CAMELOT @ THE AVO FOR SDTHEATREREVIEWS.COM

“Camelot”: Bringing the Fairytale Back to Life for the Holiday Season

Words by Kristen Fogle

The Avo Theatre enters busy season during the winter, with several shows encountering this Vista staple due to the creative dynamos and owners of The Broadway and Off Broadway theaters Douglas Davis and Randall Hickman. The pair are currently producing three shows on the Avo stage with “Christmas in the Air” and “Life of a Sofa” playing at the Off-Broadway/Broadway Theatre/s respectively. Though “Rudolph the Red Nosed Reindeer” and “A Christmas Carol” are also playing at the Avo (and are great shows!) perhaps the most anticipated production in the space at this time is “Camelot.”

The original production of “Camelot” was first performed in 1960 and was on Broadway for 873 performances, winning four Tony Awards and spawning several revivals, foreign productions, and a 1967 film version. Written by greats Alan Jay Lerner (book and lyrics) and Frederick Loewe (music), who also did “My Fair Lady” together, “Camelot” is based on the King Arthur legend as adapted from the T. H. White tetralogy novel “The Once and Future King.”

To briefly summarize, the play centers around King Arthur’s nuptials to Guinevere, beginning with a meeting in the forest where she agrees to stay in Camelot and become his queen. During the course of their story, Arthur decides to start the Knights of the Round Table, which is the catalyst for Lancelot to enter the action. Guinevere abhors his piousness at first, but her feelings turn a bit more friendly as the play unfolds. Meanwhile, matters become tricky when Mordred, Arthur’s evil son, and his aunt, Morgan Le Fey, set about to complicate things for Arthur, and come to a head when he realizes the love between Lancelot and Guinevere.

This synopsis does not pay proper homage to the wonderful ensemble and quirky characters that make brief but entertaining appearances; these include Merlyn, Arthur’s teacher, who lives backwards in time, Nimue, a nymph who comes to take Merlyn away, Pellinore, a feisty, comical old knight who is friends with Arthur, and knights Dinaden, Sagramore, and Lionel, who engage in battle with Lancelot.

Indeed every character deserves mention, though there are several standouts that deserve particular praise. Scott Koepf becomes King Arthur; he lends tender, charming qualities to his character and his booming speech and incredibly impressive singing demands attention. Amy McDowell plays acerbic tongued Guinevere and exudes an ease that has most likely been cultivated by her many stints about town, including those at the Welk, Starlight, and Moonlight. (She definitely channels Julie Andrews in “Then You May Take Me To The Fair.”) Pat Moran as Pellinore is a comical gem, and Nimue (played by Charlene Koepf, daughter of Scott Koepf) clearly inherited her father’s talent—her soprano is truly captivating, and I wish this part called for more as her “Follow Me” has stuck with me since hearing it. Knights and ensemble perform with bold gusto, and being an animal lover, I was delighted when Hickman’s own four legged cocker/golden mix Dudley made his stage debut as Horrid.

It must be noted that Hickman’s direction of “Camelot” (running time is two hours and fifteen minutes) has been cut down from an even longer three hour show. Cast member Timothy Benson echoes my sentiments in this regard: “I was impressed that [Randall] took a three hour show, cut it down to two, and left the plot still intact.” The play certainly moves along, and though it is jumpy at times, particularly in the second half, the audience owes Hickman his due in not only preserving the story line, but saving us from what could become tedious if “Camelot” was longer still.

But with engaging scenery skillfully engineered by Douglas Davis, incredible costuming, and an energy exuded by a cast that clearly loves this cult favorite… perhaps that’s just me. After all, it’s been 22 years since Vista has seen this endearing show, and fans of “Camelot” will no doubt be overjoyed to be swept away into this quaint fantasy land—no matter the length of the show.

Camelot
The Avo Theatre
303 Main Street; Vista, CA 92084
12/3-12/18
(760) 724-2110

http://www.vistix.com/

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http://www.vistixonline.com/

"KRISTEN'S KORNER" WITH THE NEW HAVEN BULLETIN

Newest articles in my section on The New Haven Bulletin:

-Second Hand Shopping

-Avoid Colds and Stay Healthy with New Products

-Manage Your Finances During the Holiday Spending Season

-How to Host Out-of-Town Guests (Without Going Insane)

-"Young Frankenstein" at Broadway at the Embassy

To see my section, please visit http://www.newhavenbulletin.com/?cat=50

EMILIA'S SUGARPLUM NIGHTMARE @ LIBERTY HALL FOR SDTHEATREREVIEWS.COM

“Emilia’s Sugarplum Nightmare”: Silly, Seasonal Satire

Words by Kristen Fogle

“Emilia’s Sugarplum Nightmare” is an original work, with a script by George Weinberg Harter and Gail West, lyrics by George Winberg Harter, and music by Marje Fiene, with keyboard arrangement by Pam Monroe. The piece is a fun romp, with silly musical numbers that never take themselves too seriously and well-accomplished actors that bring their A-game.

The entire play is set in Emilia’s bedroom. Emilia’s age is unknown, but we can guess she is a junior high/high schooler, who is writing a paper about some of the lesser known aspects of the holiday season. Particularly, she wants to understand how Christmas became so commercialized and why people give gifts in the first place. Her kindly grandmother dissuades her from eating too much sugar to help her stay awake, as she believes Emilia will have bad dreams. Emilia insists that she will be fine, but sure enough, she drifts off to sleep and is visited by not only the Biblical three wise men, but Santa, Mrs. Claus, and his highly energetic elf assistant, Effie. The wise men (which include one woman) attempt to explain the gift giving aspect of the holidays, and though they are helpful and educational, they admit that they have loftier goals: they want to intercept Santa and put him on trial for several “crimes” he has committed, such as not actually having a workshop at the North Pole and for money laundering. As Emilia’s bedroom becomes courtroom and Effie and Mrs. Claus head to the witness stand, we find out just how good (or bad) Santa really is.

Intercepting some of the dialogue are quirky ditties. From the first song, “Beware of Sugar,” a tango between Emilia and her concerned Gramma, we know we are in for an entertaining ride. “Anti-Santa Rap” (by Richie Chesky) is a short, high energy favorite sung by the three wise men (though a bit hard to hear with the loud background music), and Effie’s all-out “I Gotta Be My Self” is cute and catchy.

West and Harter have revived the play after ten years, making minor tweaks to it. After meeting in a production with Lamb’s in 1989, the pair has written several one acts together; when West and Sandy Gullans formed Talent to Amuse Theatre Co., it was “Emilia” that they chose at the time as their first production.

Liberty Hall Theatre is where the play performs this time around, part of the impressive structure that is Paradise Village, a gated residential, resort style complex that has both independent and assisted living areas. In addition to the beautiful theater, there is a restaurant (with incredible menu items, I noticed), a barista station, putting green, wellness center, swimming pool, and concierge service for starters. Located in South Bay, this area is welcome respite from its slightly bleak surroundings.

But as said, the accomplished actors are great, and could probably bring their high energy talent to any venue. Balthazarina (Gail West), Gaspar (George Weinberg Harter), and especially Melchoir (Chris Fonseca) play kooky, dramatic wise men that offer more than a few laughs. Effie (Lena Jones) only appears toward the end of the show, but her vivaciousness, paired with pure adorable, make her a delight to watch. Even newby Dacia Bond, who attends a performing arts high school and boasts Emilia as her first semi-professional role, can hold her own. Kudos also to Pam Monroe on keys—I haven’t enjoyed watching someone play a keyboard as much as her…perhaps ever. Director O.P. Hadlock also deserves note, whose precise, well crafted blocking made sure the bubbly characters were never stagnant and always engaged in some sort of interesting movement.

“Emilia” makes one a bit stir crazy as there is no intermission, and I think this play is probably better suited to a younger audience (which is confusing as the play is billed as “The Christmas Story Your Parents Never Told you,” evoking something a bit more sinister than this light hearted, jovial comedy). But for those who want to learn some fun Christmas facts, see their beloved Santa in a new light, or just want to celebrate the season in a different way, a trip to Paradise Village to see the impressive grounds and take in this odd ball show may be in order.

Emilia’s Sugarplum Nightmare
12/10-12/22
Liberty Hall, Paradise Village
http://www.talenttoamuse.com/
http://www.liveatparadise.com/

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ALMOST MAINE @ CARLSBAD LIBRARY FOR ARTSNFASHION AND SDTHEATREREVIEWS.COM

"Almost, Maine”: A Wonderful Winter Tale Tackles Love

Words by Kristen Fogle

“Almost, Maine” by John Cariani and performed as a staged reading by Carlsbad Playreaders on Monday, December 5 in the Schulman Auditorium, is an enchanting delight from start to finish. “Almost, Maine” is a place, one in which love is the lone subject matter and is discussed with an overwhelming honesty but displayed with magical whimsy. The eight independent stories see 19 different characters fall in and out of love at nine o’clock on a cold, clear, moonless Friday night during winter in the deepest part of this imaginary territory in northern Maine. Four talented cast members read each part, bringing depth and imagination to each character.

As said prior, the play consists of eight stories/scenes and includes a prologue and epilogue. The prologue and epilogue, though well done, are perhaps the most forgetful of all the extremely well written scenes; both center on Pete and Ginette looking up at the stars and finally speaking ‘I love you’s’…The mood turns sour, however, when their ideas of closeness appear incongruent. (However, the epilogue sees a return to this idea and brings closure with it.) More memorable scenes include “Her Heart,” which focuses on Glory, a young woman who has come to Maine to see the Northern Lights as a way of saying goodbye to a former love, who has camped out in East’s yard. She struggles with her heart being physically broken, which is in a paper bag that keeps ending up in East’s hands. Another is “This Hurts,” focusing on Marvalyn and Steve, who live in different rooms in a boarding house. Steve has an interesting medical condition: he physically cannot feel pain. Both discuss different types of hurt and experience an unexpected kiss, which aides in repairing Steve’s problem of (not) feeling pain.

To give the synopsis of each scene would be remiss, as this is one of the best scripts I have witnessed in quite a while. One should experience the gentle moments that encompass this piece for oneself. But, as with “Her Heart” and “This Hurts,” one can glimpse that each scene climaxes with a form of magic: we learn that Ginette’s heart is kept in a paper bag; Steve’s deficit is cured by love. To put such complicated issues into a childlike simplicity is beautiful, enriching, and quite moving. Metaphors move into literal territory and take on fun shape and form. John Cariani reflects on his play: “Although I don't think I've written poetic language–I think I have written poetic situations. This is the kind of poetry I like: poetry that is well disguised; poetry that sneaks up on an audience; poetry that surprises. Unexpected poetry gets people where it counts in their hearts and souls.” He goes on to remind that the goal of this poetry is to “create a play about real people who are really, truly, honestly dealing with the toughest thing there is to deal with in life: love.”

Sassan Saffari, who plays East as well as four others in his fifth reading with the Carlsbad Playreaders, is perhaps the most comical of the cast, humorous without being over the top, and carries this light hearted quality into each character he undertakes. DeNae Steele, who has performed all over the country, embarks upon Marvalyn and others, adding an eccentric spark and bringing a down-to-earth sensibility to her characters; she also is an unassuming comic. Nathan Venzara, Steve/others, brings an innocence to his roles, as well as deep seated truthfulness and compassion. Lastly, Tiffany Tang is a more adorable version of Jan Brady in looks, but plays complex, emotionally fraught characters (at least with Glory, Gayle, and Hope) that let us see well acted, unguarded feeling.

Director Maelyn Gandola solidifies gorgeous writing and a talented cast with fun visual aids (for instance, we see the bag that Glory’s heart is in), minimal but effective movement, an appropriate soundtrack and audio effects, quirky touches (like bubbles that mimic snow), and freezing temperature appropriate clothing. The one flaw in the show was not the show itself either; the audio system went out before Act Two. However, in my seat in the back row, I was able to hear each actor just as well as when the performance had the assistance of microphones.

The disappointing part about a well done reading is their minimal run (in this case, one night). The good news, however, is that Scripps Ranch Theatre (http://www.scrippsranchtheatre.org/) will be putting on the staged production starting March 24. (I not so subtly encourage you to go.)

The entire Carlsbad Playreaders season selection is quite impressive also; “Radio Golf” (by August Wilson) is up next on Monday, February 6 at 7:30 p.m. Other plays that will be performed include: “And Then There Were None (Ten Little Indians),” “Superior Donuts,” and “A View from the Bridge.” More information can be found at www.carlsbadplayreaders.org.

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RIVERDANCE @ THE CIVIC CENTER FOR ARTSNFASHION AND SDTHEATREREVIEWS.COM

Words by Kristen Fogle

Like many of Broadway San Diego’s finest shows, it seems they are here and then gone. But for those that experience them, they have an indelible impact.

The latest tour de force to come to the Civic Center (December 2-5 for five performances only) was “Riverdance,” as made popular by household name Michael Flatley. The impassioned, thunderous celebration that characterizes this adventure includes not only Irish dancing but music composed by Bill Whelan, with impressive instruments and some of the best harmonies and solos that can be seen on stage.

It is hard to imagine, much like the impressively long run of the “Blue Man Group,” that “Riverdance” is in its sixteenth year. (The world premier was at Dublin’s Point Theatre in February 1995.) The dance event, produced by Moya Doherty and directed by John McColgan, has played more than 10,000 performances and has been seen live by more than 22 million people in over 350 venues throughout 40 countries across four continents. “Riverdance” has traveled more than 600,000 miles, played to a worldwide television audience of two billion, has sold more than three million copies of the Grammy Award-winning CD (certified Platinum in the US) and more than 10 million videos, making it one of the best-selling entertainment videos in the world.

The show is generally characterized as a “phenomenon,” which is a really good descriptor of it, but comical to see how many press clippings include that word. At any rate, this “phenomenon” follows a terrific rhythm and consists of numbers, all named, showcasing vocals, instrumentation, and dance—sometimes encompassing all three simultaneously. There is a section or two of dance, followed by blissful, ethereal song (think Enya), a bout of more dancing, an instrumentation solo, then rinse and repeat about three more times, and there is your show. I say this not to underwhelm those who haven’t seen “Riverdance,” but to dissuade potential audience members from feeling this is merely 90 minutes of Irish dancers clacking those shoes together in one big line. For those who do not see theater often, specifically dance, boredom is one of the biggest fears at play. However, this show will leave you entertained as robust energy melts into sweet sleepy tunes and then returns—always—with gusto.

Act One begins, with a lone piper (and fog—”Riverdance” has quite the budget for fog). The first half of this performance showcases ancestors who knew the world as a place of power, their songs and dances and stories negotiations with elemental powers, showing them coming to terms with the world and themselves. The first dance, as many of them are, is a piece choreographed by Flatley—celebrating the benevolent masculine power of the sun, the light of morning, exuberant and clear. It is vibrant and uplifting. The Heart’s Cry features a small blonde waif with a clear high soprano that is angelic but somehow worldly, peaceful and passionate. Her song tackles the primeval mystery of the salmon swimming upstream, the blind urgings of nature, heart yearning to heart. The Countless Cathleen, in essence, is a feminist piece; it is a picture of powerful women celebrating themselves and challenging men in a dance of empowerment. Another type of piping emerges, mourning Cu Chulainn, the implacable Bronze Age warrior, the great hero of Celtic myth—sleepy and serene; I almost bought the soundtrack just to be lulled to sleep by this tune. Thunderstorm ushers in the best part of this performance—the male dancers. Firedance is a lone flamenco dancer (still confused about the use of flamenco in “Riverdance”), accompanied eventually by male dancers, all celebrating the pride and beauty of the south and the power of the sun. Shivna is based on the myth of Mad Sweeney, Suibhne or Shivna, haunting Ireland since mediaeval times about a man desperately railing against the irresistible allure of the Temptress moon. Slip into Spring – The Harvest returns to a more lively number—ushering in new growth, exhilaration, and the world turning and being made new again. “Riverdance” moves through the dawn of history as the river moves through the land and is the number you have probably seem numerous times in advertising—impressive dancers finally culminate in a line all keeping in step.

Act Two tackles the theme of guarding what is valued, accommodating to others, embracing new kinds of courage, and learning to belong to the world. American Wake shows a new Irish, driven out of their home across the island to the New World, reflected in costume; the same jubilant expression remains. Lift the Wings is a solo piece by the same blonde soprano, a beautiful melody about hope at the prospect of new life. Harbour of the New World – Heal Their Hearts – Freedom is a combination of music and dance featuring a new face—up to this point—and voice, who completely awes in his musical solo reflecting the universal yearning of the dispossessed. Harbour of the New World – Trading Taps is the wealth of the poor in song, dance, and story...and a show stopper. Two African American dancers showcase “their” tap versus the Irish version of tap; both are incredibly impressive, and it a relief to see the straight laced proper-looking Irish make fun and be made fun of. Habour of the New World – Macedonian Morning is back to fluting. Another enchanting tune, meant to haunt in the heart. Harbour of the New World – Andalucía brings in more fiery Latin dance rhythms, once again an unexpected turn from the Irish dancing one expects throughout. Harbour of the New World – Oscail an Doras (Open The Door) displays dancing as a relief from the tedium of manual labor. Slow Air and Tunes is a peppy showing by two instrumentalists, one the happiest fiddler perhaps ever seen. The song emphasizes the childlike need to return to one’s homeland. Heartland’s theme is a long journey ending under a native sky, in which a new and richer journey has taken its place; this piece features the mastery of the male dance lead, clad in black and a force of confidence and skill. The Finalé is dance, instrumentation, and song—the message is that together we are strong—and the performers all come together, again in their signature line, for a stunning, all out syncopated last hurrah.

There is much to love about “Riverdance”; the variation being the thing that keeps me interested throughout. Impressive musical and dance solos were favorites, and Michael E. Wood, the lone male soloist in Harbour of the New World – Heal Their Hearts – Freedom was captivating; I hope to see him in musical tours to come—what a talent. A bodiless narrator frames scenes intermittently, but is so infrequent throughout the whole of “Riverdance”; I wish for the help of this voice in scenes where I find the pieces disjointed from the rest. Revival is needed in the costuming, which is cheap looking and predictable in places. But the dance is fresh, and the mood uplifting and cheerful, much needed on a cold, otherwise drab Friday evening in December. Despite a few flaws, it remains a must-see production.

Since this is the “Riverdance” Farewell Tour (will it really be, though?) seeing it now would be a good idea. (There are also DVD’s and soundtracks for purchases online, but the real thing is best.) Unfortunately, the tour will not be on this coast again, but a full listing of the cities (in case you are in the south or east) can be found at http://www.riverdance.com/tours/tour/usa/.

Other information on cast and crew can be found at http://www.riverdance.com/.

As for Broadway SD, there is a lot coming up. Jerry Seinfeld will be playing Saturday, January 7 at 7 and 9:30 p.m. with “Cats” playing January 10-15. For the list of their complete season, please visit http://www.broadwaysd.com/.

For the original reviews, please visit http://sdtheatrereviews.com/arts.php?newsId=255 and http://artsnfashion.com/index.php/component/content/article/49/141-riverdance-kristen-fogle

IT'S A WONDERFUL LIFE @ VCCT FOR SDTHEATREREVIEWS.COM

Words by Kristen Fogle

This delightful holiday romp through George Bailey’s successes and failures should be experienced on film or at the theater at least every few Christmases. To aide in providing the theatrical version to San Diego County audiences is Valley Center Community Theatre’s version of “It’s a Wonderful Life.”

The pristine Maxine Theatre, which is part of Valley Center High School, is where the production takes place. A Sunday matinee performance sees a fairly full house, which could be due to the many cast members in the show. My other suspicion is that Valley Center (VC), being so cut off from the rest of North and East County, has quite the community, which insulated towns like VC generally provide. (If one is not part of this community, it is almost exactly one hour from San Diego to beautifully scenic VC.)

As said prior, the action of the play surrounds George Bailey, who dreams of escaping his small town and adventuring about the world; this never comes to fruition, however, in the name of family obligation. But the crux of the show involves a financial disaster that drastically affects George on Christmas Eve. This causes him to wish he had never been born and for his angel Clarence (Angel 2nd Class) to show George what an asset to the world he really is. Based on the 1946 film by Frank Capra, “It’s A Wonderful Life” celebrates the season and the American spirit in a timeless, heartwarming story.

Fred Gaines Jr. is fairly one note as George, though he has a nice intensity about him, (cultivated perhaps from his daytime TV drama stints, noted in his bio). This force is ideal in places where George is flailing, but it would be nice to see other dimensions to the character. Standouts are really the women of the cast. M. Susan Peck’s Mother Bailey is brief but delightful—the portrait of a good natured matriarch. Violet Peterson (Sydnee Davis) has an adorable vivaciousness; she is fun to watch. Katie Burlington’s Mary Hatch is very natural, likable. And little Zuzu Bailey (Katelynn Tullis) nails the show’s signature line! (“Every time a bell rings, an angel gets its wings!”)

Though I enjoyed my romp through this feel good classic, besides that this show is held in a high school, there are some features that make it feel a bit like a school performance. There were some unpredictable lighting and prop changes and some awkward blocking at moments. Additionally, there was a tendency for all cast members to gesture a lot (perhaps this is an overcompensation due to the large stage), but some minimal movements could have made the performance a bit smarter. One more week of “It’s a Wonderful Life” means you do not have many chances left to see the classic story. For more information, please visit http://www.vcct.org/.

To see the original article, please visit http://sdtheatrereviews.com/arts.php?newsId=255

ANGELS IN AMERICA @ THE LYCEUM FOR SDTHEATREREVIEWS.COM

Words by Kristen Fogle

To see “Angels,” into the bowels of the Lyceum you must go.

(Housed between a CVS and an Abercrombie and Fitch) in the internal cavity of Horton Plaza is the Lyceum. (Who knew that inside consumer “paradise” lived art?) A flight down to the will call/box office, another into the theater itself. An artistic bomb shelter.

As I’ve never been, it is this last visual that sticks as I descend and a feeling of apprehension that remains…which is probably a product of the barely audible, eerie music I am greeted with. The stage is sparse and entirely black save for two brown chairs, two lamps. We settle in for (literally) a day of theater. (Is this a project of will?) The greatest fans of thespians, the best of the dramatic elite will stay. I imagine us dropping like flies, engaged in this made up contest. "Sticking it out the entire day?" the man next to me inquires. “Yes,” I say bravely. Si se puede.
Composed of two parts (“Millennium Approaches” and “Perestroika”), “Angels in America: A Gay Fantasia on National Themes” is, if anything, long. With four 10 minute intermissions total, this show is not for the faint of heart.

I don’t mean just in terms of length but theme as well. “Angels in America,” tackles some very difficult issues. By Tony Kushner, “Angels” won a Pulitzer in 1993 and the 1993 and 1994 Tony Awards for Best Play; it has also been made into an HBO miniseries and an opera. The play takes place in New York City in the latter half of 1985 and early 1986.

Act One of “Millennium Approaches” introduces us to central characters. Louis Ironson, a neurotic gay Jew learns his lover, WASP-y Prior Walter, has AIDS. Meanwhile, closeted homosexual Mormon and Republican law clerk Joe Pitt is offered a major promotion by his mentor, the McCarthyist lawyer Roy Cohn. Roy, deeply closeted, soon discovers he has AIDS. Meanwhile, Joe's Valium obsessed wife Harper struggles with his frequent outings and her hallucinations.

The pace is quick and the scenes are mostly short. As things unravel even more in Act Two, (the second part of the first play), a need to escape seems to be a common theme...Louis decides he can no longer deal with Prior’s decrease in health and enters Central Park seeking “companionship.” Prior receives a visitor, an old friend he once did drag with named Belize. Roy makes an illegal proposition to Joe. Meanwhile Harper wants to leave Joe who makes a startling revelation to his mother... There is a lot going on. What will become of Roy and/or Pryor? Will Louis see the error of his ways? What about Harper’s visions? Act Three opens with a looong speech made by Louis to Belize. It contains a lot of good (albeit not exactly memorable) information about monoliths, race, the fact that there are no ghosts in America. (I can’t get the “An American Tale” song “There Are No Cats in America” out of my head at this point.) Prior receives some visits from past family members...Joe sees Roy and declines his offer; after, Roy tears into Joe before he receives a ghostly visitor of his own. (His “cancer” is kicking in and he winds up in the hospital.) Meanwhile Harper has gone missing and thinks she is in Antarctica...Joe’s mother arrives and has a rather comical interaction with a transient while trying to locate Brooklyn...Louis and Joe meet up in the park and decide that they are both terrible people and should spend a night together. Prior is still wracked with illness and tormented by visions (they really need to call this show delusions in America) and gets a visit from an angel (wearing a rather fetching dress). We are spat into the lobby after Millennium has approached. The opening day treats in the lobby look delightful, but like an experienced runner who knows her body well, if I am to get through the second part, I need home cooked food to sustain me. There is a two hour break before “Perestroika” begins.

While I ruminate on the first half of the show, I find myself thinking about the talent of the cast. Jason Maddy’s Louis is so beautifully conflicted. Kyle Sorrell (Prior) is a comic force to be reckoned with (both in sickness and in health). Jessica John Gercke is radiant as delusional Harper. Jesse MacKinnon as fictionalized Roy Cohn is just as abrasive as needed—I just wish his volume would match his intensity at times. Jason Heil sees an interesting transformation as Joe. Karson St. John’s angel is a quirky being, played with a vigor that must be hard to sustain. (And how do the actors remember their lines???)

When we return to “Angels” via “Perestroika,” the stage hasn't changed much. A red phone occupies stage left. One of the chairs is gone. New people to my right. (Do people generally come to only one part?) I pray there is no catch up, and we can launch right in.

Thankfully this fear is quelled. Little background is given. A few highlights from the second half without giving everything away: The angel appears to Prior (same visitation), and she instructs him to find implements. Lots of floating. She induces him to orgasm. Prior tries to get Belize to believe he is a prophet. Harper has been captured by the police after her Antarctic adventure ceases. Louis and Joe get closer, but Louis has a hard time accepting parts of Joe. Belize, who we learn is Roy’s night nurse, finds out he's on AZT, a hard to find, fairly effective AIDS drug, and recovers some with Roy’s permission. Prior and Harper meet in a Morman diorama. Joe begins to accept himself; Louis inevitably calls Prior after a month absence. Louis, Prior meet. But I’ve said too much...How will it all pan out? Who belongs together? (If anyone?) Some warnings for electronic cigarettes are mentioned in the program, but cursing/crude language, two male backsides, and one full frontal should also be included in that warning. Graphic, mimed sex should be included in this warning also.

Despite these warnings, there is plenty to appreciate about this piece, and my shabby attempt of conveying the plot does not do it justice. Directors Glenn Paris and Claudio Raygoza (Ion’s co-founders) get immense credit for their dedication to an enormous script, and my applause for cultivating such a talented cast. The makeup, which rarely receives a nod from me, deserves a thumbs up here, too: lesions, cuts, blood, and a black eye are all very believable. The audio at times is a bit too loud, but it delivers the tension required to move “Angels” from segment to segment. Also kudos to perhaps the fastest set changes I have ever seen.

But truly, why go see this show (and its two parts together, which is strongly recommended)? For one, this is a Southern California revival; you can’t see the award winning show anywhere close. Two, as said, this show draws in some of the best talent from the area. And three, the script has hidden gems, not only in terms of theme, but deliciously funny one liners and blatantly true commentary on love and living (and dying) in America. The angel is emblematic of glory, of majesty, and this play reigns supreme; the angel is the perfect descriptor for this showcase of such mastery.

Angels in America
Lyceum Theatre
11/17-12/11
79 Horton Plaza, San Diego, CA 92101

(619) 544-1000

http://lyceumevents.org/

COME FLY AWAY @ THE CIVIC CENTER FOR SDTHEATREREVIEWS.COM

Words by Kristen Fogle

Let me extend a general disclaimer. I don’t really enjoy “dance” shows much. Though I completely respect the art form and am impressed with the athleticism and artistry inherent in dance, I will rarely seek out a show that consists primarily of pirouettes.

“Come Fly Away” is a better breed, however, which Sinatra is more than partially responsible for. The 80 minute show with no intermission, which came to San Diego’s Civic Theatre the first part of November, consists of over 25 of the greatest hits from the ‘Chairman of the Board’ and showcases dancing by some of the best around. What makes it fun is that “Come Fly Away” becomes a different way to listen to some of your old favorites. (Led by conductor/pianist Robert Cook, the 14 piece band thrills, with an impressive reeds section in particular, and really provides the push from peaceful listening session into show.) The band backs up many superb recordings of Sinatra’s work, ranging from the 1940s on into 1980. Soulful melodies “That’s Life” and “I’m Gonna Live ‘Til I Die” were refreshing as I generally don’t hear these every day. The songs that never seem to go out of rotation are also present—“Luck Be a Lady,” “Starlight,” “New York, New York,” and “Body and Soul” among them.

And then of course, the dancing. (Though again, not my thing) it is conceived, choreographed, and directed by Twyla Tharp and is admittedly outstanding. I noted that there were fourteen dancers on stage in the show with a seemingly new mix each night; performers rotate in and out, performing some nights and not others, which is no wonder due to the sheer energy and effort it must take to put on such a spectacle. But the demands of this type of performance is old hat to most up there—many graduated from prestigious ballet academies, such as the Royal Ballet School, and have been touring professionally in dance intensive shows like “West Side Story,” “Dirty Dancing,” “Saturday Night Fever,” and “Fosse,” to name a few, for many years. Sadly, it is difficult to pinpoint who is who and give them individual props; though names are given to cast members in the program, they are never referenced in the show. Characterization can be seen though, and the stereotypes are present—the geeky innocent couple, the sex pot, the tease, the “big man on campus” type. Skimpy costumes and moments of striptease don’t hurt in making these entertainers that much more likable.

This is where I cease praising “Come Fly Away” and get a bit critical, however. Yes, you could suss out some characters in the mix, but the choreography was so front and center (and stagnant/repetitive in places) that there was no storyline. I would have welcomed a longer show (and intermission) for some speaking interspersed. Look at shows like “Mama Mia!” where the music is predominant; though songs are not always introduced organically into the mix (in fact, they are quite forcefully shoved into plot lines at times) at least there is a sense of fluidity involved in moving from song to song. In “Come Fly Away” we are taken from each number with no visible theme to support the transition. Also, though again, I am impressed with the choreography and the skill involved in the execution of it, I would have liked to have seen the pace slow a bit in places—it didn’t seem to matter that the song was up-tempo or not—energy and pace was at a seven (or higher) always.

This is not to say that “Come Fly Away” is not to be seen. For those that grew up listening and loving Sinatra, how are you going to turn down a show predicated on old favorites crooned by a legend and young artists demonstrating their skills? Perhaps it’s “Witchcraft,” but I am still charmed by this imperfect piece.

KINGS OF SALSA @ THE BALBOA THEATRE FOR SDTHEATREREVIEWS.COM

Words by Kristen Fogle

If the sultry sounds of Cuban music move you, look no further. Director, choreographer, and singer Roclan Gonzalez Chavez pays homage to the great Cuban performers and dance styles from the country with a cool, contemporary twist with his “Kings of Salsa,” which came to San Diego’s Balboa Theatre Sunday, November 6.

The youthful cast (most, if not all, are under 30), picked from the best of Cuba’s top dance companies, beautifully execute moves and maneuvers from street salsa and hip hop, and utilize traditional Afro Caribbean moves, world class contemporary dance, and Cuban classics such as the Mambo, Rumba, and Cha Cha Cha.

Backed by nine piece band Cuba Ashire, two hours of Latin rhythms fill the air with non-stop singing and dancing. And though the singers are no doubt talented, the crème of the performance definitely is the dancers; with refined, cut bodies, these youths are a true testament to Zumba or any fitness program infusing Latin dance. Cuba may be well renowned for its food but after this performance, all I can think about are hard bodies, ripped abs, and superfluous strength! Not only was the fitness level and physicality of the dancers impressive, though, but they utilized all kinds of props—the dances involving drumsticks and wooden shoes were most impressive.

Having performed all over the U.S. and as far away as Hamburg and Bankok, the troupe is well versed in audience involvement. Patrons sway and sing all the way through, and in the second act, are encouraged to become part of the action. As this company makes their way through the U.S. and beyond in the following months, if you are in one of the lucky cities, this is a great show for any audience member…everyone from grandma to kids will enjoy.

And for those in San Diego, even though Kings has wrapped, a trip to Balboa Theatre is not to be missed. Through the Balboa Theatre Foundation, the theater was reopened in 2008, restored to all its 1920s era glory. Pink Martini, a 12 person “little orchestra” plays November 12, Duke Ellington’s “Nutcracker Suite” plays the day after, and Herb Alpert and Lani Hall are on November 18.

For the full schedule, please visit http://www.sandiegotheatres.org/eventstickets.

SAN DIEGO BEER WEEK AND THE GOODS SHOW ON ASKMISSA.COM

Words by Kristen Fogle

San Diego Beer Week and The Goods Show on AskMissA:
http://askmissa.com/author/kfogle/

"KRISTEN'S KORNER" WITH THE NEW HAVEN BULLETIN

I have been writing weekly articles for the New Haven Bulletin (out of Fort Wayne, Indiana). So far, "Kristen's Korner" features reprints of several articles, including:

-An interview(ish) article with designer Blanche Garcia on transforming space

-Motivational workout tips

-An interview with Fashionista editor Lauren Sherman

-Spooky vodka cocktails

For original articles, please visit http://www.newhavenbulletin.com/?s=kristen+fogle

CLIQ MAGAZINE FALL ISSUE '11

http://Giuliana.CliqMagazine.com
Edited by Kristen Fogle

Words by Kristen Fogle:

-Editor letter (page 2)

-CLIQ's Favorite Finds (pages 6-7)

-Giuliana Rancic interview (pages 12-17)

-Spaces with Spice article (written under Orion Radleigh) (page 20)

-"Gym Free and Ripped" article (written under Orion Radleigh) (pages 22-23)

-Lacey Chabert interview (pages 24-25)

DEAD MAN'S CELL PHONE @ MOXIE THEATRE FOR SDTHEATREREVIEWS.COM AND ARTSNFASHION.COM

Words by Kristen Fogle

“Dead Man’s Cell Phone” (DMCP), by Sarah Ruhl, is both charming and edgy, quaint and quirky, fun and somber. “DMCP” tackles technology, more specifically cell phone use, and champions the idea that the very device meant to connect is actually eroding those relationships we are supposedly maintaining.

The play opens on cute but nondescript Jean, who is enjoying some quiet time in a café…until a persistent cell phone ring interrupts her calm. As the title of the show has given away, the cell phone’s owner has died. Peculiarly, Jean keeps the phone belonging to Gordon, the dead man, and takes it upon herself to answer it and even do Gordon’s bidding in the process. This leads her to encounter Gordon’s mistress (simply billed as Other Woman); Hermia, his wife; Mrs. Gottlieb, his mother; and Dwight, his brother. Jean is compelled to lie to everyone she meets to spare their feelings; she even finds her way into a life threatening situation involving Gordon’s shady former business dealings. Things turn interesting when Jean and Dwight form a connection and become downright bizarre when Jean has a chance to meet up with Gordon again in Act Two.

Jo Anne Glover (Jean) portrays a refreshing childlike enthusiasm, which (sort of) explains her odd need to protect the obviously flawed Gordon, played by Matt Thompson. Besides playing a hell of a corpse, when Gordon speaks to us again from “beyond,” he offers some refreshing insight into how one embodies a true bad guy, as well as how our society aides in setting us up to become one. Kathryn Herbruck plays a resplendent Mrs. Gottlieb with perhaps the best lines; she has developed a character whose abrasive humor continually produces laugh after laugh. Adding to the dysfunction is Lisel Gorell-Getz’s Hermia, an unhappy upper class housewife who is about as vile as her husband. We see Yolanda Franklin in dual roles, playing both Gordon’s mistress as well as his business associate. In both roles she comically commands our attention. Dwight, played by Jonathan Sachs, is the normal if sentimental one of the family. (On a side note, due to an affection rarely expressed for paper goods, I have come to love stationary the way Jean and Dwight do through Sachs and Glover’s romantic flourishe.)

Besides fine actors adding to “DMCP,” (it should be mentioned that Glover is a founder member and managing director of Moxie, Getz is Director of Education), there are many other aspects that make this show worth watching. Delicia Turner Sonnenberg directs (another founding member of Moxie), making good use of the entire stage in her careful blocking (which includes both a fight and a love scene!); Christopher Ward impresses with exceptional set design that encompasses sliding doors that reveal a towering array of baggage in one scene, an intentionally gaudy dining room in another; Jason Bieber (Lighting Design) and Matt Lescault-Wood (Sound Design) lend their talents to frame more tender scenes and successfully replicate the look and feel of a subway.

There is a lot to ruminate on in this play—the manner by which connections can be strangely forged, the power of lies that are intentioned for good, the way that the deceased are ultimately suppressed of their lesser qualities just by virtue of being dead, and how mobile devices can render us ugly. This piece reminds us of our disregard of real interaction in favor of the electronic device and how we are able to share our private, many times putrid selves to the whole world as we spout words everyday in front of complete strangers while having conversations with others. This play ultimately does not feel negative but hopeful—the experience with Gordon has shown Jean a truth, and her simple appreciation and love of Dwight is one worthy of emulation and a good reminder that even if just on stage, perhaps those emotions are still well and good in the world.

As said previously, Moxie is behind Sarah Ruhl’s newest piece (which won the Helen Hays award for best new play, adding to numerous awards for her other works—including a Pulitzer Prize nomination). Moxie is no stranger to highlighting award winning, high quality work; the Rolando based space has produced plays such as “Bleeding Kansas” and “The Sugar Syndrome” and will feature “A Raisin in the Sun” after the run of “DMCP.” Besides showcasing really good pieces, the Moxie mission is commendable: to create more diverse and honest images of women for our culture by producing primarily female playwrights with special attention given to plays which defy stereotypes of what women are writing about and expanding the idea of what is feminine. In the dictionary, “moxie” is defined as “courage, pluck, gumption, perseverance, and guts.” From what I have seen from the company thus far, they clearly embody these terms, pushing their audience to further develop ideas and draw rich connections from their interesting, expressive work.

Dead Man’s Cell Phone
Moxie Theatre
10/7-11/6
6663 El Cajon Blvd.
San Diego, CA 92115
(619) 460-7700
www.moxietheatre.com

To see the original article, please visit http://sdtheatrereviews.com/arts.php?newsId=255 and http://artsnfashion.com/index.php/component/content/article/49/124-dead-mans-cell-phone-review-by-kristen-fogle

MASTER HAROLD AND THE BOYS @ C.A.T FOR SDTHEATREREVIEWS.COM

Community Actor Theatre (C.A.T.) Presents Fugard’s “Master Harold and the Boys”
Words by Kristen Fogle

Set in the midst of apartheid era South Africa, playwright Athol Fugard bestows upon us “Master Harold and the Boys.” Specifically, we are thrust into an unassuming tea room, belonging to 17-year-old Hally’s mother, where during the course of a rainy afternoon, Hally spends time with his two middle aged black servants Sam and Willie. Sam, who Hally has a closer bond with, engages in philosophical discussions with Hally—much to Hally’s delight, as he believes he has taught Sam most of what he knows. Later, the three ruminate on times spent together, times when Hally would run to the servants quarters to play or to hide out when things became difficult. By way of a phone call with his mother, Hally finds out his crippled, alcoholic father is being brought home from the hospital, and the good spirited fun of the afternoon is quickly brought to a halt. Hally’s entitled, resentful feelings toward Willie and Sam surface. What results is a fight that leaves us questioning: Can one‘s relationship truly be saved when one (or both) parties have said too much? And which takes precedence in a friendship: the history between two people or societal stature?

The ties that bring us closer and the societal expectations that can much too easily drive us apart are at the heart of Fugard’s work; his is a fiercely in-your-face dramatization of our self-created and realistic differences. Due to its context, one might be inclined to write off this play as one that represents a certain time and place. But, as optimistic as we wish to be, I believe it is the cast and crew’s hope to illuminate that there are still strides to be made. “Master Harold” is a gentle, hopeful reminder that the characteristics of classism, racism, and elitism can and should be assuaged and even abolished.

All three cast members’ performances are commendable. Christopher Carter is effective as the likeable but flawed Willie, possessing the attitude of someone who does menial work day in and out, dreaming all the while of something larger than himself. TJ Johnson (Sam) brings to his character a patriarchal wisdom that is capably delivered through his bold vocal instrument. Even when Sam behaves in an uncivilized manner and though he has an academic deficit, you feel that his character has much to teach us about life. And a true breakout talent—Jacob Gardenswartz (Hally)—this 15 year old actor compels us to simultaneously hate and sympathize with the confused boy that has seen too much and can’t seem to hold back enough. Generally Hally is played by a much older actor, and director Mark Henry expressed in a Q&A held after the production that he initially had some doubts about casting such a young actor; however, Gardenswartz is more than able. Perhaps it is by interacting with less mature peers his age that allows him to reference the verbal tantrums characteristic of such unabashed childishness.

What was rather impressive about this piece was the fact that nothing remained stagnant. Fugard might get preachy at times, but the character’s lengthy monologues and discourses are never delivered in one place for very long. However, movement was always beautifully executed. I noted that there were always reasons for the characters to change up their positions. Additionally, Henry, unlike other directors, was clearly not afraid to have his characters turn their backs on us or deliver lines to each other. Instead of always being cognizant that the players were playing to us, I was conscious of their awareness of each other.

In addition to the script and the cast, I am continually impressed with this space. Having co-directed two shows here, I am always interested to see how it transforms completely for each production. In the case of “Master Harold,” the sparse set had all the necessary elements—plain tables and chairs that were indicative of a café, a bar with all the necessary items, and a beautiful vintage jukebox that drove the time period home.

After “Master Harold,” a visiting troupe will put on “A-Bit-Of-Burlesque” November 4, 5, and 6, with children/youth play “The King of Creampuffs” playing November 12 and 13. The normal season resumes December 8 with C.A.T.’s annual Christmas production “The Messiah” directed by Jennie Hamilton. As the theater generally has open mic’s and other opportunities, the C.A.T. website is a great resource for both actors and theater goers to peruse and is updated regularly.

But, before it is gone, for a powerful script by a gifted playwright, a visit to C.A.T. to see “Master Harold and the Boys” is in order.

Master Harold the Boys
Community Actors Theatre
10/14-10/30
2957 54th Street
San Diego, CA 92105
(619) 264-3391
www.communityactorstheatre.com

To see the original post, please visit http://sdtheatrereviews.com/arts.php?newsId=255

BRIDAL BAZAAR SAN DIEGO AT ASKMISSA.COM

Words by Kristen Fogle

With thousands of wedding ideas, fashions, products, and services all in one place, the Bridal Bazaar at the Del Mar Fairgrounds is a one stop shop for everything you need for the big day. And even if you are not quite ready to make those big purchases, many brides (and their grooms) see the Bridal Bazaar as a great place to get ideas.

Over two hundred of San Diego's most talented wedding professionals will be present. You can talk with the experts, see the latest trends, get new ideas, and find money-saving show specials on everything you can imagine for your wedding.

In just one day at the Bridal Bazaar you can...
• Talk with more than 30 reception and ceremony locations.
• Review the work of dozens of leading wedding photographers and videographers.
• Taste the offerings of San Diego's most creative bakers and caterers.
• Preview 15 wedding DJs and live musicians.
• Get the latest design ideas from talented florists, decor specialists and wedding planners.
• See San Diego's largest bridal fashion show.
• And much more!

The bridal bazaar fashion show will feature styles from Alfred Angelo Bridal, David’s Bridal, Bridal & Veil/Tux Shop, Friar Tux Shop, Brides by Demetrios, and The Men’s Wearhouse! Gretchen Productions, San Diego’s leading fashion show producer, has a great show in store for you. Using her unique combination of theater, dance and style the fashion show will charm and engage you. No dour models here! Real brides smile and dance in their gowns…and so do the models in our fashion show. Real brides come in all shapes and sizes…and so do the models at the Bridal Bazaar. bouquet designs from Lotus Flowers Shop and fashion forward hair and makeup by the JC Penney Salon and Spa. And if that’s not enough…in the finale of the fashion show the models toss golden balls into the audience. Catch a ball and you’ll win one of more than 100 prizes provided by Bridal Bazaar exhibitors. Fashion shows start at 11:30 a.m., 1 p.m., and 2:45 p.m. Admission is included in the ticket price.

The Bridal Bazaar is #1 with San Diego brides and has been voted as such six years in a row on BridalInsider.com. With three times more exhibitors than you'll find at small bridal shows held in hotels, the Bridal Bazaar provides more style, more choices, and more ideas to make your wedding spectacular.

Best, you will save on admission! Go to the “coupon” section on BridalBazaar.com to get a $2.00 discount coupon you can use at the box office the day of the show or save even more by buying tickets on-line for only $9.00 each. That's 25% off the regular ticket price of $12.00. Both coupons and tickets are delivered via e-mail.

WHEN: Sunday, October 23, 2011 from 10 a.m. to 4 p.m.
WHERE:
Del Mar Fairgrounds
2260 Jimmy Durante Blvd.
Del Mar, CA 92014
TICKETS: $12.00; Save $2 here: http://www.bridalbazaar.com/#content=shows.html%3Fshow.id%3D2145%26variables.panel%3Dcoupon

To see the original article, please visit
http://askmissa.com/2011/10/19/bridal-bazaar-comes-to-del-mar/

DOUBT @ SDSU EXPERIMENTAL THEATRE FOR SDTHEATREREVIEWS.COM AND ARTSNFASHION.COM

“Doubt” Delivers: SDSU Takes on the Award Winning Script
By Kristen Fogle

Doubt, in life is common; when the Catholic Church is involved, it’s a whole other matter entirely.

Enter “Doubt: A Parable”: the brainchild of John Shanley, as well as the winner of the Pulitzer Prize for Drama and the Tony Award for Best Play in 2005. The action of the story takes place in a Catholic school in the 1960s and grapples with a priest, Father Flynn, and namely his character. Were his actions inappropriate toward a young boy, or does the hardened principal of the school, Sister Aloysius, have it out for him? With another, young nun wanting to believe the best in Father Flynn and the mother of the boy determined to shut her eyes no matter what the situation, the play tackles dark dimensions. Ultimately, the audience is left doubting whether they have come to the correct conclusion as well.

One of the best shows I’ve seen in a while, “Doubt” does not seem like a student production. Set in SDSU’s Experimental Theatre, a little black box tucked away behind the main theater, the space is done up effectively; the main stage is the epitome of an office in a Catholic school—clunky wood furniture, drab, dark wall paper, crucifix, picture of the pope—and below the stage, a garden with cement benches and small tree in the middle that denoted the space between the school and the rectory. (A Catholic school “survivor,” the set-up felt all too familiar.) Good direction by C.J. Smith was noticeable as cast members maneuvered around what must have been a tricky space to block.

Additionally, the “Doubt” actor and actresses take us through the brilliantly eloquent script with a vigor and skill usually saved for more professional stages. Father Flynn (Kevin Koppman-Gue) is crafted well—perfect for the era, he exudes a certain young Kennedy quality; as audience members we feel drawn to his passion for the church and his (good? bad?) intentions for the young boy. (Sidenote: We never meet this young boy on the stage, but his presence is evoked so well that we believe in him, his well being; we too feel compelled to protect him.) The boy’s mother, Mrs. Muller (Ivouma Okoro), is a difficult, compelling role; Okoro ably presents a picture of a woman who cares so much that she will do anything, even dismiss crude behavior, to do what she believes is best for her son. Sister James (Rachel Dexter), the bright eyed young nun, is played with complexity—such cheerfulness mixed with an evident fear of dark thoughts that haunt her in her dreams. Her exuberance is presented in juxtaposition with Sunny Smith’s Sister Aloysius. Even a less skilled actress might move us—her lines, ruminations on morality, religion, life are by far the best—but Smith is obviously quite accomplished. Carrying the show with a presence culled straight from a nunnery, she is right on with the tenacity, force, and painful humanity that is Aloysius.

Though many of the details of the plot are revealed here, and the 2008 movie starring Meryl Streep has been seen by many, there is no substitute for seeing this capable cast take on a stellar script.

Doubt
San Diego State University
Experimental Theatre
9/30-10/9
619-594-6884
http://theatre.sdsu.edu

To see the original article, please visit http://www.sdtheatrereviews.com/arts.php?newsId=255 or http://artsnfashion.com/index.php/component/content/article/49/114-doubt-review-by-kristen-fogle

TROLLEY DANCES FOR ASKMISSA.COM AND SDTHEATREREVIEWS.COM

Trolley Dances: An Urban Dance Adventure
Words by Kristen Fogle

Trolley Dances, in its 13th year, is truly a San Diego event to be experienced. Utilizing public transit, which deposits participants to four site locations, and using urban space as the backdrop for six performances, Trolley Dances showcases an array of dancers who have been choreographed by local talents Jean Isaacs, Minerva Tapia, John Diaz, Allyson Green, and Paz Tanjuaquio.

Trolley Dances has varied in its locations from year to year, and for the 2011 run, the group chose the green line, starting at the Grantville Station in Mission Valley, stopping at San Diego State, on into El Cajon, and finally ending at the Santee Trolley Square Town Center.

What is so beautiful and creative about this idea (which originated in San Diego), is not only that it familiarizes San Diegans with the convenient, reasonably clean trolley system (which many of us had never used prior to this engagement), but that it draws our attention to the use of outdoor structures and urban space, allowing us to abruptly discontinue our previous association with these structures and encouraging us to look past them as art forms and spaces of creation.

At the Grantsville Station, two dances were performed. John Diaz’s piece, “Present Junction,” utilized bright American Apparel-esque clad dancers flitting about, incorporating structures such as stairs, trolley waiting areas, planters, walkways—urging us to interact with these seemingly benign everyday constructions. The next piece, “Parallel Groove for 8,” which took place in a circular space sandwiched between stair and elevator access, was choreographed by Paz Tanjuaquio and set to “Take Five” by Paul Desmond, while incorporating sounds of the trolley in with the jazz rhythms. This piece utilized the space a bit more literally—we saw dancers talking on the payphone, waiting for the elevator, and buying tickets. “Bolero” took place at San Diego State; patrons walked up the stairs to view the lawn just west of the university’s Aztec Center, where Jean Isaacs piece showcased dancers in hard hats rolling, strutting, and again, interacting with the physical environment. The fourth dance took place in the most unconventional space of the tour, in the El Cajon Toyota dealership. Participants filed in past customers and a giant pirate ship (which would have been a cool place for the dancing to take place), and into a waiting area where dancers wore simple tanks with numbers on them and colorful shorts. They danced on blocks individually and together, and again, the music (“Nortive Collective”) contained elements of trolley music, as well as choreography by Minerva Tapia inspired by this idea. The last station, in Santee, featured two dances—“The International Cooking School” by Jean Isaacs and “The Last Stop” by Allyson Green in collaboration with her performers. The first dance was in another building, this one a sparse space save for a professional kitchen with counter and serving space, which the dancers utilized. Dressed as chefs from all different cultures, the performers in this piece kept it light and humorous, performing to Hans Eisler music. The last dance, and my favorite, took place outside in the center’s large open bus depot. The performers in this piece slowly transformed from modern day patrons waiting for the bus into western garb—vests, hats, shawls, long flowing skirts—the costuming was very well done. Meanwhile, a collage of western themes and text from TV and film westerns played in the background while the gifted dancers did their thing.

The journey to see all six dances is fun and should be experienced at least once; the project is perfect for our great climate. But be forewarned…this is an endeavor to bring friends and family to; I can’t imagine going at it alone would be very enjoyable. My other recommendation is to bring a sweater; as we all know, as beautiful as San Diego is, the weather can be unpredictable. You will also want some water (though you can buy some at the Grantsville station) and sunglasses as well. After you are done, you are also conveniently dropped by an array of restaurants—Olive Garden, Annie’s Fine Burgers, Chili’s, and Mimi’s Café—all await at the end of the line.

Take a day to pay homage to this great experience—there are not many experiments in which transit and the arts meet, and this one manages to fuse the two together for a memorable event and a fun jaunt around town.

WHEN:
9/24 and 10/1; 10-3 on the hour
9/25 and 11/2; 1-3:30 on the half hour

WHERE:
Departs from the Grantville Station, Mission Valley

TICKETS:
General Admission $30; Seniors $20; Students $15; Tickets can be purchased http://www.sandiegodancetheater.org/trolleydances2011.html

To see the original articles, please visit http://askmissa.com/2011/09/29/san-diego-dance-theaters-trolley-dances-2011/ and http://www.sdtheatrereviews.com/arts.php?newsId=255

PRIDE AND PREJUDICE @ ONSTAGE PLAYHOUSE FOR SDTHEATREREVIEWS.COM AND ARTSNFASHION.COM

“Pride and Prejudice”: Austen Alive and Well (and in Chula Vista)

Words by Kristen Fogle

Onstage Playhouse’s newest, “Pride and Prejudice”(directed by Sandra Lynn Krauss), promises: “All of the wit and romance of Jane Austen's classic 1813 novel come to life in this refreshingly fast-paced and engaging new adaptation.”

Perhaps not a new adaptation, the rest is true, and the popular story (if you are unfamiliar) is as follows. It is Hertfordshire, England in 1813, and in a family with four sisters who are expectantly waiting to find a suitor, Elizabeth Bennet just cannot seem to…well, follow suit. (Worse, her matchmaking mother tries to marry her off to a cousin to ensure that their estate remains intact.) However, it really becomes interesting when Elizabeth meets Mr. Darcy—well off but with a complicated reputation to say the least. The question is if he can rid himself of his prideful ways and she of her prejudice toward him.

Austen’s classic is represented with all the colorful language and period-sensitive dress one might expect. It is also as fast paced as the above description assures. In the first act (and to a much smaller extent in the second), a large flat screen TV fills in the audience as to each location the action takes place in (of which there are many).

To call “Pride and Prejudice” truly engaging is where this gets tricky. On the one hand, there are many good actors and actresses on the stage (24 characters played by 15 actors, in fact). Among them, Kym Pappas was convincing as rebellious but good hearted Elizabeth…in fact all of the sisters played their respective roles very convincingly. Their mother was perhaps the most theatrical, and stage veteran Susan Stratton brought energy and vivaciousness to the stage in places where the pace could have grinded to a halt. Even smaller roles were delightful to watch. However, where there are some good faces, the length is where it is a bit difficult to fully engage. Running two hours and forty minutes, I would recommend the Sunday matinee—an 8 p.m. evening performance means you will be theater-ing until 11—essentially rendering the evening over after the curtain.

But truly, I am a fan of Onstage. The lobby always has a faint soothing smell of good caffeine, and the stage is of a long, rectangular shape that allows for so much action to take place (particularly at one time). Those who love Onstage will enjoy it even more when the place is given a face lift, through a redevelopment grant in the months to come. And also, after this run, the theatre will present two shows that are sure to be great: “The Diary of Anne Frank” and “The Elephant Man.”

Those that will find this tale a truly satisfying experience are tried and true fans of Austen’s work, of which there are many. As delightful as it is to read and re-read a favorite novel, there is nothing like seeing the action live, and a trip to Chula Vista’s cozy downtown theatre may be in order to glimpse a taste of Austen and the many fine actors that pull together to aide in this work.

Onstage Playhouse
Pride and Prejudice
Adults $16; Seniors, Students, and Active Military: $14
9/9-10/8
619-422-RSVP
www.onstageplayhouse.org

For the original article, please visit http://artsnfashion.com/index.php/component/content/article/49/109-pride-and-prejudice-review-by-kristen-fogle

FAT PIG @ PATIO PLAYHOUSE IN ARTSNFASHION.COM

“Fat Pig”: Serving Up Size Issues with a Side of Tender, Comic Fare
Words by Kristen Fogle

Exploring body type and the notions surrounding something so seemingly trivial, The Patio Playhouse presents Neil Labute’s “Fat Pig,”—and what’s delivered is a dish of poignancy, comical banter, and harsh realities, all played out by a very talented cast.

Opening night was a bit rocky what with some sound issues and a few regular backstage hands out sick, but nothing could phase the gifted actors nor the well crafted storyline one bit. At its core, “Fat Pig” is really Tom’s tale, a pretty ordinary 20-something stuck in a world—well, a lot like ours. Media exposure featuring the 10% of the population most “deserving” (read: beautiful and thin), friends who are sometimes self absorbed and downright callous, past flings gone awry and made more complicated by close proximity, and…well, Helen. (This last part is probably not like your life unless you know someone by the same name.) Helen is Tom’s saving grace in the midst of chaotic negativity, but somehow her slightly larger frame makes this ever-so-complicated. Meeting casually in a cafeteria one day, Helen and Tom’s relationship grows, despite resistance from Tom’s office friend Carter, a shallow and frank (but funny) tormentor who “just wants the best for him.” Meanwhile, catty office accountant Jeannie can’t seem to find solace in the fact that her and Tom’s on again/off again romance is over (to be fair, this is due in part to Tom’s wishy-washiness and an inability to finish complete sentences). She feels crippled by the fact that Tom is now dating a “fat girl” and feels this must be done in spite. But instead of Tom standing up to his peers (who have far less character and class than Helen), Tom proceeds to lie about her, keeps her separated from work and friends, and becomes emotionally unavailable. Without giving up vital plot components, I will leave it at this. It comes down to a decision that Tom ultimately makes in the end: one between love and the locusts that plague him every day—swarms of expectations by colleagues and friends that threaten to pull him in the wrong direction.

Though the title “Fat Pig” references Helen’s character, her role is slightly subservient to Tom’s (Alexander Mayes). Mayes plays him like an everyman, believably belying his feelings and frequently falling for the things that are popular and not right. Mayes’ Tom flits between being an emotionally competent, sensitive sweetheart and pulling back to make room for all the nonsense and drivel thrown his way by others. You sense from Mayes that perhaps Tom’s struggle has been his own; but whether the product of believable acting, life experience, or both, he expresses conflict well while also maintaining a likability. Helen (PJ Anbey) is a dynamic force for what is good and true; though, since her weight is such an apparent issue, we wonder if Helen really is OK with her image or has just learned to adorn a happy face. Aside from that, Helen’s flirtatiousness is attractive, and it is refreshing to see a young woman woo with something more than just bare skin. It is when she succumbs to other’s images of her that Anbey’s characterization becomes more real…and depressing; we are reminded that this is the world in which we actually operate. Carter (Alex Guzman) gives gusto to the play, turning it up a notch; something about Guzman’s energy captivates and leaves us hanging on his every insult. (Not to mention Guzman and Mayes have a great on stage chemistry.) Jeannie (Beth Gallagher) is played with a fierce coldness that propels us to feel for Tom; however, she displays qualities in the end (and no, not just a bikini shot) that redeem the abrasiveness of her character a bit.

Patio Playhouse is a prime place to explore this piece. The casual, inviting atmosphere feels like a safe space to really examine the uncomfortable realities on stage. My press packet even includes a “thank you” for attending the show from director and artistic manager Jim Clevenger, who has clearly taken his time with and put a lot into this important piece. A “thank you” right back to the cast and crew; “Fat Pig” will keep you entertained (and give you much to think about) well after the show is over.

“Fat Pig” plays through October 9. For more information, please visit: www.patioplayhouse.com

For the original article, please visit http://artsnfashion.com/index.php/component/content/article/49/108-fat-pig-review-by-kristen-fogle

ARTSNFASHION MAGAZINE, VOLUME 2

Artsnfashion Magazine,
Volume 2

Words by Kristen Fogle:
-Mystic Water Kava Bar review
-Peeps Artlab profile

To see the issue, please visit http://issuu.com/artsnfashion/docs/issuu_final

THE MARVELOUS WONDERETTES @ MOONLIGHT AMPHITHEATRE FOR SDTHEATREREVIEWS.COM

Words by Kristen Fogle

A delightfully fun filled songfest finishes off the year for the Moonlight Amphitheatre. “The Marvelous Wonderettes’” four female leads reign supreme in this throwback to a 1950s prom when the girl group finds themselves forced into performing when the scheduled talent cancels. Act two picks up ten years later with the four reuniting for a class reunion (and again, in the role of the talent, the ladies sing songs of the current era). The result is a cute, catchy romp through favorites like “Respect,” “Mr. Sandman,” and “It’s My Party.”

The show features the original director of the show, Roger Bean, and choreographer Janet Miller, who have both received Ovation nominations for their efforts. (“The Marvelous Wonderettes” did win—the 2007 Los Angeles Ovation for Best Musical.)

Three of the cast members are veteran Wonderettes as well. Bets Malone (Suzy Simpson) originated the role of Suzy over a decade ago, and it shows; the cute Suzy with the nasal voice and the adorable laugh is crafted to a tee (though Suzy seems a lot like Penny Pingleton from “Hairspray,” which, it figures, Malone has also played). Misty Cotton (Missy Miller) has also reprised Missy many times over; she boasts perhaps the best voice of the cast and definitely looks the most mature of the lot. Natalie Storrs (Betty Jean “BJ” Reynolds) has “Wonderette-d” in the past, but played Cindy Lou Huffington. This is interesting as BJ and Cindy Lou are polar opposites and best friends who fight about everything, (but mostly over boys). Tomboy BJ and prim and proper Cindy Lou, played by Michaelia Leigh, both portray their respective roles well, but the fighting between them is mostly fluff and pretty unbelievable for the most part. However, since the plot is mainly just filler for some great tunes, it works. Indeed the show banks on (and succeeds) because these girls can sing. The cast belts out (both individually and together) over 30 popular 1950s and 60s hits, backed by skilled musicians.

Not only do the hits from the past draw you in, audience participation is a vital component of this play. “Mr. Lee” involves a lucky man from the audience who is mentioned (and thrown up on stage) throughout the show, and the whole audience is encouraged to fill out ballots for the crowning of the Marvelous Queen of your Dreams. (Shockingly all four Wonderettes are up for the crown!) With the enthusiasm and energy of each Wonderette, it’s hard for the crowd not to get caught up in the act. (Will the right girl get the crown??)

It’s bitter sweet as this chipper, sweet show marks the last of the summer season at Moonlight. But for those who liked the sing-a-long quality of Moonlight’s show choices this season, patrons will be happy to go indoors to the Avo, which serves up tributes to the Beatles (10/15), James Taylor (10/16), and Simon and Garfunkel (11/12). And as part of the Avo’s regular season, look out for Agatha Christie’s “The Mousetrap” in January.

The Marvelous Wonderettes
Moonlight Amphitheatre
9/14-10/1
1200 Vale Terrace Drive
Vista CA 92084
760-724-2110
www.moonlightstage.com


For the original article, please go to http://sdtheatrereviews.com/arts.php?newsId=255

MULAN @ SAN DIEGO CENTER FOR JEWISH CULTURE FOR ARTSNFASHION.COM AND SDTHEATREREVIEWS.COM

Words by Kristen Fogle

J Company Youth Theatre, paired with La Jolla
Playhouse this season, presents Disney’s “Mulan.” Directed by Joey Landwehr, the production runs for three weekends, and in the meantime, serves up some of the best young actors I have ever seen.

“Mulan” is an entertaining experience that facilitates between delivering laughable moments and addressing important life lessons. Set in ancient China, young Mulan is primarily concerned with finding out who she is; a difficult feat in a land rife with tradition, populated by those that seek to put a young girl in her place as a wife to a young man. But after young Mulan fumbles her way through a meeting with the matchmaker, thus disgracing her family, she wonders whether she will ever make her family’s dreams of marrying her off happen and wonders if her unorthodox ways will ever not bring her family shame. When China calls for a warrior from every family, Mulan attempts to go in place of her ailing father—once a great warrior. Dressed as a man, she humorously explores what it is like to be one. Using quick thinking, she even manages to save the Chinese army from the hands of the Huns—thus developing respect from her army peers, including Captain Shang, who she develops a crush on. However, when Shang learns she is a girl, she is shunned and encouraged to return to “being a woman.” When Mulan saves China a second time though, Shang is forced to confront how powerful Mulan really is, as well as his true feelings for her…

Themes of honor, strength, loyalty, destiny, and love emerge. This story is a great example for children and proof that sometimes standing up to adversity is the right thing to do; following in other footsteps for the sake of tradition is not always the best path to follow. “Mulan” is especially wonderful for young females; the notion of woman as warrior is powerful in showing girls that they can step out of preconceived notions of them. However, Disney’s resounding message is always one of finding “true love.” And as limiting and old fashioned as that notion is, perhaps it is comfortable in that it reminds us that yes, you can have it all if you stay true to yourself.

It must be noted, that though this is a youth production, the Garfield Theatre does not look like a children’s performance space. In fact, there is nothing scaled down about this impressive place: featuring 500 seats, a 2,500 square foot stage, a large impressive set, and a wide array of props and costumes, if one is to see a performance put on by kids, this is the place to go.

Not to mention that these kids are just plain talented. The young stars are impressive to watch as they perform extensive choreography and engage in intricate vocal harmonies. Mulan (Gabrielle Quiwa) is well cast. Her facial expressions and acting chops are spot on (though I wish they would turn her up in a few places where her soprano is a bit faint). Mushu (Scott Peterson), Mulan’s dragon friend sent by her ancestors to help, is similar to another Disney character, that of the Genie from “Aladdin,” played by Robin Williams in the movie version. That boisterous energy helps the scenes stay upbeat and playful. (And evidenced by the giggling heard whenever he came on, I think the kids in the audience like him too.) Another standout is the Emperor, played by Nathan Conlon, a wee little fellow with a great voice who delivers lines in such a tender, mature, wise way. Captain Shang, The Ancestors, and all the other performers are well rehearsed and work together capably. In fact, the best moments of the show are the group numbers. “Keep ‘Em Guessin’” is especially well done; the troupe moves and sounds terrific together.

For a night with some of San Diego’s best youth performers, and to see a fun entertaining romp around ancient China complete with life lessons that are good reminders even for the older generation, “Mulan” is worth a watch.

Disney’s Mulan
J Company Youth Theatre
San Diego Center for Jewish Culture
David and Dorothea Garfield Theatre
9/17-10/2
4126 Executive Drive
La Jolla, CA 92037-1348
858-362-148
www.sdcjc.org/jcompany

For the original article, please go to http://sdtheatrereviews.com/arts.php?newsId=255

HOW THE OTHER HALF LOVES @ SCRIPPS RANCH FOR SDTHEATREREVIEWS.COM

Words by Kristen Fogle

Seeing “How the Other Half Loves” is experiencing theater at its most pleasurable. A visit to the Scripps Ranch Theatre (albeit a little hard to find without having been there or receiving detailed directions) is a short, pleasant drive for those living in San Diego proper and set among a beautiful campus. The theater itself is brimming with warm wonderful ushers and staff, and the space is adorably decorated for what is a one part smart, two parts silly performance that is sure to be enjoyed by patrons both old and young.

The action of “How the Other Half Loves” takes place in the homes of two couples, Fiona and Frank Foster and Bob and Teresa Phillips. A late night dalliance involving the wife of one and the husband of the other requires excuses that involve a third innocent couple, leading to the usual escalation of misunderstandings, mistaken assumptions, and resulting fireworks. It should be noted that the two homes are not staged side by side but are intermingled. As a result, two scenes may be played simultaneously even though they are in two locations and at different times. This makes for interesting blocking and a play that never sees a dull moment.

“This is a highly technical play to perform. It must be choreographed with precision and honed with perfect timing,” says director, Jim Caputo.”But there is nothing like when it is done well—and we will.” He is correct; the play’s scenes are enacted flawlessly by tremendously talented cast members. Susan Clausen, who plays bored, upper class housewife Fiona Foster, does so with a panache, her witty one liners obviously honed from years of working with companies about town, including North Coast Rep and Lamb’s Players. Fiona’s husband, Frank Foster, is expressed with bumbling confusion ever so endearingly by the talented Eric Poppick. Couple Bob and Teresa (Neil McDonald and DeNae Steele) bicker in the worst way; channeled by Ayckbourn’s “positive” memories of relationships in his youth, this one is putrid in every sense of the word. Steele skillfully delivers unabashed anger ever so believably while making us laugh at her comic retorts, which are mostly aimed at bloke-ish Bob. Lastly, William and Mary Featherstone are taken on by Adam Daniel and Maelyn Gandola. Daniel and Gandola are clearly adept—the demands of the dinner scene alone will prove what these two have to offer. Gandola in particular is a gem—her tiny frame and the squeamish way she portrays Featherstone—it is hard to picture another local actress in that role.

The set and costumes were not spared meticulous efforts either. Through paint and props, it was easy to delineate which space belonged to which couple, making the action easy to follow and allowing the audience to concentrate on more pressing issues (like not laughing too loudly). Costumes were both of British taste and true to time period. (I especially enjoyed Frank’s workout wear as well as Mary’s outfits, which were somehow simultaneously meek in tailoring, loud in color.)

All in all, “How the Other Half Loves” is a great show. Its only downfall is that it shows couples who really don’t get along, and maybe, would be better off if they weren’t together at all. But, if you can get past that and into the comedic efforts of a good script, great direction, and a terrific cast, this is definitely a fun romp well worth watching.

How the Other Half Loves
Scripps Ranch Theatre
9/10-10/8
Alliant University
Legler Benbough Theatre
10455 Pomerado Road
San Diego, CA 92131
858-578-7728
http://www.scrippsranchtheatre.org/

To see the original article, please go to
http://sdtheatrereviews.com/arts.php?newsId=255

THOM PAIN @ NEW VILLAGE ARTS FOR SDTHEATREREVIEW.COM

Words by Kristen Fogle

The crowd is eager as they enter the gorgeous lobby of New Village Arts (NVA); the fervor continues into the theatre and spills into the performance, which the audience is very much a part of.

This is the opening night “Thom Pain (based on nothing),” a 65-minute one man show. The storyteller is not Thom Pain of the history books, but playwright Will Eno’s “everyman” character, played by NVA Ensemble member Adam Brick. Pain is a seemingly ordinary man clad in a simple suit with just his words set against a bare stage. He tackles life and love, and his shtick can be referred to as “stand up existentialism.” A tall order for such a short amount of time.

In between the really big questions like “When did your childhood end?” and waxing poetic (“I speak softly because I want to be heard”), Pain teases and plays with his audience. Paradoxes abound (“Besides all our unfixable problems, we were perfect”), discomfort is utilized (this would be the full minute of silence mid performance while Pain looked us over), as well as playful puns and both corny and clever jokes.

Two days later I’m still not sure what to think of the piece. On one hand, “Pain” has been lauded for being a finalist for the 2004 Pulitzer Prize, it has had successful runs in ten countries on at least four continents, and has been praised by highly respectable media outlets such as the New York Times. On the other, maybe it’s not that I am adverse to the play, I just may not be as accustomed to this genre of theater in San Diego. It’s a piece that I can see doing well in a black box in Brooklyn, a “think piece” that may work for the kind of theatre go-er that can shell out for a play that director Kristianne Kurner says you need to see “5 to 6 times” since “each time you watch you will find something new.”

No matter how I feel, what is commendable is how much the audience seemed to be in to it. Whether they were having their minds blown open, had too many drinks at Hap’s Bar (located in the NVA lobby), or were season ticket holders, I am unsure. But Brick received a standing ovation and many positive comments from what I could overhear upon exiting.

What may have helped me understand all the fuss was the “talk backs” with NVA Ensemble members that happen after every performance (except for ours, as mentioned, it was opening night). Perhaps then members could go into more detail about what they find so truly moving and remarkable about this show.

I didn’t receive help in appreciating the show from a “talk back,” but I did get a little help from Godot. Yes, I am referring to Samuel Beckett’s “Waiting for Godot.” (In fact, Kurner compares working on “Pain” to “a mash up of a William Shakespeare comedy and a Samuel Beckett existential meditation.”) It was a framed quote from Beckett’s work on NVA’s wall that started me thinking; I “hmm’d” at the similarities between “Gadot” and “Pain.” In fact, in “Gadot,” Estragon eventually gives up waiting for the title character, muttering, "Nothing to be done," which reminded me of Pain’s modern day equivalent of these words, peppering his theories on life with “whatever” and “who knows.” The point is “Gadot” is not always understood, though in my eyes, it’s a pretty significant work. (For me it was really reading Beckett’s work over a few sessions on the floor of the San Diego City Public library a few years ago). And though both “Gadot” and “Pain” may leave certain audience members with a general feeling of I-don’t-get-it, there are gems to be had in the wording of each, the sheer thought put into the characters’ introspection that we so often forget to have on a weekly or monthly basis.

For that reason, I would say, sure, tackle Thom. If you really listen, and maybe even return a time or two, you are sure to hear something of value in the dialogue. However, if you’re like many San Diego theater goers (and maybe, me?) and want to see something a bit more traditional, it may be best to wait until NVA releases its “Of Mice and Men” after “Thom” wraps at the end of October.


Thom Pain
New Village Arts
9/10-10/2
2787 State St.
Carlsbad, CA
(760) 433-3245
http://www.newvillagearts.org/


To see the original article, please visit http://sdtheatrereviews.com/arts.php?newsId=255