Darrow is at the Rubicon
by Jim Spencer and Shirley Lorraine

The legacies of two prominent figures from the early 20th Century remain major influences today.

One was magician Harry Houdini whose approach to self-promotion made him a household name and revolutionized mass marketing concepts.

The other was the legendary lawyer, Clarence Darrow. His personal story and insights into his legal career are the focus of Darrow, the current offering by Ventura’s Rubicon Theatre Company.

Darrow became the country’s best known trial attorney, not only for the controversial cases he took, but for his courtroom skills and his force as an instrument for social change.

He consistently aligned himself with the underdog. For example, a one point he resigned a lucrative job as a railroad lawyer to represent strikers and union leaders against the railroads.

In his time he famously defended urban terrorists, thrill killers, championed child labor laws and represented a science teacher put on trial for teaching evolution. Many of his cases became the inspiration for successful films.

James O’Neil, the Rubicon’s co-founder and Artistic Director Emeritus, stars in the role of Clarence Darrow in this one person show. The part has special meaning for O’Neil because he is actually a relative of the great litigator – O’Neil’s great-grandfather, Henry A. Darrow, was Clarence Darrow’s first cousin. “I’m so happy to be at an age where I can play Clarence and share his history and his humanity with my family and community,” says O’Neil.

The intimate show is presented in the round with the audience seated on all sides. The action takes place during a latter period in Darrow’s career.  From this perspective he recounts for the audience many of his life experiences, triumphs, agonies and cases. The topics range from his upbringing, to his marriage with Jessie, to his courtroom battles. Along the way he reveals glimpses into how he felt about and why he took certain cases.

The play is directed by Rubicon Artistic Associate Jenny Sullivan, who is fresh off her directorial success with the American stage premier of The Man Who Shot Liberty Valance at the Rubicon – a show that received critical accolades.

The script is penned by multiple award winning playwright and Santa Barbara resident, David Rintel.

The Rubicon Theatre Company is a nonprofit, acclaimed professional regional theatre that has staged more than 115 productions over the last 18 years and garnered awards along the way from the New York Drama Desk, the L.A. Drama Critics Circle, the NAACP, plus multiple Ovation, Indy, Garland, Robby and REP awards.

Darrow plays Wednesdays through Sundays until June 12, 2016 at the Rubicon Theatre Company, 1006 E. Main Street, Ventura, CA, 93001.  Show times: Wednesdays – 2 & 7 p.m. (Talkbacks follow 7 p.m. performances); Thursdays & Fridays – 8 p.m.; Saturdays – 2 & 8 p.m.; Sundays – 2 p.m. Tickets: $25 – $54.  Information, group discounts, ticketing and seat selection: www.rubicon.theatre.org. or (805) 667-2900.

Intrigue abounds in Framed at the Elite
by Jim Spencer and Shirley Lorraine

Now through May 22 Oxnard’s Elite Theatre Company it is presenting a world premiere murder mystery thriller entitled Framed.

The story has multiple murders, multiple lawyers, multiple potential culprits, and possibly multiple frame-ups. It is full of twists and turns. One moment the identity of a guilty party appears clear, and the next the same party seems in the clear. The script is engaging, entertaining, highly credible, and well worth your time.

First, there’s a murder. Voice over clips of TV news reports about the crime effectively set up the plot and move the audience right into the action.

The accused’s seasoned attorney, Eugene Murray (Larry Swartz), confers with a colleague, Thomas Russo (Alexander Schottky), about possible strategies in defending the case as all the evidence points to the guilt of his client, played by Olivia Heulitt.  New circumstances begin to emerge to suggest the defendant may have been framed after Russo, who is known for his outlandish and headline-hunting tactics, joins the case.

But that’s only the beginning.  A subsequent murder and other complications send the story cascading in various directions – leaving the audience and detective Olivetti (Ken Johnson) the job of deductively connecting the dots to see if they form a frame.

The play’s author, Richard Weill, is both a trial attorney and an experienced playwright. Consequently, the script bears an uncommon authenticity, as well as being literate, concise and cogent. His characters offer valuable insights on the differences between being “innocent” and “not guilty,” plus richly balanced observations about the impact of the media on the justice system.

The characters spend a lot of time talking about legal issues, which makes the play predictably wordy.  To counterbalance the wordiness, director Judy Blake appropriately keeps the tempo fast paced. Each act was only 45 minutes long. But this positive technique has a slight downside. The verbal action is often so rapid that major points can easily be missed. There isn’t time to savor the intellectual morsels playwright Weill shares through his characters.

All new works benefit from fine tuning. In this play there is a surprise ending. It is presented abruptly, almost without warning, and then the curtain falls. Boom! The show is over. In our view the audience is not given enough time to fully take in what happened before the house lights come up. Some type of short closing epilogue scene could wrap up the storyline.

By their nature, mystery thrillers are roller coaster rides. Good ones require top notch casts to make the experience real for the audience.  Lead by Alexander Schottky as brash defense attorney Thomas Russo, the ensemble at the Elite is more than up to the job. It does a marvelous job of engaging and transporting the audience through all the twists and loops on the search to find out who did it and who, if anyone, was framed.

Framed plays Saturdays at 2 p.m. and Sundays at 7 p.m. until May 22, 2016 at the Elite Theatre Company, 2731 Victoria Ave. (corner of Channel Islands Blvd. & Victoria Ave), Oxnard.

Tickets: $15.  Info, reservations and tickets 483-5118. www.elitetheatre.org.

Captain America: Civil War/ 3 ½ palm trees
by Eduardo Victoria/[email protected]

Thirteen films into Marvel’s Cinematic Universe, Captain America: Civil War is a home run that acts as a mid-act payoff to their long-form narrative, but also a sobering dissection of everything we’ve seen so far. The result is a film that’s highly textured and nuanced, crossing a global manhunt with a striking, psychological exploration of familial strife.

Directed confidently by Joe and Anthony Russo, the film is both Marvel and blockbuster spectacle in peak form, delivering a staggering mixture of thought-provoking ideas, epic brawls and set pieces, but most importantly, keen emotional resonance.

The film begins in Lagos, as Steve Rogers’ Captain America and his team of Avengers are hot on the tail of Hydra agent Brock Rumlow (Crossbones). A showdown occurs, but meets a tragic ending, prompting the U.N. to enact something called the Sokovia Accords, which would effectively remove the Avengers’ agency and have them report and act only when the U.N. sees fit. With the collateral damage from their past weighing heavily on each Avenger, the team is split by the Accords, especially after another terrorist attack pits Capt. Rogers’ long-lost friend, Bucky (The Winter Soldier), straight in the middle of a worldwide manhunt. Needless to say, it’s a defining moment for the divided team of heroes, and one that will change their bonds forever.

Aside from the film’s miraculous juggling of all the numerous ideas and plot points (which never feel overstuffed, but organic and earned), the film is a success because of its ability to showcase Steve, Tony and the Avengers as fully formed people who exist outside of their symbolism. After watching each character evolve (or in Steve’s case, change those around him) through numerous films, it’s fitting that we finally get a story that counts the cost of their heroism; what it means to the world they’ve changed, the personal sacrifices they’ve made and how its affected them as a family.

This film wouldn’t have worked as well if we didn’t get to see them first in Age of Ultron, or if Steve and Tony hadn’t already been so clearly defined outside of their colorful uniforms by their own stand-alone films. Everything in the story lives and dies by how well it positions these two good men on opposite sides of the same coin, never taking sides, but instead digging deep into a post-modern deconstruction of heroism and its global implications. Stark and Steve play great antagonists (but not villains), makes things painful and truly awful when the film takes a dark turn during its more intimate third act.

It’s not an exaggeration to say that this is the darkest Marvel film yet, but there’s somehow a playfulness that doesn’t betray its thoughtfulness, instead bringing out the humanity of its heroes through some well-timed, sporadic humor and jaw-dropping action.

Rated PG-13. Now playing at Century Downtown 10. 146 minutes.

Everybody Wants Some!!/4 Palm Trees
By Eduardo Victoria/[email protected]

Like a fastball coming at you full force, director Richard Linklater’s latest film flies at its audience with great stride, confidence, and attitude. The Oscar nominated director of Everybody Wants Some!! says his film is a spiritual sequel to his indie classic Dazed and Confused. What his previous film Boyhood lacked in likable protagonists is no issue here with brilliant performances from the cast. The film follows several college athletes over the course of the weekend prior to the start of a new semester.

Not much of a plot, you say? That’s one of the many keys to the film’s brilliance. Though some may find Linklater’s “slice of life” approach a bit tedious, the end results can perhaps be best shown off in this movie. The film’s main protagonist, Jake (Blake Jenner) clashes with alpha male McReynolds (Tyler Hoechland), gets high with Willoughby (Wyatt Russell), and is kept firmly “on the ground” by Dale (J. Quinton Johnson). My lack of plot description is on purpose. Linklater gives us a window into the lives of these young men as they explore adulthood and no parental supervision.

The one thing we see every male teammate do is drink. Though one too many Schlitz and Lone Star beer logos may be visible, in this film, they’re actually equalizers. Though a few of the upper and underclassmen butt heads as to seniority, in the end they all drink when they are together. Early in the film, two pitchers of beer are passed around with each taking a glass. This, one of their first social encounters with the new freshmen, is the beginning of them forming into one team and a unified group of friends.

Though baseball is frequently talked about and also the reason these guys have been brought together, the last thing I’d do is call this a baseball movie. There is only one scene deep into the second act in which all of the characters meet for batting practice and its purpose is to show the true sides of each character’s personas when they must function together as a team. McReynolds, as tough as he may be, is a team player and his argument with Jay (Justin Street) is to get him to abandon the selfish tough-as-nails attitude because they reflect badly on them all when seen together.

The film’s excellent soundtrack, set decoration by Gabriela Villareal, and costume work by Kari Perkins paint a nature-yet never forced- portrait of the 1970s final grasp on youth culture. The costumes in particular, work incredibly well as we see different cliques of students around the college campus; the punks wear dingy denim, the athletes are clad in sportswear of the day, and the nightclub scenes are dressed funky but never corny.

The biggest triumph of the film overall is its script, penned by Linklater himself. Each character’s dialogue is distinct and unique. Though we have several macho males living together, each feels as if they have a background, place, and time specific to a real person. Credit must also be given to the absolute brilliant cast. Characters come off strong, but are likable. Most importantly, the dialogue feels real and never forced. They speak like young college students.

With no parents around and on the cusp of having to start a new semester, the filmmakers really communicate the sense that they were as excited to see the actors interpret the dialogue just as much as the audience. Where Boyhood ends on a note of the uncertainty that can come with each new chapter in life, Everybody Wants Some enters a new semester with confidence, excitement, and the knowledge that the group he’s surrounded himself with can truly be called friends.

Rated R. Playing at Century Downtown 10. 114 minutes.

Hardcore Henry/3 Palm Trees
By Eduardo Victoria/[email protected]

Video games have been adapting cinematic vernacular for some time now, so it’s only fitting that films like Hardcore Henry appropriate the medium’s unique perspective to push the bounds of cinematic immersion. Filmed entirely in first person POV, what director Ilya Naishuller’s pulled off with his directorial debut is nothing short of breathtaking, appealing to those well-versed in the FPS genre (think sci-fi Call of Duty), while also standing on its own as a full-frontal assault of freewheeling lunacy.

We awake with Henry in a laboratory as cybernetic implants and limbs are being attached to his body. He doesn’t remember anything, but the scientist working on him is his wife Estelle (Haley Bennett). She mentions that he’s been virtually brought back from death, and that his synthetic body parts are the only things keeping him alive – they’ve also given him newfound strength and abilities. Before Henry can gain his composure, a warlord named Akan (Danila Kozlovsky) breaks into the lab, takes Henry’s wife and sends him on a desperate hunt through the streets of Russia. As Henry searches for the only person he cares about, he uncovers a giant conspiracy involving biomechanical soldiers and world domination.

Though the film and its vengeance angle aren’t anything new, it’s Naishuller’s understanding of video game language and his ability to transpose it to film that makes everything so fun. Smartly utilizing a simple A-B plot, story and execution work in tandem with one another, illustrating exactly what makes this type of narrative and first person perspective so satisfying.

Unfolding through a series of progressively outrageous fetch quests, there’s high-flying action spilling in and out of high class brothels, public streets, highways, and dilapidated warehouses. As the limbs rip off, bones crunch and people are set on fire, Naishuller slowly doles out our anti-hero’s true identity, keeping things fresh with a surplus of twists. It’s impressive how Naishuller manages to continually reinvent an endless hail of gunfire and keep things in perpetual motion, using Henry’s constantly shifting surroundings to his advantage and a host of villainous cannon fodder with differing skill sets.

Needless to say, nothing is sacred and no stone is left unturned – cybernetic soldiers, clones, colorful characters and even a love story round out the relentless barrage of sound and fury. It goes without saying that in a film like this, the most important performances come from cinematographers Pasha Kapinos, Vsevolod Kaptur and Fedor Lyass. Each shooting the action and story with GoPro rigs, the three are masterful architects of chaos, knowing how to use their cameras to frame each daring scene in a way that puts us right alongside the demented disorder.

The other show stealer is Sharlto Copley, who is a straight up chameleon. I don’t want to ruin the nature of his character, but it’s not what you expect, and pretty much solidifies him as one of this generation’s brightest character actors. Since he’s almost always by Henry’s side, he’s frequently the center of attention, and thus, the true lead of the film. As he transforms throughout, he fully commits to the insanity of his role and further helps to sell the film’s manic energy – even if the film weren’t crazy enough on its own, I’d see it just for him.

Thanks to a spry story, chaotic visuals and commitment to full-bore insanity, Hardcore Henry goes for broke, relishing in excess and dragging us tooth and claw into the mind of a madman. Of course, this film isn’t going to be for everyone – it’s nauseating, perverse and furiously aggressive, but it’s also those very qualities that make it so great. Already one of this year’s benchmarks for pure anarchy, this is one crowd-pleasing mixture of ballistic action and sci-fi mythos. I already can’t wait to see it again.

Rated R. 96 minutes. Now playing at Cinemark Downtown 10.

Cabrillo Music Theatre brings stories of miracles
By Jim Spencer and Shirley Lorraine

Created in the early 1970s, formally incorporated in 1988 and the resident musical theatre company at the Thousand Oaks Civic Arts Plaza since 1994, the Cabrillo Music Theatre (CMT) has been presenting big Broadway musicals in Ventura County for over 40 years.

So, many were deeply concerned when the CMT announced it was suspending production of its next season of shows.

Happily, CMT revealed this week that changed circumstances have permitted it to cancel its prior action.  CMT Board Chair Bart Leininger explained the genesis for the turnaround came from intensive and creative Board action, operational restructuring, cooperation from the City of Thousand Oaks and anonymous financial support.

As a result, CMT will be proceeding full-tilt with its block buster, three show season for 2016-17.

This proves that miracles do happen – a messaged mirrored in CMT’s current delightful musical, Children of Eden. It plays through Sunday, April 17, 2016 in the Kavli Auditorium at the Thousand Oaks Civic Arts Plaza.

With words and music by Stephen Schwartz (Wicked, Pippin, Godspell) and a script by John Caird (Les Miserables co-director), Children of Eden emphasizes the dynamics among the family members in the  Biblical stories of Adam and Eve (Act 1) and Noah, the Arc builder (Act 2).

Director Lewis Wilkenfeld, who is also CMT’s Artist Director, and his creative team pull out all the stops to fill the stage to overflowing with rich visual images, fresh and delightful dance numbers and exceptional production values, including a live orchestra.

In addition to the marvelous voices of the principal leads, Norman Large, Misty Cotton and Kevin McMahon, a standout vocal performance is turned in by Ryan J. Driscoll in the dual roles of Cain and Noah’s son, Japheth. The lead storytellers, Katie Porter and Kenneth Mosley, are also on the roster of vocally memorable cast members.

The adult ensemble boasts depth, experience and, like a good cup of coffee, a superb blend. And, as if back-up is needed, there is an off stage choir.

One of the joys of the piece is the reoccurring appearances of some 20 members from CMT’s famous youth outreach programs – the Kabrillo Kids (students 8-14) and the Cabrillo Teen Project. Participants receive free instruction in the various theater arts, plus opportunities to perform with professional actors. In this show there is a contingent over 20 members strong from the programs. Joyfully they sing, they dance, and they portray all sorts of animals – from penguins to snails, and big cats to elephants.

Undergirding the successful efforts of the entire cast, which numbers about 50, are the unsung costume designers, dressers, wardrobe assistants, make-up artists and wig wranglers.

The result is an opportunity to experience a live Broadway musical presented with Cabrillo Music Theatre’s trademark style and panache. A tradition that now promises to continue.

Performances of Children of Eden are Thursday at 7:30 p.m., Fridays and Saturdays at 8:00 p.m., and Saturdays and Sundays at 2:00 p.m. Thousand Oaks Civic Arts Plaza, 2100 Thousand Oaks Blvd., Thousand Oaks. Tickets: $35-$75. Ticketmaster (800) 745-3000.

An Oops at An Open Table
by Jim Spencer and Shirley Lorraine

Ventura’s Flying H Group Theatre Company is well known for presenting unusual and edgy works not often seen this side of Los Angeles.  Its current offering, An Open Table, is no exception.

Billed as a world premiere, the piece is performed in a single act. It is set inside an upscale Chicago area restaurant and purports to follow the actions of a disgruntled group of servers (waiters, to the general public) who want to make a statement about disrespectful and ungrateful patrons in a most socially unacceptable manner.

The set is impeccable and elegant. Director extraordinaire Taylor Kasch has once again given the cast full rein to pull out all stops, and they do. Actors James James, Eric Mello, Javiera Torres, Shelby Maloney and Marques Williams play the deranged restaurant crew. All give superbly tight performances within the limitations of the script.  Maloney even performs on roller skates, no small feat in the intimate setting full of tables, chairs, and……more.  Brenda Evans’ role as the sole living restaurant patron is unique – performed almost entirely bound, gagged and lying on the concrete floor.

In dramatic criticism perception is everything.  From our perspective the script of An Open Table is a big “Oops” because it is based on the acceptability of urban terrorism and the killing of innocent people as a means of making a statement over perceived slights…and the remorseless mastermind gets away free.

Here’s the premise of the script that is characterized as a “dark comedy.”  Unhappy servers methodically plan and actually carry out the cold blooded murders of ten innocent restaurant patrons and then put their bodies in a wood chipper to make a statement. Some of eatery staff are machine-gunned by police, but the primary killer and mastermind gets away scot free with his girlfriend.

We see little difference between the play’s plot line and the urban terrorism scenarios experienced in the random massacre of journalists at a Paris newspaper by those who disagreed with its editorial policy; or the bombing of a hotel full of tourists; or the killing of innocents awaiting an airplane in Brussels.

We don’t find such human slaughter, mutilation, and the promotion of urban terrorism for revenge as being lightly or darkly funny, as being justified, or in any way edifying or instructive as art. In our view, it is simply not entertaining.

Although the playwright reportedly has extensive academic, performance and writing credits, none of the characters have any redeeming qualities. Their actions are cloaked with an abundance of “adult” language which often, as in this case, covers the fact they have nothing to say that tickles the intellect, shares a truism or insight, or justifies their existence.

In this instance we feel the Flying H Group Theatre Company made a play selection error that falls short of its past successes.

An Open Table continues for adult only audiences until April 9 at 6368 Bristol Rd (Montalvo area), Ventura. Curtain: Thursday (4/7 only), Fridays and Saturdays – 8 p.m.  Sunday-4 p.m. Reservations recommended. Tickets: $15. On line: www.anopentable.brownpapertickets.com. or cash or check at the door.  901-0005

Batman v. Superman/1 Palm Tree
by Eduardo Victoria/[email protected]

The DC Cinematic Universe is proving to be a tired experiment by only the second film, the awkwardly titled Batman v. Superman: Dawn of Justice. In a sea of undeveloped ideas, poorly written characters, and a general lack of respect toward source material are some truly wonderful seeds for what could have been a towering standard of the superhero genre. Director Zack Snyder delivers plenty of eye candy and lets wonderful performances take center stage in a film with a lackluster script by Chris Terrio and David Goyer.

18 months after the leveling of Metropolis by Superman and General Zod (Michael Shannon), Bruce Wayne (Ben Affleck) searches for a mysterious “White Portuguese,” who he believe holds a mineral that can be used to incapacitate or cripple Superman, who he views as a threat to world security. Haunted by the death and destruction of everyone killed in his company’s building, he will take no chances against the Man of Steel (Henry Cavill). Lex Luthor (Jesse Eisenberg) and Senator June Finch (Holly Hunter) also see Superman as a threat and seek to destroy him.

For a film with “Superman” in the title, Snyder and Goyer spend the length of their entire film completely misunderstanding and, dare I say it, slapping the character around to the point of painting him as a terrorist. The film brilliantly sets up how the world would react if an almighty figure of his type were to appear. However, the opposite side is never explored. Never once does the film bother to paint superman as a heroic figure other than on the surface

The biggest crime caused by the film is the terrible script by Goyer and Terrio. The destruction of Metropolis is never touched on after the film’s opening. The most we get is a memorial for the victims that has a giant Superman statue, however Luthor, who is controlling the media, is painting Superman as a terrorist with the world seemingly agreeing with him. It’s these types of inconsistencies that plague the film from start to finish. Never once are motives explored other than for the Batman character.

The films brilliant scenes featuring Jeremy Irons as Alfred acting opposite Affleck are cut way too short, something that will hopefully be explored in the upcoming film The Batman. In the darkest incarnation yet (very close to Frank Miller’s interpretation), Alfred paints the picture that the Dark Knight has lost it, coming very close to the villains he aimed to stop for so many years. Snyder is a great visual director, but unfortunately, none of the visuals matter when a vague story and characterizations of beloved characters act in ways that simply don’t make sense.

Batman’s side of the film was handled well, for the most part. Ben Affleck paints a troubled, disturbed, and angry portrait of a man who has seen one too many people he cares about die. Carrying over from Man of Steel, Henry Cavill and Amy Adams have absolutely no on-screen chemistry together. To round out the leads, Jesse Eisenberg is so over-the-top and miscast as Luthor, it’s almost as if he were pulled from a Tarantino film and dropped into the DC universe.

Die-hard fans will find things they like, but that may not be case for the average moviegoer (accessibility was something Christopher Nolan did extremely well with his Dark Knight Trilogy). For the first time in history, we’re able to see a film with two of the greatest comic book characters ever created and the end result is a build up with no pay off.

Rated PG-13. Now playing at Century Downtown 10. 153 minutes.