Tuesday, January 17, 2012

THE ELEPHANT MAN @ ONSTAGE PLAYHOUSE

The Elephant Man: Warming Hearts, Charming Audiences at Onstage Playhouse



Words by Kristen Fogle

John Merrick, the title character of “The Elephant Man,” says it best: People are frightened by what they don’t understand.

So sets the plot behind the historical drama: It is 19th Century England, and John Merrick, horribly deformed since birth, has been relegated to that of sideshow act in a carnival, property (essentially) of Ross, the show manager. Merrick is exposed to three pinheads with whom he is to perform with, mentally retarded women who cannot hold a conversation with him. When Merrick is escorted off the stage by police (his face renders him “indecent”), Ross deems him more trouble than he is worth—robbing Merrick and sending him on the streets. Merrick is taken to bright, ambitious Dr. Fredrick Treves, who is intrigued with Merrick’s condition. So it seems his fate changes. Treves puts Merrick in a wing of a hospital that becomes home, giving him a chance at normalcy by exposing him to affluent Londoners, and a chance to exercise what turns out to be a very brilliant mind.

The tale (based on the true story of Joseph Merrick, the subject of two books published in the 1920s and the main character of the Academy Award winning 1980 film) challenges what is truly beautiful. Though physically wretched in most people’s eyes, Merrick’s search for the good, beautiful, and true makes him the most attractive character in this piece. Treves, though he does help Merrick, also does so in the name of scientific curiosity and makes him the subject of inquiry in lecture halls. The many nurses that come to help Merrick are too sickened by his site to continue, and the boys that serve his meals taunt him. Although he does find kindness—due to a letter printed by Treves’ employer Carr Gomm in The Times, they have found enough money to keep Merrick away from the cruel public eye and at “home.” Mrs. Kendell is one of the friends that Merrick acquaints himself with and keeps, until a questionable act sees her removal. Bishop How helps Merrick develop his spirituality. And Merrick is able to hone his talents, creating truly beautiful work in the form of a quite famous church model.

Originally, the 1977 play by Bernard Pomerance was produced on Broadway, debuting in 1979. The lead role was played by Philip Anglim and later taken by Bruce Davison, David Bowie, and Mark Hamill. At Onstage, Merrick is played by James E. Steinberg; it is interesting to note that neither for this production nor most others is there any prosthetic makeup worn, so it is even more compelling that Steinberg can so effectively convey Merrick in speech and demeanor. Truly excellent also is Brian P. Evans as Carr Gomm, notable for last year’s “Rocky Horror Picture Show” in which he portrayed Frank N Further; he is a talent worth keeping an eye on. Cheryl A. Livingston charms as the quiet but quick minded Mrs. Kendal, and O.P. Hadlock (Dr. Fredrick Treves) had some moments of brilliance, though left me confused in places where he seemed to be searching for lines. Not bad for a first night though, and even the smaller parts were played with gusto; good casting all around with fine direction by Steve Murdock, who also sound designed the show, (and with Chad Oakley) designed the set. (I heard that the floor to ceiling stained glass-reminiscent panels that dominated the set were borrowed from the Old Globe—an impressive touch).


As always, I respect what Onstage does. Its cozy, 62 seat theater (which feels much larger), is the only South Bay playhouse and continues to choose great shows and present high quality work. The space, which is cute as is, is looking to face lift soon—any and all charitable donations toward supporting Onstage are 100% tax deductible as it is a non-profit.


Up next in the space is “Rosencratz and Guildenstern are Dead”—written by Tom Stoppard and directed by Jenna Long—the piece is Hamlet turned comically upside down.


The Elephant Man
Onstage Playhouse
1/13-2/4
291 Third AvenueChula Vista, California
(619) 422-RSVP

www.onstageplayhouse.org

Photos: Andrew Rogers of Silversunbeam Photographic: www.silversunbeamphoto.com

CATS @ CIVIC THEATRE--REVIEW




CATS: Fun Times with Frisky Felines, Courtesy of Broadway San Diego

Words by Kristen Fogle

The newest theatrical fare from Broadway San Diego is CATS. The timeless Andrew Lloyd Webber musical masterpiece (based on T.S. Elliot poems), which owns the title of longest continuously running theatrical show in U.S. history, has been making audiences fall in love for 30 years; San Diego residents were able to glimpse the Jellicle cats January 11-15.

CATS is a celebration, taking place in a large junkyard. One by one these Jellicle cats make their way onto the stage (“Jellicle Songs for Jellicle Cats”), and they begin to explain that each feline has three names, one by a human owner, one that fits its personality, and one so divine that only the cat knows it (“The Naming of the Cats”). The celebration is the Jellicle Ball, where the eldest cat, Old Deuteronomy, will announce which cat will be reborn. We hear from competitors Jennyanydots, The Rum Tum Tugger, and Bustopher Jones as to why they should each be chosen (all have their own songs attached to their name). Grizabella, who is much unliked, interrupts Rum Tum, wanting to come to the ball, but she is dismissed. Later, the cats hear noise and remark, “Macavity,” while two cat burglars enter the scene (“Mungojerrie and Rumpleteazer”). Finally, Old Deuteronomy arrives, starting the ball. Grizabella once again arrives; she does not know it, but Deuteronomy listens to her sad pleas.

In the second act, Old Deuteronomy is surrounded by the Jellicle cats in another part of the junkyard. He announces that he will choose the cat who "has found meaning to the happiness he or she has experienced" (“The Moments of Happiness”). Jellylorum then introduces the next candidate, Gus: the Theatre Cat. He relives in his mind one of his favorite plays, "Growltiger's Last Stand,” with a memory so vivid that the audience can see the ship, Gus, and his leading lady Griddlebone. Next to compete is Skimbleshanks, the Railway Cat; then Macavity, the Mystery Cat, shows up to the Jellicle Ball. Angered by not being invited, Macavity and his henchman take Old Deuteronomy away so he cannot decide which cat will go to heaven. In trying to find him, Rum Tum Tugger suggests they conjure the magical cat Mr. Mistoffelees, who finds Old Deuteronomy. For the third time, Grizabella comes back to the junkyard, explaining how she wants to be reborn for a second chance to live differently—to live like the happy memories she has of when she was beautiful (“Memory”). Old Deuteronomy grants her wish, and the cats agree with this decision as Grizabella is sent on her way (“The Journey to the Heaviside Layer”). The Jellicle Ball this is over for another year, but not before Old Deuteronomy adjourns his fellow Jellicle cats, reminding them of their special privileges (“The Addressing of Cats”). The Jellicle cats return home, and the junkyard is quiet again for another year.

The plot is simple, but so silly, I, bring a first timer, embarrassingly, actually get lost from time to time. The extraordinary cast executes this old favorite well, (but, as my theater partner for the night notes: on the whole, their talents are just not quite up to the original cast standards). Particularly good, however, are Nathan Morgan’s Old Deuteronomy, whose finely tuned operatic instrument make it believable that he is the oldest and most respected of cats. (See James Colt Harrison’s interview with Nathan here: http://sdtheatrereviews.com/columnists.php?coumnId=22 ) Jellylorum/Griddlebone, played by Elizabeth Ruff, who went from swing to being cast the night before one of the tour’s first shows, has an impressive vocal range, and through facial expressions and energy, immerses us in her cute kitty ways. (See my interview with Elizabeth here: http://the-wordbot.blogspot.com/2012/01/cats-civic-theatre-cast-member.html )
Rum Tum Tugger (Chris Stevens) was also a crowd favorite, with hip thrusts and leather pants, playing the perfect caricature of a heart throb…in cat clothing. Says the actor of his role to the Mission Times Courier: “Tugger is the sexy, adventurous cat that all the other female cats love…He never does what he says he will do and certainly never does what others expect of him. He is a rebel who loves showing off for attention and having fun.”

CATS may be gone from San Diego, but these fun, lively creatures are alive and well in Costa Mesa, from January 17-22. After that, we will not see them on this coast until early April (Folsom Lake and Chico, CA). However, CATS has one of the best soundtracks and DVD recordings of any musical; though seeing the show live is ideal, I recommend these both, which can be found on Amazon. Additionally, the best part of CATS is that it can be seen by anyone—kids, parents, and grandparents are all invited to the Jellicle Ball. You’ll fall in love once you accept their invitation.

CATS
For more information, please visit: http://catsontour.com/

Monday, January 9, 2012

CATS @ CIVIC THEATRE--CAST MEMBER INTERVIEW




CATS Comes to the Civic: Cast Member Interview

Words by Kristen Fogle

The Cats are upon us. CATS, which comes to the Civic Theatre via Broadway San Diego January 11-15, is a favorite, and many people have seen the Andrew Lloyd Webber, award winning musical (in its 30th year) more than once. What many people have not experienced, however, is a word from the cats themselves. Elizabeth Ruff, who plays Jellylorum, was kind enough to give us some facts about being a feline: for instance, she dishes out information about rehearsal and night-of behind the scenes, including some of the pranks those pesky kitties pull on one another.



Kristen Fogle: Can you explain what the rehearsal process for this show entailed? How was it similar to or different from other shows you have performed in the past?


Elizabeth Ruff: I was originally hired in the role of the female vocal swing. I understudied the roles of Jellylorum, Grizabella, and Jennyanydots. I would perform the roles if the playing company member was not able to for whatever reason. During all other shows I was to sing vocal back up in the booth with the band. The show is very demanding physically and vocally. It's nice for the playing company members to have a little vocal support. I had never been a swing role before, so the rehearsal process was very different for me. I learned those three roles by watching the playing company perform and learning them. If there was space on the side of the rehearsal studio, the other swings and I would perform the dancing and blocking to our best abilities as the cast was rehearsing. Our conductor and assistant director would work with us individually if their services were not needed with the rest of the cast.


A few days before we opened the show, some roles were switched around, and I was given the role of Jellylorum in the playing company. The day before we had an audience for preview was the first time I ever went on stage and performed the role in any way. It was nerve racking. But the cast was so supportive and helpful that the show went very smoothly. So, this was definitely a different rehearsal process for me…and sooo much fun!


KF: How grueling, but congratulations! Besides perhaps this one, what has been your favorite role to date?


ER: I have played so many different and wonderful roles. “West Side Story” is my favorite musical, and I have been lucky enough to play the role of Maria twice. But, I absolutely loved playing Kate/Lilli Vanessi in “Kiss Me Kate.” Her sass and spunk mixed with her deep and vulnerable true feelings really gave me a lot to play with as an actress.

KF: Are there any original cast members or touring members now that particularly inspire?



ER: OH YES! Everyone in this cast! I have never been in such a phenomenally talented show with such warm hearts and down to earth personalities. Everyone is so perfect for their roles. I was most concerned about my cat acting skills. Those were ones that my teachers had skipped over in college. [Laughs.] Though I have played a dog twice. The members of the cast that I love watching the most as a feline are Jordan (Victoria), Brad (Tumblebrutus), Ashley (Bombalurina), and Jamie (Alonzo). These four each have such different ways of embracing their inner felinity. They are all so expressive and have such unique kitty personalities. You really believe they are cats.



KF: What about particular musical numbers, pieces of choreography, or themes from this show—any of those that particularly resonate with you?



ER: Every moment of this show is so special. I have never been a part of a musical that allows its actors to be so creative and interactive with one another in special ways. We have so much fun on stage. Being cats really allows us to be playful and get to know each other in some pretty remarkable ways. But, there is one particular moment every night that really gets me. After Grizabella sings “Memory” and the cats all choose her to go to the Heavy Side Layer. We sing "up, up, up," and there is one particular chord where we say "Rang Vivat!" and all raise our arms to the moon as Grizabella is lifted in the pod. Every night, this moment makes me think I am the luckiest person on earth. It is my favorite moment!



KF: Any practical jokers or backstage mishaps during this tour?



ER: We do like to play games with one another, such as trying to unsnap each other’s tails. A lot of us always have to dance the “Macavity” song backstage. It is just so sexy. In San Jose, we had a full dress rehearsal before we opened. At the end of the show, during my favorite part when the pod is lowered for Grizabella and we are singing, ready for the big dramatic moment, we looked up and noticed a blown up snowman in the pod as it was being lowered. Everyone in the cast started cracking up. We play little jokes on one another such as that.



KF: To keep in shape for the physical demands of the show, what health, fitness, and dietary restrictions or regimens do you perform?



ER: I worked out a lot before rehearsals started. I was taking spinning classes and total body conditioning, as well as Zumba almost every day. Now that we are in show mode, a lot of us like to go running and lift a little if our hotels have fitness centers. The show itself is a great workout. As far as diet is concerned, I try to make the healthy choices by having salads rather than pizza. My role is not one of the heavy dancing roles, so I have to be more conscious than other members about what I eat. But, I am not a freak about it. Everything is OK in proportion. You just have to know your body.



KF: Speaking of demands, the makeup for the show is extensive and costuming is quite impressive. What does that process consist of—and how long does it take—before performances?



ER: Most members of the cast get to the theatre about two to two and a half hours before the show’s start. As girls we have to braid our hair for the wigs; then we apply our makeup. It takes most of us about 30-45 minutes. We are all very particular about making ourselves look as good as possible. After that we usually have a physical warm up as the cast, sometimes we have to do a sound check, and those doing lifts in the show always have to practice. We then start getting in costume and heading to the wig room. After I am fully in costume and makeup, I always do a vocal warm up as well. By this time it's usually five to ten minutes before the show opens. We have a lot of fun in the dressing rooms. We laugh and poke fun at one another a lot. [Cast member] Ashley Chasteen has a cat toy that is a mouse that squeals and zooms all over the place. She'll turn it on before the show. I feel like it gets me in touch with my cat side.



KF: Why should people come see CATS as opposed to another great musical out there?



ER: It is an experience you will never have in any other musical. It is, in my opinion, the most demanding musical ever written. You have to come not only to see people dressed like cats. Which yes, is very funny. But, also the amount of talent that is required to perform this show is like none other. The music, the poetry, and choreography are unforgettable. And believe it or not, pretending to be a cat is not that easy! There is never a moment in this show that this cast is not giving their all. I understand the show is different and doesn't have a normal plot line, which can sometimes throw people for a loop. But if you just walk in with an open mind, there is a magic that cannot be compared by any other musical.



KF: Anything else you would like to say about the show?



ER: Here is a good example as to why this show is special. I grew up with three younger brothers—all of which are buff, athletic jocks. They have been going to my shows all their lives. Normally, I am greeted after the performance with a quick hug and "Good job." When my youngest brother came and saw the show with my parents and grandparents, Nick would not stop singing the songs. I would catch him humming around the house. He was so interested in the cast and secrets of backstage. My friend Chaz who plays Mr. Mistofelles noticed my sports playing brother in the audience, not knowing at the time he was my brother, and tied some ribbons around his neck at the end of the show. Chaz says his smile was from ear to ear. There is something wonderful about these Jellicle cats.

For more on CATS, please visit http://www.broadwaysd.com/.

CATS
Broadway San Diego
The Civic Theatre
1100 3rd Avenue San Diego, CA 92101

(619) 570-1100


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

THE LION IN WINTER @ NORTH COAST REP




“The Lion in Winter”: Winning Script, Wonderful Cast


Words by Kristen Fogle

For someone who sees quite a bit of theater, “The Lion in Winter” is a welcome commencement to a new year full of what are sure to be amazing productions at San Diego’s plethora of great theaters. Playing at Solana Beach’s North Coast Rep, this legendary play has an abundance of rich, quotable lines, articulate, award winning actors and actresses, and all the fun, folly, and drama one could hope for.


The 1966 Broadway play by James Goldman originally starred Robert Preston as Henry, Rosemary Harris as Eleanor (who won a Tony in this role), James Rado as Richard, and Christopher Walken as Philip. The play was revived in March 1999 starring Laurence Fishburne as Henry, Stockard Channing as Eleanor (another Tony—though just a nom this time—for an Eleanor!), and directed by Michael Mayer. The play also has a special history for North Coast Rep—founder Olive Blakistone chose “Lion” for its first season, way back in 1982.


Bless Andrew Barnicle, who in his Director’s Notes provides great insight into compiling a synopsis. “Lion” is a fictional representation, revolving around a Christmas Court Henry II calls (in 1183) in order to resolve some issues involving 1) who will inherit the crown (sons Richard, Geoffrey, and John are in line for the job), 2) marrying off young Princess Alais (who Henry is in love with) in exchange for the Vexin (property) from her brother, Phillip, King of France, and 3) securing the Aquitaine (property, again) from his estranged wife Eleanor. With Henry’s empire at stake, and taking place all in one day, each member of the court craftily connives the other and alliances (too many to name) are formed and vanquished in record speed.

What results is excellent acting, aided by careful blocking by Barnicle, with brilliant interpretation of the script…resulting in hilarious line delivery. Because description is not enough (though perhaps not customary in a review), what follows is (just a few) of the many, many lines that made me laugh repetitively:

· What shall we hang first? The holly or each other? –Henry
· If you’re a prince, there’s hope for every ape in Africa. –Prince Geoffrey to Prince John
· I’m vilifying you for God’s safe—pay attention!—Henry to Eleanor
· Hush dear, mother’s fighting. –Eleanor to John
· Of course he has a knife! I have a knife. We all have knives. It’s 1183 and we’re all barbarians! –Eleanor to John
· I am locked up with my sons. What mother does not dream of that? –Eleanor
· I stole the candles from the chapel. Jesus won’t begrudge them, and the chaplain works for me. –Henry

As said prior, the acting is spot on, and credit must be given. Mark Pinter (Henry) and Kandis Chappell (Eleanor) make the perfect pair. Particularly, one feels for Henry (maybe it’s just that he is so consistently entertaining). Chappell makes a convincing transformation from icy and deceiving to a cheerless woman who has been scorned and neglected. Jason Maddy, in his always palatable performances, once again succeeds as witty, intellectually crafty Geoffrey. Richard Baird gives us a commanding presence as Richard, and Kyle Roche rounds out the sons, making use of good timing as dim, immature John. Kyle Sorrell (as Phillip) is enjoyable, particularly when verbally destroying Henry in Phillip’s chamber scene. Alais’ character I understood the least—verging on bratty and unlikable, it is a bit odd why Henry finds her so sweet and wonderful, though the beautiful Alexandra Grossi played her quite competently.

Though “Lion” will only be around until the 29th of January, “Visiting Mister Green” by Jeff Baron will take over next at the Rep. The production runs February 18-March 11, is directed by Christopher M. Williams, and features Robert Grossman and Craig De Lorenzo.

The Lion in Winter
1/7/12-1/29/12
North Coast Rep
987 Lomas Santa Fe Dr., Ste. D
Solana Beach, CA 92075
858-481-1055
http://www.northcoastrep.org/


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

SPRING AWAKENING @ THE WELK (BY CYC)

“Spring Awakening”: CYC Serves Up this Controversial, Much Loved Musical

Words by Kristen Fogle


Sex kills, people.

While this isn’t the exact message behind “Spring Awakening” (and I could be giving away major plot points in that statement), it serves as a good intro to the show, I think. The Tony Award winning musical, as put on by California Youth Conservatory (CYC) and staged at the Welk Resort Theatre, is generally billed as a coming-of-age story of German teens experimenting with sexuality and learning some vital truths in the process.

CYC should not be confused with CYT, we are reminded by Shaun T. Evans, Managing Artistic Director of the company. This is important as CYT is Christian Youth Theatre, and some of the shenanigans on stage could not be confused with a production put on by a religious based troupe. “Spring Awakening” has some graphic sexuality and language—buyer beware.

Here is the scenario: We open on innocent Wendla Bergmann, who through the popular “Mama Who Bore Me,” we learn needs to obtain life lessons from her mother, particularly those concerning where babies come from. This sentiment is echoed by the other girls in the reprise of the song. Meanwhile, we learn that Moritz Stiefel (wild haired, intense) is having erotic dreams, which are driving him insane. The rest of the boys reflect on their own feelings with "The Bitch of Living.” Moritz requests that his friend, the rebellious, intelligent (reproductive knowledge savvy) Melchoir Gabor give him this information in the form of an essay, (illustrations too please).

When Melchoir and Wendla meet…well you might guess where this goes. Moritz is failed out of school to the dismay of his father, putting him into an even more confusing frenzy (even more so after he sees a girl he loves, gentle, free spirited Ilse). Wendla learns that a friend is being abused by her father. Melchoir’s “informative essay” shows up again. Wendla’s lack of information about life’s lessons catches up to her in a big way…That’s a very brief run down, that disregards quite a few song in the process, but giving away the plot points is, well, giving away the plot.

The company is no stranger to producing big, BIG shows (like Rent and Ragtime), but I am still impressed with their tackling this one due to its history and popularity. Originating from a 1892 German play of the same title by Frank Wedekind, “Spring” was transformed into a rock musical in (mostly) the form we know now when it appeared Off-Broadway in May of 2006, going on to Broadway in December of the same year. Before that, the show went through seven years of workshops, concerts, and rewrites—the La Jolla Playhouse was part of this process.

CYC has some great talents—though California Youth Conservatory to me implies younger than the college students and recent grads that populate the production (there are a few high schoolers sprinkled in there). Among them, Merri Baehr (Wendla) has a voice made for the stage. As does her character’s love interest, Melchoir Gabor, as played by Ivan Pena; this kid needs to make a record. Same goes for Cydney Rothblatt as Ilse, whose show stopping voice warranted a singular bow that sadly never came.

The production also boasts excellent choral direction by Amy McDowell, choreography by Rocky DeHaro, and direction by Shaun T. Evans. Scenes could have been smoother, however, with too many beats in between performers entering. And the choice of hand mics when the actors had face mics was a bit confusing, particularly with boys and girls pulling them out of their traditional German dress. The accents also bothered me a bit—I could not understand why the adults had German accents and the children did not.

But besides these few “huh?” moments, I enjoyed seeing the talented cast get into a production they seemed to be loving. The entire company, as seen in their bios, seems to return to the company for show after show, and if CYC can turn out more and more impassioned young actors, they are truly doing what theater is meant to.

If this one is a bit too risqué—not only a favorite of mine, but definitely one for the whole family—“Big River,” is up next.

“Spring Awakening”
1/7/12-1/15/12
California Youth Conservatory Theatre
The Welk Resort Theatre
8860 Lawrence Welk Drive
Escondido, CA 92026-6403

(760) 749-3448
http://www.cyctheatre.com/
www.welktheatresandiego.com

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

TOUGHEST GIRL ALIVE @ MOXIE

The Toughest Girl Alive—Moxie’s Mantra Realized
Words by Kristen Fogle



The proclamation that Candye Kane, star of autobiographical musical “The Toughest Girl Alive,” is what her title promises…is a lot to ask for. However, when one reads about the star’s past, which informs the production, her history reads like a made up character from a Jonathan Fray novel. The former “Jugs” cover model, bisexual, adult film star, ex-gang member, victim of abuse, unwed mother, and oh-so-talented country/blues singer has so much controversial gusto she is truly perhaps enough to make even Maury Povich blush.

Moxie Theatre plays host (once again) to the dynamic force that is Kane. Featuring her with two backup actors/singers as well as a four piece band, Kane leads the audience (pretty full for opening night) on a tour of her life up to this point. In no particular order, she shares her humble beginnings in East LA, born to a mother who taught her to shoplift at age 9, her desire to sing to anyone and everyone as a way to garner attention, her induction into becoming a Latina (she is not), her attempt to keep her boyfriend at age 15 with a baby, her start as a big boobed pinup into full fledged adult star, two marriages—one to Thomas Yearsley of San Diego band the Paladins, birth to a second son, trying to make it big in the LA and Nashville music scene, and everything in between.

Among stories of her life (the two talented backup actors—Jennifer Brawn Gittings and Robert Kirk—play caricatures of people from her life) are sprinkled some of the most gorgeous tunes heard in a while. (The singer’s kinship with Dwight Yoakum is present in her sultry crooning.) With 11 albums out there—the latest Sister Vagabond was released in August—it’s no wonder; not only does her rich life offer plenty to sing about, (Anthem “Superwoman” encapsulates it all), but her songs are just easy to listen to.


“Toughest Girl “ is not for an octogenarian crowd (excluding of course more liberal minded grans and gramps). The stories are sometimes cringe-worthy with their explicit talk of sex, and the language is more mature. But if you get past that, there is something really endearing and soft about Kane. You want to befriend her, learn from her…and aside from listening to some crazy stories, she sprinkles in her worthy philosophies about life. Legalize prostitution. Live for you. Conquer with positivity.





Messages that are right in line with Moxie’s mission. The Rolando space continues to impress with high quality work and an admirable message. The female formed company aims to create more diverse and honest messages of women while giving special attention to female playwrights that defy stereotypes of what women write about and expanding ideas of the feminine. The house has produced plays such as “Bleeding Kansas” and “The Sugar Syndrome” and will feature “A Raisin in the Sun” after Kane wraps. And stay tuned—on Feb. 6 the Craig Noel award recipients will be announced—Moxie and co. are up for six: five for “Dead Man’s Cell Phone” and one for “Ten Cent Night.”



Until then, be sure to catch Kane on her final weekend. (Also go to her website to see where she will be next: http://www.candyekane.com/.) Empowerment takes many forms; perhaps my favorite of the moment can be found in this big, beautiful, amazing woman.



The Toughest Girl Alive
1/5/11-1/15/11
Moxie Theatre
6663 El Cajon Blvd.
San Diego, CA 92115
858-598-7620
http://www.moxietheatre.com/


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

Saturday, January 7, 2012

STRANGE LAND STRANGE BRAND @ COMMUNITY ACTORS THEATRE FOR ARTSNFASHION.COM AND SDTHEATREREVIEWS.COM



Community Actors Theatre (CAT) opens 2012 with “Strange Land Strange Brand,” a narrative play with music by Curtis W. Long. While opening night had a few slight glitches, the production must be commended for its powerful, talented cast, its educational value, and the support of an always warm, courteous staff.

Four narrators depict the African imprint on North America in four acts which mark four time periods: 1619-1787, 1787-1860, 1860-1960, and 1960 to the present. The stage is stark, and four chairs with stands make up the set; the piece appears more like a staged reading than a full production. Pre-recorded music segments the acts, which consist of each narrator taking turns recounting the highs and lows of the era. Starting with a violent upheaval from Africa and coming to terms with a new nation rife with cruelty, the play moves through the U.S.’ battle of north and south, providing facts about legislation that kept black voices in chain even after the Civil War, highlighting historical figures along the way, and marching on into the last fifty years, reminding that though African American triumph is great, challenges still remain. The four cast members are CAT veterans. Portia Burnette as Narrator 1 instantly mesmerizes; a vocal powerhouse, she bellows out her lines with pipes that rock the mid-sized theater—I would love to hear this woman sing. Leo Phelps as Narrator 2 plays his part effectively, articulating himself with clear diction and a reflective calm; Corliss Chandler’s Narrator 3 expresses a demeanor fraught with the dismay inherent in enduring such trials of the day. And I am impressed with Robert A. Moore as Narrator 4—not the loudest of the ensemble, his method of storytelling, however, was the most natural, perhaps drawing me in the most.



One cannot help but feel some things during “Brand”: shame for the sins of our nation’s past, pride in people that worked together through adversity to foster support for one another. Personally, as a child of the 80's born in a Los Angeles suburb, I feel fairly far removed from experiencing racial inequality in my day to day; which does not negate the fact that it did exist. What I mostly feel is twofold: a) impressed with the playwright, who as a blind older gentlemen has written an important, informative work and b) confused with who the message is for, the intended audience. Nonetheless, even though many of the facts presented are well known to an adult audience, it is important for us to realize how far we have come as a nation. Although the play lacks a concrete story line, it effectively chronicles the African-American struggle. This would be a wonderful piece presented to school children, who are still exposed to Anglo-centric versions of history. It is my hope that “Strange Land” runs again as a reminder to adults of the African-American experience on this continent and to children of all colors, perhaps during the day when classes occur, as they might, then, be able to come see the show.


Additionally, as a venue, CAT should really not be overlooked. Tucked in an enclave of Oak Park not far from the SDSU campus, CAT puts on several fine productions in an inviting space. Jennie Hamilton kindly welcomes patrons, as do the board members, who give personalized greetings as well as talk backs at select shows.


Shameless self promotion here: Next up is “Norman, Is That You?” a comedic piece about a couple coming to terms with their son’s homosexuality, written by Ron Clark and Sam Bobrick and directed by George Bailey and yours truly. Bailey and I saw success last year with both “The Octette Bridge Club” and “Come Back Little Sheba,” also performed at CAT. “Norman,” having just read the script again, is sure to be a hoot—it all begins April 6.




Strange Land Strange Brand
January 6/7, 8 p.m.; January 8, 3 p.m.
Community Actors Theatre
2957 54th Street
San Diego, CA 92105
619.264.3391
http://www.communityactorstheatre.com/

CATS PREVIEW @ CIVIC THEATRE ON ARTSNFASHION.COM



The Cats are coming! Broadway San Diego presents “Cats” January 10-15, 2012 at downtown San Diego’s Civic Theatre.


Since “Cats” first opened on the West End stage in 1981, it has become one of the world’s best known and best loved musicals. With a plot based on T.S Eliot’s “Old Possum’s Book of Practical Cats” and award-winning music composed by Andrew Lloyd Webber, “Cats,” originally directed by Trevor Nunn, has since been presented in over 20 countries and in about 250 cities, including such diverse destinations as Buenos Aires, Seoul, Helsinki, and Singapore. The show has been translated into 10 languages: Japanese, German, (three versions for Germany, Austria and Switzerland), Hungarian, Norwegian, Finnish, Dutch, Swedish, French, Spanish (two versions for Mexico and Argentina) and Italian. The title of the show has rarely been translated; when the Mexican producers did a survey as to whether the Mexican audience would like their production to be called “Gatos,” the response was unanimous in favor of keeping the English title.

The show tells the story of a tribe of cats called the Jellicles and the night they make what is known as the "the Jellicle choice" and decide which cat will ascend to the Heavyside Layer and come back to a new life. It is segmented into two acts--Act I — When Cats Are Maddened by the Midnight Dance and Act II — Why Will the Summer Day Delay — When Will Time Flow Away? For those that have never seen the show, they have no doubt heard the popular hit “Memory.”


When: January 10-15, 2012

Where: Civic Theatre
1100 Third AvenueSan Diego, CA 92101

Tickets: http://www.broadwaysd.com/