Contrary to what our current Congress seems incapable of doing what it should be doing when it comes to compromise, or to put it in Washington, DC, vernacular to practice ‘the art of the deal’ so loved by our politicians and others who seek public office these days.

Bringing disparate parties and points of view to a resolution in any situation is not an easy task. In international diplomacy it’s especially difficult and frustrating when it appears that the stars are beginning to align with an agreement in sight, only to have the negotiations breakdown once again by entrenched positions where nobody wants to appear as having ‘given in’.

Back in 1978 then U.S. President Jimmy Carter took on the role of being a peace-maker and broker, bringing

Israeli Prime Minister Menachem Begin and Egyptian President Anwar Sadat together at Camp David in Maryland, for discussions on how to craft a peace accord between the two sworn enemies that fought four wars over their differences. It was an ambitious and daunting undertaking.

“Camp David” is a riveting and informative play written by Lawrence Wright, that is insightfully directed by Washington’s Arena Stage’s artistic director Molly Smith starring four gifted actors: Richard Thomas as President Jimmy Carter, Broadway’s Ned Eisenberg as Menachem Begin, Hallie Foote as Rosalyn Carter, and Egyptian film star Khaled Nabawy as Anwar Sadat. Bryan Banville and Jon Maxwell play Marines assigned to the guard the participants.

In Wright’s stage play we are like flies on the wall who pierce the veil of high level international diplomatic chess-like verbal games played by two world leaders who are reluctant to give an inch when the discussions begin. Wright’s premise of what takes place over 13 days allows the audience to view the human side of each player, the same way the characters learn to interact with each other. Each day the characters of Begin and Sadat slowly change their rigid and frozen ideologically-held positions as they get to “know each other”.

Conflict in all its forms is the stuff of great drama. When the outcome is known, as in this production, it falls to the actors to perform the heavy lifting of sweeping the audience along with Wright’s brilliant narrative. Great writing makes the work of actors a pleasure. It presents each actor the luxury of being able to create a fully developed, interesting character.

Richard Thomas’ winning performance as President Carter, shows the former, self-effacing President to possess more skills and qualities than just being a peanut farmer from Georgia. Thomas’ performance allows the audience to peek into the private and pressure-driven life of a spiritual American President who has his doubts about the success of the audacious project he has undertaken. Hallie Foote as Rosalyn Carter delivers not only charm, support, and respect for her husband as the leader of the free world, she is an important partner-player in the negotiations taking place at Camp David.   Both are finely crafted performances.

The portrayal of Eisenberg’s Begin, who once was listed as a terrorist, renders the Israeli Prime Minister as not only a strong leader, but also as a man who can be warm and one with a sense of humor who understands what’s a stake in any peace accord with the Egyptians. The Arab Middle East for years has vowed to drive the Jewish people into the sea, along with their ancient homeland Israel. Eisenberg’s Begin is a highly nuanced and compelling performance.

Nabawy’s characterization of Anwar Sadat presents a man who realizes that any decision made at Camp David will affect millions of people, and in the process, will label him as being a traitor to the Arab cause (Sadat was assassinated three years later by fundamentalist army officers for his part in the 1978 Peace Accord). It should be noted that the Carter-brokered Peace Accord between Israel and Egypt has been in place for almost forty years with no wars. However, the Middle East of today remains in chaos. Diplomacy should always trump (no pun intended) war in most cases.

“Camp David” is a stellar ensemble effort on the part of the company. It is also a credit to the skill and vision of director Smith who previously staged the play at the Arena Stage in Washington, DC in 2014, and as the director, continues to find fresh nuances in the material and the ensemble performances.

The Old Globe has few equals when it comes to the technical elements, and this production is no exception. Director Smith heads a richly inventive creative team led by Scenic Designer Walt Spangler who recreates the woodsy setting of Maryland’s Camp David presidential retreat. Lighting by Designer Pat Collins serves up many mood-inducing moments and allows the audience to see the costumes of Designer Paul Tazewell. The projection designs of Jeff Sugg, and the sound design and original music by David Van Tieghem further compliment this splendid overall production.

Artistic Director Barry Edelstein continues to provide San Diego audiences with first rate theatrical entertainment. “Camp David” performs on the Donald and Darlene Shiley Stage through June 19, 2016.

Life and death are a fact of life on this planet. We must all confront the inevitable. No one ever left this planet alive. Death and rebirth are tenets of some religions and the tenets of all religions are acts of faith.

Humankind is at a point today where eons of traditions are being revisited when it comes to medical assisted suicide, or just plain suicide by individuals as a way to relieve excruciating pain and long term suffering when terminal diseases, like cancer, are present and in situations where Alzheimer Disease is a living death.

The concept of allowing each individual to make medical decisions for themselves is new, complicated, and has been challenged legally in this country through the ballot box and the referendum process. It was only a matter of time before playwrights, writers, medical professionals and the legal profession began to weigh in on this highly-charged and emotional subject matter. Oregon, for example, has passed a law allowing assisted suicide. California is contemplating passing a similar law with other states now exploring their options.

Which brings us to “The Outgoing Tide” a powerful and compelling Dezart Performs theatrical company, drama now performing at the Pearl McManus Stage of the Palm Springs Women’s Club.

“The Outgoing Tide”, insightfully written by Bruce Graham and intelligently directed by Dezart Performs co-founder Michael Shaw, is blessed with a cast of three seasoned professional actors who have graced your movie and television screens over the years and who know their way around a poignant, relevant, and deeply emotional play when they find themselves in one.

The story has three sharply drawn characters who bring to life the saga of the Concannon family and their lives on Chesapeake Bay during one Autumn.

Gunner (a sensational Michael Fairman), a retired small trucking company owner is painfully aware that he is suffering from Alzheimer’s disease. Peg (national acting treasure Judith Chapman), and their son Jack (Scott Smith), have been dreading the day when end-of-life plans and decisions have to be made concerning Gunner. How does a loving and caring wife make decisions that will affect her proud, stubborn, blue-collar kind of guy who always has been a take charge husband and a vigorous, robust father figure to Jack?

Gunner is determined not to allow Peg to put him in one of the retirement homes that Peg and Gunner having been visiting of late. He’s not going to be one of those vacant-staring old men who don’t recognize their own children when they show up to visit. Jack is in the process of getting a divorce and is of little support to Peg who has been bearing the brunt of Gunner’s frustrations concerning his mental deterioration. He roars like a wounded lion when his frustrations becomes too great to bear.

As the play opens Gunner and Jack have been talking together about fishing, the beauty of the Bay, and when Peg comes to call them in for dinner, Gunner says to Peg “Who is that guy?” Whenever Peg or Gunner talk to Jack they both say “don’t tell your father or don’t tell your mother. Everyone knows what the end game is, it’s that nobody wants to discuss it openly, everybody that is, except Gunner.

Gunner, in his usual style takes control of the inevitable and concocts a scheme to spare his family the trauma of the-end-of-life decisions and at the same time preserve their monetary future. How Gunner accomplishes it and the ensuing discussions between this ensemble trio of gifted actors is the meat of this splendidly performed play.

The Concannon family story is interspersed with a series of time shift flashbacks, then forward to the present. These transitions, which are important to the story, are nicely handled by director Shaw. His seamless directorial touches and fingerprints are all over this excellent production.

The beauty and power of this production lies in the sharp, incisive, dialogue of playwright Graham and the potent performances of Michael Fairman, Judith Chapman, and Scott Smith. When quality writing is placed in the hands of gifted and experienced actors, the results are elevated and sublime.

The technical credits and the creative team led by director Shaw and Producer Clark Duggar, features a beach front home set design that is superbly lighted by Phil Murphy, and features the work of scenic artist Walter Lab. The production is in the capable Stage Manager hands of Blanche Mickelson.

“The Outgoing Tide” performs at the Pearl McManus theatre and runs through May 8, 2016. For reservations and ticket information, call the box office at 760-322-0179.

“4000 Miles, was the most produced play in the country during 2014 according to American Theatre Magazine, and for good reasons too.

It continues to resonate with the American theatre going public because its story is one that appeals to a broad age range – from young adults to middle-agers, to super seniors.

CV Repertory Theatre founding artistic director Ron Celona was taken with playwright Amy Herzog’s dramedy “4000 Miles” the minute he read it. “… it offered humor, heart, and thought-provoking topics that most of us can relate to in life.” he says. Celona felt it would be a good fit for his Rancho Mirage audiences and a great way to end CV REP’s 2015/2016 season. He was right on all accounts.

Everyone has a story to tell. In “4000 Miles” the story revolves around New York City, Greenwich Village-based, 91 year-old Vera Joseph (a delightfully prickly Ivy Jones), grandmother to her twenty one year-old grandson Leo Joseph Connell, of Minneapolis (a sensational Zachary Hallet), who unexpectedly appears at her door late one night looking for a place to spend the night.

Leo has been off on a six month cross-country bicycle trip from Seattle to New York City with his best friend Micah, and Micah’s girlfriend Allison (both characters are never seen only referred to). We learn later that during the journey Micah has been killed in a freak highway accident with a big rig truck.

It’s obvious that Leo is suffering, and is suppressing the loss of his best friend. With Leo and his mother not on the best of terms, Leo turns to his grandmother Vera for solace. Vera is tentative on how best to console her grandson worrying that too much mothering may not be the best way to help. Perhaps, humor and light banter and waiting to see what happens is best. Vera too has felt the pain of loss. Her husband Joe died and she has been on her own for several years. Vera and Leo are not only DNA connected they’re kindred souls looking for reasons to keep looking forward.

Leo’s estranged girlfriend Bec (Megan Rippey) has mixed emotions when she and Leo meet again in Vera’s apartment. He wants to reconnect. Bec is for breaking up. Leo feels his world rapidly collapsing even more so while he’s in New York City. Even an attempted one-night fling with Amanda (Christine De Chavez), an elusive, perky, bombshell he meets one evening fails to ignite and only further frustrates him.

“4000 Miles” is solidly staged by director Celona who smoothly orchestrates this 90 minute, no-intermission drama nicely leavened with comedy moments. The performances of Zachary Hallett and Ivy Jones have the on stage chemistry that gives each many moments to shine. Hallett’s introspective, and naturalistic performance is both compelling and highly nuanced, and his timing is impeccable. Jones, compliments Hallett’s performance with a caring, gentle, and delightful turn that says elder relatives – grandmother and grandson – can indeed close the generation gap. Their pot-smoking scene is hilarious.

The technical credits at CV REP are always first rate and resident Set Designer Jimmy Cuomo doesn’t disappoint. Vera’s West Village apartment screams New York City. The Lighting by Designer Moira Wilkie Whitaker provides just the right amount of light, not only to see the actors, but to appreciate the costumes of designer Aalsa Lee. The sound by Randy Hansen and Karen Goodwin and hair and makeup by Lynda Shaeps, along with props design associate Doug Morris (who also makes things magically disappear and reappear between the scenes), is under the watchful eyes of Stage Manager Louise Ross.

“4000 Miles” brings a fitting close to a highly successful CV REP season that included: “Happy Hour”, “A Class Act”, and “I Am My Own Wife”. All were outstanding productions that left indelible memories on CV REP audiences and this critic that still linger to this day.

This splendid production runs through May 8, 2016. Tickets and reservations may be obtained by calling the Box Office at 760-296- 2966.

The Coachella Valley Music and Arts Festival – better known simply as “Coachella” – is coming to Indio, California over two fast-moving weekends, April 15-17 and again April 22-24, 2016.

Coachellagoers from around the planet are already planning their trips to the 17th edition of an event that has once again gathered up an eclectic line-up of artists from across the musical spectrum to perform in front of audiences spread out across the Empire Polo Club in Indio, California. Rock, jazz, blues, soul, EDM, folk, alt country and rap artists will perform on a number of outdoor and indoor stages positioned throughout the sprawling festival grounds. Original and insightful artwork installations positioned throughout the event make for an even more exceptional experience.

This round-up will highlight my “wish list” of performances that I hope to catch at Coachella. However, there is always the chance that two or three of my favorite artists will be performing at the same time confirming the age-old advice that life is sometimes about making choices. With 180 or so acts performing, it is simply impossible to see all the artists.

Fridays, April 15 and 22

I haven’t seen Of Monsters and Men since they performed at Coachella in 2013, so I’m very excited to be able to see the six-member Icelandic ensemble there again this year. The band’s latest album Beneath the Skin is bolstered by a slew of great songs. Standouts such as “Crystals,” “Human” and “Empire” are expansive and exhilarating – think of a group whose otherworldly sound bridges U2 and Sigur Rós. The perfect sound in the picturesque setting that is so much a part of the festival.

While on the subject of catching up with artists I’ve seen only once before, I am very thrilled to see that soul singer Mavis Staples is going to perform on the heels of the release of her superb 2016 disc “Livin’ On A High Note.” Produced by M. Ward (of She & Him and Monsters of Folk fame) and featuring songwriting credits from Neko Case, Justin Vernon, Ben Harper and more, Staples’ new album is a joyous and authentic gale that will be sure to endear her with everyone at Coachella.

An act I have not yet seen but plan to courtesy of Coachella is Foals, the roots-meets-garage soul rockers out of Oxford, England. The British quintet has racked up a number of high honors since emerging a decade ago, and has impressed audiences at Glastonbury and Roskilde festivals, as well as the Coachella faithful in 2013.

Other Friday acts on my wish list include African collective Mbongwana Star and English rock supergroup the Last Shadow Puppets.

Saturdays, April 16 and 23

While the biggest music-related story of 2016 has been the long and sadly-growing list of lost legends (David Bowie, Glenn Frey, Paul Kantner, Dan Hicks, Merle Haggard and many more), the announcement that Guns N’ Roses will regroup to perform at Coachella with founding singer Axl Rose joined by original members Slash (guitar) and Duff McKagan (bass) has been a huge story. No matter how GNR’s two Saturday night sets play out, there is no denying that the audience will go nuts when the groundbreaking Los Angeles-spawned rockers break into “Welcome to the Jungle,” “It’s So Easy” and “Sweet Child o’ Mine.”

Modern day blues-meets-soul master Gary Clark Jr. was relatively unknown when he performed inside Coachella’s Gobi tent in April 2012. That is not the case today, where he is acknowledged as one of blues’ greatest stars. The fact that the Austin artist’s soulful vocals (which recall a young Al Green) are as impressive as his amazing lead guitar work is sure to make his set a “can’t miss” affair. I’ll never forget his opening 10-minute version of the Ten Years After-meets-Joe Bonamassa blues rocker “When My Train Pulls In” he performed at Coachella four years ago that featured a number of great lead guitar forays.

Courtney Barnett impressed me the first time when I caught her at Coachella in 2014, and the Melbourne singer-songwriter was even stronger when she opened for Blur at the Hollywood Bowl in October 2015. Her electric folk rooted around her rambling lyrics and freewheeling guitar playing is as original as it is intoxicating.

Jazz doesn’t typically get a lot of attention in Indio, but that may change this time around thanks to the arrival of outstanding young trio GoGo Penguin. Based in Manchester, England, the “acoustic electronica” group features drummer Rob Turner, double bassist Nick Blacka and keyboardist Chris Illingworth.

Other Saturday-bound acts I hope to catch include London-spawned rock legends the Damned, dream indie pop-rock champions Silversun Pickups and Los Angeles-based indie pop-rock garage outfit the Dead Ships.

Sundays, April 17 and 24

History proves that the third day of Coachella offers some of the most exhilarating sets. I can recall amazing final day performances from the likes of Florence + the Machine, Neon Trees, Dinosaur Jr. and Dead Can Dance that washed over me like opening day salvos.

Country and bluegrass artist Chris Stapleton has had such an enormous impact on a number of genres on the music scene that he is booked to play both weekends of Coachella 2016, as well as the Stagecoach Festival on April 30. The Kentucky native has scored at least six number-one songs, including hits for Kenny Chesney and George Strait. He has also penned songs for the far-flung likes of Adele, Luke Bryan, Braid Paisley and Tim McGraw. The Nashville-based singer-songwriter’s debut album, 2015’s “Traveller,” reached number one on the US Billboard 200 charts.

Chris Stapleton isn’t the only artist I haven’t yet caught that is high on my list to see in the desert. I’ve been very impressed by the power of North London’s Wolf Alice, and I hope to see them deliver songs from their debut “My Love Is Cool” (especially the infectious “Bros” and fiery “Moaning Lisa Smile”).

Cold War Kids bring a mix of indie and alternative styles to the sonic table, and always offer up energetic and fun performances. Long-time favorites in Southern California, Cold War Kids’ sound will appeal to fans of groups such as Death Cab for Cutie and Delta Spirit.

In other Sunday action, I am aiming to catch hard-hitting rock ‘n’ soul quartet The Heavy, whose blend of James Brown soul and Led Zeppelin rock personified by singles including “Since You Been Gone,” “Turn Up” and “What Happened To The Love” should really get concertgoers on their feet and moving. I also plan to see Pete Yorn, who is appearing at Coachella just as he is gaining widespread acclaim for his wonderful return, 2016’s “ArrangingTime.” The new album is Yorn’s first in more than five years.

One thing Coachella-goers can count on, whether they catch those artists or any of the countless others on the bill, the festival is a musical adventure not to be missed.

Information: www.Coachella.com.

Serendipity and timing definitely has a place in the world of show business and movies in particular. This past week I was fortunate to interview iconic international star of stage, screen and television, Irina Maleeva, who latest feature film “The Meddler”, starring Susan Sarandon, opens nationwide on April 22nd.

Maleeva, born in Bulgaria but who has lived in the United States for over 40 years, started her movie career at the tender age of 14 while living in Italy. She was discovered by famed filmmaker Federico Fellini and went on to work with some of the premiere filmmakers including Orson Welles.

Considering the recent dust-up at the 2016 Oscar ceremonies regarding the lack of diversity in the movie industry, to say nothing about the lack of roles for middle-age actors and beyond, the interview with Maleeva seemed like an interesting way to get a first-person perspective on this hot button topic.

Q: Hollywood and television are at long last acknowledging that the cinema and TV industries are in a state of transition when it comes to the subject of diversity in the arts. What are your observations on the subject of work for people of color with an emphasis on female actors of ‘a certain age’?

A: To be honest, I have mixed feelings about the subject. I favor diversity in the industry, of course. I’m a European woman who’s been a U.S. citizen for many years, and as an actor I applaud the industry for finally coming to grips with this issue. It’s been long overdue.”

Q:Tell me about all those references to the “La Dolce Vida” lifestyle when you worked with Fellini in “Satyricon”, “Spirits From the Dead”, and “Roma”.

A: Yes, I worked with the great Fellini on those films. He was a film genius and a very nice man. I also worked opposite the brilliant Orson Welles in “The Merchant of Venice”. I’m sorry, however, to disappoint you regarding on-set gossip, but we were too busy just learning our lines and playing our parts. Of course I can’t speak for everyone during that wild era…(laughs)

Q: What was it like living and working in Rome as young actors?

A: It was a golden time in the Italian cinema. The Via Veneto was the great street where you brushed elbows with celebrities and movie people all over the place. During that period, Italy was producing 300 plus films a year. Those were exciting times to be an actor.

Then the movies in Italy changed some twenty years ago and I haven’t made a film there in over ten years. European films now are chasing the dollars. They’re not making stories or character driven films as they used to do. Now, it’s films with an edge or all action.

Q: Just like today’s American movie industry.

A: Working in early American films I was usually cast as an Eastern European female with a heavy accent, even though I speak seven languages. I’ve been told that even my face has an accent, according to casting directors.

Q: How much has the American film industry vs. the European changed?

A: In Europe, it appears there are more opportunities and good roles for actors who are over 60.

Q: And here in America?

Female actors are considered to be unemployable after thirty-five or so, with exceptions of course when it involves stars.

Q: But you’re still working today as an actor over sixty.

A: Yes, thank goodness, but not many people do what I do, have done, and can still do. I’m very fortunate. I came from an acting family. My mother was a successful Eastern Russia actress who began acting at age seven. She had a successful stage and film career. Later, she wrote several books on actresses in Hollywood.

Q: Speaking of working today, you have a new movie called “The Meddler” opening nationwide this month starring Susan Sarandon. What role do you play in it?

A: I play Angie, Susan’s sister-in-law from New York. Susan’s character has lost her husband and I help her get through her new widow-grieving process. It’s a broad comic role. It was a wonderful experience working with Susan and our amazing director Lorene Scafaria. Susan is such a generous and giving actor. I loved it.

Q:You also have a guest-starring role this spring on David Duchovny’s NBC series “Aquarius” in a segment called “While My Guitar Gently Weeps “. What’s that about?

A: I play Vira, a sweet Ukrainian lady who turns out to be a murderess and a con-woman who causes problems for Duchovny’s cop character who is pursuing the Manson Family. Russian actress Ludmila Velikaia, who lives in San Diego, and I play two women in their sixties who are insurance fraud scam artists. We had a ball doing it.

You know, getting serious for a minute, David is an interesting and very caring man. He shared a story with me as how he rescued a dog he found lying on the road one day on his way to the set. He stopped, put the animal in his car and drove it to a vet hospital, saving its life. The word ‘tohovny’ means a person with a lot of soul. David certainly has that. How many people stop on their way to work to rescue an animal lying on a road?

Q: Irina, I know you have a one-woman show called “Illusions”, a musical memoir of a life well lived that you wrote and performed at the Hudson Theatre in Hollywood last year. Do you have any plans to take it on the road somewhere?

A: I would love to, but I don’t have a theatrical agent to represent me in such a venture. It takes a lot of planning, getting a theatre, advance bookings, ticket sales, finding a good musical director. It’s a lot of work, but hugely satisfying.