BAR MITZVAH BOY by Carol Kaufman Segal

           

The West Coast Jewish Theatre is presenting the West Coast premiere of Bar Mitzvah Boy at Miles Memorial Playhouse in Santa Monica.  The play was written by Marc Leiren-Young, a Canadian journalist, screenwriter, playwright and sometimes performer.  Leiren-Young was awarded the Jewish Playwriting Prize for this play that was chosen by artists, community panel members, and audiences in 2017.

            

The play does not present a plot, but is actually a character play, in this instant, between two characters, a man and a woman who end up spending a great deal of time together over a number of weeks.  Joey (R. Emmett Lee) is a 60-something Jewish divorce lawyer, not at all fervent in his religion.  He never went through the ritual of having a Bar Mitzvah as most Jewish boys do when they turn 13–years old and “become a man.”

           

Joey’s 13-year old grandson is studying towards the day of his Bar Mitzvah, and Joey had never told him that he did not have a Bar Mitzvah and does not want to lie to him if ever asked.  He decides that he needs to have a Bar Mitzvah before his grandson has his.  He rushes to the synagogue to see Rabbi Michael (Pamela Heffler) to explain his situation to her and requests that she give him instructions.  (No mistake!  Her name is Michael!) After some moments, she acquiesces to his request, and from that moment on they meet on a regular basis.

           

During their meetings, they talk about life in general, and Joey learns a great deal about Rabbi Michael.  While he begins to newly revel in his religion, Rabbi Michael begins to question her faith.  Joey learns that her 11-year old daughter has life-threatening cancer and her wish is to live long enough to celebrate her Bat Mitzvah.  This has put a strain on Rabbi Michael’s marriage.  The friendship between Joey and Rabbi Michael is heartwarming and helpful for both as one will see by the play’s end.    

           

Howard Teichman, Artistic Director of the West Coast Jewish Theatre, directs this heartwarming production.  It plays Thursdays through Saturdays at 8 PM, Sundays at 2 PM, at Miles Memorial Playhouse, 1130 Lincoln Blvd., Santa Monica. For reservations, call (323) 821-2449, or go online at www.wcjt.org. 

            

SPECIAL:  Purchase a ticket at full price, bring a picture of your own Bar or Bat Mitzvah and receive a $5 reimbursement at the door!

                                   

MATILDA THE MUSICAL by Carol Kaufman Segal

            

Roald Dahl was a British novelist, short story writer, poet and screenwriter.  Today he is probably most well-known for his children’s books, and in particular, Charlie and the Chocolate Factory and Matilda.  Both of these books were made into Broadway musicals and are still performed by theaters everywhere as is noted in recent weeks in Los Angeles.

            

This review is of a lively and beautiful production of Matilda the Musical that was presented at the Thousand Oaks Civic Arts Plaza.  It was adapted by Dennis Kelly with music and lyrics by Tim Minchin, musical directions (and a full-size orchestra) under the direction of Jennifer Lin, choreography by Heather Castillo, and directed by Lewis Wilkenfeld, with the most talented children and wonderful cast who brought the entire musical to life.  The night I saw the production, a fantastic young actress performed the role of Matilda and the role was shared throughout the run by Olivia Marcum.

            

Matilda is the young daughter of uncaring and abusive parents (Janna Cardia as Mrs.  Wormwood and James Larson as Mr. Wormwood) whose father calls her “boy” because he wanted a boy instead of a girl.  He and his wife are too self-centered to realize what a gifted daughter they have. Matilda is an extremely bright young girl who loves reading books and learning, and is an exact opposite of her unscrupulous parents.  They dote more on their son Michael (Nick MvKenna) who has not “fallen far off of the family tree”.

            

Outside of home, Matilda attends school where she and her schoolmates are under the rule of Miss Trunchbull (Nicholas Mongiardo-Cooper), a reprehensible, unfeeling schoolmarm, unfortunately not an escape for Matilda.  But she does find solace in her teacher, Miss Honey (Katie DeShan) who is aware of Matilda’s brilliant mind, her friendly classmates, and the wonderful librarian, Mrs. Phelps (Deanna Anthony), who has taken an interest in her because she, too, realizes Matilda’s capabilities, and spends lots of time with her listening and enjoying her storytelling.

            

The children prove to be absolutely professional in their work, their singing, their dancing and their performances as a whole.  The staging of the entire production is outstanding, wonderful scenic design by Stephen Gifford, lighting design by Jose Santiago, sound design by Jonathan Burke, and great costume designs by Noelle Raffy.  Needless to say, all things work out well as they always due in stories for children.  The show was SPECTACULAR.

            

The Thousand Oaks Civic Arts Plaza presents outstanding shows throughout their seasons, this one being no exception.  The lovely and comfortable theatre is located at 2100 Thousand Oaks Blvd, in Thousand Oaks.  To check out their coming productions, visit them online at thousandoakscivicartsplaza.net, or call (805) 449-2787.

  

BLACK SUPER HERO MAGIC MAMA  by Carol Kaufman Segal

            

Black Super Hero Magic Mama, written by Los Angeles Playwright Inda Craig-Gavin, is a world premiere production playing at the Geffen Playhouse in Los Angeles, directed by Robert O’Hara.  It takes place in the bedroom of a teenage boy, 14-year old Tramarion Jackson (Cedric Joe) in Chicago in the present.

           

Tramarion is a bright studious boy who has been preparing for a quiz show about African-American history.  He also spends his free time after school with his friend Flat Joe (Noah Abbott) in his bedroom where they are writing a comic book for fun.  Tramarion’s mother, Sabrina (Kimberly Hebert Gregory) feels that Flat Joe could be a bad influence on her son.  Being a single mother, she does all she can to raise him in a safe and happy environment.           

            

The day arrives for the quiz show, and Tramarion comes through with flying colors and is the winner and recipient of a signifying trophy for his feat.   But, unfortunately, there is no time for celebration because tragedy strikes when a policeman sees Tramarion walking home in a dark ally and mistakes the trophy in his hand for a gun.  He kills him instantly, leaving Sabrina in a state of shock.    

           

When Act Two opens, there is a complete change in the play which is bewildering to say the least.  All of the original characters from the first act come back as enemies, and we are now seeing Sabrina as the main heroine of the comic book created by Tramarion and Flat Joe, as she fights against them all until she finally finds relief from her despair.  In the latter half of Act Two, we find Sabrina back in Tramarion’s bedroom taking charge of her life.   

           

Though the general idea of this play is especially provocative in today’s age, it is presented in a confusing way.  Nevertheless, the entire cast deserves credit for their fine work.           

            

Black Super Hero Magic Mama  plays Tuesdays through Fridays at 8 PM, Saturdays at 3 PM and 8 PM, and Sundays at 2 PM and 7 PM, through April 17, at the Geffen Playhouse in the Audrey Skirball Kenis Theatre, 10886 Le Conte Ave., Los Angeles.  Tickets are available in person at the Playhouse box office, by phone at (310) 208-5454, or online at www.geffenplayhouse.org,

THE SOUND OF MURDER by Carol Kaufman Segal     

            

Theatre 40 seems to put on one murder mystery each season, and this season is no exception.  On opening night, the audience loved every minute of The Sound of Murder, written by William Fairchild.  The play is well-written, very well directed by Adrian Cohen, and performed by talented actors whose British accents are never lost.  It keeps an audience in suspense until the “final curtain.”

            

The play takes place in the home of Charles Norbury (David Hunt Stafford) and his wife Anne (Kate Whitney) in Surrey, England (lovely set by Jeff G. Rack).  Charles is a very successful author of children’s books.  After “meeting” him, it behooves one to figure out how he manages to be so successful in his field, as he despises children and simply anyone but himself and that includes Anne.

           

Charles has treated his wife viciously throughout their marriage and refuses to have children with her.  (He once forced her to have an abortion.)  Anne finds comfort in a relationship with Peter Marriot (Gabriel Oliva) and asks Charles for a divorce so that she and Peter can get married and have a family that they both want.  But Charles refuses to let her divorce him claiming it would ruin him professionally since parents must look upon him as a “family man”.

            

When Anne and Peter realize there is no future for them together as long as Charles is alive, they devise a plan to kill him.  Before they are able to carry out their intent, Charles’ secretary, Miss Forbes (Roslyn Cohn), shows up at the Norbury’s home to type Charles’ latest work when she realizes Charles forgot to stop his tape recorder the last time he was taping his latest novel.  When she begins to listen to it, she becomes aware that she is hearing Anne and Peter as they were developing their plan.  Miss Forbes keeps mum about her discovery!

            

What will happen to all of these people if and when the plan is executed?  You will be surprised by all that does occur in this unique mystery that finally reveals all in the end.  Other members of the cast include Peter Trencher as Inspector Davidson and David Westray as Police Constable Nash.  When murder is involved, there is a need for law enforcement!

            

The Sound of Murder plays Thursdays through Saturdays at 8 PM, Sundays at 2 PM, through April 14, at the Reuben Cordova Theatre, 241 S. Moreno Drive, Beverly Hills.  Tickets are available by calling (310)) 364-0535, or online at www.theatre40.org.

TOO MUCH SUN by Carol Kaufman Segal

            

Too Much Sun by Nicky Silver is a guest production at the Odyssey Theatre.  Bert DeLorenzo directs this West Coast premiere who describes it as “a play about how you can remake your life”, which I suppose is a fair description of how it turns out in the end.

           

Audrey Langham (Diane Cary), a demanding actress, walks away from her role in Media, takes off from Chicago, and shows up, unexpectedly, at her daughter’s summer cottage near the beach in Cape Cod.  Her daughter Kitty (Autumn Reeser) and her husband Dennis (Bryan Langlitz) have leased the cottage in order for Dennis to concentrate on a novel he is writing.

           

Lucas (Bailey Edwards) lives next door with his widowed father, Winston (Clint Jordan).   Lucas is a gay somber young boy who deals in pot and has an arduous relationship with his father.  Imposing on the scene with these characters is Gil (Joe Gillette) a representative sent by Audrey’s agent to convince her to return to Chicago.  His true goal in life is to become a Rabbi!

           

Kitty’s relationship with Audrey is nothing short of disrespect as Audrey was not much of a mother to her daughter.  Her relationship with Dennis is squeamish since he is a very tense man. Dennis finds his solace with Lucas.  But Audrey is still full of life (and herself) as she seeks to make Winston her next husband.  

           

In the end, none of the individuals end up as they began, but because they are never fully characterized and seem so inconsequential, it matters not.  DeLorenzo’s direction is well done with a cast that does a worthy job with a play that lacks impressive characters.  The scenic design of a cottage and outdoor area in Cape Cod by Alex M. Calle is very well done.       

          

  Too Much Sun plays Thursdays, Fridays and Saturdays at 8 PM, Sundays at 2 PM, through April 28, at the Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles,.  Tickets are available by calling (310) 477-2055, or online at www.OdysseyTheatre.com.                      

THE IMPORTANCE OF BEING EARNEST by Carol Kaufman Segal

           

Oscar Wilde is still recognized today in many countries as a playwright as well as an author of novels, poems and essays. Born in Ireland n 1854, he died in France at the age of 46 leaving a great deal of work for such a short life. Perhaps, in this country, he is most noted for his novel, The Picture of Dorian Gray which was made into a movie and a play, as well as his play, The Importance of Being Earnest, which is being presented at The Crown City Theatre in North Hollywood.

           

The Inportance of Being Ernest is a satire that makes light of marriage and stuffy traditions. It centers on two rather carefree and well-to-do bachelors who, oddly enough, are both living a double life in order to escape their social obligations.  Algernon (Bobby Slaski) is visited by his friend Jack (Neil Unger) who he knows as Ernest.  He tells Algernon that he came to ask his cousin Gwendolyn to marry him. 

           

Algernon discovers Jack’s cigarette case with a different name inscribed on it and refuses to allow him to marry his cousin until Jack explains to him that he sometimes lives a double life as Ernest.  This leads Algernon to tell Jack that he, too, lives a double life.

            

Gwendolyn (Riegan Sage) and her daunting mother, Lady Bracknel (Michael Mullen), arrive at Algernon’s estate.  Jack proposes to Gwendolyn who eagerly accepts, telling him that she could only marry someone named Ernest.  However, Lady Bracknell finds him unsuitable for her daughter and refuses to allow her to marry him.

           

Meanwhile, Algernon decides to show up at Jack’s estate and pretend to be Ernest.  There he meets Jack’s niece Cecily (Ariel Barber) who never knew “Ernest”.  She falls in love with him, and when he asks her to marry him, she accepts his proposal, also saying she could only marry someone named Ernest. 

           

This is the gist of this very wild and funny caper before everyone finds out who is who and the mix-up is settled and the play ends with everyone living happily ever after.  Other characters in the play are Merriman, a butler and Lane, a manservant (Will Potter), Rev. Cannon Chasabul (John Sala), and Miss Prism, governess (Mouchette van Helsdingen who are all important to working out the foibles in order that “happily ever after”  happens.

            

Michael J. Marchak directs this very fine cast whose British accents are faultless.  The striking costumes are by Michael Mullen, and the set design is by Joanne Lamb. 

            

The Importance of Being Earnest is a classic.  It plays Thursdays, Fridays, and Saturdays at 8 PM, Sundays at 3 PM, through March 31, at The Crown City Theatre, located at 11031 Camarillo St., North Hollywood.  Tickets are available online at crowncitytheatre.com, or by phone at (818) 605-5685.

RECOMMENDED

MISS AMERICA’S UGLY DAUGHTER by Carol Kaufman Segal

           

Bess Myerson was crowned Miss America in 1945, the first and only, Jewish contestant to win the pageant.  The title of this play, Miss America’s Ugly Daughter, written by her only daughter, Barra Grant, and performed by her, elicits a vision of an unattractive woman.  However, that is far from the truth.  Ms Grant is a lovely, charming, and talented woman despite her years growing up under her narcissistic and unaffectionate mother.

            

Barra’s story is told in flashbacks of phone calls from her mother in her later years, calls that come during all hours of the night and into the early morning (the voice performed off-stage by Monica Piper). 

           

Berra’s mother was constantly critical of her from her early childhood.  She never thought her daughter was pretty, and did not fail to make her aware of those feelings.  She lived her life in the shadow of her mother throughout her years growing up.  Myerson was always much too busy with her own life to dote on her daughter.

            

After winning the crown, Bess Myerson’s life became public.  She appeared on numerous television shows, became New York City’s First Commissioner of Consumer Affairs, an adviser to Mayor Ed Koch, served on presidential commissions, and ran (unsuccessfully) for the United States Senate.  Unfortunately, in her late 60‘s, she became involved with the wrong man and was indicted on bribery and conspiracy charges.  After a highly publicized trial, she was acquitted.  This proved to be her downfall until she passed away at the age of 90.

            

Barra wrote this play as a comedy.  Undoubtedly through it all, as revealed in her story about the late night phone calls and despite all, she has had the spirit to forgive. 

           

Miss America’s Ugly Daughter is playing Saturdays at 8 PM, Sundays at 5 PM, and Mondays at 8 PM, through March 24, at the Greenway Court Theatre, 544 N. Fairfax Ave., Los Angeles.  Tickets are available online at MissAmericasUglyDaughter.com, or by calling (323) 285-2078.

RECOMMENDED

CATS by Carol Kaufman Segal

           

Andrew Lloyd Webber’s award winning musical, Cats, opened on Broadway in 1982 and ran for 18 years.   Based on T.S. Eliot’s Old Possum’s Book of Practical Cats, it obviously has not lost its magic.  The original production was directed by Trevor Nunn and choreographed by Gillian Lynne.

            

 During the years, I must have seen Cats a number of times, but that was decades ago.  When I was aware of a touring company coming to the Pantages Theatre, I looked forward to reviving my Memories of the production and of reliving those memories and its magic.           

            

The North American tour, also directed by Trevor Nunn, opened at the Pantages Theatre February 27 with a completely full house of patrons that included many celebrities, even one who appeared as a cat!  Upon arriving at the theater, one could feel the excitement that continued throughout the entire evening of the performance.

            

The story, itself, is irrelevant.  The true magic of Cats is the glorious music, the astonishing cast of thirty-two actors, singers, and dancers who transform into Jellico Cats by their costumes and their catlike movements, while subsisting in a junk yard (and set design by John Napier). The excitement reverberates as they sometimes leave the stage to run up and down the aisles. Their voices do more than justice to Andrew Lloyd Webber’s music, but I found their dancing to be exceptional, exciting and the highlight of the production (choreography by Andy Blankenbuehler based on the original choreography by Gillian Lynn).

           

Cats is playing at the Hollywood Pantages Theatre, 6233 Hollywood Blvd., Los Angeles through March 24.  The performance schedule is Tuesday through Friday at 8pm, Saturday at 2pm & 8pm, and Sunday at 1pm & 6:30pm. There’s an additional performance March 21st at 2pm, and no performance March 24th at 6:30pm. 

           

Tickets for Cats are now on sale, and available at www.HollywoodPantages.com/Cats, and www.Ticketmaster.com, by phone at (800) 982-2787 or in person at the Hollywood Pantages Theatre Box Office (Opens Daily at 10am)

            

This is a production that can be enjoyed by young and old alike.  It is recommended for ages 5 and up.  Children under 5 years old will not be admitted and all patrons, including children must have a ticket.

HIGHLY RECOMMENDED

A RETROSPECTIVE OF DIMENSIONS BY ARTIST L by JoAnn Fites-Kaufman, A Guest Reviewer

Tucked away in a nice neighborhood in Santa Monica is the Five Car Garage Gallery  (https://emmagrayhq.com/). A multidimensional exhibit, A.S.T.R.A.L.O.R.A.C.L.E.S. by the artist L is currently on display (http://888666444222000111333555777999.info/ao_3). L is an up and coming artist who started his artistic career in Utah where he has had solo exhibitions at the Utah Museum of Contemporary Art. His work as been shown at galleries in Los Angeles, New York, San Francisco, Dublin, Bucharest. L’s work has been reviewed and written about in Frieze Magazine Artforum, New Yorker Magazine, The New York Times, Los Angeles Times among many others.

The exhibit occupies the entire space with a colorful, meticulously created space that envelopes ones senses with representations of multiple dimensions. An entire wall displays painted sections with anodized aluminum plates engraved with symbols representing the elevation of one’s inner being and all of combined spirituality and energy from one to nine dimensions. According to L, subatomic, waveform energy is the unifying basis of all dimensions represented by colors and symbols in the exhibit, the encompassing waveform energy described as quantum mechanics (physics).

Adjacent walls contain large mirrors with engraved radiating lines and intricate geometric designs that represent the multiple dimensions and reflect the colored walls and each other.

The symbolism of multiple dimensions and associated colors is repeated in different forms on the last wall and center of the floor. Opposite of the painted wall is a low bench with a progression of colored vinyl window films. On one bench are a series of colored anodized containers with individually created, uniquely scented perfumes created by a perfumer to match his impression of each dimension. The other bench contains tea vessels arrayed to hold specially designed teas by another artist. There are collaborations with artists and crafts persons on different aspects of the exhibit, embodying another aspect of multiple dimensions through human interactions.

In the center there is a seven pointed star with each point painted colors to match the wall. At the point of each star is a large vessel containing tinted mineral oil and a number of marbles that represent each dimension. Crystals in the jars represent the combination of multiple dimensions. The description is complex and multidimensional and so is the exhibit. The scale of each portion is based upon the dimensions of L, the artist, the distance from the ground to the tips of his upraised hands—similar to the Vitruvian Man by Leonardo da Vinci.

While the underlying concepts of multidimensionality that L portrays may be beyond the grasp of the average person, when a person walks into the gallery space, there is a sense of color, light and beauty. It feels like you are in a different dimension, of multiple senses. L has created something that is both complex and intrinsically beautiful and mind opening. Maybe L stands for light, and all the many dimensions of light.

TUESDAYS WITH MORRIE by Carol Kaufman Segal

            Tuesdays With Morrie was a best-selling book by Mitch Albom in the year 2000.  I read the book that year, and because it had such a strong impact on me, it was one that I could never forget.  Watching it performed on stage at the Sierra Madre Playhouse, with two infallible actors, brought it to life.            

            Upon his graduation day from Brandeis University, Mitch Albom (Jackson Kendall) has a warm parting with Morrie Schwartz (Larry Eisenberg), his sociologist teacher.  Mitch had attended Morrie’s class every Tuesday, and they had formed a very close relationship.  Before he leaves, Mitch promises Morrie he will stay in touch with him.

            After graduation, Mitch pursues a career as a pianist, but eventually, he gets a job as a sports reporter for a newspaper.  Over the years he becomes successful as a sportscaster as well as a sports journalist.  During all of those years, Mitch never keeps his promise to Morrie.

            One night, while watching television, Mitch sees 78-year old Morrie as a guest on Nightline being interviewed by Ted Koppel about his fight against Amytrophic Lateral Sclerosis (ALS or Lou Gehrig’s Disease).  He is taken aback, and, undoubtedly, feels a great deal of remorse for his failure to keep his promise.  It has been sixteen years and, at that moment, Mitch makes up his mind to visit Morrie, which he does the very next day. 

            Mitch and Morrie spend hours talking as if they had not missed all those years that had passed.  It wasn’t difficult for Morrie to coax Mitch to return the next week, on “Tuesday”.  And following that, it became a ritual for Mitch to fly every Tuesday to visit Morrie.

            Their discussions were always long and hit upon many subjects that had to do with all things important in life, “love, work, aging, family, community, forgiveness, and death”.   Morrie grew weaker as each week passed, but he seemed to add strength to Mitch who tried to do all he could to be of help to Morrie.  Mitch’s final Tuesday visit with Morrie is extremely emotional, and for me, though I tried to hold back during this part of the play, my strength weakened and tears welled up in my eyes.  Two such exceptional actors could not have portrayed these two men more realistically.

            Though the book, Tuesdays With Morrie, was written by Mitch Albom, the play was written by Jeffrey Hatcher and Mitch Albom.  This production was astutely directed by L. Flint Esquerra.    

            Tuesdays With Morrie plays Friday and Saturdays at 8 PM, Sundays at 2:30 PM, through March 31, at the Sierra Madre Playhouse, 97 W. Sierra Madre Blvd., Sierra Madre, CA. There will be no performance Sunday, March 17, but rather a Pay What You Can performance Monday, March 18, at 7 PM.  Reservations are available by phone at (626) 355-4318, online ticketing at www.sierramadreplayhouse.org.

RECOMMENDED