Season’s Greetings Artsopolites!

The holidays are upon us and the Arts are celebrating everywhere. From the beautiful light and tree displays to the artful confections being cooked up in the kitchen and the amazing crafts that are being prepared for gifting, this is a special time for Artists of all kinds.

This time of year is of course also about family and traditions. As a cat owner I of course include my two 3-legged wonder cats as part of my family and they were particularly drawn to this weeks Princess Pick.

The Christmas Mouse, based on the music of Linda Arnold, plays for just two weekends at the intimate 70ish seat pavilion of  Santa Clara Players. HA! Santa! It’s PERFECT! And Perfect too becuase it’s great for kids AND adults. This original play centers around a mouse determined to win the gingerbread house contest. Gingerbread happens to be one of my favorites, and I’m always amazed at what artists can do with frosting and candy.

Don’t be fooled though, as pretty as these houses get, I have absolutely NO guilt about consuming them.  This is their purpose! And this play is your purpose!  Support the arts, enjoy family time, celebrate animals and ginngerbread, and even have some free refreshements after the show sounds like a great outing for the holidays! I would just leave the cats at home if I were you.

‘The Seafarer’ at San Jose Stage Company
By Karen D’Souza -Mercury News

The road to hell is paved with high spirits in “The Seafarer.” The art of intoxication is both celebrated and vilified in Conor McPherson’s heady new drama, a tale of two brothers drinking themselves to death one Guinness at a time.

One of the most potent Irish playwrights today, McPherson has become the bard of the supernatural. In “The Weir,” he spun a yarn of ghosts and grief. In “Shining City,” he spliced the world of the living and the dead.

Now, in “The Seafarer,” he beats the devil at his own game, shuffling a lethal deck of cards, booze and damnation. One of the most visceral San Jose Stage Company plays in recent memory, “Seafarer” will restore your faith in the healing power of holiday theater, which is all too often relegated to the realm of treacle.

The Emerald Isle has never been wetter than in the home of the perpetually pickled Richard (the inimitable Julian López-Morillas) and Sharky (Randall King), who live in a squalid hovel littered with bottles, cans and drunkards. Benders are a way of life here. The favorite drink is Irish coffee, minus the coffee.

An inveterate old sot, Richard was so pie-eyed he tumbled into a garbage dumpster, banged his head and woke up blind. Now a tottering mass of fear and revulsion, he holds court in the squalid living room like a grizzled Falstaff gone to seed. López-Morillas revels in the perverse subtleties of a monster part that captures addiction in all its grimy glory.

Moaning with ecstasy at the first drop of the day, Richard can’t be bothered with details, like bathing or civility to his erstwhile caretaker brother. Sharky, a pugnacious lout who has had the fight pummeled out of him by life, tries vainly to climb out of his cups one fateful Christmas Eve. His best-laid plans go awry when they are visited by Mr. Lockhart (Kevin Blackton), a man of wealth and taste with an infernal temper.

This is a Faustian pact fraught with old Irish lore and scabrous postmodern wit. The playwright lights this dark parable with incendiary insights into the culture of drinking, the toxic link between fraternity and debauchery. McPherson’s love for his characters, his deep and abiding sense of empathy for their suffering at the cruel hands of destiny, wins us over.

While director Kimberly Mohne Hill occasionally lets the rich musicality of the text wane and the lads have a spot of bother with the accents here and there, this is a deeply engrossing tragicomedy that’s as funny as it is fierce.

Colin Thomson shows off exquisite comic timing as the hapless bottle fiend Ivan. López-Morillas, reprising a role he played at Marin Theatre Company last year, steals every scene with a symphony of sighs and bile. Blackton nails the elegance of evil, if he misses some of the menace that should lace this endgame. King delivers a quietly reflective performance that casts the rest of the ensemble into high relief until Sharky slouches toward his shattering moment of atonement.

Review: City Lights pours a refreshing snifter of snark into its holiday show
By Karen D’Souza, Mercury News

Better watch out, better not cry. Better not pout, I’m telling you why: Santa Claus is not above a little breaking and entering in “Another Night Before Christmas.”

The whole fa-la-la routine has fallen flat for Karol, a burned-out social worker who’d rather get a stake of holly through the heart than listen to another Muzak version of “O Tannenbaum.” But this year Mr. Claus is as hard-nosed as he is rosy-cheeked. Brooking no resistance, Santa responds to Karol’s cynicism and ennui by disabling her alarm system, stealing into her condo in the dead of night and getting his ho-ho-ho on big-time despite her vociferous protests.

A spunky modern comedy in its West Coast premiere at San Jose’s City Lights Theater

Company through Dec. 20, “Another Night” is a witty antidote to the usual yuletide fare. It’s a bright little tale about finding the sparkle in a dark world. Hint: Sometimes you have to look mighty hard.

While Daren A.C. Carollo’s staging is far from perfect, if the old chestnuts are beginning to taste a bit stale, this musical may hit the sweet spot. To be sure, Sean Grennan’s lyrics don’t shine as brightly as his dialogue; the musical interludes need more polish; and there is some slack pacing. Still, you’d have to be a Grinch not to find the production endearing, as the two-person cast throws itself into the material with considerable spirit.

It’s not such a wonderful life for Karol (Lisa-Marie Newton). She’s overworked, underpaid and more than a little bitter. Still, on a blustery winter’s night, she takes pity on a white-bearded homeless man (Michael Johnson) she finds perched on a park bench and shares her dinner with him. He repays the favor by breaking into her condo in the wee hours, claiming to be jolly old St. Nick in the flesh. Johnson gives Burl Ives a run for his money as an irrepressible Kris Kringle with a heart as big as his belly.

Apparently times are tough all over, even at the North Pole. Truthfully, this Santa is coping with some rage issues. Donner has been hitting the sauce. It’s enough to make the reindeer go on strike.

Happily, Johnson’s got the pipes to make even forgettable tunes sparkle. Newton gives Karol a flinty outer shell to hide her soft side. If some of the moments of redemption feel forced, it’s hard to resist Grennan’s sly pop-culture asides. Wal-Mart gets a sound drubbing. Oprah does not emerged unscathed. Even Moveon.org gets a mention.

Snarkiness is the wrapping on this little Christmas present, which also tips its hat to every perennial from “Nutcracker” to “A Christmas Carol.” If you need to banish your inner Scrooge (and this year, you are not the only one!), City Lights is here for you. Get a head start on the holiday spirit with “Another Night Before Christmas.”

Do not adjust your monitor, the images in this exhibit may appear SMALLER than actual size. A LOT smaller. And that is exactly what makes it so CUTE! Maybe it’s because I never had a dollhouse growing up. Maybe it’s becuase I’m so terribly nearsighted as it is. Maybe it’s just because the scientist in me is continually asking HOW DO THEY GET THOSE THINGS SO SMALL! But whatever it is, the It’s a Small Wonder exhibit of Scaled Miniatures at the Los Altos History Museum is a bunch of fun art crammed into tiny little packages. What? You didn’t even know there was a Los Altso History Museum. Well, Christmas just came early! Now you know.  This exhibit features architectural models, artwork and salesman’s samples. From doll houses, books and dishes to ships, automobiles and trains, you can explore the fascinating world of scaled miniatures, antique and modern, from the U.S. and around the world.  Enjoy the  annual themed tree, the decorated (full-size) J. Gilbert Smith History House, the Museum Store, and the changing holiday décor in the tiny houses.  So you see…size DOES matter. But bigger is NOT always better. There. I said it.

Admirable Palo Alto Players production reminds us why we still care about Romeo and Juliet
by Chad Jones – PALO ALTO WEEKLY

Director Bill Olson asks an interesting question in his program notes for Palo Alto Players’ “Romeo and Juliet.” He wonders, in this digital world, if it’s still possible for audiences to emotionally invest in a classical tragedy where the characters’ problems, as he puts it, “could be solved with one phone call.”

Think about it. Romeo is banished and Friar Lawrence’s message to him is never delivered because of an unexpected plague quarantine. Because of that missed communication, three people die needlessly. In the modern world, the friar would just call Romeo (or text him: “OMG! Juliet not really dead!”) and tell him the complicated plan involving Juliet’s temporary stint in the crypt. No one would learn important, albeit tragic lessons, and the Montagues and Capulets would likely continue their petty feuding.

The answer to Olson’s question is, of course: Yes, we still care about those crazy, star-crossed kids. We care about them in fair Verona and we care about them when they’re singing Bernstein tunes on New York’s Upper West Side. We care because, cell phones and singing aside, they are the beating heart of an irresistibly juicy love story.

Olson certainly knows this, though his road to the play was slightly unusual. After working on “Romeo and Juliet” with students at Jordan Middle School, he convinced Palo Alto Players to produce a Shakespearean play on the stage of the Lucie Stern Theatre for the first time in 54 years (though the company did produce three summer Shakespeare productions in Woodside about a decade ago).

He probably made a persuasive argument about making a direct, unfettered connection with the emotions at the core of this oft-told tragic tale. And that’s exactly what he does here.

Though not every member of Olson’s 17-member cast (which includes the director himself as Friar Lawrence) handles the verse with precision, everyone on stage attacks it with gusto. Even when the words aren’t always clear, the action is, and that goes a long way toward effective storytelling.

Fair Verona is represented in Patrick Klein’s bustling, crowded set, which needs only a few sliding or rolling tweaks to become a romantic balcony or a chilly crypt. Cleverly, Klein has subtly designed the railing on one side of the set with ornate Cs for Capulet, and Ms for Montague on the other side.

Costume designer Mary Cravens goes for a similar device to depict the feuding families. The overarching color scheme of the show favors rich autumnal hues, but for the specific families, the Capulets are in reds and maroons, while the Montagues go for a range of blues.

There’s a classical feel to Olson’s stage, but it never feels musty. Sound designer George Mauro keeps one foot in modern day with his underscore and its decidedly un-Elizabethan sounds such as electric keyboards and, for several fight scenes, electric guitar.

Olson’s dynamic staging of the fights is one of the two-and-a-half-hour show’s highlights. From the slow-motion prologue, in which the entire tale is told through its violence, to the intense confrontations between the young men of the warring families, the fight choreography dazzles with its swordplay and its hand-to-hand combat.

Equally as impressive is the romance. The famous balcony scene with all those famous lines — it’s a veritable Shakespeare’s Greatest Hits! — is especially charming. After having met and fallen in love at first sight at a masked ball, Romeo (Andrew Gruen) and Juliet (Sepideh Moafi) seal the deal romantically speaking with a spritely moonlight flirtation.

First, we see Juliet on the balcony outside her bedroom singing to herself. Clearly Moafi is an extraordinary singer as she teases us with her gorgeous soprano. If the play were suddenly to turn into an opera, that might not be such a bad thing where Moafi is concerned. Watching and listening to her, it’s easy to see why Romeo would be so easily smitten. In addition to her beautiful (if only briefly glimpsed voice), Moafi brings considerable verve to Juliet, a smart young woman with easy access to her emotions.

With Gruen’s Romeo, it’s harder to see why Juliet would fall so hard, but Gruen warms up to the role and finds reserves of charm in his scenes with Moafi. She’s sassy and bursting with life, and he’s gleefully overwhelmed.

The bulk of the play’s testosterone is burned by Tybalt (Paul Jennings), Juliet’s kinsman; and Romeo’s homeboys, Benvolio (Kevin Hsieh) and Mercutio (Jeremy Koerner). They’re all lively, especially when fighting, but the show’s liveliest livewire is Shannon Warrick as Juliet’s nurse.

There’s always a chance that “Romeo and Juliet” will be stolen by the nurse, a role filled with bawdy humor and genuine, heart-wrenching emotion. Warrick gets some big laughs here before she takes us deep into grief. She, like so many great nurses before her, makes you wish someone could have written a spin-off show following the exploits of the nurse after the “R&J” madness ends.

Curiously, in a play so famous for its language, Olson stages some of his most effective scenes with only musical underscore. First, there’s that ballet-like prologue, and then there’s Romeo and Juliet’s actual wedding, which is touching in its silence.

Words are secondary to emotions in this ambitious, admirable production.

‘Shape’ Shifters

Excellent cast puts its own spin on Neil LaBute for RTE’s ‘The Shape of Things’

By Steve Palopoli – the Metro

I love gift-giving. I’ve made up holidays just as an excuse to buy and give people things. I better not ever win the lottery,  or you are all getting the most random, unneccessary gifts you never needed, seriously. This has always been one of the love hate problems I’ve had with the Silicon Valley. Being in the middle of gadetland, it’s easy to get your hands on the hottest technology and geek chic gadgets before you ever knew you couldn’t live your life properly without it! Great for fun, not so much always for the wallet. And, sometimes the temptation to jump the gun and be first overpowers the logical, wait 2 weeks and someone will have a better version with more bells and whistles for half the price. It certainly would be handy to have my own personal tech guru’s tell me what’s in and out and what I should get all my tech savvy compadres for the impending holiday season! OH WAIT! I CAN! Becuase the Commonwealth Club is totally looking out for me.  You can get all the latest nerd news to appease your inner wonk by attending the Tech Toys for the Holiday Panel and discussion.  I’m making my list and checking it twice! Happy Geeking!

FROM THE AWESOME INVENTIONS..

TO THE TECH FUN THAT AWAITS THE DJ IN YOU!

I have just 2 words for you this week. ROB. ZOMBIE. It’s Hallowee for goodness sake. The man’s name is ZOMBIE! Okay, that was more than 2 words. But please, if you are EVER going to see Mr. Zombie, jus after Halloween is almost as as good as seeing him ON Halloween. The man can rock. He, being a film maker too, is all about putting on a good show. So treat yourself to a great experience at the San Jose Civic, intimate yet able to handle the Metal!

A tragedy without tears
West Bay Opera’s ‘La boheme’ is exceptional but fails to deliver ‘a good cry’
by Kevin Kirby – Palo Alto Weekly

On opening nights at West Bay Opera, it is customary for José Luis Moscovich, the company’s general director, to address the house prior to the overture. A dapper man with a dry sense of humor and a soft yet crisp speaking voice, Moscovich has a nice touch with a curtain speech, making the audience feel like integral collaborators in the preservation of a precious cultural heritage.

Last Friday, at the opening of Puccini’s “La bohème,” the first show in WBO’s 54th season, Moscovich riffed on the recent health care debate, wryly suggesting that the government should support opera as a form of therapy and suggesting that this show was just what the doctor ordered for those in need of “a good cry.”

Certainly Puccini’s tale of young love cut down in its prime is designed to be a tear-jerker. When the chronically ill seamstress, Mimi, appears in the rundown garret that the poet Rodolfo shares with three other starving artists, asking him to relight her candle because she has no matches in her own quarters, no one with any knowledge of operatic tropes could expect their sudden romance to have a happy ending. By the opera’s final scene, when a severely weakened Mimi is carried into the garret once more, unable to climb the stairs on her own, it’s hanky time.

Or at least it should be. It is perhaps an overstatement — and an overly glib one at that — to say that there was not a wet eye in the house at the close of Friday’s performance, nor was the Lucie Stern Theatre filled with the sniffling noises of an emotionally devastated crowd. In short, the production simply lacks the visceral punch that one would hope for.

It’s an unfortunate critique to have to make, since WBO’s latest staging of this perennial favorite gets so many things right. The orchestra, singers and visual design are all quite strong.

Conductor Bryan Nies has assembled a fine group of musicians. Apart from some minor difficulty in a tricky pizzicato passage in Act III, the orchestra was effectively flawless. Nies has superb control of the players, and his sensitivity to the ebb and flow of the score is exemplary. During Rodolfo and Mimi’s crucial arias — especially Act I’s “Che gelida manina” and “Si, mi chiamano Mimi” — Nies never takes his eyes off the singers, matching their phrasing breath for breath.

Pedro Betancourt (Rodolfo) and Carrie Hennessey (Mimi) are equally adept at capturing the lyricality of Puccini’s melody lines. Their duet, “O soave fanciulla,” is a lovely close to the first act, even if the characters’ proclamation of love seems a bit premature for two people who met 10 minutes earlier.

David Hodgson is immensely likable as Marcello, the painter, and his unselfconsciously warm baritone serves the music well. Ani Maldjian gives a vocally accomplished performance as Marcello’s on-again, off-again lover, Musetta, even if she doesn’t quite capture the infamous siren’s larger-than-life persona.

John Bischoff and Teagan Moore lend great energy and humor to the garret scenes as Colline and Schaunard, respectively. Both men have rich voices, even if Moore seems to be scraping the bottom of his vocal range in a few passages. Moore is very funny in Schaunard’s dance solo at the top of Act IV, and Bischoff delivers the aria “Vecchia zimarra” (in which Colline explains to his faithful overcoat that he must pawn it to buy medicine for Mimi) with perfect simplicity. Eric Coyne is adequate as the landlord Benoit — balancing on one foot on a raked tabletop while bragging about his extramarital conquests — but his exaggerated makeup actually distracts from his performances.

Jean-François Revon’s set designs are simultaneously simple and ornate. They are a marvelous recreation of the Art Nouveau style… and an appropriate one, as WBO has set the story at the turn of the 20th century. There is hardly a straight line or square corner to be seen. Instead, the garret and the Café Momus are defined by enormous curvilinear window frames: sinuous, calligraphic and botanical, and the sky in Act III is framed by ominous tentacles of cloud or vegetation.

The only odd scenic choice is the apparent decision to strip the garret of all props and other set dressing during Act IV — “apparent” because it almost seemed as though the stage crew had simply failed to preset the stove, the easel and a handful of smaller items before the lights came up, leaving Marcello and Rodolfo to sing about “this pen” and “this brush” with not a single prop in sight.

The period costumes by Yuri Cataldo are effective, as is Steven Mannshardt’s lighting design. Another odd choice, however, is the decision to play all of Act III behind a dark scrim. Granted, this tactic creates a murky pre-dawn feel that suits the scene, but it also robs the actors of their facial expressions.

Jimmy Smith’s staging is very good in the garret scenes; less so elsewhere. In particular, the Latin Quarter market scene that opens Act II feels more cramped than vibrant. Also, more rehearsal time should have been devoted to the children’s chorus; the kids are enthusiastic but unpolished.

Ultimately, though, none of the production’s relatively minor flaws would matter if this “Bohème” could deliver on Moscovich’s promise of a good, cathartic cry. But the saddest thing about this tragedy is that the alchemy doesn’t quite work. Perhaps the sting of Mimi’s fate is blunted by the fact that Hennessey never exhibits a full measure of youthful gaiety in the first place, choosing to play Mimi as rather staid and pragmatic throughout. Perhaps the fault lies with the somewhat lackadaisical reactions of her friends when she returns to the garret in Act IV, as though they all realize they’ve come to the final, preordained scene.

Whatever the reason, it might be wise of Moscovich to change the thrust of his preshow remarks. Both musically and visually, this is an exceptional production. If it were pitched as a timely social commentary on the cruelty of a healthcare system that neglects the poor, rather than as a tear-jerker, it might just succeed on all fronts.

What: “La bohème,” presented by West Bay Opera
Where: Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto
When: Remaining performances are Oct. 24 at 8 p.m. and Oct. 25 at 2 p.m.
Cost: $30-$55 (group discounts available)
Info: Call the box office at 650-424-9999. For more information, go to www.WBOpera.org.