A deadly quest in 'A Gentleman's Guide to Love and Murder'

 

Andrew Cope is Monty Navarro, while Chesney Evert is Phoebe D’Ysquith. (Photo by Scott Lasky)

 

A young Englishman is handsome, charming and smart but virtually penniless. When he learns that he’s eighth in line for an earldom, he sets about eliminating the people ahead of him.

Such is the premise of “A Gentleman’s Guide to Love and Murder,” the musical comedy being presented by Palo Alto Players.

The man in question is Monty Navarro (Andrew Cope). His competitors are all members of the D’Ysquith family. One of the fun parts of this show is that they’re all played by the same versatile actor, Brandon Savage. Costumes by Halbert M. DuBiel facilitate and delineate each of Savage’s characters.

Another fun part of this Tony-winning show is the varied way that each person meets his or her demise along with the way that Monty looks so innocent and angelic each time one of them dies.

And of course there are love interests with both Sibella Hallward (Brenna Silva) and Phoebe D’Ysquith (Chesney Evert) attracted to him.

Lee Ann Payne has expertly directed and choreographed this clever show, which features a book and lyrics by Robert L. Freedman and music and lyrics by Steven Lutvak based on a novel by Roy Horniman.

Excellent acting, singing and dancing add to the enjoyment, as does Tony Gaitan’s music and vocal direction along with the old-timey stage set by Patrick Klein and sound by Chris Beer.

The only caveat is that the English accents can be hard to understand, but everything else is done well.

“A Gentleman’s Guide to Love and Murder” continues through Sept. 27 at the Lucie Stern Theater, 1305 Middlefield Road, Palo Alto.

For tickets and information, call (650) 329-0891 or visit www.paplayers.org.

 

 

 

'Pickleball' launches Hillbarn's 86th season

 

From left: Sheldon (Chris Reber). Spike (Will Livingston), Larry (Erin Gould) and Billie (Rebecca Schweitzer) exchange words before playing. (Tracy Martin photo)

Hillbarn Theatre & Conservatory is opening its 86^th season with Jeff Daniels’ “Pickleball,” inspired by the sport that’s growing in popularity.

For example, when Hillbarn artistic director Stephen Muterspaugh spoke to the sold-out audience at Aug. 22’s opening night, he asked how many people were there for the first time. Dozens raised their hands.

When he then asked how many people there played pickleball, almost as many raised their hands. One can only assume that the play’s title brought them there.

Despite its popularity, pickleball has caused controversy. Tennis players don’t like yielding court space and time to it. Neighbors complain about the noise caused by plastic balls propelled by paddles.

The noise aspect opens the play as an offstage woman complains about it, saying she’s trying to get her toddler to bed.

However, neither controversy is explored any farther.

Instead, four of its principal players enter the court with their paddles, ready to play.

Well, one of the friends isn’t playing. Sheldon (Chris Reber) hurt his back in a game and can barely walk.

The other three are Spike (Will Livingston), Sheldon’s pickleball partner; and pickleball partners Larry (Erin Gould) and Billie (Rebecca Schweitzer).

Larry is the kind of man who, when meeting a woman, asks if she’s single. Billie is mourning the death of her wife.

They’re occasionally joined by the strutting, enigmatic Perfect (Imri M. Tate), who runs a business aimed at improving players’ skills.

Even though pickleball is meant to be fun, at least in this play it can also be deadly, as alluded to by some of the characters.

As directed by Marissa Keltie, this production sports fine acting by everyone along with noteworthy designs: the set by Muterspaugh, lighting by Pamila Gray, costumes by Lisa Claybaugh and sound by Jeff Mockus.

The credits don’t mention a choreographer or movement director, but there are some stylized movement and dancing. The latter is set to a rap routine, which comes soon after the actors inexplicably burst into the “Hallelujah Chorus” from Handel’s “Messiah.”

Nor is there any actual pickleball playing.

And while there is a lot of dialogue, the play doesn’t seem to have plot or through-line per se. Thus one is left to wonder what impression the first-time Hillbarn audience members/pickleball players might get.

Running about 80 minutes without intermission, “Pickleball” will continue through Sept. 13 at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City.

For tickets and information, call (650) 349-6411 or visit www.hillbarntheatre.org.

 

 

Palo Alto Players stages laugh-filled farce, 'The Cottage'

From left: Steve Allhoff as Beau, Brandon Silberstein as Clarke, Michelle Skinner as Marjorie and Kate McGrath as Sylvia. (Scott Lasky photo)

Infidelity and sibling rivalry are just two of the issues arising in Sandy Rustin’s “The Cottage,” presented by Palo Alto Players.

This laugh-filled farce takes place in an English countryside cottage in 1923. As it opens, Sylvia (Kate McGrath) and Beau (Steve Allhoff), both of them married to other people, are preparing for their once-a-year tryst.

However, complications pile up with each sharp knocking at the door.

Marjorie (Michelle Skinner), Beau’s pregnant wife, arrives with her lover, Clarke (Brandon Silberstein), who is Beau’s brother and Sylvia’s husband.

Not much later, Diedre (Natalie To), Beau’s other girlfriend, shows up. She’s recently divorced from Richard (Lysander Abadia) and fears he wants to kill her. His menacing arrival, gun in hand, closes Act 1.

Things get even more complicated in Act 2, especially with that gun, and not everyone is who he or she purports to be.

Director Katie O’Bryan Champlin deftly directs this talented ensemble cast and keeps the mounting silliness from going overboard.

Kevin Davies has designed the cottage’s inviting living room and its props. Thus he adds to the humor with subtle touches such as (smokeless) cigarettes secreted in unlikely places.

The stylish ’20s costumes were designed by Jenny Garcia, complemented by Karen Althoff’s hair and makeup designs.

Lighting by Samantha Schroeter and sound by David Hobbs contribute to the enjoyment.

The English accents are sometimes difficult to understand, but the actors and director get the meaning across nonetheless.

Because of the adult themes, Palo Alto Players says that the play is recommended only for people 13 or older.

Running about two hours and 20 minutes with one intermission, “The Cottage” will continue through June 28 at the Lucie Stern Theater, 1305 Middlefield Road, Palo Alto.

For tickets and information, call (650) 329-0891 or visit www.paplayers.org.

Palo Alto Players' 'Frozen' has treats for all ages

 

Anna (Lauren Berling in red) reunites with  her sister, Elsa (Astraea Brown), to the delight of (from left) Kristoff (Sadat Hoosain), reindeer Sven (Peter Bullen) and Olaf (Ralph Shehayed). (Photo by Scott Lasky) 

Palo Alto Players’ production of “Frozen” seemingly has something for everyone, especially the younger set.

The sold-out audience at the April 26 matinee on opening weekend included dozens of excited little girls outfitted like princesses and clearly delighted at what they were seeing and hearing.

Their outfits emulated the two principal characters, Anna (Lauren Berling) and Elsa (Astraea Brown), sisters who were princesses in the mythical kingdom of Arendelle.

Elsa, the older sister, had magical powers to create ice and snow that her parents tried to keep in check. However, after they died and she became queen, she accidentally revealed her powers and plunged Arendelle into endless winter, forcing her to flee.

Therefore, Anna set off to find her and try to melt the ice and snow. She was aided by an ice courier, Kristoff (Sadat Hossain), and his reindeer, Sven (Peter Bullen), along with a snowman, Olaf (Ralph Shehayed).

Based on the 2013 popular animated Disney film, “Frozen” is full of songs with music and lyrics by Kristen Anderson-Lopez and Robert Lopez with a book by Jennifer Lee.

Under the direction of Janie Scott, the 25 members of the Palo Alto Players’ production imbue it with fine singing, acting and dancing sure to delight people of all ages.

Many of the actors play multiple roles defined by the colorful costumes designed by Patricia Tyler.

Patrick Klein, PAP’s artistic director, is credited as creative director, working with Tyler as well set designer Kevin Davies, lighting designer Edward Hunter, sound designer Jeff Grafton and projections designer Alanna Bardell. Richard Hall is the musical director and orchestra conductor.

The lively choreography is by Karen Law and Stacy Reed.

Together these designers as well as the actors conjure up theatrical magic sure to enchant people of all ages.

Running about two hours and 40 minutes with one intermission, “Frozen” will continue through May 10 at the Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto.

For information and tickets, call (650) 329-0891 or visit www.paplayers.org.                  

 

'Come From Away' focuses on human aftermath of 9/11

 

The cast of "Come From Away" joins together in song. (Kevin Berne photo)

Much changed on Sept. 11, 2001, when terrorists hijacked four passenger planes and crashed into the twin towers of the World Trade Center in New York, the Pentagon in Washington and a field in Pennsylvania, killing thousands of people.

In the immediate aftermath, air traffic was halted in the United States and Canada, forcing 38 transatlantic planes with some 7,000 people aboard to land at the airport in the small island town of Gander, Newfoundland, which had fewer than 10,000 residents.

“Come From Away,” a musical presented by TheatreWorks Silicon Valley, focuses on people who must adapt to the situation.

The versatile six women and six men in the cast portray both the passengers and townspeople.

When the play opens, the townspeople are preparing for an ordinary day as news of the attacks begins to surface. They soon learn that they’ll have to accommodate all the people from the diverted planes.

Therefore they muster up all available resources and welcome their unexpected visitors. Despite some initial wariness and cultural differences, the hosts and visitors warm to each other.

By the time the planes are allowed to leave after several days, friendships and a romance have blossomed, but another relationship has ended under the strain.

As directed by Robert Kelley, TheatreWorks’ retired founder and artistic director, the talented ensemble cast smoothly switches characters as the story unfolds. The result is a heartwarming, uplifting salute to humanity rising above the evil and tragedy of 9/11.

The music, lyrics and book by Irene Sankoff and David Hein distill the events into about an hour and 40 minutes without intermission. Therefore, some of the information is delivered so quickly that it’s hard to absorb everything.

However, the essential spirit comes through thanks to the cast, Kelley, musical director William Liberatore, choreographer/assistant director Alex Perez, set designer Wilson Chin, costume designer B. Modern, lighting designer Pamila Z. Gray and sound designer Cliff Caruthers.

This outstanding production of “Come From Away” continues through May 10 at the Mountain View Center for the Performing Arts, 500 Castro St., Mountain View.

For tickets and information, call (877) 662-8978 or visit www.theatreworks.org.

 

 

 

TheatreWorks stages Pulitzer-winning 'Primary Trust'

 

Bert (Kenny Scott, left) listens as Kenneth (William Thomas Hodgson) is interviewed by the bank manager (Dan Hiatt). (Kevin Berne photo)

Kenneth (William Thomas Hodgson) is 38 years old and works in a bookstore in Cranberry, N.Y.

As depicted in TheatreWorks Silicon Valley’s production of Eboni Booth’s Pulitzer Prize-winning “Primary Trust.” Kenneth has only one friend, Bert (Kenny Scott).

The two of them hang out at a tiki bar, Wally’s, and drink mai tais served by a succession of waitresses, all played by Rolanda D. Bell.

There’s just one catch. Bert is just an imaginary friend to Kenneth, who was orphaned at age 8 and bounced around thereafter.

When the bookstore owner (Dan Hiatt) decides to close it and move to Arizona for health reasons, Kenneth loses his job.

However, the manager (Hiatt), of a local bank, Primary Trust, hires him as a teller. Soon he’s doing well in his new job.

On the other hand, Kenneth becomes concerned and then upset when Bert no longer shows up.

Eventually Kenneth finds himself relating to other people and realizing that he doesn’t need Bert. He’s doing quite well on his own.

Directed by Jeffrey Lo, the play sometimes seems to move slowly, but it gains momentum.

The four actors all do well, as does Jonathan Erman, who plays piano at Wally’s.

The play is well served by Christopher Fitzer’s scenic design, Becky Bodurtha’s costumes, Steven B. Mannshardt’s lighting and Gregory Robinson’s sound.

Running about 90 minutes without intermission, “Primary Trust” will continue through March 29 at the Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto.

For tickets and information, call (877) 662-8978 or visit www.theatreworks.org.

 

 

 

Hillbarn stages 'Songs for a New World'

Sidney Matthew Román (left) is Man 1, Sophie Oda is Woman I, Coleton Schmitto is Man 2 and Jessica Coker is Woman 2. (Tracy Martin photo)
 

Although “Songs for a New World” has been around since 1995, it has a contemporary feel, as shown in the production by Hillbarn Theatre & Conservatory.

It’s not a drama as such. There’s no dialogue, nor are there named characters in the songs by Jason Robert Brown.

Instead, the performers go by Woman 1 and 2, and Man 1 and 2. Together and individually they sing songs meant to convey ideas such as the hope that brought people across the sea to a new world, as expressed in “On the Deck of a Spanish Sailing Ship, 1492,” performed by Man 1 (Sidney Matthew Román).

After that there are songs of despair, such as the company’s “The River Won’t Flow,” which refers to homelessness.

There also are songs of hope, of love lost and regained, and the human cost of war.

Six panels with projected images are suspended over the stage in Eric Olson’s scenic design as a way to illustrate and amplify the feelings of the songs.

The floor is painted with phrases like “Ocean of Despair,” “The Lonely Desert,” “Delta of Desire” and others.

Much credit for the projections goes to Cindy Goldfield, They become quite contemporary in some of the latter songs, especially “Hear My Song,” which is accompanied by photos from the protests that followed recent ICE actions in Minneapolis, including the murders of Renee Good and Alex Pretti.

Besides designing the projections, Goldfield skillfully directed this production and its movements.

The four cast members are all good singers and actors. Besides Román as Man 1, they are Coleton Schmitto as Man 2, Sophie Oda as Woman 1 and Jessica Coker as Woman 2.

Music director and keyboardist Jad Bernardo directs two other musicians on an upstage platform.

The costumes are by Stephanie Dittbern with lighting by Pamila Gray and sound by Jeff Mockus.

Because this is live theater, glitches sometimes arise. Such was the case opening night when Román’s mike suddenly went out during his “King of the World,” but he continued singing as if nothing were wrong. His mike worked thereafter.

Another more subtle problem was a backlight seen on the audience’s left that flickered throughout the show.

Running about 90 minutes without intermission, “Songs for New World” will continue through May 17 at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City.

For tickets and information, call (650) 340-6411 or visit www.hillbarntheatre.org.

 

 

 

 

TheatreWorks presents ‘Hershey Felder: The Piano and Me’

 

Hershey Felder at the piano (David Lepori)

Piano virtuoso Hershey Felder has long been a TheatreWorks Silicon Valley favorite with his one-man shows featuring beloved composers like Rachmaninoff, Gershwin, Chopin, Tchaikovsky, Berlin and Beethoven.

Now he’s back playing himself in the world premiere of his “Hershey Felder: The Piano and Me.”

It’s a fascinating, entertaining autobiographical work that starts in 1974, focuses mainly on his childhood and early adulthood, and offers more music by classical masters.

He talks a lot about his Jewish roots: his parents in Montreal and his Polish and Hungarian grandparents. His grandparents and others talked about the horrors of the Holocaust. Often he speaks in their voices and with their accents.

And of course, he talks about his relationship with the piano, beginning when he was fascinated by it when he was about 3 years old. He also talks about the teachers who helped him along the way.

Besides creating and performing in this work, Felder designed its scenic and visual elements. Books and luggage are arrayed across the stage in front of a grand piano.

Videos and projections by Stefano De Carli show composers, family members and various settings.

The lighting is by Erik S. Barry with sound design by the production manager, Erik Carstensen.

The show runs just under two hours with no intermission. Afterward, Felder graciously answers audience questions.

“Hershey Felder: The Piano and Me” will continue through Feb. 8 at the Mountain View Center for the Performing Arts, 500 Castro St., Mountain View.

For tickets and information, call (877) 662-8978 or visit www.theatreworks.org.

Constitution inspires play at Hillbarn

 

Vincent Randazzo as Mike listens as Heidi, played by Kimberly Donovan, talks about the Constitution. (Hillbarn photo)

In view of today’s political turmoil in the U.S., Hillbarn Theatre & Conservatory’s production of Heidi Schreck’s “What the Constitution Means to Me” would seem quite timely.

However, it mainly takes place when the playwright was still in high school. To earn money for college, she entered contests to talk about what the Constitution means to her.

The action takes place in an American Legion hall in Wenatchee, Wash., when her character, Heidi (Kimberly Donovan), was 15. The contest has time limits overseen by a Legion member, Mike (Vincent Randazzo).

Mostly she talks about Amendment 14, ratified in 1868. It provides for equal protection under the law, calls for due process and grants citizenship to anyone born in the United States. At the time it was intended to grant citizenship to former slaves.

Schreck says many of these rights seemed to apply only to men. Hence, she espouses feminist views.

She seems to switch between her teenage and adult selves, talking about her life and family.

A third character, Debater (Miriam Shev-Tov at the Jan. 23 opening), appears later to debate Heidi. She’s an actual 15-year-old who has more contemporary view of the Constitution and its role in current affairs. She makes points that seem to resonate with the audience.

(Another Debater, Avery Hartman, is listed in the program but didn’t appear at the opening. It’s likely that she and Shev-Tov alternate in the role, but the program doesn’t say so.)

As directed by Susannah Martin, Donovan is too hyper and shouts too much, diluting her effectiveness. The other two performers are more subdued.

The subtle sound design is by Jeff Mockus with the set by Jenna Forder, lighting by Cameron Pence and costumes by Madeline Berger.

Running about two hours with no intermission, “What the Constitution Means to Me” will continue through Feb. 8 at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City.

For tickets and information, call (650) 349-6411 or visit www.hillbarntheatre.org.

 

 

Book, movie, now stage: 'Da Vinci Code' goes live in Palo Alto

 

Christian Vaugh-Munck as Robert Langdon and Alli Gamlen as Sophie Neveu try to figure out secrets that will help solve mysteries. (Scott Lasky)

People who enjoyed Dan Brown’s “The Da Vinci Code” best-selling novel and/or the movie might be disappointed at Palo Alto Players’ production of the stage adaptation by Rachel Wagstaff and Duncan Abel.

As directed by Jennifer Copaken, who also serves as movement director, it’s over-produced, and its story is hard to follow.

Part of the problem is that some of the accents are hard to understand. Hence it’s difficult to discern the role of some characters in the convoluted plot.

Basically it focuses on Robert Langdon (Christian Vaughn-Munck), a Harvard symbologist who’s summoned to the Louvre in Paris, where a curator has been murdered.

He teams up with a French cryptologist, Sophie Neveu (Alli Gamlen), to try to figure out exactly what happened and who’s responsible.

They eventually realize that they’re trying to decipher a code that will reveal the secret history of the origins of Christianity. The works of Da Vinci provide some clues.

Two dancers appear at the beginning of the play and between scenes. Sometimes they’re joined by black-robed monks who manipulate various geometric blocks. They seem extraneous.

This production features ominous music by Anton Sabirianov and abstract projections by Tasi Alabastro.

The simple set is by artistic director Patrick Klein with lighting by Edward Hunter, costumes by Andy Lechuga and sound by Gregorio Perez.

Running about two and a half hours with an intermission, “The Da Vinci Code” will continue through Feb. 1 at the Lucie Stern Theater, 1305 Middlefield Road, Palo Alto.

For tickets and information, call (650) 329-0891 or visit www.paplayers.org.  

Everything adds up to an enjoyable 'Cinderella' at Hillbarn

 

Cinderella (Solona Husband, second from right) and her stepfamily (from left) Judith Miller as Madame, Paige Collazo as Charlotte and Ayanna Brewer as Gabrielle. (Photo by Mark Kitaoka)

Several reasons account for the enjoyment of Hillbarn Theatre & Conservatory’s musical production of “Cinderella.”

Chief among them are the character-defining costumes designed by Pam Lampkin, especially the outlandishly elaborate dresses worn by Cinderella’s two stepsisters and stepmother.

On the other hand, in a puff of smoke, the raggedy dress worn by Cinderella (here called Ella) magically transforms into a lovely gown. A similar transformation takes place as the beggar woman, Marie, becomes Cinderella’s fairy godmother.

Another reason for the show’s success is the show itself with music by Richard Rodgers, lyrics by Oscar Hammerstein II and a new book by Douglas Carter Beane.

Yet another reason is director Randy O’Hara, who also is co-choreographer with Zoë Swenson-Graham. He has selected a terrific cast of performers who sing, dance and act well.

Solona Husband is a charmingly winsome Ella. She’s well paired with Sidney Matthew Romȧn as the gallant Prince Topher.

Her imperious, cruel stepmother is played by Judith Miller, while her seemingly thoughtless stepsisters are played by Ayanna Brewer as Gabrielle and Paige Collazo as Charlotte.

In this version of the Cinderella fairy tale, several characters experience epiphanies that change their attitudes and behavior for the better with an emphasis on kindness.

Although the set design by Eric Olson is relatively simple, it’s augmented by projections that help to define the setting.

The production team also includes music director Andrew Burden, aided by a recorded orchestration, along with lighting designer Pamila Gray and sound designer Jeff Mockus.

Running about two and a half hours with an intermission, “Cinderella” will continue through Dec. 28 at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City.

For tickets and information, call (650) 349-6411or visit www.hillbarntheatre.org.

 

 

Charming 'Annie" a big hit for Palo Alto Players

 

Annie (Julie Li) has a new friend, Sandy (Jinkua). (Photo by Scott Lasky)

Palo Alto Players has a smash hit with its production of “Annie.”

Although it’s almost 50 years old, this Tony-winning musical still has the power to charm, thanks to its characters and story.

Inspired by the once-popular comic strip, “Little Orphan Annie,” the book by Thomas Meehan with music by Charles Strouse and lyrics by Martin Charnin keeps only a few main characters and tells its own story.

In this version, 11-year-old Annie (Julie Li) lives in a New York City orphanage for girls in 1933, during the depths of the Great Depression. Her parents left her there when she was an infant but said they’d come back for her when they could.

The orphanage is overseen by the tippling, tyrannical Miss Hannigan (Morgan Dayley). Her song, “Little Girls,” says all you need to know about how she regards her charges.

Hoping to find her parents, Annie runs away but is soon found and returned to the orphanage. While on the lam, however, she befriends a stray dog, Sandy, here portrayed by Jinkua, a lovable golden retriever.

Back at the orphanage, she happens to be in the right place at the right time when Grace Farrell (Marie Finch) comes by to say that her employer, billionaire Oliver Warbucks (Joey McDaniel), wants an orphan to stay with him in his mansion over Christmas.

Warbucks is so taken with Annie that he wants to adopt her, but she’s supposedly not an orphan. Instead, he pulls strings with Washington higher-ups to launch a national search for her parents.

Aided by his sister, Miss Hannigan, Rooster Hannigan (Brandon Savage) and his girlfriend, Lily St. Regis (Vanessa Mendy), pretend to be Annie’s parents in order to collect a $50,000 reward, but the scheme is uncovered and the three culprits are brought to justice.

Then thanks to an FBI investigation, information is found that clears the way for Warbucks to adopt Annie. In the meantime, she also has charmed President Roosevelt (Charles Evans) and inspired his New Deal.

The show is full of memorable music like “It’s a Hard Knock Life,” sung by the orphans as they scrub the floor, and the show’s optimistic anthem, “Tomorrow,” a real show-stopper.

Director/choreographer Joey Dippel has chosen a terrific, diverse cast of talented actors who sing and dance well.

Li as the endearing title character meets its challenges and then some. All of the other principal characters are noteworthy along with the entire cast.

This production opens with grainy newsreels from the Depression, showing long bread lines, the homeless and unemployed people. Given the crises created by the recent government shutdown, these newsreels are timely.

Adding to the show’s enjoyment are the costumes by Nolan Miranda, set by PAP artistic director Patrick Klein, lighting by Edward Hunter and sound by Brian Foley. The vocal/music director is Pamela Serrano, while the orchestral accompaniment is recorded.

Running about two hours and 40 minutes with an intermission, “Annie” will continue through Nov. 23 at the Lucie Stern Theater, 1305 Middlefield Road, Palo Alto.

It has proven so popular that another performance has been added. For details and tickets, call (650) 329-0891 or visit info@paplayers.org.  

 

 

Mateo (Jon Victor Corpuz) and Diane (Lee Anne Payne) drive to San Diego. (Kevin Berne photo)

 

What starts as a journey of discovery for an adopted teenager turns out to reveal discoveries for both him and his adoptive mother.

In this world premiere presented by TheatreWorks Silicon Valley, playwright Jordan Ramirez Puckett’s “The Driving Beat” features Jon Viktor Corpuz as Mateo, a brown, almost 15-year-old, and Lee Ann Payne as Diane, his white adoptive mother.

Livia Gomes Demarchi plays the other characters they encounter as they drive from their home in Ohio to the San Diego hospital where Mateo was born. He hopes to learn about his birth mother.

What Mateo learns about her changes his perception of his ethnicity and causes him and Diane to re-examine and strengthen their relationship.

It also causes him to encourage Diane to stop mourning for her deceased lesbian partner and to open herself to new possibilities.

As directed by TheatreWorks’ Jeffrey Lo, all three actors are outstanding. Payne and Corpuz are convincing as mother and son.

Demarchi embodies all of her miscellaneous characters such as the swaggering cop who stops the travelers’ car and questions whether Mateo is a U.S. citizen. As the waitress in the restaurant of the hotel where they’re staying one night, she inadvertently helps Diane to begin coming to terms with her repressed sexuality.

The play has its moments of humor. However, Mateo’s launching into rap and beatboxing while dancing could be a turnoff to some viewers. According to a Wikipedia entry, beatboxing is “a form of vocal percussion primarily involving the art of mimicking drum machines using one's mouth, lips, tongue, and voice.”

Rather than the main stage at the Mountain View Center for the Performing Arts, this play is being presented in the smaller SecondStage with the audience seated on three sides.

Christopher Fitzer’s flexible scenic design uses the space well with only a few set pieces. However, the theater’s walls are filled with traffic signs, license plates and other items to emphasize the road trip.

Other design elements complement the production with lighting by Steven B. Mannshardt, costumes by Lisa Misako Claybaugh and sound by Cliff Caruthers.

First seen in TheatreWorks’ 2024 New Works Festival, this production will continue through Nov. 23 in the theater at 500 Castro St., Mountain View. Some performances will assist people who are hearing or vision impaired.

For tickets and more information, call (877) 662-8978 or visit www.theatreworks.org.  

Hillbarn stages 'Murder for Two'

 

Kevin Kelly and Michelle Lemon in "Murder for Two." (Tracy Martin photo)

It was supposed to be a surprise birthday party for successful mystery writer, Arthur Whitney, but just as he was walking through the front door of his New England mansion, he was shot dead.

So begins “Murder for Two,” the musical mystery presented by Hillbarn Theatre & Conservatory.

The “two” in the title refers to the fact that only two actors play all of the parts.

Kevin Kelly is Marcus, a local police officer with hopes of becoming a detective, who’s dispatched to investigate, along with his unseen partner.

Michelle Lemon plays the other 12 characters of both genders. All are considered a suspect because everyone had a reason to want to kill Arthur.

With a book and music by Joe Kinosian and book and lyrics by Kellen Blair, the show has shades of Agatha Christie as each suspect’s possible motives are revealed before the surprise ending.

Directed by Jeffrey Bracco with musical direction by Rick Reynolds, both actors do well, especially Lemon, a multi-talented performer who can sing and dance as well differentiate each character with only a shift in vocal tone or posture. Like Kelly, who also sings, she plays the piano, too. Her performance is a true tour-de-force.

The stage design by Eric Olson and mood lighting by Pamila Gray, along with sound by Jeff Mockus and costumes by Madeline Berger, help to set the appropriate mood.

Despite the fine performances, this production seems to drag, especially when a suspect sings his or her story. And then after the actors take what one assumes is their final bow, they return for one more song.

Nevertheless, the opening night audience seemed to enjoy it.

Running about an hour and 45 minutes with no intermission, “Murder for Two” will continue through Nov. 2 at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City.

For tickets and information, call (650) 349-6411 or visit www.hillbarntheatre.org.

 

 

'Little Women' comes to life at TheatreWorks

 

The March women are, from left, Meg (Emily Ota), Amy (Sharon Shao), Marmee (Cathleen Ridley), Jo (Elissa Beth Stebbins) and Beth (Lauren Hart). Kevin Berne photo

Playwright Lauren Gunderson has an affinity for 19^th century female authors, as evidenced by her adaptations inspired by Jane Austen and now in “Louisa May Alcott’s Little Women,” receiving its world premiere by TheatreWorks Silicon Valley.

Set in New England during the Civil War, it focuses on the impoverished March family – mother and four daughters – while the father is away at war.

The central character is the second-oldest daughter, Jo (Elissa Beth Stebbins), who sometimes speaks as Alcott herself and who aspires to be a writer. Early in the play she also says she has wished she were a boy.

Meg (Emily Ota) is the oldest sister. Behind them in age are Beth (Lauren Hart) and the youngest, Amy (Sharon Shao). Their mother is called Marmee (Cathleen Riddley), an island of calm and good sense.

Her daughters have their share of sisterly squabbles as well as traumas such as the scarlet fever that Beth contracts. Nevertheless, familial love unites them.

Their neighbor, the personable Laurie (Max Tachis), is deeply in love with Jo, who cherishes their friendship but can’t return his love.

Completing the cast is George Psarras as John, who courts Meg and does double duty as Bhaer, the German scholar who connects with Jo.

Director Giovanna Sardelli has assembled an outstanding group of actors, each one believably embodying his or her character in an endearing fashion. The audience comes to care for each one.

The action occurs over several years and moves from the March household to Europe. Annie Smart’s austere set aids each transition, enhanced by Kurt Landisman’s lighting design and James Ard’s sound design.

Period costumes by Meg Neville are praiseworthy, too.

Running about two and a half hours with a 15-minute intermission, this memorable production will continue through Oct. 12 at the Mountain View Center for the Performing Arts, 500 Castro St.

For tickets and information, including performances to enhance accessibility, call (877) 662-8978 or visit www.theatreworks.org.

 

'Gypsy' gets Palo Alto Players off to a great start

 

Ray D’Ambrosio is Herbie, Whitney Hisako Moore is Louise and  Caitlin Gjerdrum is Mama Rose. (Scott Lasky photo)

Palo Alto players has opened its 95^th season with a splendid production of a musical theater classic, “Gypsy.”

With music by Jule Styne, lyrics by Stephen Sondheim and a book by Arthur Laurents, this 66-year-old masterpiece was inspired by the memoirs of Gypsy Rose Lee.

Its central character is Mama Rose, the stage mother from hell, who pushed and manipulated her daughters, Louise and June, toward what she hoped would be vaudeville success. In the process, she strained her finances and kept the girls out of school.

Although June showed more promise, she escaped her mother’s clutches by eloping with one of the boys in their act. She became actor June Havoc.

Rose then focused on the reluctant Louise, who eventually blossomed into Gypsy Rose Lee.

Director Janie Scott has assembled a 29-member cast ranging from kids to adults, each creating a believable character.

As Mama Rose, Caitlin Gjerdrum embodies the character’s fierce determination, apparently undaunted by one setback after another. She’s also a terrific singer who belts out such songs as “Everything’s Coming up Roses” and her finale, “Rose’s Turn.”

Portraying her daughters as young girls are Caitlin Segal as June and Phoebe Wagner as Louise. Segal’s June is featured in “Let Me Entertain You,” singing, dancing and, in another sequence, baton twirling, while Wagner’s Louise is clearly uncomfortable. She knows that she doesn’t have Louise’s talent.

However, they both sing well.

Their adult characters are played by Samantha Borthwick as June and Whitney Hisako Moore as Louise, both of whom are talented.

Another noteworthy performance comes from Ray D’Ambrosio as the longsuffering Herbie, who becomes the girls’ manager and falls in love with Rose. He hopes to marry her, but she keeps putting him off.

The three burlesque strippers add comic touches thanks to Kristina Nakagawa as Tessie Tura, Chloe Angst as the horn-tooting Mazeppa and Barbara Heninger as a decrepit Electra in “You Gotta Get a Gimmick.”

Scott’s direction is enhanced by choreography by Michael Saenz, especially his routine for Tulsa (Ralph Shehayed) in “All I Need Is the Girl.”

Kudos to music and vocal director Amanda Ku, who conducts from the orchestra pit.

Costumes by Jenny Garcia help to define the characters, as do the hair, wigs and makeup by Nicole Hoke.

Scenic design by Kevin Davies establishes each scene yet is flexible enough for quick changes. The sound is by Chris Beer, the lighting by Noah Price.

The Sept. 7 matinee featured two ASL interpreters seated house left who made the show accessible to the hearing impaired.

Theatergoers also saw some construction equipment and fencing around Lucie Stern Center, which is undergoing roof repairs.

Running about three hours with one intermission, this thoroughly entertaining production of “Gypsy” will continue through Sept. 21 in the Lucie Stern Theater, 1305 Middlefield Road, Palo Alto

For tickets and information, call (650) 329-0891 or visit www.paplayers.org.

Hillbarn opens season with laugh-filled 'Plaza Suite'

 

Karen (Laura Jane Young, center) has her doubts about the relationship between Sam (Will Springhorn Jr.) and Jean (Jessie Kirkwood). Photo by Mark Kitaoka

Hillbarn Theatre & Conservatory is launching its 85^th season with a Neil Simon comedy, “Plaza Suite.”

Set in the famed Plaza Hotel in New York City in late 1968 and early 1969, its three acts spotlight three different couples who stay there. The couples are played by the same two actors, Will Springhorn Jr. and Laura Jane Young.

In Act1, the couple is staying there while their suburban house is being painted. As it opens, the wife, Karen, is waiting for her husband, Sam, so that they can celebrate their 40-something anniversary.

When Sam arrives, he’s busy with business reports and tries to ignore her. He’s soon joined by his secretary, Jean (Jessie Kirkwood), supposedly to review those reports before they go back to the office.

Karen intuits that Sam and Jean are having an affair. It’s not a happy ending.

In Act 2, a successful Hollywood movie producer, Jessie, connects with his high school girlfriend, Muriel. She’s married with children, while he has had three unsuccessful marriages.

He has an idealized view of her and tries to seduce her. She resists at first, but eventually gives in.

In Act 3, Roy and Norma are all set for their daughter’s marriage, but Mimsey  (Kirkwood) has locked herself in the bathroom and refuses to come out. When they finally learn why she’s so afraid of marriage, they’re forced to look at their own relationship.

Completing the cast are Will Livingston (on opening night) as a bellhop and the groom-to-be and Mauricio Suarez as a room service waiter.

As directed by Marissa Keltie and aided by costume designer Lisa Claybaugh, Springhorn and Young successfully navigate the challenges of their characters.

However, Simon tends to make the male lead domineering and the female lead dithering. Hence there’s an underlying sameness to them, especially the two husbands.

Nevertheless, there are lots of laughs as well as insights into the perils of coupledom.

Production values are high with lighting by Pamila Gray, set by Eric Olson and sound by Jeff Mockus.

The program has interesting information about the history of Hillbarn as well the Plaza Hotel. For example, the hotel was bought by Donald Trump in 1988. He installed his then-wife, Ivana, as president and manager. They made renovations and redecorated before going through a nasty divorce and losing the hotel to foreclosure in 1995.

Running about two and a half hours with two intermissions, “Plaza Suite” will continue through Sept. 14 in Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City.

For tickets and information, call (650) 349-6411 or visit www.hillbarntheatre.org.

 

TheatreWorks premieres 'Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean: A New Musical'

 

From left: Ashley Cowl as Edna, Stepanie Gibson as Sissy, Shakina as Joanne and Stella Mae (Hayley Lovgren) gather for their reunion. (Photo by Kevin Berne)

James Dean was movie idol whose death in a car accident in 1955 at the age of 24 caused his legions of fans, especially teenage girls, to go into mourning.

In “Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean: A New Musical,” some fan club members gather for a reunion honoring him 20 years later. Their small hometown in Texas is near the setting of his last film, “Giant.”

In this world premiere presented by TheatreWorks Silicon Valley, they meet in a dime store owned by Loretta (Judith Miller) a Southern Baptist widow. They include Mona (Lauren Marcus), Sissy (Stephanie Gibson), Stella Mae (Hayley Lovgren) and Edna Louise (Ashley Cowl).

They’re soon joined by a mysterious stranger driving a Porsche. She reveals herself to be Joanne (Shakin

a), who 20 years ago was known as Joe, Mona’s husband.

On top of that, Mona has a son (Ellie Van Amerongen) whom she has named Jimmy Dean because she supposedly had a one-night stand with the movie star when he was in the area. She also makes a claim to fame because she was in a crowd scene in “Giant.”

Secrets are revealed and relationships challenged during the reunion.

Director Giovanna Sardelli, who is TheatreWorks’ artistic director, has assembled a talented ensemble cast with each member spotlighted individually or in a group and creating a memorable character.

Although everyone sings well, Shakina’s lyrics can be hard to discern in Dan Gillespie Sells’ country western-style music. It might be helpful to follow the San Francisco Opera’s use of supertitles -- even for operas in English.

The book by Ashley Robinson is based on Ed Graczyk’s play, which has had several stage and film iterations.

The artistic team makes noteworthy contributions with musical direction by Jacob Yates, set by Nina Ball, costumes by Alina Bokovikova, lighting by Kurt Landisman and sound by Cliff Caruthers.

TheatreWorks presented a staged reading of the show in its New Works Festival last year.

Running just under two hours with no intermission, “Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean” will continue through July 13 at the Mountain View Center for the Performing Arts, 500 Castro St., Mountain View.

For tickets and information, call (877) 662-8978 or visit www.theatreworks.org.