DESERT ROSE PLAYHOUSE LAUNCHES THE ENTERTAINING CAMP COMEDY MUSICAL “RUTHLESS”

Elizabeth Schmelling, Christine Tringall Nunes and Robbie Wayne
star in the Hollywood satire "Ruthless". All photos by Mike Thomas.

Desert Rose Playhouse of Rancho Mirage premieres a glitzy, glamorous, hilarious musical comedy production of the campy homage to Hollywood’s tortured, driven, divas of celluloid and of Broadway who would do “anything” to get that perfect starring movie or Broadway role.

“Ruthless”, written some 25 years ago by librettist and lyricist Joel Paley, with music by Marvin Laird, has been produced around the globe.  Now the comedy romp has arrived in the Coachella Valley at Desert Rose Playhouse, directed by longtime actor/director Loren Freeman.  Freeman starred in the 1993 Los Angeles production as Sylvia St. Croix that ran for nine months.  His role is now being played by current Desert Rose Artistic Director Robbie Wayne.

In musical comedy, the plots are thinly drawn, but energetically performed.  The more over-the-top the performances are for farces and spoofs the more audiences enjoy the show.  “Ruthless” is blessed with a cast of experienced farceurs and comedy actors who can sing, and singers who act and dance.  What more does one need from a musical comedy in order to enjoy a hilarious evening in the theatre?

“Ruthless”, is a story that chronicles eight-year-old, gifted child actress Tina Denmark’s (Elizabeth Schmelling) rise in the world of show business.  How Tina achieves her goal of stardom has echoes of the plays and movies of “The Bad Seed”, “Kind Hearts and Coronets”, and “A Gentleman’s Guide to Love and Murder”, that serve as clues along Tina’s road to her goal of stardom at any cost.  Ms. Schmelling is a mesmerizing, formidable and skillful performer with great comedy timing, as are all of her co-stars.

Robbie Wayne stars as uber-agent Sylvia St. Croix who guides the career of young Tina, is hiding something.  Shakespeare also made a career of hiding information and look how he turned out.

Christine Tringall Nunes, cleverly and neatly plays Tina’s Stepford Wife-like mother, who also harbors secrets and desires (in comedy, secrets are a must to keep until the eleven o’clock number).

Jaci Davis, Robbie Wayne, Dana Adkins, Elizabeth Schmelling,
Christine Tringall Nunes and Leanna Rodgers in "Ruthless"

Miss Thorn, (a wonderful Dana Adkins) who runs the acting academy attended by Tina, displays Adkins’ terrific comedy acting chops that we have missed in the desert theatre scene over the last several years.

Jaci Davis as Lita Encore brings her outstanding Ethel Merman voice impression as Mama Rose from “Gypsy” (at the Palm Canyon Theatre, with her co-star Elizabeth Schmelling, as Gypsy Rose Lee) and is a joy to watch.

Robbie Wayne and Elizabeth Schmelling in "Ruthless"

Leanna Rodgers as Louise/Eve, brings her energy and passion to both roles with outstanding timing. I mention the timing gifts of this solid ensemble because timing can’t be taught.  Either one has it or one doesn’t.  And his cast definitely has it!  But no spoiler alerts from me.  Audiences will just have to come and see this fun show for themselves.

In the technical and creative department led by director Freeman, “Ruthless” features a colorful, functional set design by Bruce Weber, who also designed the gorgeous costumes with assistants Rusty Waters and Ruth Braun.  Lighting Designer Phil Murphy once again cleverly gives the performers lighting that shows them at their best.  Sound Designer Adrian Niculescu, provides the sound that Board operator Miguel Gomez executes. Please Note: there are multiple gunshots fired a various points during the production.  Steven Smith is the Musical Director.

“Ruthless”, is fun-filled musical production that performs at the Desert Rose Playhouse in Rancho Mirage through July 14th.  It’s a must-see production. Don't miss it!

-- Jack Lyons

GEFFEN PLAYHOUSE LAUNCHES WORLD PREMIERE THRILLER “MYSTERIOUS CIRCUMSTANCES”

Ramiz Monsef as Dr. Watson and Alan Tudyk as Sherlock Holmes
in "Mysterious Circumstances". All photos by Jeff Lorch

Sherlock Holmes, the world’s greatest fictitious private consulting detective sprang from the fertile brain of English writer Arthur Conan Doyle in 1887. Two years later he was knighted becoming the darling of London society and a literary icon in the English-speaking world. Conan Doyle by today’s standards became the equivalent of a Rock Star back in the Victorian era of England. 

He created the brilliant, but quirky, sleuth Sherlock Holmes, who along with his friend and biographer Dr. John Watson, solved the thorniest of mysteries employing Holmes’ extraordinary powers of observation coupled with forensic science and the logic of deduction.  Scotland Yard  scoffed at first but never-the-less welcomed his analysis of the crime scene when the police hired him to consult on especially tough cases. 

So convincing was Conan Doyle’s creation at the turn of the 20th century both Holmes and Watson were believed to be real people.  So much so that the city of London actually turned Holmes’ fictional living quarters at 221- B Baker Street into a physical replica in a building located at 221-B Baker Street; due to the demand of tourists wanting to visit the famous detective’s home. 

The London County Council wisely obliged by recreating the Holmes and Watson apartment as described in Conan Doyle’s stories down to the last detail; turning a tidy profit in the process over the years  The story may be apocryphal but when I lived for three years in London in the early ‘50s. I was often asked where it was located.  Maybe that’s where Walt Disney got the idea for Disneyland and America’s love affair with nostalgia. But I digress. 

Hugo Armstrong, Helen Sadler,
Alan Tudyk and Leo Marks
in "Mysterious Circumstances".

Playwright Michael Mitnick was inspired by the 2004 New Yorker magazine article “Mysterious Circumstances: The strange death of a Sherlock Holmes fanatic” by David Grann.   Speculation ran high as to what caused the death of Richard Lancelyn Green, considered the world’s largest collector of Sherlock Holmes memorabilia and a recognized scholar on all thing Holmesian.  Green was found dead from asphyxiation on the floor his London apartment in 2004. The police could not establish any foul play, yet they have kept the “Richard Lancelyn Green” file open as of this date.

The Geffen’s producing artistic director Matt Shakman, in collaboration with playwright Mitnick, has crafted a play-with-in-a-play format employing a fictitious narrative concerning the mysterious death of a real person.  It’s not easy to pull off one of the theatre’s long standing conventions: the play-within-a-play format.  Non-linear plays place larger expectations on audiences, thanks to shorter attention spans these days.

Also, it doesn’t help that focusing on the ‘story’ now must compete with projection designs and other technical wiz bang components that make up todays’ productions. 

The cast under the deft direction of Matt Shakman is universally solid.  Seven actors portray multiple roles based on true events that occurred in two different time periods in London; 1894 and 2004.  However, quick scene changes, lightning fast changes both in costume and new identities amid sometime brief scenes has the feel of a TV episode rather than a theatre presentation.

Alan Tudyk portrays Sherlock Holmes in the back story scenes and as Richard Lancelyn Green in the 21st century time period.  As Sherlock Holmes he brings the brusque, superior confidence and assurance that one expects from “Sherlock Holmes”.  As Green we see a more measured individual, scholarly at times but obsessed with the life of Sherlock’s creator, Sir Arthur Conan Doyle. It’s nicely done.

Ramiz Monsef as Dr. Watson, brings a fresh approach as the crime-solving partner and friend of Holmes.  Other stand outs include Helen Saddler as Touie, Dame Jean and others, Hugo Armstrong, portrays the American, plus multiple characters, Austin Durant as Conan Doyle,  plays Chief Investigator, and others, Leo Marks portrays Superintendent, Private Eye, Dentist and others, and John Bobek as Chester, and other roles complete this stellar cast. 

Leo Marks and Austin Durant
in "Mysterious Circumstances

Mitnick’s writing for me is the weakest part of the production.  I know it’s picky but details do matter. For example, it’s a bit jarring and anachronistic to hear a Brit describe a time period as ‘two weeks’, rather than the more commonly used expression “fortnight”, especially in the Victorian-era scenes.

The creative team led by director Shakman almost unbalances his production with too many technical touches: projection designs, directorial choices in staging the production from a richly textured set design created by Brett J. Banakis, to the outstanding and spot-on costume designs of E.B. Brooks. The Lighting design by Elizabeth Harper lends authenticity to both time periods. The Projection Designs are by Kaitlyn Pietras.

I still remember Mr. Shakman’s impressive production and direction of the comedy “Bad Jews” at the Geffen in June of 2015.  Now, he is the artistic director of the Geffen and I believe he is the best choice to lead the theatre.  Besides no one hits a home run every time at bat. 

“Mysterious Circumstances” is an intriguing puzzle worthy of a case that even Sherlock Holmes himself would probably enjoy, were he to be called upon to assist in helping Scotland Yard solve the mysterious death of Richard Lancelyn Green.

“Mysterious Circumstances” now performing at the Geffen Playhouse in Los Angeles runs through July 14, 2019.

18TH CENTURY FEMINIST COMEDY “LADIES” ON STAGE AT BOSTON COURT THEATRE OF PASADENA

The cast of "Ladies" at Pasadena's Boston Court Theater.
All photos by Jenny Graham.

Sometime it’s difficult to assign a genre to a play.  Is it a drama or is it a comedy or is it a little of both?  Often it depends on the skill of the playwright and actors or the mood and sensibilities of the audience,   as to whether everyone “gets it”.

I can’t speak for everyone in the audience on opening night, but I’m viewing the production through the lens that I am watching a comedy, achingly spiced with elements of drama and truth that is creatively woven into the on-stage feminist situations and dialogue of playwright Kit Steinkellner’s daring and scandalous, for-its-day-play, “Ladies”, now on stage at Boston Court Theatre in Pasadena.

Despite the success of the #Me Too movement of the 21st century, it’s taken centuries just to get us to a point where “partnership” is beginning to take on real meaning.  It behooves men to pay attention. The Divine Right of Kings era is over.

The story is based on The Blue Stocking Society of 1750 London.  It was a society of creative, sophisticated, and educated women; women who came together to discuss literature, philosophy, and art in their London homes. They sought to bring the conversations and opinions of the day that were happening in the men’s private clubs and coffee houses into the parlor room where women could participate as well.

Ms. Steinkellner’s play has just four female actors ‘standing in’ as surrogates for the 1750’s society of women.  They also double as men when required.  In addition to the action taking place in London, the ladies also break the fourth wall (normally a no-no) to give their characters’ various takes of how the 21st-century society views the mores of the Victorian era and comparing them to today’s free spirited antics.

The comments on both society segments are laced (no pun intended) with plenty of adult language; tons of F-bombs are hurled from the stage along with simulated graphic sexual activity on it.  Sensuality, literally drips from every character encounter ranging from full frontal nudity to pedestrian gossip, so leave grandma and the kiddies at home.

ully Lee as Fanny Burney and Tracey A. Leigh as Angelica Kauffman in "Ladies"

Boston Court Theatre’s mission statement of dedication to create and present works that are innovative, diverse, vital and adventurous in an intimate setting has certainly been realized in their last production, the potent and impressive “The Judas Kiss” by David Hare, directed by Michael Michetti, and now with the Steinkellner-Kubzansky collaboration on “LADIES”.

Boldly and deftly directed by Boston Court’s co-artistic director Jessica Kubzansky, “Ladies” stars the sharp and smartly executed ensemble talents of: Meghan Andrews as Elizabeth Montagu and Carrie Kawa as Elizabeth Carter, the titular heads of the Society, along with Jully Lee as Fanny Burney, a published novelist, and Tracey A. Leigh as Angelica Kauffman, a portrait painter who find herself being sexually drawn toward Mrs. Burney.  Their relationship is slow and tender to develop but eventually is consummated.

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Contrary to what men may think when it comes to romantic love gambits, women are wired like electric heating blankets; measured in their ardor.  Men however, are like the electric light switch, ready when the light flips on.  These observations and ponderings, by and large, are very entertaining on the bright side of “LADIES”.

On the not so bright side is the communication component of this otherwise creative and inventive production.  If these highly skilled actors are to be appreciated for their obvious talent then this audience of one needs to understand what they’re saying to one another in their scenes; especially in their monologues to the audience.

Remember: iftheactorsaretobeappreciatedfortheobvioustalentthattheyposesswehavetounderstandwhatthey’resayingtooneanotherandtotheaudiencen’est-cepas? Say, what??? … Precisely!!!

Funny observations, ruminations and/or drama, as well as comedy performances in the hands of stand-up comedians, are orchestrated for maximum impact.  So also should be all of the spoken art forms. Too many of today’s performers “gabble” their way through performance at warp speed without stopping to breathe.  Too much watching of talking heads on TV talk shows? Perhaps.  Language is the currency of the theatre.  Love it. Honor It. It’s too important to ditz it or slough it off.  But, I digress.

In the technical department, an all-female creative crew of artists led by director Kubzansky includes: Scenic Designer Sara Ryung Clement who renders a clean, sparse performing area containing four 17th century chairs, a chaise lounge, a desk, and a bureau all in gleaming white finish.  Lighting Designer Jami Lee Smith provides just the right amount of lights to see and appreciate the elegant white- on-white costumes designed by Ann Closs-Farely.

Composer and Sound Designer Nihan Yesil creates the sound; Courtney Lynn Dusenberry, is the Properties Designer; Angelina Del Balzo is the Dramaturg, Nike Doukas, is the production’s Dialogue Coach who also coached the splendid “The Judas Kiss” performers, and Julia Flores is the Casting Director, who also cast the Pasadena Playhouse winning production of “Real Women Have Curves” a couple of seasons back.  Trixie Eunhae Hong stage manages the production.

“LADIES”, is a world premiere production currently on stage at Boston Court Theatre, in Pasadena that runs through June 30.

Invisible Tango: A Tale of Two Magicians Who Met for a Reason

Frank Marshall is a renowned and respected producer/director who was awarded the Irving J. Thalberg Award with his wife and partner Kathleen Kennedy in 2018 for their dedication to pursuing the highest aim of film in their body of work, which includes everything from the "Raiders of the Lost Ark" franchise, to Oscar-nominated films "The Curious Case of Benjamin Button", Seabiscuit", "The Sixth Sense", and "The Color Purple".

Helder Guimaraes is a Portuguese-born actor and magician whose one-man shows have broken records worldwide, noted for their skillful blending of close up magic and story-driven narrative. Named World Champion of Magic, he has participated in everything from TED talks, off-Broadway productions to training Cate Blanchett and Sandra Bullock for their card shark roles in the movie "Ocean's 8".

The odds that these two men would ever meet were more than a long shot. But meet they did through the 'matchmaking' skills of Special Effects wizard Bill Taylor, himself an amateur magicin; the result of that promising first date led to a brilliant collaboration that produced the unique immersive magic experience "Invisible Tango" which is currently selling out nightly at Westwood's Geffen Playhouse.

The underlying theme of the show is "everything happens for a reason" and both Marshall and Guimaraes agree that is definitely true in their case.

Despite their different upbringings (Guimaraes in Miragaia, Porto in Portugal, Marshall in Glendale, California then Newport Beach in the OC) the two men share a lifelong love of close-up magic.

Frank Marshall

Marshall recalls his first foray into magic as a school performance where he did a few simple magic tricks that opened up his eyes to possibilities. "I realized even then that magic had a power to surprise, entertain, and also to enlighten," he says. Neighborhood birthday parties and school talent shows followed and he practiced amateur magic well into his teens until he encountered drama classes and the track team, both areas in which he excelled. He ultimately ended up as an engineering major at UCLA but graduated with a B.A. in Political Science, envisioning perhaps a legal career. But the muse had gripped him and he found himself always drawn back to the love of performing. He credits his high school drama teacher Robert Wentz with giving him the belief that he had a career in the arts - not as an actor but as a director where he could use his instincts to guide people.

Guimaraes was exposed to magic at the tender age of four by his father who was himself an amateur magician. Young Helder was frightened by a statue and his father taught him to use "magic" to overcome his fear. When his kindergarten class invited his father to entertain at the annual Christmas Party, Helder was brought into the act to participate in a couple of tricks. He wore the cape and hat and was soon hooked on magic. By age 12, he realized he wanted to be a magician but could he make a living at it? He wasn’t sure if it was within his reach, because Portugal no tradition of magic in performance. So he traveled to neighboring Spain where he found magician communities to study with and gain opportunities to perform. By age 17, he knew he could have a successful career - but it would have to be on an international scale to make it worth leaving behind the family, friends and country he loved. So he finished college graduating with a Theatre degree and then set off to establish himself on the world stage, developing a hybrid of magic and theatre that was uniquely his. The win in 2006 as Champion of Magic was the first award for Portugal and that was profoundly satisfying to him. Tours in Japan and the USA soon followed and he was off and running.

Helder Guimaraes

His first immersive experience show was "Borrowed Time" which played to sold out houses every night. His production "Nothing to Hide" directed by Neil Patrick Harris was one of the most popular shows at the Geffen and his off-Broadway show "Verso" was directed by renowned Portuguese actor/director Rodrigo Santos. When the Geffen approached him about doing another show for them, Guimaraes had an idea that had been forming in his mind for five years. "I knew what I wanted to do, but I wanted to make sure the story would be told in best possible way, not disruptive of the magic and vice versa." While a brilliant performer, he wasn't as comfortable creating in English as a second language. He would need to find someone to help him shape the vision he had and when he mentioned the show to his friend Bill Taylor, himself a respected visual/special effects artist known for his work on "Serenity", "The Bourne Identity" and "The Fog". When he heard that Guimaraes was seeking an experienced helmsman to guide the process, Taylor immediately thought of his old friend Marshall.

"I told Bill that I needed a director who loved magic, understood the milieu, that magic exists in the moment," he recalls. "When he mentioned Frank, I thought he would probably be too busy, perhaps not interested in small show, so I was not hopeful that it would happen, you know?"

A meeting at Marshall's office a few weeks later started off as a get-to-know-you and ended 30 minutes later with  "Let's do this!" and a handshake. While both men were aware of the other, they really didn't know each other; but as previously noted, "everything happens for a reason." The production was enhanced by "an amazing team of people, a truly collaborative family" that worked on the set (Francois-Pierre Couture), lights (Elizabeth Harper), sound (Alex Hawthorn) and original music (Moby!) as well as Dramaturg Amy Levinson.

Another area on which both Marshall and Guimaraes agreed was the basic belief that without magic, the world can be a soulless place. "We have a need as a people to believe in something greater than ourselves," they say,  "to be drawn to that place of mystery and unknowingness."

One of the highlights of "Invisible Tango" is the opportunity an audience member has to use a golden key to unlock a box, wherein the mysteries lie, and learn how everything is done. According to Marshall, almost all have refused to take the offer, preferring instead to maintain the illusion. "The one woman who did open the box did so under heavy peer pressure," he says. "She admitted she really didn't want to know."

There are some things that have a deeper resonance in the soul; instead of knowing everything, we often prefer to know little and dream big. That too happens for a reason - to remind us that there is another level to life that we cannot control, something that gives us a reason to consider our place in the unseen vastness of the universe. It is the "Invisible Tango" with reality that gives life meaning. And that is the true magic, don't you think..?

"Invisible Tango" continues at the Geffen Playhouse through June 30 although the show may be extended into July. For tickets and information, please visit www.geffenplayhouse.org.

--Lisa Lyons

NORTH COAST REP THEATRE LAUNCHES TRIUMPHANT “A WALK IN THE WOODS” A DRAMA WITH HEART

David Ellenstein and  J.Todd Adams. in "A Walk in the Woods". Photos by Aaron Rumley.

As the French say:  “plus ce change, plus c’est la meme chose.”  And that’s not necessarily a bad thing. Especially when it comes to the medium of the stage where ideas, words, and insight become the tools of actors as a way of engaging their audiences into accepting old concepts and making them new again.

Playwright Lee Blessing, back in 1988, debuted his fact-based drama  “A Walk in the Woods,” about two arms negotiators; one American John Honeyman (J.Todd Adams) and one Russian Andrey Botvinnik (David Ellenstein), is  now wowing audiences at North Coast Repertory Theatre in Solana Beach, CA

The late 80s were especially nervous times of great peril for all mankind.  Nuclear powers America and Russia had been adversaries for forty years. Several times each side came close to a nuclear-fueled shooting war.  Ronald Reagan publically asked then Soviet Chairman Mikhail Gorbachev, during a speech while in Berlin, shouted “ Mr. Gorbachev … tear down this Wall.”  The Berlin Wall did indeed, come tumbling down in 1989, bringing the old Soviet regime with it; allowing the world to once again breathe a welcome sigh of relief.

J.Todd Adams, David Ellenstein

Theatre savvy North Coast Repertory Theatre (NCRT) Artistic Director David Ellenstein, continues to select interesting and compelling stories to present on the stage of NCRT.  His choice of playwright Lee Blessing’s penetrating drama “A Walk in the Woods,” was a prescient decision. Today’s unstable political climate is just as jitteringly relevant in 2019 as it was in in the 1980s, perhaps, even more so.

Blessings’ tale of two diplomats vying for a solution to an escalating arms race of short-range missiles is intriguing to watch as we follow their secret meetings over a period of a year in a wooded area outside Geneva, Switzerland.

The diplomatic dialogue in “Woods” is cleverly leavened with humor as a way engaging the audience.  Wary of one another at first, Honeyman and Botvinnik’s discussions revolve around the work at hand. Eventually, their collaboration leads to mutual respect, and a genuine friendship is forged. Unfortunately, their superiors are still locked into old cold war rigid suspicions mode.

Two-character plays by their nature are talky and challenge the attention span of audiences.  But this production is brilliantly performed by David Ellenstein and J.Todd Adams, who work their magic on the audience that is masterfully and seamlessly directed by award-winning director/actor/producer Richard Baird.

Ellenstein’s Russian Andrey Botvinnik negotiator is a study in how Russian diplomats approach their work and still remain human beings.  His gregarious, open, yet business-like approach in doing his job – that of a skilled negotiator – is what moves this telling story forward.  “A Walk in the Woods,” is a celebratory play about Integrity, trust, and good faith by both sides, all hallmark components in any high stakes agreement made by participants.

Adams’ American diplomat character John Honeyman, is looking for total capitulation to his proposal. It’s his government’s hardline position that must be agreed upon. Period.  If the art of the deal doesn’t allow room for compromise, the outcome is doomed to fail. Adams’ character is impatient, somewhat officious, and stuffy.  Botvinnik is like a cuddly bear eager to engage in banal conversation as a way of getting what his government is seeking.  Something, however, has to give.  How it’s accomplished is what makes this production so compelling and entertaining. No spoiler alerts from me. One has to see it for one’s self.

Actors Ellenstein and Adams are two professionals who draw the audience into the plays’ dilemma/ premise with consummate skill. Actors are such a joy to watch when they’re really ‘cooking’ up on that stage.

A non-verbal “character” in this excellent production is the wonderful set design by the incredible Marty Burnett along with resident lighting designer Matt Novotny’s vision of how to light a forest and the onstage actors who together, transform the intimate North Coast Rep stage into a 3-D visual Swiss forest.  The trees and the lighting are first-rate technical effects that enhance the overall enjoyment of this splendid production.  The costumes designed by Elissa Benzoni, have the look of spot-on authenticity of diplomats of the period.

Other technical, creative credits also led by director Baird feature original music by Michael Roth, with guitar accompaniment by Peter Sprague; sound design by Aaron Rumley who also stage manages and Props design by Phillip Korth, complete the creative team.

“A Walk in the Woods,” now on stage at the North Coast Repertory Theatre is a triumphant production and a Must See show that runs through June 23, 2019.

-- Jack Lyons