The Real Theatre Critics of the IE

Portrait of a "Bloody Patriot"

2011-10-18T22:44:00.000-07:00

By G. S. Morales

For the Real Critics Blog

John Lynd and Travis Rhett Wilson exceed high expectations in "Damned: John Wilkes Booth—Bloody Patriot."

The second installment in JTL Productions' "Acting Out" Series, "Damned" is a visceral, riveting portrayal of one of the most legendary and reviled villains in American history.

Lifelong comedian Lynd once again showcases his skill in dramatic scriptwriting and intriguing, realistic stage direction. Greeting the audience is an ominous display of Lincoln’s portrait hanging between tattered Union and Confederate flags. Below them, Lynd’s go-to actor enlivens the powerful text of brutal historical truths, intriguing political and philosophical questions, smirk-inducing anachronisms (Booth’s ghost has a century-and-a-half of hindsight); as well as the moral morass of a (“probably psychotic”) man willing to abandon extraordinary wealth and fame to sacrifice his life for his country, or at least the Confederate version thereof. (To paraphrase one of my favorite paradoxical bits: “How dare you enslave and brutalize your fellow man... Now, do what we say, or we’ll blast you to kingdom come!”)

Wilson never disappoints. A self-proclaimed "character actor," Wilson commands the stage with verve and ease, betraying the meekness the euphemism implies. He's not a perpetual-supporter kind of actor. He's the real deal, able to enthrall a sold-out house with nothing more than sheer talent and a few old-timey props.

Though the early draft of the book lends toward the dark side of its namesake, glossing over the lighter-hearted aspects of Booth's life story—if indeed there are any—"Damned" proves itself another great, original work the I.E. stages are privileged to host, and one of the few bastions of legit theatre in a world choking on commercial cud.

“Class”: An Advanced Course

2011-05-14T15:36:00.000-07:00

By G. S. Morales
For the Real Critics Blog

Watching actors transcend memorized conversations and rehearsed behaviors to face the peril and promise that a great script can provide is not just thrilling, it’s the greatest purpose of live theatre.

Indeed, when an actor can lose himself, can break free from fear and self-awareness, he in turn enables us to abandon our own self-imposed mental and emotional reservations, to confront the hidden truths that define our lives. Even with the fluffier forms of performance art, deep down that’s what we are paying to see: dangerous discovery, from the vicarious comfort of our padded chairs – that is, when the performers and company are up to the challenge.

3 Theatre Group is willing and capable, yet again, with subtle, soulful performances in their west cost premiere of Charles Evered’s “Class.” Painfully moving and at times intensely funny, this two-person, proudly Grotowskian production accomplishes more in a tiny black box than others are capable of, even with their grandiose movable sets, full spectrum of colored lights and fully-paid twelve-piece orchestra. For it is there, beneath all the misdirection, that the truth of the human spirit resides, the spark for which entertainment exists; and when a company makes that spark their aim, they are capable of creating a truly powerful fire.

Such is the case with director Robin Russin’s beautifully crafted sophomore effort with 3TG. Adroit pacing and refined portrayals from actors Paul Jacques and Melissa Kirk will surely make this one of the best IE theatre productions of 2011. The actors’ believable, well-timed exchanges range from knee-slapping funny to tear-wiping morose and are a cathartic joy to behold. Jacques, an award-winning writer/director/producer proves why he deserves such laurels – because he can step on the stage and bring it. As with his heart-rending turn in last season’s 3TG production of Evered’s period piece “Celadine,” Jacques gives a layered, impressively naturalistic performance that puts him in a near-peerless class of local actors. I love watching this man work. His shows should be required attendance for his many theatre students; for in watching Jacques do his thing, they’d be able to write lengthy dissertations about the power and soul-changing nature of the art. Moreover, Kirk’s not-so-ditzy starlet-turned-thespian plays well against Jacques’ burn-out acting coach. Her earnestness humanizes the character, making her both endearing and intriguing.

This weekend 3 Theatre's "Class" gives you an opportunity for true aesthetic sustenance. So please consider your health, and don’t fall for the glitzy packaging and empty promises that the fast franchises sling.

Hilarity Ensues in Chino's 'Spelling Bee'

2011-05-05T17:21:00.000-07:00

By Darcie Flansburg

The Real Critics Editor/Publisher

Looking at the title of The 25th Annual Putnam County Spelling Bee, one might think, “What could be entertaining about a spelling bee?” Stop wondering; the show is beyond hilarious and Chino Community Theatre’s production is no exception.

The story follows six contestants and three adult coordinators at the annual spelling competition. In addition, the audience not only learns about the characters and their struggles, but also gets to participate.

At the start of the show, Rona Lisa Perretti (played by Sarah Meals) calls some of the “competitors” that still need to take their “seats.” These participants end up being audience members who are taken on a ride along with the cast as they participate in the bee for the first half of the show.
The audience participants add a layer of unpredictability to the show, not only for the audience and audience participants, but also for the cast. Cast members interact with the new participants, improvising when needed, pulling the participants around the stage for choreography.

Aside from this addition to the production, the story and characters are lovable, clever and memorable.

Director Rhesa Richards said in her director’s note, “[At first], I wondered why I should care about the characters in Spelling Bee. Now I find I’ve fallen in love with each endearing one.” I have to agree with Richards. The characters are hysterical, but their hearts and minds are not lost on the audience.

Each character struggles with their family situations, puberty and who they are as individuals.

Lauren Deards’ vocals and portrayal of Olive Ostrovsky were totally in sync. Her solos and harmonies are beautiful, and her emotions conjured sympathy and warmth from the audience. Her random word associations always get a laugh.

Christine Mejia, who plays Logainne Schwartzandgrubenierre, not only offers strong vocals and a lovable character, but accomplished all of this with a lisp. Schwartzandgrubenierre eventually gets speech therapy as an adult, but as an adolescent she struggles with her lisp and her inability to make her fathers (yes, both) happy. All was accomplished with creative oomph by Mejia.

Derek Ashley Macumber as Leaf Coneybear is hilarious. His silly persona is perfect for the character, enlisting smiles and chuckles from the audience as he sung “I’m Not That Smart.” Macumber’s eccentric hands and wild eyes truly make the character.

Macumber also choreographed the show along with Juan Luis Torres.

Torres also played Mitch Mahoney, the parolee doing his community service at the bee. Torres was also vocally capable, adding a golden tone to the ensemble harmonies.

But everyone in CCT’s production really stood out in a good way.
Shalimar Malimban played Marcy Park, the perfect straight-A student. She was confident, capable, and never faltered. Her robotic nature broke down beautifully in her solo “I Speak Six Languages.”

Ed Fornoles sang about his character Chip Tolentino’s “unfortunate erection” with spirit and verve. Tolentino is lovable and the “unfortunate” situation only made the audience feel even more for him. Fornoles’ cameo as Jesus was also a great moment in the show.

Seth Weiner, who plays William Barfee, always appeared to have a slight smirk on his face. Whether it was genuine laughter because of the improv taking place on stage or a character choice, Weiner made it work as the awkward, magic-footed, young scientist Barfee.

Sarah Meals, who played Rona Lisa, looks and acts like a sharp real-estate agent, but she also wields a stellar vocal range; the likes of a Broadway star. Meals not only fit the part, but also improvised well, adding many a witty comment to the already clever script.

And Bruce Hutchins, who plays Vice Principal Douglas Panch, was stoic and straight-faced as he defined each word and used it in a sentence for the participants. The delivery was perfect.

To top it off, Tom Hurst’s set design was simple yet effective. The knotted gym rope was a great touch.

Richards knocked one out of the park with this show. Her direction and vision were obviously clear and well executed by her cast and crew.

The 25th Annual Putnam County Spelling Bee at Chino Community Theatre’s 13123 7th St., Chino, (909) 590-1149; www.chinocommunitytheatre.org. Thru May 21. $15 general admission, $12 students and seniors.

Adaptation Defined: ISC's Avant-Garde, Reverse-Gender 'Hamlet'

2011-03-13T19:49:00.000-07:00

By Gabriel Morales

For the Real Critics Blog

Yeah, so, I wanted to do the whole start-with-a-dictionary-definition thing, but the primary denotations of "adaptation" were too simple. I mean, "the act of adapting; the state of being adapted." Really? That's it? Then I scrolled down... Turns out the biological definition is not only more detailed, it's wholly appropriate, even perfect for the subject of this piece.

You see, on far too many occasions I've seen Shakespeare "adaptations" that only require the creative efforts of the production’s aesthetic designers. Pick a decade, find the right garb, Google pics of the right haircuts, scrounge around for a few props and you're set. That's an adaptation, right? Uh, not quite.

Check this, courtesy of Dictionary.com:

"Adaptation [ad-uhp-tey-shuhn] –– noun — 4a. Any alteration in the structure or function of an organism or any of its parts that results from natural selection and by which the organism becomes better fitted to survive and multiply in its environment."

Besides providing Western culture with some of its most celebrated and enduring literary works, the Bard's tome gives the modern troupe something few scripts can: pliability. Sure, just about any ancient text can be changed (no licensing fees, copyright liabilities, etc.), but Shakespeare is different. Big Willy's plays, with their timeless psychological complexity, built-in fanbase and familiar narratives — especially "Hamlet," the best of his best — provide innumerable possibilities to be daring, innovative; to wow your audience by transforming 400 year old scripts into relevant, cutting-edge entertainment. The trick is to go deeper than the skin.

Cue Inland Stage Company's "The Suffragette Hamlet," a true, high-caliber adaptation. Set in the 1910's during the height of America's women's rights movement, adroit adapter/director Darcie Flansburg goes beyond the trivial to give us a whole new reimagining. She reverses the genders. No, it's not one of those dilettante epicene-ist efforts where women are merely dressed in pants and play the male roles. No, Flansburg completely flips the script: Hamlet is a young woman, whose mother is murdered by her aunt, Claudia; whose boyfriend, Ophelio, loses it and drowns himself after Hamlet murders his mother, Polly; whose fateful duel with Ophelio's bloodlustful sister, Lydia, results in Hamlet's — and just about everyone else's — brutal, untimely end.

In their flipping, Flansburg and her strong cast — doing their best work — manage to breathe new, modern life into the Bard's perennial drama.

Yvonne Flack delivers as Hamlet. A Ph.D candidate in literature and film, currently working on a dissertation about “Hamlet,” Flack has an extraordinary understanding of the play and titular character, which lent well to her interpretation and performance.

Emphasizing the (often hilarious) intrigue between Hamlet and her childhood friends, Rosie Crantz and Guilda Stern, is a wonderful touch, readily showing off Flansburg’s comedic prowess through the sparkling chemistry of Kaylee Tardy and Erin Christine Feaster (Rosie and Guilda, respectively).

The idea of twin sisters made the grisly familial intrigue even more lurid. Utilizing the same actress (Monica Reichl) for the roles of the Claudia and Hamlet’s mother’s ghost was another great choice. As was John Wesley Leon’s (Gerald) in playing out the drama as unaware of his sister-in-law’s, er, second wife’s murderous streak until the closing genocide. As was having Ophelio (Dane Johnston) drunk and bottle-nursing during his pre-suicide ramblings.

And the clincher... the element that puts this production among the best Shakespeare you’ll see in the I.E., is the live music: part creepy Baroque, part dark Victorian jazz, part experimental Spanish guitar, and all Sean Longstreet — the überskilled one-man band that riffs and jams under and around the actors’ spoken poetry, creating a haunting, even cinematic effect — especially during Hamlet’s monologues — that’d be a crime to miss.

According to Paul Gaugin, the French Post-impressionist painter, "Art is either plagiarism or revolution." So... Dying for a bit of theatrical insurrection? originality? change? Then do yourself a favor, and catch ISC's genuine adaptation "The Suffragette Hamlet," or "Hamlette"... or what you will.

ISC's "Hamlet" runs through March 27 at the Esplanade Art Center in San Jacinto. Visit www.inlandstage.org for details.

Act One Rocks the 80s with 'Wedding Singer'

2011-03-03T16:37:00.000-08:00

By Darcie Flansburg
Real Critics Editor/Publisher

With all of it's vocal training and acting conservatories, Temecula has quite the talent pool to choose from. And Act One Community Theatre offers an excellent venue for triple threat thespians to showcase their talents.

Act One's recent production of "The Wedding Singer" is another tribute to the company's quality theatre.

Not only did the company choose a fun, catchy, and clever show, Director Paul Kehler cast a vocally capable and emotionally adept ensemble.

Like the film version, the musical follows wedding singer Robbie Hart. A wannabe rock star, Hart lives in his grandmother's basement, and at the start of the show, he is left at the alter by his fiance Linda.
But Hart will find love again in the future Mrs. Julia Gulia.

Zack Wolfe brought his own comedic flare to the lead role of Robbie Hart. It is easy to try and plagiarize Adam Sandler in this role, but Wolfe made the character his own. His facial expressions and physicality are priceless.

My one wish for Wolfe is that someone had fixed his hair (somewhat) during intermission.

Erika Czach is reminiscent of a vocally capable, dancing Amy Poehler. Her part as Holly was spot on. Czach, like much of the cast, has the stuff of stardom. I hope she continues to use and explore her art on stage and beyond.

Rainie Lee Seibold was sweet and lovable as Robbie's love interest, Julia. Seibold played the naivety and innocence of Julia to a ti, and her ballads are just lovely.

Travis Lyon really owned the character of George. He is sassy and stylin'; sweet and agile. He only need smile at the audience to get an affectionate giggle in return.

Shea Sailors rocked her song, "A Note from Linda." Sailors gives the short, hilarious, song some excellent flare. Not a moment is wasted.

Her second song, however, involves a bit too much gyrating and empty space. This song seemed less choreographed and not as well thought out as "A Note from Linda."

I really wanted to love George C. Ortiz Jr.'s choreography, but I feel that the performance of it, most of the time, is too presentational. The 80s was about rawness on the dance floor. Look at "Dirty Dancing," "Flashdance," or "Fast Forward" to name a few films. Those dancers drenched the floor with sweat, and when they did a pirouette they did it with finesse, and with conviction.

I felt that Ortiz gave his performers some decent moves, but the performance of them feels very dance competition, instead of 80s night club. I would have loved to have seen some solos, or signature 80s moves during "Saturday Night in the City." Ortiz's choreography touched on some 80s themes, but didn't really embrace them.

Perhaps I am being too harsh, but based on the acting and singing ability of these performers I expected their dancing to be stronger, with more emotion and less pointed toes. They need to leave it all on the floor.

Despite these minor discrepancies, the production is pure entertainment. The characters are believable, the material is engaging, and the music is nostalgic and fun.

Another plus, if you sit in the center seats you will be served coffee, juice, and cake, as part of the opening wedding reception. It is a nice little addition to a great show.

Act One Community Theater, "The Wedding Singer," 26111 Ynez Road, Suite B-9, Temecula Ca, www.act1theaterarts.com, 951 296-0043, 8 p.m. Thursday-Saturday and 2 p.m. Sundays, Feb. 24 through March 6, General Admission is $15-$25

Show Us a Sign

2011-02-23T17:41:00.000-08:00

By Bob Roberts
For the Real Critics Blog

"No refunds. No exchanges. No exceptions." Thus reads a white paper sign scotch-taped above the Old Town Temecula Community Theatre box office. And again, taped on the counter below the hole in the box office window: "No refunds." Why such a tactless presentation of such an inconsiderate customer service policy? Well, having just sat through "The Miracle Worker," presented by Temecula Valley Players, I might have an idea.

Fresh off their ovation-worthy "13: The Musical," TVP debuts yet another cringe-worthy attempt at legitimate theater with William Gibson's play about Helen Keller, the blind-deaf American icon whose legacy has come to symbolize triumph against the most difficult of circumstances. Unfortunately, unlike Lapp, director Terry Miller Schmidt is unable to transcend the difficulties (of a mostly youth cast and a challenging script) to provide us with two hours' traffic worth the steep-for-community-theatre admission price.

Straight theatre is tough. No catchy tunes everyone knows, no elaborate dance routines, no flash, no twelve-piece band or bobbing conductor's baton - nothing between the audience and whatever heart-warming/rending truths the actors can relate. Those simple truths, which elevate the medium beyond the usual fluff - especially when depicting such a powerful true story - were glaringly absent from this production.

Schmidt, director of 120+ plays, let her cast drown. Hankered by inconsistent, cartoonish accents and complete ignorance for the purpose and subtleties of narrative, they flailed blank-eyed around the stage, listening only to their own voices rattling around in untrained ears; succeeding only in dragging the audience down with them into the depths of discomfort that only bad theatre can instill.

While we're on the subject of amateurism, let's talk a moment about stage design. I'm all for minimalism. No need to build an entire house. But how about some Plexiglas in the window frames? Wouldn't that look better? And about that small section of outer wall painted to look like siding, couldn't you have used that same bit of plywood to make actual siding? As for the water pump - which appeared to work, and looked great by the way - did you have to surround it with wood painted to look like rocks? Especially since the set is stationary, couldn't you have used actual rocks? You're professionals. Time to let go of the elementary-school-play design techniques.

I know I've probably hurt a lot of feelings, but since they've made quite clear that I'll never see my $28 again, I think I've paid for the right to express my concern as a customer. Were I able to get a refund, I probably wouldn't have felt the need to say anything.

Act One's '13' is Near Perfection

2010-12-16T16:55:00.000-08:00

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

2010-12-09T22:16:00.000-08:00

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

2010-12-04T14:24:00.000-08:00

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

2010-11-07T19:36:00.000-08:00

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

2010-10-20T18:13:00.000-07:00

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

2010-09-30T18:17:00.000-07:00

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

2010-08-26T17:42:00.000-07:00

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)

2010-08-23T21:32:00.000-07:00

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'

2010-07-31T17:41:00.000-07:00

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

2010-07-21T21:37:00.000-07:00

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

2010-07-15T20:28:00.000-07:00

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

2010-07-01T16:55:00.000-07:00

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

2010-06-22T01:36:00.000-07:00

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

2010-06-18T20:22:00.000-07:00

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

2010-06-07T21:22:00.000-07:00

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'

2010-06-06T19:27:00.000-07:00

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'

2010-05-28T15:46:00.000-07:00

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

2010-05-28T14:35:00.000-07:00

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.

'Nude' Exposes More Than a Lack of Objectivity

2010-05-22T16:32:00.000-07:00

By Darcie Flansburg
The Real Critics Editor/Publisher

Playwright Laura Shamas endeavored to answer some thought-provoking questions about artistic expression versus political correctness in her 1995 play "Portrait of a Nude."
The play traces issues of censorship, political correctness and aesthetics surrounding Francisco Goya's 1798 painting "Naked Maja." As Shamas put it, the play follows "the history of response to Francisco Goya's masterpiece 'Naked Maja' from the time of its inception in 1798 in Spain to the recent sexual harassment case surrounding it in 1991 at an American university."
All of the events in the play are based on real events, which leads Shamas to ask "is our response to art really based on the work itself, or on the 'politically correct' values of our times?"
Shamas believes our response to art is subjective, which is why the "Naked Maja" caused such tension between artistic expression and social propriety, as one critic put it.
Riverside Community Player's production of "Portrait of a Nude" presented Shamas' vision with great ardor. Director Kathryn L. Gage cast a strong group of actors that were able to portray everything from Goya to Princess Diana to schoolboys and clerks, all using a variety of accents to accomplish their many roles.
Mel Chadwick played Goya, the writer Zola, a museum guard and Dean of a university. Chadwick is a regular at the Redlands Footlighters theatre and is best known for his comedic ability on stage, but in "Portrait" Chadwick showed a comedic lightheartedness as Goya, a political passion as Zola and then transpired into a genuine realness in his other roles.
Phillip Gabriel is a master of accents and comedic timing. His portrayal of the Spanish inquisitor was harsh and demeaning while his portrayal of the painter Manet was capricious and yet full of conviction. Gabriel showed his campy side as the schoolboy and brought out his inner frat boy as one of the university students.
Kevin Bray was equally harsh and demeaning as the other Spanish inquisitor, but he was able to show his passionate side as poet Baudelaire and as the Spanish Official. Sue Bray was perfectly seductive as Maria, the subject of Goya's painting, and also showed an earnestness as Princess Diana and a vehement passion as the university campus Affirmative Action representative. And Rory Dyer rounded out the cast as the good intentioned university professor as well as the salacious Victorine, the subject of Manet's painting, influenced by Goya.
Though some of the accents could have been stronger, the ensemble presented a range of talent in a variety of roles that really showed all of their stage ability.
The show included projections of the paintings and pictures of the places being referenced in the play, during the minimal set changes. And Technical Director Tom Hurst and Costume Coordinators Rory and Ted Dyer provided a smooth and aesthetic presentation of the many settings.
The production exhibited pure professionalism; from the acting to the direction to the tech, the show was captivating and well executed. I was engaged, entertained and enlightened by this production; a truly magnificent work of art.

"Portrait of a Nude," runs through May 30. Visit www.riversidecommunityplayers.com for details.

'Shining in the Shadow of Hype'

2010-05-19T13:01:00.000-07:00

By Gabriel Morales
For the Real Critic’s Blog

In a bold move of choosing a beloved, hyper-celebrated show that starkly contrasts their usual conservative, family-friendly fare, Temecula Valley Players presents what is easily their best-sung, most well-produced show in recent memory, Jonathan Larson’s “RENT.”
With great success, TVP mainstay J. Scott Lapp (Director), original touring creative team member Evan D’Angeles (Associate Director/Choreographer) and Brian Hammond (Musical Director) molded a wonderfully-casted ensemble of beautiful voices into a chorus that would make any uber-fan proud. According to a TVP insider, great care was taken to replicate every aspect of the original, legendary production. From the look/type of each character and the gorgeous set, down to the dynamic lighting design and each costume piece -- this local show is a bright reflection of its Broadway namesake. Granted, but imperfect nonetheless.
With this, as most great artworks, one must look beyond its overall beauty to find the flaws, should one feel so inclined -- and this being a musical, with the actors having to live up to the triple-threat expectation, there are several ways one can nitpick. The spectacle of a large cast and great choreography, which this show has in abundance, can be overwhelming; thus, when an actor’s alone, the missteps are harder to hide. If strutting around in eight-inch stripper heels is a battle, dancing and jumping on and off tables is a war. Who couldn’t forgive a bit of wobbling? Holding a note, even many notes, while gyrating and twisting around poles is difficult; doing that fifteen feet in the air above a metal staircase, more so. Who wouldn’t show a bit of trepidation?
Height and lucite considered, even complex melodies notwithstanding, truthful acting is always the hardest of the triune threat to accomplish. Apropos, a noticeable shortcoming shared by most of the ensemble was what to do with their hands. The default response to this confusion, it seemed, was overuse. Anchored to haphazardly flailing arms, claw-shaped digits jerked and grasped ad naseum for invisible objects: perhaps gravitas, the truth of the moment, or the pathos absent in their characterizations.
At times, the story’s seriousness may have called for silent, soulful brooding; but as it is with the majority of young Hollywood stars, that objective is missed, clinched jaws and blank stares given in its stead. The few spoken lines, especially at the show’s emotional climax -- where a good ear and pipes, the original star’s recordings, nor vocal coach could render aid -- those moments, proved themselves the pierced heels of an otherwise impressive body of demigods.
But again, that’s just nitpicking what is without question an superbly crafted, enormously entertaining show. A work of art. An Inland vase as it were, unfortunately chipped by hapless movements and lack of focus.

'Rent' continues through May 23 at the Old Town Temecula Community Theatre. Visit www.temeculavalleyplayers.com for details.

'Wedding Singer' is Witty 80s Fun

2010-04-25T19:36:00.000-07:00

By Darcie Flansburg
Real Critics Editor/Publisher

It isn't easy to reproduce a smash hit movie for the stage. There's no CG or snappy set changes on the stage. But the stage provides a realness that no movie can.
"The Wedding Singer; The Musical Comedy" is a fun musical that is still recognizable for movie fans, but also presents something a little different. The script sticks pretty close to the movie plot, but has additional songs that bring you deeper into the world of Robbie Hart and Julia Sullivan.
For those of you who have not seen the movie (which you really should), Robbie is in a successful wedding band. When he is left at the alter by his fiance and then falls for Julia, who is engaged, he starts questioning his life.
Set in the 80s the musical doesn't present any classic 80s songs, but original music with 80s flare.
Yucaipa Little Theatre's production of "The Wedding Singer" was very charming and well received by the audience at the April 18 show. The production represented every aspect of that crazy decade and had a solid ensemble of great singers with some great comedic timing.
Garrett Peters channeled his inner Adam Sandler for the part of Robbie Hart, but also gave the character his own style with a lot of heart. Peters also had great chemistry with his bandmates and with his leading lady.
Krystin Rauma was a sweet and soulful Julia Sulivan. Rauma has a fabulous voice and really played up her character's comedic moments. One of my favorite scenes was when Julia and her potential fiance Glen Guglia were at dinner surrounded by men who are loudly popping the question to their significant others left and right. Rauma and Pete Bennett, who played Glen, played off each other well, and the ensemble helped keep the pace up to provide for some really hilarious moments.
Bennett was the perfect Corporate scumball who was "all about the green" and nothing more, as the unloveable Glen Guglia. Bennett was consistently dry with his humor and quite arrogant, the perfect bad guy mixture.
Katherine Harris got a chance to show off her fabulous vocal ability as Julia's friend Holly. Harris was quirky and sassy, but could have been a bit more flirty. But I do love that in this version Holly finally sees the guy that is right in front of her and gives in to his silly charm.
Brad Allen as George and Matthew Bell as Sammy rounded out the awesome wedding band, having many comedic moments of their own. George's wigs and Sammy's hair were enough to have the audience rolling, but the two also proved to be true friends to the distraught Robbie.
And Director Courtney Fox Taylor stepped in as Rosie after Harriet Briant had to sit a few performances out due to some surgery. But Taylor brought all the necessary spunk to the part of Robbie's grandmother, nailing the rap along with Allen.
It is always amazing to see how Yucaipa Little Theatre is able to pull off the large casts and multiple set changes with such a small space. But they always manage to make it work and do so with quite a bit of style.
The set changes for this show were constant (much like a movie would be) and sometimes they were a bit clunky and took a bit too long. But with what the company is able to accomplish on that small stage, it is often worth the wait to see what will be up next.
I am glad to see that Yucaipa Little Theatre is not only trying new productions along with their bill of classics, but also that they are really able to pull these productions off and put on a great show.
"The Wedding Singer" is one of those feel good movies and this production hit home.

Yucaipa Little Theatre presents 'Aladdin' June 24 through July 11. Visit www.yucaipalittletheatre.com for details.

All Eyes on RCC's 'Equus'

2010-04-18T22:34:00.000-07:00

By Yvonne Flack
Real Critics Blog Editor

When Peter Shaffer’s Equus first debuted at the Plymouth Theatre in 1974, the production received a standing ovation. The New York Times reviewer, Clive Barnes, hailed the production and the play as adding “immeasurably to the fresh hopes we have for Broadway's future.” As a result, Shaffer garnered a Tony for Best Play in 1975.

More recently, however, discussion of Shaffer’s masterpiece has focused on the controversy surrounding Harry Potter film star Daniel Radcliffe’s appearance in the lead role of the troubled stableboy, Alan Strang. Parents of Harry Potter fans were outraged that the child star would be appearing on stage in a role which required nudity, ignoring the profundity of Radcliffe’s move into live theatre and, specifically into a role requiring such emotional depth and intensity.

When first written, the play was intended for popular consumption on Broadway, but it sank into psychological depths that Broadway seldom saw. It was riveting, harrowing, and, for some audience members, too close for comfort, as a portion of the audience was seated on stage within feet of the action.

This intimate staging was reflected in Riverside City College’s laudable recent production of Shaffer’s masterpiece, astutely directed by Gary Krinke. The entire audience was seated on the stage and the production was performed in the round (or in this case, in the square). The main set, designed by Jerry Longman, was comprised of a central square resembling a horse’s box stall with rails on each side and two mobile benches. Two platforms, where the actors not involved in the immediate action sat throughout the show, flanked the stall on opposing sides. The five actors who played the horses, Cy Abad, Jordan Maxwell, Matt Baxter, Tyler Maxwell and Jimmy Mobin who played Nugget and the horseman, also remained onstage for the majority of the show. Downstage was a box used to simulate Alan’s bed. Nugget’s stool rested upstage center, directly below the looming metal horse head that dominated the set and the tormented psyche of Alan Strang, passionately played by Zachary Hallet.

The closed in set mimics and reinforces the girdled mind of Alan Strang, his reluctance to open up to the child psychologist Martin Dysart, convincingly portrayed by Tom Patrick. And the uncomfortable proximity of the audience reinforces Alan’s fear of being watched. At any moment, the actors onstage could look out and see dozens of eyes staring back at them. Eyes play a prominent role in this play and are a necessary component to any theatrical act. Theatre, to be theatre, needs witnesses. Actors, like the ritualistic religious zealot Alan Strang, simultaneously fear and need to be watched. Alan was simultaneously comforted and tormented by the idea that his horse-god, Equus, was watching him.

Alan’s eyes also torment his doctor, giving him a recurring nightmare in which he sacrifices children in a ritualistic way, and as he slides his knife into their chests in a surgical way that even his dream-self shudders at, it is Alan Strang’s eyes that stare back up at him. But it is those same passionate and intense eyes that first gain the attractions of the beautiful and sexualized stablehand, Jill Mason, delicately played by Laura Delhauer.

Delhauer appeared in a bright pink, by far the brightest color in the play, off-the-shoulder sweater, and tight jeans that showed off every curve of her body. The sweater was highly unbelievable as the outfit of a stablehand, but its bright and feminine color served its purpose to portray her as a character more alive than the others, and the little exposure of skin across her shoulders painted her as more sexually liberated than the awkward, shy and repressed Alan.

Delhauer’s light and flirtatious attitude and provocative clothing introduced Alan to a woman who starkly contrasted his repressed and closed off mother, to the reality and possibility of a relationship with a woman who was nothing like the religiously repressed and oppressive Dora Strang, movingly played by Jennifer Lawson.

Lawson’s performance was a highlight in this production. She was simultaneously repressed by her husband, Frank, played by Scotty Farris, and her intense Christian beliefs, but modern enough to feel that Frank’s banning of television in the Strang house was extreme.

Patriarchy ruled over Dora’s life. Dora’s fear, anxiety and pain, as portrayed by Lawson, were heart-wrenchingly convincing. Her fear of Frank, her obvious rejection of sexuality--right down to the tall socks she wore under her shin length skirt, obscuring any glimpse of flesh--the oppressive patriarchy of the Strang house, and her mounting guilt (as she comes to question whether or not the religious zeal she pressed upon the young Alan truly could have contributed to his mental collapse) exploded in Act II when she gets in a fight with Alan at the psychiatric hospital. Dora was clearly tormented by guilt in this scene but flat out rejected any responsibility in Alan’s actions as she coldly and defensively tells Dysart, “Whatever’s happened has happened because of Alan....If you added up everything we ever did to him, from his first day on earth to this, you wouldn’t find why he did this terrible thing--because that’s him; not just all of our things added up.” Dora goes on to blame the Devil, who she claims is unquestionably real and present.

Dora’s religious zeal allows her to repudiate any guilt in how her son has turned out. Her religion is violent and may have contributed to her son’s violent reaction to the fear of his god Equus witnessing his sex act with Jill, but it is an allowed zeal. Until it turns directly violent or detrimental, almost all levels of religious ardor are endured. This is why Dora let the young and impressionable Alan put an extremely violent depiction of Jesus at the foot of his bed. When Frank takes exception to the violence of the image, he replaces it with a striking photo of a white horse which soon takes the place of Jesus in Alan’s religious framework. Thus begins Alan’s worship of the god he found in horses, the god whose name only he knew, Equus.

Alan’s worship of the horse-god Equus is frought with sexual tension. He describes the white cream which drips from the mouths of bridled horses, he speaks of them with enthusiasm as “naked,” and spends hours embracing them in the dark “like a necking couple.” The production emphasized this as the actors playing the horses appeared shirtless. Every imperfection, tattoo, hair and bead of sweat glistening on the bare backs and chests of the horses underlined the eroticism of Equus. The production was raw and almost uncomfortable as it aligned human sexuality equally with gods and beasts. The few times that Alan mounts and rides the horse-men in this production further stresses the eroticism. Alan’s descriptions of the binding of Equus with a metal bit borders on sadism while it is simultaneously linked to Jesus’s pain and humiliation at the hands of the Romans in the process of his crucifixion. Alan’s worship is pure ecstasy, and Shaffer’s play under Krinke’s direction, blurs the line between sexual and religious rapture.

It is being witness to the passion of Alan’s worship that brings Dysart into his ultimate conflict: Is it right to take away someone’s worship? When Dysart is done with Alan, and only a shell of a human remains, has he really done the boy a service? It is in his moments of crisis that Tom Patrick, as Dysart, directly addresses the audience. He worries and frets over his own safe and meticulously planned out life, void of adventure and void of any type of passion that even approximates Alan’s impassioned worship of Equus. As a passionless doctor, Patrick was a perfect casting choice. His appearance was geeky and reserved, his voice never raised in anger except once when Alan’s taunting hit too close to home, and his monologues had the reason of the educated elite behind them. In the end, when the final breakthrough in Alan’s case is made, it is sheer anxiety and anguish that dominate Dysart’s character, rather than relief at being able to cure yet another troubled child.

The breakthrough in Alan’s case happens when we finally see the moment of his crime reenacted. The reenactment, like Alan’s other therapy sessions, blends seamlessly with the current action in Dysart’s hospital, as lines within the flashback and the therapy session clamor one on top of the other. We watch breathlessly as Alan mercilessly blinds his god with a hoof pick; the torment of god’s ever watchful eyes too much to bear. The tension in this scene, like so many others in this production is built to an uncomfortable breaking point through sound, movement and lighting. Through constant movement, dim but focused lighting, ambient chanting and effective use of the ensemble, the tension escalates as Alan blinds the five horses in the stable, repeatedly shouting “Nothing!...Find me!...Kill me!”

Zachary Hallet’s commitment to his character and the agony of this scene was inspiring. Not only does the actor playing Alan have to portray the true fear, distress and rage of his character at this point in the play, but he has to do it completely naked--a challenge for an actor of any caliber. As Alan’s tormented soul is bared for the whole audience, his vulnerability and exposure is complete in every sense of the word. And the proximity of audience to actor only makes this exposure more brutal.

But Alan is not the only character in crisis in this play. Dysart’s outlook on the world and his role in it has become suddenly very clear as he holds the crumpled and defeated Alan in his arms. Dysart has become Equus, with the chain in his mouth, commanded by society to be the ultimate judge of the youth who come through his hospital, the ultimate judge of who gets saved, questioning if the price of salvation, the price of Normal, of a world without pain, is too high. He stands in the dark with a pick in his hands, striking at heads.

Footlighters Cast Shows Off Comedic Stylings in 'Dearly Beloved'

2010-04-04T19:12:00.000-07:00

By Darcie Flansburg
Real Critics Editor/Publisher

What do you do when the bride and groom don't show up for the wedding? Well, in Jones, Hope and Wooten's "Dearly Beloved" the family puts on one heck of a show, on and off stage.
As the guests arrive the Futrelle-Dubberly family is catching up in the dining hall. When the family realizes the bride and groom are nowhere to be found, the wedding planner quickly puts on a show of all the local talent that is present at the wedding in hopes that the bride and groom will soon show up.
Redlands Footlighters' production of "Dearly Beloved" was jam packed with seasoned actors that made the most of the comedic small town characters.
Mary Carruthers had impeccable timing as Miss Geneva Musgrave. The florist and wedding planner had her hands in more than just the flower arrangements, and every time she bustled on stage in her tennis shoes and shouted "okay people, listen up," the audience knew something hilarious was about to happen.
Janet McCellan made another priceless appearance on the Footlighters stage as the hot and hot-flashing Honey Rae Futrelle. Honey Rae is the estranged family member whose appearance causes drama, and McCellan delivered Honey Rae's quippy one-liners flawlessly. From her continual hot flashes to stories of her 5 ex-husbands, McCellan had the audience guffawing every time she opened her mouth.
And Lauren Deards was adorable as twins Tina Jo and Gina Jo Dubberly. Deards' innocent portrayal of the bride's sister Gina Jo made cow insemination seem almost charming.
But every character had their moments. Sue Bray had everyone laughing as she tried to make the wedding work while her boyfriend Wiley Hicks (Kadn Fox) hallucinated on too much cold medication. Mia Mercado was a very sultry yet vicious mother of the groom Patsy Price. And Catherine Soto was a strong mother of the bride as the ever questioning Frankie Futrelle.
The strength of the ensemble was further exemplified by the return of the Sermonettes. The performance by the trio gave Bray, McCellen and Soto a chance to show off their singing chops. It was a lovely and harmonious way to round out the show and resolve the conflict between the sisters.
Tom Hurst also designed an amazing and multi-purposed set for the show. The set had to act as a bathroom, the outside of the building, the dining hall, the florist shop, Frankie's boudoir, a car and more. Credit should also go to the stage crew who moved each set seamlessly.
Director Jeff Richards produced yet another hilarious show. The Jeff Foxworthy redneck track was a nice touch as well.

Redlands Footlighters features "The Unexpected Guest" May 13 through 30. Visit www.redlandsfootlighters.org for details.

'Love List' is Modern Romance at Its Best

2010-04-02T19:48:00.000-07:00

By Darcie Flansburg
Real Critics Editor/Publisher

"The Love List" proves, once again, that no one is perfect. No matter how many qualities a person may have, it's all about chemistry.
Play With Your Food's production of the show was right on point.
Director Michael Eastman described "The Love List" best as "'The Odd Couple' meets 'Weird Science.'" The play portrays two oddball friends, Bill (Jared Moore) the statistician (need I say more?) and Leon (Peter Reilly) the adulterous novelist who "wallows in shallow."
The play begins on Bill's 45th birthday. Leon gives Bill a Love List to fill out and return to a gypsy who will match him up with his perfect woman. The two then compile the top 10 qualities that Bill desires in a date. The list includes sense of humor, ambition, speaks her mind, enjoys kissing Bill and oral sex without having to ask for it.
What the two friends don't realize is that the list is powerful. Two hours after Leon leaves with the finished list, Justine (Jeannette A. Gardea) arrives as if she had been in Bill's life all along. And she has all of the qualities that Bill desires.
But, as I was saying, no one is perfect.
Eventually Leon and Reilly realize that they have created Justine with the list and the two continue to change the items to make her perfect.
But what "The Love List" brings to light is the need for both the good and the bad in a companion.
"There's good and bad in everyone. That's what makes us human," Leon says, as Bill desperately tries to fix Justine's problems.
Unlike "Weird Science," Bill and Leon do not gain any self respect from their experience, but they do learn a lesson about love and what it means to have that perfect someone.
Moore and Reilly were the perfect foils for one another. Reilly was realistic and crass while Moore was uptight and slightly awkward. And what made the presentation that much more impressive was that Moore and Reilly were originally cast in opposite roles and only switched roles at the end of the rehearsal process. Gardea played an easily moldable woman. Her movements from one quality to the next were classic and really well timed. She played each "item" extremely well, making the character easily relatable.
It's too bad the show isn't still playing. I know several people that would have benefited from seeing such a topical and comedic play. Well done!

Visit www.playwithyourfoodproductions.com for details on the next show - "The Clean House," June 11-13.

There's Life in "Mockingbird"

2010-04-02T18:20:00.000-07:00

By Gabriel Morales

For the Real Critics Blog

Temecula Valley Players do justice to the stage adaptation of Harper Lee's classic novel "To Kill a Mockingbird" in the best straight play of their '09-10 season.

Lodi Zubko brings stoic power to Atticus, lending believability to the sage-laic dynamic between Finch, the esteemed town lawyer, and the simple townsfolk. Zubko's quiet charm and soothing timbre are especially evident during the vitriolic and often raucous courtroom scenes of Act II.

Chloe Horner is the other shining element of this production. A well-trained 14 year old arts student from Orange County, Horner's confident presence and fluid expression readily outmatch that of castmates several times her age.

Hanna Jost rounds out the earnest neophyte cast with an effortful turn as Mayelle Ewell, the murderous liar fearful of societal backlash and the left cross of her abusive father, played with erratic vociferousness by Joe Matic.

"To Kill A Mockingbird" runs through April 3. Visit www.temeculavalleyplayers.com for more details.

All Hail the 'Queen'

2010-02-23T21:39:00.000-08:00

By Gabriel Morales
For the Real Critics Blog

Special thanks to director Mel Chadwick and the cast of Riverside Community Players' "Queen Milli of Galt" for giving me some of the best theatre I have seen in... a while. And I see a lot.

Reader's theatre is a strange thing. With its dim lighting, minimal staging, and black-clad, script-schlepping actors, reader's theatre has a more voyeuristic quality than traditional productions. Rather than (hopefully) feeling as if you're watching people's lives pass before you, it's almost as if one has stolen into a private rehearsal where the company is testing out a new script before deciding whether to fully produce it. Such a setting makes the playwright and his words the focal point, since there isn't much else to grasp one's attention.

Not so with "Milli." The cast's subtle, realistic portrayals were a joy to watch. Exchanges between Alexis Rafter (Milli of Galt) and Adam Demerath (Edward) were especially poignant and enthralling, crackling with well-timed wit and believable desire.

In viewing this modest production, with its two-day run and $20 budget, a simple truth was illuminated: theatre is enjoyable -- indeed valuable -- when it reveals the truth of the human spirit and condition through genuinely talented actors. All else is garnish.

Next at Riverside Community Players is "The Mousetrap," opening March 19. Visit www.riversidecommunityplayers.com for details.

RCP's "The Price" Offers Honest Intimacy

2010-02-09T23:47:00.000-08:00

By Darcie Flansburg
Real Critics Editor/Publisher

Arthur Miller's "The Price" takes a very intimate look at the Franz family as they seek to sell family furniture before the building, that the family grew up in, is taken down. Though the play is not very action packed, the depth of emotion fills the small cluttered room on stage with heavy, life-changing doubt, guilt, regret and love.
To pull off such a show you need a small, but mighty, cast and the Riverside Community Players production fit the bill.
Now, I don't mean to compare, but when you've seen a show multiple times, or even once before, it is difficult not to. We also have our favorites. We prefer the original to the sequel, or feel that the first Broadway cast did it best. But when a critic can look at one show and say that they not only did it justice, but also rivaled their all-time favorite, that's a good sign.
When I saw "The Price" at A Noise Within in Glendale in 2007 I felt like I was a fly on the wall of the room that the Franz family argued and discussed in throughout the play. I did not feel like the cast was acting, but rather trying to work things out honestly and fairly. I had a similar feeling watching the RCP production. It didn't feel staged or set up; it felt natural.
The heart of the play is Victor Franz, played by Chris Marler, who, in revisiting his old house, learns that his life could have been different, but he's not sure that it would have been for the better. Marler is fantastic in this role. Though he is slightly younger than Victor, Marler presented the life and heart of the character with wonderful naturalness and honesty. Marler showed Victor's thoughtful nature in his small mannerisms, these slightly anxious, restless movements that portrayed his vulnerability to his wife, his brother and even the furniture appraiser.
Alisa Ann Lovas was charming and controlling as the lovely Esther Franz. Her presence always seemed to make Victor stand up taller, and she spoke plainly to the appraiser, unwilling to be ripped off. Lovas could have used Esther's love of alcohol a bit more, but her sympathy for her husband toward the end of the play was touching.
Tom Shelton played the well-to-do Walter Franz, Victor's older brother. Shelton was an excellent foil to Marler's character. The two could almost see eye-to-eye, but not quite. That tension made the room feel smaller and yet the brothers were still so far apart.
But the heavy mood was often broken by furniture appraiser Gregory Solomon, played by Don Hudson. Hudson brought wisdom and humor to the cramped family gathering. The audience need only see Hudson appear and they knew there would be some funny trouble brewing.
In her Director's note Pat McQuillan asks "How does one determine what it costs to give up that which was most important to take on a task that he never expected? And what does it cost to abandon your family at a time of crisis to continue in your quest for your future? Who benefits? Which one is successful? How do we measure success, happiness, and peace of mind? Does success change who we are? Does acceptance of less change what we are?" I think, based on the convincing performance of the RCP ensemble, these questions could be answered in many ways. But that's life, right? Everyone has a different answer, everyone chooses a different path. No one's path is smooth; everyone has to make choices and whether those choices are good or bad, well, that answer lies in the eyes of the beholder.

Riverside Community Players presents "The Mousetrap" March 19 through April 4. Visit www.riversidecommunityplayers.com.

The Grove Presents "Rent" As We Know and Love It

2010-01-30T01:50:00.000-08:00

By Darcie Flansburg
The Real Critics Editor/Publisher

It's Friday and I'm still singing songs from "Rent." I saw the show last Friday night at The Grove in Upland and moments of this production brought me, happily, back to Broadway.
Long before the film version came out I saw "Rent" in New York, front row. I was completely enmeshed in the La Bohem contemporization, and enamored with the characters whose choral message was to live every moment as if it were your last, wishing only to " celebrate, remember the year in the life of friends."
Director Richard Hochberg (and Scenic Designer Frank Dickson) obviously wanted to do the show that patrons expected; the set design and blocking were strongly influenced by the Broadway production. When a director tries to emulate a well known show they must either do the show that everyone knows (to a tee) or they must make it their own. Hochberg, Dickson (and Costume Designer Jeannete Capuano) did an excellent job of recreating the show that the audience knows, and wanted to see.
Hochberg also did the piece justice simply by casting very talented vocalists. Though some actors may have lacked character, they made the show worth it with their voices.
Brandon Alpert (Mark Cohen) not only brought life and love to his character, but also has a truly beautiful voice. He and Josh Switzer (Roger Davis) had some amazing moments together -- "Tune Up" and "What You Own."
Mandy Tucci (Mimi) played up the sex kitten (though not nearly as much as she could have) and had a fabulous voice for all of her amazing songs -- "Out Tonight," "Another Day," and "Without You." But Tucci lacked something in her character that allowed the audience to feel any compassion for her. Getting the audience to feel for someone that is a stripper, and a junkie, is no easy task, but it is possible to bring empathy to the character.
Christen Dugger (Maureen) really struck home. "Over the Moon" is not the most engaging or melodic song of the show, but Dugger elicited laughter and love from the crowd. At Friday night's show everyone "Moo"-ed, on cue.
Adair Gilliam (Joanne) also had tremendous character, but her beautiful voice was often lost and her funny words could rarely be heard because of bad mics. This was a problem for a few actors in the show.
Miguel Cardenas (Tom Collins) showed great emotion, emotion that made the audience reel with him. The loss of his love was utterly felt by the audience and lovingly echoed by the ensemble.
Joseph Andreas (Angel Dumott Schnard) had an amazing voice (and some killer legs) for the ever popular numbers "Today For You," "La Vie Boheme," and "I'll Cover You." Though Andreas, as the sick and dying Angel, brought tears to the audiences' eyes, the spunky, lively Angel was rather lackluster. Yes, he was there for all the right moves, the right words and the right cues, but Andreas lacked that verve, that charisma, that the character really needs.
But the small pitfalls of these few actors did not really effect the overall quality of the show. I started this review saying that this show brought me back to Broadway, and with all of the above thoughts in mind, I could still feel the life of Braodway in these actors, in their voices and in the spectacle of the production. Well done.

"Rent" performs through Feb. 7 at The Grove in Upland. Visit www.grovetheatre.com for details.

'School House Rock' Didn't Rock, But It Was Fun

2009-12-20T18:44:00.000-08:00

By Darcie Flansburg
The Real Critics Editor/Publisher

Tom is about to teach his first day of school, but he’s worried that he won’t be interesting to his students or that he may forget the material. Thankfully the School House Rock bunch appear, claiming to be different parts of Tom, and remind him of all the classic hits that he grew up with.
“School House Rock, Live” is basically a review of the cartoon songs that were once wedged between Saturday morning cartoons, with no real through line other than academic subject matter. The plot of the show is really more of a shell, with very little dialogue mingled amongst School House Rock songs.
Yucaipa Little Theatre’s production of “School House Rock, Live” was respectable. The cast appeared to have a lot of fun at the Sunday, Dec. 13, closing performance. But perhaps they were tired from the run of the show because there was a lack of energy.
But singers Brad Allen, Hannah Lake, Jessica Bridgeman, Rosslynn Medina, and Tianna Prescott carried the show with their strong vocals. Some of my favorite routines included “Sufferin’ ‘Til Suffrage,” “Conjunction Junction,” “Interjections” and “Interplanet Janet,” in which the cast kicked out Pluto because he is no longer a planet. And I liked Kimberly Stewart-Robel’s direction of “The Great American Melting Pot.” Stewart-Robel used the ensemble to represent all of the cultures that have come and made homes in America. Destiny Ayala, Rylie Prescott, Corey Moore, Lauren Heitmann, Tim Wilson, Daisy Dabois, Nicholas Kelly, Savannah Chester, Nicolette Wilson, and Calin Prescott were costumed multiple times and then ran onto stage and disappeared behind the counter where the singers were cooking in the Great American Melting Pot.
Though the show could have used some more energy at times, it was still a lot of fun to watch. Nothing too deep, in terms of plot, but everyone enjoys the show for the music anyway.
It was a good show for Yucaipa Little Theatre to put on and it was refreshing to see a non-Christmas show around this time of year.

Yucaipa Little Theatre presents “Suessical the Musical” in February. Visit www.yucaipalittletheatre.com or call (909) 790-1884 for details.

‘Macbeth’ Was Stunning, But Immature

2009-11-29T00:43:00.000-08:00

By Darcie Flansburg
The Real Critics Editor/Publisher

Steve Shade’s vision in his production of “Macbeth,” at the University of Redlands, was spectacular. But almost too much for the cast to handle.
The opening of the production presented a ritual for Macbeth. For war? No. For the play. The entire ensemble met in a circle of candles, blessed and ready. The ensemble spoke words that Macbeth (Nicholas Zaharopoulos) echoed, but not words just for battle, but words that concerned his future, his kingdom, his ambition. This was an interesting way to start the play because it was almost as if Macbeth beckoned the witches to him, but it also shows that Macbeth had ambition for a kingdom long before the witches spoke to him of his future.
The ritual makes the witches, and their rituals, more acceptable in this world, which allowed Shade to weave the weird sisters, and their heavy burden, into more of the play.
The ritual element at the start of the show also lessoned Lady Macbeth’s (Robyn O’Dell) persuasiveness as a character. It was no longer about her manipulation of the situation, but about her pushing Macbeth toward what he already knew to do. But when Macbeth comes back from battle he does not seem to be as ambitious as the pre-war ritual portrayed, so this link was also lost.
The starting ritual created a lack of continuity; Macbeth, in particular lost his real through line as a character. He went from ambitious to modest, to ambitious, to (supposedly) manipulated, to crazy. Macbeth needs to go from an honest, hardworking soldier to a surprised and grateful Thane of Cawdor, before he meets the witches, before he becomes power hungry and ambitious.
But Shade’s Grotowski vision was truly stunning. The live African drummers, collective vocal stylings, the rake, the wall of doors and the lighting were enough to create the intensity required for Shade’s phantasm. And it was this intensity that asked a lot of the young cast; almost too much. And that’s what they are - young. It was difficult to look at some of these young men as warriors and heroes. But it is not really an issue of age, but maturity. The ensemble did not have the maturity and depth that was required of them; not only for Shakespeare’s “Macbeth,” but for Shade’s magnanimous vision. The efforts put forth by the college cast were respectable, but just not convincing.
For example, Macbeth and Lady Macbeth’s relationship felt juvenile and disconnected. When Dame Judy Dench convinced Sir Ian Mckellan, in the same roles, to kill King Duncan, she seduced him into it and the chemistry was instantly felt between them. O’Dell in this same scene slapped Macbeth and through a tantrum like a child. So when Zaharopoulos agreed to the plan of assassination it seemed to come out of nowhere. Lady Macbeth said “do it” and Macbeth said “okay.” That was how the scene played out. There was no real struggle, no real sexuality, no real passion for each other or their collective future.

But Shade also placed the characters in some magnificent images and it was in these breathtaking moments that the acting flaws could be overlooked. The play moved smoothly with the use of tableau’s and brief movement pieces that showed the scenes that are only talked about in the play, but not shown. These pieces created a cohesiveness to the play unlike any I have ever seen in a Shakespeare production. A particularly beautiful moment was when Macbeth was having trouble sleeping, after killing the king, and in a movement piece between Lady Macbeth and Macbeth the couple showed the struggle Macbeth was having with his wife. It was a perfect picture of his internal conflict and really well executed.
Another element that really shaped these moments was the ensemble vocals and music. The ensemble hovered on the wings throughout the duration of the play providing music; using their vocals, in various ways, and instruments, of all kinds. And the African drummers really made the battle scenes, fight scenes and transitionary moments extremely, and aptly, intense.

Though lacking maturity at times, the cast presented some very noteworthy performances. Music major Nathan Riley stole the show with his regal presence as King Duncan, physical comedy as the Porter and with his beautiful vocals as part of the musical ensemble. Jillian Ferry also presented the most chilling Lady Macduff scene I have ever witnessed. Her screams made everyone in the audience, appropriately, cringe and shudder. And Dan Stong (Banquo), Jeff Groff (Macduff), Brett Serrell (Malcom), Zaharapoulou, and O’Dell all exemplified a strong understanding of their characters, though the through line may not always have been clear.
The University of Redlands’ production of “Macbeth” was respectable. I expect a lot from Steve Shade productions, and I expected just a little bit more from this one. A little more maturity, a little more growth. But overall a job well done. One of the best productions of “Macbeth” in this region in the past few years.

An Evening of Legend

2009-11-03T16:15:00.000-08:00

By Gabriel Morales
For the Real Critics Blog

In a macabrely exquisite tour-de-force, Travis Rhett Wilson mystifies in "Lord, Save My Poor Soul: An Evening with Edgar Allan Poe," a splendid one-man production starring the deceased literary hero.

Skillfully written/arranged and directed by John Lynd, "Evening" is a moving, visceral journey through the times and trials of the legendary poet, exploring every facet from childhood memories, to dysfunctional relationships -- with family, women, society and the bottle -- with each of the play's two acts culminating in stunning reenactments of Poe's most famous works, "The Tell-Tale Heart" and "The Raven," respectively. The production is minimal: just Poe, his writing desk, a spirit-filled decanter and Virginia Poe's empty wedding dress -- the combination of which is maximal in its aesthetic power. Especially the latter -- O, that dress -- with its lifeless sleeves swaying as it's cradled about in a somber recreation of Mrs. Poe's final, tuberculosis-ridden days... quite a disturbing, profound effect.

In a role he was seemingly born to embody -- his awe-inspiring, award-winning turns as Renfield (RCP's 2007 "Dracula") and Macbeth (IESF's 2008 "Macbeth") notwithstanding -- Wilson readily exceeds this reviewer's expectations of his artistic capabilities, once again proving himself one of the Inland Empire's greatest acting talents. He humanizes Poe, a man whose enduring worldwide fame paints him even more morbid than his writings; yet, as Wilson aptly portrays, Poe was a man of deep love, passionate for his art and beloved Virginia; a man whose heart-wrenching losses and subsequent fears tortured him to alcoholism and eventual madness: a harrowing roller-coaster through which Wilson vises the audience's attention from lights up to the final "nevermore."

Lynd has struck gold with his "Acting Out Series." Fascinating and informative, entertaining and educational, one is sure to leave with a greater understanding of and appreciation for the statesmen, pioneers and artists that shaped Western culture. Coming soon: the respective lives of Benjamin Franklin and Vincent Van Gogh.

For performance or booking information visit http://www.jtlproductions.net.

YTL’s ‘Sweeney Todd’ is Well Sung Good Fun

2009-10-21T00:28:00.000-07:00

By Darcie Flansburg
The Real Critics Editor/Publisher

Creating gory special effects on stage is no easy task. The effects can easily look fake and costumes have to be worn again the following night, so blood stains are not favorable.
Yucaipa Little Theatre’s production of “Sweeney Todd” not only did an excellent job of keeping the audience on edge, using authentic effects, but also kept their costumes fairly clean. One bloody instance was so well executed that it literally caused an audience member to groan with discomfort and say, out loud, “oh my, it’s real!” The same man later said “what a great show for October,” obviously pleased with his experience.
The horrific production was not only a good choice for October, but also for Yucaipa Little Theatre. From the very opening of the show with “The Ballad of Sweeney Todd,” YTL’s production had great intensity, vocal talent and some really fabulous costumes.
The theatrical space was also utilized well. YTL does not have much space to work with, but they always seem to have fun set pieces, on wheels, with multiple purposes. Pirelli’s stagecoach, for example, rolled on stage and unfolded to become quite the spectacle.
“Sweeney Todd” is actually considered an opera. The fact that the music in this production was well sung and in time is a testament to the ensemble in and of itself. Singing Sondheim, in general, is not easy, and even though the YTL cast might have wavered here and there, they showed great mastery of the work overall.
Daren Prescott maintained an austere stare as the severe Sweeney Todd and flexed his vocal muscles throughout the show. My only wish is that he had had a British accent, like the rest of the ensemble. It reminded me of Kevin Costner’s portrayal of Robin Hood, the only actor to play the part without a British accent. Johnny Depp may have sounded like he was impersonating himself, a la Captain Jack Sparrow with his slight cockney accent as Todd, but at least he had an accent.
Mia Mercado was simply marvelous as the quirky Mrs. Lovett. Mercado had great comedic timing and seemed confident singing Lovett’s very (very) difficult songs.
Winston Peacock was wonderful as Todd’s opposing barber Adolfo Pirelli. Peacock has a beautiful voice that was supplemented with some very scary razor work during the number “The Contest.” It was in this number that my neighboring audience member groaned with discomfort believing that the blade was real.
The entire ensemble deserves much credit for their frosty presentation. The production had a consistent mood, no one appeared out of place and everyone presented Sondheim’s classic well.
Doing popular drama is a challenge, especially when the production was recently made into a major motion picture. It is up to the director to either do the show that everyone knows or adapt the show to create something new. Director Christi Prescott mixed the style of the recent Tim Burton film with the original Broadway version, creating a production that would please old and new fans of the show. Costumes reflected both styles, while characters took on the eccentric nature of the Broadway version, but stage blocking emulated the recent film.
The outlandish characters provide humor in this somber production, but this was overshadowed in the Burton's film, as he sought a much darker approach. A friend that attended the show with me never cared for Burton’s film version, but found himself whole-heartedly laughing at the zany characters in YTL’s production.
“It’s much better on stage,” he said. And, indeed, it was a truly noteworthy show.

“Sweeney Todd” runs through Oct. 25 at Yucaipa Little Theatre. Visit www.yucaipalittletheatre.com for details.

Top Vision, Top Execution, Top Entertainment: “Top Girls”

2009-10-20T16:26:00.000-07:00

By Gabriel Morales
For the Real Critics Blog

Featuring an impressive all-female cast, superbly directed to powerful realism, 3 Theatre’s “Top Girls” is an electric, riveting, in-your-face theatre experience.

What do a medieval damsel, Germanic warrior princess, Buddhist concubine-nun, Victorian explorer and philosophizing pope have in common? They’re all deceased, time-travelling dinner guests at a surrealistic party held by a Reagan-era British business woman -- Act One of Carol Churchill’s somberly poignant drama of feminine tribulation and mystique. Through this unabashed, dark-witted conversation, Churchill outlines woman’s struggle through centuries of misogynistic oppression, foreshadowing -- Act Two and Three’s modern-day vignettes of the same personalities and trials that have endured the changing zeitgeists.

Overall, the ensemble is wonderful, aptly demonstrating a wide range of characters and mostly consistent dialects. Alisa Ann Lovas (Griselda/Nell) brings an affective naïveté to her roles. Melissa Smith (Kit/Shona), a young veteran of musical theatre, delivers as the sassy youth empathetic to her best friend’s familial plight. Rhiannon Cowles (Lady Nijo/Win) is a delight to watch as both the stoic Kabuki-faced courtesan -- with her moving revenge monologue -- and Nijo's modern alter ego, Win, a smooth-talking, well-traveled, Burnettesque office worker. Paige Polcene (Pope Joan/Louise) is great as the lady pontiff, especially when she lets loose with her mournful prayer -- in Latin. Sarah Jacques (Dull Gret/Angie) makes the largest shift between characters as she goes from sword-bearing combatant to discontented juvenile -- a change deftly made. Believable as a downtrodden teen, moving as a boorish, gluttonous ancient, Jacques’s monologue about her journey into hell is chilling.

Desiree Hill (Isabella Bird/Joyce) is a strong addition to the ensemble; having worked with Second City and Steppenwolf among others, Hill’s training and experience is readily apparent. Her scenes sizzle with voracity and power as the self-possessed Victorian, and even more so as the abusive matriarch of her dysfunctional family. At last, but far from the least, Rebecca Williams enthralls as the sultry-voiced top girl, Marlene. With intelligent choices she deftly navigates the central character’s difficult journey as a no-nonsense businessperson and distraught absentee mother -- avoiding the pitfalls of demonstrative presentation and caricatured British accent. From her silent entrance into the dark head trip of an opening scene, to the explosive argument and aftermath during the closing beats, Williams possesses an intense focus and clarity of motivation that is a vision to behold.

Seasoned director Patrick Brien should be proud of this bold, captivating production. With great costuming and a delicately crafted tone -- sans the self-consciousness and aspirant habits often seen in non-professional theatre -- Brien and his cast have created a dynamic, gripping production that would make Grotowsky smile.

3 Theatre's "Top Girls" continues through Oct. 24 at the Mission Galleria in Riverside.

Elvis: Shaken and Stirred

2009-09-23T22:42:00.000-07:00

By Gabriel Morales
For the Real Critics Blog

Performance Riverside continues its tradition of producing some of the best musical theatre in the IE with "All Shook Up," the initial offering of its 2009-10 season.

Joe DiPietro (of "I Love You, You're Perfect, Now Change" fame) authors this fun, thoroughly entertaining musical inspired by and featuring the songs of Elvis Presley: think "Mamma Mia," with the King instead of ABBA.

Warming into the tunes as the show progressed, Rob Thompson (Chad) plays well the Elvis caricature: the young, leather-clad "roustabout" riding into a nowhere conservative town to miraculously fix their jukebox (conveniently filled with outlawed tunes), and enlighten unto them the philosophies of pop/rock/"devil" music, bright-colored garb, dirty dancing and love that leaps the chasms of race, social mores and moralistic oppression.

The Priscilla-esque role is a demanding one, accentuated by DiPietro's inclusion of a Shakespearen cross-dressing, two-person-three-persona love triangle, ably played by Alyssa Marie (Natalie) as she bounces between lovelorn tomboy mechanic and suede-shoed motorcycling playboy.

With strong voices all around, the production is at its best when the twenty-person cast busts out pitch-perfect choruses during elaborate dance numbers by director/choreographer John Vaughan.

As far as the acting -- one-third of the triple threat quota -- goes, the production's most naturalistic moments come from Vonetta Mixson (Sylvia) and Melodie Slaughter (Lorraine), who between wonderfully soulful renderings of King hits and roar-inducing punchlines, deliver truthful moments as they struggle through life and love as the town's only ethnic characters.

Despite the simple, predictable storyline -- which slumps a bit during the second half with Elvis's lesser known melancholy ballads and at the end dissolves into a bit of judge-not preachiness -- "All Shook Up" is sure to leave you smiling as you sing the King's enduring verses all the way home.

For more information visit www.performanceriverside.org

Delightful Parade of Dialects

2009-09-13T09:37:00.000-07:00

By Gabriel Morales
For the Real Critics Blog

"Deanne and Robert, a May-December couple, have just returned from their honeymoon, and Deanne is shocked to find that Robert has unwittingly bought the very same apartment that she used to live in with her ex-husband, Skip. Not only that, but Skip has also bought the apartment right next door to theirs. It becomes apparent in time that Deanne and Skip are still in love, and getting the couple back together is facilitated by Robert falling for Deanne’s mother, Louella. All ends right in this swift-moving romantic comedy from master comic writer Ron Clark." Thus reads the publisher's plot description.

Not mentioned is the real gold of Clark's sit-com style offering: the revolving cavalcade of ethnic characters bringing high-energy entertainment and skilled comedic choices to the party. At least, that's how it plays in Riverside Community Player's production, directed by Rory Dyer.

Leading the cameo parade are acclaimed RCP mainstays Michael Truelock (Boris) and Arthur Wilson (Jovan), who bring the show's biggest laughs with their zany portrayals of a dim Russian furniture mover and effeminate Jamaican gossip, respectively. Truelock breathes life and empathy into another hulking yet gentle character, rife with expertly-timed, cheer-inducing one-liners. Wilson, a certified theatrical triple-threat, channels his Broadway showstopping energy into the zany, animated, albeit light-skinned islander with graceful ease. Even newcomer Madelyn Garcia (Jeannine, Inga, Gina) brings some entertaining moments with her neverending wig supply and variety of sultry European accents.

If for no other reason, stop at number 4 Beekman Street to catch the cameos -- they'll floor you.

Theater Deconstructed: A Recipe for Success

2009-09-13T09:34:00.000-07:00

By Gabriel Morales
For the Real Theater Critics Blog

Lifehouse Theater closes its fifteenth season with an excellent offering in "Noah," a dynamic, fast-paced, thoroughly enjoyable retelling of the classic Hebrew story.

Deconstructed: a popular culinary style wherein a dish's ingredients are presented separately to accentuate their individual appearance and flavor. Lifehouse's "Noah" is the theatrical equivalent.

Part biography, part homage, with dashes of parodic timewarp, Dustin Ceithamer's original script and the talented young cast lay out every element of the production for the audience to relish. While the patrons find their seats with aid of Lifehouse's smiley, gregarious volunteers, the eight young players -- decked head-to-new-Converse-toes in their own primary color -- mills about on stage, chatting, handstanding and Facebook-statusing.

Once the the show begins, the wingless stage design simultaneously pulls the audience to both center and backstage; as one may watch a touching monologue or duet number, while the remaining players sift through props or slip tunics over their jeans and T's. (Thankfully, haphazard animal costumes made of painted cotton balls are nowhere to be seen.) Ladders and chairs make for versatile stage elements as they're utilized for everything from levels, to an altar and the ark itself.

Overall the production value is top-notch. From the fluid lighting, to the crisp sound and abstract set design -- every department harmonizes to create a show short on kinks and long on what can only be attributed to joyful, whole-hearted dedication to text and craft. Individually, and as a harmonizing collective, the cast is solid. Each rises to the task of switching characters, song and dance styles, and endless props without missing a beat. Two particularly enjoyable segments where the cast dazzles are when Noah goes on the "Non-committal Relationship [Dating] Game" to find a wife, and later when the Patriarch and family channel the rhythmic stylings of "Stomp" while constructing the ark.

"Noah" is a wonderfully realized, wholesome, inspirational must-experience romp for the whole family!

Rip-roarin' Boot-scootin' Fun at TVP

2009-09-04T17:25:00.000-07:00

By Gabriel Morales
For the Real Critics Blog

Temecula Valley Players' 09-10 Season is off to a galloping start with a joyous, high-energy production of "Seven Brides for Seven Brothers."

Based on MGM's beloved Oscar-winning musical and "The Sobbin' Women" by Stephen Vincent Benet, this light-hearted stage musical version (directed by J. Scott Lapp) holds up well after fifty years. Themes of love and understanding, strength and compassion abound in the soaring melodies and comedic turns of a large cast populated with burly, headstrong mountain men and sassy, no-nonsense pioneer women.

Leads Paul Kehler ("Adam Ponitpee") and Kellen Allen ("Milly") play off each other's strengths to strike an interesting yin-yang balance. Kehler plays well to the audience with powerhouse singing and operatic enunciation; while Allen gives heart-tugging glimpses of nineteenth-century frontier femininity.

The ensemble of brothers and sisters proves itself strong in song and dance -- especially when the brothers let loose with their amazing, sextuplet harmonies. Kaitlyn Terrill ("Sarah") and Tara Lynn Gillfillan ("Alice") provide big laughs with their skilled comedic portrayals of the family's youngest sisters.

At the heart of the show's energy is the praiseworthy work of the musical director/conductor, teenage wunderkind Taylor Peckham; as well as the enthralling, whirlwind choreography of Gary Iversen and associate Monica Iversen -- particularly during the twenty-one person "Social Dance" number. What a spectacle to behold!

With such a satisfyingly entertaining opener, TVP's upcoming year promises to be its best yet.

For more information on the Temecula Valley Players season visit www.temeculavalleyplayers.com.

SITV Brings the Funny with 'Comedy of Errors'

2009-08-27T20:40:00.001-07:00

By Darcie Flansburg
The Real Critics Editor/Publisher

Shakespeare in the Vines’ “Comedy of Errors” offered an evening of pure comedy. From the 20th Century Fox opening to the rubber chicken sword fighting the production pulled out all the stops.
The show opens with Aegeon, played by Walter Savell, on trial in Ephesus. His monologue explains how his twin sons and their twin servants were separated by a storm years before. The rather lengthy monologue (the longest in the Shakespeare canon) was acted out by the ensemble. This began the slap-stick style as the ensemble yelled “yay” and “boo” in reaction to Aegeon’s story, holding up signs to encourage the audience to join in.
I have seen the opening monologue acted out in a few “Comedy of Errors” productions, but none were quite as energetic as SITV’s. And that was just the beginning of the show!
Director John Edward Clark also added an Arabian Nights theme that greatly catered to the slap-stick comedy. Clark should also be commended for his casting choices. Ninety percent of directing is casting and Clark did a fine job.
Every character had a quirk, and every scene was played out in well-timed comedic beats. What would have made the emphasis even better would be the use of sound effects or random instruments on stage. Someone could have used a kazoo or a slide whistle and only enhance the flavor of the show.
Though every actor brought great zeal to their characters, there are a few worth mentioning that truly went above and beyond.
David Caldwell, who played Antipholus of Syracuse, was in his element as the confused Antipholus who was continually taken to be his twin brother, that of Ephesus. Over the years Caldwell has truly grown as an actor and his comedic timing has gotten better and better. Add some rubber chicken sword fighting to the mix and you’ve got a gut buster.
Patrick Bailey, who played Dromio of Syracuse, had everyone rolling in the isles at Frangipani Winery as he told his master Antipholus of Luce, the kitchen wench that “assaulted” him. Having also seen SITV’s “Much Ado” earlier this season, it was refreshing to see the breath and depth of Bailey’s comedic stylings. His Dogberry had an entirley different flare than his Dromio, and both were very well executed. (Note: as a director I was saddened to see that Bailey would be leaving the area this fall, but happy to see that he would be pursuing a bachelor’s in English. Bailey, minor or double major in theatre, your chops shouldn’t be wasted.)
Christopher “Kit” Fugrad also appeared to be right at home as the other Dromio (of Ephesus). Fugrad egged on the audience to repeat after him, acted utterly confused by his master’s ever-changing mind and tried not be beaten by all who he offended. Like the aforementioned, Fugrad is another actor that embodies the comedic style as if it were second skin. It is always a joy to watch actors who do not appear to be “acting” on stage, but living in the moment. This is actor Zen, this is perfection.
Annalice Heinz played a sweet and silly Luciana, the love of Antipholus of Syracuse. Heinz was the perfect foil to Brittany Richardson’s hot-headed Adriana, who spent the majority of the play seeking out her husband, Antiphlus of Ephesus, played by Joe Arriaga.
But, I have to say, that Chelsea Pope was the topping on the cake of this production as the conjurer Pinch. Pope smiled wildly and cooed inappropriately at the confused Antipholi. Just her presence on stage made the entire audience giggle. The show was more of a spoof, but, as a fervent Shakespeare fan, it was a real treat.

Shakespeare in the Vines’ “Comedy of Errors” continues 7:30 p.m. Friday and Saturday, August 28 and 29 at the Frangipani Winery in Temecula. Information/Tickets: www.shakespeareinthevines.org.

Riverside Youth Theatre Equals Quality Youth Theatre

2009-08-18T02:06:00.000-07:00

By Darcie Flansburg
The Real Critics Editor/Publisher

Broadway reviews are great for youth theatre because it gives many young thespians a chance to shine and grow rather than just a few leads. Riverside Youth Theatre’s “On Broadway Now!” production was not only an obvious thrill for the performers, but also for the audience.
The show featured various musical numbers from productions that were on Broadway in 2009. Shows included “Jersey Boys,” “Hair,” “Legally Blonde,” “Grease,” “Spamalot,” “Mary Poppins,” “Next to Normal,” “Shrek the Musical,” “The Little Mermaid,” and “Young Frankenstein.” But the shows that I was really thrilled to see on the docket were “13” and “Spring Awakening.”
I was privileged to see the world premiere of “13” at the Mark Taper Forum in 2007 and the RYT “tween” cast looked to be having as much fun as that Broadway bound cast. This is important; the “fun” element really drives most musical theatre numbers, especially when they are about adolescents. And right from the start of “On Broadway Now!” the ensemble was loving every minute of their time on stage and the audience could feel it.
The show made me excited not only for the fabulous musical choices, but also the quantity of truly talented teens. It is companies like this that keep theatre alive by putting on quality shows that interest the youth and showcase their talent.
A few future stars to note include Anyssa Navarro, Melissa Smith, Hannah Wolgemuth, Eryn Moore and Maddison Rickard.
Navarro has a fabulous voice, and a clear passion for musical theatre. Her performance of “Hopelessly Devoted to You” was right on key and on emotion.
Smith has potential in both dance and leading lady work. She was precise in her movement and emotion even when she was merely part of the ensemble. But her performance of “Whispering” from Spring Awakening was truly moving.
Wolgemuth performed with great heart and verve. Every move that she made was done to the fullest. Moore was spunky and perfectly timed as the ditsy, yet somewhat witty El Woods. And Rickard is a small girl with a huge voice that was sadly undermined by bad head mics. I wish that I could have heard more of her song because what I did hear was so right on and full of so much soul.
But just because I am pointing out these individuals does not mean that no one else from the production deserves recognition. Actually, there are just far too many to point out. To quote one of my favorite shows, Nigel Lithgow on So You Think You Can Dance has often said that if a dancer doesn’t stick out in a bad way, it’s a good thing. I may point out a few, in my mind, stars, in the hopes that they recognize their own star quality and never give up on their art, but this is not to say that anyone else should give up because I did not mention them. As a young actress, I was not mentionable. In fact, I stuck out in a bad way. But that never stopped me from doing what I love.
On a slightly negative note, I wish that the “tween” ensemble had done “The Age of Aquarius” rather than just “Let the Sun Shine In” because they had the talent to do so. I also wish that the show had gone on longer. The ensemble could have sung “Summer Lovin’” from Grease and some more songs from “Next to Normal.”
But hey, you know it’s a great show when the critic wants more. I truly look forward to seeing more work from this company and all of these young stars.

For more information on RYT check out www.riversideyouththeatre.org

Operation Shakespearean Adaptation

2009-08-08T21:19:00.003-07:00

By Yvonne Flack
For the Real Critics Blog

As a veteran of Operation Iraqi Freedom, “Much Ado About Nothing” director Kit Fugrad had the perfect inspiration for his adaptation of the Bard’s classic comedy—a personal, but equally universal, experience in an ongoing military conflict.
It is 2009 and Don Pedro, played by Christopher Vienna, and his troops have returned home from tours in Iraq and Afghanistan. The scene is a common one—a barbeque with friends and family, beer, jests and budding love between Don Pedro’s right-hand man Claudio, aptly played by David Caldwell, and the young and beautiful Hero, played by Shanti Ryle.
Doing a concept piece with Shakespeare is a tricky balancing act between fidelity to the Bard’s original and the need to fully carry out the adaptation and produce a coherent piece of theatre. This balancing act becomes even more crucial when adapting comedies, as they always center around one or more marriages—a tricky thing to do post-women’s lib, as Shakespeare’s heroines are often jostled around by the men who control their lives.
Fugrad’s adaptation of the script was an honorable one, though it sometimes did not go far enough or failed to overcome some of the play’s inherent ties to the period in which it was written.
Most of the possessor-like control over Hero was removed from the character of Leonato, and Todd Meyer portrayed a convincing concerned contemporary father in the role. This contemporary concern crumbled into the 17th century, however, in his harsh reaction to Hero’s denouncement in the second half of the play where, as mandated by Shakespeare’s original, he laments that he would rather see Hero die than have her live as a sullied and impure woman—an unrealistic reaction in the 21st century.
Not only were the traditional Shakespearean male/female hierarchies removed, but, for the most part, the class and royalty hierarchies were removed as well. Don Pedro, a prince in Shakespeare’s original, became a captain in Fugrad’s adaptation, though the adaptation was inconsistent in that he was also referred to as “the Prince” on occasion. Don John was, however, still referred to as “the bastard” in a way that evoked the Early Modern belief that children born out of wedlock were somehow less than their legitimate siblings. This conundrum could have easily been avoided through the inflection of the actors and the simple replacement of the word “the” in describing him to “a” or “that.” In the 21st century, the difference between the brothers should not have been one of legitimacy, but rather one of character.
Other contemporizations helped round out the adaptation and bring about the reality of the world that the actors, director, and technicians were creating. The incorporation of live contemporary music, and the utilization of Caldwell’s musical skills, both vocally and as a guitarist, were a welcome addition to the show, though one of the song choices left me a bit perplexed. America’s “Horse With No Name” opened the second half of the play, and despite the references to a desert, here presumed to be the deserts of the Middle East, I could not help thinking about the long-held belief that the song is about the experience of being on heroine. Either way, it seemed to be an odd thing to be thinking about the night before one is going to get married; perhaps a love song would have been a more appropriate choice.
But the best musical numbers and references were yet to come. In Caldwell’s best musical performance of the night, Claudio lamented at Hero’s tomb with “The Other Side,” a song that seems as if it could have been written specifically for Much Ado. And as Benedick tries to compose a sonnet to his new-found love, Beatrice, played by Laurel Mueller, he inadvertently comes up with the lyrics for “L.O.V.E” beginning with, “L is for the way you look at me,” to the obvious enjoyment of the crowd.
Benedick’s turnaround from sworn bachelor to pining poet is often the comedic highlight of the play. As bachelor, Benedick, played by Justin Girard, was a slightly inebriated, man’s man, swearing off love to any woman. This swaggering Benedick was a clever character choice, offering a level of excuse for his many misogynistic monologues and anti-love ramblings. But as soon as Don Pedro, Claudio, Hero, Leonato and Ursula contrive to bring him together with the sworn bachelorette, and his mental equal, Beatrice, he crumbles into a man hopelessly in love.
By speaking of Beatrice’s fictitious love within earshot of the sworn bachelor, the men engineer the entrapment of Benedick. This scene is generally the peak of Shakespeare’s comedic genius, as the audience can visibly see Benedick crumble from his bachelor ways into stubborn, but undeniable love. But this audience could not see the majority of Benedick’s reactions as he hid behind a chair in the audience for nearly the entire scene. While the plotting of Don Pedro, Claudio and Leonato is funny, the real humor in the scene lies in Benedick’s reactions to what they are saying and their obvious enjoyment as they see him fall into their trap. This scene simply focused on the conspirators and missed the potential for rolling laughter that can be found through Benedick’s part in the scene.
Likewise, the Beatrice entrapment scene fell flat compared to its great potential to entice uproarious laughter in the audience. Beatrice was blocked peeking around a pole and, again, what was being said about the supposed love that Benedick bore her took the foreground of the scene. The source of the humor in this scene should, as in the scene with Benedick, build off of Beatrice's reaction to her newfound knowledge and budding love for Benedick.
While Mueller had an obvious understanding of what she was saying, and delivered her lines in a clear and appropriately contemporary way, her reactions in this scene were, like much of her character throughout the play, so casual, that they failed to entice a large enough reaction from the audience to make the scene memorable.
The real side-splitting comedy of this production came, surprisingly, amidst the tragedy of the second half with the well-meaning, but slightly dangerous, bumbling of Dogberry and his band of not-so-merry men (and woman). Recent high school graduate, Patrick Bailey, emerged as a star of this production in the narcoleptic, red-plastic-bat-toting role of Dogberry. In his battle to fight the crime and corruption of Borachio and his cohorts, Dogberry’s men frequently fell victim to the wild flailing of his plastic bat and Dogberry’s right-hand woman Verges, played by Chelsea Cohen, was seen with more and more bandages from the many injuries she sustained in his service. From the ridiculously official use of his childish prop, to the narcoleptic fits that left him falling to the floor as dead weight, this Dogberry was a character to remember.
The delicious wines of the Frangipani Winery, the starry summer evening sky, the quaint sound of coyotes in the distance, and, of course, the production itself, made Shakespeare in the Vines’ “Much Ado About Nothing” an enjoyable experience, despite some of the pitfalls in the adaptation.

Up next Shakespeare in the Vines presents "The Comedy of Errors," Aug. 13 through 29 at Frangipani Estate Winery. Check out www.shakespeareinthevines.org for details.

'1776' Shines at Redlands Bowl

2009-07-31T00:18:00.000-07:00

By Darcie Flansburg
The Real Critics Editor/Publisher

As an American, it is often easy to forget how difficult it was for our country to gain freedom and become the nation it is today. “1776” reminds us of that journey and the varied kinds of people and ideas that had to come together in order to create a perfect union.
The story follows John Adams and his fight for his new country’s independence. Adams was played by David Leslie Scott who exemplified the perfect hot headedness that Adams was known for.
“It’s a revolution,” Adams said, “we are going to have to offend somebody.”
Adams may have offended more than just his opposition. The script, by Peter Stone, is ripe with innuendo, more than would be expected (or accepted) in the late 1700s, but Adams and his compatriots are quite amusing. At the same time, a play about the beginnings of a nation makes for a dense story that should be carefully followed and the humor helps to break up the political jargon.
“1776” even beat “Hair” and “Promises, Promises” for both the Tony and New York Drama Critics Circle Awards for best musical in 1969. This was likely because of the script and not the music, by Sherman Edwards, (or because “Hair” was too much “of the time”). Ben Brantley noted his confusion by this bit of trivia in his 1997 New York Times review of a local “1776” production. “’1776,’ was the show that nobody expected to like when it opened in 1969, not exactly a banner year for Yankee Doodle patriotism,” Brantley noted.
But “1776” is definitely worth seeing; the subject matter alone sets a precedent for the work and producer/director Diana Schleiger Combs really did the play and the venue justice. The Redlands Bowl production (in true Redlands Bowl form) had a full orchestra in the pit and some masterful singers on stage that made Edwards’ music much more memorable.
Jason Livesay, who previously played the Beast in the Bowl’s “Beauty and the Beast,” played Thomas Jefferson, offering a few wonderful operatic moments and some great humor. Julie Rosser was a brilliant Abigail Adams in her speech, song and limited action. And Joe Musil was appropriately smug and determined as the conservative John Dickinson.
But the entire cast was magnificent, which is why it is always upsetting that the Bowl only produces the summer musical for one weekend. This year, however, the musical will continue its run at Rialto Community Players in late August.
It was also exciting to see Riley Farms get so involved with the production. Several of the actors are now, or have been, living historians at the Revolutionary War farm in Oak Glen and their performances, coupled with Cherie Riley’s costuming, added great authenticity to the production. David Leslie Thomas acts as Riley’s John Adams, so it was nice to see him continue the part on stage.
Kerry Jones also deserves praise for the set design and decoration. The massive Bowl stage is not easy to decorate and she successfully pulled off the exquisite Chamber of the Continental Congress with some strategically placed, shuttered, free-standing windows. The windows were very functional, often being opened and closed because of the summer heat and/or flies.
But what was truly moving was the end of the show. Seeing all of the signatures on the Declaration of Independence projected onto the back wall of the Bowl stage as each representative signed the document was enough to make any American citizen shed a tear.

“1776” continues at Rialto Community Players, Aug. 22 through Sept. 6. Call (909) 873-8514 for more information.

Big Laughs Highlight Fairytale Collage

2009-07-23T13:22:00.000-07:00

By Gabriel Morales

For the Real Critics Blog

Absurdism was the word of the day at Chino Community Children's Theatre production of "Into the Woods," a classic fairytale mash-up by James Lapine, with music and lyrics by Stephen Sondheim. About two decades before Shrek, Lapine and Sondheim created an entertaining world where the larger-than-life characters and the logic-bending, natural law-shattering plot devices of numerous fairytales collide, conflict and eventually coalesce against a common threat.
Aptly directed by Jenn McHugh, the production works best when its young cast (14-22 years old) is fully commited to the ridiculousness of their characters and situations. Whether chasing after Jack's stuffed castor-riding cow, yanking at Rapunzel's lengthy yarn locks, pulling Red Riding Hood cloak and make up intact from the disembowled Wolf, or cutting off plastic phalanges to fit into Cinderella's gold high-heeled slipper, the juvenile players bring the funny with fearless dedication to the text.
There are several standouts among the motley crew of fantastical friends. The smooth dancing Big Bad Wolf and the sassy sprite Red Riding Hood have great exchanges, from their well-choreographed first meeting to her mess-free resurrection from his nightgowned carcass. The smarmy dynamic duo of Princes -- one wild-eyed with an Ace Ventura pompadour, the other face pinched with a stuffy Ivy League drawl -- never fail with their aisle-rushing, maiden-ravaging antics. Then there's the black-clad disgruntled Stage Hand who manages to steal scene after scene with dispassionate prop schlepping, plot-assistng cue cards and brazen stuffed animal abuse -- all without saying a word. Then there's the Baker's Wife, who certainly deserves a name of her own. Her well-trained voice, expert comedic timing and subtle poignancy are award-worthy.

'Brush Up Your Shakespeare'

2009-07-21T21:41:00.000-07:00

By Darcie Flansburg
The Real Critics Editor/Publisher

The Riverside Community Players’ production of “Kiss Me Kate” was full of fabulous singers, but not many Shakespearean actors. The show is unique in that the actors are portraying characters in a play within a play and are also expected to sing, dance and perform Shakespeare.
The show follows a touring theatre group as they perform a musical version of “Taming of The Shrew.” The audience not only sees pieces of the musical, but also what’s going on backstage between old and new lovers.
To be fair, I prefer Shakespearean productions to musical theatre and am more inclined to focus on the Shakespearean moments when watching such a production as “Kiss Me Kate.” I also expected to see some strong Shakespeare scenes from Director Patrick Brien who directed the well received production of “Macbeth” for the Inland Empire Shakespeare Festival last summer. But the Shakespeare moments in “Kiss Me Kate” were rather lackluster.
Looking through the program, all of the lead actors have a laundry list of music and musical theatre credits, but many of them have only dabbled in Shakespeare, making Brien’s work that much more important. People are enlivened by the jazzy music of this show and appeared to love the beautiful voices of the ensemble, but a certain amount of momentum dropped when the Shakespearean scenes took place. The Kate and Petruchio scene, for example, wasn’t at all the dynamic scene one would expect it to be. Those of us that have seen the 1976 William Ball version of “Taming of the Shrew” know the true potential of that scene, but Brien’s version was slow and static.
The problems with this scene, and the other Shakespeare scenes in the show, are not, however, the sole fault of Brien. When I attended the show I was sitting next to an elderly couple. The man was obviously hard of hearing because his wife would often tell him what was happening in the play, including offering her own critiques. “I don’t think that he knows his lines,” I heard her say during a Petruchio scene, played by Peter Romero. Like many of the performers in the show, Romero has a beautiful singing voice and, based on his bio, he has had a good deal of experience in musical theatre, but he seemed to struggle with the Shakespeare scenes.
On the up side, Charissa Hogeland, who played Bianca/Lois Lane, has a very bright future ahead of her after she graduates from UCLA. Hogeland was pure perfection as Bianca and also played the company flirt very well.
Maxwell Snodgrass and Aaron Wolgemuth were an excellent comedic duo as the First and Second Men who are looking to get some money they are owed and end up in the play within the play singing one of the more memorable numbers, “Brush Up Your Shakespeare.”
The production was genuinely enjoyable when it came to the musical numbers. Choreographer Hollee Hennebelle did a good job of keeping the musical staging lively. It was when the actors weren’t singing and dancing that the play really dragged.

'In the Worlds of Words and Wards'

2009-07-08T23:33:00.000-07:00

By Darcie Flansburg
The Real Critics Editor/Publisher

It was obvious that a story about a woman’s last two hours of life before dying of cancer would be a tear jerker, but on top of a succinct and well written play, “Wit” director Tom Hurst had a strong cast for this Chino Community Theatre production.
Hurst’s first act of genius was casting Susan Bray as the lead role, Professor Vivian Bearing. In addition to being a phenomenal actress, Bray is also a cancer survivor, giving her performance even more authenticity. Bray, who is best known for her performances as Sister Mary Amnesia in “Nunsense” and “Nunsense II,” is also an aggressive actress who commands the stage with a keen presence. This style was very necessary for the no-nonsense Vivian Bearing.
Bray transitioned smoothly from flashbacks as a 17th century poetry professor to the banality and monotony of chemotherapy to the utter pain of her last few moments of life. And Hurst’s direction moved the rest of the ensemble fluidly around Bray, making the brief story very tight and smooth.
The character of Professor Bearing dominates the play, but the ensemble helps to illustrate Bearing’s story and create a little humor within the framework of a very poetical, yet rational, journey.
Spencer Mansouri played Dr. Jason Posner. Mansouri has really grown as an actor over the past few years and has become a truly unique comedic actor. The character of Posner didn’t have a real sense of humor, but what he represented within the medical industry was morbidly funny.
Allana Matheis played nurse Susie, one of the few characters that seemed to garner any kind of sympathy for Bearing and her gruff exterior. Susie wanted nothing but the best for her patients including Bearing and that was evident, particularly in her face and inflection of tone; heartfelt, but not overly sentimental. Matheis’ performance was sweet and sincere.
Usually a set designer, with plenty of ITL awards in tow, Hurst also designed the set for “Wit.” It was a truly functional set with a folding center wall that moved to reveal two locations, the interior of Bearing’s hospital room and an office, utilized by several characters as their own.
Hurst smartly used sound effects to create the illusion of the various pieces of equipment needed for the treatment, with just a few essential pieces in use on stage.
Chino Community Theatre’s one act of “Wit” was a clever revealing of one woman’s last moments before the unknown. Bray smartly portrayed Bearing through the proven final stages of life into the abyss of the afterlife where all that was left was silence and an enchanting white light.

Sherlock is Entertaining, Not Outstanding

2009-06-17T17:39:00.000-07:00

By Darcie Flansburg
The Real Critics Editor/Publisher

There are two things that the Redlands Footlighters do very well – mystery and farce. Even though I am not a huge fan of mystery or suspense plays, Footlighters’ shows are often quite entertaining, and the most recent production, “Sherlock’s Last Case” directed by Footlighters veteran Cynthia Lake, did not disappoint.
The production was all around good - good acting, good direction, good set, good music, good crowd. What else could any theatrical producer ask for?
Like most secret agent plot lines, the story opens with a debriefing about the previous case, in which Sherlock (played by Tom Shelton) tells Dr. Watson (played by Mel Chadwick) about how he outwitted the now incarcerated wrong-doers. It is the prelude to the next case and usually Sherlock is excited and enthusiastic about catching the bad guys, but this time he had an air of arrogance, like he had done it all before.
Though the production is over, it is never my intention to be a plot spoiler, so I will only say that the “last case” hit Sherlock close to home. As would be expected of a Charles Morowitz piece and a Footlighters mystery choice, the play had turn after turn after turn that could not be easily predicted and the venue handled it well with fabulously dramatic music that almost shook the theatre with intensity.
Another aspect of the stage that Footlighters always seems to accomplish is design. The set was gaudy, but appropriate and well utilized the revolving stage for the one other location outside of Sherlock’s home. Philip Gabriel designed the set, but about 20 people were called to assemble the design and let’s just say that it was well worth it.
But on a scale of 1 to 5, a “good” score is a 4. The reason that Footlighters mainly got 4’s across the board for this production is, first off, better than “good” only because most IE productions get a 3 across the board, but also there were few holes in the production, yet it did not necessarily excel the audience’s expectation.
The acting was sharp, but did struggle with a difficult script. The direction was strong, but aired on the side of caution. The music was appropriately dramatic, but also somewhat cliché. The production didn’t take any risks, but did what the play required, and did it well.
There was one moment when Chadwick, in particular, really struggled with a rather strenuous monologue, which was not his fault as an actor, or Lake’s fault as a director per se, but the fault of a “confused script” as Frank Rich explained in a 1987 New York Times review.
But despite some textual difficulties, the production did not outshine the writings shortcomings, which caused the show to get a “good” rating. Still “good” is better than “average,” but still not quite “excellent.”

RSF Strikes Out Again

2009-05-31T13:11:00.000-07:00

By Darcie Flansburg
The Real Critics Editor/Publisher

Every year I look forward to going to see the latest productions of the Redlands Shakespeare Festival. Every year I look forward to the classics produced there, the new talent that emerges and the potential of that magnanimous venue. But every year I leave feeling somewhat disappointed.
As an avid Shakespeare fan I can, at most, appreciate the fact that Shakespeare is being produced for more viewers to see. But I also worry that the droll traditional productions will continue to turn away young viewers whose belief that Shakespeare is outdated is only furthered by these stale performances.
Granted, I am a fan of adaptation. I believe that Shakespeare’s universal themes can be echoed in countless cultures and time periods. But I am also a fan of traditional productions, though these productions must be even more on point to hold their audience’s attention.
This year the Redlands Shakespeare Festival was producing two of my most favorite plays – “Hamlet” and “Measure for Measure.” Both shows were directed by Eric Tucker and both shows felt uninformed, though somewhat inspired.
Let’s start with “Hamlet.” Something positive – the casting of Cedric Wright and Megan Pickrell as the guards Marcellus and Bernardo, Hamlet’s old friends Rosencrantz and Guildenstern, the comic-relief gravediggers and then the slightly effeminate Osric, was simply genius. The two actors got a chance to show their acting range and obviously had fun doing so. Wright seemed to perform in a similar comedic style, while Pickrell explored the true limits of her characters. Wright’s gravedigger was particularly hilarious. His floating head and nimble fingers used the table/grave as an excellent prop.
As a local director, I know how difficult casting can be in a production, which makes Tucker’s decision to cast the two actors in multiple roles that much more brilliant. On that note, casting is also said to be 90 percent of the director’s job and this is also where Tucker failed. Many of the actors seemed to have a general idea of what they were saying on stage, but did not seem to plunge into the depths of their characters. And believe me these characters have some incredible depth.
Both Ophelia (played by Crystal Munson) and Gertrude (played by Melanie Ramiro) have the potential to show some amazing emotion, reveal a good deal of backstory and work in some fancy blocking. In Ophelia’s crazy scene, there are so many emotions being conveyed through song and they all have to do with her dead father, missing brother, unknown mother, lost love (Hamlet) and the possibility that she is pregnant. Tucker’s direction, or Munson’s own direction, felt as though Ophelia had gone crazy, but for no apparent reason other than what the audience could guess. In Gertrude’s bedroom scene with Hamlet she goes from commanding and angry, to terrified but in denial, to realizing her own folly, to utterly distraught. Ramiro had two levels – questioning and upset. Tucker would have done better to cast a non-comedic actor in the role of Claudius, rather than himself, as well as cast a younger and more valiant Hamlet other than Sabel. Sabel’s Hamlet left much to be desired. The audience should be able to sympathize with Hamlet, but this Hamlet was whiney and weak.
Tucker also brought some strange comedy to the Shakespearean tragedy. The Ghost of Hamlet’s father (played by Bill Greeley) was strangely calm about “fasting in fires” for all eternity. He spoke of being poisoned by his brother as if it were a normal occurrence and did a Scooby-Doo-esque exit with his final line – “Remember me!”
Tucker did make some interesting blocking choices with freezes and his staging of characters across the vast bowl stage. But some of the character choices were so distracting that it was hard to appreciate the action.
In “Measure for Measure” Isabella, played by Jamie Sowers, was overly sensual for the naïve nun that she is supposed to be. And, in the usual Sowers way, extremely excited and smiley at all times. In Tucker’s version, Isabella enters Angelo’s study, oozing with sexuality, rather than entering naively and being shocked when Angelo offers her a rather aggressive proposition.
Ron Milts was fabulous as Angelo. But a comedic actor and a comedic director do not a dramatic performance make, and that was obvious.
“The Tempest” directed by Rhesa Richards was also lacking. Sowers made another appearance, this time as a smiling Ariel. One would not believe the character was a slave based on Richards and Sowers’ interpretation. Milts returned as the hilarious Stephano and held his own yet again. But unfortunately for Milts and Michael Eastman, who played Caliban in “Tempest” and Pompey in “Measure for Measure,” one good actor cannot carry a 20-person cast.
I could go on and on about each show and definitely could produce some good moments to divulge, but the problem is that the good in each show did not outweigh the bad. The problem with bad Shakespeare productions is that they continue to confuse the masses who already feel that Shakespeare is confusing. I want so much for the Shakespeare Festival to succeed because the idea was truly brilliant and it is sad to watch these misinformed productions at such an amazing venue, with fabulous costumes and a wealth of sponsors.
Perhaps next year the talent will pull through and the directors will do a little more research, including just going to You Tube and watching some videos. I’m sure Tucker could have learned a lot from the San Diego Old Globe’s “Hamlet” and Richards could have learned from a few local and out-of-state productions. Each director and actor has their own style, but when you are performing something that has been produced around the world for 400 years, you better know your stuff.

A New Spot for Local Reviews

2009-05-31T13:10:00.000-07:00

By Darcie Flansburg

The Real Critics Editor/Publisher

The Inland Empire has a lot to offer – music, art, theatre. But it seems that local media, specifically newspapers, have decided that it is more important to cover Los Angeles arts and culture rather than showcase the local work.
As a freelance arts reporter as well as a local thespian, I am taking it upon myself to bring together a few other voices to create a theatre reviewing blog of Inland Empire performances.
Not only can local Reviewers do full reviews of any Inland Empire Theatre, but others can comment on the reviews as well. The idea of this blog is to create stronger voices within the community as a means of bettering our local offerings and giving praise to the deserving. This is not a spot to gripe, but a venue for constructive criticism and thorough examination of our art, because it is indeed our art, none of us can do it alone.
As an ITL judge, I give out silent nominations to the ITL secretary, but it is rare that MY votes coincide with those of my fellow critics. Thus my voice often goes unheard, which may, to some, be a blessing, but others will go without praise or knowledge of their greatness and, perhaps, lose momentum.
What you can expect when you visit this blog is up to date coverage of as much of the local theatre scene as possible. These will be reviews from notable local thespians who are also involved in the theatre community. But every review will be screened for bigotry, racist remarks, all out rudeness and, of course, bad writing.