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

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

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

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

Alan Denny and Chuck Yates

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

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

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

Alan Denny and Chuck Yates

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

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

Alan Denny and Chuck Yates

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

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

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

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

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

--Jack Lyons

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Kelley Moody and Lee Rice in "Proof"

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

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

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

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

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

Sam Bensom Smith and Kelley Moody in "Proof."

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

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

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

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

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

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

-- Jack Lyons

WORLD PREMIERE OF “DIANA” – A NEW MUSICAL ON STAGE AT LA JOLLA PLAYHOUSE

Jeanna de Waal as Diana, Roe Hartrampf as Prince Charles in the world premiere of "DIANA". All photos by Little Fang.

The stage of the La Jolla Playhouse’s Mandell Weiss Theatre exploded in a dazzling display of lights, sound, and dancers, on March 7th, to inform the adoring acolytes of the world’s favorite fairytale princess, the United Kingdom’s Princess of Wales Diana, was in the building, at least, in spirit for two hours.

I can think of only a few larger-than-life-people who commanded such reactions when making public appearances as Diana did.  That list includes: “The King of Rock and Roll” Elvis Presley (who’s no longer in the building), JFK, Marilyn Monroe, The Beatles, as a group, Mohandas (Mahatma) Gandi, and, perhaps, the Pope.  Depending on one’s age or era, idols have come and gone like roman candles at a 4th of July celebration. Brilliantly bright at first only to fade when that inevitable time comes.

Jeanna de Waal in "DIANA"

The legacy “Princess Di” left to her family and fans, is multi-faceted.  There is the public life of Diana which is viewed through the omnipresent, frenetic, paparazzi, media/reporter mania that constantly surrounds her.  Her private life, however, is one filled with a less than fairy tale existence.  Her marriage at twenty to Prince Charles, her relations with new in-laws, who were not enamored of her, along with the strong pull of traditions of the English Royal Family, and the expectations and pressures that accompany all public figures is weighty and crushing; all the while dealing in private with her depression and bulimia. It’s no wonder why a woman s work is never over whether one is a princess or not.

La Jolla Playhouse artistic director Christopher Ashley nabbed the world premiere rights to this musical stage production about Diana and Charles who as heir to the British throne at 70 years of age is still waiting.  Ashley, one of the country’s leading stage directors (he has film directing credits too), immediately contacted his old Tony-winning collaborators Joe Dipietro, librettist and lyricist and David Bryan, composer/lyricist to once more join him in a production at the La Jolla Playhouse.

Both came on board for “Diana”, their new musical with Ashely as director seeking to have lightning strike again for his “Diana” production as it did for the Tony-winning musical “Memphis” in 2009; another production by the Dipietro/Bryan team that was born on the stage of the La Jolla Playhouse before wowing Broadway audiences.

There are 23 performers in this sprawling, beautifully costumed production created by designer William Ivey Long. The story with eye-popping set designs by David Zinn, and lighting by Natasha Katz is still set in the actual locations that Diana visited, but the writers and director have elected to update the lyrics in some numbers – there are 22 songs and numbers in all – that the creators feel will be more in touch with the young audiences of today.

Jeanna de Waal, Erin Davie and Roe Hartrampf in "DIANA"

It remains to be seen, however, if the logic of their decisions will be borne out.  My instincts tell me it would be prudent to scrub the number “The Words Came Pouring Out”, with its repetitive one word expletive.  I know it’s the young people’s revenge to the older folks and cleverly done, but producers are notoriously focused on box office receipts. I think I know how that musical number and lyrics will go over in the Dubuque, Iowas and the Raleigh, North Carolinas of America.

The glittering eye candy production stars Jeanna de Waal as Diana, Roe Hartrampf as Prince Charles, Erin Davie as Camilla Parker Bowles, and Judy Kaye as Queen Elizabeth II.  All in fine voice. Ms. de Waal is appealing and nicely captures the essence of the real life statuesque and photogenic Diana.  But, the handsome Mr. Hartrampf is stuck with the stodgy and selfish traits that Charles brings to the marriage.  Erin Davie, humanizes Camilla, as best she can. The “other woman” in Charles’ life is not a sympathetic role. 

Tony Award winner Judy Kaye as Queen Elizabeth in "DIANA"

Judy Kaye, as Elizabeth II, has the look and the stuff of being the keeper of the flame of England’s heritage and traditions dating back some 930 years.  She also gets to sing one of the best songs in the show “An Officer’s Wife”.  It’s a poignant tribute to the women who soldier on (no pun intended) in their duty, and their loyalty as Royal wives.  The scene is revealing in a personal way for Elizabeth II, concerning the choices she made for King and Country.

The ensemble cast of 23, features high-octane dance numbers inventively choreographed by Kelly Devine, are terrifically executed and keep the story moving forward as does the nine piece orchestra under the baton of Ian Eisendrath.   Director Ashley also deserves kudos for his on stage traffic management skills in dealing with those 23 performers along with the show’s  special effects.

This production, however, feels rushed in its on-stage execution.  The entire company is charged with trying to fit too much public and private information into its two hours and fifteen minutes of the Libretto and the music score.   Some judicious trimming is order to allow the audience to fully process and narrow the focus as a way of becoming fully engaged in the very compelling and heart-felt Princess Diana story.  I know It’s not easy to throw one’s baby out with the bathwater but everything these days is scrutinized through the lens of “bottom line” driven decisions.  One is also looking to discover where the illusive “soul” of this production really is.

“Diana” the musical, performs at the La Jolla Playhouse’s Mandell Weiss Theatre and runs through April 14, 2019.  And remember … a great nation deserves great art. Support the Arts!

--Jack Lyons

BOSTON COURT THEATRE STAGES WILDE'S “THE JUDAS KISS" IN PASADENA

Colin Bates as Lord Bosie and Rob Nagle as Oscar Wilde in Boston Court's production of "The Judas Kiss".
All photos by Jenny Graham

Irish playwright and author Oscar Wilde has had a cult following for years. Wilde’s canon is a bit of a short read compared to England’s other literary giants.   But the plays he wrote became classics of Victorian polite society, and the play genre known as comedy of manners and drawing room styled plays.

A brilliant intellect, and a master of wit infused with a poet’s appreciation for words, Wilde relished elegant dialogue and sophisticated situations both on and off the stage. He was a true sybarite. Which, unfortunately, led to his fall from grace.

His meteoric rise to popularity and acceptance by London’s theatre-going society immediately propelled him into the upper ranks of England’s playwrights mainly on the strength of “An Ideal Husband”, “A Woman of No Importance”, “Lady Windermere’s Fan”, and “The Importance of Being Earnest”.  His daring novel “The Picture of Dorian Gray”, only solidified his writing credentials as a novelist, playwright, essayist, and celebrity of his day.

The English playwright David Hare (“Constellations” (2015) and a fan of Wilde’s work felt that Wilde deserved a play, as a way of setting the record straight on Wilde’s larger- than- life philosophy in what Tennessee Williams called “that of which we dare not speak”.  Wilde was a Bi-sexual gay man who loved to flout the English law of ‘”gross indecency”.  But if one did, one did so at one’s peril.  If arrested, both men would face jail time and the ruin of their reputations.  Wilde’s trial resulted in his going to prison for two years of hard labor.  And true to predictions his career was over. The law of ‘gross indecency’ that ensnared Oscar Wilde was only removed from the English law books in 1967.

“The Judas Kiss”, written by playwright Hare, is deftly directed by Boston Court’s co-artistic director Michael Michetti, and, boldly explores Hare’s raison d’etre for his roman a clef story.  Act One of the play is set in the Cadogan Hotel in London, in 1895.

Sandy Moffat, Matthew Campbell Dowling and Mara Klein in
"The Judas Kiss"

At curtain up, Michetti’s staging sets the tone of Hare’s drama and its relationship with the world of. sexuality  We find hotel bellman Arthur (Matthew Campbell Dowling and fetching housemaid Phoebe (Mara Klein)  ‘starkers’ beneath the sheets of the suite rented by Oscar Wilde (Rob Nagle, in a fabulous performance).  A knock on the door, sends Phoebe and Arthur scrambling to retrieve their clothes; scattered about the floor.

Sandy Moffat (Will Dixon), Concierge-extraordinaire, enters and sternly surveys the room giving Arthur and Phoebe glowering looks and instructions to clean up the suite before abruptly turning on his heel leaving Oscar’s first lover an anxious Robert Ross (Darius De La Cruz); patiently waiting outside the door for Oscar to arrive.  Ross is making sure that the reluctant-to-leave-England Oscar, is safely away into exile on the Continent before the police can arrest him to stand trial for breaking England’s ‘gross indecency’ statute of homosexuality.

Rob Nagle and Colin Bates in "The Judas Kiss"

Lord Alfred “Bosie” Douglas, a spoiled, petulant, weak, young man of privilege and the current lover of Wilde (played by Colin Bates) bursts into the suite looking for Wilde with important information involving their relationship.  When Wilde eventually does arrive he informs everyone that he has no intention of fleeing to France. He’s staying put despite the risks.

To divulge any more of Act One would diminish the impact of Hare’s story and Michetti’s, crisp, creative directorial touches.  Suffice it to say, there are plenty of moments of declarations and recriminations by Wilde, Lord “Bosie”, and Ross for the audience to relish.

Colin Bates and Kurt Kanazawa in "The Judas Kiss"

Act Two takes place two years later in 1897 in The Villa Giudice, in Naples Italy. Wilde has served his prison sentence.  Now, however, we see a weary, chastened, and resigned Oscar, who is in a mood to review his life in discussions with “Lord Bosie” (his betrayer) and Bosie’s new boy-toy Galileo Mosconi (Kurt Kanazawa) who speaks only in Italian. Nagle’s highly nuanced, immersive, tour de force performance including gestures, pacing, and his modulated vocal delivery, are gems in their own right and worth the price of admission alone.

It’s obvious that Oscar’s zest for the world of endless parties, gourmet food, and the lifestyle of a hedonist is now behind him. What Wilde also left behind for us to enjoy are his epigrams and a plethora of witticisms.  Two of my favorites of his are: “Be yourself; everyone else is already taken” and “I can resist everything except temptation”, words he really took to heart.  He died in 1900 at the tender age of 46 from meningitis.

For me, the meat and beauty of this intriguing play and production lies is the performance of its talented ensemble cast who are always in their on-stage moments.  However, as talented as this cast is the evening belongs to Rob Nagle as Oscar Wilde.

His astonishing performance is a true star turn, worthy of the great Noel Coward’s comment about talent.  One has to have “star quality” to make it in this business. Nagle’s stamina is stunning in its execution.  He is on stage in Acts One and Two for over an hour and a half; delivering an actor master class on how to hold an audience in his thrall. Good writing is a must for actors.  Great writing elevates the performance of everyone in the production.

The technical credits for “The Judas Kiss” are first rate.   The creative team led by director Michetti includes a set design by Korean designer Se Hyun Oh; the outstanding Costume designs of Diane K. Graebner are highly detailed and spot on for the Victorian period. The lighting design is provided by David Hernandez, with Peter Bayne, composer and Sound Designer, Courtney Lynne Dusenberry as Props Designer; Shannon Hutchins, Wig Designer, and Accent Coach Nike Doukas complete the creative team.

“The Judas Kiss” is an impressive production that makes for a splendid evening of theatre that performs at the Boston Court Theatre, Pasadena, through March 24, 2019.

--Jack Lyons

BBC 4's Kate McAll Says Radio Really is a Woman's World

Kate McAll is an award-winning radio producer
for BBC Radio 4. Her most recent work for L.A.
Theatre Works was an adaptation of E.M. Forster's
"A Room with a View" which she directed.

Kate McAll is an award winning radio producer with BBC's Radio 4 whose been making radio dramas for 30 years and having a marvelous time.

Last year for LA Theatre Works, she presented a dramatization of “Daniel Deronda” starring Julian Sands that was very successful, so LATW's Susan Loewenberg approached McAll to come up with another production for the 2018-19 season.

McAll, who had just finished working again with Sands on the radio drama ”Cheeta: My Life in Hollywood”, was reminded of the classic romantic 1985 film “A Room with a View” and inspiration hit.

Rather than revisit the film, McAll went back to E M. Forster's original novel which was rich with vivid characterizations and humor. “It all just came together beautifully,” she says with a smile. “And having Julian able to be a part of it was just icing on the cake.”

She feels that It's part of her DNA to look for ideas of what would make a great drama, “But when sit in a brainstorming session -  failure!” says the soft spoken McAll. “My mind goes blank, it's embarrassing. But later on, when i'm doing something completely ordinary like laundry or the dishes, something brilliant will pop into my brain.” The nature of genius is truly mysterious.

As other forms of traditional entertainment fail by the wayside in the digital age, McAll has found there's actually a new generation of listeners who completely embrace the format of mp3 and podcasts to get their fill of culture.

And it hasn't been difficult to attract top name talent to inhabit the characters in a very freeing way. Young film and television stars such as Eleanor Tomlinson (Poldark) and Eugene Simon (Game of Thrones) have brought in their own fan base while classic Hollywood stars like Sands and John Malkovich who starred in the aforementioned “Cheetah” attract the traditionalist theater lovers.

When asked about the breadth of opportunities for women in the radio realm,  McAll admits that the BBC is fertile ground.

“When I came up at BBC, most of the production offices were fully female,“ she recalls. “Even the shows that were old-boyish like Doctor Who had a definite female presence.” She says the great thing about radio is that she can persuade the company to make a program, with no studio or creative team giving you input until you're in the editing stage. “Creatively you retain control all the way through the process,” she concludes. Definitely not the experience of most women in Hollywood.

What's next for the soft spoken McAll? She and her husband are preparing for their return to the UK. Since they don't care for flying, they travel by sea aboard the luxurious Cunard Line. “All in all, it takes about a month to sail around the Cape and up Africa to Europe,” she confirms “So we're flying first to Hong Kong where we will rejoin the ship and then several weeks at sea to return to Europe via the Cape and up to Africa. I'm quite excited about it, really it's a most civilized way to travel!”

It sounds like something the characters in Merchant Ivory World would fully embrace.

-- Lisa Lyons

LA Theatre Works “A Room with a View” is a Sight for Sore Eyes and Ears

If you’ve never had the opportunity to be present at the recording of a radio drama, it is something you should take advantage of, especially if you are a fan of the spoken word and life in Los Angeles.

L.A. Theatre Works (LATW) is an artistic enterprise that gathers some of the best working actors available to perform adapted versions of books, movies, plays and sometimes original material which are then recorded in front of a live audience. Once recorded, the works are available for purchase on CD, mp3 and are also archived on the LATW website for podcasting.

I had the pleasure of attending the recent production of “A Room with a View,” based on the novel by E.M. Forster and lovingly adapted for radio by BBC Radio 4’s Kate McAll. McAll, who staged “Daniel Deronda” last season for LATW, has hit the mark again with a brilliant cast and sterling production.

In a serendipidous twist of fate,  Julian Sands (who played the character of George Emerson in the Oscar-nominated 1985 film) returns to inhabit Forster’s world but this time as George’s father Mr. Emerson.

The staging for this recorded drama is a simple lineup of chairs upstage in front of a scrim, and music stands with sensitive mics that each actor stands at downstage. A sound effects artist is seated off to one side  providing the necessary effects (brilliant work by Brian Wallace) and appropriate backdrops are projected behind the cast members. It all works wonderfully, and you find that the exquisite visuals of the original film are barely missed.

If you are not familiar with the story, it tells of a fateful trip to Venice by the beautiful Miss Lucy Honeychurch and her chaperone and cousin Miss Charlotte Bartlett. When the pensione they are booked at turns out to be a disappointment and does not have the promised room with a view of the Arno River, a socially-mobile tradesman Mr. Emerson and his thoughtful son George offer to switch rooms with the women and the die is cast. Hearts will move, minds will change and love will, in the end, surmount all obstacles.

As the young lovers, Eleanore Tomlinson as Lucy and Eugene Simon as George, are completely and adorably perfect. She is patrician, flame-haired and has a fine vocal instrument; He is soulful and shyly persistent in his pursuit of her. When they kissed (and they actually did, rather than leave it to the effects designer), you could hear the audience heave a collective romantic sigh.

As the genteel, slightly impoverished Charlotte, Rosalyn Ayres captured both sides of her personality – the reluctant realist and the romantic dreamer who is the unlikely heroine of the love story. As the senior Emerson, Julian Sands captures the dual sides of a man who, though a “rude mechanical” by profession, is a philosopher poet by nature. The year in which the book is set in the early 1900’s of English society, was a time of great movement within the classes; freed from the restrictions of the caste system and able to move into the rarefied air of the nouveau riche, fortunes were earned that made such movement possible for the first time in centuries.

In the supporting roles of Freddy Honeychurch, Lucy’s cheeky younger brother, and her Mother, a kind and broad-minded widow, are nicely enacted by  Alastair James Murden and Edita Brychta. Both actors also portray a variety of characters, as do Moira Quirk (as the Misses Allen) and Matthew Wolf as Lucy’s erstwhile fiancé, the pompous and controlling Cecil Vyse  Special mention goes to Darren Richardson as Reverend Beebe the vicar always in search of a spot of tea. Forster created an indelible “tableau vivant” of people who we want to know what happened to them after the curtain descended.

In addition to the direction of McAll, the production is blessed with Recording Engineer and Sound Designer Mark Holden and Senior Producer Ronn Lipkin

The opening night audience at the James Bridges Theater located on the UCLA Campus gave the cast a well-deserved standing ovation and were delighted when several cast members remained in the lobby to meet and greet their fans.

As is their tradition, LATW will make the recording of “A Room with a View” available soon for purchase in CD or mp3 format, as well as via podcast and an archived version for listening online.

In a world of portable culture, perhaps there is a new role for radio podcasts in opening the ears and eyes of new generations to the beauty of literature. If so, LATW is poised to be the theater of choice for lovers of the word. Check out their current season of productions on their website at www.latw.org.

-- Lisa Lyons