The Great Gatsby—Bag & Baggage—Venetian Theatre—Hillsboro, OR

All the Careless People

An Oregon Premiere of a literary classic from F. Scott Fitzgerald will be playing at the Venetian theatre at 253 E. Main St. in Hillsboro through October 20^th.  It is adapted to the stage by Simon Levy and directed by Scott Palmer (B&B’s Artistic Director).  For more information go to their site at www.bagnbaggage.org or call 503-345-9590.

Fitzgerald is considered one of the great American writers and …Gatsby his most famous novel.  Two movie adaptations of it have been made with varying success, one with Redford playing the doomed Jay and the most recent with DiCaprio.  The problem with any adaptation of a book is that things will be left out or changed, so that one can get a visual sense of the story. 

But, in this presentation, some of his actual words are presented on a scrim behind the players and you can appreciate what a poetic scriber he really was.  This is an effective device, not only to cover scene changes, but to truly appreciate the source material.  The scrim is also used to project various design motifs of the period.  And, another innovative addition, is the use of dance-like movements and tableaus to create the mood of the period and characters.

The story revolves around the idle rich on the Long Island Sound in New York during The Roaring Twenties.  The filthy rich have too much time and money on their hands.  Some, like Tom Buchanan (Colin Wood) and his wife Daisy (Cassie Greer), have garnered it through investments.  And, subsequently, acquired celebs, like a pro golfer, Jordan Baker (Arianne Jacques) and a poor cousin of Daisy’s, Nick Carraway (Ian Armstrong), to share in their wealth and boredom. 

Never mind the dalliances of Tom with the local mechanic’s, George Wilson’s (Adam Syron) wife, Myrtle (Megan Carver) or the fact that Jordan might have cheated to win her title.  But, across the way, lives the mysterious Jay Gatsby (Ty Boice), equally wealthy and bored, connected to the equally mysterious friend, Meyer Wolfsheim (Adam Davis).  Jay’s monies seems to be garnered from the bootlegging business and, thus, gangsters.

All would be well in this den of iniquity except that Jay and Daisy have had a previous relationship from the War years, which has smoldered all this time, and is soon to be reignited.  Obviously, this doesn’t sit well with Tom, but since he is no shining symbol of virtue himself, he has little reason to complain. 

But there are other ways to skin a wolf and so, through a series of missteps, and the death of one of the characters, a skewed justice of sorts does occur and the disjointed love story comes to an end for these broken people.  But these amoral, dysfunctional beings will still prevail through these unholy years, unrepentant.  Only Nick, the narrator of the piece, comes out the sadder but wiser man.

This show is beautifully visualized by Palmer, as he has his characters glide through the story as if on an ice rink.  The women pose and articulate, in a stylized way, the decadence of the period.  And the men, a bit discordant from this vision, plow through, try to make sense of it all.   The costumes, by Melissa Heller, are spot on for the period and flow like the bathtub gin did.  And the set design, by Megan Wilkerson, is simple, allowing the story and actors to freely weave the tale.

Boice as Gatsby has the right look for the part.  He gives us a layered character, accenting not so much the flamboyance of traditional interpretations but of the vulnerability of the man, thus making him more believable.  His smooth, almost casual delivery, gives us the impression of a man tired of living but too distracted by the possibilities of life to die.

And Greer is his equal.  Her whiskey voice is a welcome contrast to the previous incarnations, which gave us a high-pitched, almost flighty impression of Daisy.  She is unhappy, down-to-earth, careless, straight-forward and oblivious and uncaring as to pitfalls and pratfalls that beset her.  As Ty, she is an original and terrific, also, in her performance.

The rest of the cast gives ample support and fleshes out to some extent the other characters.  Armstrong is especially effective as the voice of the narrator, Fitzgerald probably, and exposes a rather detached voice, letting the story/characters convey the emotions, rather than his interpretation of them.

A further note, this is a beautiful theatre, ornate like the movie theatres of that period were and has a bistro next door in which to dine and imbibe.  It would be well worth making a full evening of it and letting yourself be transported to another time and world, both in reality and visually.

I would recommend this play.  If you do go, please tell them Dennis sent you.

Mistakes Were Made—Artists Repertory Theatre—SW Portland

Incredible Shrinking Man

This one-man show is directed by Michael Mendelson and Dámaso Rodriguez and stars Michael Mendelson.  It is written by Craig Wright and runs through October 27^th.  It plays at their space at SW Alder St. and SW 16^th Ave.  For more information, go to www.artistsrep.org or call 503-241-1278.

This play was originally to star another actor but, because of a family emergency, the director stepped in just recently.  And to memorize almost 90 minutes of speech in such a short time would be nothing short of a miracle.  Presto, the miracle-worker, Michael Mendelson appears, with his magic to weave this fascinating story!

The question we must ponder is what makes a person.  Is it their upbringing?  Heritage?  Beliefs?  Career?  Relationships?  Probably some combination of all of these.  But what if a person is so obsessed by one of these that he blocks out all other accesses to his life.  Enter, Felix Artifex, a Broadway Producer.

And some of those he is connected to through his phone, his life-line, are Oscar, a theatre owner; Steven, a fledgling playwright, who has written a play about the French Revolution called, Mistakes Were Made; his ex-wife, Delores; Johnny Bledsoe, a rising and demanding young star; Helen, his agent; Malcom, an English friend and go-between; the Major, a mysterious hatchet man; Alisha, a rising, demanding young starlet; Shem, a revolutionary; and some assorted foreign backers with unpronounceable names.

His only visible ties to reality are his secretary, Esther (Lucy Paschall), mostly, voice only; his goldfish, Denise (Puppeteer, Liz Ghiz—puppet design by Jane Clugston); and a photo of his daughter, now deceased, on his desk.  A wall is also filled with posters from produced shows (well-rendered by Jeff Seats, scenic designer); prescription pills, frequently consumed, on his desk; and a window-view of a clear day, to a stormy one, then to a “starry, starry night.”  His whole world and welcome to it.

It should be noted that these situations are real when producing a play, albeit exaggerated a wee bit for comedic effect.  It could be said that producing a play makes for “strange bedfellows.”  A fractured view of this is discussed by a firm that does sheep-dipping, and another group that seems in opposition to this by means of flame-throwers, if necessary.  And ditsy, devious, demanding divas abound in show biz, as well as naïve, first-time writers.  In other words, it is a mirror reflecting a chaotic stew of miscellaneous activities where, sometimes, art will out.

As the play progresses, Felix seems to dissolve, as he divest his clothes, gets short with his phone colleagues and his secretary, and the sky get grayer.  Only Denise seems to understand and with her vacant stares, gives him solace.  His whole life is tied up in producing plays.  In fact, it is his life.  He is destined for a fall and he knows it.  But what is a finale for obsession.  Madness?  Death?  Re-emergence?  I won’t be a spoiler and tell you the end but will say that it does have something in common with the final words in Richard Matheson’s revealing, Sci-fi book and film, The Incredible Shrinking Man.

The pacing of the scenes is chaotic and rapid-fire, but with lulls that have impact because of their quietness.  The directors, obviously, know their subject from, I’m sure, personal experience.  Their insights, as well as the author’s, are spot on, as I can concur from some of the self-same obsessions.  And why do we get in over our heads when we might drown?  Because, as Felix’s explains, “Can’t tell if it’s doomed until you do it.”  This story does connect to others in the so-called “real” world, because Artists come from that world, too, just have a different way of expressing themselves.  As said, “All the world’s a stage…”  Amen.

The posters by Seats are terrific but I won’t give away the gimmicks, as you have to see them for yourself.  And Ghiz and Clugston create a wonderful addition to the play with Denise.  Again, has to be seen to be appreciated.  But any pet-lover will understand (I speak Dog).  And Paschall has just the right amount of patience but petulance to add believability to the situation.

And, Mendelson, what a talent!  Never mind that we had a conversation during the summer where we discussed needing the whole rehearsal period to learn lines, as we progress into maturity.  Never mind that fact that he had to learn this enormous part in a matter of days.  And, never mind that he has to deliver much of it in staccato-like style, talking most of the time to disembodied voices, often more than one at a time.  This is a true tour-de-force by a master!

His expressions are as revealing as his vocalizations, sometimes in direct contrast to them.  You believe who he is and can identify with him.  And that, when successful, in a nutshell, is pure acting.  And this is one of the best examples of that I can think of.  When you experience his world, you can’t help but be moved, shaken, and amused by it.  “May you live long and prosper,” Mr. Mendelson!

I highly recommend this play.  But, it does have some of those nasty “F” words in it, so be warned.  If you do choose to see it, please tell them Dennis sent you.

Fiddler on the Roof--Portland Center Stage—NW Portland

A Movable Feast

The classic musical is written/composed by Joseph Stein, Jerry Brock and Sheldon Harnick from the stories of Shalom Aleichem.  It is directed by Chris Coleman (PCS’s Artistic Director), music direction by Rick Lewis and choreography reproduced by Kent Zimmerman.  It will be playing at PCS at 128 NW 11^th Ave. through October 27^th.  For more information go to www.pcs.org or call 503-445-3700.

What is tradition, but what was once, new ways, becoming old.  And what is a belief system but something that is ingrained.  Like a seed, it is sometimes rooted into the soil, or is blown by the wind to other parts of a fertile earth.  But it will never die, like the Jewish folks in this tale, even if they are sometimes precariously balanced like a…fiddler on the roof.  

The show opened with much acclaim on Broadway with the incomparable Zero Mostel in the lead.  The movie version had a somewhat muted Topol playing Tevye.  And the songs, Tradition; Matchmaker, Matchmaker; If I Were a Rich Man; To Life; Miracles of Miracles; Sunrise, Sunset; and Do You Love Me? being some of the best from Broadway.

The story takes place in Russia during the late 1800’s, as their Jewish citizens become more of a burden than an asset to the country.  On a smaller scale, the tale concerns a milkman, Tevye (David Studwell) and his wife, Goldie (Portland favorite, Susannah Mars) and their struggle to survive with five daughters, three of them marriageable age.  Tzeitel (Merideth Kaye Clark) is the eldest and must be married off first before the others—tradition.  And tradition also demands that the father, with the help of a Matchmaker, Yente (Sharonlee McLean) must pick a suitable (well-off) husband.

But, waiting in the wings is Hodel (Sarah Stevens) and Chava (Amber Kiara Mitchell).  The men they all end up with are not according to tradition, as one falls in love with a poor tailor, Motel (Drew Harper), another is smitten by a revolutionary teacher, Perchik (Zachary Prince) and the third goes for one of the enemy, and not of their faith, a Russian soldier, Fyedka (David Errigo, Jr.).  It is not so much that tradition is abandoned but that new traditions are born.  And so the cycle will continue and endure, as the people do.

This is a universal story, as all cultures have their changes and upsets, often caused by political or religious strife, or color of skin, or gender, or sexual preference.  The “beat goes on,” as we seek to evolve into a more tolerant and accepting civilization, and this story is a prime example of a capsulation of that process. 

The orchestra, under the direction of Lewis, does a super job of rendering the score, without overpowering the singers.  Tylor Neist, as the titled Fiddler, embodies the necessary bitter-sweet tones necessary for this moving tale.  And Coleman gives us an easy-flowing story that is constantly on the move, like its characters.

The scenic design by G. W. Mercier is simple but very effective, allowing the lighting (Ann Wrightson) to render much of the changes in setting and mood.  And the costumes (Jeff Cone) fit the period nicely.  Especially prominent are the dance numbers, faithfully reproduced by Zimmerman.

Studwell has a good voice and nicely underplays the lead character, but it seemed a bit too subdued to me.  Tevye should be a larger than life character and here, although he fits smoothly into the demands of the role, he seems to be at a cruising speed instead of full throttle.  Mars, on the other hand, gives us just the right amount of gusto as his wife, and is especially effective in their numbers together, such as Sunrise, Sunset and Do You Love Me?

The rest of the cast is in fine form.  McLean is wonderful as the matchmaker and the Grandmother.  And Corey Brunish, as the head of the military forces, allows us to see the conflicted nature of a leader of the conquering forces.  Nicely presented. 

Overall, I think the show needs to be ramped up a notch, as everything is there for a powerful show.  But, to be honest, it was an almost full house (even in such nasty weather) and they gave the show a standing ovation.

I do recommend this production, as it has some classic songs, well rendered, and a universal story.  If you do go, please tell them Dennis sent you.

Richard III—Northwest Classical Theatre—Shoebox Theatre—SE Portland

Family Feuds

Shakespeare’s historical tragedy, Richard III is being presented at the Shoebox Theatre space, 2110 SE 10^th Ave., by the Northwest Classical Theatre Company.  It is directed by Barry Kyle and will be performed through October 13^th.  For more information go to their site at www.nwctc.org

“What little family doesn’t have their ups and downs.”  A line from A Lion In Winter (this company’s next show in December) but it seems appropriate in summarizing the theme of this play, both in reality and tone.  A play that is normally a vicious drama is now, still vicious, but often a dark (very dark) comedy.  No, it’s not played for laughs, but it is often said that comedy and tragedy are both on the same coin, just reverse sides from each other.

This concept works as this oily, paranoid, mis-shapened (more in soul than body) son of York, Richard (Grant Turner), a few layers removed from the Crown, succeeds in scaling his way over relatives’ bodies to become King of England.  His first order of business is to marry Lady Anne (Brenan Dwyer), to increase his status.  (A trifling matter that he killed both her father and her husband.)  The current King, Edward (Jason Maniccia) is on his death bed and Richard’s other direct rival, Clarence (Tom Walton) must also be removed, so is drown in a vat of wine.  And, after that, smothering a couple of little cousins (also rivals) is child’s play.

But the fun is not yet over.  It seems his closest friends, Hastings (Pat Patton) and Buckingham (John San Nicolas), are beginning to develop scruples, and so, must be eliminated, too.  And, to add insult to injury, he needs to rid himself of his wife and marry Edward’s wife’s, Elizabeth’s (Melissa Whitney) daughter (Tiffany Groben), just a girl, to cement his position further.  Finally, it dawns on the couple remaining allies he has left, that they best switch sides, or face the chopping block themselves, and aid Richmond (Steve Vanderzee) in his bid for the throne.  Was ever a man so misdirected or a populace so misguided.

Richard, himself, is portrayed as a man that is clever, devious but also a charmer when he has to be, a true political animal.  Turner plays him as a tormented, haunted man, feeling that he must act in accordance with his physical ugliness.  But the physical mold is slight in comparison to his ugly soul.  In appearance, he is rather handsome, and his deformities more of the mind than body.  Grant is exceptional in his layered performance and, when peeled away, like an onion, is really just a spoiled child underneath.  Only during scoldings from his mother (Susan Nelle) do we see the true, frightened, pitiful boy.  A remarkable performance!

This is done in modern dress (mostly black clothing) on an essentially bare stage, with a cast playing multiple roles.  And it is never boring.  The macabre interplays between Buckingham and Richard with the children gives one goosebumps.  And the scenes between Richard wooing Lady Anne and then Elizabeth are truly despicable.  The way Richard manipulates his friends, then, like a cornered predator, attacks without mercy.  It is an evening alive with excitement, as you marvel at the twists and turns of the plot.

All the cast is outstanding but some that are spot on are Paige Jones as Margaret, giving us a character that appears mad but might but the sanest of them all.  She is wonderful.  Whitney and Dwyer are both exceptional as the women deceived by Richard’s weaving of webs that capture his flies.  And Patton, as an old friend who finds he has a conscience after all, is noble and sad in his portrayal, especially when he is at death’s door.  Nicolas is likewise effective, as he is deceived, and in a bid for freedom, also loses his head.  A calm and deliberate performance.  As is Walton, as he explains his disturbing dream before drowning.  Both powerful in their underplaying of these characters.

Kyle, a guest artist from England, has directed this show in a conversational style of speaking, wherein you understand the text, as well as being able to appreciate the beauty of it.  He has also done an exceptional job is using such a small space to great advantage, always keeping the action moving but, also, well aware that the audience must understand what’s going on.  A supreme achievement!

I do recommend this show.  If you do go, please tell them Dennis sent you.

The Mountaintop—Portland Center Stage—NW Portland

The Dream

The production is written by Katori Hall and directed by Rose Riordan.  It is performed at PCS’s space at 128 NW 11^th Ave. and runs through October 27^th.  For more information, go to their site at www.pcs.org or call 503-445-3700.

“I have a dream…” speech is as famous as Lincoln’s Gettysburg Address.  Both orations speak of a better tomorrow; both men came from humble beginnings; both shared a kinship as to slavery; and both were assassinated.  And this is the “stuff that dreams are made on,” and heroes and legends are hatched.

But, in this production, we see a different Dr. Martin Luther King, Jr. (Rodney Hicks).  The setting is his motel room the night before his death.  It is raining, he is alone, and the loud thunder from the heavens unnaturally unnerves him.  We see him as an ordinary man who is comfortable with fear as his best friend, who realizes that if he wakes up with fear, he knows he’s alive.  He is pondering over his next speech, calling his wife and kids because of loneliness, and dying for a cigarette and, maybe, companionship.

Into this setting appears Camae (Natalie Paul), a maid who could satisfy some of those needs.  She is a no-nonsense type of person, straight-talking and part of that silent majority that all political figures refer to.  They share stories about the degradation at the hands of the white man.  He sees marches and discussions as the means to unite all brothers.  She favors a more active, forceful participation of brethren. 

But when she calls him Michael, his birth name, his paranoia surfaces and he senses she may be a spy from the government.  In a way, she is, but not for any earthly entity.  She is an angel and is there to prepare him for his journey home.  He asks for an extension in time as he feels his work is not yet done.  Even after arguing over the phone with her Boss (and She is black and proud of it), it gets him nowhere. 

But, as a consolation prize, he is permitted to see visions of the future and to know that his “Dream” will be fulfilled, even though he will not be able to enter the Promised Land himself.  “So close and yet so far way,” he intones.  A plateau has been reached, the baton is passed and “the Mountaintop” may be within sight.

Hall’s play has its power in the relationship between these two individuals and the differing viewpoints.  But it also has the task of presenting more than one theatrical genre in this story, mostly successful.  It almost slips into silliness with the phone call to God but redeems itself by the end with the powerful visions of roads traveled.  And the might of the two performers gives it the necessary creditability, in which was manifest in a well-deserved, standing ovation from an almost full house.

Hicks, as King, has the unenviable role of presenting us the Man, not the Myth, of this powerful icon of American history.  And, he does it well, giving us not the saint, nor the sinner, but an ordinary human being, caught up in extraordinary circumstances.  And Paul has an equally difficult job of presenting a mystical character and doing it creditably.  She is totally committed as the impassioned maid, giving us a working-class outlook on life and her times.  And she is equally convincing in role of the novice angel trying to do her job well.  Both are experts at playing off each other and always keeping us involved.

Riordan has varied the pacing of the actors to such an extent that we never lose interest in the story.  And she keeps the setting simple, so as not to distract us from her exceptional cast.  Well done on all counts.

I would recommend this play but it does have occasional rough language, in case that offends you.  If you do see it, please tell them Dennis sent you.

The Big Meal—Artists Repertory Theatre—SW Portland

The Last Supper

This comedy-drama is written by Dan LeFranc and directed by Dámaso Rodriguez (Artists Rep’s Artistic Director).  It is the West Coast premiere and is playing at their space at SW Alder St. & 16^th Ave. through October 6^th.  For more information go to their website at www.artistsrep.org or call 503-241-1278.

Any resemblance to the Bible’s rendition of Christ’s last supper might be intentional, as it leads to death.  Or, the title, The Big Meal, might have something akin to the ancient Egyptians method of furnishing their royalty’s tombs with food, to nourish their spirits on their way to the hereafter.  And, certainly, meals have significance as a way of gathering couples/families together as a ritual for, not only feeding the bodies, but also instituting and/or inciting relationships.

Explaining the story is more of a challenge than figuring out the theme.  To put it simply, it is the story of five generations of a family, played out in one setting, a restaurant, and enacted by only eight actors, so the names/roles change in an instant with barely a costume addition or deletion.  It is to the credit of all the actors, who are exceptional, in keeping any sort of order at all.  But, as mentioned in the program, “…the time-lapse actor switching can be confusing…sometimes you have to play catch-up…but you do catch-up.”

Perhaps the best way of explaining it is that Allen Nause and Vana O’Brien play the roles of the older folks in the story; Val Landrum and Scott Lowell play them at middle ages; Britt Harris and Andy Lee-Hillstrom enact them as young people and Agatha Olson and Harper Lea are the characters as children.  On a blind date, two people meet at an unnamed restaurant and from there, they marry (with the consent of their parents), have two children who, in turn have children, until finally, the surviving member of the original clan is a great-grandmother.

The family, like all families to some degree, is dysfunctional.  There are affairs; partings, new beginnings; children being born, some never surviving; old age dilemmas, new age challenges; and always the bickering, bawling, brawling, blessings and beauty of an ordinary family bearing their souls and saying, perhaps, do you know these people?  Are they your neighbors?  Are they…you?!

Yes, the story is difficult to follow at times, so you have to focus.  But, as mentioned, you do figure out most of the who is who and the relationships in the end.  All the actors are amazing in keeping the story flowing at a break-neck pace.  How they can keep it straight for themselves is beyond me.  The two youngest performers, Olson and Lea, are quite good and keep up easily with their grown-up counterparts.  And the ole pros, Nause and O’Brien, are always a welcome sight on the stage.  Their years “on the boards” have raised the level of Portland theatres up several notches.  “May they live long and prosper.”  And Landrum, Lowell, Harris, and Lee-Hillstrom are their equals in this show.  They mix and match, rise and fall as their characters in a seamless way.  Bravo!

And Rodriguez had the hardest task, as he had to keep all the roles straight in his head, as well as coaching the actors as to fine-tuning each individual character.  He was also finding moments of calm in the storms, which slackened the pace just enough to give a scene emphasis, the actors a breather and the audience a moment to sort things out.  His expertise shows through, as he managed to present it all with ease and style.

I would recommend this show but it might not be for everybody, as it employs rough language at times.  If you do choose to go, please tell them Dennis sent you.

Kiss of the Spider Woman—Triangle Productions!—NE Portland

A Lethal Combination

This dramatic musical by Terrence McNally, John Kander and Fred Ebb (from a book by Manuel Puig) is an Oregon Premiere and is directed by Don Horn.  Musical Direction is by Jonathan Quesenberry and Choreography by Sara Martins. It is presented by Triangle Productions! at 1785 NE Sandy Blvd.  It runs through September 29^th.  For more information, go to www.tripro.org or call 503-239-5919.

The non-musical, film version starred William Hurt (winning an Academy Award for it) and Raul Julia.  The Broadway show starred the unstoppable, Chita Rivera and won seven Tony awards.  This production features the unbeatable, Margie Boule’ (Aurora/Spider Woman), Bobby Ryan (Molina) and Nicholas Rodriguez (Valentin).  It is the story of commitment, pain, brutality, friendship, death and love.  And, it is about how one might find warmth in the coldest of places and heroes in the most unlikely of shells.

If magic could be woven into a carpet and a kiss, awaken dreams, this production is the platform for such a journey!  Aurora is the dream and the vehicle to temporarily transport one from a hell-on-earth to a heaven-like place.  But, beware of the deadly, sweet kiss of the Black Widow, the Spider Woman, the inevitable contact we must all face to transport us from this “mortal coil.”  In the meantime, we have a revolution, both sexual and political, imprisoned, a threat to the “normal” rules of “civilized” society.  Any identification with current world affairs is entirely…intended.

This particular prison is in South America and the focus of the story is two cellmates, Molina, a sexual deviant, and Valentin, a terrorist.  The rules of the games are simple.  Molina is to spy for the military to get the names of the other revolutionaries from Valentin.  If he’s a good boy and does what they say, he will be released to take care of his ailing mother (also, Margie Boulie’).  But Molina has a saving grace, that transports him out of his hellhole, in the guise of Aurora, a movie star (akin to a Rita Hayworth) that he dreams of and is his passage out of the iron bars. 

Soon, he ensnares Valentin into this web and he, too, becomes entranced with visions of other worlds and possibilities.  They fall in love, which compromises Molina’s desire to be free, versus his intense feelings for his friend.  And the ever-present, deadly kiss is just around the corner, to free all from their troubles.  Will he betray his friend?  Will the dark, feline fatale’ become a companion to one, or both, of them?  No, I won’t be a spoiler and reveal the ending but, let’s just say, it’s bittersweet.

The songs are totally integrated into the story and become, in many ways, the passages outside the prison.  And the dance numbers, seemly could be confined because of such a small space, are well-choreographed by Martins and become quite effective.  And Quesenberry’s musical direction and his band, are very good, and do not overcome the singers, a common mistake in many musicals.  The sound (David Petersen) and lighting (Jeff Woods) are particularly important in creating the variety of changes needed for the different settings to the story.  And Horn, as always, has added his expertise in the set and costume (w/Darren Pufall) designs, also simple but very effective for these changes.

Boule’ is an icon of musical theatre in this area and she shows why she deserves those accolades.  She easily weaves from one character to another so successfully that she is almost unrecognizable.  And her rendering of the songs is top-notch, to the point that this space seems too small to hold her enormous talent. 

And to complement her in two songs (Dear One and I Do Miracles) is Crystal Muñoz as Marta, Valentine’s gal, who is a terrific match for her in them.  Muñoz has already proved herself as an actress and director in other theatres, now she can add singing and dancing to those honed talents.  An actor to be followed in future shows, I believe.

And the two leads are sensational!  Rodriguez gives us the passion as the revolutionary but also the vulnerability of a man in love with his cause, his woman and his country.  And he has the power in his voice for the conviction needed in the songs and one can see him slowly evolved into a world of sensitivity.  A touching portrayal.  And Ryan is masterful as the seemingly, more fragile, Molina.  He is not the stero-typed, foppish gay we sometimes see on stage and screen, but a true human being, full of hopes and desires, like all of us.  It is to his credit (and Rodriguez’s) that we see the full scope of human interaction and the entire range of hues on a human palette, all colors of the rainbow.

Horn has, again, given us a complex, thoughtful production, one that, in another’s hands, might have just been a slick show.  Just the suggestion of changes, adds greatly to communicating to us the fact that they are still in prison and the world/memories they seek are only a dream away.  Reinforcing, for me, how important imagination and the Arts are for individuals to become complete beings.  And he has one of the strongest chorus’ I’ve seen, adding to the strength of this production, Ron Harman, Matthew Brown, Alexander Salazar, Gabriel Mikalson, and Muñoz.

I do recommend this show but, keep in mind, it does have nudity and concerns adult subject matter, so may not be to everybody’s taste.  If you do go, please tell them Dennis sent you.