Theater Review: Tiny Beautiful Things

 

I’ve often wondered how advice columnists do it. I mean, what gives them the chutzpah to think they know enough to tell someone else what to do?

In 2012, author/podcaster Cheryl Strayed made a book out of a collection of advice columns she had previously posted on “The Rumpus,” an online literary magazine. This book is now said to be as much literary memoir as advice and help.

The book, published in 2012 by a division of Random House, debuted at No. 5 on the New York Times Best Seller list in the advice and self-help category. “Variety” called it “a theatrical hug in turbulent times.”

Last night at Scripps Ranch Theatre, a woman who calls herself “Dear Sugar” gave advice on “love and life” onstage. The show runs through December 8, and is 90 minutes long with no intermission.

You’ve probably never seen anything like this onstage before, using four actors: “Dear Sugar” (Jyl Kaneshiro), the advice-giver, and three others identified in the program as “Letter Writers” one, two and three. These three are played by Max Macke, Michelle Marie Trester and Lisette Velandia. They act and react on a living room/kitchen set, which is in itself homey.

The point of Dear Sugar is to have someone to listen to your problems, from having a crush on someone to being rejected by parents, suffering a miscarriage, sexual assault and the most affecting, a man who has lost his child to death. Sugar always has something comforting to say, whether or not she has a great idea how to “fix” a problem. Sugar says she’s not the “know-it-all” kind of advice-giver, but that she is willing to work “really, really hard to see what I can find” in the way of solutions.

Warmth and humor abound here, and despite the problems under discussion, everyone is heard and helped by Sugar.

Congratulations all around also to the cast and designers: set design (Dixon Fish) and construction (John Owen), sound (Carla Nell) and stage design and costume designs (Cassandra Crawford). 

After all, as author Cheryl Strayed puts it, “You don’t have a right to the cards you believe you should have been dealt. You have an obligation to play the hell out of the ones you’re holding.”

This is a most unusual show. My advice is to grab yourself a ticket and go see it.

Theater Review: How the Grinch Stole Christmas

                The Grinch (Andrew Polec) and Young Max (Tommy Martinez)
 

2024 is Dr. Seuss’ 27th holiday season at the Old Globe. Many San Diegans have seen numerous productions of this show and can sing along with it. This one is directed by James Vásquez.

There’s not much point in reciting what happens, because either you’ve seen it before or you will get to be delighted by it for the first time. In either case, you don’t need me to tell you about it.

But I will anyway, at least a little bit. 

The book and lyrics (by Timothy Mason) and the music (by Mel Marvin) give us a dozen songs with crazy titles like “Who Likes Christmas?” and “You’re a Mean One, Mr. Grinch,” which are just plain fun to listen to or hum along with (as I do each year). There’s also a live “Who-chestra” of eight musicians, led by Music Director Elan McMahan. And two sets of kids who play the Who children alternately. 

“Who likes Christmas?” sings the whole cast. 

The major response comes from David Michael Garry*, who tells us “I like Christmas. I was Max, his old dog.”

There is also Max the young dog, played amusingly by Tommy Martinez.*

The major argument is between Young Max and that awful Grinch, all green and hairy and ugly and mad - and played brilliantly by Andrew Polec*, who of course sings “I Hate Christmas” because “his heart was two sizes too small.”

The one who saves the Grinch from his green grinchiness is a cute little girl called Cindy-Lou Who, played alternately and charmingly by Arden Johnson or Sofia Barredo, depending on which day you see the show.

Okay, that’s enough. You either know the rest or you’re going to take my advice and grab a ticket for the show. Or both. I’d advise the latter.

The details

Dr. Seuss’ “How the Grinch Stole Christmas” plays through Dec. 31, 2024 on The Old Globe’s Donald and Darlene Shiley Stage at 1363 Old Globe Way.

Adult ticket prices start at $41; children 17 and under tickets start at $33.

Tickets available online at www.TheOldGlobe.org, by phone at (619) 234-5623.

                                        Opening-night cast

Theater Review: Incident at Our Lady of Perpetual Help

                       Incident at Our Lady of Perpetual Help

The program tells you to picture the early 1970s “in a city very much like Seattle, or Boston, or Milwaukee or Cincinnati or….”

I can’t even come close to that, since in the ‘70s I was living on my own and working at a school in Rome, far from home in San Diego.

But let that be. Katie Forgette’s “Incident at Our Lady of Perpetual Help” takes place in and around the kitchen of mom Jo O’Shea (Erin Noel Grennan), a devout Catholic housewife who pretty much just does the mom thing.

 

Daughter Linda (Samantha Gorjanc) does stand-up and tells much of the story of this Catholic family. She is 19 and on the way to graduate school, but meantime does stand-up in this crazy family as she tells the story. She is interested in the fledgling women’s movement.

Another family member is Linda’s sister Becky (Abbi Hoffpauir), who at 13 has a fondness for trench coats and (apparently) Philip Marlowe. 

There’s a whole long bit about menstruation (because of Becky) that goes on rather too long for my taste, but it’s amusing.

The person who really gets the laughs is the sardonic Aunt Terri (Shana Wride). She makes the show, in my opinion.

Then there’s dad Mike O’Shea (Tom Dugan, who also plays two other roles). Mike seems to live upstairs, but he sure can talk loud. He also plays the priest Father Lovett and does a hilarious stint as “Betty Heckenbach”), apparently just here for looks and laughs. Grandma (unlisted and unseen) also seems to live upstairs. 

The drama arises from an illicit recording made by Becky and heard by Dugan as the priest Father Peter (get it?)

In the second act, things get more serious as conflicts come to a head, especially between Aunt Terri and Father Peter (also Dugan).

It’s a busy script that goes by in a huge hurry. You may get lost a time or two (I did), but the point seems to be comedy, not plot, and much of what happens is just plain funny. Bravo to director Jenny Sullivan for keeping it all together.

Kudos also to Elisa Benzoni for the just-right costumes and Marty Burnett, whose set makes the show look right for the ‘70s.

This is almost unusual play. If you’re in the mood for something different, you might try this one. 

The details

“Incident at Our Lady of Perpetual Help" plays through November 24, 2024 at North Coast Repertory Theatre, 987 Lomas Santa Fe Drive in Solana Beach.

Shows Wednesday and Thursday at 7 p.m.; Friday and Saturday at 8 p.m. Matinees Saturday and Sunday at 2 p.m. and Sunday at 7 p.m. Added matinee Wednesday, Nov. 13 at 2 p.m.

Tickets: (858) 481-1055 or boxoffice.northcoastrep.org

Theater Review: Looped

 

                
                     Eileen Bowman & Alex Guzman in "Looped"

There are stars in the heavens and stars in Hollywood. In the latter category, several stand out. 

At Scripps Ranch Theatre, Director Phil Johnson gives us a play called “Looped,” about that loony star Talullah Bankhead. I don’t pretend to know anything about her, but Johnson’s Roustabouts Theater Co. gives us an evening of goofiness with Eileen Bowman as Talullah.

The play is structured around three people – Talullah and film editor Danny (played by Alex Guzman), seen onstage, and Steve (Chris Braden), an unseen voice from the control booth. Bowman wants to do whatever she wants, while Guzman the film editor needs to get his project done as quickly as possible.

Much of the first act consists of Talullah and her demands, uttering amusing lines like “I’m bisexual. Buy me something and I’ll be sexual.” But Steve also gets a call he does not like just before the act ends.

In Act Two, Talullah and Danny get closer as Danny fears he will lose his job and Talullah discloses that she once got gonorrhea from Gary Cooper. In this act, she talks of getting emphysema. 

And Danny tells about a guy he once fell in love with and the problems this caused him.

Between them, there is talk of bisexualilty, gonorrhea, emphysema and other unpleasantness.

“I don’t mind dying,” Talullah says. “I just don’t want to be there when it happens.”

Danny counters “You’re Blanche du Bois.”

Talullah advises Danny to “take a trip. Take a lover. Make a choice.” 

“Looped” is a strange piece of theater, unlike anything I’ve seen. Fortunately, the fine cast and good direction make it work, though if you’re like me, you’ll get into your car with your head reeling from what you’ve just seen.

Bravi tutti.

“Looped” runs through October 20. Evening shows Oct. 17-19 at 7:30 p.m.;

 2 p.m. matinees Oct. 19 and 20.

For tickets: https://www.theroustabouts.org/loopedtix

Theater Review: The Importance of Being Earnest

Theater is a strange place, but even there it doesn’t pay to be gay or to try to throw rotten vegetables at your lover after the performance of a play.

Even worse – if you’re playwright Oscar Wilde and the year is 1895, you just might be (as Wilde was) imprisoned for being something much worse: gay.

But ah, his play “The Importance of Being Earnest” has delighted playgoers ever since.

Lamb’s Players Theatre in Coronado shows you how in the show that has been running successfully since Sept. 21, but I just managed to get there to see it a few days ago.

You probably know the story, or should I say craziness that reigns during this “trivial comedy for serious people,” as the subtitle has it.

Lamb’s Players is one of the best of San Diego theaters, and they always manage to get the right people for their shows. This production is no exception.

There are several men here, some looking for a lover or future mate, and likewise several young women looking for the same thing. One in particular – Lady Bracknell – is customarily played by a woman. But here it’s everybody’s favorite comic, David McBean, wearing an outrageous costume who not only looks outrageous but will make you guffaw many times.

That’s not to ignore or disparage the other characters – Geno Carr (Merriman), Michael Louis Cusimano (Algernon Moncrieff), Brian Mackey (Jack Worthing) and Lauren King Thompson as the lovely Cecily Cardew.

Nor can I ignore smaller roles, equally wonderfully played: John Rosen as Lane the butler, Brian Salmon a the Chasuble, the redoubtable Deborah Gilmour Smyth as the hilarious Miss Prism and Rachael Van Wormer as Gwendolen Fairfax.

It’s great fun just watching these characters pretend to be wonderful (or at least other and more important than they really are), and also to hear Algernon Moncrieff’s “whimsical interpretation” of Frédéric Chopin’s masterpieces penned by Ben Read.

Kudos also to set designer Sean Fanning, lighting designer Nathan Peirson, costume designer Jeanne Reith, props designer Jessica Couto and sound designers Ben Read and Patrick Duffy.

This show looks, sounds and let’s face it, IS a lovely evening’s entertainment. Don’t miss it.

Theater review: Dracula, a Comedy of Terrors

                      Gimel Jiménez and Drew Droege (I think)

What can I say about a crazy, mixed-up show like The Old Globe’s latest effort?

Well, what would you expect to say about that lunatic Dracula, anyway, and with playwright Gordon Greenberg and Steve Rosen putting their pens to the story, setting it in the Harvey White in-the-round space and adding outrageous clothes and lines that you never heard Dracula or anybody else say…..get ready to guffaw the whole 90-minute time.

It won’t hurt if you have a nice stiff drink before you sit down, and it won’t matter if you lose track of who’s who when some of the cast members change clothes and personalities so that you’re not quite sure who or what is who. Or what.

Got it? 

Bravi tutti, first to the crazy cast consisting of Actors’ Equity members Drew Droege (Mina, Van Helsing and others), Gimel Jiménez, (Lucy and others), George Krissa (playing the Big D), Linda Mugleston (Dr. Westfeldt, Renfield and others) and Brady Dalton Richards (Harker and others.

The loony costumes designed by Tristan Raines (check that guy with the red hair and goofy dress in the photo) will keep you at least giggling, as will the lighting design (yeah, lights matter to this Dracula gang). 

And oh yeah, the original music by Victoria Deiorio just goes on and…well, you can guess. But better you go and see/hear this 90-minute lunacy in person. Just get ready for strobe lighting, mild language, mild violence and mature themes.

The show opened on Sept. 26 and was extended for a third week before it opened, so I’m not sure exactly  when it’s shutting down, but grab your ticket now just in case.

Remember, this is The Old Globe, so free parking is available throughout the park. Valet parking is also available ($22 for pre-purchase or $25 for drive-up, evenings only.

The box office (619) 234-5623 is open from Tuesday through Sunday from noon to final curtain.

The performance schedule is this: Tuesday through Thursday at 7 p.m.; Friday at 8 p.m.; Saturday and 2 and 8 p.m.; Sunday at 2 and 7 p.m.

Other events: Post-Show Forum events will be held on Tuesday, October 1; Tuesday, October 8; and Wednesday, October 9 (evening performance). The LGBTQIA+ Theatre Night is scheduled for Friday, October 4 at 6:30 p.m. 

There’s not much more to say except Don’t Miss This Show.

Theater Review: Sweeney Todd: The Demon Barber of Fleet Street

Oh, no. Not Sweeney Todd. Is he back again?

Yep. This time he’s at San Diego Musical Theatre through Oct. 20. Get ready to spend close to 3 hours in a horrid-looking slum-like place where almost nobody is anywhere near happy, at least not long enough to make the audience smile.

This is the 1979 version with a book by Hugh Wheeler and lots and lots of music by Stephen Sondheim, most of it grimy enough to grate on the ears just as the events you will see do.

“The story is really about obsession,” according to Sondheim. Everybody wants something (or someone) and is willing to do whatever is necessary to get it.

These folks are all victims, mostly of insufficient funds, and are doing whatever they can to get their hands on more money in order to survive.

Deandre Simmons makes his SDMT debut as the demon barber Sweeney Todd in his favorite musical here. He does a smashing (in more ways than one) job of it, though it’s difficult to watch him descend from a fine barber to, well, something less kindly.

Meghan O’Brien Lowery is a delight as the pie-making Mrs. Lovett, who makes the strangest looking “pies” I’ve ever seen. Square? Wrapped in what looks like burlap? Hmm…..

Salima Gangani played in Sweeney Todd at the University of Redlands. There she was Mrs. Lovett, the pie-maker. Here she’s Johanna, the girl every male wants as his girlfriend.

San Diegan Tanner Vydos , a veteran of “Into the Woods” “West Side Story” and other familiar pieces, does an excellent job on everybody’s least favorite character here, Judge Turpin.

Also along for the amusing part of the ride are Ryan Burtanog as Beadle Bamford and Matthew Javier as Tobias,

Sam Castillo does a lot of fine singing as Anthony (and he’s cute to boot), as does Luis Sherlinee as Adolfo Pirelli. 

Congrats to director Jason Blitman for a fine job, and also to the musicians: conductor/keyboardist Richard Dueñez Morrison and instrumentalists Katrina Earl, Patricia Schenelberg, Kiersten Smith and Sharon Taylor. Congratulations to Katie Banville for the fine choreography.

The set (by Mathys Herbert) is suitably ugly, and the lighting and sound design are well done by Michelle Miles and Jordan Gray, respectively.

Sweeney and the gang will be at SDMT through October 20, so you have time to find some buddies and grab some tickets.