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.

'A Christmas Story' is Sweet But Raw

By Darcie Flansburg
Real Critics Editor/Publisher

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

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

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

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

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

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

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

Ryan Adams rounded out the trio of friends as Schwartz.

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

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

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

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

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

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

The Cure for the Common Christmas Play

By Gabriel Morales
For the Real Critics Blog

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

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

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

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



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

Hilarious 'Yesterday,' Today and Always

By Gabriel Morales
For the Real Critics Blog

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

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

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

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

Visit www.redlandsfootlighters.org for details.

Worth the Trip, Worth the Truth

By Rebecca Williams
For the Real Critics Blog

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Darcie Flansburg
Real Critics Editor/Publisher

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

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

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

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

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

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

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

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

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

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

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

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

Candlelight Pavilion Offers A Taste of Old Hollywood

By Darcie Flansburg
Real Critics Editor Publisher

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Bob Roberts

For the Real Critics Blog

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Darcie Flansburg
Real Critics Editor/Publisher

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

 But it isn't what you may think.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SITV Portrays the Dream of 'Midsummer,' Literally

By Darcie Flansburg
Real Critics Editor/Publisher

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'Mattress' Lives Up to Candlelight Pavilion Standards

By Darcie Flansburg
Real Critics Editor/Publisher

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'Fuselage' is Heartfelt, Broadway Quality

By Darcie Flansburg
The Real Critics Editor/Publisher

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

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

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

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

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

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

But every principal actor had their moments in the show.

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

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

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

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

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

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

Brevity is the Soul of Wit

By Darcie Flansburg
The Real Critics Editor/Publisher

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

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

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

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

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

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

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

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

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

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

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

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

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