stage keeps the audience enthralled from beginning to end, when they rise to their feet calling “Author, Author!”

“Becoming Walt Whitman” at Sixth Street’s Studio Theatre offers the rare and wonderful privilege of observing the foundation of the genius who became Walt Whitman. It is beautifully done, a reward for the mind and soul.

When: October 8 to October 24 2010
8 p.m. Fridays and Saturdays, 8 p.m. Thursday October 21, 2 p.m. Saturdays and Sundays
Tickets: $10 to $25
Location: Studio Theatre at Sixth Street Playhouse
52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"Who's Afraid of Virginia Woolf?" by Edward Albee, at Sixth Street Playhouse, Santa Rosa CA

2010-10-05T19:00:00.000-07:00

“Who’s Afraid of Virginia Woolf?”
A play in three acts by Edward Albee
Sixth Street Playhouse, GK Hardt Theatre, Santa Rosa CA

Reviewed by Suzanne and Greg Angeo
Photo (from left): Paul Huberty, Caitlin Dissinger, Chris Sigrist, Liz Jahren

“Who’s Afraid of Virginia Woolf?” at Sixth Street Playhouse is complex, entertaining and deeply disturbing, not for the faint of heart. Blistering insults are hurled like acid across the stage, but things are not as they seem. Just when you think you know who the characters are and what drives them, the emotional landscape begins to move like a slow-rolling earthquake and you realize: everything you know is wrong.

Edward Albee’s searing dark comedy-drama is approaching its 50th anniversary. It was first performed in October 1962 at the Billy Rose Theater on Broadway in New York City and garnered five Tony Awards the following year.

Glancing at the program, there’s a hint of what Albee has in store: Act I is called “Fun and Games”, Act II is “Walpurgisnacht” and Act III, “Exorcism”. All of the action takes place in Martha and George’s living room, in a small college town somewhere in New England. Martha is the university president’s daughter - middle-aged, abusive, sloppy drunk and loud. Her husband George, understated and bitterly reserved, is a history professor at the university. It’s 2 a.m., and we learn that Martha has invited Nick, the new young biology professor, and his wife Honey over for “drinks” after a faculty party. They get much, much more than they ever could have expected.

This can’t be an easy piece to perform. It’s also painful to watch, with many wince-inducing moments comingled with bawdy humor. The accomplishments of director and cast are nothing short of amazing, on both a physical and emotional level. Liz Jahren as Martha commands the stage from the moment she lurches through the front door in the opening scene bellowing “What a dump!” Paul Huberty as the acerbic George underplays his role, maybe a bit too much in the beginning, but soon is more than a match for the boozily blustering Martha. Jahren and Huberty create the sense that the intimacy they use as a weapon against each other arises from genuine love.

Unsuspecting guests Nick and Honey start off as innocent bystanders and evolve into collateral damage. Chris Sigrist was good in the role of Nick. Caitlin Dissinger’s Honey turns from meek to sublime, helped by more than a little brandy along the way, and is an absolute treat to watch.

Director Michael Fontaine has a firm grasp of the story’s undercurrents and hidden subtexts. His staging was simple, and for the most part he kept the pacing taut as a tightrope. There were only a couple of places where the tightrope began to sag a bit, but had no effect on the end result. The audience is left jolted as if struck by lightning.

The standing ovation at the end of the opening-night performance of “Who’s Afraid of Virginia Woolf?” is well-deserved. It’s a fabulous achievement and a night you won’t soon forget.

When: October 1 to October 24, 2010
8 p.m. Fridays and Saturdays; 8 p.m. Thursdays beginning October 7;
2 p.m. Sundays; 2 p.m. Saturdays beginning October 9.
Tickets: $15 to $32
Location: 6th Street Playhouse – GK Hardt Theatre, 52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"Travels With My Aunt" at Cinnabar Theater, Petaluma CA

2010-09-28T13:35:00.000-07:00

“Travels With My Aunt” At Cinnabar Theater
Reviewed by Suzanne and Greg Angeo
Photo of (from left) Benjamin Privitt, Kalli Jonsson and Floyd Harden by Eric Chazankin

Sometimes silliness is all we crave, and there’s enough pure silliness in Cinnabar Theater’s “Travels With My Aunt” to satisfy the biggest appetite. But it also comes with large helpings of comedy, suspense, pathos and drama. Combine all this with a stimulating workout of the imagination and you are left refreshed, invigorated and delighted – and not one pound heavier!

The play is based on Graham Greene’s 1969 novel, adapted for the stage by Scottish writer Giles Havergal. It had its world premiere in Scotland in 1989, and its American debut came in 1995 in New York City. The story centers on retired bank manager Henry Pulling, a static character, bound by habit, about as interesting as a boiled potato. His mother’s funeral offers him a break from his routine, and it is here he meets 75-year-old Aunt Augusta, his mother’s audacious sister who has a real zest for living, damn the consequences. She invites him to join her on an impetuous whirlwind tour of the world, and the adventure is launched like a rocket.

The intriguing device which propels the story is taken from theatre’s very foundation: all roles are performed by males. In Cinnabar’s production, the cast consists of four men, three of whom play an assortment of eccentric characters who weave in and out of the story like multi-colored threads in a bizarre tapestry. Benjamin Privitt is the only actor with a single role, that of Henry Pulling. Kalli Jonsson has the second lead as Aunt Augusta, and together with Floyd Harden and Richard Rossi, they can be seen wandering offstage only to re-emerge as CIA operatives, waiters, thugs, detectives, taxi drivers, teenage runaway hippie girls and vampy fortune tellers. All of these amazing transformations are accomplished without a single costume change, with the possible exception of an adaptable red shawl.

It is here that the actors display tremendous skill and versatility, transformed by dead-on comic timing and compelling empathy. And it is here that the audience is transformed as well: first giggling, then attentive, then engrossed; amused and touched, completely accepting. A cast with lesser skills would have reduced the performance to a mere curiosity. Kalli Jonsson as Aunt Augusta deserves special praise for his ability to make the audience see the spicy, septuagenarian lady with a scandal-ridden past who has great affection for her nephew Henry. (All that may be needed is for him to ramp up the physicality of an elder lady a bit more.) Benjamin Privitt as the nephew comes off as suitably straitlaced, someone in dire need of excitement, one whose life may end up having meaning and purpose after all. Richard Rossi shines in his multiple roles, especially as the African manservant Wordsworth and as the Italian gangster Visconti. Floyd Harden is also wonderful in his many roles, both male and female.

Director Ken Ruta, who appeared in the ACT production in San Francisco, has taken his actors to a place many only hope for – a place where the audience must deny what their eyes see, and believe instead what the actor believes. Ruta has controlled the space in which his actors move, through simple staging, the use of silhouettes behind a screen, and basic set pieces which serve many functions as the scenes require.

Cinnabar’s “Travels With My Aunt” is an adventure for the imagination, a flight of fancy that tickles the funny bone and touches the heart. And yes, it has a happy ending! What more could one ask of a night out?

When: Performances September 24 – October 17, 2010
8 p.m. Fridays and Saturdays; 2 p.m. Sundays
Tickets: $15 to $25
Location: Cinnabar Theater, 3333 Petaluma Blvd. North, Petaluma CA
Phone: 707-763-8920
Website: www.cinnabartheater.org

"Annie" at Sixth Street Playhouse, Santa Rosa CA

2010-08-15T17:09:00.000-07:00

“Annie” at Sixth Street Playhouse’s GK Hardt Theatre
Music by Charles Strouse, Lyrics by Martin Charnin, Book by Thomas Meehan
Based on the comic strip “Little Orphan Annie” by Tribune Media Services

Photo by Adrian Boyer

By Suzanne and Greg Angeo

Superstition may be justified. Friday the 13th appears to have cast a pall over the opening night of “Annie” which kicks off the “All-American Season” at Sixth Street Playhouse’s GK Hardt Theatre.

The iconic story about the orphan who runs away to find her lost parents is based on the amazingly long-running comic strip that appeared in newspapers from 1924 to June 2010. “Annie” had its Broadway debut in 1977 and won 7 Tony Awards, including Best Musical. It went on to become one of America’s best-loved musicals, with many hit songs that are highly singable and danceable even for average folks. Its Depression-era setting resounds especially well with today’s audience - an economy in the toilet, a new Democrat in the White House and fear of what lies ahead. Then along comes a spunky youngster…just what the doctor ordered!

On opening night at Sixth Street, the little girl playing the lead role of Annie, Natalie Rubin, certainly looks the part. She’s fittingly adorable with a cute, turned up nose and appears well-cast with a serviceable voice. All she needs is to stay focused, to better connect with the other performers and the audience.

Brenda Reed as the nasty orphanage director Miss Hannigan gets off to a slow start but soon picks up steam and by her first key number “Little Girls” is a force to be reckoned with. Jeremy Berrick is creepy-good as her shady brother Rooster, but his vocal skills aren’t up to par, an affliction that seems to plague much of the cast.

Daddy Warbucks comes to the rescue, but at the end of scene five came a small but smoky reminder that those stage lights do get hot. Quick, nonchalant action with a fire-extinguisher by a cast member – who plays a cop, no less – took care of the problem, but not before gentle billows of smoke made their way over the stage and into the audience just in time for Warbucks’ big number “N.Y.C.”. Kudos is due to Norman Hall, the actor playing Warbucks, who ad-libbed about “New York air” and managed a few good coughs which drew peals of laughter from the audience. This, unfortunately, was one of the more memorable moments.

The large ensemble cast has some standout talent, most notably among the little orphanage girls, but at times, especially during the choral numbers, the lyrics seem jumbled and indistinct. Maybe diction lessons are in order? The disappointing orchestra sounds like a high school band with not enough rehearsal time.

Director Dwayne Stincelli’s approach doesn’t quite seem to do justice to the material, but there are several bright spots, including the “Hard Knock Life”, “Hooverville” and “Easy Street” numbers, and his use of environmental theatre which brings some of the characters out into the audience. On the other hand, some crowd scenes are very discombobulated and the unwieldy cast looks like an accidental traffic jam onstage. Overall, the production appears under-rehearsed.

Effective set design by Brandin Hurley reproduces the comic strip’s simple but vivid line drawings. Brightly colored costumes by Tracy Sigrist suggest the period setting with appropriately cartoonish style.

It may have challenges, but “Annie” can’t help but be a thoroughly charming, pleasant show, especially for kids who will enjoy the simple story and catchy songs. And if ever there was a bouncy, feel-good show for kids of all ages, this is the one.

When: August 13 to September 12, 2010
8 p.m. Thursdays, Fridays and Saturdays
2:00 p.m. Saturday & Sunday matinees (Saturday matinees begin August 21)
Tickets: $15 to $39
Location: 6th Street Playhouse – GK Hardt Theatre, 52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"Wretch Like Me" by David Templeton at Sixth Street Playhouse, Santa Rosa CA

2010-08-14T21:20:00.000-07:00

Wow and a half! How sweet the sound…

By Suzanne and Greg Angeo

Part of Sixth Street Playhouse’s SoloFest of the West, “Wretch Like Me” is a relentlessly funny, affectionate and sometimes wistful chronicle by storyteller David Templeton. Beginning with his miserable boyhood and ending with his high school days, he single-handedly relates the events that led him from fundamentalist Christianity to ultimately becoming “un-born again”. Templeton is like the alchemist of old: he takes something common – insecurity, desire for acceptance, disappointment - and makes it into something precious and of great value in telling his tale.

Set mostly in the 1970s in Downey, California, his wacky narrative unfolds in the intimate setting of Sixth Street’s Studio Theatre, which gives the feeling you are at a party in his living room, listening to him reminisce about the characters he knew - the Jesus Lady, Reverend Dude at Happy Chapel, and his zealous girlfriend Cindy who takes her devotion to God a bit too far with side-splitting results.

His approach is somewhat Carlin-esque, a sort of conversational standup comedy routine which can have him dashing about the small stage area, pacing, sitting with the audience or even lying on the floor, making good use of simple props that include invisible hand puppets, a giant yellow smiley-face, a sofa and, of course, a bible. Director David Yen’s creative staging enhances Templeton’s solo delivery, allowing him to engage the audience in every direction, no matter where they are sitting. However, the sound and lighting might need a little tweaking. Period rock songs serve as perfect musical cues to signal each new chapter in the story, but at times they almost drown out his voice, and lights shine directly in the audience’s eyes which can be distracting.

“Wretch Like Me” is an eccentric first-hand account of how a lonely kid was lost, then found, and then found himself. His eventual disillusionment with his Jesus Freak friends springs from their human foibles, and some of his own, but he emerges a happier man with fond memories of the time that he is generous to share with us. We come away feeling richer and more joyful for the experience.

When: August 6th, 13th, 20th and 27th at 8:00 p.m., and August 8th, 15th, 22nd and 29th at 2:00 p.m.
Tickets: $20 to $25 (general seating)
Location: Studio Theatre at Sixth Street Playhouse
52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

"The Taming of the Shrew" by William Shakespeare at Forest Meadows Amphitheatre, San Rafael CA

2010-07-26T19:08:00.000-07:00

Reviewed by Suzanne and Greg Angeo

Photo of Darren Bridgett (left) and Cat Thompson by Morgan Cowin

Marin Shakespeare Company’s production of “The Taming of the Shrew” at the lovely outdoor venue Forest Meadows Amphitheatre is a highly creative and hilariously irreverent adaptation of Shakespeare’s ultimate battle of the sexes. Instead of traditional Padua we find ourselves on a Caribbean Island complete with pirates. The usual swashes are buckled with fancy footwork and countless zany touches that keep the audience roaring with laughter.

The play opens with two worlds on display: the landed gentry with all their finery, and the pirates with all their boots and bravado. A large pirate ship sits upstage looming over the proceedings. You can tell there’s fun in store - at their very first meeting, pirate Petruchio (Darren Bridgett) and his angry amour-in-training Katharina (Cat Thompson) duke it out with wordplay and swordplay in a rough-and-ready duel worthy of Douglas Fairbanks.

The sparks keep flying between Bridgett and Thompson, whose chemistry electrifies the production. Bridgett’s Petruchio spends perhaps a little too much time in his cups resulting in unintelligible lines. He nonetheless proves irresistible, to Kate and to the audience, a roughneck with a heart of gold. But who’s the Shrew he’s trying to tame? After all, his servant remarked of him, “He is more shrew than she.” Cat Thompson as the feisty Kate is wonderful in her role and a joy to watch. Thompson’s Kate ends the play a true companion to Petruchio, her fiery spirit unbroken, living for a purpose she fully embraces. Thompson needs only to kick it up a notch, especially in her final speech to the other wives. Emphasis and conviction are needed most during this critical scene.

William Elsman as Lucentio, who fervently hopes to marry Kate’s winsome sister Bianca, brings a goofy, foppish charm to his role. Alexandra Matthews as Bianca has a challenging part she plays incredibly well: the more favored of the two sisters who’s also frustrated at playing second fiddle to the explosive Kate. The rest of the cast, most notably Stephen Klum as the girls’ father Baptista, Mark Robinson as Lucentio’s manservant Tranio, and Lucas McClure as Petruchio’s sidekick, all display their excellent Shakespearean comic chops to superb effect. Supporting player Melissa Arleth received special applause. In her role as Biondello, she appears onstage on stilts or twirling hula-hoops at unexpected moments, amid bursts of harp music and the theme from “Jaws”. All of these gambits are skillfully applied and lend a madcap air. Gary Grossman as the peg-legged “Christopher Sly, an old tar” sets the stage for us in the opening scene, and also masquerades as Lucentio’s father later on.

Extra effort went into the production, design and staging. Director Robert Currier set his imagination free and seemed to have as much fun as his actors. The dazzling costumes were specially designed and custom-fit to the performers by Abra Berman. Fight Director Brian Herndon helped bring about the realistic-looking swordfights (and maybe coordinated some of the pirates’ artfully drunken stumbling). Choreographer Cynthia Pepper created the wonderful movement and dance sequences that are an integral part of the show.

And what a show it is! In spite of several first-act slow spots that may come out in the wash, Currier’s “Shrew” marks a giddy and glorious deviation from the Bard’s hallowed words, a bawdy “Pirates of the Caribbean” vacation without even leaving Marin.

When: Performances July 24 to September 26, 2010
8 p.m. Fridays, Saturdays & Sundays; 4 p.m. & 5 p.m. Sundays
Tickets: $20 to $35
Location: Forest Meadows Amphitheatre at Dominican University of California
1475 Grand Avenue, San Rafael CA
Phone: 415-499-4488
Website: www.marinshakespeare.org

"Travesties" by Tom Stoppard presented by Marin Shakespeare Company at Forest Meadows Amphitheatre, San Rafael

2010-07-18T19:30:00.000-07:00

“Travesties” by Tom Stoppard

Marin Shakespeare Company
At Forest Meadows Amphitheater, San Rafael CA

Photo of Alexandra Matthew (left) and William Elsman by Morgan Cowin

Reviewed by Suzanne and Greg Angeo

To launch their 21st season, Robert and Leslie Currier, Artistic and Managing Directors with Marin Shakespeare Company, chose the cerebral farce “Travesties” by English/Czech playwright Tom Stoppard. First performed in London in 1974, it went on to win the Tony Award for Best Play in 1976. It’s like a comic, fevered dream, with blazing moments of philosophical insight and humor that border on the profound.

The story’s main plotline - an old man’s erratic memories of his youth - is used as a clever tool to take creative liberties with historical facts, and those memories are played out right before our eyes. The result: we meet three of the most influential personalities of the Twentieth Century and learn how they may – or may not – have known the old man, Henry Carr. An actual figure taken from history, Carr was a minor official with the British consulate in Zurich, Switzerland at the time of his fuzzy reminiscing – 1917, the height of World War I and the inception of the Russian Revolution.

It was here, in 1917 Zurich, that Carr first met Irish author James Joyce, who was just beginning his opus “Ulysses”, and also mounting a production of Oscar Wilde’s “The Importance of Being Earnest”. Joyce asked Carr to play a leading role in “Earnest” and he accepted with gusto. We see the aging Carr’s memory of the time merging with the characters and story line of “Ernest” and at times neither he – nor the audience – can tell where one leaves off and the other begins. Gwendolen and Cecily, two characters from “Ernest”, are reimagined: one as Carr’s sister, the other as his love interest.

Also in Zurich in 1917 was Romanian author and poet Tristan Tzara, best known for being a founder of the anti-establishment performance art movement Dadaism. Tzara managed to combine great personal charm with a persistent criticism of all things capitalist and conventional. Of course, the dawn of the Russian revolution would be incomplete without Vladimir Lenin, who also happened to be in Zurich that very same year, writing scathing manifestos and struggling with the urge to join his comrades in Russia.

With Carr, Joyce, Tzara and Lenin all on the same stage, Stoppard allows us a unique opportunity to observe opposing points of view on art, philosophy, politics and literature without asking us to decide which one is “right” or “wrong”. We have only to enjoy, and be inspired. This is tremendously liberating, and very entertaining.

Stoppard taps unexpected sources for piercing humor and wit. An especially delightful exchange between Gwendolen and Cecily is performed like the venerable Gallagher and Shean vaudeville act. And Groucho Marx’s famous line “I refuse to belong to any club that would have me as a member” is recalled in one scene, where Henry says to Tristan, “I don’t think there’ll be a place for Dada in a communist society” and Tristan replies “That’s what we have against this one. There’s a place for us in it!”

Director Robert Currier’s staging of this challenging piece is brilliant. The play’s opening sequence is particularly striking: a syncopated rhythm of cane tapping, foot stomping, stamping, clicking and clacking is both mesmerizing and energizing. It builds the momentum of the story to come. In scenes where time seems to be moving backwards, Currier uses repetition and a cuckoo clock to show where old Henry’s memory is slipping off the track. Currier’s work with the actors frees them to use their imaginations and creativity. At times they might step into the audience to help themselves to swigs of someone’s wine right from the bottle, or cookies to nibble onstage, as happened on opening night. If one suspects there may be a bit of improvisation here and there, one would be right.

Every member of the cast is superb, though there were the usual opening-night peccadilloes. William Elsman as Henry Carr plays his part like the most skilled of fine musicians, bringing nuance to a shallow, pompous character. His deft transitions, from old to young and back again, are especially praiseworthy, although some of his improvisations were a bit distracting. Darren Bridgett as Tzara is charismatic and appealing. His ability to deliver lines during his acrobatic contortions is nothing short of amazing, but his strong Romanian accent faded to a shadow of its former self after the first few scenes. Lucas McClure as James Joyce had no such accent troubles and is thoroughly convincing as the lofty-minded yet unrefined Irish writer. Stephen Klum has perhaps the most thankless role as the humorless Lenin, but he comes across as appropriately dynamic and forceful.

Alexandra Matthew brings warmth to the straitlaced librarian Cecily, who’s really a smoldering volcano of passion. Cat Thompson’s interpretation of Carr’s sister Gwendolen offers dazzling comedic timing and class. Carr’s taciturn but acerbic manservant Bennett serves as the perfect foil as played by Julian Lopez-Morillas, although he seemed to forget some of his lines in Act I. Sharon Huff gives a strong performance as Lenin’s wife Nadya. Special mention should be made of the four silent white-clad ensemble players who interact with the actors as they move the set pieces, using pantomime to effectively underscore emotional or comic effects.

Set design by Mark Robinson serves the eccentric story well. A centerpiece and in constant view is a large, surreal cuckoo-clock that announces not only the passage of time, but also events. Moveable staircases, bookcases and a desk on wheels provide different levels of storytelling and movement. Costumes by Jocelyn Leiser Herndon are perfect for the period. Unfortunately, there was misdirected and insufficient lighting in both the first and second acts, and really annoying reverb in the first act, that hopefully should be rectified.

Marin Shakespeare Company’s “Travesties” at Forest Meadows is witty, complex and dynamic, a visual and intellectual feast. The figurative fireworks all too often soar right over the audience’s heads, but no matter – it’s pure, playful, wicked genius.

When: Performances July 9 to August 15, 2010
8 p.m. Fridays, Saturdays & Sundays; 4 p.m. & 5 p.m. Sundays
Tickets: $20 to $35
Location: Forest Meadows Amphitheatre at Dominican University of California
1475 Grand Avenue, San Rafael CA
Phone: 415-499-4488
Website: www.marinshakespeare.org

“RENT” North Bay premiere, 6th Street Playhouse, Santa Rosa CA

2010-06-06T18:03:00.000-07:00

Reviewed by Suzanne and Greg Angeo
(Photo by Eric Chazankin)

Like a rowdy good friend, the rock opera “RENT” at Santa Rosa’s 6th Street Playhouse has shortcomings that are easy to forgive. The songs are so memorable and the characters are so bright that you gladly take them home with you. It’s well worth seeing, and seeing again.

Set in New York City’s Lower East Side, “RENT” is a year in the life of a coterie of impoverished young artists who come face-to-face with starvation, drug addiction, AIDS, love and death. The characters - dancers, filmmakers and musicians both gay and straight - are clearly all in it together. Inspired by Puccini’s “La Boheme”, the story highlights the frustration of dreams thwarted by a society that values empty commercial gain over artistic expression. But the performers inspire us to find the joy of Living in the Moment, a joy that is contagious and effervesces throughout.

It’s an understatement to say the Broadway run of “RENT” was a smash hit. Its opening in February 1996 in the East Village was such a sensation that two months later it moved to larger digs at the Nederlander Theater on Broadway, and there it stayed for an incredible 12 years. With music and lyrics by Jonathan Larson, who sadly did not live to see its huge success, “RENT” won not only four Tony Awards, but the Pulitzer Prize for drama. Some pretty good stuff, indeed.

In its North Bay premiere, “RENT” at 6th Street Playhouse has a fine cast that works well as an ensemble in big choral numbers like “Seasons of Love”, but results can be uneven in a few individual performances. Some of the leads take the necessary risks to bring their characters to life; others don’t go quite far enough. It hits the ground running with a high-octane opening number “Tune Up”. The company is led by Robert K Dornaus III as aspiring filmmaker Mark Cohen, and Tyler Costin as rock musician hopeful Roger Davis. Their show-quality voices are used to good effect. Costin in particular is highly watchable, bringing exuberance to his role tempered by a sense of mortality. Michael J. Bulatao, who plays computer whiz Tom Collins, has a fine voice as showcased in the musical number “Santa Fe” but his character could use more sensitivity and strength.

Daniel Schultz as the lovable transvestite Angel has the very heart of the story and wears it well. He sings, dances and acts with unforgettable style and panache. Stephanie St James as exotic dancer Mimi delivers sensuality in a distinctive, throaty voice, especially in her duets with Costin, but the smoke lacks fire, and she seems restrained in her dance. Sonya Distel is a strong presence as lesbian producer Joanne Jefferson, and really shines in “Tango Maureen”, her ironic duet with Dornaus.

Speaking of Maureen…an absolute standout is Shannon Rider Urquhart as the sultry performance artist, whose entrance on a motorcycle stops the show. She flirts relentlessly with everyone in sight, including the audience. Her “Over the Moon” is a tour-de-force. The rest of the ensemble company deserves special mention for their fine support through song and dance. Some of them have truly outstanding voices and spectacular moves.

Kudos is also due to the four-piece band. Discreetly tucked upstage behind the set, they make a noteworthy contribution to a challenging score, which ranges from blazing rock to touching ballads to Broadway melodies.

Director David Lear’s staging and blocking lack a certain originality in some spots, given the potential of the material, but the results are fun to watch nonetheless. Choreography by Alia Curchack-Beeton takes no chances and appears borrowed in places, but does the job well. Scenic and lighting design by John M. Connole provide a multi-tasking set with the necessary raw warehouse industrial look essential to the story. Technical issues with head mics, sound and lighting haunted the show and are probably fixable, but are a disappointment in an opening night performance.

Despite its problems, “RENT” at 6th Street is a success. The energy stays high, and by the finale the audience is on its feet singing, dancing and clapping to the music. You’ll find yourself unable to forget this show, humming the songs days later at unexpected moments. If you need a good party, go see it and bring your friends.

When: Performances May 29 to June 27, 2010
8 p.m. Thursdays, Fridays and Saturdays; 2:00 p.m. Saturdays & Sundays
Tickets: $15 to $35
Location: 6th Street Playhouse – GK Hardt Theatre, 52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

West Coast Premiere of Emmeline, an opera in two acts

2010-05-30T21:29:00.000-07:00

Reviewed by Suzanne and Greg Angeo
Photo of Carrie Hennessey (right) and Will Hart Meyer (left) by Eric Chazankin

It’s no exaggeration to say that Tobias Picker’s modern American opera Emmeline offers raw emotional power and transcendent beauty. One of the many things that distinguish Emmeline from traditional opera is its use of fine dramatic acting combined with operatic singing that, yes, you can actually understand without supertitles. It’s real Americana with Greek tragedy at its moving, beating heart.

This true story was first dramatized in a 1980 book Emmeline by Judith Rossner. Like many poor young girls in 19th-century New England, the real-life Emmeline was sent to work in a textile mill, but things went from bad to worse in a cruel twist of taboo-shattering fate, and the condemnation of others ultimately destroyed her. Nearly a century after her death, she was the subject of the 1988 PBS documentary ‘Sins of Our Mothers’. New York composer Tobias Picker happened to be watching that day. In later interviews, he said that he had such a visceral reaction, and was so moved by what he saw, that he felt he had “no choice” but to tell her story. The result was Emmeline, his first opera, with poet JD McClatchy as librettist. It had its world premiere at the 1996 Santa Fe Opera Festival to critical acclaim.

Its West Coast premiere at Petaluma’s Cinnabar Theater is presented through a collaboration of superior talent. Lyric soprano Carrie Hennessey brings exquisite vocal purity and range to the title role. We witness, through her vivid stage presence, the full depth of Emmeline’s innocent joy, love and pain. Charismatic baritone Will Hart Meyer’s interpretation of Matthew Gurney, Emmeline’s uneducated, sweetly earthy young man, is a touching counterpoint. The role of puritanical Aunt Hannah, whose actions have consequences that are not revealed until near the story’s end, is delivered with great power by contralto Cary Rosko. Other accomplished singers include Robert Stafford as the caddish Mr. Maguire, Kimberly Anderman as Emmeline’s sister Harriet, and Brian Rosen as her father Henry. It’s interesting to note that many of the cast, like the truly wonderful 12-member Mill Girls chorus, are under the age of 18.

Elly Lichtenstein’s meticulous stage direction brings Picker’s work to life in sharp but sensitive focus. The stage’s many transitions move with grace, from funerals to textile mills, to forests and fields, to childbirth and weddings. Scenic designer David Wright has created a simple, beautiful set in earth tones that suggest the austerity and bleakness of Emmeline’s world. A backdrop with its sepia-toned projected images seems almost like another character. It gently helps the storytelling by establishing the scene, time and place. Lisa Eldredge’s costumes and Ann Woodhead’s choreography lend a true period feel to the production.

Although Picker’s musical arrangement has been scaled down to chamber version by Samuel Bill to fit the small venue, the orchestra is of high caliber. Music director Nina Shuman is intently focused on the intricate score, which ranges from tonal to nontonal, harmonic to dissonant, and includes period songs, melodies and anthems. An example of American folk music used to high dramatic (and romantic) effect: in a pivotal moment, Emmeline’s heart is captured at once by young Matthew’s wistful harmonica playing; it's a lovely melodic interlude that lingers as a haunting memory, carrying the story forward to its bittersweet, tragic conclusion.

In its opening night, the production had only minor issues. One of the final arias dragged a bit, and some of the staging in Act I seemed a little cramped for want of space. Because Cinnabar has no orchestra pit, the 13-piece orchestra was positioned offstage, to the right of the audience. This made it challenging at times for the performers, who had to keep looking offstage for – and sometimes missing - their cues from the conductor.

In overall scope and achievement, Cinnabar’s presentation of Emmeline makes for a thrilling experience not to be missed.

When: Performances May 28 to June 12, 2010
8 p.m. Fridays and Saturdays; 7:30 p.m. Wednesday, June 9; 3 p.m. Sunday, June 6
Tickets: $32 to $38
Location: Cinnabar Theater, 3333 Petaluma Blvd. North, Petaluma CA
Phone: 707-763-8920
Website: www.cinnabartheater.org

Tartuffe Review April 2010

2010-05-20T15:52:00.000-07:00

‘Tartuffe’ by Jean Baptiste Moliere
Performed at Sixth Street Playhouse, Santa Rosa CA
Opening Night, Friday, April 9th, 2010

Reviewed by Suzanne and Greg Angeo

Photo of Keith Baker (right) and Eric Thompson (left) by Eric Chazankin

This provocative, funny and visionary tale by master French playwright Moliere was first performed privately for King Louis XIV of France in 1664. Scandal ensued and the play was banned, but in 1669 the King relented and it was finally deemed fit for the public. Reviews of Tartuffe invariably point to its message: timely even after 350 years, it reveals how little human nature has changed. It is at once reassuring and disturbing, hilarious and frightening.

The story at its heart is simple: Orgon, pious head of an upper-class family, is duped into surrendering control of his household by the swindler Tartuffe, who masquerades as a religious leader. Orgon’s lovely wife Elmire, equally lovely daughter Marianne, petulant son Damis, and witty maid Dorine are all in an uproar over Tartuffe’s presence.

Santa Rosa’s Sixth Street Playhouse has mounted this heady piece with stylish gusto and originality, with skillful staging and directing by Sheri Lee Miller, based on a script from Richard Wilbur’s translation, and creative costuming by Pamela Johnson. Lighting, sound and scenic designers offer pleasing stagecraft that helps establish the fun yet important atmosphere of the piece. Modern touches, in bits of wardrobe and music, provide delightful surprises.

The ensemble performance is strong. Mary Gannon Graham as Dorine is an absolute standout with spot-on comedic timing. Eric Thompson’s Orgon is bright but hapless, not an easy combination to pull off. Keith Baker as Tartuffe fairly slides across the stage in a wickedly slimy turn. Also notable are Jenifer Cote as Elmire, Kendall Carroll as Marianne and Jimmy Gagarin as Valere. John Craven as Cleante and Freddie Lambert as Damis were rather stiff in technique, but may loosen up with time.

Treachery and lechery abound, but the real lesson of the play is not how someone can be as duplicitous as Tartuffe – it’s how an otherwise intelligent and successful person like Orgon can allow himself to be so easily and completely fooled. Much to ponder here, but just as healing medicine can have a sugar coat, the timeless wisdom contained in Moliere’s Tartuffe is covered in glee, a pleasure to consume, with its benefits lasting many hours and days and years. At Sixth Street Playhouse, Thurs-Sun through May 2nd.

Coming up: "RENT", the Pulizer Prize and Tony Award winning rock opera, from May 28 to June 27, 2010. Tickets $15 to $35 (707) 523-4185 www.6thstreetplayhouse.com

April 10, 2010