Supernova by Timothy McNeil

By Joe Straw 

Something catastrophic happens in which a split second of observation is needed to take note of the moment.   Oftentimes, that is not possible in chaotic conditions.  Struck by the violent shock wave of an opposing force the options are to either succumb or judiciously leave the area.

Supernova by Timothy McNeil and directed by Lindsay Allbaugh is a peculiar and fascinating play.  It is either a metaphor of contemptible cataclysmic events or a simple family drama – you decide.  This world premiere play produced by David Fofi and presented by the Elephant Theatre Company in Hollywood, California cast a pernicious light of the living, a snapshot of the collective consciousness. 

But what does this all mean? 

By definition a supernova is an extremely luminous stellar explosion.  It expels the stars material with a velocity and sends shock waves into the interstellar medium. 

In this play, Supernova is a watch for sale out of a Soldier of Fortune magazine.  And fascinatingly enough the watch manages to change the lives of all the characters.  

But, can the audience expect a literal translation when so many things appear to be a complex metaphor of light transmissions?  

Wonderful Set Design and Lighting Design by Joel Daavid indicate something is not quite right.  Stage right is the family’s home: a working class montage of family living.  Stage left is a times seller’s office.  (Someone who sell watches.)  But there is something wrong with the home set, the doorframe is visibly skewed, the shelves are misaligned as well. There is a door that is seared into the floor as well as a surrealistic window downstage left with a slight view of the darkness below.  Stars and galaxies are mysteriously projected into the night sky. But let’s leave those images for the moment.

From a casual perspective the story plays out simply enough.

Mabel Davies (Bonnie McNeil) and her husband John Davies (Tony Gatto) will soon have a dramatic downturn in their relationship. Mabel wants to get her son, Kip Davies (Edward Tournier), a watch for his eighteenth birthday party.  Mabel has found a Soldier of Fortune magazine with a page turned down on a specific watch called the Supernova. Her belief is that it is her son’s magazine and he wants a watch for a graduation gift.

The watch costs $299 and John thinks Mabel’s ideal gift is insane.  As John is putting on his nice watch, he tells Mabel no watch for his unemployed, drug addict, and loser son.  (Well, not those words exactly, but you get the idea.)

Fran (Gina Garrison) a curvaceous divorced neighbor, and visiting, has her sights on Kip. She tells Fran Kip has a blond girlfriend.  But, Kip denies this as he only has eyes for women who are at arms length, namely Fran.  Even as Mabel is off in dreamland, they are having exaggerated seconds of sex in the kitchen.

At the watch company Ethan (Micah Cohen this night, James Pippi in alternating nights) has just hired Joe Strong (Timothy McNeil) to work the graveyard shift.  He is instructed to take the calls and sell watches.  Ethan is a devilish boss who demands immediate obedience. (Just the kind of boss everyone likes.)

Later Mabel calls the watch company and strikes up a relationship with Joe. It is a playful relationship that requires many phone calls before the watch is actually sold. 

In the meantime, home life is becoming monotonous and unbearable.  John is a working stiff who’s angry that his life is about paying everyone’s bills including his father who is in a wheelchair and in a nursing home.  John is continuously working to support the household and while he is away, the others play.

And play they do. In the morning hours Kip and Fran are having sex when Kip tells her that there are more pressing problems in the world than having sex with her. Kip tells her  “We have to fight to keep our rights as Christians!”  (It’s no wonder that Mabel knows enough about Kip to believe the Soldier of Fortune magazine is his.)

“You like simple women Jim Joe? – What are your goals Joe?” - Mabel

Bonnie McNeil as Mabel is a fascinating character. Dour from conflicts at home she seems to do what she wants only giving minimal second thoughts as to how it might affect the others. It is difficult to determine the specific moment, which changes the course of her life. 

Gatto as John is sympathetic and pathetic at the same time. How could a man love his son so much to throw food in his face?  And on a moments notice, could he toss his wife to the collective of deserted wives in Iowa?  Still a carefully crafted performance and one not to miss. 

Timothy McNeil as Strong can cower with the best of them.  Fighting to find that one woman in his life while maintaining his menial job is his primary objective but what stops him from setting down the phone and running to Mabel?  What keeps him in the office? 

Garrison as Fran as the sexy neighbor is a charming temptress.  She is an intriguing receptor to a physical relationship with both father and son while neglecting Mabel’s needs.  It is a physically demanding role and one that has her fighting her own emotional and physical battles.  A tremendous job.

Tournier as Kip has a wonderful stage presence. His voice is not mellifluous but measured and angry.  He is a man whose sexual needs come first followed by saving the Christian world second. He is strong in his naive convictions.  One could question such a worldly perspective from someone turning eighteen years old. Metaphorically, he is the supernova that sends his mental projectiles where the other characters are forced to fight or flee.  

Cohen as Ethan is equally remarkable.  He is a demanding boss that takes pleasure in controlling the lives of his employees.  He is the kind of boss that will write up an employee and get a signature on the write up without having second thoughts.

Tricia (Kelly Elizabeth) also does a fine job in a supporting role indicating it’s the worst birthday party she ever been to. And Moe (Joe Wiebe) as Kips weed smoking friend is equally fine but needs to find the reasons for wanting to hang out with the both of them.  

Timothy McNeil writes a play that allows us photo images or snapshots of the destruction of a family in America’s heartland.  The characters are no saints in this production, only human, but they all seem to be floundering trying to find their way in life. Waiting for the metaphoric explosion so they can determine what action to take. Still, it’s hard to tell what each of these characters wanted. No one admits to owing or reading Soldier of Fortune or marking the page for the Supernova watch which is mysterious in and of itself and it is not something that is explored or even thought about in this play. 

Allbaugh, the director, does a fine job finding the moments that are quite astonishing.  Some moments are in need of defining. A lot more mystery and myth would add to this production.   Still, she is a remarkable director working with a remarkable cast doing a very exceptional job. 

Through June 27^th, 2010

Elephant Theatre Company

6322 Santa Monica Blvd.

www.elephanttheatrecompany.com

The Importance of Being Earnest – by Oscar Wilde

by Joe Straw

Something remarkable happened in the second act of The Importance of Being Earnest by Oscar Wilde (more on this later). Directed by Drew Fitzsimmons and presented by the Kentwood Players at the Westchester Playhouse, this wonderful production will be playing through June 12, 2010. 

Drew Fitzsimmons, making his directorial debut, showed signs of understanding the craft and keeping the show visually exciting and moving at a steady pace.  The characters were a bit more complex than recent productions and moments were extremely funny and exciting to watch. 

The cause may be the director himself, Mr. Fitzsimmons.  The Kentwood Players have taken steps to ensure an ongoing continuity of successful community theatre this season.  In the sincerest way, it is a move in the right direction.

That being said not everything works.  It would be absurd to say so. But what does?  And who was that funny man?

Westchester Playhouse is the only theatre where all the patrons run out after the first act onto the sidewalk in search of a cigarette.  And looking at all these people clamoring for their fix, one notices that no one carries a cigarette case anymore, especially with an inscription in it, which is what our story is about. Pulling out a case today, people would think you were (eh hem) “different”.

As the play begins, Lane (Will Meister), the butler, and Algernon Moncrieff (Lorenzo Bastien) are having a discussion about the inferior quality of the wine in married households when a Mr. Ernest Worthing (Joshua Nelson) arrives. Worthing and Moncrieff are friends, and up to the present time confirmed bachelors. Ernest is slightly older but Algernon is smarter than his counterpart simply because of his upbringing: better educated, bon vivant, and muffin lover. 

Worthing’s visit into town has but one objective.

“I am in love with Gwendolen.  I have come up to town expressly to propose to her.” - Jack

But Algernon will not give his consent to marriage to his first cousin until a little mystery is unraveled.  He has discovered a cigarette case belonging to “Jack” which is the property of his dear friend, Ernest.  In it, the inscription:  “From little Cecily with her fondest love to her dear Uncle Jack”. Clearly, this intimate friendship needs a little explanation. Algernon discovers his friend Ernest is none other than Jack and this only after a number of absurd denials.

“Now, go on.  Why are you Ernest in town and Jack in the country? - Algernon

Ernest explains it’s a matter of reputation of being more carefree (wicked) in the city and holding a higher moral tone when he is in the country with his ward. Algernon says he has something similar in “Bunbury”, a fictitious invalid he uses as an excuse to get out of all sorts of things. Algernon call himself a Bunburyist.

Expectantly, Lane introduces Lady Bracknell (Carmen Lynne) and her daughter Gwendolen Fairfax (Marcy Agreen) and in due course finds out that Ernest wants to propose to Gwendolen.  And Gwendolen likes the idea because he has the name Ernest that is her overriding factor in her conquest for true love.

But Lady Bracknell, after an interrogation of Ernest, finds out about his past and does not find him suitable for her darling Gwendolen. Ernest is perplexed by this unexpected animadversion.  

“I would strongly advise you, Mr. Worthing, to try and acquire some relations as soon as possible, and to make a definite effort to produce at any rate one parent, of either sex, before the season is quite over.” – Lady Bracknell

Undaunted, and understanding that true love has no obstacles, Ernest invites Miss Fairfax to his country home unbeknownst that Algernon is taking down the information.

In the country Jack’s ward Cecily Cardew (Jessica Hayes) is being schooled by her governess Miss Prism (Judy Ewing) when Merriman (also Will Meister) presents Mr. Ernest Worthing (really Algernon) and declares he is there for a visit. 

Algernon immediately falls in love with Cecily.  He also finds out that Cecily is in love with the name Ernest, his wicked ways, and will have no other. Algernon says he is not wicked. 

I hope you have not been leading a double life, pretending to be wicked and being really good all the time.  That would be hypocrisy. - Cecily

Not to be undone Miss Prism has a slight infatuation with Rev. Canon Chasuble, D.D. (Ron Edwards) and they walk into the garden.  Love is all around.  But Algernon hunts for Dr. Chasuble to christen him Ernest.

Meanwhile Gwendolen arrives unexpectedly and has a chat with Cecily when they discover Ernest has proposed to both of them.

I shall not go on any further. It would be absurd to do so. 

Fitzsimmons has put together an exciting cast. 

Bastien as Algernon just got better as the night wore on, and was fantastic in the second act. Nelson as Worthing was equally appealing managing his double life to ridiculous extremes.  Although they were the best of friends (brothers you might say) the give and take demanded a little more from those moments in the first act. 

Lynne as Lady Bracknell was engaging but could have hit her emotional marks with the bulleyes needed in this play.  But she was delightful nevertheless.

Agreen as Gwendolen has a charm about her but the slightly distracting asides were overbearing. Relationships are much more dramatic without turning to look at the fourth wall and expressing one’s dogmatic views.  It’s absurd to think otherwise.

Ewing was appealing as Miss Prism and has a marvelous exit the audience found quite charming.

Hayes as Cecily Cardew was a surprising twist to casting but nevertheless she was marvelous and quite remarkable in her craft.  She is a simple but complex joy.

Mayes as Gribsby as a solicitor in this alternate version of “Earnest” was quite good but his performance as Moulton was hilarious!  His teacher, Nina Foch, would have been proud.  Mayes was that funny man!

There is oddness about Edwards as Dr. Chasuble that is appealing and engaging. 

Meister as Lane and Merriman was as droll as a butler can be and while there were funny bits more could be discovered from this character.  But nevertheless very enjoyable.

Fitzsimmons has done a fine job! The remarkable thing about The Importance of Being Earnest was that in the second act it all came together.  A pleasing way to end the week and there’s nothing absurd about that. 

Dementia – A Play by Evelina Fernandez

By Joe Straw

My wife, lying in a bed at County USC Medical Center and dying of cancer, was taken to the room. We knew what the room meant. And in spite the few short months of prayers and tears, they were taking us there.    

A decision had to be made.  Coming in the next morning to tell her, she interrupted me and said they were looking in on her.  The tile in the ceiling had been moved she said, there was a hole “there” this morning and they looked down at her.  She said they spoke Spanish. 

“Well, leave it to you to have angels that don’t speak your language.” I quipped. We both had a nice laugh.

“Why don’t we (and there was a long pause here) celebrate Christmas and New Years at home?”  She shook her head, yes.

Dementia by Evelina Fernandez and directed by Jose Luis Valenzuela is another celebration and a remarkable achievement! Produced by the Latino Theater Company at the Los Angeles Theatre Center and playing through May 30, 2010.

The Scenic Design by Christopher Ash majestically lifts one from the bed and up three levels into the heavens. He bathes us in these magnificent blue nude bodies stretching high above the stage with pictures frames highlighting various parts of the human anatomy.  One can only imagine if our main character decorated his home this way or if the dementia had already set in in his being.

Moe (Sal Lopez) is a man, a gay Chicano man, and a director/writer who wants to live and die in his paradise that is EAST L.A., because as his life would have it, the good life is cruising in a convertible along Whittier Boulevard.

Unfortunately, he is dying of AIDS and the act of death is his emotional countdown to his own sublime observations.   Not completely bedridden he leaves his bed when enthusiastically inspired but not so far away as to terminally distance himself from his oxygen tank. 

His chola pregnant niece Tamara (Esperanza America Ibarra), an angel in her own right, helps him through the disease.  Humiliated, after being wiped, and wearing adult diapers Moe wants to go out in his silk boxers. 

“The end has to be brilliant!” - Moe

Moe lives a life where simple language is inadequate. It has to be expressive, layered with so many levels of truth and only the kind of truth that batters the human condition that strikes a nerve so deep the characters explode with happiness, shame or any other end effect as long as it is dramatic. 

So what better way to witness human frailties and absorb the last ounce of human emotion than with a party of friends?  Not only that, a Going Away for Good Party. After all, death is your last great party, and you might as well be alive to take pleasure in it.  Adjust the lights, turn up the music, grab the Demerol patches and let the visions come as the last night was meant to be. 

Moe’s visions come rather quickly in the way of alter ego Lupe (Ralph Cole, Jr.) a glamorous, magnanimous, fabulous drag queen, and a sparkling guide to the netherworld.  The drag queen entices with lights, fingers, and song to pull Moe into the light with a rendition of “My Life”.  

Only, there’s a problem.   Lupe wants Moe to come with him now, wants to take him to (pick your belief) but the party has just started and Moe is not prepared.

Martin (Danny De La Paz), his best friend since childhood, has left East L.A.  in favor of the west side of town to be a hair stylist to the stars (namely, everyone living on the west side).  He has an important job to do and has promised to pull the plug when the time comes, but only then.  The pressure of not one second before or one second after drives him absolutely mad.

Eddie (Geoffrey Rivas), a former writing partner to Moe, and his wife Alice (Lucy Rodriguez) are having marital problems.  Their lives are in turmoil as Alice has divulged an affair with a younger man 25 years old. They agree to go to the party with reservations on settling their problems at another time.

And of course Moe wants to see all of this and more.  With the help of his friends he slips into his boxers, a stunning evening dress, wig and makeup, and dances until he can dance no more and then disaster strikes when his former wife Raquel (Evelina Fernandez) calls and wants to see him.

The coming of Moe’s death is a great equalizer to those who want to be heard and haven’t found their voice. The smallest of whispers become something of great importance from someone who is dying.  And why would you not want to be a part of this event?

Lopez, as Moe is outstanding by and large getting what he wants and pushing all of the buttons to get there. Outstanding as the performance may be, his reactions to the events unfolding around him seem not have an effect on his leaving.

Rivas as Eddie, also outstanding, is his tormented writer partner coming to the end to get a truth lacking in his recent material sans Moe.  As he is witnessing the death of his friend, he is taking mental notes for new material.

Rodriguez as Alice is having a hard time understanding why her husband wants to see a dying man when there are more pressing problems in their relationship.  A touching portrait of a character that is devastated by a truth that leaves her numb.

Ibarra as Tamara is “plan B” in case Martin doesn’t work out. Compassionate and loving until the end. She gives a charming and witty performance.

La Paz as Martin is the picture of health against the backdrop of Moe. The reasons of “Why him? And not me?” on his mind as he watches his friend slip into unconsciousness.  La Paz is funny and emotional.

Cole, Jr. as Lupe was equally delightful. He has a number of costume changes throughout the night and a number of songs as well.  One of those songs Que Sera Sera is a haunting number from an Alfred Hitchcock’s film the Man Who Knew Too Much plays well into Moe’s dying heart.  One has to question the reasons for the songs and how each song gradually entices Moe to come with him. (That may be my own fault for not understanding the songs in Spanish.)

Beautiful costumes by Nikki Delhomme and wonderful choreography by Urbanie Lucero which works well with Karl Carrasco’s musical direction.

Evelina Fernandez has written an outstanding play that is a simple understanding of death, as one would have it. A simple truth met to enlighten. As the character Raquel she stands and waits for a visual truth to come to her.  So powerful is her stare, moments taking it all in, waiting without the words to say,  “I forgive you.”

Certainly all of the characters go through a catharsis and self-realization brought about by Moe’s imminent demise but here it is displayed as Latina truth.  Inspiring!

Jose Luis stands outside, smoking a cigarette, waiting for tidbits of audience reaction as they leave.  He graciously thanks each and everyone for coming to the performance gathering bits of reactional information from this play that is a celebration of life.  The genius that is Jose Luis is his constant exploration of the human condition: life filled with exaggeration and meaning. 

Valenzuela’s direction leaves no marker untouched.  He explores the physical life of death to great dimensions.  Life, death and afterlife, is either real or imagined.   The first act ended in a song and dance number, which was quite remarkable, but leads us into the second act that seemed to lose a little focus.  It seemed to be more about the other player’s problems and left Moe to stare mostly upstairs where the action was taking place. 

Bring the conflict into the living room/bedroom where it belongs and take it to its flat line conclusion. 

Los Angeles Theatre Center through May 30^th, 2010.

Starmites An Intergalactic Musical – Music and Lyrics by Barry Keating – Book by Stuart Ross & Barry Keating

By Joe Straw

It’s been a long time since I’ve had so much fun in the theatre.  Just the thought of letting “it all go”, sit back, and be entertained.   I came with no preconceived idea of the show or what it was all about and I have to say its has been awhile since I’ve been totally surprised seeing something this enjoyable.    

Starmites, An Intergalactic Musical, was a dramatic revelation of a show from start to finish.  The musical was completely polished and wonderful from beginning to end. The audience loved it, the songs were delightful, the voices were strong, and the characters were amazing. And there were puppets galore! 

This is a show to bring all kids ages 6 to 66. And it’s all here presented by the Ensemble Theatre Company (etc) in Santa Monica at the Miles Memorial Playhouse through May 9^th 2010. 

Brilliantly directed and choreographed by Steve Edlund and produced by Parmer Fuller & Narcissa Vanderlip.

This story takes us to a land, not very far from here.  Lonely Eleanor (Natalie Storrs) sits on the floor in her room reading her comic book Starmites and wishing she were a superhero girl.  Unbeknownst to her, she awakens a powerful force in the universe, Shak Graa (Matthew McFarland). (That’s what you get for hard wishful thinking.)

The darker side, her mother (Jen Reiter) barges into the room and wants the comic books out of the house! (You would think that some moms just get it, but no.)  She thinks Eleanor’s fantasy life is taking her on a path toward lonely desperation.   Little does she realize that her sweet cuddly daughter has a power awakening in her being and those powers are unfolding dramatic events in the universe.  

Namely, the Starmites lead by Space Punk (Donald Webber, Jr.), Herbie Harrison (Michael Joyce), Ack Ack Ackerman (Thomas Krottinger), and Dazzle Razzledorf (Jonah Priour) zip to earth and discover Eleanor has the power to save them and the universe. They whisk her away to another galaxies to find “The Cruelty”, a powerful musical instrument before it falls into the hands of Shak Graa.  

And in inner space there is a wonderful number “Afraid of the Dark” which takes Eleanor and the Starmites on an unforgettable journey.  This number, very imaginative, seems to propel the entire musical into intergalactic space. 

But, in the confusion and in the dark the Starmites are run off by the attack of The Banshees, a quartet of hungry man-eating puppets. Maligna (Marisa Esposito), Shotzi (Riana Nelson), Canibelle (Jessica Perlman), and Balbraka (Raquel Sandler), all with incredible voices and voracious appetites for men. They are lead by Diva (also Jen Reiter) in a great hip swinging number It’s hard to be a Diva! 

Diva has a daughter Bizarbara (also Natalie Storrs) and as all mothers do, wants her married and out of the house!  She has plans of getting her married to Space Punk. (I suppose if you were desperate you would give your daughter to a guy with the name Space Punk, seriously.)

But Space Punk is not so bad and besides he’s off somewhere falling in love with Eleanor as each professes their love in a wonderful number Love Duet.

Neverthless, all is not happy in Loveville.  The Diva and the Banshees capture Space Punk.  The Diva uses her intergalactic force to pawn off her daughter to Space Punk.  Space Punk agrees then changes his mind and I’ll say no more.

Everyone gets his or her chance to showcase his or her vocal prowess and each succeeds magnificently. Webber as Space Punk was magnificent as was Storrs. The Banshees were a powerful team and each has a moment in the sun (castle) Esposito, Nelson, Perlman and Sandler all gave outstanding performances.

Reiter as Diva was remarkable.  Her Diva hips sashaying her around the stage using her Diva hair and Diva lips for punk-u-ation all in the matter of controlling the universe and her daughter. 

The Starmites Joyce, Krottinger, Priour each had their moments on stage and aside from all the chest banging in the first number showed a piazza during the course of the show. McFarland is quite funny as Shak Graa.

Musical Director Michael Alfera did a tremendous job as well as his band mates Chris Myers and Chris Payne, and they also had a lot of talent to play along with.

Jessica Dalva created the wonderful puppets on stage www.jessicadalva.com - an amazing artist in her own right.

Lili Fuller, costumer Designer, has everyone in intergalactic costumes.  The space stockings were quite nice; the jump suits a little less not nice. www.boomkatdance.org

Edlund, the director, has done a wonderful job.  The set makes it almost impossible to see they are in the various places in the program with the exception of the bedroom; innerspace, Shriekwood Forest, Great Hall of Castle Nemesis, Castle Mortuary and the Chamber of Psychosorcery, but this is only a small quibble.  And why quibble?

This show had a long history of getting to Broadway but it did in 1989, and was nominated on 6 Tony awards.

My six year old said she could not get the musical out of her head the next morning.  A true testament to a great show!           

Live longer, think clearer, go see this show and have some intergalactic ridiculous fun!

The Playboy of the Western World by John Millington Synge

By Joe Straw

“I just riz the loy and let fall the edge of it on the ridge of his skull...”

Christopher Mahon (Michael A. Newcomer) killed a man. Not just a man but a close member of his family, his father Old Mahon (Geoff Elliott).

Quietly perpetrated in a potato field with the midmorning fog acting as a shield.  And silently committed near County Mayo, Ireland. The crime was a senseless and cowardly act.  The blade of the loy finding it’s mark, in the center of the skull, striking his father dead almost immediately.

And plowing away from the death scene, Christopher left his father, left him there for the stray dogs, in the middle of a blood soaked field, never asking himself the question: Why?

The Playboy of the Western World by John Millington Synge and directed by the indefatigable Geoff Elliott now playing in repertory at A Noise Within Theatre (ANW) in Glendale California is a fascinating comedic look at a play that caused theatre-goers to riot in 1907. 

One can only imagine being there, at that time, and being caught up in the riotous spectacle. 

But as the story goes, a man is dead, not much they can do about that. Go to the wake, bury him, and move on. But the insatiable appetite of the remaining characters yearns for the truth and it is, in this play, their raison d’etre.   Each of them, with their own macabre sense of justice wants to find out why Christopher Mahon killed his father. 

In a local pub Pegeen Mike (Lindsay Gould), Shawn Keogh (Brian Hostenske) speaks of getting married. Shawn is a bit of a wimp and not much of a man that a woman with a strong constitution would want to marry.

Pegeen’s father Michael James Flaherty (Apollo Dukakis) and his two friends Philly Cullen (William Dennis Hunt) and Jimmy Farrell come in for a moment in route to a wake. It is an activity they participate in regularly because there are libations and food for the night.

Christopher Mahon struggles into the bar, a shadow of his former self, filled with guilt and remorse and suddenly this unkempt stranger intrigues all.  When they find out that he has committed a crime they want all the frightening details. Finding himself in a position of power Christopher offers the minutiae of his crime at another time.  For now he is offered a place to stay and a job at the bar.

And now having a real man in the bar, Pegeen throws Shawn out and the playboy of the western world spends the night.

Not much happens in a small town without everyone knowing everything and such is the case as Sara Tansey (Rebecca Mason-Wygal) Honor Blake (Alicia Bruckman) and Susan Brady (Caitlyn Tella) who bring gifts to honor him. The Widow Quin (Jill Hill), a murderer herself, is intrigued with Christopher and wants the story and wants him as well.   And together they pry the narrative from his blood soaked memories.  

Only, there’s a problem, Christopher’s father is alive and he comes to make the sniveling Christopher pay for his crime. Christopher hides behind the door and his secret is out. And so is his manliness to all of those whom have come to know him. Therefore, he must make good on his pledge. 

Newcomer and Gould as Christopher and Pegeen respectively create an interesting relationship on stage.  Whether it is a love relationship is open to discussion. A lively discussion at that! Pegeen stuffs straw into a sack of her future husband with little regard of love in mind.  Christopher eats her food without taking delight in her or her way. There is a scene of them together where little takes place and the relationship is not further developed.

Hill as the Widow Quinn wants Christopher but takes very few physical steps to make that a reality.

Hunt as Philly is absolutely fantastic. His entrance in the second act is an aspiration to those working in that craft. 

Dukakis as Michael is a workhorse on the ANW stage, successful from one production to the next and delightful to watch.

Hostenske as Shawn was quite good. Its tough love being unloved but nevertheless a fine job.

Venable as Jimmy was also fine but not really sure what he wanted.

Mason-Wygal, Bruckman and Tella were very good in their roles but don’t know if they ever saw anything in the hearty leftovers  (Shawn).

Maxwell Schneller, as the peasant, was unassuming as all peasants should be. 

Geoff Elliot does yeoman work as the director and as a performer, Old Mahon. His voice is his strong asset and his physicality very demonstrative.  Geoff Elliot’s strength lies in his tenacity.  He has this uncanny and amazing ability to create incredible and lively crowds scenes. 

The Playboy of the Western World is full of life and joy and despite a few minor problems this production will only pick up steam during the course of its run.

Superb Scenic Design by Stephen Gifford and wonderful Costume Design by Soojin Lee. Dialect Coach by Nike Doukas in this Ireland setting was wonderful.

The grit on all of the characters seemed all too real. Can someone please take a moment to clean something on their being?

www.anoisewithin.org

Awake and Sing! By Clifford Odets

By Joe Straw

Awake and sing, ye that dwell in dust; Isaiah – 26:19

Awake and Sing! is a brilliant play by Clifford Odets now playing in repertory at A Noise Within Theatre in Glendale, California and directed by Andrew J. Traisters. 

Opening up in full familial glory, Awake and Sing! is a look into a forgotten time capsule and finding interesting artifacts. In the capsule is a figurine of a strong matriarchal figure and attached below her are the emasculate men in her family, all-cowering beneath her and grasping her robe.  

A family starts first as an idea, a dream of happiness, and thoughts of a blood relation that is unbreakable.

And then something happens.  Age mostly.  The children turn into adults and they have these strange ideas about love and happiness and living at home until they are thirty! Later, the Marxist grandparent moves in and eventually everyone is living under one roof.  Throw in a one-legged war veteran boarder and you’ve got countless conflicts under one roof. 

But, most of all, Awake and Sing! is a story of a Jewish middle class family struggling for life, in the Bronx no less.  

Bessie Berger (Deborah Strang) and Myron Berger (Joel Swetow) are living in a household that is forever stuck in the middle class. They struggle with their two grown children Hennie Berger (Molly Leland) and Ralph Berger (Adam Silver). Living with them is Bessie’s father Jacob (Len Lesser) and a boarder Moe Axelrod (Daniel Reichert). 

As you can imagine things are a bit crowded and everyone is kind of set in their ways but more so is Bessie who controls the household with an iron fist. Myron, her nebbish husband follows her around like their dog, Tootsie.

Jacob has discovered that his grandson Ralph is in love and has dreams of developing his relationship because “She’s like French words!”  Ralph wants to keep the relationship low keyed because “Mom’s not letting my sixteen bucks out of the house…”

Hennie is getting long in the tooth for the day (25 years old and getting younger everyday) and her parents can’t wait to give her to “anyone” who just asks. And then they discover that Hennie is pregnant.

“It’s like a play on the stage…” her crying heartbroken father says.

Bessie, taking matter into her own hands, orders Myron: “Tomorrow night bring Sam Feinschreiber for supper.”

But nobody really likes Feinschreiber (Daivd Lengel) and Bessie is willing to give Hennie to anyone who asks, like Moe who just came back into the room.

“Why don’t you, Moe? An old friend of the family like you.  It would be a blessing on all of us.” 

Moe’s got this idea that Hennie would not want  “A guy with one leg – it gives her the heebie-jeebies.”  Nevertheless, Moe Axelrod has his sights on Hennie throughout the play.

Bessie, always concerned about money invites her rich brother Morty (Alan Blumfield) for dinner. Jacob gives Morty his insurance policy made out to Ralph.  But Morty and Bessie, in another level of family, conspire to keep the money themselves in case something should happen to Jacob.

They all struggle for a piece of the pie and money seems to be an overriding concern to all of them.  

Alan Waserman as Schlosser has the thankless role of not being in the family and German to boot.

Lengel as Sam with a strong voice and powerful accent was fantastic! Lengel plays “second fiddle” to no one.

Silver as Ralph was equally good.  Ralph is always talking about tap dancing but never does a dance step on stage, I found that odd.

Leland, as Hennie, was excellent, but showing too much of her work on stage, without getting the desired results. The relationship with her grandfather was not as strong as it should have been.  And her relationship with Moe needs strengthening as if Moe had something to do with Hennie’s pregnancy.

Reichert, as Moe, was fantastic. (But, the notes in the play said he’s killed two men from extra marital affairs, did not see any of this in the character.)   It was difficult to determine what his relationship to the family was when he first rang the doorbell. Smooth exterior with a rough inner life, shyster and not taking anything from anyone, especially Bessie.

Jacobs’s (Lesser) relationship with Ralph, his grandson, is quite nice and all the more hurtful when Ralph turns on him. 

Blumenfeld as Uncle Morty liked holding the purse strings and will do anything to help his sister, Bessie. Nicely done!

Myron: Where you going, little Red Riding Hood?

Hennie:  Nobody knows, Peter Rabbit.

Swetow, as Myron, in such a defining moment in this play. Anyone who’s had a daughter will be touched by that moment.

Strang as Bessie manages to figuratively strangle those around her.  Manipulative and charming she believes she is the source of all that is right and if it isn’t right, she’s going to make it right because that what she does.

This is a play that requires strong relationships and Andrew Traister, the director, manages to pull it off.  It’s easy to see that lives are changed in a moment and Traister guides us there with ease.     

And I couldn't help but think that a little more humor would liven things up a little bit.

First produced in 1935 and directed by Harold Clurman, this was part of The Group Theatre’s production that stunned audiences into submission with their craft, their writer (Odets), and their realistic style of acting.  

The Group Theatre left a legacy that is still looked upon to this day with envy and deep respect much like A Noise Within, which, in and of itself, is a grand theatrical organization and shows playing here and now will be talked about for years to come.

http://www.anoisewithin.org

No-No Boy by Ken Narasaki

By Joe Straw

Wow!  No-No Boy is a wonderful new play by Ken Narasaki and directed by Alberto Isaac! Poetic and thought provoking this world premiere play is adapted from the novel by John Okada. Now playing March 26 – April 18, 2010 at the beautiful Miles Memorial Playhouse in Santa Monica, California.

No-No Boy is a title given to Japanese Americans when they answered “no” to the following two questions:

“Are you willing to serve in the armed forces for the United States on combat duty wherever ordered?”

“Will you swear unqualified allegiance to the United States of America and faithfully defend the United States from any or all attack by foreign or domestic forces, and forswear any form of allegiance or obedience to the Japanese emperor, to any other foreign government, power or organization.”

These questions, part of the 1943 Leave Clearance Applications Form, administered to interned Japanese Americans, were confusing.  The first one suggested the prisoner was volunteering for the draft.   The second implied the American citizen had already sworn allegiance to the Japanese emperor.

A no answer got the Japanese American out of the internment camp and into federal prison.

This is a play about the re-integration of the former prisoner Ichiro (Robert Wu) who has returned home in 1946 to resume a normal family life.  

But the road back home has changed starting with Eto (Chris Tashima) who discovers Ichiro is a no-no boy and welcomes him back into society by spitting on him. 

Ichiro walks into the back of the grocery store where he is warmly met by his Pa (Sab Shimono). Later, his Ma (Sharon Omi) greets him in true Japanese form. His brother Taro (Jared Asato), there also, is resentful of his brother and believes him to be a coward.  

The home picture has gotten a little bleak when Ichiro discovers his Ma is delusional; believing the Japanese have won the war and a ship will come for them any moment to take them away.  

Realizing reintroduction will not be an easy task, Ichiro finds a like-minded friend Freddie (John Miyasaki, March 26, April 12^th and Mike Hagiwara, April 16 – 18) who has also answered in the negative.  Freddie has found refuge with a woman in 2A (Emily Kuroda) who takes this man, as is, with no prejudices or discrimination for answering no. 

Ichiro and Freddie go to a bar where they meet Kenji (Greg Watanabe). The wounds from the war eat at Kenji and thoughts of tearing Ichiro head off for being a no-no boy still gnaws in the pit of his stomach. But Kenji, remembering the war, has the capacity of forgive.  And setting all differences aside, Kenji takes him to his former lover, Emi (Keiko Agena).   They spend the night and Ichiro, who reminds Emi of her husband, sleeps with Emi.

There are moments in this play that defy gravity.  Those moments feel like the play will soar and take you on one very exciting ride.   And yet the momentum stops suddenly and you are left standing like a prisoner behind the wire.

For example, Ichiro’s return home does not seem like a grand homecoming, internally or externally. Certainly, he must find some joy in coming home after being away for two years.  Also, Ichiro’s demeanor lacked an inner conflict that would have helped his physical life. That conflict being, “Did I make the wrong choice in saying no”.  He must always question until he is satisfied that he finds the answer.  

Secondly, Emi’s introduction to Ichiro, feels very flat.  Emi doesn’t react to Ichiro’s likeness to her husband and when they finally get to bed there is no excitement as though they have done this for years. Minor adjustments in the action will only strengthen the play.

After all, what are the characters searching for?  What do they want?  Significant simple answers to complex conflicting problems will guide them toward the truth.  Imaginative choices will propel the action.

Overall, this is a fantastic cast with some very nice performances despite a few problems. 

Sab Shimono as Pa was just excellent.  It was wonderful to see him telling stories with Japanese art projected on the wall.

Greg Watanabe was the heart of the show.  He seemed to have an inner truth that guided his performance. Flawless execution. Nicely done! 

Keiko Agena gave the show tenderness, as did Emily Kuroda warmth.  Ken Narasaki, in a small role and with the best Japanese accent, was wonderful.

Robert Wu, a fine performer, is not as focused as he should be starting with his 70’s style haircut.  There are many levels still yet to conquer not an impossible task given his range.

Sharon Omi as Ma started out fine. She takes pride that she is Japanese and that pride takes her to a tragic place from which she does not recover.  For example, she waits breathlessly, looking over the horizon for the Japanese ship to take her back to Japan.  She must be terribly heartbroken when they tell her the ship will never come.   

Ken Narasaki, the writer, has taken the novel and made it into a very pleasurable play. While there is no Japanese spoken here there is a sense of ingrained culture embedded in this play.  This makes the play all the more enjoyable.

Aaron Pagel choreographed the fight scenes, nicely done.

Alberto Isaac, the director, did a fine job.  The death scenes were poetic.  The opening is quite fantastic!  Go see this play!  If not for the historical significance to ask yourself the question, “What could the American Government have been thinking to put our citizens in internment camps?”