Saturday, July 23, 2011

Nine : City Lights Theater Company : Happiness is Being Italian!

Nine is the Tony Award-winning musical based upon the semi-autobio-graphical Federico Fellini film, 8 ½, set in 1960s Italy. During that period the famed director's body of work consisted of uniquely personal stories most notable for their surreal, dreamlike imagery and visual extravagance. The show was warmly received when it opened on Broadway in 1982, but its popularity was somewhat eclipsed by the simultaneous debut of the phenomenally embraced Cats by Andrew Lloyd Webber. A less well-regarded adaptation for the silver screen was released in 2009.

Our protagonist, Guido Contini (Tim Reynolds), is an esteemed auteur who’s just turned 40 and is facing a mid-life crisis. He’s run out of ideas for a movie he’s been hired to make, and his relationship to his beloved wife, Luisa (Aoife Stone), is in serious jeopardy. They attempt to rejuvenate both their failing marriage, and his creative acumen, by visiting a Venetian spa. What ensues, however, is a fanciful, time-bending journey of self-discovery as he attempts to come to terms with the many women of his life, both past and present.

Despite the modest production values and minimalist, functional set design (Ron Gasparinetti), the blending of the fantastic and real elements is mostly successful - assuming one is willing to suspend disbelief and use a little imagination. The too literal-minded, however, might have difficulty accepting Guido’s recurring interaction with his nine-year old self (the wonderful Nicolas Sancen). 
And the superb musical direction by Jean Narunsky, accompanied by a small ensemble of musicians (Samuel Cisneros, Paula Filseth and Karen Lindblom), with sound by master designer George Psarras, make one forget the absence of a full orchestra.

At first blush Reynolds does not strike one as quite the lothario type, but he evinces enough of an artist’s ego, passion, and an insouciant, Latin charm to win one over. And one cannot underestimate the masculine appeal of the line “I can put you in my film” – especially when delivered with a flawless Italian accent.  His vocalizations of the many magnificent Maury Yeston tunes (“Only with You”; “The Script”) are certainly adequate but not at a par with his acting skill, and they’d often benefit from a bit more projection.  


On the other hand, Molly Thornton, as film producer Liliane La Fleur, does justice to the score and never forsakes the back row. She lights up the stage with her rendition of “Folies Bergeres,” featuring the outstanding (and very sexy) female chorus and brilliant staging and choreography by Jeffrey Bracco and Shannon Stowe, respectively. Her dubious French accent, however, does not reflect the uniformly fine work by dialect coach Patty Reinhart.

Ms. Stone brings a regal bearing and radiant beauty to her role that make it easy to understand why a narcissist like Guido would want to marry her - she’s exactly the type of woman a man of his stature would want to be seen with in public. She’s totally convincing, and despite her limited singing voice, her interpretation of the bittersweet “My Husband Makes Movies” is filled with pathos and a palpable ambivalence. 

If Luisa is Guido’s “Madonna,” Carla Albanese is the "whore" one would never take home to mother!  And as played by the delightful Elizabeth Santana, his lust for her is entirely understandable. The uninhibited sexuality of her performance of  “A Call from the Vatican,” both in terms of its vocal and physical (ahem) prowess, generates enough heat to ignite the theatre! She impresses  even more, however, by revealing an exceptional emotional depth and versatility with the poignant “Simple.”  Bravo!

Strong supporting turns are also given by Kristin Brownstone as Guido’s muse, Claudia,  (“A Man Like You”;  “Unusual Way”) whose inspiration frees him of his creative block, and by Kereli Dawn Sangstack as the earthy seductress, Sarraghina (“Be Italian”), who introduces the young Guido to the mysteries of sex. And recognition must go to the immensely talented Ruth E. Stein (Mama) and Robyn Winslow (Our Lady of the Spa), who prove Stanislovsky’s theory that “there are no small parts.”

Although  “The Grand Canale” sequence is probably the most spectacular with its splendid, colorful costume design (Amy Conners and Jill Schwinn) and impressionistic use of undulating reams of shimmering blue fabric as sea waves, the images that linger most are the simple scenes of Guido waving a baton -  like a symphony conductor -  that bookend the story. Perhaps it's only during those few moments when he is truly in control of his life.  


(photo credit: Shannon Stowe)

Friday, July 15, 2011

Romeo & Juliet - a cover band operetta : Alphabet Arts : The Bard for the Masses


Alphabet arts is a non-profit, artist collective dedicated to bringing quality live performances for both youth and adult audiences. This innovative production of Romeo and Juliet – a cover band operetta, is part of its  “2011 Summer Conservatory” program that features young people aged thirteen to twenty.

As conceived by director Mark Sitko, the classic play’s original dialogue is augmented with contemporary musical interludes that capture the themes and mood of their respective scenes. Although the tragic tale is more suitably the subject of grand opera, the spoken “libretto” is certainly characteristic of a lighter operetta. Regardless of how one chooses to define its form, it is, for the most part, a successful attempt in making The Bard more accessible to the average theatre patron.

Romeo (John Kellett) & Juliet (Rebecca Inderhees)
The setting of this romantic story of star-crossed love is 16th century Verona, Italy, yet the performers wield swords donning modern costumes. The poetry is spoken with decidedly American accents.  The songs cover all genres, from pop ballads to rap. And the set design is minimalist and stark, enhanced by simple lighting and seamless musical direction by Kirk Berkland - working with the assistance of a skilled trio of musicians (Will Kellett; Kevin Yoshikawa; Jose Martinez).

Mercutio & Romeo & Tybalt
The opening sequence is a poignant solo rendition of Dire Straits’ “Romeo and Juliet” by chorus member Miranda Morris.  It sets just the right, wistful tone and serves as an introduction to the narrative for the uninitiated. It’s immediately followed by a realistic brawl between the Capulets and Montagues, featuring some of the best swordplay and fight choreography I’ve seen in any amateur production (C. William Klipstine; Jacob Sanchez).

There’s no doubt that reciting verse with the correct rhythm and diction is a daunting task for any actor. If done poorly, the text can become virtually unintelligible.  And there’s always the danger that the meaning can be lost if too much emphasis is placed upon the aesthetic qualities of a line. As to be expected, this company of players meets the challenge with varying degrees of success.

John Kellett plays a charismatic Romeo, evincing the deep turmoil of a young man caught between his adoration for a girl and his loyalty to his family with earnest conviction.  As is the case with most of the ensemble, his metered delivery is adequate, but would benefit from clearer elocution. He shines, however, as he sings “Crazy Love,” displaying an inspired and mature singing style.
 
Mercutio (Taylor Barnes) & Tybalt (Matt Cummings)
He’s ably supported by the inimitable Taylor Barnes, whose comic portrayal of the flamboyant Mercutio remains true to the character and is among the most daringly passionate depictions I’ve seen.  Moreover, he showcases surprisingly proficient rapping skills with the tune “Current Events”! 
 
Mercutio & Princess (Katie Rounds)
Stacy Lammers and Katie Rounds, playing traditionally male characters Benvolio and Princess Escalus, respectively, make their smaller roles seem large by virtue of their exceptional talent and undeniable charm. And the remaining cast all contribute strong supporting turns.



Scene-stealer Michael Combs, as the female Nurse, brings a naturalism and comedic sensibility that would have made Edward Kynaston proud. His choral number, “Girls Just Want to have Fun,” with delightful choreography by Tori Evans and Chloe Townsend, and highlighting the superb vocal direction of Lisa Kellett, is a total hoot!   
    Center: Nurse (Michael Combs) & Chorus

What can one say about Rebecca Inderhees as Juliet? Rarely have I seen anyone realize with such truth and lucidity of purpose the emotional content behind the beauty of Shakespeare’s words. The effortless clarity and precise timing she brings to each phrase is never diminished by her astonishingly brisk tempo. 

But Ms. Inderhees’ amazing grasp of the playwright’s subtext is not a function of superior technique; it’s a matter of one’s DNA. And coupled with her magnetic stage presence and impressive vocal prowess ("Between Two Lungs"), one can’t help but rejoice in witnessing a genuine star early in her formation. Bravo!

Juliet & Romeo


This limited engagement ends July 21st at the Morgan Hill Community Playhouse.