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!

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.

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.

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.

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.

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.

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.

FILMS:

The Lady: Luc Besson has long been one of my favorites. The Big Blue, Taken, Angel-A, of course The Transporter series. He’s a phenomenal story-teller no matter what his role in a film. Producer, writer, director, he just has this voice that intrigues. I’m emotionally, artistically, visually, and philosophically engaged with his work and this opening night film with its amazing cast will set the bar for this year’s festival appropriately high. I’m not familiar and maybe not even interested in the topic (based on real events surrounding Burmese politics) but somehow I know Luc (can I call him that?) will make me care, think and discuss, and isn’t THAT what film is meant to do? I’m on the Luc bus I’m afraid, and will go wherever it takes me.

Mariachi Gringo: To my dad’s great disappointment, not one of this three children who have gotten married thus far had a Mariachi perform at the reception. Two of my siblings married into Mexican families even, and yet we were bereft of that beautiful tradition. I always joked that if my dad wanted to have a Mariachi band play so badly, why didn’t he just sing himself. But, it wouldn’t be the same. The title of this film alone puts a huge smile on my face. The film no doubt will have a lot of heart, humor, and Mariachi. Maybe I’ll take my dad.

The Island President: Maldives. You’ve seen the iconic photos. Everyone has their dream place. Maldives is mine. This is a hugely important film with regard to conservation and extremely educational with regard to how to get the world to listen before an Island Nation disappears. This film I’d be willing to bet will inform and inspire you in unexpected ways.

Portrait of a Zombie: Zombies are more complex than you would think. They eat brains after all so they’d have to be. I’m not a parent, but I believe that the bond a parent has with their child can be one of the most complex and strong bonds that animals can form. A mother and father’s love can lift one up and can make one do horrible things. What if your child was a zombie? Would you stop loving them? How far would you go? These are amazing ideas and I look forward to them being explored in this film. And if there are brains and blood and gore, that will be awesome too.

George the Hedgehog: Two words. Animated. Hedgehog. I don’t think you need any more incentive than that. Next film.

The Ghastly Love of Johnny X: This is no doubt headed toward cult film status. This is your next Rocky Horror. Your next Clockwork Orange. Your next Brazil. Your next Dr. Strangelove. The potential I see in the cinematic style just in a short few clips had me flipping through the catalog to find out more. Can’t wait.

Twittamentary: As a native Palo Altan, I’m fascinated by the power of the internet and social media. Equally impressed am I with the power of film. Combine the two and allow people to interact via twitter while viewing a movie about twitter and it’s like an M.C. Escher painting meets a choose your own adventure book meets string theory meets the Mario Brothers. How many layers to your experience? How fun to have a film be interactive! How exciting to have it be different every time you view it. Move over 3D…the new age of TwitterD is upon us.

Sunflower Hour: Puppets. They are funny. They are bizarre. We love them. Even when they are effed up. Did you ever watch a kids show and think, boy how did that actor get that gig? Or maybe you think, I hope they didn’t have aspirations to do Shakespeare and Luc Besson films and settle for singing jingles about the alphabet opposite a piece of fuzzy felt that makes more than they do. This could be a runaway favorite with what appears to be a dark, comic (puppet heavy) look at the children’s television industry.

Bel Bora is Here: Ah, artists. Ah, Brazilian artists. Ah, Bel Bora. Google him if you don’t know his work. From mosaics to sculpture to his mustache…the world is a better place with him in it and now you can explore his world.

P.O.V. A Cursed Film: The Ring (based on the Japanese film Ringu) to this day is the scariest movie I have ever seen. The only film to make me SCREAM out loud and cover my face IN a movie theatre. This from the girl who at age 12 would show horror films at her birthday parties. The Japanese horror film takes horror to a whole new psychological depth. Chilling. Compelling. I’m going to need me someone to grab onto in this movie I have a feeling. Maybe I can get Luc Besson to give Jason Statham a call and see if he’s available! Late night screening…oh hell yes.

HONORABLE MENTIONS:

Comedy Shorts (Program 7), Old Goats, Mixed Kebab, Animated Shorts (program 4)

SPECIAL EVENT:

Maverick Spirit Award – Michael Minna: Anyone who knows me, knows I love my food. I take more pictures of my food be it tacos, sushi, or braised lamb shank than I do of my cats, friend, family, myself, vacations, and my surrounding combined. Of all the special events at this year’s festival, this one in my book, held at the Capital Club (my favorite view in San Jose inside and out) and honoring two chefs, is reason alone to purchase your VIP ALL ACCESS PASS. This event is only open to VIP pass holders. Now you might say what does chefing have to do with film? Please. Art. Innovation. Creativity. Science. Method. Presentation. Experiences that change you. Well, get your pass and see for yourself. Get ready for food, wine, views, and a deliciously moderated conversation that will open your eyes, mind and taste buds with both Michael Minna and Michael Miller as the Maverick and Emerging Maverick Award recipients.

The play is…well… simple.  Light with moments of charm and humor spread out amongst its short scenes. The characters aren’t terribly deep, but what they are is relatable and undeniably sincere. You know these people, you might be related to these people, you may even BE these people. Sure, it’s a predictable story that has us rooting for the underdog, but we don’t ever get sick of that, do we? The performances are endearing, the characters delightful (and appropriately irritating in places) and the show provides a proper escape that easily appeals to multiple generations.

You’re more likely to smile throughout the play than laugh out loud, but there are some moments of real comedy. You’ll “suffer” along with our heroine as she respectfully endures/humors her less than passive albeit well-intentioned Bubbie’s meddling in her love life and you’ll admire her independence and romantic/somewhat naive notions of what that independence actually means. You’ll roll your eyes at the narcissistic love interest, you’ll shake your head at that pushy, nosey matchmaker, you’ll likely find yourself “in” the story at times. All this makes for a cute 110 minutes.

The most significant challenge of this script was probably its many locations. There are a lot of elements required to tell the story properly and in this intimate space the challenge doubled, but Tabard did a masterful job tackling this hurdle with a well-constructed set, very defined lighting and efficient, effective, believable stage movement.

Complete with 80′s hair, puffy sleeves, and blue eye-shadow (Ah, those were the days) the feel of this show is oddly nostalgic. How blue eye shadow can make me “aww” I’m not sure, but there you have it. A pleasant 4 out of 5 jewels in the review tiara for this sentimental salute to soul-searching, match making, and love of all kinds. Crossing Delancey plays at the Theatre on San Pedro Square in Downtown San Jose through February 19th.

TOTEM opens on March 2 at the Taylor Street Bridge in San Jose. Head to tinyurl.com/artsalotVday to claim this offer, no additional promo codes are needed and the offer ends at 11:59pm on February 4th!

You’re welcome loyal subjects!

 *Some restrictions apply. Must become a Cirque Club member, with free subscription, to take advantage of offer. Service and delivery fees apply to all tickets during the purchase process.