Comedy Without Borders Review Toward a Multi Ethnic Humor
Sonoma's Rotary Phase at Andrews Hall transforms into a classroom for opera legend Maria Callas, where she instructs aspiring opera stars. A cosmos based on actual events, Terrence McNally's story stars Libby Oberlin as Madame Callas. Under the direction of veteran Carl Jordan, Oberlin becomes a tour-de-strength in this poignant expect back at the Diva's life.
The audience is welcomed as if we are all students by a commanding Madame Callas. She sharply addresses united states "In that location will exist no applause, nosotros are here to piece of work!" We meekly obey. She is at once mercurial, charming and aloof.
Reduced to instruction principal classes at Julliard in 1971-72, Madame Callas shares recorded snatches of her past triumphs and once-incredible voice. Although she does non sing, she reminisces about past triumphs and loves. And losses. Callas was the globe'due south American-born Greek goddess whose vocalization, like her pedestal, crumbled away far too soon.
Madame Callas equally channeled by the talented Oberlin is a firestorm onstage. She mocks her pianist (John Partridge) for his clothing choices. She barks orders to stagehand Dan Monez. When her first educatee, a soprano beautifully played by Emily Evans, appears in a short apparel, the Diva is not amused.
"Helpful" criticism overflows to the audience, some of whom are berated for their obvious lack of mode. Evans does a fine turn as the terrorized young singer who does her all-time to comply with Madame Callas' instructions. When the soprano finally does get to sing, the audience erupts in a burst of encouraging – and supportive – applause.
"When the soprano finally does get to sing, the audience erupts in a burst of encouraging – and supportive – applause."
The Diva'southward next "victim" (every bit she calls them) is some other soprano, played by purple redhead Morgan Harrington. Although dressed resplendently, Madame cuttingly dismisses her to re-do her phase entrance. She does not reappear; Madame Callas suspects this student is gone for proficient.
An attractive tenor is next (Robert Dornaus) and his conviction and fashion impress the Diva. When his fine tenor vocalism fills the auditorium, Madame shifts her criticism. This class is not as much nearly his voice; she zeros in to right his pronunciation and his presentation of the role.
The dismissed soprano (Harrington) reappears, Madame insists she fully primary the emotion of what she sings. This is the reputation and legacy of Maria Callas as she performed at all the greatest opera houses effectually the world.
Throughout "Master Class," Callas draws from the well of emotional pains of her upbringing and dramatic life onstage and off. Her end-of career reminiscences interrupt the lessons, with clips of her past projected behind her. The saddest line Madame Callas speaks is in Human action Two, when she admits to the re-appearing soprano "I would never tell anyone not to applaud. Sometimes applause is the only thing we have to live on."
COVID Update: Sonoma Arts Live has a policy of COVID protections. They require evidence of vaccination or similar safety precautions and masks are worn throughout the performance. Run across the website for full information.
-30-
ASR Editor Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.
| Production | Main Class |
|---|---|
| Written by | Terrence McNally |
| Directed by | Carl Hashemite kingdom of jordan |
| Producing Company | Sonoma Arts Live |
| Production Dates | February 27, 2022 |
| Production Address | Rotary Stage: Andrews Hall, Sonoma Community Center 276 E. Napa Street, Sonoma |
| Website | www.sonomaartslive.org |
| Telephone | 866-710-8942 |
| Tickets | $25 – $42 |
| Reviewer Score | Max in each category is 5/5 |
| Overall | 4/5 |
| Operation | iv/5 |
| Script | 4/5 |
| Stagecraft | four/5 |
| Aisle Seat Review Pick? | YES! |
This time of twelvemonth, theater companies can be counted on to offer up plenty of anticipated Christmas classics.
Sonoma Arts Live has taken a contrarian tact with two similarly-themed shows directed past Michael Ross: "Plaid Tidings" and "Winter Wonderettes." Performed on alternating dates, they're both delightful tributes to the ubiquitous four-fellow member vocal troupes of the 1950s and '60s.
The first, developed by Stuart Ross from the original "Forever Plaid" by James Raitt, features a male person quartet that suffered an abrupt difference in an auto accident but who have been reincarnated for the holidays.
Named for their trademark plaid jackets, the four crooners may enjoy an extension of their reincarnation if they perform well enough—quite a motivation, one that propels them through ii loftier-energy hours of comedic antics, impressive dancing, and tremendous vocalizing. Trevor Hoffman, Andrew Smith, Scottie Woodard, and Brian Watson appear respectively as Jinx, Frankie, Sparky, and Smudge.
…Best bet: See both productions back-to-back.
The second testify features a daughter group in matching swirly skirts performing at the 1968 Harper'southward Hardware holiday bash in Springfield, Ohio. Created past Roger Edible bean, "Winter Wonderettes" is a more tightly focused production compared to the somewhat improvisational feel of "Forever Plaid."
Julianne Bradbury, Sarah Lundstrom, Maeve Smith, and Jenny Veilleux are all convincing and very funny in the roles of Cindy Lou, Betty Jean, Suzy, and Missy, respectively, all of them with lovely voices and dandy comic timing. Both casts are very well balanced—every bit actors, dancers, and singers—backed by a solid band under the management of Sherrill Peterson.
Scottie Woodard served equally choreographer for both shows—"Plaid Tidings" being the more than reckless of the two, in keeping with the male person tradition of gamble-taking for its own sake. "Wonderettes," past contrast, offers a more than demure presentation just one that'southward more satisfying musically.
Both shows make the virtually of a simple fix on the Rotary Stage at Andrews Hall. While "Wonderettes" is more structurally consummate and better apposite, "Plaid Tidings" has an untamed quality that makes it equally compelling.
Best bet: See both productions dorsum-to-back. An ideal functioning would characteristic both groups onstage together. That's not probable to happen, but we tin dream, can't nosotros?
-30-
ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Surface area Theatre Critics Circle. Contact: barry.m.willis@gmail.com
| Product | "Plaid Tidings" and "Wintertime Wonderettes" |
|---|---|
| Written by | Stuart Ross/James Raitt and Roger Bean |
| Directed by | Michael Ross |
| Producing Company | Sonoma Arts Live |
| Production Dates | thru December 19th |
| Production Address | Rotary Phase: Andrews Hall, Sonoma Community Center 276 E. Napa Street, Sonoma |
| Website | world wide web.sonomaartslive.org |
| Telephone | 866-710-8942 |
| Tickets | $28 – $42 |
| Reviewer Score | Max in each category is 5/5 |
| Overall | 4/5 |
| Performance | iv/five |
| Script | three.5/five |
| Stagecraft | three.5/5 |
| Aisle Seat Review Selection? | ---- |
Sonoma Arts Alive has emerged from eighteen months of hibernation with a stunning production of "Sunset Boulevard." The first large-scale musical to announced on a Sonoma Canton stage since the long pandemic shutdown, the evidence runs on the Rotary Phase at Andrews Hall in the Sonoma Community Center through October 10.
North Bay musical theater favorite Dani Innocenti-Beem shines in the part of Norma Desmond, a reclusive and delusional former flick star who'south befriended, seduced, and rejected by down-on-his-luck scriptwriter Joe Gillis (Michael Scott Wells) in this Andrew Lloyd Webber musical adaptation of the archetype Baton Wilder moving picture, mayhap the ultimate delineation of a Hollywood dear thing gone sour.
…stage veteran Norman Hall has a nice cameo as legendary pic managing director Cecil B. DeMille…
Backed past a solid five-piece band, Innocenti-Beem and Wells sing their hearts out. Seasoned evidence-goers may not initially recognize Wells, his signature shaved caput hidden by a stylish wig, while Innocenti-Beem is considerably slimmer than in her terminal stage appearance in "Sweeney Todd" at Santa Rosa's sixth Street Playhouse. Wells convincingly nails his character's hopes, cynicism, and failures while Innocenti-Beem moves heaven and earth with her emotive high-book vocals. Also a skilled comedienne, she gives the audience a full examination of Norma's delusions, exaggerated only plenty to allow us know how far off the track she's gone. It's a terrific performance.
Secondary characters are excellent too, especially Tim Setzer as Max Von Mayerling, Norma'due south loyal-to-a-error butler. Setzer is in fine vox, giving Max a properly guttural Teutonic baritone both speaking and singing, amazing in that Setzer's natural speaking phonation is softer and higher. Maeve Smith is superb every bit Betty Schaefer, Gillis' young collaborator and potential lover in one case he tires of Norma. Stage veteran Norman Hall has a nice cameo as legendary film director Cecil B. DeMille. The large ensemble—sixteen in all—are very good in multiple roles. The music isn't memorable, lacking Lloyd Webber'south characteristic melodic hooks—call up "Cats," "Phantom of the Opera," and "Jesus Christ, Superstar"—simply information technology works to propel the story.
Critical quibbles: an overly-long bit of exposition mirroring the film's early scenes, and a sometimes rickety set, but the show itself is exemplary, with merely-right pacing, a welcome surprise in light of how long information technology was on hold. Director Carl Jordan has pulled a fantastically compelling production from a diverse bandage.
"Sunset Boulevard" is a delight—and an entertainment bargain.
-30-
ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: barry.yard.willis@gmail.com
| Production | 'Sunset Boulevard' |
|---|---|
| Written by | Music past Andrew Lloyd Webber Lyrics by Christopher Hampton and Don Black Story based on the Billy Wilder film |
| Directed by | Carl Jordan |
| Producing Visitor | Sonoma Arts Live |
| Product Dates | Thursdays thru Sundays thru Oct.10th |
| Production Accost | Rotary Stage: Andrews Hall, Sonoma Community Center 276 E. Napa Street, Sonoma |
| Website | www.sonomaartslive.org |
| Telephone | 866-710-8942 |
| Tickets | $25 – $42 |
| Reviewer Score | Max in each category is 5/v |
| Overall | iv.five/v |
| Performance | 4.5/v |
| Script | 4/v |
| Stagecraft | 3.five/5 |
| Alley Seat Review Choice? | Yep! |
Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you lot the reader to extended portentous sermons of the guest's views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and brand theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who grumble into microphones while invariably (ever excepting Carl Jordan's beret collection…) dressed caput-to-toe in black. These interviews let you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offer some personal and professional insights: with a heavy dash of sense of humor, this is Aisle Seat Review's Not So Random Question Time.
***
Jaime Love is Executive Artistic Director of Sonoma Arts Live (SAL), based in the boondocks of Sonoma. SAL performs primarily on the Rotary Phase in Andrews Hall at the Sonoma Community Middle. Dear has been involved in theater and radio for over 35 years as an histrion, producer, vocaliser, director, writer and vocalism-over artist in New York, Los Angeles, Boston and San Francisco. She is a founding member of the Sonoma Theater Alliance and Sonoma Arts Live, and for six years was Co-Artistic Director and Producer of the Nicholson Ranch Players' musical revues and Christmas shows at Nicholson Winery.
A graduate of the American University of Dramatic Arts in New York, Love left the big city and worked in summer theatre in Montana ("Damn Yankees"), did mail-production film work in L.A., and so fell in dear with voice-over work and headed e again to attend Connecticut School of Broadcasting. She then went on to Boston, where she worked as the Arts & Entertainment Managing director and Promotions Director at WMJX and WMEX, focused on producing voice-overs for "Today'southward Executive Women" and "That'due south Amusement." Radio brought Jaime and her husband Rick back to the w, this time to San Francisco and ultimately to Sonoma, where he owns Creative Audition Research. Jaime and Rick take lived in Sonoma for twenty years.
ASR: How did you get started in theater?
JL: The minute I saw my kickoff motion picture, "Mary Poppins." I'll never forget the theater, or Julie Andrews' face filling up the screen. It was like a magic wand tapped me on my caput and said "You've establish your people." I was the archetype put-on-a-show-in-the-backyard kind of kid.
Regarding theater hither in Sonoma, I had spent ii years in San Francisco from 1993-95 and had loved the thriving scene there. I did a play with Jean Shelton at the Marsh, did an original play at this tiny awesome theater in N Beach chosen Bannam Place Theater. When nosotros moved to Sonoma for Rick's job there was just nada happening. So I wandered into the Sonoma Community Center and discovered a wonderful woman who was starting Theater at the Center. From 1995-2001 we had a thriving community theater. In 2001 nether a new assistants they decided to utilize the theater equally a rental, and that'south where it stood until 2010 when Todd Evans and I approached the Community Centre most renting to u.s.a..
ASR: What was the start play y'all performed in or directed for a paying audition?
JL: My first real office was freshman year in high school: "This Property Is Condemned." Beginning time I was paid was at Park Royale Night Lodge in New York. I sang a half 60 minutes gear up and was given a tiny stipend and a cut of the door, so of course I asked all my fellow American Academy of Dramatic Arts pals to come up! I call back my "hits" were "Considering the Night," and "Your Nobody Called Today," a popular country-western thing. First show I directed was a music revue I co-wrote called "Vino, Women and Song – Love Unleashed" at Nicholson Ranch winery. I went on to write and produce shows there for about 5 years.
ASR: When was your present company formed?
JL: 2015. Earlier then we were a theater cooperative, Sonoma Theater Alliance, for five years.
ASR: Did yous anticipate that SAL would become as successful every bit it has?
JL: I'thousand really thrilled and encouraged by the response from the community and the critics. Once nosotros honed in on our demographic and what they wanted, things really came together, and I experience we have found our sweet spot. We have a mature well-educated audition and I try to envision them, what they've been through in their lives, and choose plays that speak to them nostalgically or emotionally. I am in their age grouping and I rely a lot on thinking about my generation's collective feel and how a play may or may not fit in.
I'thou not ashamed to say that our visitor feels no shame in producing feel-expert theater. There is a place for everything, and I love edgy theater and new works but that's just not the states—not to say we do "fluff"—maybe "tried and true" is a better way of looking at information technology. Sonoma is and so pocket-size that I truly practise know well-nigh of our 250 season ticket subscribers and we talk constantly most what brings them through our doors. We do a few new works as staged readings each year, and I've been proud and pleased with the response from our patrons.
ASR: It will likely be several months until theaters reopen. How is your visitor coping with the shutdown?
JL: I've got at least three unlike scenarios ready to get. It'southward been then sad to take to move shows similar chess pieces, strategizing and trying to stay one footstep ahead without having a crystal ball. Nosotros were set with a full flavor fix to announce Apr 11 with a now cancelled reception. And as and then many of us in the North Bay share the aforementioned talent pool it volition create even more stress. You lot tin't just movement a show three months ahead and not run into conflicts. My hope is to accept the three remaining shows in our season and add together them to the new one.
ASR: How do you envision the time to come for your company? For the theater community overall?
JL: My guess is information technology will come back slowly. I've been rethinking the big bandage/big shows for the brusk term. If audiences are non allowed to gather in big groups—necessary for us to be financially stable—I'll demand to produce shows that volition at to the lowest degree cover expenses for actors, crews and rent. And we are going to have to deal with the very real fear of "gathering" and what that will mean for our actors and our audience. If I think about it also much I go downward the rabbit hole.
I'g not ashamed to say that our visitor feels no shame in producing feel-good theater.
ASR: Name 3 all-time favorites that your visitor has produced.
JL: "My Fair Lady," "Always, Patsy Cline," and "Becky's New Car."
ASR: If y'all had to do a whole season performing technical work — sets, lights, projections, audio, props, costumes — which would it be and why?
JL: Definitely props and set decoration. I've been a thrift shop and antique hunter since I was about eight years old! A calendar week does non go by when I practice not popular into all the keen austerity stores in Sonoma. I'm an "Antiques Road Show" junkie! When I was little I would go "antiquing" with my mom and her best friend. I learned and so much from them.
ASR: Equally difficult every bit it may be to pick merely one, tin yous proper noun a Bay Area role player who you recollect does amazing work?
JL: Well, Dani Innocenti-Beem of form! She has that star power. Y'all tin feel the energy when she walks on stage. She truly helped put Sonoma Arts Live on the map. Also Chris Ginesi. I've known him since he was about twelve—we did "Our Town" together. He's truly exciting to watch on the stage. It's been wonderful to sentinel him develop his craft over the years.
ASR: What'due south the weirdest matter yous've seen a guest practise at the theater?
JL: I was playing Rita Boyle in "Prelude to a Kiss" in upstate New York. Jail cell phones had only only come up out—this was before it was added to curtain speeches to turn them off—I'm in the centre of this intimate scene, and not wearing much, and this guy's phone goes off. He answers equally if he'due south at home in this very normal voice: "I can't talk now. I'chiliad watching a play." Then a few seconds of silence. "Yeah, it'southward OK…" meaning "Yeah, the play's OK." Information technology was very hard to stay in grapheme after that!
ASR: Do y'all accept a "day task?"
JL: I am then blest and lucky and honored to say for the commencement time in my life, theater is my paying total time job. We have an amazing Lath and a fundraising team
ASR: What are your interests outside of theater?
JL: Writing, being with my kids, exercising, enjoying new restaurants and hiking with my amazing husband. Afterward 31 years together, I still really like him—and I am writing this after three weeks of seeing basically simply him!)
ASR: Do you follow other arts—music, film, dance, painting/sculpture? Do y'all pursue any other arts apart from theater?
JL: For about x years I wrote wrote wrote, and had a few things published.
ASR: You lot accept the opportunity to create a 30-minute TV series. What'due south information technology chosen and what's the premise?
JL: "Whine Land"—I was a wine country tour guide for six years, creating private trips: lots of bridesmaids, rich rich people, anniversaries. The company I worked for had a division of drivers who picked up people at different hotels for group tours … I take ever wanted to do a series based on the Television receiver show "Taxi," where each episode starts with all of u.s. at the station, picking up our vehicles, and and so each private episode would follow a different charter driver and guests. There are so many stories I could tell!
ASR: What three songs are included on the soundtrack to your life? And why each?
JL: "Oh, What a Cute Morning" from "Oklahoma," "Walking on Sunshine" by Katrina and the Waves, and "When You See a Chance," past Steve Winwood.
My first musical was Oklahoma in 9th grade and I had a huge vanquish on the guy who played Curly and I tin still become butterflies in my stomach picturing him walking out on our stage singing the first few notes.
"Walking on Sunshine"—I lived in Helena, Montana for a few years after NYC, and I had this fun little moped that I would ride to the Grand Street Theater, listening to my Sony Walkman and playing that vocal total blast riding up and downward hills!!
"When You See a Chance"—I first heard information technology by going through my roomie's records and throwing it on the turntable. When that vocal came on information technology only leapt out at me, I never forgot that moment when lyrics grabbed me like that. It was my grab-a-hairbrush-as-a-microphone-and-stand-on-the-bed vocal!
ASR: Theater people ofttimes pride themselves on "taking risks" — take you whatever interest in truthful chance taking, such equally stone climbing, shark diving, bungee jumping, skydiving?
JL: Absolutely not.
-30-
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: barry.1000.willis@gmail.com.
Director Michael Ross persuaded Sonoma Arts Alive to shoehorn this charming musical in between their regular season productions. Lucky for them that he did. This show at the Rotary Phase in Andrews Hall, Sonoma Community Center, scheduled to run until March 8, 2020, has just been extended to March 15, with a few Thursday night performances added likewise. At that place must be a reason!
"Daddy Long Legs" is the story of Jerusha Abbott (enacted by the lovely songbird Madison Genovese), a young orphan woman given an extraordinary souvenir of college tuition by an anonymous benefactor, Jervis Pendleton. She glimpses the tall donor (a solid function by Mischa Stephens) from a distance as he departs, casting a long shadow she tags to give the bear witness's name.
Her merely duty to this silent sponsor is to write a monthly letter of the alphabet chronicling her progress. It'southward a one-way communication, lending Jerusha to provide both the required data and a healthy dose of imagination and curiosity in her messages.
Count on the plot lines of … Cinderella beloved stories for (a) satisfying ending…
Equally the years laissez passer, "Daddy Long Legs" becomes more than enthralled with Jerusha's engaging letters. He concocts a plan to driblet into her life to run into for himself the shy young lady who spins such enthralling stories. Although he keeps his true place hidden from Jerusha, Daddy Long Legs is inadvertently captured in her spider web of words.
The plot is engaging and the voices seamlessly matched between Genovese and Stephens. The split up-level stage designed past Koitney Carson cleverly does double duty as the benefactor'south study and the paw-me-down feel of the orphanage and college dorm.
When a potential suitor emerges in Jerusha'south life, Mr. Pendleton finds himself struggling whether to reveal his identity and his attraction to her. Count on the plot lines of countless Cinderella love stories for an expected and satisfying ending to "Daddy Long Legs."
The three-piece band of piano, cello, and guitar is located in front of the phase, on the seating level with the audition. The music's book made information technology very difficult to hear the lyrics or fully enjoy the beautifully matched voices of Genovese and Stephens.
ASR Editor Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.
| Production | Daddy Long Legs |
|---|---|
| Written by | Music and Lyrics by Paul Gordon Book by John Caird |
| Directed by | Michael Ross |
| Producing Company | Sonoma Arts Alive |
| Product Dates | Thursdays thru Sundays until March 15th |
| Production Address | Rotary Stage: Andrews Hall, Sonoma Community Center 276 Due east. Napa Street, Sonoma |
| Website | www.sonomaartslive.org |
| Telephone | (866) 710-8942 |
| Tickets | $25 – $42 |
| Reviewer Score | Max in each category is 5/5 |
| Overall | 4/five |
| Performance | 4.5/five |
| Script | four/five |
| Stagecraft | iv/5 |
| Aisle Seat Review Pick? | YES! |
Better tardily than never, the old adage has it. Here (in no particular club) are some memorable productions from last season, a year full of 4- and five-star achievements.
The Jungle (Curran Theatre) : San Francisco'due south renovated Curran Theatre was re-renovated for an immersive recreation of a 2016 crunch in a refugee camp in Calais, France. A huge and hugely talented multi-ethnic cast made this show last season's near profound and moving theatrical feel. (BW)
Subsequently Miss Julie (Main Phase West): Ilana Niernberger and Sam Coughlin paired up for a thrilling pas de deux in Patrick Marber's evocative spin on "Miss Julie," transplanting Strindberg's classic story to a summer night in 1945. A stunning set, corking lighting, and white-hot performances brought class and erotic tensions to a eddy, culminating in a seriously steamy tango scene that won't be soon forgotten. (NS)
Rocky Horror Show (Marin Musical Theatre Company): MMTC took this Halloween favorite far over the top at the San Anselmo Playhouse, thanks to stunning efforts by Jake Gale, Nelson Chocolate-brown, Dani Innocenti-Beem, Pearl Fugit and many others. (BW)
Charcoal-broil Apocalypse (Spreckels): The laughs were served well-done in this quirky comedy, thank you to a witty script marinated in millennial-axial humor and a talented ensemble. Clever costumes, strong technical work, and excellent casting proved that all it takes to survive the end of days is a little raccoon meat and some serious comic relief. (NS)
Romeo and Juliet (Throckmorton) : Mill Valley'due south Throckmorton Theatre and the streets effectually it became Verona, Italy, in a sweetly evocative, imaginative, and fully immersive product of Shakespeare's timeless tragedy. (BW)
Sex with Strangers (Left Edge Theatre): Left Edge Theatre turned up the heat in "Sexual activity with Strangers," a seductive modern romance that broaches big questions near honey, ambition, and the price of success in the digital era. Dean Linnard and Sandra Ish brought the story's unlikely couple to life with electric chemical science and powerful, nuanced performances. (NS)
Incidents in the Wicked Life of Moll Flanders (Ross Valley Players): RVP gambled and won with Jennifer LeBlanc'due south adaptation of Daniel Defoe's 1722 novel. Amber Collins Crane stole the show as the lead in a compelling tale about a beautiful, quick-witted woman who rose from miserable circumstances to respectability through little criminal offence, stealth, charm, and unusually expert luck. (BW)
Drumming with Anubis (Left Edge Theatre): Left Edge Theatre invited u.s.a. along to the Neo-Heathen Male person Bonding and Drumming Society'south annual campout, where a group of aging death metallic fans communes in the desert to shell their bongos. Things got a fiddling dark, a lot hilarious, and surprisingly touching when the Egyptian god of death crashed the party. Local playwright David Templeton'south brilliant new show earned a 5-star reception, featuring a phenomenal bandage and cute scenic design. (NS)
How I Learned What I Learned (Marin Theatre Visitor): Director Margo Hall coaxed a tremendous performance from Steven Anthony Jones, who brought grandfatherly wit and wisdom to the role of playwright August Wilson. A chief form in story-telling. (BW)
Faceless (6th Street Playhouse): Former artistic director Craig A. Miller returned to helm this riveting courtroom drama nearly an American teenager defenseless running away to join her net beau in ISIS. Razor-sharp dialogue and powerhouse performances made for an intense and memorable experience in half dozenthursday Street'south intimate studio theater. (NS)
The Year of Magical Thinking (Aurora Theatre Visitor): Stacy Ross glowed in a masterly solo recital of Joan Didion'south play from her book of the same name. (BW)
Home (Berkeley Repertory Theatre): In this stunning piece of operation art by Geoff Sobelle, audiences watched a ii-story house materialize from the shadows of an empty stage equally if by magic. A spectacle of ballsy proportions, this visual feast reminded theatergoers that a house is just a space in which we come up together to make a home. (NS)
Fully Committed (6th Street Playhouse) : Patrick Varner channeled 40-some characters in his hilarious one-human being depiction of a scheduling manager at his wits' finish in a loftier-end NYC restaurant, at Santa Rosa's 6thursday Street Playhouse. (BW)
Merman'southward Apprentice (Sonoma Arts Alive): Daniela Innocenti-Beem brought Broadway legend Ethel Merman dorsum to the stage with a larger-than-life performance in this sparkling globe premiere, brimming with catchy tunes and colorful humor. Innocenti-Beem and teenaged costar Emma Sutherland avowal some serious pipes, which made this charming new musical all the more than fun. (NS)
Mother of the Maid (Marin Theatre Company ): A mother'south beloved and devotion were never so well depicted as in this lovely, heart-rending piece about Joan of Arc's female parent Isabelle (Sherman Fracher). (BW)
Eureka Solar day (Spreckels): Laughter proved contagious in Jonathan Spector's whip-smart "Eureka Day," pitting parents at a Berkeley charter school against each other in the wake of a mumps outbreak. An all-star cast, elaborate set blueprint, and pinnacle-notch technical piece of work combined to brand this a 5-star product. (NS)
Cabaret (San Francisco Playhouse and Napa's Lucky Penny Productions): Both of these productions were splendid and astonishing versions of this dazzling only starkly disturbing cautionary tale. (BW)
Miss Bennet: Christmas at Pemberley (Spreckels): Theatergoers were dazzled past this cleverly written and superbly acted continuation of Jane Austen's belovedPride and Prejudice, containing everything an Austenesque story should: succulent drama, a heartwarming romance, and an affluence of humor and wit.Pitch-perfect direction and exemplary casting fabricated "Miss Bennet" the ultimate holiday treat. (NS)
Harry Potter and the Cursed Child (Curran Theatre): Nonstop high-intensity theatrical magic is the just way to depict this improvident product, running into side by side July. (BW)
A Gentleman's Guide to Love and Murder (Spreckels): Hilarity ensued in this madcap musical about a man clawing his way to the top of the family unit tree. Tim Setzer stole the show equally all nine members of the D'Ysquith family, all of whom meet their ends in some of the near creative and comical means imaginable. Excellent ensemble work, cute choreography, and clever projections made this one killer production. (NS)
Barry Willis is the Executive Editor at Aisle Seat Review, a fellow member of the American Theatre Critics Clan, and president of the San Francisco Bay Expanse Theatre Critics Circle. Contact: barry.m.willis@gmail.com
Nicole Singley is a Senior Contributing Author and Editor at Alley Seat Review and a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County's Marquee Theater Journalists Clan, and the American Theatre Critics Association.
This is the heart-warming story of Ralphie, the nine-year old boy who desperately wants a Red Ryder BB gun for Christmas and fantasizes how to convince his parents and Santa to grant his wish.This stage play adds musical pieces to heighten the cornball and classic one-act, without losing the original'southward momentum or warmth.
Larry Williams directs, or more accurately corrals, about a dozen kids and a handful of adults from many Bay Area theatres to nowadays this show. It's an amazing undertaking that overflows the pocket-size Sonoma Arts Alive stage with youthful free energy and authenticity. It's a proficient thing Williams is a veteran actor and director. He knows how to become the best performances out of a large cast of 21 various ages who act, sing, and dance.
Worth the effort for this holiday care for!
Ralphie, acted and sung past Tuolumne Bunter, is a standout. This 10-year old'south gestures and facial expressions are far across his years. The program notes he cut off eighteen inches of his pilus to play the function…quite the sacrifice!
Where did these youngsters get their talent? Little brother Randy, played by Joseph Atchley, is so tiny he hides beneath the kitchen sink, to the neat entertainment of the audience. In that location'due south a bully (perfectly cast in Ty Schoeningh) and his sidekick (Mario Alioto) who terrorize the other kids from their class. Every costumed youth stays solidly in graphic symbol to evangelize actuality, and pure enjoyment for the audience.
Their teacher Miss Shields (Scharypearl Fugitt) gives an over-the-height operation as a lovesick spinster, including a tap dance with young Mario Alioto. She has the audience chuckling as she sings "Y'all'll Shoot Your Middle Out," the phrase adults employ to thwart Ralphie's wish.
Ralphie has an adult alter ego who narrates the youngster'south ever-hopeful story in flashback. George Bereschik does an beauteous task in his task providing the glue to hold the scenes together. The cast's adults, including Morgan Harrington and Rick Dear (as Mom and "The Old Man") had their work cutting out for them lest they be upstaged by the many talented wunderkinds.
"A Christmas Story" is suitable for all ages, and especially youngsters who may not exist familiar with live theatre. You may have to hustle to get tickets every bit the evidence is a winner and the theatre is minor. Worth the try for this holiday care for!
ASR Editor Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin Canton.
| Product | A Christmas Story – The Musical |
|---|---|
| Written past | Joseph Robinette, based on Jean Shepard'south book |
| Directed by | Larry Williams |
| Producing Company | Sonoma Arts Live |
| Production Dates | Thursdays thru Sundays until Dec 22, 2019 |
| Product Address | Rotary Stage: Andrews Hall, Sonoma Community Center 276 Due east. Napa Street, Sonoma |
| Website | world wide web.sonomaartslive.org |
| Telephone | (866) 710-8942 |
| Tickets | $25 – $42 |
| Reviewer Score | Max in each category is 5/v |
| Overall | 5/5 |
| Operation | five/v |
| Script | v/v |
| Stagecraft | 4/five |
| Aisle Seat Review Pick? | YES! |
A young daughter with stars in her optics goes on the trip of a lifetime, and takes the audience with her, in "Merman's Apprentice," at Sonoma Arts Live through October 13.
It'due south New York, 1970. Broadway legend Ethel Merman (Daniela Innocenti-Beem) is enjoying the zenith of her long career when into her life comes Muriel Plakenstein (Emma Sutherland), a 12-year-onetime runaway whose big dream is to be a Broadway star like Merman, her idol. Muriel happens to know everything about Ethel Merman, including every song she ever sang and obscure details of shows that ran decades before. An obsessive who will find fulfillment only in absorbing everything-Mermanesque, Muriel gets her wish, and in doing and so fills a huge gap in Merman'due south life.
The adult woman and the runaway form an almost-instant bail, reinforced early in the kickoff act by the joyfully infectious song "Chums," one that sets the emotional tone for the entire production. Innocenti-Beem is astonishing as mentor/fairy godmother to a goofy talented girl with unmarried-minded devotion toward condign the side by side Ethel, as is 17-year-old Sutherland in conveying the innocence, enthusiasm, and vulnerability of adolescence. Playing younger is difficult for all performers, and Sutherland does it perfectly. Equally the story progresses, Muriel meets legendary musical theater impresario David Merrick (Patrick Barr), enjoys performances at the St. James Theatre, and dinners-and-drinkfests at Sardi's. She also becomes Merman'due south permanent house guest. Stars in her optics, indeed.
Part fable, office fairy tale, and all heart, . . . a show that will please theater fans of all varieties and ages."
Playwright and lyricist Stephen Cole was a close friend of the real Ethel Merman in her later years and captures her signature snappy repartee perfectly. Innocenti-Beem, a huge-voiced stalwart of North Bay musical theater, has often been compared to Merman, including her penchant for improvisational off-colour humor. When Cole met Innocenti-Beem for the weeks-long refinement procedure that rendered this show, he declared her "more than Ethel than Ethel was," echoing what local critics have been saying for years. She soars in "Listen to the Trumpet Call" belatedly in the first act. One of Innocenti-Beem'due south "Apprentice" costumes is the spectacular scarlet dress she wore in a recent product of "Hello, Dolly," a Merman signature role.
Cole's musical collaborator David Evans has cooked up a couple dozen tunes that evoke the glory days of big advised Broadway musicals. "Apprentice" is prepare in 1970 only it references an earlier, more innocent age—there's no hint of the Vietnam War or the growing protestation movement, nor of the era'southward incendiary black radicalism. It's as if 1955 were forever trapped in bister, merely the music is tremendous, delivered by an ace seven-piece band under the direction of Sherrill Peterson. The songs all clearly reference blockbuster show tunes from the 1930s into the '60s. The finale seems to quote "Comedy This evening," the lead song from "A Funny Affair Happened on the Manner to the Forum."
Directors Larry Williams and Jaime Weisen Love have done something magical in bringing a production of this scale to the Rotary Stage. The large ensemble does an admirable job with Lissa Ferreira'south choreography on an impressive set by Gary Gonser, now recovering from a recent medical emergency. (Get healthy, Gary!) Sean O'Brien and Julia Holsworth are outstanding amongst the ensemble in their roles of Pop and Mom, respectively. Holsworth's apartment-footed shuffle is especially funny. The only existent quibble with this globe premiere is that the starting time act may exist a bit overlong and the 2nd deed too curt. It'southward as if the second act needs one more song to residuum the product. Cole and Evans can certainly supply this before the bear witness goes to Broadway, every bit seems inevitable.
"Merman'south Amateur" is a huge unabashed exercise in nostalgia. Part fable, part fairy tale, and all heart, information technology's a evidence that will delight theater fans of all varieties and ages. The show and its stars are destined for much broader horizons, so catch it while you tin.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circumvolve.
| Product | Merman's Amateur |
|---|---|
| Written by | Volume and Lyrics past Stephen Cole; Music past David Evans |
| Directed by | Jaime Weiser Beloved and Larry Williams |
| Producing Visitor | Sonoma Arts Live |
| Production Dates | Through October 13th |
| Production Address | Rotary Stage: Andrews Hall, Sonoma Customs Centre 276 E. Napa Street, Sonoma |
| Website | www.sonomaartslive.org |
| Telephone | (866) 710-8942 |
| Tickets | $25 – $42 |
| Reviewer Score | Max in each category is 5/five |
| Overall | 4/five |
| Performance | 4.5/five |
| Script | 4/5 |
| Stagecraft | 4/v |
| Alley Seat Review Option? | YES! |
In a assuming move, Sonoma Arts Live removed 12 seats from the flooring of their narrow theatre to brand space for a London street scene. As the firm lights go down, a certain cockney blossom girl mingles with other back-alley workers awaiting the evening swells in tuxes and pinnacle hats. Scruffy Eliza Doolittle crosses paths with Professor Henry Higgins, and thus begins the delightful story of "My Fair Lady". This energetic and rousing accommodation of the famed movie and stage musical past Lerner and Loewe is playing on the Rotary Phase at Andrews Hall in the Sonoma Community Center through July 28th.
Michael Ross directs an incredibly outsize production in this small and intimate theater. If you sit in the front row, you lot'd best pull in your legs as the loftier-stepping dancers rush by. The seven-piece orchestra, directed by F. James Raasch, is completely hidden backside the raised stage, opulently busy as a two-story English drawing room with gramophone and fireplace.
Impish Sarah Wintermeyer reveals her aureate singing vox and sweet face to create an irresistible Eliza. What talent!
When Eliza, a yowling flower daughter, comes to telephone call seeking language lessons, the game is on. Larry Williams brings along arrogant Professor Higgins with a much ameliorate voice than King Harrison ever didn't have. He and Colonel Pickering, a well-cast Chad Yarish, brand a wager that the dirty, lowly street urchin could be transformed to pass as a real lady in half-dozen months if she just learned to speak as one.
And the flower daughter? Impish Sarah Wintermeyer reveals her gilded singing vox and a sweetness face to create an irresistible Eliza. What talent! Earlier our eyes, she transforms from a sooty guttersnipe into an elegant lady, dressed for the brawl. Cinderella could accept lessons from her.
Speaking of dressing, Barbara McFadden'south costumes are a real treat, from garbage men and serving maids to elegant grey Ascot tuxes and outsize flowered hats. Simply marvelous!
Several of the 12 actors fill multiple roles, and all sing and movement in a smooth-flowing ensemble. A large favorite is Tim Setzer, who seems born for his hilarious role equally Alfred P. Doolittle. His knockout songs "With a Little Bit of Luck" and "Become Me to the Church on Time" bring the business firm down. Ryan Hook shows a fine tenor voice when he croons "On the Street Where You Alive" at Eliza's doorway.
Executive Artistic Producer Jaime Dearest notes "We are thrilled to close our 2019 season with this timeless and iconic archetype." The entire family volition savour this oversize production on this undersize phase.
ASR Reviewer Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Customs Newspapers throughout Marin County.
| Production | My Fair Lady! |
|---|---|
| Written by | Book by Alan Jay Lerner. Music and Lyrics past Lerner & Frederick Loewe. |
| Directed by | Michael Ross |
| Producing Company | Sonoma Arts Live |
| Production Dates | Thru July 28th |
| Production Address | Rotary Stage: Andrews Hall, Sonoma Community Heart 276 East. Napa Street, Sonoma |
| Website | www.sonomaartslive.org |
| Telephone | 866-710-8942 |
| Tickets | $25 – $40 |
| Reviewer Score | Max in each category is 5/five |
| Overall | v/v |
| Operation | 5/v |
| Script | 5/five |
| Stagecraft | 5/v |
| Aisle Seat Review Choice? | YES! |
Michael Stewart'due south and Jerry Herman's archetype American musical "Hello, Dolly" is enjoying a delightful revival at Sonoma Arts Live in the town of Sonoma, through October 21.
Starring Dani Innocenti-Beem as Dolly Gallagher Levi, the widowed yenta suprema of New York City and surround, the show is a feel-skillful piece of Americana. In some ways "Dolly" is the companion piece to Meredith Willson's "The Music Man"—the 2 are prepare in the aforementioned era and share the sort of gentle sense of humor that pokes fun at characters and circumstances without subjecting them to barbarous ridicule.
Dolly is the story's fairy godmother character—she propels all the activity with constant well-intended intervention in the diplomacy of others, but doesn't accept much of a character arc of her own. The lead role gives Innocenti-Beem many of the show'due south best songs—including the center-rending "Earlier the Parade Passes By"—and almost of its funny lines, at least a few of them advertising-libs on the part of the irrepressibly funny extra-vocalizer.
Overall, this "Dolly" is beautifully done, with enormous energy from the cast and spectacular costumes…
The mannerly Tim Setzer shines in the role of Horace Vandergelder, a wealthy merchant in need of a wife. Dolly'southward persuasive powers convince him that his quest will be fulfilled in New York, and when he goes into the city from Yonkers his ii inept clerks Cornelius and Barnaby (Michael Scott Wells and Lorenzo Alviso, respectively) follow him. In the city, the penniless fools pretend to be rich in the hope of meeting girls.
Much comic confusion ensues but cheers to Dolly they go their wish—a lid shop possessor named Irene Molloy (Danielle DeBow) and her assistant Minnie (ScharyPearl Fugitt). And so does Vandergelder, who ultimately lands non the widowed heiress he had anticipated, but the matchmaker herself.
With a huge nineteen-fellow member cast, the testify is both romantic comedy with multiple couplings and a comedic free-for-all with plenty of big product numbers that may not do much to propel the plot but offer plenty of entertainment value. Tardily in the show, existent-life hubby-and-wife Wells and DeBow perform a sweetness duet made more meaningful by their obvious honey for each other. It's a moment that will prompt tears from fifty-fifty the about cynical viewers.
Overall, this "Dolly" is beautifully done, with enormous free energy from the bandage and spectacular costumes by Janis Snyder. Opening night was marred by technical glitches with the sound. We've been bodacious by multiple sources that these bug have been solved, and that the results are exemplary. Why this wasn't done during technical rehearsals is a mystery, only it's good to know that for the remainder of its run this show volition exist delivered at the loftier level it deserves.
ASR Theatre Section Editor and Senior Contributor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circumvolve.
| Production | My Off-white Lady! |
|---|---|
| Written by | Book by Alan Jay Lerner. Music and Lyrics by Lerner & Frederick Loewe. |
| Directed by | Michael Ross |
| Producing Company | Sonoma Arts Live |
| Production Dates | Thru July 28th |
| Production Accost | Rotary Phase: Andrews Hall, Sonoma Community Center 276 Due east. Napa Street, Sonoma |
| Website | www.sonomaartslive.org |
| Telephone | 866-710-8942 |
| Tickets | $25 – $twoscore |
| Reviewer Score | Max in each category is 5/5 |
| Overall | v/v |
| Functioning | v/v |
| Script | v/5 |
| Stagecraft | 5/5 |
| Aisle Seat Review Pick? | YES! |
Patsy Cline's meteoric career encompassed many firsts: first woman to be inducted into the Country Music Hall of Fame, first to tour as a lead act, get-go to headline in Las Vegas, first female country singer to perform at Carnegie Hall.
This all happened within the short bridge of 6 years: from her debut in 1957 until her 1963 expiry in an airplane crash at the age of 30. Nosotros tin can only speculate most what she might have accomplished had she survived. Even and then, her glorious honey-toned voice and prodigious output of archetype country and popular songs earned her permanence in the pantheon of American music.
She has been widely imitated but never equaled, only Danielle DeBow gets as shut as is perhaps humanly possible in "Always, Patsy Cline" at Sonoma Arts Live through July 29. A play-with-music about Cline'south enduring friendship with a fan named Louise Seger (the fantastic Karen Pinomaki), the story follows from their meeting at a honky-tonk order in Houston, through Cline's career until her untimely death at the age of thirty.
"Always, Patsy Cline" is as most-perfect a product equally tin can be imagined. It'southward an absolute must-see.
Playwright Ted Swindley developed the piece from letters between the ii. In that sense it is the truest of true stories and an abiding celebration of the power of deep friendship. It's also hilariously funny. The intensely blithe Pinomaki is absolutely convincing as both rabid fan and self-deprecating Texan.
She propels the narrative while DeBow melts the audience with Cline's heart-wrenching songs, backed by the superb onstage Bodacious Bobcat Band and a iv-human group appearing equally The Jordanaires, legendary background singers who performed with Elvis Presley, among others. The ideally-cast and totally harmonious foursome include phase veterans Sean O"Brien, F. James Raasch, Michael Scott Wells, and Ted von Pohle.
Manager Michael Ross (who likewise handled costume design and shared set pattern with Theo Bridant) has put together a testify that is far beyond the very high level of performance that Bay Area theater fans have grown to expect. The pity is that it closes later an unjustifiably brusk run. With the wine country tourist flavor in full flower, this bear witness could run all summer long to sold-out houses. It's that good.
'Ever, Patsy Cline' is as near-perfect a production as tin be imagined. Information technology's an absolute must-see.
ASR Theater Section Editor and Senior Correspondent Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theater Critics Circle.
| Production | My Fair Lady! |
|---|---|
| Written past | Book by Alan Jay Lerner. Music and Lyrics by Lerner & Frederick Loewe. |
| Directed by | Michael Ross |
| Producing Visitor | Sonoma Arts Live |
| Production Dates | Thru July 28th |
| Production Address | Rotary Stage: Andrews Hall, Sonoma Community Centre 276 E. Napa Street, Sonoma |
| Website | www.sonomaartslive.org |
| Telephone | 866-710-8942 |
| Tickets | $25 – $40 |
| Reviewer Score | Max in each category is 5/five |
| Overall | 5/5 |
| Performance | 5/v |
| Script | 5/5 |
| Stagecraft | 5/5 |
| Aisle Seat Review Selection? | Yep! |
Adapted from the stories of popular 20th-century humorist P.1000. Wodehouse, "Jeeves Intervenes" brings lovable playboy Bertie Wooster and his ever-sensible manservant to the stage for new adventures in London's 1920s haut monde. Paying homage to Wodehouse'south keen power for satire, Margaret Raether's script takes comedic aim at England'southward strait-laced elite, weaving an entertaining spider web of elaborate scheming, pretense, and old-fashioned farce. The Sonoma Arts Alive product, playing now through May 27th, is good for a few big laughs and an evening of light-hearted fare.
Bertie (Delaney Brummé) enjoys a life of leisurely bachelorhood, relying on his aunt'south financial support and loyal valet Jeeves (the excellent Randy St. Jean) to continue him out of constant trouble. When domineering Aunt Agatha (Jennie Brick) comes to town with plans to pressure Bertie into marriage, information technology's up to quick-thinking Jeeves to rescue his charge from the unwanted union with up-and-coming socialite Gertie (Libby Oberlin).
Meanwhile, Bertie's quondam schoolhouse mate Eustace, aka "Bassy" (Nick Moore), is dreading the inflow of a disapproving uncle who intends to ship him off to a job in India. Having never worked a day in his life – and desperately hoping to modify his overbearing benefactor's mind – Bassy must convince Sir Rupert (Larry Williams) that he's built a suitable life for himself in London. (Spoiler warning: he hasn't.)
Can unmeant Bassy escape a life of labor abroad without lifting a finger or losing his allowance? Is our steadfast bachelor doomed to go through life every bit the unpalatable "Bertie and Gertie?" Cue the shenanigans and enter Jeeves to salve the day. Charade multiplies, new love blossoms, sparks fly, and old flames reignite as our clever hero works his magic behind the scenes.
St. Jean carries the show with his levelheaded demeanor, reserved sarcasm, and efficacious intonation. He is the moving-picture show of a proper gentleman's gentleman, charming the audience with his dry wit and subtle, all-knowing expressions. Moore's Bassy is marked by an appropriate air of highfalutin laziness and clumsy tomfoolery, which earns some laughs and helps to sell his character. Oberlin is a good fit for debutante Gertie, with a winning smile and youthful exuberance well suited to the task of whipping wayward young men into betrothed shape.
Brick and Williams are competent in their roles, though more believable as meddling relatives than one-time paramours. A lack of chemistry lessens the excitement we want to experience for their romance. Brummé's otherwise able operation is regrettably overshadowed by a jarring vocal gimmick, which oversteps the boundary betwixt funny and obnoxious and, at times, obscures the actor's lines. Smashing into a shrill pitch with awkward regularity, his delivery feels more appropriate for a pubescent schoolboy than a suave womanizer in high social club. It'southward an unfortunate distraction from Raether's witty dialogue, but the physicality of the comedy is frequently enough to overcome any defoliation about what's happening on-stage.
The production is enhanced past Carl Jordan'south colorful set and Moira McGovern's menstruum-appropriate musical selections. Eric Jackson's costumes are by and large a hitting, though Gertie's outfits often (and perchance deliberately) upstage the other characters'.
Despite its faults, the show evokes a pleasant nostalgia for eras past with its slapstick humor and whimsical characters. The mischief concludes with the satisfaction of a happy ending, all thanks, of course, to the intervention of our hero.
Nicole Singley is a Contributor to Aisle Seat Review.
"Jeeves Intervenes" by Margaret Raether, adjusted from the works of P.One thousand. Wodehouse
Sonoma Arts Live
Rotary Stage in Andrews Hall at the Sonoma Community Center, 276 E Napa St, Sonoma, CA 95476
Through May 27, 2018
Tickets: $22—$37
Info: 866-710-8942, www.sonomaartslive.org
Rating: Three out of 5 Stars
@@@@@ @@@@@ @@@@@
A.R. Gurney'south "The Dining Room" is an insider'due south gentle spoof of upper-middle-class White Anglo-Saxon Protestants (WASPs) of the northeastern United states, the dominant culture in this state throughout the 20th century. Morals, assumptions, beliefs, values, and behaviors all get fully and sometimes hilariously examined in the play's two hours, the entirety of which takes place in the dining room of one stately home, in overlapping scenes that bridge several generations and decades.
It's too a challenging exercise for actors required to play characters of wildly divergent ages: older actors portraying children, for instance, or younger ones playing the elderly.
This can be a bit of a stretch, as proven in the current production at Sonoma Arts Alive, directed by Joey Hoeber. With six actors playing multiple roles, some are convincing and others not and then, to the extent that it may be uncomfortable to sentinel. Veteran actor Kit Grimm is at his finest portraying a couple of curmudgeonly grandfathers, merely not conceivable every bit a six-year-old at a altogether party. Trevor Hoffman is outstanding playing an almost age-appropriate teenager, while Rhonda Guaraglia is non. She's much better as Aunt Harriet, showing her college-age son what proper dining etiquette and paraphernalia are all about.
The dining room in question is elegantly and convincingly recreated on a raised phase by set designer Bruce Lackovic, and well used past a parade of faux New Englanders including a pushy realtor, a philandering married couple, a Boston handyman, a Freudian psychiatrist, an builder, and parents and children of all ages. The opening act at SAL is marred by some unevenness but redeemed by a smoothly performed and heartwarming 2d human action.
"The Dining Room" is more than a gentle spoof. It's too a love song and fond adieu to a manner of life slowly but inexorably vanishing. In this, the Sonoma Arts bandage succeeds in getting it right.
Barry Willis is a Senior Writer/Editor at Alley Seat Review. He is also a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.
A.R. Gurney'southward "The Dining Room," directed by Joey Hoeber
Through February 4, 2018
Sonoma Arts Live
Rotary Phase, Andrews Hall, Sonoma Community Centre
276 E. Napa Street
Sonoma CA 95476
Info: sonomaartslive.org Tel: 866-710-8942
Rating: Iii out of 5 Stars
***** ***** ***** ***** *****
Source: https://aisleseatreview.com/tag/sonoma-arts-live/
0 Response to "Comedy Without Borders Review Toward a Multi Ethnic Humor"
Post a Comment