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Your Connection To The Arts In San Diego
There’s been a tragedy in the Park. And a comedy, too. The Old Globe is in the midst of its annual Shakespeare Festival in Balboa Park – and if you haven’t partaken of it yet, shame and forsooth! Get thee to a funnery. That would be “The Merry Wives of Windsor,” one of the Bard’s sillier works, which is being re-set in the American Old West. It’s not as far-fetched as it sounds, and under the skillful direction of Paul Mullins, the time-and-place transfer works surprisingly well.
This is the only play Shakespeare wrote about middle class life. No kings, dukes and earls here. And though Fat Jack Falstaff was a knight in the Henry plays, here he’s a down-and-out, low-down buckaroo, dressed in suede fringe and chaps. He thinks he’ll snag some extra cash by seducing two wealthy, happily married women, the Merry Wives of the title. When smart, savvy Mistress Ford and Mistress Page get wind of his scheme, they plot to dupe, embarrass and humiliate him, which they do in spades. There’s a comeuppance for a jealous husband as well. All this plus can-can dances, swinging-door saloons and six-shooters, too.
The performances are a hoot, a whole heap of character roles excellently executed. If the target is fun, the production unequivocally scores a bull’s-eye.
On the darker side of the Shakespearean ledger is that most beloved and tragic of love stories, “Romeo and Juliet.” This is a traditional staging, set in 15th century Verona, Italy. It’s an attractive production, if not a definitive one. The actors portraying those teenage, star-cross’d lovers grow in credibility and dramatic acumen as their situation becomes more dire. But all the adults bear some responsibility for the double-suicide that terminates the play and the family feuds. They should have known better, but they battled and bumbled and failed to protect the young.
Some of the stage pictures and death scenes in this production are remarkable. One of the most notable performances is by Owiso Odera, a UCSD Master of Fine Arts alumnus who makes for a comical, overblown Mercutio, best bud of Romeo, joking till his bitter end.
I’ve already told you about the third summer Shakespeare offering – “All’s Well That Ends Well,” which falls mid-way between comedy and tragedy, and is therefore classified as a ‘problem’ play. But there’s no problem at all with Darko Tresnjak’s splendid and stunning production.
One of the delights of the Globe’s outdoor Festival is its talented, versatile repertory company. You get to see the same actors in vastly different roles, observe the sheer versatility, and marvel at the difficulty of doing a different play every night.
Folks come from all over the country to attend our Shakespeare Festival. Shouldn’t you be there, too?
"The Merry Wives of Windsor" and “Romeo and Juliet” play in repertory with “All’s Well That Ends Well” outdoors on the Old Globe’s Festival Stage, through September 28th.
© 2008 Pat Launer
Okay, we all know that anyone who wasn’t born between 1946 and 1964 is sick to death of hearing about Baby Boomers. But you’ve gotta admit: we’re a giant-sized group, the largest ever in U.S. history, and the era we lived through was pretty significant, including Civil Rights and the Sexual Revolution, the Vietnam war and political assassinations. And you might have noticed that ‘60s styles are back and the music is still valued and emulated. And those ‘60s bands of 60 year-old seniors are still touring worldwide and raking in huge crowds and big bucks. So, give it a rest, young whippersnappers. There’s a lot you could learn from our generation, about activism and proactivism. Yeah, we know it didn’t all work out so great in the long run. But in the homegrown musical revue, “Boomers,” Lamb’s Players Theatre lets it all hang out, the good times and bad, from bra-burning to menopause; Free Love to Viagra; anti-establishment and anti-war to middle classed, middle aged mediocrity. Including selling out, multiple divorces and the never-ending quest for the Fountain of Youth. They’ve got it covered. The story of a generation is told in song. Songs that are iconic and unforgettable. In fact, so memorable that, before the show begins, there’s a “Name That Tune” contest, and the band need only play 3 or 4 notes before folks are jumping up, waving their hands, and singing along, trying to be first to snag a “Boomers” hat or T-shirt to take home.
This is an updated version of the musical revue, which originated in 1993, and has been one of Lambs’ most popular perennials. Now it’s on the boards for the long haul they hope, in the new Lamb’s venue, the Horton Grand Theatre in the Gaslamp Quarter. The show has already been extended twice, and is likely to go on well into the Fall and perhaps beyond. There are lots of Boomers out there, of course. But the production is fun for anyone of any age. You just can’t sit still when there’s an evening that includes “Purple Haze,” “Satisfaction,” and “Stairway to Heaven.”
Writer Kerry Meads has added new dialogue, decreased the individual characterizations and pumped up the universal concerns. As the Boomers age, of course, so does the cast, some of whom were in the original production. They’re not quite as limber as they once were, so the choreography’s been adapted to creaking hips and weaker knees, but the energy and enthusiasm remain sky high, and the singing and the band is outstanding, especially given the terrific arrangements by co-creator Vanda Eggington.
Each of the 7-member cast has a stellar spotlight moment, but the ensemble work is actually the best. So, hate us if you will, but you gotta love our music.
"Boomers" has just been extended again, through September 28, at the Horton Grand Theatre in the Gaslamp Quarter.
© 2008 Pat Launer
Atten-hut! Listen up, you guys! There’s a new musical in town, and this is an order. See it. On the double.
Okay, here’s your briefing…
”Yank!” tells a story that’s been kept in the closet for years -- the untold tale of gays in the military during the second world war. The show takes its title from the most popular publication in U.S. Army history, a morale-boosting weekly magazine that was written by soldiers, for soldiers.
The musical was created by a couple of Jersey Boys, the brothers Zellnik: Joseph composed the score, which is very much in the style of ‘40s pop songs and movie musicals, and David wrote the funny, poignant book and clever lyrics. Consider it an old-fashioned romance with a contemporary spin. The love interest develops between a wimpy Yank magazine photographer and a handsome, macho guy who can’t quite adjust to who and what he really is. I guarantee you’ll get caught up in this heart-rending show that’s Off Broadway-bound after this West coast premiere.
The framing device is a 60 year-old journal kept by that Yank photographer, found in a bookstore remainder bin by a modern-day San Franciscan. Though the diary isn’t real, all the characters and situations are based on memoirs and oral histories of actual service members, both gay and straight. Making it all the more real, the Diversionary Theatre lobby is adorned with photos and memories from gay San Diego veterans of several conflagrations, from World War II to Iraq, Vietnam to Afghanistan. One soldier is sketched by her partner in silhouette, since she’s still active military and can’t risk exposure.
So, it’s an old story, and a current one, and it’s excellently told. The music is lively and evocative. I didn’t go out singing any one song, but I left feeling touched and moved. Also sad and angry that, after all these years, the closet is still pretty tightly closed, and some folks still believe gays in the military undermine the effectiveness of our armed forces.
But meanwhile, back at Diversionary, there’s plenty of laughter and fun to be had. The 12-member ensemble is talented and energetic, though several are stronger dramatically than vocally. At the center, Tom Zohar is irresistible as Stu, the pansy who can barely wield a weapon, but puts himself on the frontlines, just to be near his beloved. His indecisive darling is appealingly played by Tom Doyle. Amy Biedel is a knockout in a bevy of roles, from torch singer to butch officer. Her costumes and wigs look great. The set and musical accompaniment are simple but effective. Director Igor Goldin, who’s been with the show since its inception, keeps the action sharp and comical.
All right, you guys. If you’re not at Diversionary Theatre by 1900 hours, it’s latrine duty for a month. Got it? Get going. Company dismissed.
"Yank!" runs through August 17 at Diversionary Theatre in Hillcrest.
© 2008 Pat Launer
Women who love too much – and the men who leave them. Two plays, obsessive females, serious amounts of disappointment and pain.
“Madagascar” is a puzzle wrapped in an enigma, framed as a mystery. Written by upcoming New York playwright J.T. Rogers, the drama is getting its West coast premiere at North Coast Repertory Theatre, under the precise and assured direction of David Ellenstein. The structure is tricky: a series of occasionally intersecting monologues, delivered directly to the audience.
It’s like a mosaic: bits of brightly colored glass, doled out one sliver at a time. Some of the pieces fit together, but it doesn’t create a complete picture. We’re up to the challenge, but we have to keep our attention sharply focused. The onlookers’ memory has to be as acute as the characters’. Perhaps Rogers, whose writing can be lyrical and intriguing, is just doling out a dose of steely cold reality. If you love someone to bits, and they suddenly disappear on you, you might torture yourself replaying every utterance and encounter, but you may never fully understand. It’s unnerving, but it’s life.
Skillfully navigating this sea of ambiguity are three outstanding performers. Rosina Reynolds is a rich, ramrod-straight gorgon, dripping in pearls, entitlement and condescension. She loves her son as intensely as his sister June does. Christy Yael is heartbreaking as brokenhearted June, retracing his every step, but unable to fathom what happened or why. Frank Corrado is the mother’s lover, caught in a dysfunctional crossfire he barely comprehends. There’s no light at the end of this labyrinthine tunnel. I guarantee you’ll be up half the night trying to figure it all out.
Shakespeare, as always, has it all figured out. He understood more of human nature and foibles than all the playwrights since him put together. For reasons that aren’t totally clear, the tragicomedy “All’s Well that Ends Well” is one of his least-performed plays – just the kind Old Globe artistic director Darko Tresnjak loves to dust off and dig into. In his gorgeous production, he gives his excellent cast delectable bits of stage business that keep us entertained and enthralled.
This is the story of accomplished and single-minded Helena, who’ll do anything to make the cad Bertram her husband. She goes before the King, puts her life on the line, even stands in for another woman in bed. In return, he berates her, abandons her on their wedding night, and lies about his extracurricular exploits. Ultimately, he makes a neck-snapping turnaround that Tresnjak somehow charms us into accepting. Perhaps this arrogant young count just needed to grow up. We hope for the best, but we fear for Helena in the long run.
So, not all’s exactly well at the end of these two provocative plays. But with great productions like these, we’ll take the lumps along with the poetic language and compulsive love.
"Madagascar" runs through August 3, at North Coast Repertory Theatre in Solana Beach.
“All’s Well that Ends Well” continues on the Old Globe’s Festival Stage, playing in repertory with “Romeo and Juliet” and “The Merry Wives of Windsor.”
© 2008 Pat Launer
For an archive of all of Pat's reviews, going back to 1990, use the 'search' function at www.PatteProductions.com.
