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.

by Shirley Lorraine

Stages offer Shakespeare to Seuss

Welcome to a new year and new theatrical season line-ups for Ventura County stages. 2019 promises a wide variety of productions to entertain, educate and elate theater-goers of all ages.

Many of the theaters are in rehearsal periods in the month of January, with openings coming up in February. A few are on stage now.

Conejo Players, just a hop and skip over the hill, is beginning their season with To Kill A Mockingbird, running January 18 through February 9.

High Street Theater in Moorpark makes a lively and timely start with Mary Poppins, opening January 25.

Simi Valley Cultural Arts Center presents a limited run of Hamlet mounted by the California Shakespeare Company. Catch this production now through January 27.

The Elite Theater has traditionally brought original one-act plays to their stage in January. The One-Act Festival offers an evening for budding and experienced playwrights to have their works put before the public. This year, weather-related repairs to the building are taking precedence and the festival has been postponed to later in the season.

Ventura’s Rubicon Theater brings Heisenberg to the stage, running January 30 through February 17. The drama, starring Faline England and Rubicon regular Joe Spano, spotlights a chance meeting between two strangers and the myriad ways their lives change as a result.

February brings As You Like It to the Camarillo Skyway Playhouse while Breaking Legs will be presented by the Elite in Oxnard, and The Humans at the Santa Paula Theater Center.

The Ojai Art Center Theater will be celebrating the opening of their 80th season by reprising the first production mounted on their stage back in 1939. The suspenseful who-dunnit Night Must Fall opens February 15.

Popular musicals of a range of types will be on our stages, including Avenue Q, Sweet Charity, Pippin, Mama Mia!, Into the Woods, Seussical, the Musical and Sweeny Todd. There will certainly be something to suit everyone’s taste.

Comedies to be staged bring Vanities, Bless Your Heart and Moliere’s The Miser among others. Announced dramatic works offered are The Crucible, Proof and Seascape for starters.

Ventura County boasts some of the best theater productions in the Tri-Counties area. There are many high school and college productions to be seen, as well as youth productions. Several theaters also mount productions on secondary stages, filling in some gaps or presenting special works. Thousand Oaks Civic Arts Center always has something to offer, from local casts to touring companies.

As always, announced productions are always subject to change as the seasons go along. Each theater will be adding shows not yet announced as well as short run interim offerings on many stages. Check the website of each theater individually for the most up to date information.

Camarillo Skyway Theater – www.skywayplayhouse.org

Conejo Players – www.conejoplayers.org

Elite Theater – www.elitetheatre.org

High Street Playhouse – www.highstreetartscenter.com

Ojai Art Center – www.ojaiact.org

Rubicon Theatre – www.rubicontheatre.org

Santa Paula Theater Center – www.santapaulatheatercenter.og

Simi Valley Cultural Arts Center – www.simi-arts.org

See you at the theater!

Marry Poppins Returns
3 Palm Trees out of 4 Palm Trees

by Victoria Usher

Marry Poppins Returns is a 2018 adventure, comedy, family, and fantasy film that was directed by Rob Marshall. It is a sequel to the original Marry Poppins film from 1964 and also based on the “Marry Poppins” books written by P.L. Travers. It was produced by Rob Marshall, John DeLuca, and Marc Platt. The screenplay was by David Magee. The story was by David Magee, Rob Marshall, and John DeLuca. The cinematography was by Dion Beebe. The music was by Marc Shaiman. It was edited by Wyatt Smith. The production design was done by John Myhre. The costume design was done by Sandy Powell. The film was distributed by Walt Disney Studios Motion Pictures and then it was released in cinemas December 19th, 2018. The stars of the film include Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Julie Walters, Meryl Streep, Colin Firth, Pixie Davies, Nathanael Saleh, Joel Dawson, Dick Van Dyke, and Angela Lansbury.

In this sequel, Michael Banks (Ben Whishaw) is now all grown up and he has three beautiful children of his own. His wife has sadly passed away very recently, and her illness unfortunately took all of their savings so now he has absolutely no idea what he is going to do about their financial situation. Of course, this is exactly when Marry Poppins (Emily Blunt) swoops in, bringing purpose, hope, happiness, and maybe even love into Michael’s life and into his children’s lives. The sequel goes in a very similar direction as the original film, but it also has its own unique spin on it and it also has its own lovely surprises that are different from the original film. There are moments throughout the film that are meant to make people remember the first film and feel nostalgic.

One of the best things about this film is how absolutely perfect and wonderful Emily Blunt is, she truly was the perfect choice for Marry Poppins in this sequel. She does an unbelievably brilliant job of turning the role into something that is all her own and not in any way trying to replicate or Julie Andrews’ performance from the original 1964 film. I can promise that you will not regret watching this sequel, it is an enchanting and magical ride from beginning to end.
(Rated: PG) (Running Time: 2h 10m)

by Shirley Lorraine

Escape to the islands with South Pacific

Some theatrical experiences just stay with you. The current production of South Pacific on the Rubicon Theater stage is one of those. I grew up on the songs of this show, listening to my father singing in the living room. It is the show that endeared me forever to the theater. And it has not lost its appeal. Apparently, others feel the same, judging by the full houses and sold out shows.

First premiered on Broadway in 1949, the timeless musical by Rodgers and Hammerstein still resonates with passion and emotion. The play, based on James Michener’s “Tales of the South Pacific”, weaves its magic through two love stories set in and around an exotic island during World War II.

South Pacific deals with sensitive subjects involving prejudice, acceptance, forgiveness and yearning, all as pertinent now as they were when the material was first written.

This production, deftly directed with insight and depth by Katharine Farmer, features a two-keyboard accompaniment by Brent Crayon and Jen Oikawa.

Ben Davis as Frenchman Emile de Becque and Madison Claire Parks as Navy Ensign Nellie Forbush make a formidable pair in the lead roles. They deliver in fine fashion the beautiful Some Enchanted Evening, I’m Gonna Wash That Man Right Outa My Hair and more.

The enchanted young lovers Lt. Joseph Cable and Liat are played by Alex Nee and Jamie Yun to youthful perfection. Nee’s Younger Than Springtime is heartfelt and poignant. Jodi Kimura’s Bloody Mary is tuned to a fine edge. She entices Lt. Cable with the haunting Bali Hai, leading him to paradise.

Dealmaker sailor Luther Billis is given a well-crafted comic touch by Kirby Ward. He puts his all into There is Nothing Like a Dame and the hysterical Honey Bun numbers. Ward is surrounded by an athletic cast of sailors/dancers who fill the stage with spitfire. Likewise, Nurse Forbush is aided throughout by a bevy of talented nurses/dancers to keep the sparks flying and the toes tapping.

Emile’s children, played by Isabella De Los Santos and Ian Nunney, are both excellent. They deliver their song Dites-Moi and French dialogue with confidence and conviction. Both have participated in the Rubicon’s Stinky Feet Youth Theatre and learned well. They are each a talent to watch in the years to come.

Key Navy personnel Captain Brackett and Commander Harbison, played by Andy Umberger and Joseph Fuqua, display the crisp demeanor one associates with an officer.

The multi-use set pieces easily transform the scenes, backed by scenic projections which bring the audience onto the islands with the players. The compact stage seems to expand, and contract as needed to accommodate the large cast as well as the intimate scenes.

There are reasons South Pacific has long been an audience favorite. The music and lyrics are eloquent and meaningful. The characters and situations face familiar life hurdles. The energy, passion and sincerity are palpable. Even if you’ve seen South Pacific many times before, you will want to see it again. But hurry, seats are filling fast.

South Pacific runs through December 23. Performances are Wednesdays at 2 and 7 p.m., Thursdays at 7 p.m., Fridays at 8 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 p.m. Rubicon Theater, 1006 E. Main St, Ventura. Www.rubicontheatre.org or (805) 667-2900 for tickets. Prices vary. Make reservations soon as many shows sell out.

by Shirley Lorraine
Escape to the islands with South Pacific

Some theatrical experiences just stay with you. The current production of South Pacific on the Rubicon Theater stage is one of those. I grew up on the songs of this show, listening to my father singing in the living room. It is the show that endeared me forever to the theater. And it has not lost its appeal. Apparently, others feel the same, judging by the full houses and sold out shows.

First premiered on Broadway in 1949, the timeless musical by Rodgers and Hammerstein still resonates with passion and emotion. The play, based on James Michener’s “Tales of the South Pacific”, weaves its magic through two love stories set in and around an exotic island during World War II.

South Pacific deals with sensitive subjects involving prejudice, acceptance, forgiveness and yearning, all as pertinent now as they were when the material was first written.

This production, deftly directed with insight and depth by Katharine Farmer, features a two-keyboard accompaniment by Brent Crayon and Jen Oikawa.

Ben Davis as Frenchman Emile de Becque and Madison Claire Parks as Navy Ensign Nellie Forbush make a formidable pair in the lead roles. They deliver in fine fashion the beautiful Some Enchanted Evening, I’m Gonna Wash That Man Right Outa My Hair and more.

The enchanted young lovers Lt. Joseph Cable and Liat are played by Alex Nee and Jamie Yun to youthful perfection. Nee’s Younger Than Springtime is heartfelt and poignant. Jodi Kimura’s Bloody Mary is tuned to a fine edge. She entices Lt. Cable with the haunting Bali Hai, leading him to paradise.

Dealmaker sailor Luther Billis is given a well-crafted comic touch by Kirby Ward. He puts his all into There is Nothing Like a Dame and the hysterical Honey Bun numbers. Ward is surrounded by an athletic cast of sailors/dancers who fill the stage with spitfire. Likewise, Nurse Forbush is aided throughout by a bevy of talented nurses/dancers to keep the sparks flying and the toes tapping.

Emile’s children, played by Isabella De Los Santos and Ian Nunney, are both excellent. They deliver their song Dites-Moi and French dialogue with confidence and conviction. Both have participated in the Rubicon’s Stinky Feet Youth Theatre and learned well. They are each a talent to watch in the years to come.

Key Navy personnel Captain Brackett and Commander Harbison, played by Andy Umberger and Joseph Fuqua, display the crisp demeanor one associates with an officer.

The multi-use set pieces easily transform the scenes, backed by scenic projections which bring the audience onto the islands with the players. The compact stage seems to expand, and contract as needed to accommodate the large cast as well as the intimate scenes.

There are reasons South Pacific has long been an audience favorite. The music and lyrics are eloquent and meaningful. The characters and situations face familiar life hurdles. The energy, passion and sincerity are palpable. Even if you’ve seen South Pacific many times before, you will want to see it again. But hurry, seats are filling fast.

South Pacific runs through December 23. Performances are Wednesdays at 2 and 7 p.m., Thursdays at 7 p.m., Fridays at 8 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 p.m. Rubicon Theater, 1006 E. Main St, Ventura. www.rubicontheatre.org or (805) 667-2900 for tickets. Prices vary. Make reservations soon as many shows sell out.