Tabard Theatre, in partnership with Silicon Valley Shakespeare, is exploring several important questions through their current production of Shylock, a play by Mark Leiren-Young. The playwright deftly confronts several considerations surrounding the questions of how artistic works should be presented to a modern audience. On the one hand, should audiences be shielded from that which makes them uncomfortable when imbued with current cultural sensitivities, particularly for works from another time? Should they be spoon fed the intent of a given work, or should they be allowed to come to their own conclusions? More directly, the play uses the controversial character of Shylock and questions how he should be portrayed to a modern audience or even whether a company should mount a production of Shakespeare’s The Merchant of Venice in the first place. Continue reading
By Ande Jacobson
This summer, Foothill Music Theatre (FMT) is presenting the South Bay premiere of an exciting, fresh look at an old rags-to-riches story with its production of Cinderella. It’s still a Rodgers and Hammerstein musical adaptation of the French story, Cendrillon, ou la Petite Pantoufle de Verre, with all of the beloved songs. This 2013 revision finally took the show to Broadway for the first time and includes a modernized book by Douglas Carter Beane to go along with an updated orchestration. The show retains all of the charm and family-friendliness of the original television and Disney animated presentations while the latest changes make it more relevant to 21st century audiences. Continue reading
TheatreWorks celebrates the start of its 50th year with an incredible gift – the world premiere of Hershey Felder: A Paris Love Story. The presentation is immensely personal for Felder and for TheatreWorks Founding Artistic Director, Robert Kelley, to whom Felder dedicates this astounding production. Felder includes the following message in the program:
“I would like to dedicate the creation and the world premiere of A PARIS LOVE STORY to someone who, in his quiet and humble way, has demonstrated that he is the most generous, supportive, kind, thoughtful, sensitive, artistically refined, and genuinely giving artist working among us today – Robert Kelley, TheatreWorks Founding Artistic Director.
“Thank you to Kelley, and everyone at TheatreWorks, for having me for all these years and thank you to audiences who have followed these characters wherever we together have ventured. And now thank you for joining me in Paris. – Hershey Felder”
The Pear Theatre shines a unique light on social media with its current production. Since the advent of social media, the psychology world has had a field day running studies that claim to prove exposure to social media increases depression, decreases depression, makes people feel more connected, makes people feel more lonely, etc. In other words, whatever you want to prove, there’s a study out there for you. In 2016, Jeffrey Lo’s new play, Spending the End of the World on Ok Cupid, debuted at Ohlone College where it had been commissioned. The story takes an unusual look at the world of social media, and specifically an application called Ok Cupid (disclaimer from The Pear: “Spending the End of the World on Ok Cupid is not produced or endorsed by, or in any way affiliated with Match Group, LLC, or Humor Rainbow Inc., the exclusive owners of the OKCUPID® trademarks”). The premise is that a modern day prophet predicted the end of the world after he first correctly predicted that half of the world’s population would disappear in an event known as “the vanishing.” With only 12 hours left to exist, disoriented people who’ve lost loved ones and friends to the vanishing take to their phones and computers to create profiles on Ok Cupid. Each is looking to make some kind of connection one last time before whatever is going to happen, happens. Continue reading
News as entertainment isn’t a new phenomenon. In the 1970s, a real-life crime drama took center stage when the Watergate investigation jumped into high gear, ultimately resulting in the first ever resignation of a U.S. President. The crimes took place in the months leading up to the 1972 general election, but the public’s outrage didn’t reach record levels until two years later, when the latest TheatreWorks production’s story begins. The 2006 play, Frost/Nixon, written by Peter Morgan, opens with Nixon’s 8 August 1974 announcement that he would resign. The end of an era perhaps, but the beginning of a great hunger amongst the U.S. public. A hunger that would only be satiated if, and when, President Nixon did three things:
- Admit that he committed criminal acts of wrongdoing.
- Admit that he abused the power he had as president.
- Apologize for the agony that he inflicted upon the American public.
A tall order for a man who famously answered an interview question with “Well, when the president does it, that means that it is not illegal.” Of course, in follow-up discussion on that answer, he added that he came to realize that not everyone agreed with him on that particular point. Continue reading
Gilbert and Sullivan’s The Pirates of Penzance has long been an audience favorite ever since it debuted in New York City in 1879 (just barely). Billed as a comic opera, it’s a little closer in style to our modern Broadway musical format than some of the other works in the Gilbert and Sullivan (G&S) oeuvre. Like much of their work, it pokes fun at 19th Century life, exaggerating stereotypical societal roles and attitudes for the sake of humor. The storyline is typical G&S fare. A young man is accidentally indentured as an apprentice (and accompanied by his nurse) to a pirate instead of a pilot until he reaches his 21st birthday (not to be confused with his 21st year of life). Shortly before his release, he falls instantly in love with the daughter of a Major-General, and the two seem fated to spend the rest of their lives together, that is until a rather unique paradox complicates their lives. Now for the Bay Area Opera Collaborative (BayOp) production, strike that, reverse it (with respect to gender anyway), and you’ll find that all of the humor remains and even grows beyond expectation. Continue reading
Palo Alto Players’ Tarzan is a Disney favorite suitable for all members of the family. The show is based on the 1999 animated film of the same name, with music and lyrics by Phil Collins and book by David Henry Hwang. The original Broadway show made its debut in 2006 and has delighted audiences worldwide since then. It’s a visually spectacular show with actors singing and swinging across the stage (and over the audience at times). In true Disney form, the heroes and villains loom large, and the story careens through a fairytale sequence of tragedy, joy, suspense, and finally, exuberant triumph in the familiar tale of two worlds colliding in the jungle. Continue reading
The regional premiere of a crisp, new Karen Zacarías play is the latest TheatreWorks production. Native Gardens is a very topical take on just what it means to be a good neighbor when a young couple moves into an old, established Washington, DC neighborhood. This tight, 90 minute production, presented without intermission, covers many of the issues facing the U.S. today through an extended interaction between neighbors starting with the best of intentions. Initially welcoming and friendly, the old neighbors meet the new neighbors. Over the course of the play, an intense backyard drama ensues over the position of the fence dividing the two properties. The dispute takes on monumental proportions and serves as a microcosm of the country, and perhaps even the world at large as the Butleys fight for the status quo on their side of the fence, while the Del Valles challenge their long-held views of their neighborhood, their culture, and their property’s borders. The story is at turns gentle, humorous, contentious, and thought-provoking, challenging audiences to perhaps consider a neighborly border dispute in a new light. Zacarías penned the story in 2015, and it has increased in its societal relevance ever since. Continue reading
This summer, Stanford Repertory Theater’s festival is aptly entitled Nevertheless They Persisted in tribute to the strength and perseverance of women throughout history striving to overcome oppression. Rush Rehm again helms the live theatrical portion of the festival, directing a work that he and Courtney Walsh (the star of the production) adapted and combined from two of Euripides’ plays, Hecuba and Helen. This new adaptation, Hecuba/Helen, is presented in two acts running approximately two hours including a short intermission. Rehm, a professor of Theater and Classics, has long noted the relevance and value of Greek tragedies, and through a stroke of inspiration pursued combining these two stories of strong women from a time and patriarchal culture when women had no official power. He sees many lessons for today’s societal turmoil in these ancient writings and is excited to bring this adaptation to Stanford Rep audiences. In his program note, Rehm reveals the relevance of Euripides’ writings from a societal perspective:
“Disturbing and terrible, recognizable and even funny, Euripides’ plays have much to offer us – a society that aggressively denies its own obvious limitations and has so little interest in the lessons of the past.”
This year, Foothill Music Theatre (FMT) is presenting that long-time family favorite, The Sound of Music. The show, with music by Richard Rodgers, lyrics by Oscar Hammerstein II, and book by Howard Lindsay and Russel Crouse, made its Broadway debut in 1959 with Mary Martin heading the cast as Maria. Today, far more people are familiar with the 1965 film version of the show as they picture Julie Andrews singing at the top of her lungs while running around an enchanting Alpine meadow. There’s a lot to love about The Sound of Music, and it has made the stage rounds in regional, community, and scholastic theaters for decades. The music is familiar to theater-goers young and old, and the story is touching with more than a hint of danger, a danger that has recently become all too recognizable. Long time standards from the show (and the movie) include “Edelweiss”, “My Favorite Things”, “Climb Ev’ry Mountain”, “Do-Re-Mi”, and the title song, “The Sound of Music”. There are a number of lesser known songs as well. The stage version has a few songs that were not in the movie and vice versa. FMT’s production keeps the best songs unique to the stage version, and adds a couple written for the movie to make the show more familiar to newer audiences. Continue reading