SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #251

By Pat Launer

www.sdtheatrescene.com

07/18/08

San Diego stages have got the goods:

As Boomers take a Streetcar Into the Woods.

Beauty and the Beast

THE SHOW: A Streetcar Named Desire, the 1947 Pulitzer Prize-winner by Tennessee Williams, one of the great dramatic works of the 20^th century. No one who ever saw 24 year-old Marlon Brando play the role of Stanley Kowalski live (or in the 1951 film) will ever forget it. That charismatic/erotic image, seared in the collective American brain, makes it hard to mount the play. And as Stanley’s adversary, Blanche du Bois, Vivien Leigh was no slouch, either (it was Jessica Tandy in the original Broadway production, a role for which she won a Tony Award). In the 1992 stage revival, Alec Baldwin received a Tony nomination for Best Actor in a Play, but Brando never got the Tony for this seminal performance. Interesting side-note: Because of the Hays Code of censorship, the film “cleaned” up the play considerably; Allan’s homosexuality was veiled, practically erased, and the rape scene was only intimated.

THE STORY: This is the ultimate culture clash: between the vanishing Old South of the landed gentry and the rising urban, industrial, immigrant class. Illusion vs. reality. The ideal vs. the real. Set in steamy New Orleans, the play contrasts these two conflicting worlds in the delicate, wilting, former Southern belle, Blanche, and the primal, brutish, sexual Stanley. They dance around each other when Blanche arrives on her sister’s doorstep, frantically trying to escape her degraded and debauched Mississippi life. But she and her sweaty brother-in-law see through each other from the get-go. The first moment she lays eyes on Stanley, Blanche says, “That man is my executioner.” And so he is (though his famous pre-rape line, “We’ve had this date from the beginning” was curiously absent). But Blanche is not an innocent victim, and neither is Stella. Nor is Stanley pure sensual evil. His vulnerability and the women’s shared culpability shifts the good/bad balance of the play and makes it more intriguing and exciting.

Williams’ writing is stunning; Blanche’s poetic pretensions are juxtaposed with Stanley’s crude speech and actions; his anger and violence butt up against her fluttery delicacy and guilt-ridden, broken spirit. They are one of the most unforgettable duos in the modern theater canon.

THE PRODUCTION: There are some terrifically intense dramatic moments in this production. Some striking stage pictures. There’s also a lot of yelling and screaming. Still, the angry and aggressive scenes come off best. But what’s missing is palpable passion and emotional nuance – and light. The play is over-directed and under-lit (both by Claudio Raygoza). There is a great deal of extra ‘business’ – bodies lying languidly on the floor before the action begins; silhouettes on a screen, offstage noise and activity. It’s all unnecessary; let the play speak for itself – and let it breathe.

The hothouse claustrophobia is superbly conveyed (scenic design also by Raygoza) in a cramped, two-room flat, with slatted shutters and slatted light. But Blanche’s preference for darkness (to conceal her age) has been taken far too literally. We can barely see her face a good deal of the time. Unfortunately, there were considerable lighting difficulties on opening night, but even when the lights were on, the stage (and the theater, too) were too dim. Raygoza created a highly inventive attempt to replicate Stella’s celebrated walk downstairs to the wailing Stanley, after he hit her and she retreated to the upper apartment. A ramp was set up center stage just for that moment. But it was so poorly lit that we couldn’t begin to see the array of emotions playing on Stella’s face as she returns to her adored but abusive mate.

Language is crucially important in the play, and for the most part, it’s handled well, with credible Southern accents. But character is all, and here, the production lacks intricacy and complexity. Monique Gaffney, looking beautiful in her willowy outfits (no costume credits), has all the charm and gentility of Blanche, but less of her fragility and subtle manipulations. There’s no way this beauty seems ‘past her prime.’ We don’t quite feel her deep-seated anxiety at the outset, or her madness at the end. She’s forceful and fine, but she doesn’t break our hearts, nor make us wonder if she intentionally overstayed her welcome, and provoked her brother-in-law (she should do a little more than “flirt”), knowing that disaster was headed her way at steam-train speed.

As Stanley, Matt Scott is aggressive, brutal and brutish. His most violent and confrontational scenes (the rape, the fight with the guys, throwing the radio out the window, the birthday party blowup) are his best. But his Stanley is too nasty and angry, and lacking in the very sensitivity that makes us care about him, not just dismiss him as an apish animal. We’re not even convinced that this Stan loves Stella, and we wind up wondering whathehell she sees in him, besides the “colored lights.” We have to care about and doubt all three of these characters in order for the play to really work, and really move us. It’s a difficult balance to achieve. Maybe the cast will get there over the course of the run; but they haven’t gone deep enough yet.

Sara Beth Morgan is a lovely Stella – concerned for her sister, worried about her husband, torn between the two. Her animal attraction to Stanley is potent. Brian Mackey brings stability and solidity to Blanche’s ‘suitor,’ Mitch, though he’s too slim for all those references to his “heavy build” and “massive bone structure.” His scenes with Blanche are wonderful, and a little heartbreaking. Morgan Trant is grounded as neighbor Eunice (but she’s given too much offstage yelling). The rest of the cast includes Bebe Black, Rich Carrillo, Colin Simon and Kevin Koppman-Gue. All the actors seem too young for their roles.

The sound design (Tim Boyce) is excellent, a mix of sultry, bluesy jazz and the nerve-shattering rattle of streetcars, magically felt beneath our feet. This play is a major and impressive undertaking for ion. But the production feels too dark and fussy; too much stuff on the surface, not enough beneath.

THE LOCATION: ion theatre, through August 10

Once Upon a Time…

THE SHOW: Into the Woods, the 1987 musical that premiered at the Old Globe (1986, one of the first musicals to open here before moving on to Broadway). This was Stephen Sondheim’s second collaboration with librettist-director James Lapine (the first was Sunday in the Park with George). In a Broadway year dominated by Phantom of the Opera, Into the Woods snagged four Tony Awards: Best Musical, Best Score, Best Book of a Musical and Best Actress in a Musical (Joanna Gleason, who played the Baker’s Wife).

THE STORY: Inspired by Bruno Bettelheim’s 1976 book, “The Uses of Enchantment,” the musical takes a grim look at several Grimm fairy tales, exploring the consequences and repercussions of having your dreams come true. The main characters include Cinderella, Little Red Riding Hood, Jack (and his Beanstalk) and Rapunzel. The action is triggered by the Baker and his Wife who simply wish for a child. But in one way or another, they’re all under the spell of a Witch, who turns out to be Rapunzel’s mother, and is taking revenge on the Baker’s father (who also makes a ghostly appearance).

THE PRODUCTION: IMHO, this isn’t Sondheim’s best; the repeated themes, and the title tune coursing through the proceedings, and the muddled solution to the problems at the end, make for a long and repetitive evening. This is only heightened and underscored at Starlight Musical Theatre. The night I was there, the show was stopped 32 times! (19 in the first act alone). In a show that’s so highly dependent on lyrics, with few dance and ensemble numbers, this is unconscionable. And frankly, barely bearable. The performers were acting and singing so well, and working so hard, it was impossible not to feel for them, thwarted in their every dramatic and musical effort by those infernal intrusions.

Still, director Brian Wells (with additional staging/choreography by David Brannen) cast well and keeps the action lively, though the story sometimes sags. Many of these performers were in Starlight’s 1999 production, and most have played their roles multiple times, at various venues. Standouts in the 19-member cast are: lovely-voiced Sarah Bermudez as Cinderella, pining for a Prince who turns out to be a cad; Paul Peglar, as amiable, dim-witted Jack; winsome Tom Andrew as the sometimes-sensible Baker; delectable USC senior Lili Fuller as an assertive Little Red with ‘tude; and scary/funny powerhouse Leigh Scarritt as the Witch, who changes, quite magically, from ugly to sexy.

The set and costumes, apparently created for Starlight’s 1999 production, are aptly fanciful and colorful., and pleasantly lit (Jennifer Edwards). The 13-piece orchestra, under the direction of Parmer Fuller, sounds robust. But nothing can distract from those annoying aircraft. This is a call to arms: It’s time for Starlight to make the change that’s been discussed for decades: Enclose the amphitheater or find a new locale. This isn’t working any more.

THE LOCATION: Starlight Theatre, through July 27

THE BOTTOM LINE: Best Bet (for the performances, not the venue)

Talkin’ ‘Bout my G-G-Generation….

THE SHOW: Boomers,” the musical revue of a generation,” created by Lamb’s Players Theater’s Kerry Meads and Vanda Eggington. When it premiered, I called it ‘the best new musical of 1993.’ It’s reappeared numerous times, with minor tweaks. Eggington is no longer at Lamb’s. Meads continues to direct. And there are lots of updates to this latest version, which is Lambs’ first production in the Horton Grand Theatre; they’ve taken up residency downtown, in addition to their Coronado homebase. A wonderful addition to the theater scene.

THE STORY: No story here, except to chronicle the largest generation in U.S. history. Born from 1946 to 1964. 76 million strong. And, as the narration puts it, “knit together by common experience: suburban childhoods, classic rock and the sixties.” The revue is framed as a college class, taught by a didactic Professor who disdains as he describes a generation that, by the second act, turns on him with defensive vehemence. But it’s all in good fun, reliving a seminal time, the music that still resonates way beyond Boomers and the era that changed everything – for a while.

The script revisions feature menopause (funny segment) and the looming specter of the nursing home. No mention of the ubiquitous hip and knee replacements, and only passing reference to plastic surgery. There seemed to be less focus on individual characters and stories, more on generalized experiences and emotions. It’s not all whitewashed and rose-colored, though. There’s plenty of soul-searching and stock-taking. Life didn’t wind up the way we all expected. But it sure was a fabulous ride. And the camaraderie of that generation, the intensity of what we shared, has never been replicated since.

THE PRODUCTION: The show fits nicely into the attractive and comfortable Horton Grand Theatre (decade-long home to Triple Espresso). In the smallish lobby, amid the lava lamps, you can buy Boomers memorabilia (t-shirts, caps, etc.). Those items also serve as prizes for the pre-show “Name That Tune” audience-participation segment. The fantastic band (Patrick Marion on keyboards, Rik Ogden on guitar and woodwinds; Oliver Shirley on bass and David Rumley, percussion) can emulate any sound with aplomb. They really rock; I could chill out and listen to them all night long. They only needed to play a few notes, and hands went up all over the house, folks jumpin’ at “Jumpin’ Jack Flash,” and other unforgettable, era-defining melodies. Vanda Eggington’s marvelous musical direction and orchestration weave together thematically-related songs with dazzling arrangements.

You don’t have to be a Boomer to love this music or savor these stories. (though we know those who aren’t members of the Boomer ‘club’ are sick to death of us). We can never get enough of oldies and goodies, memories and sharing, recalling those amazing times, good and bad, ecstatic, drug-fueled and heartbreaking. They’re all there: from the Book of Love to the Age of Aquarius, Everyday People to ‘I Have a Dream,’, the reign of Camelot and the loss of “Abraham, Martin and John.” The move from idealism to disillusionment. From Free Love to divorce and Viagra. From Woodstock and Monterey to Tommy Bahama and the Pottery Barn. From “middle class renegades” to senior discounts and a “middle-aged miasma of mediocrity.” And from, alas, “consumed with passion to passionate consumer.” Maybe those younger or older (all of whom will recognize some-to-most of the songs) can get a little shiver of schadenfreude, reveling in the mess these ‘rebels’ made of their lives and the country. Let ‘em have their moment of glee; we have our addled memories.

The set (Mike Buckley) is simple and suggestive; rock-concert metal stanchions, flanked by juxtaposed images of the time: happy faces and peace signs, VW and BMW insignias, Levi’s, Sesame St. and the Beatles. The lighting (Nathan Peirson) wonderfully reflects the show’s (and the generation’s) many moods, from fiery red to neon/psychedelic to downhearted blue. The ‘everyday’ costumes aren’t so flattering for the women, but the full-on sixties regalia (Jeanne Reith) is eye-popping.

The cast is enthusiastic and energetic (but as the Boomers age, they seem a tad less agile than in the 1993 production!). A number of returnees from prior Boomer incarnations, but some fresh new faces, too (if Boomers can be called ‘fresh-faced’ any more -- unless they’ve had outside help!). They’re a tight, high-octane ensemble, but the acting and characterization of Marci Anne Wuebben and Bill Doyle stand out, she as a Vietnam widow and lifelong love-seeker and he as a wont-grow-up grandpa who’s a perpetual hippie. Standout musical moments: Keith Jefferson’s “Heard it Through the Grapevine”; Wuebben’s “Don’t Cry Out Loud” and “It’s in His Kiss”; Anise Ritchie’s “Respect” and “God Bless the Child”; Deborah Gilmour Smyth’s “At 17,” “The Rose” (and her glass-shattering high-notes in the “Joy to the World” finale); Bill Doyle’s “Light My Fire,” “And When I Die” and “Purple Haze”; Bryan Feldman’s “in My Life” and “Imagine.” In the only non-singing role, Professor Jim Chovick is nerdy/funny throughout.

Like the era it traces, Boomers’ long and winding road is quite a trip.

THE LOCATION: Lamb’s Players Theatre at the Horton Grand, through August 31 (and perhaps beyond)

THE BOTTOM LINE: Best Bet

Everyone’s Favorite Auntie...

THE SHOW: It’s a Page to Stage production, a work in progress, changing by the day, so critics aren’t permitted to review Charlayne Woodard’s new solo piece, The Night Watcher. But, having seen this production, and her earlier one, Pretty Fire (also at La Jolla Playhouse, 1999), suffice to say that she’s a terrific performer and storyteller. This provocative personal tale is about being – or not being – a parent. And how she ‘fills in the gaps’ as an Auntie. Catch it while it’s here.

THE LOCATION: La Jolla Playhouse -- Mandell Weiss Forum, through July 27

NEWS AND VIEWS ….

… Our Nonprofits are lookin’ good… A new report, “The Appreciated Sector: Public Confidence in San Diego County Nonprofit Organizations,” has been released by USD’s Castor Family Center for Nonprofit Research (study funded by the San Diego Foundation). A telephone survey of 1002 San Diegans, conducted from 11/07-1/08, asked questions about public awareness, confidence and perceptions of local nonprofit organizations. Here are some of the results:

1. Although nearly 30% of our residents have little or no awareness of the nonprofit sector, those who do expressed confidence in local nonprofits.

1. 75% percent of respondents expressed either a great deal or a fair amount of confidence in the ability of San Diego County nonprofits to spend money wisely.

2. 75% reported making a financial contribution to a nonprofit organization in 2007.

3. Media coverage, opinions of friends and colleagues, and an organization’s website were the leading sources of information consulted prior to making a financial donation.

4. San Diegans expressed more confidence in the ability of local nonprofit organizations to spend money wisely than the American public has expressed in national surveys of public confidence.

5. 40% of respondents indicated that they volunteered with a nonprofit organization in 2007

We’re doing great, but clearly, there’s more work to be done. The report suggests that we still need to increase citizen awareness of nonprofit organizations – who they are, what they do, and what it takes to operate them successfully. Greater awareness is related to greater confidence, volunteerism and donations to nonprofit organizations. You can check out the entire report at: http://www.sandiego.edu/soles/documents/TheAppreciatedSector.pdf

…Put the Fun Back in Funding: The City of San Diego Commission for Arts and Culture is offering workshops in August and September on the application and review processes for FY 2010 funding for arts and culture programs. The City supports two programs that provide funding to nonprofit organizations through a competitive review process: the Organizational Support Program (OSP) and the Creative Communities San Diego Program (CCSD). The OSP provides general operating support, including administrative as well as artistic expenses. Workshops will be held August 21 3-5pm at the Balboa Park Club, and August 22, 3-5pm at St. Jude’s Parish Hall on Boston Ave.

The CCSD Program supports projects that provide local citizens access with opportunities to participate in arts and culture. Those workshops will be Sept. 25, 2-4pm at the Jacobs Center/Market Creek; and Sept. 26, 2-4pm, at the City Heights Library. Those interested are encouraged to download and read the Application and Guidelines: www.sandiego.gov/arts-culture, before attending a workshop. For info or to rsvp, contact Gary Margolis at 619-263-6788 or gmargolis@sandiego.gov.

… My New Home is a Winner!... The National Association of Broadcasters just announced the finalists for its 2008 NAB Marconi Radio Awards for excellence in broadcasting … and KSDS-FM, Jazz 88.3, my new radio home, is a finalist for Large Market Station of the Year! The NAB is the premier broadcasters’ advocacy association and is the voice of more than 8300 American ratio and TV stations. The awards will be presented in Austin Sept. 17-19, at the NAB Radio Show, the nation’s largest annual radio convention. Bravo, KSDS!

…Merge and accelerate… “Intersection” is a dance community event that features four emerging local dance companies: d’shire dance, the PGK Project, BOUND Contemporary Dance and The Garage. Proceeds from the one-night production will benefit the companies and Eveoke Dance Theatre’s Celebrate Dance Festival ’08. Saturday, July 26 at 7pm at Eveoke’s studio, 2811 University Avenue. Info at www.dshiredance.org/intersection.

… The Boom is back… Not just Boomers, (see review, above), but also tick, tick, BOOM!, the splendid Stone Soup Theatre production (at the 10^th Avenue Theatre, through August 17). Relive the 20^th century and revisit Jonathan Larson’s pre-Rent , high-energy, angst-ridden, autobiographical rock musical.

… Prohibition is Back… well, sort of. Chronos Theatre Group continues its summer Speakeasy series with a 1950s update, featuring music, stories, poetry and visual art of the era. Staged readings will include material by Jules Feiffer, Jack Kerouac and Allen Ginsberg. It all begins at 7pm on July 25, at The Hole, 2820 Lytton St. in the Pt. Loma are. Reservations and more info are at: 619-615-8929 or www.chronostheatre.com.

Eye on ion…. Upcoming readings focus on ion theatre faves: “ion’s intimate ibsen” series continues with The Lady from the Sea, directed by Todd Salvoey. July 28 at 7pm, Lyceum Theatre. And, extending their fascination with Williams (Tennessee, that is), in conjunction with the Streetcar production (see review above), a reading of Summer and Smoke, at ion’s Lab space, on August 4 at 9pm. All-star San Diego cast. Info at www.iontheatre.com

'NOT TO BE MISSED!' (Pat’s Picks)

Boomers -- you gotta love it, even if you aren’t one. Fabulous bands, super songs, high-energy performances

Lamb’s Players at the Horton Grand Theatre, through 8/31 (and perhaps beyond)

Into the Woods - the singing’s great, it looks fun and fanciful – but oh, those planes!

Starlight Musical Theatre, through July 27

All’s Well That Ends Well – marvelous production, wonderfully directed and acted; lucid, funny and touching

In repertory on the Old Globe’s Festival Stage, through September 28

Guys and Dolls - colorful, fun, energetic; well directed and choreographed and excellently sung

Moonlight Amphitheatre in Vista’s Brengle Terrace Park, through July 20

Madagascar – a mystery, a puzzle, an enigma; there’s definite payoff in the performances, but we end up with as many questions as when we began

North Coast Repertory Theatre, through August 3

The Merry Wives of Windsor – Shakespeare’s silly love comedy transfers amazingly well to the Old West. A funny, fun-filled production. Yee-haw!

In repertory on the Old Globe’s Festival Stage, through September 28

Robert Dubac’s Male Intellect: The 2^nd Coming – smart and funny, political and often provocative

Miracle Theatre Productions at the Lyceum Theatre, EXTENDED through July 27

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

Lamb’s Players Theatre, EXTENDED through July 20

Make some mid-summer madness… at a theater near you.

Pat

© 2008 PATTÉ PRODUCTIONS, INC.

For nearly 25 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 and celebrates the broad diversity of San Diego theater.