REVIEW – THE CLEAN HOUSE – BUS BARN STAGE COMPANY

There are few things I enjoy less than cleaning. The irony is, I love a clean house. There’s no doubt this trite fact played a certain part in my enjoyment of Bus Barn Stage Company’s latest artistic endeavor on the surface, but do not be fooled, the themes and metaphors of The Clean House go well beyond the title. This is a richly layered play with a tremendous amount of life in it; an intelligent play, intelligently produced and an emotional play produced emotionally.

The Clean House is both complex and simple. The words and themes of the play, as well as their attentive guardians on stage, gently invite you into each moment while surreptitiously planting seeds so they can sneak into your subconscious and your conversation days later. The words spoken, as much as the silences, have a powerful and poetic grasp on our most human mysteries; Life, Death, Love and…Comedy. Oh yes, the quest for the perfect joke and the humor with which our characters face their adversities put Comedy right up there with the big questions.

Five actors portray five marvelous characters with thoughtful kindness and passionate respect. They are as committed to embracing fully each moment of reality as they are each moment of bizarre abstraction and the seamless and uncommon result is that both extremes seem equally believable. The sorrowful plots and tragic pasts (and presents) of our characters bring to this very funny play a contrasting poignancy, which like a Band-Aid being slowly pulled off wounded skin, allows us to experience intermittent moments of pain and relief for these characters.

The world of the play is so confidently and meticulously constructed through script, design, direction and acting that I found I wasn’t even particularly bothered at the theatrical liberties taken when that fourth wall got repeatedly broken. The technical elements all take on that same level of the acute metaphor, giving these character a world that works for them and thus allowing us to not question the mere impossibilities. From the healing angelic yet sterile, antiseptic color of white on set and costumes to subtitles/subtext projected on a side wall to introduce, underscore, or deliver a punchline,  the tech of this show helped to support choices and synchronize us with the characters. 

Tears could rival the copious laughs depending on your particular sensitivity to some themes of this play, but you may also find those more difficult parts cathartic. One way or another I’m wagering you will be moved. An enchanting and evocative 4 jewels out of 5 in the review tiara.  The Clean House plays through June 16th at the Bus Barn Stage in Los Altos.

* It’s worth noting that this theatre is at the mercy of the outside temperature to a certain degree and on a cold night a coat is useful and on a warm night layers are a boon.

Dinner Theatre Pairing:  A quick Facebook poll on Italian in Los Altos almost unanimously pointed me in the direction of Aldo’s and so I plunged head in to a hearty meal at the restaurant just 2 minutes from the theatre. A diverse menu that I think appeals to the family as much to the foodie, the winner of the night for me was the braised duck gnocchi with mushroom ragout. The delicious selection of bread on the table was nearly as impressive.  A large wine list of “affordable” wines by the glass helped the gnocchi go down as did a HUGE cappuccino and  hearty lemoncello dessert at the end of the meal. The decor is quite nice, somewhere in the realm of business casual, but I was surprised to see as many families as I did. They all seemed to be enjoying sharing multiple small plates (Italian tapas) which is really what Aldo’s in known for. Aldo’s is in a great area of Los Altos with plenty of window shopping if you arrive or finish early and ultimately, I’d go back and try some other dishes for sure. Their service was quick and attentive even as they got busy and that’s always a plus so you don’t miss the curtain.

REVIEW – MARY POPPINS – BROADWAY SAN JOSE

Broadway San Jose’s Mary Poppins is filled to the brim with sly, sweet, subtle magic as well as plenty of in your face, over the top, technical extravaganzas. Illusion and fun abound in this production and honestly, you’ll want to bring your eye drops, because you if you blink, you’ll miss something.

A simply marvelous, nay mind-boggling jigsaw of a set literally “sets the stage” for an enchanting, illusion-filled evening, where even a theatre savvy Princess like myself, joined in unison with about 500 others with an audible “how did they do that?!” from my seat. There was even a smattering of “no ways” as the fanciful story unfolded via stunning visual effects. From the big bright colors to the teeny tiny details, the creativity present in the production value was seriously impressive, utterly charming, and overall really quite wonderful.

If you’re a die-hard fan of the movie, note there are some edits made with regard to a character here and there and a subplot deleted or modified, but your core plot and favorite songs are there in spades with production numbers that each seem to outdo the last. A dark and yeah, I’ll go there, totally creepy toy sequence could have been totally left out if it were up to me, but Feed the Birds and Treacle and Brimstone (sung by the same actress)  vocally wowed and easily made up for the bizarre toy debacle.

Realizing that live theatre on some level must overcome the challenge of contemporary abbreviated attention spans, the magic elements of this show strove to and in almost all cases succeed, in engaging an audience of all ages, but a 90 minute first act did find some of the kids (and admittedly the kid inside me) starting to flag toward the end.

During an only slightly less spectacle-filled second act, a few of our smaller audience members seemed to be fading as well due to some long song reprises and the more adult character arcs playing out. That being said, it’s entirely possible that the excitement from the anticipation and the first act just plain wore them out. I enjoyed the minute by minute countdown from wee personages seated in front of me, and observed plenty of gasping and pointing throughout. Mary IS Mary Poppins and Bert has some nice nods to Dick Van Dyke in his performance that are really the tops. The uproarious applause after one of the most spectacular numbers gave me chills. Nice to be surrounded by unbridled wonder and joy every now and then to be sure.

From the quaint neighborhood youth theatre summer shows to a taste of Broadway with touring shows performed on the “grown up stages” I remember each of my early theatrical experiences like they were yesterday. These moments with my family, seeing kids my age under the lights, reveling in the thrilling vibrations of live music, and the ingenuity of design, shaped me greatly. These opportunities to be part of a crowd and applaud the physical manifestations of pure imagination were nothing short of life changing. I remember feeling as if these moments were eerily prophetic, that in some cases they were chemically transforming me before my eyes. I was getting wiser, more complete, and my own creativity and confidence was being awakened while I watched stories unfold, jar often sore afterwards from long periods of gaping with awe. These were the first invitations to a path and had I not been taken to the theatre, had I not been allowed to take in a variety of arts, I am certain I would be worse for it.

All that to say, Mary Poppins is a well-suited opportunity to spend time, precious time, with the children in your life, fostering everything from patience and good manners to future arts patronage to nurturing the invaluable creative spirit in your children that will be used one day in ways you may not even realize. The essential task of being shown what IS possible is not only a theme of this play, but is taught by example via the amazing engineering feats and technologically advanced production elements. 4 out of 5 jewels in the review tiara for a supercalifragilisticexpialidocious musical with many performance highlights for the kid in all of us. Mary Poppins Plays through June 10th (a rare two-week engagement) at the San Jose Center for Performing Arts.

Dining Theatre Pairing: Since this is a show you’ll likely bring your family to, the dining pairing suggestion takes that very much into consideration. Every Friday night in my family was pizza night and to this day my parents still order a pizza each and every Friday. It’s a cherished tradition and even through tough times as kids, we could always get excited about and find solace in Friday night pizza. I mean, what’s not to like about pizza, people? There are tons of places for Pizza downtown, a few of my favorites below to accomodate all your taste bud types.

Pizz’a Chicago‘s specialty is deep dish style pizza. It’s fresh, filling, and it’s my personal favorite. It makes for amazing breakfast leftovers, in case you can’t finish it all in one sitting. It’s also close to the theatre (within 3 blocks walking distance) so as long as you allow a little extra time for the pizza to cook, it’s a great option!

Pizza Bocca Lupo serves thin and fresh Neapolitan style pizza and the name of the restaurant actually is the equivalent of “break a leg” making is a perfect pre-theatre dining option. It’s located at the newest hip development in Downtown, the San Pedro Square Market with plenty of indoor and out-door seating for you and the brood as well as additional dining options if you have a non-pizza lover.

Extreme Pizza owns the wacky pizza title and although a few extra blocks from the center for performing arts, if you have a more “bizarre palette” you will likely enjoy pizzas that have ingredients like BBQ sauce, spicy wing Sauce, Thai peanut sauce or corn and new potatoes. I wager Mary Poppins, being a tad “quirky” might choose something like the Pandora’s Box which comes with Spinach, artichoke hearts, sun-dried tomatoes, feta, garlic, fresh basil, oregano and mozzarella.

REVIEW – THE UNDERSTUDY- SAN JOSE REP

I wasn’t sure at all what I was in for when I sat down for The Understudy at the San Jose Rep. I’ve not raved about the last few productions I’ve seen there and I’m not a fan of the playwright’s TV series that just concluded its first season, so I went into the show uncertain and admittedly a tad apprehensive. What followed was a truly delightful 90 straight minutes of expertly acted intelligent and genuinely hilarious theatre.

The phrasing and rhythm of the play kind of blew my mind. In the same way that some other playwrights have “invented” and/or dominated a specific style or genre (Mamet, Pinter, Shakespeare for example have very distinct, recognizable voices, cadence and structures to their writing) this play was full of unfinished phrases, motifs, and both bold and subtle arcs that were unique and fully mastered. I fell in love and in lust with the content and the vehicle of the content of this play.

And, the content and vehicle I loved/lusted after so much were exquisitely delivered. Our actors were totally endearing, compelling, a pleasant blend of real and caricature, and the chemistry was über fantastic. That’s right, I said über fantastic. There was a character whose default mode was a bit over the top for my liking, but it ultimately gave a nice contrast to the other two characters on stage and allowed for contrasts to some softer internal moments for the character as well.

Although the crowd was laughing right along with me, I think this show will prove to hold a special place in the hearts of theatre folks, and particularly directors, stage managers and actors with a sense of humor. Who might not think this show is funny…if anyone was going to not like it, if I had to totally (and somewhat arbitrarily) guess which generalized group of people might not enjoy this as much, it might be the actor without the sense of humor. The playwright is tough on actors and pulls out (initially) all the stops with regards to stereotypes. Though I laughed out loud throughout the production (not an easy feat mind you) I can see how at least initially it could be difficult for the actor that hasn’t developed a thick protective skin yet, as the actor serves as the butt of many a joke. I guess I justify it as if I watched a show about stubborn, outspoken, redheads…eventually there’s going to be a joke that just hits too close to home and is going to cross that line into not-so-funny territory. Actors, just bring your armor/sense of humor and relish in the great acting and the conversation inducing play itself.

HUGE, high-five to the sound designer who went the extra mile to make the sound very effective and realistic. Also, a big thumbs up to the set designer for helping to make the lines referencing the beautiful set, totally accurate and undisputed.

This well-written show has truck loads of humor, is packed with talented, layered delivery of smart text, and was seriously enjoyable from beginning to end. 4 ½ jewels out of 5 for a triumphant production with some of the best performances I’ve seen at the rep this season. The Understudy plays through June 3rd at the San Jose Repertory Theatre.

Dinner Theatre Pairing: So, I should probably point out that I’m a creature of habit. Once I find something great, as much as I love switching it up, I love the familiar, predictable, traditional routines almost as much as the adventure of seeking out new. Loft bar and Bistro fulfills all I need in a dining experience most days of the week. Burgers, Pastas, Salads, Sliders, Calamari, big portions, friendly and fast service, competent bar tenders, free wi-fi, yummy desserts, the best balsamic reduction bread dip ever, indoor and outdoor seating, live musics some nights, it’s uncrowded, has a big screen TV, and has one if not THE best happy hour deals in San Jose. For example $4 beers on tap $5 house wines that are actually quite nice, HUGE chinese chicken salad or 1/2 pound Angus burger with fries for $6 Mon-Friday, 3pm-7pm, anywhere in the huge restaurant. Just a block from the Rep, they validate for 2 hours at the underground parking garage by the Safeway Market, but if you get there at about 6 most nights of the week you can usually find free street parking on Santa Clara, San Fernando or Third street. Either way, I highly recommend the Loft as a pre-theatre place to meet up for a great meal.

WHY WRITE AN ARTS REVIEW? – One Princess’ Unofficial/Official Response to that very question!

I recently ran across a comment that although not directed at me personally, I felt it certainly could have and in fact may have been indirectly.  Whether or not it was in response to a recent review I wrote, it brings up themes I have thought about and discussed at length with many over the last 5-6 years, but particularly the last year since I created Artsalot. The comment certainly is a catalyst for this LONG post (apologies and thanks in advance if you make it through) and provides an opportunity to both present my mission with regard to the reviews I write, as well as gain essential feedback to help improve my methods for what I have always intended to be used as a positive tool for the arts community for those that chose to.

Every reviewer has their own personal angle or perspective based on their background and experience. A dramaturg might focus more on the history or structure of the writing. A musical director might be more in tune with orchestral motifs,  being note perfect, or cadences then the average audience member.  For me, my experience as a performer, director, designer, stage-manager, producer, teacher, marketer and playwright inform my reviews in their own way. I straddle the line between knowledgable participant/creator and audience member. I have turned down being a member of official critical organizations because for me, I feel, I don’t want to be a “critic.” I don’t want it to be a job or a personal credential. Then what is the bloody point I hear you say?! Ah, the point…right on cue.

The reasons I took on writing reviews were the following:

1)  I’m always going to go to support my friends in performances when I can, but when I have to make a choice about spending my additional arts dollars with limited time, how can I match my mood and budget to a production to yield the best result? That’s when I might factor a review into my decision process. I used to read reviews that drive me bonkers. From saying nothing good at all about a production to saying everything was always GREAT, to giving away the best jokes that people work hard to make spontaneous to an audience, to flat-out spoiling the end of the shows, to writing like an elementary school book report, to simply using big impressive words and esoteric references without saying anything about the particular version of the performance, there were a lot of words out there that weren’t telling me what I wanted to know. It gave me no sense at all of what to expect about the show and how best to enjoy it. I wanted to  attempt to bridge that gap in case there was anyone else looking for that same element and not finding it. Sometimes you need a tie breaker and a review can help point you in the direction of decisviness.

2) Reviews are for sure tough sometimes for me personally. They’re not something I chose to take on in my limited spare time lightly.  Being a member of the very community I review is to some degree a risk. I really enjoy a lot of the artists involved in the community and we don’t always all do our best work.  I know all too well when a less than favorable review comes my way, it’s hard not to take it at least a little personally. And yet, that’s just the way it is, right?  I don’t think there should be a double standard to something as subjective as art. You like it when the feedback is good, not so much when it’s not? Yes, we tend to want to believe the good and not the less than good, that’s just human nature and this sentiment is not reserved for artists, mind you. In anything one is passionate about, it’s harder many times to receive criticism. Even more so from someone we don’t know. ”What qualifies them to say such things?” Oh, I know this feeling, trust me. So, it’s with that personal empathy of the process that I took on, in part, writing reviews. Better they be from someone you know and is consistent and known for being direct and honest perhaps than a total stranger. Or maybe not. But, here we are. I see 125+ live performances a year (of which I choose to review about a third) and am directly involved with an additional 2-4 productions a year with various local organizations. I easily spend $1,200 on my own money easily on tickets a year to local  live performing arts. I am clearly passionate about the necessity for creating art and want to see more art created and arts groups succeed. I want to help cultivate (if I can) even at the risk of someone focusing in on my criticisms over my praise.

3) With major cuts to the newspapers the larger circulated coverage of performing arts was becoming limited, mostly centered on the East and North Bay and larger companies. This resulted in the majority of the 600+ smaller arts groups in the South Bay and Peninsula getting shafted. With little press or reviews occurring in a timely fashion, there was nothing to market the shows  to patrons during the run or to use for future grant applications. This was hurting our arts groups.

4)  With the reorganization of Artsopolis, and the login requirements for Goldstar, the patron reviews, which had in some cases been helping to provide at least some feedback (and not without controversy mind you) seemed to be becoming more and more scarce. The groups were losing what little voices they had, they were losing crucial feedback as a way to measure their perceived appeal. strengths and quality, and consequently losing potential audiences at critical times.

And so, I set about to do reviews, keeping in mind my own personal frustrations with some of the reviews that I’d been exposed to and trying in every instance possible, to not commit the same offenses. Trying being the operative word.

The purpose of my reviews work in conjunction with the intentional and in some cases unorthodox structure I set up for them. Like any review they do not try to be everything to all. They are not THE last word. They are one opinion, suited to a specific audience looking for a specific perspective or writing style to hopefully successfully serve the following objectives:

1)  First and foremost, my reviews are intended to set up an expectation of how best to enjoy the show. If it’s billed as a comedy, but it has much darker elements, I’ll suggest people attend on a night when they are in a mood for something more along the lines of a black comedy, than a light farce in order to enjoy the show best. If the production is vastly different in interpretation than a typical, common, well-known version of a play, it’s safe to say that the “purists” might appreciate a heads up if they are seeing Death of a Salesman (set in Space) for example.  If the temperature in the theatre tends to be extreme, it’s easier to enjoy a show if you’re prepared for that. If there are sight line issues and better seats than others exist, this is also information not normally conveyed in other reviews I’m familiar with.  Can I enjoy a heavy 3 hour play better on a Saturday than I can on a Friday after a long work week.  And, if the play wasn’t my cup of tea but the audience I attended with REALLY LOVED IT…that is worth mentioning. Doesn’t change my opinion at all, but I always maintain that I am just one person. Anyone who puts too much emphasis on what any one person thinks, especially about something as subjective as art, and even MORE SO by someone who calls herself the Princess, may need to reboot.

2)      No spoilers. I won’t describe the plots in details or give away the end. If someone wants to read the play, or see the movie, or research more, they are free to, I just don’t use time/space recapping it in my review.  I assume my audience is smart and can research to the level they desire through the link I provide to the production in each review. Essentially, if a company didn’t put it in their marketing materials, they probably want to keep it fresh for the audience, and I respect that.

3)      I very, very rarely ever use names of the cast members, staff/crew, or even playwrights in my reviews. Having done just about every possible job in the theatre, I feel very strongly that the production is an ensemble effort and while I may call out characters or elements of the play, I do not “name names”. I don’t encourage people to search for their name when they are part of a whole. I try not to encourage that type of “egotism” when it’s a group effort…which leads us to…

4)   My reviews are intended as much for the company as for the potential audience. Criticism from a point of relative industry knowledge can and has on occasion encouraged companies to improve the patron experience, to strive for better suited shows for their space and talent pool, to upgrade their technology, to expand their horizons. I certainly know I’ve taken the good and the bad criticism from friends, colleagues and reviews alike and used it to improve on the next project. I’ve also promptly ignored advice. It happens. If we chose to place meaning on a review/comment and we can use the more critical components to make the next experience better, great. I once wrote that the sound opening weekend was frustratingly flawed and I couldn’t understand anything from stage left. The Artistic director contacted me and thanked me for letting them know, as no one else had mentioned it was a problem. She observed the problems herself the next performance and FIXED the issues. I was invited back and the adjustment made ALL the difference in the world. Like an entirely different show.

5)      Finally: If you can’t take it, you certainly shouldn’t dish it out. I do not hide behind anonymity. My own personal reputation/integrity must be attached to my opinions, which, are just that…just my opinions. I operate face to face the same way I do in my reviews. If I didn’t, I’d feel like it was gossip and there is too much of that via word of mouth these day that is not constructive and far more damaging that what I write. I never give a compliment I don’t mean which I hope makes the compliments I do give out mean more.  Good or bad, sincerity is at the core of my mission as a person and my reputation for being frank (not to be confused with “right” mind you) is exactly why some people ask for my opinion and exactly why some do NOT ask for it. Here, written down, no one has to ask, it’s there if you are interested in it, and if you are not, I’m not forcing it on you, nothing to see, move along. I stand by my opinions and those of anyone else who sees these shows. I disagree with some of my best friends about shows we see on the same night and I enjoy the dialogue created by differences in opinions. That conversation is one of the most wonderful biproducts of art.

I fully recognize the “risk” when I started spending more of my own time and money to support the arts in this way, but for me the potential for positive impact for the community was worth any personal criticism I might receive.  That’s my story, and I’m sticking to it.

Sincerely,

Your Princess

REVIEW – GUYS AND DOLLS – SOUTH BAY MUSICAL THEATRE

Guys and Dolls is a musical standard. It’s a show with a cheesy plot devised of equal parts heart and humor. It’s not particularly scandalous in any way and despite being in part about gamblers, the show is clean, sweet, and in a word, fun. The characters all have hearts of gold and I’m not spoiling anything by telling you, the happy ending you see coming from the first scene, doesn’t disappoint. South Bay Musical Theatre embraces the fun of this show and they clearly have fun doing it.
This cast is…experienced…in life. If you’re looking for dashing young gangsters in their 20’s and 30’s, this isn’t your show. Looking for hot young things playing the Hot Box Girls? You won’t find many here. But, I don’t mean that to sound like a bad thing, just against type, which once you get over it, it doesn’t prove to be a big deal. The women filing the hot box roles are mostly older, but they work it. They wear their modest yet sexy burlesque outfits with pride and confidence and for the most part they win you over. They have their dance steps down and smile while doing them and that all you can ask for, right?
Our Sky Masterson was a very gentle interpretation I’d say. I didn’t personally buy a sly, sharp, competitive gambler in the early scenes, but I was charmed by the romantic side of the character later on. The choices made by Miss Adelaide, though not terribly original or unpredictable by any stretch of the imagination, were however comedic bull’s-eyes and crowd-pleasing for sure. Nathan and the rest of the gamblers were high-energy and held their own in the acting department. Singing–wise, nothing stood out but it wasn’t lacking really either. The standouts for me vocally were Sarah Brown and a top-notch performance from the actor bringing sincere depth and sincerity to Arvide Abernathy.
Indeed this is a cast of colorful characters, literally. Bright color abounds in the set and costume which are fun and happy, but if you’re looking for a period piece, this is not your show. Fabrics are modern in texture, form and hue and in many cases captured the spirit of the piece, not necessarily the era.
Opening night the orchestra seemed a bit nervous and the notes didn’t all get hit, but overall an on tempo and balanced sound. Do note that the first three rows of the audience for this performance serve as the pit and you will want to sit center of the house for the best visual and audio experience. I’m always a bit chilly in this theatre, and for 3 hours you may be more comfortable in layers.
I’ve seen many other productions of Guys and Dolls. I’ve seen better. I’ve also seen ones that totally missed the mark. Although this production is not perfect,  it is fun and it will likely brighten your day to see actors having a fabulous time delivering punch lines and singing their hearts out. 3 jewels out of 5 in the royal review tiara for a show that is hard not to like no matter what. Guys and Dolls plays through June 9th at the Saratoga Civic Theater in Saratoga.

Dinner Theatre Pairing: Saratoga is not lacking in fine dining to be sure, but sometimes it’s hard to justify the price of a really upscale restaurant if you aren’t with a special someone. The good news is there are plenty of middle of the road dining options in Saratoga that are good and won’t break the bank whether you are with a group, or flying solo.  I hadn’t had Thai food in a while so I looked around for a nearby place to satisfy my craving. I ended up at the Mint Leaf Cuisine less than 2 miles from the saratoga civic theatre. I got there a bit early, so parking wasn’t a problem, but I suspect the closer you get to 6:30pm on the weekend, the harder you have finding a spot.

Aside from the most beautiful wood carved menu I’ve seen, by far the highlight of the night was the Saratoga Curry Puffs, a curry chicken and  potato stuffed pastry in a delicious thick, peanut sauce served with cucumber salad which you could easily make into a meal in itself. The curry puff presentation was particularly unique as well, four separate super cute little boats! The fried salmon nori  appetizer was more of an acquired taste, though not bad, just a bit of a let down after the amazing curry puffs. I opted for the toasted coconut shrimp  salad for my main course which came on a bed of spinach with lime cubes, fresh ginger, and citrus vinaigrette. The flavors were strong and textures odd, but the shrimp were delicious and overall, although I had to think about it a bit, I enjoyed it. A very interesting meal, worth a second visit I feel to get a sense of the other possible hidden menu gems. If I wereto go again, I might order another appetizer (they looked great at the table next to me) instead a of  salad or main, but the menu choices are plentiful and the atmosphere warm and pleasant.

REVIEW – THANKS FOR PLAYING, THE GAME SHOW, SHOW – THE RETRO DOME

If you looked at any one aspect of the Retro Dome’s play Thanks for Playing the Game Show, Show, there’s no doubt you’d like what you saw. Great talent, wonderful ly colorful sets and lights, fantastic costumes, humor, heart, audience participation, it’s all there. What’s really odd is, it doesn’t all add up to the bag of chips it ought to be.

With songs entirely too long, a few of them seemingly unrelated to the show and references to many things the audience just didn’t get, what has the makings of a hit is really, well, not. At the end of the day, there wasn’t enough of a cohesive element to enjoy this show entirely. BUT, and that’s a BIG BUT… what’s really exciting about this show is the potential the underlining concept has to evolve into something exceptionally entertaining that doesn’t exist anywhere to my knowledge.

By far, the spontaneity and humor of the small audience participation sections were the real highlight. The improv skills of the actors on stage were remarkable, especially in combination with the varied levels of exuberance provided by our volunteers. There were tears of laughter on and off stage for what amounted to only about 20 minutes of the entire show that was dedicated to this format.  And, it got me to thinking… what if… and I know nobody asked me, but it’s such an exciting and fresh direction, I have to share… what if you took the scripted part out almost entirely, leaving just a skeleton of instructions, introductions, and narration. Now, I know it’s practically sacrilege to say scrap the original play and songs, but hear/read me out.

If it were me, here’s what I’d do:

Keep the name, use the sets, props, costumes, and general feel of the show, all which are really fun.  Create a process (name in hats, sign ups online when you purchase tickets, interact with the audience in the lobby to be interviewed as well.  etc.) for those that want to be considered to be a contestant. Schedule two 90 minute performances one night a week or month, say 7pm and 9:30pm on Saturday. First show is a family show, second show, more adult in content maybe.  Have a pool of 10-15 actors rotate into 5 or 6 roles based on availability. You can even do this even when another show is in rotation in the space, just give them a night off and scale down the set if need be. You could even have the cast of the current show be guest hosts/participants that night (free publicity right?) You’ve got at least 20 different game show games you can easily recreate and mix and match each time. Spin the wheel to see if you are going to play What’s My Line, The Price is Right, Wheel of Fortune, Love Connection etc.  You can utilizes the singers for Name That Tune or live daily doubles in Jeopardy. You can even solicit hilarious and mind stumping questions, topics, answers, and poll results via an online survey or phone ap. Really, you can make it as interactive or as linear as you want, engaging people beyond the shows and creating buzz along the way. Have the prizes be goodies at the concessions stand, movie passes, or little items related to the Dome, nothing that requires someone going out and getting donations or staff time. It’s not about the prize, it’s about the 15 minutes of fame on stage, the experience and the good time. Now, cut the price in half (make it around $15-$20) pack the house and run it indefinitely. No show is ever the same and now, what was a show I’d see once, becomes a show I can catch 4 or 5 times a year easily.

Thanks for Playing the Game Show, Show, has some great talent, visuals and moments, but it dragged and left me wanting a lot more. 3 out of 5 jewels in the review tiara for this version, but I’d be anxious to come back with a group of friends (soon to become retro-groupies) if a Live Improv Game Show Format could grow out of it. The Retro Dome has the creative power and talent to take this idea to the bonus round, and I for one would love to see them go for it. Thanks for Playing the Game Show, Show, plays through June 3rd at the Retro Dome in San Jose.

THEATRE FOOD PAIRING: Indian food is a passion of mine and from tandoori and dal to dosa and curry I’m always looking for a good Indian food experience.  The Mynt Indian Restaurant is conveniently located just a block from the Retro Dome and it was a real culinary treat that proved surprisingly affordable give the white table-cloth, gourmet service experience. I doubt you can go wrong here with ANY of the appetizers and main courses and I was über please with the garbonzo-mynt salad which was light and fresh. The Tandoori Hors d’oeuvres provided a great sample of many of the appetizers without allowing you to totally fill up on them. Chicken Tikka was tender and flavorful and the sag paneer, perhaps an obvious choice, didn’t disappoint. Organic Chicken Curry was very respectable and the garlic naan was excellent. The only thing I wasn’t impressed with was the mango cheesecake which had great potential, but was just too synthetic for my liking. A bottle of my favorite sparkling wine, Chandon, Blanc de Noirs, makes for an excellent accompaniment to all these warm wonderful dishes and I was surprised that for two people, and all that food, it was not nearly as expensive as I would have thought.

REVIEW – PEAR SLICES – THE PEAR AVENUE THEATRE

Each year for the last 9 years the Pear Avenue Theatre has fostered the talents of their local playwrights guild by producing an evening of their short plays. They carefully select the plays from the submissions, provide feedback to the author, cast the plays with 8 actors in all the roles, rehearse, provide more feedback, rewrite in some cases, and finally perform these plays, all in over just a few months. This is how writers, even good ones, get better and it’s an important and challenging task that the Pear Avenue Theatre diligently takes on every year. This is what is called, Pear Slices.

The 2012 Slices selection had some of the best ideas behind the words in many years, and they had some of the best words too, but many of them still felt like they were not quite complete, just one round short of nailing it. A few suffered the Saturday Night Live syndrome which consists of a 2 minutes sketch built around a couple of good jokes, that go on 3 times longer than appropriate. Some felt as though they were 30 or 40 minute plays, with the potential for exceptionally well-developed characters and clear arcs, stuffed into 15 minute boxes, thus truncating the plot and letting the play essentially bleed out on the table. This year I genuinely saw something in all 9 plays that could have been reworked to a very respectable end result given just a bit more time and care in the revision process which in turn would have allowed actors, directors and designers to do their jobs even better. As a writer, director, and actress I can tell you, this is not an easy process. We are (all three of us types) difficult to “tell” what to do. Writing is as personally vulnerable, if not more so, than acting and add in the Bossy McBoss pants factor of a director and yes, you can see why this is quite the undertaking. The process has been refined over the years, but in the case of this year’s plays, it pains me a bit to see the theatrical limbo on stage. These plays were more than a workshop or staged reading, but seemingly less than a really vetted, full production.

That being said, structure aside, they were for the most part very entertaining. I attribute this certainly in part to the fact that this year’s selection of plays were significantly more upbeat than years past, with only three of the pieces crossing over to the dramatic. That and the 2012 Slices incarnation has one of most versatile, committed and best-suited-to-the-material casts that Pear Slices has ever had.

Undaunted by the challenge of portraying Historical figures, inanimate objects, post-apocalyptic survivors, gender-bending reanimations and (gasp) lawyers, to name just a few, this cast took even the silliest characters in the most ridiculous predicaments seriously, and that helped the audience enjoy a play that may not have been really been ready for prime time just yet. Even with the normal bumps and trips that come with an opening night, this cast delivers as an ensemble.

In general all the technical elements fell into the same category; functional, practical and minimal without bringing too much embellishment or enrichment to the pieces themselves. The set, sound, lighting, props and costumes supported rather than enhanced each play more often than not. Due to the variety of the plays and the quick changes, there are elements of this production that obviously have to remain somewhat basic and having done 9 of these now, certainly the ideas of how to keep the presentation fresh must be diminished, but I would love to see some additional innovation and creativity brought to next year’s installment. I think a more polished visual result will help audience and actors alike connect more to these pieces.

Overall, Pear Slices is a night of important theatrical shorts, heavy on laughs, with a handful of deep thoughts, some standout performances and a ton of potential. 3 ½ jewels out of 5 in the review tiara for a rare night out that allows you to see the written works of your talented local community premiere 40 seats at a time. Pear Slices plays through June 3rd at the Pear Theatre in Mt. View.

**Theatre Food Pairing: One of my absolute favorite restaurants, run by my two favorite Moroccan brothers, is just down the street from The Pear on 873 Castro. Morocco’s Restaurant specializes in fantastic, inventive, healthy Moroccan cuisine that is unique, flavorful and infused with a hard-to-find hospitality. It’s a joy to eat and be served here and if you allow yourself a good 2 hours before showtime, so your experience is not rushed and you have time to try EVERYTHING on the menu, this would be a perfect place to dine prior to catching a show either at the Pear or at the Mt. View Center for Performing Arts. Choosing my favorite dishes is like picking a favorite vital organ but among them are the chicken briwatts, beet and potato salad, beef tagine, imperial cous cous, spicy cucumber salad and of course ANY of their dessert briwatts are just stunning. Pair your food with Casablanca (Moroccan beer), their homemade sangria (unlike any you’ve probably had before and perfect for a hot day) or their extensive and ever-changing wine list. If you don’t have a full two hours, just let them know you are seeing a show and are on a deadline when they seat you and they’ll be happy to accommodate. Reservations are recommended for dinner. They often have live music and will stay open late if you call and let them know you are going  to stop by for dessert and a drink after the show.