THEATRE

Reviews:

Rumors
Liberace
2nd Thoughts
King Lear
Days of Whine & Roses
Little Women
Bang!

Interview Catch & Release’s Rachel Brenna

Reviews

Rumors
by Carol Kaufman Segal

Theatre 40 in Beverly Hills opened their 2006-’07 season with a rollicking production of Neil Simon’s Rumors. Simon is one of America’s greatest comedy playwrights, and this play is one of his most hilarious.

The story takes place in the fashionable New York home of Charley and Myra Brock. The Brocks have invited their friends, four couples, to a dinner party celebrating their 10th anniversary. When the first couple, Ken (Jeffrey Winner) and Chris Gorman (Tina Gloss-Finnell) arrives, they discover that Charley has been shot (a superficial wound to his ear), Myra is missing, the maid and butler are not there, and all of the uncooked food for the dinner party is sitting out on the kitchen counter. Charley is Deputy-Mayor of New York and Ken, being his lawyer wants to keep him from any bad publicity. So he and Chris decide on what deceit they can use to tell the other guests.

As each couple arrives, one by one, the story begins to get more complex and more involved. Before long, rumors are flying and the entire affair gets completely out-of-hand, causing each to act out of character, arguing with one other and seemingly going berserk. Did Charley try to commit suicide? Has Myra been having an affair? Did she try to shoot Charley? And why are the maid and butler missing?

These are all questions to be answered when you see this uproarious production. The Brocks other friends include Lenny and Claire Ganz (Lary Ohlson and Cheryl David), Ernie and Cookie Cusak (Gary Ballard and Livia Trevino) and Glenn and Cassie Cooper (Richard Epcar and Ellyn Stern). Arriving on the scene to help solve the possible crime are Officer Welch (Zenius Muleckis) and Officer Pudney (Meredith M. Sweeney who also plays Myra).

RECOMMENDED Under the direction of Howard Teichman, Rumors plays thru Sept. 3, see ad for info at right.

Liberace…back from Heaven
by Robin Streichler

Liberace is resurrected back to life in the form of impressionist and musician Wayland Pickard. Mr. Pickard brings his one-man act “Liberace…back from Heaven” to the Whitefire Theatre in Sherman Oaks. This production is filled with a variety of musical numbers and Liberace’s often corny sense of humor.

Liberace arrives from heaven with wings in tow and accompanied by a guardian angel. He is adorned in his usual bling – clothing and jewelry. The resemblance to the real Liberace is uncanny and is due to the use of prosthetic makeup designed by Academy-Award winning makeup artist Kevin Haney.

After his wings are relinquished he greets the audience and sits down at the piano strewn with the trademark candelabras aglow. The show begins with the playing of classical pieces including Beethoven and Rachmaninoff. Also includ-ed in the show are Broadway pieces from Andrew Lloyd Webber including “Memory” from Cats, and “Music of the Night” from Phantom of the Opera. Liberace performs “Boogie Woogie” and asks the audience to participate by yelling out “Hey!” at the appropriate time. Also, memorable is a section of the show where clips are shown on a screen above the performer while he plays music from motion pictures Gone With The Wind and An Affair to Remember.

At intervals in the show, Liberace has 2 local singers come up to perform. April Amante (who also portrays the Angel) is in her junior year as a vocal performance major at California State Univer-sity Northridge (a fellow Matador). She has a beautiful voice and performed a medley, which included “Somewhere Over the Rainbow” while clips were shown as a tribute to entertainers who passed away. Also accompanying Liberace in his show was Marilyn Rising who also performed wonderfully.

Mr. Pickard is an amazing musician whose diverse talent will find you wanting to hear more. Interspersed with the music are jokes, some of which are dated, and fun facts about Liberace. If you enjoyed Liberace or want to see what Liberace was like, both physically and musically then you will have a wonderful time at this campy “mockumentary” from Angry Amish Productions with Bryan Rasmussen.

RECOMMENDED Thru Aug 13 – Sat-Sun 4 & 7pm; Whitefire Theatre 13500 Ventura Bl., Sherman Oaks; rsvp 866-811-4111 theatermania.com. 818-990-2324

Second Thoughts The Musical Review
by Jeff Siegel

Second Thoughts, The Musical Revue, playing at the Lonny Chapman Group Repertory Theatre in NoHo, written and directed by Broadway veteran Tony Tanner, is about life and love from a mature perspective, starring Angela DeCicco, Lloyd Pedersen, Bobbi Stamm, and Tony Tanner, accompanied by musical director David Kole on the piano and violinist Vera Budinoff.

Best summed up by Dave DePino of Backstage West, “It is songs and skits that chart the fun involved in being 21 no more…’”. I concur! I’ll sum it up in one word, “WOW!” The singing is flawless. Mr. Tanner’s British wit and jokes are funny and off-color, the music is truly toe-tapping and dripping with melodies, and the acting is excellent and heartfelt! The small theatre, the closeness of the audience to the stage provide a special intimacy that adds greatly to the performance. Their beautiful voices, acting skills and comedic timing can be enjoyed to their fullest, and the un-amplified music resonates.

Dating, parenthood, aging, loneliness, children moving out, children not moving out, and other life topics are funny and touching, the witty lyrics bringing smiles galore and a couple of tears here and there. The piano and violin combination is unusual and the arrangements took full advantage of the beautiful and complex sounds of each instrument.

The 90 minute performance with no intermission features 25 skits/songs, back-to-back-to-back. Two 15-year old boys came with me (at their own free will) and they enjoyed it greatly, laughing at all the jokes. This special show spans the age groups. Prepare to clap often and clap hard, and bring your sense of humor!

RECOMMENDED. Thru Sept 10, Sat 2pm, Sun 7pm; $20; the Lonny Chapman Group Repertory Theatre 10900 Burbank Bl. NoHo, RSVP 818-700-GURU (4878).

King Lear
by Jay Matsueda

Tier 4 Company breaks out with its inaugural performance, a truly incredible King Lear, that captures every bit of intensity, humor and wit of this Shakespearian masterpiece, at Electric Lodge in Venice. Director Patsy Rodenburg, Co-director Lisa Robertson, nay, every single player of the stellar cast is well-deserving of individual acknowledgement.

The setting is unique. Audience members sit on both sides of the stage with action in the lane between, creating a special closeness. The simple costuming by clever Danielle Morrow interestingly evidences that, when performed so well, the play does not require anything more elaborate in order to get the characters straight. This is pure theatre… nothing to distract from the focus on the language so expertly delivered, for instance, by Robert Mandan.

Mandan, who garnishes over 150 TV & film credits and numerous awards, plays an amazing Lear, the likes I have never seen. Every natural thing about him, his stature, his facial features, especially his eyes, his posture, his voice, seemed so well-suited to this role - an over-the-top performance. Mandan IS Lear. Match that with unimaginable performances like that of Diane Venora, and you have this winner. Venora played the fool with such cleverness and spirit that the audience could not help but laugh and stir. And then there were the daughters, played by Tyne Rafaeli, Jayne Brook and Mili Avital. Again - Wow! Rafaeli’s crystal eyes revealed her biting expressions from clear across the room. Brook’s smirky gazes were perfect responses of disbelief. Avital was convincing in her frankness and genuineness as the true daughter, Cordelia.

Timothy V. Murphy played the role of Kent with fervor. Lawrence Pressman’s Gloucester was unreal. The villainous brother Edmund was skillfully portrayed by Patrick Muldoon, who was exceptionally good. Omar Metwally enacted the crazed rants of Edgar so well it was scary. And Christian Contreras’ irreverent smiling face was great comic relief with each entrance. And this play could not have been enjoyed to the ridiculous extent that it was without the attention to timing and detail of lighting designer Jeremy Pivnick and sound designer Joe Dzuban. Every change was flawless and perfect and smooth.

RECOMMENDED. See ad at right for info.

The Days of Whine & Roses
by Robin Streichler

Smart and sassy, playwright/comedian, Jessica Bern leads the audience on a journey through the life of a woman plagued by self-doubt and feelings of alienation, and ironically has us laughing with her through the whole extended whine, in world premiere of The Days of Whine & Roses now playing at the Elephant Lab in Hollywood.

Starting from a childhood where she craved acknowledgment from her distant cold mother and 2 dismissive sisters, she is catapulted into a neurotic journey of seeking love in all the wrong places.

The audience travels with the character as she does just about anything to be popular at school and with the boys. Bern’s play certainly triggered some laughing jags as I’m sure many audience members reflected on the crazy high school antics they engaged in for acceptance and popularity.

As her life progresses, her self-esteem issues and maturity do not. Seeking an ideal love based on the romantic pictures painted in Danielle Steel novels, Bern’s character finds herself knee-deep in an unfulfilling dating-life and subsequent marriage. In what seems to be a last ditch effort, she desperately tries to have a baby to fill-up the bottomless pit inside her. Finally, through the eyes of her own babe, she learns to find the maturity and acceptance she craved...from herself.

Jessica Berns, an accomplished actress and stand-up comedian who has appeared on such programs as A&E’s Evening at the Improv, Everybody Loves Raymond and Will and Grace, exhibits her comedic and theatrical timing on stage as she truly has the audience in stitches one moment and feeling her pain the next.

Director Paula Killen, a seasoned actress/ comedian herself, no doubt tapped into her own expertise to deftly move the piece along as segues between the character’s varied life experiences were smooth and well-paced.

To quote a bad joke, “I always appreciate a fine whine” and this one woman show really fits the bill.

RECOMMENDED Thru Aug 31, see ad at right for info.

Little Women
by Shirley Prince

Like the classic novel written by Louisa May Alcott, the current production of Little Women transforms the audience back to a wonderful time when people were more satisfied with treasured relationships than with treasures. Currently playing at the Pantages in Hollywood, this touring company of the Broadway musical is a wonderful timeless story with wide appeal.

The story follows the ex-ploits and adventures of the oldest of the 4 March sisters, the spirited Josephine (Jo), as she pursues her dreams of being a renowned writer. Fighting against the norms of 1860’s Massachusetts society, Jo does not want to be a “lady” but a woman of independent means. The March sisters, Meg, Jo, Beth and Amy vow to be together forever, but soon the reality of growing up and falling in love interrupts this life plan much to the chagrin of Jo. But, even Jo grows up emotionally and comes to realize, treasure and write about the most important aspect of her life.

All of the performances in this production are wonderful. The head of the March family is the mother (Marmee), played wonderfully both dramatically and musically by Grammy-nominated actress/ singer Maureen McGovern. Marmee is a strong role model who holds her family together despite the absence of her husband, who is fighting in the Civil War. Another great performance is Kate Fisher who plays Jo as both strong-willed yet vulnerable. In addition to her dramatic prowess, Fisher’s magnificent voice has effortless clarity. Also of note is the March family’s “brother they never had” Laurie, played with great comedic timing as well as superb voice by Stephen Patterson.

Costume de-signer Catherine Zuber’s use of period clothing allows the audience to feel the essence of the time. In addition, Set Designer Derek McLane’s functional yet realistic sets are fundamental in engaging the audiences’ participatory perception. Adapted and Written by Allan Knee, this production of Little Women is one in which Louisa May Alcott herself would be proud of. This family friendly play is a wonderful blending of excellent musical abilities intertwined with a solid enjoyable story.

RECOMMENDED Thru Aug 13, the Pantages Theatre in Hollywood rsvp Ticketmaster, 213-365-3500 BroadwayLA.org.

Bang!
by Sean Parkinson

Gods and Guns - As a minimum, one gun specifically, Janie’s. Still, in this production, all armaments seem to come out blazing.
Anthony Mora’s controversial novel BANG! A Love Story was first published in hard cover in ‘98, softcover released earlier this year. Although scenes from BANG! featuring Linda Cardellini in the lead played in LA and NY, the full play premiered on Aug. 5 at the Sidewalk Studio in Toluca Lake. Adapted for the stage by Mora, BANG! is produced by Kurt Swanson, directed by Christian Kennedy, and features Jennifer Tetlow, Rico Simonini, Ann Convery and Roberto Sanchez.

Mirroring the title, BANG! begins in the middle of what appears to be a rather time-sensitive state of affairs. It is here that we are promptly introduced to our 2 main character’s, Janie (Tetlow), a shrewd, blasphemous teenager who likes to pack heat; and John (Simonini), a 40-something year old journalist, who albeit he’s tailored himself as a do-gooder, he finds himself wrapped up in more than he’s anticipated - cults, abduction and a speedy get away.

The play’s style is reminiscent to that of David Mamet, or Harold Pinter - the piece is uncovered by the use of smaller scenes, separated by time-lapsed blackouts that set the pace just right. Mora’s progression of characters is steady, and as the disparity in their age is obvious, we don’t question their festering connection, their bond. More accurately, we embrace it. Kennedy’s direction is present. The development that we see from her actors sheds true light, from argumentative and restrained to close and ultimately comfy.

Tetlow’s Janie is compelling overall, and although at the start, her character, having been plucked straight from The Flowers of God, is at points a bit jarring, she in due course wins us over, her lout-like ways swiftly grow tendearing. Simonini’s John is likewise strong. His trigger, removing Janie from this “cult,” is selfless, and though his deadpan takes center stage, we soon see him regress, and it is decidedly pleasant to examine his vulnerability flood out. Watching him squirm, flanked by his well-mannered John and contrariwise, potty-mouthed gun-toting Janie, the gap definitely makes for entertaining theatre. Turning in fine performances as well are Ann Convery and Roberto Sanchez, adding even more BANG!

Recommended. See ad at right for info.

Interview

Catch & Release’s Rachel Brenna
by Anna McWillie

Cedar Grove Prods. opened the world premiere of Rachel Brenna’s Catch & Release on July 21. The psychological thriller exposes how far one would go to protect a loved one. The drama unfolds through 2 interwoven stories, unraveling and revealing bits and pieces of a haunting puzzle, stemming from childhood abuse; thru Aug 27 at the Elephant Lab, see ad preceding page for info.

Q About your performance in your first full-length play, Catch & Release...
A I'm thrilled out of my mind to see it come together. It is a character driven drama about a couple whose marriage begins to unravel when the wife has a suppressed memory that resurfaces. With little hope in the justice system, the husband becomes obsessed the abuser, a local pediatrician, and hunts him down, lures him to a cabin in the mountains.
Q Is the story based on true events?
A It’s personal and important to me, but the story is fictionalized...I spent a week fly fishing in Colorado a few years ago, and while driving back, this idea came up. I began to see the whole story and how it comes together through flashbacks versus real time, not knowing which is present time until we understand what has happened to Angela (the wife). I love the idea of nature and the mountains as a backdrop.
Q Molestation...why did you choose to deal with this subject matter?
A In the past few years, I've been surprised and appalled to find out how many people I know personally have either dealt with or been affected by it. It seems like a plague...I questioned whether or not to continue work on the play. Certain friends urged me on because it really touched them.
Q What's the story about for you?
A The ripple affects of this kind of trauma in someone's life - specifically a couple who love each other and have a strong relationship. How do they survive it? Fred's struggle in how far he will go to try to right this wrong without completely losing himself - what he wants to do is very different from what he knows is right...about getting very close to evil and seeing similarities in himself, thus coming to a greater understanding of it and humanity.
Q What’s more rewarding, acting or writing?
A Both...It is so exciting when you hear your words spoken, and seeing it onstage coming to life is simply amazing. Everyone brings something new, the collaboration with the director, the actors, and the designers. And I start to see things I didn't realize I wrote.
Q What is the most satisfying part of this process?
A So many people now are asking me how I put this together and if it has inspired other artists to get their work onstage or on film...that is one of the most satisfying things about this, besides how it may have moved someone watching the show.
Q How does one overcome the scars of molestation?
A To fight through it. When you let the trauma take over your life...it has won... I encourage seeking help and support, get involved in anything to help you, know that you are never alone because it's happened to so many people, too many.