THE GEFFEN'S "INVISIBLE TANGO" INVITES THE AUDIENCE ON A MAGICAL, MYSTERY TOUR WORTH TAKING

Helder Guimarães in the world premiere of Invisible Tango at Geffen Playhouse.
Directed by Frank Marshall. Original music composed by Moby. Photo credit: Jeff Lorch

Ah, sweet mystery of life at last I've found you...in the form of an unassuming yet brilliant close up magician named Helder Guimarães whose one man show is currently gracing the Audrey Skirball Kenis stage at Westwood's Geffen Playhouse. The small theater has been transformed into a mid-century modern apartment with an elegant bookshelf back wall filled with fascinating items that look innocent, but...one never knows in this tour de force, ably directed by Frank Marshall. Yes, that Frank Marshall, the award winning producer and filmmaker, who helped bring "Raiders of the Lost Ark" and other Spielberg hit films to life.

But, I digress. From his enigmatic first appearance, where he tells a story of his first car accident in Los Angeles, to his final philosophical musings 80 uninterrupted minutes later, Guimarães lays out the premise for the show, for his life and maybe yours too: Everything happens for a reason.

     Bernard Buffet "Tête de Clown" ca. 1960s

Borrowing from the time-honored tradition of close up magic that engages audience members in the sleight of hand tricks, Guimarães charmingly interweaves personal stories about his discovery of a hand-written journal he finds in an antique store that pulls him into a multi-year quest to discover the identity of the author, himself a magician. We also hear about his enigmatic friend Gabriel, a retired clown once painted by famed portraitist Bernard Buffet in the 1960s.

If you have ever been amazed and confounded by the magical disappearance/reappearance of a card, or by the prestidigitator's uncanny ability to be able to read an audience member's mind or predict their action in advance, this is the show you must see.

Kudos to the Geffen for bringing Guimarães back to the Playhouse. His previous show for them, "Nothing to Hide", was one of the most popular shows in Geffen history. This is a finely tuned vehicle for its star who also wrote the book with help from Dramaturg Amy Levinson. Moby contributes a sensual, atmospheric original score, recorded and performed by him and the East Side Jazz Monkeys. Scenic Designer Francois-Pierre Couture, Lighting Designer Elizabeth Harper, and Sound Designer Alex Hawthorn are all integral players in this production and their work is outstanding yet understated.

Part memoir, part prestidigitation, "Invisible Tango" is lovingly underpinned with a philosophical motif that what is life without mystery. At one point, Guimarães offers the audience a chance to find out exactly how he pulls off each of his unbelievable feats; director Marshall says that no one has taken him up on the offer so far. Perhaps we still need to believe in magic in a world that is desperately seeking to reclaim its soul.

Invisible Tango is performed with no intermission, 80 glorious minutes long. The show runs until June 30. For more information on tickets, please visit www.geffenplayhouse.org.

-- Lisa Lyons

PALM CANYON THEATRE PRESENTS THE MUSICAL “BIG RIVER”

Ryan Holmes as Huck Finn and Jonathan Hatsios as Tom Sawyer
in Palm Canyon Theatre's "Big River". All photos by Paul Hayashi.

America’s most famous and favorite humorist of the late 19th century and early 20th century was renaissance man Samuel L. Clemens, who authored his own real-life adventures, stories, essays, and novels under the pen name of Mark Twain.

He was born in 1835, the year of the arrival of the celestial body known as “Halley’s Comet”; which only makes an appearance in American skies every 75 years. He died 75 years later when Halley’s Comet returned in 1910.  What Mark Twain accomplished in his storied literary career lives on.

Twain’s legacy of rich tales and stories celebrating the rugged individualism and spirit of the era reflected the country’s culture of the times. Society west of the Hudson River of New York was considered to be too brash, brawny and adventurous for snobbish East Coast elites. Ohio was considered to be end of civilized America with St. Louis, Missouri, the gateway to the Pacific.

America has come a long way since it lawless days of the wild-west. However, there’s still a lot of work to do culturally; we’re in the 21st century now in an evolving and ever-changing world.

The musical “Big River” debuted on Broadway in 1985 and toured the nation in the years 2004 and 2005, nabbed regional theatre awards wherever it played is now on stage in a limited run at the Palm Canyon Theatre (PCT)in Palm Springs.  Written by singer, songwriter, musician, and actor, the late Roger Miller, and librettist William Haulptam, is winningly directed and choreographed by PCT co-artistic director Se Layne.

Ms. Layne assembles a huge cast of thirty-one performers to tell Twain’s beloved 1884 American novel “The Adventures of Huckleberry Finn.”    The musical production follows the characters of Huck Finn, Tom Sawyer, runaway slave Jim, The Duke, The King, Alice the slave, Mary Jane and others, on their journeys; and those of the slaves escaping to the North to their freedom. It’s been a beloved American classic novel and has been an entertaining American musical production for over thirty-five years.

To mount a rambling and sprawling story like “Big River” for the PCT stage is no mean feat.
The set design by co-artistic director and resident set and lighting designer J.W. Layne, provides clean and clever multi-level performing spaces for the large cast to perform their magic.  There are no seats with blocked views of the stage action.

Dan Tullis as Jim the Slave and Ryan Holmes as Huck Finn

The costumes designed by resident designer Derik Shopinski, and his assistants Kathryn Ferguson, Virginia Sullick, and Colleen Walker never disappoint. They always bring the ring of authenticity and are spot-on as to the period or to contemporary settings. The Sound designed by Jean Rodriguez, and Props by director Layne complete the creative team.  The production is stage managed by Derik Shopinski.

Breathing life into the character stories are: an energetic Ryan Holmes as Huck Finn, who brings just the right amount an earnestness and a slightly mischievous quality to his Huck performance and to his song numbers that work well for the audience.


Dan Tullis, Jr. as the runaway slave Jim, brings down the house with a basso-profundo voice to die for.  His range is amazing and his acting even more so. He has loads of movie and TV acting credits and it shows in this production.


Jonathan Hatsios as Tom Sawyer, Donald Kelley as The Duke, Ron Coronado as The King, Keisha D as the slave Alice, shines with her stunning gospel singing voice, Terry Huber as Judge Thatcher/Silas Phelps, Alan Berry as Counselor Robinson, Anna Grace Wallace as Mary Jane Wilkes, Mado Nunez as Pap Finn, and when he’s not on stage, is the resident wig designer for PCT productions; all deliver fine yeomen support as do the eighteen ensemble members. Also,  It’s a joy hear to two and three-part harmony singing in this musical.  We need more productions with harmony voices. Well done singers!

The music accompaniment is led by Musical Director Michael Reno on piano, David Bronson on drums, Larry Holloway on bass, and John Pagles on guitar. There are eighteen musical numbers in this production.  Act I features songs “River in the Rain” and “Muddy Water”, both numbers sung by Ryan Holmes and Dan Tullis Jr, respectively, and “The Crossing” sung by Keisha D and the slaves.

Act II features such songs as “Waitin’ for the Light to Shine” (in Reprise), “Free at Last”, emotionally sung by Mr. Tullis and Ms. Keisha D and the slaves. The rousing reprise of “Muddy Water” in the finale number by the entire company brings the audience to their feet in a series of standing ovations.

“Big River” is a crowd-pleasing musical production that performs at the Palm Canyon Theatre through May 19, 2010.  For reservations and ticket information call the box office at 760-323-5123.

DESERT ROSE PLAYHOUSE OF RANCHO MIRAGE SCORES IN “PAGEANT”, THE MUSICAL

The cast of "Pageant" at the Desert Rose Playhouse

The Desert Rose Playhouse located in Rancho Mirage, Ca is the only theatre venue dedicated to serving the LGBTQ community of the Coachella Valley It has an excellent track record of presenting both gay-themed and straight productions over the years.
Quality writing with solid performance is an equal opportunity employer and is the goal of what really matters to any theatre audience.  As the Bard of Avon says “The plays the thing,” which is really the name of the game.

When the IRS and the Census Bureau counted noses of Coachella residents, it discovered that various election results over the years find the gay community of the Coachella Valley to be the dominant demographic.  Thanks to the valley’s vibrant theatre scene there is plethora of theatres to enjoy stage productions in all its forms and styles.

The Desert Rose Playhouse recently underwent a passing of the “management torch,” so to speak, from founders Paul Taylor and Jim Strait to Robbie Wayne, the new artistic director and to Kam Sisco, the new producing manager.  Paul and Jim now prefer the trade winds, beaches, and luau dinners as residents of Hawaii, our 50th State in their golden years of retirement.

However, when visiting the mainland and the desert they still attend Desert Rose Playhouse performances when available.  Messrs. Taylor and Strait set the bar high, and now Mr. Wayne and Mr. Sisco are dedicated to raising it even higher.

“Pageant,” a send-up musical about the world of beauty pageants everywhere, is created by Bill Russell and Frank Kelly and directed by artistic director Robbie Wayne.  According to director Wayne, the show is strictly a satiric comedy presentation intended to be just fun for the audience.  There is no hidden agenda message being delivered by its cast or the writers.

The story, such as it is, unfolds in a series of quasi-sketches performed by the cast that reflects the various judging categories in which the “ladies” compete on the road to becoming crowned “Miss Glamouresse” (think Bert Parks and the old Miss America pageants).

The faux Glamouresse beauty pageant is hosted by Franky Cavalier (Michael Pacas) who introduces the contestants and puts the ladies through their paces.  There’s a lot of tongue-in-cheek intro’s that the ladies endure before they get to strut their stuff. And it’s all done in the name good fun.

The contestants for Miss Glamouresse in alphabetical order are: Noah Arce as Miss Industrial Northeast; Larry Martin as Miss Great Plains; Timm McBride as Miss Texas; Ben Reece as Miss Bible Belt; Brian Keith Scott as Miss Jersey Shore; and long-time professional “drag diva” performer Miss Rusty Waters as Miss Deep South.  There’s no ‘camp turns’ or moments in this entertaining show.

The production could be sub-billed as “Seven Guys and a Gal.”  The single female, however, doesn’t appear on stage in this “Pageant” production.  Jaci Davis, is the musical’s piano accompanist and a fabulous actor in her own right; makes sure the singer/actors on stage stay on key – which they do!

“Pageant” is a glittering, gorgeously produced, costumed musical that is a crowd-pleasing production. The technical credits of set design by Bruce Weber, and lighting design by the redoubtable Phil Murphy, along with glittering costumes created by director Wayne and Ruth Braun.

“Pageant,” is the final production of the Desert Rose Playhouse 2018-2019 season. Their traditional summer season show is “Ruthless the Musical,” which will perform from June 21st to July 14th, 2019.  The Fall season kicks off with Charles Busch’s comic melodrama “Die, Mommie, Die! “ inspired by the 1960’s movies of Bette Davis, Joan Crawford, and Lana Turner, as aging Hollywood divas who refuse to grow old as performers. Playdates for “Die, Mommie, Die!” are October 4 through October 27th, 2019.

The box office for Desert Rose Playhouse will be accepting reservations for “Ruthless the Musical” and season subscription tickets beginning the week of May 27th.

LIFE AFTER AT OLD GLOBE IS A REAFFIRMATION OF LOVE AND HOPE

Sophie Hearn stars as Alice in "Life After". All photos by Jeremy Daniel

It's not often that the small musical form can be transformed into something that's truly a game-changer. It happened in the 1950s with "The Fantastics", in the 1970s with "Godspell" and more recently with "Fun Home" and "Come from Away" both which went on to win their share of Tony Awards. So I don't think it is going out on a limb to say that "Life After", the new musical production written by the outrageously talented Britta Johnson and masterfully directed by the Globe's own Barry Edelstein, has a similarly excellent chance at duplicating that success. The show was developed in Canada, where it won several Dora Mavor Moore Awards including Outstanding New Musical and Outstanding Production of the 2017-2018 season.

"Life After" has an achingly beautiful score that borrows heavily from the intricate lyricism and plaintive tone of the best of Stephen Sondheim. It really is a beautiful piece of theatre that will surprise you with its gut punch of emotion. You should go see it at any cost before it wends its way to Broadway.

The story revolves around 16-year-old Alice (a wonderfully-layered Sophie Hearn) who loses Frank, her pop psychologist author father, in a tragic car accident on the night of her birthday. She'd made plans to be with her friends instead of her Dad that night (hello, she's a teenager!) and the two have an atypical fight only hours prior to the accident. And with the usual self-absorption of a teen, Alice thinks that everything that happened that night is her fault.

The show moves in and out of Alice's head, which is buzzing with memories and projections both real and imagined. She's too immersed in her sorrow to realize that also dealing with their own grief are her mother, Beth (a poignant turn by Mamie Parris ) who had put her own career aside to support her husband and raise two kids, and elder daughter Kate (the wonderfully wry Charlotte Maltby) who always felt second best in Daddy's eyes. They want to just move on, but Alice can't - her guilt is anchoring her to the past. She can't move on until she figures out why it had to happen.This all sounds fairly heavy, but the musical is alternately funny, touching and truly dazzling.

The excellent, multi-purpose scenic design by Neil Patel is minimalist with spot-on projection design by Sven Ortel that perfectly suits the tone of the show. The lighting design of Tony-winner Japhy Weideman and sound design of Ken Travis really function as almost separate characters, expressing the inner life of the players. Costumes by Linda Cho and choreography by Ann Yee, in particular for The Furies (a three woman Greek chorus who represent reality), are a perfect complement to the dreamy, sliding set pieces made from transparent fabric that allows the audience to peer into the dream world of the teenage psyche.

Livvy Marcus as Hannah and Sophie Hearn as Alice
in "Life After"

Kudos go to all performers - especially the oh-so-endearing Livvy Marcus as Alice's nerdy BFF Hannah and Dan'Yelle Williamson as her favorite teacher Ms. Hopkins, who has a deeper connection to Alice than anyone realizes. Her solo "Moving" is a highlight. 

Sophie Hearn as Alice and
Dan'Yelle Williamson as Ms. Hopkins in "Life After"

As the self-absorbed author Frank, Bradley Dean's soaring tenor voice brings tension and pathos to his duet "Snow" with Alice, the eleven o'clock number that hits you in the heart. The Furies, who play a multitude of roles, are done to perfection by Ximone Rose, Mackenzie Warren and Charlotte Mary Wen.

The show runs 90 minutes with no intermission, but it moves along in a steady rhythm, never dragging. The orchestrations by Lynne Shankel and the excellent orchestra conducted by Chris Kong, are subtle yet powerful.

Author Britta Johnson wrote both the libretto and the score and her equally talented sister Anika Johnson serves as dramaturg on this story that has some basis in their own lives.

Some of the images will stay with you long after such as the final, spectacular picture with Alice surrounded by pulsating, falling snowflakes, is an apt metaphor for the entire production. In the midst of great pain and emotional growth, there are moments of perfect beauty that make the whole damn thing worth it. As the lights dim, one feels joy and hope, not something you would expect from a musical that's about love and loss.

"Life After" runs until April 28 at the Donald and Darlene Shiley Stage, part of the Conrad Prebys Theatre Center at the Old Globe in San Diego's beautiful Balboa Park. For tickets and information on parking, contact www.TheOldGlobe.org or call 619-23-GLOBE.

COYOTE STAGEWORKS REVISITS AN OLD FRIEND IN “GREATER TUNA” AFTER ITS TEN YEAR DEBUT

Chuck Yates and Alan Denny play a total of 18 roles in the Coyote StageWorks production "Greater Tuna".
All photos by David A. Lee

Like a fine wine that just gets better with age and tender-loving-care, Coyote StageWorks of Palm Springs found its groove too.  But an explanation is in order. Ten years ago, Coyote co-founders Chuck Yates, Alan Denny, Larry Raben, David Engle, and Michael Solomon brought their talents as actors, producers, and directors, from Los Angeles to Palm Springs, with an eye toward remaining permanently in our desert paradise.

This gifted quintet of professionals approached Arch Brown, then owner of Thorny Theatre, in Palm Springs (now defunct) to ask if he was interested in renting the Thorny Theatre to them, as a way of introducing to Valley residents, the professional theatrical skills of Coyote StageWorks.  He did and the rest, as they say, would become history.  Over the last ten years, Coyote StageWorks has gone on to rack up 77 Desert Theatre League Awards (DTL) for excellence in their productions.

Alan Denny and Chuck Yates

The play they selected to produce was a hoot of a comedy about a tiny radio station – probably a 500-watt signal that just reaches out the window sill – to the 1500 listeners of a tiny, fictional community in East Texas called Tuna. That would be the extent of its outlet reach and probably doesn’t travel much beyond their city limits, but that doesn’t faze our intrepid radio co-hosts. Thurston Wheelis (Alan Denny) and Arlis Struvie (Chuck Yates), the two guys chit-chat about the local residents who buy the ads and talk to the listeners who call into their local daily radio show. And they also read the local and national news too.

“Greater Tuna,” set in the fictional city of Tuna, (“the third smallest city in Texas”)  is a series of comedy vignettes punctuated by lightning-quick costume changes that make up the meat of this excellently produced comedy by David Youse and Chuck Yates and staged by DTL award-winning director Larry Raben.  The highest compliment a theatre critic can bestow to a seamlessly directed play is to say the hand of the director was nowhere in evidence.  One can only imagine; however, the blood, sweat, and tears taking place backstage that gives the appearance of the production as one that flows smoothly to the audience.  That’s why it’s called ‘stage magic.’

“Greater Tuna”, written by co-authors Ed Howard, Joe Sears, and Jaston Williams hit the jackpot back 1982 when they created the outrageous, oddball, and the kookiest cast of characters that looked and sounded like your crazy uncle (who usually slept in the attic on a cot) or Bertha Bumiller community busy-body, and nosy lady who knows everyone’s business and shares it with anyone who will listen which, of course, in Tuna, everyone does exactly that.

Alan Denny and Chuck Yates

Spoofs and satires are blisteringly funny to most, except those that see themselves as objects of ridicule. The fun aspect of this terrific production is in recognizing the characters as people we have loved or known in the past and have accepted their flaws, yet we as an audience, are still able to embrace them and their biases because they cannot see or find fault in their own lives. The fictional characters of Tuna, Texas are intentionally exaggerated and over-the-top, but, by gosh, it sure does make for one hilarious evening of theatre. Those twangy Texas accents also lend another dimension to the performances of all nineteen characters. And, where do they come up with the names of the people who live in Tuna? They’re downright Dickensian — more about the two incredible actors who perform these nineteen characters later.

Coyote StageWorks performed just one production at the tiny Thorny Theatre – “Greater Tuna.”  For the next three years, the group became sort of a gypsy-like traveling theatrical company.  Productions of “A Tuna Christmas” and “Fully Committed” thrilled audiences at The Palm Springs Woman’s Club. The group presented their final ‘roadshow’ production “Buyer & Cellar,” at the Helene Galen Performing Arts Center, in Rancho Mirage.

Alan Denny and Chuck Yates

Their performing home for the last seven years has been the Annenberg Theater, located inside the Palm Springs Art Museum.  The group’s Artistic Director Chuck Yates, felt it was fitting to celebrate the group’s first decade of professional quality theatre in the Valley, by presenting a revival production of “Greater Tuna”, with the same two actors and director who created the roles in the first Palm Springs production:  Chuck Yates and Alan Denny, and Larry Raben.

Time has been kind to these two fine actors. I reviewed the very first production in the Thorny Theatre, and I immediately knew this professional Equity and Sag/AFTRA theatre group were keepers.  However, I did wonder how these two seasoned actors would fare ten years later in the roles they originated.  Not only did they acquit themselves in “Greater Tuna” one, they exceeded and enriched their acting chops and performances in “Greater Tuna” two, now performing at the Annenberg Theater venue in Palm Springs.

The division of labor in this terrific production boils down to 10 characters for Mr. Yates, and nine roles for Mr. Denny. Both men portray female characters, but you wouldn’t know it from the audience; well, yes, one might, but it’s always a delight to watch two pros do their thing.  Mr. Denny is perfect as Bertha Bumiller in how she handles her annoying children as well as her friends.  And Mr. Yates never disappoints in any of the wide-ranging roles he tackles. His performance as Truman Capote in the biographical play “TRU” is still talked about in the Valley.

The creative, technical team led by director Larry Raben includes a slick functioning set by Designer Josh Clabaugh; Supplemental Costumes by Jim Lapidus and Supplemental Costumes/Wardrobe Master Frank Cazares, complete the creative team.  The production is Stage Managed by Diane L. David.

“Greater Tuna” performs at the Annenberg Theater in Palm Springs and runs through March 31, 2019.  It’s a Must See production!

--Jack Lyons

CVREP OF CATHEDRAL CITY PREMIERES THE MUSICAL “CHESS” IN THEIR NEW VENUE

Gabriela Carrillo, Michael Dotson, Ashley Hunt, Glenn Rosenblum. Photos by Jim Cox

Whoever said that East is East (think Broadway) and West is West (think the vibrant West Coast theatre scene) and the twain that would never meet was dead wrong! The twain did indeed meet, arriving in the form of a triumphant production of the musical “CHESS” produced by CVRep on its brand spanking new 2 Million-dollar, state of the art theatre in Cathedral City on March 15, 2019.

CVRep Artistic Director Ron Celona’s dream of bringing quality, Equity, professional live theatre productions to the greater Palm Springs area became a reality last Friday with a star-studded audience of actors,  producers, sponsors, and donors plus a loyal cadre patrons of CVRep attending the grand opening.

The champagne flowed before the performance and flowed again at the after-party accompanied by platters of shrimp and a variety of tasty, scrumptious canapes (with nary a calorie in any of the food, yeah, sure).  It was a glorious evening that was several years in the making, but the result is a stunning Broadway-like venue of comfortable 208 seats to please even the fussiest of theatre-goers.

CVRep’s Artistic Director Ron Celona, who also directs the maiden voyage production in CVRep’s permanent new home, was over-the-moon, with the standing ovations received from the audience that is richly deserved.

 “CHESS,” is a musical written by three giants of the Broadway stage: librettist Richard Nelson, lyricist Tim Rice, and a musical score composed by two members of the world-famous Swedish pop music group ABBA:  Bjorn Ulvaeus and Benny Andersson.  The story is set in 1968 during the European ‘cold war’ period in Bangkok, Thailand and in Budapest, Hungary.  The United States and the Soviet Union are still engaging in bragging rights in the game of diplomacy and politics.  However, tensions exist, and it’s still a dangerous time period for both sides, and anyone caught in the middle.

The musical is loosely based on the 1972 world chess match between American Bobby Fisher and Russian Boris Spassky, held in Iceland. Librettist Nelson spices up his fictional chess match between Freddie, the American challenger (intentionally and cockily played by Garrett Marshall) and Anatoly, the reigning world champion Grand Master from Russia (David Sattler, a wonderful rich baritone who can act).

As the two men meet to lay down the rules for the match with match arbiter/referee Jeremy Whatley.  Anatoly catches the eye of Freddie’s agent Florence (a beautiful Gabriella Carrillo, and the possessor of a lovely voice). Sparks fly, as they say, between Anatoly and Florence, and had Shakespeare been the author of this beautiful musical the audience would be watching “Romeo and Juliet.” But the lyrics of Tim Rice and the music of Ulvaeus and Andersson more than make-up for the absence of the Bard in this enjoyable production.

Gabriela Carrillo, Michael Dotson, Garrett Marshall,
Roman Skryabin, and Glenn Rosenblum

The performers in “CHESS” are multi-talented and deliver strong support.  Michael Dotson as Molokov, the KBG agent in charge and acting as a faux tour guide/interpreter, is especially effective, as is Glenn Rosenbaum as Walter, a U.S. diplomat trying to keep all of the Americans focused on why they are in Bangkok and Budapest on this world chess match good relations tour.

Tensions rise when Anatoly’s wife Svetlana (a statuesque Ashley Hunt) arrives in Budapest, and the love triangle of Anatoly, Florence, and Svetlana have decisions to make. There are many twists and turns in the production that predicting the outcome may not be as easy as one would think.  Come see it for yourself; it’s a crowd-pleaser.

Daniel Sugimoto, Sydney Clemenson, Garrett Marshall,
Brianna Maloney, Michael Rawls, and Cassidy McCarron
performing “One Night In Bangkok”

There are 28 songs and dance numbers in the production’s ensemble unit that deliver solid support to the principles and the supporting cast.  I found the song standouts to be a dance number with Freddie and the ensemble in a number entitled “One Night in Bangkok,” and “Terrace Duet,” that is nicely sung and rendered by Ms. Carrillo and Mr. Sattler.  Also “I know Him So Well” is poignantly sung by Ms. Carrillo and Ms. Hunt, and I pondered at the time how many in the audience that number resonated with.

The ensemble deserves recognition for their efforts in this highly professional company that includes: Sydney Clemenson, Briana Maloney, Cassidy McCarron, Michael Rawls, Roman Skryabin and the show’s Russian Dialect coach, and Daniel Sugimoto complete the ensemble unit.

The creative team led by director Ron Celona, features the talents of Musical Director Scott Storr; Choreographer Michael Nickerson-Rossi; Set Designer and Emmy award winner Jimmy Cuomo; Lighting Designer, Moira Wilke Whitaker; Associate Designer Doug Morris; Stage Manager Louise Ross; Costume Designer Aalsa Lee; Sound Designer Kate Fechtig; Lynda Shaeps, Hair and Wig Designer, and Joshua Adams technician/running crew, complete the creative team.

This splendid production of “CHESS,” made CVRep’s first production in its new home an auspicious and triumphant opening night to remember.

For reservations and ticket information call CVRep at 760-296-2966.  And remember,  A great nation deserves great art.  Support the Arts!

DESERT ENSEMBLE THEATRE COMPANY STAGES “PROOF” AT PALM SPRINGS WOMAN’S CLUB

Kelley Moody and  Larry Dyekman star in "Proof" for Desert Ensemble Theatre Company.
All photos by Jerome Elliott.

Playwright David Auburn debuted his smart and intriguing drama “Proof” in 2000.  Auburn was awarded the prestigious Pulitzer Prize for Drama and a coveted Tony Award as Best Play in 2001 for his efforts.

Artistic Director Jerome Elliott of Desert Ensemble Theatre Company (DETC) has a good theatrical eye and ear of what his audiences want to see and hear. “Proof” is a “theatrical intellectual think piece” that draws its audience into the world of mathematics geeks and brilliant minds, who spend their academic lives in search of the illusive “prime number” conundrum and other math mysteries in the hope of finding the key to unlocking one of mathematics’ most vexing unsolved mysteries.

Director Elliott stages his drama with a cast that features: Kelley Moody as Catherine, the gifted, conflicted younger daughter of Robert, a famous math genius who has mental issues; Lee Rice as Claire, Catherine’s older, annoying sister from New York, and Sam Benson Smith as Hal, a former mathematics PhD candidate of Robert’s at the University of Chicago; who has crush on Catherine.

Kelley Moody and Lee Rice in "Proof"

The ensemble cast deliver nice character studies of flawed individuals.  Ms. Moody has the meatier role as Catherine, and she doesn’t disappoint in her scenes. Mr. Dyekman as Robert, although short on stage time, he makes the most of it while on-stage.  Ms. Rice has some nice moments in her role as the prodigal sister who can’t wait to get back to New York.  Mr. Smith holds his own in the pivotal role of Hal.

The story is not linear in structure. It flashes backward and forward. So it’s important to stay engaged on what is taking place on-stage.

At curtain up, we see Catherine outside in the backyard of her Chicago home.  Her father Robert joins her and begins to ask if she will ever return to her studies as a budding mathematician?  She tells him she is considering Northwestern University.  Robert reacts with a slightly disappointing why there?  He teaches at the University of Chicago she should go there.  Catherine appears to be thinking about it; however, when she looks for Robert to discuss it and other things, Robert has disappeared; ghost-like

Claire comes outside to chat with Catherine about her future plans now that Robert, their father, has died.  What will she do? Catherine is in favor of doing nothing. She is slowly shriveling up and withdrawing into a state where she believes mental issues are in her future just like their father, Robert.

When Robert was 25 years-old, mental issues began to slow him down.  He was famous and declared a mathematical genius by his peers.  He was at the height of his powers, only to be forced into retirement from his professorship and academia.  Catherine left school to nurse and take care of him.  Claire left for New York and a different life leaving Catherine to become their father’s caretaker.  Catherine has never forgiven Claire for abandoning their father.

Sam Bensom Smith and Kelley Moody in "Proof."

Hal, an ex-graduate student of Robert, drops by the house to ask Catherine if he could possibly read any of Robert’s personal diaries and notes from his career.  Hal is working on a ”proof” project himself, and the notes and diaries would be helpful.  Catherine says yes and gives him the key to her father’s locked files.   Hal is an opportunist who while examining Robert’s files discovers another notebook separate from the others.  He decides to take the book without telling Catherine.

To reveal any more information at this point would diminish the impact of playwright Auburn’s clever think-piece.  So, no spoiler alerts from me.  You will just have to see the play for yourself.

This I can tell you.  The play reflects the contributions American women have made over the last fifty years in male-dominated professions.  In 2016 Hollywood celebrated their accomplishments in the Academy-Award nominated film “Hidden Figures.”

The film featured three African-American characters based on real-life events surrounding America’s first space pioneer John Glenn.  When a glitch occurred in the return trip to earth it took the mathematical skills of NASA’s two African-American women employees to get him safely back on Earth, and the beginning of cracking the “glass ceiling” was launched (no pun intended).  Today, women are found working at the highest levels of business and government and still raise families as well.

Director Elliott leads the creative team of Sierra Barrick, the Assistant Director, and Scenic Designer Lauren Bright who provides a nice backyard setting for the actors to perform their magic, Ashton J. Bolanos lighting designs, allows the audience to appreciate the costume designs of Frank Cazares.

Desert Ensemble Theatre Company’s production of “Proof,” performs on the Pearl McManus stage of the Palm Springs Woman’s Club in Palm Springs through March 24th, 2019.  For reservations and ticket information go online to www.detctheatre.org.

-- Jack Lyons