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| JUST LOOK AT ALL THE THEATRE IN SAN DIEGO YOU NEED TO GO SEE! And Community Theatre ain't just for the neighborhood anymore!!! |
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The Coronado Playhouse |
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 "Critic weeps joyfully.... I don't think anybody |
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 written & performed by jd boucharde ● directed by leigh scarritt ● multimedia by josh callow LISTEN TO JD BOUCHARDE TALK ABOUT THE SHOW
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THE SHOW: Beethoven as I Knew Him, the world premiere of the final installment of the “Composer Sonata,” a trilogy of solo pieces written and performed by Montreal-born Hershey Felder. Last year, Felder brought George Gershwin Alone and Monsieur Chopin to the Old Globe; he’ll reprise those two performances in June. Beethoven and Chopin were directed by Joel (“My Big Fat Greek Wedding”) Zwick, who has directed plays on and Off Broadway, in addition to considerable work in film and television. THE BACKSTORY/THE STORY: Felder created his “Composer Sonata” to mirror the three-movement musical form of its title. This new piece would represent the first movement, which is typically dramatic and highly structured. Monsieur Chopin is the Romantic second movement and George Gershwin Alone corresponds to the upbeat, dance-like finale. Unlike the other two pieces, Felder does not portray the title character here, except only briefly, and those are the most dramatic moments of the play. Instead, he’s the heavily accented Viennese doctor Gerhard von Breuning, whom we meet in 1870, the 100th anniversary of Beethoven’s birth. He’s 56, “the same age as the maestro before he died,” and the “last person alive with the honor to call myself his friend.” Well, that’s stretching it a little, since von Breuning first met Beethoven, whom he mistook for a “filthy vagrant,” when he was 12. His father was a childhood friend of Beethoven, but they’d been estranged for years. When they re-meet, it turns out that Beethoven is a neighbor. Young Gerhard visits him regularly in his messy digs, and studies piano with him during the last two years of his life. © 2007 PATTÉ PRODUCTIONS, INC. Email Pat Pat's Website San Diego Theatre Scene Newsletter
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SHOW Commentary (** As seen, 5/12/08): Diversionary Theater:
Terrence McNally’s
CORPUS CHRISTI
As one enters the Diversionary Theatre to find the actors milling-about, casual, chatting-together, preparing for the work ahead, one is reminded of the Norman Jewison film JESUS CHRIST, SUPERSTAR, in which ‘tourists’ on a bus in Israel, assume all the ‘roles’ in the musical drama, and at the completion of the rock-opera, return to their tourist characterizations, embark on the bus once again, and continue on their visit. Here, we have a group of 13 youngsters who decide among themselves who is to play which role in this biblical storytelling.
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Writer TERRENCE McNALLY
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Column, May 15, 2008 Some time ago now, I remember seeing a bumper sticker that read: “Change is good…you go first!” Well, if you’re going to be first to head in a new direction, one of the best things you can have is a compass. And that’s just what the City of San Diego has now that 6th @ Penn officially became Compass Theatre today (May 15, 2008). “This is something I had wanted to do for ages. After seven years I was worn out mentally and physically. I wanted to be more creative; acting and writing. Matt Thompson and I became acquainted and I hired him to be the Artistic Director of the Resilience Festival. After being around him for a while I broached the subject of him taking on the AD responsibilities for the theatre and so far it’s been a great move. He’s running the show now.” The Penn’s been around for a while, how did it all start for Morris? “With the help of my then wife Kim, I bought the theatre in 2001. It was a gay-themed theatre at the time and my interests were broader and more traditional. It was only a matter of time before I realized I couldn’t possibly make it without financial help – grants, gifts, etc. After learning a little about non-profits Kim sat down and completed the huge paper trail and jumped through all the hoops to get us the 501 (c)(3) status. Obviously, Kim doesn’t have to pay for tickets to this little theatre.” “There have been many. George Flint bringing in his Renaissance Theatre Company (The Caretaker - left) was a boon to our existence. But nothing tops Marianne McDonald and her translations of the Greek Tragedies. That really put us on the map and people flocked to see them. Marianne has moved on now but without her we would not still be here. “ Ron Choularton & Bryan Bevell from THE CARETAKER. Photo Randy Rovang And there must have been a down side? “Well, I lost a wife. And I pretty much gave up my life. Worked 7 days a week; didn’t act or write or direct – didn’t do any of the creative things I wanted to do. I was an administrator and a producer and wasn’t much good at either one.” Did you ever feel like closing the doors? “No. It never reached that point. There were a couple of times when I felt like maybe I should just throw in the towel, then something encouraging would happen and that negative moment would be forgotten. It’s amazing what a hit show can do for you.” The Children of Heracles - Translated by Marianne McDonald. Directed by Delicia Turner-Sonnenberg How do you want 6th @ Penn to be remembered? “That I tried. In the 7 years that I ran it pretty much alone we put more local actors to work than any other theatre in this town or maybe in the state. We did more new work by local playwrights than anyone else; we tried to provide opportunities to creative people. Sometimes in offering opportunities to creative people they also expect you to do their work for them. And that all too often led to conflict that I certainly would rather we all forget.” What are you going to do now? “I would love to be a respected older actor around town. Whatever acting abilities I had eroded as I did paperwork for the last 7 years – so I want to get that back – and of course improve as an actor. I just had a wonderful experience with “Hysterical Blindness” with Backyard Productions and I’m cast in two Compass Shows in 2009 – All My Sons, and Virginia Wolfe. I’m writing plays again after a 20 year lay off and that’s going to continue, I hope.” How has the theatre in San Diego changed in the past 7 years? “When I started there were hardly any other smaller theatres. I would like to think that 6th @ Penn’s early successes helped spur others on: the fact that a small theatre could survive. NVA, Cygnet, Mo’oleo, and others came. But there were a bunch that came and went; unable to deal with small audiences and a commitment to hard and unending work that most sane people aren’t willing to make.” “Quality work. High standards. Not just as high as our meager budgets will allow – that’s always been a given, but higher expectations. Much rest on Matt’s shoulders now – and we’ll all see what happens. I’m there with him and supporting him everyday but that is certainly no learning stick for success. We need to gain a higher share of the theatre-going audience.” (See the new website: www.compasstheatre.com ) What are the roles you hope to play, now that you have the time? “Willie and George and Felix.” And are there more plays inside of you, bursting to be written? “A bunch.” What word best describes you? “Determined.” When you reach the gates of heaven, what do you want St. Peter to say to you? And we’re waiting for you, Compass Theatre, show us the way! P.S. Long live Gay Marriage! Love, Jenni
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by
Jenni Prisk
This little theater has had a varied life since 2001. What are some of the highlights? 
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I Love You, You’re Perfect, Now Change – The challenge of the opposite sex. Scripps Ranch Theatres is all show biz for I Love You, You’re Perfect, Now Change (hereinafter referred to as ILYYPNC). Brian Redfern’s showy set is accented by brightly colored pivoting panels, giving a happy feeling of bubbling champagne. Bob Eisele accents the stage with a variety of colorful lighting plots. It is Marjorie Mae Treger, however, who puts it all together with her excellent casting and playful direction. ILYYPNC is now the longest running show Off-Broadway. It’s been translated into 11 languages. The play's tagline is "Everything you have ever secretly thought about dating, romance, marriage, lovers, husbands, wives and in-laws, but were afraid to admit." Oh, so true! As the show progresses from first date to grandparenthood, quiet murmers can be heard from audience members relating to a moment they remember in their lives. It’s been a lifetime since I had a first date, but “Cantata for a First Date” by the company and “We Had It All” sung by Krysti Litt and Sean Hannify, brought back those terrifying moments that led to eventual happiness. Gregory Starkey and Kerianne Rice remind us that we can’t all be “A Stud and a Babe.” Sharla Mandere provides us with a very determined “I Will Be Loved Tonight.” Jeremy Shull, in the second act, gives us a charming “The Baby Song.” The perspective changes if you are still single, though. I felt one of the most touching numbers is “He Called Me.” Men do have a terrible habit of letting our first dates know how we feel. We sometimes rationalize our actions simple by saying or as in ILYYPNC singing, “Why? Because I’m a Guy!” There is also an irony in the title. It may be a normal sequence of action in many relationships: Love, perfection, and required change. The story of the challenges of sexes is well portrayed and sung by a very talented cast. Sean Hannify recently finished Luann, cartoonist Greg Evans new musical, at Palomar College. Krysti Litt has been busy acting and singing at SDSU. Sharla Mandere returns to Scripps’ stage having been in Company and Anything Goes. Kerianne Rice, recently in West Side Story, has an extensive background in musical theatre. Jeremy Shul’s credits include The Full Monty and Guys and Dolls. Gregory Starkey has an extensive background including a role in Palomar College’s The Who with Hannify and Litt. The result is an evening of fun music, delightful acting, and a chance to reminisce. One patron commented that younger audience members identified completely with Act I, which covers first date to wedding vows, and the older members had more recent memories of the Act II happening, continuing on through grandparenthood. So no matter what your age, there is way too much fun at Scripps Ranch Theatre to miss this show. Dates: Weekends thru June 14, 2008 Box Office Phone: 858 578-7728 Edress: www.scrippsranchtheatre.org The Condomine’s (Ruth and Charles) home is luxurious even by 1940’s Hollywood standards. Their living room has light sconces, a view of the garden, a lovely draped archway to the servants’ areas, and elegant furnishings. Director Pete Shaner, who also plays Charles, has moved Noel Coward’s delightful piece. The tale is quite simple. The Condomines and guests, Dr. and Mrs. Bradman (James E. Steinberg and Renee Gandola), are entertained by Madame Arcati (Ashley Gardner). She, quite by chance, conjures up the former Mrs. Condomine, Elvira (Victoria Mature), who has passed seven years prior. Ruth (Nicole Wolber) takes umbrage to this intrusion into her marriage. Complications build from this point. As we are being seated, ordering a drink from the bar (love this theatre), and conversing with our table mates, the maid Ruth (Amanda Everett) is busy straightening up the livingroom. As the lights dim on the audience and come up on the stage she quite shyly addresses the audience with the pre-show blurb. Cute. Director Shaner cast for both talent and type. As Dr. and Mrs. Bradman, Steinberg and Gandola are perfect contrasts. He looks reserved, always properly dressed, and she would embarrass any husband almost immediately. She sits most indiscreetly, mutterings from her mouth tend to be “oops, I said that” type of thing, and she misses every cue her husbands sends out. We love her. Gardner’s Madame Arcati, wildly costumed in many layers, necklaces, and enough rings that it’s a wonder she can lift her hands, is a study in ineptness. Her machinations to bring forth the long-dead include something that could almost be called a dance. Writer Charles is steeped in grist for his next book. While she is sincere, her audience is laughing at her strange actions and incantations. Gardner has taken her way over the top, and it is delightful. As with the doctor and his wife, Shaner and Wolber are opposites. She is tall and thin and contoured in elegant dresses, thanks to costumer Jennifer Kindsche, while he is more of the athletic type. Her character is tense to the point of being hyper. He is much more laid back, quickly accepting his former wife’s ghostly presence. Finally we come to Victoria Mature’s Elvira, a true blithe spirt. Elvira was quite a bit younger than Charles. Her beauty makes one think of the contemporary term “trophy wife.” It is apparent that Mature is enjoying her haunting experience. Her smile can melt a man’s heart and ward off any female competition. She is an interesting contrast to Wolber. Both are lovely and charming and extremely different. Director Shaner chose well. Blithe Spirit may be approaching 70, but she has aged well. Moving her from London to Hollywood caused some dialog changes. Alas, some colloquial British terms survived. The show moves smoothly with logical blocking. One irritant, since the play takes place at dinner, after dinner, morning, afternoon, early evening, etc. is that the clock was only changed once. I know, I’m picky, but the bloody thing is center stage. Lastly, this is the best telling of Blithe Sprite in recent years. The casting works well. The characterizations are right-on. It was a fun evening visiting an old friend. Dates: Thursday thru Sunday, to June 1, 2008 Coronado Playhouse 1835 Strand Way, Coronado, CA 93228-3005 You bet your . . . that he was Groucho Marx. I was raised on TV’s You Bet Your Life. From 1950 to 1956 the show was a weekly ritual. Even when I was in Asia in the late 50s I could see it. Then there were the films, solo or with Harpo and Chico. Groucho was part of my life. In October of 1986 Groucho: A Life in Revue opened in New York City, then went on to London with the same lead actor, 23 year-old Frank Ferrante. On May 9, 2008 the show opened in Chula Vista at OnStage Playhouse. Director Bob Christiansen cast Jerrod Weintraub as horn-honking non-speaking Harpo and Michael Dean Grulli as highly verbal side kick brother Chico. In each case the actor captured his character well. Gruilli additionally expertly tickled the ivories on occasion having to write the music after hearing it. Chico’s song and style were never written down. Just a few feet away, off-stage, Eddi Giese, Albert Hsieh, and John Procter (on horns, keyboards, and drums), were the band . . . a first for OnStage Playhouse. Groucho: A Life in Revue is Charley Miller’s show. His Groucho ages from 15 to 85, most of it on stage before the audience. The revue is a one-man show with an excellent supporting cast. Rebecca Seubert is one of the two women playing multiple roles. Our only disappointment is that we don’t hear her sing often enough. Kelly Wood, the other woman, also has many roles, which include at least one rather sensuous young lady. Paul Shaeffer is on and off the stage quite a few times. Mostly he’s a stagehand and at least once actually spoke. Groucho: A Life in Revue is very much a revue of many of his best lines expertly acted by Miller. It is also, for many of us, a review of all that made us love the multi-talented Groucho. Miller is seldom off the stage. He changes makeup and ages on stage. The production combines many of Groucho’s most famous and of-heard jokes and one-liners as well as offering a comprehensive history of him and his family. Miller has definitely capture Groucho. Even in asides to the audience, mostly ad libs, he never dropped character. Grulli and Weintraub also worked the audience. Sitting in the front row almost guarantees a part in the show. The production is as much a survey of the life of Groucho as it was a night club or vaudeville performance by Groucho, his brothers, and the band. Groucho: A Life in Revue for a few of us brings back fond memories, for the rest it is a look at a performer whose career spanned the entertainment spectrum from vaudeville and the stage to movies and television. All of the supporting performers are solid, the music is entertaining, and Miller gives us a very believable Groucho Marx. The show runs Thursday thru Sunday to June 7, 2008. OnStage Playhouse is located at 291 Third Avenue in Chula Vista. For reservations call 619 422-778 or check out their website at www.onstageplayhouse.org. Running Time 143 minutes with a 20-minute intermission Hitch Websites of interest: sdtheatre.com, Totaltheatre.com, NewsBlaze.com
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5-12-08
FINALLY AP TESTING IS OVER!!!!!!!!!! Now that you are totally through with studying, not used to all the free time? Currently playing at the Old Globe is Beethoven as I Knew Him, which is educational and entertaining. There are so many fun and interesting facts that I learned about Beethoven’s life. I for one didn’t realize that he had gone deaf so early, at the age of 31. I was also amazed that when he was placed in a coffin and buried, ten years later he was dug up, and his skull had split into nine pieces and two of the pieces are in circulation with a family living in southern California. Perhaps you can get extra credit for AP Music Theory, Choir, History, or English? Debuting at the Old Globe, Beethoven As I Knew Him, is created and acted by Hershey Felder, who last season brought his interpretation of George Gershwin and a bit earlier Chopin. Both bringing standing ovations and sold out crowds, Felder’s new undertaking is sure to do the same. Not only can he act and write, but he can also play the most gorgeous music ever written for the piano. The set was designed with minimalist attributes, a grand piano taking the full focus of the stage by Francois-Pierre Couture. The lights went from the past to the present shifting from what story was being remembered by Beethoven’s friend, designed by Richard Norwood. Slides were projected on the back of the set designed by Andrew Wilder and Christopher Ash, they represented the people being talked about by Beethoven, and the characters he interacted with. All the technical aspects were flawless and helped draw the audience into the story even more. I was very impressed by the staging of the performance. Every detail was captured in such remarkable ways, each song coming through as a climactic point in the show. This was all due to director Joel Zwick who is most remembered as the director of My Big Fat Greek Wedding which is still today considered to be the highest-grossing romantic comedy film. Beethoven As I Knew Him is quite different from this film. At the end of the play, you will walk away wanting more. This show is playing at the Globe through June 8th. You can call (619) 234-5623 or go online to www.oldglobe.org for more information. |
But really, this timeless show chronicles the journey of Ludwig van Beethoven’s young companion telling of what he knew of his mentor and friend. The piece goes between monologues about Beethoven’s life and also his beautiful music being played, solo on piano. With such a musical script, the play is astonishing. Beethoven’s music is just as current today as when he lived. And he certainly had a colorful life that could put today’s pop stars out of business. My favorite song was certainly Symphony No. 9.
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