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