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

THE GEFFEN'S "INVISIBLE TANGO" INVITES THE AUDIENCE ON A MAGICAL, MYSTERY TOUR WORTH TAKING

Helder Guimarães in the world premiere of Invisible Tango at Geffen Playhouse.
Directed by Frank Marshall. Original music composed by Moby. Photo credit: Jeff Lorch

Ah, sweet mystery of life at last I've found you...in the form of an unassuming yet brilliant close up magician named Helder Guimarães whose one man show is currently gracing the Audrey Skirball Kenis stage at Westwood's Geffen Playhouse. The small theater has been transformed into a mid-century modern apartment with an elegant bookshelf back wall filled with fascinating items that look innocent, but...one never knows in this tour de force, ably directed by Frank Marshall. Yes, that Frank Marshall, the award winning producer and filmmaker, who helped bring "Raiders of the Lost Ark" and other Spielberg hit films to life.

But, I digress. From his enigmatic first appearance, where he tells a story of his first car accident in Los Angeles, to his final philosophical musings 80 uninterrupted minutes later, Guimarães lays out the premise for the show, for his life and maybe yours too: Everything happens for a reason.

     Bernard Buffet "Tête de Clown" ca. 1960s

Borrowing from the time-honored tradition of close up magic that engages audience members in the sleight of hand tricks, Guimarães charmingly interweaves personal stories about his discovery of a hand-written journal he finds in an antique store that pulls him into a multi-year quest to discover the identity of the author, himself a magician. We also hear about his enigmatic friend Gabriel, a retired clown once painted by famed portraitist Bernard Buffet in the 1960s.

If you have ever been amazed and confounded by the magical disappearance/reappearance of a card, or by the prestidigitator's uncanny ability to be able to read an audience member's mind or predict their action in advance, this is the show you must see.

Kudos to the Geffen for bringing Guimarães back to the Playhouse. His previous show for them, "Nothing to Hide", was one of the most popular shows in Geffen history. This is a finely tuned vehicle for its star who also wrote the book with help from Dramaturg Amy Levinson. Moby contributes a sensual, atmospheric original score, recorded and performed by him and the East Side Jazz Monkeys. Scenic Designer Francois-Pierre Couture, Lighting Designer Elizabeth Harper, and Sound Designer Alex Hawthorn are all integral players in this production and their work is outstanding yet understated.

Part memoir, part prestidigitation, "Invisible Tango" is lovingly underpinned with a philosophical motif that what is life without mystery. At one point, Guimarães offers the audience a chance to find out exactly how he pulls off each of his unbelievable feats; director Marshall says that no one has taken him up on the offer so far. Perhaps we still need to believe in magic in a world that is desperately seeking to reclaim its soul.

Invisible Tango is performed with no intermission, 80 glorious minutes long. The show runs until June 30. For more information on tickets, please visit www.geffenplayhouse.org.

-- Lisa Lyons

PALM CANYON THEATRE PRESENTS THE MUSICAL “BIG RIVER”

Ryan Holmes as Huck Finn and Jonathan Hatsios as Tom Sawyer
in Palm Canyon Theatre's "Big River". All photos by Paul Hayashi.

America’s most famous and favorite humorist of the late 19th century and early 20th century was renaissance man Samuel L. Clemens, who authored his own real-life adventures, stories, essays, and novels under the pen name of Mark Twain.

He was born in 1835, the year of the arrival of the celestial body known as “Halley’s Comet”; which only makes an appearance in American skies every 75 years. He died 75 years later when Halley’s Comet returned in 1910.  What Mark Twain accomplished in his storied literary career lives on.

Twain’s legacy of rich tales and stories celebrating the rugged individualism and spirit of the era reflected the country’s culture of the times. Society west of the Hudson River of New York was considered to be too brash, brawny and adventurous for snobbish East Coast elites. Ohio was considered to be end of civilized America with St. Louis, Missouri, the gateway to the Pacific.

America has come a long way since it lawless days of the wild-west. However, there’s still a lot of work to do culturally; we’re in the 21st century now in an evolving and ever-changing world.

The musical “Big River” debuted on Broadway in 1985 and toured the nation in the years 2004 and 2005, nabbed regional theatre awards wherever it played is now on stage in a limited run at the Palm Canyon Theatre (PCT)in Palm Springs.  Written by singer, songwriter, musician, and actor, the late Roger Miller, and librettist William Haulptam, is winningly directed and choreographed by PCT co-artistic director Se Layne.

Ms. Layne assembles a huge cast of thirty-one performers to tell Twain’s beloved 1884 American novel “The Adventures of Huckleberry Finn.”    The musical production follows the characters of Huck Finn, Tom Sawyer, runaway slave Jim, The Duke, The King, Alice the slave, Mary Jane and others, on their journeys; and those of the slaves escaping to the North to their freedom. It’s been a beloved American classic novel and has been an entertaining American musical production for over thirty-five years.

To mount a rambling and sprawling story like “Big River” for the PCT stage is no mean feat.
The set design by co-artistic director and resident set and lighting designer J.W. Layne, provides clean and clever multi-level performing spaces for the large cast to perform their magic.  There are no seats with blocked views of the stage action.

Dan Tullis as Jim the Slave and Ryan Holmes as Huck Finn

The costumes designed by resident designer Derik Shopinski, and his assistants Kathryn Ferguson, Virginia Sullick, and Colleen Walker never disappoint. They always bring the ring of authenticity and are spot-on as to the period or to contemporary settings. The Sound designed by Jean Rodriguez, and Props by director Layne complete the creative team.  The production is stage managed by Derik Shopinski.

Breathing life into the character stories are: an energetic Ryan Holmes as Huck Finn, who brings just the right amount an earnestness and a slightly mischievous quality to his Huck performance and to his song numbers that work well for the audience.


Dan Tullis, Jr. as the runaway slave Jim, brings down the house with a basso-profundo voice to die for.  His range is amazing and his acting even more so. He has loads of movie and TV acting credits and it shows in this production.


Jonathan Hatsios as Tom Sawyer, Donald Kelley as The Duke, Ron Coronado as The King, Keisha D as the slave Alice, shines with her stunning gospel singing voice, Terry Huber as Judge Thatcher/Silas Phelps, Alan Berry as Counselor Robinson, Anna Grace Wallace as Mary Jane Wilkes, Mado Nunez as Pap Finn, and when he’s not on stage, is the resident wig designer for PCT productions; all deliver fine yeomen support as do the eighteen ensemble members. Also,  It’s a joy hear to two and three-part harmony singing in this musical.  We need more productions with harmony voices. Well done singers!

The music accompaniment is led by Musical Director Michael Reno on piano, David Bronson on drums, Larry Holloway on bass, and John Pagles on guitar. There are eighteen musical numbers in this production.  Act I features songs “River in the Rain” and “Muddy Water”, both numbers sung by Ryan Holmes and Dan Tullis Jr, respectively, and “The Crossing” sung by Keisha D and the slaves.

Act II features such songs as “Waitin’ for the Light to Shine” (in Reprise), “Free at Last”, emotionally sung by Mr. Tullis and Ms. Keisha D and the slaves. The rousing reprise of “Muddy Water” in the finale number by the entire company brings the audience to their feet in a series of standing ovations.

“Big River” is a crowd-pleasing musical production that performs at the Palm Canyon Theatre through May 19, 2010.  For reservations and ticket information call the box office at 760-323-5123.

DESERT ROSE PLAYHOUSE OF RANCHO MIRAGE SCORES IN “PAGEANT”, THE MUSICAL

The cast of "Pageant" at the Desert Rose Playhouse

The Desert Rose Playhouse located in Rancho Mirage, Ca is the only theatre venue dedicated to serving the LGBTQ community of the Coachella Valley It has an excellent track record of presenting both gay-themed and straight productions over the years.
Quality writing with solid performance is an equal opportunity employer and is the goal of what really matters to any theatre audience.  As the Bard of Avon says “The plays the thing,” which is really the name of the game.

When the IRS and the Census Bureau counted noses of Coachella residents, it discovered that various election results over the years find the gay community of the Coachella Valley to be the dominant demographic.  Thanks to the valley’s vibrant theatre scene there is plethora of theatres to enjoy stage productions in all its forms and styles.

The Desert Rose Playhouse recently underwent a passing of the “management torch,” so to speak, from founders Paul Taylor and Jim Strait to Robbie Wayne, the new artistic director and to Kam Sisco, the new producing manager.  Paul and Jim now prefer the trade winds, beaches, and luau dinners as residents of Hawaii, our 50th State in their golden years of retirement.

However, when visiting the mainland and the desert they still attend Desert Rose Playhouse performances when available.  Messrs. Taylor and Strait set the bar high, and now Mr. Wayne and Mr. Sisco are dedicated to raising it even higher.

“Pageant,” a send-up musical about the world of beauty pageants everywhere, is created by Bill Russell and Frank Kelly and directed by artistic director Robbie Wayne.  According to director Wayne, the show is strictly a satiric comedy presentation intended to be just fun for the audience.  There is no hidden agenda message being delivered by its cast or the writers.

The story, such as it is, unfolds in a series of quasi-sketches performed by the cast that reflects the various judging categories in which the “ladies” compete on the road to becoming crowned “Miss Glamouresse” (think Bert Parks and the old Miss America pageants).

The faux Glamouresse beauty pageant is hosted by Franky Cavalier (Michael Pacas) who introduces the contestants and puts the ladies through their paces.  There’s a lot of tongue-in-cheek intro’s that the ladies endure before they get to strut their stuff. And it’s all done in the name good fun.

The contestants for Miss Glamouresse in alphabetical order are: Noah Arce as Miss Industrial Northeast; Larry Martin as Miss Great Plains; Timm McBride as Miss Texas; Ben Reece as Miss Bible Belt; Brian Keith Scott as Miss Jersey Shore; and long-time professional “drag diva” performer Miss Rusty Waters as Miss Deep South.  There’s no ‘camp turns’ or moments in this entertaining show.

The production could be sub-billed as “Seven Guys and a Gal.”  The single female, however, doesn’t appear on stage in this “Pageant” production.  Jaci Davis, is the musical’s piano accompanist and a fabulous actor in her own right; makes sure the singer/actors on stage stay on key – which they do!

“Pageant” is a glittering, gorgeously produced, costumed musical that is a crowd-pleasing production. The technical credits of set design by Bruce Weber, and lighting design by the redoubtable Phil Murphy, along with glittering costumes created by director Wayne and Ruth Braun.

“Pageant,” is the final production of the Desert Rose Playhouse 2018-2019 season. Their traditional summer season show is “Ruthless the Musical,” which will perform from June 21st to July 14th, 2019.  The Fall season kicks off with Charles Busch’s comic melodrama “Die, Mommie, Die! “ inspired by the 1960’s movies of Bette Davis, Joan Crawford, and Lana Turner, as aging Hollywood divas who refuse to grow old as performers. Playdates for “Die, Mommie, Die!” are October 4 through October 27th, 2019.

The box office for Desert Rose Playhouse will be accepting reservations for “Ruthless the Musical” and season subscription tickets beginning the week of May 27th.

LIFE AFTER AT OLD GLOBE IS A REAFFIRMATION OF LOVE AND HOPE

Sophie Hearn stars as Alice in "Life After". All photos by Jeremy Daniel

It's not often that the small musical form can be transformed into something that's truly a game-changer. It happened in the 1950s with "The Fantastics", in the 1970s with "Godspell" and more recently with "Fun Home" and "Come from Away" both which went on to win their share of Tony Awards. So I don't think it is going out on a limb to say that "Life After", the new musical production written by the outrageously talented Britta Johnson and masterfully directed by the Globe's own Barry Edelstein, has a similarly excellent chance at duplicating that success. The show was developed in Canada, where it won several Dora Mavor Moore Awards including Outstanding New Musical and Outstanding Production of the 2017-2018 season.

"Life After" has an achingly beautiful score that borrows heavily from the intricate lyricism and plaintive tone of the best of Stephen Sondheim. It really is a beautiful piece of theatre that will surprise you with its gut punch of emotion. You should go see it at any cost before it wends its way to Broadway.

The story revolves around 16-year-old Alice (a wonderfully-layered Sophie Hearn) who loses Frank, her pop psychologist author father, in a tragic car accident on the night of her birthday. She'd made plans to be with her friends instead of her Dad that night (hello, she's a teenager!) and the two have an atypical fight only hours prior to the accident. And with the usual self-absorption of a teen, Alice thinks that everything that happened that night is her fault.

The show moves in and out of Alice's head, which is buzzing with memories and projections both real and imagined. She's too immersed in her sorrow to realize that also dealing with their own grief are her mother, Beth (a poignant turn by Mamie Parris ) who had put her own career aside to support her husband and raise two kids, and elder daughter Kate (the wonderfully wry Charlotte Maltby) who always felt second best in Daddy's eyes. They want to just move on, but Alice can't - her guilt is anchoring her to the past. She can't move on until she figures out why it had to happen.This all sounds fairly heavy, but the musical is alternately funny, touching and truly dazzling.

The excellent, multi-purpose scenic design by Neil Patel is minimalist with spot-on projection design by Sven Ortel that perfectly suits the tone of the show. The lighting design of Tony-winner Japhy Weideman and sound design of Ken Travis really function as almost separate characters, expressing the inner life of the players. Costumes by Linda Cho and choreography by Ann Yee, in particular for The Furies (a three woman Greek chorus who represent reality), are a perfect complement to the dreamy, sliding set pieces made from transparent fabric that allows the audience to peer into the dream world of the teenage psyche.

Livvy Marcus as Hannah and Sophie Hearn as Alice
in "Life After"

Kudos go to all performers - especially the oh-so-endearing Livvy Marcus as Alice's nerdy BFF Hannah and Dan'Yelle Williamson as her favorite teacher Ms. Hopkins, who has a deeper connection to Alice than anyone realizes. Her solo "Moving" is a highlight. 

Sophie Hearn as Alice and
Dan'Yelle Williamson as Ms. Hopkins in "Life After"

As the self-absorbed author Frank, Bradley Dean's soaring tenor voice brings tension and pathos to his duet "Snow" with Alice, the eleven o'clock number that hits you in the heart. The Furies, who play a multitude of roles, are done to perfection by Ximone Rose, Mackenzie Warren and Charlotte Mary Wen.

The show runs 90 minutes with no intermission, but it moves along in a steady rhythm, never dragging. The orchestrations by Lynne Shankel and the excellent orchestra conducted by Chris Kong, are subtle yet powerful.

Author Britta Johnson wrote both the libretto and the score and her equally talented sister Anika Johnson serves as dramaturg on this story that has some basis in their own lives.

Some of the images will stay with you long after such as the final, spectacular picture with Alice surrounded by pulsating, falling snowflakes, is an apt metaphor for the entire production. In the midst of great pain and emotional growth, there are moments of perfect beauty that make the whole damn thing worth it. As the lights dim, one feels joy and hope, not something you would expect from a musical that's about love and loss.

"Life After" runs until April 28 at the Donald and Darlene Shiley Stage, part of the Conrad Prebys Theatre Center at the Old Globe in San Diego's beautiful Balboa Park. For tickets and information on parking, contact www.TheOldGlobe.org or call 619-23-GLOBE.