SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #237

By Pat Launer

www.sdtheatrescene.com

04/04/08

In honor of César Chavez Day

Southwestern has mounted a musical play.

Ibsen’s Ghosts remain dark and shifty

And there’s a return to The Far Side of Fifty.

THE EAGLE HAS LANDED

THE SHOW: Let the Eagle Fly: The Story of César Chavez, by a Chicago husband-wife team (book by John Reeger; music and lyrics by Julie Shannon). Workshop productions over the past two years have been staged in Chicago and Sacramento. This is the show’s first full-scale production (Southwestern College, in association with Teatro Máscara Mágica), and the first dramatization of César’s life to be sanctioned and supported by the Chavez family. Some of them attended performances last week, and more are expected this weekend. During the six-year writing process, Reeger and Shannon benefited from the creative advice of Tony Award and Pulitzer Prize winning lyricist Sheldon Harnick (Fiddler on the Roof), who called the show “a first-rate musical drama.”

THE BACKSTORY: Since César Chavez is important enough for an annual holiday in eight states, a little historical background is in order.

César Estrada Chavez was a second generation American, born in 1927 near his family farm in Yuma, Arizona. When he was ten, the family lost the farm, and they were forced to become migrant workers. Throughout his youth, César migrated across the Southwest, laboring in the fields and vineyards, where he was exposed to the injustices of farmworker life. He only completed an 8^th-grade education, having attended more than 30 schools by the time he was 14. But he had a voracious intellectual curiosity, and was an expansive reader.

At 19, he enlisted in the U.S. Navy and served in the Western Pacific. When he returned from the service, he married Helen Fabela, whom he had met working in the vineyards of Central California. She was by his side throughout his activist battles (his womanizing indiscretions notwithstanding, though they don’t make their way into the new musical). The couple had eight children, and a number of them (and their offspring) are still active in ‘la causa,’ the cause. César’s life as an activist began in 1952, when he joined the Community Service Organization (CSO), a prominent Latino civil rights group, ultimately becoming their national director.

In 1962, he resigned to found the United Farm Workers of America. For more than three decades, he led the nation’s first successful farm workers’ union, fighting for dignity, respect, civil rights, fair wages, medical coverage and humane living conditions. Against seemingly insurmountable odds, he led successful strikes and boycotts against one of California’s most powerful industries, the grape growers. A strong believer in the principles of non-violence practiced by Mahatma Gandhi and Dr. Martin Luther King, Jr., César effectively employed peaceful tactics including fasts (he himself staged two 25 day fasts and at age 61, a 36-day “Fast for Life”).

In 1970, on the heels of a hugely successful international boycott of California table grapes, Chavez left grape growers no choice but to sign their first-ever union contracts.  His union’s efforts brought about the passage of the groundbreaking 1975 California Agricultural Labor Relations Act; it remains the only law in the nation that protects farmworkers’ right to unionize. Dr. King wrote César letters of support, and Sen. Robert F. Kennedy called him “one of the heroic figures of our time.”

The significance of his life transcends any one cause or struggle. He was a humble man who became inspired, and he in turn inspired millions of others to seek social justice and civil rights for the poor and disenfranchised in our society. At age 66, he died in his sleep in San Luis, Arizona, only miles from his birthplace. More than 40,000 people attended his funeral services in Delano, California, where he’d planted his seeds of social justice.

He was nominated for the Nobel Peace Prize three times. In 1994, President Clinton posthumously bestowed on him the Presidential Medal of Honor, the highest civilian award in America. In 2006, Gov. Arnold Schwarzenegger inducted him into the California Hall of Fame.

César was an American hero. But he didn’t aspire to greatness; he did what he felt compelled to do. He never earned more than $6000 a year. He never owned a home. He was a common man with an uncommon vision: a humanitarian, environmentalist, consumer advocate and crusader for non-violent social change. His motto, “Si se puede” (‘Yes, it can be done’) still inspires, and it echoes in the “Yes We Can” campaign slogan of Barack Obama. The last line of the ‘United Farm Workers’ Prayer,” which César wrote, says it all: “Help us love even those who hate us, so we can change the world.” We could all benefit from César’s influence today. And we should all know, retell and reflect on his extraordinary story.

THE PLAYERS/THE PRODUCTION: The play covers a wide swath of César’s life, but homes in on his obsession, his passion for making change and achieving results for the farmworkers. The action centers on the 1960s buildup to the five-year grape strike and boycott that touched and changed millions of lives. It’s a multi-media production, with wonderfully evocative projections and films of César and the places he went. In the lobby, there are photos of the handsome, charismatic man, working his magic in the crowds. The set and lighting (Gary Larson) is simple but effective, the organic set-pieces mirroring the shapes in locales depicted in the excellent projections.

With 22 scenes spread over two acts, and a running time of more than 2½ hours, the musical feels long, and repetitive at times (there are nearly ten song reprises). The nine-piece pit band, under the direction of John Academia, captures all the ache and joy of mariarchi; but there are other styles as well, from ballads to polka. The highlights of the score are the songs about the backbreaking farmwork (“For a Moment,” a powerful number about “bending, bending,” staged with wonderfully stylized moves) and the songs of the ‘movement,’ particularly the inspiring “Si Se Puede,” which sticks in the mind, for its melody and its obvious emotional significance to the cast. The memorable folksong “De Colores,” which was adopted as an anthem of the campesino, wafts effectively through the proceedings.

Veteran director William Virchis (professor emeritus at Southwestern College, and co-founder/artistic director of Teatro Máscara Mágica) works a few wonders with a highly variable cast. The principals are strong, all brought in from the outside. Two of the men performed in Máscara Mágica Pastorela last year: Dave Rivas, forceful as César’s brother, Richard; and Joey Molina as César himself. Molina has appeared in The Grinch at the Globe, Celebration of the Lizard at San Diego Rep and The Who’s Tommy at Southwestern. He has the perfect demeanor, soft-spoken, stalwart, fiercely committed. Vocally, he does fine in the highs, but the low notes seem to fall below his range. Still, it’s a convincing performance. Suzy Hernandez Peredo (a founder of the San Diego Shakespeare Society, who appeared in the San Diego Rep production of Don Quixote last year) is excellent as tireless fellow activist Dolores Huerta. After several unavoidable cast changes, the role of Helen, César’s wife, was bravely assayed by 15 year-old high school student Satya Chavez, who does a very solid and believable job.

Overall, the play and production are flawed, but the story is extraordinary, and it deserves to be seen and told.

THE LOCATION: Maya Hall, on the campus of Southwestern College, through April 4

BOTTOM LINE: Best Bet

GHOSTBUSTERS

THE SHOW: Ghosts, Henrik Ibsen’s 1881 drama (first staged in 1882) that, like many of his works, is a scathing commentary on 19th century morality. It was shocking in its day; one English critic called it "a dirty deed done in public." The play remains provocative today; without using any of the incendiary terms, the plot confronts venereal disease, incest, prostitution, mercy killing, the hypocrisy of the church, unwed motherhood and feminine independence. That’s enough to rile anyone. Even today.

As part of ion theatre’s year-long series of Ibsen’s 12-play cycle, which they’re calling ‘Intimate Ibsen,’ the reading was marvelous, with a stellar cast under the direction of Glenn Paris. Jim Chovick was supercilious and smarmy as Pastor Manders; Matt Scott convincingly portrayed yet another dissolute drunk (Jakob Engstrand); Sara Beth Morgan was perky, subservient and knowing as Regina, Jakob’s supposed daughter, a servant who’s really a rightful (if illegitimate) member of the upright Alving family. The real fire and heat came from the interactions between magnificent Rosina Reynolds as Mrs. Alving, trapped in the female duties of the day, but evolving in the realization of her position and her plight; and Claudio Raygoza, the prodigal son who becomes, for good and ill, the embodiment of his unhappy, promiscuous father. Once again, scholar A.C. Harvey led the talkback discussion, with insightful additions from some Norwegian audience members. These thrilling theatrical moments deserve to be recaptured for a longer run. This is another one ion should certainly contemplate for a later, full production (put it on the list, with Doll’s House).

GIRLS STILL WANNA HAVE FUN

THE SHOW: Billed as ”the ultimate reality show,” Tales from the Far Side of Fifty 2 features more stories from menopausal women… and these ain’t your grandma’s old wives’ tales! These are the gritty narratives of real life, from a dozen “real older women” (age 56-84). The stories are true and truly compelling – some funny, some shocking, some painful or teary or unnerving. They’re all about love, sex, marriage, friendship and wisdom in the so-called Golden Years. The original 2006 production was a sellout at venues around the county, and the recent Oceanside production, with an all-new cast of colorful characters (including local actor June Gottlieb) was another knockout. There are still the songs about the morass of medications, about being “Invisible” and the title theme song about being “in this together.” Very inspiring. Emanating from writing classes taught by Lonnie Hewitt, the stories are both deeply personal and universal. The readings are heartfelt, and it’s impossible not to get caught up in the emotions. Plans are underway for additional performances at different venues (the Star Theatre in Oceanside was crammed to the rafters). One of the highlights of the afternoon was the guest appearance by the original Far Side gals, all 14 of them. A wonderful, insightful experience for men and women alike. Don’t miss it the next time it’s in town!

This production coincided with the First International SWAN Day (Support Women Artists Now), a new holiday set to take place each year on the last Saturday of March, which is Women’s History Month. As a symbol of international solidarity, there were events featuring women artists all over the world. The intent is to show “what the world might be like if women’s art and perspectives were fully integrated into all our lives.” The long-term goal of SWAN Day is to inspire communities around the world to find new ways to recognize and support women artists as a basic element of civic planning. SWAN Day is a grassroots effort coordinated by The Fund for Women Artists. Check it out (www.womenarts.org or www.swanday.org), and get planning for next year.

A Week of People, Places & Events

…Albee at 80… The birthday celebration for legendary playwright Edward Albee, at the breathtaking home of Joan and Irwin Jacobs, was a benefit for the Playwrights Project, which Albee has supported for so many years. He spoke again about Arts Education in the United Stages (“hard to talk about something that does not exist”). He told of his own academic and cultural history, and spouted some shocking statistics (“No more than five percent of the kids in public schools in this country get anything reasonably called an arts education”). He talked about culture and civilization (“Having been a civilization is infinitely more important than being a world power.” “The thing that distinguishes us from all the other animals is we’re the only ones that create art, defining ourselves to ourselves… Our real power is the ability to use metaphor”).

The performance centerpiece of the afternoon was a re-creation of one winner of the statewide Plays by Young Writers contest, Justin Kuritzkes’ Hawaii (which starred one of the Jacobs’ grandchildren, 16 year-old Jess Jacobs, as well as 18 year-old Trevor Bowles, about to take on the role of Jesus in Diversionary’s Corpus Christi). They did a wonderful job, as they did in the February premiere, in this taut little drama about two teens who are attracted, though they’re about to become step-sibs, when their respective (though not respected) parents are wed in a Maui resort. The playwright, a 17 year-old from L.A., held his own impressively in a dialogue with Albee. The real gift the three-time Pulitzer Prize-winner gives to young writers is to treat them like equals, engaging them in dialogue about the craft and the answers to the inevitable (and often inane) questions writers so often are asked. For example, in response to the predictable “What do you want people to get out of this play?’, says Albee, “The correct answer is, ‘Whatever you needed to get.’”

“The most interesting question I can ask,” Albee said, addressing Kuritzkes, “is, from where you started [based in fact and reality] and ended, how many surprises were there?” “A lot!” exclaimed the young playwright. And the older writer, currently at work on a new play, was pleased.

The lovely event, an art-fest in itself just to walk through the spacious oceanfront home, ended with a touching video tribute to Mr. Albee, put together by Deborah Salzer (founder of Playwrights Project) and folks from SDSU. One of the quotable quotes from Albee in the video was “There’s no point in writing a play about people who are getting along well.” Amen to that.

… Women of Dedication… Fifteen outstanding women, who’ve given a great deal to the community, were honored by The Salvation Army at a marvelous luncheon at the Manchester Hyatt this week. Among the honorees was classy, sassy Joyce Gattas, Ph.D., Dean of SDSU’s College of Professional Studies and Fine Arts (which includes the Dept. of Theatre, Television and Film). She’s served on many boards, chaired the San Diego Commission for Arts and Culture and the Film Commission, and been designated one of “Ten Cool Women” and “50 People to Watch.” More like a thousand were watching as she strutted down the runway with a rose in her teeth. It was a thrill to see her get the acknowledgment she so richly deserves.

… The Art of Jazzercise… The headquarters of Jazzercise, founded and helmed by the ever-svelte and engaging Judi Missett, organized an Arts Reception, showcasing the work of two artists, Brendan Missett (son of Judi and Jack, and currently living in Brooklyn) and North County resident Nicholas Calabria. The intent wasn’t to sell; just to expose the North County community to art. There are some gorgeous pieces in the building, which you may remember having seen as you cruised through on the way to New Village Arts performances, when they temporarily made their home at that Carlsbad site. Entertainment was provided by director Dana Case and her Palomar College students, performing two numbers from their recent production of Greg Evans’ Luann: Scenes in a Teen’s Life. I got to spend some time with the cartoonist/composer/creator of the musical and the comic strip, talking about his first foray into musical theater. The Missetts are generous and indefatigable supporters of the arts; they do it quietly and without fanfare, but they are really making a difference in North County – which has a ripple effect throughout San Diego county. Bravo to Jack and Judi!

NEWS AND VIEWS ….

… Tune in, call in and show your support! … This Friday, I’ll be on air live, pitching in for the KSDS Jazz88 Spring Membership Campaign. PLEASE consider expressing your support for this seriously 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 go live on Friday, 4/4 from 8-10am, and I’d love you to call while I’m there. 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 at 9am (this Friday and every Friday). If you miss the broadcast or live-stream, you can read or listen to my reviews, any time, at www.jazz88.org. Thanks for all the wonderful feedback; and thanks for showing your support.

… 33 Awards… The Moisés Kaufman play, 33 Variations, opening next week at La Jolla Playhouse, was just tagged for $25,000 in prize money (the largest national playwriting prize) for the annual Steinberg/ATCA New Play Award, presented by the American Theatre Critics Association. The announcement was made last week in Louisville, during the annual Humana Festival of New American Plays. Cash awards ($7500) were also bestowed on Sarah Ruhl for Dead Man’s Cell Phone. Ruhl’s the Clean House just finished a run at the San Diego Repertory Theatre. The third awardee was Deborah Zoe Laufer, for her End Days. The Steinberg/ATCA award was inaugurated in 1977, to honor new plays produced at regional theaters outside New York City.

…and, for the aspiring playwright..…Your Mo’olelo Playwriting Class is about to begin. Every Tuesday, starting April 8. Taught by Seema Sueko, founder/artistic director of Mo’olelo Performing Arts Company, the class is designed for novice to intermediate-level playwrights. Details at www.moolelo.net/education/2008_spring.html.

… Shakin’ up Shakespeare… The San Diego Shakespeare Society is mighty busy this month. There’s the reading of Much Ado About Nothing on April 7 (see below), the annual Birthday Bash for the Bard on April 20, and the 3^rd Annual Student Shakespeare Festival in Balboa Park on April 26. It may be time for you to cultivate your Bardolatry. Event details are at www.sandiegoshakespearesociety.org

… Shakespeare goes digital… The Folger Shakespeare Library in Washington, D.C. and the Bodleian Library at Oxford have joined forces to reproduce online all 75 editions of all Shakespeare’s plays printed in the quarto format before the year 1641. In the absence of surviving manuscripts, the quartos – Shakespeare’s earliest printed editions – offer the closest known evidence of what Will might actually have written, and what appeared on the early modern English stage. Up to now, many of the quartos have only been accessible to scholars. Online visitors will be able to compare images side by side, lay one facsimile on top of the other, search plays, and mark and tag the texts. What fun for theaterlovers and theatermakers!

… Kids, arts and politics… Young artists from the J*Company Youth Theatre at the Lawrence Family JCC got their first taste of participating in the political process. Under the guidance of artistic director Joey Landwehr, the cast members of the recent production of Elton John and Tim Rice’s Aida wrote letters advocating support of the arts to all San Diego mayoral and City Council (District 1) candidates, as well as Gov. Schwarzenegger and California’s First Lady, Maria Shriver. They described how their performance experience enhanced their education, and invited the politicos to attend a performance of their show. “I wanted each cast member to understand that even though they’re young, their influence is still important, and will continue to be throughout their lives,” said Landwehr. “My hope is that this simple exercise will be the beginning of a lifetime of civic engagement.” Every single one of the politicians responded; mayoral candidate Steve Francis and City Council candidate Sherri S. Lightner accepted the invitation to attend a performance. “The generous response… was proof positive to the students that … their letters were read and their voices were heard,” Landwehr beamed.

…The Actors are Coming…(and the Agents..)… The first annual Stage, Screen and Television Actors’ Conference will take place on April 26 in the SDSU Conference Center. Open to the public, and actors age 8 and up. Meet, network, learn and connect with top casting directors, agents and artistic directors looking for talent. Listen to lectures, participate in master classes, show your stuff in audition appointments. For beginners to professional actors. www.actorsconferences.com or 619-594-5152.

… Come to the Cabaret… Cabaret is back! For one night, at the Westgate Hotel Versailles Ballroom, Karen Giorgio stars in her all new Cabaret Soirée, featuring Pixie Warren and Ric Henry, with Rayme Sciaroni on piano and Bill Andrews on bass. The price includes a champagne reception and gourmet 3-course dinner. April 26. www.cabaretsoiree.com

READING ROOM

… Frozen, by Briony Lavery, won London's Barclay Award for Best New Play in 1998. It concerns a researcher, a serial killer, and how grief and hatred have kept the mother of one of his victims in a ‘frozen’ state. The reading, directed by North Coast Repertory artistic associate Stephen Elton, features an exciting cast: Ron Choularton, Jo Anne Glover and Terri Park. Should be a provocative one. 7:30pm on Monday, April 7 at New Village Arts. www.newvilagearts.org

…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 at the Westminster Presbyterian Church in Pt. Loma. www.sandiegoshakespearesociety.org. 619-284-9783.

DANCE DEPARTMENT

… Back where he belongs… When his latest world premiere opens this weekend, Emmy Award-winning choreographer John Malashock will be onstage dancing. For the first 15 years of Malashock Dance’s history (beginning in 1988), Malashock was a featured performer. His newest work, Stay the Hand, marks the first time in five years that he’ll dance in a public performance. The fusion of design, contemporary movement and Persian music was co-conceived by Malashock, composer/UCSD professor Shahrokh Yadegari and filmmaker Tara Knight, Visual Arts faculty member at UCSD. The premiere runs April 4-13 at the Birch North Park Theatre. www.malashockdance.org.

… Cross-pollination… Collaborative choreography featuring a collection of artists from San Diego and Europe comprise Crosscurrents: European Collaborations, presented by SDSU’s School of Music and Dance. Works by Faith Jensen-Ismay (director, Mojalet Dance Collective) and SDSU dance faculty members Patricia Sandback and Melissa Nunn, will be complemented by creations from Zurich-based Elfi Schaefer-Schafroth. April 11-13 in the Smith Recital Hall on campus. Tickets: 619-594-1696 or 858-243-1402.

'NOT TO BE MISSED!' (Pat’s Picks)

Let the Eagle Fly: The Story of César Chavez – the new musical is flawed, the performances are variable, but the story is riveting and should be seen and retold

Southwestern College (Maya Hall), through 4/6

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

Cygnet Theatre at the Old Town Theatre, through 5/11

Blue Bonnet 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

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

Do something in honor of César Chavez this month; see a play about him, support social justice, emulate his non-violent approach to local and global problems.

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.