SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #255

By Pat Launer

www.sdtheatrescene.com

08/29/08

Playing theater catchup, I saw a range of works,

From High School Musical to Nemesis jerks,

From Sailor’s Song and its magical trance

To a Festival to Celebrate Dance.

And undertones that can be dire

From Receptionist and Pretty Fire.

Fireside Chat

THE SHOW: Pretty Fire, Charlayne Woodard’s 1990s memoir, the first in her series of autobiographical solo pieces; it was followed by Neat, In Real Life and most recently (premiering at the La Jolla Playhouse this summer), The Night Watcher. Pretty Fire was developed at the Odyssey Theatre in L.A., the Manhattan Theatre Club, Seattle Repertory Theatre and the La Jolla Playhouse (1999). The work received the Los Angeles Drama Critics Award for Outstanding Creation/Performance and NAACP Awards for best play and best playwright. The New York production (Manhattan Theatre Club) opened in 1993.

THE STORY: It’s a very personal, spiritual series of memories, a celebration of life. Five vignettes chronicle Woodard’s early years, from birth to first public performance at age 11, toggling between her family home in Albany, New York and that of her beloved grandparents in the Deep, Jim Crow, South. The segments have titles, which aren’t used by Lamb’s Players Theatre, but each is self-explanatory. “Birth” chronicles Woodard’s premature arrival, eight weeks early and weighing 1½ pounds (“blue-black and fuzzy all over … my fingers still slightly webbed”). The doctors didn’t think she’d survive, and if she did, she’d never be “a normal child.” Her no-nonsense mother catches the preemie in the palm of her hand; her jazz-loving father, after whisking them to the ER, umbilical cord still un-cut, calls on “the Big Man” for help. By the time Woodard comes home from the hospital 11 months later, she has a 2-month old sister waiting for her (her parents’ “little insurance policy, in case I didn’t make it”). She may tease Allie, but she’s hellbent on protecting her for the rest of her life.

As they progress, each story becomes deeper and darker. In section two, Charlayne precociously learns her ABCs – and the meaning of a racial epithet. In the title piece, filled with glorious memories of her adored Southern grandparents, the young girl’s perception of a “Pretty Fire” is really a burning cross that upends a neighborhood. “Bonesy” is the nickname a local bully gives her – and he gives her a lot more: her first, long-held secret, a horrific moment of sexual assault. The final scene, “Joy,” is richly comic and illuminating. Acting on her grandmother’s “dying wish,” Charlayne joins the Junior Church Choir and snags a solo, a roof-rattling performance that reveals her destiny. Family, honesty, faith and love course through the play, evidence of a firm foundation that created a sensitive, lyrical writer and powerhouse performer.

THE PERFORMER/THE PRODUCTION: Woodard may or may not have big feet, but hers are enormous shoes to fill. And enacting her life was made even harder because Woodard herself was in town when Pretty Fire opened at Lamb’s Players Theatre. Fortunately for all, Tracy Hughes, a veteran of many Lamb’s productions (now living in Seattle), is more than up to the task. She brings the memories so clearly to life, with such a touch of personal connection, that this family could be her family, these memories her recollections. It also helps that she once actually had the opportunity to perform with Charlayne Woodard, in a Seattle production of the actor/playwright’s first multi-character play, Flight. Hughes exudes the same kind of infectious energy, ebullient storytelling skills and enormous generosity of spirit. She is outstanding in the comic as well as the tragic moments (her silent scream during the moment of physical/sexual attack is heart-stopping). And she radiates joy when she sings. Like Woodard, Hughes has a powerful voice (though she seemed unfamiliar with some of the childhood melodies Woodard loved, such as “White Silver Bells”). We are sucked into this reality of African American family life, but the emotions are so true, the experiences become universal. It’s a stellar performance, expertly directed by Kerry Meads with an abundance of hear, and a perfect amount of agile activity.

The stage is bare, except for a small wooden bench that Hughes hauls around for different settings and purposes. Behind the action is an evocative array of wooden slats, fanned out like fenceposts or sun rays (scenic design by Robert Smyth). Beyond that, dazzlingly dramatic lighting (Nate Peirson), ranging from pink to blue to blistering red (the “pretty fire”), from excellently rendered snow squall to rainstorm. And underscoring it all is Deborah Gilmour Smyth’s sound design, a luscious mix of kids and crickets and blues and jazz and rain.

Though the 90-minute piece could easily have been performed without an intermission, it offers one wonderful evening of theater. Tracy Hughes is welcome back ‘home’ any time.

THE LOCATION: Lamb’s Players Theatre, through September 7

BOTTOM LINE: BEST BET

Please Hold….

THE SHOW: The Receptionist, West coast premiere of the twisted, creepy comedy by New York-based Adam Bock, who studied playwriting at Brown with Paula Vogel and Mac Wellman. Bock confesses to having been a receptionist himself. This is the third of his workplace plays, which include The Typographer’s Dream and The Thugs. This one could be called ‘The Thugs,’ too.

THE STORY: It would ruin the play to say too much. But think office politics and unfinished sentences and the metaphor of fishing that wafts through the seemingly cheerful monologue that opens the play, and includes the following telling phrase: “Everything out there is eating something.” We’re in the “Northeast Office,” and someone arrives from the Central Office. But we don’t know what the business of this business is until more than halfway through the 75-minute play. At first, all we see is a harried receptionist, balancing the boss, the telephones, crises at home, the social dilemmas of her fellow worker (to whom she recommends the book, “Help! I’m in love with a Narcissist”). Suddenly, things take a very dark and disturbing turn. And before we can really process the depth of the depravity, it’s all over, and we’re left with our heads shaking, our mouths gaping, and our stomachs a little turned.

THE PERFORMERS/THE PRODUCTION: Everything about this production is pitch-perfect: the impeccable direction (Sean Murray), the outstanding performances, the stunning office set (Sean Fanning), dramatic area lighting (Eric Lotze), spooky sound (George Yé) and crisply efficient costumes (Jeanne Reith).

At the center, in the title role, is Melinda Gilb, the ballast of the office, managing everyone’s food, social and professional needs, altering her style for every contact and call, expressing on her face the entire spectrum of emotions. She’s delicious as Beverly, the ever-efficient office worker who always survives the layoffs and believes in loyalty above all. Betrayal is anathema to her. And yet….

Bev effectively deals with and counsels the moody Lorraine, who’s more concerned with her love-life than her job (most of her calls go to voicemail). She mopes around, pining for her ex, until Martin Dart, the guy from the Central Office, strolls in. Then we see her come alive. There are a few fumbling moments of awkwardness (marvelously played), before the two begin to wink and flirt. Jo Anne Glover is excellent, and she looks super sharp in her black, pencil-thin, pin-striped business suit, the mirror image of the suit worn by her boss (Dale Morris, wonderful as he smiles and smolders). Sean Cox is really playing against type. He’s often been the tortured and tormented ruminator (Long Day’s Journey into Night, A Little Night Music, Three Days of Rain). But here, he’s as slick as his hair. Faultlessly dressed (dark suit, white shirt, red tie, tie clip) with a name, Dart, that fits him to a T. He has laser focus, and unerring aim. A chilling performance.

You only have this weekend to get the bejesus scared out of you. Not in the roller-coaster or thriller sense. But in the recognition of what this play might say about America.

THE LOCATION: Cygnet Theatre, through August 31

BOTTOM LINE: BEST BET

CAUGHT IN THE ACT (just before they closed)…

…Sailor’s Song, the reprise production of last year’s Patté Award-winning production of John Patrick Shanley’s occasionally comic drama at New Village Arts, under the beautifully precise direction of Kristianne Kurner. It still looked great (Nick Fouch is a design wizard. That moving rowboat still knocked me out), and was touching and magical. Manny Fernandes moved from the central role of Rich to his cantankerous uncle. And Josh Everett Johnson stepped in as Rich. They were both good, but I preferred the original cast. As Rich, Fernandes looked more believably like a merchant seaman, and he balanced the macho, lost, indecisive and dreamy qualities so well. Doren Elias, who played Uncle John last year, had more of a crusty edge, and that made it that much more powerful when he succumbed to his grief.

The women were even stronger this year. And that’s saying a lot. As those wacky sisters, Amanda Sitton and Amanda Morrow were delightful. Morrow’s dancing was superb; she was the modern-dance counterpart to the show’s ballroom dance and Robin Christ’s balletic moves. Shortly after the production closed last year, Christ’s 54 year-old sister died, in a fashion not unlike her character. This year, she was channeling her sister, and it was heart-wrenching. The death scene was chilling, and the post mortem dance, filled with anguish and love, joy and regret, was a definite tear-jerker. A stunning, touching, unforgettable theatrical moment. And once again, a memorable production.

Note: New Village Arts is wrapping up its production of The Complete Works of Wllm Shkspr (Abridged) this weekend -- all performances are FREE to subscribers and Pay-What-You-Can for everyone else. But on Sept. 6 and 7, they’ll be presenting a very special reprise performance, as part of their annual Benefit in the lovely, garden setting of the Folly Amphitheater at the La Jolla home of Walter Munk and his daughter Edie. Info at www.newvillagearts.org

…Nemesis, the wild-and crazy creation of two wild-and-crazy guys, Phil Johnson and Mike Sears. I’d seen a reading, but this is my first experience of the full-on production, wacky wigs, outlandish costumes and all. The screwball comedy is about the lifelong competition between two relentless boy/men who, like adolescent pitbulls, grab onto each other’s pants legs and won’t let go, stopping at nothing to one-up each other and get each other’s goat. The humor was aptly of the 3^rd grade variety (I missed the fart joke, but Phil assured me it was there, too). Terri Park provided a hilarious foil for the two nutcases, as all the women in their lives, sporting big red lips and outrageous hairdos. Under the direction of Cynthia Stokes, the fur, jokes, laughter and humor flew fast and furious. Park said it was her most delirious experience in the theater. For belly-laughs and below-the-belt swipes, these guys are off-the-wall comic geniuses.

OTHER SPECIAL EVENTS OF THE WEEK….

…Celebrate Dance Festival, the 12^th annual Balboa Park festivity, brought to us once again by Eveoke Dance Theatre. 57 dance organizations came together last weekend, to continue one of the largest free events of its kind. In years past, over 10,000 residents and visitors dropped in to check it out The response seemed enthusiastic this year, too, though the number of performance venues was down to two (the Casa del Prado Theatre and outside, in front of the big fountain). As always, the caliber of performances varied widely, from student-level practitioners to pros. I only caught a few acts, including ace Eveoke dancer Anthony Rodriguez teaching hip hop to all comers (he’s a terrific instructor). Other highlights were Sadie Weinberg and her talented Mira Costa College Students and a North County company I hadn’t heard of before, but which definitely noteworthy: Opus Mixtus Post Jazz Ensemble. Given the decidedly modern dance work they performed, the moniker seemed like a misnomer. But artistic director Heather Dale, a UCSD alumna who’s studied or danced with many of San Diego’s highest profile choreographers, said her company does “a little of everything.” Some of the dancing was athletic, some lyrical. All of it was well executed. Keep your eye on this company!

…High School Musical… I caught the Senior cast of the production by ACT San Diego (formerly California Young Actors Conservatory). The Junior Cast is up next weekend (8/29-31). Director Leigh Scarritt and musical director/choreographer Rayme Sciaroni put about 50 kids through their paces. The show isn’t my favorite, and this production out-Disney’d Disney in being even more squeaky-clean than the original. The storyline, about the Jocks vs. the Brainiacs in Albuquerque’s East High, always seemed straight out of the ‘50s, when high schoolers had no other concerns than which clique they were in (or excluded from). But this production went even further; the barrier-crossing central couple, egghead Gabriella Montez (Taylor West) and basketball hero Troy Bolton (Matt Maretz), seemed to have little physical/emotional connection, and the most they ever did was hold hands. That’s believable in a modern high school couple, right? But the energy level, the enthusiasm, the moves and the costumes (Delilah Sanderville) were impressive. The focus and discipline of the performers were unmistakable, a testimony to Scarritt and Sciaroni. And some of the performances were strong, especially West and Maretz as the leads, and Austin Potts as school announcer Jack Scott (Potts, a high-octane, moves well, and performs in both casts). Sarah Knapp, a high school freshman, was terrific as the madcap theater-teacher, Ms. Darbus. Jim Wheeler, the only adult in the cast, was game as the coach. The excellent band (14 year-old pianist/conductor Chase Morrin, 15 year-old pianist Nicholas Valentini, and adult pros Patrick McKee on bass and Paul Ingram on drums) sounded much larger than just four players, and they kept the pace sprightly. The many kids in the audience seemed to be having as much fun as those onstage. And isn’t that what it’s all about?

Side Note: Much as I’m not a devotee of this show or its music, as I watched the Democratic National Convention this week, I couldn’t help thinking that “We’re All in This Together” would’ve made an outstanding theme song for the event -- and the Obama/Biden campaign.

…An Intimate Evening with Jerry Herman, AKA Jerry Herman’s Broadway, a one-night-only fundraiser hosted by the Old Globe, and also celebrating the birthday of philanthropist Darlene Shiley. How many folks get to have Jerry Herman sing “Happy Birthday” to them??

Herman is known and beloved as the composer/lyricist (one of very few double-threats!) of megahits like Hello, Dolly!, Mame and La Cage aux Folles. In fact, he has the distinction of being the only composer-lyricist in history to have had three musicals on Broadway that ran more than 1500 consecutive performances.

The evening with Herman was a delight, a treat, a gift to the local community. Herman has the same grateful, gracious spirit as the characters he creates in song. And his stories, about Ethel Merman and Frank Loesser and Harvey Fierstein (who collaborated on La Cage) were wonderful, as were the backstories of his other musicals: Milk and Honey, Dear World, Mack and Mabel. How he worked with Charles Nelson Reilly; how influential his optimistic mom was (it was her ‘Mother Mafia’ that first got his songs heard by Loesser); how Carol Channing got the Dolly role by default, when Merman turned it down (then came back to play it seven years into the run!).

The structure of the evening was an interview by Michael A. Kerker, director of Musical Theatre for ASCAP (the American Society for Composers, Authors and Publishers), who also produced the ASCAP Foundation Jerry Herman Legacy Program, a series of nationwide concerts, seminars and master classes featuring the legendary songwriter. Re-creating the gig they’ve done in New York and elsewhere, the two casually bantered and reminisced. Scattered between the marvelous stories and memories were songs from the shows (and not always the predictable ones), sung as solos by Broadway/musical theater veterans Jason Graae, Debbie Gravitte, Karen Morrow and Ron Raines. In general, the male voices and performances outshone the women’s. Best numbers: “Shalom” from Milk and Honey (sung by Raines); “It Only Takes a Moment” from Hello, Dolly and “Mrs. S.L. Jacobowsky” from Grand Tour (Graae). Toward the end, Mr. Herman sat down at the piano, and played a rousing rendition of “Before the Parade Passes By” from Dolly, as Graae sang. What a thrill! Even acclaimed musical director Don Pippin got into the (singing) act. And then, there was the finale, with Pippin back at the piano and Herman singing with the rest, “The Best of Times is now,” from La Cage. It was such a joy to be there, and everyone lucky enough to be in attendance knew what a privilege it was.

NEWS AND VIEWS

… Last week was the memorial/celebrational service for beloved local actress Priscilla Allen. If you missed it, you might want a visual reminder of just how gutsy and funny Pussy could be. Check out these youtube videos of her guest appearance at Schroeder’s Cabaret (Fall 2004), when the headliner was her longtime buddy Ole Kittleson. Priscilla’s a hoot: http://www.youtube.com/user/Warren8888.

… Another loss this month: Harriet Gill, found of the Friends of San Diego Architecture in 1985. She started out as a clinical social worker, but throughout her long and productive life, she maintained strong interest in all the visual and performing arts. She was a lifelong classical pianist who spent eight years in the theater. The last play she saw was Fences at Cygnet Theatre just six months ago. I met her in the 1980s, when we both became “Community Producers” on KPBS radio. She was an incisive and insightful essayist and commentator who just last year, at age 94, self-published her essays. A celebration of her life will be held on October 12, two days before she would have turned 95. I will miss her wit and wisdom. She made the world a brighter place.

… The Big Dream… San Diego Black Ensemble is presenting its 2^nd annual tribute to the spirit of Dr. Martin Luther King’s “I Have a Dream” speech. Hosted by Erica Boddie, with music by Brutha Earl West Coast Soul Band, the evening will include a performance of Langston Hughes’ “A Dream Deferred/A Dream Rising,” and the Ensemble Dancers, under the direction of Monique Gaffney, will interpret “Abraham, Martin and John” (sung by George Walker). All proceeds benefit SDBET and the Dr. Floyd Gaffney Memorial Fund. Aug. 30, 6-9pm at St. Paul’s Cathedral.

…The Ultimate reality show… Tales from the Far Side of Fifty, the post-menopausal Vagina Monologues, is back, with its heartfelt stories of seniors (ranging from 56-84). Look for a new bevy of golden oldies (that’s the writer/performers), at the Poway Center for the Performing Arts. Every performance over the past two years has sold out. These true tales are funny, affecting and inspiring. So get your tix while they’re hot. Proceeds benefit the Joslyn and Poway Senior Centers, and the Jewish Family Service North Senior Center. Sunday, September 7 at 2pm at the Poway Center for the Performing Arts. For tix, call 858-487-9324 x.4, or 858-748-0505

…Comings and Goings… Ed Hofmeister is ending his stint at the Globe and returning to his old stomping grounds at Lamb’s Players Theatre. He’ll be back doing what he does so well… Marketing and PR…. And at Compass Theatre, the new managing artistic director is Josh Hyatt, who moved from Florida to San Diego 2½ years ago but has been doing most of his work (theater, TV and commercials) in L.A. An actor, singer and director, his most recent local work was directing Searching for Mr. Right at Diversionary Theatre. He’ll be directing two of the pieces in Compass’ upcoming gay/lesbian play festival, Q Plays: the opener, Hairdresser on Fire (9/7-10/8), and Bad Night in a Men’s Room off Sunset Boulevard (1/18-2/18/09).

'NOT TO BE MISSED!' (Pat’s Picks)

Spring Awakening - ebullient, energetic, unique, ingenious, exciting. See it!

Balboa Theatre, through 8/31

The Receptionist – funny, quirky, spooky, unnerving little play; terrific performances and production

Cygnet Theatre, through 8/31

Pretty Fire – tour de force performance, uplifting story

Lamb’s Players Theatre, through 9/7

Sight Unseen - thought-provoking and excellent

Old Globe in the Copley Auditorium at the SD Museum of Art, through 9/7

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

Lamb’s Players at the Horton Grand Theatre, through 9/28 (and perhaps beyond)

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 9/ 28

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 9/28

Don’t Labor too hard this Labor Day weekend… relax in a theater!

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.