POWERFUL AND COMPELLING DRAMA FROM DEZART AT PEARL MCMANUS STAGE IN PALM SPRINGS

Judith Chapman,  Michael Fairman, Scott Smith
in "The Outgoing Tide " - Photo by Clark Duggar 

Life and death are a fact of life on this planet. We must all confront the inevitable. No one ever left this planet alive. Death and rebirth are tenets of some religions and the tenets of all religions are acts of faith.

Humankind is at a point today where eons of traditions are being revisited when it comes to medically-assisted suicide, or just plain suicide by individuals as a way to relieve excruciating pain and long term suffering when terminal diseases, like cancer, are present and in situations where Alzheimer's disease is a living death.

The concept of allowing each individual to make medical decisions for themselves is new, complicated, and has been challenged legally in this country through the ballot box and the referendum process. It was only a matter of time before playwrights, writers, medical professionals and the legal profession began to weigh in on this highly-charged and emotional subject matter. Oregon, for example, has passed a law allowing assisted suicide. California is contemplating passing a similar law with other states now exploring their options.

Which brings us to “The Outgoing Tide”, a powerful and compelling drama now being performed by Dezart Performs theatrical group at the Pearl McManus Stage of the Palm Springs Women’s Club.

“The Outgoing Tide”, insightfully written by Bruce Graham and intelligently directed by Dezart Performs co-founder Michael Shaw, is blessed with a cast of three seasoned professional actors who have graced your movie and television screens over the years and who know their way around a poignant, relevant, and deeply emotional play when they find themselves in one.

The story has three sharply drawn characters who bring to life the saga of the Concannon family and their lives on Chesapeake Bay during one Autumn.

Gunner (a sensational Michael Fairman), a retired small trucking company owner, is painfully aware that he is suffering from Alzheimer’s disease. Peg (national acting treasure Judith Chapman) and their son Jack (Scott Smith), have been dreading the day when end-of-life plans and decisions have to be made concerning Gunner. How does a loving and caring wife make decisions that will affect her proud, stubborn, blue-collar kind of guy who always has been a take charge husband and a vigorous, robust father figure to Jack?

Gunner is determined not to allow Peg to put him in one of the retirement homes that Peg and Gunner having been visiting of late. He’s not going to be one of those vacant-staring old men who don’t recognize their own children when they show up to visit. Jack is in the process of getting a divorce and is of little support to Peg who has been bearing the brunt of Gunner’s frustrations concerning his mental deterioration. He roars like a wounded lion when his frustrations becomes too great to bear.

As the play opens Gunner and Jack have been talking together about fishing, the beauty of the Bay, and when Peg comes to call them in for dinner, Gunner says to Peg “Who is that guy?” Whenever Peg or Gunner talk to Jack they both say “don’t tell your father or don’t tell your mother". Everyone knows what the end game is, it’s that nobody wants to discuss it openly, everybody that is, except Gunner.

Gunner, in his usual style, takes control of the inevitable and concocts a scheme to spare his family the trauma of the-end-of-life decisions and at the same time preserve their monetary future. How Gunner accomplishes it, and the ensuing discussions between this ensemble trio of gifted actors, is the meat of this splendidly performed play.

Scott  Smith,  Michael  Fairman,  Judith Chapman
in "The Outgoing Tide " - Photo by Clark Duggar 

The Concannon family story is interspersed with a series of time shift flashbacks, then forward to the present. These transitions, which are important to the story, are nicely handled by director Shaw. His seamless directorial touches and fingerprints are all over this excellent production.

The beauty and power of this production lies in the sharp, incisive dialogue of playwright Graham and the potent performances of Michael Fairman, Judith Chapman, and Scott Smith. When quality writing is placed in the hands of gifted and experienced actors, the result is elevated and sublime.

The technical credits and the creative team led by director Shaw and producer Clark Duggar, features a beach front home set design that is superbly lighted by Phil Murphy, and features the work of scenic artist Walter Lab, and a sound design by Duggar. The production is in the capable stage manager hands of Blanche Mickelson.

“The Outgoing Tide” performs at the Pearl McManus theatre and runs through May 8, 2016. For reservations and ticket information call the box office at 760-322-0179.

CV REP THEATRE ENDS 7th SEASON WITH POIGNANT DRAMA

Zachary Hallett and Ivy Jones play grandson and
grandmother in "4000 Miles" - All photos by CV Rep

According to American Theatre Magazine, “4000 Miles" was the most produced play in the country during 2014 and for good reasons too.

It continues to resonate with the American theatre-going public because the story is one that appeals to a broad age range – from young adults to middle-agers to super seniors.

CV Repertory Theatre founding artistic director Ron Celona was taken with playwright Amy Herzog’s dramedy “4000 Miles” the minute he read it. “It offered humor, heart, and thought-provoking topics that most of us can relate to in life,” he says. Celona felt it would be a good fit for his Rancho Mirage audiences and a great way to end CV Rep’s 2015-2016 season. He was right on all counts.

Everyone has a story to tell. In “4000 Miles” the story revolves around New York City, Greenwich Village-based 91 year-old Vera Joseph (a delightfully prickly Ivy Jones), grandmother to her twenty one year-old grandson Leo Joseph Connell of Minneapolis (a sensational Zachary Hallett), who unexpectedly appears at her door late one night looking for a place to crash for the night.

Leo has been on a six month cross-country bicycle trip from Seattle to New York City with his best friend Micah and Micah’s girlfriend Allison (both characters are never seen only referred to). We learn later that during the journey Micah had been killed in a freak highway accident with a big rig truck.

Zachary Hallett and Ivy Jones

It’s obvious that Leo is suffering and is suppressing the loss of his best friend. With Leo and his mother not on the best of terms, Leo turns to his grandmother Vera for solace. Vera is tentative on how best to console her grandson, worrying that too much mothering may not be the best way to help. Perhaps, humor and light banter and waiting to see what happens is best.

Vera too has felt the pain of loss. Her husband Joe died and she has been on her own for several years. Vera and Leo are not only DNA connected, they’re kindred souls looking for reasons to keep looking forward.

Megan Rippey and Zachary Hallett

Leo’s estranged girlfriend Bec (Megan Rippey) has mixed emotions when she and Leo meet again in Vera’s apartment. He wants to reconnect; Bec is for breaking up. Leo feels his world rapidly collapsing, even more so while he’s in New York City.

Even an attempted one-night fling with Amanda (Christine De Chavez), an elusive, perky bombshell he meets one evening, fails to ignite and only further frustrates him.

Christine De Chavez and Zachary Hallett

“4000 Miles” is solidly staged by director Celona who smoothly orchestrates this 90 minute, no-intermission drama nicely leavened with comedy moments.

The performances of Zachary Hallett and Ivy Jones have the onstage chemistry that gives each many moments to shine. Hallett’s introspective and naturalistic performance is both compelling and highly nuanced, and his timing is impeccable. Jones compliments Hallett’s performance with a caring, gentle and delightful turn that says elder relatives – grandmother and grandson - can indeed close the generation gap.Their pot-smoking scene is hilarious.

The technical credits at CV REP are always first rate and resident Set Designer Jimmy Cuomo doesn’t disappoint. Vera’s West Village apartment screams New York City. The lighting design by Moira Wilkie Whitaker provides just the right amount of light, not only to see the actors, but to appreciate the costumes of designer Aalsa Lee. The sound by Randy Hansen and Karen Goodwin, hair and makeup by Lynda Shaeps, and props design associate Doug Morris (who makes things magically disappear and reappear between scenes), is under the watchful eyes of Stage Manager Louise Ross.

“4000 Miles” brings a fitting close to a highly successful CV REP season that included “Happy Hour”, “A Class Act” and “I Am My Own Wife”. All were outstanding productions that left indelible memories on CV REP audiences, and this critic, that still linger to this day.

This splendid production runs through May 8, 2016. Tickets and reservations may be obtained by calling 760-296-2966.

POWERFUL DRAMA “AGNES OF GOD” A TRIUMPHANT MUST SEE AT THE ANNENBERG THEATRE IN PALM SPRINGS

Laura Julian, Britt Adams and Marcia Waterbury in
Agnes of God - All photos by David A. Lee

Whoever says one has to go to New York or LA to see great theatre obviously hasn’t seen, but should see, the current Coyote StageWorks production of “Agnes of God” now on stage at the Annenberg Theatre in Palm Springs.

The serious, thought-provoking play written by John Pielmeier examines not only the core issue of how religion interacts with science and psychology in particular, it also becomes a theatrical triumph in the hands of its gifted director Don Amendolia. Thanks to a brilliant cast of three female actors who plumb the depths of their highly complex characters in a glittering display of insight, faith, doubt, love, and humanity, “Agnes of God” is a must-see production.

Pielmeier says he’s always been fascinated by crises of faith and youth- related subjects for his plays and his writing projects.In 1982, he hit the jackpot with “Agnes of God”, propelling him into the front ranks of American playwrights.

Set in a convent, the story explores the incidents surrounding a young novice (a mesmerizing Britt Adams) who has been accused of murdering her newborn. A court-appointed psychiatrist, Dr. Martha Livingston, (Marsha Waterbury) is charged with assessing the sanity of the young novice. Mother Miriam Ruth (Laura Julian), the Mother Superior of the order, is determined to keep young Agnes from the doctor, arousing Livingston’s suspicions further as to what actually took place that fateful night. Who killed the infant and who fathered the tiny victim are hard questions that Livingston is determined to raise and get answers to for her medical fitness report.

Marcia Waterbury in
"Agnes of God"

Through a series of highly charged, penetrating, and revealing interviews with Agnes, Livingston’s analysis remains inconclusive. None the less, these sessions ultimately force all three women to re-examine the meaning of faith and the redemptive power of love that leads the audience to a dramatic compelling climax. No more spoiler alerts. One must come and experience the play for oneself. It’s a riveting experience, I guarantee it.

Faith-based plays can be daunting for audiences in that they run the risk of feeling threatened by the on-stage authenticity of the performers. The role of theatre is to hold up mirrors to those of us who make up humanity and then let each draw his or her own conclusions as to whether we are players or observers, or both. No one ever said life on this planet is easy and everyone deserves a free ride; that isn’t the way it works.

The beauty and the power of this stellar production comes from the inspired performances of its three-woman cast. Each performance radiates a glow like a multi-faceted precious gem. It’s not often one gets to root for all three characters in the same production. In this production, each actor is allowed to create their own special magic under the watchful eye and seamless direction of director Amendolia.

Laura Julian, Britt Adams in
"Agnes of God"

When ensemble casts like this one click, the results are sublime. A special note concerning the performance of actor Laura Julian is worth mentioning in this review. Ms. Julian stepped into the role of Mother Miriam Ruth with only a few days of rehearsal after a medical condition forced actor Valorie Armstrong to withdraw.

The technical and the creative team led by director Amendolia create a minimal, space-stage performing area designed by Josh Claybaugh consisting a couple of chairs surrounded by gossamer curtains, and lengthy sheer vertical banners lending a dream-like quality to the stage that is bathed in Moira Wilkie’s clever lighting design that splashes blue, white, and rose shafts of light in dramatic fashion.

Also spot-on are the costumes of designer Bonnie Nipar for the nuns, right down to their traditional black ‘louis heel’ shoes. And Mother Miriam Ruth’s rimless glasses are a touch of genius, the icing on the cake for all those who had to endure those penetrating stares from behind those glasses years ago. It’s always the little details that separate a good production from a great production.

And making sure everyone is ready and keeping the entire production running is stage manager Larry Raben.

“Agnes of God” is a splendid production you will not soon forget. For tickets and reservation information call the Annenberg Theater Box Office at 760-325-4490 or Coyote StageWorks at 760-318-0024.  The play performs Fridays at 7:30 pm, Saturdays at 2 pm and 7:30 pm, and Sundays at 2 pm through May 1st.

ACTRESS IRINA MALEEVA TACKLES DIVERSITY AND AGING IN HOLLYWOOD WITH STYLE, GRACE AND WIT

Irina Maleeva

Serendipity and timing definitely has a place in the world of show business and movies in particular. This past week I was fortunate to interview iconic international star of stage, screen and television, Irina Maleeva, who latest feature film “The Meddler”, starring Susan Sarandon, opens nationwide on April 22nd.

Maleeva, born in Bulgaria but who has lived in the United States for over 40 years, started her movie career at the tender age of 14 while living in Italy. She was discovered by famed filmmaker Federico Fellini and went on to work with some of the premiere filmmakers including Orson Welles.

Considering the recent dust-up at the 2016 Oscar ceremonies regarding the lack of diversity in the movie industry, to say nothing about the lack of roles for middle-age actors and beyond, the interview with Maleeva seemed like an interesting way to get a first-person opinion on this hot button topic.

Q: Hollywood and television are at long last acknowledging that the cinema and TV industries are in a state of transition when it comes to the subject of diversity in the arts. What are your observations on the subject of work for people of color with an emphasis on female actors of ‘a certain age'?

A: To be honest, I have mixed feelings about the subject. I favor diversity in the industry, of course. I’m a European woman who’s been a U.S. citizen for many years, and as an actor I applaud the industry for finally coming to grips with this issue. It’s been long overdue.”

Q:Tell me about all those references to the “La Dolce Vida” lifestyle when you worked with Fellini in “Satyricon”, “Spirits From the Dead”, and “Roma”.

A: Yes, I worked with the great Fellini on those films. He was a film genius and a very nice man. I also worked opposite the brilliant Orson Welles in "The Merchant of Venice". I’m sorry however to disappoint you regarding on-set gossip, but we were too busy just learning our lines and playing our parts. Of course I can’t speak for everyone during that wild era...(laughs)

Q: What was it like living and working in Rome as young actors?

A: It was a golden time in the Italian cinema.The Via Veneto was the great street where you brushed elbows with celebrities and movie people all over the place. During that period, Italy was producing 300 plus films a year. Those were exciting times to be an actor.

A young Maleeva during her
sketchcomedy days in Italy

Then the movies in Italy changed some twenty years ago and I haven’t made a film there in over ten years. European films now are chasing the dollars. They’re not making stories or character driven films as they used to do. Now, it’s films with an edge or all action.

Q: Just like today’s American movie industry.

A: Working in early American films I was usually cast as an Eastern European female with a heavy accent, even though I speak seven languages. I’ve been told that even my face has an accent, according to casting directors.

Irina Maleeva as the Countess in indie favorite
"Union City" starring Debbie Harry

Q: How much has the American film industry vs. the European changed?

A: In Europe, it appears there are more opportunities and good roles for actors who are over 60.

Q: And here in America?

Female actors are considered to be unemployable after thirty-five or so, with exceptions of course when it involves stars.

Q: But you’re still working today as an actor over sixty.

A: Yes, thank goodness, but not many people do what I do, have done, and can still do. I’m very fortunate. I came from an acting family. My mother was a successful Russian actress who began acting at age seven. She had a successful stage and film career. Later, she wrote several books on actresses in Hollywood.

Q: Speaking of working today, you have a new movie called "The Meddler" opening nationwide this month starring Susan Sarandon. What role do you play in it?

A: I play Angie, Susan’s sister-in-law from New York. Susan’s character has lost her husband and I help her get through her new widow-grieving process. It’s a broad comic role. It was a wonderful experience working with Susan and our amazing director Lorene Scafaria. Susan is such a generous and giving actor. I loved it.

Q:You also have a guest-starring role this spring on David Duchovny’s NBC series “Aquarius” in a segment called "While My Guitar Gently Weeps". What’s that about?

A: I play Vira, a sweet Ukrainian lady who turns out to be a murderess and a con-woman who causes problems for Duchovny’s cop character who is pursuing the Manson Family. Russian actress Ludmila Velikaia, who lives in San Diego, and I play two women in their sixties who are insurance fraud scam artists. We had a ball doing it.

Irina Maleeva with star David Duchovny
on the set of "Aquarius"

You know, getting serious for a minute, David is an interesting and very caring man. He shared a story with me as how he rescued a dog he found lying on the road one day on his way to the set. He stopped, put the animal in his car and drove it to a vet hospital, saving its life. The word ‘tohovny’ means a person with a lot of soul. David certainly has that. How many people stop on their way to work to rescue an animal lying on a road?

Q: Irina, I know you have a one-woman show called “Illusions", a musical memoir of a life well lived that you wrote and performed at the Hudson Theatre in Hollywood last year. Do you have any plans to take it on the road somewhere?

A: I would love to, but I don’t have a theatrical agent to represent me in such a venture. It takes a lot of planning, getting a theatre, advance bookings, ticket sales, finding a good musical director. It's a lot of work, but hugely satisfying.

# # #

Attention theatrical agents looking for professional clients with movie, television and live theatre experience and credits:  Irina Maleeva is a goldmine of a client, just waiting to perform her cabaret act for you and everyone.

To read more about the fascinating Maleeva, you can visit her webpage at http://www.irinamaleeva.com/, check out her YouTube channel at https://www.youtube.com/user/irinamaleeva, and her Facebook page at https://www.facebook.com/Irina.Maleeva.Actor/.

NATIONAL TOUR OF "A GENTLEMAN’S GUIDE TO LOVE AND MURDER’" SLAYS THEM AT THE AHMANSON

Kristen Beth Williams as Sibella Hallward, Kevin Massey as Monty Navarro 

and Adrienne Elleras Phoebe D'Ysquith in a scene from 

"A Gentleman's Guide to Love & Murder." Photo by Joan Marcus

Music may be the food of love per the Bard, who urges us to play on. However, it’s devilishly difficult when everyone is laughing and having a great time to think about squaring the circle concerning the murderous aspects in the title of the brilliant and entertaining musical comedy/farce "A Gentleman's Guide to Love & Murder" now on stage at the Ahmanson Theatre in Los Angeles.

It must be the perverse nature of human beings that we claim to revile the darker aspects of our nature, yet revel in its powerful and seductive attractions. Many of us are drawn to chocolate in all its addictive forms, and how can one explain the hypnotic fascination of watching the aftermath of a train wreck or a roadside traffic accident? We are a strange species indeed.

Regardless of your quirk, one can’t help but enjoy the sparkling and inventive onstage musical comedy machinations of "A Gentleman’s Guide to Love & Murder" in one of the Ahmanson’s slickest and audience-pleasing productions this season.

The multiple Tony-winning production, written by librettist and lyricist Robert L. Freedman with music and lyrics by Steven Lutvak, is based on the 1907 Roy Horniman novel "Israel Rank: The Autobiography of a Criminal", which in turn became the inspiration for the 1949 British Ealing Studios movie "Kind Hearts and Coronets", making Alec Guinness an international movie star in the process.

John Rapson (c) and the Ensemble of
"A Gentleman's Guide to Love & Murder"
Photo by Joan Marcus

The Ahmanson stage audience buzzed with anticipation and excitement prior to curtain up on opening night as many celeb’s and stars could be seen chatting in the audience. I was seated next to an original Broadway cast member and star performer Jane Carr. Seated next her was the legendary Gordon Davidson, Artistic Director Emeritus of Center Theatre Group. Davidson’s thirty-eight year stewardship and personal vision helped make The Mark Taper Forum, The Ahmanson, and the Kirk Douglas Theatres become ‘must attend’ venues over the years, thus cementing Los Angeles’ reputation as a theatre town as well as a movie and TV-oriented city.

The story of our anti-hero Monty Navarro (after all, the character becomes a serial killer), sensationally played by Kevin Massey, takes place in 1907 Edwardian London. The plot is driven partly by revenge for past family slights, partly by the ambition of young Navarro - a man with no prospects of bettering his life - who learns that he is a disinherited member of one of England’s leading aristocratic families – the D’Ysquith’s. It’s a family of eight relatives, all of whom are in the line of succession to become the Earl of Highurst, and all are played by the incredibly talented John Rapson, in a tour-de-force turn.

Kristen Beth Williams and Kevin Massey
in "A Gentleman's Guide to Love & Murder"
Photo by Joan Marcus

Complicating Navarro’s life is his hormone-driven infatuation with the sexy Sibella Hallward, seductively played and sung by Kristen Beth Williams. Sibella has plans other than to be involved in an affair with a penniless store clerk; that is until Monty informs her of his recent news. Suddenly his prospects and appeal have greatly improved in her eyes.

Monty is now faced with the reality of coming up with a plan to remove all eight impediments standing in his way in order to become the Ninth Earl of Highurst without drawing suspicion to himself. How he goes about the competition removal process is the hilarious stuff of invention and execution (no pun intended) performed by an inspired cast of actor/singers who act and perform in true ensemble fashion.

Adrienne Eller and Kevin Massey in
"A Gentleman's Guide to Love & Murder"
Photo by Joan Marcus

Halfway through his quest, Monty meets his cousin Phoebe D’Ysquith, (a lovely Adriennne Eller who boasts a set of soaring soprano pipes) a sweet young lady who becomes smitten with him. Fortunately for her, Phoebe is not on Monty’s removal list. But she has him on her husband-to-be list. And the plot get thicker… but no spoiler alerts here.

The musical features nineteen songs and musical numbers that crackle with energy and precision. Under the baton of musical director Lawrence Goldberg, the show has the look and feel of a precision synchronized swim team that at times is breathtaking in its execution. Visually it’s a lush and stunning-looking production that has the audience applauding after every scene break, which by the way, is richly deserved.

John Rapson as Lady Hyacinth D'Ysquith in
"A Gentleman's Guide to Love & Murder"
Photo by Joan Marcus

All of the above mentioned comedy/farce story components and stage business is the province of the production’s gifted and inventive director Darko Tresnjak. His creative fingerprints are all over this splendid production. This is the second production of the show directed by Tresnjak that I’ve seen and each time he imbues the production with a fresh and inventive quality that has become his hallmark.

When he was the artistic director at San Diego’s Old Globe Theatre (2004 -2009), audiences eagerly looked forward to plays that were directed by him knowing full well that theatrical surprises were just a scene ahead.

The technical arsenal available to directors at the Ahmanson is limitless. The creative technical team led by Tresnjak has scenic design wizard Alexander Dodge deliver a magnificent set along with design projections and special effects galore that are sprinkled throughout the production. Keep your eyes on the doorway connecting two rooms in Act 2…priceless!

The costumes designed by Linda Cho are stunning, colorful, and functional, as they must be for this physically and athletically performed production. Making sure we get to see every nuanced moment on stage falls to Lighting Designer Philip S. Rosenberg who doesn’t disappoint. Choreography is by Peggy Hickey.

“A Gentleman’s Guide to Love & Murder” performs at the Ahmanson Theatre, and runs through May 1, 2016.

COYOTE STAGEWORKS ANSWERS THE QUESTION 'BUT IS IT ART?' AT ANNENBERG THEATRE

Larry Raben, David Engel and Chuck Yates in ART
Photo by David A. Lee 

Who would have thought that a ‘white canvas painting’ three feet by four feet without a frame, could wreak such comedy havoc between three old friends?  That in a nutshell is the gist of the story of the blisteringly funny comedy ART, written by Iranian-born, but French-raised, Tony Award-winning playwright Yasmina Reza.

English playwright Christopher Hampton (who works on all of Reza’s plays) provides ART with not only a witty and insightful translation, he delivers a script chock full of biting dialogue for the sensational trio of gifted actors: Chuck Yates (Marc), Larry Raben (Serge), and David Engle (Ivan) who spin his words into theatrical gold under the deft direction of Don Amendolia.

Chuck Yates, David Engle, Larry Raben
in ART. Photo by David A. Lee

ART is a story that crosses generational lines, international borders, and multi-cultures that resonates with people everywhere because we have all seen our friends and relatives in situations the three characters find themselves in, despite the fact that it's set in Paris. The play is not just about a painting; it’s about how we react when our friends’ secret agendas bubble up from their subconscious when they’re innocently asked for an opinion. The meat of the play unfolds in the interaction of these three friends and is a favorite device in many of Reza’s plays like ‘God of Carnage’, another of her Tony-winning plays.

Larry Raben as Serge
in ART. Photo by
David A. Lee

In ART, Serge, a divorced, successful dermatologist and a culture-driven art collector, has purchased a painting for $50,000 dollars and can’t wait to share his purchase with Marc his best friend of fifteen years. Marc has always fancied himself as Serge’s mentor in all things cultural. In the past, Serge usually consulted with Marc before making a purchase; this time, he didn’t. He made a spur-of-the-moment- decision and now is eager to get Marc’s approval.

Chuck Yates as
Marc in ART
Photo by David A. Lee

Marc can best be described as an anal-retentive, irritating nitpicker who has a gift for always being right and enjoys the rough and tumble of these spirited exchanges with Serge and Ivan, or anyone else who will listen to him spout-off. When he and Serge discuss the painting, Marc is appalled, not only at the priced Serge paid for it, but he disses the painting as utter crap, forcing Serge to defend his purchase. The result is both men agree, after verbally fencing and insulting one another, to see what Ivan thinks of it.

David Engle as Ivan
in ART. Photo by
David A. Lee

Ivan is not the cultural or monetary equal of Serge or Marc. He is a middle-class working type who has just begun a job in a stationery store owned by his future father-in-law.  The three despite their backgrounds, however, are compatible best friends.

The beauty of this stellar production lies in the performances of its three extremely talented actors and the deliciously incendiary dialogue of playwright Reza.  Just when one thinks that all the one-upmanship lines each actor hurls to the other, that the final salvo has been fired, another round of sparkling, zinger-laden put-downs begins all over again. I’ve seen four professional productions of ART over the years and I wouldn’t exchange this trio for any who have performed Reza’s lacerating comedy of male friendship and honesty.

Director Amendolia keeps the pace crackling and wisely allows his three stars to flesh out and mine every comedy nugget to the fullest. It’s a terrifically entertaining comedy production that also affords the audience time to absorb what is taking place on stage, and to reflect upon its deeper and more sobering meanings.

ART’s creative team led by director Amendolia delivers solid technical support from set designer Josh Clabaugh, and a tricky lighting design by Moira Wilkie (who just created the lighting design for CV REP’s ‘I Am My Own Wife’ which I saw last week), required to see the costumes designed by Bonnie Nipar. This splendid production should not be missed by Coachella Valley audiences.

The production performs at the Annenberg Theatre, Palm Springs, and runs through April 3, 2016.  For reservations and ticket information call the box office at 760-318-0024.

SEXUALY IMPOTENT DRAMA UNFOLDS AT GEFFEN PLAYHHOUSE

Steven Louis Grush and Rebecca Pidgeon star in
"Sex with Strangers" - Photo credit: Michael Lamont

In the past, one could usually rely upon the Geffen Playhouse to present new and/or edgy plays that captured the attention of audiences. This was a recipe that resonated with their wide age demographic.Toss into the season a couple quality plays, and the Geffen had another successful season.

I’m not quite sure what’s going on with their play selections of late. But the current offering at the intimate (114 seats) Audrey Skirball Kenis stage of the two theatre complex in Westwood, comes off as flaccid as the on-stage story it’s trying hype with the provocative and sexy title of “Sex with Strangers”.

Known for her acclaimed direction of multiple productions of playwright Ayad Akhar's “Disgraced”, a searing satire of New York City mores, director Kimberly Senior this time stages a talky two-hander of screenwriter-playwright Laura Eason's script.

In “Sex with Strangers", the plot revolves around Olivia (Rebecca Pidgeon), an intelligent, mid-career, one-book novelist who is having second thoughts about her ability is a writer, and Ethan (Stephen Louis Grush), a wildly successful, young, hyper-energetic stud/blogger with an ego to match, who meet in a mutual friend’s borrowed cabin on a snowy winter night in Michigan.

Rebecca Pidgeon as Olivia in
"Sex with Strangers" - Photo credit:
Michael Lamont

Apparently, the friend has neglected to inform Olivia of the cabin arrangements. The wary Olivia is not too thrilled with the coarse and boorish behavior of the younger Ethan who is oblivious to his manner.

Stephen Louis Grush as Ethan in
"Sex with Strangers" - Photo credit:
Michael Lamont

As the ice begins to thaw between them over glasses of wine, conversation and ‘writer talk’ about the state of a changing literary world, young hormones win the day over the resistance of older hormones being awakened in Olivia. Echoes of ‘summer romance’ novels begin to appear in the plot.

It’s natural to expect, in literature at least, for opposites to attract. It’s a staple plot device that has served authors, readers, and audiences alike for centuries. However, in "Sex with Strangers" it’s hard to become engaged in a banal two character play that is nowhere even near the zip code of reality and believability. Yes, sex is how we all got here; it’s an intoxicating experience, an addicted activity (thank God) that keeps us all on the treadmill of life. But sex is not a spectator sport, “Oh, Calcutta!” notwithstanding. And, we’re still capable of following plot points without actually seeing them. To her credit, director Senior does a tasteful orchestration of the sex scenes.

If we are to become engaged in Olivia and Ethan’s story, in order to root for either, somethings would have to change. He’s tattooed all over his upper body, and looks as if he’s just one speeding ticket away from landing a month’s stay in the city lock-up. Olivia, as played by Pidgeon, is just too low key and one dimensional, with a very expressionless face. I kept wondering what the females in the audience were thinking about her choices in men. I expect the males in the audience were thinking ‘what’s the matter with her?  He’s a loser, dump him and go back to reading a good book instead!’.  Of course, if that were to happen then we wouldn’t be spending an evening in the theatre, eh?

Stephen Louis Grush, Rebecca Pidgeon in
"Sex with Strangers" - Photo credit:
Michael Lamont

Yes Ethan, as played by Grush, does comes across as a con man at first, and later not so much but as just another of society’s flawed, youthful young man of promise who never reached his full potential despite his early success in a blogging career. Even in my rant…no spoiler alerts here.

Senior's creative team has scenic designer Sibyl Wickersheimer providing a cozy cabin set which then doubles for a Chicago apartment in the second act. Lighting designer Joshua Epstein’s warm and mood inducing low key lighting provides just the right amount of light to see and appreciate the costumes of Olivia as designed by Elisa Benzoni. Sound design is provided by Cricket S. Myers.

“Sex with Strangers” performs on the Geffen Playhouse's Kenis Stage, and runs through April 10, 2016.