by Cindy Summers

Dumbo 
3 palm trees out of 4

Dumbo is the 2019 Walt Disney Pictures version of the animated Disney classic originally released 1941. Directed by Tim Burton, Music by Danny Elfman. and Written by Ehren Kruger. Starring Danny DeVito as Max Medici, Colin Farrell as Holt Farrier and Michael Keaton as V.A. Vandevere with great performances from child actors Nicole N. Parker as Milly Farrier & Finley Hobbins as Joe Farrier.

Set in 1919, it’s a reminder of a time when the circus traveled on trains. The Medici Circus traveled across the south and was plagued with loss from the influenza epidemic and declining crowds. Holt Farrier (Collin Farrell) returns from the war having lost an arm and discovering he also has lost his wife to influenza and his prize performing horses were sold to keep the circus going. There’s an obvious distance with his children Milly (Nicole N. Parker) and Joe (Finley Hobbins) , who had to rely on each other having been left alone at the circus by circumstance.

Max Medici (Danny DeVito) buys Jumbo the elephant in hopes that a cute baby elephant can draw big crowd, only to have his dreams crushed by Dumbo’s seemingly deformed large ears. You can’t help but fall in love in an instant peering into Dumbo’s sweet blue eyes and extremely realistic looking CGI. Milly and Joe discover quite by chance that when Dumbo sniffs up a feather, he can fly. Feeling this will help the Medici circus, Dumbo get national exposure after flying in his first show.

This got the attention of a major investor, V.A. Vandevere (Michael Keaton) who offers to make Max a partner and give jobs to his troop in a giant permanent steampunk carnival venue, certainly a brilliant design that could only be created from the incredible imagination of Tim Burton. The music score also plays a big part in the emotion of the story, which is a testament to Burton’s continued project partnership with Danny Elfman.

Danny DeVito was perfect for his role as the crazy character running the circus, as he was hard not to love regardless of his morally questionable actions or intentions. It felt as though Keaton overacted the villain part at times but enjoyed the contrast of little Milly wanting to make scientific contributions to the world like Marie Curie. I found myself on the edge of my seat as the recently fired carnival crew set out to rescue Big Jumbo and Little Dumbo, and think the remake brings much reality and believability to this timeless Disney classic.

Dumbo is a movie for people of all ages and for those that think you remember the story line believe there’s much to see in this new release.

Rated PG – 112m

by Shirley Lorraine

Crimes of the Heart sizzles

Be prepared to laugh, to identify and to sympathize with the quirky characters in Beth Henley’s Pulitzer Prize winning drama, Crimes of the Heart, now onstage at Oxnard’s Elite Theatre. As their 2019 season themed “Family” continues, the production brings forward multiple areas of dysfunction while at the same time focuses on the importance and innate bonds of the family unit.

The scene is 1974, Hazlehurst, Mississippi. Three sisters with quite different viewpoints on life who are struggling through their own personal crises come together because granddaddy is in the hospital. Their troubled family history unites them at the core despite their differences.

Lenny (Genevieve Levin), a spinster of low self-esteem, is holding down the fort caring for granddaddy’s house and affairs. She is the logical one of the three. She anxiously awaits the arrival of sister Meg (Dawn Michelle), who had left the fold to seek a future as a singer. Alas, things didn’t quite work out for her. She copes by acting out, maintaining the hippie style of the 70’s with panache.

Both lament the fact that little sister Becky “Babe” (Samantha Netzen Bingham) has just blithely admitted to shooting her husband in the stomach (poor aim) because she didn’t like the sound of his voice. Now out on bail, Babe is handed legal representation by Barnette Lloyd (Patrick R. Rogers), a recent law school graduate clearly in over his head. He is smitten with Babe, which makes handling her case challenging.

Cousin Chick Boyle (Kimberly Prendergast) holds a consistently negative view of all the sisters but feels the need to be overtly involved for granddaddy’s sake. How the sisters each deal with Chick in their own way adds to the dimension of the character.

Doc Porter (Eric R. Umali, who also designed the set) reenters Meg’s life even though he is now married. Although their romance ended on a poor note years before, both harbor unresolved attraction destined to get them in trouble.

Many in the cast are new to the Elite Theatre stage, although the entire cast is certainly not new to many Ventura County theaters. Director Jolyn Johnson’s choice of this highly seasoned cast makes Crimes of the Heart sizzle with Southern flair.

The various life situations, as outrageous as they are, bear many similarities for everyone to identify with. How the sisters cope (or not) results in tears of recognition and laughter despite the underlying serious elements.

It is not unusual to dissolve into laughter as a method of coping with difficult times in our lives. One scene in the second act, when granddaddy falls into a coma, is contagiously hilarious.

The play does involve the use of herbal cigarettes so patrons who may be sensitive to that are encouraged to sit further back in the 70-seat theater. A fan and open doors at intermission help dispel the fragrance quickly. As the situations portrayed are decidedly “adult”, parental discretion is advised.

Crimes of the Heart continues through May 12 (bring mom on Mother’s Day!) with performances Friday and Saturday at 8 p.m. and Sundays at 2:00 p.m. Tickets are $20 general admission, $17 for students, seniors and military, $12 for under 12. www.elitetheatre.org or (805) 483-5118.

by Shirley Lorraine

Coping and Compassion Help Heal

Getting older is not for sissies. Unfortunately, aging happens, if we’re lucky. When it does, often the entire family is pulled in to its sphere. Author Kate Hawley’s “Complications from a Fall” now playing at the Santa Paula Theatre Center recognizes and celebrates the trials, challenges and efforts required for families to weather the aging of loved ones.

The catalyst is Elizabeth, an older woman who has some dementia and is currently recovering from a recent fall. Nothing was broken, but the body doesn’t work as well as it used to. As a result, her daughter Helen has moved in to care for Elizabeth full time. Being a caregiver is hard work. Helen desperately needs a break.

She is slated to present a paper at a conference out of state, so she enlists the assistance of her brother Teddy. Teddy is not at all familiar with nor comfortable in taking on the role. It’s complicated. It’s uncomfortable. It’s outside his circle of knowledge.

Elizabeth has been relying not only on Helen, but also on Lucy, a hired caregiver whom Helen has recently fired for allegedly stealing from Elizabeth. Teddy calls on Lucy to bail him out when he doesn’t know how to cope with mother. Through these three tough days, Teddy learns a lot about realities of aging, dealing with dementia, and his own capabilities.

Helen checks in frequently with Teddy as she worries about his ability to cope with the situation while she gets a much-needed respite from it all.

Directed by Taylor Kasch, Jill Dolan as Elizabeth, Cynthia Killion as Helen, Sean Love Mason as Teddy and Julie Fergus as Lucy form a tight family unit which highlights the difficulties of their tasks.

The play, like real life, has moments of hilarity and moments that tug at our heartstrings. No doubt the author pulled from her own experiences to capture the coping mechanisms and subtleties so well. Dealing with dementia requires more patience than many realize – until they are faced with a loved one’s confusion, repetition and altered state of reality. The person is still there, they’re simply on a different mental stratum where logic and reason do not reside.

As a caregiver myself, I found the subject matter all too familiar. I recognized the humor, the pathos and the underlying sadness in seeing a loved one decline. Others in the audience did too. It’s a challenging subject to depict, one that many of my generation are learning to cope with and to accept.

If you aren’t faced with this yet, the play will offer valuable insights you can use later. If you’ve already been there or are there now, you will find it validating. I do feel the ending was a bit abrupt as the loose ends in the story were tied up quickly and no epilogue was offered. I’d love to see the play again with an additional scene to soften the rapid wrap-up. And life continues.

Complications from a Fall continues through May 19. Friday and Saturday performances at 8 p.m., Sunday matinees at 2:30 p.m. Tickets are $24, seniors and students $22, children $18. Subscription packages also available. www.santapaulatheatercenter.org, 805-525-4645.

By Shirley Lorraine
Rubicon’s Fuddy Meers is a wild ride

Several things can be expected from a Rubicon Theater production. High quality acting & production, and an opportunity to stretch your brain. The current production of Fuddy Meers, directed by Jenny Sullivan, running for just one more weekend, provides these things and more.

The fast-paced ride through life’s funhouse offers a roller coaster of events and emotions. With so much going on, by the end of the first act it is easy to be confused. Never fear, however, act two brings clarity in surprising ways. The play is high-strung and decidedly politically incorrect.

The central character is Claire (Precious Chong), a woman who lives with a severe case of amnesia. Each day she must be reminded of who she is and all details of her life. Her upbeat husband Richard (Joseph Fuqua) provides her with information and a scrapbook to reference. One morning, as Richard goes to shower, a man wearing a ski mask pops out from under Claire’s bed. He limps, lisps, and declares himself to be Claire’s brother, Zach (Stephen Caffrey) there to save her. From what is the question.

She takes him at face value, and they drive to Claire’s mother’s home in the country. Mother Gertie (Deedee Rescher) has had a stroke and is unable to put words in the correct order to form sentences. Her life is a different kind of funhouse.

At the window appears a foul-mouthed puppet named Binky, and his controller, Millet (Louis Lotorto). Millet and Zach have spent “time” together and are up to no good. When Richard discovers Claire is missing, he and rebellious son Kenny (Seryozha La Porte) head to Mother Gertie’s house. Along the way, a traffic stop by Policewoman Heidi (Tracy A. Leigh) results in her abduction as the two men decide she needs to accompany them to Gertie’s.

And that’s just the first act! It was amusing to listen to myriad audience comments at intermission – coming up with possible reasons for the chaos and making sense of the action.

Act two reveals that nothing is what it appears to be. Every character has a secret. Claire slowly begins to remember things from her past and as facts are unraveled, flashes of clarity come forth. We realize that everyone is searching for ways to become better people. Aren’t we all?

Wednesday’s talk-back with the actors revealed additional character insights from both actors and audience. The theme of the play, that life is a distorted and chaotic funhouse, during which we continually discover that there is always more under the surface, is a universal and timely one. We never have all the information we need to make sense of some things. And that’s okay. We just adjust what we consider to be normal in order to comprehend.

The actors are all outstanding. Each has created a definitively unique character with layers and layers of nuance. Director Sullivan allowed the actors to interpret their own journeys. As a result, each performance is slightly different. This is a wild ride worth taking.

Fuddy Meers concludes this weekend.

by Shirley Lorraine

Conejo’s Sweeny Todd delivers

In the mood for something dark, brooding, frightening and thoroughly captivating? The current production of the award-winning musical thriller Sweeny Todd: The Demon Barber of Fleet Street at Conejo Players Theater in Thousand Oaks will fill the bill nicely.

The evil character of Sweeny Todd was first introduced in a Victorian penny dreadful. He has continued to come to life via book by Christopher Bond and, perhaps best known, as a musical by Stephen Sondheim. Sondheim outdid himself with the operatic score.

The story of Sweeny Todd is a dark one from start to finish. Benjamin Barker, recently released from exile in Australia, returns to London hoping to reunite with his wife and daughter. He was sent away by an unscrupulous man, Judge Turpin, who raped Barker’s wife, Lucy, and took his daughter, Johanna, as his ward. Under the new name of Sweeny Todd, Barker seeks justice.

A young seaman, Anthony Hope, rescues and befriends him as he returns. Anthony becomes enamored by the beautiful Johanna, not knowing she is his friend’s daughter. The judge hopes to marry her himself and does all he can to prevent the two young lovers to meet.

A barber by trade, Todd sets up his tonsorial parlor above Mrs. Lovett’s Meat Pie Shop to try and begin again. Widow Lovett admits that her meat pies are the worst ever, using stray animals for filling. When Todd finds out the true fate of his family, he vows to exact revenge upon the Judge, the judge’s henchman, The Beadle, and others who wronged him.

Director Celeste Russi fully utilizes the intricate multi-story set by Aaron Van Etten to deliver new scenes, as well as the necessary functional tipping barber chair and chutes.

The vocally and musically challenging piece is superbly handled by the highly skilled large cast.

The cast does wear microphones for this production – a critical point to carry above the front and center orchestration led by David Fraley.

In the title role of Sweeny, John David Wallis knocks it out of the park, both vocally and in characterization. He manifests darkness inside and out without letup.

Dana Kolb as the Widow Lovett displays a fine voice and a cheeky, humorous contrast to the brooding Todd. Wallis and Kolb are a good match who deftly tackle Sondheim’s challenging score beautifully.

The ensemble creeps in and out of scenes throughout to add musical definition and context to the action. Collectively they embody their many mini-characters to full advantage. Veteran actors Steve Perren and Gary Saxer are particularly solid.

Mid-nineteenth century costumes add the right touches to the entire cast. Those worn by Judge Turpin (Kelly Green) and his servant The Beadle (Gabriel Gentile) convey the entitled attitude the characters require. Both are chillingly wonderful in their roles.

Vincent Perez is fresh and compelling as the seaman/suitor Anthony. He is complimented by Joanna Bert as Johanna.

Sweeny Todd at the Conejo Players Theater is a difficult Sondheim offering professionally presented.

Sweeny Todd Continues through March 24. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. www.conejoplayers.org or 805-495-3715 for tickets. Adults $20, Students, Seniors and Military $18.

Isn’t It Romantic
Review: 3.5 Palm Trees out of 4 Palm Trees

by: Victoria Usher

Isn’t It Romantic is a 2019 romantic comedy film that was directed by Todd Strauss-Schulson. It was produced by Rebel Wilson, Todd Garner, Gina Matthews, and Grant Scharbo. The story was by Erin Cardillo. The screenplay was by Erin Cardillo, Dana Fox, and Katie Silberman. The cinematography was by Simon Duggan. The music was by John Debney. It was edited by Andrew Marcus. The production design was done by Sharon Seymour. The film was distributed by Warner Bros. Pictures and released in cinemas on February 13^th, 2019. It was announced on January 30^th, 2019 that the film will be released on Netflix internationally on February 28^th, 2019. The stars of the film include Rebel Wilson, Liam Hemsworth, Adam DeVine, Priyanka Chopra, Betty Gilpin, Jennifer Saunders, and Tom Ellis.

In the film, Natalie (Rebel Wilson) is an Australian architect living in New York City. Natalie wakes up after being knocked unconscious and mugged on the subway to find that her world has literally been turned into a PG-13 romantic comedy. In Natalie’s real-life romantic comedy, her tiny apartment is now a luxurious studio apartment, the grimy streets of New York City are now full of bright colors, regular stores have been replaced by beautiful flower shops, and there are pigeons flying up above in heart-shaped formation. Natalie’s best friend at work has now become her work enemy, and a gorgeous real estate investor (Liam Hemsworth) shows obvious interest in her. Natalie’s other best friend, Josh (Adam Devine) is the only one who appears to be exactly the same as before, and the only one who still notices all the good things in her the same exact way he did before.

There are a few moments throughout the film that are exciting in an unexpected way, referencing scenes from other well-known romantic comedies such as: When Harry Met Sally, Pretty Woman, Notting Hill, and 13 Going On 30. What really makes this film refreshingly different from other romantic comedies is that it makes fun of the romantic comedy genre while expressing the beauty and importance of real love at the same time. Isn’t It Romantic is a truly wild and entertaining ride.

(Rated: PG-13) (Running Time: 1h 28m)

by Shirley Lorraine
Ojai Theater relives opening

The Ojai Art Center is recognized state-wide as being the oldest continually operating non-profit Art Center. Let’s face it, 80 years is a long time to engage the community in all forms of art, music, theater, dance and more. To celebrate and honor this longevity, the Art Center Theater has mounted a reprise production of the first play ever to grace the Art Center stage – Night Must Fall by Emlyn Williams.

Set in the English countryside in 1939, the psychological thriller is at once understated and complex. In other words, typically British.
Opening the action with a monologue, the role of Lord Chief Justice is played by a different member of the community every performance. What a nice way to include community leaders in the anniversary celebration.

A woman goes missing which becomes the talk of the town. The Manor’s mistress, Mrs. Bramson, is a wheelchair-bound cranky busybody. Surrounding her are a snappy Cockney cook, a nurse, a naïve young maid and an unhappy poetry-writing niece and her suitor. Enter the maid’s paramour who enchants Mrs. Bramson and settles in, to the disdain of almost everyone.

All the while the murder is still to be solved and everyone is a suspect. When the body is found in the manor’s rubbish, the local inspector arrives to question each, and the fun really begins. All the characters who live in and enter the Manor are decidedly unique and definitive in their characters.

Mrs. Bramson, played by Sindy McKay, is a crafty, controlling old woman. McKay leads the audience into her world with aplomb. She is frequently confronted by her outspoken cook, Laura Ring. The innocent Dora, the maid, is given just the right touch by Brett Baxter. Stoic Nurse Libby is given dimension by Denise Heller. The wary niece, Olivia, played by Angelica Smith, is a study to watch as her emotions are subtle yet easily readable.

Stephen Shareaux does a nice turn as Hubert, Olivia’s consistently rejected suitor. Louis Graham as the formidable Inspector Belsize is just right in the role. The quirky character of Dan, the uninvited guest who stayed, is wonderfully manic. David Nelson Taylor takes on the role with fervor.

As the play unfolds, the audience is treated to many possibilities of how it happened and who did it. There are surprises along the way as well as twists and turns, as there should be in a good murder mystery. Director Richard Camp has assembled a strong cast to perform this memorable play.
Authentic period setting of the manor’s interior is enhanced by spot-on costuming by Tracey Williams Sutton.

As a well-needed bonus, the theater now has new theater seats, a new sound and light booth (no longer in the back of the audience seating) and other small but noticeable improvements. The Arts Center thanks the community for their generosity in making these alterations possible. What a terrific way to say thank you for the last 80 years, and a grand welcome to the next 80.

Night Must Fall runs through March 10. Friday and Saturday performances are at 7:30 p.m., Sunday performances are at 2 p.m. General admission $25, senior and art center members, $20, under age 25 $10. Season tickets are now available for purchase. Ojai Art Center Theater, 113 S. Montgomery, Ojai. www.ojaiact.org or (805) 640-8797 for reservations.113Night Must Fall” runs through March 10. Performances are Fridays and Saturdays at 7:30 p.m., and Sundays at 2.m For tickets, call 805-640-8797 or go to OjaiAct.org. The Ojai Art Center Theater is at 113 S. Montgomery St.

by Shirley Lorraine

Uncertainty principle explored at Rubicon

The Rubicon Theatre opened its 21st season labeled “Coming of Age” with a work guaranteed to stretch your thinking and perceptions. While you’re at it, dust off your notes from physics class and review Werner Heisenberg’s Uncertainty Principle to best get a grasp on the play Heisenberg now on stage in downtown Ventura.

Penned by English playwright Simon Stephens, the two-person staging by director Katharine Farmer certainly lives up to its publicity, as “quirky” and “full of surprises”. It is a romance of sorts with as many comedic moments as dramatic. It is also deeply introspective and emotionally complex, delving into considerations of life’s myriad alternatives and potential consequences.

Alex (Joe Spano) is an older man of measured adherence to the familiar. A butcher by trade, he spends his spare time in a London train station, listening to music. Georgie (Faline England), a perky, unpredictable younger lady, appears one day, spontaneously kisses him on the neck, and quickly becomes an intriguing enigma. Their initial emotional dance where each tries to capture the other’s intents builds into a relationship that surprises both of them.

Alex’s mundane, highly routine existence is challenged by Georgie to live in the moment, be more spontaneous, explore new thoughts. Alex accepts the challenge reluctantly. Ultimately, it is their differences that attract each to the other, while both remain wary and questioning throughout. We are reminded that no matter how much we feel we can predict the behavior of another, it is important to remain cognizant of a person’s right to change their mind, going in a different direction than anticipated. It’s human nature, after all. Humans have foibles. How we handle them is what contributes to our uniqueness.

Both Faline and Spano are superb. They show how intimate an emotional connection can be and how that connection can grow. So much is said with a twitch of an eyebrow, a slight curve of the lips, a pause in dialog and action. Their minimalistic physical movement carries deep meaning, inviting the audience to focus on the actors’ words, inflections and subtle expressions as they work through the complexity of their unexpected rapport.
Alex and Georgie seem complete opposites at first. In time, however, they discover many congruities to bind their friendship.

The 90-minute uninterrupted play actually begins before the play begins, with Spano quietly contemplating his thoughts while the muted ambiance of a busy train station continues in the background. Scenes change as thoughts do, without fanfare, the station behind a constant reminder of where this pairing began.

The play raises many questions such as what risks are involved in stepping outside of your comfort zone to try something new? If the results are potentially equal, why not try? According to Heisenberg, causality shapes events and future behavior. Is the future uncertain? Of course. Are risks involved? Yes. What do we give up if we don’t take the path of risk? The Rubicon’s production choices enable us to take risks, challenges our thinking and satisfies our desire for compelling theater.

Heisenberg plays Wednesdays to Sundays through February 17, 2019 at the Rubicon Theatre Company, 1006 E. Main St. (corner of Main and Laurel Streets) in downtown Ventura. Matinees: 2 p.m. Wednesdays, Saturdays and Sundays. Evening performances at 8 p.m., except 7 p.m. on Wednesdays, which features a post-show talk back with the cast. Ticket prices vary. The box office is open 7 days a week. There is 24-hour ticketing and seat selection online at www.rubicontheatre.org. (805) 667-2900.

by Shirley Lorraine

Classic clicks at Conejo

Harper Lee’s Pulitzer Prize winning novel, To Kill a Mockingbird, has come to life on the Conejo Players stage. It was required reading for me in high school and made a lasting impression. The story tackles many aspects of humanity including innocence, fear, prejudice, assumptions and racial inequality. It is as relevant today as ever.

Now playing at the Shubert Theater on Broadway, the play is enjoying a revival across the nation. Conejo’s contribution to the revival is noteworthy, engrossing and thought-provoking.

Set in Alabama in the 1930’s, the play centers around the accusation, trial and conviction of a young black man. He is represented in court by Atticus Finch, a local attorney known for his compassion, dedication and fierce determination to see justice applied fairly. Sadly, he knows going in that he probably will not be victorious. The townspeople rally against him, threatening his family, their mob mentality leading the way.

Finch does all he can to protect his two children, Scout (modeled after Lee’s own childhood) and Jem. The children become acutely aware of the wrongs being done and question the proceedings.

Veteran director Tom Eubanks makes his debut with this season opener, doing so in fine style. The setting is a street scene that transforms into the courtroom and back again.

Experience shows in this capable cast. Leading the way as Atticus Finch is Alan Waserman, who portrays the inner strength and fortitude necessary to weather the negativity that surrounds him. Daughter Scout is ably played by Julia Kirkpatrick, paired with Neirin Winter as son Jeb. Both display comfortable stage presence. My one challenge to them is to project more fully so that all their lines can be heard. In the first scene that sets up the entire play, the underscoring music, while lovely and meaningful, tended to overshadow their soft voices.

Turning in a notable performance is Todd Tickner as Bob Ewell, the father of the supposed victim. Tickner seems to revel in the scummy character.

James Miller becomes Heck Tate, the local sheriff, sympathetic to Finch but also aware of the reality of the era and neighborhood feelings. A grown-up version of Scout (Jean Louise) played by Ronna Jones, adds clarifying narration and insights as the play unfolds. Other solid characterizations are presented by Dale Alpert as the Judge, Sharyn Grose as Calpurnia, the children’s nanny, Melanie Lindgren as Stephanie Crawford, and Rita McCaffrey as Mrs. Dubose.

The cast is excellent overall, each giving full measure to their characters. The experience shows, even in the smallest parts.

To Kill a Mockingbird withstands the test of time in terms of ongoing relevance and continues to make an important statement. Yes, there are a few outdated, prejudicial terms used, as was common at the time. In this case they are key to the plot.

This revival will surely spur discussions and retrospection into our outlooks on justice. Go see it if you can.

To Kill a Mockingbird continues through February 9. Performances are Thursday, Friday and Saturday at 8 p.m. and Sunday at 2 p.m. www.conejoplayers.org or 805-495-3715 for tickets. Adults $20, Students, Seniors and Military $18.