David Mamet stages a Race to obfuscation
David Mamet never fails to fog me up.
He's never been one of my favorite playwrights because, although he's a wizard of compelling dialogue and unquestionable intelligence, his view of the world is just too bleak for me. Finding kindness and compassion and spirituality in his work is never as easy as finding brutality, ugliness and the absolute worst in mankind. I'm not saying he's wrong in his assessment, it's just that he makes me feel like Pollyanna in comparison. I don't need a steady stream of sunshine, flowers and unicorns.
Mamet's Race is making its West Coast debut in a compelling production from American Conservatory Theater. Director Irene Lewis isn't messing around.
Hair today...
In which I discuss my Broadway debut in Hair and link to my San Francisco Chronicle review of the touring production.Let the sun shine. Let the sun shine. The sunshine in.
Kym Barrett designs a Cirque evolution
You don't go to a Cirque du Soleil show just to see the costumes. Audiences are usually slathering for the death-defying acrobatics and goofy clowns. But what separates a Cirque show from the rest of the circus fray is the spectacle, and that certainly has a lot to do with the costumes.
The latest touring Cirque opus is Totem, another artsy epic under a blue-and-yellow striped tent behind AT&T Park. The theme for this show is evolution, and the costumes are by a charming Australian designer named Kym Barrett. She's best known for her work in movies – perhaps you've seen one of the Matrix movies or Speed Racer? If you haven't caught one of those, you can check out her work in the upcoming reboot of the Spider-man franchise and the film adaptation of the hit novel Cloud Atlas.
Todd Murray’s voice: delicious as warm bread
Not many people can claim success in the fields of musical theater, bread baking and crooning. Todd Murray can.
Growing up in a small Pennsylvania farming community, Murray had two loves. One was music. The other was food. In the pre-Internet, pre-cable TV days, Murray figured it would be impossible to break into the entertainment industry and maybe not as difficult to break into the food biz. Up until his senior year of high school, he had his sites set on chef school.
But then in college, he started gravitating toward performing and started getting jobs in Opryland USA, Tokyo Disneyland and summer stock in his home state.
Project bridges Spacey and SF
The Bridge Project, that transatlantic experiment in blending American and English actors and designers is slowly wending its way to a close after three seasons. The final lap of the project, a collaboration between the Brooklyn Academy of Music (BAM), The Old Vic in London and director Sam Mendes' production company, is Shakespeare's Richard III starring The Old Vic's artistic director, a dude named Kevin Spacey.
Neither Spacey nor Mendes made himself available to the press to promote the San Francisco stop on the R3 world tour, so I wrote a feature for the San Francisco Chronicle about the Bridge Project itself.
Singing the blues in TheatreWorks' bumpy Clementine
In this week's edition of the Palo Alto Weekly I reviewed the world premiere of Clementine in the Lower 9 at TheatreWorks.You can read the review here.
Grace, God and family in Berkeley Rep's brilliant Bible
Sometimes you experience a work of art – for me that art is usually theater – and it connects you with something bigger and more powerful than your individual experience. You connect with the other audience members, the actors, the designers and, especially, the writer. When that connection is made, the communal heart of theater is so alive, so vast and so inexplicably moving that transcendence does, however temporary, seem a viable option.
Bill Cain’s How to Write a New Book for the Bible is one of those experiences. This world-premiere production at Berkeley Repertory Theatre (a co-production with Seattle Repertory Theatre is the most moving and insightful new play since Margaret Edson’s Wit.
This is an extraordinary play, and it will affect everyone differently.
Shadows fall on suburbia in Yockey’s beguiling Bellwether
Audacious, entertaining and chilling, Steve Yockey’s world-premiere Bellwether at Marin Theatre Company goes where few plays dare to tread.
What starts out as a satiric look at suburban living – Bellwether is a nice neighborhood, we’re told over and over again, a gated community commuter distance from an unnamed big city – quickly becomes a potent family drama. A husband and wife (Gabriel Marin and Arwen Anderson) have hit some rocky ground as they and their about-to-turn-7 daughter try adjusting to suburban living.
The show becomes a crime thriller when little Amy disappears from her bed while her mom was downstairs with a neighbor and a bottle of wine. And then it turns into something Stephen King might dream up in a novel or short story. Yockey delves into the underworld of suburbia, a dark, dangerous place that balances the shiny, happy existence up top. That Yockey – MTC’s playwright in residence for the 2009-10 season – anchors the fantastical aspects of the story with his exploration of family life in the suburbs does him credit. He and director Ryan Rilette manage something very tricky here with a tone that shifts from satirical comedy to high drama to horror.
Lust, lies and addiction fuel Shotgun’s Phaedra
The sensational zing of the Phaedra myth has always come from the incestuous relationship at the story's heart: Phaedra is secretly in love with her stepson, Hippolytus. When that love becomes less of a secret, tragedy ensues.
Everyone loves a titillating love story, especially when there's a taboo to be wrestled to the ground. Euripides apparently wrote two plays involving Phaedra, but only one, Hippolytus, survives. Then, in the late 17th century, Racine wrote a version of Phaedra that has aroused audience interest for more than 300 years. Eugene O'Neill had fun with the Phaedra story in his pulpy Desire Under the Elms, and now Adam Bock, one of North America's most intriguing playwrights, puts his own stamp on the tale.
Bock reunites with Berkeley's Shotgun Players for the world premiere of his Phaedra, and though Bock has a long history with Shotgun (his Swimming in the Shallows will always be a Shotgun highlight for me), this new drama finds him working in mature playwright mode, with echoes of Pinter and Albee bouncing through the silences and percolating under the familial tension.
Bill Cain opens a new book for Bible
Bill Cain's last two Bay Area outings, Equivocation and 9 Circles, both at Marin Theatre Company, were absolutely fantastic. So there's reason to be excited about the world premiere of his latest play, How to Write a New Book for the Bible at Berkeley Repertory Theatre. With great compassion, intelligence and humor, Cain writes about his parents and his older brother in a play that flips back and forth in time as Cain cares for his dying mother.
I talked to Cain about the play for an article in the San Francisco Chronicle. Read the story here.
As usual, there wasn't enough space in the story to include all of Cain's interview, so I'd like to include a few more morsels here.
Enter Stage Left: SF theater history on film
Docuemntary film director/producer Austin Forbord (below right) has created a fascinating documentary about the history of San Francisco theater from the post-World War II days up to the present. The movie has its premeire at the Mill Valley Film Festival this week and will likely see wider release soon after.
I interviewed Forbord for a story in the San Francisco Chronicle. You can read the story here.
Laughs of a Lifetime in ACT’s season opener
American Conservatory Theater opens the season with a play that only American Conservatory Theater could do. And I mean really do – the way it should be done.
The play is George S. Kaufman and Moss Hart’s Once in a Lifetime, a 1930 comedy that seems oh so very jaded about the new Gold Rush represented by the advent of talking pictures. What’s funny is that all the trashing of Hollywood types – dimwitted performers, egomaniacal studio heads, apoplectic directors, long-suffering writers – is so disdainful. But at the time of the play’s premiere on Broadway, The Jazz Singer, the first big hit movie with sound, was only three years old!
What’s more, all those stereotypes feel strangely current, as if absolutely nothing in the Hollywood world had changed, but instead of the frenzy over sound, we have frenzy over CGI and gazillion-dollar budgets and opening weekend grosses. Turns out has been a laughingstock, especially to legit stagefolk, for more than 80 years.
Once in a Lifetime is full of old-fashioned pleasures, and by old-fashioned I don’t mean quaint or sentimental.
Puppeteer wakes up the weird to stop bullying
The horrific stories about kids and bullying just keep on coming. Even in the face of something extraordinary like the "It Gets Better" campaign, bullying persists. It may take generations to quell the cruelty, so let's get started.
Walnut Creek native Leslie Carrara-Rudolph is doing something about bullying in the best way she knows how. If you saw the wonderful Muppet puppet improv show Stuffed and Unstrung at the Curran Theatre last month, you saw what a genius puppeteer Carrara-Rudolph is. Well now she's returning to her hometown with a children's show that directly address bullying and self-esteem – but in a fun, family-friendly way for ages 6 and up.
The show is Wake Up Your Weird, and it stars a sock puppet named Lolly Lardpop.
Cal Shakes’ Shrew anything but tame
If you think you've seen The Taming of the Shrew, you might want to think again. Director Shana Cooper's production – the season-closer for the California Shakespeare Theater – is fresh, feisty and full of insight. Many a Shrew can make you cringe, but very few, like this one, can actually make you lose yourself in the comedy, the provocation and the genuine emotion underneath it all.
Cooper brings a sense of contemporary flash and fun to the production, from the bright yellow accents in Scott Dougan's double-decker set (backed by a colorful billboard-like ad for a product called "Tame") to the zippy song mash-ups in the sound design by Jake Rodriguez. The music is especially fun. You can hear strains of Madonna's "Material Girl" followed by a flash of the "Wonder Woman" theme song one minute and revel in almost an entire number ("Tom, Dick or Harry") from Kiss Me Kate, the next.
Marga Gomez: So old, so funny
Though hardly a senior citizen, Marga Gomez needs to talk about her age. That doesn't mean she'll tell you her age, but it does mean she'll regale you with her thoughts on the aging process for 80 minutes in her new solo theatrical venture, Not Getting Any Younger at The Marsh in San Francisco.
Probably best known as a stand-up comic, Gomez says she's considered a pioneer for being one of the first out lesbian comics. But she hates being called a pioneer because it makes her sound old – like she traveled to gigs in a covered wagon. But Gomez is a theatrical force as well. This is her ninth solo show, and if you've seen any of her previous theater work (especially the shows about her show-biz parents), you know how artfully she blends the high entertainment value of stand-up comedy with the more deeply felt levels of autobiographical storytelling.
Magic sends tingles through Chafee’s Body
"Once you start to ask," Eleanor says, "there are more questions than answers." Not a surprising statement in a play whose title, Why We Have a Body promises an answer to an implied question. And as Eleanor warns us, once those questions start forming, the answers, they keep multiplying.
Claire Chafee's wonderfully enigmatic play is back at the Magic Theatre to open its 45th anniversary season with a look backward before heading into a season of newer plays. Body is being called a "legacy revival" because it was a huge hit for the Magic in 1993, running for six months and winning a passel of awards. What a welcome return it is.
In the nearly two decades since the play's premiere, it has lost nothing in its sense of humor, sense of mystery and sense of, well, sensuality.
Chafee's is an intellectual world – people living in their heads, in their pasts (the phrase "when I was a child" crops up a lot), in a perpetual state of perplexity – but that world is sliced through by a sharp comedy derived from family fractures and psychological scars.
A mighty Spring awakens at San Jose Rep
The original production of Spring Awakening, the musical based on the 1891 play by Frank Wedekind, was so vivid, so powerful and so widely seen throughout the Bay Area, it's rather astonishing that San Jose Repertory Theatre has the cheek to produce the show's first regional production. Ah, but what cheek. Director Rick Lombardo, also San Jose Rep's artistic director, choreographer Sonya Tayeh (a guest judge and choreographer on So You Think You Can Dance) and musical director Dolores Duran-Cefalu have done such original work that they make the show their own.
Aurora tips Albee's Balance delicately
Edward Albee's A Delicate Balance only looks like a suburban comedy. It's really an existential nightmare slightly more gussied up than your average slasher movie. Oh, blood flows in this eviscerating drama, but it's of a more metaphorical variety than you'll find in the Saw franchise. Between the ravages of time and the mighty pen of Albee, the family on stage has absolutely no chance at all.
And their demise is so very delicious. (Also delicious: Albee himself was in the audience for Thursday's opening-night performance.)
A Delicate Balance opens Aurora's 20th season, and as directed by Artistic Director Tom Ross, it's a perfect example of why the Aurora is such a glorious part of the Bay Area theater scene. An intimate theater and a thrust stage so deep it's practically in the round make the Aurora a crucible in which outstanding writing and superb performances combine and, with luck and a good director, ignite. To watch an actor lose herself or himself in an exquisitely crafted part is one of the greatest pleasures in the theater, and there's no better vantage point for this than the Aurora.
Lovely as ever, Rita Moreno tells her tale
She’s charming and gorgeous. Vivacious and soulful. In short, Rita Moreno is the perfect candidate for an autobiographical show.
Rita Moreno: Life Without Makeup is not yet the perfect show for this legendary performer, but it provides a snazzy opening to the Berkeley Repertory Theatre season.
Written by Berkeley Rep Artistic Director Tony Taccone and directed by David Galligan,, the show is at its best when Moreno is taking us through the ups and mostly downs of her storied career. Act 1 is a chronological narrative, beginning with a 5-year-old Rosa Dolores Alverío boarding a ship in 1936 to take them from Puerto Rico to a new life in New York.
From her first meeting with Louis B. Mayer at age 16, Moreno was catapulted from life in the barrio to the world of hardscrabble glamour as a Hollywood starlet who, it’s interesting to note, could have chose the screen name Mitzi Margarita.
What’s so interesting about Moreno’s story is that throughout her career, she was fighting stereotype.
Lea Salonga: Broadway star, Disney princess, cabaret chanteuse
It’s the day after the Richmond-Ermet AIDS Foundation, and Lea Salonga, visiting family in the Bay Area, is still glowing because, at the curtain call, she got to hold hands with Shirley Jones.
“Some of the 20somethings there had no idea who Shirley Jones was,” Salonga says. “My jaw dropped on the floor. Come on, people! Watch a rerun of The Partridge Family at the very least. See Oklahoma! or Carousel! She has done Broadway and film and television and she still looks and sounds amazing. If you don’t know Shirley Jones, woe be to you. Those of us from New York all know who she is.”
Salonga is no slouch herself. A Tony winner for Miss Saigon, she is married, has a 5-year-old daughter and makes her home in Manila, in her native Philippines. She’ll make her San Francisco cabaret debut later this month as the season opener for Bay Area Cabaret, now in its second season in the Fairmont Hotel’s venerable Venetian Room. Her original date on Sept. 16 sold out quickly, so a second show, at 5pm on Sept. 17 has been added.