In the American legal system, “all-white” is possible grounds for criminal prosecution. In the art world, however, “all-white” just might be a masterpiece.

Photo by Yvonne Kleiman

The two leads in the Pierce College production of "Side Show" have such sparkle and charm that one might be tempted to feel more sympathy for the bearded lady, the guy who drinks chicken blood, or others among the circus "freaks" who fill out the musical's cast. Still, the decision by director Gene Putnam to present to the audience well-adjusted Siamese twins, who by their actions exhibit little self-pity or sadness, makes the characters that much more appealing.

The Los Angeles Women’s Theatre Project is the latest to produce a production of Jane Chambers’ “Last Summer at Bluefish Cove”. The play, written in the late 1970’s and first performed in the early 1980’s takes a timeless, humorous and sensitive look at many women’s issues including: love, marriage, homosexuality, cancer, children, careers, friendship, feminism, fidelity and age.

This fantastic production is directed by LAWTP founder, Dee Jae Cox, who guides this talented cast of women throughout the difficult character arc that each of their characters faces as their summer unfolds.

Lil Zalinski is a free-wheeling, free-spirited adventurer whose life is forever changed when she falls in love for the first time as she battles cancer during her last summer at the beach. For all of the terrific writing in Chambers’ play, it is oddly this lead character that could be interpreted as one-dimensional if not for the brilliant portrayal of actress Georgia Reed. From the minute the lights come up, Reed makes Lil likable. Her sexy, smart, sultry and flippant take on this bold character, enchants the audience before she ever speaks her first word. Reed gets under your skin, instantly drawing the audience in as friends, which makes it only more difficult to watch as the play progresses and Lil’s health deteriorates.

Lucki Wheating is Dr. Kitty Cochran, a successful feminist author who often puts fame before friends and her ideals above her own emotions. Wheating is wonderful, bringing a tart crispness to Cochran, that forces the audience to dislike her for most of the first act and then slowly draws them back in during Act II, as we see a side to Kitty that she herself may even be surprised she has showed to her friends and to her naïve secretary, Rita (brought to life sweetly by actress Laura Manchester).

Jen Kuhn plays Eva to a tee. Dazed and confused, Eva has stumbled out of her decade-long marriage and into a women-only beach colony with no idea of whom she is or where she is. Kuhn brings Eva a fresh-faced innocence that might seem saccharine in the hands of a lesser actress and an openness so stark that we, as an audience, feel as if we’re taking Eva’s journey through life and love right along with her.

Annie Joseph is Zalinski’s best friend, an abstract sculptor, and the glue that binds the cove together. With a biting sense of humor and a bawdy vocabulary, Annie is played delightfully by Sheena Metal, who rounds and softens Annie‘s edges; turning her blunder into endearment and her bluntness into a stark earnestness. But wisecracks aside, Annie may be the most emotional character in this play, and Metal shines in this part, as we see Annie deal with the impending death of her dear friend; all the while managing a long-term relationship with Rae (who’s brought to life with a lovely performance by Alicia Tycer).

Rounding out the cast are Sue, the group’s wealthy but downtrodden benefactor, who is played genuinely by Katelyn Ann Clark and Donna, a young, aggressive gold-digger with a quick temper and an obsession with Lil (cleverly acted by Kim Turner).

The play has a good story, some very funny lines and the transition from party to tragedy is smooth but it is really this exceptional cast that makes this production of “Last Summer at Bluefish Cove” memorable.

The play runs thru December 18th at the Lounge Theatre. For more info, go to: www.lawomenstheatreproject.com

CRITIC'S PICK
Riverdance
directed by John McColgan
@ Pantages Theatre
through November 20 only

From the top Riverdance is defined as journey...that takes us from land to water and back, or from land to sky and back, from one land to another, even... from one life to the next... oh, what awesome journeys Riverdance enfolds! Incorporating dance, song and music, both traditional and contemporary, the show began in 1994 as a salute to these art forms but not without an abundance of variety. According to director John McColgan, it would be impossible to represent Irish dance without presenting ballet or Spanish flamenco, and so the Irish Dance Troupe includes dancers from Australia, Great Britain, and Spain. One great highlight of Act I is the Firedance with Flamenco soloist Marita Martinez-Rey...

who stops the show with her dazzling display of fast, graceful footwork and inspired beauty. Footwork of the flamenco style certainly has a lot in common with the steadily heavy footwork of Irish dancing, but you must see both to appreciate how one may have influenced the other. Dance as a part of culture must be appreciated by future generations in order to be maintained, and thus in journeying to new lands, it acquires new steps and further growth. In Act II, no greater example of this change is to be seen than in The Harbour of the New World sequence where the baritone soloist Michael E. Wood trades taps with Irish dancer Craig Ashurst.

Styles have assuredly changed but they merge beautifully when represented side by side. Other highlights of this spectacular evening include: Thunderstorm, where the Irish male dancers let off steam as well as some gutteral primal screams, The Countess Cathleen by the lasses, and the title number the colorful "Riverdance" as the Act I finale. Within the song segments my favorite is "Heal Their Hearts-Freedom" by the baritone soloist Michael E. Wood who so magnificently shows off his double skill with singing, then dancing Trading Taps immediately thereafter. The 5 musicians are all terrific: the Irish Piper gives us "Lament", then the fiddler, the flautist, and those sensational drummers, whose loud and thunderous beats add so much vibrancy to the harmonious sounds of the tapping shoes, offer equally mesmerizing solos. Drums and taps combined create an indescribably electric energy that literally drives you to the edge of your seat.

Bravo to the lead dancers Craig Ashurst, Caterina Coyne, Alana Mallon, Padraic Moyles, Jason O'Neil and Chloey Turner and to the other 18 of the dance ensemble. Kudos as well to the Riverdance Band with musical director Declan Masterson, Piper Matt Bashford, fiddler Pat Mangan, drums Mark Alfred and saxophonist Dave McGauran. To tappers Michael E. Wood and Ben Mapp and to all the glorious singing members of the company, a hearty thank you.

Dancing, singing and music keep a culture alive and all peoples thriving and happy. Without them...well, let's hope they never die. Go see Riverdance and come alive through this Sunday November 20 only!

Thus far in the 2012 Republican presidential primary, illegal immigrants - code for Mexicans and people of Mexican descent - have been castigated more often than homosexuals or abortion, which may be a first. When Texas Governor Rick Perry backed the idea that deserving children of illegal immigrants should be eligible for federal aid to help pay for college, you'd have thought from the response of his competitors that he had called for a ban on hunting.

Book & Lyrics by Phil Olson
Music by Paul Olson
Directed by Doug Engalla
Choreography by Stan Mazin

Fourth in a series of “Don’t Hug Me” musicals, DON’T HUG ME, I’M PREGNANT returns to the little north woods bar “The Bunyan” in Bunyan Bay, Minnesota, owned by Gunner and Clara Johnson.  Also returning are the wonderful characters, new terrific original songs, great choreography and belly-filled laughs.

The Group Rep presents The World Premiere of NEXT WINDOW, PLEASE

Written by Doug Haverty
Directed by Richard Alan Woody
Produced by Fran Freedman for the Group Rep

The Group Rep has a success on its hands with the World Premiere of award-winning playwright Doug Haverty’s new dramedy, NEXT WINDOW, PLEASE at the Lonny Chapman Theatre in NoHo.

NEXT WINDOW, PLEASE gives us an intimate look at the lives of six ethnically diverse women and a good-looking, career climbing male junior executive, when they learn that the bank they work for will be merging with another bank. Each performance creates a picture into their lives and how the merger will affect them. With the potential that the branch may close, loss of jobs or transfers to other departments, what will be their next move?