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.