CV REP THEATRE OF RANCH MIRAGE PRESENTS A FOUR CHARACTER MUSICAL GEM

Conchita Belisle Newman, Eric B. Anthony, Robyn Cohen and Christopher Carothers
All photos by Jim Cox

It’s been said that love makes the world go around. So, its love and not climate change that has Mother Nature all upset. Remember that old TV commercial “it’s not nice to fool Mother Nature” back about ten years or so? Well, we shouldn’t have ignored her admonition. Regardless our actions or hers, the powerful emotion of ’Love’ is here to stay through all kinds weather. (now, that would be the basis for a wonderful song title).

CV REP Theatre, of Rancho Mirage, opened its second production of its 2017/2018 season with a delightful little four-character musical called “Romance/Romance”, that’s in keeping with this year’s theme of “Romance, Real or Imagined.” at the all-Equity valley theatre.

The small, intimate, and charming four-person musical production insightfully written by Barry Harman and Keith Herrmann, and smartly staged by artistic director Ron Celona, is divided into two separate acts. Act One, is titled ‘The Little Comedy”, based on the Arthur Schnitzler short story set in Vienna at the turn of the 20th century. The text follows the romantic inclinations of Josefine, (Conchita Belisle Newman) a single, successful, but shy, proprietress of a high fashion women’s wear boutique and Alfred (Christopher Carothers) a wealthy, but bored bachelor, who likes the ladies but is not interested in marriage (he thinks).

Ms, Newman is the possessor of a lovely, classic, clear Soprano voice. In past musicals, soprano’s I’ve seen and heard, became a challenge to understanding the lyrics. With Ms. Newman, however, it’s a delight to listen and understand the lyrics when she sings in the upper register and she is also a fine actor.

Her co-star Mr. Carothers, is a handsome Lyric-Baritone, with the voice that perfectly complements his leading lady. Together, they make a handsome turn-of-the-century couple engaged in the time-honored European tradition of romantic love in Old Vienna. Two musical numbers, for me, stand out: “I’ll Always Remember the Song”, sung as a duet reminiscent of old MGM days of Jeanette Macdonald and Nelson Eddy, and Ms. Newman’s poignant solo number “The Night It Had to End”.

Act One flows seamlessly, thanks to nice directorial touches by Celona, where he punctuates and bridges scene changes by having dancer/actors Robyn Cohen and Eric B. Anthony gracefully waltz across the stage at the end of each scene; sweeping the audience along with them to the next scene.

Conchita Belisle Newman and
Christopher Carothers

Act Two, titled ‘Summer Share’ is from the French play “Pain de Menage” and flashes forward some 118 years to two homes in The Hamptons, on Long Island. Two married couples Barb (Robyn Cohen) and Sam (Christopher Carothers) ; Monica (Conchita Belisle Newman and Lenny (Eric B. Anthony) both with families are neighbors and longtime friends.

Romantic love is still in Vogue, but the world has seen some social changes. No longer is divorce a stigma. We’ve seen the changes that wars bring to society. Old strictures and traditions begin to slip away. We’re under the spell of the digital age now. We seek instant gratification. Fads come and go, but our romantic urges haven’t diminished, and we still look for those illusive arrows of Eros’ to hit their targets, if only for a short while.

Lenny and Monica and Sam and Barb are trusting, grounded, couples who are happy and content in their marriages. Monica and Sam have always enjoyed each other’s company in a Platonic way. Both love to flirt and share fantasies, sort of probing each other’s inner fantasies; testing the waters of infidelity with the possibility of a future affair. But, love affairs between married friends is a recipe for disaster. Two of the non-participants are bound to be hurt, and two families will never be the same, despite the short-term adrenaline rush one may get from the experience. Guilt, remember, also is a powerful and destructive emotion, and it corrosively remains for years. Let the buyers beware. But, no spoiler alerts from me here. One must come and see this splendid production for oneself.

Director Celona has cast his production well. Ms. Newman and Mr. Carothers have great on stage chemistry which is displayed throughout, but shines in the Act Two musical numbers: “It’s Not Too Late”, and solos by Ms. Newman, “How Did I end Up here?” and Mr. Carothers with “Moonlight Passing Through a Window”, are all rendered with tenderness and aching poignancy.

Robin Cohen and Eric B. Anthony

Ms. Cohen and Mr. Anthony’s rendition of “Small Craft Warning” and “Think of The Odds”, hits its mark informing the audience there’s dangerous waters ahead. And the numbers “So Glad I Married Her”, and “Romantic Notions”, sung by the entire company are all winning musical numbers, thanks to the four-person band of accompanying musicians: Jaci Davis on piano, Daniel Gutierrez on Keyboards, Dave Hitchings on percussion, and Bill Saitta on string base.

In the technical department, Emmy winning set designer Jimmy Cuomo doesn’t disappoint with another outstanding design, along with Lighting designer Moira Wilkie Whitaker, Sound designer Randy Hansen, Costumes Designer Julie Onken, Hair and Makeup designer Lynda Shaeps, and Stage Manner Louise Ross, complete the creative team led by director Celona.

“Romance/Romance” is another stellar production that performs at CV REP Theatre in Rancho Mirage, through February 11, 2018.

DELIGHTFUL JULES VERNE STORY “AROUND THE WORLD IN 80 DAYS” A WINNER AT NCRT

Front: Loren Lester; L-R Will Vought, Omri Schein, Richard Baird, Lovlee Carroll. All photos by Aaron Rumley.

North Coast Repertory Theatre (NCRT) of Solana Beach, CA is gifting its audiences with a ‘master class’ in farce/comedy ensemble acting with its delightful, whimsical, tongue-in-cheek, production of the Jules Verne classic tale “Around the World in 80 Days”.

For those of you who are familiar with the eponymous 19th-century novel, you may ask yourself how can a story about circumnavigating the world in 80 days, not only fit onto the NCRT stage but perform the miracle where 39 characters are played by just five extremely talented performers? As Sherlock Holmes always said, “Patience, Watson. All will be revealed.”

Audiences of a ’certain age’ will remember the epic sweep and grandeur of the 1956 Academy Award-winning movie where three extremely wealthy English gentlemen, while playing cards at their club one day, wonder if it is possible to for anyone to actually circumnavigate the globe in under three months now that railroads, sailing ships, caravans, and stagecoaches are accepted methods of travel?

As an inducement to find a candidate they agree to sweeten the adventure with a wager of 20,000-pound sterling to anyone who can accomplish the feat. If that sum feels paltry even for wagers in the 1870’s, the financial exchange rates in today’s economy would make it little over $ 2 million dollars on the line. That level of wagering is nothing to sneeze at. In fact, it was so intriguing a proposal that one of the gentlemen, Phileas Fogg (Richard Baird), boasts that he will not only accomplish the feat himself, he will do it in 80 days. One would think that the idle rich of Victorian England would have come up with more interesting ways of spending their money.

Richard Baird, Omri Schein and Lovlee Carroll

“80 Days”, freely adapted from the Verne novel, is a visual delight for ages eight to eighty. One doesn’t have to be over-engaged with the sprawling story to follow the absolutely creative execution of the story, by the actors thanks to five sensational Equity actors: Richard Baird as Phileas Fogg, Omri Schein as Fogg’s loyal French valet Passepartout, Lovlee Carroll as Auoda, the love interest of Phileas, Loren Lester as the non-threatening Scotland Yard Inspector Fix, (the opposite of Inspector “Javert” from ‘Les Miz’), and Will Vought as a wonderful theatrical general factotum of many characters.

Yes, there are echoes of the play “The 39 Steps”, a farce/comedy that also relies on the skill of its actors working at warp speed. One, however, is blown away by the energy and high octane performances and the impeccable timing of this cast and its pace set by director Allison Bibicoff.

Baird’s performance as Fogg is a study in English discipline, manners, and decorum. As Fogg, he’s calm, unflappable, completely in charge of every situation, and is a delight to watch him work his magic on an audience. Schein is a bundle of controlled energy that lights up the stage, especially, when physical comedy is called for. The task of melting the stiff-upper-lip demeanor of Phileas falls to the dark-eyed East Indian beauty Auoda, played by Lovlee Carrol. Lester is right there with his mastery of accents, as the redoubtable Inspector Fix and other characters. Vought, whose credits speak of him as a stand-up comedian, is the perfect actor to master many accents and costume changes; always in character even when he walks out of one door, only to reappear from another, maybe 10 seconds later as a different character. One can only imagine the controlled mayhem taking place backstage with actors, dressers, and backstage personnel, who no doubt, work their derrieres off to insure the audience doesn’t miss a beat of this enjoyable production.

Loren Lester and Omri Schein

“Around the World in 80 Days” is a true ensemble creative effort led by director Bibicoff, along with resident Design wizard Marty Burnett who has designed NCRT’s last 175 productions. His cohort, and Lighting designer Mattt Novotny, incorporates his creative lighting plot and between them this creative duo knows every nook and cranny of the North Coast stage. According some of the actors I’ve spoken to over the years, say it’s such a pleasure to work in stage productions designed by this duo.

The costume designs of Kim Deshazo are spot on for the period. Not only do they look authentic, they have been designed for those lightning costume changes required by all comedy/farce productions. The sound design by Dave Mickey lends that extra aural touch of reality; enhancing the overall visual experience. The Prop design by Holly Gillard is the icing on an already tasty divertissement. Technical teams and their attention to production details is what will separate a good production from a great production.

“Around the World in 80 Days”, is a stellar production that shines in the technical department as brightly as it does for the on-stage actors. “Around the World in 80 Days”, performs at North Coast Repertory Theatre through February 4, 2018.

HELLO DOLLY!” THE MUSICAL RETURNS TO THE PALM CANYON THEATRE STAGE

The cast of "Hello Dolly! All photos courtesy of Paul Hayashi Photography

 Everybody’s favorite musical-matchmaker Dolly Gallagher-Levi, returns to the Stage of The Palm Canyon Theatre. Although Carol Channing, the original star of the musical has been a resident of the Coachella Valley for years, the iconic character of Dolly is currently being performed by Palm Springs star Se Layne. Layne, in addition to her many performing credits, is the Managing and Co-Artistic Director of the Palm Springs-based Palm Canyon Theatre (PCT).

“Hello Dolly!” is one of the most endearing musicals in Broadway history, running from April 1964 to 1969, making it at the time, the third longest-running musical production on Broadway. Channing played the sassy and clever matchmaker in 2,844 performances, without missing a show. That too is a record. It’s been revived four times on Broadway over the years with fifty-two actors playing “Dolly”. The last Dolly was ‘The Divine Miss M’, as she was known to her fans in her early years’ but everyone now knows her as the irrepressible Bette Midler, who won the 2017 Tony Award as Best Actress for her “Dolly” performance.

The iconic 1964 musical staged by the late Gower Champion, is written by Jerry Herman (lyrics and music) with a book by Michael Stewart. Based on the Thornton Wilder’s 1938 farce “The Merchant of Yonkers”, the role of Dolly Gallagher-Levi made an International star out of Carol Channing, who is so associated with the role that her fans just refer to her as Dolly Levi. Talk about the power and loyalty of fans.

The current musical now on the boards of the PCT, is staged, choreographed, and costumed-designed by talented triple-threat actor Derik Shopinski. Once again, Shopinski delivers colorful costumes for all the actor/dancer/singers in the ensemble, saving his glittering, gorgeous costumes for the ladies, with two stunning outfits for his star Se Layne: a radiant white outfit, with a large eye-catching white brim hat and, of course, Dolly’s signature ruby-red gown accompanied by her huge hat.

The implausible story set in NYC and Yonkers at the turn of the 20th-century centers around Dolly Gallagher-Levi (a beautiful, smiling, strong-willed Se Layne), who never takes ‘No’ for an answer. Dolly is on a quest to find a match for the miserly, well-known, unmarried half a millionaire Horace Vandergelder. In doing so, Dolly, convinces his niece, nieces’ intended, and two clerks form Vandergelder’s offices to travel to New York City. The musical is eye candy and a feast for the ears thanks to the appealing songs of composer/lyricist Jerry Herman; staged by director Shopinski.

“Hello Dolly!”, is an over-the-top comedy romp where the audience is way ahead of the characters, but nonetheless, is an enjoyable, energetic, eye-popping visual delight. It’s a huge cast of twenty-three actors/singers/dancers that perform fifteen wonderful Jerry Herman music and lyric numbers. Two numbers that have become classics: “Before the Parade Passes By”, and the signature number is known around the world as “Hello Dolly” is performed by the entire company.

Featured actors Allegra Angelo as Minnie Fay, Gaige Griffin as Ambrose Kemper, Anthony Nannini as the Imperious Maitre d’ Rudolf Reisenweber, Donald Kelley as Horace Vandergelder, Ben Reece as Cornelius Hackl, Leanna Rodgers as Ernestine Money, Herb Schultz as the Judge, Mat Tucker as Barnaby Tucker, and Jamie Leigh Walker as Irene Malloy offer solid support.

In the technical department the creative team led by Shopinski, receives high marks for the expansive set by Designer J.W. Layne, that not only creates space for the dancers, and actor/singers, in both acts, but provides a magnificent staircase that Dolly gracefully descends on her way to the stage floor as the company sings her signature song number “Hello Dolly!” lighting up the entire auditorium. Lights designed by J.W. Layne, and Kay Van Zandt, along with costume assistants Kathy Ferguson and Virginia Sulick, and Wigs by Mado Nunez, complete the creative team.

“Hello Dolly!” performs at the Palm Canyon Theatre, Palm Springs through February 11, 2018.