Once Upon a Mattress

Cabrillo Music Theatre has been producing some of the strongest and most entertaining shows in Ventura County for many years. The company’s consistency and endurance is second only to the quality of performers on stage. The company continually draws full houses and consistently put forth a deeply enjoyable final product. Their current production of Once Upon a Mattress is no exception.

This well known fairytale has been a favorite of children and adults alike for many years. The show’s successful runs both on Broadway and internationally have kept it relevant and made it one of the most widely produced musicals on the planet. The story follows the lovable Princess Winnifred (Bets Malone) as she moves about her royal life in search of happiness, love, and self realization. Her musical dealings with those she comes in contact with, including mama’s boy Prince Dauntless (Scott Reardon) and the narrating Minstrel (Danny Gurwin), are filled with fun and the light-hearted mirth that keeps audiences coming back to this well known classic.

The show boasts a strong ensemble cast that presents a fast-paced and hilarious melodic story of misadventure. The onstage orchestra becomes a part of the action at times and adds to the atmosphere of carefree storytelling that is the heart of this Cabrillo offering. Malone is without a doubt the heart of the show but Gurwin and Reardon deliver comedy on demand with perfect timing and character. Tracy Lore as Queen Aggravain plays the domineering mother role to the hilt, as does the talented David Newcomer as King Sextimus. Compelling in song and dialogue, the show reaches its highest point atop the twenty fluff-filled mattresses on which the title of the show is based. The staging of the scene had the audience gasping and laughing as the distressed and sleepless Winnifred tosses and turns close to edge of her lofty place of rest. Additional comedy and plot points are skillfully contributed by Noelle Marion, Isaac James, Timothy Stokel, and David Gilchrist to further emphasis the depth of talent on stage at the beautiful Thousand Oaks Civic Arts Plaza.

The direction by Richard Israel is spot on and brilliantly accented by Cheryl Baxter’s eye-catching choreography. The musical direction fills the space with harmonies and the set and costumes are a perfect fit. With all of those elements working in harmony, the cast thrives with the support they are given and keeps the large house in laughter throughout. Following the commanding lead of the enthralling Malone, this show propels itself forward and takes you on a ride worth every penny. Cabrillo’s Once Upon a Mattress is a fairytale that you really shouldn’t miss.

Once Upon A Mattress runs until May 1st, at the Thousand Oaks Civic arts Plaza http://www.toaks.org/cap/tickets/events/event.asp?eventID=1695

PERFECT QUIET PLACE

Ventura County has a thriving arts community. There are full theatrical seasons being offered by more than a dozen performance spaces spread out over ten major cities. However, original full length works are a rarity in the area. The world premier of Perfect Quite Place, presented by the Elite Theatre Company in Oxnard, is a rare opportunity for local theatre patrons to attend the initial performances of a previously unproduced work close to home.

Perfect Quiet Place tells the story of a young girl who is trapped in a world where her perceived reality is becoming increasingly suspect. The action opens on Hannah (Andrea Muller) with two of her schoolmates (Annie Sherman and Hayley Silvers) at a private high school in California. Her musical studies are forced to take a back seat to the disruptive and sometimes downright odd behavior of her friends and the school’s night watchman (Michael Chandler), whose presence is a source of both concern and mockery for the teenage girls. Hannah brokers a fragile peace between her volatile friends and succeeds in conversing with the night watchman, but in doing so, becomes increasingly aware that what she knows as truth is far from reality. When things begin to disappear from her room, Hannah drifts between uncertainty and unease and is ultimately compelled to confront the ever-changing world in which she lives. She soon finds herself under the care of a doctor who further muddles her life picture, leading Hannah to exclaim "You’re curing me of everything good in my life." No longer able to trust her own mind, she is flung into a life and death battle for survival that culminates in a ferocious physical encounter that she can only escape by overcoming her own fear and rising above the chaos that surrounds her. In the end, she is left reaching out to something unknown, longing for escape or redemption.

The versatile pale green dorm room set fits well the three-sided stage in the pleasant surroundings of the intimate lower level playhouse, and the technical elements are strong for the most part as is the pleasing theatrical ambiance missing in many of the southland’s smaller venues. Author Tom Eubanks offers a script that seems to delight in keeping audiences off kilter with varying degrees of success. The direction, though pedestrian at times, succeeds best in the final moments of the show and is unafraid of the ambiguous ending that is strangely fitting given the unorthodox structure of the play. Each member of the four person cast delivers moments of effectiveness in their difficult dual roles, although it is the youthful Muller who accomplishes the most laudable feat in her role as the distressed heroine of the story. Onstage from beginning to end, she successfully brings a childlike exuberance and fresh-faced hopefulness to the character of Hannah, despite the trials that she must endure. The Elite Theatre Company’s production of Perfect Quiet Place is a praiseworthy venture in the ring of presenting original works, and sounds loudly the bell for other small theatres to do the same.

Perfect Quiet Place runs until May 27th at the Elite Theatre Company in Oxnard. http://www.elitetheatre.org/

THE FIX

The beautiful space of the international City Theatre is as accommodating as it is enjoyable, and the group has made a reputation of doing quality works in the downtown area of Long Beach. The new Rock Musical The Fix is now on stage and stands as another example of ICT’s commitment to presenting entertaining and well-produced theatrical works.

The Fix is a quippy, silly and irreverent look at the status of politics in America. It focuses on the life of unintentional politician Cal Chandler (Adam Simmons). More interested in playing three chorded songs with his band than in politics, Chandler is thrust into the race for office when his father (William T. Lewis) suddenly dies under scandalous circumstances. The rock band front boy is puppeted by his conniving mother (Alix Korey), and heavy-handed uncle, and political genius Grahame Chandler (Sal Mistretta). Together, they form a familial political machine that lifts Cal up before slamming him violently back to earth and destroying multiple lives in the process. The tone of the show is initially comedic before turning dark and twisted after intermission, and that duality is embraced by both cast and crew. In the end, it is a morality tale of the pitfalls and contradictions that exist in both politics and humanity.  The production is staged on an effective tri-colored set that has the advantage of being both practical and visually appealing. Filled with frivolity and commentary, both in song and dialogue, The Fix is a prime example of the modern Rock Musical genre.

It is a script that succeeds best with its comedic one-liners that draw considerable laughter despite the somewhat self indulgent nature of the writing. Randy Brenner’s sure handed direction makes fine use of a talented support staff and a strong cast. The staging is effective and the cast more than able in the majority of their roles. Simmons brings out the comedy as Cal and plays well the difficult role. Mistretta is impressive in the show’s most challenging part, and Lewis and Korey bring considerable talents to bear. The cohesive supporting cast performs well across the board. Standouts David Michael Laffey and Melanie Fernandez provide performances in various roles that are both engaging and compelling in voice, character, and commitment.

There is considerable humor in this Cameron Mackintosh-crafted musical and some depth as well. Weaknesses in the story and minor gaffes with props and sound detract from the overall effectiveness, but the strength of production and presentation remains high. ICT’s tackling of this project is commendable due to its limited audience appeal, but their devotion to putting each production in its best light through interconnected performance elements and talented artists is what is most notable. International City Theatre’s The Fix succeeds principally due to its execution by reaching across the aisle to marry ambiance and talent for an enjoyable night at the theatre.

The Fix runs through May 20th at International City Theater in Long Beach. http://ictlongbeach.org/

CYRANO

To say that Deaf West Theatre has a solid reputation would be a drastic understatement. For years their efforts in presenting works that appeal to both the hearing and the hearing impaired have garnered rave reviews and delighted audiences. Their adaptation of
Cyrano now on stage at and jointly produced by the enduring and endearing Fountain Theatre, is a concept that is tailor made for the group and it fits like a glove.

The story of Cyrano de Bergerac was written in play form by Edmond Rostand in 1897 and has been adapted and reworked for the stage, screen, and even radio, becoming very much a part of our society. References to the man who needs someone else’s words to woo his love are so commonplace that they have become standard devices in storytelling. Such devices have never been so touching and honest as they are when applied to the very real life situation of the deaf. Originally crafted to tell the tale of a man whose looks are a stumbling block in love, playwright Stephen Sachs brilliantly applies the same principle to a man who cannot hear.

This production’s modern Cyrano (Troy Kotsur) lives in Los Angeles and, although unable to hear, thrives as a counter-culture poet who makes it his mission to berate the poetical offerings of both his hearing and deaf contemporaries. Somewhat of a celebrity in the underground poetry world, Cyrano openly rebukes both lesser poets and modern technology, preferring instead to revel in his own self-absorbed and egotistical world. His only companions on his lonely plane of existence are his burned out rocker of a brother, Chris (Paul Raci), and the woman that they both love, Roxy (Erinn Anova). The three form a love triangle that leaves each one of them out in the romantic cold until the final moments of the show. Cyrano becomes Chris’ voice by composing texts and emails to Roxy for his brother while all the time loving her deeply himself. Chris flounders as he tries to keep up the ruse, but ultimately wins Roxy through his brother’s words. The hearing Chris, who has translated for his deaf brother all of their lives puts sound to Cyrano’s soul, and in doing so, loses his own. The hearing Roxy finds her love for Chris growing with each written word but fails to see the love that Cyrano also feels for her. Ultimately, it is Chris’ inability to find himself that nearly tears Cyrano and Roxy apart before binding them together forever. It is a heart-wrenching adaptation in which the key concept is infinitely more meaningful and true than the original tale, and the lead performances bring it out to perfection.

In the trio of Kotsur, Raci, and Anova, sharp-eyed director Simon Levy and playwright Sachs have found a connected and talented core group of actors. The emotion and comedy they convey reaches the audience and touches them for its candor and frankness. Kotsur is as powerful as he is vulnerable and Anova is as absorbing as she is open. As the most pleasant surprise in the cast, in a role that could easily be rendered ineffective by a lesser actor, Raci soars with humor and feeling. His ability to sign, communicate, and entertain bridges the gaps in a mountainous range of emotional highs and lows demanded by the challenging character. Bob Hiltermann is a standout as well in the brief but crucial role of Bill, Cyrano’s grounded confidant.

The second act of Cyrano is as strong as any version written and the high concept show makes tremendous use of the remarkable technical talents that Deaf West and the Fountain Theatre have at their disposal. The set, lights, and video design are so enthralling that they could almost be a show all on their own. The writing in the first act is, at times, bogged down and lacks genuineness, as do some of the performances in supporting roles. Likewise, the stylized fights are distractingly bad and ill fit the space. Still, Sachs’ conceptual genius and that of Levy and his remarkable design team, combined with the raw emotion delivered by the lead actors and many of the ensemble, make this show a must see. Cyrano is a treat for both the eyes and ears. Hearing or deaf, the impact of this story has never been never been louder or more touching.

This FOUNTIAN THEATER/DEAF WEST production of Cyrano runs until June 10that the Fountain Theatre in Los Angeles. (323) 663-1525 www.fountaintheatre.com/boxoffice

Cyrano Post Show

Don't miss Deaf West's "Cyrano" at the Fountain Theatre. It is a treat for the eyes and ears!

The Fix Pre Show

A pleasure to be back in Long Beach at the beautiful ICT.  Friendly staff as always and a great theatre atmosphere for what I hope will be a great show.

The Elephant Man

There is a fascinating and uniquely executed production of Bernard Pomerance’s The Elephant Man on stage at the Pico Playhouse. It is a show that has been often performed and a story that has become a fixture in the annals of American literature and entertainment. This most recent production, articulated by The Mechanicals Theatre group, is as stirring as it is strange and as mesmerizing as it is memorable.

The story, based on the life of the disfigured 1880’s Londoner John Merrick (John Newman), tells the tale of a man whose appearance was so dominated by a horrible skin and bone disorder that he became commonly known as the Elephant Man. Living in the same London of Jack the Ripper and Charles Dickens, Merrick ekes out an existence as a side show freak and lives in squalor until he is seen by proper Victorian gentleman and doctor Fredrick Treves (Michael Matthys). Treves takes mercy as well as a scientific interest in Merrick and gives him sanctuary inside the prestigious London Hospital where, together, they pursue some modicum of normalcy for the horribly afflicted man. Through the efforts of Treves and the generosity of hospital donors, Merrick finds a home at the London and begins to heal. As part of his treatment, Treves hires the well-known actress Ms. Kendal (Cynthia Beckert) to aid Merrick and lift his sprits. Lift his spirits she does, but the convention of the Victorian ideal combined with the pressures of Merrick’s unusual burden soon put doctor and patient at odds and force Miss Kendal away. As Treves endeavors to repair Merrick’s body, he discovers that he, too, is in need of healing, but of a very different kind. Together, the pair reaches a greater understanding of each other and themselves all while commenting on the contradictions of the society in which they dwell -or so it has been played a thousand times.

Playwright Bernard Pomerance provides a script open to unconventional story telling. He constructs a composition that is based around inference rather than special effects, suggesting among other devices that projected titles be used to guide the narrative. The Mechanicals Theatre Group has taken his structure and skillfully aerated it by injecting an imaginative and bold theatrical reality. They use it to its full potential.

Clothed in Steampunk inspired costumes with a vagabond touch, the audience feels at the onset as if a savant-like group of time traveling hobos has stumbled onto this text while rummaging through discarded treasures of years gone by. The production that emerges from their discovery contains elements of reader’s theatre, existentialism, and deep character study, but is somehow still seems completely cohesive and unified. The performers are strong; Beckert plays Kendal with all the persuasion and delicacy befitting the role. Richard Gilbert-Hill is compelling in the dual roles of Ross and Gomm, and Newman‘s Merrick is both odd and gripping with a great depth of feeling despite some lack of assuredness in the dream sequence. As Treves, Matthys nimbly coveys an understated honesty in the role that fits the style of the show to perfection while still maintaining every ounce of character and emotion that the part must exhibit. With eye-catching costumes and an absorbing set by Wan Chih Haley Ho, there is plenty of support for the players. The greatest success of this production, however, comes from the outstanding direction of Neil Patrick Stewart and the fearless, artistic, and visionary concept that he and his tremendous ensemble cast have built. Considerable liberties have been taken in cross gender casting, and at times the Englishness and authentic Victorian feel noticeably missing, but this cast’s unwavering commitment to Stewart’s goal and the fused vision of this highly stylized production make it effective across the board. The Elephant Man at the Pico Playhouse leaves a full sized creative foot print for future productions to try and follow.

The Elephant Man Plays at the Pico Playhouse until May 13th http://www.picoplayhouse.com/