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.

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.

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.

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

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.

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.

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.

In fact, I’d have to say the entire cast, from top to “bottom” was polished and well-suited for their roles. The chemistry between the three leads Leo, Max and Ulla was definitely tight and even if you know a joke is coming they somehow managed to nail the landing with surprisingly spontaneous results. Franz, Roger and Carmen owned their performances before they even opened their mouths and I think as demanding as the show is for actors, they all appeared to be having a  really good time, which benefits the show by providing an extra boost of positive energy.

Voices were strong all around, solid technically for the most part, confident throughout, pretty where they needed to be and hilariously accompanied by comedic variation when it was required. The sound quality overall was well above standard with only minor balance issues in the second half.

As far as recordings go (the music was recorded, there was no live band) it wasn’t bad. On the plus side you don’t have any balance issues within the orchestration and all the notes are played correctly. On the not as cool side, you aren’t allowed any real variation or style with regard to pacing and if you get off track at all, it’s up to the actor entirely to get back on track, no vamping to speak of. There were only a couple of places where this was a challenge on opening night, but generally minor offenses. My only real beef with this take was that the talent was so great, I really wish they’d been able to play with the songs a bit more and add more of their own vocal embellishments to the musical interpretation.  Realistically though, there was nowhere to put an orchestra with all the set pieces, which brings us to… THE SET PIECES!?

WHERE DO YOU KEEP ALL THOSE SET PIECES?! It was a magic show of sorts with a hard-working ensemble who not only danced, acted and sung their hearts out, but were in charge on moving much of the scenery and props. Quadruple threats, indeed. I honestly don’t know where they put it all and I was genuinely impressed with the smooth transitions despite the huge number of locations. This is not a minimalist approach and they did not skimp on details for the sets which was in most cases a real treat for the relatively intimate theatre space.

Ideally, you’ll want to sit center or house left for the best views. I was far house right and along with some backstage sight line issues, two of my favorite site gags were totally obstructed, what I feel is a mostly unavoidable side-effect of the limited space and ridiculous size of this show.

Although the weather is warm outside (or maybe BECAUSE the weather is so warm outside) the AC was on and I happened to be sitting pretty much right under it. Bring layers and a coat JUST in case you get too chilly as they do have to keep the actors from melting and for those of us that run cold, it can get uncomfortable for the three hours of showtime, no matter how quickly the time flies as you are having fun.

This is an ambitious undertaking (understatement of the year) and the production is very admirable. The Producers is sure to entertain if it’s your first introduction to the show or your 10th time seeing it. A fabulous 4 out of 5 jewels in the Princess’ review tiara for a playful, well-balanced production that is just what the doctor ordered to lighten up your night or your afternoon! The Producers plays at the Hillbarn Theatre in Foster City through May 27th.

**THEATRE FOOD PAIRING: I’m a big fan of Sushi. Like huge fan. I was craving some sushi in a big way the night I attended The Producers and so I specifically looked for a sushi place near by the theatre. Tokie’s is just a mile and a half from the stage, easy to find, lots of parking, and had good yelp reviews so I gave it a try. Go here. You must. Quick service, fresh fish, and some inventive combos I haven’t seen before. The Firecracker Roll (tempura tuna with spicy sauce) was the run away winner for me and they made a very, very respectable Caterpillar Roll (Unagi/eel and avocado) and a nice Spicy Hamachi roll. Gyoza are steamed and flavorful as well. The waiter actually thought I was ordering too much to eat just by myself, but I impressed him and stuffed it all down. I almost got a Firecracker Roll to go it was that great. There are plenty of options for the non-sushi eater as well and the vegetarian options are plentiful. I know where to go next time I’m at Hillbarn when I need a sushi fix!

After seeing In the Heights last night, I woke up thinking it was Saturday. It was seriously as if those amazing 2 ½ hours on a Tuesday had a little chat with Wed –Friday and said, “You only wish you could be this awesome, dude, just pack it in and start your weekend already.” It’s a wonderful and powerful show that can make the rest of the week feel totally unnecessary and thanks to Broadway San Jose I got my weekend feeling early. What a show. What performances. What are you doing? Go get your tickets already!

In the Heights really is the best of everything Broadway should be and should do. It tells a compelling story that’s all at once unique and universal and it tells it in a creative and uplifting way. The music, dance and dialogue are all real, relevant, clever and entertaining and it’s all presented in a way that feels from beginning to end like a remedy, like an electric catalyst for positive change.

I don’t think you need to like hip hop or rap to enjoy this show, but I happen to and it was a special treat to see this particular style of art highlighted. As a word girl I often get hung up on the lyrics of a song and have in the past had trouble with the sound in the Center for Performing Arts, but the words were loud and clear last night, easily digested upon the first time hearing them. And oh, those words…

The songs. Yes, yes, yes, let’s talk about those songs. So. Many. Words. So many. And, with the speed, rhymes, cadence and choreography all tied in to every single syllable, there’s absolutely no room for error. Like, none. Zero. NO ROOM. Which is scary and awesome and also quite admirable. This is the hardest working cast I’ve seen in a really long time.

Hip hop, slam poetry, rap, Latin salsa and ballad, this entire ensemble executes the music as well as the movement. And, I really do mean the entire ensemble, the cast, crew, designers, producers, the musicians all of them, they truly raise the bar. Hell, they raise the roof. They raise the temperature. They totally deserve raises. It was a total struggle to not want to get up and dance. I probably need to apologize to the couple next to me, I may have hummed and it’s possible I was gyrating a bit in my seat. If that was the case, I do indeed extend my mea culpa, but honestly, could you blame me?

Aside from excellent music and dancing, I loved that the technical stayed true to the thematic roots of the show. A really beautiful, detailed realistic Washington Heights neighborhood is represented with only a few artistic “liberties.” The set is stationary and void of all theatrical gimmicks and pretense, and is coupled with some of the most complex lighting I’ve seen. The result is consistent and effective. The lights help to establish alternative locations and emphasize internal moments and it works because it isn’t competing with other technical elements and it underscores instead of upstages the action.

This show is now, and it is then, and it is tomorrow and that to me adds an extra level of connection to the piece as a whole. I don’t need to speak Spanish, I don’t need to live in New York, I don’t need to have immigrated to be completely immersed in this story and be sympathetic to its characters. You can’t help but love these people who are just that; PEOPLE. I know, I’m stating the obvious, but I felt very much that these were not actors so much as they were real artist telling their story. A great way to get your audience in the moment with you is to “justify” breaking into song and art itself plays such a huge part in this story, not just in the telling of it. What could have been truly too schmaltzy or even overly preachy for a gal like me, somehow skated right past cheese and “political statement” and into brilliant resolution and I think a large part of that was due to the intense and truthful realism of these characters.

I feel fortunate to be able to have seen this show, kind of like I won the Broadway lottery. Tony-winning shows shouldn’t be entered into with such speculation and probably ought not to be such a surprise, but for what it’s worth I was pleasantly thrilled. This is an exceedingly rare opportunity to see a true community of artists on stage, passion coursing through every cell of their bodies, hope, struggle and joy flowing to the audience. A rare 5 out of 5 jewels in the review tiara for this honest and fresh, feel good musical, that will certainly take you to new heights. In the Heights plays through Sunday, April 22 only at the Center for Performing Arts in San Jose.

A cellphone which takes on the hilarious role of the fifth character, seemingly gets answered repeatedly without being “answered.” Although I might believe that instantaneous answering is possible, the comic potential of that extra motion it takes to answer the call could have been a hilarious compliment to the phone ringing in the first place.

 Along similar lines, one character is horrified (as was this audience member) at the messes being made from an untidy multitasker, and yet for all the humor in that, what stuck out was the same neatnick brushing crumbs on to the carpet a few minutes later. I kept thinking a dustbuster would be hysterical, or even brushing them into her hand and walking around with it for a while torn between the polite choice of staying with her guests and disposing of the offending bits.

The sound was inconsistent too and there were a few other minor issues, including it needing a short intermission so I can’t say I was in love with this production. It tried too hard in places and not hard enough in others. It does however win a prize for best carpet and a major high five to the crew that has to clean up every night. Props to the props peeps, your special “rigging” had just the right consitency and shock factor.

The challenges aside, I will say there is a special appreciation I think parents and teachers had for this play and I don’t think I’ve seen the SJ Rep audience in stitches like this in some time. Unfortunately, for me I wanted tears of laughter and I got 90 minutes of sporadic healthy chuckles instead. Another 3 1/2 jewels out of 5 in the review tiara for a show that is silly enough but left me wanting a lot more.  God of Carnage played through April 15th in San Jose.