Wednesday, June 7, 2017


The cast of "The Spitfire Grill" at North Coast Repertory
Theater. Photo by Aaron Rumley.
The world of today appears to be in constant turmoil. Culture wars and shooting wars abound here in America as well as on every continent on our fragile planet. Everyone stares too long and makes judgments far too quickly when it comes to the strangers we find in our midst.

We rely on our tribal or family loyalties, the cornerstones and touchstones of a civilized society that at times is necessary but in so doing robs us of enlightenment and the pleasures that comes when societies reach out culturally to one another. Take the metaphor of food, as one example of how we have expanded our gustatory experiences and horizons over the years. Our American melting pot society is filled with success stories where one can see the advantages and possibilities that a diverse society provides.

The current North Coast Repertory Theatre revival production of “The Spitfire Grill”, a musical dramedy written by James Valq and Fred Alley, with music by Valcq and lyrics by Alley, is a shining example of the power some ‘outsiders’ can bring to the table or to a community if just given a chance.

Intelligently, sensitively and seamlessly directed by Jeffrey B. Moss, with an inspired ensemble cast of actors who can sing (and boy, do they sing) this uplifting and warmhearted musical is just what American theatre audiences need right about now.

Aurora Florence is Percy in "The Spitfire
Grill". Photo by Aaron Rumley.
The story in short, centers around fiercely independent Percy Talbott (a terrific Aurora Florence), a young, Applachian-accented woman who has just been released from prison. Percy is looking to find a place for a fresh start in life. While in prison she read a travel magazine about the idyllic, small, rural town of Gilead, Wisconsin which sounded like a good place to begin her new life journey.

The local Sheriff, young Joe Sutter (Kevin Earley) who is also Percy’s parole officer, finds her a job at Hannah Ferguson’s Spitfire Grill, owned by and operated by a force-of-nature earth mother solidly played by actress Devlin. It’s the only eatery in the town and is frequented daily by loyal residents. The Spitfire Grill has been up for sale for ten years, but has never had any interested buyers. Times have been tough for America’s Midwest economy and Gilead is barely hanging on.

Kevin Bailey and Meghan Andrews in
"The Spitfire Grill." Photo by Aaron Rumley.
Shelby Thorpe, the wife of the out-of-work local stone quarry foreman Caleb (Kevin Bailey) is a caring, young woman played by soprano Meghan Andrews, who gently tries to make a home life while at the same time occasionally helping Hannah at the diner. She endures the frustration of her proud husband who resents her time spent at the Grill and her association with Percy. To further complicate matters, Shelby and Percy have become friends.

Post Mistress Effy Krayneck, who never misses a chance to open the mail before the addressees, is nicely played and sung by Maggie Carney who makes the most of her comic relief role as Gilead’s leading gossip and busybody.

Devlin and Matt Thompson in "The Spitfire
Grill." Photo by Aaron Rumley.
Also, there is a character called The Visitor who never speaks, but whose haunted eyes speak volumes, well-played by Matt Thompson. And, that’s about as far as I’ll go with spoiler alerts. You will just have to see this splendid musical for yourself.

The real beauty of this production lies in the multi-talented ensemble cast with a director who understands how to craft and shape compelling, poignant, comedic, and dramatic moments and performances from pros who are a joy to watch. Everyone is constantly in the moment. On-stage chemistry electrifies the entire cast from the minute that Percy comes on stage and sets the tone for all the magic that follows with her song “A Ring Around the Moon”.

The story of “The Spitfire Grill” unfolds over fifteen haunting and poetic songs that conjure up echoes and aural memories of John Denver’s “Take Me Home Country Road” along with Valcq and Alley’s original country/folk musical score that features such numbers as: ‘The Colors of Paradise’ sung by Percy and Shelby, ‘Forgotten Lullaby’ lovingly rendered by Hannah, and the rousing “Shoot the Moon” by the company that ends act one.

In act two, the numbers ‘Wild Bird’ by Shelby, ‘Shine’ by Percy, and a poignant ‘Way Back Home’ by Hannah, bring the entire company back on-stage for another rousing Finale. The nicest part, at least for me, is that this highly entertaining musical is performed without one f-bomb being hurled from the stage. The musical’s creators substituted soaring music, soulful country lyrics, and sheer talent instead of relying on attention-grabbing street language pyrotechnics to win over its audience. However, in the name of transparency, this musical was written seventeen years ago in 2000. My, how we’ve changed.

The production is designed by Marty Burnett, lighted by Matt Novotny, with costumes by Elisa Benzoni, and sound design, by Chad Lee Thymes. The excellent musical accompaniment is headed by musical director Alby Potts on keyboard, guitar/mandolin by Nikko Nobleza, violin by Catherine Gray, and cello by George Spelvin (that great old theatrical name). In the new and emerging discipline of projection design, Aaron Rumley is right on the money; not too many just the right amount to set the tone and enhance the moods. If I were to mention that some of the song lyrics were a wee bit too repetitious and went on too long, it would probably give my age away. So I won’t. But the soaring voices of the company made me forget all that repetition.

“The Spitfire Grill” performs at North Coast Repertory Theatre, Solana Beach, through June 25. Don't miss it!

--Jack Lyons


“The nail that sticks out is the one that gets hit…”

Ryun Yu stars as civil rights activist
Hirabayashi in the solo show
"Hold These 
Truths". All photos by Jim Cox.
So says young Gordon Hirabayashi’s father to his eldest son, whose outgoing and curious disposition is being tested by the increased discrimination in Washington state against Asian Americans; with the escalation of the war and the subsequent bombing of Pearl Harbor, the discrimination increased until it culminated in executive orders to intern all persons of Asian descent in prison camps with no regard to their constitutional rights.

Jeanne Sakata’s “Hold These Truths” is inspired by the true story of civil rights pioneer Hirabayashi. The 90-minute solo show presents Hirabayashi’s fight to reconcile his country’s betrayal while maintaining his passionate belief in the U.S. Constitution. Despite President Obama posthumously awarding a Presidential Medal of Freedom, the nation’s highest civilian honor in 2012 to him, his story is mostly unfamiliar to many Americans.

In 1942, the University of Washington student defied the U.S. government, and his worried parents, by refusing to register and be interned in the desert with tens of thousands of fellow Japanese American citizens who were viewed as a potential threat to national security after the Japanese invasion of Pearl Harbor.

Hirabayashi, a Quaker pacifist, also rejected signing a loyalty oath and doing military service. For his acts of resistance, he served time in prison. His unrelenting efforts to reverse the unconstitutional internment of any persons of Japanese ancestry ended up with a case at the Supreme Court - where he lost in a unanimous decision upholding the government’s actions based on “military necessity.”

Paving the way to Hirabayashi's ultimate victory, legal historian Peter Irons discovered lost military documents, letters and memos admitting that confining Japanese Americans to camps had not been a necessary security measure: The camps, they implied, were created out of hysteria and racism. This new evidence led to the case being reheard by the Supreme Court in 1987 and this time, justice prevailed.

The timeliness and irony of the situation is not lost on the audience who chuckled and sighed at various incidents portrayed on stage that sadly echo what is happening now due to the current administration’s policies and fears of terrorist threats in the US and the world.

Actor Ryan Yu portrays Hirabayashi from his teens to middle age also playing all other parts of the protagonists and heroes of his life - including his mother and father, fraternity brothers at UW, law enforcement officials, his Quaker girlfriend and even Supreme Court Justice Patrick Murphy - and does it all seamlessly. His energy is heavily taxed during his 90-minute tour de force, but despite a slight cold, he kept the audience in thrall until the final moments.

Kudos to director Jessica Kubzansky (the original director at East/West Players) as well as the excellent technical team of scenic and lighting designing Ben Zamora who does a lot with simplicity, and sound designer John Zalewski whose subtle use of themes and natural sounds adds depth to the production.

Playwright Sakata, a successful actor herself, premiered the play in 2007 at East West Players in Los Angeles. It made its off-Broadway debut in 2012 with the Epic Theatre Ensemble, and has since been performed at numerous regional theatres including Portland Center Stage, the Guthrie Theater, Seattle’s ACT Theatre, and locally by Coachella Valley Rep in Palm Springs.

Says Sakata, “When I discovered Gordon’s story in the late 1990s, so full of heartbreak but also his irrepressible humor and zest for life...I knew I had to bring his story to the American stage.” She’s done a masterful job in showing the intimate view of one of our country’s shameful periods through the eyes of one eloquent and unrelenting man.

In a coda to his father’s early admonition, Hirabayashi shares that what he didn’t say back then was the full Japanese proverb: “The nail that sticks out is the one that gets hit…Unless the nail is bigger than the hammer!” That earned well-deserved kudos from the opening night audience followed by a spontaneous standing ovation. Let’s hear it for more ‘bigly’ nails and less hammers!

“Hold These Truths” is at the Pasadena Playhouse until June 25th. Tickets can be obtained through the Box Office or online at

-- Lisa Lyons

Thursday, May 11, 2017


Stephen Stocking, Patrick Page, Ramiz Monsef and Josiah 
Bania in the world premiere of Rajiv Joseph’s “Archduke.”
All photos by Craig Schwartz.
Playwrights can generally get away with a lot when dealing with subject matter that is uncomfortable to some, and fraught with danger to others, but nonetheless, need to be discussed in a public forum format.

The only vehicle for the exploration of odious and repellent subject matter often comes via the clarity that the genre of comedy provides. Satires or farces are the favorite choices of playwrights that want to get a ‘tough sell’ message across. The great French, 17th century playwright Moliere employed the genre in order to have his head remain firmly attached to his shoulders during his lengthy writing career during the Divine Right of Kings era in Europe.

Cleveland-born playwright Rajiv Joseph, a journeyman writer, really had his breakthrough theatrical moment with his highly successful play “Bengal Tiger at the Baghdad Zoo”, when it premiered at Center Theatre Group’s Kirk Douglas Theatre in Culver City, CA. in 2009. “Bengal Tiger” was then performed at the Mark Taper Forum (MTF) in 2010 before moving to Broadway where it became a Pulitzer Prize finalist. Mr. Joseph hit his stride with “Guards at the Taj” in 2016, again premiering at the Kirk Douglas Theatre, establishing him as a major American playwright. “Archduke”, his current dark comedy, had its world premiere Sunday, May 7th on the MTF stage in Los Angeles.

Ramiz Monsef, Josiah Bania and Stephen Stocking
in the world premiere of Rajiv Joseph’s “Archduke."
It’s the story of three dim, hapless and hungry young men suffering from tuberculosis who fumble their way through history as they take on a mission of martyrdom on the eve of World War I. They are wonderfully played by Stephen Stocking as Gavrilo, the lead assassin, Ramiz Monsef as Trifko, the enforcer, and Josiah Bania as Nedeljko, the most gullible of the three. Todd Weeks does a nice turn as Dr. Leko, the only sane grown-up in the room who attempts to keep Gavrilo from throwing away his life for a useless gesture of faux patriotism, and Sladjana played by JoAnne McGee, Dr. Leko’s cook and housekeeper, manages to get in a few zingers of her own.

The gallows humor comedy is set in 1914 in the Balkan cities of Belgrade and Sarajevo. The question playwright Joseph explores is: are these three, uneducated, rural, village youths capable of becoming human bombs and martyrs? Those choices are still resonating with individuals fighting in many Middle East war zones today. It appears that the suicide bombers in “Archduke” have become the template for recruiting zealots and followers today.

Stephen Stocking and Todd Weeks 
in Rajiv Joseph’s “Archduke."
The young men have been radicalized, recruited, and trained by the cynical, sly, and duplicitous Serbian Army Captain Dimitrijevic (a mesmerizing Patrick Page in a staggering performance), who is in need of naïve and gullible civilians; these three young men are easy marks who willingly sign up for the mission to assassinate the Austrian Archduke Franz Ferdinand and Princess Sophie, striking a blow, they believe, for an independent greater Serbia for the price of new clothes and a few meals along the way. Results of that mission have since been attributed as the event that set in motion WW I, ‘the war to end all wars’...which, of course, it didn’t. War is far too profitable an industry to be totally done away with.

“Archduke” is skillfully staged by long time Joseph collaborator and award-winning director Giovanna Sardelli, and features a fabulous Scenic Design by Tim Mackabee, whose unique, creatively designed, on-stage replica of the Orient Express train earned a round of applause to open the second act. Also visually eye-catching is a huge map of the Balkan countries that subliminally keeps the focus on the narrative of the story, as well as on the talents of the gifted ensemble cast.

Stephen Stocking is the would-be assassin 
Gavrilo in Rajiv Joseph's"Archduke."
Despite mentioning all of its pluses above, one gets the feeling that this fine production will undergo more tweaking, pruning and rewrites. Broadway is a demanding mistress constantly in search of perfection. The first act is a tad long and a bit talky, but the second act is worth the wait. Thanks to Sardelli’s direction and Joseph’s dialogue, the production seamlessly flows along bridging its 103-year history arc. Bittersweet comedy indeed, takes the sting out of ignored history lessons, easing the pain, the loss and the folly of war. Or at least that’s the hope.

“Archduke” performs at the Mark Taper Forum and runs through June 4, 2017.
--Jack Lyons

Thursday, April 20, 2017


Edward Gero stars as Justice Antonin Scalia 
in "The Originalist"- Photos by Jim Cox Photography 
Whether you loved him or hated him, no one could deny the powerful influence that Justice Antonin Scalia held over the Supreme Court since his appointment by President Ronald Reagan in 1986. Always a polarizing figure with an incisive mind, savage wit and superlative writing skills, Scalia delivered many dissents that will be remembered for generations to come.

Before Scalia’s unexpected death in February 2016, playwright John Strand had written “The Originalist,” a one act that paid tribute to the legendary jurist and his dedication to interpreting the Constitution of the United States as the Founding Fathers wrote it, not open to modern re-interpretation. The “dead” versus “living” document status of the Constitution has been debated for decades, but never so passionately proclaimed as in those scathing dissents by Scalia.

Set against the backdrop of the 2012-13 Supreme Court session, the play focuses on the esteemed jurist (magnificently portrayed by Edward Gero) and his brash and brainy social-leaning law clerk Cat (Jade Wheeler), who relishes playing devil’s advocate to the Justice – and Brad (Bret Mack), another clerk with decidedly Federalist Society leanings who seeks to impress the Justice with his own originalist ideas.

The show opens with an operatic aria playing as Scalia addresses a law school graduate class and answers questions from the audience. His scripted remarks are interrupted not once but several times by a young woman who will not be silenced: it is Cat, who informs him that she has just applied to be his summer law clerk. Egad!

Edward Gero and Jade Wheeler in
"The Originalist"
Their subsequent interview for the clerkship doesn’t go well, with the combative tone being set from the start but, despite his irritation, one can see something in this young black woman’s grasp of facts and assertive tone has resonated with him. He hires her as his new “sparring partner” and sounding board, while Cat is seeking both insight into the man she calls a “monster” as well as a potential mentor.

Jade Wheeler and Bret Mack in "The Originalist"
The crux of the play’s plot – whether Cat will be able to insert her own personal beliefs into the opinions that Scalia permits her to draft for a controversial case – comes to a head when jealous Brad “outs” Cat as a lesbian and raises the possibility that her sexual orientation will prove an embarrassment to the Justice in the aforementioned action.

That is because the dissent is a landmark case, United States v. Windsor which aimed to overturn the federal ban on same sex marriage. As a devout Catholic and constitutional purist, Scalia’s antipathy toward gay marriage and refusal to acknowledge homosexuality as a legitimate identity, was well documented.

The personal pasts of both Scalia and Cat are introduced in separate vignettes, designed to show perhaps the areas in which they are very much alike; but since the play is based on a real person who was notorious for protecting his privacy, it takes a huge leap of faith to believe that these conversations would have occurred. However, if you can suspend your disbelief and just let yourself get lost in the glorious world of words, you will be treated to an evening of superlative theater.

Director Molly Smith orchestrates this 95-minute chamber piece, ably balancing the operatic crescendos of Scalia’s personality with the counterpoint of the two clerks, one strident, the other thoughtful. She is helped by her talented cast, particularly Edward Gero who not only resembles Scalia, but has captured his overlooked charm that was obscured by his often acerbic personality. Gero had the good fortune to observe Scalia in the court as well as at dinner and was able to slip into many of his mannerisms and expressions. He never makes a mockery of the man who described himself as a “monster” in the eyes of the liberal left and a hero to the conservative right.

Bret Mack, Edward Gero and Jade
Wheeler in "The Originalist"
The character of Cat is tricky to pull off as she is an obvious device to raise the important questions that drive the play forward. It takes a subtle and intense performer to make it work and while Jade Wheeler’s projection and intent was fine, she didn’t seem truly comfortable in Cat’s skin. Some line deliveries and body positions seemed awkward and unsure, which I don’t think was Smith or Wheeler’s intent. Bret Mack has a thankless role of the smarmy Brad, but he does his best to make him more than a comic book baddie.

Kudos to the simple, classic stage design by Misha Kachman; it evokes the operatic motif of red velvet curtains and crystal chandeliers, creating both the solemnity of the judicial chambers and the awe-inspiring expanse of a Catholic cathedral. Lighting design by Colin K. Bills, costume design by Joseph P. Salasovich, and sound design of Eric Shimelonis completes the technically-excellent creative team.

According to sources, Justice Scalia never did see the original 2015 Arena Stage production in Washington DC, due to his concern that an appearance at the event might be construed as an endorsement of the portrayed incidents or a potential conflict of interest. Shame, because I think he would have been pleased with Gero’s respectful homage to him. However, I think he would be indignant at Strand’s suggestion that he lusted after the Chief Justice position (eventually filled by John Roberts); his guilt and remorse over his role in that drama was Shakespearean according to the play, but we’ll never know the truth of that. “The Originalist” does however show us that he was a brilliant man who was a true original to the end of his life.

“The Originalist” runs through May 7 at the Pasadena Playhouse, 39 S. El Molino Drive in Old Town Pasadena. More information and tickets can be obtained through the Box Office or online at

--Lisa Lyons

Monday, April 10, 2017


The cast of RED VELVET at San Diego's Old Globe Theatre
In the history of theatre, from the ancient Greeks to contemporary multi-casting, the idea of casting a black actor to play “Othello” has been seen as earth-shaking in its audacity. Why that should be so and what black actors had to endure to make it an accepted custom is the basis of Lolita Chakrabarti’s “Red Velvet”, now playing at San Diego’s Old Globe on the Donald and Darlene Shiley Stage.

The show tells the story of Ira Aldridge (Albert Jones), a classically trained American actor who was the first black actor to play Othello at London’s prestigious Covent Garden in 1833. The renowned tragedian Edward Kean had been stricken and hospitalized, and rather than go dark (unheard of in the Garden’s history), the company’s French manager Pierre Laporte (Sean Dugan) makes a unilateral decision to hire Aldridge as Kean’s replacement.

John Lavelle and Allison Mack
This doesn’t go down well with Kean’s petulant son Charles (a scene-stealing John Lavelle) who feels he should rightly step into his father’s shoes despite his obvious lack of talent. Charles’s fiancée and leading lady Ellen Tree (a sparkling Allison Mack) is at first shocked, then intrigued and eventually won over by the larger-than-life Aldridge. The other players seem divided over the appropriateness of the casting, especially older, more staid members like Bernard Warde (Mark Pinter) who cautions that “The British are open - to a point…We like what we know, and we know what we like!” he states firmly.

All of this is set against the British Abolition Movement which was causing rioting in the streets along with calls for the abolition of slavery. The fear that such a provocative move may further inflame London society is dismissed by Laporte who has more faith in the broad-mindedness of the theatre-going public. It will be up to the talent and sheer bombast of Aldridge to pull off the role he has most longed to play.

Allison Mack and Albert Jones
The thought of a large black man grabbing the wrist of the lily-white Desdemona is deemed inappropriate and offensive by the press. But Ellen is fascinated by Aldridge’s idea that, rather than declaiming lines to the audience, that Othello and Desdemona should look at each other, truly feeling the emotions of this tragically mismatched couple; shades of early “method acting” which seems obvious now, but was groundbreaking in 19th century British theatre.

She eagerly embraces the new intimacy and power she feels onstage; but sadly, the reception to the performance is not what any of them (save Charles Kean) expected and desired. The critics are brutal in their reviews of Aldridge’s performance (which playwright Chakrabarti takes from the actual newspaper texts of the time), stating “Owing to the shape of his lips, it is utterly impossible for him to pronounce English” and labeling him “an unseemly n*gg*r”.

The fallout from Laporte’s brave casting had a toxic effect on not only the actors but on the casting of ethnic actors in major roles for many years to follow. Aldridge was a ground-breaker on many levels and it’s sad that apart from theatre historians, his contributions are mostly unknown to current generations.

Albert Jones and Sean Dugan
As portrayed by Albert Jones, Aldridge is much like the tragic figures he portrays – Othello, Lear, Richard III – a man full of talent, anger, longing, imagination and audacity. He is, as most flawed heroes, his own worst enemy. He will not be swayed by logic or reason, only carried aloft on his aspirations and belief in his own talent. He ignores Laporte’s subtle advice to “move gently” into the intensity of Othello’s emotions that the conservative audiences may recoil from initially; he believes fervently in the truth of drama and his right to portray this most ego-maniacal of Shakespeare’s leading men. Jones has the physical presence and vocal power to inhabit Aldridge’s persona yet to make you feel some pity towards him when the world turns against him.

Mark Pinter, Amelia Pedlow and Albert Jones
The supporting actors are outstanding and imbue their characters with real distinction. There is a star turn by Amelia Pedlow, who brilliantly portrays three separate characters: a persistent Polish journalist, a ditsy ingénue and a warm and loving first wife to Aldridge. Monique Gaffney brings her usual depth of character to the role of Connie, the company’s servant, and Michael Aurelio is a dashing Henry Forrester, the young actor playing Cassio who is delighted at Aldridge’s casting as he is in support of the abolitionist movement. Mark Pinter plays both Aldridge’s dresser Terrence and the charmingly fusty Bernard Warde, never drifting into parody in either role. As previously noted, John Lavelle has a scene-stealing turn as the arrogant and delusional Charles Kean. His fabulous “hair toss” had the audience laughing aloud on opening night. Sean Dugan brings a boyish enthusiasm and simmering anger to the complex Laporte who is forced to betray his old friend for the sake of business.

Director Stafford Arima, who previously helmed “Allegiance” and “Ace” for the Globe, has a sure hand with this material, finding the oh-so-relevant references to race and nationalism in the material. He keeps things moving forward, although I had a problem with the decision to have the show open with two characters speaking in Polish for several minutes.

As usual at the Globe, the scenic design, costumes and lighting are perfection. Jason Sherwood’s rotating, cathedral-like proscenium arch is both beautiful and grotesque with macabre touches hidden in its skeletal frame. The lighting design of Jason Lyons captures how theatre must have looked to the audiences in the 1800s with flickering footlights and stately chandeliers casting long shadows. The costumes by David Israel Reynoso are richly elegant, especially Aldridge’s robes as Othello. Kudos to the dressers who make some remarkably speedy changes for Pinter and Pedlow in their multiple roles.

In a climate that is full of uncertainty, with politics, art and race relations under siege, “Red Velvet” seems profoundly prescient despite its being written in 2011. Could Chakrabarti have had a premonition of “Brexit” and “Black Lives Matter”? Finding the universal truths in life is the hallmark of a talented writer, and she is deserving of the many awards the play has received.

If you love theatre go see “Red Velvet” and discover the story of the actor who has a memorial plaque at the Royal Shakespeare Theatre in Stratford-upon-Avon in honor of his contributions to the performing arts and another in Lodz, Poland where he was buried after dying while on tour at age 60 in August 1867.

The show plays until April 30, and tickets can be purchased at the Box Office, by calling 619-23-GLOBE or online at

-- Lisa Lyons

Monday, April 3, 2017


Alfred Molina, Colin Woodell, Jane Kaczmarek
and Stephen Louis Grush. All photos by Chris Whitaker.
Eugene O’Neill became America’s first Nobel Laureate in Literature in 1936. His canon of more than 30-plus plays, including four prestigious Pulitzer Prizes in Drama (the most wins to date), culminated in what is now considered to be his masterpiece “Long Day’s Journey into Night”, penned in 1953 and posthumously produced three years after his death in 1956.

O’Neill was a prolific but streaky playwright, who along with Arthur Miller, Tennessee Williams, and Edward Albee, were arguably the four greatest American dramatists of the 20th century. There are those who say O’Neill plays, although groundbreaking at the time, didn’t keep up with an ever changing American experience. This is one reason why many of his plays are not being widely produced anymore.

Fortunately for us, the Geffen’s Artistic Director Randall Arney, took on the challenge of producing O’Neill’s masterpiece. Staged by acclaimed director Jeanie Hackett, this revival of “Long Day’s Journey into Night” features a stellar cast of gifted actors: the superb Alfred Molina as James Tyrone the family patriarch, the brilliant Jane Kaczmarek as morphine addicted Mary Tyrone, Stephen Louis Grush as the star-crossed and fated Jamie Tyrone, and Colin Woodell as young Edmund Tyrone (the alter-ego of Eugene O’Neill), a poet/writer battling tuberculosis and alcoholism, a Tyrone family trait. All the Tyrones suffer an addiction of some form or other.

The story is set in August of 1912 in the Tyrone family’s summer home in New London, Connecticut. The creative Scenic Designer Tom Buderwitz delivers a multilevel and functional New England style summer home that allows the actors plenty of space for their magic to take place. Buderwitz’s design also displays on-stage nooks and crannies for the actors to be seen or momentarily hide depending on the situation. The mood-enhancing lighting by Lighting Designer Elizabeth Harper definitely renders that somber and melancholy tone of events taking place within the Tyrone family home. The costumes designed by Denitsa Bliznakova are spot on for the early 1900s time frame. Original Music and Soundscape Composed by Michael Roth, and Projection Designs by Jason H. Thompson complete the creative team.

Wags in the past have been known to say that if the Englishman’s vice of that era was young boys, then the Irishman’s vice comes in a bottle or a keg of beer. And, there is definitely of a lot of drinking accompanying the rich and potent dialogue taking place on the Geffen stage. Although the production runs a little over three hours – with one intermission – the narrative flies by thanks to the stage presence of its four gifted actors that keep the audience fully engaged.

O’Neill’s characters are the epitome of a dysfunctional family. A patriarch and actor/father James Tyrone who turned his one performance as an actor into playing the same character for more than 6000 performances, never fulfilling his promise to become a complete actor, is wonderfully portrayed by Mr. Molina. Mary Tyrone the matriarch laid waste by morphine addiction following complications from Edmund’s birth, is sensationally played by Ms. Kaczmarek in a tour de force performance.

Angela Goethals and Jane Kaczmarek

Jaime Tyrone (Grush) can’t let go of the alienation of his mother for years because he mistakenly thinks she secretly has always favored Edmund over him. His answer to his parent’s behavior is to take to the bottle for surcease; stunting any chance of an acting career in the theatre just like his father. Mr. Grush brings an intensity and bellicosity to Jaime that signals that he is a volatile loose cannon and likely to explode at the slightest provocation. One can also feel his mixed love-hate emotions concerning his younger brother Edmund.

Colin Woodell as Edmund Tyrone, delivers a finely nuanced performance as the brooding, poet and writer suffering from tuberculosis and alcoholism. Edmund, stifled by his home life, struggles to be free from the pressures of his dysfunctional family baggage that surrounds him at home, is nicely realized by Mr. Woodell.

O’Neill’s early life propelled him to expiate the “sins” of his family by creating melancholy characters in his plays that resonated with American audiences by employing the vernacular of the working and middle classes. Arthur Miller followed the same path when it came to capturing those same audiences in his “View From the Bridge” and “Death of a Salesman” plays.

Stephen Louis Grush, Colin Woodell and Alfred Molina.

The wonderful ensemble cast that includes Angela Goethais as Cathleen, the young housemaid, who also has a ‘taste for the sauce’, work together like a well-oiled machine (no pun intended).

This splendid production of “Long Day’s Journey Into Night”, seamlessly directed by Jeanie Hackett, performs on the Gil Cates stage at The Geffen Playhouse, and runs through March 18, 2017.​

-- Jack Lyons

Picasso at the Lapin Agile Brings Icons to Life with Laughs

Memories come and go, including mine. But if memory serves me right, the version of “Picasso at the Lapin Agile”, production I saw at the Westwood Playhouse back in 1994 (now called the Geffen Playhouse), wasn’t quite what I witnessed on the Shiley Stage at San Diego’s venerable Old Globe Theatre last week.

Twenty three years later, we’re immersed in a culture with innovative ideas and creative ways to bring them to today’s theatre audiences. When the Old Globe Theatre appointed Barry Edelstein its Artistic Director in October of 2012, the bridge from the past to an exciting and innovative new era became a reality. The last five years of Edelstein’s stewardship has been nothing short of theatrical excellence, in all its forms: old, new, and its experiments with the classics, the standards, and, now, the many challenging stories the twenty-first century will present to its audiences.

Philippe Bowgen as Pablo Picasso and Justin Long as Albert Einstein. All photos by Jim Cox.

The revival production of Steve Martin’s “Picasso at the Lapin Agile”, now on the Shiley stage, benefits from the close working association between Erna Finci Viterbi play director Barry Edelstein and playwright Martin. This production marks the third play to grace the boards of the Old Globe that have been written by Martin; the other two being the 2014 musical “”Bright Star”, and the 2016 sophisticated comedy “Meteor Shower”.

Edelstein, has gathered for this revival version of “Lapin Agile”, an outstanding group of actors, comedians, and farceurs, all with impeccable timing who generate enough on-stage energy to light half of San Diego.

The story in short, is set in 1904 Paris at the Lapin Agile Bar, a beloved watering hole to struggling artists and would-be geniuses. The regulars prepare for the arrival of two soon-to-be legends Albert Einstein and Pablo Picasso who are scheduled to drop in for one extraordinary night where the two ego maniacs, as big as their intellects, spar with the patrons and each other about art, science, inspiration, love, and the promise of the 20th century. Toss into this mix a character known only as “the visitor”, and one is in for brilliant, witty, and a highly entertaining evening in the theatre. Steve Martin wasn’t known as a ‘wild and crazy guy for nothing. Like the pizza man – he delivers. Actually, he’s a very intelligent and accomplished writer, playwright, actor, and musician, and an all-round Renaissance Man.

Hal Linden as Gaston, Philippe Bowgen as Pablo Picasso, Justin Long as Albert Einstein, Donald Faison as Freddy, and Luna Veléz as Germaine

The stellar cast ‘in order of appearance’ (remember this notation it will produce a laugh later) includes: Donald Faison, as Freddy, the owner/bartender of the Lapin Agile, Hal Linden as Gaston, the old gent with a weak bladder problem who delivers loads of zingers, Luna Velez as Germaine, the girlfriend/philosopher of Freddy, Justin Long as Albert Einstein, the world’s, at this moment in time, is a youthful, confident, and oddly appealing genius in waiting, Liza Lapira as the sexy Suzanne, a one-night-stand partner of Picasso, Ron Orbach as Sagot, the slick art dealer, Philippe Bowgen as Pablo Picasso, in all his preening and womanizing self, Marcel Spears as Charles Dabernow Schmendiman, a self-proclaimed business genius with a touch of P.T. Barnum in his resume, and Kevin Hafso-Koppman as the mysterious ‘visitor.

The ‘visitor’ maybe mysterious, but it’s no mystery as to why this production just soars. When nine highly talented actors are directed by the brilliant and inventive Mr. Edelstein, there can be only be one result: a first class production. The stage literally becomes a kaleidoscope of color along with comedy-insight, thanks to the talents of Scenic Designer John Lee Beatty, and Lighting Designer Russell H. Champa, who both recreate and pay homage to the City of Light, just as this terrific ensemble cast does. Costumes designed by Katherine Roth with original music and sound designed by Lindsay Jones, complete the technical team.

As a side bar: The Old Globe nabbed the Outstanding Resident Musical Award last week for their production of “October Sky” at the prestigious Craig Noel Awards ceremonies hosted by the San Diego Theatre Critics Circle.

“Picasso at the Lapin Agile” performs without an intermission (approximately 90 minutes) at The Old Globe Theatre’s Donald and Darlene Shiley Stage through March 12, 2017.​
--Jack Lyons