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