Palo Alto Players: A Day In Hollywood/A Night In The Ukraine

Left to right: Patty Reinhart, Andrew Ceglio, Mohammed Ismail. Photo courtesy Joyce Goldschmid and Palo Alto Players.

One of the long-forgotten traditions of the American theatre is the vaudeville circuit, where you could watch music and comedy on a local stage for dirt cheap. No group was more notable for vaudeville than the legendary Marx Brothers, whose hilarious and incredibly-crafted wordplay informs comedy writers to this day. Palo Alto Players’ performance of the 1979 adaptation A Day in Hollywood/A Night in the Ukraine hearkens back to the vaudeville stage, first with several musical numbers from an outstanding ensemble cast, then with a Marx Brothers performance that packs their hallmark brand of comedy into a tight hour of Chekhov-inspired comedy.

The first hour of Hollywood/Ukraine is a musical revue presented under the thin veneer of ushers at Grauman’s Chinese Theatre attempting to distract the audience while the projectionist tries to get the movie going. The most fun one, “I Love a Film Cliché,” collects the premiere lines of 1930s cinema at a rapid pace and making use of the numerous balconies and corridors of the Lucie Stern theatre. Other numbers include a tap dance accompanied by a verbatim reading of the 1930 Motion Picture Production Code and a tribute medley to composer Richard Whiting, best known for the classic song “Good Ship Lollipop.” The Day in Hollywood section is hilarious, of course, but it also evokes the more innocent, straightforward films of the early 20^th century in a way that’s almost nostalgic.

Night at the Ukraine features three Marx Brothers impersonators stumbling, in a fashion unique to the Marxes, through the obscure Chekhov one-act play The Bear. When performing a Marx Brothers show, strict adherence to the character is key, and all of the actors do a bang-up job. Andrew Ceglio’s Groucho is almost a perfect reenactment, flawlessly accomplishing the rapid-fire wordplay and acrobatic pratfalls necessitated by the role. Chico, played by Mohammed Ismail, is a little lower-energy than Groucho but neatly balances the mix of cleverness and stupidity that every Chico character requires. Last but not least, Patty Reinhart delivers Harpo’s series of physical gags without missing a beat. Reinhart is significantly shorter than her partners in crime (and the actual Harpo), which actually works well for her role – high-energy comedy is especially funny when delivered by someone smaller than everyone else.

Also of note in Night at the Ukraine is Sarah Cook as Mrs. Pavlenko, the resident high-class large woman present in every Marx Brothers comedy. Pavlenko acts as the play’s straight performer, mirroring Groucho’s wordplay and Chico’s props with equal amounts of horror, and helps both ground the play in some semblance of reality and present the small amount of plot the Marx Brothers need to get away with making a series of jokes for an hour. Cook mirrors the energy of Ceglio, Ismail, and Reinhart so they don’t run away with the show while not overshadowing the comedy – an excellent performance.

Some of the play’s technical work is more functional than spectacular (as necessary for comedy), but there are several small touches that deserve attention. The ensemble, dressed as ushers, welcomes in the audience at the start of the production; this touch of metatheatre blends the performance of Palo Alto Players with the dreamy cinematic reality of old Hollywood. Patrick Klein’s set during the first act captures much of the same feeling; the famous sidewalk outside Grauman’s is set very high on the stage, twisting around dimensions that might be familiar to moviegoers. Piano work by Katie Coleman and Lauren F. Bevilacqua ties the production together and allows the vocal performers to shine.

While there are a lot of excellent dramas present in the American theatre today, a good comedy is hard to find. A Day in Hollywood/A Night in the Ukraine is one of those good comedies, capturing the best wordplay and physical humor of the era of vaudeville. If you want to have a fun night out with the Marx Brothers, stop by Palo Alto Players – they’re always better live.

Palo Alto Players: The Diary of Anne Frank

Left to right: Vic Prosak and Roneet Aliza Rahamim. Photo courtesy Joyce Goldschmid and Palo Alto Players.

When the world of the Allies reeled from the discovery of the horrors committed by the Nazis, it was difficult for many people, especially those without personal connections, to process the meaning of what occurred during the Holocaust. Anne Frank’s diary, discovered after the war, allowed insight into the lives of the millions of victims of Hitler’s atrocities and remains a classic of historical literature to this day, with several stage and film adaptations. Palo Alto Players’ version, based on the 1997 script by Wendy Kesselman, brings to life the personalities and trials of the people in hiding in a small annex in Amsterdam.

Through her diary, Anne Frank put a face on the victims of the Holocaust as an ordinary girl surviving under extraordinary circumstances. In a theatrical adaptation, the actress portraying her must balance the innocence of a middle school girl with the desperation of someone forced into hiding. Roneet Aliza Rahamim’s rendition achieves this balance: She begins the play excited and adventurous, and although she becomes more distraught as her circumstances turn grim, she never loses the positivity and hope that lie at the core of her character.

Another standout performance in the play is Vic Prosak as Anne’s father, Otto. Prosak has a deep, powerful voice, which lends authority to his attempts to maintain peace among the members of the annex. Otto feels a profound sadness about the group’s situation as he watches his children grow up under Nazi persecution; he expresses his protectiveness through unfailing diplomacy yet rigorous adherence to the stringent rules dictated by extreme circumstances. It is Otto who gives the final monologue detailing the horrific fates of the rest of the annex group, and the sorrow and rage in his telling is palpable.

As their living situation becomes more desperate over the course of the play, the group wears down, each member reacting to the deteriorating situation according to their own idiosyncrasies. Most obvious is the dentist Mr. Dussel (Tom Bleecker), whose irritable personality is a source of humor in the play’s lighter moments, but, over time, becomes genuinely angry. The Van Daans (Shawn Bender and Rachel Michelberg) show perhaps the most dramatic transformation, as their refinement crumbles under the face of a dwindling supply of money. However, despite the increasing deprivation and tension, human decency and empathy survive, even during the terrifying moments when the Nazis arrive.

Kuo-Hao Lo’s set captures the confined space of the annex while providing a reasonable amount of room for the drama to unfold. Skylights at the top of the stage let in a sliver of cool light, hinting at the outbreak of the war in Nazi-occupied Holland, but not giving the audience – or the members of the annex – quite enough information. Rooms are set up so beds don’t occupy too much of the audience’s visual space; this gives the actors room to perform, while still conveying a cramped living area too small for its occupants.

Many people have read The Diary of Anne Frank at some point in their lives, but Palo Alto Players’ stage adaptation further captures the point of reading the book – understanding the story of those who lost their lives during the Holocaust. More than simply a documentary about genocide, the play allows us to sympathize directly with a handful of people whose lives were destroyed. For those who want to further know the life of people hiding desperately from a government intent on exterminating them, Anne Frank provides profound insight.

Palo Alto Players: Clybourne Park

Left to right: Casey Robbins, Fred Pitts, Damaris Divito. Photo courtesy Palo Alto Players.

Clybourne Park is difficult to classify in terms of “comedy” and “drama.” The play, especially the second act, finds humor in the discomforts of racial tension, but is underscored with the characters’ essential humanity and desire for some amount of dignity in their life. Nobody in this play is a saint, but nobody is irrationally cruel either. Palo Alto Players’ rendition, directed by Jeanie K. Smith, uses brilliant staging to illustrate the subtleties of this challenging, multileveled play.

The first act, taking place in 1959 in the middle-class white Chicago neighborhood of Clybourne Park (mentioned during Lorraine Hansberry’s Raisin in the Sun), uses many of the same beats as the dramas of the 20^th century. It centers on white couple Russ (Todd Wright) and Bev (Betsy Kruse Craig), torn apart by recent family tragedy and contending with neighbors trying to stop them from selling their house to the black Younger family. Smith’s direction organizes the characters and their numerous subplots into understandable units, making the complex maze of relationships clear to the audience.

Wright’s performance as Russ – a weary man battling the recent loss of his son – is spectacular, measuring up to some of American theatre’s greatest patriarchs. In an act where almost every character’s true intentions are obscured by a barrier of politeness, Russ’ motivation is clear – he wants to leave. This clarity of action makes him more sympathetic than Jim (Casey Robbins), who wants to sweep tragedy under the rug, or Karl (Michael Rhone), who cares more about keeping the neighborhood white than about his neighbors’ pain.

Caught in the crossfire are Francine (Damaris Divito), Bev’s black housekeeper, and her husband Albert (Fred Pitts), who have no particular investment in the drama – Francine has somewhere she needs to be – but end up being used as props in everyone’s argument. Albert is by far the funniest character in this act, occasionally stepping in with a piercing remark that deflates the tension the other characters have painstakingly built up. The art of the one-liner is difficult, and in Clybourne Park, Pitts proves that he is a master.

The second act, set 50 years later in what has become an increasingly gentrified black neighborhood, retains much of the previous act’s structure but presents itself as a modern comedy. Michael Rhone and Kelly Rhinehart play Karl and Betsy, a white couple seeking to tear down the house from the previous act, but who have run into opposition in the form of black housing board representatives Kevin and Lena (Pitts and Divito).

In this act the web of relationships is simpler, the veneer of politeness is more fragile, and many of the characters are less sympathetic. Divito’s acting as Lena is superb – she’s singularly focused on protecting her family’s legacy and Clybourne Park as a community, and although she plays along, she quickly stops putting up with Karl and Betsy’s sheer ignorance of the problems they cause. Her performance is powerful but reactive; she doesn’t want to get dragged into a fight, but she can more than hold her own.

Clybourne Park is an intelligent, funny, well-written play about the way people skirt around uncomfortable issues of race and privilege, and how the artificial constructs of polite conversation crumble when faced with reality. Solid acting from the entire company and smart direction make this play a community theatre gem and an absolute must-see. 

Palo Alto Players: Chicago

Left to right: Elizabeth Santana, Janelle LaSalle. Photo courtesy Palo Alto Players.

Chicago occupies a space alongside Cabaret as one of the best musicals of Kander and Ebb’s storied career. More light-hearted and macabre than its sister show, Chicago ties together satire of American celebrity criminals, the transitory nature of fame, and the excesses of the Roaring Twenties with a ragtime bow. Palo Alto Players’ version, under the direction of Jamie Scott, employs a talented vocal cast and gutsy choreography to create a Chicago that is dark, sexy, and most of all, entertaining.

Janelle LaSalle stars as literal femme fatale Velma Kelly, becoming more and more distraught as newcomer Roxie Hart (Elizabeth Santana) steals her chance at the spotlight. If Roxie is the dramatic heart of the show, Velma is the comedic; LaSalle plays her with a delightful vindictive streak. As unfortunate as her circumstances have become, LaSalle convinces us that Velma Kelly is not to be pitied.

Billy Flynn, a sleazy lawyer and male lead of the show, is one of the pivotal roles of the show. In this production, he is performed by Michael Monagle, a former corporate attorney who returns to the stage after a 20-year hiatus. Despite two decades away from the stage, Monagle doesn’t miss a beat as he grandstands and flim-flams with flair to match Flynn’s gigantic ego. Combined with frequent costume changes and elaborate choreography, Monagle’s acting demonstrates that Flynn has risen from the dirty world of celebrity crime to pull the strings from behind the scenes.

In a cast brimming with excellent vocalists, the best among them has to be Jennifer Taylor Daniels, a Santa Cruz jazz/blues vocalist who plays the part of capitalistic prison ringleader Matron “Mama” Morton. Though, sadly, she only gets two numbers, she displays an impressive acting range within them: A powerful matriarch in “When You’re Good to Mama” and a dejected colleague to Velma in “Class.” Daniels’ comedic skills and belting ability make her the perfect fit for Mama Morton.

The set, designed by Patrick Klein and lit by Nicholas Kumamoto, features a lavish stairway set common to early 20^th-century variety shows, braced by rows of prison cells. Kumamoto’s lighting makes frequent use of spotlights upon the dreary, gray set, adding subtle splashes of color and playing into the themes of dramatic ego present in the musical. This set gives the impression of location and time without being too specific, complimenting Chicago’s lean script and winking acknowledgement that it’s a show.

Palo Alto Players’ Chicago represents the theatre group’s ambition as a community theatre. Not content to take the obvious routes when producing crowd-favorite musicals, Palo Alto Players takes artistic risks and makes bold statements. Combined with intelligent set design and a well-chosen cast, Chicago is a must-see production. 

Palo Alto Players: Chinglish

Joyce F. Liu and Chris Mahle. Photo courtesy Joyce Goldschmid.

Comedians since Plautus have used misunderstandings to make audiences laugh. For nearly as long, unskilled playwrights have overused this technique, dragging scenes out far longer than they need to be or unnecessarily obfuscating the characters’ viewpoints. However, David Henry Hwang’s cross-cultural comedy Chinglish uses the comical misunderstanding with a master’s stroke. There is a point at which the main character, after describing several incredible Chinese-to-English mistranslations, stops, saying “I could go on, but…” Indeed you could, and thank God everyone in this play goes on just enough to keep it moving.

Misunderstandings – cultural, professional, and romantic – are at the heart of Chinglish, which combines a rollicking comedy of manners with a mid-scale boardroom drama. Former Enron salesman Daniel Cavanaugh (Chris Mahle) attempts to sell his family’s sign-making services to  a small (only 4 million!) town in China, but faulty translators, political corruption, and a whirlwind affair with a minor political official causes the business trip to slowly devolve until it stands at the edge of disaster.

Mahle’s Daniel Cavanaugh is a very interesting comedy character, a composed businessman who quickly falls apart when dealing with his Chinese clientele. The main characters in most comedies are either stoic straight men or wacky pratfallers, but Mahle switches his character’s status as frequently as the numerous English-Mandarin bilingual characters change their language.

Other notable cast members include Jeffrey Sun as Minister Cai Guoliang, a nepotistic government official. Sun plays his character as externally fun-loving but internally calculating, not because he’s necessarily sinister but because he’s found he has to make compromises to get ahead in politics. Cai is played up as the villain as well as a remnant from China’s prior Cultural Revolution era, but he faces his eventual comeuppance with a stoicism rare for antagonists in a straight-up comedy.

Joyce F. Liu plays Xi Yan, a vice minister who begins an affair with Cavanaugh while simultaneously trying to get his signs to go through. Liu’s performance here is excellent: She simultaneously occupies a position of power while having to act like a clown to get Daniel to understand her. Liu will make you laugh while you shake your head at the poetry of language dashed against the rocky shore of understanding.

The Palo Alto Players rendition of Chinglish is a fun, punchy comedy that’s extremely rare in both its tone and its excellent quality. It only lets jokes go on for as far as they are funny, and the mistranslation-based humor stays fresh and interesting for the entire performance. It runs for another three weeks, and if you have the chance to see it, you should definitely go.