“The Normal Heart” rocks a powerful punch at ION.

Former Indiana Gov. Mike Pence ‘wrote on his website in a section on LGBT issues that government money from a program to help with HIV /AIDS should go to organizations “which provide assistance to those seeking to change their sexual behavior.” ‘i.e.: conversion therapy’.

“AIDS is a plague-numerically, statistically and by any definition known to modern public health-though no one in authority has the guts to call it one.” Larry Kramer.

Larry Kramer founded the Gay Men’s Health Crisis in 1981 with five friends. ‘It is still one of the worlds largest provider of services to those with HIV.’ And the work is never ending.

Kramer is also the author of “The Normal Heart” a semi autobiographical journal/journey through the horrors of the beginnings of one of the most dreaded and mysterious and sexually transmitted diseases. It attacks the immune system at random and was wide spread in Africa before it hit the states. It ultimately killed (and this was just in New York in the early 80’s) thousands (‘1,112 and counting’) of gay men before it was actually given column space in The New York Times.

“The Normal Heart” opened Off-Broadway at the Public Theatre in 1985 and ran for 249 performances. It was revived again in Los Angeles and London and again Off-Broadway in 2004. The Broadway premiere opened in 2011 for a limited 12 -week run and won a Tony for Best Revival of a Play in 2011. 

Call it insightful planning or B’shert (fated or preordained) by the founders of ION Theatre, Glenn Paris and Claudio Raygoza, to schedule his play in what some might call the most contentious and politically charged and ugly, as in homophobic, xenophobic, anti Semitic presidential campaign seasons on record.

One might also add that Kramer’s “The Normal Heart” is likewise politically charged and was, at the outset, contentious. Oft times the players, in their fierceness to bring attention to this plague, bit the hands that fed them. It wasn’t always pretty.

In their Mission Statement: “ion forges bold, uncompromising theatre that investigates the fiery, passionate, resilient nucleus of the human condition.” And so, if the shoe fits…

Founders and co-directors  Raygoza and Paris pull out all the stops in this riveting production. With their mission statement in tow they bring us an honest to goodness and raw production of how Kramer’s movement was formed. The personalities involved and the struggles each had to live with day after day to make their plight known to the public and to the medical profession were fraught with anger, aggression and infighting to say the least.

In case you missed the call or have never seen a production of  “The Norman Heart”, Ion Theatre in Hillcrest is presenting one of the most prickling and emotionally draining productions of Kramer’s play that, if you miss being there to see it you will kick yourself. 

Keep in mind that the theatre seats 49. “The Normal Heart” plays through Dec. 17^th.

Heading the cast is founding executive director Claudio Raygoza as Ned Weeks, Kramer’s alter ego. Once again if you’ve never seen this man act, you are in for a treat. His passion isn’t just for the stage; he is Kramer incarnate. His Weeks is bold, defiant and critical where a little less criticism would be needed, especially when dealing with the wigs from whom he’s trying to curry favors.

“Some reporter called me 'the angriest gay man in the world' or some such. Well, it stuck, but I realized it was very useful.” Kramer.

Those around him and part of his organization that also needed to carry the torch were somewhat flummoxed by his outrageous demands and defiance. Notably Alexander Guzman who plays Felix Turner a closeted Style Writer for The New York Times. He will eventually become his Kramer's lover. Over time, Weeks harasses him to come out but he refuses.

In fact all of those working for the cause refuse to come out, afraid of their careers would be in jeopardy. And then there were those opposed to getting involved like Ned’s brother Ben Weeks, (a convincing Daren Scott). He was is a partner in a successful law firm but couldn’t bring it upon himself to grant the newly formed organization tax free status. Instead he would bring it to the partners. Suffice it to say there was no love lost between the brothers. Their relationship, strained at the seams, took some time to heal. But until Ben  accepted his brother’s homosexuality things looked bleak.

On the other hand, Dr. Emma Brooker (a marvelous Kim Strassburger) who was responsible for treating these men was one of the biggest advocates for money, vaccines and getting the word out there. She too felt the frustration and anger from the medical world when they refused to give her any government funding or to even look at her studies and the work she compiled over the years.   

Those in the organization included Bruce Niles (Joel Miller), who plays down Ned’s bad temper and, as president of the group, just about excludes him from any decision -making policies. Michael Lundy’s Mickey Marcus has his moment on stage, feeling his job in danger and his life ruined by all the indecision and confusion surrounding him, goes into a rage that rocks the house.     

Fine support also comes from Stewart Calhoun as Tommy Boatwright. Fred Hunting co directs and plays several characters, as does Glenn Paris. Between Scott, Miller, Guzman, Raygoza and Strassburger this has to be one of the boldest ion has presented to us.

Mary Summerday designed the costumes. Scenic, sound (haunting, deep and troubled) and projections are credited to Raygoza. A note about the projections: at the end of the play the names of those dead from AIDS are posted on the walls and character’s overlapping and piling on one another to a degree the remained me of both the Vietnam Wall and walking through the children’s memorial at Yad Vashem.  

If you had any doubts about how the media is manipulated keep your eyes focused on the struggles Ned Weeks aka Kramer had leading up to an acknowledgement of this disease in its early phases. And if you have any thoughts that it isn’t happening again then ask yourself if you knew what Mike Pence was up to when he was Gov. of Indiana?

And finally, just the thought of a Mike Pence, a heartbeat away from the presidency and a hate mongering Donald Trump as president is enough to make gays, African-Americans, Jews, Muslims and/or any other ethnic, non-white civilians live in fear.

Get your walking shoes on, but first see “The Normal Heart” at ion,

See you at the theatre

Dates: Through Dec. 23rd

Organization: Ion Theatre

Phone: 619-600-5020

Production Type: Drama

Where: 3704 6^th Ave., San Diego, CA 92103

Ticket Prices: $45.00

Web: iontheatre.com

Venue: Ion’s BLKBOX

Photo: Daren Scott

“The Normal Heart” rocks a powerful punch at ION.

Former Indiana Gov. Mike Pence ‘wrote on his website in a section on LGBT issues that government money from a program to help with HIV /AIDS should go to organizations “which provide assistance to those seeking to change their sexual behavior.” ‘i.e.: conversion therapy’.

“AIDS is a plague-numerically, statistically and by any definition known to modern public health-though no one in authority has the guts to call it one.” Larry Kramer.

Larry Kramer founded the Gay Men’s Health Crisis in 1981 with five friends. ‘It is still one of the worlds largest provider of services to those with HIV.’ And the work is never ending.

Kramer is also the author of “The Normal Heart” a semi autobiographical journal/journey through the horrors of the beginnings of one of the most dreaded and mysterious sexually transmitted diseases that attacks the immune system. It ultimately killed (and this was just in New York in the early 80’s) thousands (‘1,112 and counting’) of gay men before it was actually given column space in The New York Times.

“The Normal Heart” opened Off-Broadway at the Public Theatre in 1985 and ran for 249 performances. It was revived again in Los Angeles and London and again Off-Broadway in 2004. The Broadway premiere opened in 2011 for a limited 12 -week run and won a Tony for Best Revival of a Play in 2011. 

Call it insightful planning or B’shert (fated or preordained) by the founders of ION Theatre, Glenn Paris and Claudio Raygoza, to schedule his play in what some might call the most contentious and politically charged and ugly, as in homophobic, xenophobic, anti Semitic presidential campaign seasons on record.

One might also add that Kramer’s “The Normal Heart” is likewise politically charged and contentious. Oft times the characters, in their fierceness to bring attention to this plague, bit the hands that fed them. It wasn’t always pretty.

In their Mission Statement: “ion forges bold, uncompromising theatre that investigates the fiery, passionate, resilient nucleus of the human condition.” And so, if the shoe fits…

Co founders and co directors Raygoza and Paris pull out all the stops in this riveting production. With their mission statement in tow they bring us an honest to goodness and raw production of how Kramer’s movement was formed. The personalities involved and the struggles each had to live with day after day to make their plight known to the public and to the medical profession were fraught with anger, aggression and infighting to say the least.

In case you missed the call or have never seen a production of  “The Norman Heart”, Ion Theatre in Hillcrest is presenting one of the most prickling and emotionally draining productions of Kramer’s play that, if you miss being there to see it you will kick yourself. Keep in mind that the theatre seats 49. “The Normal Heart” plays through Dec. 17^th.

Heading the cast is founding executive director Claudio Raygoza as Ned Weeks, Kramer’s alter ego. Once again if you’ve never seen this man act, you are in for a treat. His passion isn’t just for the stage; he is Kramer incarnate. His Weeks is bold, defiant and critical where a little less criticism would be needed, especially when dealing with the wigs he’s trying to curry favors from.

“Some reporter called me 'the angriest gay man in the world' or some such. Well, it stuck, but I realized it was very useful.”

Those around him and part of his organization that also needed to carry the torch were somewhat flummoxed by his outrageous demands and defiance. Notably Alexander Guzman who plays Felix Turner a closeted style writer for The New York Times, who will eventually become his lover. Weeks harasses him to come out but he refuses.

In fact all of those working for the cause refuse to come out for fear of losing their jobs. And then there are those opposed to getting involved, like Ned’s brother Ben Weeks, (a convincing Daren Scott) who is a partner in a successful law firm but couldn’t bring it upon himself to grant the newly formed organization tax free status. Instead he would bring it to the partners. Suffice it to say there was no love lost between the brothers and their relationship was strained at the seams. Ben Never accepted his brother’s homosexuality so it wasn't until late in the game that they finally reconciled. 

On the other hand, Dr. Emma Brooker (a marvelous Kim Strassburger) who was responsible for treating these men was one of the biggest advocates for money, vaccines and getting the word out there. She too felt the frustration and anger from the medical world when they refused to give her any government funding or to even look at her studies and the work she compiled over the years.   

Those in the organization included Bruce Niles (Joel Miller), who plays down Ned’s bad temper and, as president of the group, just about excludes him from any decision -making policies. Michael Lundy’s Mickey Marcus has his moment on stage, feeling his job in danger and his life ruined by all the indecision and confusion surrounding him, goes into a rage that rocks the house.     

Fine support also comes from Stewart Calhoun as Tommy Boatwright. Fred Hunting co directs and plays several characters, as does Glenn Paris. Between Scott, Miller, Guzman, Raygoza and Strassburger this has to be one of the boldest ion has presented to us.

Mary Summerday designed the costumes. Scenic, sound (haunting, deep and troubled) and projections are credited to Raygoza. A note about the projections: at the end of the play the names of those dead from AIDS are flashed on the walls and character’s overlapping and piling on one another to a degree the remained me of both the Vietnam Wall and walking through the children’s memorial at Yad Vashem.  

If you had any doubts about how the media is manipulated keep your eyes focused on the struggles Kramer (Ned Weeks) had leading up to an acknowledgement of this disease in its early phases. And if you have any thoughts that it isn’t happening again then ask yourself if you knew what Mike Pence was up to when he was Gov. of Indiana?

And finally, just the thought of a Mike Pence, a heartbeat away from the presidency and a hate mongering Donald Trump as president is enough to make gays, African-Americans, Jews, Muslims and/or any other ethnic, non-white civilians live in fear.

Get your walking shoes on, but first see “The Normal Heart” at ion,

See you at the theatre

Dates: Through Dec.17th

Organization: Ion Theatre

Phone: 619-600-5020

Production Type: Drama

Where: 3704 6^th Ave., San Diego, CA 92103

Ticket Prices: $45.00

Web: iontheatre.com

Venue: Ion’s BLKBOX

Photo: Daren Scott

“The Kid Thing” offers impressive San Diego premiere at Moxie.

“Kids say the darndest things.” Art Linkletter.

One might think that playwright Sarah Gubbins play “The Kid Thing” now in an impressive San Diego premiere at Moxie Theatre through Dec. 11^th would be, maybe about what kids say, do, act, behave or in general just be kids.

That would be misleading because Gubbins’ play isn’t about any of those topics. There isn’t even a hint of a kid around, no toys, no anything. No! It’s about having kids and what that means; what motherhood would look like to the two lesbian couples in her play, who do and don’t want to have them, kids that is. 

Darcy (JoAnne Glover) and Leigh (Sarah Karpicus) and Margot (Anna Rebek) and Nate (Katherine Harroff) are best friends. Nate and Leigh went to high school together and the couples visit on a regular basis.

This particular night, during a heated discussion over the death of pop idol Michael Jackson and whether or not he should have had children Nate and Margot let the cat out of the bag that Margot is pregnant. The play is set in Chicago, 2009. In 2013 California passed a law that made gay marriage legal. But no matter same sex couples were having kids well before that and no doubt will continue to do so. 

Later on Nate will reveal that an old high school buddy, Jacob (Connor Sullivan) a young man that Leigh and Margot both dated and fooled around with in college is the donor dad. While the two parents to be seem ecstatic over the prospects of having a ‘kid’, Darcy sees skepticism. Leigh jumps in confessing that she too has been thinking along those lines, and of course they too she and Darcy, want children

Gubbins offers up some pretty potent discussions that are not unlike those talked about today; homophobia, donors vs.fertility clinics, gay marriage, and the roles of same sex couples as parents. This is the one of the biggies that later on in the play will bring out some pretty revealing and drastic assessments by Darcy, who internalizes the situation of having children, in dramatically emotional but oft times realistic (to her) terms.

Darcy and Nate are both pretty butch but Darcy takes the prize as she is definitely committed to her look, Brooks brothers suits, cufflinks that come with her shirts (blouses?) and all the fixin’s. Darcy is an Exec in PR for global markets.

She thinks ‘kids are a theoretical topic.’ Her thinking is done in the abstract but when she brings it down to the now, her concerns are real especially when it comes to her very masculine look, how she feels about herself image, what the child would call her and could she have the same intuitive feeling for a child she did not bear as say the birth mother?

Jo Anne Glover against a Chicago skyline (Sarah Mouyal with Chris Renda on lighting)

JoAnne Glover is a standout as the wall of resistance and probably the most realistic thinker of the four. Emotionally, she’s just not there. Making a decision like that is no willy-nilly; let’s just have a kid because my time clock is running out decision. Don’t get me wrong my eight -year old grandson has two Moms’ and it was the best decision for my daughter and her wife. But it didn't happen overnight.

Leigh on the other hand just wants to have a baby and is worried that her time clock is running out. She is a social worker who barely carries her fair share of the financial burden of that household. She is as soft looking and feminine as Darcy is butch and pretty cut and dry in her slim fitting suits.

Jo Anne Glover and Sarah Karpicus

Sarah Karpicus’ Leigh is the epitome of feminism. She’s curvy, likeable and a bit more down to earth, in her own way than her partner, Darcy. Theirs looks, from the outside, to be the less stable relationship of the two couples involved.

Nate works for Best Buy and in her simplicity she offers a sincere look at her partner with love and admiration and a sense of awe that she chose Nate as her partner. Margot, who is by far heads and shoulders above her in intellect as a college professor, is also the more feminine of the two and she too carries the financial burden of the family.

Katie Harroff's Nate is as home grown as apple pie and just as animated in her desire for children. Her tone and easy going innocence make her just the right partner for Margot and one can see why Margot would be as committed to it as she possibly can.

Anna Rebek and Katie Harrnoff

And that brings us up to the play itself. Gubbins work has as many twists and turns, ups and downs as the Mission Bay Coaster especially when she inserts the fact that Darcy and Margot are having an affair. The topics, all related, are worthwhile discussing and defending but too much might be overload. Having kids is not a singular issue. The play does go off in different directions giving us too much to think about all at once.

The playwright has a good feel for the characters and director Kym Pappas maintains a tight reign on her cast keeping the dialogue crisp and flowing. The ensemble overall is excellent and no one can fault excellent the dynamics that encompasses all the players bringing home a full- throated discussion at plays end.

I would be remiss if I didn’t mention Connor Sullivan as, lets just say, the middle- man here. Sullivan seen in “4000 Miles”, “Jesus Hates Me” and “The Car Plays” just to mention a few, is a rising star and lends a good deal of  comfort and ease to his all female counterparts.

Anna Rebek, Katie Harrnoff, Connor Sullivan, Sarah Karpicus and Jo Anne Glover

Without his sperm, Margot and Nate would still be looking for a donor. On the other hand, Darcy is not at all on board with Jacob. Sullivan’s portrayal of the man seeking a peaceful solution for? is not her ideal donor for her would be offspring. He’s somewhat of a lost soul, but not without an honest desire to please both women. It’s simplistic but works here.

Sarah Mouyal designed the multi purpose set that works well on Moxie’s long stage. Jennifer Brawn Gittings costumes are time and character appropriate. Chris Renda’s lighting and Matt Lescault-Wood designed the lighting and sound that gives way to the period.

Kids may say the darndest things, but there is a reality that sets in, gay or straight, that these little creatures need to have both parents on the same course feeling comfortable in their own skins so that this little person feels safe and loved. That said studies have shown both sides of the coin, pro and con. In this political climate you can bet your ‘sweet bippy’ that this already issue, will come to the fore again.

See you at the theatre.

Dates: Through Dec. 11th

Organization: Moxie Theatre

Phone: 858-598-7620

Production Type: Comedy/Drama

Where: 6663 El Cajon Blvd. Suite N. San Diego CA. 92115

Ticket Prices: Start @ $20.00

Web: moxietheatre.com

Photo: Jose Galvan

Another look at “Sound of Music” now playing at Civic Theatre

‘In 1938 The von Trapp’s, arrived in New York under a six month visitors’ visa and began a concert tour in Pennsylvania. In 1944, several of the von Trapp’s applied for US citizenship at the U.S. District Court in Burlington, Vermont.’ They were fleeing Hitler’s takeover of their beloved Vienna and were lucky enough to have escaped when they did.

You remember the von Trapp’s, of course?  They were the famous ‘singing family von Trapp who lived out their years in Vermont with income from their Family Lodge/farm that served visitors in the small town of Stowe.

Based loosely on the memoir of Maria von Trapp, “The Story of the Trapp Family Singers”, the book for the show “The Sound of Music” is credited to Howard Lindsay and Russel Crouse. Together with Richard Rogers and Oscar Hammerstein II, the original Broadway 1959 production left an indelible mark for musical theatre standards to live up to this day. 

For this Broadway revival, former Old Globe artistic director Jack O’Brien is at the helm. Theatregoers, old and new alike can have another look at a favorite, seen now perhaps through a different lens or for the first time with new eyes. Either way, the underscore of the real story paints scenarios one might never have been imagined in days past.

Set against the rolling hills of the Austrian landscape, (Douglas W. Schmidt) 1938 Austria is in the middle of the Anschlus.The German regime is demanding a straightforward Heil! when one with the Nazi armband enters. Captain von Trapp (Ben Davis) refuses change his political loyalties or even acknowledge their demands even though he is encouraged to join forces as an appeasement by his new love interest Elsa Schraeder (Teri Hansen) and long time friend Max Detweiler (Merwin Foard) both of who are leading advocates for the Nazi’s.

Ben Davis as Captain von Trapp

In the middle of all this political unrest, the sheltered and innocent novitiate Maria (Anna Mintzer) is sent to be governess to the ‘unruly” von Trapp seven. Captain von Trapp, decorated WW I Captain, and widower still thinks he’s in command of his ship and uses his boatswain’s whistle to call his domestic help as well as his own children to line up before him to get their daily marching orders. Each has his or her own set of tweets.

Maria will have nothing of this and begins transforming the very disciplined household into a fun loving musical family. Things get a little dicey for Maria when she finds herself falling in love with the older and ‘spoken for’ widower.   You remember the rest, I’m sure.

With etched in your memory tunes, the likes of “My Favorite Things”, “Climb Eve’ry Mountain” (more on that one later) “Do-Re-Me”, “Edelweiss”, “Sixteen Going On Seventeen” of course “The Sound of Music” (and I could go on) how can one not file this one away as one of our favorite musicals from the Golden Age of the Broadway Musical? 

The evenings’ topper has to be Melody Betts Mother Abbess guiding Maria through her difficult times but more importantly when she uses the full power of her operatic instrument in “Climb Ev’ry Mountain” where she reaches and holds that very last high ‘G’ causing a collective breath to be heard throughout the theatre.

Maria and the children

Add the seven von Trapp children, Liesl (Paige Silvester), the eldest and her short-lived love interest Rolf Gruber (Austin Colby), (“Sixteen Going on Seventeen”) and the entire von Trapp gaggle (“The Lonely Goatherd”) along with Max (“No Way to Stop It”) the musical hums along at a fast clip.

Leaving in its wake, however, there is little tension of what’s to come and even less emotional pull unless you count the final scene when Maria has to finally part company with the Mother Abbess and the Nonnberg Abby.  And when it does come, it’s too little too late. Unfortunately this is one large component O’Brien and his cast fails to give us.

One would love to compliment the actors at this point but for yours truly, the lead role of Maria was simply not a deal maker. Neither voice nor acting convinced. Ben Davis, on the other hand gives a more mature rendering of the stiff necked father/Captain willing to soften his position when push came to shove. The Captain finally regarded the well being of his children above the military discipline including  a convenient marriage, had his plans gone forward. Unfortunately the Baroness Elsa Schraeder couldn’t comprehend.

Austin Colby with Paige Silvester

Austin Colby, the boyfriend turned Nazi was in fine voice and rather eerily convincing as his affections toward Liesl turned from playful puppy-love to icy cold when her father refused the Heil back at him after he delivered a letter to their home. Merwin Foard’s Max was somewhat persuasive as the go between the Nazi regime and his trying to convince the Captain to switch sides ‘until this thing blew over’. Ms. Hansen’s Elsa Schraeder’s, who had her eye on the Captain, exited without much fanfare. (“How Can Love Survive?”) Paige Silvester’s Liesl did win me over as the eldest and in charge of the young'uns as the woman/child with a broken heart.

Director/conductor Jay Alger’s 16-piece orchestra is in full command oft times too loud but then again, the sound at the Civic gives us deafeningly loud music the spoken word is barely audible.  In short, the sound system is in dire need of fixin’.   

While sitting through this particular production and reflecting on the times then and now and the racial climate we are in and will be facing for some time to come, I am in awe that in 2016 minorities are once again the subject/object of hate crimes. Maria et al. were lucky to have found a safe haven in this country in 1948. Others were not so fortunate. Others might not be as fortunate now. Discuss.

That said, “The Sound of Music” is still a favorite. ‘Solving problems like Maria’ should be the least of our worries.

See you at the theatre.

Dates: Through Nov. 20th

Organization: Broadway San Diego

Phone: 888-937-8995

Production Type: Musical

Where: 3^rd and B Street, Downtown, San Diego

Ticket Prices: Start at $22.50

Web: broadwaysd.com

Venue: San Diego Civic Theatre

Photo: Matthew Murphy