SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #247

By Pat Launer

www.sdtheatrescene.com

06/20/08

Say ‘Night Mother, Jessie; bid adieu

Cause your Mom just isn’t that Crazy for You.

This is The End

THE SHOW: ‘Night, Mother, the 1983 Pulitzer Prize winner by Marsha Norman. The intense drama, which premiered at ART, the American Repertory Theatre in Cambridge, MA, subsequently received four Tony Award nominations, including Best Play, and a Drama Desk Award. A recent Broadway revival was mounted in 2004. This is the debut production of the new Ascension Theatre Company.

THE STORY: As the play opens on a mother-daughter Saturday night at home, Jessie is telling her mother that she plans to commit suicide that very evening – but only after she completes all her chores, organizes her mother’s trove of candy and does Mama’s nails. Over the course of the next 90 minutes, we find out exactly why Jessie has come to this place of no options. And we learn more and more about her fraught relationship with her mother, a silent, seething dance of secrets, judgments and resentments. In methodically taking care of all her mother’s needs (which she’s been doing since her untimely, unhappy divorce), Jessie is as systematic in her planning as Miss Rasch in that other suicide play of the season, Request Programme (ion theatre). She knows exactly what she has to do, and after she asks all the questions that have been buried for a lifetime, after all the pent-up emotion is released, after she totes up all her failures, anguishes and disappointments, there just isn’t much more for her to say or do. Ten minutes into the action, she’s already gotten Dad’s old gun down from the attic. From here on in, it’s just a matter of time. Thelma, her mother, at first dismisses Jessie’s claims and emotions, as is so often the case. But gradually, she comes to believe what her daughter is saying, and she becomes increasingly frantic and hysterical (how much her reaction is maternal concern, and how much is about getting her own needs met, is up to the observer to tease apart). On this fateful Saturday night, Thelma comes to a few realizations. But too few and far too late.

THE PRODUCTION: This is a remarkably challenging choice for inaugurating a theater. But founding artistic director Charmen Jackson, a veteran actor/writer/producer of the Ira Aldridge Repertory Players, is not easily daunted or deterred. Her company’s mission is producing plays that tell a great story while promoting “a higher understanding of the human form and spirit.” So, ‘Night, Mother it is. Jackson found a little hidden storefront in Lemon Grove, and put in about three dozen seats. It’s a cozy space, and Don Jackson constructed a very serviceable and credible set: a living room/kitchen arrangement, with lots of nice detail (props thanks to the La Jolla Playhouse). Jackson has chosen an excellent cast and directed with subtlety and specificity. Before the action begins, we hear Paul Robeson singing “Sometimes I Feel Like a Motherless Child” (powerful sentiment, but perhaps it’d even more potent in a woman’s voice, say Odetta, Mahalia Jackson or Lena Horne). No matter. Once Jo Dempsey and Joan Westmoreland start tearing into the text, we’re sucked into the vortex of despair and dysfunction, and we’re riveted, even if we know how things are going to end.

Both women have just the right touch of Southern drawl for their gut-wrenching roles. Dempsey has a wonderful way of seeming matter-of-fact, meticulous and definitive, though Jessie is clearly riven by depression and hopelessness. Dempsey takes a no-nonsense approach to almost everything she hears and says, though some of her mother’s revelations and disclosures are cruel and cutting. Westmoreland is selfish and needy and not quite right (all that candy!). Neither of them ever goes out of the house. Their world has gotten smaller, their communication less meaningful and truthful. But this is the day of reckoning. And these two actors drag us along through their avalanche of emotional detritus. They keep us gripped and gauping until the final, heart-stopping conclusion.

THE LOCATION: Sews and Shows Community Theatre, through June 29

BOTTOM LINE: Best Bet

Not So Crazy

THE SHOW: Crazy for You, which won the Tony Award for Best Musical in 1992, when it also won for Best Costumes and Choreography. It was billed as “the new Gershwin Musical Comedy,” largely based on George and Ira Gershwin’s 1930 production, Girl Crazy. But Ken Ludwig’s book interpolates Gershwin songs from other productions as well. The Broadway premiere was extremely well received, and ran for more than 1600 performances.

THE STORY: It’s an incredibly silly plot, about a rich New York hoofer who wants to get into the Zangler (read: Ziegfeld) Follies. But his domineering mother sends him out to the hinterlands to take care of a business deal – which entails closing down an old theater. Once he gets to Deadrock, Nevada, however, Bobby falls for the only gal around, and he decides to save the town by refurbishing the old theater and staging a big, brash musical revue that will revive the Dead(rock) spirit and economy. What rescues the show from total inanity is the score (however lamely some of the songs are wedged into the story): great Gershwin songs like “I Got Rhythm,” “Nice Work if You Can Get It,” “Someone Who’ll Watch Over Me,” “Embraceable You” and “They Can’t Take That Away from Me.”

THE PRODUCTION: Local megatalents Beverly and Kirby Ward had nailed the lead roles on the national tour, which came through town in 1994. They had spectacular chemistry and the perfect array of triple-threat talent. The cast at Starlight Theatre isn’t quite up to the task. As Bobby Child, Dennis Clark can sing and dance and act, but not quite skillfully enough to mastermind the demanding comic role. Even less so Laurie Hymes, who isn’t convincing as a tough-as-nails country girl, or a serious dancer. And her singing voice often veers toward ear-piercing shrill. Though they each can tap alone, their ballroom dance duets feel clumsy and inorganic. Doug Bilitch is fine as Lank, the crusty innkeeper. And Barry Pearl has some funny moments as Bela Zangler. Clark is at his best when he’s impersonating Zangler, and their duet (“What Causes That?”) is fun. But by and large, the direction (Dan Regas) and production numbers (choreography by KC Grulli-Miller and Diane Douglas) are lackluster. There’s some fine tapping in the large ensemble, but the knife-sharp precision needed from these chorines is lacking. As Tessie and Patsy, Jen Bishop and Molly Alverez add spunk to the proceedings, as does Sandra Ellis-Troy, doing her imperious-Mama thang.

The rotating set-pieces work well, but the backdrops seem cheesy for such a big production. The lighting (Travis Russell) is attractive but repetitive. The sound (uncredited) was variable the night I was there, and the planes were nerve-wracking. The best part of it all was the orchestra, under the baton of musical director Parmer Fuller, which sounded vibrant, lively and much larger than its 13-musician size.

Let’s hope Starlight gets back to superlative quality in its next production, Into the Woods which, like Crazy for You, the theater last mounted in 1999.

THE LOCATION: Starlight Theatre, through June 21

T-T-T-Tony

Well, San Diego wasn’t a big winner on the 62^nd annual Tony Awards night (except for former San Diego theatermaker Bartlett Sher, who won for Best Direction of a Musical: South Pacific, the really big winner of the night – 7 awards, the most ever for a musical revival). But a fun time was had by … almost all. It was a good night for the Latin-flavored In the Heights (4 awards, including Best Musical) and the Steppenwolf Theatre production of August: Osage County (5 awards, including Best Play). Disappointing that Stephen Sondheim wasn’t there to accept his Lifetime Achievement award, but he sent along some funny and touching comments that were read by Mandy Patinkin. As host, Whoopi was fair (and not that funny); but boy, was she selling Broadway. Unlike many other Tony broadcasts, this show was clearly geared for the general audience. Given the fact that the evening featured Whoopi Goldberg, the Latino hip hop show In the Heights and Stew in his rock concert/cabaret musical Passing Strange, the producers obviously assumed there would be a lot more non-theater-type viewers than usual. So it was a lot less of an ‘inside job’ than is typically the case, playing to the home viewers rather than the theater throngs inside the cavernous Radio City Music Hall.

Good call to have fewer awards and more entertainment. And fun to see the original cast of Rent reassembled (including Wicked’s Idina Menzel and the still-stunning Daphne Rubin-Vega). It was great to hear Best Actress in a Musical Patti LuPone belt out “Everything’s Comin’ Up Roses” (from Gypsy). Her co-stars, Boyd Gaines and Laura Benanti, also won top Acting honors.

As TV shows go, the broadcast ranked third among the networks on Monday evening, but it still snagged 6.2 million viewers, which was up 5% from last year (in households, anyway).

Lin-Manuel Miranda, age 28, who won a Tony for his Original Score for In the Heights, a show he wrote in college, gave a hilarious acceptance speech, entirely in rap (he even riffed on Sondheim lyrics). Amazingly, this show not only marked his Broadway debut, but also his professional theater debut. We’ll be getting a taste of his talent in San Diego next year: The Old Globe just announced a new addition to their upcoming season, the musical Working, based on the book by Studs Terkel, adapted (and recently re-imagined) by Stephen (Wicked, Pippin, Godspell) Schwartz and director Gordon Greenberg, with new songs added by … Lin-Manual Miranda. Look for it next March.

Gaffney Gala… Common Ground Theatre held their first annual Birthday Tribute and Fundraiser celebrating the life and legacy of Dr. Floyd Gaffney, their late artistic director and guiding light, and the father of African American theater in San Diego. The evening began with a haunting Ancestral Call by Rev. Alyce Smith Cooper, accompanied by thrilling modern dancer Vincent Hardy. Moving contributions came from Monique Gaffney, Warren Nolan and Grandison Phelps III (in a ‘Black Voices” tribute, joined by Fuahaa Saba and Tammarrah Walker). TJ Johnson did a moving monologue from Fences and James Avery (of “Fresh Prince of Bel Air”) did one from another August Wilson masterwork, Jitney. The Dance Tribute, “Fore Women” (performed by Micah Foster, Alisa Reza, Tiffy Head and Raeveon Atkinson and choreographed by Sandra Foster King) showed four faces of African American women. Sustaining Light Awards were given to a number of unflagging supporters of Common Ground, including Dr. Marianne McDonald, Danah Fayman, Harle Montgomery, Candace Ludlow Trotter and the Jacobs Family Foundation. There were lots of Opportunity Raffle offerings, especially theater tix. Floyd would’ve enjoyed his tribute evening. Seems like Common Ground has a new tradition on its hands.

NEWS AND VIEWS ….

… McMurtry y Amigos… The San Diego Shakespeare Society presents Jonathan McMurtry and Shakespeare Friends, featuring the award-winning Old Globe Associate Artist (winner of the Patté Award for Lifetime Achievement) onstage with celebrity pals, including Kandis Chappell, Ron Choularton, David Ellenstein, Sandra Ellis-Troy, Antonio “TJ” Johnson, Rosina Reynolds, and me -- and other surprise guests. Monday, June 30 at 7:30pm at Moonlight’s Avo Playhouse in Vista. Admission is FREE. Info at 760-639-6199.

… Funny… you don’t look Bluish… The 1^st Annual Festival of New Jewish Plays, a new addition to the Lipinsky Family San Diego Jewish Arts Festival, produced by the San Diego Repertory Theatre, was inaugurated this week. The first play was Bluish, by Janece Shaffer. I was pleased to be part of the second piece, The Wondering Jew, a new work-in-progress by multi-talented Matt Thompson. We had a fun time tweaking a new script, under the direction of Steve Lipinsky. I played the Jewish Mama and Ralph Elias was my hub. Sylvia Enrique was in the cast, as were Lance Arthur Smith, David Carson and John Padilla. An amusing time was had by all.

… Coming up… the 2^nd Annual Resilience of the Spirit Festival at Compass Theatre (formerly 6^th @ Penn). The five programs run from June 29 to August 3, and include staged readings, short playlets and a full production (Paradise by Glyn O’Malley, directed by SDTheatrescene’s own Alice Cash). There’s something bound to touch every heart and inspire even the most curmudgeonly among us. See the full schedule at www.compasstheatre.com

…Holding out an olive branch… The Olive Tree Players, in conjunction with Common Ground Theatre, will present a reprise production of Awaiting Judgment, a play by Art Cribbs that imagines a conversation between Dietrich Bonhoeffer and Martin Luther King, Jr. The theological scholar and the activist examine one another’s actions and explore the decisions that led to their martyrdom. Sunday, June 29 at 3:30pm in the First United Methodist Church of San Diego in Mission Valley. Info at www.olivetreeplayers.org; 619-296-4366 X510.

… Chronos Theatre Group has some innovative new programming in store this month: First up, the “San Diego Filmmakers’ Showcase,” a series of shorts by local filmmakers (Dawn Ford, Christina Cervantes, Jeff Gardiner, Leila Wu, Bonni Rooney and others) who will be there to interact with the audience. 7pm on June 23 and 30 at Swedenborg Hall in Normal Heights. 619-615-8928.

In between those two dates is their “Speakeasy,” a trip back to the roaring ‘20s for an evening of music, dance, readings and visual arts. Chat with characters from the Prohibition Era, learn the Charleston and the Shimmy, and listen to red-hot jazz. Readings and performances all through the evening. 7pm till whenever. June 25, at The Hole, 2820 Lytton St. Period attire is “strongly recommended.” www.chronostheatre.com/speakeasy.

… Position Available… Director of the San Diego Center for Jewish Culture at the Jewish Community Center (Lawrence Family JCC) in La Jolla. Responsibilities include supervising artistic and technical staff and overseeing a seven-figure budget; also, fundraising, program development and marketing. Email jobs@lfjcc.com for a detailed position description.

... Shout Out… Write Out Loud concludes its inaugural season of short story readings with a program entitled “Science-Squared,” five unique pieces of literature read aloud by accomplished actors. The stories, which explore the intersection of science and humanity, are by the likes of Woody Allen, Nathaniel Hawthorne, Ray Bradbury, Robert Frost and Ogden Nash. The readers are Write Out Loud founders Walter Ritter and Veronica Murphy, joined by Steven J. Warner and Jason Heil. 2pm on June 21 at Cygnet Theatre (Rolando). writeoutloud@gmail.com; 619-297-8953.

DANCE DEPARTMENT

…Intimate Dance… Jean Isaacs San Diego Dance Theatre is presenting the second in a series of Studio Showings. In an intimate setting, view work in progress by Jean Isaacs, Anjanette Maraya-Ramey, Vanessa Tipton, Rayna Stohl, Molly Terbovich, Natalie Cook and Katy Ewalt, with a special appearance by San Diego Ballet’s Bernadette Torres. 7 and 8:30pm on July 12, at Dance Place San Diego in Pt. Loma. More info about the showcase, or classes/workshops/performances: www.sandiegodancetheater.org

… New Kids in Town… Former Butterworth Dance Company dancers and staff members Rayna Stohl and Molly Terbovich are embarking on their own venture, a new youth modern dance group called Stella Nova Dance Company. While remaining a company exclusively for youth, and not under the umbrella of a professional adult company, Stella Nova will also include collaborations with professionals within the local dance community. Terbovich will serve as executive director and Stohl as artistic director. Further info at www.stellanovadance.org.

… Dancing the Malashock Way… Time for the next winners to step up for the second installment of “Malashock Thinks You Can Dance.” Last year’s Malashock Dance fundraiser was such a huge success (I loved being a winner!) that folks have been lining up to perform this year. Here’s who’s slated to enter the fray: Pam Cesak, Joyce Gattas, Osborn Huston, Randy Jones, Charles Kaufman, Kimberly King, Monique Marvez and Sheryl White. The celebrity judges will be Christopher Ashley, Dea Hurston and Darlene Shiley. Is that an all-star lineup, or what? Mark your calendar: Sat. Sept. 13 at the Irwin M. Jacobs Qualcomm Hall. http://www.malashockdance.org/

'NOT TO BE MISSED!' (Pat’s Picks)

‘Night, Mother – intimate and intense, dark and disturbing, and very nicely done

Sews and Shows Community Theatre in Lemon Grove, through 6/29

The Hit – clever, fast-paced, fluffy and fun; well written, acted, directed and designed

Lamb’s Players Theatre, through 7/ 13

Three Days of Rain – wonderful performances, excellent direction, provocative play

Compass Theatre (formerly 6^th @ Penn), through 6/16.

Here’s a fresh idea: Celebrate the first day of summer… at 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.