Theater Review: Sunday in the Park with George

                  Sunday in the Park with George

It’s difficult to put into mere words the experience that awaits theatergoers at CCAE’s breathtaking production of the Stephen Sondheim-James Lapine musical “Sunday in the Park with George.”

Maybe that makes sense, given that the show is about Neo-Impressionist artist Georges Seurat (anglicized here to George), most famous for his depiction of a group of French visitors to a seaside park on an island in the Seine on several lovely Sunday afternoons. The famous piece is titled “A Sunday Afternoon on the Island of La Grande Latte.”

Rather than using large strokes, Seurat (magnificently portrayed and sung by Will Blum) preferred to use dots to portray his characters, giving more of a feeling of magic than of naked truth.

The first act takes place on several Sundays between 1884 and 1886, and depicts George’s life, his style and the development of a relationship between him and his mistress-cum-model Dot, wonderfully portrayed by Emily Lopez. She loves him, but quickly tires of wearing the pouffy dresses he asks, and holding those poses so long. And his preference for work over play.

The first act concentrates on George as artist and the development of his style, but includes the problems he has with relationships with not just Dot, but the art industry (if I may be so vulgar) and various other characters in and around the island at the time.

Broadway veteran Will Blum is truly magnificent in this part, with a gorgeous voice and acting chops to match. His struggle to develop his art while trying to maintain personal relationships is touching and maddening all at once (haven’t we all been there once or twice?) and a wonder to behold.

Emily Lopez is equally fine as the lover/model who is more interested in George’s time as his art, and how can that work out? She too, is a wonderful actor with a lovely voice who can make you feel what she feels. It’s sad when they both sing “We Do Not Belong Together” and decide to “Move On.”

Some 18 actors portray many more characters in the course of the evening. The truly wondrous thing is that every single one of them is outstanding, in both acting and singing departments.

The second act takes place in 1984, at an American art museum, and here George imaginatively has to deal with the art business as an inventor and sculptor. We see the spinning chromolume, that kinetic round lighted sculpture (thanks to Patrick Gates for the effects). 

And we see the business of art, complete with art patrons (Debra Wanger and Elias Wygodny), a visiting curator (DeAndre Simmons) and art critic Blair Daniels (Debbie Prutsman).

The real George died at 31, without selling a single painting. It’s a sad story, but the production of this play is anything but that. 

Toward the end, the projection screens lift and we see the excellent 13-member onstage band, led by Elan McMahon.

Kudos to T.J. Dawson, who directs this spectacular piece with a sure hand.

There are many people to credit. Here are a few: Janet Pitcher, for wondrous costumes; Michelle Miles for lighting that does it just right; George Gonzalez for the fine scenic design, including trees that can be flown in.

There’s something for everybody in this show, and everybody – even people less than thrilled about Sondheim – should see it. There’s real magic here.

The details

“Sunday in the Park with George” plays through March 5, 2023, at the California Center for the Arts in Escondido, 340 N. Escondido Blvd.

Shows Friday at 7:30 p.m.; Saturday at 2 and 7:30 p.m.; Sunday at 2 p.m.

Tickets: (800) 839-4138

Theater Review: Under a Baseball Sky

                        Laura Crotte and Diego Josef

Baseball – America’s pastime – is not widely thought of as a Mexican-American sport. But in Southern California – San Diego’s Logan Heights neighborhood in particular (now known as Barrio Logan) – it was introduced in the 1920s, and became very big business soon thereafter.

The Old Globe Theatre presents the Globe-commissioned world premiere of playwright José Cruz González’s “Under a Baseball Sky” through March 12 at the Globe’s Sheryl & Harvey White Theatre. The dreamlike production covers a lot of territory: community, friendship, activism, overarching joy, desperate sadness and hope. James Vásquez directs this, as he did González’s previous Globe commission “American Mariachi.”

There are five characters: elderly matron Éli (Laura Crotte, a wonder in her Globe debut), who lives alone in a house  we don’t really see, but we do see the attached yard (the stage), where the other four characters come and go. This serves as back yard, occasional baseball diamond, and place of annoyance for another character, a high schooler named Teo (Diego Josef), recently expelled from school and now assigned to clean up Éli’s back yard in order to be readmitted to school. 

As if that weren’t bad enough, Teo’s mother, a naturalized U.S. citizen, was stopped for a broken taillight one night. Since she had left her papers at home, she was sent back to Mexico. So in addition to being kicked out of school, Teo is parentless and alone, and forced to deal with the adult notion of what kind of person he is when “life throws curveballs.”

He’s lucky to be tutored by community counselor Chava (Joseph Morales), a kind person who wants to help.

We will also meet Éli’s children, soldier Santiago (Cesar J. Rosado), who has gone off to war, and baseball-playing daughter Paloma Ana Nicolle Chavez), each of whom come to visit their mother when not otherwise occupied. These two provide many moments of joy and tenderness as well as grief, as the plot thickens.

Time slips and slides, and much emotional baggage is exposed and discussed in both Spanish and English.

There are many themes, including gentrification, racism, generational trauma, parenting,, civic responsibility, even unionism, the American dream and too many others to mention.

This is a difficult piece to present, what with all the time shifts, emotional baggage exposed, and characters who come and go. Bravo to director Vásquez for keeping it all moving.

The show has a strong behind-the-scenes team as well. Scenic designer Anna Louizos gives us a vacant lot enclosed with a chicken-wire shed at the opposite end. 

Rui Rita’s lighting design offers flashes of color, shadows and surprising depth to the small workspace. Leon Rothenberg adds sounds (like of hitting a baseball or a car rushing by) that add depth and interest to the design.

Miracles can happen, they say, under a baseball sky. This is a miraculous production.

The details

“Under a Baseball Sky” plays through March 23, 2023 at The Old Globe’s Sheryl and Harvey White Theatre, (address)  in Balboa Park.

Shows Tuesday and Wednesday at 7 p.m., Thursday and Friday at 8 p.m.; Saturday at 2 and 8 p.m. and Sunday at 2 and 7 p.m. 

(Note: A 2 p.m. matinee is scheduled on Wednesday, March 8, and Saturday, March 11, only one 8 p.m performance, is scheduled.

Tickets: www.TheOldGlobe.org or (619) 234-5623

Runtime: 90 minutes (one act, no intermission)

                     Josef Morales, Laura Crotte, Cesar J. Rosado and Diego Josef

 

Film Review: The First Fallen (Os Primeiros Soldados)

                    The First Fallen

It’s 1983, and the local gay/transgender community in small-town Brazil is partying as usual, unaware of the AIDS disaster that is about to change their lives forever.

Only biologist Suzano (Johnny Massaro) suspects, because he knows something sinister is ravaging his own body. He asks two friends – transsexual artist Rose (Renata Carvalho) and filmmaker Humberto (Victor Camilo) to help him at least record the oncoming problem, and try to survive it.

“The First Fallen” is Writer/director Rodrigo de Oliveira’s contribution to the worldwide AIDS story – and his own. He has described it as “the loving imagination of lineage, the invention of my family tree.”

The story is familiar to most people, certainly to film fans worldwide, who lost innumerable stars to the plague. 

In this little Brazilian town, we will watch Massaro disintegrate little by little, while trying to help others and encourage them to be themselves, regardless of the consequences.

It’s a film about “the dream of being yourself fully, whatever weight the world puts on your shoulders; about the importance of community and the support from our chosen family.”

Let’s face it, this is a depressing topic, but important as a reminder that everyone, even victims of a plague like AIDS, is human and worthy of respect.

“The First Fallen” certainly gives a sad picture of a horrible story. I wish it had also given more facts; in other words, “the rest of the story.” 

This is what I mean. More than 40 million people have died from AIDS-related illnesses since the 1981 start of the epidemic. Treatments have since been found, and victims can now live with HIV. At last count in 2021, 38.4 million people globally were living with HIV.

Theater Review: The Ferryman

                        The Ferryman

Carlsbad’s New Village Arts has spent considerable time renovating its theater into what it calls a “culture hub,” expanding its overall space and creating a people-friendly lobby, drink service, a small performance space and more accessible restrooms. The place is now called the Dea Hurston New Village Arts Center.

The theater’s talented artistic director, Kristianne Kurner, begins her 21st season with Jez Butterworth’s monumental “The Ferryman,” an ultra-ambitious 2019 Tony winner, which will run through March 5. This is the first U.S. production of the show to open since its Broadway run.

The main topic is Ireland in 1981, during The Troubles, and the violence and problems caused by the earlier split of Northern Ireland from the rest of the country and succeeding religious troubles between Catholics and Protestants and other political groups that rose up.

Butterworth tells the story through the eyes of one large family. The script requires a cast of 26 excellent actors, from a baby to two elderly matrons. It’s almost inconceivable that it could be done at all, let alone done as brilliantly as NVA does it. 

The show is wonderfully staged and even better acted. It’s harvest time on the farm when word comes to Quinn Carney (Thomas Edward Daugherty) and Caitlin Carney (Jo Yvonne Jones) that her husband has disappeared. Shall they tell, and spoil the party, or keep it to themselves?

Eventually the word will get out, and then the problems really begin. Other members of the family include two elderly women: Aunt Pat (Grace Delaney) ad Aunt Maggie (Dagmar Fields), both confined to wheelchairs. Uncle Pat (Antonio “T.J.” Johnson) plays a sort of uncle to everyone, and is wonderful to watch. Of course, there always has to be a bad guy; this one is called simply Muldoon and you really will learn to dislike him.

The scenic design by Doug Cumming, costumes by Jojo Siu, lighting by Annelise Salazar are top-notch.

Things get rougher for the family, but the story is well acted by all and beautifully presented, thanks to dialect coaches Jude McSpadden, Grace Delaney and Vanessa Dinning.

The topic is a difficult one, but lightened a bit by the presence of a live goose and a live rabbit. The title comes from the mythical ferryman who is supposed to usher some of the dead across the River Styx.

Be aware that the show is in three acts, with two intermissions. I found it a difficult play to watch, but it is wonderfully presented.

The details

“The Ferryman” plays through March 5, 2023 at the Conrad Prebys Theatre at the Dea Hurston New Village Arts Center (formerly New Village Arts), 

Shows Wednesday at 2 p.m.; Thursday at 7:30 p.m.; Friday at 8 p.m; Saturday at 2 and 7:30 p.m.; Sunday at 2 p.m. 

Tickets: newvillagearts.org/the-ferryman

Theater Review: Birds of North America

                       Mike Sears and Farah Dinga
 

Ah, family. Every father and child of at least teen age will be able to identify with Moxie Theatre’s latest show, playwright Anna Ouyang Moench’s “Birds of America.” The show, set in Maryland, is produced in partnership with the San Diego Audubon Society.

On one level, the show is about the joint birdwatching of John (Mike Sears), a dad of middle age, and his daughter Caitlin (Farah Dinga). John is committed to those elusive birds, even to the extent of taking notes on everything he sees. He’s been doing this all day, every day for years and has become very good at it.

Caitlin also likes birds, and goes out watching with him most days. She also has learned well how to find and identify the elusive winged creatures.

But now she has other things on her mind. She likes to write, is writing a book, and and has become concerned about climate change. She also really wants to be a mother, but after five miscarriages, is distraught at being forced to give up that dream.

Dad, as usual, misses the chance to connect, making fun of her writing and tossing a statistic at her: 50% of pregnancies end in miscarriages. This is the beginning of a stream of missed opportunities to connect on both parts.

Caitlin is disappointed, but continues to try to connect, suggesting at one point that “I think you should try to enjoy life more,” mentioning that the family might go on a short trip together. He replies that “it’s not nice to travel for no reason.”

This is all fascinating if difficult to watch, and will leave playgoers with much to ponder in their own lives. 

The show wouldn’t be as impressive as it is without the redoubtable acting of both characters. Sears is well known to local audiences and has done a great deal of television as well. His dad Mike is very recognizable. 

Dinga is a locally-based Pakistani-Queer actor who trained at the University of California at San Diego, and has also acted at many local theaters. Her disappointment as Caitlyn is palpable.

Both will draw you in and make you feel their pain.

Special kudos to the technical experts in this show. The stage is covered with lovely fall-look red leaves and trees created by scenic designer Robin Sanford Roberts. Danita Lee’s costumes look authentic, and the show benefits from excellent lighting (by Joshua Heming) and sound (by Matt Lescault-Wood). Bravo also to scenic artist Julie Lorenz and technical director Robert Malave.

Director Lisa Berger keeps the characters real and the tension level high.

You may be relieved to leave the theater, but you will have been given lots of food for thought and topics to discuss with fellow theatergoers later.

Don’t miss this show.

The details

“Birds of North America” plays through March 5, 2023 at Moxie Theatre, 6663 El Cajon Blvd, San Diego.

Shows Thursday at 7:30 p.m.; Friday and Saturday at 8 p.m.; Sunday at 2 p.m.

Tickets: boxoffice@moxietheatre.com

Covid-19 policy: Masks and proof of vaccination may be required for entry. Visit website for the latest policy updates.

Theater Review: R-E-S-P-E-C-T

                       Cast of R-E-S-P-E-C-T

There’s music, there’s pop music and then there’s a new, astonishing, ravishing, fascinating musicale called “R-E-S-P-E-C-T,” written by Lamb’s Players’ enormously talented ladies Kerry Meads and Vanya Eggington.

The original “R-E-S-P-E-C-T” is all about Aretha Franklin, who made the song famous. But Meads and Eggington wanted to broaden the show to highlight many more ladies of pop music. They decided to concentrate on the ’60s. 

I counted some 25 singers and groups; they whirl by in a never-ending stream, sometimes highlighted by backgrounds created by Lacio Pontes’ projections, or singing to pianist Ben Read or another of the fine band (Steve Gouveia on guitar, percussionist Dave Rumley and Oliver Shirley on bass).

There’s even a Leonard Bernstein tape about “Society’s Child,” a Janis Ian song allegedly inspired by the sight of an interracial couple holding hands on a New York City bus.

They’ve found six phenomenal singers who can really belt it out. Most have appeared on the Lamb’s stage before, and all come through with wondrous fine interpretations of Janis Joplin, Joni Mitchell, Tina Turner, Cass Elliot, even Nina Simone and many others. 

The ladies are Caitie Grady (Joni Mitchell and others), Joy Yandell (Janis Joplin and others), Angela Chatelain Avila (Grace Slick and others), Rebecca Jade, Janaya Mahealani Jones (Tina Turner and others) and Sydney Joyner.

Meads directs the show with a sure hand, and keeps it moving. Mike Buckley’s set design is simple and workable, and Nathan Peirson’s lighting is excellent. 

Kudos to Patrick Duffy for a sound design that does what it need to without overdoing anything.

Congratulations also to choreographer Christine Wisner Hall, whose steps look just right for the decade, and to Jemima Duty for those ‘60s costumes.

Ah, the Sixties. What a time. Thanks to Lamb’s for letting us all relive it in such great style.