by Shirley Lorraine

Faith vs fantasy disputed in Agnes of God

Reality and fiction collide in John Pielmeier’s compelling drama Agnes of God now playing at the Elite Theater in Fisherman’s Wharf, Oxnard.  The story centers on a young postulant, Agnes, who gives birth in a convent. She denies knowledge of having done so and of even being with child. She is accused of murder when the newborn is found discarded. A psychiatrist, Dr. Livingstone, is engaged to explore her mental state to stand trial. Conflict arises when the Mother Superior disagrees with Dr. Livingstone’s methods of inquiry.  As details unfold, the layers of denial, concealment and complicity raise more new questions than answers.

The trio of actors rise to the challenging material with confidence. Agnes, played to angelic heights by Abbe Fralix, is clear of voice and portrays inner strength beyond her years. The clarity in her singing voice is amplified by the simple and effective staging.  Initially it was a bit jarring to have no introductory music. However, once Fralix began to sing, the nuance became understandable.

She is well countered by Lynn Van Emmerik as Doctor Martha Livingstone, a court-appointed psychiatrist whose own internal entanglement in the complex story causes her to examine the motivation behind her personal desire to search out the truth, no matter how painful.  The Doctor’s lack of religious conviction battles with the equally strong beliefs held by the Mother Superior.

Giving stoic humanity to the beleaguered Mother Miriam Ruth is Celeste Russi.  Russi’s performance is simply riveting as she fulfills the roles of mother, protector, friend, confidant, savior and defendant to Agnes. She has her own reasons for discouraging Dr. Livingstone digging to the bottom of the mysterious issue. Conflict upon emotional conflict arises as the story deepens.

A dramatic staple offering for many community and regional theaters since the early 1980s, director Tom Eubanks has enthusiastically chosen to direct the play for the third time in his career. He states that it brings out new meaning and insights for him each time it is staged. This production clearly shows the depth to which Eubanks has asked his actors to reach. In response, all three deliver solid performances.

A bare-bones stage setting gives the actors and the audience alike additional opportunity to be fully immersed in the material.  Light pools are used effectively for accentuating thought or time changes. Costuming is on point. Both nuns appear comfortable and at home in their habits, moving about easily in the voluminous folds of fabric.

Agnes of God does present questions relating to faith, belief and love. However, the material goes beyond religious boundaries to explore emotions and coping mechanisms common to humans of all levels.

To be sure, it is not an uplifting evening at the theater given the sordid and sobering subject matter. But, knowing that going in, it is well worth attending. Agnes is a deep work that is mesmerizing, especially in that it is so well staged and performed. The intricacies are disturbing and not appropriate for children.

Agnes of God runs through April 2. Friday & Saturday eves 8 PM, Sunday matinees 2 p.m.  General admission $20. Seniors/Students/Military $17.  Reservations are encouraged 483-5118.  Elite Theatre Company, 2731 Victoria Avenue, Oxnard   www.elitetheatre.orgATRE

On the day England enters World War II, renowned psychoanalyst Dr. Sigmund Freud invites the young Oxford Don C.S. Lewis to his London home to discuss their work, debate the meaning of life, and clash on topics of love, sex, the existence of God, all mere weeks before Freud takes his own life.

Freud’s Last Session is a touching, poignant play that delves into the hearts and minds of two brilliant men grappling with age-old questions we still ask today.

Freud’s Last Session plays March 3^rd through March 12^th at the Ventura Vineyard.

Fractured Actors with Ventura Vineyard
March 3, 4, 9, 10, 11 at 8:00pm. March 5 and 12 at 2:00pm.
Ventura Vineyard –  1956 Palma Dr. Ste A, Ventura.
Tickets Available at www.eventbrite.com.

Kimberly Akimbo puts the fun in dysfunction
by Shirley Lorraine

To the consistent delight of Ventura County theater audiences, Santa Paula Theater Center isn’t afraid to take chances with lesser known works. Opening their 2017 season is Kimberly Akimbo by Pulitzer prize winning playwright David Lindsay-Abaire. The unusual two-act comedy presents an inside look into a family filled with dysfunction, medical mystery and quirks that somehow work for them despite their many differences.

Kimberly, beautifully characterized by Nancy Solomons, is a typical teen with a rare condition which causes her to age several times faster than normal. Although atypical in physical appearance, she struggles with issues every teen does, including infatuation. Her chosen subject is Jeff (Trent Trachtenberg), a classmate who finds her fascinating.

Home life is strained with Kimberly’s very pregnant and highly unhinged mother Pattie (Julie Fergus) and put-upon father (Brian Harris) as they fairly unsuccessfully cope with their thread-bare relationship. Adding to the overall upheaval is the arrival of Pattie’s sister Debra (Cynthia Killion), recently out of prison and a schemer of the first order. Debra seeks to involve both Kimberly and the unsuspecting Jeff in a scam she wants to run out of the family’s basement. The three adults bounce off each other like ping-pong balls throughout. All are a delight to watch in full swing.

Directed by Taylor Kasch with a deft hand, Akimbo presents the odd characters with heart and empathy. All the characters are well defined and played to their utmost. The ensemble melds superbly while maintaining their individual characterizations. They have no need to reach for laughs – playing it straight enhances the humor in their sincerity.  Adults will enjoy the myriad layers of complexity involved in the rapid-fire dialogue. However, due to frank language and adult themes, the play is not recommended for children.

Scenes between Kimberly and Jeff are sweet, innocent and down to earth, embodying the wonder and the angst of the teen years. Pattie and husband Buddy spar like verbal prizefighters, both claiming a loss. Off in her own world, Debra sparkles with creative fireworks that ultimately fizzle and sputter. Undaunted, she pushes on.

It doesn’t take long to see that the medically challenged Kimberly is really the only member of the family with intact intellect. This element makes the story all the more poignant as Kimberly provides the glue to keep a sense of normalcy in the household. Strange how life works sometimes.

The 2017 season starts off with a bang and will be followed by more offerings to stimulate discussion and controversy including Outside Mullingar, a stage production of The Birds (remember the Hitchcock film?) and Becky’s New Car. The year ends with a radio theater adaptation of It’s A Wonderful Life.  Season tickets are available now. Buy early to choose your seats.

www.santapaulatheatercenter.org   805-525-4625
through March 19. Friday & Saturday eves 8 PM, Sundays at 2:30 p.m.

125 S. Seventh Street, Santa Paula

Adults $24, Students and Seniors $22. Not recommended for children.

John Wick: Chapter 2
by Manuel Reynoso
4 Palm Trees out of 4

Directed by Chad Stahelski and written by Derek Kolstad and  stars Keanu Reeves, Common, Laurence Fishburne, Riccardo Scamarcio, Ruby Rose, John Leguizamo and Ian McShane

Shortly following the events of the first film, John Wick finds himself being violently thrusted back into the life of crime and assassins he sought to leave.

John Wick: Chapter 2 is real fun. And if I could, I would pack it up and call this review done right then and there. But, I have a job to do. So bear with me if this review comes off as a little gushy, but it’s important to express how refreshing a well written story that only seeks to be entertaining and fun really is.

Chad Stahelski directing style really synergizes well with action movies. His attention to detail and his ability to trim out any unneeded fat from the film is what differentiates the John Wick series from the rest of the generic action flicks. There are no “funny” quips or unneeded dialogue in this movie. John Wick dares to tell a story through visuals instead of exposition, I know, who would have thought movies can tell it’s story through actions and visuals? But Stahelski understands this. His decision to completely cut out Ruby Rose’s spoken dialogue was a clear risk, but instead of the generic sexy female antagonist, we got a far more nuanced character. Limited to only sign language, expression and action was where we learned the most about the inner workings of this character.

And a lack of dialogue isn’t just a gimmick for Ruby Rose’s Character, but is a rule that encompasses most of the films cast. We aren’t forced to see the plot move with static dialogue, we are shown the plot move along. John actions have consequences, and they are bloody, and explosive to see. The gun choreography is also some of the best I’ve ever seen. For a two hour movie mostly consisting of gun play, it was varied and creative enough to keep the film from becoming a drag at any point. The attention to detail in Keanu Reeve’s ability to quickly and methodically reload his gun was as entertaining as the gun fights themselves. The hand to hand combat did not disappoint either. While there was some shaky camera work and jump cuts to occasionally mask some lack of contact being made, most of the sparring was painfully real. As actor Common would described, he would wake up the next morning after filming with Keanu completely sore and covered with bruises.

It was this type of dedication to the art of fighting that really makes John Wick the great action series of our time. Keanu Reeves loves to make action movies, and he puts his heart and soul into this character. In various interviews, Keanu recounts taking punches time and time again from fellow actors to get the shots as perfect as he possibly can. Keanu Reeves is John, and it’s just so refreshing to see an actor take on a persona that resonates so passionately with him.

However, John is just one character in this world of crime and assassins, and that where the cleverness of the screenplay comes in. Derek Kolstad’s screenplay made the world of John Wick its own living, breathing character. Seeing how John interacts with the world gives fascinating insight on how the world of assassins operate. We see the power dynamics, economy, distribution of information, and even things as mundane as where the assassins get there suits over the course of the film. None of it feels shoehorned in either. It’s a world that is as believable as it is over the top, but most importantly, it’s just a fun world to be a part of for a short two hours. We can all use a break from serious commentary from time to time. If you’re just looking to have a fun time for an evening, see John Wick: Chapter 2 and do enjoy your stay. 122 minutes Rated R

Camarillo Playhouse makes Much of Much Ado About Nothing
by Shirley Lorraine

The wisdom, humor and wit of The Bard merrily graces the Camarillo Skyway Playhouse stage in Much Ado About Nothing, considered to be one of Shakespeare’s best comedies. Penned toward the middle of his career, Much Ado glides forward with charm to warm the hearts of all Bard fans, and those new to the works as well.

The plot involves classic mistaken identities, prank-playing, mischievous behavior and, of course, unrequited love and wronged lovers for whom all is well in the end. The quick pace is set early on through rapid-fire repartee and action. The entire cast is fully immersed in the jocular style which has delighted audiences for hundreds of years.

For her directorial debut, accomplished Ventura County actor Vivien Latham has assembled a stellar cast, all of whom deliver delightful performances. No novice to Shakespeare’s works herself, Latham set the action in the Jane Austen era which worked beautifully with the timeless material. The cast maintains such a lively pace, one almost expects the cast to burst into Gilbert and Sullivan type song at any moment.

The enchanting female leads Beatrice (Genevieve Levin) and Hero (Dawn Notagiacomo) are well matched by R. Shane Bingham as Benedick and David White as Claudio.  The four play off of each other extremely well.  They are well met by a highly capable supporting cast including Brandy Jones as the maid Margaret, Mark Heulitt as Leonato and Scott Blanchard as Don Pedro.

Adding superb comedic touches are Robert Reeves as Dogberry and his band of watchmen. Reeves’ verbal timing is especially spot-on throughout. The running gags alone are priceless.

In every work there must be a character of villainous nature and this role is well filled by Brian Kolb as Don John, Don Pedro’s illegitimate brother, who employs several unsuspecting scapegoats to stage the scene falsely accusing the fair Hero of being less than pure the night before her wedding.

Costuming is credited to Erin Heulitt, who has assembled a visually pleasing and colorful array of costumes that not only look terrific, but accent and compliment the actors’ movements as well. The garden setting by Dean Johnson also contributes to the overall visual beauty. Multiple settings were able to be visualized without a change of scenery. Masterful.

Much Ado… is simply a delightful production. It would be an excellent introduction to Shakespeare for anyone unfamiliar with, or frightened of, the works. A number of the actors profess to be new to performing Shakespeare although no hesitancy was detected as all rose to the task admirably.  No doubt this experience will encourage them to tackle even more challenges on local stages.

Much Ado About Nothing runs Fridays and Saturdays, 8 p.m., Sundays, 2 p.m. through March 5.

Camarillo Skyway Playhouse
330 Skyway Drive, Camarillo
Camarillo Airport
388-5716 or  [email protected]

Adults $20, Students, seniors and military, $15, Under 12, $10

Split
by Manuel Reynoso 1 palm tree out of 4

Written and Directed by M. Night Shyamalan, Starring James McAvoy, Anya Taylor-Joy and Betty Buckley.

Three teenage girls are abducted by Kevin (James McAvoy), an abused suffer of Dissociative Identity Disorder, and are being held in cellar against their will. Claire (Haley Lu Richardson), Marcia (Jessica Sula) and Casey (Anya Taylor-Joy) have to work with and against Kevin’s various personalities if they want to make it out alive.

M. Night Shyamalan has struck out repeatedly over the years. While his success was largely built off of the momentum of Sixth Sense, his original works have yet to recapture the world’s imagination since. It’s truly a shame to see Shyamalan take to writing what amounts to nothing more than an exploitation film. However, it’s not a cultural trend or niche genre being exploited, but our nation’s most vulnerable citizens.

We face a mental health crisis here in the United States. Limited resources to combating this problem is only exacerbated by the stigma mental health illnesses carry. So to create a film whose entire theme revolves around the demonization of mental illness is simply abhorrent. Repeatedly the film equates the mentally ill and abused as broken or violent, and as such should be labeled as outcasts. Combined with mediocre writing, questionable cinematography, and lackluster acting, we are left with another failure for M. Night Shyamalan to ruminate over what went wrong.

The poor theme would have been enough for me to disregard this film as terrible alone, but I repeatedly came into question of this film cinematography. Far too often do we see the same shots being recycled in this film. I am far to intimately aware of each actor’s facial features, as we get so many close ups of the actors teary eyed faces. It became clear that this became a crutch to help the director easily convey the tension and desperation each character was feeling. What was even more bizarre was the sporadic use of extremely wide angle shots for some of the conversations. There wasn’t enough to create any sort of theme with their use but enough to make it far too noticeable.

However, the one saving grace has to be the acting talents of James McAvoy. In a film brought down by the mediocre acting of the rest of the cast, James McAvoy was far too talented for such a low brow script. His ability to assume the many different personalities of Kevin really was a remarkable thing to watch, and was likely the only thing I found interesting in this movie. He had great range, and I hope to see him shine in a movie more deserving of his talents.

It’s difficult for me to look past the fact this film is taking us in the wrong direction in regards to mental health awareness and understanding. However, even if I was to look past this, I would still only see a half decent thriller with bad cinematography and mediocre acting. McAvoy’s acting may stand out as the one solid part of this movie, it does not make up for much. M. Night Shyamalan continues to be nothing more than a has-been director to me. The truly sad part of all this is he’s made even worse movies, so really this was pretty par for the course all things considered.  PG-13  1H57M.

Hidden Figures
by Manuel Reynoso 4 palm trees out of 4

Directed by Theodore Melfi, and adapted to screenplay by Theodore Melfi and Allison Schroeder. Starring Taraji P. Henson, Octavia Spencer, Janelle Monáe, And Kevin Costner. Based on the non-fiction book by Margot Lee Shetterly.

The spectacle of the space race has been celebrated time and time again over the decades. NASA’s triumph against the big bad soviets is no stranger to media portrayal. However, despite all the coverage, all the national pride, and all the high school lectures, three black women remain largely uncelebrated in the eyes of the general public.

Hidden figures is a biopic that brings to light the pivotal roles of three black women during the early days of NASA. Katherine Johnson, Dorothy Vaughn, and Mary Jackson are just some of the many brilliant minds working at NASA. But battling against the ills of social injustice, struggle to find their talents recognized in NASA.

With Hidden Figures being Theodore Melfi’s second major directorial debut, Melfi does not take many risks in this film. Hidden Figures follows the same major story beats of any other Hollywood film of its type and doesn’t seek to stand out much from that crowd. However, that in no way detracts from this films ability to celebrate the lives of these amazing women. Hidden Figures is not a masterpiece of cinema; it’s strength lies in the intrinsic beauty of the story being told.

The screenplay adapted by Melfi and Allison Schroeder is where this film derives its power. Each of these women’s triumphs have so much build up, so much adversity to break past, that once we see each of these women’s victories, the payoff is liberating. Lots of care went to insure each women gets their struggles seen, both internal and external.  By the third act we do longer just wish to see them succeed but we need to see them succeed.

While it’s clear the power of the film was born in the writing, Hidden figure phenomenal acting is what brought it life. Octavia Spencer and Taraji P. Henson were the driving force behind this film. Working with such an empowering screenplay, the actresses succeed at bringing out the struggles and successes of each of these ladies.

It was no coincidence this film was released while tensions run high in the US, however it is times like this we have to remind ourselves we all took part in the triumphs of this country. Hidden figures is a celebration, a dedication, and most of all a reminder of the strength of black women everywhere. I did not merely hope for their victories, but I needed them. I cannot recommend this film enough based solely on the power of the story itself. All the while the strength of the acting left me yearning to see them all succeed.

PG 2h07m

Gulf View Drivewinds up winning trilogy
by Shirley Lorraine

Two seasons ago Ventura County audiences were introduced to the love story of May and Raleigh, a couple who meet during the early years of WWII in Last Train to Nibroc. Last season See Rock City continued to follow the couple’s adventures and trials through life. The final peek into their lives occurs in Gulf View Drive, opening this weekend at the Rubicon Theatre.

Both previous stagings have garnered numerous accolades and awards, both for technical aspects and acting.  Lily Nicksay and Erik Odom reprise their critically-acclaimed roles as May and Raleigh, adding even more power and depth to the characters.

The roles of May’s mother, sunny Mrs. Gill and Raleigh’s mother, the ever-sour Mrs. Brummett, are also continued by the original actors, Sharon Sharth and Clarinda Ross.  Joining the cast for this installment is Faline England in the role of Raleigh’s sister Treva. England is no stranger to the Rubicon stage and blends in seamlessly with the rest of the cast. All the characterizations are sharp and well defined.

The actors as a whole carry impressive credits on stage, television and screen. An added bonus to this production is that the actors themselves have grown with the performance of each period in their respective characters’ lives. With such familiarity they fully immerse themselves in the roles, highlighting the experience for the audience. We feel as though we know them well.

Katherine Farmer returns to direct the last installment of the story. As with the two previous stagings, Gulf View Drive is filled with familiarity. The audience feels an integral part of the saga of the lives of May and Raleigh.  Working with the same actors throughout has been an extraordinary privilege, according to Farmer.  As well, the play signals the return of the successful and acclaimed technical design team that built and shaped the first two sequences in the trilogy. Subtle lighting and realistic lived-in home design provides a comfortable setting to set the mood.

Author Arlene Hutton has created characters we care about.  Each play stands well alone. However, for those who have seen Last Train to Nibroc or See Rock City, Gulf View Drive provides the audience with a satisfying and well-rounded ending to May and Raleigh’s saga.  As an audience member, when I get caught up in character’s lives, I want to see how they end up.  Gulf View Drive gives that conclusion that neatly brings the story to a close, while still leaving ampleroom for speculation on what could happen next. An audience member near me remarked “I’m not ready for them to go!”  And we aren’t. The story cascades with complications, each one a surprise. Although there is resolution, the story is not done, nor do we want it to be.

Of special note: a free staged reading of Hutton’s new work entitled Three Sisters Bronte will be held on Monday, February 6 at 7:00 p.m. Tickets may be requested through the Rubicon box office.

Gulf View Drive plays Wednesdays to Sundays through February 12 at the Rubicon Theatre Company, 1006 E. Main St. 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. Tickets: $50-$55. The box office is open 7 days a week. There is 24-hour ticketing and seat selection online at www.rubicontheatre.org. 667-2900.

A Monster Calls 3 Palmtrees out of 4
by Manuel Reynoso

Directed by J.A. Bayona, Written by Patrick Ness, and starring Sigourney Weaver, Felicity Jones, Toby Kebbell, Lewis MacDougall and Liam Neeson.

Besieged by the turmoil’s of life, armed only with his imagination, 12-year-old Conor (Lewis MacDougall) attempts to come to terms with a tenacious bully, a flaky father, and a dying mother. Guided by the stories of a yew tree brought to life by Conor’s powerful imagination, Conor attempts to understand his violently changing world.

A Monster Calls is a family film with a PG-13 rating that cannot be taken lightly. The film takes a heavy handed approach in its portrayal of just how ugly life can be. Parents must be keenly aware of this film’s lack of subtlety in its portrayal of bullying, loneliness, and death. While it’s themes may be scary for some younger audience members, for others it may be profoundly cathartic. With powerful themes backed up by great visuals and animation, A Monster Calls is an experience to be remembered.

Director J. A. Bayona’s biggest triumph of the film is its art direction. Watercolor and imagination are the two most recurring motifs in the film. Whether it’s shown through the water color drawings of Conor and his mother, or the animated stories of the yew tree, the beauty of the art and animation in this film needs to be celebrated. It creates liveliness and beauty in an otherwise dark and somber family film. Which in turn, plays off excellently with the idea of life not being black and white, but existing somewhere in between.

Where A Monster Calls triumphs in art direction with its brilliant use of animation and watercolor, Patrick Ness’ screenplay left the first act a complete mess. The audience will have to slog through a painfully slow and almost pointless first 30 minutes of the film. During this time the film should be setting up the plot by fleshing out characters, relationships, and motivations; however, the first 30 minutes only loosely sets up the plot. Thus causing the audience to enter the second act with little understanding of the characters and little reason to feel invested.

Thankfully, once through the first act, that is when we see the brilliance of the characters shine through. Watching 12 year old Conor trying to come to terms with range of complicated emotions was greatly enhanced by Lewis MacDougall’s enthralling performance. However, Liam Neeson’s voice work as the yew tree would have to be the strongest performance of this film. It was his narration of the yew tree’s stories that made them the all the more beautiful and thrilling. Outside these two key performances, the secondary characters were not particularly engaging. Sigourney Weaver’s terrible British accent detracted from an otherwise solid performance. Toby Kebbell and Felicity Jones performances as the parents were acceptable but not praiseworthy.

A Monster Calls is not perfect. But it is raw, emotional, beautiful, and ugly all at once. It’s dark and scary for a family film but a great family film nonetheless. A film that could reduce me to a quivering mess by the end is something I do believe worth watching. And I believe you will be made all the better for watching it. PG-13  1h48m