REVIEW – The Many Faces of Farce – Stanford Repertory Theater

It should be noted that Chekhov and I have an on again, off again relationship. Well, it’s more of a Chekhon, Chekhov again. And, really it’s mostly Chekhov. I’ve tried. I’ve seen multiple productions of multiple plays over the last 20 years with various degrees of talent and budget, from classical to modern interpretation and I always feel like I’m missing something. It’s bleak and repetitive and depressing and repetitive and I feel like I should appreciate it more, yet I can’t seem to leave satisfied. But just like eggplant and dating, I keep trying it in case it’s just not been prepared or matched to my personal liking and that one day I’ll leave the theater having had a revelation. Stanford Repertory’s production featuring 3 shorter Chekhov pieces and what was billed as a “cutting edge piece” based on Meyerhold’s 1935 production of the same Chekhov pieces, gave me hope to keep trying, but still had me briskly leaving the scene.

Stanford knows its tech and in that regard all aspects were there despite a very ambitious ¾ stage layout only a couple rows deep on the sides of a general seating house. Their staging accommodated for varying views a lot better than I anticipated, but still there were definitely some long and drawn out moments where unseen facial expression from my perspective (I was sitting behind most of the actors) were getting big laughs and leaving me frustrated. Costuming for the first half was (not unlike eggplant) pretty to look at and certainly suggestive of a non-modern era.

The Bear started off strong. Solidly matched acting from the small cast of 3, they played the humor of the scene which in this play was undeniable. Farce not satire, and while it took me a few minutes to warm up to the melodrama, ultimately it won me over. My hopes raised we had achieved, albeit brief, a Chekhon!

The Proposal started with promise, but before it was half over it did nothing but confirm my suspicion that the playwright and I should not order dessert and just split the bill. Whether the blame lay with the pacing of the acting or that of the play/jokes which dragged, I couldn’t exactly say, but not unlike a SNL sketch used mostly as filler at the end of the show, it seemed to go on and on and ultimately overstay its welcome. I didn’t feel the stakes demonstrated at the level needed to see the humor in it. I admired our female lead’s facial plasticity, and the dry sternness of her father, but it wasn’t enough to, pardon the pun, keep me engaged. Chekhov.

The Anniversary…well… chock it up to lost in translation or just what is now considered cliché, but I was longing for intermission by this point. There were a few bright moments from the women of the cast, but the whole premise of the piece was just not up to snuff of the first piece or the potential of the second. This is what I would typically consider as a full blown CHEKHOV. Way off.

Now. We get to a very experimental, organic, modern, meta piece written and performed by the entire cast in modern clothes and no 4th wall. I’ll say straight away, I can totally respect the creative collaboration required to assemble such an experience. It’s intent I recognize. The combination of history and mimicking Meyerhold’s structure while adding in a brave, almost Brechtian element to the production, I fully understand. But, the end result…felt like a theater game, a tad pretentious, and missed the mark for me. This is a piece where I imagine the process of creating it held far more value than the end product. This was art for artists more than audience, and that’s totally okay. It’s just not, for me, very suspenseful or entertaining. I appreciate that it was built very authentically, and I know what it wanted to say, I don’t believe they actually said it though. The take away for me here was a good history lesson, albeit a bit unexpected and abstract. The cast and Stanford Rep are better than any part of this production. 2 ½ Jewels in the review tiara for a play that had potential, but not enough pizazz to Chekhov a win. The Many Faces of Farce played through August 27th at the Nitery Theater on the Stanford Campus.

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REVIEW – Lord of the Flies – A Theater Near U (at the Pear Theater)

Full disclosure: I never read Lord of the Flies. It’s quite possible I was supposed to, but I don’t recall ever doing so. Perhaps it was not in the curriculum, or more likely, my own unintentional display or reckless rebellion. What I do know somehow, without experiencing this book first hand, is the basic story line and the cautionary tale type themes it explores. I’m an optimistic realist by nature; always hoping for the best in any situation, while simultaneously and cynically understanding and expecting our gross limitations as a species. It’s because of this personal philosophy perhaps that the stage adaptation of Lord of the Flies, being performed by A Theatre Near U, and now playing at the Pear Theater, doesn’t exactly grab or resonate with me. It seems overly predictable, resolved from the beginning, and shows us the dark we already know about ourselves without shedding real redeemable light on anything. It appears I have the talking conch, so I’m compelled to elaborate and perhaps in the process shed a bit of light myself.

Let’s be clear here. The kids on this stage – the young men acting these roles – are not short on talent by any means. They are capable and committed. They genuinely stand out individually and work as an ensemble. They are asked to perform some pretty bizarre and emotional extremes and they all do so passionately, seriously, and in many cases very well. Any one of these young gentlemen could go on to hone their full potential and have a fruitful acting career. The talent is not in question, more so I think this script adaptation, and perhaps the fundamental challenges of doing a stage production of this story, may well be.

I really don’t know if this script knew what it wanted to be. It wanted to be linear in places, but it refused to hint for the most part at a clear passage of time. At times it was jarring and abstract. I wasn’t sure I got enough of a sense of realism to look at it as real, but felt when it went to an almost performance art level of absurdity, it was too easy to just disengage and dismiss as random. I kept thinking I didn’t see or hear enough innocents initially in order to allow myself to be moved by the tragic, inevitable, savage decline. It seemed too short a distance traveled from deserted to deranged, to narrow an arc to build the essentially deep, layered characters and then the necessary attachments to them.

Additionally, the pacing wasn’t appealing or really very helpful in the storytelling at all and may well have been the single most lethal killer on the stage. It seemed to be on fast forward at the beginning and then dragged on unnecessarily. After climaxing too early it got too comfortable and repetitious in its hazy, dizzying, hallucination for me to emote much on behalf of the situation.

There is a consistent flair for the dramatic in this production that’s exhibited not only in the acting and staging choices, but the lighting, sound and choreography as well. Again, it’s done whole-heartedly and the boys do not hesitate to play the drama, but so much of it seemed misplaced or drawn out. I was missing any significant semblance of who these boys were before they were thrust into what they ultimately become or reveal themselves to be. I wasn’t given the opportunity to know them soon enough to have the traits serve as the strings necessary to pull me through the mire of abstract and over-exaggerated passages.

The set was basic and functional, providing clever layers and levels, but so much of the action seems so precarious (actors on the edge of a significantly raised platform, holding sharp objects as a blackout transitioned them to the next scene for example) that I was distracted more by the possibility of actual danger than that of any sinister plot developments.

There were small choices made that I liked and several I disagreed with, but I could also see why they were made and that counts for a lot. There was cohesiveness and consistency in the staging and tech that certainly saved this script in places, but perhaps some different directorial choices could have picked up the slack  for what the script lacked even more.

Overall, while Lord of the Flies didn’t fly for me,  I want to applaud the choice, the opportunity, and the effort of this production more than the finished product. I do so with a 3 ½ jewels out of 5 in the review tiara for a beast of a play, and certainly a noble attempt and an important opportunity for this tribe of wild boys. Lord of the Flies plays through August 5th at the Pear Theater in Mountain View. 

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REVIEW – The Toxic Avenger – San Jose Stage

Do you remember hearing about that Musical Theater orgy between Little Shop of Horrors, Urinetown, and Hairspray that happened at a Bruce Springsteen concert? Well, probably not, mostly because I made it up just now as an illustrative device, but also because last time I checked (and I check often) Musical Theater pieces can’t actually make out let alone do the nasty. But, the alternative fact of the matter is, that this bizarre alleged occurrence resulted in very fortunate-at-least-for-me consequence. That’s right; a new musical was born just 242 months later (the proper gestation period for an illegitimate bastard musical) and that musical is The Toxic Avenger, currently playing at the San Jose Stage Company.

Now, here is a list of things that are inherently funny to me.

  • Any lyric that rhymes cranium
  • Costume quick changes
  • Hairbands
  • Blind librarians
  • Repetition
  • Making your own sound effects
  • Politically incorrect jokes
  • Repetition
  • New Jersey
  • Jackets with fringe
  • Repetition
  • Monsters
  • Really campy special effects
  • Pratfalls
  • Making fun of art forms with the actual art forms you are making fun of
  • Extremely geeky video game references
  • When something goes wrong on stage and actors nearly crack up but then keep going and/or improvise
  • Gratuitous displays of machismo or physical prowess
  • Repetition

This also happens to be a list of things that The Toxic Avenger has. This play and production oozes thick campy goodness (way better than the movie, or at least what I remember of it) that infects the crowd in such a lovely, goofy and uninhibited way. It was so easy to love. So easy. Like I was a slut for this show and if you know me, well…the red hair is totally misleading, a red-herring if you will, which is to say I don’t get down for just any show. You won’t see me at any musical theater orgy. If that were even a thing. Which I already said it wasn’t. But I digress. It didn’t try to be anything it wasn’t and what’s more it’s so at home with these skilled actors and talented band at the Stage. It felt fun and free and like it could run every day for months and still feel fresh and enjoyable.

I’ve seen 3 of these actors frequently over the years and I can say 2 of them put on the best performance I have ever seen them do. Other actors that ever have to play these roles can suck it because they were perfect and you can’t improve perfection. The other one is pretty much always great, but certainly this show has some additional requirements from the stamina standpoint there are met with flying colors. The other two actors I had never seen before and I would marry them/hire them to hang out at my cube at work just for the hell of it in a New York… sorry New Jersey Mutant, sorry, minute.  True, I can only pay them in sugar-free candy of indeterminate age that I find in miscellaneous work cabinets, but they seem like they’d be up for it for arts sake. They’d be guaranteed applause and I know that pays the bills, so, the offer is out there, you know, if this doesn’t work out.

Comedy is hard (no really, it is…wait.. not like that, get your mind out of the gutter!) and while it’s clear the talent was a natural, phenomenal fit to the material, there was intentional, creative, thoughtful staging and choreography that really elevated the production. This show is not a throw away, the songs are difficult and the timing has to be spot on and I think it was very clear just how much of a collaborative effort this was and how much of  a difference that made.

I’d also like to thank whoever decided to do a show with an intermission. I needed time to breathe from the laughing. I would also recommend trying the special My Big French Boyfriend being served at the bar. You only need one, and not on an empty stomach.

My only challenge was it’s a relatively small space and this is a loud show. The balance made it hard to hear the words at times, but overall the tech was up to spec and while not all the music was my style or even all the notes nailed, the humor most certainly was classic Princess and executed superbly!

To be totally honest I thought I was on a bit of a break with the Stage. The majority of this past season hasn’t totally impressed me and I felt like I was falling out of synch with their ultimate trajectory. The memories of the good times were being overshadowed by depressing, confusing and less entertaining memories and I had been seriously considering re-evaluating my relationship. I hadn’t planned on doing a review for this show at all, but, just like our freaking puck-tease hockey team, all it takes is a performance like this to suck me right back in to the happy place. This show was so in their wheel house in every aspect of the production, it felt like make up sex. I’m assuming. I’ve been told that stuff is awesome. This was my favorite San Jose Stage production since The Elaborate Entrance of Chad Deity in October of 2013 which I still smile about.

IN SUMMARY! This is a hilarious production. A fun, fun, fun, fun and did I mention fun night out. Go. The Toxic Avenger (I hardly know her) gets a ridiculously joyous 4 3/4 jewels out of 5 in the review tiara for a show that just lets you laugh, and groan, and cheer and gasp over really ludicrous things. Be pro ludicrous, see this show. The Toxic Avenger plays through July 23rd at The Stage in downtown San Jose.

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REVIEW – Cabaret – Broadway San Jose

I’ve seen Cabaret multiple times over the years and it’s always such a surprise to me. Not by the sexual content, that usually sticks out between viewings (no pun intended), but I still get caught completely off guard by the politics and the emotions that arise as a result of certain imagery and plot content.  As a girl who prides herself on her memory, the best I can conclude is that I’ve somehow chosen to exorcise a cerebral cleanse of the deplorable show content after each viewing. The problem is, in doing so I not only erase most of the plot, but edges of the other more pleasing elements are also snuffed out in the process. This may be a subconscious coping mechanism, but it also might be my brain’s way of playing to type and shrouding the memory of this show in deep, dark, metaphor. While I can’t remember if I’ve ever really “enjoyed” Cabaret, I will say I think Broadway San Jose has brought us a very intelligent, interesting, professional and visually compelling production worth a visit.

I was initially concerned that this intimate play aptly named Cabaret, which is often performed on a small stage or … yes, a cabaret, would get totally lost in the giant space of the Center for the Performing Arts. With the help of solid choreography, an expressive ensemble cast and a dual level set, there was no question in my mind that they skillfully scaled the production. That being said there were times when I was caught in limbo between the action in the upper (orchestra) and lower levels, which did create a bit of a fear of missing out scenario when the distance was too great to clearly take in both altitudes simultaneously. Indeed, this may have been an intentional choice – to create an ambiance of shadowed secrets and glimpses of activity furtively caught out of the corner of one’s eye. If intentional it worked, if not it was nothing more than mildly frustrating on rare occasion.

Perhaps the most interesting technical aspect was the lighting. In many cases it was used extremely well in transitions both physical and emotional. Light is used powerfully to create abrupt, harsh, stark, sterile statements and deliciously seedy, clandestine ambiance. I found it to be inconsistent though particularly in the first half. Again, this might be an intentional almost Brechtian choice, but I wasn’t at all enamored of the darkly rich hued pink and blue gels which obscured too much and seemed to undermine some of realism of this production. I suppose it could be argued that what is happening in the shadows should create a sense of missing out, but I wasn’t totally sure it was a choice.

Every other song in this show is a fantastic, hummable, entertaining number. The not as great side to that is,  if my math is correct, it leaves half the songs vanquished to the land of not-so-fantastic. Many of the songs that move the plot forward are actually not very remarkable, thus contributing to my Cabaret Recall Deficit Disorder or CRDD. Still you will be hard pressed to not smile upon realization that “oh yeah, this song is from this show!” as the couple of ladies behind me felt compelled to express loudly. Throughout the entire show. Seriously. Audiences, behave, we can hear you.

Clearly intentional and to a splendid end was our main gal Sally. The character of Sally Bowles is one I don’t always appreciate. Often times she self-deprecates with humor and dramatic stage flair, keeping us at a dismissive distance rather than showing us her real pain and allowing us to sympathize. Our actress in this production traverses a much broader and more meaningful arc showing a darker more depressive side without sacrificing any of the affectation and ‘perfectly marvelous” moxie that support the stage side of her character. Where I often feel Sally’s is superficially strong and comfortable with her circumstance, I thought it was admirable and a consistent choice to see far more weakness from her as we did here. Though ultimately a far darker, broken and more depressing Sally, it was for me, a fresher and more realistic and impactful interpretation.

Cliff was endearing and sufficiently irate when he needed to be and his chemistry with Sally felt appropriately unrestricted and simultaneously strained. They don’t actually get a lot of stage time to grow their relationship, so it always surprises me a bit how we get from A to Z so swiftly.

Ernst was my absolute favorite. I have to leave it at that. I can’t elaborate. Let’s just say he has an exceedingly well crafted slow burn that has a great pay off.

Fraulein Schneider and Herr Schultz just don’t get the best songs, but they performed them dutifully. They are redeemed by their heart-felt resolutions and again as with Sally, we see a much darker, less humorous, and more emotionally rewarding take with this couple.

By now there’s very little shock to the shock value when it comes to the free and fluid sexuality of the show, but I will say it’s particularly pronounced, raw and raunchy in this production. The M.C. was just what he needed to be as the ring master to the sexual circus and he demonstrated consistently he was comfortable with everything he was tasked with; vocally, dramatically, and from a choreographic standpoint. Don’t expect Joel Grey, but don’t expect Alan Cumming. He’s a twisted and lovely bundle of bawdy all his own, just as he ought to be.

Costuming wasn’t my favorite, but I do think it was appropriate…which is  amusing given that most of it is on the more inappropriate side of the spectrum…which just happens to be appropriate. All that to say it’s not pretty, but it shouldn’t be.

The orchestra was great and I particularly enjoyed the fact that our Kit Kat girls and boys swung both ways – that is to say they got to play in the orchestra on top and be a part of the action down below. You can take that pretty much any way you want, they would. And do. 😉 There was some volume, balance and/or tinny issues with the MC’s Mic in the first half, and it all seemed a bit loud at first, but by the second half the problems had disappeared.

My mind will have likely hijacked all recollection of this show by tomorrow, but if you’re a fan of Cabaret, I think you’ll like the deep direction this production takes. If you’re unfamiliar with the show or it’s not your favorite, I think you’ll still find it mostly entertaining and perhaps like me, more frighteningly relevant viewed through today’s modern lens so influenced by a global political environment that doesn’t seem so removed at times from 1930 Berlin. 4 jewels out of 5 in the review tiara for a classic musical caught somewhere between pleasurable, satirical, comedic burlesque and unforgiving historical drama. Cabaret plays through Sunday, June 11th at the San Jose Center for the Performing Arts.

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REVIEW – The Memory Stick – San Jose Stage

There are a few things I don’t like. I don’t like doing dishes. I don’t like mean people. I don’t like eggplant or olives. I don’t like hangnails. One of the things near the top of my don’t like list is feeling stupid. It’s a thoroughly unattractive trait (right up there with humming to movie scores…inside the theater, I know, nobody’s perfect) but I’d argue that along with a thirst for knowledge and a sincere curiosity, the drive to not look stupid on any topic, has served me well in some cases. While I often attend a play having intentionally done NO research, there are certainly shows where it would behoove me to have read notes or look up some key events or people in order to simply follow along. I don’t like when a show is dumbed down with condescending, extraneous exposition, discrediting its audience, but equally frustrating is when the perspective of the play makes a lot of assumptions about the level of education of its audience on central themes to the play. The Memory Stick was a play that probably made sense to some people, but I got hung up on huge gaps in information, felt lost, possibly alienated, and ultimately lost interest.

On the plus side, this is a highly stylized piece and despite content issues, I appreciated the storytelling style. From the standpoint of oral traditions key to the cultures depicted, it made sense. Dream/vision sequences, shared lines, a corps chorus almost at times and special attention to cadence and poetic/lyric rhythm worked for me. In fact, this structural choice helped to draw parallels for me where other devices (or lack thereof) did not. I wasn’t bothered by the delivery of lines or the acting, but rather what was not said.

It seems to me if you’re drawing parallels or want the audience to, they need to have some reference points to start with. Some tent poles if you will. As it was, I perspired a lot and came up short with regard to a clear vision. This was a journey with no revelation at the conclusion, no questions answered and actually uncertainty as to what questions might have even been asked.

I’m a 42 year old, college educated American, which admittedly, might not mean as much as it used to, but I’ll tell you, even after reading up on Chelsea Manning, The Easter Rebellion, and James Connolly, I still felt stranded, and in disagreement with what I THINK (strong emphasis on think) the message of this play was. There’s a “betrayal” that I think is being touted as an act of heroism, but the impetus for this act initially is a money-making scheme. Its more complex than that for sure, but I had to work too hard to figure out if there were protagonists or antagonists in the current day plot. I feel most certain that I missed the point or happen to be too distanced in perspective to understand/agree, but the “heroes” of the present day plot don’t seem to function according to their “lights” as perhaps the historical figures referenced do.

Speaking of lights, lighting and use of space were good and the set, sound, props and costumes were all at a professional level, but technically this play also has some odd ambiguities and discrepancies. Use of projections specifically in some instances seemed congruent and helpful, in others it honestly felt like an error and a distraction.

This is an Irish play and the best I can figure, more time was taken to detail “American” history than Irish history or more contemporary references to help that audience. The references to Wounded Knee felt the most fleshed out, explained, and for me the most interesting. Perhaps because I recall a bit of it from High School, perhaps because it’s just a dramatic piece of our history capable of stirring conflicting emotions, or maybe because it started to erect those desperately needed tent poles. I suspect it was the most intriguing to the original perspective (the playwright) and was assumed to be the least commonly known to the Irish audience. Meanwhile anyone ignorant of Irish History, details of military occupation/conflict of the last decade and the specifics of various WikiLeaks was left to die on the battlefield. That ignorance while not pretentious or probably intentional, was distracting and clearly, painful for me. Without an intermission to google the bejesus out of stuff to try to cram for the test, or unhelpful notes in the program, my thirst for engagement dried up.

I wanted to applaud the attempt, but the failure to connect made that exceedingly difficult. I wasn’t particularly moved, enlightened, or… entertained for more than a few moments. I tried. I did. Honest. Still, I’ve got to place some of the blame on the piece itself. 2 ½ jewels out of 5 in the review tiara for a show that certainly had merit in concept and gets partial credit for  style, but felt incomplete, forced and static while loudly proclaiming me Jon Snow and reminding me that I know nothing. The Memory Stick played through 4/30/2017 at the San Jose Stage in Downtown San Jose.

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REVIEW- Matilda, The Musical – Broadway San Jose

The first time I heard the score  from Matilda, the Musical I unabashedly teared up. As a girl/Princess who clearly has some challenges with this thing they call adulting, and  conflicts with conforming to a world which sometimes demonstrates a complete lack of imagination and fairness, it spoke directly to me. As a girl with an affinity for layered complexity cleverly disguised as simplicity, the themes, lyrics, and colorful, weird musicality both wooed me and broke me open. I love every square inch of this show and this production.  A year in the waiting from announcement to audience, I was so thrilled this show proved to be everything I had hoped for visually and that I got to see it in my city of San Jose.

While the sound balance and diction is exceptional in this production, it would behoove you to take Broadway San Jose up on their brilliant offer of grabbing a lyric sheet in the lobby either before or after the show (or look it up online). These words, the masterful combination of Roald Dahl’s strange mental concoctions and Tim Minchin’s gorgeously “off” sentiments are all at once kooky and brutally honest normalcy, wrapped in anthems and ballads alike. Perfectly tempered with absurd wit and deep poignancy this show cheerfully explores darkly morbid topics and appears to be an encyclopedia of forgotten obvious things we clearly need to state over. The struggle of having the tools, the support, esteem, time, and love needed to survive being a child not to mention an adult flow effortlessly from scene to scene. It points to how fragile we all are and yet what immense powers we all can access when we need them. It’s a wholly important message for our youth and for the generations raising and teaching them. The power of a teacher and a parent; the influence of grown-ups, the responsibility they have. It’s a beautiful vehicle for the discussion of fairness, defining absolute truths, and encouraging independent thinking. A wonderful  expedition into the need for support and structure without the negativity of limits and restrictions.

Perhaps no other show in memory has reminded me how truly powerful direction can catapult a show from good to great. Lovely staging motifs operate in sync with clever design and it’s that devil in the details that really enhance the visual mischief of this show. A banner doesn’t just get removed; it gets danced of with a flourish! Repetition, mimicry and adorable panache infused into every entrance and exit connects and calls back to lessons as well as lets us in on the secrets with foreshadowing. With surprises around every corner, if you blink you’ll undoubtedly miss hints or jokes. Impossibly unique and ridiculously universal, I love how from top to bottom this musical practices what it preaches, breaking all the rules just enough. Cast a man as a woman, have “learning” be a sin, have it break the 4th wall (well), have it start the second act before the house lights are out, be silly over-the-top, but still be so relatable it hurts.

The creativity of the show is perhaps no more apparent than with the most inventive and original choreography I’ve seen in any show I can recollect. The way it was integrated into the scenery and prop design was a glorious puzzle to behold. It was funny, beautiful, emotive, rebellious and so specialized, there were moment of genuine awe that took over my jaw when dance and movement were concerned.

Many a well written show has been ruined by a cast not up to the task, (I have walked out of West Side Story more than a few times), but this cast is joyous and proficient. The kids in particular are clearly the cream of the crop and even more evident is that they’re executing every move, beat and take with committed earnestness and bliss. More talented than any production I have seen of Annie or Billy Elliot these kids (and adults) are tasked with making very difficult things look easy and exceptionally easy things appear herculean. I’d take every single one of them home for a tea party (this from a Princess who prefers the company of three-legged cats and pit bulls to most children these days).

Aside from entertaining, Matilda, the Musical succeeds in reminding me about the craft of theater; about the individual and collaborative efforts that take place to make art. It reminds me how FUN and what a pleasure creating and performing can be. These loud phosphorescent, wild caricatures and these whispery, gossamer souls we see on stage are rare and it’s a privilege to be able to bring them to life in the world that has been carefully imagined for them. It makes me proud to be part of this profession and it’s the precise show I’d recommend for kids interested in theater. THIS is the attainable, achievable, goal.

A rebellious, resounding 5 out of 5 jewels in the review tiara for a beautiful, hilarious, imaginative, inspirational experience with sincere heart, huge talent and moving messages. What a joy, what an opportunity, what a lovely way to spend a few hours. Consider this to be necessary mischief. Matilda, the Musical plays through March 12th at the San Jose Center for the Performing Arts.

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REVIEW – For Grace – Cinequest

Perhaps I’m too enamored of a well-made documentary, but I find the contrived documentary a tired device when not done well. My general rule is if you’re going to break that 4th wall, it better be for a very specific and effective reason. It ought to be an imperative, consistent choice that assists in cultivating audience focus and not actively impeding it. For Grace is an earnest film with a unique story that unfortunately seems to get buried by an overly forced format and a too present camera.

While there are some lovely visual shots that allow us a peak at the intimacy we want more of and use of silences that speak volumes are rewarding, the dialogue feels improvised and hesitant instead of fresh and authentic, further muddling the journey and losing us along the way. While these characters are played by a compelling cast and I applaud the inclusion and resolution of the film, I just wish it had been put together with a more cohesive, compelling, and a more personally palatable frame.

I’m frustrated by this film because I genuinely like the message and arc of the film’s plot, but I feel the positives have to fight too hard to be seen and heard through the clunky meta style. The superficiality of the delivery undermines the momentum and impact the story could have. I kept being pulled out of the moment and wondering if this could have worked better as an actual documentary or a closed, straight dramatic narrative. My answer each time I asked came back with a resounding yes.

While I can award an E for effort and intent, I can’t be as supportive for execution I’m afraid.  A 3 out of 5 jewels in the review tiara for a good film caught in an awkward purgatory of genre. For Grace has 5 more Screenings at Cinequest.

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