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.