A few weeks ago the city agreed that developmental fee income would not be the $2 million dollars that were originally budgeted, and that $1.1 Million is a more realistic figure. Thursday the agenda packet for Tuesday’s city council meeting brought to light another fiscal problem. Instead of finishing with a positive $200,000 to budget, the city finished last fiscal year with a $938,000 deficit. This reduced the cities reserves to $3,156,000.

The 2013-2014 budget had a built in use of $2,000,000 of reserves. The loss of the additional $900,000 from developmental fees will insure that Desert Hot Springs will have no reserve in June of next year.

The city this year has at least a $3 million dollar deficit. Next year the city will most likely have to expend general fund money to operate the Wellness Center. Growth is not likely, in the short term, to solve this problem.

The interim city manager has asked for some extraordinary powers to cut expenses immediately. But, the gap in the city’s budget appears to require either large cuts in spending or large fee/tax increases.

The play written by Agatha Christie, which opened in November of 1952, is billed as the longest, continuously running play in theatre history.  If I do the math correctly that’s sixty-one years.  That’s a lot of performances.  I shudder when I think back to the first time I saw “The Mousetrap”.  It was in London in 1953.  It was considered one of the hottest show in the West End, and if I do the math again, that’s sixty years ago!  Time really does fly.

If you’ve never seen a performance of this classic murder mystery with its dialogue and its plot twists, you can remedy that by attending a performance at the Arthur Newman Theatre, in Palm Desert.

Directed by Lance Phillips-Martinez, with a nice functional set and costumes by Ron Phillips-Martinez, and a lighting design (clever lighting is must for murder-mystery’s) by the reliable Doug Ridgeway, audiences are transported back in time to an English manor house just 30 miles from London during the early 1950’s.

The play where ‘murder most foul’ takes place opened Friday, November 1st at the Arthur Newman Theatre.  When the plot and dialogue begins to heat up, some of the English accents employed by the seven American actors in the company become a bit wobbly.  But, let’s just chalk that up to opening night jitters.  On the other hand, the dialogue volume between the characters could have benefited from director Phillips-Martinez’s intervention if he, perhaps, had orchestrated and modulated their deliveries for tone and volume (less shouting at one another).  When actors begin to speak at the top their vocal ranges, there is usually little room left for character growth and nuanced performances.  Besides, the Newman Theatre is a comfortable medium-size venue and there’s little need for vigorous projecting.

The above being said, “The Mousetrap” still has some nice moments, just not enough of them.  However, there are nice individual turns from the ensemble cast: Shawn Abramowitz as Giles and Ashley Hernandez as Molly his wife, the owners of Monkwell Manor, the site where all the action in the play takes place.

From Luke Rainey as manor guest Wren, a troubled young man with problems; Alden West as Mrs. Boyle, another guest at Monkwell who leaves the proceedings all to soon, but before she goes she is spot on with her British accent throughout.    Guest Hal O’Connell as Major Metcalf looks quite comfy with his cane and his accent; Briana Taylor as Miss Casewell the odd and aloof guest at the manor; Don Cilluffo, as the mysterious Mr. Paravicini, who claims his automobile crashed into a snow drift and is just waiting at the manor for assistance, and Stephen McMillen as Detective Sergeant Trotter who conducts the interrogation of the manor guests following the murder of Mrs. Boyle.

Even when the creaky plot and text show cracks from the aging process the underlying truth and portrayals continue to resonate; validating Christie’s work, which remains intact.

“The Mousetrap” runs at the Arthur Newman Theatre through November 10th.  Call 760-980-1455for reservations and information.

Grand Opera star and Diva extraordinaire Maria Callas was no shrinking violet when it came to her profession.  As one of the world’s leading sopranos for years she used her gifts, her visionary intelligence for the dramatic, and the power of her performance to charm, intimidate, and thrill devotees of world opera during the 20th century.

The legendary and volatile singer was in a class by herself.  She influenced the world’s singers and musicians by the thousands, but is probably best known to the general public for her long-term public love affair with then the world’s richest man, Aristotle Onassis.

In her later years (before her death at age 53), now retired from performing, she agreed in 1972 to give a series of so called “Voice Master Classes” to opera students at Julliard School in New York City.  The students were eager and thrilled at the prospect of being evaluated by “La Divina”, the greatest opera singer of all time.   However, one must be careful for what one wishes, for you might not be prepared for what you get.

Playwright Terrence McNally brilliantly recreates one of those sessions and turns “Master Class” it into a fascinating, riveting, and engrossing evening of dramatic theatre.   Director Ron Celona’s wonderfully seamless direction compliments the text and the singing, ensuring that the performances are up to Callas’ stringent standards.  And indeed they are.

“Master Class”, is the 2013-14 CV Rep’s season opener and is the first production in three seasons that has more than two actors in the cast.  The highly successful Rancho Mirage professional theatre, now beginning its third season ups the ante with this production in that it features six actors.     I hope we haven’t bitten off more than we can chew came the look from artistic director and play director Celona’s face as I nodded my hello in the lobby before the performance.  He needn’t have worried.  It’s a 24-carat, solid gold effort that should increase the theatre’s discerning season subscribers-list at least ten-fold.

One of the main reasons  “Master Class” is so entertaining is the absolutely incredible performance of its star Marina Re.  Or should I say the late Maria Callas resurrected and transported to the stage of CV REP for this engagement.  The lady literally inhabits the persona and psyche of the late great Callas.  The Callas mannerisms; the intellect behind the great singer’s vocal instrument; her precise speech; her diction and pronunciation are all there.  Her performance is pure Callas. Yes, Marina is a bit smaller in stature than the almost 5’9” Callas, who was a formidable on and off-stage presence, however, Marina Re is no less of a commanding figure when the acting chips are down.

Marina Re walks out on stage to a waiting audience who may even be daring her to portray the operatic legend.  Convince us that you can become Maria Callas some are thinking.  It’s no contest.  The audience never had a chance.  By the time the Act One curtain comes down we’re all putty and devotees who can’t wait for Act Two to begin.

“Master Class” is a splendid character study of the iconic dramatic-soprano.  The core story swirls around the larger-than-life caustic diva who agrees to conduct classes at Julliard and then becomes either dismayed or impressed by the students who parade before her seeking her evaluation.  It’s during these moments that she retreats into recollections about the glories of yesteryear in her own life and career; culminating in two fifteen minute, spellbinding monologues – one in each act – about the sacrifices one has to make in the name of Art.   Great artists are only comfortable in the company of their peers.  To many artists non- creative people have difficulty understanding what dedication and commitment to a craft or the arts is really all about.

The production is also fortunate to have three cast members who are trained opera signers who portray the students:  Kara Masek as Sophie, the first soprano; Nora Graham-Smith as Sharon, the second Soprano and one who is the possessor of a lovely soprano garnering high marks from Callas; and Mario Alberto Rios as Anthony, the Tenor student and a budding Luciano Pavarotti.  The production couldn’t function without Steven Smith who portrays Manny the audition pianist who actually accompanies the three on-stage singers.  Michael Frank plays the stagehand.  All are important but as good as they are, the evening still belongs to Marina Re as the incomparable Callas.  It’s a magnificent tour de force performance not be missed.

At the cast party I had an opportunity to chat briefly with Ms. Re.  When I praised the richness and nuance of her performance.  She graciously says, “Thank you, but it’s really all there in the text of McNally’s play.  He’s brilliant in capturing the mood and expressing the deeper meaning of Callas’ artistry and her tempestuous life.  He’s a great fan and it shows.”  She also brings a refreshing off-stage humbleness to work as an actor.

How did you arrive at the rationale for using a British accent for your performance?  Maria Callas was American-born of Greek parents.  I believe you said you are a Brooklyn girl.  “I listened to recordings of her singing voice and her speaking voice.  She also employed a British accent.  It’s dramatic material, she pauses … that I feel demands a more formal, classical approach and brings more theatricality to the portrayal.  She was a larger-than-life personality, you know”.  I couldn’t agree more.

“Master Class” at CVREP in Rancho Mirage, runs through November 10, 2013.  Call 760-296-2966for reservations and ticket information.