Hillbarn stages timely, scary 'Daisy'

 

Clifford (Terrance Austin Smith, left), Tony (Michael Champlin) and Louise (Roneet Aliza Rahamim) confer about the LBJ ad. (Tracy Martin photo)

The events in Sean Devine’s “Daisy” happened some six decades ago, but the play presented by Hillbarn Theatre & Conservatory is timely and scary.

The title refers to an ad that ran once in 1964, when President Lyndon Johnson was running against conservative Republican Barry Goldwater of Arizona.

It shows a little girl counting the petals she removes from the daisy she holds. As she counts up from one, a male voice begins counting down from 10. When he reaches one, there’s a nuclear explosion.

It ends with the male voice saying, “The stakes are too high. Vote for President Johnson on Nov. 3.”

Although the ad was pulled immediately, it set the stage for negative presidential campaigns through 2024.

The action focuses on three writers for the Doyle Dane Bernbach ad agency. Their boss, Bill Bernbach (Glenn Havlan), has assigned them to create the TV ad campaign for Johnson.

As required by Clifford Lewis (Terrance Austin Smith), White House special counsel, they all must be Democrats.

A major player for them is Tony Schwartz (Michael Champlin), a sound theorist who records sounds of all kinds and files them in his basement studio. He’s brilliant, but he’s also agoraphobic, so he doesn’t want to venture any farther than four blocks from his home or be any higher than four stories up.

Perhaps the central character is Louise Brown (Roneet Aliza Rahamim), the only woman on the ad team. She embodies some of the moral dilemmas posed by running the ad.

Her two colleagues, Aaron Ehrlich (Keenan Murphy Flagg) and Sid Myers (George Psarras), get into sometimes heated discussions with her.

The acting is topnotch all around, with kudos especially going to Champlin as Tony, Smith as Clifford and Havlan as Bill.

Although the play is talky, director Jeffrey Bracco deftly guides his cast and keeps the action flowing smoothly.

He’s aided by Hillbarn artistic director Steve Muterspaugh’s set, which depicts Tony’s studio on one side, the ad agency office in the center and Clifford’s White House office on the other side.

He also is responsible for the projections featuring newsreel footage from the time: the beginnings of the Vietnam War, racial unrest and political events, among others.

Also instrumental in the production are the costumes by Lyre Alston, sound by Jeff Mockus and lighting by Pamila Gray.

Running about two hours and 15 minutes with an intermission, the timely “Daisy” will run only through Feb. 9 at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City.

For tickets and information, call (650) 349-6411. Ext. 2, or visit www.hillbarntheatre.org.

 

PA Players stages farce, 'Noises Off'

Kimberly Mohne Hill as Dotty in the opening scene. (Photo by Scott Lasky)

 

Presented by Palo Alto Players, Michael Frayn’s “Noises Off” looks at a third-rate English theater company rehearsing and then staging the world premiere of “Nothing On.”

The three-act farce starts with the final dress rehearsal. The second act takes place backstage during a performance about a month after the opening. The final act shows a performance from the audience’s perspective.

Each act gets progressively more frantic as the performers’ nerves are frayed and lines are botched. Jealousies emerge, as do outright efforts to sabotage the show.

As the show opens, Lloyd (Kyle Dayrit), the director, is trying to oversee Dotty (Kimberly Mohne Hill), the housekeeper of an English country home, as she deals with a telephone, newspaper and sardines (which figure into the action throughout the play), but she keeps botching her scene.

After she exits, lovers Garry (Brandon Silberstein) and the dense Brooke (Adriana Hokk) arrive for a tryst

While they’re checking out a bedroom, the home’s owners, Frederick (William Rhea) and Belinda (Michelle Skinner) unexpectedly return from Spain.

Also involved in the action are the stage managers, Poppy (Sierra Bolar) and Tim (Braden Taylor), and another actor, Selsdon (David Boyll), who plays a burglar.

As directed by Linda Piccone, each cast member creates an idiosyncratic character.

Noteworthy among them is Skinner as Belinda, who develops into a peacemaker, and Boyll as Selsdon, who has a fondness for drinking.

However, the performers’ English accents and Gregorio Perez’s low-volume sound design obscure some lines and plot developments.

Otherwise, the show benefits from Camryn Lang’s set design with its seven doors to be slammed, so essential in a farce.

Also beneficial are Katie Strawn’s costumes, Rue Zadik’s lighting and Katie O’Bryon Champlin’s coordination of fights and stunts.

The show runs about two and a half hours with one 15-minute intermission followed by a 10-minute pause. It continues through Feb. 2 at the Lucie Stern Theater, 1305 Middlefield Road, Palo Alto.

For tickets and information, call (650) 329-0891 or visit www.paplayers.org.

 

Felder returns to TheatreWorks as Rachmaninoff

 

Jonathan Silvestri (left) plays the tsar. Hershey Felder is Rachmaninoff. (Stefano DeCarli photo)

Over the years, pianist-playwright Hershey Felder has delighted TheatreWorks Silicon Valley audiences with his one-man musical plays about composers like Gershwin, Berlin, Chopin, Beethoven and others.

He has returned with his latest creation, “Rachmaninoff and the Tsar,” in a new format: He’s joined by another performer, Jonathan Silvestri, who plays Russian Tsar Nicholas Romanov II.

This play begins in Beverly Hills in 1943, where Sergei Rachmaninoff, the Russian composer-pianist, has settled after fleeing Russia following the Bolshevik uprising in 1918. He’s now 70 years old and terminally ill. Because he’s in so much pain, he receives twice-daily morphine injections.

Under the drug’s influence, he harks back to his early life and education in Russia followed by travels with his wife.

He harbors deep ill will toward the tsar, blaming him for the problems and cruel oppression that led to the uprising.

A central theme involves the tsar’s daughter Anastasia, who might or might not have survived the firing squad that killed him and the rest of his family.

It’s all fascinating, but some of the story line is lost because of the Russian accents used by both performers.

Directed by Trevor Hay, the production is highlighted by Felder’s acting and his virtuosic performances of some of Rachmaninoff’s best known piano concertos.

On the other hand, Silvestri seems stiff, especially since he doesn’t always have much to do. I’m wondering if he was suffering from some disposition because he sounded hoarse during the Jan. 15 performance.

Production values are high with the garden set by Felder and costumes by Marysol M. Gabriel. Lighting by Erik S. Barry seemed to have some glitches as lights sometimes flickered against the house in the background.

This is reportedly Felder’s last show of its kind.

It will continue through Feb. 9 at the Mountain View Center for the Performing Arts, 500 Castro St., Mountain View.

For tickets and information, call (877) 662-8978 or visit www.theatreworks.org.

 

 

 

 

 

Hillbarn's 'Anastasia' a holiday gift

 

Anya (Jillian Smith) and Dmitry (Brad Satterwhite) wonder if she's Anastasia. (Hillbarn photo)

“Anastasia” isn’t billed as a holiday show per se, but the production by Hillbarn Theatre & Conservatory is truly a gift to its audiences.

This musical shifts from St. Petersburg, Russia, to Paris in the days and years following the Russian Revolution in 1917.

Its central character is Anya (Jillian Smith), a young Russian woman who’s not sure who she is, but she wants to find out.

She teams up with Dmitry (Brad Satterwhite) and Vlad (Alex Hsu) after rumors that one of Tsar Nicholas II’s daughters might have evaded the firing squad that killed him and his family in 1918.

They want to pass her off as that daughter, Anastasia, and possibly collect a reward. Therefore, they travel to Paris where the Tsar’s mother, the Dowager Empress (Judith Miller) has taken refuge.

Anya comes to suspect that she really is Anastasia. Is she Anastasia with repressed memories of trauma, or is she living out a fantasy? We never know, but it’s fun to speculate.

Astute direction by Catherine Weidner, along with a talented cast and production team, brings out the best of the music by Stephen Flaherty, lyrics by Lynn Ahrens and book by Terrence McNally.

Smith as Anya embodies the character’s grit and determination as well as her vulnerability. She’s well paired with Satterwhite as Dmitry and Hsu as Vlad, especially as the attraction between her and Dmitry grows.

Miller has a dignified, regal presence to the Dowager Empress, and she’s one of the best singers in the cast.

She’s attended by her lady-in-waiting, Countess Lily (Jacqueline De Muro), who shows her versatility in singing and dancing scenes.

Dancing, ranging from waltzes to the Charleston and ballet, is another of the show’s strong points, thanks to choreographer Karen Law.

The set by Paulino Deleal (lighting by Pamila Gray) is relatively simple. It’s dominated by two large staircases, one at each side of the stage to start, but they’re  moved as scenes shift. Otherwise, only a few set pieces are used.

Instead, projections by Steve Muterspaugh, the company’s artistic director, help to evoke settings. Sound is by Jeff Mockus.

More kudos go to Nolan Miranda, who designed the character-specific costumes. The Dowager Empress’s dresses are quite elegant, as befits her character.

Most actors in the 18-member cast change character and costumes frequently. One can only imagine how busy things are backstage.

Musical direction is by Diana Lee, who plays the keyboard and conducts the other seven members of the orchestra, which is seated above the right side of the audience.

Running about two hours and 40 minutes, “Anastasia” will continue through Dec. 29 at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City.

For tickets and information, call (650) 349-6411 or visit www.hillbarntheatre.org.  

 

 

 

 

 

PA Players treats audiences to 'Fiddler on the Roof'

 

Joey McDaniel (center) as Tevye leads the cast in "Tradition." (Christian Pizzirani)

“Fiddler on the Roof” won Tony Awards after its premiere in 1964 and has become a perennial favorite for good reason.

Palo Alto Players shows why it’s so popular with its memorable music by Jerry Bock, lyrics by Sheldon Harnick and book by Joseph Stein.

It opens with a solo violinist as the central character, Tevye (Joey McDaniel) the dairyman, comes on stage to say what holds everything together in Anatevka, a small Jewish village in Russia in 1905 -- it’s tradition.

With that, the 33-member cast enters for the rousing opening number, “Tradition,” which explains how things are done and how everyone fits in.

However, tradition begins to fray for Tevye, a poor man with five daughters, three of them old enough to marry. By tradition, the village matchmaker, Yente (Marsha Ann Broek), finds a husband for a woman and the father gives her to him.

However, Tzeitel (Gabrielle Goodman), the eldest daughter, doesn’t want to marry the chosen man, Lazar Wolf (Doug Brook), a butcher who’s much older but wealthy.

She has fallen in love with Motel (Joe Steely), a poor tailor.

When Tevye realizes that she’ll be happy with Motel rather than Lazar Wolf, he engages in subterfuge to convince his wife, Golde (Brittney Mignano), to allow their marriage.

Love rather than tradition also influences the pairing of his next daughter, Hodel (Madelyn Davis-Haddad), with a firebrand student, Perchik (Sam Kruger).

However, Tevye absolutely draws the line when his middle daughter, Chava (Teagan Murphy) secretly marries a non-Jewish man, Fyedka (Kamran Flemish).

Other traditions go by the wayside, but the worst blow of all comes when Russian officials order everyone in this village and other villages to leave immediately in a purge of Jews.

Thus the show foreshadows the antisemitism that fueled Hitler’s persecution and execution of Jews and other “undesirables” before and during World War II. It’s also an ominous reminder of the antisemitism, along with anti-immigration, that’s surfaced in this country.

Despite these undercurrents, the show is filled with humor and great songs such as “Sunrise, Sunset,” “If I Were a Rich Man,” “To Life” along with “Tradition” and others.

Director Jennifer Copaken, who also choreographed the show so well, has chosen a large cast of good actors.

She and vocal and music director Amanda Ku weren’t quite a lucky with the actors’ singing, which is adequate in most cases and off-key in a few. However, the choral singing is quite good.

The best all-around performer is McDaniel as Tevye. He embodies the conflicting emotions Tevye experiences as his world begins to change. His performance is in keeping with Zero Mostel, who originated the role on Broadway, and Topol, who starred in the film and appeared on tour in San Francisco.

Kevin Davies’ set design places the 10-member orchestra upstage as cast members move set pieces for scene changes. The effective lighting is by Noah Price with sound by Gregorio Perez. Giselle Lebedenko designed the character-appropriate costumes.

Running about two hours and 40 minutes with an intermission, this fine production of “Fiddler on the Roof” will continue through Nov. 24 at the Lucie Stern Theater, 1305 Middlefield Road, Palo Alto.

For tickets and information, call (650) 329-0891 or visit www.paplayers.org.

 

 

 

 

 

 

 

Want to be scared? See 'Wait Until Dark'

Mike (Ryan Tasker) tells Susan (Sarah Jiang) that he's a friend of her husband. (Tracy Martin photos)

 

Hillbarn Theatre & Conservatory is presenting a gripping production of Frederick Knott’s thriller, “Wait Until Dark.”

Set in a Greenwich Village basement apartment in 1944, this adaptation by Jeffrey Hatcher focuses on a drug-stuffed doll sought by three crooks.

The doll inadvertently wound up in the apartment after someone secretly hid it in the luggage of commercial photographer Sam (Sahil Singh). The crooks think it’s in his apartment.

While Sam is away on business, they use subterfuge against Sam’s blind young wife, Susan (Sarah Jiang), who knows nothing about it.

One of the crooks, Carlino (Stefan Fisher), pretends to be a cop looking for information about a murdered woman whose body was found near the apartment.

Another, Mike (Ryan Tasker), says he’s an Army buddy whom Sam saved. At first he’s convincing to both Susan and the audience. He seems helpful, but suspicions start to emerge.

Finally, there’s the ruthless, villainous Roat (Scott Coopwood). In the final scenes, he and Susan engage in a dangerous life-and-death battle with one terrifying move after another.

Although Susan is blind, her other senses have sharpened. For example, her hearing is so keen that she knows that two of her visitors, despite pretending to be two different men, have the same shoes and way of walking.

Her blindness also gives her an advantage against Roat in her darkened apartment.

Completing the cast is Mia Rapoport as Gloria, a neighbor girl who has been helping Susan. At first she seems like a brat, but she proves to be a valuable ally.

Director Vickie Rozell carefully ramps up the tension as the action takes place one evening and the following afternoon. She has selected a top-notch cast with each actor fully inhabiting his or her character.

Jiang’s convincing performance as the blind Susan was aided by consultant Walter T. Raineri from the Bay Area’s Vista Center, which serves the blind and visually impaired.

Sarah Phykitt designed the set. One of its key elements is a refrigerator, called an ice box in those days.

Lighting is by Ed Hunter with sound by Jeff Mockus and costumes by Courtney Middleditch-Morgan.

Running about two hours and 10 minutes with an intermission, “Wait Until Dark” will continue through Nov. 3 at Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City.

For tickets and information, call (650) 349-6411or visit www.hillbarntheatre.org.

 

 

 

 

 

 

 

 

Love of team underlies friendship

Shawn (Kenny Scott) shares a drink with Matt (Jordan Lane Shappell). Kevin Berne photo

Rajiv Joseph’s “King James,” presented by TheatreWorks Silicon Valley, refers not to royalty per se but to basketball superstar LeBron James.

In this play, two men forge a friendship based on being avid fans of James’ team, the Cleveland Cavaliers.

Over a span of 12 years, their circumstances change. Sometimes one is doing well while the other isn’t and vice-versa.

They meet in 2004, James’ rookie season, in a Cleveland wine bar overseen by Matt (Jordan Lane Shappell). Matt is selling a set of two Cavs season tickets after his father’s death. He and his dad attended games together for years, but now he needs money.

After much haggling, Shawn (Kenny Scott) buys them and apparently asks Matt to join him at the games.

Six years later, they’re both devastated when James leaves the Cavs and goes to the Miami Heat. In the meantime, Shawn is headed for grad school in New York City.

In 2014 James has returned to Cleveland.  By then, Matt is running his parents’ cluttered knickknack shop. This time it’s Shawn who’s short of cash, so Matt has been helping him. Shawn also has developed a close relationship with Matt’s mother, leading to some jealousy.

Finally, two years later, the two men are estranged. Matt is selling the shop, and Shawn works as a screen writer in Los Angeles. He returns to Cleveland to watch the Cavs’ victory parade after their winning the NBA championship (by defeating the Warriors).

He wants Matt to join him at the parade, but Matt is no longer a fan.

Skillfully directed by TheatreWorks artistic director Giovanna Sardelli, each man fully inhabits his character and the circumstances.

The sets and costumes were designed by Christopher Fitzer with lighting by Steven B. Mannshardt and sound design by Gregory Robinson.

Because there are so many subtleties in their relationship, one must listen carefully to discern what’s going on under the surface.

And because the play focuses on the characters, one doesn’t have to know anything about basketball to enjoy it.

Running about two hours with an intermission, “King James” will continue through Nov. 3 at the Mountain View Center for the Performing Arts, 500 Castro St., Mountain View.

For tickets and information, call (877) 662-8978 or visit www.theatreworks.org.