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