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Regional Reviews: San Francisco Fat Pig, Witness for the Prosecution and
Fat Pig received decent reviews when it played Off-Broadway and there was talk that this play might be produced on Broadway with Ashton Kutcher playing the male lead. It has been produced around the nation to respectable reviews. Fat Pig centers on the very shallow Hollywood-type Tom (Jud Williford), who meets super-sized Helen (Liliane Klein) at a cafeteria. Helen is full of coolness, frankness and acceptance about her weight. She mostly stays at home watching Alistair MacLean movies. However, Tom's very bitchy work-mate Carter (Peter Ruocco) finds out that Tom is not only dating Helen but falling in love with her. Carter, who is obsessed with breasts and basketball, pounces on his friend by calling Helen every rotten name regarding her size. He thinks all women are products that can be thrown away. Jeannie (Alexandra Creighton), a very svelte 28-year-old office worker who is an ex-lover of Tom, just can't understand this new relationship. She calls Helen a "sow" and a "fat bitch." Helen inevitably notices that she is not being introduced to Tom's friends and colleagues and is conducting the affair in secret. Helen tries to convince him that this bond can be worked through. Fat Pig is presented on a long three-sided stage at the Aurora. Frankly, this play would be much better on a proscenium stage. Director Barbara Damashek uses the fourth solid wall for many of the important scenes. As a result, the audience sitting on the sides must crane their necks to watch the actors (on opening night in the last scene Helen and Tom sit on the floor against the back wall with a white cloth to represent an ocean beach, talking in such natural low voices that conversation was difficult to hear). The cast's four actors are excellent in their respective roles. Liliane Klein (IRNE award nomination for her portrayal of Helen in the New England premier of Fat Pig) is very good as the full-bodied Helen. She delivers a sunny performance as this clever and funny woman. Jud Williford (two years as ACT core actor) who portrays Tom is top drawer, and his edgy physicality highlights his sense of anxiety. Peter Ruocco (Mark Jackson's Faust Shotgun's Macbeth) excels in the role of the protagonist Carter. He has no redeeming qualities and is the kind of guy any intelligent person would avoid. However, the actor brings out the fact that Carter is a lonely man. Alexandra Creighton (Vera Wilde, Lovers & Executions) is very persuasive as Jeannie. She plays her character's bitchiness sharply. Mikiko Uesugi uses a minimal set for the cutting-edge drama while Lighting Designer Jim Cave provides assets to the production with bright lighting. Besides the strange staging, Barbara Damashek's direction is brisk and taut. Fat Pig runs through December 13 at the Aurora Theatre, 2081 Addison Street, Berkeley. For tickets call 510-843-4822 or visit www.auroratheatre.com. Their next production will be the return of The Coverlettes Cover Christmas, featuring three of the Bay Area's finest female vocalists. It opens on December 15 and runs through December 27th. Photo: David Allen
Center Repertory has pulled out all stops in both acting and production to present an evening at the theatre this will stand out in my memory. It has been donkey years since I first saw this drama in London at the Winter Garden Theatre during the winter of 1953. I was also lucky enough to also see the New York production at the Henry Miller's in 1955 with Patricia Jessel and Francis L. Sullivan. Later the production toured the states. (It is interesting to note that Edward G. Robinson made his television debut playing the defense attorney on Lux Video Theatre in 1953.) Billy Wilder's brilliant film based on the provocative drama was released in 1958 and starred Marlene Dietrich, Tyrone Power and Charles Laughton. Director Michael Butler and a superb cast display dedicated conviction and respect for this drama. The setting is the Old Bailey during an exciting trial for murder and then the defense chambers where we see the interactions of the lawyers engaged in the case being studied. The drama has many twists and turns and the ending will shock you. The mystery writer gets the audience right into her pocket from the opening scene with Leonard Vole (Alex Moggridge), who has been accused of murdering an old woman for her money. It is up to Sir Wilfrid Robarts, Q.C. (Mark Anderson Phillips) to defend the man and Mr. Myers, Q.C. (Mark Farrell) to prosecute the accused before Mr. Justice Wainwright (Ken Ruta). Leonard's wife Romaine (Carrie Paff) is an important player in this provoking mystery play. Carrie Paff (A Streetcar Named Desire, Dr. Jekyll & Mr. Hyde) gives a stylish performance as Romaine. She is coldblooded in the dock when being questioned by the lawyers, and a clear-cut picture of hatred releases itself from her hang-ups which have become unbearable. She is outstanding in the final scene of the two act drama. Mark Anderson Phillips (Abraham Lincoln's Big Gay Dance Party, Miss Julie) is perfect as defense attorney Robarts. His British dialect is spot on and his manner is very reminiscent of Charles Laughton's performance in the film. Mark Farrell (Musical of Musicals, The Mousetrap) gives an absorbing performance as prosecutor Myers. Alex Moggridge (Shinning City, Betrayed) is fetching as the accused Leonard Vole. He plays the role as if he could not hurt a fly, let alone kill an old lady. Ken Ruta (The Unexpected Man) gives a fascinating performance as Mr. Justice Wainwright. Outstanding is Tamar Cohn (The Sweetest Swing in Baseball, 2 x Malamud) as the Scottish housekeeper Janet. Her accent is impeccable in her big scene in the witness box. Valerie Weak as Jean and Maryssa Wanlass as Greta give excellent performances in smaller roles. The rest of the large cast is effective in their parts. Bravo to set designer J. B. Wilson for presenting a super detailed set of the Old Bailey and the inner chambers of the defense attorney. Costumes by Victoria Livingston-Hall are wonderful and lighting by Scott Denison is grand. Michael Butler's direction is sharp and he brings out the best in all of the actors. Witness For the Prosecution played through November 21st at the Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek. Center Repertory Company's next production will be their annual A Christmas Carol opening on December 10th and running through December 20th.
During the past few years Broadway by the Bay has been presenting the Broadway Up Close and Personal series saluting famous Broadway composers and lyricist. This year the company gave a tribute of Cy Coleman which featured talented singers from Broadway and Los Angeles. New York Post critic Clive Barnes once said, "Cy Coleman is a permanent gem in Broadway's musical crown." Coleman write music for such Broadway hits as Sweet Charity, On the Twentieth Century, The Will Rodgers Follies, City of Angels and Little Me besides writing popular songs that were always on the Hit Parade. Judith Blazer, Jason Graae, Donna McKechnie and Sharon Wilkins captivated the audience for 90 minutes singing Broadway show tunes from the distinguished pen of Cy Coleman. They were backed by Christopher Marlowe on piano who also did all of the arrangements. Between songs, Michael A. Kerker, director of the Musical Theatre for ASCAP, and David Zippel, lyricist who won a Tony Award for City of Angels , gave their insights about the legendary composer. A Tribute to Cy Coleman opened up with a rare look at the composer himself singing "Witchcraft" on a 1959 video production series called "Playboy Penthouse" that was shown in New York and Los Angeles. Jason Graae opened the live portion of the show with a chic rendition of "You Fascinate Me So." Jason was real cool singing "The Best is Yet to Come" and winsome on "Real Live Girl" from Little Me. Donna McKechnie was transcendent singing "Where Am I Going?" from Sweet Charity and appealing in "It Amazes Me." There was a film clip from Sweet Charity with Chita Rivera and company singing "Big Spender." Donna followed up with a rousing arrangement of "If My Friends Could See Me Now" from the Broadway musical. Sharon Wilkins rocked the house with "The Oldest Profession" from The Life and followed that with her powerhouse voice singing "Those Hands" from Like Jazz. She was heavenly singing "The Colors of My Life" from Barnum. Judith Blazer pulled out all stops with her great vocal cords singing "Nobody Does It Like Me" from Seesaw and followed that up with the hilarious "Never" from On the Twentieth Century. She was magnetizing in the upbeat "Hey, Look Me Over" from Wildcat. One of the great highlights was a duet by Jason and Judith singing "The Measure of Love" from an unproduced musical called Napoleon and Josephine with lyrics by David Zippel. Jason Graae took the part of the Marquis de Sade and the song featured a lot of pain. David Zippel talked about the new revue based on Cy Coleman songs that has already played in Ventura at the Rubicon Theatre. It has aspirations of going to New York. One of the songs with lyrics by David Zippel is "The Critics Song" from an unproduced show that seemed a put-on of former New York Times drama critic Frank Rich. The Tribute ended with the whole cast singing "It's Not Where You Start, It's Where You Finish" from Seesaw and then we saw a video clip of Cy Coleman in his later years singing "It Started with a Dream." A Tribute of Cy Colemanplayed for five nights starting on November 5 at the San Mateo Performing Arts Center. Delaware St, San Mateo. Broadway by the Bay opens their 2010 season with Dirty Rotten Scoundrels on April 1, 2010 followed by Annie on July 15.
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