New Village Arts in Carlsbad Kicks Off Season with "The Thanksgiving Play"

A Realistic Piece that States Facts Through Comedy  

A Blog View by Alejandra Enciso-Dardashti

The Thanksgiving Play. Photo by Jason Sullivan

New Village Arts started its 24-25 season on the right foot, opening with Larissa FastHorse's The Thanksgiving Play. FastHorse is from the Sicangu Lakota Nation and is the first known female, Native playwright to be produced on Broadway. This is the second time in 2024 that I've had the opportunity to experience her work, as the Peter Pan Broadway musical with a revised, additional book by Larissa came through San Diego this past August. 

The Thanksgiving Play is a 90-minute piece with no intermission that is full of truth, creative criticism, and education regarding the material put on the school stages, the "new" and "woke" theatre that came after the George Floyd tragedy, and some musty vices that still pop up in the industry. Logan (Samantha Ginn) is a teaching artist at a public school that just received her umpteenth grant. She is very excited to be making her directorial debut for a Thanksgiving play that will be devised within the creative team made up of her boyfriend Kenny (Bordieri Jaxton) a street performer and yogi, Caden (AJ Knox), an elementary history teacher who dreams of working in the theatre and, Alicia (Erica Marie Weisz) a hired professional actress. Because Logan is a woke, white ally, she uses her grant money to hire Alicia, a Native American actress, and get the other perspective on Thanksgiving by bringing some sort of stand through public school theatre. When the work devising starts and clarifications occur, things go differently than planned.

The Thanksgiving Play. Photo by Jason Sullivan

Larissa FastHorse takes a deep dive into the holiday school shows, pointing out the glossed-over versions just like the glossed-over dynamic in the professional theatre setting that initially aimed to do good and decolonize the art form, but went to the other extreme. The work exposes dynamics like "color-blind casting" as well as "clap once-clap twice" teaching artist exercises, adding flavor and fun while educating. 

Daniel Jáquez directs a fine company of actors who complement each other with great comedic moments and deep reflections on beauty standards, and actors' resumes that come out between the layers. Jáquez's style is clean and forward having the piece grab its groove and flow. Michael Wogulis's set design of a school rehearsal room that includes a glimpse of a hallway is realistic and pops with Annelise Salazar's lighting design with a bright white, very school/hospital-like and changing to a performance setting that used dark tones to deepen the frame when kids do their Thanksgiving shows. As a kid, and/or having kids, younger siblings, nieces, or nephews, could mean most of us have been and/or seen these types of school talent shows with an off-pitch, a missed queue, and of course, a cry. The play carries that accurately while Evan Eason's sound design captured that essence, giving the theatre a school gym or auditorium vibe. 

Sandra Ruiz rounded out the character personalities with the costume design having Logan in a jumper and Kenny in all browns with rolled-up, relaxed pants. Caden is more business/teacher-esque with a sweater, shirt, and pants. Alicia with evident sex appeal, has fitted jeans, a red top, and black booties. In the performance I saw, an unexpected burp came from among the actors and it was immediately meshed into the scene flawlessly, adding even more fun to the performance.

New Village Arts has moved the needle these past years by bringing works like Desert Rock Garden and 1222 Oceanfront: A Black Family Christmas, amongst others. They started this season on the right foot indeed. The Thanksgiving Play is the first work they produce by a Native American woman, hoping it is the first of many with Daniel Jáquez as director. And, not having seen Daniel direct a show since Huracán at Cygnet in early 2023, I hope we see many more works directed by him as well.

The Thanksgiving Play is currently playing until November 3. For more information please CLICK HERE.

Onstage Playhouse Closes Season 41 with the World Premiere of MASA

 A Love Letter to Memory

A Blog View by Alejandra Enciso-Dardashti

Salomon Maya, Veronica Burgess, Julian Ortega. Photo Daren Scott

There is a line in José Cruz González's Play, American Mariachi that says "Music is Memory". 

Theatre is also memory. It serves as a record in many ways and, in the case of Onstage's latest play MASA, it is a love letter to Mexico City as it navigated the devastating earthquake of 1985, with a magnitude of 8.1, and claimed thousands of lives. The play takes place eight months after the earthquake in 1986 during the World Cup-México 86. Lolita (Veronica Burgess) is the tamal queen and instead of cooking from her business, she does so from home as she is suffering from PTSD after losing her husband in the earthquake. Her son Santiago (Julian Ortega) is about to turn 18 and is trying to be there for Lolita as much as he can while figuring out his life and grieving. The small family also has tía Dorotea (Denise Lopez), Lolita's sister who lives next door, and despite being happy all the time, she is battling her own demons. The home's front door is blocked by a board and the entrance/exit is through the window. Lolita talks to her husband daily as the radio turns randomly on its own and plays songs from The Beatles. She sees this as a sign, while Santiago sort of believes. One day, Gastón (Salomon Maya) who is in the city with the Argentinian fútbol (a.k.a soccer) team, comes to Lolita to purchase tamales for the team during their nail-biting matches. Lolita, even though numb, takes on the arduous order, and as the days go by, the family deals with reality, what comes next after this tragedy, Santiago growing into adulthood, and the hard task of letting go.

Onstage Artistic Director James P. Darvas directed this piece and landed solid performances. Each character has their own development that unfolds during the play and comes together with the story. There are some tough and painful, -gut-wrenching even- moments in the piece that stream along comedic relief, having audiences both gasping and laughing. Veronica Burgess brings all of Lolita's layers powerfully and movingly while realistically illustrating the phases of trauma and grief. Julian Ortega in his Onstage debut is vibrant as Santiago adding spark and freshness to the scenes with high energy and intention. Denise Lopez, also in her Onstage debut, brings total sass to the story. On the surface, it seems that tía Doro is happy and cheerful but, like everybody, she has her own struggles and Lopez embraces that, bringing it to a shocking reveal, beautifully shaped and strongly performed.

Julian Ortega, Veronica Burgess, Denise Lopez. Photo Daren Scott

Duane McGregor imprints his detailed style once more in a beautiful and authentic-looking set design made up of the home's living room and kitchen, using azulejo-type tile for the kitchen wall and brick red tile for the floor which made it look like a Coyoacán aesthetic (IYKYK). Another interesting aspect of the design is the color palette using primary, warm colors like yellows, oranges, and maples that went along with Maxine Levesque's light design with the same tones, switching to bright whites to accentuate Lolita's daze, as well as Santiago's exits as -in my eyes- illustrates his mother's fear of losing him too. Brad Dubois chose fun pieces to complement Dorotea's bubbly, playful personality with printed one-pieces and big, bulky earrings. For Santiago, the 80s vibe was totally on with high-rise jeans and bandanas, along with a playful t-shirt showcasing the Mexican rock band El Tri, which is very Mexico City. The Gastón character brought the sporty Argentinian style with the light blues and World Cup sports attire. With Lolita, the wardrobe was dressed down with an apron and flats, that like the white lighting, accentuated the character's emotional state. 

Salomon Maya debuted his first play MUGRE at Onstage last year and MASA is his second. There is growth between the two and the writing in MASA is better weaved and flows with more air. At times it does feel a tad rushed but it is a minor detail that can be easily finessed. Maya has been onto something special with these plays, a deep dive into Mexican idiosyncrasy, which has hardly been explored in San Diego theatre (at least in the 14 years I have been pursuing it). Bringing simple details to the mix like a box of Zucaritas, a staple for kids' breakfasts and dinners during the 80s and 90s. Specifically with MASA, he dives even deeper. He brings the added Mexico City idiosyncrasy with typical references like the bad traffic and the street names, even how it was called "Distrito Federal" or "D.F" before the touristy revamped, rename of CDMX-Ciudad de México. There is another heavy traffic reference to the "hoy no circula" initiative where cars do not circulate daily to alleviate the traffic. Even though this program started in 1989, it was a fit for this setting. 

Stories like these, bring diversity and contrast to the one-sided narratives that have been told and told over and over. For this, I commend Salomon in his playwriting era and no, as a Mexican woman in The States, I am not being biased. Jaden Guerrero's sound design incorporated each Beatles song as clues and answers, being a reminder that music is universal.

MASA will strike a special cord with those who recognize the references and prompt something new to those who do not.

Currently playing until November 2 in Chula Vista, for performance days and times, please click HERE.

La Jolla Playhouse Hosts West Coast Premiere of Pulitzer Prize Winner, "Primary Trust"

A Raw and Moving Performance that Makes This Play One of the Best of the Playhouse Season Yet

A Blog View by Alejandra Enciso-Dardashti

James Urbaniak, Caleb Eberhardt, and James Udom in La Jolla Playhouse’s West Coast premiere production of PRIMARY TRUST; photo by Rich Soublet II.

In television, especially in the live newscasts or -Saturday Night Live- the "cold-open" is often used at the top. La Jolla Playhouse's latest production Primary Trust, starts with a form of cold-open with the house lights on and Kenneth the lead, played by Caleb Eberhardt, starts narrating the story. Keneth lives in the small town of Cranberry, New York, is a loner, 38, and has worked at a bookstore for the past 20 years. A true creature of habit, after work he goes to happy hour every day with his best friend Bert (James Udom) at his favorite, Wally's Tiki Bar and they drink mai tais. Sometimes, more than they can count. Keneth meets Corrina (Rebecca S’manga Frank) a new waitress at Wally's amid sudden changes coming to his life. Getting out of his comfort zone or more of in survival mode, Keneth navigates these new stages while dealing with childhood trauma and going through the motions with the help of his friends and bosses played by James Urbaniak.

Caleb Eberhardt and Rebecca S’manga Frank in PRIMARY TRUST; photo by Knud Adams.

Marsha Ginsburg's clever set design was similar to David Rockwell's design for Sasha Velour's show, using scaled or miniature buildings to illustrate the town. Ginsburg also uses a run-down carpet for the town floor and everything happening around Kenneth, like meetings with his boss, his shifts at work, and so on. The frames around the buildings have dry, brown grass, so this aspect with the design's lack of color and the carpet evokes the routine accompanied by the hollowness in this man's life. It might not be very colorful but it is detailed as there is a church where candles can be seen on the inside and they go on and off which was super cute. Wally's has a lit-up sign that also goes on and off. Masha Tsimring's lighting is matte with winter colors like gray, and blue, contrasting at times with yellows and oranges that set the tone and feeling of the scenes. 

Mikaal Sulaiman's sound design not only coats the scenes and has everyone's lines come through, but it is also an indicator as Luke Wygodny is a silent musician who plays guitar, keyboard, and cello during the performance, with a bell that is rung to pace/mark what-ifs and shifts to what is happening. Sophia Choi's costume design matches the set as most characters wear earthy colors that hint at the season and the feel. One character wears a more colorful wardrobe fitting the storytelling and making sense.

Written by Eboni Booth, this play is one of the best of The Playhouse's season. Booth dives into the life of an older adult who grew up in the foster care system, checking the reactions and -apparently-, the coping mechanisms, balancing the story out with good people and hard-earned success while not making it feel like a fairytale. It is raw and moving. 

Caleb Eberhardt's performance is endearing. Through Knud Adams's direction, Kenneth's feelings and process are revealed organically. It could not have been done any other way as changing the rhythm would have been too much to handle. James Urbaniak's portrayal of Kenneth's two bosses is harmonious, funny, and authentic. Everyone should have a boss like Clay or Sam and Urbaniak captures that. Rebecca S’manga Frank's as Corrina brings freshness to the scenes, variety, and fun to the different servers she plays for Wally's. James Udom rounds out the catharsis in this story by sprinkling stage charm within the events. 

This play won the Pulitzer Prize for a reason. It could be triggering for some people but, at the same time, it is brought with such delicacy and care, that it is all worth it in the end. A full-on time of release and reflection at the theatre. 

Currently playing until October 20th. For more information please CLICK HERE. 

Gordon Greenberg and Steve Rosen Come Back to The Globe with the West Coast Premiere of "Dracula, A Comedy of Terrors"

 One Clever Act Full of Wit and Hysterical Performances

A Blog View by Alejandra Enciso-Dardashti

(Clockwise from left) Drew Droege, George Krissa, Linda Mugleston, Gizel Jiménez, and Brady Dalton Richards in
Dracula, A Comedy of Terrors.Photo by Jim Cox.

The creative duo of Gordon Greenberg and Steve Rosen are back at The Globe to bring the laughs with another comedic adaptation of a classic. The seductive, plotting Dracula debuts in Dracula, A Comedy of Terrors. Based on Irish author Bram Stoker's gothic horror novel, this piece is a 90-minute, no-intermission, set of laughs that captures the essential. 

Like its predecessors Crime and Punishment and Ebenezer Scrooge’s BIG San Diego Christmas Show, 'Dracula has a cast of five actors that play various roles at a dynamic pace. Real estate agent Harker (Brady Dalton Richards)  is finalizing another sale with Count Dracula (George Krissa). As Harker shares his new engagement with Lucy (Gizel Jiménez) while showing her picture, the Count obsesses and plots to meet her at no expense. During their engagement party, Dracula meets Lucy's father, Dr. Westfeldt (Linda Mugleston), and her sister Mina (Drew Droege) who swoons over the Count. The Fangy character's plans fail and Mina falls ill. Dr. Westfeldt employs Van Helsing's (also Drew Droege) services to help with Mina's condition which is getting worse. Lucy desperate for her sister's recovery joins a search with the doctors and Harker to be faced with truths and a sight that will change her relationship and upcoming marriage. 

The comedic ability of each actor in this production is sky-high. Gordon Greenberg and Steve Rosen's writing is witty and naughty-naughty, surprising audiences continuously with funny innuendos, producing ongoing laughter. Drew Droege as both Mina and Van Helsing is hysterically funny, the wigs used for both characters definitely add to the comedic effect with Mina using tight red curls while Dr. Van Helsing in a German air, has buns with braids in the back in the form of a pretzel. Linda Mugleston as Lucy's father and his crazy patient Renfield, again, with great wigs that truly accentuated the character and contributed to the role switch even on stage making the laughs go, and go. At the same time, audiences clapped celebrating those sharp performances. Tijana Bjelajac's scenic design blends black with purple and indigo to have that musty, old, scary manner effect hand in hand with Rob Denton's lighting design that not only brought the stage to life but also lit signs and laser-type effects that came from the sides of the house. Tristan Raines's costume design is attractive and fabulous using corsets, lace, corduroy, and even denim to land those fierce looks that, in George Krissa's case, also showed well-toned flesh, an added appeal by Greenberg and Rosen's pen that was playful and did work with the setting. Krissa understood the task and, aside from probably being one of the most attractive Draculas on a theatre stage, his performance was playful and prompted many laughs. Gizel Jiménez (love that she includes the accent in her last name) is sweet as she is corky and does play a "secondary" role that she too gets the most out of histrionically and clicking with Brady Dalton Richards as the loving and fragile Harker who also has a mad wardrobe design that marks a shift in the character all the way to the hairstyle. 

Gizel Jiménez as Lucy and Drew Droege as Mina in Dracula, A Comedy of Terrors. Photo by Jim Cox.

Plays in the round are tricky because it all depends on location, sometimes the actor's back is to one side while something is happening particularly there, and so on. Gordon Greenberg's direction took care of that aspect and had the cast go round and round to catch all angles of the space. It was noticed and appreciated. 

Dracula, A Comedy of Terrors embraces the adaptation mode keeping the essential aspects of the popular novel while adding fun, clever comedy that makes the play fun and light. This is a complete effort that involves well-trained actors who can pivot on the spot, careful direction, and fitting stage and costume design as well as the wigs. I did not find if there was a wig designer but those pieces definitely are a key factor in this. Go see for yourself and enjoy -several-, ahem -many- good laughs.

Currently playing until November 3. For more information click HERE.

"Everybody is clever nowadays", LAMB'S PLAYERS debuts "The Importance of Being Earnest" On the Coronado Stage

This is their Third Oscar Wilde Production

A Blog View by Alejandra Enciso-Dardashti

The Importance of Being Earnest. Photo LAMB'S Players Theatre

It never ceases to amaze me the afterlife classic works have and, the behind-the-scenes while they were being created and debuted. Irish playwright and poet, Oscar Wilde's The Importance of Being Earnest is one of his career highlights, and at the same time, what was happening BTS during 'Earnest's debut, was a downfall, starting with his imprisonment and then being exiled to France. Yet, good work grants karma, and this play has been produced over and over since it premiered in 1895. After 129 years, that's not bad.

LAMB'S Players in Coronado continues its season with Earnest', following two young British men, Algernon (Michael Lewis Cusimano) and Jack (Brian Mackey), who flow through life with the name Earnest. The name seems fitting and apparently carries some weight in these men's love interests: Gwendolen (Rachael VanWormer), Algernon's cousin, and Cecily (Lauren King Thompson), Jack's ward. Society's standards are high and Gwendolen's mother, Lady Bracknell (David McBean), will not have these shenanigans. 

The Importance of Being Earnest. Photo LAMB'S Players Theatre

In this comedy of errors, late 1800s rom-com, the men fall into their own traps while the women -apparently- do too. Kerry Meads's direction sets a good balance between the two sides while the comedy goes in parallel having a solid, amusing, fun, play. Sean Fanning's set design is snazzy and functional, transforming into three different settings while the scenes occur, complemented by Ben Read and Patrick Duffy's sound design, adding oomph to the moment.

With this play being a period piece and in London, Jeanne Reith did a wonderful job with the costumes as the dresses for the women are beautiful using taffeta in blue, peach, and light colors with matching hats, coquette clutches and, -diaries-. The men's wardrobe is complete with suits, ties, and vests; the wardrobe winners are shoes with different colors and styles like booties and chairmans. 

The cast is engaging and funny. The dynamic between Rachael and Lauren is a good time as both bring sass and comedic faces. King Thompson glances at the audience for an added giggle and VanWormer even rolls her r's to emphasize which is hilarious. David McBean as the society-driven, concerned mother/authority, Lady Bracknell /Aunt Augusta, is a delight with her continuous conclusions, giving master side eye and chopping words at the end of a sentence to deepen the intention. McBean knows comedy and this portrayal confirmed it once again. 

I love the variety actors are bringing to the stage this year like Brian Mackey who I saw at the top of the year with LAMB's "Outside Mullingar" as the feisty yet shy, eternal bachelor Anthony Reilly, to then incarnate father/son Andrey and Bolkonsky in Cygnet's "Natasha, Pierre & The Great Comet of 1812" to now Jack a.k.a Earnest. Mackey delivers comedy in this role in a stern and collected way that meshes well with the plot. Also giving variety, Michael Lewis Cusimano who performed an amazing Anatole in 'Comet this year, gives sneaky and trickster, "Bunburying" as the massive snacker Algie, entertaining Aunt Augusta's requests as well as Cecily's. Geno Carr, John Rosen, Brian Salmons, and Deborah Gilmour Smyth are also in the cast with smaller roles but that did not come in the way of a good, solid time on the boards as Carr and Rosen definitely bring the chuckles playing Merriman, and Lane. Gilmour Smith as Miss Prism is playful and has good chemistry with Brian Salmons as Chasuble. 

LAMB'S has added another good one to the stage. Well cast with good direction and a jolly good time.

The Importance of Being Earnest is currently playing until November 10th. For more information please click HERE.