Steve Martin’s “Meteor Shower” Underwhelms

Steve Martin’s world premiere play of “Meteor Shower” a co-production with Long Wharf Theatre is currently playing at the Old Globe Theatre in the Sheryl and Harvey White Theatre. The short 2-act play has been extended to run through Sept 18^th 2 weeks longer than scheduled. Friends and acquaintances have been bemoaning that there are no tickets to be had. Perhaps with these additional dates, their wishes for tickets will be granted.

Some might have been stung by the fact that they never got to see his and Edie Bicknell’s “Bright Star” the new musical that premiered here in 2014. It went on to win the Drama Desk Award for Outstanding musical and Tony nominations for Best Musical, Best Book of a Musical, Original Score and on and on. Unfortunately it closed after 109 regular performances.

Martin’s new play is called an ‘adult comedy’. It’s a cross between Albee’s “Whose Afraid of Virginia Wolfe” but this one is sit com funny (in an off kilter kind of way) not Virginia Wolfe’s biting dark humor funny, and this year’s “Constellations” by Nick Payne where every start has an alternative start and twist on the same material, over and over and over again but seen through different eyes and perhaps the lineup of the constellations.  

‘Meteor’ does the same thing kind of restarting each scene with a different take on what each character’s motive or perception of what we are about to see will be acted out but doesn’t come close to the straightforwardness and consistency that Payne’s “Constellations” does.

Alexandra Henrikson and Josh Stamberg

Two of the characters in Martin’s play, Linda and Gerald (Alexandra Henrikson and Josh Stamberg) definitely have a plan of action before they even ring the doorbell to Corky and Norm’s (Jenna Fischer and Greg Germann) beautiful and upscale Ojai home. Maybe they’re heavens sent, maybe not. (Michael Yeargan's set is beautiful and perfect for the theatre in the round of the White Space) 

We meet up with Norm and Corky, as they are getting ready to welcome Laura and Gerald. They have a little ritual of coming together and holding hands when one or the other of them hurts the other’s feelings. We see this as Norm makes some off- handed remark about Laura. She’s the one that picked Norm up after he and Gerald finished their tennis match.

Jenna Fischer and Greg Germann

Laura and Gerald are visiting under the guise that they want to see the upcoming fiery meteor shower unimpeded by the lights of Santa Barbara, where they live. Maybe. It’s going to happen under the stars this particular weekend in 1993 or so they say. (“Tonight, fifty to sixty meteors are expected per hour”) But what they say they want, what they do and how they go about it puts the audience in a position of defying reality and leaves them scratching their heads for 100 or so minutes. Did it happen this way or that way? Perhaps that was the intent of playwright to keep ‘um guessing.

So let’s rewind that scenario.

It seems that Corky and Norm want to meet ‘The Coopers’ but don’t really have any way of doing that so when Norm meets Gerald on the tennis courts, he learns that Gerald does know them and will surely make the introductions. (“I think we should meet the Coopers and maybe this is the way”) We learn during the first scenario that Gerald’s wife Laura, the complete opposite of Corky, was once editor of the West Coast Office of Vogue; the now closed West Coast office located in Los Angeles. Was one actually there?

“Oh the games people play now every night and every day now,
Never meaning what they say now, never saying what they mean. La da da da da. Talkin’ ‘bout you and me And the games people play” (Joe South)

And oh, by the way the three Egg Plant gift Norm and Corky got… Who sent that and why only three eggplants? And the wine Gerald and Laura brought as a house gift, was it an $85.00 bottle or a $5.00 bottle? And seriously, who cares, they drank it anyway.

Then the games of you show me yours and I’ll show you mine starts with another rewind of the first meeting.  It seems that Laura was morbidly obese. She lost 250 pounds, Gerald shares. (She has a gorgeous figure BTW). Corky on the other hand was once a cannibal. Yup, she ate her friends while “lost in the Himalayas for 47 days without food, my friend Kathy and a dying Sherpa…and then they were none”. That was a showstopper. Now she admits she has ‘exploding head syndrome’ instead of guilt.  

Some of Martin’s comedy is beyond/above my grade level; its too off the wall and just did not tickle my funny bone. Did the audience eat it up the night I attended? You bet they did. Did they LOL? Absolutely. Was the acting worthy? For the most part the actors did the best they could with the material they were given, but frankly my dears, I couldn’t care a damn about any one of the characters.

Director Gordon Edelstein’ s cast is top notch, sit com ready with Jenna Fischer of “The Office” as the straight-laced and pretty boring wife of Norm played to the hilt by Germann, with more facial expressions than one could possibly imagine. He was in the revival of “Boeing Boeing” so that tells us something about his comedic skills.

Alexandra Henrikson is a sexpot as Laura. She has all the pursed lips looks down pat and Josh Stamberg is a big hulk of a handsome guy whose big jerk role sets the stage for some rough -and -tumble shenanigans. But then again both couples get to reverse roles and each has a ‘gotcha moment’ so what’s good for the goose is good for the gander.

 “Meteor Shower” should appeal to those who love Steve Martin and his humor unconditionally. To those looking for last minute tickets, good luck and keep trying.

See you at the theatre.

Dates: Through Sep. 18^th.

Organization: The Old Globe

Phone: 619-234-5623

Production Type: ‘Adult’ Comedy

Where: 1363 Old Globe Way, Balboa Park

Ticket Prices: Start at $29.00

Web: theoldglobe.org

Venue: Sheryl and Harvey White Theatre 

All photos by Jim Cox

Moonlight’s production of “Titanic” is Yuge!

Moonlight Productions has taken on a project as yuge as the ‘Titanic’ itself, the ‘unsinkable’ ship that went down to the sea after hitting an iceberg on its maiden voyage crossing the Atlantic on April 14^th 1912. To say that some of the most elite of the elite was aboard would be an understatement. More on that later

The musical with story and book by Peter Stone and lyrics and music by Maury Yeston (who manages to give a small look into several of the many characters aboard), is one of the largest shows Moonlight Productions has loaded in on to their stage. It also won five Tony’s in 2016 one including Best Musical. On some level it plays like an operetta and with the  help of a 26- piece orchestra under the baton of Elan McMahan it soars. Under the deft direction of Larry Raben and cast of about 38 with some doing double duty, it is a sight to see.

Roslyn Lehman, Renetta Lloyd and Carlotta Malone coordinated the many costume changes (Theatre Company) Jean-Yves Tessier’s lighting design, with an effective three level set (provided by Gateway Set Rentals), Jim Zadai’s sound that was awesome, but the piece de resistance is Jonathan Infante’s projection designs. They make this behemoth of a project move forward with what looks like little effort (which we know is not), especially in the final scenes when the listing ship is ready to go down. Bravo!

As for the cast, it is one of the strongest ever with mighty voices mostly coming from the large male ensemble including Norman Large as the Captain (E.J. Smith) and Johnny Fletcher’s Officer 1^st Class William Murdoch.  Others include Richard Bermudez as the first stoker who is a standout, and long time no see Joseph Grienenberger as Henry Etches, 1^st Class Steward and Bryan Banville as lookout Fredrick Fleet, (and others).

Robert Townsend (“Mr. Andrew’s Vision”) is Thomas Andrews the architect that designed the Titanic, Steven Glaudini (artistic director of Moonlight Productions) portrays J. Bruce Ismay, Chairman of the Board of White Star Lines and self centered egotist, that some thought was the cause of the ‘accident’ by pushing the Captain to increase the speed in order to set a world’s ocean crossing speed. (“The Blame”) The talent goes deep making Yeston’s music and lyrics so compelling.  

 I would be remiss if I did not mention Ralph Johnson in this tribute. Johnson stood as a man of compassion portraying Isidor Straus, humanitarian and co-owner with his brother Nathan of Macy’s Department store fame. But it was the lasting love affair with his wife Ida (a lovely and composed Susan Stuber) that captured the hearts when she refused to get on the lifeboat without him. (“Still) They lived together, loved together and would later die together.

And while the story has many moments like this, this one in particular, whether factual or not, brought tears when he wrapped his Champaign glass in a napkin and broke it as he did on their wedding day. Chills even now (nice touch). It was touching and heartfelt amid the chaos of the other passengers vying for an escape route.   

Bringing a little humor into this darkness social climber Bets Malone and Greg Nicholas as Alice and Edgar Beane from Second Class go back and forth about Alice’s need to meet up with and mingle with the first class set. (“The First Class Roster”) She makes commentary on each as the names are read, by third class officer Pitman (Evan White) when each boards. She also manages to infiltrate the upper deck, “I Have Danced” much to Edgar’s chagrin.

Adding another touch are the three Kate’s (Katie Sapper, Shaina Knox and Sarah Errington) and a love interest, Jim Farrell (Scott Arnold in a most convincing role) from Third Class. All hail from parts of Ireland. Hats off to choreographer Karl Warden and with his added choreography.

 We all know that the cream goes to the top and that’s about how it was on The Titanic. Those in First Class had every opportunity in life. J.J. Astor (Paul Morgavo), Benjamin Guggenheim (Theodore Leib), John Thayer (Sean Jeffrey Barnett) and family, George Widner and wife, Eleanor (Debra Wanger), and were the first passengers given the limited number of lifejackets while those in Third Class were all but kept to their own as the ship took on water.

Impressive also was the company’s heartfelt Finale. Their voices shook the Amphitheatre.

It’s not easy watching a show based on the tragic facts surrounding the sinking of what might have been a glorious hour and years of talk for those involved as passengers and those responsible for the idea, design, construction and overall inner workings of “The Mighty Titanic”.  (“How Did They Build The Titanic?”)

Instead, as the roll call of those listed and deceased (1,500 men, women and children) rolled on the closing curtain one could feel how lucky the one passenger, Frank Carlson who missed the boarding, must have felt when all was said and done.

You still have time to catch this seldom produced show through Sept. 3^rd. It’s a good investment of your time and another look at a moment in history not seen in movie theatres.

See you at the theatre.

Dates: Through Sept 3rd

Organization: Moonlight Stage Productions

Phone: 760-742-2110

Production Type: Musical

Where: 1200 Vale Terrace Drive, Vista, CA

Ticket Prices: $10.00-$55.00

Web: moonlightstage.com

Venue: Moonlight Amphitheatre

All photos by Ken Jaques Photogaphy

“Oklahoma” Is Still O!K! at New Village Arts

For a lady entering her 70’s the quintessential musical “Oklahoma” is still O!K! It still resonates, the tunes are not only hummable they are committed to memory and anyone that has seen it in the past will conjure up their own memories of the O K L A H O M A! production  number in the second act.                                                                                                                             

When “Oklahoma!” opened out of town, scouts sent it back to New York with the succinct message: "No Girls, No Gags, No Chance." After the New York opening, the line was revised to read: "No Girls, No Gags, No Tickets.” It ran for 2,248 performances breaking all of the then existing records for length of run and box office receipts. It was 1943 March to be exact, when the book musical “Oklahoma!” opened on Broadway at the St. James Theatre.

In April New Village Arts Theatre in Carlsbad mounted the very big “Big River” by Roger Miller to critical success and audience raves. It is one of the lesser -produced musicals even though it earned a Tony for Best Musical 1979-200, a Tony for Best Original Score, and a Tony for Best Book of and Original Score. New Village Arts, now in its sixteenth season with an all-new interior, is at it again with another big musical “Oklahoma” and it is pretty rousing.

With music by Richard Rogers and book and lyrics by Oscar Hammerstein II (the first of their collaborations) the story unfolds in what was then Indian Territories before Oklahoma became a state. It pits the farmers against the cowboys (“Farmer and the Cowmen”) as the basis for the bigger picture. With romance circling the wagons between Curly and Laurie and Will Parker and Ado Annie and Ali Hakim the picture expands and exceeds all expectations.

“Oklahoma!” based on the Lynne Riggs play “Green Grow the Lilacs”, sails or should I say dances and sings its way through one musical number after another with some dramatic emphasis centering around the little ‘off kilter’, mysterious Jud Fry, (“Poor Jud is Daid”), the silly romantic comings and goings of Ali Hakim, the Persian traveling salesman, (a consistent throughout Jonathan Sangster), (Ado Annie who just  “Caint Say No” Alexandra Slade) and Will Parker (Zackary Scot Wolfe).

That love triangle gets a bit tiring after a while but all three actors do their best to keep us interested especially some of the over the top antics of Alexandra Slade’s shenanigans. The on again off again romance of Curly (Jack French) and Laurie (Charlene Koepf), and the cowboy/farmer riff with Aunt Eller (a seasoned Susan E.V. Boland who takes no prisoner’s) refereeing the whole shebang makes for a full and fun loving evening packed with songs like “People Will Say We’re in Love”, “Oh, What a Beautiful Mornin’”, and “Many a New Day”.

 

Cowmen and Farmers and their gals with Will Parker

One might not be able to imagine this big show on the long stage of New Village Arts Theatre, think again. Between director Teddy Eck’s staging, choreographer Julian Catano’s ballet and full ensemble of talented dancers, Mary Larson's western looking costumes, Christopher Scot Murillo’s flexible set design and Tony Houck’s musical direction with Morgan Carberry on violin in front of the audience participating in the ensemble or as a member of Houk’s musicians, this lively musical with talent to spare has more energy than the Energizer Bunny.

Full use is made of the stage from one end to the other and Jack French’s Curley, a fresh young new face is as capable as any other I’ve see in the role. Both he and Koepf’s Laurie have great chemistry together whether arguing, singing, dancing or out in the  “Surrey With The Fringe On Top”.

                                                                                                                                                    

On opening night each showed maturity beyond their years as both have credits to bear them out. I was especially impressed with French’s beautiful baritone voice and Koepf’s rich soprano as they moved together in their duet “People Will Say We’re in Love”.

Coming almost out of the blue, Christopher Lesson’s Jud Fry is a big burly and aggrieved guy, not so much menacing looking as just plain big enough that one would not want to get in his way. That didn’t stop Laurie from confronting him though when she felt him stalking her.

It looked like a David and Goliath moment. Lesson, with it all, also has some impressive chops “Lonely Room” sung with heartfelt emotion (the way he was set up and treated one had to feel some sadness for his character) sung with heartfelt agony and “Poor Jud is Daid” sung with French is pretty gruesomely funny. The ongoing struggle between Jud Fry and Curley, as they vie for Laurie’s attention reaches a predictable yet hokey take on the way the law worked then, just sayin’.

The scenes with Slade’s Ado Annie and Wolfe’s Will Parker are fun. The two are a good pair although some in the audience thought they were in their own living rooms with unnecessary remarks that were distracting. Ado Annie is a plumb comic role and when Annie’s father Pa Carnes (Devlin Collins) brings out that shotgun, hold on to your hats.

Alexandra Slade, Zachary Wolfe, Charlene Koeph and Jack French

Sue E.V. Boland’s Aunt Eller had her pretty much in charge attitude on on opening night especially with her apron-toting six-shooter at her side. Hat’s off to her; she sings, dances and carries a very big stick.

When the entire cast comes out singing “Okla Homa! “Okla Homa!” We know we belong to the land, and the land we belong to is grand. And when we say Yeeow! Ayipioeeay! Yeeow! We’re saying “Your doin’ fine Oklahoma” - Oklahoma OK. – “O K L A H O M A!”   It is OK.

Put this one on your must see/to do list. You will not be sorry.

See you at the theatre.

Dates: Through Sept. 25th

Organization: New Village Arts

Phone: 760-433-3245

Production Type: Musical

Where: 2787 State Street, Carlsbad Village

Ticket Prices:

Web: newvillagearts.org

All Photos by Daren Scott