SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #242

By Pat Launer

www.sdtheatrescene.com

05/09/08

In Urinetown, to pee you pay;

In Corpus Christi, Jesus is gay;

In Funny Bones, death implodes,

And The Pearl Fishers netted Zandra Rhodes.

Drop-Kick Me, Jesus….

THE SHOW: Corpus Christi, the 1998 passion play by Terrence McNally that has been a source of controversy for the past ten years. This cast includes women, thanks to a special dispensation from the playwright.

THE BACKSTORY: When the Manhattan Theatre Club announced the opening a decade ago, there was hysteria from the religious right, since the play tells the story of Jesus as a gay man from Texas. They stormed the theater and made death-threats on the playwright. In the maelstrom of an inflammatory freedom fight (freedom of speech, freedom of religion), MTC backed down and postponed the opening, but it took a lot of heat for that decision. The play finally opened, to very mixed reviews. But it went on to garner Best Play honors from the York Drama Critics Circle, the Drama Desk and the Outer Critics Circle… And the beat goes on. On January 19, 2008, the Anglican bishop of South Sydney, Australia, condemned Corpus Christi,, which was being produced as part of February’s Gay and Lesbian Mardi Gras, as “deliberately, not innocently, offensive.” And last week, the night before the play was to open at Diversionary Theatre, the marquee was defaced. Needless to say, most of those protesting the production have never seen the play.

THE STORY: It’s the story of Jesus, from birth to crucifixion, starting out in Corpus Christi, Texas, the playwright’s home town (he also grew up as an alienated gay man). Joshua (which is, oddly enough, how many orthodox Jews refer to Jesus) is a little ‘different’ from the get-go: he hears hammering in his head (a premonition of the nailing of the cross0, and he’s gentler and more forgiving than his peers, which of course makes him fertile fodder for the rednecks around him. In high school, he’s something of a pariah, until he meets the dangerously seductive badboy, Judas. They begin a relationship that is destroyed by Judas’ jealousy. Then Joshua disappears for awhile (as he does in the New Testament; there are a number of years in his life unaccounted for) and when he resurfaces, he’s able to perform miracles. He gathers a bunch of ardent followers, many of them gay (one is HIV positive; Joshua performs a marriage for another two).

The issues raised remain relevant; obviously, religious zealotry, intolerance and homophobia haven’t dissipated in the slightest. And the piece really does preach the same message as Jesus did: acceptance and brotherly love. Forgiving your greatest enemy. And maintaining your faith. The play is surprisingly respectful of its source material, despite the rough language, sexual innuendo and base humor.

THE PLAYERS/THE PRODUCTION: What’s most exciting about the production is its sheer theatricality. We are watching the entire effort unfold. At first, we see the actors come onstage and set up the minimal props and scenery (designed by director Nic Arnzen. Then, they are ‘baptized’ with a new name, the character they’ll be playing for the evening. They introduce themselves to the audience, with a contemporary twist (“Andrew, a masseur. Andrew loved Joshua – a lot.” “Simon, a singer, a follower of Joshua. All my life, I wanted to belong... Before, I had to sing to be happy; now I sing because I’m happy.”). At the end of the play, they pack up their gear and depart (no curtain calls; very effective), leaving the theater ghost-light center-stage behind them. Following close on the heels of the crucifixion, it’s a very moving conclusion.

L.A.-based director Arnzen, who’s helmed a number of productions of Corpus Christi, has chosen a flexible, malleable cast and directed them well. Some of the words and actions are silly. But much of it gives a fascinating and provocative spin to the narrative, the principals and the topicality.

Spunky Jessica Parsell is notable for her several roles, including a knuckle-slamming nun and Joshua’s frustrated prom date. Rachael van Wormer is strong as John and others. Anna Rebek’s lovely voice courses through the evening, punctuating the action with appropriate tunes (“Oh Little Town of Bethlehem,” “We Three Kings,” etc.). Everyone has a moment to shine. But it’s the central duo that glues the piece together, and they do so with flair. Eighteen year-old high school senior Trevor Bowles, who did such impressive work as Gaston in the J*Company’s Beauty and the Beast last year, and this year in Hawaii for the Playwrights Project, is aptly angelic but aggrieved as Joshua. He has a grace, charm and fragility that work wonders (so to speak). As his foil, Rich Carillo, fresh from playing another seducer, Marcus Antonius, in Tony and Cleo at 6^th @ Penn, has the perfect mix of sensuality and danger. The costumes (uncredited) are khaki clean-cut, but all the little details pale beside the earnestness of the play and its delivery. Excellent job all around, though admittedly, this one’s not for everyone.

THE LOCATION: Diversionary Theatre, through June 1

BOTTOM LINE: Best Bet

Sail on, Ceylon

THE SHOW: The Pearl Fishers (Les Pêcheurs de Perles), Georges Bizet’s lesser-known opera (he composed Carmen 12 years later, in 1875). The opera has many of its own delights, including a number of stunning duets

THE STORY: In ancient Ceylon (modern-day Sri Lanka), two boyhood friends fall in love with the same woman, but they vow to relinquish her in deference to their friendship. They go their separate ways, and Zurga becomes the island’s leader. After a long absence, his comrade, the hunter Nadir, appears just as the people are about to celebrate the arrival of a virgin priestess who will bless and protect the fishermen. When the veiled priestess and Nadir catch sight of each other, they re-kindle their long-harbored love. He sneaks into her chamber at night, and the lovers are reunited. But the High Priest Nourabad catches them in flagrante, and condemns them to death as traitors (she has taken a vow of chastity). Zurga becomes insanely jealous when he finds out, and though Leila begs for mercy, he refuses. They are placed on the funeral pyre, as the townspeople celebrate the impending death- spectacle. Zurga, meanwhile, has been tortured by his decision, dooming the two people he loves most. He has also come to realize that it was Leila who saved his life many years ago. So, Zurga sets fire to the village to distract the townsfolk, and as they run off, he lets the lovers go free, a valiant act which costs him his life.

THE PRODUCTION: This is the much-acclaimed production the San Diego Opera mounted in 2004, and which has since been seen in many cities around the nation and in Canada. The scenic and costume design is by pink-haired, internationally renowned fashion designer (and sometime Del Martian) Zandra Rhodes. Her painterly sets are a delight: the brightly colored palm trees with their wild geometrics on trunks and leaves (with a touch of realism in an otherwise abstracted design, after the big storm, the cutout trees droop). The storm is conveyed by a stylized backdrop of seemingly pencil-drawn slashes of rain, with sound and lighting providing tempestuous details. Speaking of lighting (designed by Ron Vodicka), there’s an under-abundance of it, and an over-reliance on pin-spots and follow-spots, while the rest of the stage remains cloaked in shadow. Nonetheless, the bright spotlights on Leila render her luminous. Throughout, Rhodes presents a joyful color palette, turquoise and hot pink juxtaposed with orange and red. Striking.

THE PLAYERS: The romantic leads – hunky American tenor Charles Castronovo and crystalline Russian soprano Ekaterina Siurina – really ramp up the romance; they’re offstage husband and wife. Her voice is pure, supple and beautiful; his is full-bodied and enchanting. Their impassioned, second-act love-duet, "Ton coeur n’a pas compris (“Your heart didn’t understand”) is poignant and affecting. His ravishing first-act solo, "Je crois encore entendre" is marvelously executed. And as always, a high-point of the production is the stunning first-act male duet, the reverie "Au fond du temple saint" (‘In the depths of the temple’), a dreamy reminiscence of the friends’ first view of Leila’s perfection, sung by Castronovo and robust American baritone Malcolm Mackenzie. Mackenzie is variable in other places, but in this duet, and the one with Siurina, he shines. The moment when he pins her to the ground, and appears to rape her, is shocking and unforgettable. As the High Priest, Brazilian bass José Gallisa (who played the role here four years ago) flaunts a powerful voice and a splendid costume, but he doesn’t leave a strong dramatic impression. As in the earlier production, the death of Zurga comes way too fast and ends the opera too abruptly. Death by gunshot is startling but anachronistic.

The choreography, by John Malashock, artistic director of Malashock Dance, courses through the story and adds color, movement and drama to the production. The emphasis is on leaps and somersaults, leapfrogging and whimsy. The staff-dance during the pre-death celebration is especially exciting. But the company seemed out of synch at times on the night I was there; the uniformity and precision typically seen in Malashock’s dancers was lacking. Conductor Karen Keltner, clad in an aptly colorful coat, did a wonderful job with the San Diego Symphony orchestra, with standout moments from the mellifluous harp in the men’s duet and the frenzied whirlwind of the storm. The sopranos came on a bit shrill at first but the chorus was otherwise admirable, both vocally and dramatically; they presented convincing activity and emotional reactions, thanks to the assured and accomplished direction of Andrew Sinclair (who’s helmed five productions of The Pearl Fishers and is embarking on at least three more; Malashock has also been involved in all these productions). They’ve made some changes, refined the vision. And of course, the cast changes modify the result, which is, overall, quite delightful.

Act I:, THE LOCATION: San Diego Opera at the Civic Theatre, through May 11

BOTTOM LINE: Best Bet

Not so much Comedy Tonight…

THE SHOW: Funny Bones, the third installment of 6^th @ Penn Theatre’s Challenge Theatre, in which four playwrights are ‘commissioned’ to write a short play on a given theme, in this case, a comedy about death. Overall, the evening would have been more enjoyable if it hadn’t been promoted as a series of comedies. There was very little actual humor in the four pieces presented, and what comedy there was, was weak and forced. This was especially true of Death: Live in Concert by Dallas McLaughlin (who also directed), which features a wonderful performance by “Lead” (a well-known, mega-talented local performer who remained nameless), with excellent musical backup by keyboardist (and sometime singer) “Piano.” The premise, the Devil as a nasty, besotted lounge-lizard, is intriguing. But the humor isn’t sharp enough; the jokes, some of them intended to be lame, just don’t work, straight or as satire, despite the fine performance.

The Skull and Bones Tontine, by Tim West, is a tad arcane (in title and topic) and the ending is abrupt and opaque. Three Yale members of the infamous Skull and Bones Society participate in a secret tontine, in which participants contribute to a prize that’s awarded to the one who survives. The wheelings, dealings and machinations among the three (Zach Guzik, Steve Hohman and Justin Stepp, whose stutter comes and goes) are observed by the Old Man (Tim West, convincingly old and slow; he alternates with Paul Bourque), who is actually the survivor, looking back on the event. Interesting idea, but the prolonged setup robs the (sort of) surprise ending of its punch. Nicely performed, though (direction by Chelsea Whitmore.

Feeding Time in the Human House, by David Wiener, is strongly reminiscent of “Words, Words, Words,” the brilliant, simian segment of David Ives’ All in the Timing, where three monkeys are left in a room with typewriters, to see if they’ll live up to the “Infinite Monkey Theorem” that posits that, given enough time, a typing chimpanzee could create a Shakespearean masterpiece. Here we meet two baboons, sitting in their zoo enclosure, watching and commenting on the crazy, animalistic humans who go by -- and tossing turds at them for fun. Ivan Harrison and Michelle de Francesco are amusing (she’s especially excellent with the monkey moves), and there are some interesting perspectives on people.

The most satisfying play of the evening is One Down, by Michael Thomas Tower, directed by Gilbert Songalia. Two vicious sisters resentfully share a dilapidated Southern cabin with their dying and demanding father. Lucy (Kelly Lapczynski) is something of an invalid herself, but her smartass attitude hasn’t aged one bit. When an enigmatic stranger (Jude Evans) shows up on the porch, she’s intrigued. There’s something familiar in his eyes, and something appealing in his manner, of which she plans to make immediate use. It’s a bloody little piece that I wouldn’t quite call a comedy, but it’s deliciously nasty and very well done. Lapczynksi, Evans and Leslie Gold make for a deadly, dead-on trio.

It would be nice if the program included info about the participants. There isn’t much to go on, and many of these folks are quite accomplished. They deserve their due. This isn’t the strongest of the Challenge Theatre presentations, and according to Tower, the program is being re-thought. But it remains an appealing conceit.

THE LOCATION: 6^th @ Penn Theatre (soon to be re-christened Compass Theatre), through May 11

KIDS’ WEEK… I spent a good deal of time last week with young people. First, I spoke to about 80 graduating seniors at the San Diego School of Creative and Performing Arts (SCPA) about their future in the arts business. Then, I saw a production of Sea Monster from Asian Story Theatre, which was attended by about 300 school-kids, from grades 2-12, thanks to the support of Young Audiences and Arts Bus Express. The show, written by Kent Brisby, comprised three wonderful folktales relating to the Pacific Ocean, originating in three different cultures: Native American, Incan and Indonesian. The legends were fascinating, punctuated by music, singing and dance, but they were weakly tied together. Still, the kids seemed to be loving it, especially the elements of spectacle: the small, puppet-like octopi (‘manned’ by a bevy of young kids) and the huge, dragon-sized giant octopus. Many inventive elements, but it seems like a work in progress.

… AND THE PEE-NULTIMATE youthful production was Urinetown at SDSU, the award-winning, delectably quirky, off-the-wall musical about drought, greed, revolution, love and toilets (music and lyrics by Mark Hollman; book and lyrics by Greg Kotis). It was a bittersweet event, the final show of the graduating musical theater MFA candidates, and the final musical direction and accompaniment of Dr. Terry O’Donnell, who’s retiring this month, after 30 years and 106 productions. His musical work on the show was superb, and his five-piece band (including himself on keyboards) nailed every number, with zest and wit. The direction and choreography of faculty member Paula Kalustian brought out all the humor and parody. Her dance numbers spoofing Fosse, Tommy Tune, Fiddler on the Roof, Les Miz and others were nothing short of uproarious. The 20-person cast, featuring the eight graduating MFAs, acquitted themselves excellently. Lindsey Gearhart was superb as pee-payment collector Penelope Pennywise (she did a fine job on the punishingly difficult number,” The Privilege to Pee”). Charlie Reuter was dramatically strong as the corrupt CEO, Caldwell B. Cladwell, and Maeve Martin was adorable and vocally powerful as his aptly-named daughter, Hope. Andrew Smith played the hero, Bobby Strong, with the appropriate amount of optimism and earnestness, but he sometimes seemed to be singing outside his range (same with Reuter). Of the non-graduating students, Brandon Joel Maier was a commanding presence as the narrator/cop, Officer Lockstock. He perfectly captured all the snarky sarcasm, and Amylee Amos was his ideal foil as the disarmingly sharp Little Sally. The superb scenic design (Chris Allison), with its platforms, ladders and lean-tos, was excellently lit by Maureen Hanratty, with wonderful, whimsical costumes by Jeannie Galioto. Great fun all around. From Bat Boy to Urinetown, SDSU seems to specialize in wacky musical; next up is Musical of Musicals (The Musical). Watch for it next February; it’s bound to be a hoot.

NEWS AND VIEWS ….

… No Silence from these Lambs… Lamb’s Players Theatre, the third largest theater company in San Diego, now in its 38^th year, will be the new operator of the Horton Grand Hotel’s Grand Theatre, recently vacated by the long-running Triple Espresso (which broke local records with its 10-year run). The 230-seat space will be refurbed by Lamb’s (new carpet, paint and equipment), and will then be host to an open-ended run of a ‘freshened’ version of the theater’s homegrown musical perennial, BOOMERS, The Musical Revue of a Generation. Previews begin July 2. The space is not new to Lambs; they first used it back in 1994, when it was known as the Hahn Cosmopolitan Theatre. The theater was built in 1986 by the Gaslamp Quarter Theatre, through the vision of its managing producer, theatermaker Kit Goldman, and her then-husband Don Pearson. The current owners of the hotel, the Rose family, purchased the theater in 1997. www.lambplayers.org.

… Volunteers Needed… for the Old Globe’s Education Department tour, Follow the Bard. Love of Shakespeare – and children – a must. The 90-minte tours introduce kids to WS, through discussion, and a ‘hunt’ for various hidden Shakespearean costumes and props. For info, contact director of education Roberta Wells-Famula, rwells-famula@theoldglobe.org, 619-238-0043 X 2144.

… Foreman to the Fore (again)…. Karole Foreman is starring in the West coast premiere of a new musical, Norman’s Ark, A Musical of Epic Proportions, with book by Jerome Kass, music & lyrics by Glen Roven, directed by Tony-winner Peter Schneider. 5/27-6/8 in L.A.’s Ford Theatres (across from the Hollywood Bowl). www.fordtheatres.org. At the same time, Foreman is gearing up for the premiere (reading) of her own musical creation, The Venus Hottentot’s Extreme Makeover (book and lyrics by Karole Foreman, music by Ruff Yeager), which will be part of Vox Nova’s “Super Nova” series of new play readings, June 3-8. www.voxnovatheatrecompany.com

... Back-to-School – in Arts Journalism!! … Despite the waning of arts coverage in all venues, USC has impressively stepped up the plate to remedy the situation. Its Annenberg School for Communication, one of the country’s leading institutions devoted to the study of arts journalism and criticism, is launching an innovative M.A. degree program focusing on Arts Journalism. The new program is open to journalists, recent graduates holding bachelor degrees in journalism or one of the arts, and experienced arts practitioners. Applications are being accepted through July 1. annenberg.usc.edu

THE READING CORNER

… Last-Minute Mother’s Day idea: Make your Mom’s Day really dramatic: Take her to a performance:

‘Brunch and Ballet’ -- City Ballet’s elaborate production of Don Quixote, preceded by brunch at the Bristol Hotel. 12noon brunch, 2pm performance on May 11. www.cityballet.org

And end the day with a special staged reading (back by popular demand) of Waiting to be Invited, presented by the San Diego Black Ensemble Theatre, directed by Antonio TJ Johnson and featuring Syliva M’Lafi Thompson, Mark Christopher Lawrence, Monique Gaffney, Veronica Murphy, Veronica Henson-Phillips and Ida Rhem. 7:30pm, May 11 at the Malcolm X Library. www.sdbet.org

…Jenny Chows Down Again… Carlsbad Playreaders presents The Intelligent Design of Jenny Chow (An Instant Message with Excitable Music) by Rolin Jones. Seema Sueko reprises her award-winning performance (Old Globe, 2004) as an agoraphobic Chinese teen with Obsessive-Compulsive Disorder, a compulsion to build a robotic doppelgänger and an ache to find her birth mother. The staged reading, directed by Siobhan Sullivan, also features Frances Regal, Jim Chovick, Dana Case, Jacob Caltrider and David Peryam. 7:30pm Monday, May 19 in the Dove Library.

… All you need is “Love”… TV personality Bree Walker and her former husband, NBC and HBO sportscaster Jim Lampley, are appearing in A.R. Gurney’s Love Letters at the Schulman Auditorium in Carlsbad at 7pm on Monday, May 12.

DANCE DEPARTMENT

… Fill your Mother’s Day weekend with Dance… Voices of San Diego Dance Theater, presented by the SDSU School of Music & Dance, and the Department of Theatre, will feature work by leading choreographers, including Jean Isaacs, Joe Goode, Wendy Rogers and Keith Johnson. May 10 (8pm) and May 11 (7pm) in the Don Powell Theatre on the campus of SDSU. Meet the Dancers Reception following both shows. 619-225-1803. www.sandiegodancetheater.org

… The next 4x4 Performance (a monthly series begun in October 2006) is a special celebration of the one-year anniversary of San Diego Dance Magazine. This month’s performances are curated by Melanie Dellas. The concept is simple: a 4 foot-by-4-foot stage and a 10-minute time limit. Shows starts at 8pm on the 2^nd Tuesday of each month at the Bluefoot Bar & Lounge, 30^th & Upas in North Park. May 13 is the anniversary party. Presented by Culture’s Edge.

… Culture’s Edge also teams up with the Museum of Contemporary Art San Diego to present The California Touring Project, this Saturday, May 10 at 8pm in the La Jolla museum’s Sherwood Auditorium. As past of a three-city tour, the one-night event features three California contemporary companies: The Hybrid Authorship Project (Liam Clancy, Joe Alter and Eric Ceiger), Cid Pearlman and casebolt and smith. The San Diego Union-tribuen names this evening of dynamic dance One of the Top 10 Dance Performances of 2007. www.sandiegoperforms.com

'NOT TO BE MISSED!' (Pat’s Picks)

Corpus Christi – highly theatrical, thoroughly delightful – and very respectful (even if Jesus and the Apostles are gay)

Diversionary Theatre, through 6/1

The Pearl Fishers – a beautiful couple and gorgeous singing at the center, with colorful sets and costumes by Zandra Rhodes

San Diego Opera at the Civic Theatre, through 5/11

Prelude to a Kiss –a modern-day fairy tale, enchantingly told

New Village Arts, through 5/18

Terra Nova – chilling story (based in fact), intense drama, excellent production

Inukshuk Production Company at Compass Theatre (formerly 6^th @ Penn), through 5/11

A Little Night Music – a challenging chamber musical, charmingly presented

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

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

Do something extra-thoughtful (and dramatic) this Mother’s Day – Take your Mom to the theater!

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.