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/