eric g. tauber
writer-reviewer
MOXIE Theatre
Presents . . .
DANCE NATION
Steps Into The Surreal
By Eric George Tauber
There’s plenty of drama in dance studios - especially, when there are competitions coming up. It’s a lot of pressure to put on these kids, and rivalries among friends complicate their relationships.
The characters are “tweeners,” children in their pre-teen years, filled with rambunctious energy, insecurities and curiosities, navigating the choppy waters of their developing minds and bodies. But, the actors are adults, some with wrinkles and gray, navigating life’s latter transitions. The effect is both strange and amusing.
“Children live the in the world - where not everyone gets a chance.”
The characters are “tweeners,” children in their pre-teen years, filled with rambunctious energy, insecurities and curiosities, navigating the choppy waters of their developing minds and bodies. But, the actors are adults, some with wrinkles and gray, navigating life’s latter transitions. The effect is both strange and amusing.
“Children live the in the world - where not everyone gets a chance.”
Darren Scott is “Dance Teacher Pat” (that’s what they call him), a severe, drama queen taskmaster. To wow the judges at the next competition, he’s come up with “World On Fire”, about the life of Gandhi …whom the kids have never heard of.
Sarah Karpicus plays The Moms, all of them. One mom wants Dance Teacher Pat, to heap praises on her daughter, and tell her that she’s special. While everyone is special to their mothers, few of us are special beyond that sphere.
Darren Scott is “Dance Teacher Pat” (that’s what they call him), a severe, drama queen taskmaster. To wow the judges at the next competition, he’s come up with “World On Fire”, about the life of Gandhi …whom the kids have never heard of.
Sarah Karpicus plays The Moms, all of them. One mom wants Dance Teacher Pat, to heap praises on her daughter, and tell her that she’s special. While everyone is special to their mothers, few of us are special beyond that sphere.
Each character gets a monologue, taking the audience into their confidence, like opening up a diary. Andréa Agosto is intense as Ashlee. At thirteen, she’s confident, loud, salty and ready to take on the world. Farah Dinga plays Connie, a shy little nerd, who’s desperate for attention. She knows that she’s not the most graceful dancer, but she really wants a chance to shine. Sandra Ruiz - as Sofia - has a precocious fascination with reproductive parts, and talks pretty candidly about what she thinks sex will be like. And Li-Anne Roswell, was the most genuinely childlike as Maeve. She likes dancing well enough - but, her real passion is saving the wolves, even howling when happy.
Each character gets a monologue, taking the audience into their confidence, like opening up a diary. Andréa Agosto is intense as Ashlee. At thirteen, she’s confident, loud, salty and ready to take on the world. Farah Dinga plays Connie, a shy little nerd, who’s desperate for attention. She knows that she’s not the most graceful dancer, but she really wants a chance to shine. Sandra Ruiz - as Sofia - has a precocious fascination with reproductive parts, and talks pretty candidly about what she thinks sex will be like. And Li-Anne Roswell, was the most genuinely childlike as Maeve. She likes dancing well enough - but, her real passion is saving the wolves, even howling when happy.
Wendy Maples plays Amina, who is supposed to be the fiercely competitive star dancer of the class - but, she’s not the strongest dancer. That distinction goes to Joy Yvonne Jones, whose well-trained body moves with grace and poise. Yet as Zuzu, she plays second fiddle. Under the strain of both the dance competition and her mother’s cancer, she starts to crack in disturbing ways.
Eddie Yaroch is fun to watch as Luke, the one boy in the class. Shy and eager to please, he has the sweetest crush on Zuzu. Yet, he’s so used to being “one of the girls”, that he turns, when they call for the girls’ attention. So I was disappointed not to learn more of his story.
There were some other pretty surreal turns, but I don’t want to give too much away. The story, focuses more on their personal drama than on the dancing - which frankly fell a little flat. Always one to push boundaries, Director Jennifer Even Thorn, made so many daring choices that it was difficult to land.
Eddie Yaroch is fun to watch as Luke, the one boy in the class. Shy and eager to please, he has the sweetest crush on Zuzu. Yet, he’s so used to being “one of the girls”, that he turns, when they call for the girls’ attention. So I was disappointed not to learn more of his story.
There were some other pretty surreal turns, but I don’t want to give too much away. The story, focuses more on their personal drama than on the dancing - which frankly fell a little flat. Always one to push boundaries, Director Jennifer Even Thorn, made so many daring choices that it was difficult to land.
Dance Nation is playing at the Moxie Theatre in the College/Rolando area through Sept 15th, 2019.
There’s a parental advisory for explicit content, mainly for words that your kids probably use anyway.
There’s a parental advisory for explicit content, mainly for words that your kids probably use anyway.
*********
Broadway San Diego:
Presents . . .
" FIDDLER "
Raises the Roof at the Civic !!!
By Eric George Tauber
Raises the Roof at the Civic !!!
By Eric George Tauber
I remember hearing a story about a ten-year old Jewish boy exploring his grandmother’s house. In the closet by the front door, he found a small suitcase filled with old photos and precious 'tchotchkes'. When asked, his grandmother explained that these were relatives who had long since passed and mementos of great sentimental value.
“But why do you keep them in a suitcase by the front door?” he asked.
“Because, Bubeleh, you never know when you’ll have to leave in a hurry.”
This is a common story among Jews, whose elders suddenly found themselves as refugees of the pogroms. By edict from the Czar, thousands were forced to leave the only place they had ever known. Decades later, even in the Goldeneh Medineh, the “Golden Land” of America ... the fear of eviction lingered.
“But why do you keep them in a suitcase by the front door?” he asked.
“Because, Bubeleh, you never know when you’ll have to leave in a hurry.”
This is a common story among Jews, whose elders suddenly found themselves as refugees of the pogroms. By edict from the Czar, thousands were forced to leave the only place they had ever known. Decades later, even in the Goldeneh Medineh, the “Golden Land” of America ... the fear of eviction lingered.
Some of us, generations later, pay those places a visit. We want to breathe the air and touch the soil our grandparents, tilled to deepen our sense of who we are. Such a pilgrimage, brings Israeli actor Yehezkel Lazarov, clad in a modern red hoodie, to the train platform in Anatevka, Ukraine. He’s reading aloud a story by Sholem Aleichem, and transforms into the most iconic character in all of Yiddish literature, Tevye. I loved his wry sarcasm, as he carries on his many one-sided conversations with GYd.
And then the stage was filled with life. The exuberant shtetlniks of Anatevka, came on singing and dancing: papas, mamas, sons and daughters, tradesmen, a sage rabbi and a crafty beggar. I wanted to get up there and dance with them.
Mel Weyn, Ruthy Froch and Natalie Powers had a loving-teasing chemistry as Tevye’s daughters Tzeitel, Hodel and Chava. Mel Weyn was very expressive, as she pushed her nebbishy would-be husband, MOTEL, to ask for her hand. We root for Jesse Weil to find his voice and finally speak up for himself. Lean, wiry and energetic, Weil reminded me of a young Ray Bolger - best known as the 'Scarecrow' in The Wizard of Oz.
Jonathan von Mering gives us a radical young student, PERCHIK, afflicted with a deep, gnawing anger - the kind that makes a man want to turn the world upside down and build it anew. He’s not wrong about what’s wrong - but, he’s not right about the kind of society the Bolshevik Revolution will bring.
Jonathan von Mering gives us a radical young student, PERCHIK, afflicted with a deep, gnawing anger - the kind that makes a man want to turn the world upside down and build it anew. He’s not wrong about what’s wrong - but, he’s not right about the kind of society the Bolshevik Revolution will bring.
Natalie Powers is adorable as CHAVA, a bookish girl with a curious mind ... she still follows her heart. Our hearts break, as hers is pulled-apart by the strings of family and faith - yet, also by the charming Fyedka.
Joshua Logan Alexander looks for solace in a bottle as the conflicted CONSTABLE. He doesn’t want to carry out the pogrom - But, he knows that if he doesn’t, they’ll just find someone who will. And, that someone may ruthlessly enjoy it.
The scenic design by Michael Yeargan was a well-oiled machine with many moving parts. It was realistic enough to evoke a humble village, with a water pump of raw, unvarnished wood, while maintaining a storybook quality. Look closely, and you’ll notice a stone chimney that’s slightly askew.
Joshua Logan Alexander looks for solace in a bottle as the conflicted CONSTABLE. He doesn’t want to carry out the pogrom - But, he knows that if he doesn’t, they’ll just find someone who will. And, that someone may ruthlessly enjoy it.
The scenic design by Michael Yeargan was a well-oiled machine with many moving parts. It was realistic enough to evoke a humble village, with a water pump of raw, unvarnished wood, while maintaining a storybook quality. Look closely, and you’ll notice a stone chimney that’s slightly askew.
I was less enamored by Catherine Zuber’s costumes. Most of them, were dressed in the dusty earth tones that you would expect, which made the Fiddler’s purple coat look very out of place. In the dream sequence, many of the ghosts were 'masked', making it difficult to emote. And Olivia Gjurich as Fruma-Sarah was confined to a rolling tower, so tall, it was impossible for her to reach down and strangle Tevye . . . missing a rather key moment in the scene.
Come down to the Civic Theatre for the Broadway Series production of Fiddler on the Roof playing through Sunday, June 2nd, 2019. You’ll clap, stomp, shockel and twirl . . . while balancing a bottle on your head!
Come down to the Civic Theatre for the Broadway Series production of Fiddler on the Roof playing through Sunday, June 2nd, 2019. You’ll clap, stomp, shockel and twirl . . . while balancing a bottle on your head!
********
LAMB'S Players Theatre Productions:
Presents . . .
CHAPS - Is A Hoot!
By Eric George Tauber
Since 1922, the BBC has been broadcasting news and entertainment, informing and connecting the English-speaking world. Never was their mandate more crucial than during World War II. Their broadcasts brought hope to beleaguered troops under fire, and folks at home cowering in bomb shelters during German air raids. This is the setting of “Chaps!” now playing at the Lamb’s Players Theatre in Coronado.
Archie is playing guitar and singing a cowboy song on a BBC soundstage in London.
“You sound just like one of those cowboy chaps. How do you do it?”
“Nothing to it, really. You just shove your voice up into your nose.”
The funny thing is, Archie can sing like a cowboy but not talk like one. Steve Gouveia code switches back and forth between English and American voices with comic alacrity.
Country music is surprisingly popular in the UK. When I went to school there, all of the coach drivers were Kenny Rogers fans. I always chuckled at hearing “Ruby” sung with an English midlands dialect. But sentimental story ballads about working men eking out a living resonated with these fellows more strongly than the Beatles or the Stones.
So the folks at BBC are waiting for Tex Riley’s Radio Round-Up. They’ve been publicizing the live broadcast event for weeks and the queue is around the block. Tour manager Mabel Halliday arrives with the costumes and sheet music, but not the performers. And it’s five minutes to showtime!
Determined to do it themselves, it’s a classic case of frantically scrambling against all odds and obstacles because “The show must go on!” The foibles are many, but they can’t forget that this is for the boys fighting on the front lines. And it’s those tender moments of angst and admiration that really bring it home.
“You can slap a ten gallon hat on anybody and make them look like a cowboy.”
Costume Designer Jeanne Reith certainly has them looking the part in a colorful array of western hats, rose-embroidered shirts, frilly skirts and chaps of white fur and rawhide. While she can make a stuffed shirt like Leslie (Ross Hellwig) look the part, it’s his understated delivery of “wahoo” that’s so wrong it’s funny.
Caitie Gray has a wonderfully expressive face as the tour manager, Mabel. Born for musical theatre, she has great comic timing and a voice as sweet as morning birdsong.
Charles Evans Jr and Manny Fernandes make a fun comic duo as they work a coöperative puppet for a ventriloquist act. But my personal favorite was Arusi Santi as the nebbishy sound effects man, Stan. A man of few words, he’s Jonny-on-the-spot with coconut shells for hoof beats, sleigh bells, a slide-whistle and whoopee cushions.
Lamb’s delivers an old-fashioned musical comedy filled with fun foibles, and great heart. They’ll have you laughing, toe-tapping and leaving with a smile. “Chaps!” has just opened, but tickets are already going so fast that they’ve extended through April 20th. And who really need a second night’s seder anyway?
“You sound just like one of those cowboy chaps. How do you do it?”
“Nothing to it, really. You just shove your voice up into your nose.”
The funny thing is, Archie can sing like a cowboy but not talk like one. Steve Gouveia code switches back and forth between English and American voices with comic alacrity.
Country music is surprisingly popular in the UK. When I went to school there, all of the coach drivers were Kenny Rogers fans. I always chuckled at hearing “Ruby” sung with an English midlands dialect. But sentimental story ballads about working men eking out a living resonated with these fellows more strongly than the Beatles or the Stones.
So the folks at BBC are waiting for Tex Riley’s Radio Round-Up. They’ve been publicizing the live broadcast event for weeks and the queue is around the block. Tour manager Mabel Halliday arrives with the costumes and sheet music, but not the performers. And it’s five minutes to showtime!
Determined to do it themselves, it’s a classic case of frantically scrambling against all odds and obstacles because “The show must go on!” The foibles are many, but they can’t forget that this is for the boys fighting on the front lines. And it’s those tender moments of angst and admiration that really bring it home.
“You can slap a ten gallon hat on anybody and make them look like a cowboy.”
Costume Designer Jeanne Reith certainly has them looking the part in a colorful array of western hats, rose-embroidered shirts, frilly skirts and chaps of white fur and rawhide. While she can make a stuffed shirt like Leslie (Ross Hellwig) look the part, it’s his understated delivery of “wahoo” that’s so wrong it’s funny.
Caitie Gray has a wonderfully expressive face as the tour manager, Mabel. Born for musical theatre, she has great comic timing and a voice as sweet as morning birdsong.
Charles Evans Jr and Manny Fernandes make a fun comic duo as they work a coöperative puppet for a ventriloquist act. But my personal favorite was Arusi Santi as the nebbishy sound effects man, Stan. A man of few words, he’s Jonny-on-the-spot with coconut shells for hoof beats, sleigh bells, a slide-whistle and whoopee cushions.
Lamb’s delivers an old-fashioned musical comedy filled with fun foibles, and great heart. They’ll have you laughing, toe-tapping and leaving with a smile. “Chaps!” has just opened, but tickets are already going so fast that they’ve extended through April 20th. And who really need a second night’s seder anyway?
SD Old Globe Theatre:
Presents . . .
"LOOKING FOR CHRISTMAS"
Opens and Heals Wounds
By Eric George Tauber “I know this Christmas, every wish won’t come true, but I’m dreaming of Christmas with you.” Everyone who has had a family member come back from a tour of duty, knows that they never come back quite the same. You see in their eyes the dark shadows of war. Veterans have a hard time returning to normalcy. They want to suck it up, be strong and brave - but, ghosts of the past haunt them where they are the most vulnerable. Deployment is very hard on marriage and family life. Folks back home try to be supportive and understanding. Face timing on their phones helps, but it’s not the same. So they are delighted to learn that they might be home in time for Christmas. All they have to do is survive a little while longer. Patrols through the marketplace are tense. The enemy doesn’t wear uniforms. Weapons and IEDs (improvised explosive devices) could be anywhere. Soldiers must keep their eyes and ears sharp, constantly scanning, reading faces and body language, looking for the subtlest hints of aggression. Aaron C Finley and Liana Hunt have a sweet chemistry as Mike and Jessie Randolf. If you were playing matchmaker, you would put these two together. Half the globe separates them, but their hearts couldn’t be closer. It’s when he’s home, but not opening up, that they seem the furthest apart. Delon Dallas plays Douglas, Mike’s comrade and best friend. From his entrance, we are charmed by his winning smile and devil-may-care swag. The chemistry with his wife bubbles, as they chat about coming home to her “sweet potato pie.” Syndee Winters has a rich depth to her voice, touching our souls with genuine feeling and beauty. The bond among military wives is touching ... no one else really gets it. Looking for Christmas isn’t about who celebrates which holiday. It’s about family. It’s about our need to cry for help, to be honest and vulnerable. If we don’t, we may push away those closest to us, whom we need the most. I hope that this show is well attended by military families - especially, those who don’t usually go to the theatre. And, I hope that those families hold one another a little more closely, talk more openly ... and listen more attentively. The New Clint Black Musical Looking for Christmas was playing at the Old Globe Theatre through Dec 31st, 2018. L’Chaïm! |
Country music star Clint Black has done a lot of work with the USO and cares deeply for our veterans. An old-fashioned story balladeer with themes of family and faith, his songs were a perfect fit for a new musical
Looking for Christmas ... now playing at the Old Globe. Aaron C Finley plays Mike Randolf, an army medic on deployment in Afghanistan. Mike likes to hand out candy to the children as a goodwill gesture. He’s very likable, embodying the values of a faithful soldier, husband, father and friend. It will take a lot more than sugar to sweeten the situation, but every little bit helps. 
Kaylin Hedges is a plucky, impish bon vivant as the daughter, Ellie. For a little girl, she has a surprisingly developed set of pipes. The kids are preparing for their church Christmas pageant, dressing up in makeshift “Biblical” costumes of bathrobes, bed sheets and fake beards. That the Nativity story takes place in Israel, and all of the characters are Jewish, gets a little glossed over. Though a little old to still believe in Santa, it’s fun to listen to their kid discussion how one guy running an arctic sweatshop, manages the logistics ... and whether he ever goes to the beach.
SD Old Globe Theatre
|
*********
SD Old Globe Theatre:
Presents . . .
His cup runneth over: The 17th Annual Celebrity Sonnets
“Your praise shall still find room
Even in the eyes of all posterity.”
(Sonnet 55)
Even in the eyes of all posterity.”
(Sonnet 55)
By Eric George Tauber
Once again, the San Diego Shakespeare Society filled our ears with verse at the 17th Annual Celebrity Sonnets held at the Old Globe. Local personality Richard Lederer, clad in a velvet doublet and melon breeches, read an original sonnet in memory of the society’s founder, Alex Sandie. The Scottish-born banker was a dear man, and a great lover of Shakespeare - who last spring “shuffled off this mortal coil.” Our community is richer for having had him in our midst. The rest of the evening paid homage to theatre veteran and society co-founder, Jonathan McMurtry. At the age of 81, Jonathan is closing the curtain on a long and storied career. To their colleague, friend and mentor, Sonnets were read, and personal stories were shared in sentiments overflowing with affection and admiration. |
Jonathan McMurtry
Local theatre icons included David Ellenstein of North Coast Rep, Sam Woodhouse of SD REP, and Richard Baird of New Fortune Theatre. |
Shakesperian "Reading"
One former student was told that when Jonathan hated something, he would describe it as “awfully good”. And, she was relieved not to hear that phrase said of her own work. Another actor, talked about how an entire audience sat up at Jonathan’s entrance knowing that they were in good hands.
It would be a 'shondeh' not to pass this torch on to our youth. So the Civic Youth Ballet added a splash of color
and movement, with their interpretation of "Sonnet 54" - and, petite powerhouse Catalina Zelles, with poise and professionalism well beyond her eleven years, sweetly sang "Sonnet 18: Shall I compare thee to a summer’s day.”
It would be a 'shondeh' not to pass this torch on to our youth. So the Civic Youth Ballet added a splash of color
and movement, with their interpretation of "Sonnet 54" - and, petite powerhouse Catalina Zelles, with poise and professionalism well beyond her eleven years, sweetly sang "Sonnet 18: Shall I compare thee to a summer’s day.”
From our television sets, came Marion Ross of “Happy Days” and Dann Florek of “Law & Order: SVU". Both had worked with Jonathan and dearly loved him. We got a chuckle when Darryl Woodson, the society’s current president and MC of the evening, introduced Florek of “Law & Order: SUV”.
Gordon Gordon - Director
At the reception, I told Marion Ross that I had grown up watching her on “Happy Days” - She replied, “Well, I practically raised you. And it looks like you turned out pretty good.” We laughed and clinked glasses. Another man from the Globe staff spoke of Marion’s boundless energy, closing every party ... Delightful!
Dann Florek was also very down to earth and approachable. I asked him what brought him to town, assuming he was in production somewhere. Nope. He made the trip from LA just for Jonathan. That’s a true friend.
Our Sages teach, that no one is truly gone, so long as they are remembered. Alex Sandie and Jonathan McMurtry have been great friends and mentors, to fellow thespians who have gone on to great theatrical careers. Such a legacy . . . merits choirs of angels in the heavens. . . . Amen. SD OLD GLOBE
Our Sages teach, that no one is truly gone, so long as they are remembered. Alex Sandie and Jonathan McMurtry have been great friends and mentors, to fellow thespians who have gone on to great theatrical careers. Such a legacy . . . merits choirs of angels in the heavens. . . . Amen. SD OLD GLOBE
********
|
CYGNET Theatre
|
HIR paints a confounding picture
By Eric George Tauber
|
For most of us, 'gender' distinction is pretty clear-cut, and we live our lives accordingly. But for some, the picture is more complicated. And that’s the picture being painted at the ... Cygnet Theatre’s production of HIR. |
ISAAC comes home from his tour of duty expecting the house he remembers, but things have changed. What he finds is utter disarray, and his father made up in an orange wig and a pink dress ... like a drunken drag clown.
“I’ve gotten a little eccentric, but I’m not insane.”
Visitors to ... Cygnet Theatre ...
Deanna Driscoll is a frenetic powerhouse as PAIGE. Her husband, ARNIE, was a violent, abusive, macho beast of a man. But, now that a stroke has left him debilitated, it’s payback time. Hausfrau chores like cooking, cleaning, and laundry, are things she “doesn’t do anymore.” And ISAAC’s little sister MAX, is no longer his little sister.
Ze ... is in transition, sporting a wisp of a moustache, combat boots and a manly pair of pecs.
Deanna Driscoll is a frenetic powerhouse as PAIGE. Her husband, ARNIE, was a violent, abusive, macho beast of a man. But, now that a stroke has left him debilitated, it’s payback time. Hausfrau chores like cooking, cleaning, and laundry, are things she “doesn’t do anymore.” And ISAAC’s little sister MAX, is no longer his little sister.
Ze ... is in transition, sporting a wisp of a moustache, combat boots and a manly pair of pecs.
A changing cultural landscape calls for changing language. In the trans-community, “ze” replaces the subject pronouns “he” or “she”, and “hir” (pronounced like “here”) replaces the object pronouns “him” and “her”.
“I’m allowed to be selfish ... because I’m in transition.”
“I’m allowed to be selfish ... because I’m in transition.”
Avi Roque is brilliant as MAX. Ze has a masculine body - but ze’s body language is still very feminine. And ze is terribly lonely for want of friends. Living in a small town, there’s no one like hir for a hundred miles.
Ze has only found a semblance of community online, and yearns to join a trans-queer anarchist commune, where they live off the land, sell honey and rope sandals, and throw themselves into wild orgies.
Dylan Seaton is our relatable everyman as ISAAC. As an ex-Marine, he’s accustomed to structure, and he makes it his mission to bring order to the chaos that has wracked his childhood home. And Joel Castellaw cuts a pathetic figure as ARNIE. Once the angry abuser, he’s now an abused, neglected and humiliated shadow of a man. PAIGE isn’t wrong to say that he doesn’t deserve our pity. But not showing compassion, darkens our souls and turns us into the very monsters we so despise.
Ze has only found a semblance of community online, and yearns to join a trans-queer anarchist commune, where they live off the land, sell honey and rope sandals, and throw themselves into wild orgies.
Dylan Seaton is our relatable everyman as ISAAC. As an ex-Marine, he’s accustomed to structure, and he makes it his mission to bring order to the chaos that has wracked his childhood home. And Joel Castellaw cuts a pathetic figure as ARNIE. Once the angry abuser, he’s now an abused, neglected and humiliated shadow of a man. PAIGE isn’t wrong to say that he doesn’t deserve our pity. But not showing compassion, darkens our souls and turns us into the very monsters we so despise.
Director Rob Lutfy consistently amazes me, with his ability to bring us into a world that no one would want to live in. But, once we’re there, we can’t bring ourselves to leave.
I stayed for the Wednesday evening talk-back with trans-reps from The Center in Hillcrest. They spoke of how exhausting it is to constantly explain themselves, and correct the pronouns people use to refer to them.
“If your family doesn’t get you, what makes you think
the world is going to get you?” - Deja
Trans people refer to their original names as their “dead” names, and resent being called by them.
Friends and family will mourn a transition, as they would a death, feeling that they’ve lost their loved one. The person who has transitioned, feels that they’ve gained a healthier, happier person.
As a comfortably cis-gendered male, I’m thankful that
I really don’t get where these people are coming from. But I am willing to listen. What a 'shondeh' if I allowed my lack of compassion to darken my own soul.
L’Chaïm!
Friends and family will mourn a transition, as they would a death, feeling that they’ve lost their loved one. The person who has transitioned, feels that they’ve gained a healthier, happier person.
As a comfortably cis-gendered male, I’m thankful that
I really don’t get where these people are coming from. But I am willing to listen. What a 'shondeh' if I allowed my lack of compassion to darken my own soul.
L’Chaïm!
|
|
********
Lyceum Theatre - KLEZMER Summit:
Presents . . .
17th Annual KLEZMER SUMMIT - Is TOPS!
By Eric George Tauber
The Lyceum Theatre was pretty packed on a Tuesday night – not too shabby- for the 17th Annual Klezmer Summit. The upper gallery featured Yale Strom’s photo portraits of the Jews, still living in Eastern Europe. Shot in stark black and white - they evoke a mystical world where time waits with baited breath, and spirits of the dead dwell among the living. Downstairs is Yosef Schweig’s "Jerusalem: Of Heaven and Earth". Taken in the 1930s, they show a time when our holy city was mostly a ghost town - forlorn, but not forgotten so long as there were prayers on our lips.
Klezmer Ensemble Yale Strom and Hot Pstromi were the featured acts. Blending old country traditions, with new world innovation, the ensemble included Strom on violin, some bluesy sax and bass, jazzy drum work, and the nimble fingers of Fred Benedetti on guitar. Feeling kind of like a casual party at a musician’s house, talented artists dropped in and out for various numbers.
From Novosibirsk, on the Pacific side of Russia, came Alex Gourevitch on clarinet. His wailing solo, evoked a child - cold and frightened, crying for her mother. Then, things got a lot livelier….
Fred Benedetti
As accomplished a musician as Yale is, he knows he’s no singer. So he leaves that to his lovely wife, Elizabeth Schwartz whose rich alto is filled with humor and heart. They were joined by local jazz great Gilbert Castellanos on the horns, for an original song, "Café Jew Zoo". It’s a sexy, noir number inspired by a trip to Berlin. Houses there were appreciative, but as a Jew singing in Yiddish, Elizabeth felt like an exotic animal on display.
Fred Benedetti
As accomplished a musician as Yale is, he knows he’s no singer. So he leaves that to his lovely wife, Elizabeth Schwartz whose rich alto is filled with humor and heart. They were joined by local jazz great Gilbert Castellanos on the horns, for an original song, "Café Jew Zoo". It’s a sexy, noir number inspired by a trip to Berlin. Houses there were appreciative, but as a Jew singing in Yiddish, Elizabeth felt like an exotic animal on display.
Regaling us with back stories, 85 year-old Bert Turetsky played a couple of bass solos, tributes to his late parents filled with mournful affection. Then Myla Wingard Rosen held her own with Yale in a peppy fiddle duet.
The concert ended with a big sing-along as arms embraced shoulders and swayed. The refrain was mostly “Oy yoy yoy,” so it didn’t matter if our Yiddish was less than fluid. The house leapt to their feet in fervent applause and filled with smiles. If you missed this year’s Klezmer Summit, don’t shry and plotz. Jfest 25 is just getting underway with more to come. For more information, go to www.sdrep.org. Myla ...
The concert ended with a big sing-along as arms embraced shoulders and swayed. The refrain was mostly “Oy yoy yoy,” so it didn’t matter if our Yiddish was less than fluid. The house leapt to their feet in fervent applause and filled with smiles. If you missed this year’s Klezmer Summit, don’t shry and plotz. Jfest 25 is just getting underway with more to come. For more information, go to www.sdrep.org. Myla ...
Gilbert Castellanos
********
San Diego High Schools
Presents . . .
Youthful EXUBERANCE Shines at BROADWAY AWARDS !
Per Eric G. Tauber
On Sunday night, May 27th, 2018, twenty high school students competed in the 5th Annual Broadway San Diego Awards: Celebrating Excellence in High School Theatre. The two winners each receive a check for $1,000 toward a scholarship and a chance to go on to the national Jimmy Awards on Broadway. In a first for this year, Cox will air a one-hour TV special on YurView California (local Channel 4) giving the kids some valuable exposure.
On Sunday night, May 27th, 2018, twenty high school students competed in the 5th Annual Broadway San Diego Awards: Celebrating Excellence in High School Theatre. The two winners each receive a check for $1,000 toward a scholarship and a chance to go on to the national Jimmy Awards on Broadway. In a first for this year, Cox will air a one-hour TV special on YurView California (local Channel 4) giving the kids some valuable exposure.
Our hosts for the evening were CBS News 8 anchor Marcella Lee and JCompany’s Artistic Director, the ever ebulient hoofer and crooner, Joey Landwehr. The ensemble, got the ball rolling with a Broadway inspired Celebrating Women Medley. They sang and danced with the bright-eyed exuberance of youth - then basked in the applause of an equally exuberant house.
Three schools were up for Best Musical. Clad in lederhosen, nuns’ habits, sailor suits, and even a couple of hairy goats, Steele Canyon presented a medley from the Sound of Music. Mission Hills High School rocked out to Green Day’s "American Idiot", in a number just made to blow-off the steam of teenage angst. Cathedral Catholic HS hoofed-up a storm, from their production of that old classic ... 42nd St. Director Joey Landwehr
Three schools were up for Best Musical. Clad in lederhosen, nuns’ habits, sailor suits, and even a couple of hairy goats, Steele Canyon presented a medley from the Sound of Music. Mission Hills High School rocked out to Green Day’s "American Idiot", in a number just made to blow-off the steam of teenage angst. Cathedral Catholic HS hoofed-up a storm, from their production of that old classic ... 42nd St. Director Joey Landwehr
In between ensemble pieces, twenty solo artists presented songs from various musicals. With coaching from MFA in Musical Theatre students from SDSU, these kids were presenting with a poise and professionalism beyond their years. Suavecito Sky Frank sang and danced "I Can Do That" from Chorus Line with grace and swag. While most of the solos were high-energy crowd pleasers, Rocco Polanco’s "Bring Him Home" from Les Miserables, gave me goosebumps and mesmerized the house. Mikayla Kehler-Elliott, exuded a dark, pained edginess that gave her performance real depth. What impressed me most, was the heart and passion with which these kids took on some pretty sophisticated and challenging material.
During intermission, the judges deliberated the top six finalists, three boys and three girls - who then presented a second solo. The judges really had their work cut out for them. It would break my heart to let any of them down. But, such decisions must be made. Jackie Foster, a previous winner from the first BROADWAY AWARDS in San Diego, and who has since appeared on The Voice, dropped in to grace us with a song. Then JIMMY Award winner Joshua Grosso - who is now touring in Les Mis at the SD Civic, gave us a preview in his role as MARIUS.
(see show review by JC Harrison).
(see show review by JC Harrison).
Congratulations to Steele Canyon High School winning Best Musical for their production of Sound of Music, and to Teacher of the Year, Brad Golden of La Costa Canyon. And raise a glass to Joe Kobryner, Producer of the Broadway/San Diego Awards - who made this possible ... and is retiring this year.
The top two winners were Felicity Bryant, a petite powerhouse, whose facial expressions held nothing back in a range of emotions, and Jonas Cohen McMullen, a lanky youth, with a sly, impish sense of humor. They are going on to the JIMMY Awards on Broadway ... and from there ... the sky’s the limit!
The top two winners were Felicity Bryant, a petite powerhouse, whose facial expressions held nothing back in a range of emotions, and Jonas Cohen McMullen, a lanky youth, with a sly, impish sense of humor. They are going on to the JIMMY Awards on Broadway ... and from there ... the sky’s the limit!
|
|
Felicity Bryant - winner Jonas McMullen - winner
I happened to be sitting right in front of the Cohen-McMullen clan. So, let a proud mother gush: “What just happened? I’m overwhelmed. I just wanted to crawl under my seat and cry.”
********
New Village Arts Theatre:
Presents . . .
Get Schooled On ... AVENUE Q
Per Eric G. Tauber:
Since 1969, Sesame Street has been teaching lessons in literacy and numeracy, as well as kindness and acceptance through puppetry. The thinking went, that if a child could embrace a funny, blue-furred monster, they could embrace a fellow human being, in spite of different skin tones, languages and abilities. The idea has caught on with Sesame Workshop being exported worldwide as Plaza Sésamo (Mexico), Sesamstraße (Germany), Rehov Sumsum (Israel) and Galli Galli Sim Sim (India) … to name but a few. They elevate ideals, by presenting a world in which people live and learn together in a spirit of acceptance.
And then we grow up….
Since 1969, Sesame Street has been teaching lessons in literacy and numeracy, as well as kindness and acceptance through puppetry. The thinking went, that if a child could embrace a funny, blue-furred monster, they could embrace a fellow human being, in spite of different skin tones, languages and abilities. The idea has caught on with Sesame Workshop being exported worldwide as Plaza Sésamo (Mexico), Sesamstraße (Germany), Rehov Sumsum (Israel) and Galli Galli Sim Sim (India) … to name but a few. They elevate ideals, by presenting a world in which people live and learn together in a spirit of acceptance.
And then we grow up….
This is the world of Avenue Q, where puppets and humans freely interact on dirty, run-down streets. They’re not shy about salty language and racy situations. “The world is a big, scary place,” “everyone’s a little bit racist”, and sometimes ... “it sucks to be me”.
PRINCETON, is a new arrival to the Big Apple - a wide-eyed young man with big dreams, wondering what to do with his BA in English. Rent is high, which brings him to a run-down part of Alphabet City. The scenic design by Christopher Scott Murillo, makes good use of old comic conventions, opening doors and windows. When you get a chance, take a closer look ... there are some subtle humorous touches therein.
PRINCETON, is a new arrival to the Big Apple - a wide-eyed young man with big dreams, wondering what to do with his BA in English. Rent is high, which brings him to a run-down part of Alphabet City. The scenic design by Christopher Scott Murillo, makes good use of old comic conventions, opening doors and windows. When you get a chance, take a closer look ... there are some subtle humorous touches therein.
MONSTERS - or the more PC ... “people of fur”- are the maligned minority group to which KATE and TREKIE MONSTER belong. But, such differences don’t prevent KATE and PRINCETON from falling for each other. The interplay between Gerilyn Brault and Zackary Scot Wolfe, has all the budding sweetness of a ... rom-com.
Like BERT and ERNIE, the interplay between ROD and NICKY nails the bickering patter of roommates, who have lived together for too long. Wolfe imbues the deeply closeted ROD, with such pathos that we feel for him and his unrequited crush.
Like BERT and ERNIE, the interplay between ROD and NICKY nails the bickering patter of roommates, who have lived together for too long. Wolfe imbues the deeply closeted ROD, with such pathos that we feel for him and his unrequited crush.
Cashae Monya sparkles as GARY COLEMAN, the famous child actor, whose own parents squandered the money he had earned. Clad in overalls, she really looks the part of a high-spirited boy with a sarcastic grin. Steven Freitas is perfect as BRIAN, the wannabe comic, who’s probably smoking too much weed. Ciarlene Coleman is fun to watch as CHRISTMAS EVE, really hamming-it-up in “The more you love someone”, and Melissa Fernandes brings it on as LUCY the SLUT, a sultry seductress with the brass of Miss Piggy.
As a puppeteer, I would have liked to see the actors rely less on their own facial expressions, and project that energy through the puppets. Also, KATE’s mouth needs to open wider, especially for the rounded vowels and stronger notes. The actors most committed to their puppets were Tony Houck and Chris Bona. The two of them, made a great team as TREKKIE MONSTER - the solitary fellow who spends a little too much of his time online,
As a puppeteer, I would have liked to see the actors rely less on their own facial expressions, and project that energy through the puppets. Also, KATE’s mouth needs to open wider, especially for the rounded vowels and stronger notes. The actors most committed to their puppets were Tony Houck and Chris Bona. The two of them, made a great team as TREKKIE MONSTER - the solitary fellow who spends a little too much of his time online,
|
|
Sesame Street was created to plant seeds of learning. On Avenue Q, we get schooled on the harsher lessons of life and love. The house was filled with howls of laughter and bursts of applause. If you have a Bad Idea Bear whispering in your ear – and who doesn’t - bring it to the New Village Arts Theatre in Carlsbad ... for a walk down Avenue Q.
Photos By - Darren Scott
********
Presents . . .
The Wind and the Breeze blows in circles
By Eric George Tauber
SAM (aka SAM-I-Am) is the State Street Bridge Troll, of Rockford Il, just south of Chicago. SAM claims his spot with a lawn chair, braving the bitter winds of February. This, is where he waxes philosophically and conducts business. It’s never really clear what that is, but he seems to be the man who can acquire things others demand.
“You always tryin’ so hard ... to look hard.”
SAM (aka SAM-I-Am) is the State Street Bridge Troll, of Rockford Il, just south of Chicago. SAM claims his spot with a lawn chair, braving the bitter winds of February. This, is where he waxes philosophically and conducts business. It’s never really clear what that is, but he seems to be the man who can acquire things others demand.
“You always tryin’ so hard ... to look hard.”
Terrell Donnell Sledge plays SAM, with a dark and brooding severity. He’s smart and talented, but prefers to keep his own company. While he also has a kind heart, he’d rather you didn’t know it. His heart goes out to NIA (Chaz Shermil), who’s like a little sister to him, but there’s an undercurrent of something more ... in the awkward pauses that pass between them.
Characters come and go across the bridge, giving us only brief glimpses into their lives. Monique Gaffney is a force to be reckoned with as RONDA - a streetwise beat cop. But when you wear a badge, there are rules to follow - and lines not to be crossed.
Terrell Donnell Sledge
The hood is like a small town, in that they’ve known each other their whole lives. His friends are hatching plans to make it big in hip-hop. They’ve got big dreams, but have to cope with small realities. NIA is an expecting unwed mother, SHANTELL works at McDonald’s, and ANA lives in her car. But if they can win the attention of “corporate thugs,” they’ve got it made.
Characters come and go across the bridge, giving us only brief glimpses into their lives. Monique Gaffney is a force to be reckoned with as RONDA - a streetwise beat cop. But when you wear a badge, there are rules to follow - and lines not to be crossed.
Terrell Donnell Sledge
The hood is like a small town, in that they’ve known each other their whole lives. His friends are hatching plans to make it big in hip-hop. They’ve got big dreams, but have to cope with small realities. NIA is an expecting unwed mother, SHANTELL works at McDonald’s, and ANA lives in her car. But if they can win the attention of “corporate thugs,” they’ve got it made.
Cortez L Johnson is a bouncing ball of energy as TEA, SAM’s childhood friend. Enthusiastic and impishly charming, he knows just how far he can push the boundaries. He’s the one who knocked-up NIA, and discovered ANA, (Nadia Guevara) - a young woman with a melodious voice, who’s trying to get musical career going.
Demetrius Clayton (photo left) cuts and imposing figure as SHANTELL. Talented and driven, a lack of anger management may be his greatest obstacle. He exudes such an aggressive energy, that we thought it would come to blows. Fortunately, it was a clash of rhymes ... rather than physical violence.
“You love it when we entertain and can’t speak.”
The spoken word duel, freestyling to Tracy Chapman’s “Fast Car” rocked the house. These young men, were clearly in their element - busting rhymes from the tops of their minds, and reaching down into their souls - expressing the anger and frustration of young men in their station, wanting more, but always having to make do with less - feeling the stress of living with their pain ... and trying to make it rain.
“You love it when we entertain and can’t speak.”
The spoken word duel, freestyling to Tracy Chapman’s “Fast Car” rocked the house. These young men, were clearly in their element - busting rhymes from the tops of their minds, and reaching down into their souls - expressing the anger and frustration of young men in their station, wanting more, but always having to make do with less - feeling the stress of living with their pain ... and trying to make it rain.
The story ran more in circles than an arc. At intermission, a woman asked me, if I could explain what was going on. As middle-aged Jews from the suburbs ... we both felt a little lost.
“Failure is a beautiful sword that separates hearts from heads.”
My overall impression of The Wind and the Breeze, is that it’s not yet what it could be. There were two mic-drop moments, but we wanted more. I hope that Playwright Nathan Alan Davis takes it back to the drawing board, so that characters come to be more fleshed-out, and their talents are given more opportunities to shine.
When it does, I’ll be there.
“Failure is a beautiful sword that separates hearts from heads.”
My overall impression of The Wind and the Breeze, is that it’s not yet what it could be. There were two mic-drop moments, but we wanted more. I hope that Playwright Nathan Alan Davis takes it back to the drawing board, so that characters come to be more fleshed-out, and their talents are given more opportunities to shine.
When it does, I’ll be there.
photo credits go to Karli Cadel Photography
The Wind and the Breeze
is playing through June 10th at the Cygnet Theatre in Old Town.
********
is playing through June 10th at the Cygnet Theatre in Old Town.
********
SD Old Globe Theatre:
Presents . . .
Lift the veil and behold, “A Thousand Splendid Suns”
By Eric George Tauber
“A woman must endure”
Afghanistan. We hear the name and brace ourselves. How many were killed this time? We know so little about the culture, the art and poetry. We see a chador covering a body from head to toe, but know nothing of the hearts and minds of the women inside.
By Eric George Tauber
“A woman must endure”
Afghanistan. We hear the name and brace ourselves. How many were killed this time? We know so little about the culture, the art and poetry. We see a chador covering a body from head to toe, but know nothing of the hearts and minds of the women inside.
The scenic design of Ken MacDonald, with lighting by Robert Wierzel cunningly evokes the rugged landscape, with sculpted wire mesh mountains and a swirling, severe wire sun.
Joseph Kamal portrays BABI as a gentle soul. His Afghanistan is filled with poetic verse. But it’s being blown to rubble by civil war. LAILA, his teenage daughter is smart, spirited and poetic like her father, but with a mind of her own. The family is preparing to leave for a refugee camp in Pakistan, where they hope to find some peace. LAILA hopes to be reunited with TARIQ, the impish rascal she loves. Nadine Malouf and Antoine Yared have a sweet chemistry as LAILA and TARIQ. Friends from the cradle, they tease each other like siblings, but with a flirtatious sparkle in their eyes.
Joseph Kamal as BABI with Nadine Malouf as LAILA,
Joseph Kamal portrays BABI as a gentle soul. His Afghanistan is filled with poetic verse. But it’s being blown to rubble by civil war. LAILA, his teenage daughter is smart, spirited and poetic like her father, but with a mind of her own. The family is preparing to leave for a refugee camp in Pakistan, where they hope to find some peace. LAILA hopes to be reunited with TARIQ, the impish rascal she loves. Nadine Malouf and Antoine Yared have a sweet chemistry as LAILA and TARIQ. Friends from the cradle, they tease each other like siblings, but with a flirtatious sparkle in their eyes.
Joseph Kamal as BABI with Nadine Malouf as LAILA,
Antoine Yared as TARIQ and Nadine Malouf as LAILA
The strongest of us, can be broken when everything we cherished is lost. The house is hit by a random shell, leaving a badly wounded LAILA the only survivor. She is rescued by RASHEED, and nursed back to health by his wife, MARIAM. In this society, a young woman alone has very few options. Business at the brothels is booming, but she can save face by becoming the second wife of her rescuer. The resentment of MARIAM soon follows.
The strongest of us, can be broken when everything we cherished is lost. The house is hit by a random shell, leaving a badly wounded LAILA the only survivor. She is rescued by RASHEED, and nursed back to health by his wife, MARIAM. In this society, a young woman alone has very few options. Business at the brothels is booming, but she can save face by becoming the second wife of her rescuer. The resentment of MARIAM soon follows.
Haysam Kadri as RASHEED, Denmo Ibrahim as MARIAM,
and Nadine Malouf as LAILA.
Kadri’s RASHEED, is a deeply complicated man. In his culture, he was raised with certain expectations of his wives. By turns, kind and brutish, he can be quite demanding, and deems it his duty to “discipline” his wives. Denmo Ibrahim gives a layered performance as MARIAM. Hard and bitter on the outside, we learn that she was once a bright and curious young girl. Where the sharing of JACOB made rivals of sisters, RACHEL and LEAH, marriage to RASHEED makes sisters of rivals ... allies with a common enemy.
and Nadine Malouf as LAILA.
Kadri’s RASHEED, is a deeply complicated man. In his culture, he was raised with certain expectations of his wives. By turns, kind and brutish, he can be quite demanding, and deems it his duty to “discipline” his wives. Denmo Ibrahim gives a layered performance as MARIAM. Hard and bitter on the outside, we learn that she was once a bright and curious young girl. Where the sharing of JACOB made rivals of sisters, RACHEL and LEAH, marriage to RASHEED makes sisters of rivals ... allies with a common enemy.
Life becomes even more difficult once the Taliban take over. Women are to be completely covered, and may not go out without a male escort. They may not get jobs, even if they are starving. Though their young minds thirst for knowledge, girls may not go to school. Even the simple pleasures of playing chess and flying kites, are forbidden as these are “vices” that distract from the study of Quran and Hadith.
Denmo Ibrahim and Nadine Malouf,
And, our own government shoulders, some blame for creating this world. To spite the Soviets, we backed the Mujahideen. When the Soviets pulled out in 1989, the Taliban rushed to fill the power vacuum, and the country fell into civil war and chaos. But that really wasn’t our problem … until 9/11.
Denmo Ibrahim and Nadine Malouf,
And, our own government shoulders, some blame for creating this world. To spite the Soviets, we backed the Mujahideen. When the Soviets pulled out in 1989, the Taliban rushed to fill the power vacuum, and the country fell into civil war and chaos. But that really wasn’t our problem … until 9/11.
A Thousand Splendid Suns, is a deeply moving tale of love and courage in an unrelentingly brutal world. My theatre guest, herself a survivor of spousal abuse, could relate only too well. Come to the Old Globe and behold A Thousand Splendid Suns. And as you look across the divide of geography, religion and culture - you may just find a mirror!
Photos by Jim Cox
Photos by Jim Cox
SD Old Globe Theatre
********
SD REPertory Theatre:
Presents ...
"HERSHEY FELDER & Friends"
Per Eric Tauber
Hershey Felder, can pack a house on a Monday! Rarely, have I seen a house so packed on a Monday night, as I did at the Lyceum Theatre, on Monday evening, June 19, 2017. But, Hershey Felder is a name that gets butts in the seats. Hershey is well known to San Diego audiences, for his portrayals of George Gerschwin, Iriving Berlin, Leonard Bernstein, Friedrich Chopin, Beethoven, Tchaikovsky … and others.
Hershey Felder, can pack a house on a Monday! Rarely, have I seen a house so packed on a Monday night, as I did at the Lyceum Theatre, on Monday evening, June 19, 2017. But, Hershey Felder is a name that gets butts in the seats. Hershey is well known to San Diego audiences, for his portrayals of George Gerschwin, Iriving Berlin, Leonard Bernstein, Friedrich Chopin, Beethoven, Tchaikovsky … and others.
ZERO IN ON
“Hershey Felder & Friends”
SD REPertory Theatre
Where: Lyceum Theatre
Dates: June 19th, 2017
www.sdrep.com
This was Hershey Felder & Friends: “The Stories of Sholem Aleichem and more” - one presentation of many, in the 24th Annual Lipinsky Family San Diego Jewish Arts Festival (aka “jfest 2017”). Sholem Aleichem, who wrote in Yiddish, was described as “The Jewish Mark Twain.” His stories were the basis of the Broadway musical, “Fiddler on the Roof.”
Felder’s story, began years ago in a hotel in Beverly Hills. He sat down to a piano , and while he played “Sunrise, Sunset”, a group of Holocaust survivors sang along. After a little nudge … we did likewise.
Felder, got into showbiz as a young boy in Montreal, singing Shver tzu zayn a Yid (It’s tough to be a Jew). He sang sotto voce - this sad little song, about a boy who’s starving and freezing. The house was captivated. Reading Sholem Aleichem’s impressions of American funerals – with a businessman on his deathbed, kvetching about his debtors - made even morbid subjects shoulder-shakingly funny.
Felder’s story, began years ago in a hotel in Beverly Hills. He sat down to a piano , and while he played “Sunrise, Sunset”, a group of Holocaust survivors sang along. After a little nudge … we did likewise.
Felder, got into showbiz as a young boy in Montreal, singing Shver tzu zayn a Yid (It’s tough to be a Jew). He sang sotto voce - this sad little song, about a boy who’s starving and freezing. The house was captivated. Reading Sholem Aleichem’s impressions of American funerals – with a businessman on his deathbed, kvetching about his debtors - made even morbid subjects shoulder-shakingly funny.
Because of his knowledge of Yiddish and Polish, Felder was one of the people who interviewed Shoah survivors for Steven Spielberg. The famous film-maker, was recording these oral histories, for the 50th Anniversary of the liberation of Auschwitz. One such survivor, after four strokes, weaved together a narrative from strands of Yiddish, Polish and English. So, it was up to Felder to untangle the web … and learn that he and this man … were actually related.
Hershey, played the music of Abraham Elstein, the premeire composer for the Yiddish Theatre. He was joined by a cellist, whom he affectionately referred to as “Yossel”. The cello, Hershey insists, must be a Jewish instrument, for the beautiful sounds of sadness that it emits.
They were later joined by two vocalists, a powerful Tenor, Nathan and Soprano Allison Spratt-Pearce. They sang selections from Felder’s original score about the Biblical Noah. I would love to see a fully staged production.
We all, closed the evening with a sing-a-long of “Anatefka”, also from Fiddler on the Roof. And that’s what jfest is all about - bringing our community together, to celebrate who we are, the vibrancy of our culture, and the wealth of dedicated artists in our midst!
********
Moxie Theatre:
Presents . . .
Lauren Gunderson's
"REVOLUTIONISTS"
Directed by Eva Thorn
Per Eric George Tauber
Sharp wit for heavy subjects in ...
The Revolutionists
One of my favorite sketches from The Muppets, featured Miss Piggy dressed as Marie-Antoinette. All of the pigs, are arrayed in French Rococo finery singing “Stayin’ Alive”. But then, the guillotine looms ominously behind a window.
(www.youtube.com/watch?v=FX284L12Rg0)
Sharp wit for heavy subjects in ...
The Revolutionists
One of my favorite sketches from The Muppets, featured Miss Piggy dressed as Marie-Antoinette. All of the pigs, are arrayed in French Rococo finery singing “Stayin’ Alive”. But then, the guillotine looms ominously behind a window.
(www.youtube.com/watch?v=FX284L12Rg0)
As Americans, we embrace the French Revolution’s ideals of liberté, égalite and fraternité. But the sheer multitude of rolling heads from “Madame Guillotine” – sentenced in speedy trials by kangaroo courts – is pretty cringe-worthy. This, brings us to the study of Olympe de Gouges, a playwright who’s passionate and idealistic, but not terribly successful. Folks walked out on her last show.
|
ZERO IN ON
|
De Gouges, wants to champion the abolition of slavery and the rights of women – but, writer’s block is getting in the way. Jo Anne Glover is wittily acerbic and manic as De Gouges. When worked up, she talks a mile a minute ... So listen carefully.
Samantha Ginn, blows in like a cyclone, as Charlotte Corday. She’s facing the guillotine … for a crime she hasn’t committed yet. Knowing what her fate will be, she needs some pithy last words for the crowds. Ginn’s sheer chutzpah makes her a riot to watch.
Samantha Ginn, blows in like a cyclone, as Charlotte Corday. She’s facing the guillotine … for a crime she hasn’t committed yet. Knowing what her fate will be, she needs some pithy last words for the crowds. Ginn’s sheer chutzpah makes her a riot to watch.
Later dubbed l’ange de l’assasinat (The Angel of Assasination), Corday determined to kill Jean-Paul Marat. As the editor of L’Ami du eople (The Friend of the People) Marat stoked the fires, that led to the September Massacres, during the Reign of Terror. In her last words, she asserted that she killed one man to save 100,000, and honestly thought that his death would bring peace to France. (Address to the French people, friends of Law and Peace.)
Lisel Gorell-Getz, gracefully waltzes in, as the always elaborately dressed nitwit, Marie-Antoinette. History is painting a poor picture of her, and she demands a rewrite. She insists that she never said, “Let them eat cake,” of the starving masses. This is probably true, but her rap sheet of excesses is long enough without it.
Lisel Gorell-Getz, gracefully waltzes in, as the always elaborately dressed nitwit, Marie-Antoinette. History is painting a poor picture of her, and she demands a rewrite. She insists that she never said, “Let them eat cake,” of the starving masses. This is probably true, but her rap sheet of excesses is long enough without it.
Cashae Monya, plays a composite character, Marianne Angelle. Based on many Afro-Caribbean women living in Paris, she embodies the failure of the Republic to fully live up to its ideals, denying people like her, their freedom and equality. As always, Cashae is articulate, poised and fierce in her righteous indignation.
The comic wit takes a sharp, intense turn to tragedy, as these women’s lives were cut short by “Madame Guillotine”. And yet, they never lose their humor, even in the gallows. But that’s where they need it most.
If you’re looking for a thinker’s night out, a raucous comedy mixed with tragedy, and a history lesson you should have learned in school … but probably didn’t. Moxie Theatre’s The Revolutionists … played May 25-June 25, 2017.
*******
The comic wit takes a sharp, intense turn to tragedy, as these women’s lives were cut short by “Madame Guillotine”. And yet, they never lose their humor, even in the gallows. But that’s where they need it most.
If you’re looking for a thinker’s night out, a raucous comedy mixed with tragedy, and a history lesson you should have learned in school … but probably didn’t. Moxie Theatre’s The Revolutionists … played May 25-June 25, 2017.
*******
New Village Arts:
Presents . . .
"Awake & Sing"
Is More Like LIVE . . . Only More So !
Per Eric Tauber
CARLSBAD, California — When I first read the press release for Awake and Sing! it rang a bell, something from a college textbook, about its significance in the history of American theatre. And this, is what brought me up to the New Village Arts Theatre in Carlsbad … on a Sunday afternoon.
CARLSBAD, California — When I first read the press release for Awake and Sing! it rang a bell, something from a college textbook, about its significance in the history of American theatre. And this, is what brought me up to the New Village Arts Theatre in Carlsbad … on a Sunday afternoon.
Playwright Clifford Odets (1906-1963), was a son of Jewish immigrants who formed the Group Theatre. Young and idealistic, they lived communally, creating an ensemble approach to acting, that emphasized coöperation over stardom. While relatively short-lived (1931-41), the Group Theatre trained some of the most influential acting teachers of the 20th century - including Lee Strasberg and Sanford Meisner.
Sandy Campbell & J. Tyler Jones (photo above Darren Scott)
|
ZERO IN ON:
|
With that ethos, we are invited into the Berger’s home. Director/Scenic Designer Kristianne Kurner, created a cozy apartment, radiating warmth and charm, with a lace tablecloth and a wooden radio. Not overly religious, a silver menorah stands on a credenza, as a lone testament to it’s being a Jewish home.
Sandy Campbell is Bessie Berger, the matriarchal hub of the family. Smart and strong, she’s as devoted, loving and aggravating as a mother can be, delivering such lines as “I should live so long,” and “I could die from shame,” with natural aplomb. More than a Jewish-mother stereotype … she’s a real, force …… to be reckoned with!
Sandy Campbell is Bessie Berger, the matriarchal hub of the family. Smart and strong, she’s as devoted, loving and aggravating as a mother can be, delivering such lines as “I should live so long,” and “I could die from shame,” with natural aplomb. More than a Jewish-mother stereotype … she’s a real, force …… to be reckoned with!
Sandy Campbell, Max Mackie & Joe Paulson (above)
Her husband Myron is a good soul, but a nebbish, the kind of man that everyone likes, but nobody really respects. Actor Joe Paulson, who had his head shaved bald, as Myron, attributes his lot as a luckless shlemazel to his empty pate.
The son Ralphie speaks rapid-fire about his dreams and frustrations. J Tyler Jones, imbues him with energy, sensitivity, wide-eyed idealism and boyish charm. He’s the one we really root for … and shows the most promise.
Her husband Myron is a good soul, but a nebbish, the kind of man that everyone likes, but nobody really respects. Actor Joe Paulson, who had his head shaved bald, as Myron, attributes his lot as a luckless shlemazel to his empty pate.
The son Ralphie speaks rapid-fire about his dreams and frustrations. J Tyler Jones, imbues him with energy, sensitivity, wide-eyed idealism and boyish charm. He’s the one we really root for … and shows the most promise.
J. Tyler Jones . . . with Max Mackie & Anna Rebek (above)
Eric Poppick as Grampa Jacob, talks of “revolution” in a thick Yiddish accent. A Jew from “the old country”, he knows from life’s tsuris. A sweet soul, he swoons to Caruso, and cries for the starving. His bond with Ralph is very touching, as he provides the gentle shoulder ... for Ralph to cry upon.
Anna Rebek gives us a witty and acerbic daughter, Hennie. Mama’s chief rival, she’s practically a spinster at twenty-three. Often, she must bite her tongue, but then shoots flames from her eyes. She claims that she never cried in her life - but it’s a broken soul that sheds no-tears. Anna Rebek, Sandy Campbell & Joe Paulson, and Max Macke’s Moe Axelrod, is sweet on Hennie, but is not a sweet soul. Obnoxious and abrasive, he sees all of life as a “racket”. He’s plenty cynical, but ... is he right?
Anna Rebek gives us a witty and acerbic daughter, Hennie. Mama’s chief rival, she’s practically a spinster at twenty-three. Often, she must bite her tongue, but then shoots flames from her eyes. She claims that she never cried in her life - but it’s a broken soul that sheds no-tears. Anna Rebek, Sandy Campbell & Joe Paulson, and Max Macke’s Moe Axelrod, is sweet on Hennie, but is not a sweet soul. Obnoxious and abrasive, he sees all of life as a “racket”. He’s plenty cynical, but ... is he right?
Tom Deák exudes confidence as Uncle Morty. Financially, he’s done very well. But his well-tailored suits, cover an emptiness within. Tom Steward, a large and powerful man, was filled with pride and pain, as the rough-handed immigrant, Sam Feinshreiber.
Each of them is after the American Dream. But what is it? Is it the opportunity to make a lot of money? Is it the freedom to speak your mind and fight for your rights? Is it the struggle to make a better world? Each of them has their own answer to this question as do each of us.
Each of them is after the American Dream. But what is it? Is it the opportunity to make a lot of money? Is it the freedom to speak your mind and fight for your rights? Is it the struggle to make a better world? Each of them has their own answer to this question as do each of us.
Tom Deak ... with J. Tyler Jones, Eric Poppick, Sandy Campbell, Tom Steward & Maxi Mackie (above)
New Village Arts has captured the coöperative spirit of the Group Theatre, by giving us a beautifully complex ensemble, in a story filled with hope and tears. If your spirit is dwelling in dust, Awake and Sing! … will … raise it to life!
Oh, let your dead revive!
Let corpses arise!
Awake and sing for joy,
You who dwell in the dust…
(Isa. 26:19, JPS Tanakh)
Oh, let your dead revive!
Let corpses arise!
Awake and sing for joy,
You who dwell in the dust…
(Isa. 26:19, JPS Tanakh)
CARLSBAD . . . is stunning !
********
