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.