BEAU JEST @ THE AVO THEATRE

"Beau Jest" Wraps Moonlight's Winter Season Well

Words by Kristen Fogle

James Sherman's "Beau Jest" is going strong some 22 years later; now Moonlight Stage Productions (at the Avo Playhouse) present the classic comedy with flair for San Diego audiences.

The premise of "Beau" is deceivingly simple...it all starts with Sarah's secret. Though her parents, Abe and Miriam, think she has stopped seeing Chris, whom they disapprove of because he is not Jewish, she has, in fact, maintained the relationship. In order to throw them off the scent, and so her mother will stop trying to set her up all the time, Sara, a Chicago school teacher, hires Bob, a male escort, to play the part of her new boyfriend. Bob, however, doesn't know that he's here to fabricate the role of made up beau, (whose name is David); he thinks he's just being hired to take Sara out...much like the little old lady he took to the opera the night before! The kicker is that though "David" is, Bob is not Jewish (despite a last name that seems to suggest the contrary). As Bob fumbles his way through traditional Jewish meals with her parents and brother Joel, Sara starts to develop feelings for Bob...But what to do about Chris? And her parents...even though they technically already know Bob, they'll never approve of him being a non-Jew! When Sara announces that her and "David" are engaged, things get even more interesting!

One thing I will say for this script is though it is rather amusing, its characters are a bit one dimensional and even a bit dim in places, especially Bob. All of his Jewish knowledge comes from plays. He only knows of one real medical condition. He loves Sara and opera...that's about it. Meanwhile, Joel never becomes anything more than the psychiatrist, Chris is just the desperate boyfriend, Miriam the naggy wife. Abe really just boils down to being the cantacorous dry cleaning chain owner. Sara is probably the most complex, though her disastrous plans and various attempts to make "David" seem like her boyfriend are a bit disjointed from her persona as a semi-serious, very together kindergarten teacher.

But, it is the sort of ludicrous comedy where this is merely an observation and is certainly a complaint for the playwright, not the cast. Even if the characters have been reduced to caricatures in places, these are played out by an extraordinary ensemble. Randall Dodge plays likable Bob, who laughably plunders through each encounter with the family, and portrays an adorable sincerity in his dealings with Sara. Dana Fares' plays neurotic Sara well; Adam Oliveras, as Chris, though his part is brief, does a commendable job; and Cris O'Bryon delivers with the persnickety, though level headed, Joel. The best one liners may come from Jill Drexler (Miriam) and Eric Poppick (Abe) whose exchanges are hilarious and make us believe they really have been married for many years. Christopher Williams, Artistic Director of the newly formed Oceanside Theatre Company, directs.

Fans of the show have probably seen the 2008 movie adaptation, but a trip to the Avo is in order to see this dynamic ensemble. (Fans of Moonlight should check out "Legally Blonde" in June at the Amphitheater.)

"Beau Jest"
3/22-4/8
Avo Playhouse
303 Main Street
Vista, CA 92084
www.moonlightstage.com
760-724-2110

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

I TAKE THIS MAN @ THE BROADWAY THEATRE

"I Take This Man": A Novel Idea For Ladies Everywhere, An Entertaining Time Onstage
Words by Kristen Fogle

Light and funny, but with an ending that provides a satisfying twist, "I Take This Man," by Jack Sharkey, is the newest production at Vista's Broadway Theatre.

"I Take This Man" is a modern comedy set in Boston, while the Boston Marathon is in full swing. The play opens on Giddy Hollis' apartment where Giddy, an art curator, has convinced officer Judd Keegan to bring her unconscious "husband" back to their apartment. In reality, the man is nothing of the sort; instead she found him, stripped of his clothes and wallet, just short of the finish line (prompting Giddy to believe that the old adage 'nice guys finish last' may in fact have come to fruition). Giddy sees this as the perfect chance to aqcuire the man of her dreams...whom she has named Antonio. But not only does she have to convince Antonio of their relationship, but Judd and roommate Charlene's fiancé, Dexter.

And this is merely the first act. By the second, Antonio awakens and realizes who he really is...namely not Giddys husband. However, before letting on, he decides to play with her a bit. And then...well, you're going to have to purchase a ticket for that.

Starring Virginia Gregg as Giddy Hollis, this spunky little actress bounds around the stage enacting her romantic plot with gusto. Timothy Benson, as Antonio, (in addition to providing eye candy for the senior lady patrons of the Broadway who love him) is very natural up there; Benson and Gregg have a good chemistry and are a well matched pair. Elise Harvey and Jacob Silva (as Charlene Lockwood and Dexter Clayton...who came up with these names?) provide snide and snarky reactions to all of Giddy's assenine attempts and are good fun to watch. And crowds adore Broadway co-owner Douglas Davis who plays Jud Keegan. (You may have just seen Davis as the timid but hilarious accountant turned producer at the Welk Resort in--you guessed it--"The Producers.")

After the last show I saw in this space, I'm continually impressed with how much more incredible the sets have become over the years. For "I Take This Man" the space figures into the action, but it could have been sparse and underwhelming and the play would have worked just fine. Instead, with set construction by Davis and set concept/decoration by Randall Hickman, (also the director, costume coordinator, lighting and sound designer...and more!) the stage was transformed into a cozy, warm apartment (adorned with many a palm tree decorative item) that really impressed.

The Broadway continues to enchant me this season. After this run, "Trying" is next, which is author Joanna McClelland Glass' account of working for Judge Francis Biddle, Attorney General under Franklin Roosevelt. The New York Times called it "gripping," and frankly, we can't wait to go. It all starts May 11.

"I Take This Man"
3/30-4/22
Broadway Theatre
340 East Broadway
Vista, CA 92084
760-806-7905
www.broadwayvista.com

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

PRESS RELEASE FOR NORMAN, IS THAT YOU? @ COMMUNITY ACTORS THEATRE

FIRST PLAY TO OPENLY/COMICALLY ADDRESS HOMOSEXUALITY

COMES TO COMMUNITY ACTORS THEATRE – April 6-29, 2012!

Tickets on Sale – TODAY!

(SAN DIEGO- April 1, 2012) The comedy about Norman, a twenty three year old that comes out of the closet to his parents—and the hilarious ramifications—will play April 6-29, 2012 at Community Actors Theatre. Tickets are now available.

NORMAN, IS THAT YOU? officially opened on Broadway on February 19, 1970 at the Lyceum Theatre. It closed after only 12 more performances on February 28, 1970. The play was made into a movie in 1976.

NORMAN, IS THAT YOU? was written by Ron Clark and Sam Bobrick. The production is directed by Kristen Fogle and George Bailey, with production supervision by Jennie Hamilton.

NORMAN, IS THAT YOU? features many funny characters and talented San Diego actors. Garson Hobart is Norman’s effeminate boyfriend, played by Andrew Pearson. Norman’s mother, Beatrice Chambers, who is fresh off a fling with her husband’s brother, is played by M Susan Peck. Ben Chambers, Norman’s distraught, neurotic father, is played by Haig Koshkarian. Mary, the prostitute, is played by Amy Dowell. Norman Chambers, the likable protagonist, is played by Alexander Mayes.

Authors Ron Clark and Sam Bobrick wrote several well known plays together, including No Hard Feelings (1973), Murder at the Howard Johnson's (1979), and Wally's Café (1981).

For more information, visit www.communityactorstheatre.com.

WHEN: APRIL 6-29, 2012

WHERE: Community Actors Theatre, College Grove Dr. and 54^th St., Oak Park, San Diego

PERFORMANCE TIMES: Friday & Saturday at 8:00 p.m.
Sunday at 3:00 p.m.

TICKETS: Tickets Currently On Sale

Community Actors Theatre; 2957 54th Street

(619) 570-1100; Monday – Friday, 10 a.m. – 6 p.m.

$12.00 for Seniors/Students/Military/Disabled
$14.00 General

THEATRE ADDRESS: College Grove Dr. and 54th St., 2957 54th. St.

WEBSITE: www.communityactorstheatre.com

For production photos, please contact Kristen Fogle at kristenfogle@hotmail.com

NEXT TO NORMAL @ THE LYCEUM

“Next to Normal”: Presented by Arts Off Broadway at the Lyceum

Words by Kristen Fogle

Arts Off Broadway is the newest to tackle the powerful, Pulitzer winning “Next to Normal.” This marks the play’s debut to not only San Diego but to the West Coast.

Playing March 10-17 at Horton Plaza’s Lyceum Theatre, the rock musical tackles a variety of issues full force. Death of a child, ignorance of another, mental health, suicide...”Normal” is nothing if not heavy.

The action surrounds damaged mother Diana who, even with the patience of husband Dan, can't come to grips with the passing of their son. Meanwhile, their daughter, the gifted Natalie, finds herself drawn to Henry, who is both loving and supportive, but introduces her to escaping reality through drug use. The bipolar Diana finds herself on and off pills and in and out of doctors offices, all to no avail…When Diana attempts suicide and is put on electric shock therapy, she loses parts of her memory—until the memory of her son comes back full force. Ultimately, Diana decides whether she should stay or go in order to give her husband and daughter the next to normal life they deserve.

In addition to a Pulitzer, the 2009 Broadway performance earned many accolades including eleven Tony nominations and won three: Best Original Score, Best Orchestration, and Best Performance by a Leading Actress in a Musical for Alice Ripley.

The score is really where “Normal” shines, and the tremendous voices on stage aide in giving soul to brilliantly written ballads and up-tempo tunes. Leigh Scarritt conveys Diana's pain well, and when she interacts with son Gabe, played by Derrick Gaffney, who also has great pipes, she is able to showcase some powerful emotion. We also see regret and hopelessness from Paul James Kruse's Dan; Kruce’s operatic vocals serve him well in Lyceum’s space. Also particularly rich is Marc Sylwestrak (Dr. Fine) who boasts a gorgeous tenor, paired with an unsettling stoicism characteristic of mental health doctors—his songs are both eerie and captivating. Diana's love interest (Michael Parrot as Henry) exudes a boyish, loving nature that serves him well, but perhaps my favorite voice in Tiffany Jane’s (Natalie). In addition to selling the jilted daughter, she serves double duty; Jane’s album played before and after the performance, as well as at intermission. She holds the honor of 2012 SD and LA Indie Music Award winner for Best Blues Artist and really deserves a listen; find her at www.tiffanyjanemusic.com.

Serving double duty in another capacity is Scarritt as actress and director. Her calculated, sensible blocking ensures that the bare bones set does not feel like an oversight. Instead, the sparse stage maintains our focus on the story, the actors, and that powerful music.

Because this well sung, touching story appeared a hit with audiences, I am confused by the shorter running date. Obviously the cast worked hard to execute "Normal," and it would be nice to have them in SD for a bit longer.

So for those that didn’t benefit from Arts Off Broadway’s terrific work, it would benefit you to find this gem performed elsewhere and experience how "Next to Normal" is anything but.

For more on Arts Off Broadway, please visit www.artsoffbroadway.org.

For more on the Lyceum Theatre, please visit www.sdrep.org.

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

ROCK OF AGES @ CIVIC THEATRE

“Rock of Ages”: Worthy of the Buzz, A Rockin' Good Time

Words by Kristen Fogle

I wasn't the hugest fan of “Mama Mia.” I walked out of the theater when I realized “Moulin Rouge” contained no original songs. The so-called “jukebox musical” genre really draws those that have a connection with the collection of songs presented on stage. And because this type of musical is built around songs people know and love, plot points are present, but are often times be haphazardly worked in—preferential treatment is given to delivering the songs, not necessarily focusing on a concrete story.

“Rock of Ages” the newest in this genre, still has this quality, but “ROA” is so conscious of itself (frequently breaking the fourth wall) and is such a fun time...that it works. Any plot points that seemingly come out of nowhere are forgiven, due to comical explanations/interludes by Lonny, the very Jack Black-esque narrator of this entertaining thrill ride through '80s rock.

In addition to narrating for us, Lonny is part of the action; his BFF is the club owner of the Sunset Strip's Bourbon Room, where the action takes place. (Come alone for the so-called “bromance” between Lonny and Dennis—as Matt Ban, who plays Dennis, calls their relationship in his interview with me. Also at www.sdtheatrereviews.com.) The other colorful characters that collect here are: Sherrie, a pretty blonde fresh off the Amtrak from Kansas, in LA to make it big, and Drew, who works at the club also hoping for stardom, instantly falling for Sherrie. Others include German developers Hertz and his son Franz, who seek to destroy the “sex, drugs, and rock n' roll” lifestyle of the Strip—therefore demolishing the Bourbon Room. (By the way...is this all sounding very “Empire Records” to anyone yet? Big business looking to zap all life from quirky center for music with accompanying zany characters? There are more similarities to come...just checking in.) In order to generate money, Lonny brings in Stacey Jaxx (Rex Manning Day? Anyone???) who woos Sherrie after Drew claims they should be “friends.” After Stacey has Sherrie kicked out of the club for reasons he doesn't completely divulge, Sherrie ends up working at a strip club (the next logical choice, I guess). She is taken in by Justice, owner of the strip joint, who teaches her about the importance of love and ends up pushing her back to Drew...but not before Sherrie and Stacey have a sexy show down. Meanwhile, the feminine Franz (“I'm not gay, I'm just German!”) falls for City Planner/protestor Regina (imagine the worst possible pronunciation of this). But, before the two officially pair off, Franz needs to take care of matters first: Will his father annul his plans to tear down the Bourbon Room?

And what about the young couple...Will Sherrie and Drew make it work? What about their dreams of making it big? How will this all wrap up people??

That I won't tell; as I said, plot points, true to genre, are predictable enough, but ROA makes everything so much fun, the audience seldom (if ever) cares. The music is integrated well, and we are treated to favorites such as Journey's “Anyway You Want It,” Whitesnake's “Here I Go Again,” Bon Jovi's “Wanted Dead on Alive,” Twisted Sister's “We're Not Gonna Take It,” and Poison's “Every Rose Has Its Thorn,” among others. (Be prepared to dance in your seat...or at least perform a subtle sway.)

The amazing cast (who received a standing ovation the night I went) is directed by Tony Award nominee Kristin Hanggi (“Bare,” “Pussycat Dolls on the Sunset Strip”) and choreographed—very well, I might add—by Kelly Divine. The cast includes Justin Colombo, who, as the laugh out loud funny Lonny, I'll say again, is Jack Black. Matt Ban (Dennis) plays Lonny's best bud with just as much comedy and makes for a character I'd love to know in real life. Shannon Mullen (Sherrie) is cute and has a good pop belt (and her duets with Drew are spot on), but alone her voice isn't always as powerful as I'd like it to be. Dominique Scott (Drew) is plucked straight from his NYC band and it shows—this kid has a long, long career in music, with a voice that really does each song he sings justice. Matt Nolan commands the stage as Stacey Jaxx; I appreciate both his flamboyant characterization...and his abs. Katie Postotnik (Regina) is a little fireball, with enough energy for the entire cast and is well matched with her onstage love interest Franz, played by Stephen Michael Kane, who wields a gorgeous tenor with ease. Amma Osei (Justice) has the most powerful voice up there though—can this woman sing! The entire troupe rocks and rolls and shimmies and shakes on a (shall I say) bad-ass set scenically designed by Beowulf Borritt.

Wanna go see it now? You should! “Rock of Ages” as a musical is only two years old, but I have a feeling this show is gonna go “on and on and on and on” (in the words of the cast mates as they belt out the timeless Journey classic “Don't Stop Believin”). Fans and newbies alike will also be delighted to learn that they can also see “ROA,” starring Tom Cruise, Julianne Hough, and Russell Brand, on the big screen come June.

“Rock of Ages”

3/27-4/1

Civic Theatre

3^rd and B Street

Downtown San Diego

888-937-8995

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