SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #236

By Pat Launer

www.sdtheatrescene.com

3/28/08

Spend a night at the Blue Bonnet Court

With A Little Night Music for support.

Where Cav and Pag and their musicians

Perform Extraordinary Renditions.

Even the Orange Flowers scenting the air:

Can’t prevent passion’s deadly despair.

Music of the Night

THE SHOW: A Little Night Music, the rarely-produced 1973 chamber musical, composed by Stephen Sondheim exclusively in three-quarter time. The show received five Tony Awards and eight Drama Desk Awards, as well as the New York Drama Critics Circle Award for Best Musical. The book, by Hugh Wheeler, was inspired by the 1955 Ingmar Bergman film, “Smiles of a Summer Night.” The title was borrowed from a Mozart serenade. Focused on the cross-class and inter-age debauchery of the upper crust, the musical is the source of Sondheim’s most famous song, “Send in the Clowns.”

THE STORY: The action takes place in turn-of-the-19^th century Sweden, but the tangled sexual intrigues and betrayals could apply to any affluent nationality. The labyrinthine escapades go something like this: Fredrik, a still-lusty, middle-aged lawyer, is 11 months into a platonic marriage with the virginal near-adolescent, Anne. Henrik, Fredrik’s son by a previous marriage, is a tightly-wrapped cleric-in-training, but he takes a few tosses with Petra, the family maid. Frustrated at home, Fredrik pays a visit to his former mistress, the free-spirited actress Desirée, who takes him in though she now has a new lover, the arrogant Count Carl-Magnus Malcolm, who has a fierce and conniving wife, Charlotte. All are invited for “A Weekend in the Country,” at the estate of Desirée’s jaded mother, a veteran of many “Liaisons” who’s filled with memory and regret. She and Desirée’s young daughter, Fredericka (yes, Fredrik’s offspring, though he doesn’t know it) are the only voices of reason in this mad world of fickleness and infidelity. At some point during the weekend, Petra ends up in the hay with Frid, the groom, Charlotte tries to seduce Fredrik, to make her husband jealous. Anne is titillated to discover that Henrik has always loved her. The jealous Count challenges Fredrik to a game of Russian roulette. And by evening’s end, there are various re-connections and resolutions, though there is also the (somewhat unnecessary) shadow of death lurking, and the disturbing relationship between a young man and his (even younger) stepmother. “Hi-Ho the glamorous life…”

THE PLAYERS/THE PRODUCTION: The music is as complex as the plot, with its intricate, rangy melodies and brilliant/cynical, tongue-twister lyrics. The entire undertaking is a challenge for any singer and theater company. But the effort pays off handsomely, and is even more impressive for having been undertaken by a young, small company (Cygnet Theatre) in its first foray in a new venue, the Old Town Theatre. So, bravo all around. Despite the lack of live musicians, the pre-recorded accompaniment sounds lush, thanks to the excellent orchestrations of Sean Paxton and musical direction of Don LeMaster. And except for some shrill soprano moments in the Chorus, all the singing is quite wonderful.

That Chorus, which swirls in and around the action, waltzing on and offstage to comment on the sexual shenanigans, can be a very intrusive device. But it’s handled imaginatively by first-rate director Sean Murray and associate director/choreographer James Vasquez. Their lovely, formal attire creates and maintains the essence of luxury and opulence. The costumes are stunning throughout (the magnificent creations of Jeanne Reith), including huge, wildly elaborate, feathered hats and sumptuous dresses. The set (designed by recent Patté Award winner Sean Fanning) is all luxe-minimalism, with lovely, projected, white-birch trees upstage (looking decidedly three-dimensional) and pillar-sporting wall-sconces on the sides, beautifully lit (Matthew Novotny). The sound (sometimes a problem at Old Town in the past) is crisp (George Yé, with assistance from recent Patté winner Chris Luessmann). Special mention must be given to Peter Herman, for his marvelous work on wigs and hair.

At the center of all this remarkable design work is an outstanding ensemble. All the principals are perfect for their roles (many assayed them in the staged reading at Cygnet last year). New to the production is strong-voiced Marci Anne Wuebben, charmingly insouciant as Desirée. As her world-weary mother, Sandra Ellis-Troy brings a charm all her own, especially when she recounts all her counts (and dukes and kings) in a smoky, low-voiced “Liaisons” (which sports one of my favorite Sondheim lines in this show, though there are many: “I acquired some position/ Plus a tiny Titian”). Sandy Campbell is marvelously mischievous as Charlotte; Sean Cox is deliciously gloomy as Henrik, and you could swear he’s really playing that cello! Courtney Evans has the perfect airheaded adorableness as Anne, and Nicki Elledge is delightful as young Fredericka. Melissa Fernandes is randy as the maid Petra, who skillfully sings the wishful song of resignation, “The Miller’s Son.” Sean Murray acquits himself well as Fredrik; his acting is especially robust. The show is nearly stolen by bracing baritone Randall Dodge, in a terrific performance as the pompous, hot-headed Carl-Magnus. The duets are especially noteworthy, including “It Would Have Been Wonderful” (Dodge and Murray), “Every Day a Little Death” (Campbell and Evans), the “Send in the Clowns” reprise (Wuebben and Murray) and the time-obsessed trio, “Soon” (Cox, Evans, Murray).

In sum, an intimate, often-thrilling production.

THE LOCATION: Cygnet Theatre at the Old Town Theatre, through May 4

BOTTOM LINE: Best Bet

Girls Just Wanna Have Fun

THE SHOW: Bluebonnet Court, a 2006 dramedy by Zsa Zsa Gershick, which won two NAACP Theatre Awards and the GLAAD (Gay & Lesbian Alliance Against Defamation) Media Award for Outstanding Los Angeles Theatre when it premiered in L.A.

THE STORY/THE BACKSTORY: There actually was a Bluebonnet Court in Austin, where Gershick lived in the 1990s. It was weedy and seedy, dilapidated and overgrown, and it inspired her to write the play, which is set in Texas in 1944, against a backdrop of the war and Hollywood’s heyday (with its many closeted stars). Gershick introduces thorny themes such as homophobia and hidden love, heroism, racism and anti-Semitism. Rife with rich characters and their deep secrets, the play deals with sexual tensions, civil rights, anti-Semitism and the disturbing disconnect of a country defending the rights of victims overseas, while denying basic human rights at home.

Hearst papers “sob sister” Helen Burke (née Berkowitz) is on her way to meet her Hollywood paramour, who snagged her a screenwriting job. Outside Austin, she swerves to avoid a deer, and smashes up her car. Waiting for repairs, she winds up stranded for awhile at the Blue Bonnet Court, a run-down motor inn that’s hurting for business, and harboring a lot more hurt than that. Owner/manager Lila Jean is all iced-tea-serving, movie-loving Southern hospitality, but underneath, she’s seething with discontent and frustration. Her husband, Roy Glenn, hasn’t been quite right since he came home from the war. He veers between drunken stupors and haunting nightmares, during which he calls out the name of Lila Jean’s twin brother. Orla Mae is their African American chambermaid, who “Yes Ma’ams” on the outside, but harbors hidden hopes and dreams, her steely self-respect and determined self-education drowning in obligatory racial subservience. Nanalu is the town “hostess,” whom the script describes as “a cheery librarian by day, needful tramp by night.” Secrets are revealed, taboos crumble and huge chances are taken when Helen stumbles into this tangled web, flaunting her liberal views of sex and race, and forcing everyone to face long-hidden truths. Along the way, there’s comedy (particularly in the form of radio broadcasts that comment on the action, from Hollywood hearsay to evangelical hypocrisies), as well as love, acceptance, even death.

THE PLAYERS/THE PRODUCTION: Ace director Delicia Turner Sonnenberg has assembled a stellar ensemble, who dig deep into these believably flawed characters and make them flesh and blood. Gershick’s dialogue is expert, from the tough-talking, Yiddish-laced New Yorkisms of Helen (excellent Wendy Waddell, both severe and vulnerable -- with a few dialect adjustments needed) to the Southernisms of Lila Jean (wonderful Jo Ann Glover, always thoroughly credible, a Texas native comes by her accent naturally). As the submissive Orla Mae, Monique Gaffney shows her inner strength, acting deferential and silent, but speaking volumes with her eyes, facial expressions and body language. Christopher Buess does his best work ever as the tormented, closeted bigot, Roy Glenn. And Leigh Scarritt takes a little star-turn as Nanalu who, like the country, coasts along in a double life, until disaster strikes. Lisel Gorell-Getz and Fred Harlow have a field-day with their multiple accents, outfits and characters in the periodic and pointed ‘radio spots.’

The set, which was designed by Joel David for the original L.A. production (adapted to the Diversionary stage by Bret Young and Delicia Turner Sonnenberg), is one of the best ever in the small theater. It has the shambled look of a run-down motel, all weathered wood, with slamming screen doors and little front porches. The lighting (Mia Bane Jacobs and Jason Bieber) and sound (Rachel Le Vine) add color and depth to the Southern hothouse atmosphere. Jennifer Brawn Gittings’ costumes aptly capture character and era. Missy Bradstreet deserves a special nod for her hair and makeup work; that shiner on Buess and the bloodied face of Scarritt look remarkably real.

There are so many layers here, in the issues and the characters, the production warrants multiple viewings. And it will undoubtedly only get stronger and deeper over time. Don’t miss it.

THE LOCATION: Moxie and Diversionary… at Diversionary Theatre, through April 13

BOTTOM LINE: Best Bet

Deadly Duet

THE SHOW: Cavalleria Rusticana (by Pietro Mascagni) and Pagliacci (by Ruggero Leoncavallo), aka ‘Cav/Pag’, are two of the best-known of the verismo genre of late 19th century Italian opera, created in response to the gritty realism of French literature, which peaked in the works of Émile Zola. The heart of realism is the everyday life of common folk, including their distresses, passions and deaths. The two short operas, whose titles translate as ‘Rustic Chivalry’ and ‘The Clowns,’ have been performed together for more than 100 years.

THE STORY/THE BACKSTORY: Mascagni was only 24 when he wrote Cavalleria, which became the winning entry in a contest for one-act operas. It was an immediate success when it premiered in Rome in 1890. Pagliacci was the fourth opera of Leoncavallo, written in a fit of pique, in the short span of four months. The 25 year-old Arturo Toscanini conducted the premiere in Milan in 1892. Both composers never surpassed these youthful successes, and ended their careers embittered at being considered one-opera wonders. The two pieces complement each other well; both are set in provincial Italian locales, and both deal with crimes of passion, incited by infidelity, fanned by blind jealousy, resulting in knife-wielding murder.

Cavalleria, adapted from a short story by Giovanni Verga, is set in a Sicilian village on Easter Sunday. It’s the straightforward tale of the villager Turiddu, who returns from military service to find that his girlfriend, Lola, has married another man. For spite and revenge, Turriddu seduces and impregnates the peasant girl, Santuzza. He promptly proceeds to reunite with his old flame, Lola. Santuzza, distraught that she’s lost her honor and her lover, tells Turiddu’s mother, Mamma Lucia, about his adulterous affair. Then she tells Lola’s husband, Alfio, who challenges Turiddu to a duel with knives. Before he leaves, Turiddu begs his mother to care for Santuzza, whom he admits he has wronged. Shortly after Turiddu leaves the stage, a scream is followed by the announcement that he has been killed.

Pagliacci begins with a Prologue, as Tonio the clown steps in front of the curtain to describe what we’re about to see. The author, he tells us, is presenting a slice of life about actors. Though “the tears we shed are false,” he sings, the story is inspired by the truth. Then the hunchback returns to his traveling commedia theater troupe, and becomes the catalyst for disaster; life begins to imitate art. Just as in the little drama the troupe performs, Canio (who plays the clown, Pagliacci) discovers, thanks to Tonio, that his wife is having an affair. During the evening’s performance, the offstage drama overwhelms Canio and he murders both his wife and her lover.

THE BACKSTAGE INTRIGUE: On the morning of the second performance of this double bill, the Irish baritone, Bruno Caproni, who is a principal in both operas, took ill. Fortunately, American baritone Mark Rucker (who’s performed three times before at SDO) had just come to town to begin rehearsals for Aida. Even more fortunate, he’d already sung the roles of Alfio and Tonio. He stepped into the breach in the morning, learned the blocking and went onstage that evening, to thunderous and appreciative applause.

THE PLAYERS/THE PRODUCTION: This is a new production, constructed by SDO (though the costumes come from Toronto’s Malabar opera costume rental company). The evening opens with the 58-piece San Diego Symphony (60 for Pagliacci), sounding marvelously nuanced under the baton of maestro Edoardo Müeller, playing lush, string-heavy music that lays a sweetly disingenuous foundation for the tragedy to come.

American tenor Richard Leech, a San Diego favorite who’s appeared with SDO 12 times, sings the role of Turiddo for the first time. His dramatic skills are always strong, and he’s in fine voice, his highs still robust, though he falters in the mid-range at times. His singing seems more effortful than that of his marvelous Santuzza, the supple soprano Carter Scott. Her singing is effortless and her anguish is palpable (though that’s the only emotion she gets to play in this role). The rest of the principals, Judith Christin as a potent Mamma Lucia, Sarah Castle as flirtatious Lola and Rucker as a bombastic Alfio, do commendable work. The opera is fairly static; there isn’t much action, but director Lotfi Mansouri finds lots of stage business for the chorus of 76 (including 16 children) and 50 supernumeraries. The costumes are elaborate for the Easter procession, live crucified Jesus and all. But those white-hooded outfits are unnerving, too closely resembling a KKK march.

Pagliacci has more activity and intrigue. The title role is a juicy one for any singer/actor, and the dashing Argentinean tenor José Cura has made it his signature piece. He is confident and assured as the jealous, impetuous Canio. The opera’s most famous moment is too brief, but heart-rending, in Cura’s capable hands, when Canio weeps while applying his whiteface makeup, singing Vesti la giubba ("Put on the costume" and smile). American soprano Elizabeth Futral made a stunning SDO debut as Stella in A Streetcar Named Desire (2000), a role she originated. This is her first time as Nedda, and she’s a sheer delight. Her voice is pure, flexible and beautiful, her acting enchanting, especially as the playful but unfaithful Columbina. American tenor Simeon Esper is amusing as Arlecchino, Rucker is excellent as the conniving Tonio and as Silvio, Nedda’s lover, baritone Scott Hendricks displays a rich, creamy voice and a credible connection to Futral.

The two operas are well presented, especially vocally and instrumentally. They’re a little less satisfying dramatically, but they make for a pleasant evening.

THE LOCATION: San Diego Opera at the Civic Theatre, through April 2

Love, American Style

THE SHOW: Orange Flower Water, by Craig Wright, concerns adultery and divorce. Two couples. Four offspring. And one affair. The point is to show the havoc wrought on the ‘survivors’ of this kind of chicanery. But Wright tends toward philosophizing rather than dramatizing. This was also a problem in The Pavilion, his pretentious play of memory and regret which was presented at the Old Globe in 2001. His characters just aren’t interesting enough to make us care. Even believable simulated onstage sex can’t save this play. Ninety minutes of angst and anguish, but no dramatic payoff. In other words, too much foreplay, no climax. Under Jerry Pilato’s direction, the four actors (real-life married couple Jennifer Lee Vernon and Sean C. Vernon; Teresa Beckwith and William Parker-Shore) effectively remain onstage as witnesses to the action, even when they’re not involved in the scenes, which are composed of various paired permutations. The performances are variable, though each actor has at least one shining moment. But the play doesn’t move or touch or affect us. Pity. There’s plenty that could be said on the subject.It just isn’t said here.

THE LOCATION: 6^th @ Penn Theatre (s0n to be renamed Compass Theatre), through April 6

Agitprop

THE SHOW: Extraordinary Renditions, new political playlets by a new company, Impact Theater, whose mission is “producing original plays about pressing issues that affect the world we live in.” In a brief, 75-minutes, three playwrights – Scott Boehm, Jessica Plautz and Jo Ann Allen (former news reporter at KPBS) -- air their views and grievances about a variety of issues, from immigration to Spanish immersion in school. The 11 pieces (some less than five minutes long) get the message across, but a few are on-the-nose didactic, while others are amusingly satirical. The false advertising was in the promise that the whole evening was “a satire.”

Most of the satiric pieces were written by Boehm, and they’re the best ones of the lot. “The Seals” conflates the xenophobia of anti-immigration activists with the impassioned reactions to the seals at the Children’s Pool in La Jolla. Very funny conceit. Also clever and humorous is Boehm’s “Survivor Jeopardy,” a game-show that pits whites against blacks and Latinos, underscoring FEMA’s race and class discrimination in saving or helping people in a crisis like Katrina in New Orleans. Other pieces were less successful in terms of dramatic arc and the performances of the seven actors, who have varying degrees of experience. Jessica Parsell and Magon Thayer are energetic and convincing in several roles.

Members of Activist San Diego, who were in the audience the night I was there, were loving every minute of it. Preaching to the choir. But the plan to take some of these skits into the schools seems like a great idea, and a wonderful way to enhance political awareness in young people. One piece, “Kill Me Already,” was true to the show’s title, which means ‘torture by proxy’; a hopeless Guantánamo prisoner is waterboarded as punishment for his suicide attempt. As the onstage subject (frighteningly effective Jesse Moore) put it during the talkback, “it’s important to be able to see something like this, instead of just reading about it. I hope something about this will stick, and make someone think of something to do about it.” That’s the mission of Impact theatre. Bravo to them for taking on tough topics. There’s far too little political theater in San Diego. They should s, thoughtick to the satire; humor is a great way to get people to pay attention.

THE LOCATION: Impact Theatre at Swedenborg Hall, through March 29

NEWS AND VIEWS ….

… Show your support! … This Friday 3/28 kicks off the KSDS Jazz88 Membership Campaign, and it’d be great if the theater community demonstrated its enthusiasm for this arts-friendly public radio station. It doesn’t take much – or cost much – to become a member. Show them you appreciate having theater reviews on their airwaves! I’ll be pitching next Friday morning around my review-time (4/4, 8-10am -- live!), but you can call any time (619-388-3000) or join online (www.jazz88.org). In any event, I hope you can catch my review (9am this Friday and every Friday). If you miss the broadcast or live-stream, you can read or listen to the reviews, any time, at www.jazz88.org. Thanks for all the wonderful feedback; and thanks for showing your support.

… It’s a Miracle… Miracle Theatre Productions, former tenants of the Theatre in Old Town, is back with the San Diego premiere of Robert Dubac’s Male Intellect: The 2^nd Coming. This is the sequel to Dubac’s popular one-man show, The Male Intellect: An Oxymoron?, which ran for more than six months in Old Town in 2005. The show has toured more than 500 cities and 10 countries since 1995. In his new solo outing, Dubac picks up where he left off, playing a whole cast of characters as he tries to figure out what women want. At the Lyceum Theatre, beginning June 6. Tickets at sandiegorep.com

… What a Zero!… I had the great pleasure of spending some time with Jim Brochu, star of the one-man show, Zero Hour, which pays tribute to the late, great, oversized talent of Zero Mostel, star of Fiddler on the Roof , A Funny Thing Happened on the Way to the Forum and “The Producers” (the movie). The show, directed by Piper Laurie (“Carrie,” “The Hustler”), only had a one-night run at the Poway Center for the Performing Arts, and there were three other openings that evening. I was really sad to miss it, but I was fortunate that local arts supporter Judy Strick (a friend of Brochu) took me to the tech rehearsal, so I could watch some of the performance and go out for a pre-show meal with the Big Man himself, and his charming and talented partner, Steve Schalchlin. Brochu was delightful, on and off the stage. He’s warm, expansive and hilariously funny. Both of us having come from Long Island, sharing sensibilities and a sense of humor, we felt like we’d known each other for years. Jim has met everyone who’s anyone in Hollywood and New York (including, of course, Zero Mostel, whom he portrays to a perfect T). He has an impressive bio, including a great deal of stage, screen and TV work, published plays and an Off Broadway hit, The Big Voice: God or Merman? Now he plans to take Zero Hour to the Big Apple, too. It won an L.A. Ovation Award as the Best Play of 2006. Watch for it. And hope, as I do, that Jim comes down again from L.A. with a longer run. (Theater owners/producers, take note!).

…Speaking of one-man plays, North Coast Repertory Theatre has scored the West coast premiere of McGuire, by Dick Enberg, one of the most prominent play-by-play announcers in network television. Broadway, film and TV actor Cotter Smith will reprise the role he created for the 2005 premiere, displaying the wit, wisdom and reminiscences of the legendary Marquette basketball coach Al McGuire, who died in 2001. Thirteen-time Emmy-winner Enberg will participate in a talkback after each performance. Two nights only, April 21-22. www.northcoastrep.org.

People and Places

… Lauren Hunter, who recently received an Honorable Mention in the first annual Patté Scholarship competition, has been called back three times in her pursuit of a lead role in the hit Broadway musical Spring Awakening. She’s headed to New York next week for another round of auditions. A junior at La Jolla High School, Lauren describes this as “the opportunity of a lifetime, a dream come true.” She has performed with the California Young Actors Conservatory, and attended summer programs at the La Jolla Playhouse and Stagedoor Manor in New York. But she credits her coach and mentor, Steven Grey-Romande, himself a Broadway performer, for preparing her for this opportunity. The national tour of Spring Awakening, which won a whopping 8 Tony Awards in 2007, kicks off in San Diego on August 15. Check back here for updates on Lauren’s progress. And keep your fingers crossed for her.

… Local playwright Jim Caputo is a winner of the 2008 Ninth Annual Theatre Oxford Ten Minute Play Contest. His piece, Mary’s Yarn, was chosen, along with four others, from among a submission field of 300 plays. Readings of the five winning one-acts will take place on April 12, in Oxford, MS (which was Faulkner’s hometown). The judges will decide on the final winner, who will receive $1000 and a full production, in September 2008. Jim tells me that current residents of Oxford include John Grisham, Ted Dansen and Mary Steenburgen. Maybe they’ll come see his little play! As they used to say on “Mission: Impossible,” Good Luck, Jim!

READING ROOM

… ion theatre continues its Intimate Ibsen series with a reading of Ghosts, featuring Rosina Reynolds, Jim Chovick, Claudio Raygoza, Matt Scott and Sara Beth Morgan, directed by Glenn Paris. Monday, March 31 at 7pm in the Lyceum Space. Reservations strongly recommended: 619-374-6894

…The San Diego Shakespeare Society is presenting a staged reading of Much Ado About Nothing, performed by some of San Diego’s finest, directed by Jack Winans. 7pm on Monday, April 7. www.sandiegoshakespearesociety.org. 619-284-9783.

'NOT TO BE MISSED!' (Pat’s Picks)

A Little Night Music – a challenging chamber musical, delightfully executed

Cygnet Theatre at the Old Town Theatre, through 5/4

Bluebonnet Court – dramatic and provocative themes, interspersed with comic relief; excellent ensemble work

A Moxie Theatre & Diversionary Theatre co-production, at Diversionary, through 4/13

Dancing in the Dark - world premiere musical, based on the MGM classic; wonderfully done; great fun

Old Globe, EXTENDED through 4/20

One Flew Over the Cuckoo’s Nest - enter the loony-bin at your own risk! Excellent ensemble; based on a literary cult classic, and still frighteningly relevant

The Theatre, Inc., at Twiggs Coffee Lounge, through 3/29

Dancing at Lughnasa – lovely production of a beautifully written play

New Village Arts, through 3/30

The American Plan – flawed but intriguing play, gorgeously designed and performed

Old Globe’s Cassius Carter, through 3/30

Tick, Tick… BOOM! –energetic, rock-infused identity angst, from the creator of Rent

Stone Soup Theatre Company at the Academy of Performing Arts, through 3/30

(For full text of all of Pat’s past reviews, going back to 1990, use the Search engine at www.patteproductions.com)

T.S. Eliot said April was the cruelest month, but he obviously didn’t live in San Diego. Celebrate the season (and the weather) by patronizing the arts – our other main attraction!

Pat

© 2008 PATTÉ PRODUCTIONS, INC.

For more than 20 years, Pat Launer has been the only regular broadcast theater critic in San Diego. An Emmy Award-winner with a Ph.D. in Communication Arts & Sciences, Pat sees and reviews more than 200 local theater productions every year. For the past decade, she has hosted and produced The Patté Awards for Theatre Excellence, a gala community event that honors local theatermakers (“San Diegans making theater for San Diego”) and celebrates the broad diversity of San Diego theater.