MONSTER IN THE DARK

Beyond 1984 is where the Fools Fury Theatre Company takes us. This play, written by Doug Dorst and directed by Ben Yalom is what I would call an immersion play. Nothing is static. The actors move all over the place. In front of the audience and on the walls (remember “Hair”?) They even perform behind the audience, so that you have to turn around to see what they’re doing.

The two-and-a half hour play needs pruning, which would in my opinion give it more potency. What we have here on the stage is a mix of “Soylent Green,” 1984 and parts of many movies, books and plays that have dealt with what life would like living under a totalitarian government. In this case that government is referred to as “The Structure” -- similar to the way our current government runs things. The play also delves into the strange world of religious fanatics, who call themselves the Makersellers. Falwell’s gone, but there are still plenty of nuts to take his place.

This is a terrible and dreary place to live. The story starts out with a sinister authority figure in a raincoat. He is barefooted and leers at you with a suspicious probing look. That’s enough to make you feel queasy and uncomfortable. So uncomfortable, that I had to look away. There is constant rain in this place. Everyone is barefooted. This is an extreme movement play that is almost like a choreographed ballet. At other times you might be reminded of Cirque du Soleil.

A flood comes along and many people drown or are pushed off of a floating ramp that saves a few people. But, “The Structure” is closing in on them fast with annoying warnings on bad loudspeakers. Who survives and who doesn’t is part of the excitement of the play.

The actors that take on multiple roles give performances of almost unbearable tension. Deborah Eliezer plays a fervent evangelist. Delia Foster plays a prostitute with great gusto. Jessica Kitchens, who sometimes is wrapped in Velvet, is a married woman and having an affair with a businessman (Peter Ruocco) who has connections with the government. He seems to be a sexual robot with no feelings. A Spitzer type? An unfortunate prisoner (Ryan Tasker) has not pleased “The Structure”. Then there is Miss Huddleston (Beth Wilmurt) a mousy schoolteacher who veers from the mandated “Structiculum” – a word that spell check doesn’t recognize. Many futuristic sounding words in the play may one day become part of our everyday vocabulary. They ARE clever and witty, and could be compared to our current Administrations way of twisting words into something else.

There are some funny moments in this overwhelmingly depressing play. Here’s one moment. When on a floating ramp/raft, someone says: “Those are not your grandfathers bones floating by”. All in all, this new play keeps your interest, but doesn’t really grab the viewer with emotion. I’m looking, but not jumping. Probably because we have been living with it for some eights years, it is all too familiar. It’s the powerful, tautly paced performances -- that makes this play so intense, and unexpectedly spellbinding. The direction by Ben Yalom is terrific.

At CounterPulse Theatre, 9th and Mission. www.foolsfury.org.

RATING: THREE GLASSES OF CHAMPAGNE!!! -trademarked-


Judy Gold at The Marines

COMIC JUDY GOLD AT THE MARINES THEATRE

What did Judy Gold say that got her into trouble with Homeland Security? This on TV: “We got to get that living, breathing shit out of office.” Then the S—T hit the fan when it was reported in the N.Y. Times and the New York Post. Homeland Security was very interested. They were not amused that she made fun of the Pretend Prez.

Gold is known for her earthy words on stage and TV. She got an email about the above comment: “You filthy, Potty mouth C%*t.” Now I ask you. Who has the filthiest mouth? The emailer? Or Gold? I think I’ll go with the emailer.

Gold who talks about Jewish mothers in her play at the Marines is absolutely hilarious. Gold herself is a Jewish Mother, and as she tells the audience: “I’m Jewish, I’m, 6’3 and I’m a Jewish Gay Mother who has two boys, Ben and Henry. Both were conceived through artificial insemination. According to Gold—“If that doesn’t create Jewish Angst, I don’t know what does.” Those were the ‘Wendy’ years when she and partner Wendy where a long time item. Wendy is out of the scene now – but she is mentioned in the play.

Gold is a marvel at acting out various Jewish women with problems, including her relationship with her mother Ruth, who naturally criticizes everything that Judith does. Her mother nags her constantly… “Judith…what did you do now, Judith”? “Now you know why I changed my name to Judy.” – she says. Hey, isn’t that what a Jewish mother is supposed to do – Nag? Actually the way that she describes her mother and the way her mother talks reminds me of that one-time San Francisco Icon – David the MatchMater. Who was famous for saying “Dear, why did you do that, Dear?”

You’ve probably seen Gold on “The View”, “Logo” and her comedy specials on HBO. She’s everywhere. Recently she was on the Ron Owen’s show (KGO) for and hour and she’s been On Broadway and Off Broadway, plus she won two Emmy Awards for writing and producing “The Rosie O’Donnell Show. “

Judy Gold’s show “25 Questions For a Jewish Mother” is a must see. She’s a Jewish Godfather – she cuts right to the quick. Some of the lines are just devastating. She has reinvented the one Woman show. And hey, she sings too with a little help from Barbra Streisand.

In this show Gold solves all of life’s problems, is good to children and dysfunctional Jewish parents. She’s the kinda Gal that you would like to spend all day with. Think of it as riding a Cable Car on Steroids.

AT THE MARINES MEMORIAL THEATRE

RATING: FOUR GLASSES OF CHAMPAGNE!!!! (highest rating) – trademarked-


La Rondine. Photo by Terrance McCarthy

OPERA AT THE CASTRO THEATER

Digital Opera at the beautiful Castro Theater leaps across generations in a single bound. What a great idea this is. Now anyone can see beautiful fantastic Opera on he big screen. The series starts out with the rarely performed La Rondine starring Angela Gheorghiu. Puccini fits her like a glove. You will be captured with “Doretta’s Dream”.

La Rondine may just be one of the best Opera’s that Puccini wrote. It is a shame that it has been neglected for so long. But, thanks to the new direction of the San Francisco Opera they have come up with this wonderful way for everyone to enjoy the musical treasures of Opera. Many years ago, I wanted to see “Aida” at the Opera House starring Pavarotti, but it was completely sold out. Then, something wonderful happened. It was announced that due to the tremendous interest in Aida, they have worked out a deal to simulcast the Opera to the Civic Auditorium in the Civic Center. The tickets were Ten Dollars and it was the best bargain I’ve ever enjoyed. The Screen was huge, the sound was crystal clear – and everyone was dressed casual. It is a day that I will never forget. Maybe at some point, the Opera might again think about offering something like this to San Francisco.

However, the addition of the Digital performances at the Castro, are truly going to be a huge hit. Once the word gets around, I’m afraid tickets will be hard to come by. So, I would suggest that you get them soon.

This La Rondine takes places during the Art Deco days. The set is really stunning. The theme of the Opera is more about regret than tragedy, but it is heart breaking at times. And when Angela Gheorghiu hits the high notes in “Chi il bel sogno di Doretta” – you know that you are in the presence of a great talent. I can’t wait to hear it again at the Castro Theater and see those gorgeous sets on the big screen. One of the reasons I’m all for Opera on the big screen is because there are many people like myself who have some vision problems. When a screen is that big, the problem is solved.

The Castro Theater along with 120 movie theaters across the country will be screening San Francisco Opera digital cinema presentations beginning this month. The historic Castro seats 1400. The screenings start this Monday March 17. There will be three showing of La Rondine at 11:30, 3:30pm and 6:30pm.

Next will be Saint-Saens’s, Samson and Delilah on March 31, followed by Mozart’s Don Giovanni on April 14, and another Puccini Opera -- Madama Butterfly on April 21.

Ticket prices are $20. Students with an I.D pay only $10. You can get them here: castrotheatre.com or ticketweb.com.

Soprano Angela Gheorghiu said: “I’m thrilled that Puccini’s La Rondine will be the very first opera on the national digital cinema series. This rarely performed opera is one of my absolute favorites, and I’m sure audiences across the country will love it.”

I say:…La Rondine is wonderful and creative with very impressive performances.


Christine Ebersole wowed the audience

CHRISTINE EBERSOLE CLOSES OUT THE CABARET SEASON

The dynamic due – Christine Ebersole and Billy Stritch are an amazing combination on stage. The minute they were announced, there was thunderous applause and hoots and hollers. The same thing happened when Bassist Daniel Fabricant was announced. Fabricant is probably the most sought after musician in town, and deserves all the applause that he gets.

The show was called “Sunday in New York”, but it turned out to be “Sunday in San Francisco”. Ebersole, who is warm, funny and charming made the City her own with comments about life in Sf. She had some really funny quips. “Texas is the Latin word for ‘Death Penalty’. “Before I got here, I checked out the gay.com status,” She explained the meaning of her name. “My Dad said that the name Ebersole means the soul of a wild Boar,” She also told about the meaning of ‘Winnetka’ – “Its Indian and means ‘Affluent Gentile.’ She kids, I think.

Besides having one of the most expressive and charming singing styles, Ebersole also has great stage presence. She is so calm and so at ease. Nothing seems to ruffle her, -- except when my Cell phone played a little musical ditty during “Lullaby of Broadway” just as she sang the words “Come on and Listen to” -- It was then that my phone went dee da dee. If looks could kill – I would be dead. Oh well, sweetness only goes so far. I don’t think see knew it was my phone – but she did zero in on the direction of my table. They should warn you before the show starts. I forget things.

Here is a sample of the evenings fare: Before launching into “A Small Hotel” – Ebersole said: “Oh we are in a small hotel”. Then she sang the terrific Rodgers and Hart song from the musical “On Your Toes”. Other highlights were “They Say It’s Wonderful” (Gershwin” sung by Gene Kelley in ‘An American in Paris’. Stritch did a solo of the Roy Turk/Fred Ahlert song “Walking My Baby Back Home”. Ebersole jived the room with the Nat King Cole favorite “Hit That Jive Jack”. She really melted the Gold Leaf off of the room with “Lullaby of Broadway” (Harry Warren) from 42nd Street. And Stritch burned the drapes off the windows with a rousing “We’re in the Money”. Stritch said at the end of the show – “I have to say, you’re the best audience we’ve ever had.”

The evening ends too soon with Ebersole’s haunting version of “Not While I’m Around” from Sondheim’s Sweeney Todd. Sadly this was the last Cabaret show this season. But, Marilyn Levinson – the Czarina of Cabaret is sure to come up with another boffo season of entertainment for us in Grand venues next season.



The Photo of Lee Hartgrave Boy Reporter is by Jim Ferreira – Film Noir & Hollywood Glamour. www.lafterhall.com.

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