Julian Sands Has a New Take on "A Room with a View" in LA Theatre Works Radio Production

Actor Julian Sands, the original George Emerson in the
Merchant-Ivory film"A Room with a View,"
will voice the character of the elder Mr. Emerson in the
upcoming LA Theatre Works radio production,
March 1-3, 2019. Photo by Matt Petit.

Actor Julian Sands burst onto the scene in the mid 1980s lighting up the big screen as George Emerson, a deeply thoughtful young man who sweeps impressionable Lucy Honeychurch (Helena Bonham Carter) off her feet during a trip to Florence, Italy in the Merchant-Ivory drama "A Room with a View." The film went on to win several Academy Awards including Best Adapted Screenplay, Best Art Direction-Set Decoration, and Best Costume Design as well as nominations for Best Picture and Best Supporting Actor for actor Denholm Elliott's portrayal of George's father, Mr. Emerson.

In an satisfying turn of events, actor Sands is now portraying the senior Mr. Emerson in the LA Theatre Works (LATW) radio dramatization of "A Room with a View" based on the original novel by E.M. Forster and adapted and directed by Kate McAll, an award-winning writer/producer for BBC4 Radio. Sands is delighted that this classic love story will be reaching new eyes and ears in this LATW production which will record four performances Mar 1-3. This time instead of playing the young lover, however, he will portray George's father, a simple yet eloquent tradesman. The irony is not lost on Sands, who has had a successful film career for more than three decades and is now doing stage, television and most recently radio dramas.

"I always felt that in the film the tenderest scenes were between George and his father," he says. "They had such a resonance to them, so poetic. So I wanted to recreate that feeling but keeping it simple, taking inspiration from author E.M. Forster's novel. He created a lovely, open-hearted, unfiltered man, somewhat provincial yet in his own way no less sophisticated than Lucy's fiance Cecil Vyse."

What was it that drew him back to these unforgettable characters? "Well, mostly it was my great working relationship with Kate McAll," he states. "We had worked together last year in LATW's "Daniel Deronda" and then again recently on an original radio drama "Cheeta: My Life in Hollywood" with my old friend John Malkovich that she adapted."

"Also, Forster created a 'tableau vivant' of great characters," he explains. "It's a love story, yes. But it also has hidden depths, nuance, subtlety of feeling. The three families whose lives intertwine - the Emersons, the Bartletts and the Honeychurches - are profoundly joyful and touching. The book was beautifully crafted and well-observed by the author."

He recalls when making the film that it was like being at a wonderful picnic, blessed with a ridiculously talented cast - including Daniel Day Lewis as Cecil, Dame Maggie Smith as Lucy's chaperone Ms. Bartlett, Judi Dench as an outre artist, and Rupert Graves as Lucy's wastrel brother.

Helena Bonham Carter and Julian Sands

However, the challenge of taking the beloved film, without it's glorious visuals and the backdrop of Venice and rural Surrey countryside, and making it all about the source material was impossible to resist when he read McAll's adaptation. "Kate has great intelligence, integrity and was faithful to the source material much like Ruth (Prawer Jhabvala) did with the film adaptation," he explains. "After working with her on Daniel Deronda, and then on Cheeta, I knew this production would be perfectly cast and performed - and I was right."

The beautiful Elinor Tomlinson (Demelza in "Poldark") plays Lucy and Eugene Simon ("Game of Thrones") plays George; Sands feels they will breathe new life into the characters for a  generation of listeners who may have never seen the original film. He recalls that he reached out to James Ivory when he was offered the role of Emerson by LATW and Ivory was delighted that the material would be revived. Sands gave sage advice (when asked to) by Simon about how to best portray George. "There have been other adaptations on the stage and television where George is played as a melancholy loner. But I told Eugene that George is soulful, joyful, never gloomy. So keep it simple, keep it real."

That is good advice from a working actor who has logged over a million frequent flyer miles following his passion for acting and immersing himself in the culture of the places he visits which include more than 50 countries to date. "I consider myself a sort of wandering minstrel, in the great tradition of traveling players of the past," he confesses.

We can only hope that his undiminished wanderlust leads him back to the stage and now radio podcasts for many years to come.

"A Room with a View" will have four performances the weekend of March 1-3, 2019. Tickets range from $15-$65 and can be purchased by visiting www.latw.org or calling 310-827-0889.

-- Lisa Lyons

Lights Out: Nat "King" Cole Turns the Spotlight on Racism at The Geffen

Dule Hill plays the title role in "Lights Out: Nat "King" Cole" now playing at the Geffen Playhouse. All photos by Jeff Lorch.

"Lights Out: Nat "King" Cole" is a wildly ambitious play with music that explores the talented singer's career and the racism he struggled against throughout his life. But it takes a very dark and curious form...imagine Nat King Cole as Ebeneezer Scrooge facing the ghosts of Christmas past, present and future, with Sammy Davis Jr. playing Jacob Marley and you'll get an idea of the theatrical approach taken by playwrights Colman Domingo (The Scottsboro Boys, Fear the Walking Dead) and Patricia McGregor who also directs this production.

Daniel J. Watts as Sammy Davis Jr. and Dule Hill
as Nat "King" Cole in "Lights Out: Nat "King Cole"

The show opens with Cole (the multi-talented and surprisingly versatile Dule Hill) brooding in his dressing room as he realizes that his show is getting the ax one week before Christmas, ending his groundbreaking TV variety show - the first one hosted by a black performer on a major network. The NBC studio is recreated to retro perfection by Clint Ramos and authentic costumes by Katherine O'Neill; the production breaks the fourth wall and includes the Geffen Playhouse audience as part of the crowd who are there to watch history. Why is the program being cancelled? According to Cole's high-strung producer (a fine voiced Bryan Dobson) it's unpopular with advertisers who won't fund a program with a negro as host, especially in the South, where some stations refuse to air it.

As he struggles to deal with his anger and disappointment, his old friend (or is he?) Sammy Davis Jr. appears to play Devil's advocate, alternately encouraging and tormenting the singer about his impotent anger. Daniel J. Watts (Hamilton) mugs in the great Jerry Lewis tradition, all the while chiding his friend for acquiescing to the network's insistence on powdering him with "pixie dust" so his blackness is toned down on camera. While Cole waits for his friend Peggy Lee to arrive and sing on the final show, he retires to his dressing room and the fantastical tale of his life unfolds in dramatic flashbacks.

Gisela Adisa as Eartha Kitt in
"Lights Out: Nat "King" Cole

A bizarre segment has Cole reading a perverted version of "The Night Before Christmas" featuring a family of rats who murder their youngest and warn that to kill one will make "ten more come." A reference to lynching perhaps but definitely not for kids.

Did I mention that this show has lovely musical interludes sung to perfection by Hill (who knew?) and the supporting cast of amazing singers such as Gisela Adisa (who voices both Eartha Kitt and a young Natalie Cole), Ruby Lewis channeling Betty Hutton and Peggy Lee and a strong chorus (the amazing Zonya Love, Brandon Ruiter, Mary-Pat Green and young Connor Amacio Matthews). When Hill and Watts have a tap throw-down, it's ovation-worthy.

The play tries to cram a lot of story into its 90 minute running time and it doesn't always work. One time showing a colorblind chorus of happy interracial couples, then featuring a stagehand using a labeled "decency stick" to separate the black host from his white guest, it's often an uncomfortable blend. But the effort is nonetheless worthwhile as it exposes a side of the our great country that is a still shameful part of our cultural identity  It would be interesting to see the playwrights migrate their vision to the big screen and further explore their theme on a larger canvas.

"Lights Out: Nat “King” Cole" is at the Geffen Playhouse, 10886 Le Conte Ave., in Westwood Village and has just been extended to March 24, 2019. For ticket information, call 310-208-5454 or visit www.GeffenPlayhouse.org.

--Lisa Lyons

Old Globe's Newest Dramedy has a "Familiar" Ring to It

The cast of "Familiar", a comic drama by Danai Gurira, now playing at San Diego's Old Globe Donald and Darlene Shiley Stage through March 3, 2019.  All photographs by Jim Cox.

"Familiar", a dramedy from Tony Award nominated writer/actress Danai Gurira (Black Panther, The Walking Dead), attempts to shine the light on the plight of the expats from the troubled land of Zimbabwe who fled to America during the 1980s seeking to start a new life of opportunity. Many of those who were part of the resistance movement turned their back on their former country and the resentments of those who remained have been etched deeply into families torn asunder in more ways than one.

Cherene Snow and Danny Johnson
in "Familiar"

Now living in suburban Minneapolis, the Chinyaramwira family, headed by father Donald (a fully-fleshed, heartfelt performance by Danny Johnson and steely-spined matriarch Marvelous (a rock solid, heartbreaking performance by Cherene Snow), welcome home youngest daughter Nyasha (an effervescent Olivia Washington) from a months long trip to Africa on the eve of older daughter Tendikayi's wedding to Chris, a white, upper middle class financial do-gooder running a non-profit who is doing all he can do integrate smoothly into his newfound family. Marvelous's younger sister Maggie (a sassy sympathetic Ramona Keller), is a wine-guzzling, entrepreneurial single mom of grown boys who (to the family's dismay) don't know anything about their African heritage not even knowing one word of their native Shona language. This is fine with Marvelous who longs to leave all memories of Zimbabwe in the past, unlike her husband who has a secret desire to return to his homeland.

Wandachristine, Lucas Hall and Zakiya Young in "Familiar"

As in many strained family celebrations, an uninvited guest shows up to throw a wrench into the marriage proceedings. Family matriarch Auntie Anne (the larger than life, elegant Wandachristine) has been flown in by the bridge and groom to make sure that traditional Shona elements are integrated into their church ceremony. Haughty, elegant, and haunted by the past, Anne opens up a Pandora's Box of family history that throws all participants into a whirlwind of high emotions, guilt and recriminations that threaten to derail the planned wedding for good.

Still thinking this is a comedy? It's kind of hard to forget when at the end of Act One, Brad, Chris' younger brother who is a "whoa, Dude" kind of guy who rips open Nyasha's pajama top and presses his semi-naked body to hers after she succumbs to severe hypothermia having walked out into the frozen Minnesota winter landscape to gather her fevered thoughts. These broad, farcical elements seem at odds with the serious undertones of the play. One feels that too many bases were trying to be covered and too many storylines are rushed to tie up in Act Two. There is so much going on that moments that should resonate occasionally get lost, which is a shame because the performers are doing great work.

Tall, elegant Zakiya Young shows us the vulnerable insecure side of Tendikayi's cut and dried, repressed lawyer whose life is scheduled down to the nth degree. Lucas Hall manages to overcome Chris' inherent geekiness and make him something more than a caricature of a white boy in a black-white relationship. Anthony Comis brings a sweet underdog quality to the feckless Veteran Brad who has always lived in Chris' shadow.

The specter of a family ghost who has been mostly unknown by the younger Chinyaramwiras suddenly throws the identity of several family members into doubt. Although there is no doubt that the family and the loving relationships therein will survive and thrive moving forward.

There's a lot of words in this play, so one can imagine that director Edward Torres, who most recently directed "Native Gardens" at the Globe, had his work cut out for him, but he keeps the momentum going and elicits wonderful chemistry from his cast.

Anthony Comis, Ramona Keller, Cherene Snow, Zakiya Young,
Danny Johnson, Olivia Washington, Wandachristine
and Lucas Hall in "Familiar"

Major kudos go to the scenic design of Walt Spangler and lighting scheme of Jason Lyons. That is a real, solid house on that stage, one you would immediately want to move into and when characters slam doors (as they are wont to do), it's a satisfying solid slam, no shaking scrim walls. Also a tip of the hat to Costume Designer Alejo Vietti who has a sharp contrast between Marvelous and Tendikayi's conservative Midwest sensibililty and Anne's proud, brilliant native costume of acid yellow, red and greens that draw the eye to the grand dame of the clan.

Playwright Gurira has produced highly praised dramatic works on both coasts and has obvious talent for mining the hearts of characters she creates. This one needs a slightly sharper focus that can be softened by the finely drawn performances of the actors involved.

If you're wondering where the title "Familiar" comes in, it's a song that Nyasha writes for her sister's wedding that captures the wistfulness of love, longing and loss. Perhaps under all the drama lies basic truths that are familiar to all of us.

"Familiar" runs at the Old Globe's Donald and Darlene Shiley Stage until March 3. For performance dates and times, visit www.theoldglobe.org.
-- Lisa Lyons

COYOTE STAGEWORKS MOUNTS THE MUSICAL “HONKY TONK LAUNDRY” AT ANNENBERG THEATER

Bets Malone and Misty Cotton in "Honky Tonk Laundry"
All photos by David A. Lee

Coyote StageWorks of Palm Springs delivers an early Valentine to fans and lovers of Country Music with a country-western comedy romp and hoot called “Honky Tonk Laundry”, written and directed by prolific playwright Roger Bean.

Country Western music celebrates the songs and stars of juke-box country music with a fresh, innovative, libretto that recalls how much sufferin’ goes on in ‘he/she did me wrong’ songs and lyrics along with the hilarious, everyday situations the characters find themselves in trying run a laundromat while at the time yearning to become performers in this play within a play production.

Story-wise both ladies are just biding their time waiting to wreak revenge on the two men that done ‘em wrong; Lana Mae’s cheating husband Earl and Katie’s live-in boyfriend whom she booted out of her home for similar transgressions.

This cleverly written and terrifically produced musical stars two gifted Equity performers: Bets Malone as Lana Mae Hopkins, owner and operator of the ‘Wishy Washy Washateria’, in Nashville Tennessee, and her one and only employee Katie Lane Murphy (Misty Cotton), who suffers from an almost incurable case of stage fright. (Remember, I said an ‘almost’ incurable case). As the age-old axiom says misery loves company, and these two actor/singer/dancer pros bond as two southern women trying to cope with love and marriage on that very bumpy road of life. It’s great stuff full of country musical comedy that the audience just laps up.

Bets Malone as Lana Mae
in "Honky Tonk Laundry"

Ms. Malone and Ms. Cotton performed the same roles back in August of 2017 when they starred in the Los Angeles Hudson Theatre production of “Honky Tonk Laundry”. They were critically acclaimed star turns then, and they haven’t lost a beat in their reprisal transfer to the Palm Springs production currently performing at the Annenberg Theater. It’s still a tour de force effort by both easy-on-the-eyes talented ladies.

In addition to the anthology music material and plotline, which at times, is rightly over the top, Ms. Bets, and Ms. Cotton perform like two peas in a pod with lots of two-part harmony and perform full bore, all out, and we the audience are the better for it. There are over twenty-four song titles and credit references in this interactive audience production that are featured in the show.

There is one breakout number honoring three of country western music’s iconic performers of yesteryear: Loretta Lynn, Patsy Cline, and Tammy Wynette. Ms. Malone as Lana Mae Hopkins sings the signature songs pf Loretta Lynn and Tammy Wynette while Ms. Cotton sings as the great Patsy Cline. It’s a haunting musical moment that brings goose pimples to the audience amid a few misty eyes as well.

Bets Malone and Misty Cotton in "Honky Tonk Laundry"

This show is a poignant love letter to those who can’t get enough country western music from the greats who are now gone. (Speaking of show business greats; we lost Coachella Valley residents and National Treasures of the Arts Carol Channing and Kaye Ballard within the last three weeks) The on-stage energy generated by Ms. Cotton and Ms. Malone fairly crackles with foot-stomping, hand-clapping choreography by James Vasquez on a set creatively crafted by the acclaimed award-winning designer Tom Buderwitz. The music arrangements are under the baton of Jon Newton’s direction.

The lighting design magic is provided by designer Moira Wilke Whitaker. The Costume designs by Wardrobe Master Frank Cazares has the ladies outfitted in eye-catching, sparkling red, white and gold, glittering western-styled skirts and boots. The sound design and execution of the tracks by Sheridan Carnahan is smooth and spot-on. Director Bean leading his creative team can take bows for an impressive production that is stage managed by Dale Alan Cooke.

“Honky Tonk Laundry” js a splendid, fun-loving musical comedy that is being performed at the Annenberg Theater in Palm Springs and runs through February 10, 2019. For ticket information call the box office at 760-325-4490 or go online to annenbergtheater.org. 

-- Jack Lyons

CV REP THEATRE STAGES “WHITE” AS ITS FINAL PRODUCTION AT THEIR ATRIUM VENUE

Franceli Chapman and Paul David Story star in "White" at CVRep in Palm Springs. Photos courtesy of CVRep.

When a theatre closes its doors for good that’s usually a cause for tears and lamentations.  The Temples and/or live theatre venues in the world can ill afford any more venue closings in the time of media cutbacks and their support for the Arts. Outside of hard cash, the media is the mother’s milk of continuing support for keeping the doors open.

But not to worry. CV REP, one of the finest Equity theatres in the Coachella Valley isn’t closing its doors but merely transferring from its cozy 88 seat venue location at the Atrium in Rancho Mirage, to their new home in the former IMAX Movie theatre in Cathedral City.

Producing Artistic Director Ron Celona’s dream of bringing Equity theatre productions to all of the Coachella Valley has been incubating for six years. On March 15, 2019, CV REP will debut its new 208 seat, state-of-the-art theatre, with the musical “Chess.” Stay tuned for more information. But first, we need to discuss the current production “White,” written by James Ijames, and deftly directed by Ron Celona.

It is a uniquely structured comedy with dark undertones that deals in how people relate to one another using the prism of skin color, sexual identity, racial diversity, privilege or lack of it. And that’s only part of the issues presented in this non-traditional comedy with a bite.

It’s intensely provocative to be sure.  The question for me is what is playwright Ijames trying to say to his audiences?   What are the audiences expected do with this information once they have processed it? Which by the way, is excellently performed by its outstanding four-member cast If the play’s dialogue hit’s one as a bit enigmatic, does the story even as it unfolds then remain an enigma? Things to ponder…

When the lights, cleverly and neatly positioned for maximum effect, by Lighting Designer Moira Wilkie Whitaker, come up, we’re at the prestigious Parnell Gallery, being welcomed by Gallery director Jane (Charlotte Munson).  The second scene takes place in a cozy apartment, designed by CV REP Emmy-winning resident designer Jimmy Cuomo.  It’s the home of mildly successful, young, gay, painter Gus (convincingly played by Paul David Story, and his schoolteacher partner Tanner (engagingly portrayed by Anthony Saludares).

Franceli Chapman, Paul David Story,
and Anthony Saludares in "White"

Gus is ambitious and looking to climb another rung upward to further his career as an artist. Tanner is quite happy with correcting his students’ papers and essays while enjoying the companionship of Gus. Ambition in creative artists is usually a good thing and necessary for success.  Gus’ friend Jane has been recently promoted to “New Visions in American Art” curator at the prestigious Parnell Galleries.   Jane has her Gallery’s mandate and intends to debut the necessary emerging artists that meet her goals of presenting artists of diversity, color, and gender, but must be relatively unknown.  Gus is confident that long-time friend Jane will present his latest canvases at the gallery opening.

Gus, yes, we're friends, but I’m not looking for more works from a white dude, Jane explains.  It’s a shattering shot across Gus’ bow which deflates him and his relationship with Jane for a while until he experiences an astral visit from a god-like figure that suspiciously resembles Diana Ross.  Hippies of the 60’s often claimed of experiencing such voices and visions after spending a session with Harvard Professor Thomas Leary of LSD notoriety or late night mushroom snacks spiked with unknown ingredients.

Gus ‘epiphany leads him to create a back-story, as cover, for his scheme of having his paintings appear in the exhibit at the Parnell Galleries by hiring Vanessa, an African American actress (a sensational Franceli Chapman) to submit his paintings, as her own.  There are echoes of Woody Allen’s 1976 comedy “The Front,” in Mr. Ijames’ plotline. Instead of blacklisted writers, we’re now dealing with reverse discrimination issues of white painters.

Paul David Story, Charlotte Munson in "White"

I admit it’s not a very strong line of attack to really have legislation do what common sense could easily accomplish.  But it does achieve what playwright Ijames and others have complained about all along – “whiteness” is a definite advantage.  Perhaps, he wrote his play to bring the issue of discrimination to more people’s attention.   It’s long been said that before you begin blankly condemning or tossing rocks, try walking a mile in the other guy’s or gal’s footsteps.

Vanessa at first demurs to Paul’s proposition to be his alter-ego.  But later decides it’s just another acting gig, so why not.  Paul introduces Vanessa to Jane as a painter with talent recommended by some of Paul’s friends.  Vanessa charms Jane who is excited with finding a talented woman of color that she can introduce as one of many that will appear at her upcoming “New Visions in American Art” exhibition.

Things appear to be coming along as the exhibition nears.  Jane is super-excited with her project.  Paul is uneasy because of subtle twists in Vanessa’s behavior of late.  Signs begin to creep into the ploy about the paintings and their origin. Also, Paul’s relationship with Tanner is becoming strained because of Paul’s plan, and Vanessa’s strange behavior.  To divulge any further details about “White” won’t be coming from me. No spoiler alerts here. This I can say; however, this is a production that shouldn’t be missed.  It’s performed without an intermission and runs about 90 minutes.

When it comes to the actors in “White” and just how they grab hold of their characters and how they interact with one another, is terrific.  For example, they are always in the moment, always reaching and stretching their talent to draw the audience toward them. Always generous toward one another yet work as individual professional actors, who blend and work as a unit.  It’s good stuff.

The technical credits over the last eight years at the Atrium have always been outstanding. For the “White production:” Sets by Jimmy Cuomo, Lighting by Moira Wilkie Whitaker, Costumes by Aalsa Lee, Sound by Kate Fechtig, Hair and Make-up Designs by Lynda Shaeps, along with  Associate Designer Doug Morris, and Louise Ross, as stage manager, complete the creative team led by director Celona.

This the last CV REP production that will be performed in the Atrium. I’ve seen and reviewed most of them. It has been a wonderful run with many outstanding productions and many memories to be savored from the last eight years. So, Goodbye Atrium.  Hello, CV REP in their new home in Cathedral City beginning March 15, 2019.

-- Jack Lyons

DESERT ROSE PLAYHOUSE STAGES A BLISTERING COMEDY STARRING JUDITH CHAPMAN AS TALLULAH BANKHEAD

Judith Chapman and Mark Fearnow in "Looped" at Desert Rose Playhouse. All photos by Matthew McLean.

Residents of the Coachella Valley are very fortunate that we share our desert paradise with several National Treasures of the Arts. We lost, however, one of America’s iconic performers with the passing of the legendary 97 year old Carol Channing last month.

But we are still blessed with National Treasure performer-extraordinaire, stage actor, comedienne, TV and movie star now “retired” at 93, Kaye Ballard (never really retired from the business; she is just resting between gigs). Her film documentary “Kaye Ballard – The Show Goes On” was screened at the 2019 Palm Springs International Film Festival (PSIFF) to rave reviews. The third National Treasure star residing in our valley is a much younger TV star, film actress, stage actor and director who is known for her one-woman shows: the “Belle of Amherst”, a portrait of Emily Dickenson, “Vivien”, her tour de force effort as the beautiful, brilliant but troubled English actor Vivien Leigh, along with other personalities that she recreates. Ms. Chapman has toured her shows across the country.

And, of course, Ms. Chapman is listed by some as the Queen of the Soaps. She was brought back by popular fan demand last season to once again play the scheming and formidable Gloria Bardwell, of the “Young and the Restless” TV show. Theatre audiences now have the opportunity to see her perform locally in the Desert Rose Playhouse’s sensational comedy production of “Looped”, hilariously and cleverly written by Matthew Lombardo, and brilliantly directed by former Desert Rose Playhouse artistic director Jim Strait.

“Looped” is based on a true incident that involved stage actor and Hollywood star Tallulah Bankhead in 1965. Ms. Bankhead was already infamous for being, shall we say, difficult as a performer. Punctuality and following the norms of show business rules were definitely not her strong suit. Alcohol, drugs, and promiscuity is what fueled her world.

America dearly loves its rebels. They’re the ‘Peck’s bad- boys and girls who flout the rules of society and drown themselves in public and private hedonism much to the delight of the tabloid readers. They may be colorful and quotable but they usually flame-out early in life.

The story of “Looped” revolves around a key line of additional dialogue that has to be recorded by Ms. Bankhead in a recording studio and then reinserted into the film. It’s a simple request that all film actors are required to do when necessary. But the movie producers forget they are dealing with Tallulah Bankhead.

The job of meeting and having her record the line falls to Danny (Mark Fearnow, in a nicely judged performance), a film editor who is unprepared to deal with the whirlwind star and ego of Tallulah Bankhead; a performer who never suffered fools easily. Miquel Arballo as Steve is the recording director in the studio booth who lends just the right amount of quiet professional frustration, in trying to do his job and then take his son to a LA Dodger baseball game afterwards.

If this story sounds prosaic and not very engaging, you had better “fasten your seat-belts. It’s going to be a bumpy night”, to quote Bette Davis as Margo Channing, in “All About Eve”. Judith Chapman’s towering comedic portrayal as Tallulah Bankhead, will loom large as a Desert Theatre League Best Performance by a Leading Female candidate, come the 2019 Desert Star Awards ceremony this Fall.

The beauty of her performance lies in her overall professionalism, talent, and the inventiveness she brings to the task of recreating Tallulah Bankhead’s insecurities, salty language, warts and all style, and still have the audience in stitches with her impeccable timing, pacing, and stage business, that makes for a deliciously, sublime evening of theatre entertainment for adults (strong language).

It’s pure Judith Chapman totally immersed and completely in command within the skin, body movement, quirks, and tics of Bankhead that reaches out and grabs the audience turning them into acolytes of an actor who knows how to take the stage and perform her special magic. This is what the great Noel Coward called having “Star Quality”. It’s reserved for only a few but when we’re in its presence, it is a golden moment in the theatre.

A special kudo goes to Desert Rose Playhouse Producing Artistic Director Robbie Wayne, for obtaining the services of Ms. Chapman for “Looped”. The creative team led by director Strait features a small, intentionally cramped recording studio set design by Bruce Weber and a lighting design by the redoubtable Phil Murphy, with costume design by Ruth Braun and Robbie Wayne, along with sound design by Jim Strait and Miquel Arballo, and Paul Taylor, assistant to the director, complete the creative team.

“Looped”, performs at the Desert Rose Playhouse Friday and Saturdays at 8 PM and Sundays at 2 PM through February 10, 2019. This is a Must See production. For tickets call the Box Office at 760-202-3000.

-- Jack Lyons

NEIL SIMON IS STILL RELEVANT AT DESERT THEATREWORKS WITH BRIGHTON BEACH MEMOIRS AT IPAC

The cast of "Brighton Beach Memoirs at Desert Theatreworks. Photos by Paul Hayashi.

One of the enduring joys of seeing Neil Simon plays even 40 years after being written, is they’re still relevant when it comes to observing the foibles and folly of humans as viewed through the lens of America’s late comic genius playwright.

Simon was a big family oriented playwright. He wrote mostly about what he knew best – working class American immigrant families, which back then in the 1930’s, most families had immigrant roots and stories. Simon’s plays were always up-beat. Never depressing. And he infused all his work with comedy. If people laughed with his characters, not at them, then he felt there was hope that things would get better for everyone. And America of the 1930’s, deep in the Great Depression, needed all the comedy help it could find.

“Brighton Beach Memoirs” now on the stage of Desert Theatreworks, located in the Indio Performing Arts Center (IPAC) in Indio, CA is producing the first play in Simon’s “Eugene Trilogies”. “Memoirs” was written in 1983, followed by “Biloxi Blues” in 1985, and the last of the “Eugene Trilogies” was written in 1986. This poignant comedy is lovingly and sensitively directed Rebecca Havely.

This semi-autobiographical comedy explores life in the Jack and Kate Jerome household along with their 19-year-old son Stanley (Lee Padick) and 14-year-old Eugene (Angus Feath), a dreamer and a budding writer who plays Eugene, as well as the narrator who keep’s a diary. Eugene’s entries help the audience keep up to date with his keen observations and comical comments concerning the jam-packed Jerome household in Brooklyn’s Brighton Beach section. Eugene has just experienced puberty and is now eager for larger adventures.

Everything revolves around family. Beginning with his ailing, strict, father Jack (Stephen Blackwell), his morose older brother Stanley (Lee Padick) and his relationship with his two teenage female cousins: older Nora (Bella Oden), and asthma suffering, young Laurie (Cameron Trubee), and their widowed mother Blanche wonderfully and sensitively played by Leanna Rodgers. It may be Eugene’s story but as they say it takes a close-knit family village to grow up back in the 1930’s as well as it takes today.

The play is a veritable Neil Simon gold mine of witty dialogue and poignant stage moments. It boasts a nicely nuanced and grounded performance by Ms. Ryan, as the nurturing earth mother Kate Jerome. Kate is the glue that holds the Jerome family together during the trying economic and social times of pre-World War II America.

As was common in the days of the Great Depression, families who had a home or a spare room took in relatives and extended family members. Growing up in a small or cramped house, however, left precious little space for privacy for sexually awakening 14-year-old Eugene.

“Brighton Beach Memoirs” is an American story that has been replicated all over the country. It’s just the family names and their ethnicity that has changed. Everyone has contributed to what the country has become and what it stands for today – a beacon for freedom and democracy for all. Remember, we have been a nation of immigrants since 1607 when the first English settlers set foot in the Virginia colony of Jamestown. Simon’s play is layered with themes and memes that are still relevant a half century later. He never goes out of style. We need his comic genius touch more now than ever.

Technical credits for the production’s creative team led by director Havely include: set designer Lance Phillip-Martinez, lighting designer Phil Murphy, Costume and Props designer Michelle Mendoza, lighting operator Maddox Martinez, Follow Spot operator Kaylyn Bernal, sound designer Miguel Arballo, , sound operator Laura Martinez, Hair and Makeup design by Art Healey and the two story set Builder is Miguel Gomez. Tresa Oden stage manages the production.

The comedy production performs on the Desert Theatreworks stage in the Indio Performing Arts Center (IPAC), Indio, CA and runs through January 27, 2019. For tickets and reservations call the box office at 760-980-1455.