WEST COAST PREMIERE OF NORTH COAST REP THEATRE THRILLER “GABRIEL” SCORES IN SOLANA BEACH

Richards Baird, Jessica John, Annabella Price, Catalina Zelles, Lilli Passero
and Alan Littlehales, the cast of 'Gabriel' at North Coast Repertory Theatre.
All photos by Aaron Rumley.

North Coast Repertory Theatre (NCRT) of Solana Beach, never fails to come up with little known plays or playwrights for its audiences turning them into performance gems.  That is precisely what is currently taking place on the stage of NCRT’s West Coast Premiere of the drama “Gabriel” a World War II thriller.

Prolific British playwright Moira Buffini has written a strong drama incorporating many facts, both known and unknown, about the war that engulfed all of Europe and that tight little island known as England.  Those were perilous days for everyone. In addition to the soldiers fighting in the war, the civilians at home had to deal with being occupied by German troops.  “Buffini’s “Gabriel”, is not only mysterious, and a bit enigmatic, but it infuses its characters with a sense of the absurd as well as the inevitable light comedy relief moments of everyone’s situations.

Staged and deftly directed by Christopher Williams, “Gabriel” gives all six characters juicy roles to play, but more about this outstanding ensemble cast later.

The story takes place in 1943 in the wind-swept Nazi-occupied Isle of Guernsey (Many people forget that England’s Channel Island of Guernsey is just 40 miles west of the Normandy coast and was indeed occupied by German troops).

A mysterious handsome young man is washed ashore late one night and is discovered by 10-year-old Estelle (astonishingly played by Catalina Zelles). The three adult British women living in the home with Estelle, decide to protect him from the German troops based on the island through cunning deceptions and bravery.

Catalina Zelles as Estelle in "Gabriel'

Jeanne Becquet, Estelle’s beautiful mother, terrifically performed by Jessica John, is wary that the young man known only as ‘Gabriel’ (solidly played by Alan Littlehales), who upon awakening realizes he has lost his memory. He has no idea who he is or where he is; whereby he is immediately christened by Estelle as Gabriel, after the Angel.  Jeanne and Lili fear that his presence if discovered, will bring trouble to their home in the form of SS Major Von Pfunz (brilliantly played by Richard Baird), who imagines himself as a poet as well as a German Officer; who has taken a fancy to Jeanne.

Also living in the household is Jeanne’s daughter-in-law Lilly, now a widow, nicely played by Lili Passero, who admits to Jeanne that she is Jewish and fears for the consequences if discovered. Providing some of the lighter side to life in the Becquet household is neighbor Lake who does the cooking, odd jobs and chores for Jeanne, whimsically played by Annabella Price, in a little gem of a comedy performance.

In addition to the poetic nature of playwright Buffini’s dialogue and structure,  the beauty of this play lies in the performances of the actors who are firing on all cylinders; individually and in an ensemble performance format.   Richard Baird and Jessica John’s stage chemistry produces two actors at the top of their games as antagonist and protagonist, respectively. The boldness and range of Mr. Baird’s talent has no boundaries.  His Major Von Pfunz portrayal is both menacing and intriguing as he plays his game of cat and mouse with Jeanne.

Richard Baird & Jessica John in 'Gabriel'

Ms. John is equal to task of protecting her family as well as Gabriel.  Her fiery portrayal reminds me of the last time these two fine actors performed together in the New Fortune Theatre production of “Les Liaison Dangereuses”, as the Marquessa and Mr. Baird as Valmont.  They were mesmerizing then and are stunning again in NCRT’s “Gabriel”.

This impressive production has the fingerprints of director Williams all over it.  From solving the traffic management issues of six performers working in a relatively small stage space, yet still able to draw the audience into the story with its wonderful ensemble cast.

In the technical areas, the creative team led by director Williams includes:  a functional set design by resident design wizard Marty Burnett, along with Lighting designer Matthew Novotny, and the outstanding costume designs of Elisa Benzoni.  Sound Design by Ryan Ford, and Props by Phillip Korth, complete the creative team.  Andrea Gutierrez stage manages the production.

“Gabriel” is a highly entertaining evening in the theatre that performs at North Coast Repertory Theatre in Solana Beach, CA and runs through March 24, 2019.

--Jack Lyons

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