SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #269

By Pat Launer

www.sdtheatrescene.com

12/12/08

It’s a Tuna Christmas, fun to seeya

Where Christmas Carols meet Cassiopeia.

A CAVALCADE OF CAROLS (Dueling Scrooges)

Act I. A Christmas Carol at Cygnet Theatre

THE STORY: The Dickens tale is there in all its glory (in both productions), and it’s more relevant than usual this year, when dedication to the almighty dollar and obsession with wealth have been shown to be very destructive forces, indeed. Everyone is ultimately brought down (you reap what you sow, forge your own chains, etc.). Penitence, redemption and reparation are in order these days to be sure, across the economic spectrum (but especially at the top). A little generosity of spirit would do us all good.

But the big story is the new space, the unveiling of the new Old Town Theatre, of which Cygnet is now the proud 10-year proprietor. The renovations of the 248-seat house are beautiful, tasteful, elegant, Edwardian. Lovely carpets, comfortable seats. There are still some problems with the lighting system (full-theater blackout in the second act on opening night), but all else seemed to be working to perfection. And amazingly for this cash-strapped year, Cygnet actually exceeded its fundraising budget, snagging over $1 mil instead of the $950K they were shooting for. Impressive!

THE PLAYERS/THE PRODUCTION: Under the direction of Sean Murray, who also provided the fine, if somewhat wordy/lengthy new adaptation, the production showed off all the theater’s capabilities, making excellent use of the flyspace above and the trap below. The narration is handled by the versatile ensemble, sometimes handing off mid-sentence. It works very well. The emphasis here is on the ghostly elements and they’re wonderfully scary. Manny Fernandes, all ashen and draped in chains, is downright spooky as the long-dead Jacob Marley. He’s also great fun as the tall, gilded, jocular Ghost of Christmas Present. Amanda Cooley-Davis is strikingly pallid, white-clad and ethereal as the Ghost of Christmas Past. That look, like the spine-chilling, 12-foot-tall black phantom that is the Ghost of Christmas Future, are reminiscent of a Christmas Carol past, at the San Diego Repertory Theatre (Murray was involved in a number of the 30 years of productions, as actor and director). Craig Huisenga is warm and likable as Bob Cratchit, and Jaysen Waller has a delightfully infectious smile as young Ebenezer and especially as Scrooge’s ever-cheerful nephew, Fred. Annie Hinton’s great as Mrs. Dilbur and Mrs. Fezziwig, Amanda Morrow looks lovely as Belle, Emmelynn Thayer is a wonderfully grounded Mrs. Cratchit and Paul Kruse is fine as the jigging Mr. Fezziwig. The cast is rounded out by the kids, all effective: Celia Tedde, Daniel and Ian O’Meara (rotating) and Max Oilman-Williams, touching as Tiny Tim. Jim Chovick is delectable as Scrooge – crusty and nasty at first, making a sweet transition to Mr. Generous, Christmas-loving Nice-Guy.

The set (Sean Fanning) is dark and eerie and looming, beautifully lit by Matthew Novotny, with added animation from Tom Christ. The costumes (Shirley Pierson) are aptly varied, lush and elaborate and the wigs (Peter Herman) are attractive – and often amusing. With the singing that wafts throughout, and a solid text. It’s a charming and good-looking production overall. But be forewarned: it could be a tad scary for little ones.

THE LOCATION: Cygnet Theatre at the Old Town Theatre, through 12/28

BOTTOM LINE: BEST BET

Act II. A Christmas Carol at North Coast Repertory Theatre

THE PLAYERS/THE PRODUCTION: This is a tweaked and tightened revision of the adaptation by local playwright Jacqueline Goldfinger which premiered at NCRT last year. The brief, 90-minute running time gives short shrift to certain relationships and interactions, but we certainly get the picture. In fact, a lot of the pictures are in our minds. The simplicity of the production leaves a good deal to the audience imagination; that’s not a bad thing, of course, but most of us have a long history of Christmas Carols, where much is shown. Here, during the miner and seaman section of the Present, for example, the actors look out into the house, peering off into the distance at what’s being described. A fair amount of the story is told instead of shown, but still, there is plenty to see and a good deal to hear.

Under the confident direction of Stephen Elton, artistic associate at North Coast Rep, the 11-member cast plays multiple roles and sings many songs (accent on the ‘Carol’ in this Christmas Carol.). The narration is handled by the ensemble, which wafts musically on and off the stage and even handles some of the sound effects (ominous whispers and ticking clocks), supplementing the richly detailed sound design of Chris Leussmann, a notable highlight of the production. The narrations, the carols and the overall pace of the piece work much better this year than last.

This is a kid-friendly show, often played for humor, and the ghosts aren’t the least bit scaryl. Having a child play the Ghost of Christmas Past robs the role of some of its emotional intensity. But the cast is talented, though it’d be nice to specify some of their roles, rather than listing them just by Ensemble number. As last year, Rachael Van Wormer (Belle and Fred’s wife) and Susan Denaker (Mrs. Fezziwig and Mrs. Cratchit) are standouts. Brian Mackey, Michael Zlotnick and John Tessmer are all compelling as well. Von Schauer plays the showier characters (Marley’s Ghost, Christmas Present and Mr. Fezziwig), but he played them rather low-key; I missed Donál Pugh’s oversized dramatic presence. Ron Choularton has deepened his portrayal of the miserly old misanthrope, Scrooge. He’s especially nasty at first, cutely contrite and adorably infantile after his Big Transformation.

Marty Burnett has admirably added mobility and dimensionality to his attractive polished wood set, which is very well lit by Jason Bieber. Michelle Hunt Souza has created appealing and adaptable costumes. It’s a quick trip to early 1800s London, and a fine family intro to the story – and the theater.

THE LOCATION: North Coast Repertory Theatre, through 12/27

BOTTOM LINE: BEST BET

Boxed In

THE SHOW: Hotel Cassiopeia, a 2007 theatrical collage by Charles Mee, about a dramatic (if humdrum) collagist, Joseph Cornell (1903-1972).

THE STORY THE PRODUCTION: It’s a match made in heaven: two collectors of found objects: one artistic, the other theatrical. Playwright Mee loves to sample the work of others (especially Greek dramatists) and he invites others to pick over his work, making his texts available online so folks can borrow pieces and transform elements. The artist Cornell created collages and shadow-boxes that reflected his various obsessions: the night sky, ballerinas, movie stars (especially Lauren Bacall). The play, if you can call it that, is a portrait and a memory, based on the artist’s notes and diaries, filled with characters real and imagined who glide on and off the stage enigmatically.

The structure of the production, like the work of its subject and its creator, was fragmentary. We were offered a glimpse of the routine, lackluster life of the pathologically shy and reclusive artist, who lived out his days in a basement in Queens, with his mother and disabled brother, whom he adored and fiercely protected. Robert had cerebral palsy, but here he’s played (by Billy Khang) as a rocking autistic. Cornell (Phil Kruse) is monotonal and doesn’t interact well with people, particularly women. He makes and recites lists of things he likes. He sits at his table. He writes. Characters come and go. An astronomer, an herbalist and a pharmacist debate plants. Duchamps and Gorgy make appearances, as does Lauren Bacall. Scenes from the film classics “To Have and Have Not” and “Algiers” are recreated onscreen (superb filmwork and projections by undergraduate actor Fernando “Jay” Huerto). If you’re hot on plot, this wouldn’t be the show for you.

But it was glorious to behold, if you could just allow it all to float by, just like the inner-mind dreamscape it was meant to be. The look was fantastic (in all senses of the word). The scenic design (Elizabeth Ryan) was perfectly box-like and compartmentalized. The sound (Kevin Anthenill) was explosive and provocative. The lighting (Shawna Cadence) was gorgeous. The costumes ranged from beautiful to bizarre. Under the zealous direction of faculty member Peter James Cirino, the mostly undergraduate cast acquitted themselves well, but they sometimes lacked the sense of layering inherent in the piece; they either played for farce or heavy drama. But Cirino’s vision and his sheer chutzpah in attempting this wildly experimental work are commendable. (Production closed)

Big Bertha is Back

THE SHOW: A Tuna Christmas, the 1989 sequel to the riotously popular Greater Tuna, created in 1981 by Jaston Williams, Joe Sears and Ed Howard. The Christmas incarnation was succeeded by Red, White and Tuna and Tuna Does Vegas, but none was as funny as the original, that initial, eye-opening introduction to Tuna, Texas, third smallest town in the state. All the comic pieces are commentaries on and satires of small-town Southern life, attitudes, mores, small-mindedness and often, meanness. Every version introduces upwards of twenty characters, all played by two men (originally, Williams and Sears, directed by Howard).

THE STORY: Showdown at the OKKK Corral… actually that’s radio station OKKK (and the last three letters have significance in this neck o’ the woods). It’s Christmas Eve, and most of Tuna is doing something other than what they’d like to be doing. A major focus of the play is the annual Christmas Yard Display competition, which has been won for 14 straight years by Vera Carp, acting leader of the Smut-Snatchers of the New Order. This year, the contest is being sabotaged by the “Christmas Phantom,” who’s hellbent on vandalizing the contenders’ creations. Meanwhile, flamboyant, gay theater director Joe Bob Lipsey (“not the marrying kind,” as they say in these parts) is trying his darndest to mount a production of A Christmas Carol, which includes juvenile delinquent Stanley Bumiller, doing penance and probation by appearing in the play. Stanley’s mother, Bertha, is trying desperately to keep her sanity – and her far-flung family -- together. In his various appearances, Humane Society devotee Petey Fisk shows evidence of being mauled by the exotic animals he’s taken under his wing. Mayhem ensues, the Phantom is discovered, and Christmas is celebrated in a melted Tuna kind of way.

THE PLAYERS/THE PRODUCTION: Two local funnymen, Fred Harlow and Don Loper, take a big bite out of Tuna. They’re both capable of excellent characterizations and they each have moments to shine. The plot and text aren’t all that amusing, though; the best part is watching the rapid-fire transformations (it takes three backstage dressers). Lisa Burgess did a great job on the costumes, which have to define character and slip on and off like lightning. Under the direction of Josh Hyatt, the comic timing is terrific, though the pace feels a little slow. We get a big kick out of Loper as the shriveled, smoking harridan, Didi Snavely, proprietor of a used-weapons store; the increasingly maimed Petey Fisk; the aptly annoying adolescent Charlene Bumiller; and gum-snapping Helen Bedd; as well as the ‘little person,’ Farley Burkhalter, whose face can barely be seen over the half-open Dutch doors. But it’s Harlow who gets the juicy characters and big laughs: dullard/UFOlogist RR Snavely; big, bouncy-boobed Aunt Pearl; Tasty Creme waitress Inita Goodwin and poignant/pathetic Bertha Bumiller. His moment of ‘taking out his teeth’ out is a howler. The Texas accents are thoroughly credible, and we see all the sarcasm, cynicism and hypocrisy bred in backwater towns, as well as the nastiness under the sweet, sappy surface. It’s sheer escapist fun – and it’s already on the books for next year!

THE LOCATION: Compass Theatre, through 12/28

NEWS AND VIEWS

… Another Opening, another …Closing: Close on the heels of the demise of the 23 year-old Opera Pacific in Orange County and the 74 year-old American Musical Theatre of San Jose, the Baltimore Opera has filed for bankruptcy. It’s getting scary out there for the arts, folks. There’s only one thing you can do to this distressed holiday season: Buy – and give! -- tickets!

… First crack at First Wives… The Old Globe will be featuring the world premiere of another Broadway-bound biggie, The First Wives Club: A New Musical, based on the 1996 film about three vengeance-obsessed ex-spouses. The score is by the legendary Motown team of Brian Holland, Lamont Dozier and Eddie Holland, who created 1960s megahits including the Supremes’ “Stop! In the Name of Love” and the Four Tops’ “Reach Out I’ll Be There.” The songwriting trio is reuniting after decades for this event. Watch for it next summer.

… Don’t forget your Free Day of Dance at NTC, provided by Malashock Dance, Jean Isaacs’ San Diego Dance Theatre and the San Diego Ballet. Free classes for all ages and levels, December 26, 9am-7pm. 619-260-1622, or check out the offerings by each of the companies: www.malashockdance.org; www.sandiegodancetheater.org; www.sandiegoballet.org.

… Saturday reprise… My theater reviews on KSDS, Jazz 88.3FM, are now re-broadcast on Saturday mornings. 9am both days. Tune in! Or, read/listen any time, at jazz88.org.

… Patté seats are selling fast!… Reserve your tickets or table NOW for the 12^th annual Patté Awards for Theater Excellence. www.thepattefoundation.org.

… Okay, you’ve delayed long enough… Now it’s time to step up to the plate and Support Theatrescene!!... what we’re asking seems like a pittance. But if 500 people pay a pittance, those pittances start to add up. This is like public broadcasting; you can get it for free, but it’s so much better for everyone if you do your part to help. All we’re asking is that you donate a dollar a month, just 12 bucks, to help sustain sdtheatrescene. 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)

A Christmas Carol – beautiful production, excellent design and ensemble (and it’s kinda scary, too!)

Cygnet Theatre at the Old Town Theatre, through 12/28

A Christmas Carol – short, family-friendly version; lots of music and laughter

North Coast Repertory Theatre, through 12/27

A Tuna Christmas – escape to small-town Texas mayhem with two antic comic performances

Compass theatre, through

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

San Diego Repertory Theatre, through 12/21

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

The Theatre Inc., Sunday evenings through 12/14

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

Plan ahead… theater tickets make great stocking-stuffers!

© 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.