RAISIN IN THE SUN @ MOXIE THEATRE

“Raisin in the Sun”: Moxie’s Ensemble Shines

By Kristen Fogle

The first involvement the audience has with Lorraine Hansberry’s “Raisin in the Sun” is through set designer Sean Fanning’s stage: intricately adorned and immediately plunging us into the era. Period photos, an adorable stove, faux brick outside the window, just a bit of peeling paint...each detail catches our eye and readies us to plunge into Hansberry’s historical piece.

“Raisin in the Sun” has so many times been referred to as a story of living and struggling, with hope being the sole means of surviving. More specifically, it’s the story of an African American family in Chicago’s South Side in the 1950s. Lena Younger (or Mama) is the matriarch of two children: Walter Lee Younger, who dreams of owning his own liquor stores, and the progressive 20 year old Beneatha Younger, who spends much of the play trying to decide between suitors. Also in the house are Walter’s sweet wife Ruth and their innocent son Travis.

When Mama tries to figure out what to do with a $10,000 life insurance policy received after her husband’s passing, the trouble starts. Walter thinks it should finance his dreams and is dismayed when Mama purchases a home in an all-white neighborhood—mostly because she fears pregnant Ruth will have an abortion if they do not find a larger, more suitable home for the family. After much moping, Walter gets some funding of his own from Mama, only to lose both his liquor store money and the funds meant to go to Beneatha for medical school. Karl Linder, the head of the “welcoming committee” of the new housing track stops by to make an offer so the family will not move, and in the midst of this new financial disappointment, the family must decide...do they take the money and stay, or look forward, making a life in a neighborhood where they are unwanted?

Hansberry is exemplary of the authors that Moxie tries to promote, strong women with positive, empowering messages. (“Raisin” was also quite forward thinking in its day, tackling hot button issues like racism and abortion.) Fans of the piece may be interested to know that Hansberry’s story is also loosely based on her family’s experiences and a real life lawsuit, Hansberry v. Lee, which dealt with a home association’s enforcement of racial restrictions.

Not only is the writing superb, as anyone who has read the novel can attest, but Moxie does not scrimp on high quality actors tackling these tricky roles. Most notable in particular is Mark Christopher Lawrence as Walter Lee Younger and the life force that is Sylvia M’Lafi Thompson (as Lena Younger or Mama). Both are members of Actor’s Equity Association; Lawrence is also an alum of NBC’s now defunct “Chuck,” Thompson has numerous theatrical credits (and awards) to her name. Additionally, Yolanda Franklin capably plays Ruth; Seventh grade LaTahj Myers captures the boyhood of Travis Younger well; and Kaja Dunn is fiery and compelling to watch as Beneatha Younger.

Moxie's own Artistic Director, Delicia Turner Sonnenberg, winner of The Des McAnuff New Visions Award, several "Craig Noel" and "Patte" awards, and the Women's Internation Center Living Legacy Award, directs. (An impressive lady, she was also twice the recipient of the Van Lier Directing Fellowship through Second Stage Theatre in New York and an alumnae of the New York Drama League's Directors Program.)

So important is the message of “Raisin,” particularly in these hard economic times, of the power of achieving dreams even in spite of insurmountable obstacles. And because we can all use a reminder—those dreamers who are in for a remarkable set and an impressive ensemble...away to Moxie with you.

“The Raisin in the Sun”

Moxie Theatre

2/4-3/4

6663 El Cajon Blvd.

San Diego, CA 92115

(619) 460-7700

www.moxietheatre.com

THE BLOOD COUNTESS @ VICTORY THEATRE

“The Blood Countess”: Featuring Vampires at the Victory

Words by Kristen Fogle

“The Blood Countess” is the newest creation to grace the stage at the Victory Theatre, an experience in and of itself, if you’ve never been. Plunged into the depths of Logan Heights, one of downtown's lesser restored areas, the colorful neighborhood is a bit rough, but strangely, holds the Victory. Falling apart, the Victory does possess slight charm, probably due to its odd history. In 1920 it was a movie theater, in the 1960s it became a church, and since 2011, it has been “restored” to theatrical glory by the “Center for the Amusing Arts”; soon, the space will become a coffee shop apparently...I hope when this takes place someone will spend the time and money to give the Victory the proper updating it needs to be truly “restored.”

But quirk it has, making it a great place to hold “The Blood Countess,” Danger House Productions’ newest show. Here is how the space and play align: A long hallway with old fixtures, low lighting, and outdated carpet lead you into the bowels (concessions and ticketing reside here) where there is a statue of the Blood Countess—not only used as fun lobby decor, but seen periodically on a projection screen/live camera feed in the theater. There are also several people binding their hands together with rope on a bench in the lobby—these souls will make their way from there and sit, behind a curtain for the most part, on stage during the duration of the show. Billed only as “onstage prisoners,” their claim to fame is sitting still for the entire 90 minute production (no intermission). The theater, which has an impressive 290 seats, has creaky rickety theater chairs that are falling apart (I mean the handles of the chair came off twice while I sat there), in rows that are just a few inches too close. The stage itself is large, black, and sparse, save for a DJ table stage left and a giant marble tub in the middle of the room (where did they find this piece??). There are water damaged walls, and the whole place has a funky scent, but it really is the place to stage a vampire tale. (Or a “Rocky Horror” production...just saying.)

The plot involves three exchange students who come to Transylvania to learn about the Blood Countess, Elizabeth Bathory, whose true vampire tales they claim have been overshadowed by "he who must not be named"...Dracula. The trio decides to stage a rave in her castle, with help from the Minister of Culture, who is funding their endeavor if they provide educational info regarding Elizabeth's life. (Why, I’m not sure.) But, the three soon find themselves sucked inside the legendary story and even end up meeting the Blood Countess herself—who sets her life story straight...and wants to bathe in their blood of course.

The plot is silly and moves slowly in the beginning. Perhaps because it is opening night, people are stepping on each other's lines and accents aren't always quite where the need to be. Carla Navarro is the Blood Countess, an electric beauty who fits the bill and Tony Belville’s Minister is quite good...and his skill with the Romanian accent is enviable and the best on stage. Elisa Gonzalez (Dot Sainz) seems to be quite the actress; her role a bit minor in comparison to the others, but she is perhaps the best actor up there. The others give it their all though, plugging through their lines and telling Elizabeth's story with a commendable energy.

One thing I was hoping for in this production was even more blood. Yes, I know there are pails of it being poured into a bathtub, but with a campy storyline and some cheesiness abounding, I would love to see even more of it. In fact, the front row should be a splash zone. You will get wet...that's what I'd hoped.

Not to mention that blood is kind of what Danger House Productions thrives on. When the group began in 2009, it was created to explore the wonders of blacklight and blood in theatre. Since then, it has been their mission to appease the younger generation, who thrive on and expect instant gratification. To do this, in addition to blood and blacklight, Danger House tries to bring provocative, interactive, and visually evocative performances through campy humor, light and shadow puppets, and ear splitting screams. They boast a prestigious Patte Award for Sound Design in their first main stage production, “Dreams of the Witchhouse” by H.P. Lovecraft. They have also put on a collection of plays from Grand Guignol, “The Festival” by H.P. Lovecraft, “The Foot of the Mummy” by Theophile Gautier, and "Love Suicides at Amijima" by Chikamatsu Monzaemon.

Danger House's infesting brand of quirk might not be for every theatre go-er, but the “Countess” offers some interesting tidbits on a historical character and a chance to step into a space that (may be) new to many. While it's not always a seamless piece, it was a fun way to spend Valentine's eve…and where else in SD are you going to find vampire action this time of year???

Blood Countess

2/14-3/1

Victory Theatre

2558 Imperial Ave.

San Diego, CA 92102

619-663-5652

www.dangerhouse13.com

FOUND CREATIVE STUDIO EVENT @ SPLASH WINE BAR

Creatives Come Out for Found Photography Party at Splash Wine Bar in North Park

Words by Kristen Fogle

Fast becoming the photography go-to girls in San Diego, creative duo and owners of Found Creative Studio Jennifer Siegwart and Rebecca Teal celebrated their first year in business on Thursday, February 9 with a party put on at Splash Wine Bar in North Park, where they are also showcasing thirty of their prints—including portraits and landscapes from both around the world and in our local San Diego.

Siegwart and Teal expressed how grateful the pair is for having such a successful first year in business and opening their current studio in Bay Park. Food and faire included light appetizers and wine, courtesy of Splash, and green cupcakes featuring Found Creative Studios’ initials. In attendance at the event were clients from Cliq Magazine, Aquario Studio, Future Standard, tecture, Eventity, Inc., Erin Winter Hair and Makeup Design, Zoom Theory Photography and Design, Teal Green Design, and San Diego Magazine.

The Found girls are products of a down economy. Teal, who once was the Fashion Editor and Photographer for New York based In*Tandem, and Siegwart, who worked for the now defunct Future Snowboarding Magazine (both are grads of Santa Barbara’s Brooks Institute of Photography), literally found each other when Siegwart hired Teal to work at a photo studio she was managing at the time. The pair got along famously and decided to translate their fun, funky style into their own company.

Taking advantage of Becca’s cutting edge East Coast/New York editorial approach and Jenny’s considerable portrait experience, the two are fast making a name for themselves photographing fashion, advertising, weddings, and portraits—and are now promoting their new “kids” line. “It’s something different for parents…The feedback on them is spectacular, with fun props and a few costume changes. Think Vanity Fair or Vogue for kids,” Teal explains.

Though anyone who is looking for photo gurus should give them a shout, those who want to see (and/or purchase) beautiful prints should come on down to Splash. Jennifer explains the collection: “It’s a combination of our individual travels from all over the globe, including Greece, China, New Zealand, Brazil, France, Spain, and Italy…not to mention up and down the coast of California. We were able to incorporate some of our portrait and fashion work into the gallery as well, and the whole installation came together perfectly. You are able to see our style consistently throughout the images, which is so important when trying to brand your image.” Price points on items are very affordable (all under $400), and the pair is willing to print photos in different sizes (as well as on canvas) at customer request.

For more on Found Creative Photography, please visit www.foundcreativestudio.com.

For more on Splash Wine Bar and/or to hold your next event there, please visit: www.splashwinebar.com

GRACE AND GLORIE @ VISTA'S BROADWAY THEATRE

“Grace and Glorie”: Broadway Vista Delivers Good Drama (Yet Again)

Words by Kristen Fogle

“Grace and Glorie,” Tom Ziegler’s two actress show, is the story of death and dying, hope and loss, and the power of friendship, even among two very different people.

Grace, an older woman—who inconveniently lives in the middle of nowhere—finds herself practically abandoned: her husband and five boys are deceased, her only relative is Roy (an ingrate who merely deals with her), and her dear niece is too far away for her to visit. When she learns after a recent hospitalization that Grace is dying, Gloria—a New York transplant, Harvard M.B.A., and former businesswoman that has just moved to the area—comes to help Grace during her final days as a hospice volunteer.

Gloria (Glorie, as Grace calls her) offers assistance any way she can…prepping meals, running errands, converting household items into bedpans…the usual. Not only does she aid in relieving Grace’s physical discomfort, but she aims to carry out Grace’s emotional wishes as well: she ensures Grace’s niece gets to hear from her oldest living relative, puts a will in place for Grace, and eases her mind about going to her final resting place.

However, the relationship is far from one sided. We learn that (in addition to what seems like a less than fulfilling marriage), Gloria’s son passed away ten years earlier. Gloria has never gotten over this, and doing hospice care is her way of trying death on for size. As the two grow close, Grace ends up giving Glorie more support than she ever expected.

The two actresses, Joan Westmoreland (Grace) and Renee Gandola (Glorie), are a great pair. Westmoreland plays Grace’s curmudgeon-y moments well (but not so well that we ever find her unpleasant), and Gandola is a ball of energy, ricocheting from stage right to left carrying out Grace’s wishes with sass and spunk. Both are no stranger to the Broadway—Westmoreland has made four appearances there; Gandola starred in the last production they staged, “Life of a Sofa.”

Randall Hickman directs, and we can also attribute the dazzling set concept/decoration to him as well (with construction billed to theatre co-owner Douglas Davis). Grace’s cabin boasts all the quirks that a home occupied by grandma might have, down to colorful quilts and knickknacks.

San Diego’s “biggest little theatre” is truly the place to stage “Grace and Glorie.” The 49-seat space is charming without feeling outdated, and in the eight years Davis and Hickman have been in the space (and the almost four I have been watching and performing there), I have seen the sets become better and better. The ticket prices have also remained the same for the last three years (making this Vista treasure that much more of a treat).

Stay tuned for upcoming Broadway shows: the comedy/farce “I Take This Man,” which opens March 30 and “Trying”; it follows that run on May 11. The Broadway is also presenting a mini-season at the Welk Resort; stay tuned for “The Producers,” starting March 8!

“Grace and Glorie”

Broadway Theatre

340 East Broadway

Vista, CA 92084

www.broadwayvista.com

TOMMY EMMANUEL @ BALBOA THEATRE--INTERVIEW

Legendary Acoustic Guitarist Tommy Emmanuel—Interview with SDTR!

Words by Kristen Fogle

For one night only, on Valentine’s Day, Tuesday, February 14 at 7:30 p.m. at the historic Balboa Theatre, legendary guitarist Tommy Emmanuel will be playing a special performance—one year after recording his PBS special at the same location. The special celebrates his current two disc album “Little by Little” on Favored Nations Entertainment and will air in June with over 160 airings.

Known for his dazzling performance, flawless guitar skills, and voluminous repertoire, Emmanuel celebrates five decades performing. A household name in his home country of Australia and incredibly popular in the US, the two time Grammy nominated artist was named the 2008 Best Acoustic Guitarist and Gold Medalist by Guitar Player Magazine and Acoustic Guitar Magazine and boasts being the only non-American inducted into the National Thumbpickers' Hall of Fame in Muhlenburg, KY.

Now, in the midst of gearing up to play in “America’s Finest City” again, Emmanuel was kind enough to answer some questions about his new websites—one that teaches budding guitar players how to pick like him—his favorite ever performance (it’s a big one!), and why his career keeps him happy.

Kristen Fogle: Tell us about your PBS special.

Tommy Emanuel: The good folks at the PBS network wanted to do a special with me and friends, and they allowed me to choose my guests. Those were Pam Rose, Anthony Snape, Frank Vignola, and Vinny Raniolo. Between us, I think we put together a strong show with lots of good music and variety for people of all ages. We needed to record two nights, so we actually did two shows and recorded and filmed both. This gave us the opportunity to have alternative takes of different songs. Some of the more spontaneous ideas I came up with during the shows, which were actually just for the audience, ended up on the special anyway. For instance, the version that I played of “Guitar Boogie” was actually the encore on the first night. I didn’t think that we were recording or filming, but we were. It turned out to be pretty good performance, and everybody liked it, so we put it on the final. Just a little inside info there.

KF: I know you played Les Paul's birthday tribute, which must have been amazing, but can you share some other big events that you have played that mean a lot to you?

TE: Probably the biggest event of my life was the closing ceremonies of the Olympic Games in Sydney in 2000. There were 200,000 people in the stadium and 2.75 billion people watching around the world. I’m so glad that I got to share that moment in history with my brother, Phil.

KF: Tell us about Tommy Emmanuel 3.0.

TE: Tommy Emmanuel 3.0 was created to introduce my video portal TommyEmmanuel.TV. When you go to that site and join, you can get instructional material and watch exclusive live concert footage and documentaries, as well as our video news blog, The Endless Road. Truefire Media created the site and have really great proprietary tools so that guitarists who would like to learn my pieces can see them played at all angles and can loop footage and download tablature. At the same time, we introduced a redesigned tommyemmanuel.com website and started selling the CD versions of guitar instruction that combine traditional tablature books and DVDs into one format that can be used on a computer.

KF: You are currently touring. Where are you looking forward to playing?

TE: California has always been good for me, and I’m grateful for the following that has been building over the years. You can’t beat California in winter.

KF: San Diego, in particular, is gearing up for you, for your concert on Valentines Day. Is that a special day for you?

TE: Yes, because I have a special Valentine!

KF: It's almost exactly a year since you released "Little by Little." has your relationship with the compilation changed over the past year? Do you like playing certain songs more/less?

TE: I like the way that some of the songs since recording them have actually evolved and changed from live performance. For instance, the native American song “The Trails” has grown and changed a lot, and I think that I’m telling the story better now.

KF: How is this record different from any other?

TE: It’s a double album for a start, and it’s a mixture of original songs and well-known songs played solo and in duet. I have several guests on this album.

KF: After so many years in such a great career, do you ever want to something else? How do you stay motivated?

TE: I am always trying to get better at what I’m doing and because I travel and meet people every day of my life, I think I’m in a constant state of being inspired.

For more information on Tommy Emanuel, please visit: www.tommyemmanuel.com

Tommy Emmanuel

2/14/12, 7:30 p.m.

Balboa Theatre

868 Fourth Avenue

San Diego, CA 92101

www.sdbalboa.org