Cygnet Theatre's production of "A Christmas Carol" Goes Back to the Theatre Roots

Using Elements that Appeal to the Imagination

A Blog View by Alejandra Enciso-Dardashti

Jasmine January, Eileen Bowman, Allen Lucky Weaver, David McBean, Megan Carmichael, Sean Murray, Patrick McBride. Photo by Karli Cadel Photography

It is my second first with Cygnet this year, as I had never seen a Rocky Horror production or their production of A Christmas Carol. With an original score by Billy Thompson and Patrick Marion in the music direction, this piece has an adaptation and lyrics by Cygnet co-founder Sean Murray, who also directs and stars as Ebenezer Scrooge. The plot, rooted in Charles Dickens's novella about a greedy and stingy rich man who disenchants everyone around him. On Christmas Eve, Scrooge is visited by his deceased partner, Jacob Marley, with a warning. The spirits of Christmas past, present, and future will follow, changing Scrooge's perspective and attitude towards life.

David McBean. Photo by Karli Cadel Photography

Cygnet goes back to the performance roots by using elements that appeal to the imagination, such as whistles, bells, and puppets. Matt Lescault Wood's sound design pops through these elements, making the production that much more enjoyable. David McBean, Patrick McBride, Eileen Bowman, Megan Carmitchel, Jasmine January, and Allen Lucky Weaver round out the cast, playing multiple roles in the two-act musical piece. Jeanne Reith's costume design is dressy, late 1800's fashionable. The ghost of Jacob Marley wears a light gray suit with off-white lace and chains all around; some are wrapped around David McBean, who plays Marley, and some are attached to a control bar handled by other actors. That wardrobe choice was magical, as was McBean's performance of the trapped soul in limbo. The same impression goes for the ghost of Christmas present, also played by McBean with an emotional rendition of "How the Ghost Exulted." Wearing a long green, velour Santa-like robe with a red wig, courtesy of Peter Herman, and a Christmas flower crown. Patrick McBride is sweet and enchanting as Bob Cratchit, with great agility moving across the stage. Megan Carmitchel and Jasmine January are part of the spirit of Christmas Past, along with a white, ethereal puppet that seems to be floating around. Both actresses talk in unison, which is sometimes confusing as not all the words come out clearly, but the beautiful harmonies sung, especially in "Leaving the Past," make up for it. Carmitchel shows her comedic flare as a very pregnant lady, and Jasmine January has a brief but fantastic scene as the young Belinda Cratchit with the most realistic little girl cry on point-funny-real.

Sean Murray. Photo by Karli Cadel Photography

Eileen Bowman displayed beautiful vocals in "A Christmas Jig," was hilarious as the annoyed and later surprised Mrs. Dilbur, and delivered a fun performance as Mrs. Cratchet in a carving sequence finely complemented by Matt Lescault Wood's sound and Katie Banville's choreography. Allen Lucky Weaver is tender and funny as Scrooge's nephew Fred, also a great narrator, which was enjoyable and fun. Sean Murray is a stage master. He interacts with the audience in a TED Talk manner while in character, and it is mind-boggling to see, accompanied by Colby Freel's lighting design with a pointer for Scrooge mostly, and beautiful effects for all the spirits that went from darks to bright whites and dims. 

The piece has music director Patrick Marion on the piano and Sean LaPerruque on the violin, enchanting the piece with beautiful melodies. Andrew Hull's scenic design frames the stage in a book-like setting, hinting at Dickens. Spaces out the three layers of the performance made up of the musicians on the audience's left, the cast mainly in the middle, and sound effects, entrances, and some exits on the audience's right. Michael McKeon's puppets amplify the production; however, Tiny Tim is portrayed through a puppet, and the look has more of a scary vibe than an infant/child one.

I went to the Sunday matinee and saw several families with their young kids at the theatre. During the performance, a little boy seemed fatigued until a (prop) snowball landed on his lap, and he waved at Jasmine January, who immediately engaged and waved back with a smile. The little boy stood still and observed the remainder of the performance. Curiously, reading an interview my fellow critic and former podcast co-host David Coddon did with playwright Anna Ouyang Moench, she mentions that sometimes "A Christmas Carol" is the only play people will go and see during the year. The proof is in the pudding. 

This production is creative, imaginative, and entertaining.

Again, I would reconsider the Tiny Tim Puppet; that's a personal preference...

Currently playing until December 24th. For more information, please CLICK HERE. 

"Your Local Theater Presents: A Christmas Carol, by Charles Dickens, Again" is a Raw Love Letter to the Theatre Industry

Through Visibility and Truth

A Blog View by Alejandra Enciso-Dardashti

Miles G. Jackson (left) and Marco Barricelli. Photo by Rich Soublet II.

Charles Dickens's spirit probably shakes every December with the many productions of A Christmas Carol nationwide and beyond. From Mickey Mouse to Jim Carey, this novella, in its various formats, has become a true tradition for the season, almost like Mimi's All I Want for Christmas Is You. 

In a smart, checkmate move, La Jolla Playhouse presents the world premiere of  Your Local Theater Presents: A Christmas Carol, by Charles Dickens, Again. Written by Anna Ouyang Moench, 'Christmas Carol is an authentic behind-the-scenes look at the theatre/entertainment industry. MOXIE Theatre produced Ouyang Moench's Birds of North America in 2023, a nice contrast showcasing the playwright's versatility. 

(L-R) Maria Elena Ramirez, Miles G. Jackson, and Marco Barricelli. Photo by Rich Soublet II.

The plot starts in December of 1997 in the green room of a regional theatre where A Christmas Carol is in its run. Eddie (Miles G. Jackson) is a recent graduate from Julliard with all the attitude and disposition to thrive. He has an apartment in New York but has not gotten work there yet, and to qualify for health insurance, he is doing his first regional production in this Christmas classic in the role of Fred, Scrooge’s nephew. The company's Scrooge (Marco Barricelli) is a seasoned actor who has played the bitter mogul for years. Lucy Cratchit (Juliet Brett) is a young talent with training, experience and a theatre mom who is "encouraging" her every move. Stagehands come to the scene to reveal, creatively and practically, the years passing at the theatre, switching the callboard and table tops. From '97 to 2001, to 2010, to 2023, each year, December, on their last performance of the run, Eddie keeps returning as he is aging out and in of roles. Life as an actor is different from what he envisioned.  Ouyang Moench also seasons the story with different backstage shenanigans that are not exclusive to the theatre but to the overall work environment while staying true to the craft -if that makes sense-. 

Directed by Les Waters, the one-act piece moves along smoothly with actors playing actors. Miles G. Jackson shows the gradual changes in Eddie both histrionically and personally with a calming pace and smooth vibe. As the seasoned actor, Marco Barricelli is fun and has amazing deep intonations. Juliet Brett, who we saw in "Crime and Punishment" at the Old Globe, brings the laughs again with great timing and humor. San Diego actors continue to grace the Playhouse stage, and I love it! Xavier J. Bush, whose choreo is shining over at MOXIE Theatre, is part of this cast within a cast, also playing Fred in a couple of the years with spark and charm. Tony Larkin plays Bob Cratchit and, through sarcastic laughs, is the actor who aims to land Eddie on the reality and practicality of things. Maria Elena Ramirez as “Mrs. Cratchit,” brings the sass and the naughtiness to the scene as well as incarnating a stage manager and how vital their role is.

(L-R) Miles G. Jackson, Juliet Brett and Xavier J. Bush; photo by Rich Soublet II.

Santiago Orjuela-Laverde, Andrew Moerdyk, and Kimie Nishikawa made the scenic design through their collective dots, and nailed the greenroom from the couch to the coffee station and the callboard, of course with a peek of a hall beginning with arrows to either the stage or the dressing rooms. Yi Zhao's lighting design fits the Greenroom scenery with a matte dim light, along with Ryan Rumery's sound design that rounds out the backstage with the minute calls in an off-voice and the effect of what is happening on stage while the actors are backstage. Both lighting and sound will later be a part of a beautiful reveal. Annie Smart's costumes follow the checkered pattern, which is iconic in Christmas Carol, parallel with the taffeta and the skirt rings. Alberto “Albee” Alvarado's hair and wig designs are fun and have a stage-like look, perfect for this story. Taylor Williams's makeup has dark contours and pink blush, rounding out these characters' looks through a realistic lens for the stage.

I moderate aftershow chat-backs for Broadway touring shows, and this play reminded me of the questions we get, from the aspiring actors to the romanticizing and overlooking of the all-around business and village it takes to produce a play. Anna Ouyang Moench's piece has heart, truth, and visibility. It is a reflection for those who work in theatre and an excellent learning tool for those who do not. Once the point has been proven, Anna has the play dive back into the magic of theatre for a gasping finale. 

Currently playing until December 15. For tickets and show times, please click HERE.

Drag Queens Singing Live?

DRAG: The Musical Encompasses Musical Theatre, Drag, and Drama as -It Should- Delivering a Fully Rounded Performance with Powerful Vocals, a Tender Message, and Killer Wit.

A Blog View by Alejandra Enciso-Dardashti

Nick Adams, Eddie Korbich, and Alaska Thunderfuck. © Matthew Murphy

DRAG: The Musical opened Off-Broadway, on October 23rd at New World Stages. Written by RuPaul's Drag Race alumna, singer, and performer, Alaska Thunderf*ck, songwriter Tomas Costanza, and songstress Ashley Gordon, with none other than Liza Minnelli among the executive producers, the plot centers on two Drag Houses: The Fish Tank and The Cathouse. The first one is made up of Alexis Gillmore (Nick Adams), her best friend Dixie Coxworth, the "resident cisgender heterosexual AFAB (assigned female at birth) queen" (Christine Shepard in the performance I saw), Popcorn (Luxx Noir London), and Tuna Turner (Lagoona Bloo), and the second, with Kitty Galloway (Alaska Thunderf*ck), Savannah St. James (Jan Sport), The Tigress (Jujubee), and Queen newbie, Puss Puss DuBois (Nick Laughlin). Aside from great-sounding Speakeasy names, the mothers of each house, Alexis and Kitty, are and have been at odds for a while, also struggling to keep the business afloat. Alexis gets a visit from Gloria Schmidt (J. Elaine Marcos) an IRS case manager who tells Alexis through song, it is not good. Alexis calls CPA/ *entrepreneur* brother, Tom Hutchinson (Joey McIntyre) for help. Their relationship is not the best, yet Tom agrees and goes to the Fish Tank to assess the damage accompanied by his son, 10-year-old Brendan (Yair Keydar). The Cathouse gets a visit too. Rita LaRitz (J. Elaine Marcos) tells Kitty that the building is going in a different direction. No one knows the reason for Alexis and Kitty's tiff, but the future of both clubs is at stake. In an attempt to join forces via the girls, and the club's regular, Drunk Jerry (Eddie Korbich), belt battles occur, feelings come through, and truths are revealed.

Jan Sport,  Jujubee, Nick Laughlin, and Alaska Thunderfuck. © Matthew Murphy

Spencer Liff directed and choreographed the musical which has a well-woven story that makes sense and fits with the songs. DRAG' debuted in 2022 at The Bourbon Room in Los Angeles along with a studio recording. Compared with its New York version, and a couple of updates and tweaks, the songs sound better and feel rounded. One of the traits of Drag performances is lipsynching to musical hits; this piece goes beyond that tradition and showcases the performers in their full glory. The cast shines, giving wonderful performances and a darn good show.

This is not Broadway veteran Nick Adams's first Drag rodeo as he's been in La Cage Aux Folles and Priscilla Queen of the Desert. I remember seeing Nick at the San Diego Civic Theatre in the touring production of Wicked as Fiyero in 2014. 10 years passed until the next performance and it seems like time has not gone by as Adams is in great shape, his musical theatre experience shines through a clean performance with strong vocals and presence. All the queens put each of their own flavor into the roles. Alaska is fun, funny, and interacts with the audience taking her time, and hitting impressive, deep low notes. Christine Shepard is sassy as Dixie and has good chemistry with Joey McIntyre who brings balance to the piece as Tom and, if the context was not clear enough already, he lands it with the engaging and creative song "Straight Man". Luxx Noir London delivers the reading and slow-motion death drop as Popcorn, Lagoona Bloo and her Latin flare as Tuna Turner hit the stage with comedy and powerful vocals belting it out with Jan Sport as Savannah St. James, who aside from rocking a mean, long, beautiful blonde wig, sings like there is no tomorrow with a strong and impressive pitch. Jujubee as The Tigress has solid mannerisms and gestures continuously bringing the laughs along the good notes. Nick Laughlin mentioned in an interview that he came out of retirement to do the role of the naive Puss Puss DuBois, and a good thing as the Queen is sweet, with southern charm and an amazing voice. Eddie Korbich is a master of old-school comedy, hitting the marks as Drunk Jerry. J. Elaine Marcos as both Gloria and Rita, is fierce, comedic, and a good time. Yair Keydar as Brendan is a standout! Displayed a beautiful, chills-instilling strong voice that came through in the songs "It's So Pretty", and "I'm Just Brendan", this last one performed enchantingly with ensemble member Kodiak Thompson that reminded me of Billy Elliot, The Musical's, 'Dream Ballet' sequence. At this tender age, Keydar is already a stage gem. The ensemble also includes Cameron Mitchell Bell, Nicholas Kraft, and Teddy Wilson Jr., rounding out each song with mean choreography and charm.

Joey McIntyre with Tomas Costanza and Tyler Connaghan. © Matthew Murphy 

The wardrobe is stunning courtesy of Marco Marco, with sequence, leather, high heels, thigh highs, all of it. Makeup by Aurora Sexton is out of this world, especially for the eyes, with amazing shadows that bring them out and make them pop in a glamorous, colorful way. The wigs by Vanity should have their character credit in the program as each comes alive from long and smooth, to green and funky, light brown and wavy. Jason Sherwood incorporated an urban, colorful style to house both clubs allowing grand entrances and exits contoured by Adam Honoré's sexy lighting design that included pinks, yellows, and grays with Aaron Rhyne projections that made the scenes pop. A pole in Sherwood's set design could be used or played with a little more.  

Elaine Marcos, Teddy Wilson, and Nicholas Kraft. © Matthew Murphy

The musical is performed with a live band that features Andrew Orbison (conductor and keyboard), Ariel Bellvalaire (guitar), Tyler Connaghan (guitar), Jasmin Guevara (drums), and co-creator Tomas Costanza on the base. The punk-rock band adds to the high-energy musical by having some members perform alongside the Queens and cast, bringing the house down along Drew Levy's sound design that comes through crisply, using all the space while not overpowering it.  

DRAG: The Musical is a great, thought-out piece that incorporates all the elements within a well-written story that not only has a message and brings perspective, but is fun and pretty too. 

Currently playing at New World Stages. For more information please click HERE. 

Also please note Joey McIntyre will resume performances on December 9th and Alaska Thunderf*ck on January 11th. 

Backyard Renaissance Theatre in San Diego Closes Ninth Season with a Stirring Production of MISERY

Thrills, Special Effects, and a Scream (or two)...

A Blog View by Alejandra Enciso-Dardashti

Francis Gercke and Maggie Carney. Photo Daren Scott.

I remember being scared of Kathy Bates in MISERY, the movie, and my best friend was obsessed with the novel IT, so I was exposed to the materials. (I could not understand why she loved reading about that clown at 13 years old.) Then, after reading MJ Sieber's Director's Notes for this play, it helped me understand the "Constant Readers," and since I am also a kid from the 80s, well...

Later in life, during my reporter days, I reviewed MISERY the play on tour with a Mexican company. It was so engaging. 

Backyard Renaissance is closing its ninth season with this play and what a fit! the company has proven to be a master of the mysterious and rip-roaring.

MISERY, a novel by Stephen King published in the 80s was adapted into a movie a couple of years later with a script by William Goldman. Famous novelist Paul Sheldon (Francis Gercke) has had great success with the book series MISERY, Victorian romance novels with the life adventures of Misery Chastain. Whenever Paul is due for another writing marathon, he goes to the mountains in Silver Creek, Colorado. After a wild snowstorm and an almost deadly car accident, Paul is rescued by Annie Wilkes (Maggie Carney), a nurse who is also his number one fan. As she discloses the information proudly, Paul realizes his legs are broken and he has a dislocated shoulder. He mentions a new manuscript to Annie and after some negotiations, she gets to read it, and things go south quick. Buster the local sheriff (Alex Guzman) is investigating Paul's accident as there is a car but not a body. At the same time, the last book of the MISERY series is about to drop and Paul gets concerned.

Alex Guzman and Maggie Carney. Photo Daren Scott.

Directed by MJ Sieber, the frame trace reflects throughout each scene with meticulous and calculated acting. Francis Gercke displays impressive physical work beyond the stage, having Paul's pain be grasped across the room. There is a scene where he uses the bed as a base to get up and Gercke does this full-on pike (IYKYK) beautifully. Maggie Carney's rendition of Annie is a total spin from her Mattie Fae in last year's production August: Osage County, for which she was nominated for a Craig Noel award. Carney is both unsettling and moving as Annie, displaying joy and anger through mannerisms and gestures articulated with loud screams modulated differently while instilling chills. Although Alex Guzman's interventions as the sheriff are brief, they bring thrill, energy, and momentum.

The creative team for this production had synergy as it manifested throughout the play having each element stand out and complement. Curtis Mueller's lighting design paces the scenes and guides the audience through pauses and surprise, lighting the window to illustrate the time of day, or going full-on dark. Logan Kirkendall's sound aside from the ambient sounds that were on point, curated a pretty cool soundtrack that served as background throughout the performance while illustrating a musical reference that Annie uses. Yi-Chien Lee's set design is detailed and even churrigeresque -matching Annie's personality- showcasing the bedroom where Paul is recovering, a gloomy kitchen, and the front door with its porch. Chien Lee hints at a hallway behind the room that peeks through the bedroom door adding to the puzzling vibe. Jeffrey Neitzel's special effects go from a snowstorm to a loud scream that I might have let out during a sepulchral silence (not the first, and I do not think it will be the last). They are thrilling, exciting, and unexpected which is a good combo. Jessica John Gercke's costume design was playful with Annie's ensembles using long skirts, stockings, chunky boots, and a coquette dress. The sheriff's gear was detailed and shiny, totally giving the vibe, and Paul even though bedridden, showed some fitting pieces as well. 

Backyard Renaissance proves once more that thrills, chills, and spills are part of their jam. Well crafted and directed, it also weirdly delivers a fun experience at the theatre. With all the Christmas fluff happening currently, it balances out nicely. 

Check it out for yourself and for the theories out there about "theatre being expensive", two tickets can be purchased for less than 60 dollars. McDonald's is like 30, so go support your local theatre. 

Currently playing until Saturday, December 7. For more information, please click HERE. 

MOXIE Theatre Endures Repertory Venture with a Musical and a Play. Different Formats with Contrasting Plots, One Sweet, One Not,

Showcasing the Cast's Versatility

A Blog View by Alejandra Enciso-Dardashti

“Little Women: The Broadway Musical,” Photo Desireé Clarke Miller

It is great to see theatre companies stepping up with defying challenges during these questioning times when uncertainty takes over. Continuing its 20th anniversary season celebration, MOXIE is doing repertory for the first time, presenting Little Women, The Musical with book by Allan Knee, lyrics by Mindi Dickstein, and music by Jason Howland, based on Louisa May Alcott's late 1800s novel, about the four March sisters. The sisters then morph into high school students obsessed with bringing Colombian drug leader and narcoterrorist Pablo Escobar, in Our Dear Dead Drug Lord by Alexis Scheer.

Opening "day" last Saturday, November 16 was an exciting one. An audience member gasped "This feels so Manhattan". And yes, the thrill of seeing practically five hours of theatre in one day is not for the weak, so it makes it much more special.

Mikaela Macias leads Little Women as the outspoken, independent Jo March. Nio Russell is sweet Beth, Becca Myers is the oldest sister, boy crazy Meg, and the youngest, therefore spoiled Amy, is Lena Ceja. The plot centers on the four sisters' family life with their mother, Marmee (Constance Jewell Lopez), and their longings while their father is at war. Mr. Laurence (Will Doyle) is the March's wealthy neighbor and guardian of his grandson Laurie (Tanner Vydos) who is being tutored by John Brooke (Ryan Hadley). Aunt March (Michelle Caravia) has big plans for Jo to thrive in society but a disagreement changes the setting and Jo moves to New York to become a famous writer where she meets Professor Bhaer (DeAndre Simmons). Laurie is practically a part of the family and when the sisters' father becomes ill, Marmee goes to him leaving Amy in Aunt March's care. Things shift and the sisters are faced with life-changing decisions and a devastating loss. 

Leigh Scarritt led the musical with a mindful direction that displayed the artist's vocal abilities. Because the music is recorded, some of the notes were at a higher volume in search of the tone as well as some of the dialogues. This could also be attributed to opening jitters although it does get complicated to sing live to/with recorded music. Cynthia Bloodgood's sound design aimed to align all these elements with the space and have it all go through.

Mikaela definitely gives it her all with high-paced energy and potent vocals. It was my first time seeing Becca Myers outside of a reading, and the multiple-threat performance carried original nuances, nice melodies, and good stage camaraderie, especially with Ryan Hadley who gave comedy, drama, and musicality. It has been great to see Lena Ceja's stage journey from Addams Family, to 'Comet and now Little Women as she is great with harmonies and interpretation. I missed the opportunity to see The Color Purple, so I was not familiar with Nio Russell's work. What a treat, as they have a sweet pace and a beautiful voice. In her MOXIE debut, Constance Jewell Lopez was charming as Marmee and displayed wonderful harmonies with the sisters. Tanner Vydos and DeAndre Simmons, who play the story's love interests, showed their singing chops, dominating each note with a captivating and intense delivery. Will Doyle is lovely as Mr. Laurence, carrying a wonderful interpretation with poise and good timing. Even though Michelle Caravia has brief interventions as Aunt March, she squeezes all the juice out of those lines poignantly and with great flair. 

Xavier J. Bush's choreography shines in both pieces, bringing balance, relief, and a good time.

“Our Dear Dead Drug Lord,” Photo Desireé Clarke Miller

I thought I was going to see the full cast of Little Women in 'Drug Lord but no, the core cast for the two pieces in repertory are Nio, Mikaela, Lena, and Becca. This piece is a total 180, or 360 even, because although landing on the same spot when doing a 360, after that turn, things change...In Alexis Scheer's play, the time is 2008 during the electoral campaigns in Miami. Four high school girls are members of the "Dead Leaders Club," dabbling in séance, obsessed with bringing back Pablo Escobar to life in exchange for a "do-over." The 90-minute piece with no intermission goes by fast with funny moments and lines that take jabs at political parties, immigration, and overall teenage life. Funny moments until they are not. 

The histrionic contrast is palpable and impressive with the four actresses who leave their wholesome March persona behind to leap into 2008 Miami before Obama's triumph. Lena is fierce as Pipe, Nio is raw as Squeeze, Becca is hilarious as the naive Zoom, and Mikaela is strong as Kit. MOXIE´s Executive artistic director, Desireé Clarke Miller, directed this piece, highlighting the contrast in the repertory while having the actresses thrive by playing in this theatrical yin-yang dynamic. In a strong, hard effort to not reveal any spoilers, *sigh*, there are two Séances, and what seems to be a serious but playful ritual between the friends shifts quick. One of the Séances is majestically lit by Colby Freel and Joshua Heming with intense reds and marrons, intensified by Megan Aguilar-Ame's sound design in Atria Pirouzmand and Ali Roustaei's iteration of an abandoned treehouse that had all the realistic touches including a couple of posters where the movie Thirteen peeks from stage left. 

Alexis Scheer incorporates bilingual dialogue that is as intense as it is beautiful, with a matching scene that focuses on the play's heart. Within all the confusion and commotion of what is happening, that dialogue is pure gold. However, non-Spanish speakers can get lost, and that could be a disservice by not fully grasping the feeling and meaning of it all. It is not about the Spanish; it is about the length of the dialogue.

I understand Scheer's intentions with the play but I felt it not to be fully landed, aside from the glorification of a murderer and terrorist. But, to each their own.

There is a trigger warning in the program and on the website, but it definitely should be communicated more with signage and a verbal warning before curtain. As mentioned in the program, each person is different and with different sensitivities; consideration is needed as these triggers can flare up not only because of one's self and character but also because of traumatic experiences. 

These two pieces show the patriarchy and what women have been subjected to for centuries. 

Only a couple of theatres in San Diego have ventured into this stage pilgrimage, and I am definitely here for it as it adds special value. Credit where credit is due to the MOXIEs and these impressive actresses, who not only demonstrated skill, ability, and amazing memory but also showed what badass performance looks like.

Little Women, The Musical, and Our Dear Dead Druglord are currently playing -and now extended-  until Sunday, December 22. One performance on Thursday and one on Friday, two performances on Saturday and Sunday. For more information click HERE.