Board game's switch to stage anything but boring

 

One of many bodies hits the floor in Hillbarn's "Clue." (Mark and Tracy Photography)

Thunder, lightning and the sound of barking dogs precede the arrival of six dinner guests in “Clue: On Stage,” presented by Hillbarn Theatre.

Sandy Rustin’s stage adaptation is based on the 1985 screenplay by Jonathan Lynn, who was inspired by the board game.

The guests don’t know each other, nor do they know who their host is or why they’re locked in that gloomy New England mansion.

What they do have in common is that they all live or work in Washington, D.C., in 1954 during the red scare.

Miss Scarlet (Maria Marquis) is a high-class madam. Mrs. Peacock (J. Conrad Frank in drag) is married to a senator.

Mrs. White (Hayley Lovgren) has probably murdered a string of husbands. Col. Mustard (Mohamed Ismail) works in the Pentagon.

Professor Plum (Jay Thulien) is a psychologist who has lost his license. Mr. Green (Steve Allhoff) is a gay Republican.

Also part of the scenario is Yvette (Jocelyn Pickett), the French maid.

It soon turns out that each guest is being blackmailed by their host, Mr. Boddy (Jesse Cortez). Each is given a weapon and told to kill the butler, Wadsworth (Miyaka Pical Cochrane). Otherwise, they’ll have to pay double.

Before the evening is over, several people die, and Mr. Boddy’s real identity is revealed.

In trying to discover the killer or killers as well as the evidence that Mr. Boddy has against them, the guests search the mansion’s maze of rooms and endure the occasional power outage.

All of this occurs amid one comic moment after another with puns galore.

Dan Demers, Hillbarn’s former artistic director, oversees the mayhem. For the most part the actors in his ensemble cast capture their characters’ strong emotions without overdoing it. The result is lots of laughs.

Eric Olson’s set, Sophia Craven’s lighting and Sheraj Ragoobeer’s sound help to create the mysterious mood, while Pamela Lampkin’s costumes are well suited for each character.

Running just under 90 minutes with no intermission, “Clue” will continue through June 19 at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City.

For tickets and information, call (650) 349-6411, Ext. 2, or visit www.hillbarntheatre.org.

 

 

 

 

 

 

 

'Beehive' goes on musical journey through the '60s

Arielle Crosby (center) portrays Tina Turner with  Constance Jewell Lopez (left) and Erica Richardson.

 

The 1960s were an era of profound change in the United States, especially after the relatively serene Eisenhower years.

Some of these changes are musically captured in “Beehive,” a jukebox musical created by Larry Gallagher and presented by Center REPertory Company.

The story is loosely woven around six multi-talented women who take the audience on a chronological journey from when Wanda (Erica Richardson) was in ninth grade through her early years after college.

Elizabeth Curtis as Janis Joplin.

Musically the journey progresses from girl groups of the early ’60s through Woodstock in 1969 and artists like the Shirelles, Aretha Franklin (portrayed by Constance Jewell Lopez) and Tina Turner (a show-stopping performance by Arielle Crosby), the Supremes and Janis Joplin (another show-stopping performance, this one by Elizabeth Curtis).

Some of the highlights include “It’s My Party,” “My Boyfriend’s Back,” “Will You Still Love Me Tomorrow” and “One Fine Day.”

Others include “You Don’t Own Me,” “Proud Mary” and “Me and Bobby McGee.”

Seminal events included the assassinations of President John Kennedy, Sen. Robert Kennedy and the Rev. Martin Luther King Jr. Then there were Vietnam, peace marches and dances like the twist, mashed potato and frug, and, of course, the Beatles.

Styles changed from full-skirted dresses to miniskirts, big hair, go-go boots, tie-dye shirts and bell bottoms.

All of this is encapsulated by the ensemble cast. Besides Richardson, Lopez, Crosby and Curtis, the cast features Monique Hafen Adams and Ashley Cowl.

They’re skillfully directed and choreographed by Dawn Monique Williams.

The flexible set, with the band seated on an upstage platform, is by Kelly James Tighe with lighting by Sim Carpenter. Period costumes are by Loran Watkins. The over-amplified sound is by Lyle Barrere. Musical direction is by Eryn Allen.

One drawback to enjoying this production is that no printed programs are available with artist credits and song lists. There’s a code to scan with a smart phone, but those without smart phones are out of luck. This is a disservice to the artists and the audience.

Otherwise, it’s a high-energy, highly enjoyable trip down memory lane for those of a certain age and an eye-opener for the younger set.

Running about 90 minutes without intermission, “Beehive” will continue through June 26 at the Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek.

For tickets and information call (925) 943-7469 or visit www.CenterRep.org.

Photos by Kevin Berne

 

Miracle cure turns fatal in 'Radium Girls'

 

Irene (Kayli Smith, left), Kathryn (Sydney Harmon) and Grace (Caitlyn Kyong) paint watch dials with radium in "Radium Girls." (Foothill College Theatre Arts)

Covering up. Making shady deals. Caring more about the corporate bottom line than employees’ well- being or the environment.

Sound familiar? Of course it does, but the events in D.W. Gregory’s “Radium Girls” happened about a century ago.

Presented by Foothill College Theatre Arts and based on actual events, the story begins during World War I. Employees painting watch dials with radium to make them glow in the dark for easy reading by U.S. soldiers begin falling ill with a mysterious, fatal disease.

These employees, including Grace Fryer (Caitlyn Kyong), Kathryn Schaub  (Sydney Harmon) and Irene Rudolph (Kayli Smith) experience problems that begin with bloody mouths and tooth pain leading to their jaws rotting away.

At the time, radium was believed to be a miracle cure touted by Dr. Marie Curie (Day Armstrong). However, studies determined radium had caused the employees’ illness, but their employer, U.S. Radium Corp., didn’t release those studies.

Because they were so ill, several employees died and the others lost their jobs. Grace, believing radium was the issue, filed a complaint and eventually sued with the help of Kathryn Wiley (Jackie Roach).

Lawyers for U.S. Radium kept stalling in the hopes that the employees would die before their case was tried.

They also offered a paltry cash settlement, while a tabloid newspaper offered $250,000 for the exclusive rights to their story. Though conflicted, Grace refused both despite urging by her mother (Valerie Allen) and her fiancé, Tom (Osmanthus Lynch), to accept them.

Along with Grace, the other central character is Arthur Roeder (Matt Brown). At first he believed wholeheartedly in radium, but as he became aware of its terrible effects, he was torn between protecting his company’s bottom line and his own moral principles.

Well directed by Tom Gough, many in Foothill’s cast of more than 20 students and community members portray several characters.

With such a mix of experience, the acting is uneven at times, though earnest.

The simple set by Yusuke Soi, costumes by R. Dutch Fritz and lighting by Bruce McLeod complement the production. However, the sound design by Max Stanylov doesn’t overcome the need for better projection by some actors.

Thus some dialogue is hard to discern, especially given the play’s episodic structure. On the other hand, a large clock with projections of the time and place is helpful.

Overall, though, the play is absorbing as it tells a little known but true chapter in American history. It’s worth seeing.

Running about two hours and 40 minutes with one intermission, “Radium Girls” will continue through June 12 in Foothill College’s Lohman Theatre, 12345 El Monte Road, Los Altos Hills.

For tickets and information, call (650) 949-7360 or visit https://foothill.edu/theatre/productions/radium-girls.html.   

 

Shameful event in history inspires musical, 'Allegiance'

 

Japanese Americans wait for a train headed for a relocation camp. (Scott Lasky photo)

Presented by Palo Alto Players, “Allegiance” is a musical based on one of the most shameful events in American history: the relocation of people of Japanese descent during World War II.

With music and lyrics by Jay Kuo and a book by Kuo, Marc Acito and Lorenzo Thione, it was inspired by the childhood experiences of actor George Takei (Lt.  Sulu on “Star Trek”).

It focuses on a Salinas farm family, the Kimuras, who have only a few days to sell the farm and assemble for transport to the bleak Heart Mountain internment camp in Wyoming after the Pearl Harbor attack in December 1941.

The family includes Sammy (Jomar Martinez) and his older sister, Kei (Marah Sotelo), along with their father, Tatsuo (Bryan Pangilinan), and grandfather, Kaito (Ron Munekawa).

Sammy wants to enlist in the military to prove his patriotism, but is rejected. Later he meets the camp nurse, Hannah Campbell (Corinna Laskin), and falls in love with her.

In the meantime, Kei and Frankie Suzuki (Christopher J. Sotelo) have fallen in love, too.

After Japanese men are allowed to enlist in the 442^nd Regimental Combat Team, Sammy signs up and serves with distinction, but Frankie resists the subsequent draft with Kei’s support. Sammy bitterly rejects them both.

Other characters, both good and not-so-good, are involved.

The show opens and closes in 2001 when Sammy (played by Munekawa as an older man) attends Kei’s funeral and finds he has a chance to forgive and to forge new family ties.

Thoughtfully directed by Vinh G. Nguyen, the mostly Asian, 20-member ensemble cast is excellent with standout performances by Martinez as Sammy, Laskin as Hannah, Marah Sotelo as Kei and Christopher J. Sotelo as Frankie. (The Sotelos are husband and wife.)

At the keyboard, music director Benjamin Belew oversees the talented singers and the six-person orchestra.

Nicole Tung has choreographed the lively dancing, including the jitterbug at a camp dance.

The minimal but effective set is by Skip Epperson with lighting by Edward Hunter.  Sometimes the lyrics are hard to discern in the sound design by Brandie Larkin.

The costumes, hair and makeup are by Y. Sharon Peng.

Running about two hours and 40 minutes with intermission, “Allegiance” is interesting and entertaining despite some slow spots. In some ways, it might work better as a drama rather than a musical, but some songs allow characters to express their inner thoughts.

It will continue through May 8 at the Lucie Stern Theater, 1305 Middlefield Road, Palo Alto. Recorded performances will be available for streaming-on-demand May 5 to 8.

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

 

 

 

 

Humor, insight in 'I Love You, You're Perfect, Now Change'

Jack O'Reilly and Samantha Rose Cardenas imagine they're "A Stud and a Babe."

“I Love You, You’re Perfect, Now Change” takes a humorous yet insightful look at how relationships change from first date to 30 years of marriage.

Presented by Hillbarn Theatre & Conservatory and adroitly directed by Erica Abrahamson, this musical comedy features four talented actors who portray dozens of characters of varying types and ages in more than 20 scenes, each a self-contained vignette.

Because the characters’ names change from scene to scene, the actors are simply labeled Man #1 (Jack O’Reilly), Man #2 (Keith Pinto), Woman #1 (Samantha Rose Cardenas) and Woman #2 (Hayley Lovegren).

With music by Jimmy Roberts and book and lyrics by Joe DiPietro, the show opens with “Cantata for a First Date” as the four characters get dressed for the date.

The actual date takes place during “Not Tonight, I’m Busy, Busy, Busy” as Pinto and Lovegren decide that a first date is too awkward, so they pretend it’s the second and then the third, when they must decide on sex.

One of the more amusing scenes is “A Stud and a Babe,” in which O’Reilly’s character is actually a nerd and his date, Cardendas, is a frump.

Hayley Lovegren laments that she's "Always a Bridesmaid."

Later, in “Always a Bridesmaid," Lovegren laments that not only is she not getting married, she has to wear ugly dresses.

The way that parenthood changes people is seen in “The Baby Song,” as a married gay couple, Pinto and O’Reilly, who have a new baby, evolve from interesting adults to baby talkers who totally bore a good friend, Cardenas.

Other scenes show a contentious family road trip, two oldsters meeting at a funeral and more.

Each one is funny because it seems so real and because the four actors are so versatile.

Guided by musical director Matthew Mattei, each one also sings well, accompanied by Jon Mattei on a white grand piano and Paula Filseth on violin.

The scenes are divided by quick blackouts when the stage crew, Eric Olson and Adria Olson, moves minimal set pieces (set by Matt Owens with sound and lighting by Ron Ho) in and out, giving the actors time for quick costume changes.

Credit goes to costume designer Ashley Garlick for outfits that are appropriate for the characters.

Suitable for an adult audience only, “I Love You, You’re Perfect, Now Change” runs a fast-moving two hours and 40 minutes with one intermission.

It will continue through May 8 at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City. For tickets and information, call (650) 349-6411, Ext. 2, or visit www.hillbarntheatre.org.

Photos by Mark and Tracy Photography

 

TheatreWorks stages August Wilson's "Gem of the Ocean"

 

Aunt Ester (Greta Oglesby) cleanses the soul of Citizen Barlow (Edward Ewell). (Kevin Berne photo) 

 

TheatreWorks Silicon Valley is staging August Wilson’s “Gem of the Ocean,” the first part of his 10-play chronicle of the 20^th century Black experience.

This one takes place in 1904 in the home of Aunt Ester Tyler in the Hill District of Pittsburgh, where most of the cycle takes place.

Even though slavery was abolished 41 years earlier, Jim Crow laws still oppress Black people, especially in the South. Oppression also is rampant in the mill where many of the Hill District’s Black residents work.

Aunt Ester (Greta Oglesby) is the 285-year-old spiritual adviser to the Black community.

Residing with her are her gatekeeper, Eli (Jerome Preston Bates), and her housekeeper, Black Mary (Porscha Shaw).

Soon to join them is Citizen Barlow (Edward Ewell), a troubled young man recently from Alabama who wants Aunt Ester to wash his soul.

Among their frequent visitors and friends are Solly Two Kings (Kim Sullivan), a former slave who was part of the Underground Railroad, which guided slaves to freedom in Canada; and a white traveling peddler, Rutherford Selig (Dan Hiatt).

Black Mary’s brother, Caesar Wilks (Rodney Hicks), stops by occasionally, but he’s not welcome. The play’s villain, he’s a rigid, by-the-book police officer who looks for any excuse to arrest someone.

This 2003 play is ably directed by Tim Bond, who took over as artistic director two years ago, just as the coronavirus pandemic disrupted everything.

Thus this is his first chance to direct at TheatreWorks, and he has chosen a topnotch cast and artistic team.

Like most of Wilson’s plays, this one is talky, especially in the first act, which moves slowly as it sets the stage for what’s to come. It’s not always easy to follow because the characters’ accents can be hard to understand at times.

On the other hand, the second act is riveting, highlighted by Citizen Barlow’s spiritual journey to the City of Bones. It’s meant to cleanse his soul and to evoke the history of a people who suffered greatly, starting with their terrible voyages from Africa.

This ritualistic scene, presided over by Aunt Ester and aided by Eli, Black Mary and Solly, is mesmerizing with its music and movement reminiscent of a Black church service.

The cast has no weak links, but the standout clearly is Oglesby as Aunt Ester, who’s convincing as the ancient and wise dispenser of relief for troubled souls.

Bond previously directed an impressive production of “Gem of the Ocean” at the Oregon Shakespeare Festival in Ashland, Ore., in 2007, also with Oglesby in the lead.

The set is by William Bloodgood with costumes by Lydia Tanji, dramatic lighting by Lonnie Rafael Alcarez, and music and musical direction by Michael Keck.

Running about two hours and 40 minutes with one intermission, “Gem of the Ocean” will continue through May 1 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. 

 

 

Family disintegrates in Pulitzer-winning "August: Osage County"

 

The cast features (foreground, from left) Carley Herlihy, Allison F. Rich, (back row, from left) L. Duarte, Michael Ray Wisely and Terrance Smith. (Dave Lepori photo) 

If there were a contest for most dysfunctional American family, the one in Tracy Letts’ “August: Osage County” would win.

Presented by San Jose Stage Company, the play itself is a winner, having garnered the 2008 Pulitzer Prize for drama and five Tony Awards, including best play.

Baring the family’s secrets, the play goes on a grueling journey through addiction, suicide, incest and infidelity, among others. It’s definitely for adults only.

It’s set in the Weston home outside a small town in Oklahoma. As it opens, Beverly Weston (Randall King), a retired teacher and poet, is engaged in a long, drunken monologue about T.S. Eliot.

His audience is Johnna Monevata (L. Duarte), an American Indian woman he is hiring as a housekeeper.

His wife, Violet (Judith Miller), then stumbles in. Suffering from mouth cancer but continuing to smoke, she’s addicted to the prescription drugs she has hidden throughout the house.

In the next scene, Beverly is missing, and some family members have assembled to try to find him.

Once his body is discovered in a nearby lake, presumably because he committed suicide, the rest of the family arrives.

They include Mattie Fae Aiken (Marie Shell), Violet’s sister, and her husband,  Charles Aiken (Tim Kniffin); and their son, Little Charles (Matthew Kropschot).

The Westons’ eldest daughter, Barbara Fordham (Allison F. Rich), is there with her husband, Bill (Michael Ray Wisely), and their 14-year-old daughter, Jean (Carley Herlihy). Barbara and Bill have separated because he’s having an affair with one of his students, but they’re trying to pretend everything is OK.

Another Weston daughter, Karen (Tanya Marie), is an airhead joined by her sleazy fiancé, Steve (Joshua Hollister).

Both Barbara and Karen have moved out of Oklahoma, but their unmarried sister, 44-year-old Ivy (Elena Wright), has stuck around.

As the play continues, the family disintegrates step by step. Secrets and old grievances are revealed, but there are a few humorous moments.

Completing the cast is Sheriff Deon Gilbeau (Terrance Smith), who delivers the news about Beverly.

Miller delivers a tour de force performance as Violet rails against those who would try to control her. And while she may seem addled, she has known about some secrets for years.

Even though Beverly has the opening scene only, King is noteworthy.

Rich also is outstanding as Barbara tries to keep everything together, but over time she becomes more like her mother. The transformation is subtle, often conveyed through facial expressions or body language.

In the end, everyone has left except Johnna, who tries to comfort the confused and self-pitying Violet with the penultimate words from Eliot’s “The Hollow Men”: “This is the way the world ends.” Left unsaid are the final words: “Not with a bang but a whimper.”

Director Kenneth Kelleher lets a few diatribes go over the top, but overall the entire cast is terrific. Johnny Moreno choreographed the fight scenes.

The costumes by Madeline Berger and lighting by Maurice Vercoutere complement the production. Steve Schoenbeck’s sound design leaves some lines difficult to hear, especially in some early scenes.

Running about two hours and 45 minutes with one intermission, “August: Osage County” will continue through April 24 at San Jose Stage Company, 490 S. First St., San Jose.

For tickets and information, visit https://thestage.org/tickets or call (408) 283-7142.