Yes, Virginia, There is a Santa Claus

The Holiday season is upon us and the likes of It’s a Wonderful Life and A Christmas Carol, the many seasonal family favorites that mark the time, are at hand. The Ojai Art Center Theatre’s production of Yes, Virginia, There is a Santa Claus is a pleasant addition to the mix.

With two parts tradition and one part adaption, this classic tale of faith, hope, and Christmas magic is one that caters to local families looking for a Christmas production appropriate for all ages. The century-old tale is based on the actual events set in action by eight-year-old Virginia O’Hanlon. In this version, young Virginia (Sophie Massey) struggles with the realities of immigrant life in early America. Her father, James O’Hanlon (David Rogge), has lost his job under unfair circumstances, and with no prospects for employment, the family’s Christmas hopes appear bleak. However, with innocent wisdom, the young Virgina seeks help from the source most trusted by her father, the irrefutable New York Sun. In an effort to get a clear answer, she pens a letter to Sun’s the revered editor, Edward P. Mittchell (Bill Spellman) who assigns the piece to the alcoholic and now suicidal once great reporter Frank P. Church (Frank James Malle). Church struggles with his response to the letter, and in the process of writing his historic reply, faces and ultimately overcomes his own demons as well. In real life as well as in the play Church’s words take on a meaning and importance far greater than the sum of their parts. They become an iconic commentary on the human spirit and the true meaning of Christmas.

This production has a decidedly family feel; the story is simple and the characters typical of the holiday genre. Its strengths lie in the dependability of the much desired happy ending and the overall commitment to telling the tale in a way that equally reaches all members of the audience on some level. The family dynamic is most well played with Rogge delivering a compelling leading performance and pairing well with the charming Chelsea Vivian cast opposite him as his wife, Evie O’Hanlon . Rogge and Vivian along with the youthful energy of Massey form a genuine familial bond in which the audience can fully invest. Other strong performances are given by Spellman who succeeds in developing an engaging character as well as a tangible bond with the audience, along with Malle, Karson Kern, Sierra Taylor and Joyce McWilliams in the supporting but endearing role of Mrs. Goldstein.

Director Brossy Reina proficiently crafts a touching story making use of a minimal but effective set that insinuates well the time period. The pacing at times slows, but well-conceived sound and lighting designs combined with impressive well staged fight sequences keep you involved and vested. The costumes stand out for their authenticity and feel, as does the well placed use of a live kitten to warm the hearts. At times, out of control moustaches border on comical and iffy accents occasionally mar otherwise efficient scenes. The choppy script fails to capitalize on the overall potential of the story, occasionally stifling the dialogue and limiting the flow of theatrical performance, but is sufficient to deliver the appealing message. The overall product remains valuable and the positive aspects of the project hold true.

In all, the show rests on the backs of capable leading performers and resourceful supporting elements to make for a delightful and moving family-friendly production.

http://www.ojaiact.com/ through Dec.16th

OJAi

I am now on the way to Ojai for lunch and a show! See a show tonight!

DEATH TAKES A HOLIDAY

The large parcel of land that the Santa Paula Theater Center sits upon clearly shows that the venue has been serving the community since long before the modern identity of the city of Santa Paula was established. In recent years, the theatre has boasted a strong slate of seasons that exemplifies their steadfast and traditional approach to small town theatre. Their most recent production of Death Takes a Holiday fits well with both this vision and the historic venue in which it plays.

It is a story that has been adapted multiple times for film and stage (here, by Walter Ferris). Originally intended to give a world reeling from the after-effects of war and economic downturn some format in which to laugh at death, the show ultimately did far more than that. Written by Alberto Casella, this work also served to ease the generational tensions that were at a fever pitch in a time dominated by the onslaught of modernization. It was the work’s satirical outlook on the inevitability of death that played so well to audiences through the first part of the twentieth century and into the present day.

The plot lines are crowded with metaphor, but the multi layered meaning plays best at a surface level, leaving the deeper meaning to be divined by audience members as they are so inclined. Thus, the story is laid out in a fashion that is part tongue in cheek and part allegorical musing. Set in 1930s Italy, The Grim Reaper tires of his place in the metaphysical pantheon and longs to gain a better understanding of why humans fear him. So, as all men of proper European stature should do, he embarks on a 3-day holiday disguised as a Russian prince. He appears before a middle aged nobleman and convinces him to permit him to stay at his villa, where he will observe humans and interact with them. Thus, Death endeavors to learn about man’s emotions, feelings, and motivations. As he studies his subjects unawares, he stumbles onto a force even more powerful than death itself. He finds himself at the mercy of the all-powerful feeling of Love. Likewise, the other characters in the show are forced to confront their own notions of true love and their fears of the unknown with varying degrees of depth. Ultimately, it is Death’s desire to change himself to better understand man that leads the audience to question our own ability to empathize with others and see our effect on their lives, including our individual outlook on our own mortality.

The even cast thrives in the first act where the pacing and dialogue lend themselves to entertaining storytelling. While the accents at times falter to distraction, the cast as a whole shows fine chemistry and delivers well-rounded characters. Particularly strong performances are given by the strikingly alluring Jennifer Ridgway and the refined Vivien Latham as well as by the bold and able Eric Mello. The pace slows significantly in the second act as the cast struggled to energize the often-repetitive dialogue of the somewhat dated script. However, they were able to keep a consistent flow that keeps the overall product enjoyable and entertaining throughout.

Director Tom Eubanks draws the show together well, including a strong lighting design by Gary Richardson that aptly punctuates the undertones of the show. The other technical elements at play add ambiance and complete the total picture of Death Takes a Holiday, showing an abundance of care and aptitude by the production design team.

Death Takes A Holiday plays at the Santa Paula Theater Center until Dec 23rd. http://www.santapaulatheatercenter.org/

Spring Awakening: The Musical
With overtly sexual themes and a deeply disturbing outlook on growing up, the sublime title of Spring Awakening belies the dark thematic nature of the show. However, this century old story is so filled with honesty and emotion that, when performed well, it packs a mighty punch.

The Simi Valley Cultural Arts Center has staged a strong and compelling version of this Tony Award winning play. Spring Awakening tells the tale of teenage love through the eyes of three main characters. They are archetypical figures now common in literature, but at the time, the good-looking and bold Melchior (Chrys Ryan), the sullen, confused and sexually inhibited Moritz (Nick Bernardi), and the ingénue with a thirst for sexual learning, Wendla (Chelsea Pitillo), were far less well-known to audiences. At the onset, we see Wendla as she stands at the edge of a sexual awakening, curious and dismayed at her own lack of worldly knowledge. Likewise, her male counterparts deal with their own young desires and fears as well as the social stigmas and pressures that surround them. As the show progress and culminates with an impassioned second act climax, it is clear that the story offers very little new in terms of revelations about young love or sexual growth. Rather, it is the characters and music that drive the production.

This production of Spring Awakening falls in the middle ground in terms of daring and pushing the musical envelope. However, under the expert direction of David Ralphe, the production delivers a strong show with a surprising amount of content given the theatre’s setting off the beaten path. The vocals are strong across the board under the musical direction of Matt Park. The movement and choreography are strong and avoid the common mistake of becoming derivative, as often happens with this successful work. The costume design (Gordon Seltzer and Areilla Seltzer) is effective and provides well for the cast that has to look both uniformed and be able to delineate the multiple roles they play. The auditory system in the theatre seems better suited for a much larger space, but the technical expertise of the sound design proves adept at walking the line of rock verses musical theatre levels. The set and colors of the show work well together, and the overall feel of the production’s technical elements holds up well. Minor gaffes with lines and props were likely a onetime happening, but the lengthy running time of the production could have been eased some with overall cohesion of the ruining crew.

Pitillo, Ryan, and Bernardi are all remarkable talents and give well-rounded performances as well as connect well with the material. Other standouts include Lori Lee Gordon and Sean Harrington, who take on the mammoth task of portraying a vast array of characters, and the vocal cast as a whole that are so well in tune that they seem a single entity in and of themselves. The cast is buoyed by the strong leadership here, and even more so by their own ability to embrace the full intentions of this work.
The people of Simi Valley should applaud the continual efforts of the theatre to keep a high bar in production value while all the time bringing in a vast number of projects that outlying areas rarely get to see in their full awakened form.

SPRING AWAKENING: THE MUSICAL runs at the Simi Valley Cultural Arts Center through December 2nd 805 583-7900

Halloween Tales From The Women's (& Men's) Locker Room.

 

In what can only be described as an odd venue for theatre, the farm storage turned, community hall turned performance space in Ojai blossoms with the fruit of Halloween Tales From The Women's (& Men's) Locker Room.

 

 

In recent years, a number of theatre troupes have sprung up in the isolated one-time artist colony of Ojai, California, each with varying degrees of success and resilience. Halloween Tales From The Women's (& Men's) Locker Room offers a rare chance to see original works that are seasonal as well as thematically linked. The four fast-paced works are presented in repertory style with a touch of down home fun that is unique to Ojai. Constructed out of the works of three local playwrights; Elixeo Flores, Gloria De Leon, and Tom Eubanks. Halloween Tales From The Women's (& Men's) Locker Room is a compilation of four short works, each geared toward the Halloween season. Dressing (Flores) is presented as a tongue in cheek retrospective of a Southern Drag Queen looking back on life with humor and a touch of heartbreak. Grave Concerns (Flores) shows the grief and quirks of an offbeat Italian family brought together by the death of a relative. Sharing Is Caring (De Leon) touches on themes of sibling rivalry, secrecy, and reformation in the search for higher understanding. How To Make God Laugh (Eubanks) touches on sexuality, religious allegory, and morality with humor and editorial commentary. The four pieces work well together with Flores’ characters and situational drama standing out. De Leon’s allegory and propensity for hidden meaning pairs well with her story structure, despite the brevity of the work. Eubanks’ technical writing is the best of the group, though the seasonal theme is least apparent in his work.

While the venue cannot be considered a strength with difficult acoustics and seating that would suggest a high school band concert, the producers have given the show an audience friendly running time and provided a setting that seems to fit well the art of original works and shared artistic goals. The performances by mostly local community performers are, for the most part, strong, and the direction by Francisca Beach is efficient in highlighting the creativity of the work and individual abilities of each performer. Perhaps Beach’s largest accomplishment is in creating a successful performance with elements that fit the story both through performance and technical know-how.

Halloween Tales From The Women's (& Men's) Locker Room deserves its greatest acclaim for reaching a community through works that are local, interesting, and supported with the talents and abilities that original works rarely receive in Ventura County.

DARK HEART OF POE

The works of Edgar Allen Poe have been presented in many forms, but seldom find true success in the theatrical world due to their brevity and difficult performance elements. The Elite Theatre Company’s current production of Dark Heart of Poe proves, however, that when the right talents are in place, Poe on stage can be extraordinarily effective.

Edgar Allen Poe is considered perhaps the first and greatest American master of the suspense short story and gothic poetry genre. He is credited with spreading the new “American” English across the young country, and his themes of revenge, hopeless love, and death are engrained in our national literary makeup. His most revered works are read by school children in every state and although his tragic and short life ended in 1849, his body of work has continued to be among the most read of any author in modern history. His timelessness and universality are apparent both in the characters that he built and in the feelings and macabre situations with which he instills them.

Dark Heart of Poe, conceived by director Andrew James, presents four of Poe’s best-known works: Annabel Lee, The Raven, The Tell-Tale Heart, and The Cask Of Amontillado) staged in the format of a one hour, one act play. A cast of two (Austin Miller and Travis Winterstein) performs the works, sometimes together and sometimes alone, in the dramatic style of an 1800s symposium with the audience seated in the round. Miller and Winterstein also perform the scene changes in an imaginative style that adds a unique performance dimension, giving the show a continued impetus and making the one hour running time leave you wanting more.

Starting with Poe’s ode to a lost love, Annabel Lee, director James crafts a fluid and swift style of storytelling using sound and movement to drive the action and convey an unusual but exhilarating momentum that builds through Poe’s best-known works The Raven and The Tell-Tale Heart and culminates with the least known of the group, but most well suited for the stage, The Cask of Amontillado. With the audience seated on all sides, the uncredited set design draws you back into the 1840s and creates a fishbowl feeling as the events of these four classic works unfold. The sparse and, at times, insinuated set fits well the stylized feeling of the production accentuated by a number of impressive props that are featured within the stories. The costume design (Allison Williams) impressively conveys both the time and feel of the show and adds a rare seamless and enchanting look to the show. The sound and lights are used effectively to further build a haunting theatrical world in which Poe himself might have dwelled.

With the abundance of technical knowhow surrounding them, Miller and Winterstein deliver evocative and compelling high-energy performances across the board. Under James’ agile direction, the performers thrive, executing passionate portrayals consisting of both humor and drama in a connected and artistic manner. They exude confidence and ooze character, while displaying a deep understanding of the language and underlying meaning of each piece.

This production by the Elite successfully sidesteps the common pitfalls associated with other Poe performances by featuring both the exposition and the dialogue within the format of the presentation. The addition of quotes from the master himself bookends the show and effectively encapsulates this beguiling and unusual work. While not a large-scale production, this work shows both artistry and talent used to its best end and makes for an exciting night of theatre.

Dark Heart of Poe may consist of well-known works, but it has never been seen in this light before.
Dark Heart of Poe runs through Nov 18th. At the Elite Theatre in Oxnard. www.darkheartofpoe.com

PRIVATE LIVES

Private Lives is by no means an unknown work, but it holds up well when performed as it was intended. The Rubicon theatre accomplishes that well with this production.

Since 1930, Private Lives has been a staple in the seasons of theatres large and small. Its plot has been played over and reformatted so many times that it seems like the main themes of conflicted love and second chances have always been a part of us, and the characters have become permanently engrained in our being. The now-divorced Elyot (Joseph Fuqua) and Amanda (Julie Granata) are honeymooning abroad in the carefree and loving arms of their new spouses Sibyl (Alyson Lindsay) and Victor (Matthew Floyd Miller). Tossed by the winds of traditional Coward fate, they again come face to face on the balconies that their newlywed suites conveniently share. Almost at once, they are made quickly aware that their new marriages fall well short of their still-smoldering love for one another. In a reluctant fit of passion, they flee together to Paris. Lo and behold, their second chance together is filled with pitfalls as they are soon joined by their abandoned better halves. The insults and sometimes bits of furniture fly as the difficulties of lovemaking in the modern world are brought to bear in hilarious fashion.

The Rubicon Theatre has long been a strong artistic venue. They strive to appeal to a wide range of audiences and consistently produce shows that tend to be in the upper tier among Ventura County Groups.
Private Lives fits well with that reputation. The acting is strong, fast paced, well-timed, and the cast has a strong understanding of the Coward style. The set is effective and well thought out, starting with the balcony of the two hotel suites making use of one half the stage during the first act. After intermission, the wall of the hotel suite was taken down and the sprawling Paris plat takes over the full stage. Each location is imbued with the proper feel and nuances of the period. The costumes show not only time and place, but class as well, and do a fine job of contributing to each individual character. The palette of both the set and the costumes fit well the overall tone of frivolity in the show.

The first act was marred by a few line stumbles that, though well covered, remain obvious when performing this well-known Coward work. Likewise, the ill-placed railing of the first act balcony set blocked the view from the first two rows and is typical of the consternating decision-making processes that have hampered numerous Rubicon productions in the past. Other oversights such as inconsistencies in the physical confirmations, noiseless slaps, and a general haughtiness among the theatre staff combined to leave one with somewhat of a feeling of carelessness in a production that otherwise was very enjoyable.

The cast contains many L.A. favorites in roles that fit them well. Joseph Fuqua is at home in his role and seems as if he might have stepped directly out of the time period, delivering every inch the droll society gentleman archetype. As Amanda, Granata is as fiery as she is ferocious and delivers especially well during her numerous the yelling bouts. Lindsay conveys perfectly Sybil’s sweet and innocent ingénue demeanor while maintaining a great depth of humor in defending and berating her beloved Elyot. Miller’s Victor was appealing and original, discovering new laughs and lending a gentlemanly air to the role. The performances across the board from the entire cast display a keen eye in casting and strong talent in performance.

Director Andrew Barnicle is deserving of considerable praise for creating a world of which Coward would approve. Each moment seems to lead into the next and the somewhat stilted and dated pitfalls that are inherent in any script of this time period are deftly side stepped here. The lighting and sound give strong ambiance, as do the well-selected props that are tossed about with reckless abandon.

The greatest judge of any work should be the audience, and with numerous bursts of laughter, they gave this production of Private Lives a very public vote of approval.

Grease is among the most well-known and successful musicals of all time. The sheer number of times it has been seen on local stages is daunting and keeping it fresh can prove to be a challenge.

The Ojai Arts Center Theater’s current production of the 1971 classic musical Grease is staged in the typical fashion and makes use of the inherent strengths of the script and musical numbers that have made this work a favorite of small theatres across the country for decades. However, it also falls victim to the pitfalls of the notoriety and familiarity that come with a work that is so often performed.

Grease tells the story of bad boy Danny Zuko (Kieran Culliton) and his band of brothers who wreak musical havoc on their 1959 adolescent community. The angelic Sandy Dumbrowski (Kytriena Payseno) provides the love interest as well as the cultural conflict that is the motivating force behind the show. Written in more than a decade after the year in which it is set, the story is made more appealing by the iconic images of leather jackets, high school lockers, hot rods and drive ins that have instant meaning to those of us who fondly remember the era. As Danny and Sandy navigate the waters of young love, the secondary plot lines focus on the sometimes silly and sometimes important themes of growing up, gang affiliations, lost loves, and teen pregnancy.

This local production profoundly misses the full potential that the show holds, but there is some strength within the individual performances. The production elements are less than ideal with an odd color palate selection that seems to be more high school production than high school ambiance. The singers in the cast often lacked character, and major line flubs left the audience at times confused and underwhelmed. Pockets of family members appeared to cheer the songs sung by their loved ones and larger production numbers, but there was very little through line to keep the audience involved over the course of the action. While much if this may be contributed to a lack of artistic daring, some of it was simply due to a lack of performance energy from the cast.

The voices and harmonies showed glimpses of promise, as did the lighting design and some tech elements. The overall tone of this production, however, fails mightily to reach anything past toe-tapping pleasantry. Grease has always been an audience favorite, but when dated themes meet with apathetic presentation, there is no way to catch the lighting in that bottle.

Theatre on the Coast

Seeing shows in Oxnard, Santa Monica, and Ventura this weekend! 

Private Lives at the Rubicon in Ventura!

Staff not at their best but another solid show on stage!  Notice to come. See a show this weekend!

THE WOMAN IN BLACK

One of the longest running and most successful ventures in the history of the London theatre scene has now been brought to Oxnard. The Woman in Black is a fascinating and ambitious undertaking presented with a unique style of storytelling seldom seen in Ventura County.

The majority of shows produced in area fall into a predictable pattern of production and presentation. The Woman in Black, currently on stage at the Elite Theatre Company in Oxnard, does not fall in to that convention. The tale is told in a distinctive and creative way that exposes local audiences to one of the traits that made this show a long running sensation on the British Stage.

At the onset, we find an awkward and nervous “actor” (Terry Fishman) in the throes of reading aloud from pages of a manuscript that he himself has penned. Now voicing it for the first time, he is urged on to better his performance by a young professional actor and director (Curtis Cline). Soon we learn that both men are in a theatre with the shared goal of telling the story of Arthur Kipps to the public, but with very different motives. The younger sees the deep dramatic value of the yarn, both as a human experience and as a haunting ghost story; whereas the writer of the tale wishes only to unburden his soul of the events he lived by speaking them in a public forum. As the play within the play unfolds, we see what is ostensibly a final dress rehearsal of a multi layered autobiographical play that the two men have prepared for public consumption in the local London theatre district. In their play, Cline plays the part of the Kipps as a younger man, and Fishman takes on the roles of the various people that Kipps met along the way, all of whom are brought together by the recent death of a mysterious and troubled woman who lived and died secluded in a house so surrounded by marshland that the path to it is only visible at low tide.

The “actors” guide us through the story of the unsuspecting and diligent Kipps on his journey to the enigma of a woman’s now empty house. In due course, we discover that whenever the ghost of the woman in black is seen, a child dies. As they prepare their story for presentation, they discuss story-telling techniques of the late Victorian age, including the recent innovation of recorded sound and modern theatrical ambiance. All the while they remain under the constant and watchful eye of the ever present Woman (Debbie Price) dressed all in black, whose existence is a source of both fear and excitement to the men as they prepare their production. Their play, as well as ours, culminates in a startling dream like a final scene where reality is intermingled with the supernatural and eventually we see that the storytellers have become a part of the narrative as they told it.

So successful was the original stage production that it was made in to a film of the same name, starring a now grown Daniel Radcliffe of Harry Potter fame as the youthful Kipps. The movie focused on the ghost story, but it is the unusual structure and individual boldness of concept that made the stage play such a hit. Those essentials are alive in this production and are further supported by strong acting and many fine production elements.

Fishman takes on the mammoth task of building a multitude of diverse characters, all the while playing a man learning to be an actor. He skillfully delineates dialects and his face tells a different story for each character he plays. Cline plays well the energetic and younger version of Kipps, and Price adds mystery and presence in the silent title role. Director Tom Eubanks braves the difficult script well and succeeds particularly well in building a strong relationship between the two male leads. Eubanks offers up a skillfully staged production that makes use of every inch of the intimate theatre. The costumes suggest well the time and the set by Eubanks is a prime example of ingenuity and inventiveness, though it is at times under used. The show occasionally lacks the jump that one desires in a ghost story, but strong characters, able performers, and a clear grasp of the theatrical value of the piece are well at work here. This show is as difficult as it is stirring and deserves to be performed more often by venues such as this.

The Woman in Black runs through Sept. 16th at the Elite Theatre in Oxnard. http://www.elitetheatre.org/

Three Great Shows Last Weekend!

Los Angeles theater is in full swing!  See a play this week!

Mickey’s Soundsational Parade

Everyone loves a parade and Mickey’s Soundsational Parade that consumes Main Street Disneyland each night is the perfect combination of childlike fun and grown up entertainment.

The parade evolves with each year and the characters change frequently, including different costume versions to fit the season, but the entertainment remains unaltered. The energy and consistency of the performers is matched only by the excitement and awe of the children in the crowd. With character favorites like Mary Poppins and Bert, the Lion King, every princess known to mankind and, of course, Mickey and friends perched atop massive floats, the spectacle would be impressive enough. However, as the name suggests, the focus of this parade is on the music. Starting at the It’s a Small World ride and culminating at the heart of Main Street, the entire parade is set to a raucous toe tapping beat that echoes across the park. These dedicated performers maintain smiles, waves, and shining attitudes that lift the spirits of each eye they meet in the crowd. Their choreography and movements are well rehearsed and energetic from beginning to end and the colors of the show parallel the finest costuming in theatre or film.

With a plethora of live musicians, dancers, pounding drums, mechanical wonders, and Disney fun, the parade is one of the finest shows in the park. The atmosphere is upbeat and the feeling of fun is contagious. Seating in the off-season is, for the most part, easy to find. The well-guided parade is easily visible 3 or 4 rows deep. During tourist season, it is more difficult, but a little preparation can make for a great end to a busy Disney day. Alert park goers can ask one of the many park employees when the parade will begin and, about 45 minutes beforehand, scout out a seat on the curb or on one of the rare benches town near Main Street. Parents of young children prove wise to pack an early dinner and a blanket and add the feel of an impromptu picnic capped off by the miracle of Disney magic as the parade passes by while you eat. Cameras and video are recommended and reliving this parade at home in high definition is often as fun as seeing it the first time, particularly if you are able to capture the awe and excitement of your youngsters as they see their favorite characters come bounding around the bend to the beats of Disney tunes as if they have just stepped into one of Walt’s greatest cinematic feats.

This parade is worth the extra wait and makes for a fun end to the day. Moreover, it is included in the ticket price and offers a rare treat in a world where spectacles like this are becoming increasingly unusual. The sights sounds and feelings of Mickey's Soundsational Parade will entertain you from start to finish and remain with you for a lifetime.

Mickey’s Soundsational Parade occurs nightly on Disneyland’s Main Street.
 http://disneyland.disney.go.com/disneyland/mickeys-soundsational-parade/

The Marvelous Wonderettes’

There is a fine line between playfully presentational and frivolous fluff, and the current production of The Marvelous Wonderettes on stage at the Canyon Theatre Guild stays well on the right side of that line. This family friendly show proves to be a pleasing evening of entertainment and a showcase of musical talent and comedy.

The Marvelous Wonderettes’ greatest asset on paper is the familiar renditions of some of the biggest hits and most memorable songs of the 1950s and 60s. The well known tunes are woven into a story that begins at the 1958 Springfield High School senior prom where the Wonderettes are performing as a last minute replacement for the previously scheduled (and now expelled) originally slated rock group. The all girl Wonderettes consists of four unique personalities who are introduced to the audience one by one as each takes a turn at being lead vocals for the group. Each Wonderette’s story is told by the song she leads as well as by her relationship with the other members of the group. Their tales play out with the typical story lines of a James Dean era prom. They range from boy trouble to fitting in, smoking, crushing, and hoping for a happy future in prosperous post World War II America.

The Disney princess front girl of the Wonderettes is Cindy Lou Huffington, played well by the silky smooth Catherine Birdsong, who flaunts her beautiful flowing hair, alabaster skin and perkiness to match. Missy Miller is the make-it-happen group leader played by Courtney Potter, who embodies the role with comic chops that bite into each bit and refuse to let go until you laugh out loud at the silly, self-effacing antics and affable manner of this seasoned performer. BJ Reynolds is the strong-voiced, brash and bawdy tomboy of the group, portrayed effectively by Marie Wise-Hawkins. Sarah Lang plays the flighty and flirty prom queen Suzy Simpson with comedic skill that is particularly evident in the show’s second act, where we find the same Wonderettes, now ten years later. The group is once again performing in their old high school gymnasium, but now the year is 1968 and they are together in front of an audience for the first time since the prom. The emblematic life situations remain the focus of the story, but the move into one of music’s most enduring decades lays a path for some unforgettable vocal numbers that each member of the ensemble cast delivers with great ability, to the delight of a fully engaged audience.

Upon attending a production of The Marvelous Wonderettes, it quickly becomes clear that this show was written to be a musical romp and story was never intended to be the most compelling element. However, with that in mind, the author takes full advantage of the well-loved character archetypes and injects sympathy and humor along with shared experience in equal amounts to give a fine backbone to the pop music that is the heart of the show. As with other projects in this vein, casting and performance are of the utmost importance. Director Greg Finley has provided a surprisingly even show that possesses strong elements across the board. He has assembled a cast that is more than capable of delivering comedy and strong musical renditions, as well as fully bringing to life the characters they are asked to portray. He creative team includes well-utilized talents in choreography, lighting and sound. He has also surrounded the entire production with the most important thing for a show of this style, which is a theatrical environment that invites the audience to sit back and enjoy the stage happenings before them.

Wonderettes does not stand out for any one element. Rather, it is the product of solid performances, strong leadership, and an artistic vision fully committed to the simplicity of family entertainment and audience enjoyment. And that, in this instance, is a marvelous thing.

The Marvelous Wonderettes plays through Aug 31st. http://www.canyontheatre.org/shows

Musical Romp tonight!

Headed up to see the kind of show I tend to dislike. However, I am always suprised by the what great talent and good leadership can do in Los Angeles area theater!

MUCH ADO ABOUT NOTHING

There is a delightfully raucous and surprisingly uproarious production of the Shakespeare classic Much Ado About Nothing currently on stage at Ojai’s beautiful Libbey Bowl. Set at the height of the roaring 20’s, this version of the Bard’s most well-known battle of the sexes boasts compelling performances and effective technical elements, as well as a Broadway-style Charleston dance number, all within picturesque surroundings that seem built to suit.

The newly renovated bowl inside Libbey Park in the heart of charming downtown Ojai is an exquisite and accommodating venue for a wide variety of outdoor spectacles. Offering a full slate of concerts and events, the large and visually appealing space proves also to be a perfect fit for Shakespeare’s hilarious work Much Ado About Nothing. This production, jointly produced by Thousand Oaks Repertory& G.A.T.E Players with the Ojai Players, is high on concept and even higher on enjoyment and execution.

Much Ado About Nothing has long been an audience favorite and is considered one of Shakespeare’s most beloved comedies. It has been adapted for film multiple times, most notably in the 1993 Kenneth Branagh and Emma Thompson star-studded epic that gained popular acclaim. Much Ado About Nothing is primarily a love story between the quick-witted and self-assured Benedick (Andrew David James) and the hard and fast independent Beatrice (Laura Rearwin). The two swap verbal barbs to the delight of friends and family who eventually conspire to make the unlikely pair fall in love with one another. It is a match far different from the youthful and more vulnerable love between the beautiful Hero (Allison Chase Williams) and the easily swayed Claudio (Austin Miller), both of whom are targeted for sabotage by the wicked Don John (Jonathan Weiser).

Whilst the lovers love, Don John plots to destroy the peace built by his prominent brother, Don Pedro (Richard Osborn), who has newly returned from war and is now on leave with his men at the estate of Hero’s wealthy father, Leonato (Terry Fishman). Along the way, we meet the disheveled and consternated Dogberry (Richard Winterstein) and a cast of characters, each of whom are caught up in the frivolity of celebration and a firestorm of romance and scheming. Ultimately, both couples overcome the obstacles between them and all is well that ends well.

The performances are topnotch across the board, particularly in the principle roles. The capable actors are fully supported by an able and well-constructed 1920’s theme. Director Allan Hunt craftily spins this love story with dexterous use of music and dance. Hunt fully capitalizes on the talent he has assembled, including lead actors so comfortable in the language that it hardly seems out of place in the supposed setting of the flapper age. Choreographer Jeff Wallach provides authentic period dance numbers that lend the show added lift and the original music by composer Rick Rhodes fits seamlessly with Shakespeare’s original lyrics. The costumes are as beautiful as have been seen on the local stage in recent memory and the sound and lights fit well the open-air venue. What the set lacks in aesthetic beauty, it makes up for in practicality and versatility, and the judicious cut of the text keeps the show around a brisk 2 hours. Attention to detail is additionally evident in both the preshow musical group that adds melodic, renaissance-inspired tones to the evening as well as in the comic silent movie era chase scene that begins the second act.

With meaningful characters, nimble handling of the text, and a strong artistic vision, this Much Ado is very much about something and is a must see for all lovers of great entertainment and classic literature.

Much Ado About Nothing runs until July 22 at the Libbey Bowl in Ojai. http://www.gateplayers.org/

ROMEO AND JULIET

The epic beauty and timeless heartbreak of Shakespeare’s Romeo and Juliet is exemplified by the stunning costumes and strong performances in Shakespeare By the Sea’s current production in San Pedro.

The aging band shell at the well-known Point Fermin Park on the water in San Pedro has once again played host to the initial performances of Shakespeare by the Sea’s new season. It is a venue that is low on charm and often chilly, but experienced audience members prepare well to brave both the cold weather and limited bleacher-like seating in order to view this year’s well-conceived and deftly-executed romantic tragedy, Romeo and Juliet.
Upon arriving at the park, its sprawling landscape on the ocean may seem an unlikely fit for a play such as Romeo and Juliet. However, as the crowd gathers and the set takes shape before your eyes, it becomes clear that this venue has seen this many times before. The cast and crew work diligently to piece together the towering set, which although somewhat oddly configured, proves to suit well this difficult drama. The sound and lights are effective, though sitting directly under a speaker proved to be a mistake and the nippy breeze off the ocean make a warm coat and a blanket a necessity to say the least. However, this location is only one of many that this production is slated to visit during their multicity tour of the Southland. The vigor, pace and beauty of this production makes it worth a visit whenever the schedule brings them to a park near you.

The story of Romeo and Juliet is so well-known that it has become diluted and, even worse, cliché to modern audiences. However, the intricacy and depth of both language and story in this classic work is, without a doubt, inspiring and never fails to impress. Two young lovers, Romeo (Cylan Brown) and Juliet (Barbara Jean Urich), are kept apart by circumstances be yond their control. Spurred by passion, jealousy, and youthful miscalculation, they are ultimately done in by the time constraints and boundaries set for them by societal regulations and family expectations. Adding accelerant to the blazing fire of star-crossed love are the actions of the explosive Tybalt (Garret Replogle) and the mischievous Mercutio (Patrick Vest), each set on furthering the conflict that exists between their families. It is a tale that has been told perhaps more times than any other, and this production shows why it is still relevant today.

The acting is superlative for the most part, with its strength laying with the overall accomplishment of the cast as a whole. Brown is impassioned and devoted to his role as the head over heels boy next door. Urich lights up the stage, even across the expansive crowd some 400 people deep. Vest and Replogle are both more than able in their roles and draw the audience in through their conflict. The youthfulness that is written into the script is absent, but the quality of performers in most of the roles makes up for that and then some. Additional talent is well placed in supporting roles with well-delivered contributions being made by Ben Hackney, David Graham, Casey Kooyman,  and Josh Aguilar, among others. The direction by Stephanie Coltrin is complete and most skillful in weaving a story that is filled with import and emotion. The musical score adds enormity and depth, as do the extraordinary costumes and effective technical elements.

This is, without a doubt, a "Shakespeare in the Park" experience. Actors can be seen well before they enter the scene and audience members attend with a wide variance of attention levels. Fully costumed actors sell raffle tickets before the show and at intermission, and the inevitable pre-show speech requesting financial support takes something away from the overall artistic validity. However, the fact that these productions are presented free of charge to audiences without a doubt overshadows the measures needed to keep the company afloat. Touring a show of this magnitude cannot be an easy task and accolades should be heaped upon those who can do it with both artistic success and financial viability. Romeo and Juliet is as grand as it is gorgeous and delivers a more than gratifying night of theatre in the open air.

Shakespeare by the Sea’s Romeo and Juliet tours Southern California cities through Aug. 10, 2012. http://www.shakespearebythesea.org/index.php

Shakespeare on tap Tonight!

On our way to lunch in Long Beach and then to what I hope will be a great production of Romeo and Juliet!

THE MISER

With whimsy and humor, Moliere has delighted millions of audience members over the years. The Elite Theatre’s current production of The Miser is a prime example of why.

A comic extension of William Shakespeare’s The Merchant of Venice, The Miser spins a tale that pokes fun at the French hierarchy and the class warfare that dominated Molière’s time. Upon opening, the audience sees young lovers Elise (Christine Cater) and Valere (Isaac Deakyne) as they confess their devotion to one another. It is a love that was born when Valere rescued the beautiful Elise from drowning, and a love that is now in danger of being put asunder by Elise’s oppressive, myopic, and indeed miserly father, the widower Harpagon (Doug Friedlander). Harpagon is singularly focused on adding to the fortune that he keeps buried somewhere on his property. Constantly paranoid that someone will find, steal, or even know about his hidden wealth, Harpagon’s consternation is further added to by the free-spending ways of his foppish son Cleante (Eric Mello), who looks to amass only enough money to keep himself in fashionable clothes and afford to marry the beautiful girl he has long admired from afar. Alas, as it must be in all great restoration comedies, the error of Harpagon’s tightfisted ways cannot hold love at bay nor can it subdue the tidal wave of happiness and laughter that caps the story’s end.

The direction by Elissa Polansky is bold and well-conceived, with a clear understanding of the material. The production team delivers costumes and ambiance that fit well the time and space. The cast as a whole is strong and able, anchored by the loveable, laughable, and laudable performance of Friedlander in the title role. His performance is both accessible and pitiable, showing an adroit sense of character and comic timing while endearing the miser, Harpagon, to the audience. As Cleante, Mello is staunch, passionate, and in love with the beautiful girl next door, played well by the fresh-faced Sandra Saad. Cater is engaging, playing the ingénue role with great feeling. Deakyne delivers admirably in the romantic lead, layering his performance with comedy, feeling, and surprising intensity, especially in the inventive fight sequence impressively staged within the compact space. The well-voiced and attractive Julie Fergus plays well the scheming Frosine, as does the flamboyant Joshua Kahn as La Fleche. Considerable comic and story contributions are also made by John Eslick, Phil Levere, Hayley Silvers, and Frank Payfer, all of whom add to the mirth and merriment as the story unfolds.

The Miser is by no means stingy on humor, but its greatest generosity is the storytelling. This production flows with a brisk pace and is a fine example of the validity and universality of this classic work. The Elite Theatre Company’s production of The Miser is as good as gold and fun for all audiences.

The Miser runs through July 22nd, at the Elite Theatre Company http://www.elitetheatre.org/

REUNIONS

The OYES theatre space in beautiful Ojai currently has on stage a new musical that is unusual in structure, but truly delightful entertainment. It is a strong creative example of a unique retelling of classic tales and the enjoyment that they can continue to bring to audiences.

Reunions glimpses the lives of two sets of estranged lovers, separated by years and circumstances, and then thrown together again by fate. Essentially two one act musicals joined by a common theme, the show’s first act (A Twelve Pound Look) focuses on female independence and the male idea of a perfect wife. Kate (L.J. Stevens) and Harry (Phil Nemy) meet for the first time since She walked out of their relationship years ago. Now a secretary for hire, Kat arrives at Harry’s door moments before he is about to be honored with knighthood. Together, they relive the day she abandoned him and discover each other’s reasons and rationalizations for their past actions. The second act (A Sunny Morning) is decidedly shorter, but lacks nothing in impact or fun. A Sunny Morning begins as we see two people of age (Nemy and Stevens) in a park looking for a bench to rest upon. Forced to share their chosen bench in the crowded setting, they come to discover that the other is the great love of their life lost some many years ago. Each feeling that the other has no idea of whom they are sitting next to, they regale each other with second hand stories of the love that their "friends" once had. In the end, they hold to the nostalgia that has lived deep in their hearts, but gain a renewed sense of hope for the next generation of lovers. Both acts are appealing and deliver a range of emotions and themes, and they succeed for a wide variety of reasons.

As Kate, it is Stevens who drives the first act of Reunions. With a glint in her eye that cannot be doused, she aptly propels the story and embodies the liberated woman, now content to be on her own. Both Stevens and Nemy show great depth of character and they are well supported by a talented surrounding cast who each add a fine element to the show. The voices of the entire cast blend in honey-toned harmonies and that are complimented by considerable comic nuances and strong acting. The first act also boasts strikingly beautiful costumes and a set that is absolutely enthralling. The live band plays well the creative music and the comfortable venue provides a pleasant atmosphere in which to enjoy the melodic musings and engaging stories. The end of the first act fully suggests that a continuation of the story is to come. That is not the case, but what we see after intermission is by no means less entertaining.

When the lights arise for the second half of Reunions, we see nothing of the first act on stage. Upon entry, the actors (Stevens/Nemy) are almost unrecognizable in their new personas. The monochromatic costumes are simple, but effective, and while the hastily hung backdrop fails to impress, the talent and story are again most pleasing and charming. However, whereas the fist act was driven by Stevens with the full support of a truly ensemble cast, in the second half it is Nemy’s dynamic portrayal of the gruff Spanish gentleman that rises above and the connection between he and Stevens that ultimately holds the audience’s attention. The second act plays more as an intimate scene study based around two curious and interesting characters. It is an odd but interesting twist that works well given the light hearted feel of both pieces.

As a new work, it is by far the story that gives flight to this product. The music is strong, though the simplicity of the lyrics at times belies the composition. Still, without a doubt the strong and compelling characters more than pick up the slack. The direction and musical direction by Marty Babayco and Jimmy Calire, respectively, are sure-handed and well-executed. Thusly, the entire production and cast thrive in a way that best serves the audience members who are privileged to observe their handy work.
This production is full of laughter, poignancy, and fun, and provides a gentle pathway of reflection that the characters amble along as they tell their tale. Reunions brings together music and story in a way that is most pleasing to the eyes and ears, but above all, to the heart.

Reunions runs until July 1st at OYES. http://ojaiyes.org/

JANE OF THE JUNGLE
A trip to South Coast Repertory always yields a well-constructed and visually pleasing production, and their recent youth-oriented programs are no exception. The strong acting, atmosphere, and technical knowhow make for an enjoyable and entertaining show.

Jane of the Jungle is a coming of age tale told through the eyes of a group of adolescents on the brink of crossing over into the wild world of teenagers and adults. With a big, “totally cool” party looming on the horizon, Jane (Renee’ Brna) goes to bed excited and secure with who she is. When she awakes, she has started to change. Her slow evolution into adulthood is suddenly sidetracked as ears, spots, and a tail dash any hopes of fitting in that Jane might have held to.

Saddled with the task of getting her little brother Milo (Eymard Cabling) safely to his play date before heading to the party, Jane realizes that her physical changes are just the start. Vines swing all across the neighborhood and her friends, too, bear striking resemblances to jungle creatures. At every turn, Jane confronts her own desire to be accepted and the mistakes and anger that go with the difficulty of growing up. Eventually, she sees the reflection of her own actions in those around her, including her little brother and her loving but erratic friend Kayla (Erika Whalen).

Jane’s first venture into the jungle of adulthood does not go how she planned, but, like us all, she must learn from what she experiences and try to apply it to the next day. Her willingness to change and embrace who she is ultimately leads her to stronger relationships and a deeper understanding of what it means to be human.

The production elements for Jane of the Jungle are top notch. The set design is both aesthetically pleasing and practical. The lighting design stands out for both its delicacy and adaptability, and the performances are as funny as they are filled with allegory. The script is simple but effective, though at times falling into some minor pitfalls often present in children’s drama. The direction by Juliette Carrillo gives the show a rhythm and continuity that keeps children and adults engaged. As Jane, Brna is both childlike and honest, moving the show along with great feeling and meaning. Considerable comedy is aptly contributed by the entire acting ensemble with melodious tones and striking movement from top to bottom. Playing a multitude of characters, the strong cast provides great entertainment and gets every ounce of fun out of this crowd pleasing show. Without a doubt, Jane of the Jungle is a wild ride of fun, but the greatest part of it is the exposure of young people to a well-produced and pleasurable theatrical experience.

NO EXIT or Closed Session

John Paul Sartre’s masterwork Huis Clos, roughly translated to No Exit, presents the quintessential existential situation. Three people, escorted into hell, are left alone in a locked room to rage, wallow, and weep in the wake of their tremulous lives and deaths. The Elite Theatre Company’s current interpretation of this iconic work is a credit to imaginative staging and a tribute to the delights of the darkly satirical ideology that gave birth to the theatre of the absurd.

Clearly Sartre’s objective was to entertain audiences while also leaving them somehow uncomfortable with what they were entertained by. No Exit is perhaps the prime example of this intention fully realized. The author skillfully crafts a story that begins at the end of three lives. Garcin (Brian Kolb), Inez (Jessica Gillette), and Estelle (Christina Colombo) are guided by an oddly proper Valet (Robert Byrne) into a small room with three individual and different couches. Also in the room are a bell that seldom works, a letter opener, and an ambiguous sculpture made of gold that cannot be put out of sight. Once in the room, they are left without escape to battle themselves and each other for redemption that can never come. The symphony of anarchy reaches a crescendo as Gillette’s Inez cackles with pleasure over the absurdity of it all and stands upon a seat to beckon the spineless Garcin to her will. The utter hopelessness leaves Kolb’s Garcin near collapse as he exclaims the existentialist mantra whose spirit has echoed in every related work since - “Hell is other people.” The final notes leave the audience laughing and shaking their heads, at the work’s insanity and honesty as well as its relevance to their own lives and outlook on the world.

The intimate Elite Theatre is, without a doubt, a fine location for this up close and personal work. The versatile in-the-round seating arrangement that has been applied is highly effective and engaging, giving the audience the feeling that they are guests within the room throughout. The lighting is strong for the most part, with some deep shadows that swallow up the edges of the unusual playing area. The sound aptly sets the stage for this extraordinary theatrical work and the color palette is a perfect fit for the overall tone of the show. The set is inventive and efficient, as are the costumes that give a strong sense of both character and time.

Director William H. Waxman shrewdly utilizes the economy of space and puts to work a concept that is both gripping and artistic. He further thrives in coaxing courageous and unafraid performances from his gifted cast, most notably from Kolb and Gillette, who dominate the existential landscape before them with boldness and certainty.

The cast as a whole performs with an assurance and vitality that reveals a great depth of feeling and commitment to character. Kolb’s Garcin is like a leprechaun at times, bouncing from seat to seat before igniting with anguish when the fires of hell finally consume his willingness to fight. Gillette’s volatile Inez relishes her torment, fully supporting her claim to be the cruelest among them. The four person cast works well together as they nimbly move the action from moment to moment with energy and morbid humor.

The blocking is crisp, though often the staging fails to entirely capitalize on the advantages of working in the circular space, occasionally playing as if it were a proscenium. Still, for the most part, the strong performances ring true and fully draw you in. Some oddities in casting at times seem jarring, as do minor gaffes with props and set that are magnified due to the unforgiving proximity of the audience. However, even these miscues seemed to somehow befit the philosophical nuances of the work in a way as the performers fully accepted them as part of their reality. Waxman’s concept culminates well with quick and open-ended glimpses into the intransience of an existence in hell and the enduring agony of a life lived in cowardice, cruelty, and self-absorption.

The strength of this production lies in its passion, daring, and execution, as was demanded by the forefathers of the existential movement. The Elite Theatre Company’s version of No Exit or Closed Session is a pleasing escape from the norm and an open door to the humor and allegory of Sartre’s genius and the existentialist ideal.

No Exit runs until July 1st at the Elite Theatre Company in Oxnard. http://www.elitetheatre.org/

Very Still & Hard to See

The abundance of small theatres in the Southland leads one to tolerate - if not expect – uncomfortable seating, shabby locations, and basic ambiance failures at many local venues. Such is not the case with The Production Company’s current location on Lexington Avenue in Los Angeles, and their most recent offering Very Still & Hard to See proves to be an enjoyable night of entertainment.

The small theatre, just off the main thoroughfare, is an appealing performance space that boasts fine facilities and a pleasant theatrical atmosphere that is well-suited to a vast array of intimate productions. Its well-run front of house and friendly theatrical vibe aptly sets the stage for a production most notable for the well-fused performances and the creative manner in which it is presented.

The story of Very Still & Hard to See is told through interconnected vignettes that revolve around a mysterious hotel built by an architect with a dark secret. The happenings inside the hotel and the people they affect vary from silly and creepy to odd and deeply troubling. With each progressive scene, we see the fallout from one moment of self-indulgence and how that one moment set in motion a disastrous series of supernatural events that affect the lives of scores of individuals. In the end, there is justice for selfish actions and the debts of greed and lust are paid in full, despite the carnage that they leave in their wake. The vehicle by which these heavy themes are delivered is at times fascinating to watch and successfully provides both levity and artistry to the ultimately spooky and disturbing subject matter.

Director Michael Mattews builds the show as an imaginative vessel of tone and movement and sails the audience on a visible and audible river of creativity throughout. The cast delivers from top to bottom with strong, committed characters and well thought out performances across the board. The alluring and evocative CB Spencer provides the show its edge, and matches well the versatile and able Andrew Crabtree in the compelling opening and closing scenes. Other standout performances come from the cute and quirky Katherine Skelton and the fresh faced and talented Coleman Drew. However, it is the work of this performance unit as whole under strong leadership that steers the ship of Very Still & Hard to See.

Author Steve Yockey’s script delivers excellent dialogue, story, and framework. At times, the show wavers between darkly humorous exposition and silly sketch comedy, including an ending that seems somehow unsupported by the flippancy of some of the vignettes. However, Yockey’s strength of concept far outweighs these weaknesses, particularly when supported by a strong cast and artistic vision. Without a doubt, the finest aspect of this production is the movement from beginning to end. The choreography, both in theory and in implementation, takes hold of the viewer and reels them in. The lighting and sound design by Tim Swiss and Cricket S. Myers, respectively, aptly tops off this well-conceived production and demonstrates the considerable technical talents available to theatrical producers in Southern California. While not a traditional presentation,Very Still & Hard to Seeexudes quality storytelling and entertainment. Filled with movement and imagination, the show is far from still and proves to be quite a pleasure to see.

Very Still & Hard to See is produced by The Production Company and runs through July 7th at the Lex Theatre in Los Angeles http://www.theprodco.com/11.html

Pre Show -Very Still & Very Hard to See

The First time at a well set up small theatre with friendly people is always a good thing.  Looking forward to a great show!

DOWN IN THE FACE OF GOD

Original works produced in Southland regional theatres are rarely given the benefit of a substantial budget and the creative assets needed to thrive. A-Z Productions has clearly endeavored to do that, and they have found a promising and unique performance space in the surprisingly spacious and well configured Studio Stage Theatre on Western Avenue in Los Angeles. The unassuming location boasts a friendly front of house staff and facilities that have the potential to be a theatrical oasis in a diverse section of the city. Inside the Studio Stage Theatre, A-Z Production’s offers up the new work Down in the Face of God.

The events that make up the story of Down in the Face of God take place in the post apocalyptic town of Thebes, Illinois. The town, now void of adults, is run by orphaned teenagers who are left to live with the knowledge that they, too, will die as soon as they turn eighteen. The children, living in fear and desperation, are governed by one another as they strive to remain in the favor of the gods who are a source of both fear and curiosity in the adolescent community. The teens are further assisted by the mysterious mouthpiece of the gods, Ora (Christina Jun), and by a book of knowledge guarded by their reluctant leader, Pen (Daniel Amerman). The group toils in the shadows of the ever-passing trains and worships on the banks of the muddy river that carries away the lifeless bodies of each of their dead. The introduction of a stranger quickly becomes a source of conflict and the group splinters over what place this new figure should hold in their society. In due course, conflict becomes full-blown spiritual warfare and the beautiful Anna (Meredith Wheeler) forces the town to a reckoning as she tries to break free from the invisible chains of Thebes. All the while, Pen struggles with his own sexuality, mortality, and apprehension as he seeks refuge in a world without hope.

The set design by Tristan Jeffers fits well the space and is one of the strongest aspects of the production. Likewise, the lighting and sound designs are bold and well-conceived, despite considerable technical gaffes that lessen their overall impact. The fights are efficient and realistic, and Doug Oliphant’s movement direction is successful in both design and execution. The company has also assembled a rare asset in local theatre, gathering an able and artistic publicity team to photographically promote the show.

Among the youthful cast, Amerman delivers the most engaging performance, giving Pen emotional depth and imbuing him with honesty throughout. Wheeler’s strength lies in her obvious dedication to the role and both she and Amerman capitalize on their considerable talents and training to create strong, consistent and committed performances. Lauren Terilli is also effective in the smaller role of Ino. The efforts of the cast at large are limited, however, by a general void of artistic direction and a sizeable absence of a polished theatrical ambiance. Oversights, on stage and off, including dead bodies that have no weight and pristine lableless bottles, distract and trivialize the already difficult material. Likewise, there is a lack of projection and enunciation within the cast which is further exasperated by blocking that often has actors facing upstage in an acoustically difficult venue. Projection was not a problem, however, as some members of the cast whooped and hollered with enthusiasm after the conclusion of the show as they exited backstage. While the costumes are interesting in concept, they are at times muddled by practical contradictions and what might have been intended to be dark and thought provoking, in fact appears more as disagreeable and disjointed. The production is most notably hamstrung by a self-indulgent script that seems to take pride in being unappealing. Its mythical and supernatural themes are derivative and dated and the story itself is marred by forced metaphor and a porous plot that quickly descends into convolution. While the direction shows moments of ingenuity, its greatest accomplishment is in amassing a cast that fully buys into the story they are telling, despite the emotional inconsistency and the inherently base dialogue with which they must contend.

The creative benefits associated with producing new works needs also to be paired with a level of professionalism to match, and Down in the Face of God falls short in that regard. However, some theatergoers may appreciate this offering for its boldness, regardless of miscues and weaknesses. Ultimately, the presentation of original works is a laudable feat, and A -Z productions should be praised for dedicating considerable resources to new ventures.

Down in the Face of God runs until June 2^nd at that Studio Stage Theater, Los Angeles http://www.athroughz.org