PALM CANYON THEATRE STAGES A REVIVAL OF THE ’50’S MUSICAL “THE PAJAMA GAME”

The cast of "The Pajama Game" at Palm Canyon Theater.
All photos by Paul Hayashi.

A September 2018 survey from Matress Advisor, an industry advocate who follows trends in the bed and sleep habits of Americans, found that 67% of American millennials (age 30 and under) sleep in the nude.  The rest of us male Americans, sleep in boxer shorts or briefs, or in the nude, and a few geezers (over 70) still cling to the pajama fashions of the 1940s and ’50s.

So what do these percentages have to do with the state of the American pajama industry?  Frankly, I’m not quite sure other than to discover that, like everything else in our ever-evolving American society, we have a perverse penchant for sharing our personal information with the world.  Facebook, thanks you profusely. You’ve made them the world’s first trillion dollar company on our planet without paying a dime to anyone for that priceless information.

Speaking about pajamas brings us to the Palm Canyon Theatre (PCT) musical production “The Pajama Game” that opened last weekend in Palm Springs. The musical debuted in 1954 on Broadway, as the Korean War was declared over, and pajamas back then was still considered the choice of men’s sleep-ware.

No matter the season on Broadway or theatres across America, ‘ love’ is eternally in the air, pajamas or not, and PCT’s production is no exception. Based on the novel “7 & Half Cents”, by Richard Bissell, the musical is written by Broadway legend George Abbott and novelist Richard Bissell, with music and lyrics by Richard Adler and Jerry Ross, is directed by Richard Marlow.

Jamie Walker Sloane and Nicholas Sloan are
Babe and Sid in "The Pajama Game"

The story celebrates romance, which is blossoming at the “Sleep-Tite Pajama Factory in Cedar Rapids, Iowa.  When new superintendent Sid Sorokin (handsome tenor Nicholas Sloan) arrives to take over the running of the factory, he’s introduced to feisty union rep Babe Williams (a striking blonde Jamie Walker-Sloan), and before you can say “Bob’s your Uncle,” sparks are flying between these two appealing and talented performers.

Babe is a no-nonsense, strong, union leader but is also a female with romantic designs on Sid. Their attraction is mutual, but they land on opposite sides when the union demands that the company management should authorize the raises.  It’s one of the oldest running divides in industrialized societies: Management rights vs. Workers rights, where it takes the wisdom of a Solomon in such negotiations to make everyone happy and show willingness to return to work.

Musical plotlines of 60 years ago generally kept the story relatively simple and easy to follow.  The appeal that audiences were expecting came in the form the music and the lyrics, and the songs that the composers and the librettists provided.  Three outstanding numbers, “Hey There,” “Steam Heat,” and “Hernando’s Hideaway,” came from "The Pajama Game" which also won three Tony’s in the process.

“Hey There” features Sid and Babe in solo performances:  Nicholas Sloan in Act One and Jamie Walker-Sloan in Act Two.  These two talented performers have great on and off-stage chemistry as it turns out they’re married to each in real life, and it shows in their singing and acting numbers. A nice casting touch.

If ever a theatrical company needs a Bob Fosse-inspired dancer/choreographer for a musical/dance production, Anthony Nannini, as Charley, has to be on your wish list.  His execution and precision of Fosse-like dance moves is exciting to watch.  The “Steam Heat” number that begins Act Two is terrifically performed by Nannini and Rob Rota.  Kudos to choreographer Stephanie Eley.  Well Done.

The third number to emerge as an award-winning original number of years ago is performed by the spirited ensemble in “Hernando’s Hideaway”  The ensemble members are energetic even though there are traffic management issues on the small, somewhat cramped, and cluttered acting space designed by Toby Griffin. It’s a minor point, but back-stage actors can be seen moving around off stage by the audience. It’s an easy fix that black cloth curtains can do so as not to break the onstage mood and action.  The main thrust of the production, however, is that the basic human drive for love, romance, and hope is very much worth fighting for and is very much alive in this production.

The musical accompaniment is provided by musical director Phillip Hubler on piano, David Bronson on drums, and Larry Holloway on Bass.

The creative team for “The Pajama Game” led by director Richard Marlow includes the always striking costumes of Uber designer Derik Shopinski, who rarely disappoints with color schemes and colorful costume designs. Another kudo also goes to Wig Designer Mado Nunez for the many styles worn by the female ensemble.  Lighting Design is by J.W. Layne, with sound design by Sean Seymour.

“The Pajama Game” performs at the Palm Canyon Theatre, Palm Springs, and runs until March 15, 2020.  For reservations and ticket information, call the box office at 760-323-5123.

-- Jack Lyons

DESERT ENSEMBLE THEATRE COMPANY LAUNCHES WORLD PREMIERE OF “ADOPTION ROULETTE”

Fergus Loughnane, Yo Younger
and Adina Lawson in"Adoption Roulette"

Motherhood is a powerful motivator that drives the need for mankind to fulfill its destiny – the propagation of our species.  But the rub of the matter is that some women are barren, unable to have children.  Their only recourse, in many cases, is either to have an in-vitro fertilization procedure or adoption.  Unfortunately, the latter option opens the door for “the charlatans” of the world to take advantage of vulnerable and anxious, naive young couples wanting to become parents.

“Adoption Roulette,” a world premiere play written by Elizabeth Fuller and Joel Vig, seamlessly and artfully directed by Shawn Abramowitz, is produced by Desert Ensemble Theatre Company (DETC) artistic director Jerome Elliott and Shawn Abramowitz.

The powerful drama about foreign adaptions is a true story based on an actual event that takes place in the Winter of 2004, in Weston, Connecticut, Moscow, Russia, and at Vovoysa, an orphanage near the Siberian border.

“Adoption Roulette” is an actors' play. The action takes place on a bare-bones stage with no props or set furniture.  The physical movements in the play are mimed, and the actors play multiple roles.

Yo Younger stars as Elizabeth Fuller, delivering an astonishing portrayal of a woman slowly melting down under the pressure of the fraught situation she finds herself in.  Liz is caught up amid the red tape of a foreign adoption in Russia, without speaking the language.  Remember, in 2004, America is immersed in the Iraq War.  Strained diplomatic relations between Russia and America also doesn’t help Liz without her loving husband Reuel Fuller, being by her side for support.

Fergus Loughnane and Yo Younger
in "Adoption Roulette"

Fergus Loughnane plays Reuel as well as a Delta Airlines pilot, Moscow taxi driver Igor, a Flight Attendant, and a Russian Agency Official. Reuel is frustrated and suspicious with the way the adoption process is going and wants Liz to rethink the adoption with another agency, perhaps at home in the States.  His Russian character accents are spot-on.

Adina Lawson and Yo Younger
in "Adoption Roulette"

Adina Lawson plays Olenka, the sly in-country guide and translator for the Fullers while in Russia. She is also Marion, the Fullers' friend and family lawyer, family friends Lois and Dianne, Orphanage Nurse Blatovsky, and a stern and unhelpful Russian Judge.  Ms. Lawson’s Russian accents are also especially convincing lending authenticity to her Russian characters.


The beauty of this production lies in the strong performances of the actors who play multiple roles.  One can only imagine the mayhem taking place back-stage as they jump from character to character, each requiring different costumes and each looking cool, calm, and unflappable when they do reappear in their scenes.   Kudos to the back-stage dressers that make it all happen.  Bless them all.  These are the magical moments that actors live for.

As the play unfolds, it becomes a bit difficult to accept the incidents being presented on-stage as believable.  The roadblocks erected by non-government private Russian adoption agencies for Americans seeking to adopt Russian children is filled with bureaucratic red tape, frustration, and disappointments, along with deceptive policies that Liz and Reuel face in trying to become parents. One forgets, however, that this is a true story and nightmare experience.

The opening night audience was introduced to playwright Elizabeth Fuller following the performance, who said she enjoyed the show and seeing herself portrayed on the stage by Ms. Younger, adding that it’s all true.  Everyone has a story to tell.  It’s just that some stories are more compelling and frightening to share than others.

Fergus Loughnane, Yo Younger and
Adina Lawson in "Adoption Roulette"

In the technical department led by director Abramowitz, the production is designed by scenic and costume designer Frank Cazares.  The lighting is designed by Ashton Bolanos.  Assistant director Cameron Keys, complete the creative team.  The production is stage managed by Sierra Barrick.

“Adoption Roulette,” is a riveting production that performs at the Palm Springs Woman’s Club on the Pearl McManus stage on Friday, February 7, at 7 pm on Saturday, February 8, (two performances – 2 pm and 7 pm) and Sunday, February 9 a matinee at 2 pm.  For reservations and ticket information, contact DETC by going online to: www.detctheatre.org.

--Jack Lyons

CVREP THEATRE LAUNCHES A NEW RE-IMAGINING OF THE MUSICAL PRODUCTION “BALLROOM”

Teri Ralston, Mary Ewing, Leslie Tinnaro,
Juliet Lapointe, Melodie Wolford and Joe Mitchell
in "Ballroom".  All photos by Jim Cox

As theatre and society, in general, evolve, especially here in the United States, “Ballroom,” the new re-imagined musical is a very appropriate production choice for CVREP to present to its 2019/2020 audiences. It’s another crowd-pleasing show that fits the 2019/2020 season theme of “New Beginnings.”

It’s also the boldest and most audacious production in CVREP history. The Cathedral City-based theatrical company headed by Founding Artistic Director Ron Celona, now in its 11th season of producing quality Equity productions here in the Coachella Valley, has become a beacon for more professional actors and creative artists who want work in the Valley’s newest, state-of-the-art theatre complex.

What began as a dream of Ron Celona’s long-held desire to create an Equity Regional Theatre in the Coachella Valley eight years ago is now a reality.  The stakes were high, but the passion and skills, plus hard work and the generosity of some of the Valley’s loyal Patron’s of the Arts, along with Celona’s dedicated and committed Board of Directors has won the day.

The birth and chronology of “Ballroom” is as follows: Born in 1975, it became an Emmy-winning feature film made for TV as a musical starring Maureen Stapleton and Charles Durning.  In the late 1970s, the show was refashioned into a musical play which had a short-lived run on Broadway and was filed away wherever failed Broadway shows go to die.

In 2019, however, artistic director Celona became interested in reviving the project as an updated musical that would make an excellent choice for his CVREP theatre to kick off the 2020 decade.  “BALLROOM,” like the Phoenix rising from the ashes, became a viable project again.

The production features the music of Billy Goldenberg, with a libretto by Jerome Kass, and the lyrics by multiple Oscar, Emmy, and Grammy award-winning songwriters Alan and Marilyn Bergman, under the direction of Ron Celona.

The production boasts a talented cast of twenty-four professional performers ranging in age from 50 to 70, making this entertaining and relevant musical a natural fit that should appeal to Valley audiences of a certain age – that includes both men and women.

The story centers around Bea Asher (a wonderfully sensitive and nuanced performance by Melodie Wolford), who is recently widowed.  Her Morrie (never seen) was her Prince Charming, who did everything for her in his loving and adoring husband way.  But now, Bea must learn to do everything for herself.  It’s a new beginning to Bea’s life that will test her as a respectful widow who now has to carry on with her life.  A life filled with many surprises that lie ahead.

The opening bittersweet number “Who Gave You Permission?” brings lumps and misty eyes to many in the audience.  Its ambivalent lyrics sets a haunting tone, not only to the song sensitively performed by Ms. Wolford, it’s also a definite “grabber number” that should bring every Ladies Club member in the Valley clamoring for tickets to see it.

Bea’s support group to ease her passage as a new widow (actually, Morrie has been gone for over a year) consists of her older, overly protective, tradition-bound sister Helen, played to the hilt by Marcia Rodd.  Almost every family has a relative whose advice is at odds with the feelings of the aggrieved.  After all, they think they’re only trying to help the survivor. Helen’s understanding husband Jack is cleverly and understatedly played by Bill Lewis.

Bill Lewis, Melodie Wolford, Marcia Rodd,
Aviva Pressman and Sean Timothy Brown in "Ballroom"

Bea’s daughter Diane (nicely played by Aviva Pressman), and Bea’s son David, performed by Sean Timothy Brown, are puzzled at Bea’s interest in her newfound group of ladies who gather at the local Bronx dance ballroom; eager to dance, gossip, and get out of the loneliness of their homes every week. They thought their mom wasn’t interested in ballroom dancing anymore.  Ah, adult children… who only see their parents as “parents.”

Bill Nolte and Melodie Wolford in "Ballroom"

What they didn’t see coming, however, was Alfred Rossi, a mild-mannered, shy, caring, mailman tenderly played and sung by Bill Nolte.  It’s easy to see why Bea has a renewed interest in ballroom dancing.  As a couple, Ms. Wolford and Mr. Nolte have nice on-stage chemistry that slowly draws them together, becoming a couple.

Solid supporting performances come from an energetic Angie, Bea’s hairdresser, that is winningly played by Teri Ralston, who first urges Bea to come to the Stardust Ballroom; Pauline, the current reigning Queen of the Stardust Ballroom, is nicely performed by Leslie Tinnaro, who sings and gets to name her choice for next year’s reigning Queen. Her ballroom co-host Artie at the microphone is sung and performed by Randy Brenner.

Angie’s friends and now Bea’s friends include Mary Ewing as Emily; Juliet Lapointe as Martha and Corinne Levy as Shirley. The ballroom performers and dancers feature Douglas Graham as “rubber legs Harry the Noodle”; Nathan Holland as Johnny Lightfeet; Lovely Alessandra Di Pietro as Sandy and handsome Robin Somes as Charley (a look-a-like Yul Brenner) who trip the light fantastic as a dance couple who possess exquisite and athletic dancing moves.

Jitterbug dances, sambas, tango dances. Rumbas and waltzes along with solid dance moves from Anthony Marciona as Petey, and Glenn Rosenblum as Moe, (sporting a Moe Shemp haircut of three stooges fame); from Terry “T-Mac” McLemore; and Lois Bondurich; Olga Morales; Lindsay Ouellette; Wayne Hundley, and Joe Mitchell as Joe the Bartender.  It appears that every bar, tavern, and gin-joint in the world has a Joe the bartender with broad shoulders to lean on and/or a sympathetic ear for listening to the lonely.  Frank Sinatra made millions by singing about those after-hours conversations.

In the technical credits department led by director Celona, two-time Emmy-winning resident design wizard Jimmy Cuomo delivers a breath-taking ballroom set that sports a seven-piece, live on stage orchestra, under the musical direction of Scott Storr.  Designer Cuomo’s New York street backdrop, a small boutique shop, and an interior living room area easily rivals any New York show you can see, but with Celona’s productions, you won’t have to leave the Coachella Valley to enjoy fabulous shows.

Orchestrations for “Ballroom” are provided by Richard Bronskill. The Eleven O’clock spot belongs to a clever, terrific musical number called “Fifty Percent” and the closing number “This Is More Than A Ballroom/I Wish You A Waltz,” both of which are sung by Ms. Wolford and both are winners.

Lighting Designer Moira Wilkie Whitaker provides just the right amount of light to see and appreciate the colorful costumes designed by Frank Cazares (although I’m not too sure about that kaleidoscopic-like cowboy jacket worn briefly by Mr. Brown).  However, the sharp choreography by Jose De La Cuestra neatly fills the stage with flowing movement and graceful dance moves.

“Ballroom” is an impressive and delightful production that will have its audiences smiling as they leave the theatre.  The musical performs at CVREP, Cathedral City, through February 16, 2020. For reservations and ticket information, call the box office at 760-296-2966.

-- Jack Lyons

STING'S "THE LAST SHIP" SETS SAIL AT THE AHMANSON THEATER

Sting (center) and the cast of THE LAST SHIP at Center Theatre Group's Ahmanson Theater, Los Angeles
All photos by Matthew Murphy

THE LAST SHIP portrays the end of an era in Great Britain when the shipbuilders of Wallsend ultimately went the way of the dinosaurs much like American coal miners in the late 20th century. when overseas shipbuilders could produce a competitive product for millions less with no messy unions to deal with. It eliminated a whole way of life for thousands of workers who struggled to reinvent themselves in an economy that no longer wanted them. Singer/composer/musician Sting created a loving tribute to the town of his youth in England's gritty Northern country. Entire generations of families lost everything...but they didn't go quietly. The battles they fought to take over their shipyard and launch one last ship is the plot of this uneven musical that can't quite decide to go port or starboard.

At the show's opening scene, young Gideon desperately wants to flee the poverty and narrowness of Wallsend and rebels against his father's wishes to join the shipbuilders union. Instead, he impulsively runs off to join the Navy, leaving behind his childhood love Meg whom he promises to return for in a short while.

Frances McNamee as Meg and Oliver Savile as Gideon
in THE LAST SHIP

Seventeen years later, the disillusioned Meg is running a local pub and raising daughter Ellen as a single mum, when Gideon suddenly reappears wanting to reclaim his lost love and discovers he has a daughter. This all happens in the midst of news that the shipyard will be closing and the last ship they are working on, the Utopia, will be torn down and sold for scrap.

Sting as Jackie White in
THE LAST SHIP 

Sting plays Jackie White, the shipyard foreman, who is caught between management and his men. His wife Peggy is the shipyard nurse who stands loyally by her man as the builders and their families turn on Jackie in a rage of betrayal and disappointment.

If it sounds like there is a lot going on here, there is. And each element - plot, music, dialogue, movement - is fighting against each other, much like the characters in the show. The opening number is a rousing sea shanty of sorts, "We've Got Nowt Else" sung full-throttle by the powerful chorus. Starts promising, but then subsequent numbers are alternately Sondheim-esque character pieces, inspiring hymns, jazzy eleven o'clock showstoppers or a plaintive reflection from Sting's classic album "The Soul Cages." In fact, three songs from that album are featured in THE LAST SHIP. This results in a dissonance that often throws the show off balance.

As far as the cast goes, there are some outstanding talents up there, giving it their all. The real find of this production is the glorious Frances McNamee whose tremulous yet powerful voice brings Meg to full life. As her love Gideon, Oliver Savile has a nice presence and shows both the good and bad sides of this prodigal. As Ellen, the feisty young woman who also longs to flee the shipyards like her father did to pursue a musical career, Sophie Reid has a strong voice but seems a bit too mature to be 16 years old. 

Sophie Reid as Ellen in THE LAST SHIP

Other outstanding performers include Jackie Morrison as the no-nonsense wife of Jackie White; Marc Akinfolarin as a philosophizing builder who brings a sweet quality to his scenes; and Annie Grace, channeling her best Margaret Thatcher person as a Baroness who represents the government in the shipyard brouhaha. 

Frances McNamee and the ladies of Wallsend Shipyard
in THE LAST SHIP

But what about Sting, you might be asking, the star and musical creator of THE LAST SHIP? Ironically, he is the least compelling actor on that stage. Don't get me wrong, I adore Sting and when he is performing in concert, he is a magical, magnetic presence. But he's not rough-edged and dynamic enough to portray Jackie. I have a feeling that he agreed to be the marquee name to boost sales for the show, which isn't necessarily a bad thing. But his restrained and erudite way of speaking doesn't really fit the working class Jackie. However, he has the most authentic accent on the stage. Many of the cast members are inconsistent, slipping between Scottish, Irish and a weak attempt at the traditional Geordie accent of northern England.

Kudos to the 59 Productions design team that created the imposing multi-level set using projected images to change scenes and mimic the look of a real shipyard bay. Director Lorne Campbell (who also wrote the revised book) met the challenge of bringing the sound, movement, dialogue and performance elements into a cohesive presentation which was no easy task. Other outstanding production team members include Sound Designer Sebastian Frost, Lighting Designer Matt Daw, Music Supervisor and Orchestrator Rob Mathes, Musical Director Richard John, Costume Designer Molly Einchcomb, and Movement Director Lucy Hind.

While it may not be the grand musical the creators envisioned, it is nonetheless a unique look at a way of life that is no more. THE LAST SHIP is playing at the Music Center's Ahmanson Theater through February 16, 2020. General tickets for “The Last Ship” are available online at CenterTheatreGroup.org, by calling Audience Services at (213) 972-4400 or in person at the Center Theatre Group Box Office.

-- Lisa Lyons

PALM CANYON THEATRE NOW IN ITS 23RD SEASON PRESENTS LERNER AND LOEWE’S “CAMELOT”

Paul Grant as King Arthur and Fabrizio Ibanez
as young Tom of Warwick in "Camelot"
All photos by Paul Hayashi

Although our society and culture is always evolving when it comes to our entertainment choices – theatre, movies, TV streaming platforms, and music – thankfully, there are always the golden oldies that audiences of a certain age cling to and with good reason. They’re familiar; they’re warm, cozy, and deliver music and lyrics to which that age group can understand and relate.

The Palm Canyon Theatre of Palm Springs (PCT), now in its 23rd season of presenting quality entertainment, is producing a revival of Alan Jay Lerner and Frederick Loewe’s romantic fairy tale of King Arthur and the Knights of the Roundtable, based on the T.H. White book “The Once and Future King,” better known as the musical “Camelot.”

Alan Jay Lerner and Frederick Loewe are among Broadway’s music royalty, ranking alongside Rodgers and Hart, then Rodgers and Hammerstein, Cole Porter, Leonard Bernstein, and Stephen Sondheim, among others.  The Broadway theatre was built on the talents of these giants. 

In case one has been living in a cave for the past 60 years, “Camelot” the musical has some of the most iconic music and lyrics found in the American Song Book.  The haunting “If Ever I Would Leave You,” to the clever, wishful thinking, lyrics of the title song “Camelot,” to the poignant “I Loved You Once in Silence,” to the tender “How to Handle a Woman,” have resonated with audiences for six decades.

The Palm Canyon stage production of “Camelot,” is once again awash in the breathtaking colors and costumes created by play director/choreographer Derik Shopinski.  The set by resident design wizard J.W.Layne cleverly reduces the sprawling story to fit neatly within the PCT proscenium walls and stage space. Sound by Brenna Williams and Props by Toby Griffin round out the creative technical team under the direction of Derik Shopinski.

Opening Night can often produce opening night jitters among cast members.  Especially when the production had to share the theatre and performing space with the Palm Springs International Film Festival that uses the PCT venue as a festival screening site, which then shortened the musical’s normal rehearsal time to just thirteen rehearsals.

Sixteen performers bring the production to life for its appreciative audience. The cast presents a broad range of experience and credits to this “Camelot.”  Having said that, the strength of the musical lies in its leading actors:  Garnett Smith brings a wealth of professional credits to his role as the delightful but somewhat dotage-driven elderly King Pellinore, advisor to King Arthur. It’s the type of role that has “scene-stealer” written all over it.  Solid support also comes from Nikki Hock as Nimue/Morgan Le Fay and Noah Arce as Mordred.

A little gem of a performance near the final scene is courtesy of Fabrizio Ibanez as young Tom of Warwick.  It’s a tiny, but important, poignant moment that young Ibanez shares in a scene with Paul Grant’s King Arthur. It’s delivered with just the right amount enthusiasm and understanding for one so young.  TV and the stage may be in his future if he gets bitten by the acting bug.

Jordan J. Jones as Lancelot and Nikki Hock as
Nimue/Morgan Le Fay in "Camelot"

Jordan J. Jones as Sir Lancelot, (originally a role made famous by Robert Goulet), is a singer who acts and gets to fall in love (lucky fellow) with the fairest maiden in the land of Camelot, Queen Guenevere, the beautiful wife of King Arthur Pendragon, who is played by Se Layne.

The last time I saw Ms. Layne, on stage, she was tutoring the children of the King of Siam in the musical production “The King and I” at PCT.  I stated then that the role of Anna was a role she was born to play. I may have misspoken myself.  The beautiful Ms. Layne is on a roll with back to back winning performances.  She easily slips from young maiden into a coquettishly young adult, to a desirable Queen.  It’s another finely judged performance from Ms. Layne, who stars in a role that features her classically trained voice once again (lucky audience).

Paul Grant as King Arthur and Se Layne as
Guenevere in "Camelot"

As King Arthur, Mr. Grant brings his extensive credits in New York, along with his many national touring company roles, to the Palm Canyon stage once more.  His energy and on-stage chemistry with his co-star Ms. Layne underscores the standards that these two professional performing actor/singers bring to their roles of King Arthur and Queen Guenevere. 

The musical production, once again, is under the musical direction of Steven Smith, on piano with accompaniment by David Bronson on drums and Larry Holloway on string Bass.

“Camelot” performs on the Palm Canyon Theatre stage and runs through February 9, 2020.  For reservations and ticket information, call the box office at 760-323-5123.

-- Jack Lyons

NORTH COAST REP THEATRE PRESENTS “BLOOMSDAY” A STEPHEN DIETZ FANTASY/COMEDY

Martin Kildare, Rachel Weck and Hunter Saling in "Bloomsday"
All photos by Aaron Rumley

Steven Dietz was among the five most produced playwrights in America during 2019. And now his latest play “Bloomsday,” is on stage at North Coast Repertory Theatre (NCRT), making its Southern California debut.

The Solana Beach professional theatre, now in its 38th season of presenting quality entertainment to North County San Diego residents, offers something a little bit different with playwright Dietz’s comedy-fantasy “Bloomsday.”

Life’s journeys are replete with choices we humans make every day. Bombarded with choices, many of which are made in haste without a lot input.  On the other hand, many missed opportunities have slipped away because of too much cogitation and hesitation, and not enough action on our part.

“Bloomsday,” is a whimsical, magical, reflection of unrequited love that didn’t have to be.  What if we could alter time in such a way as to manipulate that pesky time continuum?   Playwright Dietz thought it might make for an interesting and entertaining evening in the theatre to attempt that leap of faith.

Martin Kildare and Rachel Weck in "Bloomsday"

What place of whimsy and magical fantasy to set such a play other than in Ireland, land of tall tales and fetching colleens, the land of O’Casey, and of James Joyce and his iconic, epic story “Ulysses,” which plays a part in this ‘what if’ love story.

What better person to direct this non-linear, delightful comedy than Andrew Barnicle, native son of the Emerald Isle and a favorite NCRT director, who was the Laguna Playhouse’s Artistic Director for twenty years.

Hunter Saling, Jacquelyn Ritz, Martn
Kildare and Rachel Weck in "Bloomsday"

Director Barnicle is blessed with a cast of talented comedy practitioners who know their way around a witty and sometimes tricky play in order to keep their audience engaged.  Martin Kildare, as Narrator and Robert, is our guide/interlocutor who sets the story points along the way that keeps the story moving.

Caithleen, a Dublin Tour guide (wonderfully played by Rachel Weck), meets Robert and chats him up, only to lose contact later on.  Robbie, a young American of boundless energy played by Hunter Saling, is taken with Caithleen, but these two young people fail to connect, although there is interest on both sides.

Timing, you see, always plays a part in the love equation of “what if.”  To assist the audience in making this charming play work, the character of Cait, winningly played by Jacquelyn Ritz, appears as the older Caithleen, and Martin Kildare reappears as the older Robbie. It may sound a bit confusing, I’ll admit, but in the capable hands of director Barnicle and this talented cast, and as Sherlock Holmes always said to Dr. Watson, “Patience Watson. All will be revealed.” would be my admonition also.

The technical credits at NCRT are always first-rate.  The sets designs of Marty Burnett are legendary, and the light designs of Matt Novotny compliment Burnett’s designs over their years of working as a team.  The costume designs are by Renatta Lloyd, with Hair and Wig designs by Peter Herman, and Props by Phillip Korth.  A special kudo goes to Sound and Projection designer Aaron Rumley whose creative designs over the seasons have lent an authenticity that enriches the overall experience of the audience.  Mr. Rumley also stage manages this production.

“Bloomsday” is a charming production that performs at North Coast Repertory Theatre in Solana Beach and runs through February 2, 2020.

-- Jack Lyons

DEZART PERFORMS STAGES A POIGNANT POWERFUL PRODUCTION OF “DANIEL’S HUSBAND”

Michael Shaw, David Youse, Chuck Yeats and Hanz Enyeart

in "Daniel's Husband" All photos by David A. Lee 

Dezart Performs of Palm Springs, celebrates the beginning of its 12th season of producing quality live theatre entertainment in the Coachella Valley, with a shattering, poignant, heart-rending, drama production about Gay marriage that reaches across all gender and identity lines. 

Love is the most powerful emotion on this planet. Its reach has no limits, stretching forever, touching, and capturing everyone in its path. An anthem for both gay and straight people could easily be found in the music of Leonard Bernstein and in the lyrics of Stephen Sondheim’s iconic musical “West Side Story” punctuated by a poignant duet sung by Anita and Maria, that best sums it up with “…when love comes along, there is no right or wrong.” Words and a philosophy to live by. The country’s legal system finally legalized gay marriage in 2015. Gays all over the world celebrated this historic moment. 

In the award-winning play, “Daniel’s Husband,” insightfully written by Florida-based playwright Michael McKeever whose sharply observed play of gay partners in short or long committed relationships, comes into sharper focus by following two couples: successful architect Daniel Bixby (a terrific Michael Shaw) and his partner Mitchell, (a mesmerizing (David Youse) who collectively just suck all of the oxygen out of the onstage acting space with their flawless performances. More about the cast later.

There isn’t a weak moment or a misstep by this outstanding cast and/or the creative technical team led by director Darin Anthony. Case in point: the beautiful set design by Thomas L. Valach, drew such remarks from audience members as “I’m ready to move into that home right now.”” to “It’s just gorgeous.” It is indeed, and one of the most elegant and functional designs that fits so perfectly onto the intimate Palm Springs Woman’s Club stage that I’ve seen in a long time.

Michael Shaw in "Daniel's Husband"

In the world of theatre, there is no substitute for quality writing. It galvanizes and energizes the performances of everyone in the production, elevating all of the floating boats in the harbor, so to speak. When actors are presented with a terrific property, they respond in kind, which becomes a huge benefit for the audience. And that is precisely what we have with this impressive Dezart Performs’ production of “Daniel’s Husband.” 

The performances from this gifted ensemble cast is what every critic wishes for before we settle into our seats. Theatre is the art of telling a tale so compellingly that one cannot take one’s eyes off the stage and/or certain characters. Everyone, cast crew, and audience are fully engaged in what is unfolding on the Dezart Performs stage night after night. That’s the gold standard and goal to which every theatre company aspires.

The vision of director Darin Anthony enriches this production with his many wonderful directorial touches. And that’s not as easy as it sounds. Remember, Anthony has four award-winning actor/directors in his cast to contend with when it comes to making important decisions. Yes, theatre is first and foremost, a collaborative art form, and professionals always adhere to the one director rule in a production. However, I sure would have enjoyed being a fly on the wall during rehearsals. Spirited discussions, no doubt, abounded during their rehearsals among five directors. 

Michael Shaw, as Daniel, a successful architect, delivers a memorable and deeply affecting performance as the partner who aches to be married. Mitchell, an equally successful author, and partner of seven years with Daniel doesn’t believe in gay marriage as an institution, is brilliantly played by David Youse, in a highly nuanced tour de force performance. 

David Youse in "Daniel's Husband"

The play begins with a dinner party with another gay couple. Barry Dylon, Mitchell’s agent (solidly portrayed by Chuck Yates), and Barry’s new, 20 something, wide-eyed boy toy Trip (Hanz Enyeart). Over drinks Trip innocently asks Mitchell, you two seem to just be made for each other. Why don’t you get married? 

The comment sets Mitchell off on his standard tirade on the efficacy of gay marriage. “Why do we need a piece of paper to prove we love one another” is the rhetorical question Mitchell tosses out whenever pushed to tie the knot. Daniel, however, sits stone-faced, as Barry calmly observes the scene with the knowledge that his client is a will of the wisp when it comes to settling down. Living together with Daniel? Yes. Legally married to Daniel? No. It’s the only bone of contention in their relationship.

When the doorbell suddenly rings, the tension in the air quickly dissipates. Daniel’s mother, Lydia Bixby (Deborah Harmon), makes a grand entrance dressed to the nines slyly claiming she just wanted to see how her “two boys” were doing before going off to a previous engagement. Ms. Harmon’s portrayal of a waspish, controlling mother whose only concerns in life are all about her, is spot-on.

What could possibly go wrong when Mitchell’s prospective mother-in-law is just dropping by to see how two adult men are doing? Plenty. Stay tuned. But no spoiler alerts from me at this point. But what I can say is the following. The first 15 minutes of the play unfolds as a comedy, peppered with terrific dialogue ala Neil Simon like zingers aplenty; however, it shifts into a drama of consequence later on and right up to the end. The play is performed without an intermission and runs approximately 90 minutes.

David Youse, Deborah Harmon, and
Michael Shaw in "Daniel's Husband"

This impressive production is produced by Michael Shaw and sound designer Clark Dugger. It is also one of their finest productions over the last eleven years, which I suspect will be taking home several Desert Theatre League (DTL) Stars Award trophies come October of 2020. “Daniel’s Husband” performs on the Pearl MacManus stage in the Woman’s Club of Palm Springs and runs through January 19th. It’s a Must-See Show!

-- Jack Lyons