SPIELBERG MOVIE SHOWS ANOTHER FACET OF THE LINCOLN LEGEND

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.   

 

      

    

QUIRKY INDIE FILMMAKER HENRY JAGLOM MOVIE HITS SCREENS

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.     

                        

                                                           

CV REP COMPANY DEBUTS 2ND SEASON WITH A WINNING PRODUCTION

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 11^th.  For reservations and ticket information call 760-296-2966.

     

    

WORLD PREMIERE MUSICAL AT SAN DIEGO’S OLD GLOBE THEATRE

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  

       

                       

  

    

    

MAMET’S PULITZER PRIZE WINNING “GLENGARRY GLEN ROSS” ON STAGE AT THE LA JOLLA PLAYHOUSE

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 21^st.  Tickets may be obtained by calling 858-550-1010 or go online at www.lajollaplayhouse.org .

                                          

SAN DIEGO REP COMEDY/SATIRE “THE EXIT INTERVIEW” PREMIERES

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.

   

    

               

COLLEGE OF THE DESERT SCORES WITH DAVID IVES COMEDY

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 28^th.  Call 760-773-2565 for reservations and tickets.

                             

DESERT THEATRE LEAGUE HONORS VALLEY PERFORMERS AT DESERT STARS AWARDS GALA

The 25^th Annual Desert Stars Award Ceremony and Gala presented by The Desert Theatre League (DTL) at Sun City Shadow Hills, October 14^th, entertainingly co-hosted by actor/singers Julie Rosser and Paul MacKey went off without a hitch to the applause of nominees and the audience of over 300 enthusiastic actors, directors, writers, technical wizards, and musicians.  Speaking of musicians, the entire awards ceremony was treated to the ongoing piano accompaniment of local musical Impresario/Producer Derrik Lewis and to Bassist Jeff Stover, who musically bridged the winners’ walk to the stage to accept their DTL Statuettes.

     

The 2012 Desert Theatre League Lifetime Achievement Award Honoree Joy Groves, co-founder of The Groves Cabin Theatre of Morongo Valley, received a standing ovation as she walked onto the stage to accept her Award from the DTL Judging Coordinator Barbara Johnson.  Johnson enumerated the many, many, theatrical accomplishments and honors Joy Groves has received over the years.  Groves was obviously moved and very humble in her acceptance speech.  She reminded everyone “… theatre is a collaborative art form with many players required for theatre to be successful.” The Groves Cabin Theatre is the DTL’s leading award winner over the 25-year span of the Desert Theatre League, winning more than fifty awards for excellence.

     

Special DTL Board of Director Awards were presented to:  Chuck Yates, co-founder of Coyote StageWorks of Palm Springs, who received the Joan Woodbury Mitchell Award for getting theatre done and who inspires that effort in others; Alden West, received the Michael Grossman Award which is presented to an Actor in recognition of talent, dedication, and devotion to the craft of theatre production; Barbara McReal, received the Bill Kuhlman Award which recognizes the “unsung heroes” of theatre production, who greatest performances and contributions may never be seen in the glow of the footlights, but without whom, those footlights would never burn; Derik Shopinski, actor, dancer, choreographer, and costume designer, received the Sidney Harmon Award which is presented to a Coachella Valley resident in recognition of efforts in the advancement of theatrical excellence, both on and off the stage.  Shopinski was the only performer to receive three honors/awards at the 2012 Desert Stars Awards.

     

Several theatre groups received multiple Desert Stars Awards, with The Palm Canyon Theatre garnering the most - eighteen trophies in all.  Coyote StageWorks was the second biggest winner nabbing twelve excellence awards including five for its production of “Plaid Tidings”.  CK Dance Company won eight awards, and Dezart Performs received seven trophies.  It was a great night for the twenty-seven theatrical and musical producing organizations located here in the Coachella Valley and Hi-Desert.

     

For a complete list of winners go to: www.deserttheatrleague.org.

                                             

                                                        --- 30 ---

                       

HOLLYWOOD MOVIES OF THE ‘30’S FROM A DIFFERENT POV

Since her breakthrough play “Intimate Apparel” in 2003 (seen at the Mark Taper Forum in 2004), and her Pulitzer Prize winning drama “Ruined” in 2009, playwright Lynn Nottage now makes a 180-degree turn in subject matter with an interesting and provocative serio-comedy entitled “By the Way, Meet Vera Stark”.  It just opened at the prestigious Geffen Playhouse in Los Angeles. 

     

“Vera Stark”, cleverly directed by Jo Bonney tells the story of how actors of color  barely managed to survive inside the Hollywood studio system of the 1930’s and 40’s.  If one was an actor of color, despite one’s talent level, you were relegated to playing servant and maid roles if female.  If male, you might fare slightly better by portraying railroad porters, handymen and chauffeurs.  Bonney presents her cast and the complicated story of “Vera Stark” in a most unusual way for a straight stage play.  She blends techniques from three different mediums: those of stage, screen, and TV, covering three different time periods beginning with 1933, then 1973, and finally 2003; ending up with a hybrid production that I’m not sure really works to the story’s advantage.

     

We meet a very beautiful, and obviously talented Vera Stark (Sanaa Lathan), a maid to Hollywood actress Gloria Mitchell (Amanda Detmer).   As the play opens the two women are seen rehearsing a scene from a movie being filmed in the play within a play.  Lathan and Detmer compliment one another throughout the play in their scenes as actors with smooth and confident performances,

     

Vera is part of a small group of aspiring actors who share digs in Hollywood as they wait and hope for that “big break”.   For me, the play really begins here, in 1933, at the actors’ small apartment.  Here we get the hopes, dreams, and career strategies, as well as  their priorities laid out.

    

Playing both Lottie and Carmen Levy-Green is the terrific and sassy Kimberly Hebert Gregory, who scores by playing her two roles with nuanced comedy timing.  Merle Dandridge sexily and seductively passes herself off as Brazilian actress Anna Mae, and later on plays the character Afua Assata Ejobo a panelist at a 2003 conference, discussing the career of Vera Stark and whatever became of her.

     

The character of Leroy Barksdale, a chauffeur to a studio film director is nicely assayed by Kevin T. Carroll in Act I and Carroll plays Herb Forrester, an academic and moderator, in Act II.  He leads a panel discussion concerning the breakthrough rise and alcoholic fall of Vera Stark as a Hollywood star actress.

     

Spencer Garrett neatly handles the dual roles of Frederick Slasvick and TV Host Brad Donovan.   The characters of Maximillion Von Oster, the movie director of “The Belle of New Orleans” (the movie seen in the play-within- a-play that makes Vera a new Hollywood star) and the role of Peter Rhys-Davies, are both performed by Mather Zickel.  If the synopsis sounds complicated, it’s because it is complicated and convoluted as well.  But, the performances never suffer the fate of the unusual script-structure approach of Nottage in the telling of a story that needed to be told.

     

The production nicely fits into the Gil Cates Theatre, thanks to a very clever set design by Neil Patel.  Patel has designed three different sets with imagination and flair that give the cast the necessary space they need to work their magic.  Lighting designer Jeff Croiter paints the stage in varying degrees of light, which dramatically shows off the costumes designed by ESosa to their maximum effect.  The projection designer Shawn Sagady has judiciously employed a series of movie and projection designs that enrich and are so necessary in helping to tell the story of the title character.

     

“By the Way, Meet Vera Stark” plays at the Geffen Playhouse through October 28, 2012.  For tickets and information call the box office at 310-208-5454.

GENDER-BENDING WORLD PREMIERE ROCKS PASADENA PLAYHOUSE

Eve Ensler, playwright and author of the popular play “The Vagina Monologues”, had better watch out if she wants to retain her “favorite playwright status” with females around the globe.  The Hollywood husband and wife writing team of Robert Sternin and Prudence Fraser, have written an extremely funny and tightly crafted, gender-bending, comedy entitled “Under My Skin”, currently rocking the house at the venerable Pasadena Playhouse. And it’s closing the gap fast.    

    

We’ve all heard the old saying “…before you criticize anything or anyone, you need to walk a mile in their sandals or shoes.”  Well, “Under My Skin” is a screwball comedy that proves that the old adage has merit.  The hilarious comedy, seamlessly and creatively directed by Marcia Milgrom Dodge is chock full of clever directorial touches.  Of course, it helps when one has a high-energy cast of very talented actors who know their way around a farce production when they find themselves cast in one.  

   

This satisfying and enjoyable comedy is blessed with a cast that blends the solid and seasoned performance of older actors like the delightful Hal Linden as Samuel Dent.  Linden never met a punch line he didn’t enrich with his exquisite timing and stage business. 

    

When it comes to carrying the plot part and being the romantic lead who also gets the girl and the laughs, Matt Walton as Harrison Badish, made a believer out of me with his acceptance that the plot situation, as wacky as it is, is totally believable.  Erin Cardillo as Melody Dent, a single, out of work mom from Staten Island, is perky, cute, bright, and is a perfect match for Badish, the cocky CEO of a leading healthcare provider.  Think Hugh Grant and Sandra Bullock from “Two Weeks Notice”, and you sort of get the idea.

    

The yarn involves celestial interventions and other tricks by the playwrights who invent a power failure in Badish’s Headquarters building with the result being that when the power comes back on, Melody and Harrison have switched bodies and the fun begins. 

    

Offering solid comic support is: Yvette Cason as Angel (like from above), Megan Sikora as Nanette, Melody’s best friend, Monette Magrath as Victoria, the sexy fiancée of Harrison.

    

Tim Bagley’s performance as Dr. Hurtz, is practically worth the price of admission alone.  The pelvic examination scene, between Harrison and Dr. Hurtz, brings down the house amid howls of laughter from practically every member of the female audience (males simply can’t relate for the obvious of reasons). Young Danielle Soibelman, as the precocious Casey Dent, Melody’s daughter, completes the ensemble.

    

“Under My Skin” is a wonderful example of how much fun it can be when presented with a top-rate ensemble performing their stuff.  One cannot say enough about the contribution and personal vision that director Milgrom Dodge brings to this production.  According to the productions notes, when Milgrom Dodge was asked by the playwrights to direct their play she hesitated for about two seconds.  “…I responded with an enthusiastic “Yes!” Not just because the play made me laugh out loud when I read it (I did), or because Rob and Pru are responsible for some of the best television I ever saw (they are), or because I love hanging out with them (I do), but because this is a play whose characters live in the zany world of a screwball comedy while hitting poignant notes that are honest and timely when you least expect them.”  Words of high praise indeed and I’m happy to report the comedy payoff is right on the money.  

    

The creative team led by Milgrom Dodge’s superb and wacky personal vision is matched by the sensational-looking scenic design by John Iacovelli.  His New York City skyline sparkles at night and shines during the day creating both broad vistas and rich intimate interiors, thanks to a splendid lighting design by Jared A. Sayeg, which is ably supported by Philip G. Allen’s sound design and costumes designed by Kate Bergh.

    

“Under My Skin” is a terrific show that will tickle the funny bones of all that see it.  It plays at the Pasadena Playhouse through October 7, 2012, but I expect it will be heading East to New York in the near future.

      

BIG BEAR LAKE INTERNATIONAL FILM FESTIVAL PRESENTS HONORS

It can only happen in Southern California. Where else can one be toasting in triple digits by the pool in Palm Springs at noon, and by 1:30 pm be enjoying 70s and 80s temps in the Alpine setting of the Big Bear Lake Resort area at 7000 ft.?  That’s one of reasons for the success of the Big Bear Lake International Film Festival (BBLIFF), along with quality programming and support from the nearby Hollywood film community. 

     

The festival, which MovieMaker magazine has called “one of the Top 25 Festivals worth the entry fee” keeps getting bigger, better, and more prestigious within movie-savvy circles.  It’s been a personal favorite of mine for a couple of reasons.  One, it’s one of a few festivals that recognizes and honors the creative effort and input of the Cinematographer.  Without this expert creative artist, no film would appear on a movie screen.  BBLIFF has been featuring the work and artistry of the world’s finest cinematographers for years.

     

The culmination of this ongoing recognition (now in it’s 13^th year) is the presentation of their Lifetime Achievement Award for Cinematography.  This year the 2012 honoree was the late, great, English cameraman and Director of Photography, Jack Cardiff.

     

Scottish writer/producer/director Craig McCall, whose 13-year film and interview odyssey documenting the life of Jack Cardiff, accepted the posthumous honor on behalf of Cardiff’s family.  McCall’s film entitled “Cameraman: The Life and Work of Jack Cardiff”, became the basis for the prestigious award which was presented to McCall by Monika Skerbelis, Festival Co-President of the Board and Film Programming Director, with a minor assist from yours truly, who offered brief remarks from the movie critic’s POV on Cardiff’s impressive list of films.

     

Cardiff’s immense canon – more than 73 movies, TV series, and documentaries between 1935 and 2007 covers every important Technicolor movie beginning in the 1940’s and 50’s i.e. “A Matter of Life and Death”,  “The Red Shoes”, and “Black Narcissus”, all directed by the legendary English filmmaker Michael Powell, to the films of John Huston namely “The African Queen”, to Alfred Hitchcock and “Under Capricorn” starring Ingrid Bergman.  Jack was also a favorite cameraman of director Richard Fleischer filming two movies for Fleischer: “The Vikings”, starring Kirk Douglas, Tony Curtis, and Ernest Borgnine, and “Conan the Destroyer”, starring California’s former Governor Arnold Schwarzenegger.

     

Cardiff was the favorite cinematographer of some of the world’s most beautiful women too.  Marilyn Monroe, Sofia Loren, Ava Gardner, Audrey Hepburn, Marlene Dietrich, Anita Ekberg, Leslie Caron, and the list goes on and on, praised Jack for making them look so beautiful on the silver screen.  Male stars like Humphrey Bogart, Kirk Douglas, and Charlton Heston, also appreciated the speed and ingenuity that Cardiff brought to the set on every motion picture he photographed.  All in all, he spent an unbelievable nine decades in the movie business.   Jack Cardiff was, and still is, arguably the greatest color cinematographer who ever peered through a camera lens.     

     

The second reason this festival is high on my list of film festivals (there are more than 4000 festivals worldwide) to attend is their continual honoring of a Lifetime Achievement Award for Screenwriting.  Sandy Steers, Festival Co-President and Screenwriting Competition Director presented Academy Award screenwriter Tom Schulman, the Big Bear Lake International Film Festival Lifetime Achievement Award for Screenwriting. 

     

Screenwriting is another discipline that fuels the creative arts machine.  As they say, “… In the beginning was the word”.  Blank pages like blank canvases remain just that – blank, unless the creative urge and talent begin to kick in.

     

Tom Schulman is a most deserving honoree.  He became an Academy Award winning screenwriter with his first effort “Dead Poets Society”, starring Robin Williams.  He penned “What About Bob”, the comedy starring Richard Dreyfuss and Bill Murray.  He authored “Honey, I Shrunk the Kids”, with Rick Moranis, as well as screenplays for “Medicine Man”, “Holy Man”, and “Welcome to Mooseport”.

     

In addition to the Lifetime Achievement Award Honorees, the festival screened over 100 films, held Q & A’s, hosted seminars, panel discussions with Industry professionals, and presented awards to student filmmakers – the creative artists of the future.  It was a highly successful and affordable Festival.

     

If you find yourself in Southern California (the LA or Palm Springs area) in mid-September, plan on attending the 2013 Big Bear International Film Festival.  You won’t be disappointed.  We’re not all just oranges out here in California, despite what Fred Allen, the old New York radio actor used to say about “Tinseltown”.  It was Allen’s way of needling his old friend Jack Benny. Allen’s actual line was “California is a great place to live, if you happen to be an orange”.   And, most of the time it’s not too bad even if we are not oranges.

COMEDY MAYHEM ON STAGE AT OLD GLOBE WITH “GOD OF CARNAGE”

If Neil Simon was the King of Comedy from the 1960’s, through the 1990’s, then French-born playwright Yasmina Reza is on track to become the Queen of intelligent and sophisticated comedy for the 21^st Century.   Comparisons are odious at best, and in the case of Neil Simon, he is in a class by himself.    

     

However, with a continuing output of her brand of sophisticated comedies over the next few years, and with a little bit of luck, Reza could find herself the dominant female playwright of the early 21^st century.  Her material, like Simon, transcends gender, nationality, and culture.  Her plays, written in French and translated by English playwright Christopher Hampton, resonate with audiences of all stripes and strata.  Whether her audiences are rich or poor, her characters quickly and easily become identifiable. 

     

One of her earlier efforts was the 1998 Tony winning comedy “Art”, which signaled that a new major playwright was among us and was revealing all of our foibles and shortcomings for the world to see.  It was a delicious and auspicious beginning.   Then in 2007, her latest comedy bombshell hit the stages of the world.  “God of Carnage” became an overnight comedy blockbuster play.  It’s been translated into more than 30 languages, and still growing.

     

Which brings us to The Old Globe production of “God of Carnage” now onstage at the Sheryl and Harvey White arena stage.  I’ve seen three previous productions (all proscenium staged) and, as I mentioned above comparisons are odious indeed, however, the current Globe production that stars: Caitlin Muelder as Annette, Erika Rolfsrud as Veronica, and Lukas Caleb Rooney as Michael (all three talented actors are graduates of Old Globe/University of San Diego Graduate Theatre Program), and T.Ryder Smith as Alan, can slug it out with the best of them when it comes to engaging in theatrical onstage mayhem.  This quartette of performers doesn’t have to take a back seat to any ensemble that has previously performed the play.

      

The story by now should be familiar to theatre going audiences everywhere.  In short, it’s a hilarious, ninety-minute comedy of “bad manners” on the part of two sets of upscale New York parents, who come together to discuss a schoolyard confrontation by their two eleven year-old sons.  Initially, they gather in an upscale Brooklyn home to sort out what took place.  At first civility is upheld, but as the libation-fueled conversations continue, the tone changes, ultimately going off track sending a warning that a street brawl is about to take place.   When discussions ultimately spiral out of control, and decorum flies out the window, the audience gears up for a session of name-calling and tantrums from adults who should know better. 

     

But their loss of control is our gain, as Reza’s razor-sharp wit illuminates the situation many people often find themselves in.  Her acute ear for spot-on dialogue reminds me of the late, great, playwright Paddy Chayefsky.  Very few writers had his gift and ear for the dialogue of the people he wrote about.  Tennessee Williams also had the gift and we are the richer for it.  Reza is about to join some pretty heady company.

     

T. Ryder Smith’s Alan (complete with his cel phone as his best friend) is a Freudian delight, and fascinating to watch.  Erika Rolfrud’s Veronica, is so hypocritically spot-on that I thought I heard one or two squirming seats after her outbursts. When it comes to throwing away all pretense of decorum on the part of Michael, Lukas Caleb Rooney’s inner Neanderthal comes roaring out as if in relief from the game he has been forced to play. When Caitlin Muelder’s Annette, the tightly wound investment banker character finally snaps, the audience react as if they’ve heard an explosion.  It’s a sublime theatrical  comedy moment.

    

I’ve deliberately saved the best for last.  Richard Seer, the director of this wonderfully funny and entertaining production is entitled to all the bows and kudos that come his way.  

His inspired direction of this ensemble cast, in the round, gives proof that not all technically difficult plays should be staged in a proscenium theatre.  One forgets that all of the wonderful magic taking place on the stage is a collaborative effort seen through the lens of the director’s personal vision.  Come and share the experience.  You won’t be disappointed.

    

“God of Carnage” runs through September 2, 2012.  Tickets can be purchased by going online to www.theoldglobe.org  or by phone at 619-234-5623.

                              

A POST-TONY PEEK AT NEW YORK'S LIVE THEATRE SCENE

The Tony TV Show always elevates the adrenalin level and increases the desire to take a quick trip to the "Big Apple" and Shubert Alley to check out some of the award-winning shows. I must confess, however, that I had the urge to check out the 2009 Broadway season before the TV show aired this June; besides it's always easier to get tickets to shows before the Tony buzz begins. Once the winners are announced the box office lines get longer and tickets get tougher to obtain. But, alas my desire didn't turn into action until after the telecast.

With that scenario in mind, I recently returned from a whirlwind trip of four plays in three days. The beautiful wife (an actor and director in her own right) along with two other actor/director friends agreed to see four shows. Two comedies, one drama, and one musical. With so many shows currently running on or off Broadway, the problem becomes not one of choice, but one of consensus between four friends with varied theatrical interests.

All of us wanted to see "God of Carnage", the new Yasmina Reza smash hit at the Bernard Jacobs Theatre. Great! However, the three newly-awarded Tony's made the possiblity of not getting seats in our allotted three-day time frame a major reality. Where there is a will, however, there is a way. We saw it at the 2 pm matinee, and followed it up with "Mary Stuart" at The Broadhurst Theatre for their 8 pm curtain.

When Angela Lansbury, the 84-year old acting legend treads the boards, one simply has to see her perform her comedy magic. Noel Coward's "Blithe Spirit" is the vehicle, Madame Arcati is the role, and the Sam S. Shubert is the theatre. Co-starring Rupert Everett, Jayne Atkinson, Christine Ebersole, Simon Jones, Deborah Rush, and Susan Louise O'Connor, "Blithe Spirit" is an ensemble audience delight, and won Lansbury her fifth Tony award for this performance.

The last show we saw before flying back to Southern California was a new Tony winning musical "Next to Normal", starring Alice Ripley and J. Robert Spence at The Booth Theatre. It's a powerful story that examines a dysfunctional family headed by a bi-polar mother. Ripley's tour de force turn as Diana, earned a Tony for her highly nuanced performance.

Those are the shows: "God of Carnage", "Mary Stuart", "Blithe Spirit", and "Next to Normal". Four different vehicles. All were Tony nominated for either production, direction, or performing. My Report Card follows :

"God of Carnage" - Three Tony Wins - Play

How can one not enjoy a play that boasts four star actors performing at the top of their game, in a deliciously wicked and scathing comedy of contemporary American life, written by one of the world's leading playwrights, and brilliantly directed by a Tony-winning director? Simply stated, one can't.

Reza, a previous Tony winner for "Art," teams up successfully again with translator Christopher Hampton himself a Tony winning playwright and Oscar winning screenwriter kicking the script possibilities up a notch. When Jeff Daniels, Hope Davis, James Gandolfini, and Marcia Gay Harden (who won her Tony for this performance) get together on stage, serious comedy magic happens. And let's not forget Matthew Warchus, the Tony-winning director who orchestrates and directs the talented quartet on stage.

The story is set in America, but has, I'm sure, taken place all over the world - it's a universal story for anyone who has ever had kids. Schoolyard bullies are everywhere. In our story, the son of Gandolfini and Harden has a broken tooth after a dust-up with the son of Daniels and Davis.

The parents agree to meet for a discussion and apologies in the apartment of Harden and Gandolfini. At first, Daniels and Davis, offer token apologies, but chance remarks by both couples after a few rounds of drinks, rankle each other and set in motion a series of comedy recriminations and accusations, which escalate to proportions neither couple anticipates, or can control. The on-stage chemistry of the four stars result in a blisteringly funny 90 minute comedy (it's performed without an intermission) of highly sophisticated and salty dialogue that illuminates a great deal about American life in the 21st century.

With such a high powered cast, the chances of keeping these four particular actors together for an extended run might prove difficult. However, my insider contacts say ( caution: rumors abound in the theatre), this cast, after a brief hiatus over the summer, might reassemble in the Fall for another run, and that's got to be great news for theatre audiences in New York.


"Mary Stuart" One Tony Win for Costume Design - Play

18th century playwright Friedrich Schiller took two historical characters, Queen Elizabeth I and Mary Stuart, Queen of the Scots - who never met in real life - and brought them together, face to face, and gave them politics, philosophy, and the concept of the Divine Right of Kings to discuss with one another. Should be pretty dramatic and downright interesting to get the two monarch's points of view, right?

Schiller's "Mary Stuart", currently at The Booth Theatre with a new adaptation by Peter Oswald, challenges our credulity and interest level right from the get-go with a dreary script making for an evening of heavy dramatic sledding. The uninspired script plods along crippling the efforts of its two talented stars Janet McTeer as Mary and Harriet Walter as Elizabeth.

In Oswald's hands, the material failed to engage me. Elizabeth, Henry VIII's daughter with Anne Boleyn, didn't rule for 45 years by being uninformed and reticent. And Mary Stuart, Elizabeth's cousin, although locked up in prison for 19 years, still manages to instill fear in Elizabeth's court. Sounds like we have some interesting ground for dramatic confrontation, intrigue, and empathy. Why then does this production fail to generate any interest in what happens on stage? Granted, the stage setting is bleak, and if all we see is a bare stage with a brick wall that extends the full width of the stage, with the exception of a downstage cot, a chair, and a trunk, then it's only natural to expect the actors to bring this play to life. Even a 10 minute, onstage rain effect, endured by Maria Tucci and Janet McTeer (in bare feet), couldn't save this show.

And what also is puzzling, at least to me, is the rationale behind the decision to dress the women in Elizabethan costumes and the men in black, modern day dress. Instead of clarity with the decision, the audience gets the feeling that maybe we're missing something important. I don't think so.

Plays that fail to engage the audience in the on-stage action can usually be traced back to the director. In this case, however, we have a multi-talented stage and movie director in Phyllida Lloyd. Anyone who can generate the pyrotechnics and energy seen in the movie "Mamma Mia" (which Lloyd directed) should be able to infuse at least a modicum of drama and tension into a stage production involving two of history's most well known queens. Alas, it was not one of England's finest hours - at least not in New York City.


"Blithe Spirit" One Tony Win - Play

"Blithe Spirit" is one of Noel Coward's most endearing and entertaining plays that illuminates the era of upper class English society. I've seen many productions of this old chestnut, but not with likes of Angela Lansbury as the dotty medium, Madame Arcati. The story is a light hearted piece of fluff that exposes the foilbles and silliness of English life, lived by few but believed by many, thanks to Hollywood, to be the model of traditional upper class British society.

In the loving hands of Sir Noel, his characters are easy to relate to, fun to watch and enjoy. Charles Condomine, the epitome of a Coward leading man, is played with flair and style by a dashing Rupert Everett. The story revolves around a group of Charles' dinner guests and the harmless local medium, Madame Arcati, played to the hilt by Lansbury in her Tony winning turn. She is a stage-savvy, delightful star to watch as she "plays" not only to the on-stage actors, but to the loving audience who greeted her entrance with thunderous applause. She's a true acting legend and the audience knows it.

The entire cast is solid and performs in true ensemble fashion. Jayne Atkinson as Ruth, Charles' second wife is especially appealing. Christine Ebersole plays Elvira, the first Mrs. Condomine whom Madame Arcati inadvertently "summons up" at the evening seance. She is as beguiling as she is beautiful. Everett as Charles, the only person able to see and hear his dead wife, delivers a hilarious , frustrated, visual comedy performance replete with Coward zingers and witty dialogue.

Additional able support comes in the form of Simon Jones, Deborah Rush, and Susan Louise O'Connor (the latter, an actor in a very small role, delivers a comic gem of a performance). However, a great deal of the credit for this sparkling production goes to Michael Blakemore, a director of great experience and many awards. He adds so many clever directorial touches, making this production a visual delight as well as a gift for the ears - at least to these worn-out old ears - that constantly long for actors who can speak the language with clarity and still articulate the playwright's ideas. Coward was a master of the witty barb coupled with veddy brittle and British dialogue. How I miss the old boy both as an actor and a playwright.

By the way, "Blithe Spirit"may have developed additional longevity or "legs" with Angela Lansbury's Tony Win. If you find yourself in New York City in the near future, be sure to catch a performance. You won't be disappointed.


"Next to Normal" Three Tony Wins - Musical

How does one make a musical, and a rock musical at that, out of a story involving a bi-polar mother in a dysfunctional family ? Not quietly, that's for sure. The newest Tony winning musical "Next to Normal" is written and composed by the team of Tom Kitt and Brian Yorkey. Together they have crafted a story that I believe is best told within the musical genre. I don't think the show would have been as compelling if it were performed as a straight dialogue drama. It's a story of today's families and how they cope with life in 21st century America, and it's brilliantly performed by a cast of six very talented singer/actors. Music is the medium of relativity in the world of the young. They listen to it, they understand it, and they embrace it. Hey, all of you over 40s types, get on board!

Alice Ripley richly deserves her Tony for her performance as Diana, the bi-polar mother desperately trying to hold herself and her family together in the face of overwhelming odds. J. Robert Spence is excellent as Dan, Diana's unwitting enabler-husband, in a role that is as difficult as it is sympathetic.

The evening I saw the production the program noted that the role of Natalie was to be played by understudy Meghann Fahy. I'm sure there were disappointed audience members who went expecting to see Tony nominated Jennifer Damiano perform the role. However, at the end of the show, the audience came away singing the praises (no pun intended) of Miss Fahy who treated one and all to a flawless performance as Natalie. It was an understudy's dream moment.
This entire cast has energy to burn and high-octane performances by Adam Chandler-Berat as Henry, Louis Hobson as Dr. Madden/Dr. Fine, and Kyle Dean Massey as Gabe, underscore the vision and skill of director Michael Greif. "Next to Normal" is not an easy show to export either. You need six very talented singer/actors to make the show work. The provinces and the community theatre circuit, therfore, won't be doing it for awhile. So you had better come to New York to see it. It's worth the effort, I guarantee it.

That's my post-Tony report as a Southern California critic/reviewer who covered just a small slice of New York theatre fare in June. As Sheldon Epps, Artistic Director, of the Pasadena Playhouse reminded me, "Jack, one can never go theatre-hungry in New York City". He's absolutely right !

Review: The Old Globe Theatre Production of "Since Africa" at the Copley Theatre

What is it about the continent of Africa that produces such passionate feelings and enduring love affairs with its natural beauty and history ? Where does the power to seduce and enthrall visitors come from ? These are but two of many questions explored in "Since Africa", the current Old Globe production in the James S. Copley Arena Stage in Balboa Park.

Africa has been coveted by western culture for centuries, from Julius Caesar to all the European colonial powers, to the USA. Bowed, but never really conquered, Africa has survived because it has a tale to tell, the story of a continent, a land of diverse people and a culture of tradition. The question becomes: How do you best tell that complex story ?

"Since Africa" by Mia McCullough, wisely decides to "take baby steps" in trying to examine and understand the African experience from a western point of view. McCullough's play under the inspired direction of Seema Sueko, takes the many ingredients that make its people so interesting with their different cultures, traditions, music and myths and distills the mixture into a two-hour play; one that an audience can get its head around.

The idea for the play came out of a newspaper article concerning the plight of "the lost orphans of the Sudan", a by-product of the internecine African wars of the last twenty years. So many African nations have been devastated by wars, disease, and genocide it was inevitable that a legacy of thousands of war casualities and thousands of orphaned children would be the result.

"Since Africa" revolves around a recently widowed socialite (Linda Gehringer) and her daughter (Ashley Clements) who volunteer to help a "Lost Boy of the Sudan" relocate to a major American city (Chicago). The African refugee, Ater Dahl (Warren Miller), tries to leave his past behind and forge a new life in America but finds he is mystified by American ideas of art, ritual, and family. To help in his transition, Reggie Hudson (Willie Carpenter), an African/American Catholic Church Deaon, tries to become the bridge and broker between Ater and his two American women sponsors. As the women get to know the young man and his fellow immigrants, their notions about Africa and their own experience of loss are transformed forever.

As a way of setting the tone of the play to follow, director Seema Sueko introduces at the outset, the intriguing character "The Nameless One" (Kristin D. Carpenter). She doesn't speak a word of dialogue, but is intriniscally important in understanding the play. She is the spirit of Africa who is always present whenever the play's characters are on-stage. It's a wonderful movement and dance performance to watch as she interprets the ever-present drums. It's also a brilliant directorial stroke by Sueko that not only enhances the play with the presence of The Nameless One, but is a clever way to have that character serve as a "silent interpreter" for the audience.

The entire cast led by Linda Gehringer as Diane, and Warren Miller as Ater are right on the money. Kristin Carpenter as "the Nameless One" almost steals the show, but not quite. The audience the night I saw the show rose for a well deserved standing ovation for the entire company. If I had any reservations about the play, it would be that a couple of long speeches might be trimmed a bit. As far as technical credits go, Paul Peterson, the sound designer at the Old Globe, brings his usual magic to the proceedings in the Copley. The drums and sound effects are such an integral part of the evening I can't imagine the play succeeding without them.

There is no doubt, whatsoever, that Mia McCullough is a playwright I want to hear more from, and I'll wager she has a lot more to say about a lot of different things, not just Africa. It's a terrific production and one not to be missed. "Since Africa" performs at The Old Globe Theatre complex through March 8th. Tickets are available by calling 619-234-5623, or online at www.theoldglobe.org

San Diego's Old Globe Theatre Satire Unsheaths Its Claws In "The Women"

When it comes to tough infighting, the tough really get going. Hey, I'm not talking the NFL here, I'm talking the female of the species, you know, women, the gentle sex. Well not in The Old Globe's production of Clare Boothe Luce's "bitchy" snarlfest comedy "The Women", directed by new sheriff in town Artistic Director, Darko Tresnjak.

The play written in 1936 by one of America's former Ambassador's was a breakthrough show for its time. Early reviews from the New York papers opined that almost every woman in the audience could identify with at least one character on stage that night at the Ethel Barrymore Theatre. It became a popular guessing game trying to match Luce's Manhattan socialite friends with the onstage characters. And the subject matter of the satire has always held a certain fascination for men, as well. I guess it's our way of peeking into that mysterious and uncharted country known as "the community of women" - without being accused of misogyny.

Although, the currently released movie version now on screens across the country has been less than a blockbuster hit, the stage production at the Old Globe hits its mark with authority. This revival sparkles and shines under the clever and stylish hand of Darko Tresnjak who guides his talented cast of fifteen women, who portray more than 40 characters, through their paces with flair and split-second comedy timing.

"The Women" focuses on Mary Haines, a nice, but blissfully unaware Manhattan socialite and her circle of female friends who gossip and judge everyone by the number of affairs and dalliances taking place. They're shallow, they're petty, they're catty, they're vindictive, and they're very funny - thanks to some very clever and witty dialogue by playwright Luce. There are no men in the cast. We are merely the objects of those witty barbs.

Kate Baldwin as Mary, is wholesome and smart, but vulnerable to betrayal by her unseen husband Stephen. Baldwin nicely underplays Mary (not an easy task as "plot parts" are usually the toughest and most thankless of roles from the actor's perspective). Heather Ayers plays the deliciously wicked Sylvia, with such zest one keeps hoping someone will give her a smack upside the head. They do.

Kathleen McElfresh as Crystal, the predatory shop girl who steals Mary's husband; Nancy Anderson, as Miriam one of Mary's inner circle of friends; Amanda Naughton as Nancy; Linda Gehringer as Mary's Mother; Amy Hohn as Edith, and Blair Ross who plays no less than six roles and gets to shine as the Nurse explaining the goings on in the Haines' household to Maggie the Cook, offer solid ensemble support.


And then there is Broadway veteran Ruth Williamson as the Countess de Lage. She is worth the price of admission alone. Here's a lady who knows her way around a farcical role. She delivers her Countess portrayal with such gusto and relish, we get the sense she'll be the marrying kind 'til she gets it right and that could take quite some time. "Ah, L'amour, L'amour!"

The icing on this fast paced comedy cake, from a visual point of view, is the gorgeous and glamourous 1930's costumes created by Anna R. Oliver and the super Art Decco set designed by David P. Gondon. Those are two key technical elements that allow Tresnjak and his cast the freedom they need to create their magic, and when they're in sync voila!, you have the recipe for one terrific show. "The Women" runs through October 26, 2008. Contact the theatre by going online at http://www.theoldglobe.org/ .

Review of "Vanities" at The Pasadena Playhouse

Artistic Director Shelden Epps is begining to fall into a comfortable rut. His shows have a penchant for going to Broadway. Lucky fella.

"Vanities", the snappy and sparkling new musical at the Pasadena Playhouse, directed with bounce by Judith Ivey, is allegedly on its way to Broadway. At least, that was the buzz in the lobby during the previews. If what is onstage now is any yardstick for reserving seats on "the great white way", then this show is definitely headin' East.

Jack Heifner, the playwright of the original play "Vanities", a highly successful Off-Broadway show which ran for 1785 performances, has had to fend off producers and directors over the years who wanted to update and/or rework the piece into something Heifner said made no sense. Thank you, but no thank you.

Fast-forward to thirty-five years later. A mutual friend introduces young composer/lyricist David Kirshenbaum to Heifner. It's been said that when creative artists get together, "artistic chemical reactions" often take place. It's a little like seeds; when they're watered, they begin to germinate and things begin to sprout. In the case of Heifner and Kirshenbaum, both agreed that the "Vanities" ground was ripe for change and new growth. Voila!, a musical version was in the works.

It may not be quite the same as when the older Oscar Hammerstein II began his collaboration with the younger Richard Rodgers, but the analogy has a nice ring to it. Once they agreed to collaborate and actually write a musical version of Heifner's play it became a year and a half odyssey working with director Judith Ivey, whom they had earlier signed to direct the play, to finally get the book, lyrics, music, and cast to the version now on the stage at the Playhouse. The wait was more than well worth it!

Epps, in his program notes, talks about his season of plays at the Playhouse celebrating women and the roles they've played in theatre over the years. Well in this production the three actors, who age over three decades, validate the Artistic Director's prose and his prediction about this new musical production, "Vanities".

Lauren Kennedy, Sarah Stiles, and Anneliese van der Pol star as the characters Mary(the Bohemian), JoAnne(the Traditionalist), and Kathy(the Organizer). It's the story of three close girlfriends whom we follow from their high school graduation into adulthood, and eventually into middle age - a period covering over three decades. Under the solid direction of Ivey, and the musical staging of Dan Knechtges, Kennedy, Stiles, and van der Pol invest great energy, verve, and flair into their performances. Right from the get-go, with their screams and squeals of teenage excitement, I wondered how they would handle the onstage maturing process required to follow them over the thirty years of the story.

The concern was soon put to rest and became a non-issue as the three actors revel in the challenge their characters find themselves in. Their problems and concerns become ours as well. Although male problems and situations are not quite the same with Mary, Joanne, and Kathy, there is enough relevancy to connect the musical's emotional dots.

The book by Heifner provides a solid foundation for Kirshenbaum to build his music and lyrics on. The changes in each character are strongly supported by Kirshenbaum's lyrics which contain both the excitement and the disappointment experienced by the three friends. And as in life, the people in the musical move in different directions and venture through varying stages and life passages; eventually coming full circle with themselves and each other. (I have a niece who sounds achingly like Stiles' Joanne. Talk about resonating, and on-the-nosey performances)

But hey, let's remember, this is a musical after all. It's upbeat. But it does have doses of sobering reality which I believe gives the production its power to entertain as well as the ability to touch the emotional core of the audience. Visually, it's a delight. It's bright, snappy, and played with such energy by Kennedy, Stiles, and van der Pol, I have no doubt these actors and characters will charm even those hardened cynics east of the Hudson River.

"Vanities" performs at the Playhouse until September 28th. Call the Box Office at 626-356-7529 for tickets and information.

"The Merry Wives of Windsor" A great way to brush up your Shakespeare

If you have never seen a Shakespearean production live on-stage, not too worry. The perfect remedy is available to all until September 28, 2008, at San Diego's famous Old Globe Theatre complex located in Balboa Park.



The 2008 company of players is performing, in repertory, three of Shakespeare's works over the Summer in the outdoor Lowell Davies Festival Theatre. This season features: "Romeo & Juliet", arguably the greatest tragic love story in the English speaking world, "All's Well That Ends Well", the story of Helena and Bertram and the testing of a lover's resolve, a testament to tenacity during a time when women were to be seen and not heard, and "The Merry Wives of Windsor", the Bard's paeon to bawdiness, bluster, and the romantic misadventures of his favorite comic character, Sir John Falstaff.

Repertory productions are unique in that they feature actors playing a minor role in one play and then performing as the star character in another. The convention is rewarding for the actors and gratifying for the audience. Case in point, Heather Wood plays Juliet, and then a saloon girl in "Merry Wives". Eric Hoffman plays a merchant in "All's Well", and the lead Sir John Falstaff, in "Merry Wives".

Of the three productions currently on view at the outdoor Lowell Davies Festival Theatre, "The Merry Wives of Windsor", deftly directed with style and flair by Paul Mullins, is the lightest and the most fun for the audience. Elizabethan English theatre was the "people's choice awards" of it's day. It was often rowdy and sometimes randy. If the actors failed to please, they had to dodge objects hurled at the stage. Acting, as a profession during the Bard's time, easily qualified one for hazardous duty pay.

Mullins, in updating the production, moves his cast into an 1880's American Western setting complete with Saloon, dancing girls, and assorted town characters. Part of the fun and enjoyment is listening to that great Shakespearean dialogue coming out the mouths of rough and ready types and never doubting or misunderstanding for a minute what is being said. As a friend confided to me, "Don't miss it, the production's a hoot !"

Eric Hoffman as Sir John Falstaff, plays him as a puffed-up peacock with amorous intentions toward every female who comes within his view. His bluster and braggadacio is full of the sound and fury of comic sexual conquest but always falls just short of victory. Hoffman, however, does his likeable roue portrayal with energy and gusto.

Providing able support are three actors who also know how to talk the talk and walk the walk of farce. Bruce Turk, as the husband of one of the wives Falstaff takes a liking to, is especially adroit in the role of Frank Ford. His timing and moves are classic farce. Katie MacNichol as Mistress Ford, and Celeste Ciulla as Mistress Page, are more than a match for the on-stage shenannigans of Hoffman's Falstaff. And Wynn Harmon, as the French doctor, is another actor who knows his way around a farcical scene when he finds himself in one. As a matter of fact the entire company is a delight to watch. If you go, bring a jacket or a shawl as the night air can be a bit nippy in Balboa Park in September.

On one hand this production may not be your definitive Shakespearean vehicle but on the other hand - loosely paraphrasing Cole Porter - it sure is a fun way to "brush up your Shakespeare". "The Merry Wives of Windsor", "Romeo & Juliet", and "All's Well That Ends Well" perform in rep until September 28th. Contact the Box Office at http://www.theoldglobe.org/

(more)

Review of The Old Globe - "Beethoven As I Knew Him"

The Old Globe Theatre of San Diego continues to offer subscribers and patrons a series of first rate, eclectic productions. Case in point, the world premiere of the current Hershey Felder production "Beethoven, As I Knew Him" now on the main stage.

It's a skillful and studied one-man performance by a master pianist and portraitist who enriches the Beethoven legend, both musically and anecdotally. (Felder also performs as Frederic Chopin and George Gershwin at The Old Globe this June in a series he's entitled The Composer Sonata.)

As Dr. Gerhard von Bruening, one of the characters Felder portrays says, "Mozart was the voice of God, and if that's true, then Beethoven must be the fingers of God." As the irascible genius Beethoven, Felder displays his considerable talent as a concert pianist with sensitive and assured technical renditions of the Pathetique Sonata and the Piano Sonata 14, better known as the Moonlight Sonata.

What makes the performance all the more satisfying is Felder's ability as actor to deliver lines while playing some of the world's best loved classical music. It's a special gift he displays with feeling and relish. It's a 90 minute dazzling tour de force of glorious music and inspired theatre.

As unique a talent as Hershey Felder is - he wrote the text for the show - he doesn't do it all by himself. Without the keen and creative eye of director Joel Zwick ( a seasoned stage, movie and TV director), scenic designer Francois-Pierre Couture, and production designers Andrew Wilder and Christopher Ash, I doubt the culmulative effect of this production would have the impact it does.

We are visually treated to a stage production that makes the most of the performing disciplines: a piano concert, singing, stage acting techniques, along with a multi-media presentation - brilliantly blended with nuanced graphic overlays - and a lighting plot that makes the entire evening a visual and auditory delight.

The night I attended a special treat was in store for the audience. Following the conclusion of the performance, Felder announced from the stage that he would be most happy to entertain questions from the audience. "Please ask whatever you want and I'll try to answer all of your questions. Anything. About Beethoven, the script, anything. It's my pleasure."

With that invitation the questions from the audience flowed to the stage. For the next 30 minutes with grace, charm, and humor - the tools of the consumate professional - he shared his passion for music, the arts, and the need for communication between performer and audience. For those who feel the chasm between performer and audience is often too wide, on this night, they experienced a rare evening of closeness and candor. It's hard to converse with a movie screen or have interesting and insightful discourse with a performer in the midst of 50,000 rock concert fans. But in the world of live theatre everything is possible. That's the beauty and uniqueness of live theatre.

When Hershey Felder performs his "Monsieur Chopin" homage to the great Polish composer from June 11 thru June 22; seats at The Old Globe will be hard to get. Following on the heels of Chopin, Felder's tribute to American music comes in the form "George Gershwin Alone" which he presents June 25 thru June 29; for a limited one week engagement. Over the last ten years, Felder has performed his Gershwin show more than 2300 times all over the world.

Tickets to see his Gershwin tribute also will be very hard to come by. But if you attend you will learn things about Chopin and Gershwin from Hershey Felder you never knew before; I guarantee it! Don't miss either of these shows. You won't be disapointed. Contact The Old Globe box office at http://www.theoldglobe.com/.

Review - "Of Mice and Men", at the Pasadena Playhouse, May 14, 2008

John Steinbeck's 1935 seminal novel and play about shattered dreams still resonates with audiences more than 70 years later. Set against the backdrop of California's migrant worker programs in the 1930's, some of the characters in "Of Mice and Men" may have Anglo names but most of the actors on the stage at The Pasadena Playhouse have Hispanic accents and heritages, save a few, who retain their ethnicity as originally written by one of America's only two Nobel Laureate's in Literature and Theatre (Eugene O'Neill being the other)

Thanks to the inspired vision of Artistic Director Sheldon Epps, and the creative chops of director Paul Lazarus, a fresh new approach to the powerful subject matter of the drama becomes a reality. They say timing in show business is everything; the time for relevancy and understanding the complex issues that surrounded the migrant harvest worker program then is still an issue in the here and now.

The usual complaint from the younger generation ( ages 18 to 35) concerning the world of live theatre is that's it's not relevant for them. Bah, Humbug! The arts have always led the way in drawing attention to compelling social issues and causes in need of redress. Just check the works of Voltaire, Zola, Moliere or Charles Dickens, all of whom had relevancy in their time, and all of whom had their work made into plays; contributing to changes in the social fabric of their times.

Steinbeck's now classic tale of California's itinerant farm workers is set in the San Joaquin Valley during the 1930's. It's the story of George and Lennie who, if judged by today's standards, would probably be labeled as marginal losers. The best way to describe their relationship is that of a caretaker, or parent (George) and his dependent, child (Lennie) a gentle, mentally-challenged giant of a man who has a fatal attraction to soft hair.

George is always looking out for Lennie; protecting him against the world and from himself. He is also aware of Lennie's shortcomings and when the farm dog has a litter of puppies, George warns Lennie to stay away from them. But Lennie's desires get the better of him and he sneaks in to see the pups, and ends up killing one of them.

Tensions mount when ranch hand Curley, newly married to a local girl, imagines every man is making passes at his bored wife. George and especially Lennie become Curley's targets when Curley's wife is seen hanging around the ranch house. Curley's wife is hungry for emotional satisfaction from anyone who will pay attention to her. It's a character flaw that ultimately ends in tragedy

There is so much to recommend in this production. There are so many creative and clever touches by this talented cast. For starters, the portraying of the migrant farm workers, not as displaced "Okies" from the dust bowl of the 1930s, but as hard working human beings is a fresh and welcome take. Lazarus deftly frames his production along the lines of California's Bracero Program then in vogue during the 40's and 50's. It's an inspired idea, and of course, is very historically accurate.

David Norona as George, the world-weary realist and protector of Lennie, delivers a finely crafted performance brimming with ambivalence; doubt, optimism, and compassion. Al Espinosa, brilliantly portrays the gentle, child-like giant Lennie. His every move, gesture and hand positioning is right on the money. From the leonine head and wonderfully expressive eyes and face, Espinosa captures the heart and soul of Lennie, to say nothing of the audience.

Joshua Bitton's Curley, the paranoid husband who imagines everyone making passes at his wife, is an accident waiting to happen, and happen it does. Thomas Kopache, as Candy the old worker who sacrificed his hand for the farm, evokes sympathy when it comes to the fate of his long time pet. Alex Mendoza as Slim, Gino Montesinos as Carlson, Sol Castillo as Whit, Josh Clark as The Boss, and Curtis C. as Crooks, the black stablehand who is ostracized from the rest and sleeps in the barn, are solid performances. The role of Curley's wife is played by Madison Dunaway, who plays her as more of a lost soul trying to escape her suffocating life with Curley than as a femme fatale as portrayed in the 1937 movie.

When the movie was released in 1937, a young Betty Field portrayed Curley's wife with such conviction, she incurred the wrath of America's movie-going female population who refused to accept that she was just an actor playing a role. As a result, she was never quite able to shed the memory of that character as far as movie fans were concerned and her career sort of sputtered into lesser character roles. It was a case of doing one's role too convincingly.

I have seen this play performed many times, and the characters were always played as Anglos, not local people of color, except for the character of Crooks. By having the characters played by Hispanic actors, who from time to time, sprinkle their dialogue with Spanish words and expressions, enriches the performance and doesn't alter the dramatic intention of Steinbeck's master work a wit. It plays ! And on more than one level, too. And it comes at a time when this story needs to be seen by new generations.

If young people are looking for relevance in today's society, they need look no further that this thought-provoking play now on the stage of The Pasadena Playhouse. It's a wonderful production. It runs until June 8th. Don't miss it. Contact the box office at 626-356-7529.