Saturday, November 17, 2012


Academy Award winning director Stephen Spielberg, and Pulitzer Prize winning author/playwright Tony Kushner, along with Hollywood actor Daniel Day Lewis, have teamed up to bring the myth and legend of Abraham Lincoln, America’s sixteenth president into sharper and a much narrower focus than any movie has done before.
It’s not easy rewriting “accepted historical facts” about an individual who is revered the world over.  Cliché’s, however, have a way of hardening over time; becoming the accepted “truth”.  The Lincoln story, over the years, has usually covered his life set against the tumult and backdrop of the Civil War, with over 600,000 dead as its legacy, and its many assassination conspiracy theories as plot sources for books, plays, and movies.      
To his credit, screenwriter Kushner eschews the obvious pathway and together with director Spielberg, have fashioned a brilliant and insightful script, illuminating the rough and tumble of 1860 politics, which eerily reflects the gridlock and entrenched positions of 2012 America.  It appears we haven’t learned very much over the last one hundred and fifty years about governance (except for a timeout during WW II).
The story covers only a short period in Lincoln’s presidency – the last four months of his life.  In Spielberg’s “Lincoln” the Great Emancipator, is brilliantly and intelligently played by English actor Daniel Day Lewis, who delivers one of the most poignant, and understated performances, practically guaranteeing a Best Actor Oscar nomination in the process (if not a win).  He morphs into the role of Lincoln with such ease and credibility one forgets we’re watching an actor playing a very familiar historical figure.  Lewis delivers a constant series of sublime cinema moments adding up to a stunning performance.
The core story issue of slavery and it’s abolition via the passage of the U.S. Constitution’s Thirteenth Amendment, is the stuff of great drama, and the focus of Kushner’s script.  Also, he had quality help, in the form of Pulitzer Prize winning author Doris Kearns Goodwin, when it came time for background research on his Lincoln story.  Despite the controversy and seriousness of the issues.  Kushner still makes room for a little humor, allowing the politicians (all white males) to bluster and posture; generally making fools of themselves, in the process.  The film is blessed with a plethora of talented actors not the least of which is, America’s favorite flying nun Sally Field, who renders a fully developed political First Lady as Mary Todd Lincoln.  She may be a classic study of a woman struggling with depression, but she still remembers how to cut off the legs of a political opponent at a state ball.  Just ask Tommy Lee Jones, the target in her crosshairs, as congressman Thaddeus Stevens, the champion of the abolitionist cause.  His craggy countenance and irascible portrayal as Stevens just may bring him another Best Support Oscar nomination.
The film has over 145 speaking roles and the entire cast is filled with journeyman actors, stars, and newcomers who deliver very winning and indelible impressions.  David Strathairn as Secretary of State Seward brings a strong and intelligent performance to the president’s cause.  It’s practically a co-starring role.  Hal Holbrook also renders a lasting impression as Preston Blair, a champion for a peace treaty between the warring factions.  James Spader, John Hawkes (who stars with Helen Hunt in the newly released film “The Sessions”), and Jackie Earle Haley have featured roles as the “gang of three”.  They’re charged with rounding up the necessary congressional votes in order to pass the president’s plan to end slavery via the Thirteenth Amendment.  And they are pretty creative and inventive in the way they go about their work.   And you thought the 2012 election was “rough and tumble, and down and dirty”.  Their shenanigans, in part, are sort of the on-going comic-relief element in an otherwise somber and life altering period in the country’s history.  Also, Gloria Reuben brings a quiet dignity and grace to her performance as Elizabeth Keckley, a friend of First Lady Mary Todd Lincoln.
Enough, however, cannot be said about the performance of Daniel Day Lewis.  His Lincoln portrayal will change your impressions of Abraham Lincoln, the man you thought you knew.  No matter one’s politics, the Spielberg/Kushner film continues to burnish the Lincoln legend and the mystique surrounding the Great Emancipator is still intact.  “Honest Abe” will still be “a man for the ages”.
“Lincoln” opened in southern California on Friday, November 16, 2012.  I attended the screening at the Regal Stadium Nine Theatre, in Palm Springs, CA.  The historical film is going to be a very formidable Oscar contending movie in many categories, come January 2013.  Don’t wait.  See it now.   



Monday, November 5, 2012


Writer/Directors of films, over the last fifty years, have championed and promoted the phrase “personal vision” and/or “auteur”.  Other creative art forms like painting, music, and writing usually are created alone.  Film, however, is a collaborative art form.  Instead of paint, clay, or musical notes, movies are the stuff of dreams accompanied by a story. And, stories have words and images about people or things that move.
Henry Jaglom is an American actor, and a writer/director of sometime quirky and idiosyncratic films that often deal with women’s issues, or subject matter that main- stream writer/directors often eschew.  Jaglom relishes the filmic road less traveled.
He epitomizes the “indie filmmaker”, and often uses his family and friends as actors in his films, occasionally joining the cast himself in order to tell his stories of ordinary people, with not so ordinary problems.  His films are character driven, and entertaining, if one can get on his wavelength.  If not, then a Jaglom film may leave you scratching your head and asking yourself what was it that I just sat through?
“ Just 45 Minutes From Broadway”, now booking into art houses across the country, is a typical Jaglom movie. For starters, Jaglom introduces us to a dysfunctional family of unconventional actors.  A family gathering is the rationale to introduce a new, staid, fiancé (Judd Nelson) of Betsy (Julie Davis) the acting family’s traditionally minded “non pro” older sister, to her show biz family and relatives.  They all gather, over a weekend, at her parents George and Vivien Isaacs’ (Jack Heller and Diane Louise Salinger) crumbling and aging-without-grace, home in a sylvan woodland setting outside New York City.
George is a Chekovian devotee who views and lives his life through the literary lens of Anton Chekov.  Vivien is a larger than life red headed actor/drama queen who is more Auntie Mame-like than a traditional homebound mother.   In the Isaacs’ world the theatre comes first.
Crashing this “announcement party” comes Pandora Isaacs (Tanna Frederick), the younger sister of Betsy who is just getting over a recent breakup, and is now seeking solace and attention.  The sisters have been distant toward one another for some time.  “Pandy”, as the family calls her, is also an actor along the lines of her expansive and over-the-top mother.  Betsy views her family as people who can’t get in touch with reality. 
The weekend provides lots of time for talk, and lots of opportunities to drink lots of wine.  Various family members and relatives, chime in from time to time, occasionally roiling the waters.  Subtly is not always foremost in Jaglom films, so one awaits the obligatory scenes of new fiancé James coming under the spell of Pandy.  Fasten your seat belts, it’s going to be a bumpy weekend once Betsy catches wind of the shenanigans.
Jaglom claims writer credit on the comedy and rightly so, but he also allows his actors, from time to time, to indulge in improv dialogue.  The actors love it.  The audience sometimes finds itself wondering if they missed something along the way.
For all its ennui (very Chekovian, by the way), “Just 45 Seconds From Broadway” has vividly lush photography and richly textured sets and lighting, thanks to cinematographers Hanania Baer and Nancy Schbeiber who ease the pain of some of that ennui.     


Saturday, October 27, 2012


Life is complicated enough under the best of conditions.  There’s no question about that issue.  And if one brings societal issues of trust, loyalty, and/or betrayal into the equation, then life becomes, for some people, extremely uncertain.  It can even get down right nasty in the bargain.   Trust is a sacred compact between people, and when that promise is compromised, life has a way of unraveling for both parties to the implied agreement.
In “Collected Stories”, currently on the stage of the Coachella Valley Repertory’s new  (one-year) comfortable, and cozy 86-seat theatre at the Atrium, in Rancho Mirage, playwright Donald Margulies, intelligently addresses these societal concerns in his perceptive, two-character cautionary tale of writers and literati.    CV Rep artistic director Ron Celona, has sensitively and seamlessly directed the play and its two fabulous female actors, but more about them later.
 Margulies, is a highly respected playwright of some thirty years standing.  He has won the Pulitzer Prize for his play “Dinner With Friends”, as well as the prestigious Lucille Lortel Outstanding off-Broadway play in 2000.  His career is filled with numerous honors and awards for plays both on and off-Broadway.
 In “Collected Stories”, the action revolves around two authors over a six-year period: Ruth Stein (Eileen T’Kaye) a 55 year-old university professor and respected short story writer, and her student/protege Lisa Morrison (Erika Whalen).   In the beginning Ruth has doubts as to the talent and writing chops of her young tutorial pupil, but little by little, Lisa wins Ruth’s loyalty and admiration by sheer dint of hard work and the two women become friends and confidantes over time, with Lisa ending up as Ruth’s assistant.
As their friendship deepens, Ruth, at Lisa’s urging begins to relate incidents and anecdotes about her earlier life.  Ruth ultimately shares details of her love affair with the celebrity poet and writer Delmore Schwartz.  There is an on-going and genuine trust and affection between the two women, until one day Lisa confesses that she has written a collection of short stories without telling Ruth.  She mailed off the manuscript to a publisher, and has just been informed that it is now going to be published.   Ruth reacts as if she has just been kicked in the stomach.  Why, she asks, “didn’t you share the manuscript with me before sending it off?”  As her mentor and friend that would have been the normal course Lisa’s project should have followed.  Ruth is disappointed by Lisa’ behavior, especially since Lisa demurs in her answers and in her evasive rationale.  To Ruth it looks like Lisa is withholding something; thus further straining their now unraveling relationship. 
Sometime later, when the book is published some of the collected stories written by Lisa, are indeed, the stories and incidents related to her by Ruth.   The bond of shared confidences and trust that initially brought the women together now becomes the instrument that shatters their relationship forever.
The dilemma presented by playwright Margulies, to the characters of Ruth and Lisa, is whether another person’s life and events is suitable material for another to use and co-opt in creating a “new truth”?
Which brings me to the incredible performances of Eileen T’Kaye as Ruth, and Erika Whalen as Lisa, as they grapple with Margulies’ basic premise.  First, their onstage chemistry is absolutely palpable.  And as such, they produce moments of sublime craftsmanship that do not compete, but are moments that compliment one another.  Granted, T’Kaye has the showier part, and boy, does she make the most of it.  Her range of emotions stretch from guarded and private, to an openness and acceptance toward her younger protégé, to the feeling of being violated, as well as, being betrayed by the one you trusted.  It’s a terrific riveting performance.
Whalen on the other hand, has the tough assignment of outwardly appearing as the grateful and eager youth “sitting at the feet of the master”, soaking up wisdom and craftsmanship, all the while harboring a hidden agenda.  It reminded me of Anne Baxter’s performance as Eve Harrington and how she studied Bette Davis as Margo Channing, in the film “All About Eve”.  The occupations are different: writers instead of actors.  But the blueprint is similar and just as effective. 
Whalen’s Lisa, and her relationship with T’Kaye’s Ruth is very cleverly drawn by playwright Margulies.  Besides, it’s not easy being duplicitous and ambivalent, but Whalen is so deliciously engaging it’s understandable.  Forget the old lines about Greeks bearing gifts.  Just beware of gorgeous blondes in ski hats and jackets who have literary ambitions.  
CV Rep and play director Ron Celona have gifted us with an evening of theatre at its best, and are about to have a genuine hit on their hands.  Don’t miss it !  “Collected Stories” runs through November 11th.  For reservations and ticket information call 760-296-2966.

Wednesday, October 24, 2012


With stories of every stripe and subject being produced for the musical stage these days, one shouldn’t have to ask “How can they make a musical out of the injustice of interning native-born American citizens into forced relocation camps during WW II?”  Fair question.  The answer is: before you complain or dismiss the effort, go see this powerful and cathartic musical, which is beautifully staged, with triple-threat actors, who sing, who dance, and who also touch the heart.
“Allegiance” is a new American musical inspired by the true-life family experience of actor George Takei (Mr. Sulu of “Star Trek” fame).  Takei, along with his parents and other family members were removed from their Salinas farm in 1942 and were placed in a government internment camp in Heart Mountain, Wyoming.
Following the 1941 Japanese attack on Pearl Harbor, fear and paranoia of all varieties were rampant in the country.  Many American-born and naturalized citizens of Asian decent, and those of Japanese ancestry in particular, from Seattle to San Diego, came under suspicion as people who might give aid and comfort to the enemy.  The government’s remedy to the situation was to remove more than 120,000 citizens from their homes and businesses and place them in “protective custody for their safety” – but far away from the West Coast – in relocation camps ranging all over the country.   Granted it was a traumatic time for the country, but never the less, it was still a shameful act.  And its impact is still being felt by some today.
Set against this historical tableau, Takei, in collaboration with Jay Kuo, who wrote the music and lyrics, and Marc Acito, Jay Juo, and Lorenzo Thione, who wrote the libretto, have fashioned a compelling and poignant story and how it effects an American family before, during and after the war.
“Allegiance”, deftly directed by Canadian Stafford Arima, is somewhat of a memory piece, and as such, is softer and less strident in tone around the edges of its core story than earlier plays that have used racial profiling and social injustice as themes.  Arima is involved, not only as its director he brings a personal and emotional perspective to the production.  Arima’s father, two aunts and an uncle also were interned, but in British Columbia, Canada during WW II.
The story revolves around the Kimura family of Salinas, California.  Life in the San Joaquin Valley of California in 1941 was no different for the Kimura family on their small artichoke farm than for those of their friend’s with small farms, than for any other group of hard-working Californians.  Then, on December 7th everyone’s world changed. “Allegiance”, is an American story of country, of family, and of culture set to music, ranging from stirring to reflective and illuminates how those changes affected a great many people in war-time America.   
What is gratifying for me at least, is to see actors of Asian descent filling 80% of the roles as called for in the script; with Anglo’s filling only Anglo roles.  The cast may not all be Japanese-Americans – Lea Salonga of “Miss Saigon” fame, is Filipino, but is of Asian descent, and her beautiful soprano voice hasn’t diminished a wit in the twenty years since winning her Tony as Kim, in “Miss Saigon”.  All of the principal actors, at some point in the production are required to speak Japanese (Tim Dang, artistic director of East West Players of Los Angeles, take note and check out this show).
As one of the three central characters in the musical: Salonga as Kei Kimura, Telly Leung as young Sammy, and George Takei as Ojii-san and as the older Sammy, do most of the heavy dramatic lifting, and sing with energy and passion.  Even Septuagenarian Takei can carry a tune and sell a song and also understands how to inject humor into a somewhat somber script.  Also, there is strong support from Michael K. Lee as Frankie, a camp resister and activist, who falls in love with Kei, to Allie Trimm as Hannah Campbell, an early love interest for young Sammy, and Paul Nakauchi, as the stoic and principled family patriarch Tatsuo Kimura, and Paolo Montalban as the Japanese American activist Mike Masaoka, promoter of the famous and heroic Japanese American fighting unit known as the “442 Battalion”, and Washington D.C.’s link to the Japanese American community.
The Old Globe has few equals when it comes to using its state-of-the-art technical arsenal to enrich a production.  Director Arima has enlisted a clever creative team to maximize the input and impact of his team led by Donyale Werle as Scenic Designer, Howell Binkley, Lighting Designer, Jonathan Deans Sound Designer, and just the right amount of projection designs by Darrel Maloney. 
Lynne Shankel’s music supervision, arrangements, and orchestration are key in making this uplifting and insightful production come brilliantly and musically alive.  Musical Director Laura Bergquist and Lynne Shankel make a most formidable music team indeed.
“Allegiance” performs on the Donald and Darlene Shiley stage through October 21, 2012  

Monday, October 22, 2012


David Mamet is a brilliant and fearless playwright.  He’s also a playwright who never met or wrote a four-letter word that he didn’t like.  He has always been a playwright of, and for, the people and one who loves to zero in on subjects and situations that less daring and less confident playwrights feel no obligation to tackle.  I’m surprised, however, to learn that a Mamet play has never been performed at The La Jolla Playhouse, one of this country’s premiere Regional Theatres – until now.
Thankfully, Artistic Director Christopher Ashley has remedied that past oversight by directing a wonderfully scathing and corrosive examination and profile of the “American salesman” with his production of “Glengarry Glen Ross” that just opened at the Sheila and Hughes Potiker theatre.
The story and the action take place in a Chicago real estate office in 1983, where a group of salesmen are pitted against one another for more sales in the pursuit of their piece of the American dream. It’s a cold, hard, reality choice to face every day when they come to work.  It’s a case of perform and excel or you’re out on the street at the end of the day. Unfortunately, for them, rules governing the dream are rigged in favor of their managers.  “Glengarry Glen Ross” is a 90-minute gem of a play about power and who’s on top.  It’s also well known for its excessive profanity, but it is also one of America’s great character plays.
Ashley has assembled a wonderfully talented and gifted cast of diverse looking actors, who fit their back-stories to a T.  It’s fascinating to watch this ensemble group of performers who thoroughly understand the playwright’s dramatic intentions and dialogue, which has been referred to over the years as “Mametspeak”.  Translation: it’s vulgar at times (loaded with f-bombs), but always honest, and it’s usually delivered at warp speed.    
Peter Maloney playing Shelly “The Machine” Levene, is the epitome of a Mamet loser.  Once the top dog in the office, now he’s the older, pushed-aside-by-management, also-ran who’s hanging on just to survive.  Maloney’s performance is full of sympathy, desperation, and adrenaline – a potent winning combination for an actor.  Manu Narayan as Richard Roma, explodes onto the stage bristling with confidence and satisfaction at his recent    $90,000 “score” and sale.  However, once his solid sale evaporates, thanks to the inexperience of young and duplicitous office manager and chief torturer of Shelly, John Williamson (JohnnyWu), Roma’s anger and condemnation reach titanic proportions.  One does not want to be on the receiving end of Roma’s withering tirade about incompetence.  It’s an electrifying performance.
James Sutorius portrays disgruntled salesman/instigator/office provocateur Dave Moss, whose suggestion that perhaps, somebody ought to break into the office, steal the best sales leads, then either sell or keep them, and make it look like a burglary which would help everyone – but he keeps suggesting to George Aaronow, (Ray Anthony Thomas), that George has to be the one to do it.  Every business or office in the world has a Dave Moss working somewhere in it.  James Lingk (Jeff Marlow), Roma’s $90K score has a bad case of buyer’s remorse and comes into the office looking for Roma to get his money back.  Fat chance.  We feel for Lingk’s predicament, but the old adage that a fool and his money are soon parted is the inevitable result of what happens when a con man meets a potential customer with little or no sales resistance.  Matt MacNelly, as Baylen, the police detective sent to investigate the burglary rounds out the cast.
Director Ashley’s selection of “Glengarry Glen Ross” as the first Mamet play to be produced at the Playhouse is a solid and relevant one. It’s a revealing and resonating look backward to the 1980’s and the country’s financial woes during that time.  As the saying goes…what goes around, comes around.  It’s now 2012 and since 2008 we’ve been struggling once more with the country’s economy.  Instead of real estate leads we’re now dealing with derivatives, hedge funds, and underwater mortgages.    
The creative team led by Ashley’s personal vision features a clever and functional set design by Todd Rosenthal that includes a restaurant and a real estate office setting.  Lighting by designer David Lander, with costumes by Toni Leslie James, and sound design by David Corsello lend solid technical support to this excellent production.
“Glengarry Glen Ross” runs at the Sheila and Hughes Potiker theatre through October 21st.  Tickets may be obtained by calling 858-550-1010 or go online at .


Friday, October 19, 2012


The San Diego Repertory Theatre, under the leadership of Artistic Director Sam Woodhouse, has never shirked from meeting any controversy head on when it comes to presenting politically charged theatrical material to its audiences.  If the Rep’s productions are provocative and probing, so much the better as long as they’re entertaining, is the way I see it.
"The Exit Interview” written by William Missouri Downs and directed by Woodhouse, is a perfect example of controversy, political theatre, and entertainment coming together in the Lyceum Space, in San Diego.
For starters, the story is a comedic and existential exploration of religion, sex, and politics as viewed through the lens of the establishment or the anti-establishment   depending on your personal point of view.  The play opens with a pep talk to the audience concerning the do’s and don’ts, played by JoAnne Glover and Lisel Gorell-Getz in cheerleader garb, complete with pom-poms, energy and bounce, who then launch into edgy and funny riffs on Religion, Sex, and Politics.  It should be noted at this point, that the production contains strong language and mature themes.  Those who do not have a healthy sense of humor on the above topics may find various moments in the production somewhat offensive.  However, it’s very topical, especially in an election year.  
Our guide through this thorny thicket of words, rules, laws, and policies in today’s society is Richard Fig, played with sly intelligence by Herbert Siguenza, co-founder along with Richard Montoya, and Ric Salinas of the highly respected Latino comedy troupe “Culture Clash”.
Fig has just gotten the ax from a nameless university and is receiving the obligatory “exit interview” from Eunice (Linda Libby), an unctuous human resources flunky who condescendingly spouts the corporate party line with smiles, pretense, and patience.  Fig gets off to a rocky and confrontational start with Eunice, when a masked gunman (Francis Gercke) rampages through building, and into the “exit interview” room brandishing an automatic pistol (shades of Columbine Colorado).
Meanwhile, Nick Cagle as a pompous, self-absorbed, opportunistic, TV reporter along with Glover and Gorell-Getz - portraying several roles in the comedy - rake-over-the coals the favorite whipping boys of the establishment: corporate greed, the government’s entrenched politicians, and those who support the alienation of the masses, etc.  Fig on the other end of the spectrum explains to Eunice the clarity and the appeal, at least for him, of Brechtian themes and its philosophy. “ …People need to think for themselves, and not be led around by others,” he laments.   The result being that neither side moves from their fixed positions (now that sounds familiar).
Sam Woodhouse’s smooth directorial style, however, is what keeps the production from slipping into a total polemic.  Granted, the scale tips its balance toward the anti establishment P.O.V.  But the loyal opposition has its opportunity to get in a few good licks, as well.
The creative team, as well as the talented ensemble of players, shines with Scenic Designer Giulio Cesare Perrone leading the way with wagons, slides, and movable set pieces.  Lighting Designer Wen-Ling Liao provides illumination to create the moods, while at the same time allowing us to appreciate the costumes of Valerie Henderson.  A big kudo goes to stage manager Heather Brose, and her crew for quick, crisp, traffic management touches during the scenes changes.
“The Exit Interview”, is an anti-establishment blast that presents interesting and provocative topics for later discussion over a cup of coffee at a Bohemian-styled coffee shop… but no smoking please.  The satiric comedy runs at the Lyceum Space theatre through October 21, 2012.



Playwright David Ives’ insightful offbeat comedy play is in good hands with College of the Desert (COD) Theatre Department Assistant Professor and production honcho, Russell “Tres” Dean.  Friday night Dean and his cast of highly talented and entertaining performers served up a tasty dish of comedy, creative satire, and a first rate production of “All in the Timing”.  The show does justice to Ives’ quirky view of life and to those who are driven in their pursuit for relationships and connections. 
According to the program notes, Dean is huge fan of playwright Ives, and with good reason.   Both are creative thinkers who “work outside the box”.  I still fondly remember seeing productions at the Palm Canyon Theatre entitled “The Big Show”, created and directed by an indefatigable, brilliant young Improv director named Tres Dean.  What most of his fellow performers in the Valley used to say about him was “… is there any way we can bottle his energy and gifts and drink freely from it from time to time?”  Thankfully, all that talent, energy and creativity is now channeled toward producing interesting and challenging shows on the stages of the College of the Desert.  The school and the theatre arts students, and their audiences are fortunate and are definitely in for a treat.
“All in the Timing”, is blessed with a cast of eighteen high-energy performers who are both fearless and talented.  It’s a delightful show to begin COD’s 2012/2013 Season.
When a show has an outstanding ensemble, like this show, it’s always tough on the critic who then has to mention or highlight a certain performance or performances in the review (but who really cares about the critics anyway?).  In any production there are always a few who stand out.  That doesn’t mean the rest of the cast didn’t stand out.  It just means critics have publishers with space limitations.
With that being said, Chris Hoggatt and Paulette Bartlett who portray Buster Keaton and Charlie Chaplin respectively, are scene shifters who set the tone of what is to follow with flair, energy, and style.  Miss Bartlett, doesn’t utter a word on stage, but is an important actor in the show.  Hoggatt, an actor whom I suspect, can tap-dance up a storm when the opportunity arises, brings an earnest freshness as Jack in his scenes with Natasha Garcia, as Jill. 
Jennifer Kiehl as Mrs. Trotsky, and as Ruth, has turned into a solid actor over the last three years and shines in this production.  Ivan Ortega in his scenes with Miss Kiehl, also scores.  Shawn Abramowitz as Leon Trotsky, wears that pick axe sticking out of his head (thanks to Technical Director and props wizard, Diamond Braverman) with real flair.
Matthew Reyes as Al, does a nice turn in his scene “The Philadelphia”, as does Liridona Leti as Betty, in hers.  Anthony Gomez and Hannah Seals deliver nice performances in the “Universal Language” skit.
There are many clever directorial touches in this production.  Creatively executed set changes and overall traffic management, being just two.  If I had an issue with this production it would only be that it runs a tad too long.  Perhaps, the six short pieces and the two set pieces – “Ancient History, Parts One and Two” – could be juxtaposed or juggle in a way where the entire show runs two hours.  But then, I’m nitpicking.  It’s a very entertaining evening of theatre regardless of length.
“All in the Timing” performs at Theatre Too, on the campus of College of the Desert through October 28th.  Call 760-773-2565 for reservations and tickets.