Footlighters Cast Shows Off Comedic Stylings in 'Dearly Beloved'

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

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"

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'

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

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

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

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.