by Shirley Lorraine

Classic comedy in Camarillo

Now on stage at the Camarillo Skyway Playhouse through September 16 is Noël Cowards’ classic comedy Private Lives.

Sir Noël Coward a (knighted in 1970) dabbled in all parts of the theater throughout his lengthy career, from acting to directing to writing and seemingly everything in between. The quite cheeky Englishman is most well-known for his “comedies of manners” – Private Lives being one of the most successful. The dialogue is clipped, succinct, delightful and humorous as it points out and highlights the human condition and many of its failings.

Newlyweds Elyot and Sibyl Chase have chosen a hotel in Deauville, France for their honeymoon. So have newlyweds Amanda and Victor Prynne who reside in the suite next door. All goes swimmingly until Elyot and Amanda, who were previously married to each other, realize that not only have they entered unions of dubious lasting power, they still have strong feelings for each other. They decide to run away together to rekindle their passion, leaving Sibyl and Victor in the lurch. Ultimately, the jilted parties confront the pair and comedic chaos ensues.

The sparkling dialogue exposes the clear double standard thinking of the 1930’s to hilarious response.

All the characterizations are strong and consistent. Alan Waserman, playing Elyot, gives a solid performance that brings forth lots of laughs as he delivers sentiments of the times with a straight face. His new young bride, Sibyl, is suitably spirited in the person of Lauren Zika. She carries off the flighty role with vigor. Amanda, Elyot’s first wife and the center of the plays whirlwind action is portrayed by Genevieve Levin, who attacks the part with fervor. She is well matched to Bill Sweeney as her new husband Victor, a caricatured English gentleman.

Scenes between the two men are delightful as the characters battle each other with more wit than brawn. The English accents are carried off extremely well by all and it took a few minutes to acclimate my ears to its cadence. Because of that combined with musical background, the opening scene was a challenge for me. As soon as the music stopped I was able to focus on the verbal spars more closely and able to enjoy the wordplay.

Theresa Secor, a familiar face in Ventura County Theater, adds brief comic touches as Louise, the maid. Although her lines are spoken entirely in French, she certainly delivers a clear message through expressions and body language.

The 1930’s costuming credited to Erin Heulitt is simply dashing – flattering to each person and adds a special touch to the strong characterizations.

Set design by Director Dean Johnson gave most attention to the second half scenes, an interior suite in Paris, France. Just enough detail was given without overcrowding the set with period knick-knacks. The opening sequence on the hotel veranda was less polished, in my opinion, but did convey the appropriate tone.

Private Lives is a welcome look at classic (and clean) comedy of the highest quality.

Private Lives runs Fridays and Saturdays, 8 p.m., Sundays, 2 p.m. through September 16

Camarillo Skyway Playhouse

330 Skyway Drive, Camarillo
Camarillo Airport
(805) 388-5716 or  [email protected]

Adults $20, Students, seniors (60+) and military, $15, Under 12, $10

by Shirley Lorraine

Old standard still thrills

Actor’s Repertory Theatre of Simi blasts it out of the park with their revival of Rodgers and Hammerstein’s lively musical, Oklahoma! The long-running, high-stepping production retains the same charm and appeal it originally brought to the stage in 1943. Still one of the most popular musicals ever, Oklahoma! has the audience singing along, tapping their feet, and cheering for the heroes.

Based on the book Green Grow the Lilacs by Lynn Riggs, the story is set in 1906 in what was then Oklahoma Territory. The action centers on a small western town and the colorful characters who call it home. The main story portrays the courtship of young Curly and Laurey as they dance around their mutual attraction. Secondarily, a romance between smitten Will Parker and flirty Ado Annie takes a rocky path. Underlying the frivolity is a dark side provided by rough-hewn ranch-hand Jud, who pines for Laurie.

Directed by the multi-talented Will Shupe, the production features a range of actors who two-step their way through with style and energy. Choreography by Becky Castells is tight and impressive, given the number of people on stage and the high energy and intricacy of the reels. The cowboys and the farmers of all ages kick up their heels while the cadre of young girls flounce and preen flirtatiously.

A large live orchestra directed by Matt Park provides all the right notes as the familiar music fills the theater.

The voices of leads Joe Hebel and Sara Owinyo give Curly and Laurey solid tones that do more than justice to Oh, What a Beautiful Mornin’ and Many a New Day, among other favorites, in fine fashion. Owinyo has a clear and beautiful voice reminiscent of the original Laurey, Shirley Jones. Hebel is strong and clear as well, although at times vocally overpowering in volume. The combination of strong voices, microphones and a full orchestra could be dialed down a few notches and still be more than adequate, in my opinion.

Ado Annie is playfully portrayed by Alissa Horner, who is matched with Conner Stevens as Will Parker. They complement each other well as they sing out All Er’ Nothin’ and I Cain’t Say No.

Traveling peddler Ali Hakim is larger than life in the person of Ceron Jones and David White channels his dark side as the brooding Jud Fry. The role of feisty Aunt Eller as personified by Kathleen Silverman is a hoot and a force of nature.

Director Shupe has opted to retain all the original script, including a few songs and dance sequences that are frequently cut. Kudos for giving the audience the full experience. Dancers Michael Dumas and Ashley Maimes executed a lovely dream dance sequence that added depth to the story.

Also delivering notable performances are Ted Elrick as Ado’s father, Mr. Carnes, and Ciara D’Anella as Gertie Cummings. A large ensemble fills in all the spaces left with gusto.

For a superior touch of nostalgia coupled with outstanding performances, Oklahoma! is one to catch before it’s gone.

Oklahoma! runs through September 2 at the Simi Valley Cultural Arts Center, 3050 Los Angeles Ave. Simi Valley. Friday and Saturday performances are at 8:00 p.m., Sunday matinees begin at 2:15 p.m. Tickets are $25 Adults, $22 Students/Seniors 60 & Above, and $18 Children 12 & Under. (805)583-7900, www.simi-arts.org.

Mamma Mia! Here We Go Again
2 Palm Trees out of 4

by Manuel Reynoso

Mamma Mia! Here We Go Again is a 2018 musical directed and written by Ol Parker, from a story by Parker, Catherine Johnson, and Richard Curtis. The film stars Lily James, Amanda Seyfried, Christine Baranski, Julie Walters, Pierce Brosnan, Dominic Cooper, Andy García, Colin Firth, Stellan Skarsgård, Cher, and Meryl Streep. Taking place after the events of Mamma Mia!, the film revolves around Sophie’s restoration and reopening of a hotel with flashbacks of Donna’s arrival Greece and her chance run in with the three possible fathers of her daughter.

Every once in a while I watch a movie that reminds me of another way a movie can be “good”. I’m not talking about Oscar-worthy performances or gripping narratives that cut deep and expose societal ills. I’m talking about fun. Mamma Mia! Here We Go Again might not be a movie on your radar, but it’s more than enough for a fun date night. With great musical covers of our favorite Swedish pop super group, wonderfully tacky costumes and sets, and surprisingly good cinematography, there is plenty to enjoy.

That isn’t to say that Mamma Mia! Here We Go Again is an amazing movie. For every bit of ABBA goodness, there’s equal amounts of the campy love story writing that one would expect, but that okay, that was really all I expected going into this. If you wanted a gripping drama on the struggles of a woman in a rocky relationship, trying her best to make it in this world, then you came to the wrong movie.

It’s wonderful seeing a movie that felt so alive with color and vibrant energy. The costumes ranged from wonderful, to wonderfully tacky. The locations were beautiful and everything felt so colorful. It felt like this film was partly made just for sake of an aged cast to finally cut loose and have fun. Amanda Seyfried and Lily James had a number of great musical pieces throughout the film. What really surprised me was the camera work on display here. There really was some great framing and camera work during this film. As a package, while it might be a little shallow for some, it’s still a fun time to be had. There’s nothing wrong with being in the shallow side of the pool from time to time, right?

In all, there’s really little to say about the movie. It’s a fun date night movie if there isn’t really anything else to interest you. If you are an ABBA super fan, then absolutely you should see these great performances. Otherwise, you aren’t missing too much. It’s a fun ride, with some catchy tunes. 1h54m PG-13

by Shirley Lorraine

Youth productions sizzle in summer

Summer is the perfect time to engage kids of all ages into fun and fascinating learning experiences.

Many Ventura County theaters have regular summer programs for youth to enjoy being on stage and behind the scenes, learning the craft as they go. It is always exciting to watch talents bud and bloom.

Camarillo Skyway Playhouse stages periodic youth productions via the CSP Stage Door Players and Camarillo Young Actor’s Company. See their website for additional information. www.skywayplayhouse.org.

The High Street Theater in Moorpark concluded its summer youth production of Aladdin, Jr. just last weekend. Drat, just missed it. Be sure to calendar July 2019 for next year’s offering.

Elite Theatre in Oxnard is currently presenting Yearbook – a humorous glimpse with a positive spin into life in middle school. The play accentuates how teamwork, caring and compassion help guide the students through various typical situations. Directed by Michael J. McGraw and produced by the Elite’s Artistic Director L.J. Stevens.

Only two performances remain to catch this special production – Saturday and Sunday August 4 and 5. Curtain time 2 p.m. for both shows.

[email protected] General admission $15, Senior & Students $12, $10 under 10 years old. (805) 483-5118 or online at www.elitetheatre.org 2731 Victoria Avenue, Oxnard, CA 93035 (Victoria and Channel Islands)

The Ojai Art Center Youth Branch proudly presents The Little Mermaid, Jr., adapted from the Disney Broadway production. It is based on a Hans Christian Andersen story and features music, action and a cast of children from age 5 to 15. Directed by Gai Jones, the production continues its run through August 12.

General admission $15, under 15 $10. Friday 7:00 p.m, Saturdays 2 p.m. and 7 p.m. Sundays 2:00 p.m. through August 12. Ojai Art Center Theater, 113 S. Montgomery Street, (805) 640-8797, www.OjaiACT.org

Rubicon Theater’s Education & Outreach 2018 Youth Productions Musical theater students present the ever-popular 50’s musical Grease, celebrating its 40^th year of delighting audiences across the globe. Enjoy a look into the past as the cast brings forth familiar songs such as Greased Lightning and Summer Love.

The staging features 28 Ventura County students ages 15-24 and is directed/choreographed by Beverly Ward and Jamie Torcellini.

The anniversary production corresponds to Rubicon’s 20^th anniversary of providing quality theater to Ventura County as well as in-depth educational opportunities for volunteers of all ages.

Performances are Friday August 3 at 7 p.m, Saturday August 4 at 2 p.m. and 7 p.m., Sunday August 5 at 2 p.m. and 7 p.m., Tuesday, August 7 at 7 p.m., Wednesday August 8 at 2 p.m. and 7 p.m., Thursday August 9 at 7 p.m. and Friday August 10 at 7 p.m. 1006 E. Main St, downtown Ventura, (805) 667-2900 or www.Rubicontheatre.org

Whichever production you go see, know that your support of youth theater programs across the county will provide the cornerstone for future talents. Help keep Ventura County theater alive and well for years to come.

Ant-Man and the Wasp Review:
2 Palm Trees out of 4

by Manuel Reynoso

Ant-Man and the Wasp is a 2018 superhero film based on the Ant-Man and the Wasp. The sequel to 2015’s Ant-Man, and the twentieth film in the Marvel Cinematic Universe. Directed by Peyton Reed and written by Chris McKenna, Erik Sommers, Paul Rudd, Andrew Barrer, and Gabriel Ferrari. Starring Paul Rudd and Evangeline Lilly.

Still riding high off the wild ride that Avengers: Infinity War was, I was actually looking forward to watching another Marvel movie, but perhaps going in expecting things like impactful themes, nuanced villains, and meaningful dialogue was unreasonable for an Ant-Man movie. It certainly was a fun watch with plenty of witty jokes and well done action scenes, but it felt like just more of the same Superhero movies we’ve been going to see for the last decade. Along with some questionable directing and massive overuse of sci fi techno babble, I walked away painfully underwhelmed.

Now that isn’t to say Ant-Man and the Wasp was a complete disappointment. The manipulation of size lead to some fun fight scenes and car chases. Paul Rudd continues to be his hilarious self and really has the only redeeming dialogue in this film. There is enough here for me to not completely write this film off. Ant-Man and the Wasp could be especially fun for families with small children, but that’s where my praise ends.

There were plenty of strange directing decisions that threw me off, but none more than the director’s strange over reliance of Chekhov’s gun. Chekhov’s gun is a pretty basic storytelling device: essentially you introduce an interesting item, and then the audience gets the payoff of seeing said item move the plot along. Usually used sparingly in a film, apparently Ant-Man and the Wasp find this this technique hilarious, because they do it over and over and over again. So many times our attention is put on a random item, like there is going to be some incredibly clever usage of it, with the resulting payoff being completely vapid.

I wish my complaints ended here, I really do. I should have enjoyed the film more, but so much of the dialogue is just a slog to get through. I just couldn’t get myself through all the sci fi mumbo-jumbo speak. Hearing whole conversations consist of random science terms with the word quantum slapped on is just not engaging at all. Usually I expect a film to lay it all out in the beginning and get it out of the way, but instead we have to hear about quantum this and quantum that. The amount I cared by the end was literally at the quantum level itself.

Don’t get me wrong if you can look past my gripes, you can still have a good time. Perhaps I went into this with the wrong mindset; maybe I should have just enjoyed it for what it was, a light hearted action romp with some witty jokes, but it really wasn’t all that special of one.

Rated PG-13 1h58m

by Shirley Lorraine

Santa Paula Stars Shine in Constellations

It is not often that a completely fresh viewpoint comes to the stage. Santa Paula Theater Center’s current offering of Nick Payne’s Constellations takes its audience into rarely explored territories mixing art and science. The excursion takes the audience on a fascinating ride into mental space to explore what could happen in a parallel universe or universes, where endless strings of slight variation on a singular incident are possible.

Constellations soars through the sky with lightning speed as the two actors, Jessi May Stevenson and Ron Feltner as Marianne and Roland, continually rewrite their relationship from many different angles. The age-old question of how an incident could have concluded with a different outcome is given a great deal of thought. The variations are achieved through the application of the principles of string theory, relativity and quantum mechanics. It sounds heavy, but the situations are so relatable it is easy to see oneself in at least one of them.

It took me a few moments in the beginning to understand why the scenes were being repeated. Once I understood that new characters were emerging with slight tweaks to the scenario, I enjoyed the play with a different level of understanding. It is a deep piece that shimmers on the surface and simmers at the core.

A simple, unadorned setting allows the actors to transform themselves in attitude, demeanor and presence via light pools highlighting the subtlety of how one minor change can alter the outcome of a given situation. I found myself pondering the efficacy of taking the time to “what if” threads to gain some insight as to possible resolutions before proceeding. Could happen.

Directed by the very talented David Ralphe, Stevenson and Feltner appear seamless as they transcend time and space, each becoming a slight variation of themselves on a dime. Both delve deeply into their souls to pull out myriad nuances of emotions. The action is enhanced by the projection of distant stars and nebulas with gentle underlying music.

Presented with no intermission, the audience is given an unbroken glimpse into the ever-changing nature of relationships which is as vast as any universe.

On another note: the night I attended was the inaugural evening utilizing SPTC’s new air conditioning! With the recent and continuing heatwaves in play and years of using the program as a fan, the AC is a very welcome addition.

Be sure to visit the theater’s website often for updated news on concerts, specialty performances and noteworthy happenings. www.santapaulatheatercenter.org. There is always something interesting going on. One-time concerts especially tend to sell out quickly.

Also take notice that Sunday performances for this production are at 4:00 p.m. You won’t want to be late.

Santa Paula Theatre Center, 125 W. S. Seventh St, Santa Paula
Friday & Saturday eves 8 PM, Sundays 4:00 PM through July 29
Adults $24, Seniors/Students $22. Not recommended for 17 and under. www.santapaulatheatercenter.org/805-525-4625

by Shirley Lorraine

Beautiful music and intriguing story onstage in Ojai

An exploration of Ludwig van Beethoven’s laborious journey in penning variations to an otherwise mediocre waltz by Anton Diabelli is now on stage in 33 Variations at the Ojai Theatre Center Playhouse.

The commission of variations to his work by more well-known composers was in hopes of elevating Diabelli’s own work to greatness. Things didn’t quite work out that way as Beethoven, who originally turned down the commission, became enamored by the work and ultimately devoted a great deal of his own life to it.

Ably directed by Richard Camp, the audience is guided through a fascinating trip through time, motivation and determination as well as learning how Beethoven struggled with his own muses and ultimately his loss of hearing while still composing great works.

The play by Moises Kaufman highlights the focused research by musicologist Dr. Katherine Brandt (Tracey Williams Sutton) whose life ambition is to unravel the mysteries behind the genius’ work. To delve deeply into the writings, she must spend time in Bonn, Germany pouring through archives of Beethoven’s notations.

Archivist Dr. Gertrude Ladenburger (Lynn Van Emmerik) slowly warms to Dr. Brandt, ultimately providing assistance, friendship and emotional support for the project and for the researcher. Dr. Ladenburger is at first disapproving of the “intruder” into her beloved archives, but gradually warms to a fully likeable character as their bond grows.

Adding to the Doctor’s plight is her declining health due to ALS (Lou Gehrig’s Disease) as well as a strained relationship with her daughter Clara (Andra Belknap). Clara reluctantly falls for her mother’s nurse (Devin D. Dornbos) and together they learn to cope with the many difficulties that arise.

Brandt’s journey takes place in the present, while explanatory actions are also staged in the 1800’s to show interactions between Beethoven (Cecil Sutton) and Diabelli (Sean Love Mason) that may have taken place. Beethoven’s loyal henchman Anton Schindler (R. Shayne Bourbon) provides additional insights into the creative mastermind behind the music.

Underscored throughout with Beethoven’s compositions played by highly talented pianist Aaron Embry, the result is simply mesmerizing. The evening would have been exemplary with just the concert. However, the play fills in the blanks we didn’t know were there and adds depth on many levels to make the music even more enjoyable.

Ms. Williams Sutton’s portrayal of the obsessed and brilliant Dr. Brandt is stellar. She easily brings forth the singlemindedness of Dr. Brandt as well as her inner strength in the face of myriad challenges.

As the musical genius Beethoven, felt to be the greatest composer of all time (quite a role to fill!), Cecil Sutton brings forth the eccentricities of creativity with passion.

In the role of Anton Diabelli, a composer of lesser renown, Sean Love Mason gives a glance into the type of man he may have been.

A simple yet highly effective set designed by Steve Mitchell as well as well thought out period costuming by Mary Crane and Tracey Sutton adds just the right shell for the action.

Ojai Art Center Theater, 113 S. Montgomery Street, (805) 640-8797, www.OjaiACT.org

General admission $20, Seniors &Art Center Members $18. Everyone 25 and under (must show I.D.) gets in for only $10. Friday and Saturday shows begin at 7:30 p.m., Sundays 2:00 p.m. through July 15.

Won’t You Be My Neighbor?
3 Palm Trees out of 4

by Manuel reynoso

Won’t You Be My Neighbor? is a 2018 documentary film directed by Morgan Neville and edited by Jeff Malmberg and Aaron Wickenden. The film about the life of Fred Rogers and the themes of his television show.

A documentary on the life of a truly wholesome individual. Every minute of it is a bombardment of one man’s sentimentality and passion for children. I’ve haven’t seen so much hope and so much inspiration emitting from a single person. While he was fallible and with his own moments of weakness, he set his course in life to be the best person he could be for the sake of children everywhere. With this much positivity, I have to ask, where are all these tears coming from?

Now maybe I’m overly sensitive, but that can’t explain the sniffles I heard all throughout the theater. No, this documentary was something special. So much of it was spent talking about feelings, whether those of Mr. Fred Rogers or the feelings of children. It really is special to see so much respect for something that isn’t taken seriously so much of the time. It touches people, and it left both me and my girlfriend a quivering mess. That’s where the power in this documentary lies, in its ability to reach others and remind ourselves of the vulnerability of childhood.

All this wouldn’t have been possible without some really impressive technical know-how. Editing tends to be what carries a documentary, and Won’t You Be My Neighbor has some really impressive editing from beginning to end. It’s carries the familiar fast pace editing style of a documentary while also having a patient and methodical rhythm to it. While these two styles feel like they should be at odds with each other, it ends up delivering the soft and patient feel we associate with Mr. Rogers. It’s that success that makes this documentary so pleasant and easy to watch.

As for the documentary itself, it’s absolutely interesting. Whether you grew up with Mr. Rogers in your household or not, the man really leaves a colossal impression on you. All of his triumphs, his losses, and his insecurities are all laid out for you in a deeply personal story, that at times may come off a tad bit aggrandizing. It’s also very safe with the content it shares. Lots of what the film goes over has already been highlighted before. So previous fans of Mr. Rogers may see a lot of what they have already known.

Won’t You Be My Neighbor really boils down to a feel good documentary. To the point where it might even leave you in tears. It’s not groundbreaking, but it is still an exceptional piece of work. There is so much to love about Fred Rogers, and whether you already fell in love with his quirky, quiet demeanor, or you are learning about him for the first time, there is something for everyone to love in this film. Rated PG-13 1h34m

Hereditary
Review: 3.5 Palm Trees out of 4

by Manuel Reynoso

Hereditary is a 2018 horror film written and directed by Ari Aster. It stars Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd, and Gabriel Byrne. With the death of their mysterious grandmother, a family’s sorrow quickly becomes a nightmare.

Well directed horror, is an absolute nightmare. No other genre can so seamlessly mix the psychological with the supernatural; the subtle with the overt; the grotesque with the beautiful. With such terrifying imagery so meticulously composed I was equal parts disgusted and intrigued. I may scare easily, but Hereditary did more than just scare me, it horrified me. As a package, Hereditary blew me away with its focus on theme, cinematography, and the exceptional acting on display.

From the very first moments of the film, the cinematography had me captivated with everything going on in the screen. Every scene is framed to coax out feelings of unease. Even more effective are the shots purposely composed to mimic someone staring into a doll house; the uncanny valley is in full effect during these scenes. It’s not much of an exaggeration to say that the camera really was its own character in Hereditary. So despite how the scene unfolds, there’s always this looming sense of dread and unease. Toni Collette and Alex Wolff also carried the film with their performance. They were captivating and really exacerbated the dread and despair in this film.

So much of what Hereditary does is to foster a sense of looming demise in the viewer, but that isn’t to say that it effectively does this the whole time. Around the middle of the second act, the overall tone of the film changes pretty drastically. Enough that I’ve found myself and several others laughing at seemingly inappropriate times. While I personally thought the film accomplished telling a horrifying story, audiences are split, especially in regards to its controversial ending. While your opinion may vary on the effectiveness of the ending, I personally found it fitting thematically with the story the film was trying to tell.

I also find it important to acknowledge that Hereditary took risks with the horror genre. Subverting viewer expectations almost becomes a game for the film. Of all the risks it takes, the ending takes the cake for the biggest I’ve seen in a while, and it’s clear that it’s reception is very mixed. Despite the mixed viewer reactions, the sheer novelty of it all makes it more than worth the watch, but for me it stands out as one of the best horror movies I’ve personally experienced. Rated R 2h7m