The use of cell phones during a performance: a latent issue that is becoming more aggressive

 What Are Theatres Doing About It?

An article by Alejandra Enciso-Dardashti

Photo. Microsoft 365 creative library

I sounded like a broken record recently, going on and on about how, at the Critics Circle, we were reviewing five shows a week in San Diego's theatre. Now that we have a couple of weeks off and before the next round of plays comes, I wanted to write about something important.

As a theatre aficionado first and theatre critic second, I can share various experiences about fellow audience members. I often mention in my reviews how an interaction that had nothing to do with the show went south. In our short-lived podcast, my colleague David Coddon and I devotedly discussed the topic of Theatre Etiquette and, in turn, were criticized for it with examples such as "not seeing theatre as a democratic art form" or "seeing it from a place of privilege." Well, to all of that, I say bah! Humbug! Because it all comes down to common sense and basic manners. 

With the current state of the U.S., it is understandable that theatres need to address more pressing issues like funding and programming, given that most, if not all, are non-profit entities. Still, it needs to be tackled. The use of cell phones during a performance is the purpose of this piece today: a latent issue that is becoming more aggressive, and I do not see theatre companies doing much about it. And no, I am not talking about the fervent ring and/or alarm in the middle of the show, dismissing the pre-curtain warning moment when it is asked that the phones be silenced or turned off. No, that is just a given. I am talking about people full-on scrolling with their bright-ass screen in the dark theatre while actors and creatives are working. Some people assume what is happening on stage is not worth their time or attention, so they just start scrolling. With the screen fully lit. In the middle of the dark. Like they're in their living room.

When this happens, I take different approaches: I tell the person, which usually and what feels like an alternate dimension/Twilight Zone, they get offended 99% of the time -the audacity- or I put the show program right next to their phone to block the light because aside from utterly bothersome, it hurts the eyes. We are not in a cave. We are in a theatre!. I have experienced people full-on typing on WhatsApp and even a man watching the NFL! (Yes, that was during a performance of Hand to God) The WhatsApp conversations happen practically every show at this point. 

And I ask, WHY IS THIS BEING NORMALIZED?!

IT IS NOT ROMAL

IT IS RUDE

IT IS INCONSIDERATE OF EVERYBODY

Oh, this is not a generational issue, no, ma'am! From Boomers to Gen Z, now that is democratic!

I am seeing more and more in stand-up comedy shows and movie premieres how companies like Yondr are being rendered to enforce cell phone-free spaces. And I see it on both sides of the border. When I was invited to the Beetlejuice, Beetlejuice premiere in Tijuana, Yondr was there. Comedians do not want their material leaked or get canceled. The same goes for blockbuster movies. Of course, this would incur a budget and probably not a small one, so what is there to do? Continue to normalize it? The answer is no.

Awareness is the first step, and training is the other. This includes printed materials, emails, and training for ushers and house managers. The ushers are volunteers, and it might be a stretch to ask more of them, but things can change if the house managers enforce authority. 

Live theatre as a mere form of entertainment is just the icing on the cake. There is so much more behind it. Employment, learning, history, protest, the list continues.

Shouldn't this be enough to protect it?

"The Dark Heart of Dooley Stevens" Will Keep Audiences in the Moment

A Play by Backyard Renaissance's Artistic Director Francis Gercke

A Blog View by Alejandra Enciso-Dardashti

Jessica John and MJ Sieber. Photo Daren Scott

Backyard Renaissance has a unique and defined style, yet there will always be surprises when seeing their productions.  

Francis Gercke, the company's artistic director, wrote their theatre year opener, The Dark Heart of Dooley Stevens. In the pre-curtain speech, he kindly explained that it was okay if people did not understand what was happening. This made sense, as Backyard has this timing to bring audiences out of whatever is happening in the world. For example, when theatres were reopening after/during the pandemic, their production of Whitchland made a fantastic welcome. 

With Dooley, set in a trailer in the American Southwest during the 1990s, Cindy (Jessica John) and Dooley (MJ Sieber) will share more than a family experience. It could be an abduction, an arrest, or even a legendary creature. The suspense holds the magic realism's hand; like Gercke said, it is okay. Because being drawn into the moment of the happenings is what matters.  

All the design elements for this show were synched. Mathys Herbert created a realistic set with relief that invited appreciation both outside and inside—recessed ceiling lights included—in parallel with Curtis Mueller's lighting design, which was fun and active, displaying different colors that played with Jeffrey Neitzel's special effects, boosting the story and its thrilling moments. Sound design is always key, and Logan Kirkendall had it be the skeleton key as the sound also played with the special effects and the lighting, having audiences react. I might have cursed loudly in Spanish at one point... There's also background music by Steven Leffue rounding out the whole vibe.

Jessica John and MJ Sieber. Photo Daren Scott

Hannah Meade, a recent Craig Noel Award recipient, directed this piece, and it is always a treat to experience a director's different perspectives through their lens. This play contrasts Meade's last work in Constellations, showing her ability and skillset as there are plenty of elements to consider in The Dark Heart of Dooley Stevens, from the actors to the placement/blocking meshed in the effects, light, and sound. Also, considering the audience's reaction, Meade aligns these elements accordingly with a continuous motion that is lifting and, through clear communication with Hector Zavala, the technical director, for it all to come together. 

Jessica John and MJ Sieber have shared the stage before, making it different each time. As their promotional materials say, "Third time's a charm." Here, they brought suspense, comedy, and heart to each moment with a precise and intended trace with added movement courtesy of Christopher Williams's fight choreography. There is also cooking and eating within the scenes. The real cooking continues to activate the already stimulated senses with a wif of what is happening on the pan. 

Jessica John Gercke brought the 90s grunge and florals to the costume design for this production, matching it with burgundy Converse and biker boots. Burgundy was a thing in the 90s if you know.

As it is a treat to see how directors work on different pieces, it is also a treat to see performers in their various artistic threats. Gercke is letting us into his playwriting and Sieber into his acting after directing MISERY. It's like an evened-out scoreboard. 

The Dark Heart of Dooley Stevens is currently playing until March 15. For more information, please click HERE. 

Anna Younce is the stage manager for this show, and Rueben Renteria is the assistant stage manager.

And remember, theatre is not expensive when gifting yourself. There is always a way to find good seats at a price that fits every wallet. 

North Coast REP Presents Heidi Schreck's "What the Constitution Means to Me"

Now More Punctual than Ever, the Production Also Includes Up-and-Coming Local Young Actors

A Blog View by Alejandra Enciso-Dardashti

Jacque Wilke. Photo by Aaron Rumley

I remember dying to see Heidi Schreck's What the Constitution Means to Me, and then, during the pandemic, it came on Amazon Prime. It exceeded my expectations. At that time, From Another Zero had a podcast, and we did a PodView of the show. As wonderful as it is to have access to shows on streaming, nothing beats the real thing, especially seeing the show live. The excitement came back, and there was a full circle moment with North Coast REP, as this is their current show in the season.

When she was fifteen, Heidi Schreck earned her college tuition by winning Constitutional debate competitions across the United States. Years later, she wrote a play about it, recreating the competitions and alternating with her current self while analyzing the supreme law of the land; how, when, who wrote it, and under what grounds. Through this analysis, Schreck not only exposes the white heteropatriarchy but also how other vulnerable groups, like the LGBTQIA+, have had to navigate the system.

In one of the competitions, she references the Constitution as a "living document." This piece is also a living document as it has seen different administrations since its opening. The play then takes a turn with a couple of debates about two contrasting actions and how, now more than ever, the Constitution needs to be exercised. 

Andrew Oswald. Photo by Aaron Rumley.

Jacque Wilke plays Heidi in the first part and is enchanting and articulate, interacting with the audience while exchanging lines with Andrew Oswald as the hilarious Legionnaire. The audience will also play a couple of different roles, which makes the performance more dynamic and engaging. Shana Wride's direction is punctual and precise in managing these dynamics and having them follow their course flexibly because each performance will be different, so Wride's directorial vision reflects pertinence. 

Marty Burnett's detailed set design of an American Legion Hall and Audrey Casteris's props frame the plot so the story can flow. The audience activity makes it feel more like an "event/competition" with Matthew Novotny's bright, engaging lighting and Evan Eason's precise sound channeling the different needs, whether it was debate, interpretation, or interaction. 

Elisa Benzoni's costume design reflected the speech vibe, using business casual attire with a peppy reveal during one of the monologues. 

A lovely aspect of this production is the role of the debater, which has two local up-and-coming young actresses alternating. The performance I saw featured Em Danque, who was vibrant, witty, and eloquent.

Em Danque & Jacque Wilke - photo Aaron Rumley

North Coast REP delivered a marvelous iteration of this show that directly gives food for thought, audience interaction, and camaraderie. 

Evelyn G. Myers is the production manager, Ali Flores is the production assistant, and Ashton Botts is the dramaturg.

The time is now. Currently playing and now extended until March 30. For more information, please click here. 

And remember, theatre is not expensive when gifting yourself. 

"Hello Dolly!" has last weekend of performances

 San Diego Musical Theatre's Production of the Classic Musical is Fresh and Energetic

A Blog View by Alejandra Enciso-Dardashti

Photo by Rich Soublet

This blog has mentioned that having classic musicals and plays produced locally is a treat and a privilege. San Diego Musical Theatre pulled off the magic again, delivering a vibrant production with potent vocals and high-level choreography courtesy of Craig Noel Award recipient Xavier J. Bush, who also performs in the show.

With a book by Michael Stewart, Dolly (Heidi Meyer) is a matchmaker and -I would say, a sly con artist- who arrives in Yonkers from New York to match Horace Vandergelder (A.G. Parks), a grumpy yet half-prosperous store owner who is in the care of his niece, Ermengarde (Elle Bolton )a nonstop weeper, courted by Ambrose Kemper (Andy Ben Reynolds in the performance I saw). Vandergelder's match will happen in New York to Irene Molloy (Katherine Chatman), a young widow who owns a hat store run by her assistant Minnie Fay (Johnisa Breault). Horace leaves the store in charge of his two clerks, Cornelius Hackl (Joe Stein in the performance I saw) and Barnaby Tucker (Jackson Taitano), who have a plot to meet girls. Dolly has a runner-up match with Ernestina Money (Sasha Weiss). Cracks start to show when the plan is in full motion, and Dolly's true intentions also start showing. 

Photo by Rich Soublet

Randy Slovocek, who was part of the 1994 touring production, showed his mastery and knowledge of the show with a clean, functional direction. Other productions have stagehands come and move props and set pieces that disturb the moment. Slovocek integrated those movements with song and dance, which resulted in a suave, enjoyable performance. Mike Buckley's practical set design gave the idea of what was needed for the story while being creative, along with Michelle Miles's lighting that went from right to left, and set the set apart in each scene to give them life. Jennifer Jones Glor's props boosted most of the dance sequences and a dinner scene where Heidi Meyer is hilarious, providing a fantastic and saucy Dolly with a fabulous stage presence that went well with A.G. Parks, who you want to dislike as Horace but end up liking. The performance I saw had a couple of understudies, and it was great to see the change as sometimes, as a critic, you want to see everybody in every role and get the most out of the show. Joe Stein stepped into the role of Cornelius with great voice and movement, meshing with his clerk co-worker Jackson Taitano. He was fun and funny as he was physically plunging to the floor, jumping and banging his head. (I hope he is not too bruised from this run). Katherine Chatman has the voice of an angel and delivered an enchanting Irene. Johnisa Breault, who I last saw as Elle Woods in Legally Blonde, The Musical, was charming as Minni Fay with a great voice and charisma. Shasha Weiss was a hoot as Ernestina Money, corky and fast. Elle Bolton and Andy Ben Reynolds added to the funny moments "in passing" by having the audience constantly laugh. 

Photo by Rich Soublet

Additional cast members include Dan Mason, Laura Bueno, Kaia Bugler, Brice Daniel, Salima Gangani, Jack Harlow Adkins, Andres Lagang, Marlon Magtibay, Kristin O’Connell, Adrian Oviedo, Julianne Riddle, Sarah Smudz; and Kylie Stucki. 

Richard Dueñez Morrison's musical direction excelled those vocals in Jerry Herman's music and lyrics, paralleling Jordan Gray's sound, which made audiences enjoy each song and note. Monique Hanson's hair and makeup contoured the time, and each character with Chong Mi Land's costumes that showed her rendition of the beautiful red Dolly is known for and colorful dresses for the dancers and the ensemble. 

There are a few performances left before the show closes this Sunday, and it is well worth the trip. For more information, click here. 

Hello, Dolly!'s production manager is Ron Christopher Jones, the technical director is Rogelio Rosales, and the stage manager is Shirley Johnston.

And remember, theatre is not expensive when gifting yourself. There is always a way to find good seats at a price that fits every wallet. 

La Jolla Playhouse opened the world premiere of the anticipated and highly talked about "3 Summers of Lincoln".

The Musical Has Powerful Scenes and Strong Vocals, Although Not All of It Aligns 

A Blog View by Alejandra Enciso-Dardashti

(L-R) Eric Anderson, Noah Rivera, Johnathan Tanner and Evan Ruggiero in La Jolla Playhouse’s world-premiere musical 3 Summers of Lincoln; photo by Rich Soublet II.

La Jolla Playhouse opened the world premiere of the anticipated and highly talked about 3 Summers of Lincoln. A musical piece with a book by Joe DiPietro, lyrics by Daniel J. Watts and Joe DiPietro, music by Crystal Monee Hall, and Michael Thurber as the orchestrator. 

The plot starts in 1862 during the Civil War. With an opening performance pertinent to the buzz, an amputee white soldier (the majestic Evan Ruggiero) tap dances to the rhythm of a telegraph intensely lit by Amanda Zieve's lighting, which was deep and contrasting, very Rembrandt, matching Derek McLane's scenic design colors made up by black and brown with hints of ambers, yellows, and whites by Zieve. The frame is charged with wooden letterpress blocks/squares, hinting at Lincoln's mastery of the printed press, and accessorized by David Bengali and Hana Kim's projections, including handwritten letters, the American flag, and war black and white scenery. The design also includes an elevator under the stage in the middle, which is used for both imaginative and comedic moments. Although creative and fitting, the letter blocks continuously reminded me of Matilda The Musical's set design... it happens...go figure. 

Quentin Earl Darrington as Frederick Douglass (left) and Ivan Hernandez as President Abraham Lincoln in La Jolla Playhouse’s world-premiere musical 3 Summers of Lincoln; photo by Rich Soublet II.

In the first act, President Abraham Lincoln (Ivan Hernandez) is a calm, Shakespeare-loving representative cornered and scolded by the members of his cabinet to then be brought to his center by his firm, intelligent wife, Mary (Carmen Cusack). As William Slade, the White House usher, and Lincoln's confidant, John-Andrew Morrison is delightful with a spot-on performance that worked well. Carmen Cusack is a firecracker, taking every scene's breath and running with it while putting the audience in her pocket; she is fantastic, also delivering beautiful vocals that fit into her grassroots style with songs like Mother's Suite and In Each Letter, which she sings with the soldiers and Saycon Sengbloh as Elizabeth Hobbs Keckley. Saycon is well portrayed as Keckley performing a great rendition of the song Bring Me More. 

As General George B. McClellan, Eric Anderson is charmingly sarcastic and even Trump-like at one point, which is very fitting to today's climate,  performing highly catchy songs like Sent by God and 4 Miles From Richmond, the first of which resembles The Beatles' Come Together beat. I am not looking to compare, but we will get to that in a bit. Quentin Earl Darrington, as abolitionist and public speaker Frederick Douglass, is a standout with a mighty presence and voice from the moment he sets foot on stage with Here I Am and towards the intermission, the gospel-infused, harmony-charged That's What He Said. 

Carmen Cusack, Saycon Sengbloh and Naomi Tiana Rodgers in La Jolla Playhouse’s world-premiere musical 3 Summers of Lincoln; photo by Rich Soublet II.

Lincoln almost felt dimmed during the first act, and this could be strategic in Christopher Ashley's direction as in the second act, which covers 1863 and 1864, both the character and Hernandez acquire a boosted energy at par with Douglas and Darrington giving audiences a better feel of Hernandez's training with memorable scenes and a dash of comedy. The second-act opener was a whopper with the song Pounding On The Rock, in which Jon Rua and Daniel J. Watts's choreography excelled, combining African-influenced movements, hip-hop, and tap that was powerful. What I appreciated about the choreography was the tap combined solos and duets with Evan Ruggiero and Alaman Diadhiou, which were well woven into the story and made aesthetic sense. Toni-Leslie James's costume design embraces the period, along with Matthew Armentrout's wig and hair that rounded out the characters.

I am always happy to see local actors on the bigger stages, like Geno Carr, who was also in Come From Away, and Bets Malone. Magic Mosley is part of the ensemble and plays Lewis, Frederick Douglass's son, with Naomi Tiana Rodgers as Rosetta Douglass, Frederick's daughter. The rest of the ensemble comprises Fernell Hogan, Jana Krumholtz, Kent Overshown, Noah Rivera, Nathan Salstone, Johnathan Tanner, and. Blake Zelesnikar.

Eric Anderson (center) and the cast of La Jolla Playhouse’s world-premiere musical 3 Summers of Lincoln; photo by Rich Soublet II.

Christopher Ashley synchronizes all the moving pieces like dance, music, acting, and movement, allowing the intense scenes to have their moment and be received by the audience. I would love to say there are no references, but there are other noteworthy musicals in this realm, such as 1776 and American Prophet, Frederick Douglass In His Own Words. This musical will be compared to Hamilton because of the subject matter and the combined elements. And I also mention Hamilton because of its blockbuster status. I am not comparing yet, the references pop up. There is a brief rap in 'Lincoln, but Crystal Monee Hall's music is more grassroots, gospel, and harmonious. Jonathan Deans and Mike Tracey's crisp sound design rounds out each dialogue and note with good projection. The musicians are tucked off-stage but delivered under Victoria Theodore's music direction and Wilkie Ferguson's music supervision. The lyrics are history/fact-packed, and they become unfitting. 

There are times during the performance when there is too much of everything. Like with every new piece, there is work ahead. The musical would benefit from tightening and more dramaturgy to flow and align like the powerful scenes and songs already mentioned. Still, it's a hot ticket that has been extended twice and is currently playing until April 6. For more information, please click HERE. 

James Latus is the stage manager for this show, and Monét Thibou and Alexa Bur are the assistant stage managers.

And remember, theatre is not expensive when gifting yourself.