REVIEW – Buried Child – San Jose Stage Company

Wait, what?! What just happened? Oh, Buried Child. That’s what just happened. San Jose Stage, you crazy, crazy theatre company. Leave it to you to take your audience on one messed up, wacky, WTF experience full of post-modern symbolism, bizarre dysfunction and theatrical deconstruction of the American Dream. I’m still not sure I understand it all, but for what it’s worth, you had me at corn.

Staccato,  sharp, repetitious, repetitious and repetitious dialogue sometimes reveals what you’re on the edge of your seat wanting to discover and sometimes leaves you wracking your brain, afraid you’ve missed something. And, you probably did. But, if at any point you’re unsure about what’s going on, be not afraid, I guarantee you’re not alone. Novice or theatre expert, I’m skeptical either has the upper hand here. Don’t feel as though you need to be in complete control of this plot, I think it’s fair to say, that would be an exercise in futility. This is an active piece of theatre and I need to state for the record my headache started well before I sat down and was not a result of this play. Still I’m not convinced having a totally clear head would have resulted in me feeling any less loss at certain moments during the performance. Again, this is okay. Do not panic. Breath and proceed with your audience experience. Discussion most certainly to follow afterwards. I would advise not going alone as talking to yourself about this play might prove too much of life imitating the art you just saw.

Now, as is tradition with Sam Shepard and the postmodern style, humor is used to prevent us from crying or slitting our wrists during the production, which runs a quick 70 minute first act and 45 minute second act. Indeed, there are plenty of genuine, darkly sarcastic moments of comedy delivered with flawless timing and expression. There are also a fair number of moments you laugh at because you’re not sure what the heck is going on. Seemingly random moments that iron themselves out (or not) in time can just as easily elicit an uncomfortable laugh as an intended joke.

Symbolism and metaphor in the scenic design, in this case the actual “crack in reality and that elusive American Dream” that lies in the floor of the set, is consistent with the style portrayed in the writing and acting. It reads a bit pretentious for me personally, but it’s not really supposed to be taken that literal. Don’t expect that giant dirt crack to be functional or even acknowledged or you’ll be disappointed at the anticlimaticism (you know what I mean, I have a poetic license, get over it already) in it all. Aside from that aspect, a great use of space as usual from the director and design team. Lots of levels, horizontal and vertical used and my favorite; a door/closet on stage that’s never used. What skeletons lie in there I wonder. Very Sarah Winchester.

A+ to the technical crew for using costumes, makeup and props specifically to digustify (seriously, it’s a word) our cast. When I was little I remember loving acting because you got to be “pretty” on stage. After playing my first roles, a troll, a spider and a witch, I realized maybe there was more to it than glamour. Point and case, Buried Child. Due in part to the technical elements as well as the committed, professional acting, I was genuinely terrified I would get a disease, be stained, molested, or quite possibly go insane as a result of these characters. Gross, really gross. But, in the acceptably invasive, shock me out of my complacency kind of way. A healthy dose of liquid hand sanitizer remedied the heebie jeebies and allowed me to enjoy the dirt and grime, literally and figuratively of the performances.

My only real complaint (aside from my headache which cannot be pinned on as a result of nor expected to be remedied by this production) would be on occasion there was so much going on on stage I couldn’t hear what was being said. Now, I don’t know if it was truly “important” or not for me to hear, but I’ll never know due to the imbalance of the voluminous cacophony of action taking place.

I’m not going to lie; this play may disturb or frustrate you. It may not be your shot of whiskey, but it was done well like it or not. A good experience, experiment, and example of important and engaging theatre. I was tempted to give this show 4 out of 5 carrots, but in sticking with my pre-established scale we will have to suffice with a 4 carat jewels out of 5 carat jewels rating in the review tiara! Buried Child Plays through March 11th at the San Jose Stage.

**Parking can be a challenge if the Opera or Symphony is playing at the California Theatre and City Lights just around the corner has a show. There are plenty of lots and street parking but they get on the full side by 7:30 on a weekend evening. Make a night of it, come over early, eat dinner at Eulipia, Billy Berks, Smile Sushi, Morocco’s, Cabritos, 19 Market, House of Siam, Tandoori Oven, Pho 69, The Grill on the Alley, or Original Joe’s, JUST to name a few!

 And, for an extra fun experience, take an Eco City Cycle pedicab for “free” (recommended tip of $5 for trips longer than three blocks). They provide blankets for cooler nights, and it’s a lovely way to save your feet, get to the theatre quicker and enjoy the city! Call them to come pick you up afterwards to take you to your car even!

REVIEW- Neil Berg’s 101 Years of Broadway- San Jose Rep Theatre

101 years. That’s a long time. Though I deny liking musicals more times than I admit to liking them, I’m super glad Broadway has made it that far. I hope it continues to flourish for many, many more centuries. San Jose Rep is helping to celebrate this milestone by bringing that cabaret style show Neil Berg’s 101 Years of Broadway to the theatre for just five performances and what a tremendous display of musical history as well as even some Broadway future it is!

Three instruments, five singers (all with prestigious Broadway pasts and presents) woo and thrill the audience with a variety of songs from such shows as Cabaret, Wicked, Chicago, South Pacific, Jekyll and Hyde, Phantom of the Opera, Rent, Oklahoma, Big River, Sunday in the Park with George, Ghost (yet to be released), My Fair Lady, Les Miserable, Beauty and the Beast and Camelot.

Neil Berg himself was at the piano and although his “cheese factor” was a bit over the top for me personally, he is undeniably a showman and you have to applaud his genuine enthusiasm for Broadway and life on tour. He’s like Charro and George Costanza from Seinfeld with a little Victor Borge thrown in. Entertaining and talented? Yes.

Whether it was jet lag or just a Tuesday night the first act felt heavily phoned in by the singers for the most part. Now, when I think about it, I do feel bad for anyone that has to sing any song that Julie Andrews, Audra McDonald, Bernadette Peters or Idina Menzel ever sang. Double that for Colm Wilkinson or Michael Crawford. That’s got suck just a little no matter how much you rock, and the second act for me sold the show and provided the proof I needed to assure me the cast indeed DOES rock.

Nothing Like a Dame from South Pacific was the feel good pick of the night and presented wonderfully by our three men. They were having fun by that point. Maybe it was the Red Bull at intermission? If I can’t Love Her from Beauty and the Beast as well as If Ever I Would Leave You from Camelot (sung to a woman in the audience) were impressive as well. Defying Gravity from Wicked was a huge song, done very respectfully, with a lot of power and emotion, but the harmonies and blending were just not this casts’ strength. With the exception of the encore of 525,600 minutes from Rent (which the audience helped out with) they probably ought to have stuck to the solos.

Absent from the production was anything from Evita, Chess, Little Shop of Horrors, Into the Woods, Grease, Ragtime, Jesus Christ Superstar, The Sound of Music, Godspell, or Guys and Dolls. I guess you can’t include all 101 years though, right? I don’t recall a Cole Porter song or a George or Ira Gershwin number either, but I wager they mix things up a bit as no program with a song list was provided. Additionally, with 5 singers with very specific styles and a limited “orchestra” some of those numbers might not actually have improved upon the overall production value.

So it was a bit of a draw for me, some exhilarating highs and some head-scratching lows. I think if you like classic Broadway tunes you’ll enjoy this production a lot. Though I wanted more from the actors at times (on a blank stage with no character costumes, other actors on stage and in some ways limited having to hold a hand mic) there were some lovely and amazing notes to be sure, belted to a receptive audience. A celebratory 3 jewels out of 5 in the review tiara. Neil Berg’s 101 Years of Broadway plays just one week, through this Saturday, February 18th at the San Jose Repertory Theatre.

REVIEW – Becoming Britney – The Retro Dome

Britney Spears, move over, you’ve been replaced by the cast of Becoming Britney. The triple threat talent of this cast is seriously exciting to experience and truly top-notch. From executing one hip-hop pop dance number after another to belting solos and blending balanced harmonies to delivering brilliantly on comic elements, the group hardly seemed out of breath and never missed a beat during their no intermission high octane performance. Unfortunately the show itself couldn’t compete on the same level with the cast.

The show has undergone a lot of workshops and transformations in its short history and it felt to me like the kinks still weren’t all worked out. There were moments that felt disconnected as if cutting and pasting had diverted the piece away from a consistent through line. The beginning took too long to “get to it,” the end had that rushed “pencils down” can’t think of anything else, but need to write something down feel to it and the satirical side of breaking the fourth wall and commenting on the musical genre in the style of the broadway musical didn’t seem original enough to support the bright musical and dance numbers.

In some ways I think the technical requirements hurt the show as well. Too many costume changes for too little pay off, with music or dialogue seemingly created just to cover the changes. The best parts really were the comic spoofs and when too much seriousness and heart was brought into it, oddly enough, I couldn’t take it seriously. I admire the attempt to add more substance to the piece and I recognize the desire to tell a story about all facets of this pop icon, but like the pop princess herself, this piece at times felt as though it was going through an identity crisis of its own.

Though I fully support the concept of new musicals and feel like this show has huge potential as a whole, I couldn’t love it. Not unlike Britney Spears herself, I want to like her a whole lot more than I really do. Moments of greatness (I’d download My I Want Song) but not enough overall sparkle. The solid gold talent is a 5 but the show as a vehicle for that talent just doesn’t hold up and so it’s 3 out of 5 jewels in this princess’ review tiara. Becoming Britney play through March 11th at the Retro Dome in San Jose.

REVIEW – DOUBT – BUS BARN STAGE COMPANY

Oh, is it good to be off the stage and back in the audience, where I belong. Such a pleasure to clap in appreciation again and WHAT a great show to break my fast and sink back into the comfort of the shadowed seats of the theatre audience. Doubt at Bus Barn Stage Company is a fantastic demonstration of community theatre, in an intimate setting, owning its audiences emotions from the first sight of the beautiful stage.

It certainly doesn’t hurt that Doubt may in fact be the most perfectly written play I’ve seen/read to date. How so? Well, let’s start with the fact that I’m not sure there could be more going on in this play. Hypocrisy, sexism, racism, politics, relationships, education, perceptions, truth, temptation, judgement, justice, parenting, abuse, and of course, the nature of faith and its counterpart, doubt. It does an incredible job of keeping you in the moment, never allowing you to get a step a head of it. It doesn’t peak too early or too often, but you’ll take sides, switch sides, get angry, feel guilty, and be holding your breath throughout this miniature masterpiece. Don’t think if you’ve seen the movie you can miss this. The movie has extraneous bits that seem to mess with an intentionally crafted, detailed, even pacing.

Each performance is commanding and based in reality. All four actors walked that tremendously difficult line of playing absolute conviction while the words they are given are pure ambiguity. We easily connect emotionally with these characters without ever knowing the full truth about them.

Aside from a few minor disagreements with some blocking (like a character turning a back to another at what seemed like the exact wrong time to show “weakness” or an overly long and dramatic final “pose”) this is a really stellar production from start to finish with all the technical elements in place to make you feel at moments you are actually in church.

This play, as you might suspect, leaves you with questions, but instead of being annoyed with the results, the open-ended resolution is simply brilliant. No doubt about it, Doubt is exceptionally engaging, well performed theatre worth the price of the ticket. An easy 4 1/2 jewels out of 5 for this suspenseful and dramatic gem! Doubt plays through Feb 18th in Los Altos.

** The theatre does run cold at night so bring a coat and grab a cup of hot cider to help keep you comfortable for the play’s 90 minutes with no intermission.

REVIEW – SOLITUDE – TEATRO VISION

I have a confession. I have a theatre company crush. I know, I know by disclosing my “feelings” I risk you taking everything I say hereafter in this review as being biased. But, hear me out. Teatro Vision has long been near and dear to my heart. They remain to this day the only theatre company I can recollect that has never disappointed me. Always interesting. Always intellectually stimulating. Always passionate. Always meaningful, relevant, real, memorable. Always entertaining. If this theatre company were a man, good lord help me, I couldn’t make a complete and utter fool of myself faster. It is because of this…I’ll say it, I’m not afraid… love for Teatro’s past work that I embarked on a small marketing mission for Teatro. Again, I know I risk all of my credibility with that statement, but it’s worth the risk in an effort to encourage an audience to their latest artistic endeavour (the first stop on a national tour by the Los Angeles Latino Theater Company of a production of Solitude) and to their upcoming work Macario. Consider it a responsible disclaimer and then promptly ignore it. It was my “job” to market the show before it opened. I am not at all required to write a review, positive or otherwise, but after last night I am compelled to do so.

To say Solitude is a layered piece is an understatement but, not in a cluttered, confusing or overly elite and isolating way. Quite the opposite in fact. This is an immigrant’s story at once both unique to the Chicano experience and universal in its roots in the fundamentally human experiences of birth, death and all that “life” in between. Inspired by the Chicano experiences explored in Nobel Laureate Octavio Paz’s essay collection “The Labyrinth of Solitude” this play is steeped in deep thought. The essays themselves are beautifully written, check them out if you’re so inclined, but do not for a moment think you will not identify with this play if you don’t or if you’re not of Chicano heritage. You will identify. You’ll have no choice. Solitude will seep into your soul and awaken thoughts and feelings regardless of your own back story.

Since you’re going to see the show (you promised me, I heard you) I won’t go into too much detail on the specifics of the play but, creatively I adored this production. Live cello scores this piece creating a fluid emotional undertone that accents and suggests all that you’re feeling while you watch. Mambo music and choreography weave together the vignettes seamlessly. Humor penetrates even the most heart-breaking moments of inconsolable grief. The eloquent phrasing and pacing of the script’s poetry is married with gorgeous, vibrant, lasting visual pictures. Sometimes subliminal, almost definitely metaphorical, this show is beautiful with its curves, turns, twists, truths and rhythms. From soliloquies to silhouettes, from dialogue and slow motion staging that seems to bend the time space continuum in front of you, this show colorfully impresses and will have you thinking for days.

And, here’s the kicker. Last night there was a Q & A session with the actors, playwright and director post show. Now, I always love these and recommend attending on a night that has one if you can for extra insight into choices and the process (there’s another one after the Saturday 2pm show FYI) but, last night was hugely meaningful on an unexpected level. When the final question from the audience was taken, the audience got an additional experience that honestly brings tears to my eyes just thinking about it. A boy, maybe 18 or 19, stood up, an act of courage in and of itself. He spoke directly to Sal Lopez who played Johnny and happens to have been in several well-known films (the cast is full of them, famous people that is) that this kid referenced. This boy was neither terribly well spoken nor very loud but what he said moved every last person in that room on a cellular level. He’s grown up watching movies like American Me. He’s grown up with gangs or as he put it “with Red and Blue.” He shared briefly his loss of friends and by doing so exposed this heavy sense of being lost himself. He pleaded to Sal, how does he get his remaining friends, caught in the warfare, to listen? What do they do when they are trying to fit in and fitting in means choosing an identity whose “community” tears people’s lives apart? What is the answer? Cue the tears. This play deals with choices, identity, life, death, poverty, escape, regret, hope, hunger, desire, loss, fate, community, family, alternatives…and here was a kid, literally caught in the crossfire of life, looking up to art for a solution. How proud “we” were that he was even AT the theatre. What a powerful reminder for that room of the significance of art, the importance of live theatre, the relevance of their work, the role models in our community and the problems that still need solving.

That moment and everything wrapped inside of that moment is why Teatro Vision exists. This boy is precisely what Teatro has been committed to for 28 years. Yes. You read that correctly. 28 years. And how is it you’ve not been to see their work/passion? This boy IS Teatro’s mission: “Teatro Vision is a Chicano theater company that celebrates culture, nurtures community and inspires vision. Our art will move people to feel, think and act to create a better world.Teatro is an art form that can heal, inspire, promote identity and stimulate the self-empowerment necessary for people to become effective leaders in improving their lives and their communities. “

There are 500 seats in the gorgeous Mexican Heritage Plaza Theater, I’d love to see them all full. Come to Solitude to find out “what’s in the box.” Come to form your own opinion about Juana. Come to find out if Sonia is being a bitch. Come and fall in love with Johnny’s joking, with Mona’s triumphant joie de vivre and with Teatro Vision. I unabashedly present Solitude with the exceedingly rare 5 jewels out of 5 in the review tiara for an intelligent, compelling, creative, visually resonant, socially epic piece of theatre. Solitude plays through Sunday only at the Mexican Heritage Plaza Theater in San Jose.

PREVIEW – An Interview with Molly Bell from Becoming Britney – The Retro Dome

From the paparazzi stalking me, to the hair-related mental break downs, to the carousel of boy toys, this Princess has plenty in common with that of a Pop Princess like Britney Spears. Actually, that’s a total lie. I don’t know what all that’s about, really. I’ve often wondered what separates the lives of two princesses like Britney and myself. Luckily for me, I know someone who has done quite a bit of research on the topic and offered to fill me in a bit on the Spears side of things. Molly Bell has co-written and stars in Becoming Britney which starts its run at the Retro Dome this Friday.  I sat down with her virtually to get the scoop on Britney and the show.

PRINCESS: So, my first question would have to be if you were going to write a show on a Princess, why Britney ? Why not another “Pop Princess?” or just Princess (hint, hint) What was so compelling about Miss Spears to you?

Molly: WE CHOSE BRITNEY FOR A COUPLE OF GOOD REASONS….ONE, I’M 5’3″ AND BLONDE, SO THAT WORKS OUT.  TWO, IN MY SPARE TIME I DANCE LIKE HER.  POP/HIP HOP IS MY ABSOLUTE FAVORITE AND WE THOUGHT IT WOULD BE FUN TO ADD THESE TWO TALENTS TOGETHER.  THREE, THERE’S MUCH MORE TO BRITNEY THAN BEING A POP  PRINCESS.  MOST PEOPLE DON’T SHAVE THEIR HAIR OFF BALD IN FRONT OF PRESS, SPEAK IN AN ENGLISH ACCENT RANDOMLY, AND HAVE A HUGE GIANT MELTDOWN WHILE MAKING MONEY FOR THOUSANDS OF PEOPLE ALL OVER THE COUNTRY SINCE THE AGE OF 15.  THAT’S A LOT OF PRESSURE AND THERE IS A STORY THERE.  SHE’S IN CRISIS AND WE WANTED TO KNOW WHY.

PRINCESS: Was this your first show you’ve written….how do you decide to just WRITE a musical and then produce and perform it?

Molly: THIS IS THE FIRST SHOW I’VE WRITTEN.  CO-WRITER AND I DAYA CURLEY WERE BOTH IN TRANSITIONS IN OUR LIVES THAT TOOK US AWAY FROM PERFORMING FOR A WHILE.  I WAS AT HOME WITH A BABY AND WANTED SOMETHING CREATIVE AS AN OUTLET.  I APPROACHED DAYA ABOUT THIS IDEA AND OFF WE WENT.  WE HAD ABSOLUTELY NO IDEA IT WOULD GO AS FAR AS IT DID!

PRINCESS: With a live subject, were you ever concerned with your material being out dated or did you think the show could change and evolve?

Molly: NO, WE CONSIDER IT A “PERIOD PIECE”.  THE SHOW TAKES PLACE IN 2006 AND BEFORE.  IN 2012, ALTHOUGH SHE’S STILL POPULAR, OUR SHOW DOESN’T EXIST TO KEEP UP WITH HER EVERYDAY RAMBLINGS AND OUTINGS.  IT’S ABOUT A SPECIFIC MOMENT IN TIME.  SO ALTHOUGH THE SHOW HAS EVOLVED BECAUSE IT’S A NEW WORK, WE DON’T REALLY CHANGE IT TO MAKE IT UP TO DATE.

PRINCESS: Clever, I’ll not worry then about picking up the tabloids this week for research prior to the show then. Thanks for the heads up. Has Britney commented on your show? K-fed? What do you think they would say?

Molly: NO, WE’VE NEVER HEARD FROM BRITNEY OR ANYONE REGARDING OUR SHOW (YET).  WE THINK SHE’D LOVE IT.  WE’RE VERY LOVING TOWARDS HER.  WE HAVE FUN WITH HER CRAZY DAYS BUT IN THE END WE STROVE TO WRITE A SHOW THAT HAS A HEART AND DOESN’T MAKE FUN.  IF BRITNEY WANTS, SHE CAN COME IN SOMEDAY AND PLAY THE ROLE…BUT SHE NEEDS TO MAKE SURE SHE CAN SING IT!

PRINCESS: I’ll see what I can do. I’ll have my people makes some calls and see if they can get in touch with Britney. One never knows, do they? Next topic, very important, in a grudge match, who would win Britney Spears or Christina Aguilera

Molly: UGH, HARD QUESTION.  I SAW THEM BOTH IN CONCERT RECENTLY AND WAS UNDERWHELMED BY BOTH UNFORTUNATELY.  10 YEARS AGO THEY WERE BOTH AMAZING PERFORMERS.  LIFE, CHILDREN, AND CELEBRITY HAS TAKEN A TOLL ON BOTH IN MY OPINION.

PRINCESS: Very diplomatic answer. I’m thinking it would be a draw to be honest, unless Christina got her boys from The Voice to help out, then she’s have it in the bag. What have been the best and the most challenging parts of creating this show?

Molly: THE MOST CHALLENGING PART OF THE SHOW FOR ME IN PARTICULAR ARE THE CHANGES. (AND IT’S A VERY HARD ROLE TO SING, WHAT WERE WE THINKING?) I PLAY BRITNEY IN 10 OR SO MOMENTS OF HER LIFE, ALL WITH DIFFERENT COSTUMES AND DIFFERENT WIGS AND A BALD CAP UNDER THOSE WIGS (HOT!). 

PRINCESS: That sounds like a recipe for chaos. Most embarrassing thing that ever happened while performing?

Molly: THE MOST EMBARRASSING THINGS THAT EVER HAPPENED WERE A) I DIDN’T GET MY GLITTER BODYSUIT ALL THE WAY ON BEFORE A POP NUMBER AND MY BRA WAS HANGING OUT AND B) MY WIG FLEW OFF MY HEAD AT THE END OF THE K-FED AND BRITNEY RODGERS AND HAMMERSTEIN NUMBER. YUCK!

PRINCESS: Okay I know you are a busy woman, so wrap up with telling me why we come out and see Becoming Britney at the Retro Dome?

Molly: YOU SHOULD COME SEE IT BECAUSE IT’S A GREAT WAY TO SUPPORT NEW WORKS AND ORIGINAL MUSICALS.  THIS IS THE BIGGEST OF ALL THREE OF OUR SHOWS AND IT’S EXCITING, EXCITING, EXCITING!  THERE’S SOMETHING FOR EVERYONE.  PEOPLE ARE SO SURPRISED WHEN THEY REALIZE THAT IT’S A REAL STORY.  IT’S NOT A REVIEW OF BRITNEY’S MUSIC.  PEOPLE ARE SURPRISED IT’S A BROADWAY STYLE MUSICAL PAYING HOMAGE TO GREAT MUSICALS OUT THERE.  PEOPLE DO NOT NEED TO KNOW ABOUT OR BE A FAN OF BRITNEY TO HAVE A GOOD TIME.  TRUST ME! THERE’S SOMETHING FOR EVERYONE!

Princess: Thanks for your time and best of luck with your run! I have received quite the pop princess education! Becoming Britney plays at the groovy Retro Dome in San Jose February 10th – March 11th.

REVIEW – Aphrodisiac – City Lights Theatre Company

City Light’s exploratory political play Aphrodisiac is certainly unique and though not totally off-the-wall experimental,  I will say it does require some focus and work on your part as an audience to stay with the more abstract devices it employs for storytelling. This will be a particularly difficult play to review and still adhere to my no spoiler rule, but in all fairness I’d be remiss if I didn’t provide a heads up with regard to some of the format and content details.

Two characters play several roles and the transitions from role to role are not always black and white. In fact nothing in this play really is and that’s certainly one of the clearer points it makes. The whole of it lies in the gray area and requires your gray matter to decipher who is actually speaking and if they are speaking truth, filibustering, flat-out lying or perhaps just testing a theory out loud.

I was a bit lost for the first couple of character transitions as delayed or no costume change added to the confusion. To be honest although the acting was good, the characters dialogue were really too similar from scene to scene to indicate a change had occurred. Aside from being called a new character name as an indicator, I felt by the time I realized two different characters were speaking I had already missed something critical. It turned out to not be all that important to the plot who was saying what, but it did feel like I was a step behind in math class and it kind of made me want to give up. But I didn’t.

Though I initially found myself asking if the author just needed a vehicle/soapbox to tie together some random political commentary, thoughts on current events, and “sketches”  ultimately, I reconciled the disconnected unpolished feel for some reason. Like that one friend who’s a huge flake or is ridiculously narcissistic, but somehow you let them get away with it when no one else would…that’s kind of like this play. Flawed? Maybe. Incomplete? Possibly. Confusing at times? Totally. But, in the end,  not as troublesome in the bad way as it was in the good way. And, the third character, whose identity I shall not reveal , is a large part of the good way. Like 20 minutes from an entirely different show was stuck in the middle of this one, our third mystery guest was a compelling and truly interesting bit of food for thought.

I’d have to say the majority of the technical aspects helped more in keeping me on track with the play than the script or even the acting did. Sound design was effective in keeping us engaged during the long scene changes. Scenery was simple, but cleverly symbolic and functional. Curtains seriously never worked so well in creating new, believable spaces and thumbs up for the realistic props and food on stage. I do hate mime and happily there was only real eating and drinking on stage. Of all the theatre I’ve seen over the years, I don’t think I’ve ever seen more effecting lighting for a car than I did during the very final scene of this piece.

This play is certainly part of what City Lights does best. It presents a modern perspective, an interpretation of realities blurred with fantasies and lies, and it brings up a lot more questions than it answers. Plan on conversation afterwards, because love it or hate it, I’m pretty sure you are going to have opinions one way or another. A 3 1/2 jewels out of 5 in the tiara for engaging and certainly thought-provoking piece. Aphrodisiac plays through February 19th at City Lights Theatre Company in Downtown San Jose.