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.

Fantastic Beasts: The Crimes of Grindelwald
Movie Review: 2.5 Palm Trees out of 4 Palm Trees

by Victoria Usher

Fantastic Beasts: The Crimes of Grindelwald is a 2018 science fiction and fantasy film that is based on the characters created by J.K. Rowling. It was directed by David Yates. It was produced by David Heyman, J.K. Rowling, Steve Kloves, and Lionel Wigram. It was written by J.K. Rowling. The film stars Eddie Redmayne, Alison Sudol, Dan Fogler, Katherine Waterston, Johnny Depp, Jude Law, Ezra Miller, and Zoe Kravitz. The cinematography was by Philippe Rousselot. It was edited by Mark Day. The casting was done by Fiona Weir. The production design was done by Stuart Craig. The costume design was done by Colleen Atwood. The set decoration was done by Anna Pinnock. The music was by James Newton Howard. It was distributed by Warner Brothers Pictures. The film was officially released in cinemas on November 16th, 2018.

Fantastic Beasts: The Crimes of Grindelwald is the second part of the Wizarding World film series that was created by J.K. Rowling. This second part of the series was filmed in a specific and unique way that shows foreshadowing as being the most pivotal part of the film. When foreshadowing is written well and filmed right it can be the perfect thing to use in a film series or in a television series, as long as it is used in moderation. However, when it becomes hard to keep track of what the actual plot is because the film starts to become so heavily filled with foreshadowing and maybe only a sprinkle of plot every now and again then the whole film can very easily become boring and cause the audience to lose interest extremely quickly. The main three things that this film has that almost make up for the excessive amount of foreshadowing are the gorgeous visual effects, the spectacular acting from the cast, and the beautiful soundtrack. These three specific all wrapped together truly help to carry this second film in a way that keeps the audience captivated and excited.

(Rated: PG-13) (Running Time: 2h 14m)

by Shirley Lorraine
Quirky Cinderella careens into Ojai

The Ojai Art Center Theater has taken some risks this season in presenting infrequently produced material for audiences to enjoy. Humor, depth and artistry has been gracing the OACT stage all season. In a wild turn of events, and for just three weekends, the 2018 season concludes with a new and decidedly quirky version of the fairy tale Cinderella. For a complete reality escape, this high energy musical production certainly fills the bill.

First, the style. Forget what you may have seen before. This production is done Panto style, described as a highly exaggerated fractured fairy tale with about as many surprises as one can absorb in an evening. Roles are reversed, twisted and sliced and diced with abandon. There is little evidence of tradition here. And it is all in good fun.

The offbeat concept was originally conceived and directed by Paul Whitworth for the Shakespeare Santa Cruz company with book and lyrics by Kate Hawley. Directed here by Richard Kuhlman, the frenetic action sneaks in many local and theatrical references to tickle the funny bone. But listen and think quickly, or you’ll miss it.

Most over the age of a toddler are familiar with the tale of poor Ella, who is misused and beleaguered by her evil step-mother and two less-than-dainty stepsisters. Her fairy godmother appears to help Ella rise above the cinders to catch the eye of an eligible prince despite many attempts to thwart her good fortune.

In this version, there is a side story involving Little Bo Peep and her band of sheep as well as a narrator-cum-activator character to assist the audience in fully appreciating the action by leading the audience to interact with the characters. Think fairy tale meets a young Shakespeare meets the melodrama. Add vividly colorful costuming, greatly exaggerated movement and expert piano accompaniment by Andy Street and there you have it.

The cast includes Sindy McKay-Swerdlove as the Fairy Godmother, Anna Kotula as the ditzy Queen, Coree Serena Kotula as the King (this is one talented youngster). Poosy Holmes bursts onto the stage as Buttons, the audience liaison, Jodi Brandt takes on the role of Prince Charming, and Denise Heller gives life to Cinderella. Michael McCarthy takes on Peep with unbridled zest.

Marisa Miculian embodies the evil step-mother, with Marilyn Lazik and Sheila McCarthy as the wildly overdone step-sisters. Brett Baxter, Bodhi Bourbon, Don Gaidano, Lenny Klaif and John Valenzuela fill in as multiple personalities. Cinderella’s father is credited to Tarrara Boomdeay (really?) who seems to be having a blast. In fact, they all are.

This is a production filled with slapstick action, continual audience wink-wink moments and an air of theatrical freedom that must be seen to be appreciated. In this difficult year of trials and tears, a true escape is sorely needed. This is it. Bring the whole family. There is something for everyone. Of course, there is a moral at the end but the bottom line is – just sit back and enjoy.

Cinderella continues through December 16. Show times are Fridays at 7:30, Saturdays at 2 p.m. and 7:30 p.m. and Sundays at 2 p.m. $20 general admission, $18 for seniors and Art Center members, and $10 for those 25 and under. The Ojai Art Center is located at 113 S. Montgomery, phone (805) 640-8797 or www.ojaiact.org .at:

by Shirley Lorraine
Classic Christie mystery intrigues

Santa Paula Theater Center closes out its 2018 season with a classic Agatha Christie drawing room murder mystery now through December 16. A lesser known work, the play version was an adaptation of an earlier novel of Christie’s own by the same name. Several key points were assigned new identities and adjustments made to the original setting.

The result is a charming, albeit wordy (quite common to the time and style), mystery featuring Christie’s trademark fascinating characters, all of whom harbor secrets. A murder is committed, everyone is a suspect, and the surprising truth ultimately comes to light.

Director Fred Helsel has assembled a seasoned cast which carries off each distinct characterization with aplomb and conviction. This is truly an ensemble piece wherein each character tantalizes the audience with snippets of information to be pondered and pieced together.

The setting is London, England, year 1948, at the home of Sir Henry and Lady Angkatell (Ronald Rezac and Peggy Stekete) who have invited several friends and relatives to enjoy a weekend in the country. Things begin to go awry as their son Edward (Trent Trachtenberg) clashes with guest John Cristow (Chip Albers) and his seemingly dim wife Gerda (Joy Goldowitz). Also present is cousin Henrietta Angkatell (Jordawn Howard), Cristow’s mistress and Midge Harvey (Morgan Bozarth), a family friend.

The house is maintained by long-time family butler Gudgeon (Doug Friedlander) and a new housemaid, Doris (Jadzia Winter). As one character so well states “The thing about murder is that it upsets the servants so”. After all, they must maintain the manor.

The plot thickens when actress Victoria Craye (Vivian Latham), a former mistress of Cristow, rents a house on the same lane. When Cristow is found shot, Inspector Colquhuon (Andy Brasted) and Detective Sergeant Penny (Eric McGowan) arrive to piece together the puzzle.

One should pay close attention to the subtle hints in the dialogue as the play progresses. As all the characters employ English accents and due to the quirks of the vocabulary of the era, this can be a challenging aspect for some. There are so many plot twists and turns it wouldn’t be out of line to make notes for reference at intermission.

The exquisite setting by Taylor Kasch, beautiful period costuming by Barbara Pedziwiatr and just the right touches of mood music attributed to Helsel and Allan Noel add to the overall charm of the piece.

The play is filled with underplayed humor. Only one character, that of Lady Angkatell (Peggy Stekete) seems purposely designed to trigger laughs, which she does easily. Sir Henry (Ronald Rezac), her long-suffering devoted husband, gently guides her to saner pastures when needed. Both are a delight. All the characterizations are definitively outstanding.

By today’s standard of fast-paced, non-stop action that quickly telegraphs details, the elaborate exposition in this play may seem a bit extended to some. However, it is a classic style well worth the journey. Settle back and enjoy the wordplay.

The Hollow continues Fridays and Saturdays at 8 p.m. and Sundays at 2:30 p.m. through December 16. Adults are $24, seniors and students $22, children 12 and under $18. (805) 525-4645 or www.santapaulatheatercenter.org for ticket and seating information.