| Favorite Premiere/Playwright T H E Q U A L I T Y O F L I F E by Jane Anderson GEFFEN PLAYHOUSE / SKIRBALL Favorite Revival D E A R B R U T U S by J.M. Barrie A NOISE WITHIN Favorite Musical C E S A R & R U B E N by Ed Begley Jr. NOHO VARIETY ARTS CENTER Favorite Director D A N I E L A U K I N for 'The Adding Machine' LA JOLLA PLAYHOUSE Favorite Female Lead M E G A N G A L L A G H E R in 'The Constant Wife' PASADENA PLAYHOUSE Favorite Male Lead H O O N L E E in 'Yellow Face' MARK TAPER FORUM Favorite Featured Female M E L O D Y B U T U I in 'Shipwrecked' SOUTH COAST REPERTORY Favorite Featured Male M I T C H E L L E D M O N D S in Waiting for Godot ( Pozzo) A NOISE WITHIN Favorite Set R A L P H F U N I C E L L O for 'Restoration Comedy' OLD GLOBE THEATRE Favorite Sound A N D Y M I L T O N for 'Assassins' SIGHT UNSEEN Favorite Costumes K I M D e S H A Z O for 'Calling Aphrodite' INTERNATIONAL CITY THEATRE Favorite Lighting C H R I S C O V I C S for 'Don't Look Now' UNKNOWN THEATRE Favorite Ensemble A N T A E U S T H E A T R E C O for 'Tonight at 8:30' DEAF WEST THEATRE |
| REAR VIEW THEATER IN 2007 |
CHECKING THE REAR VIEW FOR 2007
Much more than a primary-color exercise in red state-
blue state fissures, the Geffen's first commissioned
premiere used a Sixties Generation bi-focal to
magnify the small print on the question of when it's
okay to say farewell, and when it's not. More steely
than sentimental, Anderson's 'Quality' showed that
theater writer-directors can be as powerful as their
indie film counterparts. A four-star cast helped bring
it home: Scott Bakula, Laurie Metcalf and
Dennis Boutsikaris (pictured) and JoBeth Williams.
The melancholy, probing life of 'Peter Pan' creator J.
M. Barrie has been completely obscured by his kid-
friendly offspring, but thanks to A Noise Within, Julia
Rodriguez Elliott’s touching direction and another
beautiful physical production built around the work of
Michael Smith, the company in the old Masonic
Temple gave Mr. Barrie cause for a twinkling smile. A
special nod to the casting of Robert Towers as Lob.
Pictured: Jessica Berman, William Dennis Hunt
A revival of Ed Begley Jr's 2003 tribute to Cesar
Chavez and the little-remembered slain journalist
Ruben Salazar was a different kind of musical, taking
popular Latin and Anglo tunes and melding them with
a political story to create a hybrid that illuminated both
music and message. Thanks to outstanding
performances by Danny Bolero (pictured front left)
as Chavez and Mauricio Mendoza as Salazar, we felt
that we had also met the men.
Daniel Auken turned an 80-year-old bit of social
surrealism by Elmer Rice into a fanciful, farcical look
at dehumanization in the workplace. The topic is still
valid, and seems all the more timely in such a vivid
production. Solid performances, led by Richard
Crawford and Diane Ruppe (pictured), and a
brilliant set by Andrew Lieberman (which would receive
a Rearview of its own if we double-dipped), added to
what was another top production of the year.
The recognition of Ms. Gallagher as Constance in Art
Manke's staging of the Maugham classic is a case of
a performer raising the level of an entire production.
While this was not an exceptional staging. Ms.
Gallagher centered things like an uplifting tent pole --
keeping the canvas off the clowns, or in more
appropriate boxing terms, keeps the clowns off the
canvas. This was especially impressive given the
Globe's great staging of the play only a year before.
Hoon Lee, on the other hand, was part of a truly
superior staging that showed off Leigh Silverman's
willingness to push the expected out of the way and
look to something edgier. A heightened performance
style took the semi-autobiographical David Henry
Hwang premiere beyond the fine text, thanks to Lee
and the support of a great cast and design. A very
impressive showing for this promising actor.
Though the headlines rightfully went to Gregory Itzin
for his marathon lead performance in the world
premiere of Donald Margulies' adventure tale, the
quiet side-dish that Ms. Butui offered was another
theatrical gem. Portraying characters -- literally -- all
over the map, Ms. Butui never failed to hone in on the
heart, humor and wholeness of each person she
portrayed. After her star turn in 'Jenny Chow,' she
showed herself a character actor's character actor.
Not reviewed.
Another local go-to guy got the call to play Pozzo in A
Noise Within's well-realized staging of 'Waiting for
Godot.' Mr. Edmonds is one of the most dependable
actors in town, consistently providing the Glendale
company with added dimension dramatically,
comically, or as in this case, blending the two. His
Pozzo was not only hilarious, but haunting. Pictured:
Joel Svetow, Edmonds, Robertson Dean
Amy Freed's play had its own goal of bringing the
centuries-old era of 'Restoration Comedy' back to life,
but Ralph Funicello's set accomplished an additional
feat of drawing audience back to that period with a
set that reached out into the house and united now
and then. A seamless design that incorporated
seating area and stage got the excitement for this
well realized production going well before the lights
dimmed.
Cindy Jenkins' direction of 'Assassin's benefited from
Andy Milton's compact onstage band. Like the poor
creatures that inhabit the world of Sondheim's play,
the band seemed pushed and squeezed into a
position of disadvantage, yet rebounded with power
and beauty. This wholly successful show showed
again that the music is always upfront in a musical,
even when it's behind the curtain. The Milton and
band fit sonically and visually was worthy of note.
This was a runner-up for favorite new play for a
couple reasons: it was Velina Hasu Houston's
commission from ICT, and it raised the level of the
theater's entire season. It also brought the best out
of all the performers, director and designer. Among
those was Kim DeShazo, whose costumes were
essential to this story of beauty and war. Pictured:
Brenda Hattigh, top, and Kym Hoy.
Although this was ultimately not a great success, the
experience of attending an Unknown Theatre
production is always satisfying on some level. In this
case, Covics, who directed and designed set and
lights, gave us a remarkable upside down
environment for the old Kenneth Patchen script. The
lighting, which had the challenge of filling a closed
box, was especially impressive.
We won't be making a habit of the 'Ensemble'
recognition. But, what can you say about a year in
which the remarkable Antaeus crowd got together
for two nights and four one-acts by Noel Coward?
Among the stand outs were Susan Sullivan (pictured
center), Shannon Holt (seated left), Ned Schmidtke,
and Alicia Woolerton.
blue state fissures, the Geffen's first commissioned
premiere used a Sixties Generation bi-focal to
magnify the small print on the question of when it's
okay to say farewell, and when it's not. More steely
than sentimental, Anderson's 'Quality' showed that
theater writer-directors can be as powerful as their
indie film counterparts. A four-star cast helped bring
it home: Scott Bakula, Laurie Metcalf and
Dennis Boutsikaris (pictured) and JoBeth Williams.
The melancholy, probing life of 'Peter Pan' creator J.
M. Barrie has been completely obscured by his kid-
friendly offspring, but thanks to A Noise Within, Julia
Rodriguez Elliott’s touching direction and another
beautiful physical production built around the work of
Michael Smith, the company in the old Masonic
Temple gave Mr. Barrie cause for a twinkling smile. A
special nod to the casting of Robert Towers as Lob.
Pictured: Jessica Berman, William Dennis Hunt
A revival of Ed Begley Jr's 2003 tribute to Cesar
Chavez and the little-remembered slain journalist
Ruben Salazar was a different kind of musical, taking
popular Latin and Anglo tunes and melding them with
a political story to create a hybrid that illuminated both
music and message. Thanks to outstanding
performances by Danny Bolero (pictured front left)
as Chavez and Mauricio Mendoza as Salazar, we felt
that we had also met the men.
Daniel Auken turned an 80-year-old bit of social
surrealism by Elmer Rice into a fanciful, farcical look
at dehumanization in the workplace. The topic is still
valid, and seems all the more timely in such a vivid
production. Solid performances, led by Richard
Crawford and Diane Ruppe (pictured), and a
brilliant set by Andrew Lieberman (which would receive
a Rearview of its own if we double-dipped), added to
what was another top production of the year.
The recognition of Ms. Gallagher as Constance in Art
Manke's staging of the Maugham classic is a case of
a performer raising the level of an entire production.
While this was not an exceptional staging. Ms.
Gallagher centered things like an uplifting tent pole --
keeping the canvas off the clowns, or in more
appropriate boxing terms, keeps the clowns off the
canvas. This was especially impressive given the
Globe's great staging of the play only a year before.
Hoon Lee, on the other hand, was part of a truly
superior staging that showed off Leigh Silverman's
willingness to push the expected out of the way and
look to something edgier. A heightened performance
style took the semi-autobiographical David Henry
Hwang premiere beyond the fine text, thanks to Lee
and the support of a great cast and design. A very
impressive showing for this promising actor.
Though the headlines rightfully went to Gregory Itzin
for his marathon lead performance in the world
premiere of Donald Margulies' adventure tale, the
quiet side-dish that Ms. Butui offered was another
theatrical gem. Portraying characters -- literally -- all
over the map, Ms. Butui never failed to hone in on the
heart, humor and wholeness of each person she
portrayed. After her star turn in 'Jenny Chow,' she
showed herself a character actor's character actor.
Not reviewed.
Another local go-to guy got the call to play Pozzo in A
Noise Within's well-realized staging of 'Waiting for
Godot.' Mr. Edmonds is one of the most dependable
actors in town, consistently providing the Glendale
company with added dimension dramatically,
comically, or as in this case, blending the two. His
Pozzo was not only hilarious, but haunting. Pictured:
Joel Svetow, Edmonds, Robertson Dean
Amy Freed's play had its own goal of bringing the
centuries-old era of 'Restoration Comedy' back to life,
but Ralph Funicello's set accomplished an additional
feat of drawing audience back to that period with a
set that reached out into the house and united now
and then. A seamless design that incorporated
seating area and stage got the excitement for this
well realized production going well before the lights
dimmed.
Cindy Jenkins' direction of 'Assassin's benefited from
Andy Milton's compact onstage band. Like the poor
creatures that inhabit the world of Sondheim's play,
the band seemed pushed and squeezed into a
position of disadvantage, yet rebounded with power
and beauty. This wholly successful show showed
again that the music is always upfront in a musical,
even when it's behind the curtain. The Milton and
band fit sonically and visually was worthy of note.
This was a runner-up for favorite new play for a
couple reasons: it was Velina Hasu Houston's
commission from ICT, and it raised the level of the
theater's entire season. It also brought the best out
of all the performers, director and designer. Among
those was Kim DeShazo, whose costumes were
essential to this story of beauty and war. Pictured:
Brenda Hattigh, top, and Kym Hoy.
Although this was ultimately not a great success, the
experience of attending an Unknown Theatre
production is always satisfying on some level. In this
case, Covics, who directed and designed set and
lights, gave us a remarkable upside down
environment for the old Kenneth Patchen script. The
lighting, which had the challenge of filling a closed
box, was especially impressive.
We won't be making a habit of the 'Ensemble'
recognition. But, what can you say about a year in
which the remarkable Antaeus crowd got together
for two nights and four one-acts by Noel Coward?
Among the stand outs were Susan Sullivan (pictured
center), Shannon Holt (seated left), Ned Schmidtke,
and Alicia Woolerton.
The 2nd Annual TheaterTimes.org Rearview Web Citations look back at
2007 with another collection of exceptional writing, direction, design and
performance. Thanks to all these artists and their theaters -- from the
producers down to the ushers.
Click on the cited to see the review.
2007 with another collection of exceptional writing, direction, design and
performance. Thanks to all these artists and their theaters -- from the
producers down to the ushers.
Click on the cited to see the review.
