The Children’s Hour

“Children’s Hour” Still Powerful at NTAC

By Tom Titus

Lillian Hellman’s first successful play – written in 1934 – was “The Children’s Hour,” which knocked Broadway back on its heels and ran for over two years. Eighty years later, it’s still a powerful piece of theater when cast with superior talent as it is at the Newport Theater Arts Center.

This current revival is replete with standout performances, especially those of the two schoolteachers falsely accused of being lesbian lovers. But playgoers will leave the theater talking about a petite, 12-year-old actress who turns in a brilliant performance as their accuser .

That would be Emma Bradley, about whom more certainly will be heard in the future. Her captivating performance as Mary Tilford, a little girl you love to hate, borders on brilliance, both in its power and its nuance, under the meticulous direction of Kevin Slay. It’s about time someone revived “The Bad Seed” to showcase this young lady’s talents.

As the teachers whose lives are ruined by this hateful little brat, Amanda Zarr and Rachel Lockhart are a standout pair whose interpretive powers are put to the test in two demanding assignments. Zarr portrays Karen Wright, who’s engaged to the town doctor (Christopher Geer) and finds both her personal and professional worlds shattered by her accuser’s lies.

Lockhart is equally strong as Martha Dobie, who suffers even deeper damage to her psyche, a plot element that doesn’t surface until nearly the end of the play. Together, they convey agonizing heartache, perhaps a bit melodramatic for today’s audiences, but the time portrayed is 1934, the year “Children’s Hour” was written.

Veteran local actress Teri Ciranna, long absent from the NTAC stage, returns with a flourish as Martha’s overly dramatic aunt Lily, an actress who’s constantly “on stage,” even when assisting young girls in a play rehearsal. Given her profession, as well as the time period, her performance is definitely on target.

As the grandmother of Bradley’s character, a dowager who wields a powerful influence over the school, Judy Jones is a bit hesitant in her performance, but generally quite effective. Geer’s young doctor exhibits considerable stage power as he endeavors to ferret out the truth and save his relationship with Zarr’s character.

Another student caught in Mary’s web is Rosalie (Kelsey Arnold), who unwillingly aids in the teachers’ destruction. Arnold successfully projects her fear of the smaller Bradley in an emotionally demanding segment.

Director Slay has created a chilling atmosphere, reinforced by his ensemble players cast as fellow students. They include Mia El-Bayar, Hanna Jarvis, Kaylin Omo, Diana Tran and Savannah Young. Naomi Murden scores quite well as the no-nonsense maid to Jones’ character, while David Soukenik is fine in a one-shot appearance as a grocery boy.

Andrew Otero’s dual setting fills the bill nicely, reflecting the penury of the Depression-era period. Costumes, by Claudia Berglund and Mary DePaoli, are impressive as well.

Melodramatic? Overlong? Guilty on both counts, but quite acceptable when one considers that eight decades have passed since “The Children’s Hour” was written. It’s a peek into theatrical history written large at the Newport Theater Arts Center, where it will play through Feb. 23. Reservations are taken at (949) 631-0288.

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Lagunatics – Better Late Than Never

By Tom Titus

Neither rain nor storm nor heat nor…mold can stop the No Square Theater’s Lagunatics from the eventual completion of their annual round of parodies.

The 2013 edition of the “roast of the coast” was all set to open last Oct. 5 in the Forum Theater on the Laguna Beach Festival of Arts grounds – and then someone found mold developing in the theater.

The show wasn’t canceled, but it was postponed indefinitely until a solution could be found. Now, three months later, the Lagunatics are back in action, playing at the Forum through Jan. 26.

Lagunatics, for the uninitiated, is the No Square Theater’s annual program of musical potshots at Laguna Beach and its many peculiarities. There’s so much material here that the current (2013) edition is the company’s 21st – all under the baton of founder-director Bree Burgess Rosen.

Inspired, most probably, by the “Forbidden Broadway” routines in which parodies are presented to the tune of popular musical numbers, Lagunatics also owes a creative debt to the legendary TV knee-slapper “Rowan and Martin’s Laugh-In.”  There’s nothing this show won’t do for a chuckle or a guffaw.

One might think all the satire might not sit well with Laguna’s municipal leaders. One would be mistaken, since two members of the Laguna Beach City Council – Steve Dicterow and Toni Iseman – also are in the Lagunatics troupe.

As is the case with many such endeavors, there are highs and lows. Among the highest is a backhanded tribute to the nearby, troubled San Onofre nuclear facility which Gregg Barnette (in his 12th year with Lagunatics) turns into a singalong called “San Oh-no-free.”

Probably the funniest bit is called “Eat Like a Goat” in which Joe Lauderdale and a chorus of prancing nannies celebrate flatulent goats to the tune of “If I Only Had a Brain” from “The Wizard of Oz.” The payoff line is “If I only didn’t fart.”

Other highlights include Bridget English’s “Besmirched,” set to the tune of “Bewitched” from “Pal Joey” and “Send Them Home,” based on “Bring Him Home” from “Les Miserables,” offered by Randy Hatfield — “Them,” in this case, being members of the audience.

One number is even more topical thanks to the postponement. Dicterow’s “Ring of Hire” laments an actor’s failure to be cast in the Laguna Playhouse’s tribute to Johnny Cash. Originally planned for last October, it’s now presented as the playhouse stages the actual show next door.

The proposed parking garage across Laguna Canyon Road from the festival – a live issue last October but a dead one today – gets the treatment from Jamie Elise Dana and Mark Dana, husband and wife, to the tune of Cole Porter’s “It’s De-lovely.”

Entitled “Gagtime,” a takeoff    on the musical “Ragtime,” Lagunatics continues through
Jan. 26 with Friday and Saturday performances at 7:30 p.m., Sunday at 6:30 p.m. and 5 p.m. for the Jan. 26 gala. Tickets may be ordered at

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Man of La Mancha at Huntington Beach Playhouse

A Robust “La Mancha” on HB Stage

By Tom Titus

Few musicals stir the heartfelt passions quite so much as “Man of La Mancha,” particularly in its closing number as the heretofore cruel and sardonic prisoners join in the chorus of “The Impossible Dream” as the show’s hero climbs the steps to the Inquisition.

This musical version of Miguel de Cervantes’ classic novel “Don Quixote” sparked a 1965 Broadway musical that ran for 2,328 performances and won five Tony Awards, then enjoyed four Broadway revivals. It’s powerful and moving entertainment whether on a professional or community theater stage.

In the robust revival now being offered by the Huntington Beach Playhouse, there is both musical excellence and heart-tugging drama, spearheaded by three of the finest talents ever to locally interpret the characters created by Dale Wasserman (book), Mitch Leigh (music) and Joe Darion (lyrics). It all comes together in an excellent production under the direction of Larry Watts, who also choreographed and costumed the show.

As the “mad knight” who sallies forth to right all wrongs and rescue damsels in distress (in a period 300 years removed from knighthood’s flower), Russell Montooth is outstanding. Slight of build but strong of voice, Montooth breathes both life and credibility into the fabled Don Quixote character as he battles enemies real and imagined, ultimately surrendering to grim reality.

Adriana Sanchez is the gold standard of musical theater actresses in Orange County, and her presence as the fiery kitchen wench/harlot Aldonza should be motivation enough for playgoers to line up at the Huntington Beach box office. Sanchez commands the stage in a role she most likely was born to play, melding a surprising physical talent with her unsurprisingly  superb vocal tones.

As Quixote’s wiser companion and servant Sancho Panza, Randy Calcetas skillfully plays against the corpulent type of his character, contributing a winning zaniness to the role. Calcetas is ever alert to the comic potential of his mission.

Taking command of the action both in prison and in the makeshift tavern is Jason Robert Hoskins, who excels more as an actor than a singer as the Governor/Innkeeper. Rick Dale offers a somber note as the padre, ministering to Quixote’s niece (Katie Roberts) and housekeeper (Audrey Weidermann).

Brady Porter solidly interprets the niece’s fiancé, Dr. Sanson Carrasco, who holds the key to returning the old man to sanity. Steve Shane impresses in his brief cameo as a barber, while Stephanie LeHane wriggles convincingly as a larcenous belly dancer.

Under Watts’ choreography and the musical direction of Mike Walker, the production throbs with both dramatic and comedic intensity. It’s an “Impossible Dream” realized at the Huntington Beach Playhouse.


WHAT: “Man of La Mancha”
WHO: Huntington Beach Playhouse
WHERE: Library Theater, 7171 Talbert Ave., Huntington Beach
WHEN: Fridays & Saturdays at 8 p.m., Sundays at 2 p.m. through Jan. 31
COST: $20 – $18
CALL: (714) 375-0696

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Amen, Ramm put glitter in Golden West

Amen, Ramm add glitter to Golden West

By Tom Titus

Nearly 40 years ago, this newspaper first began honoring two people each year for exemplary contributions to local theater. On rare occasions the honorees were a married couple (David and Betsy Paul, Greg and Kysa Cohen), and even rarer were two practitioners from the same venue (Ryan Holihan and Laura Lindahl).

The latter instance holds true today as we focus the spotlight on a pair of directors who have elevated the quality of theatrical production at Golden West College, alternating as a tag team to bring consistently high quality entertainment to their audiences.

They are the immensely talented creative artists who employ their skills – one in drama and comedy, the other in music and dance – to offer a complete theater package at the Huntington Beach college. They are Tom Amen and Martie Ramm, the Daily Pilot’s man and woman of the year in theater for 2013.

Since the turn of the current century, Tom Amen has been a professor of theater at Golden West and director of at least two productions each year. He came up through UC Irvine (BA in acting) and the University of Utah (MFA in directing).

At Golden West, Amen has re-introduced playgoers to classic theater such as “Medea,” “Oedipus Rex” and “The Hunchback of Notre Dame.” He also has selected some wild and crazy comedies, several by Ken Ludwig – “Lend Me a Tenor,” “Moon Over Buffalo,” “Leading Ladies.”

This year marked the culmination of Amen’s artistic sabbatical – a sea voyage following the route of novelist Herman Melville in his quest for “Moby Dick.” Amen collected his experiences and combined them with Melville’s prose to create a new version of the whale tale which premiered to appreciative audiences several months ago.

The director’s many past accomplishments include riveting productions of “Doubt,” “Shadowlands” and “A Streetcar Named Desire.” This season, Amen is tapping into the writings of George Orwell and F. Scott Fitzgerald. His production of Orwell’s “1974″ opened the season and his staging of Fitzgerald’s “The Great Gatsby” is due in March.

Currently, Amen is at work on a play about the life of legendary Western gunslinger Doc Holliday, famed for his role in the Gunfight at the OK Corral. He’s hoping to get this one on the GWC boards by 2015.

Martie Ramm Engle (her full name) also has many years of service at Golden West, specializing in musical theater as a director and choreographer. Recently, she scored a holiday hit with the stage version of the Bing Crosby movie “White Christmas.”

Over the past few years, Ramm has delighted her audiences with knockout productions of “Cabaret,” “Seven Brides for Seven Brothers” and “Legally Blonde.” Other memorable shows from Ramm at Golden West have included “The Importance of Being Earnest,” “Joseph and the Amazing Technicolor Dreamcoat” and “Nine.”

Prior to her arrival at Golden West, Ramm was a professional performer, appearing on Broadway (“Evita”), in London (“A Chorus Line”), in several national tours (“A Chorus Line,” “Annie,” “Show Boat”) and in many regional theater productions including twice as Charity in “Sweet Charity.”

She performed for Disneyland and Walt Disney Productions for many years, starting as a dancing Mary Poppins (while still in high school) and graduating to directing and choreography. She supervised Disney’s Japanese and Australian productions and was production manager for the Los Angeles company of Disney’s “Beauty and the Beast.”

Ramm’s future projects include directorial turns on “Love, Loss and What I Wore” in February and the modern classic farce “Noises Off,” scheduled for May.

Tom Amen and Martie Ramm represent a double-barreled shot of theatrical dynamite at Golden West College and their selection as man and woman of the year in local theater is long overdue.

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