The late British playwright and Nobel laureate in Literature, Harold Pinter, was a master of the oblique and sometimes even the opaque, when it came to complex or complicated characters and plot situations. He was a playwright that forced one to become fully engaged in what was taking place in order to understand and appreciate the slices of English life he was illuminating on the stage.

American audiences often found his work too elliptical, bewildering and esoteric to the point of losing his audience along the way; producing such comments as “boring” or “what is he trying to tell us”? We Yanks have been known to have short attention spans, causing some of us to leave the theatre at the interval shaking our heads. However, when one gets on Pinter’s wavelength, the journey can be extremely revealing, rewarding and entertaining.

Pinter’s quasi-tragic, autobiographically-based drama “Betrayal”, seamlessly and sharply directed by Frank Corrado, is in good hands.   Corrado is considered a Pinter expert, having produced and directed Pinter’s entire canon at Seattle’s ACT Theatre over three seasons.

The North Coast Repertory Theatre’s potent production of marriage infidelity and betrayal is full of clever directorial touches, like the timing of Pinteresque pauses and the overall pacing between the excellent ensemble cast of Carla Harting, Jeffrey Frace, and Richard Baird, with Benjamin Cole contributing as a pompous and frustrated European waiter.

Pinter’s usage of reverse chronology as a method of telling the story was innovative for its day (1978). The play begins in 1977 with a meeting between adulterous lovers, Emma (Carla Harting) and Jerry (Jeffrey Frace), two years after their affair has ended. During the nine scenes of the play, we move back in time through the various stages of their seven year affair, with the play ending in the home of Emma and Robert (Richard Baird) her husband, who is Jerry’s best friend.

The actors have insightfully captured the essence of what is usually referred to by Europeans as the coolness and passionless nature of the English. Harting nicely displays an understated English Rose exterior as well as her desire to get more excitement out of life as the lover of her husband’s best friend Jerry. Frace as Jerry, although married with children, lets his hormones make the decision to begin his affair with Emma following an evening of too much drinking at a party. Frace is a very determined, smooth, and an accomplished seducer who knows his way around infidelity.

Baird’s knowing cuckolded Robert, is a study of a man wounded and betrayed by his best friend. Baird’s controlled bluster on the outside belies the seething energy inside. We’re not sure what Robert is capable of doing, but over drinks in a Venetian restaurant one summer, we find out that Robert is no angel either. It’s a disciplined gem of a performance. One is reminded, at times, of the poignancy of that most achingly English of all illicit love-affair plays and movies: “Brief Encounter”, from the pen of the great Noel Coward.

The technical credits at North Coast Rep are always first rate. The creative team led by director Corrado once again provide the splendid one-two technical punch team of Set Designer Marty Burnett and Lighting designer Matt Novotny. Costumer designer Alina Bokovikova, as always creates spot-on costumes, along with sound design by Melanie Chen.

“Betrayal” is a sophisticated and provocative production for grownups that runs through June 28, 2015.

San Diego Repertory Theatre, one of the country’s finest urban theatre venues has a winning world premiere hit on its hands thanks to two Tony Award-winning actors in Alice Ripley and Gregory Jbara, along with local San Diego tenor Kurt Norby and the musical direction of Korrie Paliotto and her onstage band of musicians.

The company, under the direction of Javier Velasco bring the music of Harry Nilsson, one of America’s unheralded and relatively unknown singer/songwriters, to vivid life.  The musical tribute to the late singer the Beatles called their favorite American artist, is conceived by actor and musical arranger extraordinaire Steve Gunderson and Javier Velasco, the artistic director of the San Diego Ballet.

“Everybody’s Talkin’” is more of a free-flowing musical tribute than a traditional book musical.  There isn’t one line of scripted dialogue spoken by the performers.  It’s just the genius of Nilsson who was a poet/philosopher and a reluctant troubadour performer, whose songs lend themselves to the inspired arrangements by Gunderson and the staging by Velasco that propel the show along.

More than fifty musical numbers lovingly and beautifully performed by Ripley, Jbara and Norby deliver the clever and off-beat lyrics and music to the audience that illuminates the insight and genius of Nilsson, and his uncanny knack of being able to connect with his fans on their wavelength.  If you have ever been in love, crazy love, and lost that love, then you’ve experienced the emotions and feelings that Nilsson so brilliantly engenders in his music and lyrics (bring two hankies – the love game is a rough and tough competition).

The American singer songwriter Bill Withers also had the talent and skill to tap into those aching emotions with his “Ain’t No Sunshine” lament back in 1971.  Belgian Jacques Brel was another singer songwriter who excelled in the game of love, loss, and pain with his haunting song “If You Go Away”.

What is so entertaining about “Everybody’s Talkin’ is the variety and range of the songs performed by mezzo-soprano Ripley.  She has that wonderful instrument that produces a vocal range from softness to off-the-charts power, when called for.  It also helps that she is an accomplished actor and musical theatre performer who just doesn’t sing the lyrics, she acts them out and lives the lyrics. It’s an impressive performance.

Jbara’s light comedy baritone has just the right amount of whimsy and an easy manner to engage the audience.  The chemistry between Ripley, Jbara, and Norby in three part harmony is the sizzle that sells the steak in all of their musical numbers especially these standouts: “Ten Little Indians”; “Coconut”; “I Said Goodbye To Me”; “All I Think About Is You”; and the haunting “I Will Never Leave You” and the achingly poignant “Without You”.  And, of course, the finale number by the entire company singing “Everybody’s Talkin”.

The technical credits are first rate beginning with Musical Director Korrie Paliotto and her musicians: Jessie Audelo on Woodwins; P.J. Bovee on Guitar and Keyboard; Issac Crow on Bass and Percussion and Dave Rumley on Drums and Vibraphone.  The set design by Sean Fanning is a study in circular levels that work well for the performers who need the space to move about without leaving the stage.  The lighting design by Philippe Bergman is especially sharp and effective in making sure the stars are always in their light whether moving or stationary.

It’s a delightful evening of theatre: Three highly accomplished performers singing the songs of the late, gifted and talented Grammy- winning singer/songwriter/performer Harry Nilsson.  It doesn’t get much better than this.

This splendid production performs at San Diego Repertory Theatre’s Lyceum Stage at Horton Plaza through June 21, 2015.  Don’t miss it!

That is a football hammer! Sepp Blatter (79) throws the towel and resigns as president of FIFA!

Now ‘Sun King’ Blatter has taken the consequences. After 17 years at the head of the world football’s governing body the FIFA, he resigns. However, until a successor has been found, he remains in office.

At 6:30 pm Blatter appeared at the FIFA headquarters before the press and presented the breaking news bomb. Blatter exhibited signs of extreme tension and spoke in French.

Blatter: “I’ve been thinking seriously about my presidency, about the wonderful times at the FIFA. I love the FIFA more than anything else. I have decided to resign “He continued: “We need to initiate major reforms. We have to start these reforms immediately. We do not have control over the other FIFA executive members, but we have a responsibility. I have fought hard for the changes, but I cannot do this alone. It needs new wind for these measures.” The Blatter resignation started at 6:30pm. Blatter was 17 years FIFA president; his resignation speech lasted exactly two minutes.

Blatter: “I am so very connected to FIFA and its interests. I would like to thank all our supporters and companions. We now need time to find the best possible candidate for this office. “Blatter has been with FIFA since 1975, first as a technical director, from 1981 then as General secretary. In 1998, he became the successor of President Joao Havelange.

FIFA will convene an extraordinary congress to find a successor to Blatter. The next scheduled Congress was supposed to be held in Mexico City on 12 and 13 May 2016. Much too late, the FIFA wants a new president as quickly as possible.

The Congress will take place from December 2015 and March 2016. Until then, the Italo-Swiss Domenico Scala (50) is intended to promote the reforms of the World Football Association.

Scala, “the decision of Blatter to step down deserves the highest respect; he has done it for football and for FIFA.” Scala is the head of FIFA-Compliance Committee, conducts the internal financial supervision of FIFA. Scala: “We have to change the foundation of FIFA. We will now establish the conditions for the elections, as well as, the candidates must then present their program.” This can last from December this year to March next year. It is difficult to promote reforms in this period, but this is now our task. Members have slowed down many of these proposals, and many representatives have committed illegal acts to create this disgrace. These embarrassments should not come at the expense of football.” Scala was born in Basel, business studies completed with specialization in Corporate Finance; he is married and has two children.

Backdrop:

On Friday, 79-year-old Blatter won his fifth presidential term at FIFA after his opponent, Jordan’s Prince Ali bin al-Hussein, withdrew before the voting went into a second round.

The Swiss official was elected amid a massive corruption scandal at FIFA, which was prompted by a wave of accusations against senior FIFA figures just days before the vote.

Fourteen FIFA-linked officials and businessmen have been accused by the US of bribery, fraud and money laundering. Several were arrested in a Zurich hotel where they had gathered ahead of the organization’s general meeting.

Swiss prosecutors are also investigating the awarding of the World Cups 2018 and 2022 to Russia and Qatar, respectively, to ascertain whether the votes were clean and legal.

Just as there are horses for courses, as they say in the racing game, there are actors for roles in the theatre game and Lauren Blumenfeld is the actor for the title role in The Old Globe’s West Coast Premiere of “Rich Girl” hands down.

Henry James’ novel Washington Square, which became the stage and screen classic The Heiress, has now been smartly and sharply updated by Victoria Stewart into a modern-day, clever exploration of the mother-daughter, love-hate relationship, set against the backdrop of money – lots of it – dishing up a tasty feast for the actors called “Rich Girl” (and no, we’re not talking Paris Hilton).

Solidly directly by James Vasquez, The Old Globe’s Sheila and Harvey White stage features four talented actors playing four interesting characters that draw one into the vortex of a play you thought you knew only to find yourself forgetting all about that dark old drama from the past.

Yes, Olivia de Havilland was marvelous in the 1949 movie with a story suited to the culture of its time. But we’re now ensconced, for better or worse, in the 21st century and the events that capture the imagination of today’s audiences often reflect comedy and drama with a dash of the absurd all tossed into the mix in a single production. It’s a way of keeping audiences on their toes; waiting to find out happens at the end.

“Rich Girl” features a sensational Lauren Blumenfeld as Claudine, the geeky, gangly, sweet and introverted daughter of mega star TV personality Eve Walker (Meg Gibson). Eve, the doyen of a successful wealth and management foundation has it all, except time for her underachieving daughter Claudine who is withering in the shadow of her famous mother. Rather than interact with her daughter Eve assigns that chore to her personal assistant Maggie (Carolyn Michelle Smith) a savvy and empathetic friend of Claudine. Maggie acts as a surrogate therapist and business mentor to Claudine who is struggling to become a person of her own while working in the family business. Clever Maggie continues to enjoy the personal relationship she has with both Eve and Claudine, despite Eve’s maddening, at times, bad behavior concerning Claudine.

Into this triangle of women in business seeking more out of life comes JD Taylor as Henry, a young, theatrical director in search of funds for a project he has been trying to produce. Red flags immediately spring up around Eve, but not for Claudine who is overwhelmed by all of Henry’s attention to her. Maggie is waiting to see what develops between Claudine and the handsome hunk Henry before she makes up her mind as to what’s really happening. But Eve is already onto the opportunistic pseudo-suitor Henry

Playwright Stewart’s adroit retelling of the James novel concerning the conundrum of whether love and money can ever coexist, especially when it comes to the romantic love choices made by children of wealthy parents, is particularly compelling in “Rich Girl”. Does the phrase “I’m only doing this for your own good”, sound familiar? Bette Davis, as Charlotte Vail heard it from her wealthy mother Gladys Cooper in ‘Now Voyager’. When Joan Crawford as Mildred Pierce utters the phrase, to Anne Blythe there were real dire consequences at stake. Mother love can be a two-edge sword.

The talented cast are a delight to watch as each actor gets his or her moment to shine, however, the bulb that burns brightest is turned on by the performance of Lauren Blumenfeld who grows from an introverted twenty something into a confident adult businesswoman. It’s an astonishing transformational arc to watch unfold on a stage. Her focus and in-the-moment performance is riveting in its nuances especially in the chilling denouement at the end. It’s great stuff.

Director James Vasquez has staged his production in the round with nice pacing and good traffic management. However, if I had to be picky about this splendid production it would be to ask the actors not to drop their voices when they’re just two or three words from the end of their speeches. I realize we’re no more than twenty feet from the stage, but we are watching a performance in the round. Someone at some time will have their back to the audience. We don’t want the audience to miss any of those dialogue gems or those emotional moments.

In the technical department: Scenic Designer Wilson Chin’s circular stage area is sleek, spare, and functional. It even allows for Meg Gibson to interact with the audience when she is on her TV program. Amanda Zieve’s lighting design complements the costumes of Shirley Pierson, along with original music and sound design by Lindsay Jones, and the video design of Mark Holmes and Paul Peterson.

“Rich Girl” performs on The Old Globe Sheryl and Harvey White Stage and runs through June 21, 2015.