'1776' Shines at Redlands Bowl

By Darcie Flansburg
The Real Critics Editor/Publisher

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

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

Big Laughs Highlight Fairytale Collage

By Gabriel Morales

For the Real Critics Blog

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

'Brush Up Your Shakespeare'

By Darcie Flansburg
The Real Critics Editor/Publisher

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

'In the Worlds of Words and Wards'

By Darcie Flansburg
The Real Critics Editor/Publisher

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

Sherlock is Entertaining, Not Outstanding

By Darcie Flansburg
The Real Critics Editor/Publisher

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

RSF Strikes Out Again

By Darcie Flansburg
The Real Critics Editor/Publisher

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

A New Spot for Local Reviews

By Darcie Flansburg

The Real Critics Editor/Publisher

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