Gaetana Caldwell-Smith play reviews

Theatre Yugen presents "Cordelia"

2011-04-21T17:08:00.000-07:00

Jubilith Moore as Cordelia, with musicians Sheila Berotti, Polly Moller, and Anna Wray

Theatre of Yugen's "Cordelia" is a stunning Noh adaptation by playwright Erik Ehn of Shakespeare's "King Lear" as told by from his exiled daughter Cordelia's viewpoint, from the other world. The production is directed by Jubilith Moore who is powerful and mesmerizing as Cordelia. Moore, the Artistic Director, has been with the company since 1993 and has acted in many of their productions.

Wearing a hand-carved mask created by Hideta Kitazawa, a second generation woodcarving artist from Tokyo, Jubilith as Cordelia, descends slowly down a ramp behind a scrim. Her costume is an elaborate creation by Risa Lenore Andeson Dye, reminiscent of Victorian England of lace and silk, with enormous puffy lace sleeves; she wears a braided, bright copper wig, beneath a headress. Jubilith's movements are accompanied by the haunting sounds composed by Suki O'Kane: Polly Moller on a western style silver alloy flute on which she plays a classic shakhachi piece; she also plays a larger flute and an instrument that sounds like a kazoo. Her sounds are backed up by Sheila Berrotti on Shruti box (a kind of small, portable one-note accordion), and Anna Wray, on piccolo snare. Both Berotti and Wray also chant. During the play, the three musicians in dark, simple dress, sit upstage silently in front of the scrim, on their haunches, in shadow save for when the lights pick them up.
True to Noh and Butoh theatre, the actors' movements range from extreme, almost imperceptible, to rapid and startling, especially when accentuated by Wray's sharp, unexpected raps on the snare. Moore recites lines adapted from "Lear" in a low, guttural, stylistic Noh voice as she tells the tale of her relationship with her father and sisters, Goneril and Regan. Through the mask, her voice is at times difficult to hear, especially if one is not familiar with note-bending lyrics of this type of theatre. Still, one hears enough, plus halfway through the seventy-five - - give or take - - minutes of the piece, The Fool enters carrying a barrel and a fan, and interacts with the audience. The Fool is effectively portrayed by agile, Spanish native, Lluis Valls in an ingenious white, cotton, hooded jump-suit randomly imprinted all over with words from the play in large bold caps. He relates the backstory and brings us up to date on the Lear family situation. He exits and Cordelia reappears wearing a more traditional, yet colorful, samurai warrior costume and tall headdress; her braids undone in a cascade of brilliant copper. As she moves, rotating slowly, stepping carefully, she resembles a statue of an ancient Japanese warrior come to life, relating in speech and mostly song the tragic ending of the sisters and of her own death. Anna Wray hypnotically chants the sad ending to the tale.

In the program notes, Jubilith Moore writes: "My envisioning of Cordelia is as a phantom, a being whose body has died but who is caught on a lower plane of existence. Most phantoms in Noh cling to the memory of their incarnate life and this brings them back to the scene of their most intense misery. Perhaps in the kingdom of death, she will be reminded of what in life she so passionately and wisely knew and can find the meaning of life and infact, be."

The simple yet dramatic set is designed by Joshua McDermott enhanced by the lighting effects designed by Stephen Siegel. After the play, walk on to the set and take a look at the right hand wall for more text from "Lear" if you weren't able to read it on The Fool's costume.

It would be helpful to know Shakespeare's story of King Lear and have some awareness of Noh theatre to truly appreciate this play. Still, should you wish to stretch your theatre experience, this Theatre of Yugen's production is not to be missed. As in Zen and other Japanese and Asian philosophies, one does not expect a beginning, middle or end. Things flow. One must simply observe and allow the story or composition to
unfold.

Theatre of Yugen's "Cordelia" continues through May 7, at NOH Space. go to http://www.theatreofyugen.org/ for more information.

FRINGE OF MARIN FALL 2010

2010-11-25T14:19:00.000-08:00

The Fall Fringe of Marin finally got off to a successful run after a rocky start which included losing a play and actors dropping out.

True to its mission, the 26th Season of the Fringe presented two entertaining programs of short plays and monologues over three weekends. The final performances are the weekend of December 3rd through the 5th (details below.)

Program One begins with “Emily and Walt” a “dramedy” written by Carol Hochberg. Linda Ayers-Frederick directed this hypothetical meeting between 19th century poets - -the reclusive, prolific Emily Dickinson and Walt Whitman. Heidi Wolff does a wonderful job of portraying Dickinson as put-off yet inexplicably intrigued by her genteel visitor, Whitman, whose reputation as an “earthy, sensual” poet preceded him. Long-haired Raul R. Rubio, wearing a flat brim straw and a loose white cotton shirt, plays Whitman as a well-mannered courtier with subtle sexual innuendo guised as a lover of all things natural, especially Man, with equal measure. Miriam Chase plays Lavina Dickinson (Vinny), Emily’s sister, who doesn’t hide her infatuation with Whitman.

A cleverly constructed comedy “What Do We Do With The Coffin?” written and directed by Carol Sheldon is a sequel to a previous Fringe play “Don’t Just Lie There” of a few seasons back. The sequel tells the madcap story of the actors' problems they faced trying to return a coffin they had borrowed as a prop for the earlier play, once its run had ended. It stars Carol Eggers as the matriarchal Suzanne, Crystal Nezgoda as the young Brianna, Stuart Chappell as a patriarchal Mike; Roger Marquis plays Devon as a flaming queen, in brightly colored clothes, who tries to hit on Detective Schtenk ( David Klein, using an East Coast accent). Finding that the mortuary had gone under so they cannot return the coffin, they wrangle and argue about what to do with it. “We can’t burn it in the yard, this is Marin! There are laws against it.” Schtenk attempts to arrest them when a nosy neighbor calls the police when they try to bury the coffin.

“Scramble Time” is fun. It was written by Shirley King and directed by Robin Schild. The play concerns Kelly, a ditzy flight attendant acted by pretty, vivacious Gigi Benson who gives the character a certain amount of believability until it’s clear she’s mistaken a parking garage for the passenger section of an airplane. Harried business man, Jason (Monty Paulson, who looks as though he stepped from the cast of the popular Cable series “Mad Men”) runs around the stage, searching for his car while she insists he return to his seat. He tries to set her straight. Crystal Nezgoda appears as Gracie. Director Schild made good use of the audience and the center aisle to further the action.

The surprise of the evening is the magician! Michael Belitsos's in a solo performance “A Magical Trio: Movies of My Mind.” He smoothly ties his truly awesome slight of hand to three anecdotes and dreams that he saw as movies, as a child. His tricks involve a play on “Paradise”; a red silk handkerchief and an egg; a martini and a newspaper. I was sitting directly in front of Mr. Belitsos and could not tell how he pulled these off. Especially when he peeled a red hole from a hollow egg.

“Healing Court” written by Micheline Birger and directed by Suzanne Birrell is a surreal, fast-paced comedy having to do with a counselor, Judge Guru (Tyler Hewitt) advising a young, alcoholic, stressed out, business-woman, Mr(s) Whiner, played by the versatile Crystal Nezgoda.. Birrel’s excellent direction makes it clear that Mr(s) Whiner had experienced an alternative reality.

Program One ends with “The Story of Oh (Revised and Abridged)” a comedy written and directed by Jim Colgan. A warning appears in the Program Notes about the play’s strong sexual content and that it is not intended for children. (In a pre-curtain speech, Artistic Director Annette Lust advises parents who have brought their children to please leave after “Healing Court”.) Four actors are involved in this romp: Ofelia (Racheal Denny); Jerry (Simon Patten); Nan (Rana Kangas-Kent); and Wade (C. Conrad Cady), the only dialogue among them is the word “Oh,” said in every inflection possible. They chase each other across the stage, disappear behind the curtains and, we assume by the inflections of “Oh,” get it on (thankfully, out of sight). Nan, in a mini-dress and lots of cleavage, holds a sex toy at one point, eliciting admiring “Ohs” from her partners. A stereotypical Lothario, Jerry (Simon Patten), enters wearing a Japanese print kimono; the pipe in his mouth signals his states of arousal; Wade is a geek in a baseball cap and round glasses. Once caught up in the activities, he is overwhelmed; and then there’s Ofelia, the cliché young sexpot. Three-quarters of the way through the play, she streaks semi-nude across the stage, while exhaling breathy “Ohhhhs.” It was all lots of fun, eliciting guffaws and titters (excuse me) from the audience.

Program Two begins with “Francis and Sophy: A Victorian Romance,” written and directed by first-time playwright, David Hirzel with assistance by veteran actress and director, Flora Lynn Isaacson. Hirzel's play is based on the historical fact of Captain Francis Crozier’s polar expedition to The Northwest Passage. Crozier is played by Fringe stalwart, Byron Lambie (who had trouble with his lines that night I was there. Hopefully this is resolved for the remaining shows) and newcomer to the stage, Alexa Chipman, who is Sophy Cracroft. Francis and Sophy had become engaged before his voyage. Francis sits at a writing desk in his cabin, reading aloud as he writes in his Captain’s log. The actors’ dialogue is based on two letters she had written Francis that he wasn’t to open until Christmas his first year out and then again on his second. Francis reads them aloud with rather stilted responses by Sophy in the proper Victorian manner of a refined young lady, which unfortunately almost stops the play. Sophy first appears behind a curtain, then onstage in a beautiful, authentic-looking, Victorian dress of Alexa’s own creation. (Their romance ended tragically when Crozier's ship became ice-bound in the Northwest Passage. Sophy never married and died a spinster.)

Mr. Hirzel’s play was followed by a monologue, “A Writer’s Dilemma,” written and performed by Judy Baldassari and directed by Suresa Dundes. It is what its title says. The Player, Judy Baldassari, is a writer like all writers facing the problem of finding time to write, but when one does, one decides to go shopping or vacuum instead, then feels guilty. Baldassari is an engaging actress. She has written and acted in the Senior Program at College of Marin. Still, I felt the piece lacked energy and I found the performance static.

Energy came with veteran Fringe monologist, Steve North, in his own “Line Load.” North delighted us with an autobiographical piece dealing with his stint as a teacher who is spurred on by his students to audition for the role of Lear in Shakespeare’s “King Lear.” North was a young man at the time with some acting creds. He lands the part, to his astonishment, and begins to memorize his lines, all 700 something of them. He is daunted by the enormity of the task, feeling he cannot carry it out.  He hears a student’s voice egging him on: “You can do this!” When the director threatens to sue him for hundreds of thousands of dollars, North contemplates suicide. He ends his monologue standing on a chair, looking out over the dawn sunlight on the bay, listening to the seagulls. North is expert at using movement to act out psychological, emotional, and artistic dilemmas and is comfortable taking up space on stage. He describes people and places that put you there with him; you see them. The piece is suspenseful, poignant, yet laugh-out-loud funny.

The energy generated by North’s piece was sustained by “Lights, Camera, Love,” a comedy written and directed by George Dykstra.  Actor #1 (Harold Delinsky) and Actor #3 (Obreanna McReynolds) play characters in search of a mate. They make a professional video touting themselves for a matchmaking website.  In turn, they sit facing a video camera (set in the center aisle), behind which stands the videographer, known as Actor #2 (Ross Turner, who bears a striking resemblance to the late Jaques Cousteau). Actor #1 first plays a rakish, gods-gift-to-women character as he seduces the camera and hopefully a mate. Later he plays a yokel, an ex-boyfriend railing into the camera at his Ex. Delinsky is quite effective in delineating these two characters, making it hard to believe this doofus is also the rakish cad.   Actor #3's (Obreanna) first character is a buttoned down business type in a pants suit (“Long walks on the beach . . .”) then she's a hippie with a bandanna around her head, talking about turning on, etc. Turns out, she’s rather square. Because of her distinctive beauty, it was difficult to carry off being two different characters. Actor # 2 has the thankless role of the videographer who gives his clients brief directions on how to act in front of the camera. We can't see him from the side; those in the rear get the back of his head.

“With Held” is a biographical monologue of chronological anecdotes performed by Jeremy Julian Greco based on his friend John Held's despicable Don Juan-ish love life.  At times it is hard to separate the actor from his subject.  This monologue comes off as static as well. Should he go on performing this piece, he needs to recruit a good director to bring this difficult and off-putting - - to some - - material forward and make it more accessible.

Self-proclaimed “novice playwright” Harry Diavatis wrote “A Thief With Principle” which he also directed. It is one of the better plays of both programs. The premise is based on those who gained or lost from the current mortgage/foreclosure crises. The characters are The Thief, played by an excellent, subtle Nathan Day, and The Man, Harry Diavatis, himself. The Man is a wealthy mortgage broker who lives in an upscale community and drives a high-end car. The Thief is an honest fellow whom the hospitible The Man invites into his home after The Thief knocks on the door expecting a reward for confessing to an attempted crime. As they talk, The Thief discovers what The Man is all about and realizes that he, The Thief, is the better man. Later, after The Thief leaves, The Man finds out his worth when he calls the police to report a break in. The acting flows naturally, the timing is perfect, and both actors appear comfortable in their roles, validating their solid theatre chops.

The Fall Fringe of Marin continues next weekend: Program Two, Friday, December 3rd at 7:30 PM, Program One, Saturday, December 4th @ 7:30 PM, and Program Two, Sunday, December 5th @ 2PM. Call 415-673-3131 for reservations and more information or visit www.fringeofmarin for directions.

"PROOF" By David Auburn

2010-10-24T17:52:00.000-07:00

David Auburn's bittersweet, suspenseful two act drama, "Proof," was originally produced by the Manhattan Theatre Club in May 2000. Suzanne Birrell is the current director for her production (Birrell/Jones) now playing at Exit Theatre at 156 Eddy, in San Francisco through October 29 and 30th. I strongly advise you to see it. Off Market, Powell BARTand MUNI station, #27 Muni bus.

      Gabrielle Patacsil plays Catherine, the tormented daughter of Robert (a brilliant Kevin Copps), a mathematical genius on the verge of solving a mathematical conundrum that has stumped great minds for centuries. Like John Forbes Nash, Jr. - - played by Oscar winner Russell Crowe in the film "A Beautiful Mind" - - he suffers a breakdown, but unlike Forbes, dies before he can complete his work. Catherine has inherited her father's genius and is deeply concerned that she may have inherited his mental illness as well. There is not one false note in Ms. Patacsil's portrayal of Catherine. She plays the fragile Catherine with nuanced emotions, striking the right chords in her relationship with her father and sister, Claire (Theresa Adams), as well as one of her father's former students, Hal (a delightful, engaging Eric Reid), now a mathematics professor himself, and self-described geek who also plays drums in a garage rock band that manages to get minor local gigs.

     The action takes place on the back porch of their old, drafty house in Chicago, on a simple set consisting of wicker furniture and a wooden table and chairs.  The play centers around Catherine's birthday, September 4th, opening with a scene between her and Robert, who pressures her to celebrate and do something to overcome her depression. They discuss "craziness." Robert says, "Crazy people don't ask if they're crazy." And that a crazy person would never admit that they are crazy. Still, crazy people don't know they are crazy.  At the end of the scene, we realize he is an hallucination.

     Theresa Adams is spot on as Claire, Catherine's sister, with believable concern for her sibling to assuage her guilt, perhaps? Claire has come from New York for their father's funeral and tries to persuade her sister to move there with her - - one of the many conflicts that surface between them. Catherine is paranoid about her father's work about which he has written extensively in hundreds of notebooks he has kept in his study. Hal has been called in to organize his notebooks. In one scene, as he is leaving, Catherine believes he has stolen one. They argue; she pulls off his backpack, which struck me as somewhat unlikely in that she comes off as frail and listless and he - - an able-looking guy. Still, this is a minor point and in no way affects the play's overall strengths.

     Unless you have a program and refer to it throughout, it's possible to be confused.   Where the scenes in Act One are chronological, the first scene in Act Two jumps back four years to when Robert was at his best and we see a happy father-daughter relationship. The scene that follows, flashes back to immediately after the last scene in the first act where guilt, blame, jealousy, and mistrust arise between the sisters. Catherine the genius had dropped out of college to care for her father for four years during his illness while homemaker, fashion-maven Claire (she bought Catherine a little black dress for the funeral) stayed in New York, rarely calling. A turning point in the play happens when Claire drops a metaphorical bomb on her sister, undermining what little security she has left.

     Director Birrell dealt delicately with Copps portrayal of Robert's descent into madness in Act Two, which takes place some three years in the past. In a brief chat with her during intermission, she said that Copps nails it. Barefoot, sitting outside in the cold Chicago winter, he appears not only tortured, but to age and shrink within himself as Catherine, on a break from college, tries to make sense of his rambling notes which he has asked her to read. Sadly, she realizes, not at all the work of a brilliant mind, but as one who has lost it.

     A startling find is revealed about Catherine's own work which furthers her father's. She entrusts it to Hal and an issue of trust enters the picture. The proof that it is hers resides in how her father noted his work as compared to Catherine. In the final moments of the last scene, whether it was intentional or not on the director's part, as Catherine gets ready to leave with Claire, she buttons her coat wrong which gives us an insight to her emotional instability.

     Some have said that Auburn's "Proof" is a dark, depressing play and have staged it as such. Yet throughout, there is humor, especially between Robert when he was well and Catherine, and in her playfulness with Hal. There is a fine balance finding humor in a play dealing with the serious subject of mental illness, as well as in portraying insanity and genius. The actors' physicality throughout was true, seemingly spontaneous. Suzanne Birrell is the rare director who lets her actors take time to think during a scene. She is not afraid of pauses and trusts her actors to convey their character's inner workings in stillness.

     Crystal Nezgoda not only worked up the perfect wardrobe for the actors to embody their characters, but is also Assistant Director. Chuck Jones designed the sound; the haunting, original music was composed by Suzanne Birrell

"SCAPIN" by Moliére

2010-10-02T15:50:00.000-07:00

San Francisco LOVES Bill Irwin!
This is no surprise. Since his days as Willie, the Clown with the Pickle Family Circus, teaming up with partner Geoff Hoyle (Mr. Sniff), Irwin has delighted and amazed us with his work. He is our Charlie Chaplin, Stan Laurel, and Buster Keaton. Enough cannot be said about Irwin's physicality. It's as though he were made of rubber; it appears that he can move his body in several directions at once; his neck and limbs seem to grow and shrink. The only other actor who comes close is Jim Carrey.

Irwin and Mark O'Donnell adapted Moliére's "Scapin" first for the Seattle Repertory Theatre before its New York run where I like to think they perfected it before bringing it to San Francisco's American Conservatory Theatre. In classic satirical form, Irwin, who directed, updated the play with send-ups on current political, cultural, and social issues. He breaks the fourth-wall and gets away with poking fun of his own profession: Theatre, the Art of. as well as theatregoers (focusing on subscribers, even appearing as one in a side balcony, in a Sarah Palin-like red suit) things that Moliére allowed in this particular play, according to an interview with Irwin, and why Irwin chose it.

The characters and the premise are close to stock Commedia D'el Arte: mistaken identities, conniving servants, the clueless rich, and oppressive, jack-booted gendarmes. Irwin plays Scapin, the title character, as both actor and clown. Scapin is a servant to wealthy merchant, Argante (ACT regular, Steven Anthony Jones); his buddy, Sylvestre (Jud Williford, who is just about equal to Irwin's shtick), is servant to Geronte (Geoff Hoyle) who also is a wealthy merchant. Wealthy merchants don't have as much fun as servants, so Hoyle is somewhat restricted in his rôle, yet still gets off some funny bits as a man in a sack. True to Commedia, Argante's daughter has been missing for years only to be rediscovered at the end of the play as the raucus gypsy, Zerbinette (René Augesen, who is building quite a reputation for playing sexy, beautiful women. Perhaps this is not much of a stretch).

Octave (Gregory Wallace, another ACT regular), son of Argante is married to an alleged foreigner, the vacuous blonde, Hyacinth (comely played by Ashley Wickett). Leander (dashing Patrick Lane) loves Zerbinette. You sense the womens' rivalry in the way they gleefully massacre each other's names. Then there's the maid, Nerine (beautifully underplayed by Omozé Idehenre), who arrives with suitcases and a huge steamer trunk she drags across the stage. Scapin is smitten and his compliments unintentionally end up as double entendres, causing him all kinds of confusion which he depicts hilariously with his hat, posture, and floppy hair. Large sums of money are involved in the transactions between fathers and sons. There's a trumped up hostage situation involving Geronte's son Leander and a boat. Geronte responds to Scapin's explanation of why he needs the money with an exasperating, repeated, "But why did the boy get into the boat?"

Keith Pinto and Ben Johnson play threatening Gendarmes who stride menacingly across the stage with consummate precision, interrupting Scapin and Sylvestre's underhanded activities. They also play agreeable, subservient Porters.

A bonus to Irwin's reworking of the play is his inclusion of his long time musician friends, Randall Craig (George), actor and musician with the San Francisco Mime Troupe and Pickle Family Circus founder; and body-percussionist/dancer Keith Terry (Fred). His interaction and repartee with them throughout is delightfully hilarious. Craig and Terry accent and underscore the actions on stage and back up Irwin and Williford's occasional break out into jive and swing. The actors' and musicians' comic timing is unsurpassed.

Please try to see this extraordinary production which ends its run on October 23rd. Go to http://www.act-sf.org/.

"Grease" at the Diego Rivera Theatre

2010-04-20T12:09:00.000-07:00

“Grease” Presented by the City College of San Francisco Theatre Arts & Music Departments at City College’s Diego Rivera Theatre. Directed and choreographed by Deborah Shaw with Musical Direction by Michael Shahani. Final performances: April 23, 24 at 8PM, and April 25, at 2PM.

The Theatre Arts & Music Departments of San Francisco’s City College has done it again: crafted a rousing, delightful, musical theatre classic with its current production of “Grease,” a high-school musical set in the 1950s. Originally a staged musical by Jim Jacobs and Warren Casey, with a screenplay by Bronte Woodward, the 1978 film, which starred newcomers John Travolta and Olivia Newton-John, though suffering bad reviews, became a sensation and is now considered a classic.

Director and choreographer Deborah Shaw’s talented cast sang , danced, and acted in front of a simple backdrop of pastel squares partially open to reveal Michael Shahani’s hot, be-boppin’ orchestra consisting of sax, guitar, bass guitar, drums, and piano. The simple adjustable sets: dressing room, cars, soda fountain, cafeteria, Rydell High School steps, were designed by Patrick Toebe.

Gary Richmond plays Danny Zuko, the part made famous by John Travolta. Jenny Veilleux is Sandy Dumbroski (Olivia Newton-John in the film). Betty Rizzo (an excellent, salty Megan Dueck) and her catty side-kicks, the “Pink Ladies,” outfitted in pink satin bomber jackets, are : Frenchy, Marty, and Jan, played by Miquela Sierra, Geneva Holloman, and Jessica Sijan, respectively. Frenchy has the high aspiration to go to beauty school; she drops out of school, but doesn’t make it there, either. In a bright pink wig, she pines for an angel to make everything right. Voila! a Teen Angel (a charismatic Omar Hasrouni), in a white and gold tux, and spectacularly attired Angels appear and sing the hilarious, “Beauty School Dropout.” (Spot-on costumes by Susan Linneman and Jose Leiva.)

Zuko and his bad-boy buddies, the “T-Birds” with slicked-back hair, are appropriately garbed in black leather jackets, T-shirts and jeans. The T-Birds are into petty crimes like stealing hub-caps to sell. Outstanding in the role of T-Bird doofus, Doody, is Isaac Dana, who, in a sparkly silver, sequined jacket, Buddy Holly specs, rocks with guitar and strong vocal, a la Elvis, in “Those Magic Changes.” Also great are Daniel Alper as Kenickie in “Greased Lightnin’,” Doody and Roger (Dana and Aaron Ota) singing and dancing to “Rock’N’ Roll Party Queen.” The kids spoof 1950s’ popular icons like Sandra Dee, Doris Day, Elvis Pressley, and Pat Boone.

Act Two opens with the entire company executing “Shakin’at the High School Hop.” We, in the audience, could hardly stay in our seats, especially when Johnny Casino (agile Larry Pascua) backed by the whole company, takes front stage with “Born to Hand-Jive.” Smarmy Vince Fontaine (Ted Speros) the local, popular DJ, MCs the party and dance contest. He inappropriately makes out with Marty, who equally inappropriately, goes along. This wouldn’t happen today without some character stepping in to moralize and condemn. Zuko can’t get a date (Sandy has a cold and Betty is mad at him), so outsider Cha-Cha Di Gregorio fills in. She is played by Natasha Salehi with all the right stereotypical sexy Latina moves and big hair. This is a harbinger for a rumble like in “West Side Story,” which thankfully never happens. The kids ignore the admonitions of Miss Lynch, the principal, brandishing a yard-long ruler. Miss Lynch is played by a sympathetic - yet tough, gorgeous Karyn King. Lynch shows us her stuff as she boogies with the cast at the hop and finale.

During scene changes Director Shaw keeps us amused by cleverly incorporating audio clips of commercials from the era - - voice-overs and jingles about products like Ajax Cleanser (“See the dirt go down the drain!”) and Chevrolet (“See the USA in your Chevrolet!”)

The story is that new girl Sandy had met Zuko over summer vacation; they connected, but went separate ways. Sandy ends up at Rydell where Zuko is king and tough gal Betty is queen. The girls are a clique; they bully Sandy, who is clueless. Zuko in typical teen cool, hides his feelings for Sandy. Betty is jealous. As in the current popular TV show, “Glee”, you are either a jock or cheerleader, or a brain (science, math, AV/computer nerd techie), or into the arts, drama or music, or a “bad” boy or girl, and these lines are not crossed. If they are, you’re ostracized (imitating real life). Danny, to win Sandy, becomes a jock - - for a while. Sadly, Sandy feels she needs a makeover to win Danny’s heart. She enlists Frenchy’s help. In the final scene, she has loosened her pony-tail, cast off her dirndl skirt, and appears heavily-made up, wearing a tight black outfit and spike heels. She, Danny, and their friends sing “You’re the One I want.”

There is so much competition out there in the world of musical theatre. Regardless, these kids are so talented, they should not give up. Go for it!

The issues plaguing these ‘50s teens are relationships, bullying, gang fights, pregnancy, unsympathetic and distant teachers, and never-seen parents. Not much has changed except for the increase in rape (it wasn’t reported back then, so who knew?), violence exacerbated by drugs, guns in school, and racial issues. Yet with friends, music and dance, somehow, most of us survive. High-school musicals like “Grease” keep the good memories alive.

"Bird Catcher"

2009-10-28T17:13:00.000-07:00

“Bird Catcher” Black Repertory Theatre. Music, book, and lyrics by Margaret Klim. Directed by Sean Scott.

Margaret Klim’s “Bird Catcher,” directed by Sean Scott is a timely, yet uneven, musical comedy. As stated on the program notes, US government’s

NSA and covert intelligence agencies collaborate using artificial intelligence computers, cellular technologies, and tracking satellites to remote neural monitor, use EMF weapons on and track law-abiding citizens by the bioelectric fields.

It should be common knowledge by now that this is not far from the truth. Ever since the Cold War, secret government agencies in cahoots with the Pentagon have been devising ways to track people they consider a threat to US “interests.” Films like “The Manchurian Candidate” and “Enemy of the State” are based on the premise of mind control and electronic surveillance. One of the most effective mind control devices in use today, used against protesters at the recent G-20, WTO, and IMF conferences and meetings, is the “sound cannon” which emits ultra hi-frequency noise that causes protesters to scatter.

“Bird” ’s large cast of twenty-three are well-directed by Scott in that many actors are on the ample Black Repertory Theatre stage at the same time. Raul DeLarosa is outstanding as Supercryptologist. He heads up a NSA unit in charge of spying on and zapping the protesters who are also poets who write protest poems and songs. DeLarosa’s character, in a double-breasted gray suit and the obligatory spy shades, delights in watching his victims writhe under EMF emissions. He laughs, giggles, sings, and dances. His right hand Spy, Mr. Smit (Angela Davenport), and Spy Interns, nos. #l and #2 (Angi Peterson, and Lamar Osborne) in black suits, ties, shades, and fedoras, are sober and serious as they carry out his orders.

One protester, Sara (Rebecca Faiola), is especially vociferous, even after Raul and his team disable her to the point of her having to use a cane. His team bugs her apartment, where the poet/protesters meet, while she is away. The PPs also gather in a café, which, after being electronically zapped, have turned the café into a paean to patriotism. The mike stand is decorated with red, white, and blue feathers, and a woman sings “God Bless America,” as the pleased NSA team lingers ominously in the background. A subplot concerns Essie (Monica Justice) and a former Soviet lover, Dima (Marlon Diedrich), who has gone incognito as the Uncle Sam top hat wearing waiter in the café. Her love song was sung by another woman, accompanied by a pianist, as Justice mimes to it, which was puzzling. However, some soloists are strong (Vocal Coach, Faye Carol, piano accompaniment, Kito Gamble and Marco Casasola), yet others, actors included, obviously need more training as the cast was largely made up community theater volunteers. Nevertheless, for the most part, they believe in their characters’ goal of overcoming “forces burning in techno-political mind control,” a question that was posed on the publicity flyer, and sticks in your mind as the play unfolds. Special mention goes to Antoine Smith as the caged Kwame, Derrick Brock, as the Professor, and Bobby Galyan as a hippie rendered psychotic by the Spies, who seeks psychiatric help.

The play ends with the death of a significant protester caused by a “non-lethal” weapon, and a funeral. An apology is rendered while the Supercryptologist and his main man continue their work. The rest of the PPs vow to continue the fight, and Robin Smith sings a soulful interpretation of author Margaret Klim’s song about truth.

The play could use tightening as it suffers from repetitious dialogue in some areas. Also,the day I went, the wait between scene changes were overlong, one was over two minutes where we sat through a looped tape of the theme from “The Twilight Zone.”

That said, don’t miss the final performance of “Bird Catcher” this Friday, October 30, at & PM. Berkeley Repertory Theatre, 3201 Adeline, Berkeley, CA. BART, Ashby Station, AC Transit, street parking. $21.75 to $12.00. Ticket information at 877-725-8849 or www.ticketalternative.com.

(Disclaimer: The day I attended, the two-hour plus show started almost a half-hour late. I regretted having to leave shortly after intermission as I had to get back to San Francisco.)