Pat Launer on San Diego Theater
By Pat Launer,
SDNN
May
13, 2010
http://www.sdnn.com/sandiego/2010-05-12/things-to-do/theater-things-to-do/frankie-and-johnny-moscow-plus-more-theater-reviews-news
Carpe
Diem
THE
PLAY: “Frankie and Johnny in the Clair de Lune,” a touching comedy, at ion theatre
Midlife love. It’s frightening,
elusive, unlikely. And yet, sometimes, on a moonlit
night, life can take an unexpected turn.
That’s
what happens to Frankie and Johnny, two blue-collar New Yorkers trapped in
dead-end jobs, having been battered and bruised by a life that didn’t exactly
play out their childhood hopes and dreams. She wanted to be an actor, and
thinks about becoming a teacher. But she never graduated high school, and she’s
been a waitress for years. He grew up in foster homes, had an alcohol problem,
spent some time in jail – and in college. But now he’s a short-order cook.
They’ve been watching each other at the greasy spoon where they work.
Tentatively, they agreed to a first date: a little dinner, a movie, and on
returning to her cramped Hell’s Kitchen apartment, a surprisingly exhilarating
roll in the hay.
To
her, that’s it. A pleasant one-night stand. She’s too
old, too jaded, too cynical to entertain anything
further. She’s been hurt (literally) by men before. But this guy is relentless.
“I’m tryin’ to improve my life,” says Johnny. “I’m runnin’ out of time…. We gotta
connect, or we die.”
Frankie
thinks he’s weird, too intense (“you don’t look; you stare”), too needy, too
personal, too intimate. He talks too much. Johnny affably agrees that he loves
the sound of his own voice, that he’s “nervy and persistent.” But he’s also
passionate and loving, and willing to show his warts and cop to his weaknesses
and say things most women would die to hear. If only she could believe them.
“This isn’t small talk,” Johnny protests. “It’s enormous talk.”
And
so he keeps nattering, gradually chipping away at the defensive wall she’s
built around her. “Everyone has armor,” she says, “or we wouldn’t be alive.”
And slowly, over the course of an evening, as Debussy’s “Clair de Lune” plays
on the radio (“the most beautiful music in the world”), she loosens up her
armor, and acknowledges that they have a lot in common, that they’ve both known despair, self-loathing and loneliness. And maybe
it’s worth taking one more chance at happiness. They’re only in their 40s. It’s
not too late.
That’s
what makes Terrence McNally’s 1987 play so poignant and irresistible. What they
say is smart and insightful. Plus, they’re very funny. And they’re in excellent
hands with two terrific actors: DeAnna Driscoll and
Jeffrey Jones, under the skillful direction of
THE LOCATION: ion theatre’s BLK BOX3704 6th Ave., Hillcrest. (619)
600-5020; www.theoldglobe.org
THE DETAILS: Tickets: $10-$25.
Sunday-Tuesday at 7:30 p.m., Sunday at 4 p.m., through June 1
Bottom Line: BEST BET
NOTE: In this springtime of smart comedies,
“Frankie and Johnny” inaugurates ion’s Off the Radar series, playing in repertory
with “All in the Timing” (Thurs-Sat. at 8 p.m and
Sundays at 4, through 5/29) and “GAM3RS” (Friday-Saturday at 10:30 p.m.,
through 6/5).
Russian
Roulette
THE
PLAY: “
Chekhov meets Sartre and Sondheim in Purgatory
(while Beckett and ‘The Boys in the Band’ look on). These are the unlikely
(uncomfortable) bedfellows in “
Three gay men find themselves trapped in a theater,
with ‘no exit.’ They don’t know if they’re dead or alive. We don’t ever find
out (and by the end, we don’t really care). The only props they have are a sockball and a copy of Chekhov’s “Three Sisters” – in
Russian (one of them, conveniently, is able to create a translation). When they
tire of the ball game, they act out the play, pulling shmattas
out of a trunk, to use as skirts or headscarves. As each ‘becomes’ one of the
sisters, we are made to realize the commonalities and universalities.
The jaded, old queen, Jon (John Whitley), who
serves as the authoritarian director, is “dried-up, fusty, disapproving Olga,”
the oldest sister resigned to her spinsterish fate and the realization that
she’ll never get to
All their existential trials and tribulations,
expressed in myriad gay cultural references (Fire Island, Eve Harrington), are
played out in song, in an annoyingly atonal, repetitive score that’s trying
desperately to sound like Sondheim, fraught with self-conscious attempts at
Sondheim-clever lyrics. The objective is rarely achieved; the grasping libretto
sounds like a rhyming dictionary was put to overtime use,
and once an unpredictable pair of words was identified, a Herculean effort was
made to twist them into some sense of sense.
Cases in point: “Let me run my cheek across your stubble… keep me from
breaking like a flimsy bubble.” Or “When one reads a fiction, it all seems
formulaic/But life’s a strange addiction and never that prosaic.”
The entire effort is precious and pretentious,
derivative without being imaginative, clichéd and maddeningly
self-congratulatory. Director Ira Spector, an MFA musical theater candidate at
SDSU, plays it straight (so to speak), with no sense of irony or absurdity. The
performances are strong. Koppman-Gue gets more skilled and self-assured with
every role, and his voice is in excellent form. He’s especially powerful in the
love song, “Touch.” D’Agostino is an appealing
performer, who sings and moves well. But his role is unequivocally written for
an African American; the backstory is all
The instrumental trio is outstanding: musical
direction/piano by Patrick Marion, with marvelous flute (
Some familiarity with “The Three Sisters” is useful
but not mandatory; a helpful super-speed recap of the plot forms the first
musical number (“Cliff Notes”). But sitting through this show forces the
observer to consider one of the seminal, underlying questions of Chekhov’s
play: What are we willing to settle for in life? (or
in theater).
THE LOCATION: Diversionary Theatre,
THE DETAILS: Tickets:
$27-$35. Thursday at 7:30 p.m., Friday-Saturday at 8 p.m., Sunday at 2 and 7
p.m., and Monday, 5/17 at 7:30 p.m., through May 30
Cut
Loose
THE
PLAY: “Footloose”
You’ve seen the movie (a few more degrees of Kevin
Bacon?). But when was the last time you took in the musical version, live
onstage? Well, the Welk Resorts Theatre is here to fill that gap in your
theatergoing experience. And a high-energy effort it is.
The 1984 musical film was converted into a Tony-nominated Broadway
musical in 1998, and it hews fairly close to the original. The music is by Tim
Snow and lyrics by Dean Pitchford, with additional
music/lyrics by Kenny Loggins (who wrote the title
tune), Sammy Hagar, Jim Steinman and Eric Carmen. Many of the show’s songs had
an impressive pop afterlife, including “Footloose,” “Let’s Hear it For the
Boy,” and “Holding Out for a Hero.”
The plot tells the story of good-hearted and lonely
(and sometimes smart-mouthed)
But you probably knew all that. What you might not
know is that the story is based in fact. In 1979, in the small town of Elmore
City, Oklahoma (pop. 775 in the 2000 census), the graduating high schoolers
wanted to stage a senior prom, but dancing had been outlawed within the town
limits for more than 100 years. There was even a local minister who declared
dancing ‘the tool of the Devil.’
The delightful Welk Theatre production is directed
and choreographed by L.A.-based Dan Mojica, who, for
eight years, served as associate director/associate choreographer for the
original production of “Disney’s Beauty and the Beast.” The singing, dancing
and acting of the 17-member cast are vibrant and robust; Yellin,
Mills and Palmer stand out as exceptional triple-threats. The sets (designed by
that wiz,
So, “lose your blues”… and cut footloose.
THE LOCATION: Welk Resorts Theatre,
THE DETAILS: Tickets: $44-$47
($63-$68 for show plus meal). Thursday and Saturday at 8 p.m., Wednesday,
Thursday, Saturday, Sunday at 1 p.m., through June 5
Bottom Line: BEST BET
ARTS
IN ACTION
…
“Luscious Noise” – I figured the best way to treat
and entertain my mother on Mom’s Day was with some luscious classical music –
and I was right. Luscious Noise is
the new “multi-media experience” that strives to make classical music more
accessible, affordable and enjoyable for the general public. Under the
direction and baton of John Stubbs, the group began in November 2009, and has
been performing bi-monthly at Anthology supper club ever since. Each
presentation has a theme, and the music is chosen to embrace that idea.
November was Love; January, Night Music &
The multi-camera capabilities of the attractive, tri-level
venue allow for up-close, projected views of the gifted San Diego Symphony
musicians. After each musical selection (perhaps a bit too much on-and-offstage
movement), historical videos were shown, including a delightful,
glorious-voiced Natalie Dessay singing the soprano
solo from ‘Voices of Spring’ from
Strauss’ “Der Fliedermaus.”
There was a less impressive segment of Martha Graham dancing “Appalachian
Spring” (the choreography seemed surprisingly flat and uninspired). The video
excerpts from Stravinsky’s “Firebird” and a documentary on the Ballets Russes were superb. But the segment from the Delius opera,
“A Village Romeo & Juliet” seemed out of place. It was meant to coincide
with the Delius “Air and Dance” for strings, also one of the less-than-high
points of the evening.
Vivaldi’s “Spring” from “The Four Seasons” was delightful,
as were Beethoven’s “Spring Sonata” for violin and piano (wonderfully played by
Jeffrey Zehngut on violin with Tatiana Roitman at the piano, Tchaivovsky’s
waltz from “Serenade,” and the thrilling finale, Mozart’s “Serenata
Notturna” (Serenade in D). The concertmaster, Jisun Yang, was consistently riveting in her playing.
Though we had some difficulty with slow service, the food
was pleasant, the venue, though tightly packed, is friendly and warm, and the
playing was marvelous. This is a wonderful way to spend an evening, and to
enjoy some of the (brief) highlights of the classical canon, excellently
performed. The next presentations by Luscious Noise are July 25 and August 15.
Mark your calendar now.
…
Arts in Action, UC
The program opened with a performance by Sandra
Foster-King’s West African dance class, and closed with grace shinhae jun’s hip hop dance
class. Both groups were large and energetic, if not professional in caliber.
While the discussion was going on, Mario Torero and Fernando Vossa were creating a huge mural on the stage. It was
exciting and energizing to confront issues such as colorblind casting (no one
believes in it), the politics of art (all art is political) and the relevance
of recent campus events to the arts. The contributions were lively, even if the
presentations did, at times, devolve into arcane academic-speak. The audience
was composed mostly of students and faculty; not enough of the general public
or arts community was present, but the university hadn’t done a sufficient job
of publicizing the Festival. The seemingly spontaneous eruptions of dance and
theater around the campus were exhilarating. Now if only they weren’t preaching
to the choir. Attendance at all events should have been mandatory for the
fraternity that started it all with the offensive, ghetto-themed “Compton
Cookout” that mocked Black History Month in February. In the aftermath of the
Arts in Action activities, the public is invited to view, upload and interact
at ucsdsmashtv.com
NEWS AND VIEWS
… The 17th
annual Lipinsky Family San Diego
Jewish Arts Festival is all about art and soul. And there’s plenty of
drama to be had.
v
The Jewish/Mexican American Theatre troupe, Teatro Punto y Coma
presents “The Show Across the Street,” a world
premiere comedy (in English) with original music, dance and video that’s billed
as a sequel to “Fiddler on the Roof.” Developed over the past two years,
written and directed by Robert Moutal, “The Show” is
based on a story by artistic director Pepe Stepensky. June 2, 3, 4 and 6 in the Lyceum Space in
v
Festival director
v
For a music and dance one-two punch, consider the world premiere,
“Malashock Dance with Yale Strom: Chagall.” The world-renowned artist’s
life, loves and stunning images are at the heart of this new dance/musical.
John Malashock’s evocative choreography melds with
the music of Yale Strom, a masterful composer of Eastern European “folk music
of the soul.” They’ll showcase three sections of their new collaboration, as
well as an encore performance of Strom/Malashock’s
thrilling “Tribes.” The program also features a short concert by Strom and his
Hot P’Stromi band. June 10, 12 and 13, in the Lyceum
Space. Following the 6/10 performance, Malashock and Strom will discuss Chagall
and their new work.
Reservations
for all Lyceum events: (619) 544-1000; www.sdrep.org
v North Coast Repertory Theatre will once again be
getting into the Festival act, with two Jewish Play Readings.
Ø “The Immigrant,”
an autobiographical work by Mark Harelik and
Randal Myler, will be presented one night only,
starring Harelik himself, a noted stage and screen actor.
The uplifting play traces his family’s Jewish roots, in a funny and heartfelt
tale of the only Jew in a small
Ø The next night, June
15, NCRT presents “Mandate Memories” by Lionel Goldstein, a
stirring portrait of
Reservations
and information for the North Coast Rep performances at (858) 481-1055; www.northcoastrep.org
… Something
slightly new, something very new: The La
Jolla Playhouse has just announced the final addition to its six-show
season: the world premiere of “Limelight:
The Story of Charlie Chaplin.” Through song and
dance, “comedy and heartbreak,” the musical illustrates how Chaplin rose from
the gritty streets of
And in other
Playhouse news, JOHN LEGUIZAMO IS
BACK! The wild, wacky comic, Emmy-winning actor is returning to La Jolla to
polish his latest show, in another Page to Stage workshop production, before it
goes on tour to
… A Big Show
for Craig: The response to the memorial service for the late, great Craig Noel has been so large that the
venue has been changed – from the Old
Globe Theatre to the Spreckels Organ Pavilion. “Celebrating the Theatrical Legacy of Craig Noel” will be preceded
by the naming of the Globe’s lower courtyard the
… In Residence:
Matthew Lopez, the young writer of “The Whipping Man,” a post Civil War
drama currently having its West coast premiere at the Old Globe, has been named
Globe Playwright in Residence for the next two years. The honor includes a
commission for a new play, and participation in the Globe’s education outreach
and audience development activities. “Matthew Lopez is an emerging voice in the
American theater,” says Old Globe executive producer Lou Spisto. “A fresh
perspective and a narrative drive are the hallmarks of his developing talent.”
Watch for a review of “The Whipping Man” here next week.
… Still not
the A-List: As part of the national tour of the 2008 Tony Award-winning
Best Musical, “In the Heights,” only
… Milk for All:
In honor of the
first statewide Harvey Milk Day and
the May 22nd birthday of the slain activist, who would have turned
80 this year, Diversionary Theatre will
be staging readings of “Dear Harvey,”
a touching play commissioned by the gay-lesbian theater. In 2009,
Diversionary premiered the interview-based celebration of Milk, written by
Patricia Loughrey, with music by
…Making a Comeback: Pasadena
Playhouse, the State Theater of California established in 1917, is ready to
return, reorganized, thanks to a bankruptcy filing. The board and staff are
optimistic that the Playhouse will emerge from Chapter 11 and resume the
production of theater. Among the high-profile launches from
… Restoring the Luster: What started as a
one-day do-good event has blossomed into an ongoing relationship. More
than 1100 volunteers from the
… One-half G&S: The Talent
to aMuse Theatre Company is presenting “Engaged,” a farce by W.S. Gilbert, one-half of the famed
Gilbert and Sullivan operetta partnership. The play, a stage hit in
... Get Shocked: The four distinct companies that comprise the
hip hop phenom, Culture
Shock, which was created in San Diego by executive director and founder
… The Bad Boys of Jersey?: Last month, a lawsuit was filed by
Rock ‘n’ Roll Hall of Famer Frankie Valli and Bob Gaudio,
original members of the Four Seasons, along with Marshall Brickman and Rick Elice, the co-creators of the musical, “Jersey Boys.” It seems that some of the
original Broadway performers in the blockbuster musical formed their own production
company and have been touring as “The Boys in Concert” or “Broadway’s Jersey
Boys.” The lawsuit claims that the group has stolen songs, stage elements and
copyrighted logos to make patrons think they’re an “authorized road company” of
the long-running, megahit musical about the rise and fall and rise of Frankie Valli and the Four Seasons. The plaintiffs want the
performances stopped, and they’re requesting $150,000 for each of the ten tunes
performed in the unauthorized show. They’re also asking for all of the
production’s profits, and unspecified damages for unfair competition and
copyright infringement. Named in the suit are Drew Gehling,
Michael Longoria, Daniel Reichard, Matthew Scott and
J. Robert Spencer, along with former San Diegan and Junior Theatre alumnus Christian Hoff, who won a Tony Award
for his Broadway performance as Jersey Boy Tommy DeVito.
“The Boys in Concert” has reportedly been seen in
The
… M-Day and D-Day: Write
Out Loud, the company that reads literature aloud to live audiences, is
presenting a tribute to parents (and their special days) in “The Tie That Binds: Stories of Mothers and
Fathers,” just in time for Father’s Day. Monday, June 14
at 7 p.m., Old Town Theatre. Call (619) 297-8953 for reservations.
… Dollar a Dance: Members of the San Diego Black Ensemble Theatre will perform a reading of
…
Young, Gifted and Black: “Stick
Fly,” an acclaimed play by a rising star of the theater, Lydia Diamond, will be presented as a
reading by Mo’olelo Performing Arts Company. Set on
Martha’s Vineyard, the searing examination of racial fault-lines among the
black elite has earned Diamond comparisons to August
…
Bringin’ it to the People: The San Diego Actors Theatre will present a
staged reading of “Master Harold… and
the Boys,” a gut-wrenching apartheid drama by world renowned South African
playwright (and part-time
PAT’S PICKS: BEST
BETS
v “Frankie and Johnny in the Clair de Lune” – poignant, funny and wonderfully acted
ion theatre, through 6/1
v “Footloose” –footloose and fancy free;
high energy, fine singing and dancing
Welk
Resorts Theatre, through 6/27
v “Golda’s Balcony” – inspiring story, tour de force performance
The Old Globe Theatre, through 5/30
Read Review here:
http://www.sdnn.com/sandiego/2010-05-05/things-to-do/theater-things-to-do/goldas-balcony-plus-more-theater-reviews-news
v “All in the Timing” – smart and
hilarious
ion theatre, through, 5/29
Read
Review here: http://www.sdnn.com/sandiego/2010-05-05/things-to-do/theater-things-to-do/goldas-balcony-plus-more-theater-reviews-news
v “Gam3rs” – LOL funny
ion theatre, through 6/5
Read Review here: http://www.sdnn.com/sandiego/2010-05-05/things-to-do/theater-things-to-do/goldas-balcony-plus-more-theater-reviews-news
Pat
Launer is the SDNN theater critic. She can be
reached at
To read any of her prior reviews, type ‘Pat
Launer,’ and the name of the play of interest, in the SDNN Search box. Or, access her
present and past reviews from the Arts & Entertainment pull-down on the
SDNN homepage.