Portrait of a "Bloody Patriot"

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

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'

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'

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'

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

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

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.