This may be the shortest Play Review Ever - - - WOW
-A review of Master Class by Susan Smith
Who was Maria Callas? We meet this passionate, complicated woman at the end of her Opera career when she conducting “Master Classes” at Juilliard in New York City. Her sarcastic wit keeps the audience chuckling with her running commentary on her student’s performances or lack thereof.
She has won and lost fame, but her greatest loss was when the love of her life, Ari Onassis threw her over for Jackie Kennedy. She retells many a story about her time with Ari and he doesn’t come off as a particularly sterling character.
The cast is nothing short of Awesome.
Amy Chankin as Maria has you absolutely believing she is Maria Callas, with all the passion and intensity one would expect from such a flamboyant woman. We’ve seen Amy in many great performances but I think this is truly her finest ever.
For Opera buffs and non-Opera buffs alike, there are three outstanding arias:
Susan Lidstrom as Sophie DePalma sings from La Sonambula about her lover who is about to marry someone else (Shades of Maria’s own life)
Dan Kurek is an amazing Tenor who sings from Tosca where he swears his love to Tosca (words Maria longed to hear from Ari)
Carol Clary sings from Macbeth on her intent to murder the King (treachery Maria can relate to in her own life when Ari leaves her for Jackie)
Greg Richards perfectly fills the role of the grumpy New Yorker stage hand.
Director Steve Wayles has done a masterful job as Director and graciously credits his extremely talented cast for making it all work.
I could have stopped at the first sentence . . . WOW, but you need to go and see for yourself.
-A review of Master Class by Susan Smith
Who was Maria Callas? We meet this passionate, complicated woman at the end of her Opera career when she conducting “Master Classes” at Juilliard in New York City. Her sarcastic wit keeps the audience chuckling with her running commentary on her student’s performances or lack thereof.
She has won and lost fame, but her greatest loss was when the love of her life, Ari Onassis threw her over for Jackie Kennedy. She retells many a story about her time with Ari and he doesn’t come off as a particularly sterling character.
The cast is nothing short of Awesome.
Amy Chankin as Maria has you absolutely believing she is Maria Callas, with all the passion and intensity one would expect from such a flamboyant woman. We’ve seen Amy in many great performances but I think this is truly her finest ever.
For Opera buffs and non-Opera buffs alike, there are three outstanding arias:
Susan Lidstrom as Sophie DePalma sings from La Sonambula about her lover who is about to marry someone else (Shades of Maria’s own life)
Dan Kurek is an amazing Tenor who sings from Tosca where he swears his love to Tosca (words Maria longed to hear from Ari)
Carol Clary sings from Macbeth on her intent to murder the King (treachery Maria can relate to in her own life when Ari leaves her for Jackie)
Greg Richards perfectly fills the role of the grumpy New Yorker stage hand.
Director Steve Wayles has done a masterful job as Director and graciously credits his extremely talented cast for making it all work.
I could have stopped at the first sentence . . . WOW, but you need to go and see for yourself.
What exactly does LOL mean? - A review of Sylvia by Susan Smith
What exactly does LOL mean? Now you can find out for sure. The Rosarito Theater Guild Production of Sylvia will definitely make you - - Laugh Out Loud.
When mid-life crisis Greg brings home a beautiful adoring young blond Sylvia, that he picked up in the park, he is quite naturally concerned about how to bring her together with his wife. Suffice it to say – it does not go well.
Enter stage left – Leslie, a Marriage Counsellor whose therapy is based on his/her being utterly androgynous. Sylvia is always around, loving and adoring Greg and obviously annoying the hell out of Kate. Can this marriage be saved??
You’ll just have to see for yourself at this weekend’s performance of “Sylvia” at the Rosarito Theatre Guild.
By the way did I mention Sylvia is a DOG. LOL
Tickets still available.
What exactly does LOL mean? Now you can find out for sure. The Rosarito Theater Guild Production of Sylvia will definitely make you - - Laugh Out Loud.
When mid-life crisis Greg brings home a beautiful adoring young blond Sylvia, that he picked up in the park, he is quite naturally concerned about how to bring her together with his wife. Suffice it to say – it does not go well.
Enter stage left – Leslie, a Marriage Counsellor whose therapy is based on his/her being utterly androgynous. Sylvia is always around, loving and adoring Greg and obviously annoying the hell out of Kate. Can this marriage be saved??
You’ll just have to see for yourself at this weekend’s performance of “Sylvia” at the Rosarito Theatre Guild.
By the way did I mention Sylvia is a DOG. LOL
Tickets still available.
LOOKING OVER THE PRESIDENT'S SHOULDER - A Review by Tony Bolger
Politics never needed a loss of innocence. But there is a certain strain of old-fashioned values which nostalgically colors this most recent presentation by the Rosarito Theatre Guild. Looking Over the President's Shoulder is not only historical drama, but a penetrating look into the White House head butler, an African-American, and how he coped with life decisions stemming from the dire circumstances of the Great Depression. The story of Alonzo Fields is less about racial justice than it is about an artist's struggle to survive. His dream was to perform in the opera, but the
Depression would dim that hope.
Fields only speaks when spoken to. But his thoughts and insights into a range of issues from the unpredictable Eleanor Roosevelt to World War II are full of wisdom. The butler's inner conflictcis somewhat overshadowed by the behind the scenes revelations of the First Families he attended to. For those intrigued by First Family trivia, Looking Over the President's Shoulder affords fascinating glimpses into the dinner table routines of the Hoover's, Roosevelt's, Truman's and even briefly, the
Eisenhower's.
A one-man show requires an actor who can capture and hold the audience's attention, single-handedly, for several hours. And Dwight Mahabir is more than up to the task. The butler's stellar and conflicted life affords Mr. Mahabir the opportunity to portray his subject with flawless dignity and polished grace. The relaxed nature of his delivery is most appealing. I felt as if he was talking to me alone, revealing his own life story in a one on one, intimate sort of way. His mimicking of the various Presidents and celebrities is masterful. The movement from dialogue to attending to the details of table side etiquette flows smoothly, seeming effortlessly.
Mr. Mahabir, in addition to his early association with the Stella Adler Acting Studio in Manhattan, studied voice with Dino Anagnost, director of the Orpheum Chorale at the Lincoln Center of Performing Arts. His several musical interludes, including Ave Maria, reveal a luxurious, trained voice. His dynamic performance brings to light a character whose quiet, reflective life offers an oasis of calm stability in the often turbulent and always changing times of the White House. This multi-talented actor will hold you enthralled from the bench outside the White House gates to his final day as head butler for First Families over twenty-one years.
The set design and construction, by Greg Richards with David Merino, portray, simply, the pomp and protocol associated with the White House. The special effects of sound and lighting by Antonio Morales and Milo Goehring deserve many kudos. The perfect timing of the lighting, and the powerful impact of radio news recordings, and most importantly, the video/slide presentations such as Roosevelt's funeral procession and Marion Anderson's performance in the East Room all enlighten and enrich the play.
Bringing this all together is no small task. Sylvia Dombrosky and Steve Wayles are to be commended for their "productive" skills. This took special creative genius to allow a complicated script to flow so smoothly.
Alonzo Fields asks the question familiar to most of us: "Have I lived my life wisely?" With characteristic simplicity, he concludes that serving is like music and that this was my art.
Politics never needed a loss of innocence. But there is a certain strain of old-fashioned values which nostalgically colors this most recent presentation by the Rosarito Theatre Guild. Looking Over the President's Shoulder is not only historical drama, but a penetrating look into the White House head butler, an African-American, and how he coped with life decisions stemming from the dire circumstances of the Great Depression. The story of Alonzo Fields is less about racial justice than it is about an artist's struggle to survive. His dream was to perform in the opera, but the
Depression would dim that hope.
Fields only speaks when spoken to. But his thoughts and insights into a range of issues from the unpredictable Eleanor Roosevelt to World War II are full of wisdom. The butler's inner conflictcis somewhat overshadowed by the behind the scenes revelations of the First Families he attended to. For those intrigued by First Family trivia, Looking Over the President's Shoulder affords fascinating glimpses into the dinner table routines of the Hoover's, Roosevelt's, Truman's and even briefly, the
Eisenhower's.
A one-man show requires an actor who can capture and hold the audience's attention, single-handedly, for several hours. And Dwight Mahabir is more than up to the task. The butler's stellar and conflicted life affords Mr. Mahabir the opportunity to portray his subject with flawless dignity and polished grace. The relaxed nature of his delivery is most appealing. I felt as if he was talking to me alone, revealing his own life story in a one on one, intimate sort of way. His mimicking of the various Presidents and celebrities is masterful. The movement from dialogue to attending to the details of table side etiquette flows smoothly, seeming effortlessly.
Mr. Mahabir, in addition to his early association with the Stella Adler Acting Studio in Manhattan, studied voice with Dino Anagnost, director of the Orpheum Chorale at the Lincoln Center of Performing Arts. His several musical interludes, including Ave Maria, reveal a luxurious, trained voice. His dynamic performance brings to light a character whose quiet, reflective life offers an oasis of calm stability in the often turbulent and always changing times of the White House. This multi-talented actor will hold you enthralled from the bench outside the White House gates to his final day as head butler for First Families over twenty-one years.
The set design and construction, by Greg Richards with David Merino, portray, simply, the pomp and protocol associated with the White House. The special effects of sound and lighting by Antonio Morales and Milo Goehring deserve many kudos. The perfect timing of the lighting, and the powerful impact of radio news recordings, and most importantly, the video/slide presentations such as Roosevelt's funeral procession and Marion Anderson's performance in the East Room all enlighten and enrich the play.
Bringing this all together is no small task. Sylvia Dombrosky and Steve Wayles are to be commended for their "productive" skills. This took special creative genius to allow a complicated script to flow so smoothly.
Alonzo Fields asks the question familiar to most of us: "Have I lived my life wisely?" With characteristic simplicity, he concludes that serving is like music and that this was my art.
A BENCH IN THE SUN by Bunny Wingate Tavares
This evening I was invited to watch two old men fight over a beautiful doll. The doll in question was a vintage movie star who sparkled in diamonds and satin while enjoying the attention of these old friends. All three live in a retirement home and the old men, while different in temperament and style, parried in a rhythm of years together, each knowing the other's weaknesses and habits. To say they were funny would be akin to saying the sun always rises in the east, a given.
The crusty accountant taunted and tortured his client, dressed nicely as would befit a gentleman, while being a monumental pest in the funniest way. Watching these two opposites go at it was never predictable and the doll just made the torment better as most dolls do.
Dennis Berman shone like the Eastern Star in his perfectly fitted suit with bow tie in perfect position. His ability to enter the essence of his character from word one brought me completely inside the mind of this romantic. Henry Siegel as the snarky old pal laughed and niggled until I thought his rival for the doll's hand would surely pop him one in the nose. Bev Gammon was the picture of old Hollywood glamour as she floated around the stage, remembering how it was and looking like a million, to entice the old geezers into her web.
These three made me laugh and keep in mind that love knows no age or condition except what’s in your heart. When you see this play, you will most likely take sides, but in the end will fall in love with all three - who have managed to keep alive the youth that emerges when Cupid strikes. We’ve all been there at some time or another, and remembering how it was, or maybe still is, will keep your heart warm and your laugh meter at a ten.
A review in rhyme
by Mavouneen O'Brien
Benches in the Sun was more than just fun.
The script, the acting, the music so right
Propelled us magically into a night
Of laughter and tears.
Is this the ending we would all choose?
Helps to understand our upcoming news.
Sue produced more than a play to enjoy;
Her voice-over tidbits allayed many fears.
Your director who grows (Her name is Cheryl)
And improves each time out. More than a barrel
Of monkeys the actors shone brightly.
Dennis & Henry invoked memries truly
The duo of Bass/Serxner. Bev's jewelry
And costumes enhancing talent so sprightly.
Scenery, props, sound, lighting enhancing;
The the'tre's off'ring made more entrancing.
Exhausted came I; energized I left.
You spurred me beyond my feeling bereft.
Thank you again. This verse is quite done;
Who can't enjoy your Bench in the Sun.
SENIOR FOLLIES By Susan Smith -
I just had the privilege of previewing SENIOR FOLLIES and if, as they say, laughter is the best medicine, prepare to be very healthy for a very long time.
Imagine, if you will, that you didn’t have the foresight to retire in a wonderful place like Rosarito Beach and ended up in. . . . . . The Pleasant Valley Retirement Home. Now sit back and enjoy the antics of an incredible cast of characters, who did end up there.
Mildred & Sarah Jane (aka Miss Marple and Jessica Fletcher) find themselves busy sleuthing out two new arrivals, Lowell and his sister Sybil (or so they call themselves). Bernice and Douglas are also hot on the case (when they are not “hot” in the hot tub). While Lowell is busy charming sweet innocent Iris out of her life savings, Sybil is working on the resident Lothario, Howard, (aka Lech) while he, of course, believes he is successfully seducing her. Throughout it all, the ever patient Mrs.Rivers tries to maintain some sort of order. If it all sounds convoluted, it is. But trust me this incredible cast manages to pull it all together.
At the risk of spoiling the fun – I’ll say no more than “You have to see it for Yourself”
This evening I was invited to watch two old men fight over a beautiful doll. The doll in question was a vintage movie star who sparkled in diamonds and satin while enjoying the attention of these old friends. All three live in a retirement home and the old men, while different in temperament and style, parried in a rhythm of years together, each knowing the other's weaknesses and habits. To say they were funny would be akin to saying the sun always rises in the east, a given.
The crusty accountant taunted and tortured his client, dressed nicely as would befit a gentleman, while being a monumental pest in the funniest way. Watching these two opposites go at it was never predictable and the doll just made the torment better as most dolls do.
Dennis Berman shone like the Eastern Star in his perfectly fitted suit with bow tie in perfect position. His ability to enter the essence of his character from word one brought me completely inside the mind of this romantic. Henry Siegel as the snarky old pal laughed and niggled until I thought his rival for the doll's hand would surely pop him one in the nose. Bev Gammon was the picture of old Hollywood glamour as she floated around the stage, remembering how it was and looking like a million, to entice the old geezers into her web.
These three made me laugh and keep in mind that love knows no age or condition except what’s in your heart. When you see this play, you will most likely take sides, but in the end will fall in love with all three - who have managed to keep alive the youth that emerges when Cupid strikes. We’ve all been there at some time or another, and remembering how it was, or maybe still is, will keep your heart warm and your laugh meter at a ten.
A review in rhyme
by Mavouneen O'Brien
Benches in the Sun was more than just fun.
The script, the acting, the music so right
Propelled us magically into a night
Of laughter and tears.
Is this the ending we would all choose?
Helps to understand our upcoming news.
Sue produced more than a play to enjoy;
Her voice-over tidbits allayed many fears.
Your director who grows (Her name is Cheryl)
And improves each time out. More than a barrel
Of monkeys the actors shone brightly.
Dennis & Henry invoked memries truly
The duo of Bass/Serxner. Bev's jewelry
And costumes enhancing talent so sprightly.
Scenery, props, sound, lighting enhancing;
The the'tre's off'ring made more entrancing.
Exhausted came I; energized I left.
You spurred me beyond my feeling bereft.
Thank you again. This verse is quite done;
Who can't enjoy your Bench in the Sun.
SENIOR FOLLIES By Susan Smith -
I just had the privilege of previewing SENIOR FOLLIES and if, as they say, laughter is the best medicine, prepare to be very healthy for a very long time.
Imagine, if you will, that you didn’t have the foresight to retire in a wonderful place like Rosarito Beach and ended up in. . . . . . The Pleasant Valley Retirement Home. Now sit back and enjoy the antics of an incredible cast of characters, who did end up there.
Mildred & Sarah Jane (aka Miss Marple and Jessica Fletcher) find themselves busy sleuthing out two new arrivals, Lowell and his sister Sybil (or so they call themselves). Bernice and Douglas are also hot on the case (when they are not “hot” in the hot tub). While Lowell is busy charming sweet innocent Iris out of her life savings, Sybil is working on the resident Lothario, Howard, (aka Lech) while he, of course, believes he is successfully seducing her. Throughout it all, the ever patient Mrs.Rivers tries to maintain some sort of order. If it all sounds convoluted, it is. But trust me this incredible cast manages to pull it all together.
At the risk of spoiling the fun – I’ll say no more than “You have to see it for Yourself”
DANCER THE FOOTLOOSE REINDEER
A Revue by
Tony Bolger
In ancient times our ancestors gathered during this coldest and darkest season
to celebrate the approach of the light and the return of warmth. Tonight and for this
weekend only we Baja residents have a golden opportunity to celebrate and enjoy
the wonder of this Christmas/holiday season with the playful reindeer, Dancer, and
a cast of brand new faces for the Rosarito Theatre Guild's holiday production of
Dancer, the Footloose Reindeer whimsically created by Judith Sapperstein and Gary
Murway. This performance marks the world premiere staging of the light-hearted,
musical romp.
We are perhaps more familiar with Rudolph, the red nosed reindeer, the ninth of a
team of Santa's flying deer. A Visit From St. Nicholas, a 19th century poem made
Dancer and his fellow deer popular. We recognize the piece as The Night Before
Christmas.
'More rapid than eagles his coursers they came
And he whistled and shouted and called them by name.
Now Dasher! Now Dancer! Now Prancer and Vixen!
On Comet, On Cupid, On Donder and Blitzen
Dancer is magnificently portrayed by David Cabezud. His alluring voice, playful
antics and powerful facial expressions are superb. With those antlers and paws
a'waggin, he masterfully keeps Santa's workshop an exciting place to be. His
exuberance matches his devilish self-absorption. Such natural talent is magnetic
and endearing.
Tom Golder, who plays Ralph the rigid, grumpy Elf Manager, captures the toughness
of the corporate man, but beneath the steely exterior beats a sensitive heart. In a
brief moment of mild paranoia he checks his fly, which is really funny.
The two elves are magical. Susan Lidstrom (Lenny) and Greg Richards (Steve) are
newly recruited trainee elves. Both are truly gifted singers with powerful, uplifting
voices. They have a number of song and dance routines which tempt the audience
to sing along. The sheer, youthful joy and playful happiness associated with Santa's elves are captured perfectly in their bouncy antics and booming voices.
Lynn Phelps is the wise, warm and kindly Santa Claus. He adeptly seizes the spirit
and aura of Santa we all have imagined since our youth. Just having him seated in his big chair in the shop was reassurance enough that all will be well. And not to forget Mrs.Claus, the petite and perky Jenny J. Stone keeps the cast on their toes with her sometimes off-the-wall Gracie Allen humor. She is a dynamite actress and, obviously, the power behind the throne.
Pablo Martinez Avila provided brilliant accompaniment on the keyboard which masterfully kept the entire show in sync and flowing. The set design is a veritable, visual delight. Gigantic, towering rows of teddy bears and toys flank three sides of Santa's toy factory.These giant murals provide a festive kaleidoscope of colorful energy and pure fun. Sylvia Dombrosky, assistant director, spearheaded this magnificent effort. The rest of the stage is filled with toys, some in production.
And an award goes out to Bonnie Watt for the crafty and clever costume design. The elves are perfect in their bright playsuits. And Dancer hops about the set in a delightful, cartoonish costume. His face is expertly made up by Claudia Quero. And all are invited to bring a toy to decorate Santa's workshop. These will be donated to Sr. Clare's annual Toy Drive for our needy children.
Last but not least, congratulations and plaudits to Steve Wayles, the director. His knowledge and expertise in music and his long involvement in dramatic productions served him well in tackling this brand new musical production As the world premiere of Dancer The Footloose Reindeer opens tonight Friday, December 6th, we in Rosarito have much to celebrate and a great deal for which to be grateful. Steve's directorial debut for the RTG is a memorable, remarkable achievement.
The story line is cute, and silly, and sweet. The cast is joyful and uplifting. The songs are simple, catchy tunes with a thoughtful message. For instance in "That's Why He's Santa And We're Not" the cast sings, 'Here in a twinkle, gone in a flash. He's full of giving -- It's just his way.'
In the closing scene, 'Dancer's Lament' that he won't be included in this year's Christmas run is particularly touching. Have you ever thought "I'm All Up A Tree About Christmas?" This is a fun-filled, joyous production for the entire family. 'What can I tell ya? It's a gift!'
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
A Revue by
Tony Bolger
In ancient times our ancestors gathered during this coldest and darkest season
to celebrate the approach of the light and the return of warmth. Tonight and for this
weekend only we Baja residents have a golden opportunity to celebrate and enjoy
the wonder of this Christmas/holiday season with the playful reindeer, Dancer, and
a cast of brand new faces for the Rosarito Theatre Guild's holiday production of
Dancer, the Footloose Reindeer whimsically created by Judith Sapperstein and Gary
Murway. This performance marks the world premiere staging of the light-hearted,
musical romp.
We are perhaps more familiar with Rudolph, the red nosed reindeer, the ninth of a
team of Santa's flying deer. A Visit From St. Nicholas, a 19th century poem made
Dancer and his fellow deer popular. We recognize the piece as The Night Before
Christmas.
'More rapid than eagles his coursers they came
And he whistled and shouted and called them by name.
Now Dasher! Now Dancer! Now Prancer and Vixen!
On Comet, On Cupid, On Donder and Blitzen
Dancer is magnificently portrayed by David Cabezud. His alluring voice, playful
antics and powerful facial expressions are superb. With those antlers and paws
a'waggin, he masterfully keeps Santa's workshop an exciting place to be. His
exuberance matches his devilish self-absorption. Such natural talent is magnetic
and endearing.
Tom Golder, who plays Ralph the rigid, grumpy Elf Manager, captures the toughness
of the corporate man, but beneath the steely exterior beats a sensitive heart. In a
brief moment of mild paranoia he checks his fly, which is really funny.
The two elves are magical. Susan Lidstrom (Lenny) and Greg Richards (Steve) are
newly recruited trainee elves. Both are truly gifted singers with powerful, uplifting
voices. They have a number of song and dance routines which tempt the audience
to sing along. The sheer, youthful joy and playful happiness associated with Santa's elves are captured perfectly in their bouncy antics and booming voices.
Lynn Phelps is the wise, warm and kindly Santa Claus. He adeptly seizes the spirit
and aura of Santa we all have imagined since our youth. Just having him seated in his big chair in the shop was reassurance enough that all will be well. And not to forget Mrs.Claus, the petite and perky Jenny J. Stone keeps the cast on their toes with her sometimes off-the-wall Gracie Allen humor. She is a dynamite actress and, obviously, the power behind the throne.
Pablo Martinez Avila provided brilliant accompaniment on the keyboard which masterfully kept the entire show in sync and flowing. The set design is a veritable, visual delight. Gigantic, towering rows of teddy bears and toys flank three sides of Santa's toy factory.These giant murals provide a festive kaleidoscope of colorful energy and pure fun. Sylvia Dombrosky, assistant director, spearheaded this magnificent effort. The rest of the stage is filled with toys, some in production.
And an award goes out to Bonnie Watt for the crafty and clever costume design. The elves are perfect in their bright playsuits. And Dancer hops about the set in a delightful, cartoonish costume. His face is expertly made up by Claudia Quero. And all are invited to bring a toy to decorate Santa's workshop. These will be donated to Sr. Clare's annual Toy Drive for our needy children.
Last but not least, congratulations and plaudits to Steve Wayles, the director. His knowledge and expertise in music and his long involvement in dramatic productions served him well in tackling this brand new musical production As the world premiere of Dancer The Footloose Reindeer opens tonight Friday, December 6th, we in Rosarito have much to celebrate and a great deal for which to be grateful. Steve's directorial debut for the RTG is a memorable, remarkable achievement.
The story line is cute, and silly, and sweet. The cast is joyful and uplifting. The songs are simple, catchy tunes with a thoughtful message. For instance in "That's Why He's Santa And We're Not" the cast sings, 'Here in a twinkle, gone in a flash. He's full of giving -- It's just his way.'
In the closing scene, 'Dancer's Lament' that he won't be included in this year's Christmas run is particularly touching. Have you ever thought "I'm All Up A Tree About Christmas?" This is a fun-filled, joyous production for the entire family. 'What can I tell ya? It's a gift!'
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
GOD of CARNAGE - A Review by Tony Bolger
What an evening! The neighbors arrive. Polite talk ensues. Coffee and klafouti are enjoyed. But such classy refinement swiftly gives way to verbal scorn, unbridled assault, and a surprising variety of unacceptable behaviors.
Yazmina Reza's comedy is a shadowy domestic farce which insinuates that vampire-like characters roam Brooklyn's streets as educated, responsible members of the bourgeoisie.
The two urban couples are brought together to civilly resolve an altercation involving their eleven year old sons in a Cobble Hill neighborhood park. The quartet -- affluent, properly educated and progressive -- are just the type that European playwrights love to hate. In other words, no way will these eccentric characters ever be solid role models for their sons.
The fiasco takes place in a high-end Brooklyn loft; the kind creative types crave, but only the wealthy can afford. The set design by George Murphy with invaluable support from David Merino and Darlene Chrisman is clean and understated. The front apron of the stage is cleverly utilized as a type of galleria or great room leading to the living room. Just two end tables bearing bursting bouquets of tulips frame the luxurious open space. But beware: this lovely home is about to morph into a war zone. A donated original painting in acrylic on canvas aptly entitled "Chaos" by Ken Watt will be available for bidding, proceeds to go to the various RTG projects.
Veronica, (IRKA DAVIS) who is obsessed with all things African, engineers this diplomatic conference between the boys' parents. She captures the would be self-confident, pretentiously intellectual, proud author with keen wit and a good dose of slapstick. Her descent from the high and mighty into the rum-soaked messiness of humanity is craftily portrayed.
Michael, (GEORGE MURPHY, who also directs), is a supplier of domestic hardware and the spouse of Veronica. His masterful ability to erupt in fiery bursts of temper and rage is as reliable as a Hawaiian volcano. He convincingly defends cruelty to a hamster and carefully holds a blow dryer to sullied art books. His dismissive, self-absorbed treatment of his own mother smashes the boundaries of mere civility. The passive, uncouth side of Michael is aptly exposed.
Alan, (CRAIG SCHAEFER) is a lawyer who continually chats away on his cell phone with big pharma clients. He has little time or patience for this seeming 'parent trap'. For him, a fat check would be simpler, quicker. He has such a convincing way of uncovering everyone else's masks of pure motives and good-heartedness, but struggles to confront his own narrow-minded selfishness. This is another brilliant performance by Craig who also serves as artistic director for the RTG.
Annette (AMY CHANKIN) is supposedly in "wealth management". Projecting an image of self-satisfied self-righteousness, Annette prances about the stage as would-be Brooklyn royalty, unaware that nausea stalks her. The narcissistic princess ultimately succumbs to her pent-up rage at her spouse. It is a speedy downward spiral from loyal wife to savage terrorist targeting Alan's ever ringing cell phone. Amy's facial expressions and glances are all events in themselves.
The author, Reza, demonstrates a keen comedic understanding of middle class values and the pomposity that often accompanies them. "God of Carnage" affords us the cathartic release of witnessing other people's marriages go bust. The play received the Olivier Award in London for best new comedy, and a Tony for best play on Broadway. This savvy and deliciously caustic work begins with the characters regarding their spouses as guaranteed teammates. And it ends with all of them recognizing they are on their own.
The great joy and pleasure in this production is the manner in which each of these four accomplished actors digs deeply into their respective roles. The lively timing and unbroken flow of the dialogue is flawless. This RTG effort is truly a professional affair.
Amid all the angst, hype and disillusionment in the air with a near government shutdown and debt crisis, there is a type of guilty pleasure in watching this acid-laced dismantling of smug self-absorption in God of Carnage. Treat yourself to a bunch of gut wrenching laughs and a bit of provocative social commentary. And watch out for the tulips!
What an evening! The neighbors arrive. Polite talk ensues. Coffee and klafouti are enjoyed. But such classy refinement swiftly gives way to verbal scorn, unbridled assault, and a surprising variety of unacceptable behaviors.
Yazmina Reza's comedy is a shadowy domestic farce which insinuates that vampire-like characters roam Brooklyn's streets as educated, responsible members of the bourgeoisie.
The two urban couples are brought together to civilly resolve an altercation involving their eleven year old sons in a Cobble Hill neighborhood park. The quartet -- affluent, properly educated and progressive -- are just the type that European playwrights love to hate. In other words, no way will these eccentric characters ever be solid role models for their sons.
The fiasco takes place in a high-end Brooklyn loft; the kind creative types crave, but only the wealthy can afford. The set design by George Murphy with invaluable support from David Merino and Darlene Chrisman is clean and understated. The front apron of the stage is cleverly utilized as a type of galleria or great room leading to the living room. Just two end tables bearing bursting bouquets of tulips frame the luxurious open space. But beware: this lovely home is about to morph into a war zone. A donated original painting in acrylic on canvas aptly entitled "Chaos" by Ken Watt will be available for bidding, proceeds to go to the various RTG projects.
Veronica, (IRKA DAVIS) who is obsessed with all things African, engineers this diplomatic conference between the boys' parents. She captures the would be self-confident, pretentiously intellectual, proud author with keen wit and a good dose of slapstick. Her descent from the high and mighty into the rum-soaked messiness of humanity is craftily portrayed.
Michael, (GEORGE MURPHY, who also directs), is a supplier of domestic hardware and the spouse of Veronica. His masterful ability to erupt in fiery bursts of temper and rage is as reliable as a Hawaiian volcano. He convincingly defends cruelty to a hamster and carefully holds a blow dryer to sullied art books. His dismissive, self-absorbed treatment of his own mother smashes the boundaries of mere civility. The passive, uncouth side of Michael is aptly exposed.
Alan, (CRAIG SCHAEFER) is a lawyer who continually chats away on his cell phone with big pharma clients. He has little time or patience for this seeming 'parent trap'. For him, a fat check would be simpler, quicker. He has such a convincing way of uncovering everyone else's masks of pure motives and good-heartedness, but struggles to confront his own narrow-minded selfishness. This is another brilliant performance by Craig who also serves as artistic director for the RTG.
Annette (AMY CHANKIN) is supposedly in "wealth management". Projecting an image of self-satisfied self-righteousness, Annette prances about the stage as would-be Brooklyn royalty, unaware that nausea stalks her. The narcissistic princess ultimately succumbs to her pent-up rage at her spouse. It is a speedy downward spiral from loyal wife to savage terrorist targeting Alan's ever ringing cell phone. Amy's facial expressions and glances are all events in themselves.
The author, Reza, demonstrates a keen comedic understanding of middle class values and the pomposity that often accompanies them. "God of Carnage" affords us the cathartic release of witnessing other people's marriages go bust. The play received the Olivier Award in London for best new comedy, and a Tony for best play on Broadway. This savvy and deliciously caustic work begins with the characters regarding their spouses as guaranteed teammates. And it ends with all of them recognizing they are on their own.
The great joy and pleasure in this production is the manner in which each of these four accomplished actors digs deeply into their respective roles. The lively timing and unbroken flow of the dialogue is flawless. This RTG effort is truly a professional affair.
Amid all the angst, hype and disillusionment in the air with a near government shutdown and debt crisis, there is a type of guilty pleasure in watching this acid-laced dismantling of smug self-absorption in God of Carnage. Treat yourself to a bunch of gut wrenching laughs and a bit of provocative social commentary. And watch out for the tulips!
Deathtrap - A review by Tony Bolger, photos by Ron Sharpe
Ira Levin's well known and dizzy comic thriller, Deathtrap, has three more performances this Friday, Saturday and Sunday at the Rosarito Guild's Theatre in downtown Rosarito. It's about an older playwright and a younger playwright, and a
play in the process of writing itself. A classic of repertory theatre, Deathtrap holds the record for the longest running comedy thriller on Broadway.
Tom Golder plays Sidney Bruhl, the elder playwright -- a demanding role. To make Sidney's writing slump all the more painful, Clifford (Michael Stone), one of his students, has written the perfect suspense play. A desperate desire to reclaim his Broadway success along with his anxious wife Myra's (Susan Shea) financial worries results in an implausibly concocted scheme.
Once Clifford arrives at the rural Connecticut colonial home, their plot thickens and a series of clever twists and turns provide thrills and laughter. One of the delightful surprises is the unexpected visit of a neighbor, the eccentric Scandinavian psychic, Helga ten Dorp (Amy Chankin) who also debuts as the director. Her masterful accent brings to mind the incredible Meryl Streep. David Merino plays a smooth talking lawyer, Porter Milgrim.
The plot must be left to unfold on its own, since surprise is the essence of a play like Deathtrap. The set of a grand colonial study was artfully constructed with an impressive display of Bruhl's antique weapons collection.
For homicidal twists and comic, unexpected turns, see Deathtrap.
play in the process of writing itself. A classic of repertory theatre, Deathtrap holds the record for the longest running comedy thriller on Broadway.
Tom Golder plays Sidney Bruhl, the elder playwright -- a demanding role. To make Sidney's writing slump all the more painful, Clifford (Michael Stone), one of his students, has written the perfect suspense play. A desperate desire to reclaim his Broadway success along with his anxious wife Myra's (Susan Shea) financial worries results in an implausibly concocted scheme.
Once Clifford arrives at the rural Connecticut colonial home, their plot thickens and a series of clever twists and turns provide thrills and laughter. One of the delightful surprises is the unexpected visit of a neighbor, the eccentric Scandinavian psychic, Helga ten Dorp (Amy Chankin) who also debuts as the director. Her masterful accent brings to mind the incredible Meryl Streep. David Merino plays a smooth talking lawyer, Porter Milgrim.
The plot must be left to unfold on its own, since surprise is the essence of a play like Deathtrap. The set of a grand colonial study was artfully constructed with an impressive display of Bruhl's antique weapons collection.
For homicidal twists and comic, unexpected turns, see Deathtrap.
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“WHO DUN’ IT” AT THE ROSARITO THEATER GUILD A review by Bunny Wingate Tavares
I can’t imagine what went through Ira Levin’s mind when he conceived the idea for DEATHTRAP. As a writer myself, I understand the inner workings of imagination when putting pen to paper. This play goes the absolute limit for twists and turns that not only push your mind to the outer edges of fear, but also fun and giggles. His characters, played brilliantly by the Guild’s oh-so-talented actors, will give the audience clues that produce other clues and then vanish into thin air only to appear later as you try to figure out “Who Dun It”.
Susan Shea lights up the stage as Myra Bruhl. Her dramatic presence has bolts of lightning sparking the theater. She runs the gamut of emotions with her husband Sydney Bruhl, a famous Broadway playwright played dynamically by Tom Golder, as they plan a meeting in their home with an up-and-coming playwright, Clifford Anderson. Clifford, played very convincingly by Michael Stone, takes us on a wild ride not to be forgotten. Amy Chankin wears two hats as both director and actor and wows with her loopy and snoopy psychic, Helga ten Dorp. David Merino, a veteran RTG actor, gives his usual brilliant performance as Porter Milgrim.
If you have never seen this play before, you’re in for a fabulous night of who dun it mystery. If you know the story, no matter, these actors add another dimension to Deathtrap making it fresh and exciting for a second go ‘round. Don’t miss this one.
If you’re not a regular play goer at the RTG, you might consider attending a performance or two or becoming an RTG Angel (which gives you many perks). Become part of this amazing family. I did last year and never looked back.
Susan Shea lights up the stage as Myra Bruhl. Her dramatic presence has bolts of lightning sparking the theater. She runs the gamut of emotions with her husband Sydney Bruhl, a famous Broadway playwright played dynamically by Tom Golder, as they plan a meeting in their home with an up-and-coming playwright, Clifford Anderson. Clifford, played very convincingly by Michael Stone, takes us on a wild ride not to be forgotten. Amy Chankin wears two hats as both director and actor and wows with her loopy and snoopy psychic, Helga ten Dorp. David Merino, a veteran RTG actor, gives his usual brilliant performance as Porter Milgrim.
If you have never seen this play before, you’re in for a fabulous night of who dun it mystery. If you know the story, no matter, these actors add another dimension to Deathtrap making it fresh and exciting for a second go ‘round. Don’t miss this one.
If you’re not a regular play goer at the RTG, you might consider attending a performance or two or becoming an RTG Angel (which gives you many perks). Become part of this amazing family. I did last year and never looked back.
Miracle in the Bronx, a review by Anne Hines
Miracle in the Bronx, a semi-autobiographical play written by Bunny Wingate, directed by Paulette Crain and Pat Farrell, is set in the Bronx in the '40s & 50s. The play opens in a hospital room in New York City, with two couples standing over the crib of a female infant, trying to make a decision who should adopt the baby, while the biological mother stands disdainfully by, showing only interest in her own agenda.
Russian immigrants, Rose and Sam Scher, subsequently bring the baby home to raise as their own. Played by Amy Chankin and Dave Merino, complete with very believable Russian accents, they take you through the heartbreak of Rose's inability to love, and Sam's devotion to baby Bunny. Susan Shea is perfectly cast as Rose's flighty but kind best friend Gussie, with Des Crain playing the part of her long suffering husband Harry. Rosarito's own talented actress Ashley Shepard plays the teenage Bunny, rebellious against Rose's snobbery, and whose goal in life is to become a veterinarian. Local actor Jay Arias plays a teenager working for Sam, and Lynn Phelps convinces us that there really is a Santa Claus. New Orleans beauty Paulette Crain is almost unrecognizable in the role of Lucille Fein, Bunny's birth mother in later years. It is a heartwarming Christmas story you won't want to miss.
Russian immigrants, Rose and Sam Scher, subsequently bring the baby home to raise as their own. Played by Amy Chankin and Dave Merino, complete with very believable Russian accents, they take you through the heartbreak of Rose's inability to love, and Sam's devotion to baby Bunny. Susan Shea is perfectly cast as Rose's flighty but kind best friend Gussie, with Des Crain playing the part of her long suffering husband Harry. Rosarito's own talented actress Ashley Shepard plays the teenage Bunny, rebellious against Rose's snobbery, and whose goal in life is to become a veterinarian. Local actor Jay Arias plays a teenager working for Sam, and Lynn Phelps convinces us that there really is a Santa Claus. New Orleans beauty Paulette Crain is almost unrecognizable in the role of Lucille Fein, Bunny's birth mother in later years. It is a heartwarming Christmas story you won't want to miss.
"Spellbinding first act... Tennesee Williams [comes] to life in the second act's one man show"
Book early to catch AN EVENING OF TENNESSEE WILLIAMS at the Rosarito Theater Guild. It will be playing this weekend only: August 31, September 1st and 2nd. I caught a rehearsal of the first act which includes scenes from Tennessee Williams greatest plays. It was thrilling. I remember the movie versions so well with Elizabeth Taylor, Katharine Hepburn, Vivien Leigh, Paul Newman, Burl Ives, Ava Gardner, Deborah Kerr and Richard Burton. Perfect casting to see Paulette Crain as Blanche DuBois in A Streetcar Named Desire, Amy Chankin as Maggie the Cat and Tom Golder as Big Daddy in Cat on A Hot Tin Roof, Bev Gammon as Mrs. Venable in Suddenly Last Summer, Susan Shea as Hannah Jelkes in The Night of the Iguana, and JoAnn Mariano and Adriana Giletta in The Glass Menagerie. Artistic Director, Craig Schaefer, is the narrator who skillfully weaves this cavalcade of scenes together and plays five different characters himself, for a spellbinding first act. For Act Two, William Shuman is flying in from New York City and will be performing his acclaimed one man show, En Avant. Mr. Shuman brings Tennessee Williams to life with his wit and insight and interacts with the audience as well. En Avant has captivated audiences in NYC and Florida. The West Coast premiere is here at the RTG. Don’t miss this one. One weekend only. -- Irene O’Brien
Good seats are still available for Saturday at 2pm and 7pm and the final performance is Sunday at 2pm. The theater has parking attendants out front to help you park. The theater is in the back of the historic Cine Rio, located in the center of Rosarito behind the Comex paint store. 76 Avenida Benito Juarez, one block south of Elektra. For tickets
Good seats are still available for Saturday at 2pm and 7pm and the final performance is Sunday at 2pm. The theater has parking attendants out front to help you park. The theater is in the back of the historic Cine Rio, located in the center of Rosarito behind the Comex paint store. 76 Avenida Benito Juarez, one block south of Elektra. For tickets
Mavourneen O’Brien on Driving Miss Daisy (excerpts)---
March 9th, 2012, initiated the intrinsic renaissance of the Rosarito Theatre Guild. From its inception in the very early 1990's the Guild has been pursuing a venue to call its very own and a vehicle to celebrate that fact. In both instances no one who attended the opening night performance of Driving Miss Daisy was disappointed. The theatre, lovingly, painstakingly, laboriously renovated from the old Rosarito Cine boasted timely new state-of-the-art stage lighting.
The balmy evening, welcome friendly assistance of the RTG's valets, gracious refreshment center, all prepared the audience for an exciting evening of local theatre...
What better homecoming for our beloved Renee Dorret, wife of the theatre's founder and a past President herself, who found Vic's portrait, executed by Ron Sharpe, part of the stage setting. Accompanied by Connie Wright, also a Past President, Renee was many times moved to tears, as she witnessed a culmination of their original dream. Mardi Hallett herself recalled that her first performance for RTG as Mme Arcati in 1995's Blithe Spirit, was Vic's final one as director before his untimely passing away.
Who better to epitomize the 2012 season than our RTG icon, Mardi Hallett, who, in my humble opinion, equals and in some instances outshines, Jessica Tandy. ...Hallett infuses the character with her UNCANNY ability to BE Daisy. Who else could go from contemptuous outrage, to pensiveness, to fright, to the recognition of terrible loneliness in just a few seconds without a word being spoken. ...
When, at last, Hoke, portrayed so believably, without an ounce of fatuousness, by Oswell Melton, .... sits down on the sofa next to his employer, the acceptance of the move by both actors is totally believable. His body language throughout the play could have degenerated into the Uncle Tomism seen in many theatrical vehicles of the times, but it never did. Not once. His coming-of-age "making water" scene bespoke many hours of rehearsal and a NATURAL character concept. ...
Gary Craig, whose directorial skills were delineated in all aspects of the play, even in such minute touches as the second bite of pie at the closing, or the backwards look Daisy gives Hoke before entering the King banquet, became a Booley without the unctuousness that could have spoiled his characterization. His sartorial dress of the different decades was true to form. ....
With obvious affection and a complete sense of joy, the three actors play off each other, moving into a growing intimacy within the confines of class and race that characterized those decades.
Patrick Farrell and David Merino's set was designed in such a way that the action could move seamlessly, effortlessly from one scene to the next, whether outdoors at the cemetery, Booley's office or home, the marvelous car, and the principal setting for Miss Daisy's living room.
RTG Pres/Producer/AD/backstage guru, Sylvia Dombrosky, worked small miracles of production. Gary Craig said it all in his program notes. Even in the darkened arena, her almost-unnoticed assistance of Miss Daisy offstage, could be glimpsed lovingly respectful.
Irene O'Brien's handling of lighting techniques enhanced the action of the play which stretched across many decades.
Kudos to all involved, including Antonio Morales for Sound and as an Orderly, the entire BOD and the many volunteers, whose assistance made this one of the most memorable production in our sometimes-checkered history.
LOVE, LOSS AND WHAT I WORE Excerpts from a review by Tony Bolger
The Rosarito Theatre Guild has found a NEW home. And what a hidden treasure. Just south of Elektra on Benito Juarez Boulevard in Rosarito stands the old Cinema which is now fronted by a Comex center. Just follow the Yellow Brick Road from the sidewalk back to the side entrance. Along the way, don't miss the joyfully colored murals depicting various moments from the stage created by Michael Rosiles and his students. The spacious, renovated venue has a twenty-five foot ceiling and wall warmed by red fabric. The seventy seats are theatre-style and comfortable.
The stage is wonderfully spacious ... Particularly desirable is the massive depth of the stage with an inviting additional section which extends right into the audience. This is thanks to the handy work of Patrick Farrell and David Merino. The strikingly effective lighting transformed the entire theatre into a magical stage-set feeling.
This 'Broadway' glow was produced by Gary Craig the RTG's artistic director and director of this production. The stage set is sheer simplicity -- a colorless piece of fabric -- with clever lighting effects can become ice or be transformed into evergreens in Alpine snow.
Love, Loss And What I Wore by Nora Ephron and Delia Ephron is an adaptation of the book by Illene Beckerman. The show is an entertaining monologue-athon which emphasizes it's not clothes that make the women. It's the clothes that make the women talk. The show is all about matters of the heart and matters of the closet It's basically a collection of stories about disastrous prom dresses, purses, training bras, high heels and short skirts...and the existential dilemma of "having nothing to wear."
The play is a funny spot check of a woman's wardrobe as an indicator of her moral, psychological and emotional condition.The five women express this condition in myriad ways as they read from stands on center stage the gentle reminisces of Ms. Beckermann's roller-coaster musings from a joyful lesbian wedding to a challenging post-mastectomy bra. Behind these tragic-comic stories are the disapproving, scolding mothers, disappearing men, the supporting or competing sisters and the delightfully unpredictable grand mothers.
This is legit(imate) "chick" theatre, but also an enjoyable light and laughable time for the gents. During the after-show conversation, Sylvia Drombrosky mentioned how the cast got a kick out of the lines that drew the male laughter. Like, it's not just clean panties, but clean under shorts in case of an auto accident, right?
The rotating cast of five: Amy Chankin, Sylvia Dombrosky, Bev Gammon, Ana Merino, and Susan Shea all gave balanced, in sync and convincing performances in this on-going flow of memories prompted by what they wore. Their stage presence and relaxed sense of comfort and ease enhanced the sense of really being invited into their experience. Dr. Janice Patten reproduced the illustrations for this production with her own unique, sensitive touch. And Irene O'Brien served as the blithe spirit who presented and removed these pictures throughout the production.
As directed by Gary Craig, the lady performers strike their comic marks with precision and clarity. They enhance the more sensitive and sometimes shadowy messages with the perfect measure of simpatico. The gamut of life's issues are thrust before our eyes: life, death, marriage, divorce (and remarriage, etc.), sickness, unrequited love, rejection, hate, fear and remorse...and tender loyalty and patient endurance. From cowboy boots to the perfect shirt, underneath the material layers hide unhappiness and unfulfilled hopes and dreams.
Especially humorous was the defiant denunciation of the purse and the inability to keep it organized and hygienic. There is some symbol of the self in the massive, darkened chaos. And who among us hasn't at one time or another uttered "I haven't a thing to wear"?
