SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #268

By Pat Launer

www.sdtheatrescene.com

12/05/08

Plenty of theater for all to see,

From The Color Purple to the Black-Eyed Pea,

As You Like it under Arden’s trees

And a Helen reprise (from Euripides).

Giant-Sized Pea

THE SHOW: The Princess and the Black-Eyed Pea, the world premiere musical conceived by Karole Foreman, who also co-wrote lyrics (with composer/vocal arranger Andrew Chukerman. Book and additional lyrics by Kirsten Childs. This is the most extensive production in the San Diego Repertory Theatre’s history, thanks to enhancement money from L.A.-based producer Chris Bensinger.

THE STORY: It’s an Africanized version of the Hans Christian Andersen fairy tale, ‘The Princess and the Pea’ (1835, also known as ‘The Real Princess’), framed as a story told by a ragtag band of traveling actors. In the fanciful African kingdom of Kheba, Princess Quelie is restless and unsatisfied, longing for freedom. Her father, King Nat (“Harrumph!”) has made her a match with a boring prince. She escapes (“Taking Charge of My Life”) with her dead mother’s blessing (the ghostly mom reappears repeatedly), venturing off to the kingdom of Torel, to participate in the Challenge Dance competition. There’s another contest going on there, to find a blueblood princess for the nerdy, science-minded Prince Gallant (“The Bluest of Blood is Hard to Find”). His loving but overprotective Mother, Queen Zauba, insists on maintaining centuries of tradition with the 20-mattress test (“A Black-Eyed Pea”). When the Prince and Princess happen to meet, it’s “Love at First Sight.” Meanwhile, the cousins of each of the royals – the steadfast Rolin and conniving Hena – meet and fall in love, too. Sort of. Hena’s actually too busy trying to get the Prince for herself, attempting to outsmart her cuz and keep her from once again getting everything she wants. But later, Hena realizes that she loves Rolin (“Get It”). Along the way, there are sidetracks that focus on Quelie’s boar’s hoof amulet, and allergy to black-eyed pea juice. And there’s a sub-theme about tradition vs. science. But everyone winds up with the right person in the end, presumably to live happily ever.

THE PLAYERS/THE PRODUCTION: The enhancement money allowed for an A-list array of theatermakers on the project. The director, Stafford Arima, shepherded Altar Boyz onto Broadway. The scenic designer, Beowulf Boritt, designed the Broadway production of The 25^th Annual Putnam County Spelling Bee, among others. Choreographer Todd L. Underwood choreographed the national tour of Kiss Me Kate. The cast includes Tony Award winner (The Life) Lillias White (Queen Zauba), last seen locally in How to Succeed… at the La Jolla Playhouse (1994), before she moved on to the Broadway production. She was also on the Great White Way in Dreamgirls, Cats, Chicago and Once on This Island. Sabrina Sloan (Princess Quelie) was a finalist on the 6^th season of Fox’s “American Idol.” Josh Tower (Prince Gallant) just completed a five-year run on Broadway as Simba in The Lion King. Jennifer Leigh Warren (Hena) appeared in the original Broadway cast of Big River, and originated the role of Crystal in Little Shop of Horrors. Ken Prymus (King Kemo) played The Lion in The Wiz on Broadway, where he also appeared in Ain’t Misbehavin’ and spent 7½ years as Old Deuteronomy in Cats. Three-time Grammy nominee Ton3x (Rolin) is a local, and a platinum-selling gospel rock star. Quite a heady mix of talent. And boy, do they deliver! – in vocals and dance.

The opening and closing number (“Prologue,” “Epilogue”) are an inspiring African song that sets the stage for the exotic timbre and locale. The ‘actors’ in the traveling troupe are agile and energetic. They sing, they dance, they move set-pieces (colorful, wheeled, trunk-like affairs that constitute pretty much the entire scenic design). The first act is too long and has slow spots and too many sub-plots (the allergy, the boar’s foot, the ghostly mother, the blue light). The book definitely needs re-shaping and tightening. It does contain an interesting and timely side-theme, but it’s not sufficiently developed. That would be the clash between tradition and science. Queen Zauba wants to honor a 350-year tradition in the way a Princess is selected; her son is a scientist, and believes in chemistry between people (a weak scientific argument, it seems). There’s some potential for a point to be made here (religion vs. research?), but it isn’t fully realized.

Another odd bit: the legendary 20-mattress bed actually plays almost no role in Quelie’s story. In an earlier version of the show, she had a song about how difficult it was to sleep on that bumpy bed, but it’s been jettisoned. The mattress caper is only important to Hena, who fakes her way into being bruised by the pea (similar to the ‘help’ the Princess gets in Once Upon a Mattress, a more comical musical based on the same fairy tale). And there’s never much explanation of the ‘blue light.’ Is it a good, bad or indifferent occurrence in these kingdoms? Is the Prince trying to get rid of it, or just explain it? Why does it disappear when he’s with Quelie? Why is the dance competition important? And what IS the significance of the pea-juice allergy and the boar’s foot? And there are potentially racially questionable elements: “blacktose intolerance” that’s cured by an elixir of Jiffy cornbread and hamhocks??

Vocally, the production is extremely strong. Still, it seems like everyone’s saving the real musical muscle for the second act. That’s when the powerhouse performers really get to let loose, especially Lillias White in her rousing gospel song, “My Only Son,” Sabrina Sloan in her anthemic “I’ve Finally Arrived” and the fabulous Ton3X finally gets to strut his stuff in “Partay.” One of the really fun, roof-raising musical highlights is “Ain’t Gonna Wait Around No More,” sung by a trio of Queen contenders, the “identical triplets” Sylvia MacCalla, Angela Wildflower Polk and Angela Teek, who amusingly look not at all alike.

The wigs (Missy Bradstreet), costumes (Jennifer Brawn Gittings) and lighting (Jennifer Setlow – in a welcome return to her old stomping grounds!) make positive contributions to the storytelling. The sound balance wasn’t right on opening night (Tom Jones); the voices sounded shrill at times and the outstanding six-piece band (under musical director/conductor/keyboardist Jim Vukovich) sometimes overpowered the singers. But the musicians set the rhythm and rocked!

A world premiere of this magnitude is a major undertaking. Kudos to all, and I hope Karole Foreman continues to get her due for launching the project. With time and tweaking, the show has a very promising future.

THE LOCATION: San Diego Repertory Theatre, through 12/21

Purple Passion

THE SHOW: The Color Purple, the touring production of the musical based on the Pulitzer Prize-winning novel by Alice Walker. Music and lyrics by Brenda Russell, Allee Willis and Stephen Bray, with book by Marsha Norman. The show, workshopped at the Alliance Theatre in Atlanta, was co-produced by Oprah Winfrey, who was nominated for an Academy Award for her performance in Steven Spielberg’s 1985 film adaptation of the novel. The musical opened on Broadway in December 2005, and closed in February 2008, after 910 performances and eleven Tony Award nominations (one win, for star LaChanze). The Broadway production recouped its $11 million investment within its first year, and has grossed over $103 million to date. The national tour was launched in April 2007.

THE STORY: The story begins in rural Georgia, 1909, and follows the hapless life of the passive young Celie, raped and impregnated by her father (twice), separated from her beloved sister, married off to the nasty, abusive Mister. Things change for her when Shug Avery, her husband’s sexy songstress mistress, comes to live with them. Celie falls in love with the attractive, liberated and tempting Shug. That relationship, and meeting headstrong Sofia (the role Winfrey played in the movie) help to empower Celie at last, allowing her to leave her husband and start her own life, opening a pants shop and ultimately reuniting with her sister and her long-lost children, who have been living in Africa. Even Mister has a turnaround, and even asks to re-marry Celie. Fortunately, she’s strong enough at this point to refuse, and maintain her own life and her sense of self.

THE PLAYERS/THE PRODUCTION: When I first saw the show on Broadway, shortly before it officially opened, I thought it was contrived and derivative. I don’t know whether it’s changed or I have, or whether I was influenced by having watched the film just a few days ago. But I found it more moving than the movie, and it captured the story better. The night I was at the Civic, the understudy, LaTonya Holmes, was Celie, standing in for Jeannette Bayardelle, the last to play the role on Broadway. Holmes was terrific, very strong vocally and perfectly capturing the homely, self-effacing early Celie and her later self-actualized ebullience. The energy and talent were high throughout the cast. There were some “technical difficulties” that delayed the second act, but nothing was noticeable. The scenic elements (design by John Lee Beatty – love those lacy trees!) moved smoothly and captured the essence of time and place. The lighting (Brian MacDevitt), especially on the ever-changing sky, was lovely. And each of the performances was outstanding. Plus-sized Felicia P. Fields, who originated the role of Sofia, captured the audience and all the laughs, and her connection with Stu James as her beloved Harpo, was delightful. Rufus Bonds, Jr. was aptly unlikable as Mister, and Angela Robinson was marvelous as Shug Avery – sassy, sultry and irresistible. The erotically charged choreography (Donald Byrd) -- in “Push Da Button” and “Any Little Thing” -- was the most inventive of the evening, but the dancing was high caliber throughout (heavy on the leaps by the hunky men). The costumes (Paul Tazewell) were true to the period, and beautiful in the African scenes (“African Homeland”). In sum, a long but satisfying evening, and a touching story well told. The standing ovation was earnest and earned.

THE LOCATION: Broadway San Diego at the Civic Theatre, through 12/7

The Magic Forest

THE SHOW: As You Like It, Shakespeare’s pastoral comedy, believed to have been written in 1599 or 1600.

THE STORY: The play follows its heroine Rosalind as she falls in love with the besotted Orlando, flees persecution in her uncle's court, disguised as a young boy, Ganymede, and accompanied by her cousin Celia (now called Aliena) and the jester Touchstone. They all find safety, the banished Duke (Rosalind’s father) and love in the magical, Arcadian Forest of Arden.

THE PLAYERS/THE PRODUCTION: This is a high-concept production, directed by Tom Dugdale, a graduate of Dartmouth and candidate for an MFA in Directing at UCSD. In his view, so the promotional material goes, Arden is “a mystical place with all the logic of a dream.” And this, we learn at the very last moment, is his conceit. The entire enterprise is Rosalind’s dream. Which, 2.5 hours later, explains why the melancholy Jaques comes wafting through her bedroom at the outset. Dugdale creates some beautiful stage pictures (brightly colored, autumnal leaves falling from the fly-space mark the Forest, for instance), but there are so many elements that are inexplicable and/or interfere with the progress and poetry of the play. There’s a small pond, into which Jacques spends most of his time gazing, Narcissus-like. There are several piles of books, in extreme disarray. The set is spare but oversized, the doors enormous. The first act is dour; the second, antic. Even as a dream, it doesn’t all make sense. And we’re so busy wondering, we often miss some of the wonderful language, which is generally quite well handled by the cast. There are several strong performances, but this is unequivocally Rosalind’s show; Maren Bush, a second-year MFA student who has performed at the Guthrie Theatre and the beloved, now-defunct Théâtre de la Jeune Lune, is superb, a loopy, swooning teen with a wild crush when she meets Orlando, a headstrong, forceful youth when she transforms into Ganymede. Lorene Chesley is appealing as Celia, Johnny Gill has some funny moments as Touchstone, Patrick Riley is fine as Jaques, and Evan Powell’s Orlando has all the wide-eyed innocence of a callow, lovesick youth. If only they – and the text – had been allowed room to breathe.

THE LOCATION: UCSD in the Potiker Theatre, through 12/6

A Woman Wronged

THE SHOW: Helen, a reprise production of the Euripides drama adapted by Drs. Marianne McDonald and J. Michael Walton, directed by Douglas Lay. I wanted to see how the piece played in The Theatre Inc.’s comfy new intimate downtown space… and it worked very well indeed, especially with the added digital design of Tom Christ, whose pyramids and skies provided depth, dimensionality and gravitas to the proceedings. His wife, Robin Christ, shown luminously once again as poor Helen, in this version a victim of gods and circumstance and a slave to the brutal Theoclymenus (forceful Brian Abraham, who can ‘strangle’ two women without even missing a syllable of his pompous speechifying!). The chorus (Bianca Chapman, Melissa Hamilton, Vanessa B. Milton) does a fine job, except when they’re facing upstage. Doug Lay is once again Menelaus (a ragged, war-torn soldier in a baseball cap!), the warrior/husband returned to his wife. They are reunited in love, but scheming and devious in their escape. Love balanced out by death. Sigh. The costumes (Lay) are a period hodgepodge, with ancient touches offset by modern weaponry. Christ looks gorgeous in black or white. In sum, it’s a brief and satisfying evening, worth the trip – for the story (a whole different look at ‘the face that launched 1000 ships’) and the compelling production.

THE LOCATION: The Theatre, Inc., Sunday evenings through 12/14

NEWS AND VIEWS

… Now the real work begins… This week, the 2009-2010 California State Legislature convened, and is rolling up its sleeves to address the state’s $11.2 billion budget shortfall and the projected $28 billion budget deficit. Now is the time to ask state legislators to provide leadership that will leverage California’s’ powerful arts sector to spark economic recovery and lay the groundwork for future prosperity. Log on to California Arts Advocates for info on what you can do to strengthen the voice and impact of the arts. www.californiaartsadvocates.org

… Dramatic Hanukkah festivities… It isn’t all about Christmas this month. The San Diego Repertory Theatre, in association with the San Diego chapter of the Jewish American Chamber of Commerce, and the San Diego Jewish Journal, is presenting a one-night-only encore performance of The Blessing of a Broken Heart, by Todd Salovey, adapted from the book by Sherri Mandel. It’s the heartrending true story of a woman who moves her family to Israel, only to lose her young son to the violence that wracks the land. She reels us into her journey of head, heart, mind and spirit. A Hanukkah Bazaar precedes the 7:30pm performance on the Lyceum Stage. 619-544-1000; www.lyceumevents.org.

… One more Christmas Carol (aren’t there four versions already?). But this one’s different… An Unscripted Carol is a holiday comedy inspired by the works of Charles Dickens… and it’s never the same twice. Presented by North Coast Repertory Theatre, in association with Impro Theatre of Los Angeles. One night only, December 10, 7:30pm. www.northcoastrep.org.

… Get Grinchy… The Old Globe is presenting its 6^th annual “Grinch Family Experience,” a family celebration for children 4-12 and their parents. The event combines a matinee performance of Dr. Suess’ How the Grinch Stole Christmas! with a special pre-performance luncheon and party featuring hands-on interactive theatrical activities. Proceeds support the Globe’s education and outreach programs for young people. Sunday, December 7. It all begins at 11am in the Globe’s Rehearsal Studios in the House of Charm. The performance begins at 2pm. 619-231-1941 X2317.

… Holiday Theater Sale… The Poway Center for the Performing Arts is holding a half-price sale for all remaining shows in the 200-2009 season. That includes music, dance and drama such as Burning in China (2/21-3/1), directed by five-time Oscar nominee Caleb Deschanel (“The Right Stuff”) and On the Divide (5/16/09), featuring screen star Eva Marie Saint (“On the Waterfront”). December 13, 10am-3pm, at the Center’s satellite office, 14027 Midland Road, as part of the Old Poway Village “Grand Re-Opening/Holiday Celebration.” Youth tickets (18 and under) are only $5 with purchase of each adult ticket.

… Going green… The J*Company Youth Theatre is planning a green season, aiming to educate participants about their impact on the environment. The company will be recycling, reusing, borrowing, reviving sets and costumes, obtaining materials from salvage; encouraging the use of eco-friendly water bottles, and more. Bravo! Those are the environmentalists of tomorrow! They’re putting it all into practice in Into the Woods (set borrowed from Starlight Theatre to reduce resource use), currently onstage at the Garfield Theatre at the Lawrence Family JCC in La Jolla, through 12/14. www.sdcjc.org/jcompany.

… Dance wild and Free… The three resident dance companies at NTC’s Dance Place are offering a holiday gift to the community: a Free Day of Dance. Malashock Dance, Jean Isaacs’ San Diego Dance Theatre and the San Diego Ballet invite the public into their studios for free classes for all ages and levels, including stretch, ballet, Afribellydance, yoga and modern dance. December 26, 9am-7pm. 619-260-1622, or visit each of the companies at: www.malashockdance.org; www.sandiegodancetheater.org; www.sandiegoballet.org.

… Portfolio Performance… The new class of MFA students in musical theater at SDSU, one of only four such graduate programs in the U.S. and the only one on the West coast, will present their first Portfolio showcase, “An Evening of Musical Theatre,” featuring songs by some of America’s greatest composers. December 8, 7:30pm at Cygnet Theatre/Rolando. Reservations recommended: 619-594-8262.

… Listen up and you shall hear… Write Out Loud is presenting two December events: San Diego CITYBEAT’s “Fiction 101: Winning Short Stories Read Aloud,” presented by an all-star cast, 6-9pm on December 8 at Caffe Forte, 3880 Grim Avenue, 92104. And “Giving Season: Holiday Stories for the Whole Family,” at 2pm on December 13 at Cygnet Theatre/Rolando. Reservations: 619-297-8953.

… Instead of Saturday Morning cartoons… Get your theater fix… Starting this week, my Friday morning theater reviews on KSDS, Jazz 88.3FM, will be reprised on Saturday mornings. 9am both days. Tune in! Or, read/listen to my on air reviews any time, at jazz88.org.

… Get on the Patté Bandwagon… it’s filling up fast!… Reserve your tickets or table NOW for the 12^th annual Patté Awards for Theater Excellence. www.thepattefoundation.org.

… Christmas on TV… I’ll be appearing on KUSI-TV this Sunday morning (in the 9-10am hour) to talk about holiday offerings about town. Check it out; “Good Morning, San Diego,” channel 51/cable 9.

… Support Theatrescene!!... You depend on this weekly newsletter, you read it, you refer to it. Now it’s time for you to step up to the plate to keep it alive. All we’re asking is that you donate a dollar a month, just 12 bucks, to help sustain sdtheatrescene. Your little bit will go a long way. Send a check to San Diego Theatre Scene, Inc., c/o Dale Morris, 515 Pennsylvania Ave #1, SD 92103, or click here to make your tax-deductible $12 donation online. And we’ll all give THANKS to you!

'NOT TO BE MISSED!' (Pat’s Picks)

The Princess and the Black-Eyed Pea – high-energy, vocally powerful, locally-produced world premiere

San Diego Repertory Theatre, through 12/21

The Color Purple – excellent touring production of the acclaimed, Oprah-produced musical

Broadway San Diego at the Civic Theatre, through 12/7

Helen - reprise production of Euripides’ fascinating take on the great beauty; intimate, intriguing, well done

The Theatre Inc., Sunday evenings through 12/14

The Last Night of Ballyhoo – funny and thought-provoking play, lovely performances

Scripps Ranch Theatre, through 12/6

U.S. Drag – darkly comic and wonderfully well done

Ion theatre, through 12/21

It’s a Wonderful Life: A Live Radio Play – heart-warming adaptation, superbly presented

Cygnet Theatre (Rolando), through 12/28

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, an open-ended run, now selling through 2/22

‘Tis the season for giving… so think ‘theater tickets’!

© 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.