PALM CANYON THEATRE STAGES A GLITTERING DISCO BEAT "PRISCILLA QUEEN OF THE DESERT (THE MUSICAL)"

The Divas (Allegra Angelo, Sarah Hagar-Cox, Amber Morado) in
"Priscilla Queen of the Desert (The Musical). All photos by Paul Hayashi

The Palm Canyon Theatre of Palm Springs hit a home run Friday, October 27th, on opening night, with a glittering, kaleidoscopic stage full of twenty-five actors, dancers, and singers plus eye-popping costumes, and special effects with their current musical production “Priscilla Queen of the Desert (The Musical)".

Musicals are the specialty of the Palm Canyon Theatre (PCT) where they are sensationally produced and performed. PCT is now in its twenty-first year of providing quality entertainment to the Coachella Valley, presenting thirteen productions a year that include comedies, dramas, and special events as well as their signature musicals.

“Priscilla Queen of the Desert” (The Musical), has a libretto written by Australian film director Stephan Elliott and writer Allan Scott. The music and lyrics for this stage show is based on the 1994 Australian movie of the same name by Elliott and Scott. When “Priscilla” became a stage musical in 2006, original writers Elliott and Scott teamed up again and are credited with the libretto, but the music and lyrics sung by the twenty-five cast members are the courtesy of various pop song composers and lyricists. The sparkling production at PCT is directed by Scott Smith.

The libretto centers around two ‘drag queens’ (the talented actor/choreographer Anthony Nannini as Adan Whitely, and Nicholas Sloan as Tick Belrose), and Bernadette Bassenger, their transgender woman friend (played by Ron Coronado) who decide to take their ‘drag show act’ on the road to help out their friend Tick, who is seeking to reunite with his estranged son. It’s a heart-warming, uplifting road trip adventure into Australia’s Outback country in search for love and friendship, where all end up finding more than they ever could dream.



Tick has separated from his wife Marion (Chandra Smith) and has not seen his 12-year-old son Benji (nicely played by Ben Van Dijk) in eight years. Road trip adventures, be they movies or stage musicals, are always entertaining and are filled with twist and turns of the core story. “Priscilla”, is a search for understanding. For redemption, where families and friends come together to celebrate life in all its human dimensions.

PCT’s lavish production of “Priscilla” is an early Christmas gift for those who enjoy colorful, toe-tapping, eye appealing, theatrical entertainment fueled by an off-stage, driving Disco-beat orchestra, led Piano/Musical Director Steven Smith, and his talented, four-man orchestra of Dave Bronson on Guitar, Larry Holloway on Bass, John Pagels, on Drums, and Bob Scarano on Guitar who deliver the pulsating rhythmic sounds, that put the audience in the mood right from the get-go. The production features twenty-two songs and surprises that are cleverly folded into the musical numbers by director Scott Smith. The cast has lots of fun performing these moments. My favorite moment comes with the “MacArthur Park” number.

It’s always difficult to list all of the names of large cast productions. “Priscilla Queen of the Desert” has twenty-five members that make up this excellent ensemble cast, however, there always standouts in every show and they include: Anthony Nannini, who once again sets his professional, musical talent bar very high indeed; Ron Coronado, Nicholas Sloan, Larry Martin as Miss Understanding, the Divas: Allegra Angelo, Sarah Hagar-Cox, Amber Mora, young Ben Van Dyjk, and Luke Rainey as Bob. All offer solid support.

In the technical credits department led by director Smith, “Priscilla”, features a huge functional set designed by resident design wizard J.W. Layne that allows the 25-member cast to quickly and smoothly make their entrances and exits. And features the bus that plays a major role in the musical.

The Lighting design by J.W. Layne and Kay Van Zandt floods the stage with their clever designs in order to let the audience see and appreciate the more than 40 + amazing and colorful costume designs by Resident Designer Derik Shopinski and his army of assistants. Shopinski is also in charge of the wig designs (where does he get all that energy?). Props are the province of Gaige Griffin and staff, and this list completes the creative team. It takes a lot of creative artists to mount a production of this size, but the payoff is definitely worth the effort.

The production “Priscilla Queen of the Desert (the musical) is being performed at the Palm Canyon Theatre, in Palm Springs and has already been extended one week and will now end its popular run on November 19, 2017. For reservations and ticket information call the box office at 760-323-5123. They sell out quickly, so don’t wait!

 

-- Jack Lyons

 

A POWERFUL AND RIVETING “OF MICE AND MEN” AT NORTH COAST REP

Front: Wallace Bruce, Nicholas Mongiardo-Cooper;
Back: John Greenleaf, Justin Lang, Max Macke, J. Stephen Brantley,
Jacob Sidney. All photos by Aaron Rumley.

John Steinbeck became the voice of America’s common folks.  He understood the hard-scrabble life and day-to-day existence of poor, uneducated, itinerant farmers and day laborers.  He worked the ranches and farms himself as a young man in California’s ‘salad bowl’ area of the Salinas Valley, growing up where he was born.

He also understood the plight of the 1930s dust bowl survivors: The “Okies” from Oklahoma, Arkansas and the Great Plains; men and women who lost their farms during the Great Depression, destined to become homeless and unwelcome once reaching the California border.  All these folks were doing was just trying to seek a better life for their families in the ‘golden state’ of California.

He knew them so well, that he received a Pulitzer Prize in Fiction in 1940 for his poignant and powerful novel “The Grapes of Wrath”, and then went on to win a Nobel Prize in Literature in 1962 for his award winning novel and play “Of Mice and Men”.

“Of Mice and Men”, now on the stage of North Coast Repertory Theatre (NCRT) of Solana Beach, is sensitively and intelligently directed by Richard Baird, who masterfully orchestrates his cast of eleven talented actors as they weave a mesmerizing obligato of lives seeking to escape from the desperation for some and an acceptance of situation by others, but never abandoning each character’s hope of achieving a small piece of the American Dream – a place of one’s own.

Jacob Sidney and Nicholas Mongiardo-Cooper 

The story, in short, is set in the fertile fields and ranches of Salinas California in 1937. Two day laborers/drifters, George Milton (a wonderful Jacob Sidney) and his friend, powerfully built, mentally-challenged, gentle giant of a man, Lennie Small (a terrific Nicholas Mongiardo-Cooper) have been hired to help harvest the crops on a ranch run by a man called The Boss (Ted Barton). George is the brains of the two; he is quick-witted, sharp and very protective of Lennie who has a fatal flaw in his DNA – an obsessive fascination with anything soft and cuddly like small puppies and rabbits, or anything that feels soft to his powerful touch. Both Jacob Sidney and Nicholas Mongiardo-Cooper deliver very potent performances.

The life of itinerant laborers is a series of constant moves from one farm or ranch to the next; there is no sense of permanence. Each job and location presents challenges with the current workforce as new men arrive to work. New pecking order rules must be learned quickly, along with the dos and donts while working at the ranch. In this case, the word is don’t mess with the Boss’s son Curley (Wallace Bruce), a bullying, jealous, insecure, little rooster of a man who does very little work but is always giving orders to others. And especially avoid Curley’s young, pretty, new wife (Sierra Jolene).  She’s lonely and she flirts with the men as a way of being connected to the world and is saddled with an unhappy marriage to the jealous Curley. It’s not what she expected her new life to become. Ms. Jolene brings a fresh interpretation to her portrayal that is spot-on.

Laurence Brown, John Greenleaf, Nicholas Mongiardo-Cooper,

Candy, an aging old ranch hand who lost his left hand in a ranch accident, is wonderfully played by journeyman actor John Greenleaf.  Candy worries that he will be cast off once the Boss considers him a liability because he can’t pull a full day’s work in the fields. J. Stephen Brantley as Slim, the lead ranch hand, delivers a solid performance as the man the ranch hands look to as the voice of common sense and reason in the bunkhouse.

Justin Lang as ranch hand Whit and Max Macke as Carlson, the dour, unfeeling, pragmatic ranch hand who shoots Candy’s ailing old dog Sonny, are all wonderfully in the moment in their on-stage appearances.

Laurence Brown as Crooks, the African-American stable hand who sleeps in the barn, turns in an absolute gem of a performance. He’s the crusty, bitter, philosopher of the play.  He explains to Lennie how life takes many twists and turns and how everyone has to learn to navigate their fraught journeys. Lennie doesn’t understand what Crooks is telling him, but as long as Lennie is with George,” … everything will be okay.”

Laurence Brooks, Nicholas Mongiardo-Cooper

Remember, the play is set in 1937 America. Some of the dialogue and situations ‘offended’ some people at the time, causing “Of Mice and Men” to be labeled a “problem play”. America has come a long way in societal relationships since 1937, however, there is still a lot of work left to do in the 21st century.

John Greenleaf, Jacob Sidney, Nicholas Mongiardo-Cooper
and Sierra Jolene.

There are so many creative and inventive directorial touches in this powerful production. The beauty of this splendid production lies in its ensemble actors and their pacing and their impeccable timing, which has been choreographed by director Baird, that keeps the audience riveted to the on-stage action. Baird has created a safe harbor for his actors that allows them to stretch beyond their normal creative boundaries.  No matter how many times you’ve seen a production “Of Mice and Men”, you will be blown away by this cast who deliver achingly sublime performances. One will be thinking about and this show and its message long after everyone has left the theatre.

The technical team led by director Baird at NCRT are always first rate, thanks to the imagination and skills sets of resident Set Designer Marty Burnett and Lighting Designer Matt Novotny. The costumes of Elisa Benzoni reek with authenticity including the dust and look of Salinas Valley ranch hands who are not fashion plates. One can almost smell the hay and the pungent odors of the stable where Crooks is relegated. The props design by Andrea Gutierrez nicely finishes the virtual total immersion feeling that the audience gets, which is almost like being in the bunkhouse along with the actors. The sound design of Aaron Rumley, and the hair and wigs design by Peter Herman, complete the technical team.

“Of Mice and Men” is another stellar production under the stewardship of artistic director David Ellenstein. The production performs at North Coast Repertory Theatre through November 12th.  Don’t miss it!

-- Jack Lyons

A NOISE WITHIN PRESENTS DICKENS' CLASSIC TALE OF LOVE AND WAR "A TALE OF TWO CITIES"

The Ensemble in ANW's "A Tale of Two Cities". Photo by Craig Schwartz.

Nineteenth century English novelist Charles Dickens is one of the English-speaking world’s greatest writers. His many novels validate his talent for creating memorable characters along with a gift for rich plots and the ability to keep the reader fully engaged from beginning to end.

“A Tale of Two Cities”, published in 1859, was one of the finest novels of its day and now, 200 years later, it appears on the stage of Pasadena’s classic theatre company, A Noise Within, as a bold, new, dramatic production from the pen of journeyman writer and play adapter Mike Poulton.

In 2016, Poulton debuted his version of Dickens’ classic story of love and redemption set against the tumultuous backdrop and events leading up to the French Revolution and the infamous ‘Reign of Terror’ at the Royale and Derngate theatre complex in Northampton, England.

Tavis Doucette (center) and the ensemble.
Photo by Craig Schwartz.

The success of the Northampton production must have caught the eyes and ears of Founding Producing Artistic Directors Julia Rodriguez-Elliott and Geoff Elliott.  The Elliott’s (husband and wife) have successfully navigated the challenging and daunting waters of presenting quality theatre in the traditional ‘rotating repertory format’ thanks to a dedicated and committed resident artists program that has become the backbone of the organization over the last twenty-six years.

“A Tale of Two Cities”, crisply directed by the Elliotts’, is one of Dickens’ sweeping stories that is not staged very often.  The core story is often mistakenly confused by audiences, as the musical “Les Miserables”, due to the similar rebellion sequences.  ‘Two Cities’ deals with the 1789 French Revolution in Paris, while ‘Les Miz’ takes place in the south of France in the city of Digne, in 1815 and is known as the ‘Student Rebellion’.

Boiling Dickens’ large source material novel down to a two-hour stage production became a herculean process for writer Poulton.  It is a richly plotted tale of love and redemption whose actions cross back and forth between London and the French capitol of Paris.  There have been plays and movies based on the French Revolution over the years, some (25 years back) six film versions and six TV versions, among a few theatrical productions have mounted productions. For example, Frank Wildhorn’s stage musical production “The Scarlet Pimpernel”, was seen by LA audiences some seventeen years ago. But it’s hard to beat the 1935 MGM movie starring Ronald Colman as Sydney Carton when it comes to capturing a sweeping, large canvas story like “A Tale of Two Cities”.

The ensemble, with Kasey Mahaffy (left) and
Emily Goss in foreground.
Photo by Craig Schwartz. 

In short, “A Tale of Two Cities” tells the story of French doctor Manette (Nicholas Hormann) and his daughter Lucie (Emily Goss), and Lucie’s French-born husband Charles Darnay (Tavis Doucette), a former French Aristocrat who renounced his title and moved to England. Darnay’s friend and lawyer Sydney Carton (Frederick Stuart), as it happens, harbors a secret unrequited love for Lucie, and is determined to help her and his friend Darnay in any way he can.

In France the revolution and its supporters cast a wide net in an effort to punish the hated aristocrats. When Darnay receives word in London that a friend is in trouble with the rebels and their revolutionary court and trials, he returns to Paris to help and is arrested and put on trial as a traitor. The main accuser against him Madame Defarge (Abby Craden) is determined that Darnay must die, because his family killed members of her family; she wants an eye for an eye. These are the main characters that propel the narrative forward. It may appear as a somewhat dated dramatic piece, but the core values of two hundred years ago can still resonate with 21st century audiences, especially when it comes to understanding today’s toxic politics.

Frederick Stuart (Sydney Carton).
Photo by Craig Schwartz.

There are twenty-three performers, some of whom play multiple roles in this fine ensemble production. Unfortunately, there is not enough space to list everyone.  However, there are always standouts. Emily Goss renders a small but integral role with passion and empathy as Lucie. Goss goes from a wonderful, enchanting Muriel in ANW’s recent production “Ah Wilderness! to a frightened, sympathetic Lucie  in ‘Two Cities’.

Abby Creden, as the villainous Madame Defarge, spits out her bilious feelings and talk of revenge in whiplashing dialogue.  She controls whose head is to leave their shoulders, and who is to be spared. That’s too much power to be left to a single avenging person. Tavis Doucette as Darnay plays to the stoic and steadfast traits that make him a sympathetic character and a loyal friend of Sydney Carton. Frederick Stuart, as Carton, is the real hero of this tale of two cities, giving his last full measure of devotion to Lucie and Darnay.  Stuart delivers a finely judged performance as Sydney Carton.

Solid support comes from Nicholas Hormann, Trisha Miller, Jeremy Rabb, and Geoff Elliott.  The production is well paced and neatly choreographed for such as large company. But I am puzzled by the directors’ decisions to have the French characters speak with English cockney accents.  It’s natural for the cockney-accented roles for English speaking characters, but it’s a bit confusing to have people from two different countries sound alike when delivering dialogue, n’est-ce pas?

In the technical department, the creative team led by the Elliotts has a functional set and performing area designed by Fred Kinney, with lighting design by Ken Booth, and original Music Composition and Sound Design by Robert Oriol.

The costumes designed by Jenny Foldenauer are spot-on and appropriate for the period for both the aristocrats and the rebelling mobs and peasants.

“A Tale of Two Cities” is a splendid production that runs in repertory through November 19th. The other two productions also running in repertory are: “The Mad Woman of Chaillot” through November 11th, and G.B. Shaw’s “Mrs. Warrens Profession”, through November 18th. Don’t miss any of the three!

--Jack Lyons

A NOISE WITHIN'S "MRS. WARREN'S PROFESSION" PROVES THAT G.B. SHAW IS ALIVE, WELL, AND STILL RELEVANT IN AMERICA TODAY

 Erika Soto as Vivie Warren, Adam Faison as Frank Gardner.
Photo by Craig Schwartz.

George Bernard Shaw was an irascible, prickly Irish playwright, author, essayist, and critic of everything that English Victorian society held dear. He relished poking his fingers into their hypocritical eyes when it came to politics and the plight of English and Irish women held hostage by centuries of patriarchy; and he did it with his brilliant plays, novels, and essays.

One could even make a case for Shaw being the first ‘male feminist’ and recognized literary giant to champion the emerging women’s movement of the Nineteenth and Twentieth centuries in the United Kingdom and America.

Pasadena’s A Noise Within theatre company, is staging a provocative and spirited comedy production of Shaw’s “Mrs. Warren’s Profession”, a witty play about the ‘world’s oldest profession’, or is it about something else that is masquerading for a more insidious subject matter discussion: the misogyny of men in a patriarchal society who harbor the fear of being exposed for their shortcomings? This is a fact that women have known since this planet first exploded, along with the Divine Right of Kings rule of law, and other “fake news”.

The play, crisply directed by Michael Michetti, was written in 1893, but didn’t see a stage presentation until some nine years later, courtesy of the puritan nature of Victorian society that was ‘offended’ by the clarity and prescience of Shaw’s writing.  When the play was first staged in New York City in 1905, the entire cast was arrested for public indecency; shades of stand-up comedian Lenny Bruce and the Chicago police in 1962 when he was arrested during a performance on obscenities charges. Shaw, however, fared much better than Bruce.

Judith Scott as Kitty Warren, Adam Faison as Frank Gardner.
Photo by Craig Schwartz.

The story, set in Victorian England centers on the problematic relationship between Mrs. Kitty Warren (Judith Scott) and her daughter Vivie (Erika Soto), a recent Cambridge University Honors graduate. Vivie hasn’t seen her mother in years.  She’s a victim of the English Public-School system where children of wealthy parents are sent off to boarding schools to be raised by teachers and then by academics in the Universities.

There are echoes in “Mrs. Warren’s Profession”, of many culture-based mother-daughter film stories like “Mildred Pierce”,” Now Voyager”, “Separate Tables”, and others that deal with conflicts and secrets not shared by either the mother or the daughter.  “Mrs. Warren’s Profession” is one of the earliest of these plotlines.

Kitty Warren is a former prostitute made wealthy by becoming a Madame and a co-owner – with Sir George Crofts (Jeremy Rabb) - of a string of upper-class brothels located in the great cities of Europe. Vivie has been the beneficiary of Kitty’s business success. Vivie is pragmatic, intelligent, independent, and dedicated to being her own person,  not an easy road to travel for a young single woman in turn of the century England.  And, she has no knowledge of how Kitty obtained her wealth.  In Act I, she is too busy explaining to her mother how she intends to live her life, becoming an independent woman, who views Kitty as unfeeling and a bit rough-around-the edges, compared to her upper-class friends at Cambridge.

Erika Soto as Vivie Warren, Adam Faison as Frank Gardner.
Photo by Craig Schwartz.

In the meantime, Vivie has caught the eye of Frank Gardner (Adam Faison), son of the local Vicar (Martin Kildare).  Frank is an entitlement-oriented, boring young man in search of a rich woman as his meal ticket through life. He thinks Vivie is that worthy candidate. Kitty’s acquaintance, Mr. Praed (Peter James Smith), is a peacemaker, always around to soothe the ruffled feathers of Kitty when it comes to her relationship with Vivie.

Act I belongs to Vivie and Shaw concerning life in Victorian England and constantly reminds one of the plight of women, either as a member of the working poor, or as a middle-class married woman.

In Act II, the fireworks begin. In frustration, Vivie confronts her mother with why isn’t there a father in her life, why are there no cousins or relatives, just her mother’s male friends?  These questions, and others, however, are addressed in what some critics and audiences describe as a no-holds barred, verbal battle royale between Kitty and Vivie, that takes place when the true nature of Kitty’s hidden profession is revealed, and Vivie learns that her high-end education has been funded by it. What follows is a bittersweet resolution, but no spoiler alerts here. Let’s just say that it’s a treat to watch these two talented women perform their magic.

Adam Faison as Frank Gardner, Judith Scott
as Kitty Warren. Photo by Craig Schwartz.

The actors in this impressive ensemble production render finely judged performances and are always in their moments. That being said, the power of Shaw’s dramedy, none-the-less, is embodied in the characters of Kitty and Vivie. Both Ms. Scott and Ms. Soto deliver potent memorable performances. One can easily relate to the emotions of both women when they make their life altering choices. Victorian men, however, were rarely forced by society to wrestle with difficult choices like women. The pity is most of the things Shaw railed against over a 100 years ago are sadly still issues to this day; American politics is still mired in a toxic swamp of inequality and special interests.

The technical credits at A Noise Within are always first-rate. The team led by director Michetti features a space set design which looks good from the audience’s POV, but causes some upstage right and left audio dead spots when actors are speaking with their backs to the audience (it should be an easy fix). The lighting design by Jaymi Lee Smith opts for a general overall illumination level and employs spots when called for the in the more dramatic moments in the play.

The costumes designed by Sara Ryung Clement are spot-on for the ladies, but having lived in England for three years, I always wore a jacket or windbreaker whenever I went outside. Frank looked half-naked to me when he went outside to hunt or shoot in a shirt, cap, and trousers. I kept looking at his knees to see if they were shaking from the bone-chilling air.  Melanie Chen Cole’s sound design works for everyone. She’s a welcome addition who did yeoman duty as North Coast Repertory Company’s resident sound designer in Solana Beach for several years.

“Mrs. Warren’s Profession” is another splendid production from A Noise Within theatre.  The comedy/drama performs in repertory through November 18, 2017.  It’s a winner, don't miss it.

--Jack Lyons

INSPIRATIONAL "OUR TOWN" SPEAKS (AND SIGNS) VOLUMES AT PASADENA PLAYHOUSE

Jane Kaczmarek as the Stage Manager and
Alexandra Wailes as
Mrs. Gibbs in Our Town by DWT/Pasadena Playhouse.
All photos by Jenny Graham.

Playwright Thornton Wilder’s arguably quintessential philosophical play, “Our Town”, is a snapshot study of 20th-century American small town life. Written in 1938, the play presented a view of a society that was kinder, gentler, and less chaotic than our 21st century life in America. The messages from that seminal play are sorely needed today.

The current production of “Our Town”, now on stage at the Pasadena Playhouse, is performed by Deaf/West Theatre (DWT), one of America’s finest production companies that present theatre for the hearing impaired.

Russell Harvard, Alexandria Wailes
and Troy Kotsur in Our Town 

The production, deftly directed by Sheryl Kaller, delivers the play’s dialogue in both American Sign Language (ASL) and spoken English with hearing actors. The unique format was a huge hit on Broadway and regional theatres with the musicals “Big River”, and “Spring Awakening”a few years ago with both earning Tony Nominations. Now the fictional small town of Grover’s Corners, New Hampshire, joins the ranks of DWT productions.

“Our Town” tells the story of one American small town between 1901 and 1913 through the everyday lives of its residents. To help the audience become engaged, Wilder uses the character of the Stage Manager, played by Jane Kaczmarek, as our guide, as a way of introducing the other characters and how they interact with the rest of the outstanding eighteen member cast. Kaczmarek talks to the audience and the actors during the play, intentionally breaking the fourth wall.

Deric Augustine and Sandra
Mae Frank in Our Town

Director Kaller stages her production in the traditional sparse bare stage concept, along with a couple of ladders that will become the homes of the Webb and the Gibbs families (where all the home life actions are mimed).  And of course there is always a boy/girl story element. The boy is George Webb, sensitively played by Deric Augustine, who will finally discover the girl next door; Emily Webb (wonderfully played by Sandra Mae Frank).  They are high school students as well as neighbors; Emily is an innocent, and George is a little shy and a somewhat callow.  Wilder was a keen observer of 20th century American life and remember, it’s 1901 America and it’s refreshingly charming.

Mrs. Gibbs is lovingly played by Alexandria Wailes, and Doc Gibbs, the weary town physician, is nicely played by Jud Williford. While all of the actors either perform their roles using ASL or their own voices, the roles of Emily, Editor Webb, Mrs. Gibbs, and Howie Newsome are brilliantly voiced by Sharon Pierre-Louis, Leonard Kelly-Young, Marie-France Arcilla, and David Gautreaux respectively. Troy Kotsur, Annika Marks, Russell Harvard, Harold Foxx, Amanda McDonough, On Shiu, Natasha Ofili, Dot-Marie-Jones, and Marco Gutierrez also offer solid support.

Sandra Mae Frank, Annika Marks
and Deric Augustine in Our Town

Director Kaller nicely solves the daunting undertaking of this production – the melding of Deaf/West Theatre company members with speaking actors.  The traffic management issues on a bare stage leave little margin for error.  Kaller and the entire company of Grover’s Corners carry off the effort with aplomb. And the audience on opening night just ate it up.

There is a lot of magic taking place on the stage throughout, but for me, Act III is one act that tears your heart out.  If it doesn’t, then you need to visit your cardiologist right away.  There is so much wisdom being spoken in the cemetery scene and still we haven’t learned our lessons about life, and alas, it’s 2017.  Puck and the Bard were correct: “What fools these mortals be...”

The Cemetary scene of Act Three of Our Town

In the technical department, the sparse scenic design by David Meyer works for a busy stage full of actors. The costumes designed by Ann Closs Farley, are spot-on and period appropriate, and the lighting design by Jared A. Sayeg deliver mood-inducing moments, of which there are many.  The sound design by Leon Rothenberg and Jonathan Burke complete the creative team.  Specials kudos go to ASL Masters Joshua Castille and Charles Katz for their assistance in presenting “Our Town” as an American experience that can be enjoyed by all.

This inspired production of “Our Town” performs at the Pasadena Playhouse, and runs through to October 22nd.  Don’t Miss It!.

-- Jack Lyons