“NATASHA, PIERRE & THE GREAT COMET OF 1812”: CYGNET THEATRE AT ITS BEST.

If you are looking for something ‘out of this world’ to do this weekend, you might want to head on to Cygnet Theatre in Old Town and settle in for the show(and I mean ‘show’) of a lifetime.  It has been extended to continue through May 26th.

“Natasha, Pierre, & The Great Comet of 1812”  by Dave Malloy is adapted from a short slice of life in a chapter from “War And Peace” by Leo Tolstoy. It  is a musical adaptation, (Electro Pop Opera) and is sung throughout by the entire cast who are enormously talented and led by Patrick Marion’s  musical geniuses. Sean Murray directs with precision, Katie Banville’s choreography ranges from waltz to Troika to Russian  Kazotsky. Luke H. Jacobs does it best. 

Luke H. Jacobs  (center)

In their quest for the meaning of life, all the characters in ‘Comet’ are looking for love in all the wrong places: Natasha (Selena Ceja) can’t wait for her betrothed Andrey (Brian Mackey), to return from the war, so she hooks up with the rascal Anatole (Michael Louis Cusimano).

Kürt  Norby

Pierre (Kürt  Norby), is wealthy but unhappy in love and life. His reaction to the comet is very different from all the other’s. He is inspired by it as opposed to being afraid of it.

His rogue wife is Helene (Jasmine January) Anatole’s sister ‘ who is up to no good  and there is Sonya (Megan Carmitchel) Natasha’s bestie whose mission is to keep Natasha safe especially from Anatole.

The play opens in 1850 at a ball in St. Petersburg. It is here we meet Pierre who has his story to tell when not drinking.  Soon after back to Moscow so that  Natasha can meet Andrey’s family, which by the way, did not go very well. Here in the home of  Márya Dmítrievna, (Linda Libby) is where all the intrigue, mystery, merriment, chicanery takes place. 

Brian Mackey and Selena Ceja

One thing we can count on is the meticulous direction coming from Sean Murray with assistance from Sandy Campbell. With all the moveable parts on Mathys Herbert’s intricate set (and that includes running through the audience and house) ‘Comet’ is as immersive as it is quick witted and unexpectedly and deeply personal especially for Pierre (Norby) who is excellent at trying to right the wrongs in his life. No one can fault him for not having a powerful set of vocal chords either. 

Megan Carmitchel and Selena Ceja

Selena Ceja’s Natasha is both beautiful and vulnerable as the innocent young girl never suspecting Anatole to be anything but smitten in love. Cusimano, dashing, deceiving and devilish who almost makes it to the finish line with Natasha but for the quick witted Sonya. Ceja has an operatic voice that soars above the rest with Carmitchel coming in second. But it’s not even fair to compare. Both are excellently talented. 

Michael Louis Cusimano

Did I mention that everyone in the cast has strong and powerful and  beautiful voices and… play several instruments through-out. Marion’s seven piece band and an assortment of instruments never overtake the soloists. 

Amanda Zieve’s lighting design dazzles, Shirley Johnson’s period costumes are stunning and fitting, but the enchanting masks in a scene from the opera, blew my mind. Peter Herman’s wigs and makeup are picture perfect. Last but not least Matt Lescault-Woods sound design (as I mentioned above) never over powers the voices.  

 For over two hours, we the audience are treated to one of best shows playing now in San Diego. You won’t want to miss “ Natasha, Pierre And the Great Comet of 1812”.

Enjoy.

See you at the theatre. 

Through May 26th

Where: Cygnet Theatre, 4040 Twiggs St., Old Town San Diego

Tickets: $44 and up

Phone: (619) 337-1525

Photo: Karli Cadel

Online: cygnettheatre.com 

 

“THE 39 STEPS” AT NEW VILLAGE ARTS BOGGLES THE IMAGINATION

For Alfred Hitchcock buffs, the Tony Award winning “The 39 Steps” currently showing at New Village Arts Theatre in Carlsbad through May 12th  is a virtual smorgasbord with all the toppings and enough goodies to satisfy every taste. 

If you’ve never heard of the great moviemaker/director Hitchcock or his “39 Steps” think “Rear Window”, “The Birds”, “North By Northwest”, “Dial M For Murder”,  “Vertigo” and  “Psycho” for starters. There was always his television show Alfred Hitchcock Presents that lasted about ten years. 

Clown 1(Reden Magtira) Clown 2 (Kenny Bordieri)

Hitchcock’s wry sense of humor both in the movies and on TV is evident from the outset, as each of his TV shows opened with music from Gounod’s “Funeral March”of a Marionette" as the body of the rotund Hitchcock walks into a silhouetted caricature of the man himself. And he manages a cameo appearance in every one of his movies. Now, if you still have no recollection of any of the above mentioned forget I said anything and just enjoy the excellent production at New Village Arts deftly directed by Dr. AJ Knox

John Buchan’s 1915 book “The 39 Steps” with original concept by Simon Corble and Nobby Dimon and the film version was adapted for the stage by Patrick Barlow. That all may sound like Who Killed John but you ain’t heard nothing yet! It is also based on the Hitchcock 1935 spy thriller of the same name and is considered a classic in this particular genre.

“The 39 Steps” follows the same patterns for which most other Hitchcock thrillers are known. It is a combination Victorian melodrama and Elizabethan drama and is said to have been the first of many of Hitchcock’s murder mystery to set this tone. 

It goes something like this: lonely and depressed by current events young man, Richard Hannay (Dallas McLaughlin) goes to theatre (Palladium to be exact) because he’s bored; man is watching a performance of “Mr. Memory” played by Reden Matira/clown. He also plays about every other character, male and female, with assorted accents.  He is a man with a photographic memory. He is introduced by the Emcee/clown (Kenny Bordier).

Dallas McLaughlin and Erica Marie Weisz

In the middle of Mr. Memories act, a fight breaks out and a mysterious woman from the audience fires shots. The lonely man soothes an agitated and hysterical woman and takes the gun from her. The mysterious woman (Erica Marie Weisz) is Annabella Schmidt who convinces the man to take her back to his apartment. 

Back at his flat she gives him some cockamamie story that she is a government spy and is being chased by foreign assassins who have stolen government secrets. She is a being followed by the bad guys, one of whom has a joint missing from one of his pinky fingers.  She also reveals the conspirators are in a German espionage organization called (you guessed it) “The 39 Steps”

The next morning girl winds up stabbed with his bread knife in her back. He finds her strewn across his lap when he wakes up in his chair. In her hand is a map of Scotland Yard. (Another clue?)  Concerned about being falsely accused of murder he takes it on the lamb with the map and the chase begins. 

Erica Marie Weisz and Dallas McLaughlin

On the run, over the meadows and through the woods cutting across cold misty London countryside, farms, county estates, dangerous foggy sea cliffs, choo-choo-train chases from England to Scotland, and spooky taverns, encountering various and sundry red herrings and a bevy of suspicious looking characters who may or may not be guilty of the crime and or the subterfuge, Hannay is determined to get to the bottom of The 39 Steps conspiracy. 

So far this tongue in cheek thriller is all too familiar. And when Richard is being chased by the police on the train and meets a beautiful young woman and kisses her to hide from the police, we have to think “North by Northwest”. 

Dallas McLaughlin and Erica Marie Weisz, Reden Magtira and Kenny Bordieri

Again, you really don’t have to be an Alfred Hitchcock fan or have to have seen any of his movies to enjoy this delicious little caper that NVA is honing in on. The play that has but four players (three men and one woman) playing 140 characters running, changing clothes, locations and accents at a frenetically faster than a humanly possible rate of speed, so much so, that by play's end the audience is winded and chuckling at the same time. It's probably one of the most physically exhausting play you might see in some time.

And it  takes a village to set the stage for a production like  this to be mounted: Frank Seed designed the sets, sparse as they are, Grace Wong, the costumes (that sometimes didn’t make it in time to complete the change), Dialect Coach, Gerilyn Brault, Sound Design, Dr. AJ Knox. Prop Designer  Mc Kenna Foote. Erica Marie Weisz  for wigs, and Hannay's wig is designed and maintained by Kevane La'Marr Coleman. 

In his  notes, Knox conveys a note of optimism: “We see a call for the creation of a kinder, gentler world. How we get there, of course, is a comedy of errors. And that’s the fun of it”. Sit back and let your imaginations carry you to places you might never want to visit. 

Enjoy. 

See you at the theatre.

When: Through May 12

Where: 2787 State Street, Carlsbad, Ca. 92008

Tickets Prices:  $28.00 -$48.00

Phone: 760 433 3245

Photo: Daren Scott

Online: info@newvillagearts.org

SAN DIEGO PREMIERE “RIDE: A NEW MUSICAL” PUTS WOMEN IN THE DRIVERS SEAT

 What does a nice Jewish girl, Annie Cohen Kopchovsky’s (a/k/a Annie Londonderry), from Boston by way of Latvia do on a dare? Why, she proves herself to two wealthy Boston merchants  that she can face their  challenge of being the first woman to ‘circle the globe on a bicycle in 15 months and… win the reward money of ten thousand dollars.  

Married at an early age  and  being tired and bored  with  being a wife and mother, while selling advertising space,  Annie up and left  her husband and three small children. It was unheard of in 1984-5.

Londonderry took her name when one of the  sponsors Londonderry Lithia Spring Water, an account she represented, showed a woman on a bicycle. At 24 she had a chance to be “Annie Get Your Bike”.She was determined to make her mark, and so she did.

With book, lyrics and music by Freya Catrin Smith and Jack Williams and direction by Sarah Meadows ‘Ride’ premiered in London to rave reviews. This current version is the reimaged version of the London show. It will be playing at the Old Globe Theatre on the Don and Darlene Shiley Stage through April 28th.

Livvy Marcus and Alex Finke

Our play opens in Joseph Pulitzer’s office (Amy Jane Cook Scenic and costume)where Annie (Alex Finke) will try to convince Joseph Pulitzer that she is capable of a journalism job to provide a travelogue of her trip. His secretary Martha, (Livvy Marcus) chimes in that the one and only projector they have in the building is not working. After some mighty fine convincing Annie pulls Martha into the equation and the two begin the travel adventures by reenacting their journey. 

As Dr. Seuss says  “O The Places You’ll Go”, and go they did. 

They traveled from the Boston State House to New York City, then boarded a French liner; sailed from Paris to Marseille. When she left Marseille she went to Alexandria, Colombo, Singapore, Saigon, Hong Kong, Shanghai, Nagasaki and Kobe. From Yokohama, Japan to the Golden Gate Bridge to Los Angeles, Arizona, New Mexico and El Paso making it around the world  in fourteen days arriving back in Boston (loved the authentic Boston accent. I felt  like I was right at home) fourteen months after leaving. 

Alex Finke as Annie under a Jerusalem Tree

An amazing story teller she, the media goes crazy writing about her adventures. Can you imagine?

Mind you, there is drama, an accident or two, illness and romance , she even lectured,  along the way, but as she tells it and even sings it, nothing would stop her not even an injured leg and broken wrist. 

Alex Finke, who plays Annie, has an overabundance of bouncing energy as she singing, (there are about 13 musical numbers starting off with "The Worlds Greatest Story) dances and is on stage for almost the entire 90 minutes. It is at this juncture that we meet her secretary, stage struck Martha (Livvy Marcus) who plays several characters including the men she meets on her travels. 

Livvy Marcus with Alex Finke

Amy Jane Cooks sets are unusually creative; some dropping down from the ceiling, others disappearing into the fireplace. Some costume changes are required. Annie’s  feminine skirt had to be adjusted for her to be able to ride the cycle so they were streamlined. Jennifer Jancuska's choreography is upscale and ambitious. John Bulleid created the illusions.  Andrew Johnson’s sound was way too loud and drowned out many of the songs Finke was singing including one in Yiddish (“Lullaby: Shlof Mayn Kind”) a sentimental lullaby about her past life with her children.

And here in comes the rub. As I completely enjoyed the travelogue, the adventures and the scenery, including the different modes of transportation when cycling was impossible, the side stories pulled me away into another world of storytelling. It felt as though two different plays were playing out side by side. I got sidelined  and  was somewhat confused, especially during the segment when Annie sings about what she did for her children and of her  romantic interests . 

Alex Finke and Livvy Marcus

Taking nothing away from the actors, both do remarkable  work; singing, dancing and bouncing ideas off each  other. And watching Marcus morph from a shy almost reticent woman to a strong half leading lady/man is amazing.  

According to the Jerusalem Post “Annie Londonderry Kopchovsky will be remembered as a woman who transcended the limitations of her time and displayed independence and bravery, making an important contribution to Jewish women’s history in particular, and feminist history in general.”

See you at the theatre. 

When: Previews, Saturday through Thursday. Opens April 5 and runs through April 28. 7 p.m. Tuesdays and Wednesdays; 8 p.m. Thursdays and Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays

Where: Old Globe Theatre, 1363 Old Globe Way, Balboa Park, San Diego

Tickets: $29 and up

Photo: Jim Cox

Phone: (619) 234-5623

Online: theoldglobe.org

“ALADDIN” AND HIS MAGIC CARPET GLIDE INTO CIVIC WITH FLAIR

With all the glitz Broadway and Las Vegas can muster, “Aladdin” glides on his magic carpet to the Civic as effortlessly as Genie (Marcus M. Martin) holds us in his grips the moment he’s let out of his magic lamp. (“Friend Like Me”).

Marcus M. Martin (center)

And while the star is the wayward street urchin, Aladdin (Adi Roy with his three besties, Kassim (Colt Prattes), Omar (Nathan Levy), and Babkak (Jake Letts),  and their senseless antics,) tries to woo princess Jasmine, the beautiful but kickass Senzel Ahmad,  no one in the musical entertains and holds us hostage as Martin aka Genie does. 

Marcus M. Martin 

The 1992 Disney animated film of the same name is based on the Arabic folklore “One Thousand and One Nights” as it follows Aladdin’s trail finding the magic lamp with Genie in it. At the time the film was  released, it was the highest grossing film that year.

Adi Roy as Aladdin

As the story goes, Aladdin is broke and needs some kind of something to get money to live. Petty pick pocketing and stealing won’t do the trick. After he finds the magic lamp and releases Genie, he gets three wishes. He is totally smitten with the Sultan's daughter. He disguises himself as a wealthy prince hoping to impress the Sultan’s (Sorab Wadia) daughter and eventually ask for her hand in marriage. 

Aladdin and his three besties 

Any resemblance to the film will have to be gleaned from the movie and the songs, (20 or so) with music by Alan Menken, lyrics by Howard Ashman, Tim Rice and Chad Beguelin and book by Chad Beguelin, not from the glitz seen from top to bottom and side to side with Bob Crowley scenic design package, Ken Travis’ sound design, native San Diegan Gregg Barnes costumes are elegant looking, lavish,  beautiful and colorful  and period perfect, Natasha Katz’ lighting, and direction and the never ending (everything from ‘Chorus Line’ swanky, glimmering dancing, to belly dancing, (to what almost looked like bottle dancing) choreography by our own born and raised Casey Nicholaw.

This tour (it was here 10 years ago on its first national tour) is pure entertainment from the busy streets of Agrabah to the palace gates. The cast is one of the ‘There is so much going on that’s it difficult focusing on Aladdin’s pals (named above) who are always at the ready for Aladdin to either break away from some sinister plots by the sorcerer Jafar (Anand Nagraj) and his side -kick  Iago, ( Aaron Choi) both humorously effective and pretty bumbling and sinister. Both are Jasmine's nemesis.

Senzel Ahmady and Adi Roy

The fast paced plot with an overabundance of talented ensemble members slows down a bit when the two lovers (“A Whole New World” ) manage to finally come together and it looks like the real deal when they magically fly above the city on their magic carpet; it is truly the stuff of fairy-tales, and the chemistry is convincing.  

Danny Troob’s orchestrations along with musical director James Dodgson rich sounds coming from the pit puts this production in the must see column.

Billed as a family show, and with several cuts from the original book /story this wonderfully entertaining production is well worth the trip downtown for the whole family.

Company

Enjoy.

See you at the theatre.

When: 7 p.m. Wednesday ; 2 and 7:30 p.m. Thursday ; 7:30 p.m. April 5; 2 and 7:30 p.m. April 6; 1 and 7:30 p.m. April 7

Where: San Diego Civic Theatre, 110 Third Ave., Downtown

Tickets: $34 and up

Photo: Deen van Meer

Online: broadwaysd.com

 

CHARMING :THE EVOLUTION OF CALPURNIA TATE" FOR ALL AGES

 For some women, being born into the wrong century is a life changer. For Calpurnia Virginia Tate it was a struggle. In the late 1800’s, living in a small Texas hamlet, girls were supposed to follow in their mother’s footsteps and learn to sew, knit, kneed and bake bread, and well… act feminine. But at age 12+ Calpurnia was interested in none of the above. Calpurnia was interested in science, the origin of the species, caterpillars and the natural world among other things.

Lamb’s Players in Coronado is currently mounting a world premiere musical of “The Evolution Of Calpurnia Tate” based on Jacqueline Kelly’s (Newbery Honor Book) book of the same name.

Christopher Vettel and Aubriella Navarro

With book and lyrics by Omri Schein, score by Daniel Lincoln and Ben Read, musical direction, this coming of age tale hums along with great speed in several vignettes bouncing back and forth telling the story. The production runs 90 min.

Geno Carr, Aurbiella Navarro and Christopher Vettel

The ensemble includes the Tate family consisting of  Calpurnia (Aubriella Navarro),  Father, (Geno Carr), Mother, (Jacquelyn Ritz), Grandfather, (Christopher Vettel ) and sons Harry and Sam (Max Leadley  and Jacob Mears) and Travis (Cole D’Agostino),  cook Viola (Sydney Joyner) and Lula (Milly Cocaning) Callie’s best friend sought after by her two older brothers. 

Luckily, all the women stuff  was for naught for Calpurnia, though. Grandfather was an avid scientist and when he finally took his nose out of his experiments to notice Calpurnia, or Callie Vee as she was called by her  siblings, he was so enthralled with her interest in science , grasshoppers and the like that they became forever and instant  comrades. In essence, she was his partner in scientific experiments, to her delight. Now she could become herself,  much to the chagrin of Mother who gave her the book on ‘Housewifery’ as a Christmas present. 

Aubriella Navarro as Calpurnia Tate

 A new dawn was approaching with celebration of the 19th century with hopes that women and especially girls would have more choices to make for their careers, but alas, it wasn’t until  1920 that the 19 Amendment, was certified. 42 years after it was introduced in Congress.  The hands of time move slowly when the rights of women and  women of color are involved, but look…women are going to the moon. Hope rings eternal for girls like Calli Vee. 

Kerry Meads excellent direction leaves no room for flaws. The all around excellent acting, singing and facial expressions, especially with a stage, half of which are youngsters, there is nary an error. But one can’t sing the praises more for seventh grader Aubriella Navarro, (no stranger to acting),  whose award winning performance is one for the books.  She’s a natural for this role tho’ I have yet to see her in anything else. Suffice it to say, hers was brilliant casting choice.

Sydney Joyner, Aubriella Navarro and Jacquelyn Ritz

Period costumes designed by Jemima Dutra and put together by Alyasa Hayden, Eduardo Muniga and Virginia Eastman satisfied the many costume changes. Nathan Peirson designed the lighting, Jessica Cueto, the many props, Mike Buckley the detailed set and Coni Brugman the wigs.

On the down side the music under the direction of Ben Read  and his four piece band, along with  sound designer Patrick Duffy overtook the voices in many instances making it difficult for this reviewer to make out the lyrics and oft times the dialogue. 

Perhaps younger ears will fare better, or the sound less amplified. 

For an evening of family fun, haul the kids out and enjoy!

See you at the theatre.

When:  March 23 and runs through May 5. 2 and 7 p.m. Wednesdays; 7 p.m. Thursdays and Fridays; 2 and 7 p.m. Saturdays; 2 p.m. Sundays

Where: Lamb’s Players Theatre, 1142 Orange Ave., Coronado

Tickets: $28-$82

Photo: Ken Jacques

Phone: (619) 437-6000

Online: lambsplayers.org

GLOBE’S “KING JAMES” OUT OF MY LEAGUE

The Old Globe Theatre, Sheryl and Harvey White Theatre in the round to be exact is currently mounting Rajiv Joseph’s “King James”. Joseph, Pulitzer prize winning  playwright “Bengal Tiger at the Baghdad Zoo” and “Guards at the Taj” (both seen here,) has stretched his muscle with his current offering, “King James”. 

It’s not about a king nor is it about King James. NO! , it’s references are to LeBron James the one time ‘Rookie  of the year who became the all-time leading scorer of the NBA (for those not knowing the initials:National Basketball League). Over time, he was referred to as King James. 

Oh, BTW he played for the Cleveland Cavaliers until he left to join the Miami Heat, another basketball team, to the wrath of his followers.

Caleb Foote and Joshua Echebiri

Supposedly, one does not have to be familiar with all those facts, but so much is referenced, it doesn’t hurt. For all intents and purposes, “King James” is about male bonding. Both characters in the play Matt (Caleb Foote) and Shawn ( Joshua Echbebiei ) are die heart Cavalier fans, never met and live in worlds apart. What bonds them together in friendship is basketball. 

TMI?  Yours truly has little to no factual information about basketball players or their records.  The last time my husband and I followed basketball was in the ‘50’s when Bob Cousy played for the Boston Celtics. 

Caleb Foote and Joshua Echebiri

Both Foote (who played in “Hand to God” at the Rep. years ago) is a high energy, oft times over the top bar owner of an upscale bar who needs money to pay off some debts. He is white. Echebiri has his heart on being a screen -writer in LA or NY, and is Black.  

Matt has premiere Cav. seats for sale that Shawn wants to buy. Their first meeting is casual with a give and take about the price of the tickets and a lingering conversation that one might call a casual introduction. Both seem to be loners. 

The 2+ hour show is divided into four quarters and runs the span of a twelve year period. With the changing tides, the friendship goes back and forth with more of the friendship deepening as they learn more about each other’s families and desires, thoughts and emotional turmoil.  The first act has lots of quick witticisms and  banter but needed something more to hold this reviewer’s attention.

The play picks up speed in the second act, third quarter when feeling comfortable and letting his guard down, and in an angry exchange of James’ leaving the Cav’s high and dry, Matt  blurts out “that LeBron should know his place”. A silence fell over the theatre. Here you have it. Racism rears its ugly head between two best friends. It takes years before we see them together again.

Scenic designer Lawrence E. Moten III shows Matts work-place, an upscale bar called La Cave du Vin  in Cleveland Heights, Ohio where the two meet and a completely separate design for Matt’s parents eclectic upholstery store with a stuffed armadillo in the window where Shawn helps out at times, giving him access to Matt’s parents that takes an interesting turn. 

Both sets are detailed with enough room in the round for director Justin Emeka to move the two characters around so that neither is facing one direction for any length of time. Over  time they are more comfortable with each other and, as Matt says, “We’ll get through this life together.” 

As plays go, “King James” would not be my all- time high of plays to see again. I would say two hours stretched the limits of my endurance of basketball facts to the core. Even though male bonding is an interesting topic and the actors worked wonders with the material, it’s just that basketball as the metaphor to use for male bonding as seen through the male eye is out of my league. 

You be the judge. 

See you at the theatre. 

 

When: 7 p.m. Tuesdays through Thursdays; 8 p.m. Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays. Through March 31

Where: Sheryl and Harvey White Theatre, Balboa Park, The Old Globe, 1363 Old Globe Way, Balboa Park

Photo: Rich Soublet II)

Tickets: $33 and up

Online: theoldglobe.org

 

“CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME”: ANOTHER MARVELOUS PRODUCTION FROM CCAE THEATRICALS IN ESCONDIDO.

Photos  by Kari Cadel

 It all started when Wellington,  15 year old Christopher Boone’s (Daniel Patrick Russell) neighbor’s dog was found dead (by means of a fork, no less)  in his backyard. Christopher loved that dog as did everyone in his neighborhood of Swindon England.

Wellington’s death became a mystery to everyone.  Who would have, could have killed the dog? Everyone closest to Christopher wanted ‘to let dying dogs lie’. But Christopher, emulating his favorite Private Eye Sherlock Holmes, began setting out on his own to solve the mystery of the dead dog over the strong objections of his father, Ed (an outstanding Nathan Madden). 

He went about the neighborhood interviewing his neighbors and writing their words  down in a little red notebook that became his own private diary.

If this was all there was to Christopher; but it’s not. Christopher is a mathematical genius who did not like to be touched…by anyone, ever! He had behavioral issues some attributed to autism but were never spelled out loud in the show. 

He went to a ‘private school’ where he excelled in math but needed help with getting through, well, life, so his helper/mentor, Siobhan (Allison Spratt Pearce is perfect) shadowed him most of the time guiding and suggesting and letting the audience in on what’s going on.

Over the course of events we learn that his mum has died, but she really has not. He makes a trip to London all by himself, he finds his mum alive, he passes his math performance test with flying colors and prepares to go on furthering his education, which he is confident of doing All this is written in his red notebook,  which eventually becomes a published best -selling book that eventually is  the foundation of this splendid production with deft direction by J. Scott Lapp. 

All well and good, but it’s the makeup of the production that will gives CCAE another Oscar(Award) for outstanding work including incredible choreography by, Natalie Iscovich,  outstanding projection designs by Blake McCarty, Scenic/Cinematography, Matthew Herman, Lighting Mike Billings, Costumes, Janet Pitcher, Wigs and Hair Peter Merman, and Sound by Jon Fredette.

With the high energy ensemble acting, (Melissa Fernandes, Drew Bradford, Berto Fernandez, Dallas McLaughlin,  playing several townspeople),  the choreography; the everything that makes (I saw it on the closing performance) this particular production so special. Is a once in a lifetime treat. Such preciseness both physically and watching this young boy’s mind work to figure out ways to make his life doable is an extraordinary experience. 

If you ever get a chance to see a production of “The Curious Incident of the Dog In the Night-time”  do!   

See you at the theatre.

Coming up next at CCAE: MOTOWN, March 29 and 30.