Theatreworks: Around The World In 80 Days

Clockwise left to right: Jason Kuykendall, Ron Campbell, Michael Gene Sullivan, Tristan Cunningham, Ajna Jai. Photo courtesy Kevin Berne and Theatreworks.

One of my favorite theatrical traditions is the small-cast comedy. Beginning with Ludlam’s Mystery of Irma Vep and popularized with the Broadway adaptation of The 39 Steps, these plays make use of character actors’ talent and elaborate costumes to portray dozens of parts with a cast of five or fewer. Mark Brown’s adaptation of Around the World in 80 Days, now playing at Theatreworks, pays tribute to Jules Verne’s classic adventure tale with a lean group of actors and a delightfully irreverent script.

Director Robert Kelley understands the secret to good farce: Bringing the comedy over the top as much as possible without disrupting the core of the plot. Most of the cast portrays a number of exaggerated characters apiece, including priests, police, and rugged sea captains. Ron Campbell shoulders the bulk of these roles, his funniest work done with the cavalier Colonel Proctor. Unlike other small-cast comedies, there’s a relatively high number of recurring named characters, making the humor less reliant on metatheatrics and more on standard farce.

Unflappable main character Phileas Fogg (Jason Kuykendall) serves as a grounding element to this chaos, with energetic and loyal servant Passepartout (Tristan Cunningham) bridging the gap between clown and straight man. Cunningham’s circus experience aids her in the mainly physical work required of the character, while Kuykendall’s confidence propels the plot implacably forward. Michael Gene Sullivan’s blustery Detective Fix and Ajna Jai’s timid-yet-powerful Aouda round out a stellar cast.

One of the unique technical elements of Theatreworks’ production is the use of Cameron Wells as a foley artist. Wells helps express the numerous international locations of the play through special effects that don’t obscure the action onstage, and accents the humor of scenes to make them even funnier. Anachronisms like the Law and Order gavel sound are scattered throughout the play, not enough to cloud the original work but sufficient to add a new layer of humor.

Around The World in 80 Days at Theatreworks ties together classic adventure, vaudeville comedy, and modern metatheatrics in a unique package. No matter how familiar you are with Jules Verne’s original story, you will find something to appreciate in this production.

Around The World runs until December 31st.       

Theatreworks: Hershey Felder, Beethoven

Hershey Felder. Photo courtesy Christopher Ash.

Ludwig van Beethoven has left perhaps the largest legacy of any classical musician, with such seminal works as Für Elise, Moonlight Sonata, and the famous “Da-da-da-DUN” of his Fifth Symphony. And yet we mostly see Beethoven as a marble bust upon a shelf, a machine who created beautiful music, instead of the flawed, tormented human he really was. Pianist/actor/playwright Hershey Felder illustrates the struggle between joy and misery within the composer in his one-man show Hershey Felder, Beethoven, which brings to life a person whom most of us have known only as a distant legend.

Hershey Felder, Beethoven is not approached from Beethoven’s perspective: Perhaps Felder thought an outside look would better illustrate Beethoven’s complexities, or that Beethoven’s inner struggles were too complicated to be retold truthfully from his view. What we get instead is fragments of Beethoven’s life, death, and struggle with deafness, from the perspective of Gerhard von Breuning, his former caretaker. This framing is a more honest way of discussing a historical figure about whom little is known; the audience leaves the theatre still asking questions that may never be answered.

Felder’s acting dwells at two extremes: His portrayal of von Breuning is clipped and composed, calmly asking the audience to hear his side, while his portrayal of Beethoven is wild, driven to paroxysms of joy and rage. We don’t get tired of either character because Felder switches between them so often, and, in fact, discover new facets of their personalities every time we return to them. Other incidental characters, such as the point-of-view character’s father, are portrayed with delicacy and nuance.

Unlike most one-person shows, Hershey Felder, Beethoven is interspersed with Felder’s emotionally charged piano performances of some of Beethoven’s best-known work. This is vital for the performance, as it shows, not tells, the sheer impact of the music and allows us to experience for ourselves its timeless power. Interspersed between the music, Felder points out Beethoven’s love for composing in C minor, Beethoven’s melody speaking to us above the rhythmic base in the Moonlight Sonata, and many other insights into Beethoven’s legacy, which allows us to appreciate his music on a higher level.

Hershey Felder, Beethoven is a glimpse into what little we know of one of the greatest, most complex musicians in Western history. Knowing Beethoven’s flaws doesn’t bring him down to earth, but instead gives us more insight into a composer who, while fraught with despair and rage, was nevertheless able to produce works of tremendous beauty. Even for those with only a passing familiarity with Beethoven and his works, this one-person show will bring tears to your eyes.

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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.

Theatreworks: Confederates

Left to right: Tasha Lawrence, Jessica Lynn Carol, Richard Prioleau. Photo courtesy Kevin Berne.

Though there are many political thrillers in the world of theatre, not many describe the surreal experiences of journalists on the campaign trail. Suzanne Bradbeer’s Confederates, premiering at TheatreWorks in Palo Alto, uses this setting to examine the nature of scandal, journalism’s role in modern politics, and whether it’s more important to be first or to be right.

Three characters are present in the play: Maddie (Jessica Lynn Carroll), the daughter of a long-shot Presidential candidate, and the two journalists covering her and her family. Will (Richard Prioleau) has a personal connection with Maddie, and Stephanie (Tasha Lawrence) has a Type-A personality and a burning desire to get the scoop. Caroll portrays Maddie as likeable with an ignorant streak, perhaps similar to the main character of Unbreakable Kimmy Schmidt. While the play centers on Maddie’s major gaffe, the audience can safely believe that what she did was not out of malice.

Maddie despises Stephanie and only talks to Will, who then talks to Stephanie. This makes Will the only connection between his fellow journalist and the woman they are both writing about. As Will, Prioleau interprets his stage time with each of the other actors differently: He’s collected and mature around the childish Maddie, but a little goofier and able to deliver jokes to Stephanie when she’s around to act as a foil. Lawrence is great at becoming the archetypical career woman as Stephanie, but adds a third dimension to the character through her love of the political game and her adoration of the intelligent, erudite candidate she’s covering.

Andrew Boyce’s set, modern with lots of glass and bold colors like the set of a cable news show, is, without doubt, one of the best TheatreWorks sets I’ve seen. It serves the needs of the production’s numerous locations, including buses and hotel rooms, while tying everything together in something slick and modern. This evokes the political themes of the play without beating the audience over the head with symbolism.

With instant access to a flood of news from large, faceless websites, it’s easy to forget the process that goes into delivering it. Confederates at Theatreworks takes a fascinating look into this life, portraying journalists not as marionettes holding cameras, but as real people who sometimes let their feelings get in the way. If you enjoy plays about politics, but want a fresh perspective on the climb to the top, Confederates is worth a watch.

Lotus Thai Bistro

Location: Palo Alto, CA

Food: Thai

Nearby: Lucie Stern Center (Theatreworks, Palo Alto Players)

The definition of “comfort food,” in my opinion, has become diluted. To truly be comfort food, a dish should be so delicious and so filling that even if you’ve had a hard day, it will start to look better after dinner. Lotus Thai Bistro, a restaurant squeezed into the California Avenue shopping district, is one of those scant few eateries that feeds the weary spirit as much as the empty stomach.

Like many Thai restaurants, there are a lot of excellent appetizer options. The chicken satay skewers ($7.95) are a little softer than those from other eateries, and combo well with the peanut satay sauce. Vegetarians or those on a budget might want to order the fried spring rolls ($4.95), which are filled with a fresh blend of vegetables.

The soups are served in entrée portions, larger than those at many other restaurants. Though you get a lot, the soup has enough variety of flavor and texture that it works as an entire meal, and you can always take it home. Look out for the Thom Kha ($6.95-8.95), which combines the delicate sweetness of coconut with the acidity of lemongrass. My personal protein recommendation for this soup is steamed tofu, which adds a delightful chewiness without overpowering the broth.

You can find your favorite Thai curries at Lotus Bistro, which are served with a number of different meat and vegetable options. (The menu on Google does not have several of the fish options I encountered, which may be seasonal.) If you want to pour your curry over something complex like Pad Thai, my suggestion would be the simple but effective yellow curry ($9.95). Another excellent choice is the mussaman curry ($12.95), which cuts to the core with just the basic ingredients.

All soups and curries are available at four spiciness levels; I personally enjoyed the “medium” level, finding the kick substantial but not overpowering. However, spice is a personal decision.

It must be mentioned that the coconut rice ($4.50, not shown on Google menu) is an out-of-this-world treat, a sweet, sticky, addicting dish that’s almost impossible to finish once you start. It’s especially great as a vehicle for curry.

Lotus Thai is a great low-key restaurant that serves classic dishes for a range of customers. The large portions are great for sharing, taking home, or enjoying on your own if you’re very hungry. They also deliver (through waiter.com and other sites), so if you’re hosting a party nearby and want to order something other than pizza, give Lotus Thai a chance!

Vive Sol

Locations: Palo Alto and Mountain View, CA

Food: Mexican/Comida Poblana

Close to: Lucie Stern Theatre (Palo Alto), Mountain View Center for the Performing Arts (Mountain View)

South Bay mainstay Vive Sol has been bringing delicious, authentic Mexican food to California for several decades now. The restaurant departs from the apparent binary of either takeout or experimental nouveau cuisine to serve upscale, old-fashioned meals that delight and satisfy.

Vive Sol’s menu is specifically Comida Poblana, food from a south-central region in Mexico known as Puebla, a stop for traders from both Asia and Europe. This gave the area a fascinating and varied set of traditional dishes. Visitors to Vive Sol will find that many of the items on the menu are substantially different from the Mexican-American blend offered by many other restaurants, offering their own flavor experience.

The restaurant’s specialty is the enchilada, and there is a great variety of enchiladas to choose from. The most popular item is the Enchiladas Al Sol ($13.95), a combination of one enchilada covered in creamy cheese sauce and another in sweet-spicy mole. My personal favorite is the Enchiladas Verdes ($13.95), which employ a tangy green tomatillo sauce. Most of these dishes come with a hearty amount of seasoned rice and beans, and you can choose your own protein, including a vegetarian cheese enchilada.

Vive Sol also offers the “De La Plaza Mayor” plate, a selection of two items from a menu for $13, alongside rice and beans. If you want to try a few items without breaking your stomach or wallet, this is an excellent choice; one of the options is an Enchilada Verde and is highly recommended. The other three depend on your taste: Whether you want a mild quesadilla or a chile relleno is up to you.

There are two locations, “Vive Sol” on El Camino near Mountain View and “Palo Alto Sol” in Palo Alto’s California Avenue shopping district. Each has their benefits and disadvantages: The Mountain View location is harder to access but is beautiful and has lots of seating, while the Palo Alto location is surrounded by parking but may have a large number of small children in the evenings. Which one you choose depends on your circumstances, but both of them offer an unparalleled Comida Poblana dining experience.

Palo Alto Players: In the Heights

Now that it has been five years after the original show closed and the rights have been released, numerous theaters in the Bay Area are performing Lin-Manuel Miranda’s Tony-winning musical In The Heights. The Palo Alto Players’ rendition, running until the end of the month, combines the exciting score with a talented, spirited cast to create a show of integrity and wonder.

In The Heights concerns the entwined stories of numerous people on an increasingly gentrified block of Washington Heights in New York City. Usnavi, our protagonist, struggles to keep his grocery store in business as he pursues Vanessa, a hairdresser at a salon down the street. Vanessa longs to leave the barrio and move into an apartment downtown. Kevin and Camila Roasario barely keep their taxi business afloat, while their daughter, Nina, returns home after working two jobs and studying at Stanford proved too difficult to her. And through it all, a lone piragua vendor competes with an ice cream truck for customers.

The cast was extremely strong and did a wonderful job: Standout voices include Jia Taylor as Vanessa and Alexa Ortega as Nina. Mark Alabanza plays the small but important role of the Piragua Guy with aplomb, making the vendor’s subtle jokes with impeccable comedic timing and singing his songs with a golden voice.

The Palo Alto Players do an amazing job in conveying the economic difficulties of the characters of the play to an affluent community. Contrary to the feel-good messages of many other musicals, In The Heights portrays the humanity of people in desperate situations, and, in my opinion, it’s this kind of conflict that makes for truly great modern drama.

Interestingly, In The Heights  possesses some similarities to the classic musical Fiddler on the Roof, which nears its 50^th anniversary next year: A focus on the economically disadvantaged, the clash of heritage and true love, and the enduring question: Where is your home when you’re forced to leave? I’m happy to see more modern musicals addressing these issues, especially since In The Heights modernizes the message but leaves its timeless teachings intact.