Act One's '13' is Near Perfection

By Darcie Flansburg
Real Critics Editor/Publisher

"13" is the kind of musical that young triple threat thespians would die to be in. It has everything from topical comedy to beautiful music, engaging characters to touching moments. Yet, dubbed as "A Grown-Up Musical About Growing Up," the show caters to adult audiences as well.

I had the pleasure of seeing the world premiere production of "13" at the Mark Taper Forum in Los Angeles in 2007. I left that show humming the music for days after. On top of the catchy Jason Robert Brown lyrics, the show touches on teen angst without the cheesiness of "High School Musical" or having to delve into harsh teen realities like "Spring Awakening."

The story follows Evan Goldman in his move from New York to Appleton, Indiana, a few months before his Bar Mitzvah. In his new location Evan decides that he is going to make friends with the popular kids in order to make sure his Bar Mitzva is a hit, thus ensuring a smooth passage into manhood.

His journey teaches him a few things about humanity, what it means to be a friend, and what is really important in life, all with some song, dance, and hilarious teen encounters.

Having had such a great experience with the musical in the past, I was sure that no other production could compare. But Act One Theatre Arts' production of "13" was an excellent representation of this honest and heartwarming show.
Jessica Sharples' portrayal of the sweet and genuine Patrice was just the tip of the iceberg of this amazing cast. 
Sharples hit every note and used every moment on stage.

Patrice has some of the most touching, beautiful songs in the show – “The Lamest Place in The World” and “What It Means to be a Friend” – and Sharples rocked em’. The December 12 crowd was very supportive of the show, but Sharples' numbers always seemed to get some extra woots.

James Bowen played the crippled and clever Archie. Bowen had the perfect personae for the weak yet savy "freak." Archie is probably one of the most difficult characters to perform, not only because of the arm braces, but also the smart-alec, suave attitude coupled with girlish screams and a winning voice. Bowen accomplished all of this and then some.

Max D'Ambra was a convincing Evan. He was invested in each action, felt the emotion, and sang with verve and charm.

Kyle Hensley as Eddie and Marshall Briggs as Malcolm were hilarious together; The duo played off each other well. Anna Duchi was convincingly evil and selfish as Lucy.

And Ashley Zavala, Chloe Whalen, and Brooke Henton were vocally powerful as Charlotte, Cassie, and Molly. One of my favorite number's is "It Can't Be True," an update to the "Bye Bye Birdie" "The Telephone Hour." Well, Zavala, Whalen, Henton and Duchi brought it home with maturity and grace, while still being catty and childish. Job well done.

But the entire cast was incredible. One would think these kids were paid professionals.

Though I was happy that the company kept the show to two hours, I was sad to see some of my favorite numbers cut. But, really, they are all great numbers. And Director/Musical Director Sharon Duchi did an excellent job with the cuts.

The choreography was weak at times; it seemed almost too easy for the talented cast. And it was also unfortunate that there could not also be a live teen band (as it is often done) instead of the canned music.

I also would have liked to have seen the bios for all of these young stars in the program.

But these are minor discrepancies that were easily made up for with great lyrics, great characters, great vocals, and a very professional overall performance. I look forward to seeing more such work from Act One Theatre Arts. 



Act One Community Theatre, "13," 26111 Ynez Road Suite B-9, Temecula, Ca, www.act1theatrearts.com, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Dec. 10 through 19.

'A Christmas Story' is Sweet But Raw

By Darcie Flansburg
Real Critics Editor/Publisher

It's hard to criticize a show with adorable and talented children. Their presence on stage is often enough to make an audience member smile. And when the play is "A Christmas Story" the children also get to perform in a humorous and genuine manner.

Chino Community Theatre's production of "A Chritsmas Story" was performed well enough to be enjoyable. Opening night had its gliches, but what opening night doesn't? Some of these hiccups, however, were a bit hard to ignore.

The story follows Ralph Parker in his quest for the ultimate Christmas present -- an official Red Ryder, carbine action, two-hundred shot range air rifle. But every adult that hears young Ralphie's plea has the same response -- "you'll shoot your eye out, kid!"

Ralphie is surrounded by a cast of characters. His father is stingy and easily-angered, while his mother spends her time trying to ease her husband and encourage her children in anyway possible. Ralphie's brother Randy doesn't know how to eat and is always hiding, and his friends Flick and Schwartz spend their time running from the class bully and daring each other to do crazy things.

The script in and of itself is enough to hold the audiences attention, but the young actors in this production performed beyond their years.

Andy Polder was born for the part of Ralphie. This was the 5th grader's first time on stage and hopefully not his last. He has a true talent, mastering the many facial expressions and smart antics of Ralphie Parker.

Patrick Gibbons played Flick to a tee. He performed with honesty and intention, which came in handy for the famous tongue stuck to a frozen pole scene.

Ryan Adams rounded out the trio of friends as Schwartz.

The friends had a natural chemistry together that was often broken up by Scut Farkas, the bully, played by Jayson Bender. Bender's charming headshot in the program is deceiving; the young actor is an excellent villain.

Bill Becker's portrayal of The Old Man, Ralphie's father, was another winning casting choice. Becker's entrances were classic, his bizarre cursing humorous, and his endearing moments very touching.

Where the production fell flat was in the tech. There were several instances where lights flashed on and off by mistake, or props were not set.

It was really unfortunate at the end of the show when Ralphie's father tells Ralphie that there is one last Christmas gift (the air rifle), but the prop was never placed on stage. Becker and Sarah Beth Hall (Mother) covered as best they could, but it was a situation that was easily preventable.

Despite minor shortfalls the production was heartwarming and very enjoyable. The decision to go outside the norm of Christmas show usuals was also appreciated. Therefore a theatre experience worth having.

Chino Community Theatre, "A Christmas Story," 13123 7th Steer, Chino Ca, www.chinocommunitytheatre.org, 8 p.m. Friday and Saturday, 2:30 p.m. Sunday, Dec. 3 through 18, $15 for General Admission, $12 for students and seniors (55+).

The Cure for the Common Christmas Play

By Gabriel Morales
For the Real Critics Blog

Seen "The Compleat Wrks of Wllm Shkspr (Abridged)"? Like it? Love it? Well, fugeddaboutit! That show's got nothin' on it's frenetic holiday doppelganger, "Every Christmas Story Ever Told  (and Then Some!)" now playing at Inland Stage in San Jacinto. Imagine Robin Williams was cloned twice, all three went off their Ritalin, then their legion of personalities went on a crack-fueled mimic-a-thon of beloved holiday characters (B.H.C.'s), and you're half way there.

Frosty, Rudolph, Macy's, Dickens, Tchaikovsky, the Grinch, Charlie Brown, random audience members whisked on stage -- no one's safe in this hilariously irreverent torrent-of-haphazard-consciousness. A sugar plum rave, if you will. Nimbly directed by Marcy Wright, actors John Wesley Leon, Kristofer James and Gabriel Diaz are your madcap guides through this winter whirl-land. With on point impressions, impeccable timing, and absurdly stoic dance routines the trio are sure to leave your voice hoarse, smiling cheeks numb, and mascara running from irrepressible laughter.

Still hankerin' for your annual doses of "Christmas Carol" and "It's a Wonderful Life"? No, worries. Act Two fuses their best moments into a whole that's greater than it's individual parts: "It's a Wonderful Carol," complete with George and Scrooge, Clarence and the Ghosts, Zuzu and Tiny Tim. And at a brisk 20 minutes it's certainly the funniest, and most bearable version of the traditional tedium that you'll ever see.

Whether you're suffering from the sniffles, theatrical deprivation or general holiday Scrooginess, laughter of course is the best medicine. So ask your doctor about a weekend prescription for "Every Christmas Story Ever Told (and Then Some!)," the cure for the common Christmas play. (Not recommended for very pregnant women or people with severe heart conditions.)



ISC's "Every Christmas Story Ever Told" runs through Dec. 19 at the Esplanade Art Center in San Jacinto.

Hilarious 'Yesterday,' Today and Always

By Gabriel Morales
For the Real Critics Blog

With a cast led by veritable I.E. acting legends, ever-versatile comedian-director John Lynd has created another landmark Redlands Footlighters production in Garson Kanin's "Born Yesterday."

Set in 1946, Kanin's engrossing guys-and-a-doll political satire is just as funny, just as relevant 70 years later -- perhaps more so as the audience soon realizes (the week after the 2010 mid-term pseudo-political circus) that nothing has changed. Brutish business moguls still rough-hand bribed politicians into passing legislation that facilitates -- even encourages and subsidizes -- the manufacturing and peddling of carcinogenic and/or works-'til-just-after-the-warranty-expires junk; while we the little people are forced to fend for and educate ourselves in a quickly tarnishing gilded cage for which we're supposed to be grateful. Lynd's deft direction and pacing does well by Kanin's complex, fast-paced romp, highlighting the sight gags and big jokes, subtle pathos and ironies that make this text one for the ages.

With effortless sensuality and razor-sharp comedic timing, Founder's Award-worthy Ali Rafter shines as ex-chorus girl Billie Dawn, the delectably feminine center around which the ruthless masculine political-industrial machine whirls. Fresh out of the Great Depression I and World War II decades, Billie is content with her kept-woman status, well aware that willful stupidity and the occasional returned favor earns her anything her heart desires. Hear that America, why fight to preserve your individuality and independence when you can shut up, cooperate and have the dominating parties provide your needs? It worked for Billie... that is, until her semi-abusive sugar daddy hires political reporter Paul Verall (gracefully played by classically trained Phillip Gabriel) to smarten her up, smooth out the rough Jersey edges so she can fit into the more two-faced, delicately evil Washington social paradigm. Billie and Paul fall for each other, of course, and besides a plethora of new words Billie eventually learns enough to turn her oppressors' love of money and shady dealings against them, thus securing her freedom in a happy albeit blindly optimistic ending. The thuggish, roguish boor responsible for Billie's financial prosperity and emotional enslavement? Self-made millionaire goodfella Harry Brock, a.k.a. Mel Chadwick, who turns in yet another tour de force character study. From bipolar relationship -- er, arrangement -- with Billie, to awkward put-on gentility around Washington's upper crust, to vociferous wrath when plans begin going awry, Chadwick illuminates Brock's faults with all the endearing grace of your favorite Soprano character. (And his gin rummy game with Rafter is pure comedic gold!)

The always impressive sultry-voiced Sam Nisbett plays Ed Devery, Brock's high-priced lawyer and political intermediary. Despite being in three shows simultaneously, Nisbett delivers as the quick-witted, perpetually inebriated best friend -- a wholly new, fully realized presentation as truthful and enthralling as his mesmerizing turn as Chief Bromden in last month's CCT production of "One Flew Over the Cuckko's Nest." Additionally, the rest of the supporting cast brings poignant moments and huge laughs to the skillfully designed and dressed set. Barry Wallace and Janet Hodge play well as the stuffy Washington couple opposite the new money Jersey imports. Henry Nickel ("Eddie Brock") brings the funny as the nasally voiced, bumbling errand boy cousin; Lynd has an excellent cameo as the skittish hotel concierge; and in the quintessential gangster shaving scene, Tom Cain ("Barber") uses too much cream to uproarious effect.

Visit www.redlandsfootlighters.org for details.

Worth the Trip, Worth the Truth

By Rebecca Williams
For the Real Critics Blog

A Streetcar Named Desire: a multi-faceted, intricate piece of literature by Tennessee Williams, produced by Inland Stage Company, is worth the trip, and worth the truth.

The richness of the text yields itself worthy of being seen, especially with one particularly admirable performance; however, the production seemed to lack a certain essential dynamic between the characters -- a dynamic that was removed by choice, to the detriment of the show.

Streetcar is about the cultural collision between Stanley Kowalski, an urban working-class man of passion, violence and control, and Blanche Dubois a refined and fading Southern bell.

As the play unfolds we discover Blanche’s air of sophistication is a mask for her promiscuous lifestyle, perpetuated by the discovery of her first love’s homosexual relationship and resulting suicide.
This clash between their two passions should be manifested and felt throughout the play.

Unfortunately, it was stifled by the choice to focus instead on the uncomfortable awkwardness of having an unwelcomed house guest. Although this is an aspect of the text to be examined, it is not an emotionally deep choice and weakens the conflict of the play.

Additionally, there was the removal of the end of the climactic scene, where Stanley returns home drunk after celebrating the birth of his child only to discover a drunk and fanciful-minded Blanche, who he advances on and rapes.

This final event that sends the misguided and wounded woman over the edge was not seen in Inland Stage’s production -- leaving me, and audience members who might not know the story, perplexed as to why she is being committed to a mental institution in the final scene. Yes, she has obviously had a nervous break down, but why?

Despite the removal of such an important moment, the estimable performance of Rosalyn Leon as Blanche Dubois was engaging.

From an elevated emotional high, to confusion and worn nerves, to drunken tears -- Rosalyn lived Blanche with grace and clarity. Her in-the-moment focus pulled you into her world and the humanity of the drama. With such effort, and her behind-the-scenes hard work obviously in place, it was a shame that the complex relationship layers were stripped away.

On the other hand, John Wesley Leon, portraying Stanley Kowalski, had a put-on casualness in place of realism. He was too likeable. His depiction of Stanley was anything but animalistic, sensual, brutish -- “an ape.” He did not evoke any fear or strong physical presence; perhaps given to the directorial choice to diminish the overriding tension to the simple annoyance of a house guest.

Another shining light, Mary Vuong, captured the authenticity of Eunice’s raw aggression and feral womanliness.  Kristofer James was commendable as Mitch; making a clear concentrative transition from the shy, wooing courtier to the deceived, condemning injured soul.

Overall, the true power and impact of the play was lost in the removal of the climactic scene, thus making Stanley just a reasonable, nice guy with a bit of a drinking problem. Nevertheless, this show is worth seeing for the quality of the text and some talented actors deserving of an audience.

"A Streetcar Named Desire" runs through Nov. 7 at the Esplanade Art Center in San Jacinto. Visit www.inlandstage.org for details.

RCP's 'Six Dance Lessons' is Touching and Profound

By Darcie Flansburg
Real Critics Editor/Publisher

In Richard Alfieri’s Six Dance Lessons in Six Weeks, Lily Harrison gets more than dance lessons from instructor Michael Minetti. Though dance lessons are the name of the game, the duo also gains a close kinship and they both come to better understand themselves and their worlds through their weekly interactions. 

Six Dance Lessons in Six Weeks is not only a touching play, but also a pertinent play for the Inland Empire. And the Rialto Community Players’  production portrayed  the charming story with engaging and humorous probity.

Though I can be easily moved to tears by what is performed on stage, I am not a laugh-out-loud audience member. But this play had me both laughing and crying, as well as being moved by something much deeper.

In the play, Lily Harrison (Deborah W. McFatter), an elderly widow, is getting personal dance lessons at her home from the Six Dance Lessons in Six Weeks company. Minetti (Christopher Diehl) is Lily’s gay instructor with foot-in-mouth syndrome. The two get off to a rough start, but eventually overcome each others’  lying and arguing to become fast friends.

McFatter is a regular actress in the Inland Empire theater community and there is good reason that she is often cast in local productions; she is a lovely and brilliant actress. Her portrayal of Lily was heart-warming and liberating; she presented every elderly woman stereotype with lovely sensitivity, then quickly and poignantly revealed the logic behind her ways.

McFatter is always a joy to see and this play was no exception. 

Diehl played Minetti to a tee. He was infuriating, clever and emotionally deft. Deihl’s Michael was the perfect foil to McFatter’s Lily; opposing yet loving, hard yet soft.

The mark of a strong realism play is when the characters not only reveal themselves to each other in a very personal way, but also in how they reveal themselves to the audience. McFatter’s Lily showed the audience how lonely and scary it can be to be an elderly widow. And Diehl’s Michael showed how lonely and frustrating it can be to be gay in the South. Both presented humorous and insightful performances that not only engaged the audience, but made them think. 

McFatter and Deihl also reprised their roles for this production, which allowed them to get even deeper into the characters’  intentions. It was also very clear why they were cast the first time. The two actors are naturals and the realism of their actions and interactions made the play that much more honest and therefore enjoyable.

Sandy Courtney and Kerry Jones’  set design was also stunning. The set added to the realism of the characters and the voyeuristic feeling of the audience. The window center stage was regularly referred to throughout the play and the designers, including lighting designer Val Hanson, did an excellent job creating the ambience in the high rise building. 

Though the plot may seem simple or cliché, Six Dance Lessons in Six Weeks offers moments of clarity and insight that is furthered by RCP Director Jeff Richards’  vision and McFatter and Diehl’s performances; a profoundly enchanting theatre experience.

Rialto Community Players, "Six Dance Lesson in Six Weeks," 150 E. San Bernardino Ave., Rialto Ca, www.rialtocommunityplayers.org, 8 p.m. Friday and Saturday evenings, 2 p.m. Saturdays and Sundays, Sept. 18 through Oct. 3, General admission is $15 and $12 for students with ID and seniors. 

Candlelight Pavilion Offers A Taste of Old Hollywood

By Darcie Flansburg
Real Critics Editor Publisher

Candlelight Pavilion's latest show has all the glitz and glam of old Hollywood complete with lit staircases, sparkling Ziegfeld Follies and a charming host.

"The Will Rogers Follies" portrays the life of famed humorist Will Rogers with grand dance numbers and classic songs.

The show covers everything from the day Rogers was born to his death. The audience witnesses the moment when Rogers met his future wife, when he ran for president, and how the world reacted when Rogers' life was cut short by a tragic airplane accident.  All the while Rogers plays to the audience and performs dance numbers with the Ziegfeld Follies.

Ziegfeld's voice is heard throughout the show, barking commands at Rogers as if the audience is interrupting a rehearsal. But this rehearsal includes flashbacks of Rogers' life.

Danny Michaels returned to Candlelight Pavilion to reprise the title role, a role that he has performed throughout Southern California. Michaels' smooth, sultry voice coupled with his sensitive charm and winning smile, won over the audience immediately. Audience members cooed and giggled in an enjoyment as Michaels made jokes and provided witty banter in between scenes and songs.

Michaels' performance of "Never Met A Man I Didn't Like" was particularly touching.
This production marks the last time Michaels will be performing the role.

Lisa Dyson also reprised her role as Rogers' wife Betty Blake. Dyson and Michaels fit together like a glove, with sensational harmonies and disarming personalities.

Taking the show through Rogers' life is Zeigfeld's Favorite, played by Tracy Pedretti. Pedretti played Rogers' sidekick and Ziegfeld's liaison with great zeal. Her smile and laugh had the audience laughing and playing along with her antics.

Richard Malmos played Rogers' father Clem. Malmos' vocals and wily ways were always a pleasure, even when he was being disagreeable.

Some of the most enjoyable moments in the show involve the lovely Ziegfeld Follies. The ensemble of talented women brought a spirited and old fashioned flare that made everyone smile.

In the past, critics have had their problems with "The Will Rogers Follies" as a show. But this 11-time Tony nominated and 6-time Tony winning show will definitely provide a fun and insightful way to spend the evening.

The 1991 Tony Award-winning Musical may be somewhat outdated, but many of Rogers' ideas and critiques about the world, which he reveals through humor, are very poignant today.
With the presence of Michaels as the leading man, backed by another strong Candlelight Pavilion cast, "The Will Rogers Follies" is delightful.

Candlelight Pavillion, "The Will Rogers Follies," 455 West Foothill Blvd., Claremont Ca, www.candlelightpavilion.com, 6 p.m. Thursday through Sunday, 11 a.m. Saturday and Sunday, Aug. 20 through Sept. 26, $48-$68 for General Admission, $25-$30 for children 12 and under

Forgive Them, They're Foreign (to the Art)

By Bob Roberts

For the Real Critics Blog

Christian Arts and Theatre, or CAT Corona, as they’d rather be called - the non-pc bit safely tucked under the bushel of a cutesy acronym for convenience’s sake - presents yet another Christ-less production in the esteemed Larry Shue’s “The Foreigner.” 

An aberration from their usual children’s musicals featuring dozens of fee-paying local youth (an awe-inspiring feat of salesmanship and shepherding if nothing else), “Foreigner” is their one “adult” (-cast) production of the year, and a shining example of the aphorism about adhering to one’s proficiencies.

Vicki Irvine directs Shue’s hilarious offering, highlighting some of the scripts vast jocularity.

Thankfully there is little useless blocking, i.e. the “cross to an upstage corner and stare into the Fresnel during the conversation’s climax” bit. Instead, Irvine’s ruptured Achilles is glacial pacing.

With all the painful transitions, awkward pauses and comedic unawareness, in Irvine’s hands Shue’s fast-paced comedy clocks in at a Shakespearean two and a half hours. Buyers beware: the current trend of changing curtain time to 7:30 from the age-old 8 p.m. doesn’t guarantee you’ll be getting home any earlier.

Ken Lay turns in the most truthful performance of the night as “Froggy LeSueur.” Though his Cockney could have be crisper, his feet less shifty, Froggy’s most notable failing is his stunning lack of chemistry with long-time best mate “Charlie Baker.”

Even with his most heartfelt moments played to the floor and a little mugging notwithstanding, Roger Schoepf manages to create an endearing, beautifully voiced Charlie.

Unfortunately for CAT’s legion of aspiring artists - and more importantly its patrons - the rest of the grown up cast are not good examples of what a lifetime in the arts can accomplish.

Let us begin with Cyndi Monroe, who butchers the powerhouse female lead role of “Betty Meeks.”

Perhaps it’s naiveté on my part: but shouldn’t the Founder/Artistic Director of said theater company be knowledgeable in the art? Shouldn’t she be able to step on the stage and say, ‘See, this is how it’s done. This is why I am fit to lead’? Or, in the very least, shouldn’t she spare the audience the insult of not having her lines memorized? To her credit, Monroe doesn’t list acting among her many talents in the program, and infers an extended absence from the stage. P.S.: Louder does not equal funnier.

Still, the most inconsistent, poorly played characterization belongs to Isaac Monroe (“Ellard Meeks”).

Monroe’s performance is anything but funny, in spite of the incessant, obsequious tittering of the pubescent female audience members. Rather than creating a lovable human being, Monroe fills the gaps between his lifeless, unaccented recitations of longer sentences with cartoonish slack-jawing and spasmodic flailing, turning Shue’s “slow” character into the worst kind of stereotype.

Throughout the course of the play he unabashedly displays every evil schoolyard bully gesticulation one could imagine, short of drooling and pounding a bent wrist to his chest to the tune of “der-der-der.” Were I the parent of a special needs child, I very well could’ve stormed out of there with a barrage of profanity. And though I’m not, maybe I still should have.

Visit www.catcorona.org for details on upcoming CAT Corona productions.

RTF Took a Risk with 'All the King's Women'

By Darcie Flansburg
Real Critics Editor/Publisher

The Samuel French synopsis for "All the King's Women" reads: "The story of Elvis Presley told through the eyes of 17 women. Some enthralled. Some appalled. All obsessed."

 But it isn't what you may think.

The women in this play are secretaries, car salesmen and housewives that ran into Elvis at some point in their lives.

The show is full of scenes and monologues that go on just a bit too long, and there aren't any musical numbers aside from some twisting to instrumental versions of Elvis' music.

I mention this up front because a show can only be as good as the script. And Redlands Theatre Festival's first downfall was choosing this script.

The ensemble is made up of well seasoned thespians and RTF veterans. Mia Mercado, Cindy Grayson, Mickey Miller, David Critchlow, Kathy Johnson, Susan Adams, Joanne Stowitts, Catherine DeBrule, and James Muro acted their hearts out. But unfortunately they were reciting monologues and scenes that would be far too long for any audition piece and were definitely too long for the fidgety Thursday night audience.

Even Kathy Johnson's monologue, which was the highlight of the show and had people guffawing left and right, could have been cut a tad bit shorter. Johnson was hilarious as a housewife that had literally run into Elvis at a supermarket one night at 3 a.m. But it was Johnson's energy and enthusiasm that made the monologue not the writing itself.

But everyone had their moments on stage, only to lose the moment because the joke had gone too long. Quite simply, the show could have used some editing.

The show was also performed without an intermission, but it was just long enough to cause patrons to need to use the restroom 20 minutes from the end of the show.

Director Katherine Thomerson could have done the actors (and the audience) a favor by cutting a few lines here and there (unless the writer forbid it).

But the show itself is also disappointing because it is a really pedestrian experience of Elvis. No woman that could really tell us much about the man behind the music was portrayed. No Anne Margaret. No Natalie Wood. No Priscilla.

And because of this the audience did not learn much about Elvis other than tales of stardom and minor encounters. Even the graphics presented throughout the show were without insight.

And on top of this Elvis' music was only played as transitionary music except for one instance when the actors danced randomly before, during and after the curtain call.

In recent press Thomerson referred to the production as "this artsy, edgy play about Elvis' life." But the show did not feel artsy or edgy.

The poor actors were dressed in drab black, whites and greys with similar colored scarves that really didn't flatter anyone or show any sense of time or place.

Overall I was disappointed with the direction of the show and the choice of the script.

The actors really made the show. Their enthusiasm was what kept people watching. But it was the writing and static direction that made the audience antsy.

Being that this was a premiere to the area, I believe that RTF took a risk and it was worth a try. I really look forward to seeing the rest of the RTF season because I know that, at the very least, the scripts are well written.

But RTF always does great work, which is why I was surprised (and disappointed) with how lackluster this show was.

The Redlands Theatre Festival runs five shows in rep every season at the beautiful Prospect Park in Redlands. The other shows this season are "The 25th Annual Putnam County Spelling Bee," "Steel Magnolias," "Pump Boys and the Dinettes," and "Scapino."

Redlands Theatre Festival, "All the King's Women," "Putnam County," "Steel Magnolias," "Pump Boys," "Scapino," Prospect Park, Redlands Ca, www.rtfseason.org, 8:30 p.m. Tuesday through Sunday, July 9 through Aug. 21, $18 for General Admission, $13 group tickets (20+)

SITV Portrays the Dream of 'Midsummer,' Literally

By Darcie Flansburg
Real Critics Editor/Publisher

Shakespeare in the Vines showed the timelessness of Shakespeare's words by presenting his classic comedy "A Midsummer Night's Dream" in an ambiguous and  dreamlike state.

SITV Artistic Director and Production Director Sheila Ryle made the "Dream" literal by starting and ending the show with the actors sleeping on stage with props that appropriately represented their characters. Helena had a picture frame, likely with a photo of Demetrius, while Demetrius slept with a copy of Maxim magazine. The mechanicals had props that represented their trades. And Hermia had a box that later revealed two halves of a heart that she and Lysander put together generating "awws" from the audience. The small gesture was not only sweet but also informed the audience of the young couple's love for each other before any words were spoken.

Though some of the actors lacked honesty and conviction in their portrayals of the timeless characters, there were several that went above and beyond.

John Edward Clark was excellently cast as the overly zealous Nick Bottom. Clark held the audience with his every word and his dramatic rendering of Pyramus the lover, in the play within the play, was exceptionally timed for comedic perfection.

Elisa Riehter was a wonderfully seditious Puck, giggling at every turn at the chaos she was creating. Riehter has amazing stage presence and captured the audience's attention, both on stage and off.

Shanti Ryle showed great emotional range as Hermia. She went from anger to love, exhaustion to rage, tears to joy in the blink of an eye. Ryle has shown great growth as a young actress in a mere year since the last SITV season. 

Rebecca Reber commanded the stage as Hippolyta and the powerful fairy queen Titania. And Eric Dunn invaded his fellow actors' space as the nosy Egeus.

The cast also included Todd Meyer as Theseus/Oberon, Brittany Richardson as Helena, Joey Arriaga as Lysander, Patrick Bailey as Demetrius, Terry James Welborn as Peter Quince, and Brandon Truax as Francis Flute/Thisbe, as well as a slew of other mechanicals, fairies, henchmen and musicians.

It was also refreshing to see Ryle play with what she had. Generally in productions of "Dream" Hermia is shorter than Helena, which is brought up in their fight scene. But because the actress that played Helena (Richardson) was the shorter of the two, Ryle had the actress strap on a butt pad to give her a "round personage" rather than a "tall personage."

I have seen productions where the actresses did not fit Shakespeare's description of the characters, but the lines were left as is, making parts of the play not make sense. But Ryle smartly adapted a few words to create even more laughs.

The show portrayed characters in costumes that melded everything from the Renaissance period to modern-day wear. Costumer Mona Rose Lujano continued Ryle's vision by placing the actors in sleep-wear throughout the show. Bottom's onesie, complete with butt flap, was the cherry on the cake.

The music choices and props also played with time and place. For example, Puck ate popcorn and sipped on a Big Gulp while invisibly watching the lovers fight out their issues.

The live music was awkward at times, but it is really hard to judge considering their main musician, Kevin Montour, was ill the night that I saw the show and from what I heard he really made the musical pieces.

The set was also an interesting and inventive addition to the play. Set Designer Justin Girard created a forrest setting with a large wooden hole in the center of the stage, that was often utilized by the fairies and sprites, to disappear and reappear amidst scenes. Though focus was often on the center area of the stage, the wings and audience areas were also well utilized.

For those that have read my reviews of local Shakespeare plays you must know that I favor adaptations. This is what Shakespeare would have wanted. His plays continually commented on the politics and society of the time period in which he lived.

It was refreshing to see Shakespeare in the Vines try something different with the play. "Dream" is a favorite amongst Inland Empire theatres, but it is really when productions step outside the box that the show has the potential to truly capture the audience. Shakespeare in the Vines took a risk and it was wonderful to see.

Shakespeare in the Vines' "A Midsummer Night's Dream" continues through July 24 at Frangipani Winery in Temecula. Their next production "Macbeth" runs Aug. 20 through Sept. 4. Visit www.shakespeareinthevines.org for details.

'Mattress' Lives Up to Candlelight Pavilion Standards

By Darcie Flansburg
Real Critics Editor/Publisher

There isn't much to dislike about the Candlelight Dinner Pavilion Theatre; good food, great ambiance, and professional quality productions.

Though the venue has everything going for it, they often choose productions that are well known and therefore elicit great expectations from its audiences.

"Once Upon A Mattress" is no exception to the rule, but once again, the venue, director, ensemble, costumers, and tech crew pulled out all of the stops for another musical comedy gem.

The show is the musical version of the fairy-tale "The Princess and the Pea."

Queen Aggravain wants nothing but the best for her only son, Prince Dauntless, which means that any future wife for Dauntless must pass a test to prove that she is a true princess. But this is not just a problem for Dauntless as he watches princess after princess be rejected by his mother, but the entire Kingdom is in peril because no one can wed until Dauntless does.

"Once Upon a Mattress" is famous for launching the career of Carol Burnett who was nominated for a Tony for Best Leading Actress for her role as Princess Winnifred in 1960. And later, in 1997, the show was nominated for a Tony for Best Revival of a Musical, starring a pre-Sex-in-the-City Sarah Jessica Parker.

The Candlelight ensemble was made up of newcomers to the venue and some old favorites.
Jordan Lamoureux was hilarious and lovable as Prince Dauntless. His knock-kneed immaturity was great in opposition to the over-controling Queen Aggravain, played with ultimate composure and dominance by Zoe Bright.

Jenny Strattan oozed all of the sweetness and charm of a Disney princess with all of the quirkiness of Carol Burnett in the leading role of Princess Winnifred ("Fred"). She won over Dauntless and the audience upon exiting the mote that she had opted to swim across instead of waiting for the draw bridge.

Isaac James exhibited the vocal strength and ability of a knight as Sir Harry opposite his damsel in distress Lady Larken, played by Candlelight newcomer Dimyana Pelev. Pelev and James' duets were beyond enchanting, truly a marvelous parring.

James McGrath and Chris Duir conspired in beautiful harmonies to help their new and old friends in the woeful kingdom; attempting to save Lady Larken's honor and helping Winnifred to pass the Queen's test.

And John Lynd did his best impression of Harpo Marx as the mute King Sextimus, eliciting laughter at every turn.

Though Candlelight Pavilion is always on point with their family musical choices, it would be nice to see Artistic Director John Lalonde branch out to do some more off the cuff musicals. The venue brings in such great talent, it would be really wonderful to see some of the more emotional and less of the comedic musicals out there, such as "Spring Awakening" or "Hair," performed at the venue.

The company always puts together quality productions, and "Once Upon a Mattress" proves this yet again, so, perhaps, Candlelight Pavilion could use more of a challenge.

Candlelight Pavilion, "Once Upon a Mattress," 455 W. Foothill Blvd., Claremont Ca, www.candlelightpavillion.com, 6 p.m. Thursday-Saturday evenings, 5 p.m. Sunday evenings, 11 a.m. Saturday and Sunday matinees, July 9 through August 15, General admission is $48-68 and $25-$30 for children under 12, tickets include meal, show and sales tax, appetizers, desserts, beverages and waiter's gratuity are additional within the theater. 

'Fuselage' is Heartfelt, Broadway Quality

By Darcie Flansburg
The Real Critics Editor/Publisher

Art is not just a pretty picture or a form of entertainment. Art should, in someway, make its viewer aware of the issues being faced within society; portraying the ups and downs of various cultures in a conscious and relatable way.

Gary Griffitts' "Fuselage the Musical" brings to light a very relevant issue for San Bernardino County.

"It's a play about discovery and learning empathy for individuals who are facing hardships and understanding how they got to where they are today," Griffitts said. "We as a society all face challenging situations, whether mentally, physically or emotionally. These challenges can sometimes lead to our destiny. 'Fuselage the Musical' personifies and explains these challenges through a modern-day musical performance,"

The play follows Nikki, a young girl who moves in with her aunt after the death of her father. After being abused by her uncle, Nikki becomes a runaway. But Nikki soon finds a family amongst the homeless people that take her in.

The play is a multi-media production that includes video, graphic visuals, and dance as well as a live band. And the performers consist of some incredible vocalists.

Naomi Martinez has a very touching song as Nikki's Aunt Angela. Griffitts' music coupled with Martinez's vocals brought me to tears.

But every principal actor had their moments in the show.

Scarlette Garcia as Nikki went through an emotional rollercoaster, but her breakthrough moments really showed when she was singing. Nikki goes from losing a father to being molested by her uncle to seeing people she has grown to love die in the streets, but it was only when Garcia was singing that the emotion of the character was truly felt.

Don Nelson was a lovable Billy Bob. He and Amani Butler, who played the Cat Lady, had a great comedic chemistry on stage. Despite the Cat Lady's situation, Butler's lovable (and delusional) character always made the audience laugh.

And Keon Blanche, who played the narrator/judge Tomazo, enlightened the audience with words of wisdom throughout the play and joined the 50-person ensemble for some awesome group numbers.

There were moments where some of the acting felt too raw, lacking depth and integrity. But the musical numbers more than made up for it.

Griffitts (and co-writer Jeremy Hansen) should be commended for this fabulous new musical. "Fuselage" is a Broadway quality show that echoes the heartfelt rock musicals the likes of "Rent" and "Spring Awakening." I hope to see the production go beyond San Bernardino to enlighten the many poverty-stricken cities of this nation and world. This is the kind of art that people can relate to and should see.

Experience Theatre, "Fuselage the Musical," 1020 Pacific Street, San Bernardino Ca, www.fuselagethemusical.com, 8 p.m. Friday/Saturday, 3 p.m. Sunday, June 17 through July 3, General admission $15 at the door. A portion of ticket proceeds will benefit local charities that support community assistance.

Brevity is the Soul of Wit

By Darcie Flansburg
The Real Critics Editor/Publisher

Love is accidental; it isn't something that you can really plan for. But in Heartland Players' production "Accidental Love," Kitty and Ken's relationship is entirely unexpected, at least for them.
The play was based on a short story by Danielle Peterson and was adapted for the stage by Dimyana Pelev.

The story is reminiscent of the 1987 Goldie Hawn and Kurt Russell film "Overboard."  A rich woman hits her head and forgets who she is long enough for a very poor man to take advantage of her new ignorance. But instead of falling overboard, Kitty (played by Pelev) gets into an accident in a taxi that Ken (played by Anthony Story) drives at night.

The play was very humorous causing the Saturday, June 19, audience to guffaw at the physical and verbal comedy.

Pelev created some wonderful Lucille Ball moments as she struggled to clean, cook and take care of children, things that the character had never experienced before. Her struggle to figure out the vacuum was particularly hilarious.

Story and Pelev Co-Directed the play, which was surprisingly successful. When actors direct themselves the pictures created on stage can feel clustered or ill interpreted, but Story and Pelev appropriately staged and performed the piece.

Story was very charming as the leading man, but at times he seemed to stumble through his lines.

Jeff Groff was excellent as Joey, Ken's best friend. Joey played along with Ken's story, aided him in all his needs, and provided necessary comedic relief when Ken was feeling down about the situation he had created. Joey's midnight breakdown scene, in particular, was a truly shining moment for Groff in the play.

Tracy Pelev played Joey's girlfriend/fiance Suzanne. Tracy has a strong stage presence but she tends to overact. Her verve is wonderful, but in an intimate space like Heartland Players emotions and personality need to be more finely tuned.

The cast was rounded out by Hannah Bunker as Isabelle, William Chinnock as Willy, Laura Johnson as Vickie and Krista Curtis as Lillian.

Pelev did a good job of scripting the show, keeping the play under 2 hours, including intermission. But the brevity of the story did leave some holes. For example, Ken's decision to pretend that he and Kitty were married was never evident. The first 15 minutes of the play shows Ken telling his nieces, nephews and Joey about the terrible woman that is now passed out on his couch. But when Kitty wakes up and demands an explanation Ken, out of nowhere, says that he and Kitty are married. This could have used more of a set up; Ken's continuous belittling of the unconscious Kitty made it seem like he just wanted her to get out of his house without suing him. So the 14-year marriage and children that Ken created not only blind-sided Kitty, but also the audience.

There was also the fact that Kitty's purse, with her real ID, was under the couch the entire time. It is hard to believe that she cleaned and redecorated the house from top to bottom and never found her purse until Joey, randomly, found it at the end of the play, after Kitty had already discovered Ken's plot.

There were a few other loose ends that could have used more explanation and/or time to develop, but Pelev did a good job of keeping the pacing of the play strong in both the script and on stage.
It is always a good sign when the audience is surprised when the lights come up for intermission; this means they were so engaged in the play that food, drinks or potty breaks are not on their minds. The Heartland Players' production of "Accidental Love" was well received by the audience and a sincerely enjoyable experience; well done!

Heartland Players presents "Dinner in .45" September 10 through 26. Visit www.heartlandplayers.org for details.

A Good Script Can Go A Long Way

By Darcie Flansburg
The Real Critics Editor/Publisher

A finalist for the Pulitzer Prize in 2005, "The Clean House" breaks the Play With Your Food Production conventions of producing knock-down, drag-out comedies. The script alone is a hearty venture; Sarah Ruhl's contemporary American stage comedy elicits both laughter and earnest tears.

Matilde is a maid who is saddened by the act of cleaning. Her parents were the funniest people in Brazil until they died; then the title fell upon Matilde. Not able to handle the pressure Matilde moved to America and happens upon the wrong house; a house where laughter is rare.

Matilde's boss Lane is a doctor, as is Lane's husband Charles. Lane is rarely home, but her sister, Virginia, is a housewife with time to spare. Soon enough Virginia is cleaning Lane's house and spending time with Matilde and they both learn some things about Lane's life that makes them all feel quite uncomfortable.

Annalice Heinz was enchanting as the jocular Matilde. Everything from her accent to the emotional ping-pong she emanated was not only entertaining, but touching. Theatre goers both during the show and after could not stop talking about "that maid" and how "lovely" she was. And it was true; I have seen Heinz on stage before and she never disappoints. There is something to be said for actors that study psychology, they know how to get into the mind of the character and beautifully transpose it onto the stage.

But Matilde isn't the only one with jokes. Virginia has the jokes that most of the audience can really relate to. Because the script is so well written a mild delivery of Virginia's lines would still evoke laughter, but there is still so much that can be done with the character.

Laurel Mueller was a strong choice for the part of Virginia; her delivery and presence were very natural on stage, but almost too casual. Mueller seemed more conscious of her own person than of the character that she was creating. She moved hesitantly on stage and didn't take many chances in her delivery or actions. There is a moment in the play when the very clean Virginia has a small breakdown and starts tearing the house apart. This was an opportunity for Mueller to really let loose, but her movements were stifled and for a moment it looked more like she was lightly rearranging small items in the main room rather than "making a mess."

Alicia Panicucci's performance as Lane was also somewhat constrained. Even after finding out that her husband was having an affair Panicucci's Lane seemed more conflicted than angry.

One of the aspects of Ruhl's style that was strongly maintained in this production was her focus on the inexplicable transformation of emotions. Heinz portrayed these transformations throughout the play, but Panicucci's shining moment was what I will call "the laughing/crying bit." Ruhl loves when plays have "revelations in the moment," which is what Lane experiences in this particular scene. The stage directions read "Lane cries. She laughs. She cries. She laughs. And this goes on for some time." It was in this moment that Panicucci showed true abandon as an actor, laughing and crying hysterically.

The cast was rounded out with Russ Rappel Schmid as Charles and Julie Stouse as Ana.

Stouse, like Heinz, accomplished a strong Portuguese accent and exuded a charm that made Charles' rash decisions plausible. Schmid and Stouse had great chemistry, not only as Ana and Charles, but also as the various ensemble characters they portrayed throughout the play.

But despite their chemistry, the couples love fizzled rather than climaxed toward the end of the play, unnecessarily. (*Spoiler Alert*) When Charles returns home with a yew tree for Ana, only to find that she has laughed herself to death Schmid should have exhaled a groan of utter despair and lost love, but instead he just seemed kind of disappointed. His expression seemed to say, "oh, dang."

Director Christopher "Kit" Fugrad used the stage well, but, at times, the blocking was stationary and unmotivated. This was, in part, due to the stage design and the limited space. Though the set design, by Laura and Murray Robitaille, was beautiful and pristine, the placement of the balcony made some of the blocking awkward. For example, when Matilde and Ana threw apples off the balcony and into "the sea," each one hit the stage with a thud that really pulled the audience out of the moment. Also the transitions between the house and the balcony were rather distracting.

But a good script can go a long way and despite minor shortcomings Play With Your Food Productions, under Fugrad's direction, presented a noteworthy show that kept it's audience laughing and invested in the story. The June 11 audience heartily laughed at Matilde's jokes, and Virginia's cleaning analogies, but also felt the pain of Lane's loss and understood the wisdom in the dramatic ironies presented in the plot. Play With Your Food Productions added this show to their season at the last minute and it was a worthy gamble.

Play With Your Food Productions opens it's 8th season with "Weekend Comedy" in October. Visit www.playwithyourfoodproductions.com for details.

Shakespeare, Chino and a Fat Pig

By Gabriel Morales

For the Real Critics Blog

Besides penning some of the most enduring and honored works of Western culture, Shakespeare explicated perfectly the purpose of his art. Through Hamlet’s command to an actor about to perform, Shakespeare says (in the easy-for-laypersons-to-read “No Fear” version): “Fit the action to the word and the word to the action. Act natural at all costs. Exaggeration has no place in the theater, where the purpose is to represent reality, holding a mirror up to virtue, to vice, and to the spirit of the times. If you handle this badly, it just makes ignorant people laugh while regular theater-goers [i.e. those who can recognize, understand, and appreciate good theatre] are miserable -- and they’re the ones you should be keeping happy” (Hamlet, 3.2).

The problem with straight theater -- especially straight community theater -- and the main reason for half-full houses on a good night is that, for the most part, this four century-old admonition goes unheeded. Yes, a fine orchestra, elaborate costumes and a realistic set are a joy to behold; but the true delight and purpose for theatre is the visceral symbiosis that occurs when an audience observes before them a person (whose steps, voice and very presence they can feel) living out the most dramatic moments of her life -- a goal impossible to achieve when the actor possesses neither the talent nor the fortitude to usher the viewers into that ethereal state where self-examination and catharsis are possible. But there’s always an exception to the community theatre rule... 

Through Neil LaBute’s refreshingly realistic dialogue, M. Michele Richardson’s savvy directing and the talents of a veritable dream team of a cast, Chino Community Theatre presents one of -- if not the only -- opportunities for IE theater-goers to this year experience that elusive and wholly satisfying glimpse into this zeitgeist’s looking glass. For just as the purpose of Hamlet’s play-within-the-play was to “catch the conscience of the king,” so too LaBute’s masterwork, “Fat Pig,” forces the post-modern audience to confront the brutal reality of their disgusts, prejudices and hatreds.

Richardson humbly credits the playwright for the production’s artistic success. LaBute’s brilliance notwithstanding, the director has shown delicate expertise in designing a lovely, ominous soundtrack, casting the play to perfection, and crafting the show’s effective pace and tone. If making a trite, anachronistic play entertaining is likened unto a running a marathon blindfolded, then directing a masterful, relevant play -- especially one that lives or dies by naturalistic performances -- such is the same race with a Faberge egg balanced on each palm; and, trust, Richardson crosses the finish line with treasures intact.

Then there’s the cast! An assembly of talent the magnitude of which is rarely seen ‘round these parts. Desiree Hill is splendid as “Helen,” the play’s namesake. Her rambunctious laugh, endearing personality, and inherent self-confidence all contribute to her vivid portrayal of society’s archetypal pariah. Hill’s training and experience are evident in the carefree way she successfully tackles realism. (My one critique being, I wish she had delved deeper into those few dark moments where Helen sees her fate foreshadowed and begins to crumble under the pressures of life and love.) Adam Demerath is marvelous as “Tom,” Hill’s lithe love interest. One of the IE’s most decorated and versatile thespians, Demerath can do it all: produce, direct, act, sing, construct, design, etc. -- is there such thing as an octuple threat? If so, Adam’s it. Apropos, when only burdened by the responsibilities of an actor as he is in “Pig,” Demerath creates a work of live art so layered, so focused, so enthralling, that the simple act of eating potato chips becomes a heart-wrenching illumination into the broken soul of the 21st century American man.

No less radiant is the supporting cast. National award-winning actor, Jeremy Magouirk, plays the hell out of the vulgar malapert “Carter,” best friend and foil to Demerath’s Tom. From a simple roar-inducing entrance, to a Cruise-inspired fit of couch jumping, to the somber recollection of a painful childhood memory -- Magouirk nails every moment, every pathos, thus making the most repugnant character understood, even winsome. The last of the talented quartet is Trista Olivas, who gives heart, humor and soul to “Jeannie,” Tom’s sultry, strong-willed ex-girlfriend, whom lesser actresses would relegate to a lascivious ditz or tyrannical misandrist. Unlike with Helen, LaBute doesn’t use dialogue to explore the irony of Jeannie’s name. The task falls to Olivas to embody both the male wish-fulfillment and self-destructive dreamer aspects of her post-modern American woman, which she readily accomplishes.

So... bad acting: audiences hate it (and too-oft rightly assume they’ll see it, and thus avoid patronizing local theaters) as it is the one unpardonable production sin -- the one mistake that should be avoided “at all costs.” Luckily, there’s the rare play (CCT’s wonderful “Fat Pig”!) where this is a non issue. Therefore, if you are among those few local patrons still spending their increasingly valuable income -- and infinitely more valuable time -- attending IE theatre, you would do yourself a great disservice by missing this show.

“Fat Pig” continues June 10 and 19 at 8 pm, and June 13 at 2:30 pm. Visit www.chinocommunitytheatre.org for details.

'Without Vision These Shows Perished'

By Kellie McDonald
For the Real Critics Blog

Let me paint a picture for you that was this year’s Redlands Shakespeare Festival. Picture a large stage that is used for three shows -- Hamlet, Romeo and Juliet, and A Midsummer’s Night Dream. Above the stage it says “Without Vision a People Perish” unfortunately for this festival it should say “Without vision these shows perished.” At least that would have been a fair warning to the audiences for what they were about to witness.
Now how do I introduce my thoughts on Hamlet? Maybe I should jump right in and get to the major issue that was the cause for all the other problems. Hamlet is an intense tragedy that takes the director, who takes the actors, and, in turn, they take the audience on an emotional journey. The artistic director of the festival, Steven Sabel, foolishly took on more than he could handle. Sabel not only directed the show (And A Midsummer’s Night Dream... we'll get to that later), he also did the fight choreography, and cast himself as Hamlet. There are very few cases where a performance is decent, let alone enjoyable, when the director is the main character in the show. There are even fewer cases where a forty-year-old man playing Hamlet could be conceived as a good idea. Unfortunately this production of Hamlet does not fall into either one of those cases. I think it would be a great injustice to even start to comment on the actors for they weren’t even given a chance to have direction for their own personal performances. So the fact that they couldn’t find their lights, they had unmotivated blocking, they broke their own reality rules which they had created, was to no fault of their own because they were without direction. Some of the supporting characters acted as if they were in a happy musical verses a classic tragedy, and they all around seemed to have very little understanding of the text, but again, this should not be held against them.
Luckily the entire cast didn't seem as lost as their lead man. It was very clear that Tom Newman, who played Polonius, knew his role and the story. His energy came alive on stage and he brought appropriate humor that the audience understood.
Sabel delivered his lines over dramatically and milked every speech for every second he could. Shatner could have said those speeches faster and clearer than Sabel did. The only tragedy about this production was simply that it was done. The audience was giggling throughout the entire show. Sadly the most dramatic part of the production was when Horatio put his hood on right before the black out at the end of the show.
In the center of the stage they placed a huge throne. There are two parts of the show where anyone who knows the story of Hamlet expected the throne to be used; during the dumb show, because that is where a King would sit to watch the play, and at the end for the final dramatic fight. For the dumb show the King sat on the floor with everyone else. That was so frustrating to watch because a King would not sit on the floor let alone with all the people of his court. My frustration was then turned into great confusion as Hamlet tried to, what seemed to be, rape Ophelia in front of everyone while no one did a thing. Instead of the conversation being an aside between the two characters everyone sat there and watched with slight concern on their faces. At the end of the play when the dramatic fight happens I thought to myself, “Now they must have something planned for the throne, seeing how it is center stage and this is the end.” Sadly the King sat in it for a total of 30 seconds then stood up again. Why would they have something center stage that was never used? Maybe it had some deep meaning? Or maybe it was simply there just to take up space.
While watching all three shows on the stage with the added thrust I came to the conclusion that the stage was large enough for what they were trying to accomplish and the thrust was not necessary. Not only did they have enough space already but they were unable to have front lights for the thrust so all of the actors faces were covered in shadows. Seems pretty silly to me if you’re trying to bring the action closer to the audience, yet, by doing so, you only make it harder to see their faces.
The second show I saw in the festival was Romeo and Juliet, directed by Ron Milts. Going into this show I felt confident that it could not be nearly be as awful as Hamlet because it had a different director. It was not as bad as Hamlet, but it was not good by any means. The acting over all was a step up from the previous show. Again some of the actors acted as if they were in an upbeat musical. There were several females who, yes, created character voices but with no help to keep their voices from making the audience’s ears bleed. Romeo and Juliet are one of the most famous tragic lovers in literature. Unfortunately the audience could not help but chuckle through their misery.
If I was to ask anyone (whether they knew the show or not) what is the first thing you think of when you hear the title of the play, Romeo and Juliet? They would answer “Oh Romeo, Romeo. Where for art thou Romeo?” The balcony scene is probably the most thought of scene in the play. On the stage were a total of four different platforms and where does Milts decide to have the balcony scene? On the end of the thrust, that is where. If you have several options that all could work very easily for the balcony scene, why on earth would you choose somewhere else?
Through the entire show they used the thrust as the balcony, which at least they were consistent about using the space as only one location. Oh wait, excuse me, it was the balcony through the whole show until the very end where without any notice the space became Juliet’s tomb. At first it seemed that her father just laid her “dead” body outside her room on her balcony. As an audience member for a few seconds, before I caught on that they were in her tomb, I found it believable that her father would just throw her dead body out her window, because earlier in the show he hit her and the actor created the feeling that he was an unbearable father. By having Juliet’s tomb on the thrust it meant the actress had to lay there close to the audience through the other scenes while she waited for the final scene to come. This took me out of the play completely and I just felt bad for the actress who had to lay there. This performance over all was pretty forgettable.
And last, but not least, A Midsummer’s Night Dream. This show had the audience laughing through the entire show. Luckily for the actors this show is supposed to be a comedy. For anyone who actually knows the show we were disappointed, but most of the unknowing audience seemed to be entertained (and that’s what really matters, right?). Again directed by Sabel this show fell short in many areas. The blocking consisted mostly of the actors either doing very poorly choreographed slapstick comedy or standing in a straight line talking to one another. The lovers were not in love with each other; they only were concerned with sex and the last time I checked love consisted of more than just lusting after another person. The actor who played Puck was more of a goof-ball instead of being mischievous so it was difficult to understand his motivation.
The slapstick comedy was not necessary through the whole show. The story alone is funny enough. To cover up the lack of knowledge of the script Sabel had the actors jumping over backwards to get laughs instead of just telling the story. It was obvious that no one payed attention to the text when Titania asked the fairies to sing her to sleep and instead of singing they just danced. If he was going to have them dance Sabel could have changed the text or cut the line entirely (it’s Shakespeare, and royalty free, so no one would blame, or notice, if you make such changes).
I can honestly say that the actors did do a great job of keeping up the energy and pace in this show. Also it was great seeing a couple scene changes, they showed the different worlds by using pillars for the court scenes and for the fantasy forest scenes they used the giant tree that was placed center stage. While in the forest, when some magic would happen, there was a laser sound effect that did not seem to ever be timed correctly with the actor’s moments. The sound effect was distracting and not necessary because the actors movements should have been enough to tell the audience magic was happening. On the counter side of that, while there was no dialogue on stage and magic was happening the background music was perfect and done very well.
If you don't mind two and a half hours of actors who sound like yapping dogs and giggling 12-year-olds, and sloppy slapstick comedy then this show was for you.
The Redlands Shakespeare Festival fell short all around in almost every aspect of theatre. As an honest reviewer I will acknowledge that the audience did seem to enjoy the shows and the majority of them stuck around through the entirety of the performances. When it comes down to it, yes, all the shows could have been MUCH better, but their audiences were entertained and that may be all that matters.

The Redlands Shakespeare Festival is an annual festival that produces three shows in May each year. Visit www.redlandsshakespearefestival.com for details.

Latest Footlighters Mystery Play is 'Unexpected'

By Darcie Flansburg
Real Critics Editor/Publisher

It is always enjoyable seeing an Agatha Christie play at the Redlands Footlighters Theatre. Not only are the plays well executed, but it is also amusing to hear the audience hum with suspicions and conjectures as the plot continues to twist and turn.
As would be expected of an Agatha Christie play, "The Unexpected Guest" is, well, unexpected. When Michael Starkwedder (played by Sean Green) has an accident with his car he walks into a house in search of a phone and instead finds a dead man. But Richard Warwick (played dead by Robert Spleen) was not the most noble gentleman during his life, which means that every family member, servant and recent visitor in his mansion has a motive for his murder.
Agatha Christie plays tend to have a great deal of front-loaded exposition. This means that right after the body is discovered at the beginning of the story two or more characters spend a good 10 minutes or so explaining a very complicated back-story in which every character is a suspect.
Amanda Vroom physically fit the part of the lovely Laura Warwick, wife to the late Richard, but her performance was a bit monotone especially during the exposition of the play, which killed the pace early on. She definitely portrayed the part of distraught wife well, but she showed no passion toward her lover nor did she reciprocate the flirtation from Starkwedder. Her performance exuded an emotional chorus consisting of one note.
Sean Green was very suave as the unexpected guest Michael Starkwedder. Though his British accent was faulty and his passion for Laura was unrequited, Green did a good job of being the dark horse who drove the action of the play.
Grant Markin was perfect as the poetic Sergeant Cadwallader. His accent was on point and his quirky qualities were well timed and well executed.
Ian McLean played the mentally challenged Jan Warwick with great authenticity. His character elicited love and compassion from the audience and later dire concern.
Sally Norton was excellent as Mrs. Warwick. Her stage presence reminded me of recent films of Queen Elizabeth; She was strong yet gentle, loving yet sensible. 
Thomik Deverien was very natural (and creepy) as the head servant Henry Angell. Deverien was ever present in his portrayal of Angell and moved with purpose; he portrayed a very proud and confident man despite his station.
The ensemble, as a whole, was strong, and well lead by new Footlighters Director Christopher Diehl. Despite the slow going exposition at the start of the play, the ensemble kept up the pace through the end of the show, which, of course, entails an ending that is entirely unexpected.
The cast also included Paige Polcene as Miss Bennett, Todd Paul Brown as Inspector Thomas, and Mike Barbin as Julian Farrar.
Set Designer Phillip Gabriel created a great ambiance with the set. The single room emanates grand luxury, alluding to the magnificence of the rest of the unseen mansion.
The Redlands Footlighters Theatre always produces well executed mystery plays and "The Unexpected Guest" is no exception.

"The Unexpected Guest" runs through May 30 at the Redlands Footlighters Theatre. Visit www.redlandsfootlighters.org for details.

'Celadine' is a Delight

By Vanessa Downs
For the Real Critics Blog

Nestled in the new performance space for the 3 Theater Group, I waited in anticipation for the performance of “Celadine,” a show I knew very little about. Nevertheless, I was more than pleasantly surprised with what unfolded before my eyes during the course of the next two hours.
Let me start off by saying that the 3 Theater Group’s new performance space is like a hidden treasure for theater goers, found within the Mission Galleria Antique shop. Dazzled by the various antiques and bits of history on the first floor of the shop, I was grateful for the signs that directed me upstairs to the theater.  Upon reaching the appropriate floor, I passed through the red curtains into the new theater. The space is still very much a work in progress, but all the necessary pieces are present.  The set was a very well done representation of the 17^th century coffee house it was supposed to be. Haibo Yu was the Scenic Designer for the show, and the attention to detail was incredible. On either side of the stage were depictions of the city, letting audience members know that this particular show took place in the heart of a big city. Sarah Jacques is also to be commended for painstakingly creating the faux wood finish that decorated the floor of the performing space. Also of note is the work David St. Pierre put into the lighting design of both the theater and the show itself. Various color notes outside the coffeehouse window were clear indicators of the time of day and helped to set the mood of the show.
The show itself is about the intertwining lives of Celadine (Alisa Ann Lovas), a playwright; her closest friend Mary (Rhiannon Cowles), a reformed prostitute; and the King of England (Paul Jacques), a man moonlighting as Rowley.  Within this triangle, comes the recent introduction of Jeffrey (Winston Peacock), a mute; and Elliot (Majd Murad), an actor and spy. 

Celadine has not written a play for quite some time and is struggling to come to terms with the horrific death of her daughter. The coffeehouse she operates with Mary is struggling for money, adding to the sorrow that lays beneath the surface of the play.
The play begins with Mary sleepily descending the stairs in order to answer the door.  Cowles commands the stage with her portrayal of Mary. Her stance and facial expressions were spot on for a woman who had not been afforded the opportunities of the upper class, allowing the audience to become completely immersed in the moment, believing that, yes, we were peeping in on a real London coffeehouse. Shortly after Mary has woken up, Celadine returns home after a long night, riding her horse. Much to my surprise and delight, Celadine’s horse was actually Jeffery.  Peacock did incredibly well as a boyish mute, conveying the feelings of his character through actions alone. Jeffery and Celadine’s turn about the stage was the first indicator of the easy humor that was to run throughout the course of the show.
“Celadine” is part of a trilogy of plays written by Charles Evered, a new and talented playwright . Celadine, in an effort to be at peace with the death of her daughter, the illegitimate child of the king, asks that Rowley (The King) to claim that the daughter is his by giving her the royal last name. Rowley will only do this if Celadine will perform a duty for him: deliver a notebook and observe the man who takes it. Meanwhile, Celadine has met a new actor, Elliot, who is encouraging her to begin writing again. Celadine writes the story of her daughter and her tragic death, allowing audiences to discover just what happened all those years ago. During her writing process, Celadine begins to have feelings for Elliot, however, shortly after it is discovered that Elliot is the Dutch spy plotting to kill the king. All of the tension comes to a head during the fight scene at the end of the play. Elliot is apprehended, Celadine is at peace with the death of her daughter, and the king lives to see another day.
Though the play was full of humor, there was a depth and sadness to it that is not often seen onstage. Lovas was perfect for the part of Celadine. From the moment she enters the stage all eyes are on her. She is a superb actor, at her best during the parts of the show where she is remembering her daughter.  Thinking back on the show, the point that stands out to me the most is Lovas' voice; Clear, deep, and womanly, like ice cold water on a hot day. With her voice alone Lovas owned the character of Celadine, making her unforgettable. 
Lovas and Murad (Elliot) were perfectly cast together as the lovers. There was a palpable chemistry between the two that made the affection they had for each other believable, never stopping the audience from becoming fully submerged within the play. Jacques did well as Rowley, deftly conveying the passion and regal nature of a king.
Overall, the show was a delight and one that deserves the highest commendation.