Variety Arts Gala performance Comes to Oxnard
by Shirley Lorraine

A conference of Variety Family Performers is once again coming to our neighborhood! The fourth annual KAX (Kidabra International/Axtell Expressions) Conference will be gathering at the River Ridge Residence Inn in Oxnard January 25-28.

To cap off the conference, there will be an All Star Gala Performance in the Grand Ballroom open to the public on Saturday night, January 28 at 8:00 p.m. Tickets are only $15 for adults and $5.00 for children 12 and under.

Tickets can be purchased at the door before the performance as well as at the registration table both Friday and Saturday.  Magician Robert Baxt will be Master of Ceremonies for the evening. Acts will include new as well as legendary stars of magic, ventriloquism, comedy and more.  Featured are the Incomparable Master Magician and Storyteller Martin Lewis; the amazing Keith Fields from Detroit, one of the top female ventriloquists in the world, Sylvia Fletcher; and the Bon Vivant of Fun: Dave Cox.

Just what is a family entertainer, you may ask?  These are the folks you want to hire to entertain for a multi-generational event such as a birthday, anniversary or special celebration. These are the performers who maintain a family-friendly repertoire sure to delight all ages. These are the performers who work hard to keep their skills sharp and fresh so that you will be thoroughly entertained, providing the best value for your entertainment dollar.

Kidabra is celebrating over 26 years of providing family variety entertainment, branching out to the West Coast just four years ago. A collaboration with Ventura resident and internationally recognized master puppeteer Steve Axtell resulted in the KAX conference which has become a must-attend destination for family variety entertainers from around the world.

For one week in January entertainers of all types gather in Ventura County to hear lectures, attend seminars, and see demonstrations from others in their fields as well as have extraordinary opportunities to network, practice and discover new ways to delight audiences.  No one leaves without making new friends, learning fresh skills and gaining more knowledge of their chosen craft. Oh, and they will surely purchase some new gizmos to add to their arsenal of fun as well.

If you have ever given thought to entering the world of family entertaining, the KAX conference is a great place to start. Learn from professionals, practice with all levels and become confident as you master the unknown. Concerned about looking silly? Family entertainers excel in and perfect silliness as an art form. I’ll be there. You should be too.

Conference registration is open to Kidabra members as well as persons interested in learning more about the how-tos and business of being a family variety entertainer. From Wednesday through Saturday there will be jam sessions, a vendor room, lectures, interviews, surprises and so much more. More detailed information can be found at http://www.kidabra.org.  Registrations are accepted on site for one or multiple days.

Skip the “Office Christmas Party” relentlessly unfunny
by Richard Lieberman
1 Palmtree

Directed by Josh Gordon, Will Speck. Starring Jason Bateman, Olivia Munn, T.J. Miller, Jennifer Aniston, Kate McKinnon, Courtney B. Vance, Jillian Bell, Rob Corddry, Vanessa Bayer, Randall Park, Sam Richardson, Karan Soni, Jamie Chung, Abbey Lee, Da’Vine Joy Randolph, Fortune Feimster, Ben Falcone. (2016, R, 105 min.) Rated R

Carol Vanstone (played by Jennifer Aniston) is uncomfortable with her brothers operational and leadership skills in running his branch of an inherited tech company. Her brother Clay played by (T.J. Miller of “Silicon Valley”) runs the tech companies branch that is losing money, and sister Carol, CEO of the company wants the branch shut down.

Clay’s humanistic management style, he thinks of his employees as family, is in constant conflict with his sisters no nonsense “bottom line” philosophy of running the company. For Carol her brothers’ business style needs to be shut down so her bottom line oriented approach can be spread throughout the company.

Clay not nearly as bottom line oriented, nor organized, and efficient as Carol. knows he needs to do something to save the branch from closing, and laying off all its workers. He knows he needs to take some action to save the branch and the jobs of his employees. Landing a new 17-million-dollar account would force his sister to reconsider closing he branch. He decides to hold an office Christmas party to sway the potential new client.

Reluctantly chief technical officer Josh played by (Jason Bateman) and lead engineer Tracey played by (Olivia Munn) and human resources manager Mary (Kate McKinnon) of “Saturday Night Live end up joining in the revelry, and spirit of this raucous and unnerving Christmas party.

Carol however does not get into the spirit and the revelry of this immense and outlandish party. It seems it would take a lot more than a wild party to get stodgy sister Carol to change her mind, but it is Christmas and strange things can happen during the holiday season.

Do not count on the Office Christmas Party to deliver belly laughs or even, chuckles, the script never comes close.

In one scene, a bag of Cocaine is dropped in the office party’s snow machine, and sprayed in the face of buyer Walter Davis (Vance) attempting him the purchase the company’s servers which would turn around the company and save the day. Eventually a major portion of Chicago’s populace shows up at the party, which included Jesus and a donkey, Jimmy Butler of the Bulls, and a prostitute (Lee) giving hand jobs in the men’s restroom.

Any real flashes of humor come from the actors riffs and not from the attempted comedic script. Yet in the end Office Christmas Party is never as hilarious and lively as I had hoped. Skip this one folks and watch it when it comes out on cable, Red Box, Netflix or Amazon.

Christmas Classic Told a New Way
by Shirley Lorraine

Charles Dickens’ A Christmas Carol comes to life on the stage of Ventura’s Rubicon Theater bringing the wonder of the season, the familiar story and the pageantry of the classics. Now in its second annual Christmas showing, the innovative staging and creative characterizations allow the audience not only to enjoy the familiar tale in a new way, but also to become immersed in the very lives of the players.

Directed by Brian McDonald, with book adapted by Rubicon’s Artistic Director and guiding light Karyl Lynn Burns, the play brings out the humor in the piece in places where many productions opt for more glum characterizations. Multi-level staging and creative scenery change options make the transitions smooth and as interesting as the story itself

Debuting last year, Rubicon’s A Christmas Carol breaks away from tradition to focus on the telling of the tale, accenting each point as though letting the audience in on a secret. The ensemble, more than capably led by veteran actors Joe Spano and Peter Van Norden, effortlessly glides through the narrative with a sense of full inclusion. Highlighted by simple yet effective special effects, music and lighting, the play takes on a mysterious quality with many actors playing numerous roles.

On Christmas Eve, Ebenezer Scrooge, a curmudgeonly miser, is visited by three spirits who give him glimpses into his past, his present and his future. Through these windows he sees clearly how he evolved into the man he is and vows to change his ways. The story is told as a series of narrated vignettes accompanied by a large chorus of players who all take on multiple roles to tell the tale. Peter Van Norden plays Scrooge with glee, inviting the audience into his innermost thoughts. He is well matched by Joe Spano who takes the ghost of Jacob Marley to a new level.

The 25-member cast provides memorable musical moments as well as setting the scenes and filling out the story in myriad ways. The production is not a typical staging of the play and as such, gives new insights and a fresh view of the classic tale. It is simply mesmerizing on the whole.

The holiday season always brings forth choices in productions of A Christmas Carol, The Nutcracker and other standards. The Rubicon’s production offers an excellent theatrical experience to help one settle into the warm familiarity of the story with a few twists. It is recommended for all ages. A warning however – seeing this production may taint an appreciation for all other stagings of this classic tale.

There is still time to catch performances which conclude on Christmas Eve. Shows play Wednesday at 2 and 7 p.m., Thursday and Friday at 8 p.m. and Saturday at 2 and 8 p.m.  Give a gift of theater and take the whole family.

Rubicon Theatre, 1006 E. Main Street, Ventura (corner of Main and Laurel in Ventura’s Downtown Cultural District). Discounts available for seniors, students, teachers and military. 805-667-2900, www.rubicontheatre.org. Reservations highly recommended.

Elite Branches Out with Family Trees
by Shirley Lorraine

2731 S. Victoria Ave
In the World Premiere of Family Trees, family members come together to solve a problem and secrets are revealed following the death of Mike (Evan Austin) and Tina’s (Genevieve Levin) mother. A curmudgeonly busybody neighbor (Dorrie Braun) and her milquetoast son (Sabastien Montgomerie) fill in gaps in the offspring’s knowledge and memories. The play is a frank study in the elasticity of relationship dynamics, filled with humor, laced with universal truths and a few surprises.

Playwright Jason Furlani was on hand opening weekend to share in the joy and the nerves that mounting a new work can bring. Family Trees, playing on the Elite’s South stage, is a good match for the theater’s continuing mix of thought-provoking productions.  Based in part on Furlani’s own experiences, the play touches on many common situations that arise after a death, as well as a few unusual viewpoints for consideration.

While the actors are new to the Elite stage, all four of them bring a wealth of theatrical experience to the boards. The opinionated characters are well developed, embodying personality elements familiar to many.  Director William Carmichael pulls solid performances out of each actor. No doubt as the run continues, the cast will continue to ease naturally into their roles as siblings and friends, evening out the fluctuations in their contrasts.

The setting is a typical family home in Schenectady, New York. Well adorned with ceramic plates on the walls and the usual kitchen accoutrements, the set oozes a cozy, homey feel that instantly gives the audience a comfortable place in which to digest.the quirky material.  It is easy to sit back, relax and enjoy the show and at the same time, be able to ponder questions raised by the introduction of deeper ideas. Mother’s urn rests casually on the dining room table while preparations are made to add her to the grove of trees nurtured by relatives past providing the ultimate in recycling efforts.

Dorrie Braun appears to be having a great deal of fun as the neighbor whose bun is too tightly wound. Her straight-edged demeanor provides a sharp contrast to that of Montgomerie’s possibly challenged, yet highly enthusiastic portrayal of a man-child who explores the boundaries of independence while building new relationships. His dialogue was a curious mix of intelligent thought and unsophisticated phrasing which I found a bit jarring.

Austin and Levin’s performances both have the volume turned down in the beginning but amp it  up as the action progresses.   Placing the liquor on the bottom shelf seemed a bit awkward. Frequent trips to the cabinet would be more logical at counter height.

Family Trees has yet to be published and still has opportunity for refinement.

Family Trees runs through Dec 18. Friday & Saturday eves 8 PM, Sunday matinees 2 p.m.

All seats $15. Reservations encouraged. 483-5118
Elite Theatre Company
2731 Victoria Avenue
Oxnard, CA 93035
www.elitetheatre.org

Arrival – Poignant on the spot instant sci-fi classic  (4 trees)
by Richard Lieberman

Director Denis Villeneuve combines hard sci-fi and deep seeded emotion in one of the best sci-fi movies of the year. A thoughtful grown up piece of science fiction not the usual alien invasion doomsday setup that we have become familiar with.

Arrival’s premise begins with twelve mysterious alien space craft landing, or rather hovering over remote locations all over the globe. A linguistics expert Dr. Louise Banks played by Amy Adams is struggling with the death of her teenaged daughter, trying find peace in her daily routine. Her path is interrupted when the twelve alien vessels appear on earth, and the U.S. military comes to her for her help. The military has made minimal contact with the aliens, but their language is unlike anything known to man. She partners with a theoretical physicist Ian Donnelly, played by Jeremy Renner.

Banks and Donnelly enter the alien ship and begin to painstakingly learn their language and teaching them ours. She is convinced the aliens are peaceful and with good intention, but with twelve ships around the world, other countries are having their own interactions with the aliens, and Banks is tasked with finding out why they are here. Arrival doesn’t cringe when it comes to taking on a serious discussion of linguistics, physics or math or the complex language the aliens use. It never leaves us lost at presenting complex and interesting concepts that usually end up on the cutting floor in Hollywood’s sci-fi universe.

Symmetrical, stunning compositions and an early scene where the two characters enter the alien ship for the first time remind us of the sci-fi classic 2001. Arrival though is not as sterile as 2001 and has an almost gritty character that plies us with a sense of reality.  The movie makes its characters from our hero and heroine to the Chinese General seem alone and unable to effectively communicate with each other. That inability to communicate with others, not just aliens is a central theme that permeates the film.

Arrivals success is ambitious in its telling of a complex hard science fiction story through the emotionally compelling and heartbreaking story of its main character Amy Adams. Watching Adams struggle with attempting to decipher the alien’s language constantly driven by memories of her daughter is heart wrenching establishing empathy with the audience.

Adams character  moves the film forward to a climax that is both satisfying and emotional, quietly triumphant and emotionally satisfying.

Playing time 1hr.58min.  PG13

Doctor Strange/4 Palm Trees
by Eduardo Victoria/[email protected]

When we first meet Doctor Stephen Strange (Benedict Cumberbatch), he’s an esteemed neurosurgeon at the top of his game. His unparalleled skill comes with a cost, however – he’s arrogant, a bit brash and very shrewd of the patients he deems worthy of his time. When a freak accident causes Strange to drive his car off a cliff, rendering his hands useless. After tons of closed doors and colleagues who’ve deemed his case impossible, he uses his last funds on a plane ticket to Kamar-Taj, Nepal. There, he finds a sect of sorcerers lead by a woman simply known as the Ancient One (Tilda Swinton) – their mastery over the mystic arts and the spirit could hold the key to Strange’s recovery. As he studies under the Ancient One, however, an old pupil of hers named Kaecilius (Mads Mikkelsen) reappears. He hopes to conjure up a forbidden power in exchange for eternal life, and at the cost of reality as we know it. This forces Strange to realize that the power he’s been given holds great responsibility. As his powers grow, he eventually has to choose between going back to a way of life he once knew, or defending it.

What makes Strange’s origin story so satisfying is that it’s basically the story of a selfish, self-centered man who realizes the world is much bigger than him. It’s the simplest of stories at the outset, and nothing we haven’t seen before, but when mixed with the film’s contemplation of time and mortality, equates to an adventure with slightly more weight to it. By focusing on such grounded ideas, Derrickson never loses his emotional tether, allowing Strange’s journey to the end of his ego to manifest itself both thematically and metaphysically.

The film’s visuals, they’re totally unhinged and worth the price of admission alone, delivering insane action sequences which smash through the bounds of physical possibility with unabashed glee. No two battles are the same, with Strange and his colleagues defending reality, as we know it through environments that shape shift with clockwork complexity. In the best way, Derrickson’s commitment to the bizarre makes the film feel unmoored from its very foundations and liberated from its peers, going full blast into hardcore fantasy mode with a ferocious vitality and ingenuity.

The performances are like the icing on top, adding depth to characters who feel authentic and well-rounded. As Strange, Cumberbatch is perfectly cast. The film centers on his ability to balance being self-absorbed yet charming, and it’s a fine line that few could replicate. It also makes the film rewarding, to see how he changes throughout, slowly realizing the responsibility of his new powers and how much he can do with them. Swinton brings a sense of gravitas and power to the Ancient One, balancing hidden layers which become more apparent as the film progresses. As one of her most trusted, Chiwetel Ejiofor’s Karl Mordo is a nice contrast to Strange. Confident in his powers and motivated by a burning conviction, his arc sits nicely beside Strange’s and converges in a way that makes the character more interesting than his printed counterpart. Mikkelsen has so much charisma, and even through he’s doing horribly dark things, you believe that he doesn’t view himself as a villain.

In a lot of ways, Doctor Strange’s achievements feels like a culmination of what Marvel’s done in the past, and where they’re heading in the future. It takes the origin story template and finds ways to make it feel new, working well as a standalone while still tying into the larger scheme of things. At a time when superhero films are starting to all feel and look the same, Derrickson’s latest is a rich feast that pushes the ideas of what we expect in the genre (at least visually) and adds another colorfully vibrant reality to an already dense roster of heroes.

115 minutes. Rated PG-13. Now Playing at Cinemark Downtown 10.

“Calendar Girls” Bust Out the Laughs
by Shirley Lorraine

First, it happened. Then it became a hit movie. Now it is hitting stages across the country and the world. A delightful lightweight romp based on a real event, “Calendar Girls” centers around a stalwart and staid British women’s organization, the Women’s Institute Association, referred to as the WI.

Their fundraising goal for the present year is to raise money to purchase a settee for the currently dismal waiting area in a hospital cancer wing in honor of one of the members’ husband who recently deceased from the disease.

But when the subject of their annual calendar comes up, members of the group opt to stray from the usual fare of churches, bridges and landscapes. Instead, a handful of them decide to bare “most” in a calendar layout using themselves as the models with props representative of the club’s standard focus of baking, knitting and gardening.  As members of the WI of Knapeley in the Yorkshire Dales, they are less invested in the traditional than they are in finding new ways to achieve the same ends, having more fun in the process. With the encouragement of a cause, the ladies employ a young photographer (Andrew Garrett) to make the project a reality.

Director Judy Blake opted to forgo the English accents while keeping the idioms of the language, which did work well. Despite some unfamiliar references, the cast delivers a spun-candy froth with emotional undertones that periodically brings the audience back to terra firma.  The meaning behind the effort struck a chord with many in the audience.

Cast members include Helen Benjamin, Karla Marie, Angela DeCicco, Rosalee Calvillo, Laura Ring, and Nancy Hullihan as the “Calendar Girls”.  Marilyn Lazik, Allan Noel, Ray Mastrovito, Andrew Garrett, Leslie Nichols, Penni Blum, Anthony Baldonado, and Joyce McWilliams fill in the rest of the story.

All of the participants embrace their characters with enthusiasm and varying levels of skill that emphasize the realism they are portraying. The cast works as an ensemble – each providing unique mannerisms and body language, and each adding to the storyline both in minor and major ways. Each character has at least one moment to shine in the spotlight, securing the feeling of unity and friendly rivalry that belonging to a women’s group can elicit.

Angela DeCicco gives a solid performance throughout as Cora, the musical director. Laura Ring dives into her role as the resident “tart” with abandon. Helene Benjamin and Karla Holland as the catalysts for the effort clearly depict the friendship bond that drives them. In the role of the reluctant Ruth, Nancy Hullihan is reserved until pushed to her limit.  Rosalee Calvillo as Jessie brings her own seasoning to the mix.

Adding a regal touch in a cameo role is SPTC long-time producer Leslie Nichols.  Nichols wins the best hat award for her stunning creation which she wears with a strong air of ownership.

SPTC winds up its 2016 season with a delightful diversionary presentation. If you want to catch this one, make your reservation soon.

www.santapaulatheatercenter.org/805-525-4625
through Dec 18. Friday & Saturday eves 8 PM

Reservations are highly recommended to ensure

a seat for this popular show.

ALL Sunday 2:30PM performances are already SOLD OUT!
Adults $20, Students and Seniors $18

Arrival / 4 Palm Trees
by Eduardo Victoria/[email protected]

Our very existence is built around the need to communicate, and more importantly, understand one another. Arrival deconstructs this idea from the ground up, exploring language as a measure of intent, an art form, and depending on how you look at it, a weapon. It’s a stunning landmark of a film, one that tackles the age-old idea of first contact with ideas and social sensitivity, rather than explosions or noisy, meaningless gunfights.

The story picks up on the day they arrive: 12 gigantic, alien ships hover strategically across the globe. The world is plunged into chaos while its leaders attempt to figure out the basic questions: Why are they here? Where did they come from? What do they want? Without any answers forthcoming, Colonel Weber (Forest Whitaker) of the U.S. Army enlists the help of linguist expert, Dr. Louise Brooks (Amy Adams), and theoretical physicist, Ian Donnelly (Jeremy Renner). As the 12 nations involved grow progressively weary and hostile towards the visitors and each other, Brooks and Donnelly scramble to find answers which could either unite or destroy the human race.

The most noticeable thing about it is the tone – there’s a layer of unease and uncertainty, but right from the get, Villeneuve’s direction and Eric Heisserer’s script is all about wonder and exploration, rather than violence or physical threat. Like the best sci-fi, the film’s extraordinary elements (the aliens) are more a catalyst than anything else, with the true struggle occurring within the mind of its characters, as they grapple with issues of paranoia, distrust and a fear of the unknown. Without spoiling too many things, the film finds a way to completely pull the rug out from underneath us, constantly shifting whenever we think we’ve got it figured out, without ever losing sight of humanity as its focal point.

If there’s another thing to love about Villeneuve’s approach, it would have to be the level of realism that grounds his aliens and their language, both in written and verbal form. In fact, there isn’t a single aspect about the extraterrestrial visitors that doesn’t feel well thought out. From the designs of their ship to the creatures themselves, everything is simple and timeless, allowing their symbolism to speak louder than their presence. In this way, they make a huge impression, texturally weaving into the film’s themes without clouding them.

The ensemble is strong as well, with great turns from Whitaker, Renner and even Stuhlbarg, but Amy Adams is the film’s guiding light. Everything is built around her character, Louise, and Adams is perfect at embodying the story’s themes conviction. The emotional ground which the story covers is pretty vast but she gives it both the grand scale and intimacy it requires, really helping to sell the film’s complexity, especially during its final act.

Though its a film that’s all too familiar with our self-destructive ways, it’s one that chooses to uphold a piercing sense of hope, depicting its characters as intelligent people who truly want to avoid violence at all cost – a rare thing indeed. The ending also happens to be one of the smartest, most rewarding conclusions of the year, a mindtrip and that appeals to both the brain and heart. Villeneuve’s latest finds the director in peak form, armed with a message that’s as important now, as it’s ever been.

PG-13. 116 minutes. Opens November 11 at Cinemark Downtown 10.

Sci-Fi Musical Rocks the Bard
Shirley Lorraine

In a decidedly out-of-this-world variation to their usual fare of dramas, comedies and introspective works, the Rubicon Theatre has brought together a stellar cast to take the audience on an unforgettable journey through time and space.

From the moment one enters the theater, the scene is set. Blue-haired, pointy-eared members of the Starship Rubicon flight crew welcome everyone aboard. The stage is buzzing with beeping equipment and lights. The audience is ready to blast off into space with Return to the Forbidden Planet, a high-quality send-up mixing Shakespeare’s The Tempest and other works with classic rock and roll music and a generous helping of stereotypical science fiction.

Played with conviction and a dash of irony, the crew of the SS Rubicon delivers slightly altered versions of the Bard’s words, once again proving the timeless omniscience of his writings.  The themes of love, madness and the desire for power know no planetary boundaries.

Pounding out a galaxy of familiar foot-tapping tunes from the 1950’s and 1960’s, many of the actors’ double as the musicians, staying perfectly in character as they rock out. You won’t want to miss Rubicon co-founder, Artistic Director Emeritus and star of the recent drama Darrow, James O’Neil, belting out “Don’t Let Me Be Misunderstood” as he gives life to the villainous Dr. Prospero.

Directed and choreographed to perfection by Kirby Ward, each member of the starship’s crew embodies their chosen character with gusto. Many have adopted characteristics of familiar sci-fi characters from television and film just enough to be reminiscent.

The star-studded cast includes Jason Graae as the robot Ariel, Caleb Horst as the ingénue Cookie, Harley Jay as Captain Tempest, Craig McEldowney as Bosun and Martin Landry as the Navigation Officer. Rebecca Ann Johnson as Gloria, the Science Officer, and Kimberly Hessler as Dr. Prospero’s daughter Miranda, lend the female vocal power to the mix.

Music Director Trevor Wheetman on synthesizer, Omar D. Brancato on bass, and Matt Tucci on drums are occasionally accompanied by Jay on electric guitar, Graae on clarinet and others. Although the live music sometimes drowned out the lyrics, the familiarity of the songs made that a forgivable and minor faux pas.   The four flight crew members perform multiple-duty as back-up singers and dancers, adding additional dimension to the festivities.

Return to the Forbidden Planet is pure toe-tapping fun, especially for those of us who grew up jiving to the tunes of Eric Burdon, James Brown, The Beach Boys and Roy Orbison while tuning in to Lost in Space, Star Trek and Twilight Zone.  Bend time and space with an evening of hilarity, fun and poetry. Catch this one quickly before it leaves Ventura’s orbit.

Performances conclude Sunday November 13.  Thursday and Fridays blast off at 8 p.m., 2 and 8 p.m. Saturdays, 2 p.m. Sundays. $34-$64 – discounts available for seniors, students, active military and teachers. 667-2900, rubicontheatre.org. 1006 E. Main Street, downtown Ventura.  Reservations highly recommended. Call for availability.

Sci-Fi Musical Rocks the Bard
by Shirley Lorraine

In a decidedly out-of-this-world variation to their usual fare of dramas, comedies and introspective works, the Rubicon Theatre has brought together a stellar cast to take the audience on an unforgettable journey through time and space.

From the moment one enters the theater, the scene is set. Blue-haired, pointy-eared members of the Starship Rubicon flight crew welcome everyone aboard. The stage is buzzing with beeping equipment and lights. The audience is ready to blast off into space with Return to the Forbidden Planet, a high-quality send-up mixing Shakespeare’s The Tempest and other works with classic rock and roll music and a generous helping of stereotypical science fiction.

Played with conviction and a dash of irony, the crew of the SS Rubicon delivers slightly altered versions of the Bard’s words, once again proving the timeless omniscience of his writings.  The themes of love, madness and the desire for power know no planetary boundaries.

Pounding out a galaxy of familiar foot-tapping tunes from the 1950’s and 1960’s, many of the actors’ double as the musicians, staying perfectly in character as they rock out. You won’t want to miss Rubicon co-founder, Artistic Director Emeritus and star of the recent drama Darrow, James O’Neil, belting out “Don’t Let Me Be Misunderstood” as he gives life to the villainous Dr. Prospero.

Directed and choreographed to perfection by Kirby Ward, each member of the starship’s crew embodies their chosen character with gusto. Many have adopted characteristics of familiar sci-fi characters from television and film just enough to be reminiscent.

The star-studded cast includes Jason Graae as the robot Ariel, Caleb Horst as the ingénue Cookie, Harley Jay as Captain Tempest, Craig McEldowney as Bosun and Martin Landry as the Navigation Officer. Rebecca Ann Johnson as Gloria, the Science Officer, and Kimberly Hessler as Dr. Prospero’s daughter Miranda, lend the female vocal power to the mix.

Music Director Trevor Wheetman on synthesizer, Omar D. Brancato on bass, and Matt Tucci on drums are occasionally accompanied by Jay on electric guitar, Graae on clarinet and others. Although the live music sometimes drowned out the lyrics, the familiarity of the songs made that a forgivable and minor faux pas.   The four flight crew members perform multiple-duty as back-up singers and dancers, adding additional dimension to the festivities.

Return to the Forbidden Planet is pure toe-tapping fun, especially for those of us who grew up jiving to the tunes of Eric Burdon, James Brown, The Beach Boys and Roy Orbison while tuning in to Lost in Space, Star Trek and Twilight Zone.  Bend time and space with an evening of hilarity, fun and poetry. Catch this one quickly before it leaves Ventura’s orbit.

Performances conclude Sunday November 13.  Thursday and Fridays blast off at 8 p.m., 2 and 8 p.m. Saturdays, 2 p.m. Sundays. $34-$64 – discounts available for seniors, students, active military and teachers. 667-2900, rubicontheatre.org. 1006 E. Main Street, downtown Ventura.  Reservations highly recommended. Call for availability.