13 Hours/2 1/2 Palm trees

By Eduardo Victoria
[email protected]

After defining a distinct type of action blockbuster, polluting the world with transformer films and becoming a defacto scapegoat for disgruntled movie nerds, slacker auteur Michael Bay’s sets his sights on the infamous 2012 Benghazi attacks with 13 Hours: The Secret Soldiers of Benghazi. Though his filmography is highly hit-and-miss, the one constant throughout Bay’s career has always been his transparency.

For better or worse, the director has never hid behind subtlety and always worn his heart on his sleeve. It’s this trait, coupled with his unparalleled talent for cinematic chaos that makes Bay’s latest dip into historical provocation unrelentingly aggressive but surprisingly human.

The story picks up in 2012, amidst the chaos of dictator Muammar Gaddafi’s fall, as Libya’s government struggles to find stability and turf wars rage between warring militias. Amongst the fallout remain two American outposts, one serving as a diplomatic haven, and another, as a C.I.A. compound stocked with ex-secret service security contractors and intelligence agents. Timed to coincide with a visit from U.S. Ambassador Chris Stevens, Islamic militants attack Stevens at the diplomatic compound, initiating a vicious attack which will spiral into something much bigger. Watching from afar, six security members from the neighboring C.I.A. compound rush to his aid, navigating a city in which friend and foe are virtually indistinguishable.

Rather than attempting to dissect the obfuscated fact and fiction of the Benghazi attacks, Bay keeps things simple, parlaying his military fetishism for an intimate story of the six men who laid their lives on the line for their fellow countrymen. After quickly establishing the danger of Banghazi’s fallen city, Bay takes time to flesh out his characters, the lives and families they’ve left behind for the job and their camaraderie with one another. Needless to say, it’s a move that pays off, allowing the film its humanity and giving us a reason to emotionally invest once the bullets start flying. Even then, fierce dogfights are contrasted with fleeting moments of solidarity between the team and little touches of heart, such as a character trying to upload a message to his family, before an oncoming storm of enemies approach. It’s baseline character work, I know, but it works in a way that’s primal and visceral, going hand in hand with the characters’ do-or-die predicament.

The other thing the film has going for it is its unrelenting sense of chaos and mayhem (or Bayhem, as you can call it). Say what you will about Bay’s films, there’s no denying the craftsmanship behind his staged action sequences, even when they don’t work in service to a story or are stuck in a bad film. Given this film’s straightforward premise, Bay masterfully orchestrates a progressive series of confusing encounters and battles which are genuinely gritty, brutal and well-staged, diving headfirst into an abyss of political red tape and fully accepting of the day’s rapid-fire developments.

The cast is okay enough as well, with James Badge Dale’s “Rone” Woods heading up the team with John Krasinski’s Jack De Silva and others in toe. It’s worthy to note that these men and cast aren’t as grating as most of the characters in Bay’s films, and it isn’t hard to care for them when they start to suffer. They’re all convincing as normal guys who just want to do the right thing.

Bay’s latest offering may be the biggest evidence yet that he’s a director who frustratingly holds back in order to deliver fluff – but then again, the film’s very existence shows that he can say something when he wants to. Though apolitical on surface level, Bay’s take on the material suggests an ironically conservative perspective, which in turn, also happens to be the perfect vehicle for his patented brand of muscular spectacle. At the very least, 13 Hours: The Secret Soldiers of Benghazi is a pulse pounding thriller that laments the loss of life on both sides of a cloudy war, and is already getting people to talk about more than alien robots or Victoria’s Secret models.

Rated R. 144 minutes. Now playing at Cinemark Downtown 10.

See Rock City at the Rubicon

Sequels are often not up to the standards of the original. However, See Rock City is a glowing example that lightning can strike the same place twice with double the intensity – especially when presented with the power and delicate finesse of the artists assembled by the Rubicon Theatre Company’s production gurus.

See Rock City is the second in a trilogy by Arlene Hutton that follows the lives of a young Kentucky couple, May and Raleigh, during and after WW II.  Although their journey started in Last Train to Nibroc, presented by the Rubicon last season, the current story stands on its own.

The play opens as the couple returns from their honeymoon during which they got detoured from a planned visit to see Rock City, a famous Tennessee tourist attraction.  Now it is time to come to terms with some of life’s limitations.

As a medical condition prohibits Raleigh from both military service and physical labor, they must live with May’s parents – the Gills. So, the action takes place primarily on the front porch of the Gills’ modest frame farm house.

The couple’s tradition roles are reversed as May, a school principal, becomes the breadwinner, and Raleigh, a writer, unsuccessfully attempts to sell his magazine stories.  His inability to support neither the War effort nor his wife weigh on him greatly.  Yet, both are optimists and they face their obstacles with transparent emotions, all the while holding back their fears for the future.

Lily Nicksay, as May, and Eric Odom, as Raleigh, skillfully, gently and solidly reprise the personas they embodied in Last Train.

May’s mother, Mrs. Gill (Sharon Sharth), provides the stability the couple needs, while Raleigh’s mother, Mrs. Brummett (Clarinda Ross), casts a negative shadow over every encounter.

How the characters communicate and cope with each other is a fascinating study in conflict, denial and nuances of accommodation.

The four members of the ensemble cast are rich with experience and meld together seamlessly as a unit.

Director Katherine Farmer, who also directed Last Train, shows a keen eye for subtlety in movement that not only gives the actors full reign, but also emotionally brings the audience up on the porch with the characters. This unique ability at once provides immersion for the audience and accentuates empathy for the characters as they tell their tale.

Presented without an intermission, the action takes a serious turn at the end, leaving ample room for the completion of the saga in the final part of the trilogy, Gulf View Drive, which is slated for the Rubicon stage next season.

See Rock City plays Wednesdays to Sundays until February 14, 2016 at the Rubicon Theatre Company, 1006 E. Main St. (corner of Main and Laurel Streets) in downtown Ventura. Matinees: 2 p.m. Wednesdays, Saturdays and Sundays. Evenings performances at 8 p.m., except 7 p.m. on Wednesdays, which features a post-show talk back with the cast. Tickets: $44-$54. The box office is open 7 days a week. There is 24-hour ticketing and seat selection online at www.rubicontheatre.org.  667-2900.

by Jim Spencer and Shirley Lorraine

Five world class professional entertainers will materialize on stage in the ballroom of Oxnard’s River Ridge Residence Inn at 8 p.m. on Saturday, January 30 to present a rollicking evening variety show filled with comedy, magic, ventriloquism, laughter, puppets and surprises. And the public is invited.

The show caps off the third annual, four day, international convention of variety artists held each January in Oxnard. It is known as KAX. The title comes from combining the first letters of the co-sponsors’ names – KIDabra International and Axtell Expressions of Ventura (K+AX = KAX).

Attending the conference will be magicians, comedians, ventriloquists, jugglers and other entertainers from all parts of the globe. They gather to learn the latest tactics, tips and techniques to further their individual success as professional, family friendly entertainers.

The gala show at the end of the conference is where the best of the best perform for their peers. But the hosts are throwing open the doors to this part of the otherwise closed conference so the public can enjoy the talents of these world class entertainers.

The gala will showcase the talents of a cast drawn from the ranks of acclaimed international variety artists.  From England serving as Master of Ceremonies will be award winning magician Jimmy Carlo.  Other participants include Jay Johnson, humorist and ventriloquist, whose Broadway hit, The Two and Only, garnered a Tony Award, plus MAGIC icon Stan Allen from Las Vegas. Former Ojai residents Dave and Shania Brenion will share their innovative, colorful and nifty approach to the entertaining attributes of balloons. From New Jersey, the comedy magic of Christopher T. Magician will round out the play bill.

Admission to the show is only $15 for adults and $5 for kids under 13. Tickets for the show are available at the hotel KAX registration booth Friday and Saturday, and at the door.

KAX cohost KIDabra International is a world-wide association of kid show and family performers.  Its membership includes magicians, ventriloquists, jugglers and all types of variety performers who focus on AAA performances – Always Age Appropriate. KAX is a midyear edition of the conference KIDabra has been presenting for over 20 years on the East Coast.

Axtell Expressions, the other co-host, is the alter ego of Steve Axtell, who many consider to be the creative successor to the Muppets’ Jim Henson.  For decades Axtell has been creating puppets, ventriloquist figures, illusions and animatronic characters for entertainers around the globe. The opportunity to tour his magical Ventura based studio is one factor that keeps drawing world class performers to the KAX convention each year.

For more information go to www.kidabra.org/kax/gala.

The Revenant
by Eduardo Victoria
[email protected]

Walking out at the end of Mexican director Alejandro G. Iñarritu’s latest film, I was taken by its visual grandeur, stunning cinematography, and incredible performances. Then I found myself questioning why the film needs to be two hours and thirty-six minutes in length, when it probably could have been wrapped up much sooner than that. Upon further thought, this film would have absolutely zero legs were it not for the performance of Leonardo DiCaprio as frontiersman Hugh Glass.

Taking place in 1820, Glass (DiCaprio) is on a fur trapping expedition somewhere deep within the icy tundra of the Louisiana Purchase. Tensions run high when they are attacked and badly crippled by tribes native to the area. Upon further attempts to get back to civilization and escape future attacks, Glass is mauled by a bear and has to be carried back to safety, trying
the patience of John Fitzgerald (Tom Hardy). Growing impatient, Fitzgerald leaves Glass for dead after killing his son. Having to crawl all the way back to civilization without being able to walk and nothing but his own knowledge of the wilderness to aid him, Glass sets out to avenge his son.

A simple premise and an amazing cast can go a long way, but this time around, Iñarritu might have stretched them too long. Continuing the usage of abstract imagery the director showed audiences in his prior film, Birdman, we see glimpses of Glass’ dead wife. About a half hour too long, there are enormous stretches where nothing really happens. The savior, if that, is the amazing cinematography by two time Oscar winner Emanuel Lubezki, who will more than likely get his third Golden Statue for this film. Shot entirely with natural light, the movie is the most beautifully shot you’ll see at the cinema all year.

DiCaprio, more so than Tom Hardy, gives himself fully to the role. We feel his pain, see his torment, however when it came to playing a father, I wasn’t entirely sold. Hell bent on giving one thrilling performance, Leo lacks a sensitivity that was needed for some of the film’s more emotionally impactful scenes. The supporting cast of Domhnall Gleeson and Will Poulter are excellent whenever they appear on screen. Peppered throughout were also a very multi-layered score by Ryuichi Sakamoto and Carsten Nicolai. Being a film with more bite than bark, the most visceral scene in the movie will stay with you long after the credits roll.
The bear attack is the most pulse-pounding scene in the entire film that initiates the hell to come.

The Revenant is a visceral experience, but not much beyond that. What could have been a story of survival or emotional anguish gets lost in the mish-mash of what Iñarritu believes are two voices. In a year full of some very magnificent westerns (The Hateful Eight and Bone Tomahawk are must see films), The Revenant is the most ponderous in terms of its story telling and visually powerful of them all.

Rated R. 156 minutes. Now playing at Cinemark Downtown 10.

Four Star Theater Awards
by Jim Spencer and Shirley Lorraine

Luminaries from Ventura County’s theatrical community gathered for a night of recognition and entertainment at the Sixth Annual Four Star Theater Awards ceremony.

This year’s event, called “A Night of Four Thousand Stars,” was held January 10 at the iconic High Street Art Center in Moorpark.

The awards are presented by the Four Star Theater Alliance, an association of six community theaters.  The purpose of the Alliance is to promote camaraderie, cooperation and mutual respect among member theaters and their constituent participants.

Each theater group is recognized for both an outstanding production, as well as outstanding individual contributions by its performers, production and technical staff members in various shows over the course of the entire season.

During the year the productions of each theater company are evaluated by separate a panel of judges drawn from the other five theaters in the Alliance. As has been the tradition in Ventura County, award recipients are recognized for their outstanding work, rather than being competitively judged as best among the disparate forms and styles of shows, roles and productions.

This year the awards show was skillfully hosted by Jocelyn Johnson and Eric Umali.  In addition to the handing out of awards, each theater company presented memorable excerpts from one of the shows it presented during the past season.

The Ventura Breeze salutes the Four Star Theater Alliance and congratulates the recipients from each theater company.

Camarillo Skyway Playhouse: Outstanding production: Flowers for Algernon.  Individual award recipients: R. Shane Bingham, Annie Sherman , Todd Tickner, Kimberley Demmary, Bob Decker, Eric R. Umali, Angie Zamora, William Carmichael, Lorna Bowen, Erin Heulitt, Barbara Mazeika, David Watkins,  Annie Sherman, Dawn Notagiacomo, Eric R. Umali, Dean Johnson,  Ryan Kelly.

Conejo Players Theatre: Outstanding production: How to Succeed in Business Without Really Trying.  Individual award recipients: Ryan Driscoll, Emily Vallance, Dale Alpert, Kathleen Silverman, John Holroyd, Rick Steinberg, Dave Parmenter, Jack Allaway, Beth Glasner, Elena Mills, Nick Newkirk, Miriam Durrie-Kirsch, James Laguna, Priscilla Losey,

Elite Theatre Company:  Outstanding production: The 25^th Annual Putnam County Spelling Bee.   Individual award recipients: Alan Waserman, Vivien Latham, Mark Fagundes, Erin Fagundes, Shawn W. Lanz, Tom Eubanks, Elena Mills, Arryck Adams, Evan Patrick Smith, Will Shupe, Austin Robert Miller.

High Street Arts Center:  Outstanding production:  Dreamgirls. Individual award recipients: R. Shane Bingham, Alison Rosenblum, Brandon McCray, Hannah Davey, John Eslick, Ken Rayzor, Patrick Duffy, Laurel Marion, John Gaston, Wendy Babb, Colin Fluxman, Kathee Boyer, Taylor Thomas.

Ojai Art Center Theater ~ Ojai ACT: Outstanding production: Who’s Afraid of Virginia Woolf. Individual award recipients: Michael Perlmutter, Tracey Williams Sutton, Cecil Sutton, Kenny Dahle, Steve Grumette, Sheryl Jo Bedal, Reign Lewis, Greg Spaulding, Anna Kotula, Brian Robert Harris, Vivien Lathan, Tom Eubanks, Theresa Secor, Morgan Bozarth, Suzanne Tobin, Buddy Wilds and Jill Dolan.

Santa Paula Theatre Center: Outstanding production: The Clean House. Individual recipients: Raymond Mastrovito, Peggy Steketee, Michael Perl, Sindy McKay, Seth Kamenow Laurie Walters, Gary Richardson, Barbara Pedziwiatr, Taylor Kasch, Leslie Nichols, Javierra Torres, Carmen Saveiros.

Innovative Studio V 4 Arts opens in Ventura
by Jim Spencer and Shirley Lorraine

Thanks to specialization, advanced technology and globalization, gone are the mythical glory days of the prosperous lone wolf entrepreneur and the “I-can-do-it-all” career-oriented urbanite.

Personal and business success in the 21^st Century require development of four different skill sets – collaboration, creativity, communication and critical thinking.  Although inherent in most fruitful arts programs, these traits are seldom taught in an integrated manner – until now. They are core concepts at Studio V 4 Arts in Ventura which formally began offering classes the first week of January.

Studio V 4 Arts is a newly launched, intergenerational, nonprofit arts organization conceived, orchestrated and piloted by Patricia Lynn-Strickland.  The Studio offers comprehensive arts, acting and writing classes with a focus on developing skills that, as Lynn-Strickland explains, “are transferable and give you a competitive edge in school, the workplace and in life.”

Study after study have found that those who participate in the arts achieve gains in math, reading, cognitive ability, critical thinking and verbal skills – plus improved motivation, concentration, confidence, and teamwork. These benefits accrue to the participants at every age.

Since only is minimal funding is available for arts education in the schools, the programs of nonprofit groups like Studio V 4 Arts are almost the sole resource to obtain these benefits in one place.

Beginning with theatre arts, the innovative programming at Studio V 4 Arts will eventually include all of the arts, including music, dance and the visual arts, as well as performances, showcases and festivals.

Another goal of Studio V 4 Arts is to weave arts and education into a series of formats to meet the needs of all ages. In addition to acting, a class in “Ethnographic Theatre” is offered – turning your own stories into theatre through writing and performing. After all, everyone has a story to tell.

Lynn-Strickland’s coordinated and fresh approach is based on and has been fine-tuned by years of experience. She recently retired after teaching music and drama at St. Bonaventure High School for 15 years.  She served as Artistic Director at Oxnard’s Elite Theatre Company for eight years, and directed youth theater productions at Ventura’s Rubicon Theatre Company for six years. Her directing and acting credits include 200+ productions throughout the Ventura and Los Angeles region.

In addition, Lynn-Strickland is a graduate of the American Academy of Dramatic Arts West and holds a B.A. degree in Interdisciplinary Studies from New York Institute of Technology. She also holds a Master’s degree in Communication and Leadership from Gonzaga University, and a Drama Therapy Certification from British Yoga Academy.

Studio V 4 Arts is housed at The Livery Theater, home of the Ventura Improv Company, at 34 N. Palm Street in downtown Ventura. Acting classes for children (5-8), youth (9-12), teens (13-18) and adults (19 and up) are now open for registration. Class sessions are eight weeks culminating in a presentation. For further information, class schedules and more details, 443-5783, www.studiov4arts.com.

The Hateful Eight / 3 ½ palm trees
By Eduardo Victoria / [email protected]

Quentin Tarantino is a gift upon those who love cinema. His latest effort, a take on Stagecoach by way of John Carpenter’s The Thing, will prove to be a triumph for fans of his work and love those who aren’t unswayed.

Picking up a few years after the Civil War, the final stage to unspecified town of Red Rock travels a snowy landscape transporting John “The Hangman” Ruth (Kurt Russell) and his prisoner Daisy Domergue (Jennifer Jason Leigh) encounter Major Marquis Warren (Samuel L. Jackson) and Chris Mannix (Walton Goggins).

Warren and Ruth are both headed in to collect bounties on their respective prisoners. Getting caught in a blizzard, the four are forced to hold up in Minnie’s Haberdashery, a halfway point to Red Rock. Arriving there, four strange characters (played by Tim Roth, Michael Madsen, Bruce Dern, and Demian Bichir) stir feelings of distrust and paranoia as to who is working with Domergue to free her.

The very start of the film sets a mood like no other. Composer Ennio Morricone’s slithering main title cue is a creepy mood setter that is as icy as the frozen setting. This, combined with Cinematographer Robert Richardson’s gorgeous Ultra-Panavision 70 photography, create a truly unique aesthetic experience.

Tarantino is a director making movies for movie fans. Interestingly enough, he chose to shoot what is essentially a chamber piece in the widest possible film format. It makes the small haberdashery seem larger than life and the characters iconic.

Adding to the iconography is the exceptional cast, certainly one of the best ever assembled for a western film. Turning an amazing performance is Walton Goggins. From the rhythm, droll, and tenor of his voice, he absolutely nails the role of Mannix. The chemistry amongst the cast is absolutely incredible.

The script is vulgar and the action is violent. If you are a fan of Tarantino, you will love this movie. If you aren’t a fan of the man’s work, it more than likely won’t sway you. The dialogue is harsh and communicates the fact that the “best” of these characters really just lesser of certain evils.

For some, the violence may prove too much. Ruth repeatedly bashes Domergue in the face. But the experience and overall message of the movie is pretty powerful. Left over anger from the Civil War is explored, as is the inherent racism that divided the country.

But best of all, this movie is a cinematic experience. If you can, see the film in its “Roadshow” format: overture, intermission, and a 70mm film print greet you to a film experience unlike any other. With The Hateful Eight, Quentin Tarantino resurrected a genre that was long gone. A movie in every sense of the word, see this film on the largest screen you can.

Rated R. Roadshow version- 187 minutes. Wide Release Version – 167 minutes. Now Playing at Cinemark Downtown 10.

Star Wars: The Force Awakens   /4 Palm Trees
By Eduardo Victoria/[email protected]

10 years after the “final” installment of the Star Wars saga, the latest entry proves that there are plenty of stories left to tell in the galaxy far, far away. Newcomer to the series J.J. Abrams wrote the script with veteran Star Wars writer Lawrence Kasdan. Also returning are composer John Williams and the “holy trinity” of actors Mark Hamill, Carrie Fisher, and Harrison Ford (amongst others) from the original films.

Set 30 years after Return of the Jedi, Resistance pilot Poe Dameron (Oscar Isaac) secures a map leading to the location of Luke Skywalker (Mark Hamill), who vanished after a Jedi apprentice turned against him. Stowed away in his droid, BB-8, the adorable bot eventually encounters scavenger Rey (Daisy Ridley). Meanwhile, disillusioned Storm Trooper FN2187 (John Boyega) helps Dameron escape the evil First Order. Returning to the planet of Jakku, Rey and the newly named Fin now must work together to protect BB-8 and return him to the Resistance, running into some familiar faces along the way.

After 3 boring, bland, and forgettable films released from 1999 to 2005, Abrams and company reinvigorate the franchise by injecting it with fun characters, a driving plot, and some exciting set pieces. Most important of all, the film harkens back to the days of A New Hope, The Empire Strikes Back, and Jedi. Practical sets, effects, and makeup create an immersive and authentic feel and look.

In terms of story, the plot is nothing special and relies far too much on nostalgia from past films. A blessing and hindrance for Star Wars fans, Abrams and Kasdan hit beats from past films and even take the look from setting like Hoth and adapt them into their story. Upon repeat viewings (which this movie is primed for) this became more and more forgivable, but a detail that comes across as lazy in such a finely crafted film.

A true stroke of wonder is the chemistry between Ford, Boyega, and Ridley – with the elder Ford being a very emotional center for the film’s entire story. He is the heart of the original films returning to bring us into the new series. If he were not in the film, it simply wouldn’t work.

Another successful and meta-type element to the film is Adam Driver’s Kylo Ren. At times, certain actions by Ren had me questioning if this characters is a commentary on all who idolize Darth Vader, one of the most vile and evil villains in film history, who is now strewn across children’s books and clothes for toddlers, a darkly ironic fact.

Holding the entire film together is an amazing score by composer John Williams. Themes for older characters are recalled at the right time and incorporated into new works presented in a grandiose, old-fashioned way. A full orchestra gloriously enriches the film’s soundtrack and provides tension, emotion, and triumph. The music accompanying the first demonstration of the First Order’s Starkiller Base is an amazingly tragic cue that only someone like Williams could write.

Rated PG-13 playing Cinema10 Downtown

Krampus/4 Palm Trees
By Eduardo Victoria/[email protected]

Krampus is one hell of a good time, unabashedly set apart from almost every horror release this year thanks to its distinct, throwback vibe and inventive confidence from writer/director Michael Dougherty. Those unfamiliar with the titular European anti-Claus’ will definitely fear a visit from the legendary monster when the film’s over, as Dougherty schools his horror contemporaries to create a new Christmas classic.

Taking place in the days leading up to Christmas, Max (Emjay Anthony) dreads having to spend another holiday with his family arguing constantly and pretending to enjoy spending time with one another. His dad Tom (Adam Scott) can’t seem to disconnect from work, his mother Sarah (Toni Collete) is trying to create a facade of perfection to put over their family, and his sister Beth (Stefania LaVie Owen) wants to spend all of her time with her boyfriend.

To make matters worse, Sarah’s sister Linda brings her entire annoying family over, and that’s when things hit a tipping point. Max finally loses his last string of patience and tears up an apologetic note he’d written to Santa Claus. Lashing out, he unwittingly unleashes a dark, sinister power that’ll make him regret the terrible things he’s wished upon his family.

One of the film’s most distinguishing marks is its PG-13 rating – don’t be fooled by this. It’s loud, scary, extremely dark, and carries surprising weight. There’s a jack-in-the-box monster that’ll give little kids nightmares, a host of dark elves who keep us on our toes and the titular creature is smartly designed, blending the Krampus’ mythological trademarks with Saint Nick’s iconography for a fun blend of holiday frights.

As in his previous film, Trick ‘r Treat, Dougherty again uses his comic book background to display a visual style steeped in atmosphere and substance. Most importantly however, instead of violently torturing his characters or shocking the audience with empty gore and vulgarity, he accentuates the suppressed emotions that surface during the holidays to examine the ways we lose touch of family and take them for granted. Simply put, this is a film that is more at home with movies like the original Poltergeist or Gremlins than modern fare like Saw or Paranormal Activity.

The film’s shifting tone also showcases Dougherty’s chops as a writer, scaring us one moment and then turning right around to make us laugh the next. This is aided by Dougherty making full use of his all-star cast in the film’s relatively short runtime, a worthy effort which balances so many disparate voices with ease. Adam Scott and Toni Collete as Max’s parents are invaluable right from the very start of the film. David Koechner and Tolman, who play the obnoxious relatives also create characters that are somehow endearing despite playing terrible human beings.

Incredible writing, acting and a seamless blend of practical effects come together to create one of the scariest movies of the year. The second act even contains an unexpected surprise, paying homage to the classic Rankin/Bass Christmas specials everyone knows so well, and it contrasts cleverly with the overall tone of the film. Krampus is a unique horror film that refreshingly feels out of time with the current standards and expectations of modern horror films. Its biggest achievement is that it inspires not only a genuine sense of terror, but one of wonder and excitement, giving us the a holiday horror film we didn’t even know we wanted.

Rated PG13 (but be careful) Playing at the Cinema10 Ventura

A Christmas Carol at the Rubicon
by James Spencer and Shirley Lorraine

Over the years many versions of A Christmas Carol by Charles Dickens have been created for stage, screen, TV and radio.

This holiday season Ventura’s Rubicon Theatre Company is presenting a new adaption of the classic story that has been penned by Karyl Lynn Burns, the Rubicon’s multi-faceted Producing Artistic Director. It is at once brilliant, vibrant, insightful and unique.

It sticks to and includes more of Dickens’ original text than other scripts. There are scenes and interactions extracted directly from the book that we’ve not seen in other productions. As a result, the tale is richer with more texture.

Dickens used an unidentified storyteller to present the story. Burns has elected to have Jacob Marley as the principal narrator throughout. But then, in addition to voicing each individual’s dialogue as it appears in the book, Burns also has the actors narrate their characters’ nonverbal actions for the audience using Dickens original descriptions. This fresh technique makes the characters, the story and the entire experience more personal and moving.

The best of scripts still needs to be creatively translated into a reality on stage. Multiple award winning director Brian McDonald successfully pilots this debut production with innovative subtleties, creative staging, directorial nuances and the skillful use of many talents. The musical touches are well placed, adding considerably to the atmosphere. Of particular note is the use of hand bells near the final scene.

McDonald has also incorporated some unexpected and seemingly ad-libbed audience interactions along with many broadly humorous touches. The seamless movement of the large cast over the bare, multi-level set is exceptionally smooth, with all levels of the structure and companion lighting well used to heighten the many dramatic moments. Special effects are used sparingly and to maximum advantage.

As one of California’s premier professional theaters the Rubicon brings regularly attracts the highest quality talent. This show’s giant cast of 24 includes stars of Broadway and television, as well as local artists. All the cast members appear to be thoroughly enjoying bringing the classic story to light with a new perspective. Headed by Peter Van Norden as the irascible Scrooge and Joe Spano as the long-dead Jacob Marley, the result is an ensemble piece where all shine brightly with outstanding performances that are delightful and often mesmerizing.

This time of year there will be numerous versions of A Christmas Carol on stages throughout Ventura County. The performances and overall dynamic freshness of the Rubicon’s show will renew your appreciation for the depth and power of this holiday tale. We are confident you will also find it to be a Triple-A production – amazing, astounding and awe inspiring.

A Christmas Carol continues until December 20, 2015.  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.  Rubicon Theatre Company, 1006 E. Main Street, Ventura, CA, 93001.  Tickets – $54.00 – $64.00.  Ticketing and seat selection available 24/7 at www.rubicon.theatre.org. (805) 667-2900.