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CELADINE by Charles Evered
This tale is told in a London coffeehouse in the Sixteen hundreds, during
the reign of King Charles II. The wonderfully authentic looking set by Stephen
Gifford, resembles nothing as much as a jolly Olde English tavern, with
massive, dark wood furnishings, a staircase, a bar and flickering, candle-lit
chandeliers. The story is a regular who's who? That is to say, nobody is
who they seem to be. The proprietor, Celadine (Giselle Wolf), a beauteous,
young woman dressed like a serving wench, in a tight bodice with long,flowing
dark curls, is actually a serious playwright, struggling with a recent,
personal loss. A servant, Mary (the comical Holly Hawkins), too, is more
like a cheeky barmaid than a barrista. She admits a door-pounding, swashbuckling
actor (or is he?, Elliot Blakeley (Michael A, Newcomer), who implores Celadine
to write him a career-fueling role in a new play. Soon entering, is a mysterious
aristocrat named Rowley,(Larry Cedar), who is intent on enlisting Celadine
in a bit of espionage. And who is this well-spoken nobleman? None other
than King Charles himself, accompanied by a fanfare, a team of horses and
a reputation as a first-string ladies' man.
Under the adroit direction of Andrew Barnicle, the actors strive for and
reach perfection. Newcomer has the appearance, elocution and flair of a
romantic hero and Cedar, whether he is attired in royal splendor or decides
to play a foolish fop to retain his anonymity, is consistently superb. Even
young, limber Will Barker, who plays a mute tailor who gallops like a horse
and dons a frock now and again, is likable. The play's language is never
stilted, the swordplay is awesome, the costumes, by A. Jeffrey Schoenberg,
eye catching and the harpsichord background music appropriate. But, the
love story is straight out of a gothic romance novel. If that sounds like
your cup of mead, chin, chin!
Colony Theatre, 555 N. Third Street, Burbank. Friday and Saturday
at 8 p.m., Sunday at 2 and 7 p.m. Also on Thursday, February 25th and March
4th at 8 p.m. $37 to $42 Students and senior rates available. (818) 558-7000
ext.15 or ww.colonytheatre.org. Free parking in building garage. - 3/7
B
Pre-Performance Dining Suggestion: The old cliche, "something for
everyone " fits B.J.'S BREWHOUSE & RESTAURANT, without question.
Judging by last Saturday's packed house, the place is a cash cow for the
corporation that owns it, with branches all over the country spreading faster
than a rumor. Not only were the rooms filled like a beer glass brimming
with foam but you couldn't even squeeze a bicycle into the upper (free)
parking lot. Although this is a spot to enjoy a brewski and watch a game
on one of their dozen televisions screens, it's quite convenient for pre-theatre,
right off the 5 Freeway , minutes from the Colony. They've got appetizers,
sliders, their famous Chicago style pizza, burgers, from $8.95, pasta from
$11.95, salads and sandwIches of different sizes, stuffed potatoes $8.95
and main dishes. The baby back ribs are so tasty, they don't even need barbecue
sauce. We ordered a full slab, a dozen ribs for $19.95, most of which ended
up in the doggie bag. A half order for $16.95 would have made more sense.
A humungous baked potato is included. We also demolished two appetizers,
crisp breaded calamari with two dip sauces, $7.95 and a splendId Thai shrimp
wrap. Four butter lettuce leaves filled with grilled shrimp and lots of
crunch in the form of shredded red cabbage, carrot slivers , papaya dice
etc., a definite hands-on evening, messy but fun. The young staff is all
smiles, which surely adds to the popularity of B.J.'s, as do the libations:
handcrafted beer and cider, Martinis, Mojitos, Margaritas and wine from
$5.50 per glass. In back of the voluminous menu is a calorie count. Read
it if you want to spoil your mood.
B.J.'s Restaurant & Brewhouse, 107 - First Street, Burbank, Full bar,
Reservations for 10 or more only. Free parking in upper lot very crowded).
Valet $3.50.(818)557-0881.
A SONG AT TWILIGHT by Noel Coward
One of Noel Coward's last plays, written as a starring vehicle for himself
in the early Sixties. when his career as a performer began to diminish.
The protagonist is a still revered, retired novelist in declining health,
which is presumed to reveal Sir Noel, thinly disguised. The work is not
so much autobiographical as it is self-revelatory; an entertaining way for
the playwright, to might have felt the urge, to clear the air about his
sexual orientation.
Set in an elaborately furnished, Swiss hotel suite (design by Darcy Prevost),
crotchety Hugo Latymer, played by the venerable Orson Beam, himself an octogenarian,
bickers with his wife Hilde (Alley Mills, Bean.s real live spouse), as she
prepares to meet a friend for lunch, while Hugo expects a visit from an
old flame, Carlotta Grey (Laurie O'Brien), an actress. She is planning to
write her autobiography, which will include intimate details and epistolary
evidence of their youthful affair. Bean is stubborn, irascible and remarkable,
as he rolls out the non-stop invectives, so cleverly phrased by Coward.
His people may insult one another but it's always done in a thoroughly civilized
and grammatically correct, manner. Those who are old enough to remember
when people disagreed without resorting to foul language, will relish it
and those who are too young, should learn from it.
Mills, as the German-born wife-secretary-caregiver, is both nurturing and
outspoken when she needs to be. A fine performance, marred only slightly
by the uncertainty of an accent which fluctuates between British and German.
Bean, too, occasionally veers from the sophisticated sounds of English drawing
room vernacular. Laurie O'Brien, svelte and glamorous, is virtually unchanged
since I saw her in her award-winning role as Mary Barnes, many years ago.
She sparkles as brilliantly as the rhinestones that adorn her neck, ears,
wrists and fingers. (Costumes by Audrey Eisner). Ever the flirt, she unabashedly
ogles the young room service clerk, Felix (David Rogge) and tries to conjure
up some of the old magic to get what she wants out of Sir Hugo. Director
James Glossman, in his program notes, admits to being a man who admires
Coward's talent for sharp, witty repartee and he has given us a bitter-sweet
bon bon to be savored by audiences with pure, guiltless pleasure.
Odyssey Theatre, 2055 S. Sepulveda Boulevards, West Los Angeles.
Thursday -Saturday 8 p.m., Sunday 2 p.m. $25 - $30 Senior rush tickets on
Sunday $5. SAG,AFTRA and Equity members $15 on Friday only. Attendant parking
in front of the theatre, $3. (310)477-2055 or www.odysseytheatre.com - 3/7
Pre-Performance Dining Suggestion: A five minute drive from the Odyssey,
INDIA'S OVEN has popped up among the stretch known as Little Tehran,
which is dotted with Iranian eateries. This is is tasty Indian cuisine,
in a red-hued room encircled by cushy red banquettes. It is pleasant and
comfortable, with a menu of Indian favorites quite reasonably priced. (Mains
from $7.95 to $12.95). An order of crispy papadum lets you dip up the delicious
mint chutney. Mango chutney is also available, primarily for those who need
to tame the spice of some hot dishes, although you can specify the degree
of heat when you order. Lamb vindaloo, which can be a three-alarmer, is
not all that incendiary here, with cubed potatoes in a wonderfully pungent
sauce, $8.95. Karhai chicken, in a tomato based, ginger and garlic spiked
sauce, is equally excellent for $8.50. The vegetable biryani, a rice dish
flecked with green beans, peas and tiny carrot cubes, a tell-tale sign of
the mixed, frozen package, is nevertheless useful for soaking up all those
flavorful gravies, $3.95. The above three dishes are ample for two but there
are appetizers $2.95 - $3.50; soups $3.50 assorted curries, tandoori specialties
and combinations from $13.95 - $14.95 for you to pick and choose. Desserts,
including ras malai, are $2.95.
India's Oven, 1896 Westwood Boulevards, West Los Angeles, Buffet lunch,
dinner nightly No. Alcohol. B.Y.O.B. No corkage charge. Parking in rear.
(310)475-3900.
"Could I have this Dance?" by Doug Haverty
The play opens with a shadow dance by a seemingly graceful,slender woman but before we have a chance to ad mire the choreography, it becomes obvious that her hands twitch and her entire body shakes uncontrollably. It is Jeanette (Diana Angelina) as a mother who suffers from Huntington's Disease. This is a genetic affliction which renders a person mute, with an incessant compulsion to dance, yet to remain cognizant of the surroundings and spoken words.
The scene is the home/office of a high powered public relations firm in
l987 Los Angeles. It is staffed by two sisters in their thirties, Monica
(Amy Chaffee) and Amanda (Nikole Nelson),whose lives are understandably
affected by the threat of inheriting this incurable sickness. Monica is
a sharp-tongued spitfire, her delivery is at fever pitch throughout, but
very effective. Amanda, two years younger, is light hearted, full of joie
de vivre but whose relationship with men is a series of one night stands.
Serious romance rears its predictable head when Monica's lover Colin (Shawn
Savage), a handsome, itinerant photographer returns and begins to court
her fervently and a strapping young man, Errol (Jonny J) pursues Amanda.
Neither of the guys seems intimidated by the mute mom who waltzes through
almost every scene. The always excellent David Hunt Stafford is the patient,
long suffering father, whose wry gallows humor brightens the stage.
The entire cast, in fact, is marvelous. Nikole Nelson, an alternate who
played Amanda on my night, was very impressive in her stage debut. My only
gripe is with costume designer Christine Cover Ferro, who saddles Amanda
with ridiculous outfits, one more bizarre than the next. I mean, who wears
a ballet tutu on a plane to Europe? This is not just another Disease of
the Week story but a gripping play, sprinkled with funny lines and a touching
examination of fate, truth and life, of what we fear and are willing to
confront and the courage it takes to do so.
Theatre 40, Reuben Cordova Theatre on the campus of Beverly Hills High
School, 241 Moreno Drive, Beverly Hills. Wednesday - Saturday 8 p.m., Sunday
2 p.m., $25, students and members of the 4A's, half price. Free parking
in building garage. (310) 364-0535 or theatre40.org. -2/28
Pre-Performance Dining Suggestion: The nearby Westfield Mall houses
TOSCANOVA, a handsome space with a huge exhibition kitchen, brick
accents, golden globe lighting fixtures and a kiosk shaped wine repository.
Large and lively, you may find the heated, covered terrace which wraps around
the restaurant, more suitable if you have something important to say over
dinner. The crew at Toscanova is the friendliest, most obliging bunch I've
recently encountered. The menu is standard L>A>-Italian. $15 and up
for pasta to $34 and up for steaks. Wine from $9 per glass. For $18, you
can get a free-range pollo alla griglio or alla Milanese, which is breaded
and looks like a doily shaped Wiener schnitzel, flat as a chicken breast
that's been under the mammogram machine once too often. It tastes very good
but is covered by a salad of baby spinach and diced tomatoes, which would
have been nice served alongside, since it warms the salad and cools the
chicken. They do make a splendid version of the now popular short ribs,
a perfect winter treat that that someone has tenderly braised and watched
over for hours. The gravy, which can never be too thick or too rich in this
beef dish, is redolent of wine, spritzed with red wine vinegar and, perhaps,
a touch of mustard, most savory, $24. It comes with mashed potatoes. I would
have preferred a vegetable (having just returned from a cruise!) but didn't
feel like paying the $3 "substitution fee:. Service is terrific and
swift, if you advise them of your curtain time but read the parking advisory
below.
The blue zone is the closest but allow at least fifteen minutes to find
a spot, it's that tight.
LOYALTIES by Tony Pasqualini
This fine play, a world premiere, is a vivid illustration of how politics
in general and war in particular, can alienate life-long friends and torment
families.
It opens during a cocktail hour, as two couples, one of whom has lost a son in the then current "war on terror". Jovial, rotund Frank (Michael Rothhaar), is a bit of a jokester but a gung ho patriot, in a right wing sort of way. His wife Joy (Robin Becker), is very much involved with a women's organization, a more radical version of Gold Star Mothers, who favor re-instating the draft. The host, Andrew(playwright Tony Pasqualini), a pediatrician, is a sensitive man married to the spirited Mel (Sarah Brooke). Their only son has gone AWOL from boot camp and they must decide between duty to country or loyalty to family.
All performances are up to the standards of P.R.T., in a word, excellent. The four principals handle the intense, dramatic situations with a passion that involves the audience to the core. And the lighter moments, and there are many, demonstrates their comic talents to good advantage. Albert Meijer as the troubled son Michael, gives us a painful insight into what must be in the minds of many young men who are sent off to fight an unpopular war. His girlfriend Karen (Lisa Cirincione),on the verge of a life-altering decision, balances firmness and vulnerability with equal skill. Although the play takes place in 2004, the subject remains as timely now as it will be, seemingly, in our lifetime. When you think about the story, and you will, the refrain of the folk song "when will they ever learn?". comes to mind. A well constructed, suspenseful and meaty play, directed by David Gautreaux. Don't miss it.
Pacific Resident Theatre, 705 1/2 Venice Boulevard, Venice. Thursday - Saturday 8 p.m, Sunday 3 p.m. $20 - $25. (310)822-8392 or wwwPacificResidentTheatre.com - 3/28
Pre-Performance Dining Suggestion: Just minutes from the theatre, is down home UNCLE DARROW'S, dishing up Cajun Creole seafood specialties. The Southern "comfort" is a bit lacking - this is a very plain, lit up like a butcher shop, no frills, place. You order at the counter but your dinner is served. Did I mention the plastic utensils? If all that doesn't put you off, you'll be charmed by the friendly crew and relieved at the prices. And the food, needless to say, is delicious. Take the filé gumbo. A home style bowl of soul-warming spicy broth, rice, chicken and andouille slices, even half of a tiny blue crab, a tough shell to break without a cracker, but persevere, $12.95 The delicate, light catfish supper, grilled or fried, comes with two sides such as Jambalaya rice and a ne plus ultra potato salad for $13.95. For the truly financially strapped, the blackboard lists a Stimulus Special, under $10. There's a patio in the back for when the weather warms up.
Uncle Darrow's, 2560 S. Lincoln Blvd, at Washington Blvd.,Marina del Rey. No reservation. For lack of a license, no alcohol is allowed. Parking lot in rear. (310) 306-4862.
SOUTHERN COMFORTS by Kathleen Clark
Whosoever thinks that a second chance at love is unattainable, should see
how Cupid's arrow manages to penetrate the middle-age spread and arthritic
bones of a vivacious Southern widow and a crusty widower, in this cute story.
The play opens on an almost bare living room (set by resident designer Jeff
G. Rack), where Gus Klingman (Tim Hodgin) is busy putting up storm windows
in his New Jersey home, between catching glimpses of a game on T.V. He is
interrupted by a stranger at the door, Amanda Cross (Jacqueline Cross),
who is on a short visit from Johnson City, Tennessee. She brings a message
from the local church and even though Gus is, at first, churlish and indifferent,
they soon find common ground in their enthusiasm for baseball and she stays
on just long enough to light a tiny spark of interest in the old codger.
Scott plays this steel magnolia with a honey'd Southern drawl and thesinning
ways of a woman who knows exactly what she wants and how to get it. Hodgin's
loveless, lonesome Gus is set in his ways and that's how he likes it. They
have their little tiffs but there's no doubt, from the onset, that these
two are going to charge each others fading batteries and the fine performances
and amusing repartee make this play fun to watch. The moral of the story
is, that with a little luck and the right companion, the golden years might
successfully turn platinum. There's no intermission and, except for overly
long pauses between scenes filled with recordings of yesteryear, direction
by Paul Millet is crisp and on the mark. Realistic sound by Bill Froggatt,
effective lighting by Dan Reed.
Theatre 40, Reuben Cordova Theatre, 241 Moreno Drive on the Campus
of Beverly Hills High School, off Little Santa Monica Blvd., Beverly Hills.
Tuesday - Saturday 8 p.m., Sunday 2 p.m., $23 - $25. Free parking in building's
garage, adjoining the theatre. (310)364-0535 or www.theatre40.org - 12/20
Note: Theatre 40's perennial hit, THE MANOR by Kathrine Bates, at
the Greystone Mansion in Beverly Hills, is one again on tap - for the eighth
year. A true life murder case is enacted by the ensemble, where it actually
happened. Wear comfy shoes and warm clothing as you follow the proceedings
throughout the fabled building. Early reservations a must.
Greystone Mansion, 905 Loma Vista Drive, Beverly Hills. Performances: January
9, 10, 16 and 17, February 13, 14, 27 and 28, March 27 and 28 2010. $45
(310)694-0118