Forty years ago San Diego REPertory Theatre co-founders Sam Woodhouse and D.W. Jacobs opened the doors of their theatre whose Mission Statement in part read ”… produce intimate, exotic, and provocative theatre that celebrates the multiple voices of our region and feeds the curious soul.”

Under the steadfast forty-year leadership of Sam Woodhouse, this vitally important urban theatrical space in Horton Plaza, has indeed fed the many curious souls of its audiences as well as its actors, directors, playwrights and creative artists.

The REP launches Season Forty with the evocative Jeanine Tesori musical “Violet”, with book and lyrics by Brain Crawley; solidly staged by Sam Woodhouse.

Tesori, winner of the 2014 Tony for Best Musical (‘Fun Home’), delivers a haunting musical score with poignant lyrics to match from lyricist Crawley, however Crawley’s libretto/story doesn’t quite match the ambition of the creative team. His script is a very simplistic, down-home, country approach as it tells the story of a young, disfigured woman who embarks on a journey by bus from her farm in North Carolina, all the way to Tulsa, in order to be “healed” by a Televangelist, only to be crushed once again when she realizes there has been no change in her outward appearance.

Losing her mother to cancer at 13, growing up with a father who loves her but who can’t seem to understand or come to grips with the unfairness of the world that he and his daughter live in is compelling indeed, but there is something naïve and a little too simplistic in the unfolding of Violet’s story by librettist Crawley.

It’s not a linear story (not that it has to be). In “Violet”, the actors frequently break the fourth wall, and employ the instant flashback technique where the young version and the grownup version of Violet are on stage simultaneously singing and acting together; then they go forward to the present and the narrative moves on. The convention merely sharpens our focus and concentration, but it jars slightly at first.

One distraction that does jar my credulity concerns is the reference to “a disfiguring scar” on Violet’s face; the result of an accident when her father’s axe slipped while cutting wood, and struck her. All on-stage characters appear to react or recoil at the sight of it. It’s been a source of Violet’s teasing by classmates, which accounts for her on-going self-image and low esteem problems. Why then is there no visible evidence of a scar on Violet’s face that the audience can see? It’s a key character element that drives all of Violet’s self-conscious behavior and her outlook on life. I’m just wondering that’s all…

Having said all of the above, the actors in “Violet”, however, are outstanding in their performances. A non-scarred and lovely Hannah Corrigan, as grown-up Violet, sports a powerful set of pipes with a wide vocal range and is sweetly and convincingly portrayed. A poised and confident 13 year-old Katelyn Katz as young Violet, holds her own with all of the adult performers in her scenes.

Rhett George as Flick, an African American army Sargent that Violet meets on her bus trip to Tulsa delivers a strong, compelling and poignant performance both as an actor and as a singer. His army buddy Monty played by Jacob Caltrider is a G.I. who plays all his female relationships safely – he’s only only interested in one-night stands – also has a nice singing voice. The two and three-part harmony numbers by the principals is nicely done thanks to Tesori’s appealing sounding score under the musical direction of talented Korrie Palliotto, who did such as fabulous job on “Everybody’s Talkin’: The music of Harry Nilsson” that was recently heard and seen at the REP.

Strong support also comes from Melinda Gilb as the old lady; Jason Maddy as Violet’s conflicted and guilt-ridden father; Jason Heil as the Preacher and local favorite Kurt Norby playing several characters as does Bryan Banville are all first rate.

If energy or electricity is in short supply during the heatwaves cooking the San Diego area of late, I suggest we all tap into the electric and high-octane performances and energy generated by cast members Anise Ritchie as a Music Hall singer, and Tanika Baptiste as Lula Buffington, respectively. They generate enough energy to light half of San Diego with the Gospel singing number led by Baptiste and is the wildest 11 0’clock spot I’ve seen in a long time. It brought down the house at the performance I attended. It rocked!

Out of the 23 musical numbers featured in this nicely-paced musical, I feel there about six songs that really hit home: the poignant ‘Water in the Tank’, by the two violets; the upbeat ditty about gambling called ‘Luck of the Draw’ by Young Vi, her father, and Violet; the serio-comical ‘A Healing Touch’ by the Preacher, Young Vi, the Gospel Choir, and Violet, also the tender and sweet ‘Let It Sing’ by Flick to Violet, plus the moving ‘Hard to Say Goodbye’ by Flick and Violet, and of course, the high octane number ‘Raise Me Up’ performed to the hilt by Lula Buffington and the Gospel Choir.

The ensemble cast of mainly Equity performers, make this touching 90 minute, no intermission production about the fragility of life and the quixotic-like hopes and dreams required to cope with its many difficult choices, a production not to be missed.

Director Woodhouse and his creative team led by Scenic Designer Guilio Perrone, Costume Designer Jeanne Reith, Lighting Designer Trevor Norton, and Sound/Projection Designer Kevin Athenill earn high marks for a solid technically proficient production.

“Violet”, the musical, performs at San Diego Repertory Theatre on the Lyceum Stage and runs through to September 13, 2015.

Shakespeare’s classic comedy tale of mistaken identity – long a staple arrow in the quiver of Playwrights ranging from Greeks and Romans to no less a savvy pilferer of stories and plots, than the Bard himself – is playfully, zanily, and brilliantly staged, in the Outdoor Lowell Davies Festival Theatre, by eight time-Tony Award nominee Scott Ellis, along with an inspired cast and ensemble.

The venerable Old Globe Theatre, in Balboa Park, is celebrating its 80 birthday. And what a celebration party they’ve been serving up to their many loyal patrons. The eclectic season of plays selected for the year-long 80th celebration by Artistic Director Barry Edelstein has been a series of winners for San Diego audiences and all true patrons of the arts.

Book-ended with the traditional Old Globe Christmas production of ‘How the Grinch Stole Christmas’ to “Murder for Two”, “The Twenty-Seventh Man”, ‘The White Snake” “Buyer & Cellar”, “Arms and the Man”. “Rich Girl”, “Baskerville: A Sherlock Holmes Mystery” to the Outdoor Summer Shakespeare Festival featuring the plays: “Twelfth Night”, “Kiss Me, Kate” and “The Comedy of Errors”, in repertory, brings to a close another highly successful and entertaining season of quality theatre at the great Tony Award-winning Regional Theatre in Balboa Park.

“The Comedy of Errors” is a crafty selection, by Edelstein, to close out the ‘summer season’ at The Old Globe. Under Director Ellis’ creative staging, the masterful production, has been moved up in time from an Elizabethan setting to the jazz-age, sexy, wide-open, ‘laissez les bon temps rouler’ lifestyle of 1920’s New Orleans (NOLA).

The text, however, with its zany narrative and sharply executed shenanigans, along with Shakespearean accented speeches are still in place, but now there is an insouciance, and a cultural overlay in this production that compliments the NOLA of then as well as today. The comic farce resonates in 2015 just as effectively as did the Abbott and Costello baseball routine of mistaken identity in “Who’s on First” did back in the 1940’s.

It’s a given that when a story centers around two pairs of identical twins, in this case, boys; each a mirror image of the other – separated at birth by their parents and sent to live and be raised in different cities, that the possibilities for comedy scenarios are endless; especially when they constantly keep missing one another only to finally meet at the end. It’s a credit to this wonderfully talented cast of actors and dancers that the hilarity of mistaken identity in one of Shakespeare’s greatest comedies is so entertainingly presented with style, wit, imagination, and high-octane energy.

Portraying the very confused sets of twins are gifted actors Glenn Howerton as Antipholus of Ephesus/Antipholus of Syracuse and Tony Award nominee Rory O’Malley as Dromio of Ephesus/Dromio of Syracuse. Megan Dodds as Adriana, and Barrett Doss as Luciana, score as the love interests of the twins. Strong support also comes from Austin Durant as Duke Solinus and as Doctor Pinch, and from Garth Schilling as the Courtesan; each delivering show-stopper moments, along with San Diego favorite Deborah Taylor as Emelia, and Patrick Kerr as Egeon the father of the twin boys and the person responsible for setting all of this entertaining silliness in motion.

The Old Globe Theatre has few equals when it comes to technical disciplines. Director Ellis masterfully orchestrates the gifts that Scenic Designer Alexander Dodge provides in recreating a New Orleans we all have seen and know.

The colorful costumes for the ‘ladies of the night’ and those playing the locals, by designer Linda Cho are picture-perfect in style and period authenticity. And, thanks to a lighting design by Philip S. Rosenberg, we get to see and enjoy the impeccable timing and pacing taking place on-stage.

Ellis even manages to squeeze in a traveling group of street musicians at the proper moments which greatly enhances the on-stage action and the overall production. I was ready for a hearty, delicious-tasting, bowl of ‘gumbo’ following the 90 minute, no-intermission,show.

“The Comedy of Errors” production, now performing in the Lowell Davies Outdoor Festival Theatre is a splendid evening in the theatre that runs through September 20, 2015.

Fifty-three years after her death in 1962, Marilyn Monroe continues to make headlines.  The world’s most photographed movie star and iconic celebrity once again becomes the subject of a new film documentary: “Marilyn Monroe – Declassified”.

The movie written, produced, and directed by Paul Davids received its world premiere screening last month at the San Diego Center for Jewish Culture, in the David and Dorothea Garfield Theatre, with Paul Davids in the audience. Following the screening a Q & A session with Davids took place with the audience.  I had the opportunity to meet with him afterward to discuss in some detail, the points raised in his film and his rationale for making this particular film and briefly cover some of his other films.

It should be noted that once the FBI and other government agencies declassified some never-seen-before records and files surrounding the death of Monroe, any journalist or filmmaker could obtain the newly released information under the Freedom of Information Act.  It turned out be a treasure trove of fresh and conflicting accounts and information that revealed a different story than that from the official coroner’s report of what actually took place on that fateful August 4th night in 1962, in Marilyn’s Brentwood home; the only home she ever owned.  Her body was discovered the next morning August 5th. Marilyn Monroe was just thirty-six years old.

Jack Lyons:  “You are an acclaimed and respected filmmaker. What was the triggering mechanism that motivated your decision to excavate and explore the 1962 death of Marilyn Monroe after so many years?”

Paul Davids:  “There is a common thread to all my films. They are about an important issue that I firmly believe the Establishment got wrong, either by ignorance or deliberate design in order to deceive.  The issue changes from film to film, but the underlying principle does not.  By the “Establishment” I include: church, state, science, the art world, the world of entertainment, the military – I refer to our institutions that guide how we think – institutions that set the guidelines for what constitutes justice, sanity, and correct opinion.  After two decades as a filmmaker, I have a specific body of work, and I invariably choose themes that defend the underdog, the unpopular point of view; the disgraced opinion.”

JL:  The subjects and themes for your films are wide-ranging. What other of your films follow this point-of-view?

PD:  Remember the film documentary “Roswell” and “the incidents” surrounding it?   Yes, there was extraterrestrial contact in 1947.  It changed the world and it is still classified Top Secret.  Absolute fact.  My film “Jesus In India” which I made in 2008 concerning Jesus’ “missing years” ages 13 through 30, which some maintain he took the Silk Road to India, and yes, there is evidence, and so in my film you will see it all.  The Church never explained their position or challenged the thrust of my film.

JL:   I loved that documentary. Your premise is so intriguing, well researched, and so well done.

PD:  Thank you.

JL:  Can you share how the “Marilyn Monroe: Declassified” documentary fits in with your skeptical approach as how official records and explanations are often layered with deception and deflection, at least, from the point of view of your documentary?  And a follow-up question: Did you encounter any problems or resistance or lack of cooperation on the part of law enforcement agencies in the making of the film?

PD:  With the world premiere held tonight here in La Jolla, I feel confident that some push-back will be forthcoming as to my point-of-view about the facts as I see them. However, I just let the parties to the cover-up crucify themselves with their own words.  Clear statements by former Los Angeles Police Chiefs Daryl Gates and Tom Reddin absolutely establish key facts; aided by testimony of two LA police officers at the time, and FBI informants.  Exhibit “A” is Chief Reddin’s statement that Marilyn Monroe’s death was handled as a top secret intelligence operation because it was judged to have national security implications and because the Attorney General of the United States, Robert F. Kennedy was involved.  To the second question about interference or obstruction.  No, I never felt I was being stymied by officials.  Remember, the Freedom of Information Act files have been a matter of public record for some time.

JL:  Weren’t there rumors circulating that the government had a contract put out on Marilyn and that Chicago Mafia Boss Sam Giancana, was “assigned the hit”?

PD:  In a high profile case involving a world-wide celebrity and the President of the United States and a questionable suicide, rumors of all kinds are bound to swirl.  Let’s not give too much away about the film.  Everyone should go see it and make up their own mind.

JL:  I want to thank you for your time and for sharing key elements of your new documentary “Marilyn Monroe: Declassified”.  When can the public expect to see the film?

PD:  It took a year to make it, and, at this point I can’t give you a date for it’s opening in a theatre, other than to say hopefully this year.

Although he winces when people refer to his comedy plays as “farces”, there is no doubt that he is one of America’s finest practitioners of the genre.  Most famous for his Tony Award-winning comedy/farce plays “Lend Me a Tenor” and “Moon Over Buffalo”, prolific playwright Ken Ludwig, once again scores with his latest inventive and zany comedy “Baskerville: A Sherlock Holmes Mystery.”

Let it be known that when a playwright takes on the chore of adapting a story as famous as “The Hound of the Baskervilles” from the pen of Sir Arthur Conan Doyle and the creator of Sherlock Holmes, one of English literature’s most iconic detectives – Hercule Poirot created by Dame Agatha Christie, being the other – it’s a given that special care and handling has be observed.

The task of insuring fidelity to the original story, yet helm Ludwig’s adaptation,  falls to director Josh Rhodes who is more than equal to the challenge. Rhodes has a firm creative grasp of his material and the inventive skills to stage a warp-speed mystery/comedy with an absolutely inspired cast of five talented actor/farceurs.

The Old Globe’s Sheryl and Harvey White Stage is where the dastardly deeds take place and to quote the idiosyncratic Holmes, “patience Watson, all will be revealed” is the watchword for the evening’s hilarity.

The story is set near the turn of the 20th century on the moors of Devonshire, England, where the famed detective played by Euan Morton along with his trusted companion Dr. John Watson played by Usman Ally, have been commissioned to investigate the mysterious murder of Sir Charles Baskerville, one of a long line of Baskervilles that allegedly have died as a result of a long standing family curse.

To assist in the telling of the heavily plotted and well known tale, director Rhodes has the good fortune, in addition to Morton as Homes and Ally as Watson, of having three gifted actors: one woman (Liz Wisan) and two men (Blake Segal) as Man One and (Andrew Kolber) as Man Two – play over 45 parts in all.  The energy, character, costume, and voice changes; all performed in a series of on-stage moments requiring split-second precision and timing is thing of beauty to behold.   It’s a visually a stunning accomplishment reminiscent of the play “The 39 Steps” which also takes place in England where four actors play almost 50 roles (It must be all that tea they drink in England that give their actors all that energy).

The enjoyment of this stellar ensemble cast and production, however, is in the details of their performances. Also the many clever, comedic, and innovative directorial touches in this highly entertaining production is due to the personal vision brought by director Rhodes.  It’s a slam-dunk winning production.

The technical credits at the Globe are always first rate, and this production is no exception. The creative team led by director Rhodes includes: Scenic Designer Wilson Chin who provides a most unique set and space for the actors to perform their magic.  Who would have thought of having the actors work with on stage miniatures as a way of telling the story as well as allowing the actors to become inter-active with the audience?

Lighting Designer Austin R. Smith provides the right amount of mood-lighting for the mystery aspects and the proper full up comedy lighting which allows the audience to see the many costumes designed by Shirley Pierson required for quick changes and period authenticity.  Bart Fasbender created the original music and sound design.

During the curtain call, the cast took the last on-stage call with the back-stage crew.   It was a well-deserved thank you by the cast to stage manager Annette Ye and her crew for those who help make the on stage magic happen night after night.  It was a very classy gesture.

“Baskerville: A Sherlock Holmes Mystery” performs at the Sheryl and Harvey White Stage at The Old Globe and runs through August 30, 2015.  Don’t Miss It!

The world learned about the holocaust in 1945, but many thought the millions murdered by Hitler’s Nazi Germany was directed solely at Europe’s Jews. There were, however, other targets on the Nazi’s radar screens. The “Pink Triangle” prisoners – Europe’s gay community were also scheduled for eradication.

When playwright Martin Sherman came upon a reference to “pink triangles” in the 1976 play “As Time Goes By”, according program notes written by American Theatre Magazine editor-in-chief Rob Weinert-Kendt, the eureka moment for Sherman was the key element in the creation of his play “Bent”, which went on to debut in London’s West End in 1979, and then on Broadway in 1980.

The endemic bombshell that the world would come to know as “aids” arrived with a vengeance in the 1980’s spawning several important plays dealing with themes and attitudes that this insidious and invidious unknown killer of gay men in particular, was capable of accomplishing what the Nazi’s could not do: kill with impunity.

The collaboration of playwright Sherman and director Moises Kaufman is the calculus that makes this revival at the Taper so powerful and compelling. “Bent” hasn’t been seen on Broadway in 35 years. In this revival the story remains roughly the same. It’s set in Berlin, between 1934 and 1936. Berlin has been a haven for Europe’s gay community for years. Although, considered as outsiders by mainstream society, gays and lesbians were safe to gather in “their nightclubs” to enjoy themselves and to mingle with straight people who occasionally visited to satisfy their curiosity.

The story centers around Max (Patrick Heusinger), a promiscuous gay man in 1930’s Berlin, who is at odds with his wealthy family because of his homosexuality. One evening, much to the resentment of his boyfriend Rudy (Andy Mientus), he brings home a handsome member of the Sturmabteilung corps. Unfortunately, it is the night that Hitler gives orders to assassinate the upper echelon of the Corps as a way of consolidating his power. Wolf, the Sturmabteilung member (Tom Berklund) is discovered and killed by SS men in Max and Rudy’s apartment, forcing them to flee Berlin.

Max’s Uncle Freddie (Ray Baker), who is also gay, but lives a discreet lifestyle, arranges for papers for him, but not for Rudy and Max refuses to leave his young and naïve boyfriend behind. As a result, Max and Rudy are found and arrested by the Gestapo and put on a train headed for the Dachau concentration camp.

On the train, Rudy calls out to Max as he is taken away to be beaten. Rudy is brought back and beaten to death by Max, who denies he knows him; lying to the guards that he is a Jew and not a homosexual, because he believes his chances for survival in the camp will be better if he is not assigned the pink triangle.

Once in the camp, Max makes friends with fellow prisoner Horst (Charlie Hofheimer), who wears a pink triangle, and who shows him the dignity that lies in acknowledging what one is. The two grow closer in friendship, eventually falling in love becoming lovers through their imagination and through their words without ever touching one another. Their love scene commitment to one another runs about six or seven minutes – center stage, in full lights – is absolutely stunning in its power to transform and liberate not only each other, but the audience as well. It’s a tour de force performance by two gifted and empowered actors.

To avoid spoiler alerts one will just have to attend a performance of this transformative play to see for themselves, how it ends. I will say this about the ending. When the lights went to black, the entire audience immediately stood up and applauded non-stop for about two or three minutes. In 43 years of attending Taper productions, I can’t remember such an audience-fueled standing ovation. It was a sublime moment.

“Bent” is a stellar production brilliantly overseen by director Kaufman who leads the creative team of Scenic and Costume designer Beowulf Boritt, along with Lighting Designer Justin Townsend, and Wig and Hair design by Carol F. Doran. A special kudo goes to Sound Designer Cricket S. Myers for contributions to the overall sound throughout the production which is so integral to the tone and “audio feel” of this splendid production (but I did miss hearing the high pitched whistle of European trains. But I digress).

“Bent” performs at the Mark Taper Forum and runs through August 23, 2015.