YOU HAVEN'T CHANGED A BIT AND OTHER LIES - review

 

          As Bette Davis famously once said, “Old age isn't for sissies!” and this delightful revue certainly proves her point. The various trials and tribulations of old age are humorously illustrated by author Jerry Mayer, through scenes and songs by himself, and his son, Steve. In case you doubt it, some predictable limitations that come with old age are all told with humor and melody. Things such as: Where on earth did I park the car in this public garage? or I'm not hard of hearing, just preoccupied! or Don’t tell me it's time for Viagra!

          The six performers are divided into three couples, identified as Jewish, Irish, Italian, who are all planning to renew their marriage vows after 30-some years. This has raised their awareness of certain problems that are becoming troublesome. For example, the three wives are perplexed by having their once career-obsessed husbands now lurking, lounging, or hanging around the house every day. The three husbands are wondering why their once manly domination in life, work, and home is gone, and is this why they are starting to feel like they are becoming the weaker sex?

          Through a series of witty songs, the excellent cast share these dilemmas with the audience members. This brought much recognition laughter from the older folk attending. For younger people it's a hint of trials and tribulations to come, yet Mayer's message is clear - keep living and loving and don't put any limitations on what you can still accomplish. Hey, author Mayer is 90 and, after a career writing for many top TV shows, he's clearly not slowing down as here he is, onstage with live theater.

          Directed by Chris DeCarlo, who also performs, along with Rachel Galper, Kyle T. Heffner, Barbara Keegan, Evelyn Rudie and Tom Van Dyke. Musical accompaniment is by Steve Mayer. At Santa Monica Playhouse, 1211 4th Street, Santa Monica. Tkts: (310) 394-9779 ext.1, or theatre@SantaMonicaPlayhouse.com

 

RAPUNZEL ALONE - review

 

The Murphy Girls in WW2

During the bombings in the second World War, for their safety, thousands of children were sent away from London to stay with strangers in the countryside. In fact, my sisters and I were among these, and we spent one year on a farm in Dorset. I was two years old, and people said I enthusiastically went out to herd in the cows each evening. 

So naturally I was intrigued when I heard that this show was about a little mixed-race girl sent to live on a farm in WW2! 

However, this child's experience is far bleaker than mine. Her farm-owner is a formidable, emotionally unreachable woman who, because she was from Africa, was embittered after being called a 'witch' by the local rubes. How a child deals with stern domination is the theme of this play that somewhat parallels the Grimms Brother's (grim) tale of a young girl's imprisonment. 

All is sadness until Gertrude, a large goose, a creature that seems to embody an evil spirit, roars in with beak open to attack. The child is at first terrified, then as she timidly collects eggs, and witnesses the magical arrival of goslings, her heart fills with tenderness. As she becomes the protector of these fragile creatures, will Gertrude, who has tolerated this intruder, now accept her?

       How to categorize this as a children's story is a problem, as it's so full of undeserved cruelty that one fears it unsuitable for kids. Still, the production is wildly imaginative, with moving screens denoting places, people and events that drive the action along.

 The voiceover by author Mike Kenny, that sets up the story, is a needed asset. Sadly, the exchanges between the child Lettie (Tara Alise Cox) and her unkind hostess (Marie-Francoise Theodore) are often barely audible, while bratty local kid (William Leon in a dynamic and delightful performance) can be heard clearly.

Stealing the show is Gertrude the Goose, the funniest and most energetic bird, boldly escorted by puppeteer Matt Curtin. Children in the audience clapped and laughed whenever Gertrude appeared, and someone nearby actually asked their neighbor, "Is that goose real?" as she certainly appears so.

The show, written by Britisher Kenny, is produced and directed by the dynamic 24^th Street Theatre team, Jay McAdams and Debbie Devine. This production moves to Beverly Hills and will play at the Wallis Center for further weeks. 

For information: (310) 746-4000 or TheWallis.org/rapunzel

Production photos by Cooper Bates.

ON THE OTHER HAND, WE'RE HAPPY - Review

 

 

This is a poignant tale of love, loss, and how when one is not afraid to take risks, life can perhaps bring joy. Playwright Daf James has devised an ingenious way to persuade us that the love between stolid Josh and effervescent Abbe is deep and long-lasting. As we view a series of brief live-action snapshots, we see the changes that take place over the years in a happy marriage. We are enchanted by these time changes that reveal the dynamic in their marriage. Clearly, both are eager to share their lives fully especially when, unable to conceive, they agree to adopt a child.

There are events that make this a perhaps perilous choice, not least of all the fact that the mother of the child offered to them is drug addicted. One of the characters asks us directly, what would we do in such a case? Take in a perhaps badly damaged little girl? Would we risk it? Playwright James shows us, through Josh, the inner doubts for such a commitment but also his deep need to share love as he has known it.

The three marvelous actors all play double roles smoothly and believably. Rori Flynn, dazzling as the effervescent Abbe, whose ability to love is boundless, also plays a calm, assuring social worker whose deep understanding of the tumult in a childless person's mind is balanced by a firm belief in parenthood.

Christian Telesmar, as the conflicted Josh, shows how deeply he wants a child to hold yet reveals the fear that his dream might crash when facing reality. Telesmar portrays the sensitive husband believably, then suddenly breaks away for one brief scene to portray the child's father, a boisterous, demanding man that we know has a darker side.

 

Perhaps the most riveting part of the play is when we meet the child's mother. Alexandra Hellquist is marvelous as a frantic, deeply wounded, almost hysterical woman whose need to save her child from the degradation and abuse she suffers reaches levels of nobility. Hellquist also leaps back and forth as the troubled child that we witness growing into assured womanhood.

Director Cameron Watson moves the action at full speed and yet allows the actors moments of stillness that tug at our hearts. Perhaps the revelation in James' play is that no matter what happens, love can heal the deepest hurts if we have the courage to embrace it.

Rogue Machine Theatre are now at the Matrix Theatre, 7657 Melrose Avenue, Los Angeles. For reservations call (855) 585-5185 or www.roguemachinetheatre.net

Photos by John Perrin Flynn