Newest articles on The Sacramento Press tagged as "capital stage"

Good, good, good, good vibrations: Consummate cast overcomes overlong, disjointed script in Capital Stage's 'In the Next Room'

2012-01-30T14:10:52Z

With a title like "The Room Next Door, or the vibrator play," audiences might well expect a jolt or two – and not of the AC variety the newfangled electric gadgets of the late-19th century were known to occasionally deliver.

For those looking for a bit of shock and awe from J Street's "bold, intimate, live" theater, the current Capital Stage production of Sarah Ruhl's comedy does not disappoint. Though Ruhl's script goes for the gag switch a few too many times, and changes polarity with unsettling frequency, the uniformly strong cast led by Michael Stevenson, Elena Wright and Katie Rubin shine brightly and consistently.

Playing through Feb. 26, "The Room Next Door" is set in the late-19th century when the country was getting wired up, and men and women were getting buttoned up. As men's and women's fashions were adding layers and layers of floor-length outer and undergarments (fabulously designed here by costumer Gail Russell), so too were they masking their most primal emotions and desires in what was perceived as civility.

Dr. Givings (well-played with appropriate restraint by Stevenson) is a respected New York gynecologist who proudly refers to himself as a "man of science." His clinical bedside manner is respectful but wholly detached as he prattles on about the accomplishments of Ben Franklin and Thomas Edison and their contributions to the electrification of America while matter-of-factly applying what looks like a hand-held floor polisher to his patients' nether regions.

Convinced of the therapeutic value of the experimental contraption (which he believes cures a host of female-centric ailments, including "congested wombs" and the resulting "hysteria" they cause), Givings offers quick two- or three-minute applications (isn't that always the case?) to "release the juices downward."

He promises the women (and their husbands) who visit his home-based "operating theater" that they will see immediate results.

Among those calling on the good doctor are Mr. Daldry (a suitably stoic Alexander) and his wife, Sabrina (Rubin). Daldry is concerned that his wife is no longer the woman he married and that "there is very little sympathy between us."

"You have no idea what a source of anguish my wife's illness has been to me," he says, pausing just a moment before thinking to add, "And to her, of course."

Other concerns dominate the Givings household as well. Givings' wife Catherine is unable to properly nurse the couple's newborn daughter, who is losing weight. Offering the same clinical compassion to his wife as he does to his patients (whose moans and occasional cries to "God" go unnoticed), Givings flatly tells Catherine, "Your milk isn't adequate."

As he explains, he's not leveling blame, just stating the medical facts.

The grateful Mr. Daldry offers the services of their maid, who recently lost her own newborn, and is willing to serve as a wet nurse.

Frustrated by her inability to properly bond with her baby daughter, as well as with her husband, the always prowling, cat-like Catherine increasingly looks to her husbands' patients for conversation and more. One might think the Givings' home, which begins to feel like Grand Central Station in the second act, would annoy after a fashion, but Wright (in a marvelously antsy, even "hungry" performance) delivers a Catherine who doesn't mind the constant interruptions, but welcomes them to escape her passion-free home life.

"Experiment on me!" Catherine pleads to her husband, longing to witness the bright lights some of her husband's patients have reported seeing during their treatments. Essentially, she, too, would love to be blinded by science.

The era's repressed sexuality is repeatedly used as a punch line throughout the first act, as Sabrina's early trepidation evolves into a daily sprint through the Givings' parlor and into "the room next door" for longer and longer sessions.

These scenes become repetitive and merely stretch out what is already an overlong second act in which one wants to shout out, "Yeah – we get it! The vibrator is getting them off!" The larger joke (one that is also overused) is that the doctor seems oblivious to what his "treatment" is actually doing.

Adding to the bloated second act, and its deviation from massage-and-tickle farce to a more-serious treatise touching on everything from interracial relationships, gender preferences and death and dying, is the focus on two new characters – Elizabeth (Victoria Alvarez-Chacon), the Daldrys' African-American maid who is nursing the Givings' baby, and Leo Irving (Kirk Blackinton), an artist whose recent breakup during a European sojourn has resulted in a stifling creative malaise.

Those who love the vibrator of the title will love what the doc comes up with to alleviate Leo's artist's block.

Under the direction of Peter Mohrmann, there's really not a false moment delivered by the cast. Even in the most-absurd "Saturday Night Live" sketch-like moments of the play, they are true to their characters and rise above Ruhl's material. During the show's quieter scenes, such as in the climax (no pun intended) when Givings and his wife shed convention (and a good many layers of their wardrobe) to finally make a true emotional connection, Stevenson and Wright are absolutely mesmerizing.

Rubin, too, is very good – especially in her scenes with Wright in which the ladies let themselves into Givings' locked operating theater to do a little AC/DC experimentation on their own.

Alvarez-Chacon, who delivers her predominantly poignant lines as mandated by the script, seems a bit out of place. Her character seems like she's on loan from another play. It's not her fault – she, too, does the best she can with Ruhl's occasionally unruly script which is somewhat of a letdown following the pace and comedic tone of act one. Also, a case could be made that her character's speech about sexual satisfaction being best achieved through relations with a flesh-and-blood husband versus a power tool is a bit racist.

At Elizabeth's suggestion of such a scenario, both Catherine and Sabrina pooh-pooh the very thought, as if white, well-to-do women couldn't possibly understand the sexual honesty an "earthy" housekeeper of color such as Elizabeth takes for granted. One could also argue that Ruhl is saying that all lower-income African-American women have a genetic trait that makes slipping and sliding to Morris Day & The Time's "Jungle Love" second nature. Either way, it presents uncomfortable stereotyping.

Whether those who go to "In the Next Room, or the vibrator play" do so for pure titillation, for a glimpse at 19th-century sexual mores, as fuel for a discussion on playwriting, or simply to witness actors on top of their games, there are plenty of reasons to plug in.

JUST THE FACTS
WHAT: The Capital Stage production of Sarah Ruhl's "In the Next Room, or the vibrator play"
WHERE: Capital Stage, 2215 J St., Sacramento, Calif.
WHEN: Plays Jan. 25-Feb. 26, 2012, with performances at 7 p.m. Wednesdays, 8 p.m. Thursdays and Fridays, 7 p.m. Saturdays, 2 p.m. Sundays (special Valentine's Day performance at 8 p.m. Feb. 14)
HOW MUCH: $20-$32; call (916) 995-5464, or go online at www.capstage.org
DIRECTOR: Peter Mohrmann
CAST: Michael Stevenson (Dr. Givings); Elena Wright (Catherine Givings); Katie Rubin (Sabrina Daldry); Greg Alexander (Mr. Daldry); Shannon Mahoney (Annie); Kirk Blackinton (Leo Irving); Victoria Alvarez-Chacon (Elizabeth)

Christmas celebrations, Sacramento-style

2011-12-22T00:43:49Z

As always, Sacramento steps up to the plate with holiday events of all sorts. At Sacramento365.com, we see a lot of events come through the site every day. Though there are myriad options in our Holiday Event section, we've narrowed down the list to 10 to get help you pick your Christmas Eve & Christmas Day festivities.

Christmas Eve Events:
Sure, the night before Christmas should be spent snuggled in bed waiting for Santa Claus, but why not get out and about during the day. Here are some options to keep you entertained around town:

1. Free Admission at Fairytale Town & Sacramento Zoo:
FTT 10am-2pm; Zoo 10am-1:30pm
Treat the kiddies to a day out while both Fairytale Town & the Sacramento Zoo offer free admission to all guests. The Zoo encourages participating in their pajama party, so you needn’t even change

2. Downtown Holiday Ice Rink:
St. Rose of Lima Park, 10am-6pm
Located outdoors near Westfield Downtown Plaza, the Downtown Holiday Ice Rink is the perfect holiday experience for the young and young at heart.

3. It’s a Wonderful Life: A Live Radio Play:
Capital Stage, 11am
Inspired by the classic American film of the same title, It's a Wonderful Life: A Live Radio Play is performed as a 1940s live radio broadcast in front of a studio audience.

4. Holiday Film Screenings: It’s a Wonderful Life:
Crest Theatre, 1:30pm, 4:30pm, & 7:30pm
If you can’t make it to Cap Stage’s live performance (see above), you can still catch the original film rendition live on the big screen at the historic Crest Theatre.

5. Theatre of Lights:
Old Sacramento, 6pm & 7:30pm
A symphony of lights, sounds, and visual effects will take the audience back to a time when the beloved poem "The Night Before Christmas" was first introduced in Sacramento in 1857.

Christmas Day Events:
Looking to entertain friends & family in town after your regular traditions are over? Or just looking to get out of the house after so much family time? Sacramento doesn’t disappoint. Here are a few options for

1. Christmas Brunch:
Hyatt Regency, 10am-3pm
Enjoy this holiday season with all of the trimmings. Join for a bountiful buffet brunch featuring breakfast items and traditional holiday favorites.

2. Christmas Day Supper Cruise:
Empress Hornblower, 3:30pm-6:30pm
Join Hornblower for Christmas Day with your family and celebrate the season with a delicious meal, relax and enjoy the holiday. The Cruise includes traditional holiday dishes, festive music, and beautiful views of the Sacramento River.

3. Bah Humbug!:
MiX Downtown, 8:30pm-2am
Get out from under your tree and continue the holiday partying at this special Sunday Circus night. Spend the evening with your "other" family at Mix Downtown!

4. Christmas with Arden Park Roots:
Harlow’s, 9pm
Join reggae/rock/punk band Arden Park Roots for a festive Christmas show.

5. Asylum:
Barcode Nightclub, 9pm-1:30am
Featuring resident DJ Bryan Hawk, Asylum is a night of the best cutting edge goth, industrial, nu-darkwave, EBM dance music.

Find more detail on these events along with many more at Sacramento365.com, the year-round source for Sacramento events.

Disclosure: Rachael Lankford is the Managing Calendar Editor for Sacramento365.com, the year-round source for Sacramento events.

“It’s A Wonderful Life: A Live Radio Play” A Nostalgic Look Back at Capital Stage

2011-12-21T08:18:50Z

Among all the different holiday icons, one that stands out is the 1947 black and white film, “It’s A Wonderful Life.” It is a must-see event for many during the holidays.

Playwright Joe Landry, also known for his stage adaptation of the cult film, “Reefer Madness,” has taken the story of “It’s A Wonderful Life” and integrates it into his play, “It’s A Wonderful Life: A Live Radio Play,” as if the it had been performed as a nationally broadcast radio play prior to being turned into the beloved film that it is today. Capital Stage is in the middle of a very short run of the show.

Many Sacramento Press readers may ask, “What is a radio play?”

Long before today’s audio and video media streaming to your smart phone, prior to television, folks sat around their living rooms in the evening and listened to shows on the radio. A lot of folks listened to serial dramas or comedies that went on to find success on television. There were also a lot of plays that were adapted from other work or even created for radio.

Before the lights go down, the actors begin coming on stage, arriving to perform a new radio play for national broadcast in Studio A at WBFR in Manhattan. It is Christmas Eve, 1946. For the next hour and a half plus, we the audience have the experience of attending that broadcast as a studio audience member.

The first character to speak is Freddie Filmore, the first of more than a dozen characters the well known Sacramento actor Blair Leatherwood deftly juggles. Freddie is the announcer for WBFR and introduces the station, commercials and the play in which he performs several characters.

Greg Alexander, well known at B Street Theatre for his quick change character rolls, plays Harry “Jazzbo” Heywood, a radio theatre character actor. Heywood plays 16 roles in the radio show.

The female character actor for the radio show is Lana Sherwood, reprised by Julie Anchor. Lana and her flirtatious ways would have been considered “bad girl” behavior at the time. So was the behavior of the bad girl of Bedford Falls, Violet Bick, one of the dozen other characters that Anchor as Lana takes on.

The female star of the radio production, partially due to having only two roles in the show, is Sally Applewhite, who plays Mary Hatch Bailey as an adult and as a child. Kelley Ogden’s performance of Sally embodies much of the qualities of Mary Bailey, quiet determination with no fear of doing what she needs to do to keep things right.

The male star is Jake Laurents, ladies man, so sure of himself, and for good reason. Besides being good-looking, he is fabulously talented and does an amazing performance as George Bailey, the man who learns what his little town of Bedford Falls would have been like if he had not existed.

All the performers in “It’s A Wonderful Life: A Live Radio Play” are fun to watch and do a great job being both the actor character and playing the numerous characters the actor portrays. Jonathan Rhys Williams as Jake Laurents and Jake Laurents as George Bailey is really especially fun to watch.

“It’s A Wonderful Life” has remained popular for 65 years and the role of George Bailey is one of the most defining roles in Jimmy Stewart's long and distinguished film carer thus there is a strong public image of George Bailey looking and especially sounding like a young Jimmy Stewart. Williams captures this essence of George Bailey in his performance of Jake Laurents performing the role beautifully.

“It’s A Wonderful Life: A Live Radio Play” would be a pleasant evening's entertainment if it was only the nostalgia and fun of seeing a play about how live radio plays were performed. The great bonus here is the fact that play being performed is “It’s A Wonderful Life." Seeing this particular play and its message that continues to resonate all these decades is what makes “It’s A Wonderful Life: A Live Radio Play” a wonderful holiday entertainment.

“It’s A Wonderful Life: A Live Radio Play” Capital Stage On J Street
Thursday, Friday 3:00 pm and Saturday 11:00 am
More information and tickets

“Superior Donuts” Gets Capital Stage Off To A Great Start At Its New Home

2011-10-28T05:51:56Z

Capital Stage’s move from the Delta King to the heart of Midtown, while a great deal of work, seems to have gone smoothly. The new theater certainly fulfills the part of Capital Stage’s mission about performing “in an intimate, close up setting.”

Capital Stage chose “Superior Donuts” by Tracy Letts to open its seventh season. It is the first in a theater designed by them to produce the type of shows they like to do. Letts is now best known for “August: Osage County” a major Broadway hit bigger than life in every way.

“Superior Donuts” tells the story of Arthur Przybyszewski a classic hippy from the 60s. Arthur now runs the rundown North Chicago donut shop inherited from his Polish emigrant parents. We see two months of his life: December 2009 and January 2010.

Arthur's life is coasting along, slowly but surely down hill. He comes to the namesake donut shop to find the police and the Russian emigrant that owns the store next door. Someone broke in during the night and vandalized the shop and tagged it. The Russian continually pressures Arthur to sell so that he can expand his business as an electronics mega store.

Into Arthur's life comes Franco, who, pulling the help wanted sign from the front window, insists that Arthur is going to hire him. After much persistence on Franco’s part, Arthur gives in. Little does he know how much this young man will change his life in a short period of time.

The wonderful Matt K Miller plays Arthur. It is always a great experience to watch Miller act and “Superior Donuts” is an excellent vehicle for him to work his craft. He is especially good in the soliloquies where the action in the play stops and Arthur reflects on his life.

Franco Wicks, a young black man from the neighborhood with a troubled not too distant past, is played by a terrific Jammy K. Bulaya. He is especially good in the very funny patter that goes on between Franco and Arthur. Franco to Arthur disparaging his hippy ways: “Let me tell you who looks good in a ponytail: girls----and ponies.”

Lady Boyle the alcoholic elderly street person rolls in and out of the donut shop on a daily basis. Capital Stage associate artist Janis Stevens who was so great as Maria Callas in last season’s “Master Class” at Cap Stage plays Lady who is not so drunk that she does’t have wry observations and pertinent comments to make.

Debuting at Cap Stage, Lori Russo plays Officer Randy Osteen who everyone except Arthur knows is stuck on Arthur. She is paired up on the beat with fellow officer James Bailey played by Sacramento actor, stage/film director and playwright Anthony D’Juan. Officer Bailey and his wife have a secret of their own.

The Russian entrepreneur next door Max Tarasov is played by local actor Gary Pannullo with Jeffrey Lloyd Heatherly as his nephew Kiril Ivakin

Barry Hubbard plays the not so nice bookie Luther Flynn with Shane Edward Turner as his nasty enforcer.

Capital Stage artistic director Stephanie Gularte directs. She makes good use of the new theater space to strongly connect the actors and audience.

Producing director Jonathan Williams has created a set design that makes full use of the new space. Williams always creates great, interesting sets. Here audience members can feel like they are sitting at a table back in the corner of a real donut shop. He also co-ordinated the fight scenes.

Capital Stage is off to a great start at its new location. The new space opens up the possibility for an even stronger connection between the performers and the audience. “Superior Donuts” is a good choice for the premier show. It is very funny yet has lots to say to the audience. It is also written by someone who is being recognized as a major contributor to the American stage. The casting from revered veterans such as Matt K. Miller and Janis Stevens to bright new actors like Jammy K. Bulaya is a treat.

"Superior Donuts" Capital Stage through November 13, 2011
More info and tickets

Capital Stage celebrates new location on J Street

2011-10-24T03:48:37Z

Over 100 people came to Capital Stage’s grand opening gala Friday night to celebrate and support the new theater space. Capital Stage, located on the Delta King for the past six years, has now moved into its own space at 2215 J St.

The inside of the new theater is sophisticated and warm. The exterior wall facing J Street is crimson red and a modern metal sign that reads Capital Stage hangs next to the front entrance.

On Oct. 7 Capital Stage received its occupancy permit from the city and its new sign arrived. Five days later they put on their first performance, and Friday was the official grand opening.

Warm pumpkin-colored walls greet theatergoers as they enter the building, and large canvases printed with scenes from previous performances line the hall. The space is rustic and not overly beautified, achieving a sense of poised glamour.

A lounge with a bar and photos of the company’s actors is at the back of the theater, which leads out onto a patio. The patio, dimly lit with twinkle lights overhead, was nothing short of elegant on Friday. It was filled with black bistro tables and servers walking around offering guests a selection of hors d’oeuvres.

Guests were dressed in everything from floor-length red gowns to black suits and ties at Friday’s gala. There was an open bar serving red and white wine, and the Culinary Specialists at the B&L catered the event. The patio and lounge were filled with the sounds of clinking glasses, laughs and talk of the new space.

“What makes Capital Stage so wonderful is their choice of plays, the superb acting and incredible directing,” longtime subscriber Susan English said. “Having their own space in Midtown elevates the entire package. They made the best of the Delta King, but Midtown is where it is happening.”

Guests enjoyed Caesar lettuce cups, roasted corn cakes, California spring rolls and mini meatball sandwiches while sharing their thoughts on Capital Stage’s choice of space and location.

“We are shocked and amazed at how well the space is working out,” marketing director and associate artist Peter Mohrmann said. “Our subscriber base has expanded already since we moved, and we have received such generous support.”

After an hour of guests sipping wine and enjoying conversation and food, Capital Stage board president Arlen Orchard raised a glass to dreams becoming a reality, and the doors opened to the new theater.

The theater seats 125 people and the the rows are only four deep. A thrust stage extends into the audience on three sides, making it easy to see the actors up close.

“People are really right on top of the action,” board member Michael Manley said. “For the kind of theater we do, it is really appropriate for smaller audiences.”

Jammy K. Bulaya and Matt K. Miller performed a scene from “Superior Donuts,” Tracy Letts Pulitzer Prize-winning play that is running through Nov. 12. Smiles spread across the audience’s faces, and with laugh-out-loud acting, the crowd seemed nothing but pleased with the space and the actors.

Katie Ruben also performed a scene from a play she wrote and stars in. Both serious and playful, Ruben captivated the audience with witty and charismatic acting.

I loved the scenes we saw tonight,” recent subscriber Patty Garcia said. “It is no surprise when Capital Stage wows their audience.”

Following the performances, board members, owners and campaign cabinet members were honored and their hard work was celebrated through speeches, applause and standing ovations.

“Their shows are cutting edge,” Midtown Business Association program director Amber Schmaeling said. “This is exactly what Midtown needs.”

The building, originally an armoury, has been renovated over the past months to make it into a 125 seat theater complete with a lounge, box office, bar and patio. The renovations cost $300,000, and $275,000 has been raised so far, said Orchard.

Capital Stage is a nonprofit organization that relies heavily on the contributions of its subscribers and the local community.

The opening night gala was an effort to show loyal subscribers and contributors the new space as well as to continue raising money to cover the renovation costs.

To learn more about Capital Stage visit the website here.

Graham-A-Rama's Excellent Production of "In Trousers" Being Reprised at Cosmopolitan Cabaret

2011-08-12T20:35:33Z

On sporadic Sundays an audience gathers in the cosy Geary Theater in Midtown for an evening of songs performed by some of Sacramento’s best actor/singers at a cabaret event known as Graham-A-Rama, named after its’ founder and musical director Graham Sobelman.

In June Graham-A-Rama did something different. They devoted a weekend to three performances of William Finn’s one act musical play “In Trousers” in concert. “In Trousers” which Finn wrote the book, lyrics and music is the first of what became trilogy of three one act plays. Finn joined with James Lapine to create two more one act plays “March of the Falsettos” and “Falsettoland.” The second two shows were combined to create a two act Broadway musical “Falsettos.” "Falsettos" was nominated for four Tony Awards and won best book for a musical and best original score for the writers. Finn is now best known for “The 25th Annual Putnam County Spelling Bee.”

Through 30 songs, “In Trousers” tells the story of Marvin from childhood, through high school, marriage, coming to terms with his sexuality, and divorce. We see all this from the points of view of Marvin, Miss Goldberg (one of Marvin’s teachers), the sweetheart and the wife.

As a concert, only the songs of the play are performed, with out using full set design and with minimal props. The singers hold their songbooks or place them on music stands. Yet even with the minimal staging, there isn't a loss of dramatic impact. The audience is transported into the life of Marvin. Finn’s words and music are part of what makes this show so dramatic. Speaking with director Jerry Lee, who also sings the role of Marvin, he stated that: “In my opinion William Finn may be the best living American composer.”

\The other reason that this production has the dramatic punch that it does is the skill of the performers “In Trousers” features four of the best musical theater performers around in Sacramento or really anywhere. In addition, music director Graham Sobelman’s accompaniment is powerful dramatic, and flawless

Danielle Hansen is The Sweetheart. Hansen has appeared with numerous community musical theater companies and is a regular at Runaway Stage Production where she last played Little Sally in “Urine Town.” Dressed in as a cheerleader here, she is the quintessential high school girl. She does a great job on “My High School Sweetheart.”

Miss Goldberg, the teacher Marvin lusts after, always wearing sunglasses, is played by Jessica Crouch. Crouch has just finished touringwith the national tour of “All Shook Up.” Her torch-song rendition of “Set Those Sails” had the audience cheering.

Maggie Hollinbeck plays The Wife. Hollenbeck is well known on numerous Sacramento stages for her wonderful performances and beautiful voice. She is perfect as The Wife who finds herself unable to understand who her husband is and what is happening to her marriage. The audience witnesses her character dramatic trajecory falling apart on “I’m Breaking Down.” The audience cheered Hollinbeck's performance of the song.

In regard to Marvin, the production notes state: “You are about to witness a series of flashbacks, some of which are true. Some of which are probably not so true. But all of them, in their quirky, Finn-esque way, shape Marvin into the flawed protagonist we both loathe and adore.

Jerry Lee is tremendous as the flawed Marvin. Marvin must both answer to the women and hold his ground in who he is fundamentally.

Roseville native, Lee, who returned to Sacrament in 2010 after completing his studies at the prestigious Pacific Conservatory of the Performing Arts plays Marvin. He quickly began appearing on Sacramento stages most visibly at New Helvetia Theater notebly as Vernon Gershin “They’re Playing Our Song” and at Sacramento Theatre Company as Billy in their acclaimed production “Musical
of Musical: The Musical.” Lee has a beautiful voice and great musical skill. He also has the dramatic chops to embody Marvin’s moods from giddy and silly to confused and conflicted to clear and steady. As the director of the show he also has the actors communicate much of the emotion and relationship through his staging.

The fine singing performances are backed by Graham-A-Rama founder/music director/producer Graham Sobelman. Along with being a sought-after accompanist, Sobelman has been the music director at New Helvetia Theatre, UC Davis, Capital Stage, Sacramento Theatre Company, and Music Circus Junior Company. The scheduled August 28th Graham-A-Rama Cabaret show will be his 86th production of the cabaret series! Sobelman’s performance of the score reflects his feelings for one of his favorite composers.

The great news for Sacramento music and theatre lovers is that this production of “In Trousers” is being reprised. The production is moving from the restricted seating of the Geary Theater to California Musical Theatre’s modern Cosmopolitan Cabaret. Although the Cabaret is about four times the size of the Geary a great deal of work went into the design of room to have very good acoustics. The same wonderful cast will be performing the show.

Sacramento audiences are lucky to have another opportunity to experience the music and drama of a rarely produced but excellent piece of American musical theater by one of its’ great composers. All of this is lovingly rendered by a talented cast that perform so well together.

Graham-A-Rama presents William Finn’s “In Trousers”
Cosmopolitan Cabaret August 15th and August 22, 2011 7:00 pm
$18 advance $23 at door Tickets Wells Fargo Pavilion Ticket Office (916) 557-1999

"Or," a Sexy, Hilarious and Fitting Last Show on the Delta King for Capital Stage

2011-06-28T22:53:35Z

The sixties brought a lot of changes. A new government brought hope, yet an ongoing war and its associated costs brought conflict and despair. New careers were opening up for women in nontraditional jobs, and there was a new sexual freedom in the air. It was an era of loving and being sexually attracted to whoever one found attractive while sharing them with whoever also found them attractive.

“Or” celebrates all of this. Liz Duffy Adams’ hilarious play “Or” is the final play of the sixth season of Capital Stage, and their last onboard the Delta King in Old Town Sacramento. This production also brings together Capital Stage’s original founders, Stephanie Gularte, Jonathan Rhys Williams and Peter Mohrmann.

While the description of “Or” evokes thoughts of the flower power, hippie 60’s of San Francisco, It is actually set in London during the years 1666-1670. The repressive Puritan rule of Oliver Cromwell had ended and the monarchy restored with Charles II returning from exile. A controversial and expensive war over trading supremacy continued with Holland.

Adams bases her characters on several historic figures. The central character is Aphra Behn, who spied for King Charles in the Anglo-Dutch wars. Behn now wants to become a playwright, an occupation newly opened to women. Charles II has several mistresses and presses Aphra to be another She agrees to be supported by Charles so she can write her first play but with holds the “final prize” to keep him interested. Aphra soon meets Nell Gwynne, one of London’s most popular actresses, and experiences an attraction to her. To add to all the confusion, double agent William Scott, an acquaintance from Aphra’s past life as Astrea, shows up. Scott has gone a little dodgy while in exile.

Attractive and sexy husband and wife actors Jonathan Rhys Williams and Stephanie Gularte play King Charles II/William Scott and Aphra Behn/Astrea. Williams’ Charles II in a long, curly black wig is witty and funny, but it is his deranged William Scott that is downright hysterical.

Gularte shines as Aphra Behn, the center of the story. There is little doubt why both men and women go crazy over her. Gularte’s Behn is truly affectionate and loving to those she likes but quite able to hold out for what she needs. What she needs most is to fulfill her destiny to be a great playwright.

Jessica Bates making her Capital Stage debut rounds out the trio of actors. Primarily an East coast actress, Bates becomes wilder and crazier with each character she takes on. She starts as the gruff, foul-mouthed jailer at the debtor's prison. Her primary character, Nell Gwynne, makes good use of the character’s androgyny and “modern woman” posing. Nell is quite happy to put the moves on Aphra.

Bates goes on to portray Behn’s over-the-top, cranky, old servant. Later, she plays an older female aristocrat. Bates’ Lady Davenant matches Williams’ William Scott for sheer hilarity.

The third Capital Stage founder, Peter Mohrmann, directs all this with split second timing. Jonathan Williams sometimes seems to instantly morph from one character to the other. Mohrmann has elicited performances from his actors that, in spite of all the craziness, are really very believable.

Stephen C. Jones’ minimal design of the two sets, the debtor's prison and Aphra Behn’s room, works well. Combined with Steve Decker’s lighting design, Gail Russell’s costumes and Michael Coleman’s wigs, a true sense of the characters’ styles are achieved.

Everything comes together - the play, the acting and the staging - to create a fascinating, daring, sexy show that is also hysterically funny. The laughter started immediately and continued throughout the show. There were times that members of the audience were laughing so hard they nearly started choking.

The three founders of Capital Stage and their whole production staff have created a very fitting end of an era and farewell to “The Boat.”

Last Chance, Continuing, First Chance, Only Chance in Theatre Lectures Etc.

2011-02-19T01:36:09Z

Theatre

Last Chance

"reasons to be pretty " Neil LaBute Contains Strong Language and is Intended for Mature Audiences
Capitol Stage Closes Saturday 2/20 SacPress review Tickets & Information

THE MUSICAL OF MUSICALS THE MUSICAL ! Music by Eric Rockwell Lyrics by Joanne Bogart Book by Eric Rockwell & Joanne Bogart JANUARY 12-FEBRUARY 20, 2011 (Pollock Stage) A hilarious homage to the great musical theatre genres of our time. Fun for musical fans and foes alike!

Sacramento Theatre Company Closes Saturday 2/20 The show has been extremely popular and continues to sell out. SacPress review. Tickets & Information.

B Street Theatre Mainstage Closes Saturday 2/20 Reopens 3/4 for limited run. The 39 Steps has received rave reviews. SacPress review. The actors deserve a two week break given the energy they put in each show. Tickets & Information.

B Street Family Series Two more weekends. Closes Saturday 2/27 SacPress review. Tickets and Information

Continuing

“A Grand Night For Singing” Cosmopolitan Cabaret SacPress review. Tickets and Information, including video clips.

Opening

In a community-center drama class, four lost souls act out hilarity, sadness, desperation and hope. But are they really acting?

B Street Theatre Mainstaige Preview Saturday/Sunday 2/26-27 Opening Sunday 2/27 Tickets and Information.

Lectures and other Performances

One Time only

AMY BLOOM In conversation with Pam Houston
California Lectures Wednesday, February 23, 2011 Crest Theatre \\\| 7:30 p.m.

The bestselling author of two novels and three collections of short stories, Amy Bloom has been called a writer with both incredible “spunk” and “flair.” For her novels, Love Invents Us and Away, and for her short story collections, Come to Me, A Blind Man Can See How Much I Love You, and Normal, Bloom has won multiple accolades and awards: the O. Henry Award for short story writing and nominations for the National Book Award and the National Book Critics Circle Award. In addition to writing prize-winning works of fiction, Bloom has written for The New Yorker, The New York Times magazine, and The Atlantic Monthly and earned a National Magazine Award. Her latest collection of short stories, Where the God of Love Hangs Out, explores love in its many forms and the effects brought about by both love and loss. Bloom has been a psychotherapist for the past 20 years, taught at Yale University for a decade, and is now Wesleyan University’s Writer-in-Residence.

“Amy Bloom gets more meaning into individual sentences than most authors manage in whole books.” – The New Yorker
Pam Houston is the author of Cowboys Are My Weakness, Waltzing the Cat, and A Little More About Me. Her stories have been selected for the Best American Short Stories, the O. Henry Awards, the Pushcart Prize and the Best American Short Stories of the Century. She is the director of creative writing at UC Davis and lives in Colorado near the headwaters of the Rio Grande.

SacPress interview with Amy Bloom Lecture Preview \\\| Crest Theatre \\\| 6:30-7:00 p.m. with Catherine Fraga Tickets and Information

Fri–Sun • Feb 18–27 Body of Knowledge by Karl Frost/Body Research UC Davis Department of Theatre & Dance

Fri–Sun • Feb 25–27 Bartók: Bluebeard's Castle UC Davis Symphony Orchestra Christian Baldini, conductor UC Davis Department of Music

Wed • Mar 2 UC Davis Jazz Bands Delbert Bump, director UC Davis Department of Music

Sun • Mar 6 Berlioz: Te Deum UC Davis Department of Music

Mon • Mar 7 Professor Henry Louis Gates Jr. African American Lives: Genealogy, Genetics, and Black History Post-performance Q&A

Wed • Mar 9 UC Davis Concert Band Pete Nowlen, director UC Davis Department of Music

Thu • Mar 10 Tango Fire Tango Inferno

Sat • Mar 12 Yefim Bronfman, piano

Sun • Mar 13 2:00 pm Alexander String Quartet SOLD OUT wait list

Sun • Mar 13 7:00 pm Alexander String Quartet Post-performance Q&A

Information and Tickets for all Mondavi events

Community Theatre

There is allways lots of great shows on comunity theatre stages in the Sacramento Area. Vistit Sacramento Area Regional Theatre Alliance for a list of current productions.

Capital Stage Takes a Close Look at "reasons to be pretty"

2011-02-11T23:36:57Z

"reasons to be pretty" at Capital Stage is the third in a trilogy of
plays by provocative contemporary American playwright, screenwriter and
director Neil LaBute. Capital Stage previously staged "The Shape of
Things" (2006) and "Fat Pig" (2007). These three plays are LaBute's
examination of the modern day obsession with physical beauty.

The play opens with a bang. As LaBute describes the scene in his
script: "Lights burst on. At home. Two people in their bedroom, already
in the middle of it. A nice little fight. Wham!"

We don't know what Greg said. Greg doesn't seem to know what he said.
Steph seems quite clear what Greg said -or at least what her best friend
Carly couldn't wait to tell her Greg said about her. What ever Greg
said it is enough for Steph to walk out on their four year relationship.

Cole Alexander Smith portrays Greg. Smith is a regular on Northern
California stages. He has the everyman, average Joe look that is perfect
for the role of Greg. The audience can't help but feel a little sorry
for Greg as he learns several life lessons through the course of the
play. Smith's portrayal of Greg is spot on.

Cole Alexander Smith as Greg, Stephanie Altholz as Steph

Stephanie Altholz, another regular on Sacramento stages, is Steph - the
very angry and upset girlfriend. Altholz takes a role that could be
shrill and unsympathetic and allows the audience to see Steph's humanity
and where this anger is coming from.

It is fascinating to see Altholz who's last role was the first grader
May in "Junie B. Jones, Jingle Bells Batman Smells" at the B Street
Theatre Family Series create such a strong adult character. There is,
though, some six year old behavior in all four characters here!

Debuting at Capital Stage are Chad Deverman as Greg's best friend Kent
and Allison F. Rich as Steph's best friend Carly. Greg, Kent and Carly
are also co-workers on the night shift at a packaging and distribution
plant.

Chad Deverman as Kent, Allison F. Rich as Carly

Deverman's Kent is the guy the audience loves to hate. Kent learned
early on that he can bully his way through life. That is except with
his wife. With Carly, Kent turns on the charm and can lie so sweetly.
Deverman balances his performance to create a Kent that is nasty enough
to hate but not so over the top to be unbelievable.

The role of Carly could also be one dimensional - the trouble making,
tough woman. She works security at the plant. Rich allows Carly's
vulnerability and empathy to come through. She also embibes Carly with
believable emotional growth.

Capital Stage co-founder and producing director Jonathan Williams puts
on his set designer hat here. He has created an eye popping pop art set
that is also versatile. It becomes a bedroom, workplace break room,
restaurant lobby and a ball field. And part of the fun of the play is
watching the set morph into each setting, some more than once.

Lighting by Ron Madonia, Costumes by Rebecca Redmond, Brad Thompson's
sound design and even Michael Coleman's props add to the fun and
believability of the play.

Capital Stage associate artist and frequent director Janis Stevens
direction keeps the action moving along. She creates an urgency of how
will all the effects of all these emotional entanglements resolve
themselves. Stevens brings out the humor in all of this.

Neil LaBute asks an important question in "reasons to be pretty." The
Capital Stage cast and production staff create a "reasons to be pretty"
that is accessible and even enjoyable while remaining thought provoking.

Intense, entertaining 'Mauritius' opens Capital Stage 2010-11 season

2010-10-21T14:53:23Z

The overly curious will find much to be frustrated about as Theresa Rebeck’s tale of the seamy side of philately (stamp collecting!) unfolds in the suspenseful “American Buffalo”-flavored “Mauritius,” now playing at Capital Stage.

“Are they real?,” “How much are they worth?,” “How much are you willing you pay?” and “How much will you take?” are about the limits to the questions presented by the quintet of players who stand to gain – and lose – in this entertaining if unlikely tale of familial entitlement and greed gone awry.

But so many more questions come to mind that one’s left with a story that boasts more perforations than the “stars” of the show: a fabled pair of stamps that are – like David Mamet’s “Buffalo” and Dashiell Hammett’s “The Maltese Falcon” – “the stuff that dreams are made of.”

The stamps, the legacy of a recently deceased mother (by way of her dead father-in-law), are a sticking point between half-sisters Jackie (the very, very good Kristine David) and Mary (Lauren Bloom), who have reunited after years of estrangement to settle the estate.

Mary, a tool of a big sis whose grandfather was the stamps’ original owner, wants to hold onto the little squares of poorly printed paper (“It’s the errors that make them valuable.”), while young Jackie wants to sell them to gain the fresh start she so dearly desires after years as a cloistered caregiver.

It’s that desire that leads Jackie to the dark and dusty stamp shop of the nerdily pedantic Philip (John P. Lamb), whose disinterest in her closely clutched album of gummy treasures breeds the first of many queries in the mind of the audience: “How is this guy in business?”

His apathy toward his potential customer is not shared by the store’s other visitor, Dennis (the also worth-the-price-of-admission Kurt Johnson), a petty scammer who is drawn to Jackie perhaps for her comely looks if not for her obvious knowledge of stamps (which seems to be more important to Philip than customer service – or Windex).

“Does this look like ‘Antiques Roadshow’?” Philip sarcastically quizzes Jackie before taking a too-quick study of her album.

Dennis’ subsequent look at her book quickly calms his tics and itches (of which there are many), as he zooms in on the on the very rare and very valuable pair of Mauritian stamps.

Thus begins a quest to acquire the stamps by hook or by crook – the “crook” being in the form of the imposing and frequently menacing Sterling (Jonathan Rhys Williams), a business associate of both Dennis and Philip whose dubious history as an importer/exporter of everything from collectibles to weapons of mass destruction prompts a whole other set of questions from “Where did he get that cool facial scar?” to “Isn’t there a clean, well-lighted stamp store in this city?”

While many references are made to the power of the information superhighway in Rebeck’s play, no one seems to have heard of Google, or even the Yellow Pages.

When Dennis presents his discovery of Jackie’s stamps to Sterling, it seems to crank his gangster personality amplifier to “11,” resulting in a nonstop series of off-the-hook (and, frankly, distracting) behaviors that include hand-slamming, cheek-chewing, fist clenching and over-annunciation that makes even musical-comedy caricatures like “Guys and Doll’s” Big Jule seem like subtle portraits of restraint.

The biggest question is after having distanced herself from her mother and half-sister for years (never minding to take “her” stamps with her, or even ask for them), why the desperate Jackie even bothered to tell her the stamps were even among her effects. Why not just play dumb and if they were brought up, just shrug her shoulders?

But whatever shortcomings Rebeck’s script may have, director Michael Stevenson’s cast largely overcome them with gritty (if sometimes overly arch) performances that alternate between funny and frightening, and keeps one in the moment while rooting for the unlikeliest of suspects.

________________________

WHAT: Capital Stage presents the Sacramento premiere of "Mauritius" by Theresa Rebeck

WHERE: Delta King Theatre, 1000 Front St., Sacramento, Calif.

WHEN: Oct. 15-Nov. 7, 2010; 7 p.m. Wednesdays, 8 p.m. Thursdays-Fridays; 7 p.m. Saturdays; 2 p.m. Sundays

TICKETS: $26-$33

FOR INFO: Call 916.379.5051; www.capstage.org

WHO: Featuring Lauren Bloom, Kristine David, Kurt Johnson, John Lamb, Jonathan Rhys Williams; directed by Michael Stevenson; set design by Stephen C. Jones; lighting design by Ron Madonia; costume design by Nancy Pipkin; sound design by Brad Thompson

photo courtesy of Capital Stage/Charr Crail

“The Lies Begin when we lift the Pen…”

2010-02-20T01:18:43Z

FICTION
by Steven Dietz
at Capital Stage

There’s an old adage in theatre that audiences attend with ‘a willing suspension of disbelief’. That is to say that they willingly set aside the truth and accept the fact that Peter Pan can fly even though the wires holding him up are plainly seen. That applies to theatre, film, and especially literature. But what if we believe every word we read? Can fiction become fact? Is something true simply because we believe it? In 2003 author James Frey wrote a memoir of his struggle with addiction called ‘A Million Little Pieces’. He was lauded as a troubled genius with a brilliant future, and America loved him. When the truth came out that a portion of the book (in fact, only one incident) didn’t really happen, we felt betrayed; so much so that we salivated when Oprah Winfrey ripped him a new one on national TV. The truth hurts, but lies can be devastating.

Linda and Michael Waterman, played by Janis Stevens and Eric Wheeler, are two novelists. He’s a Hollywood success story who considers himself a hack, and she’s a self proclaimed ‘one hit wonder’, having written one successful book followed by a stream of failures. Their marriage thrives in an environment of verbal wordplay and no illusions as to each other’s talents. You could see them forty years from now, strolling along the banks of the Seine in Paris, pleasantly squabbling about their pet topic-the greatest rock-and-role vocal performance of all time. She’s a Janice Joplin fan and he’s a John Lennon supporter. That’s how they meet in act one, and how they SHOULD spend the rest of their lives together-squabbling. But instead, Linda is diagnosed with a brain tumor “the size of a plum” and is given three weeks to live. She wants to spend that time really getting to know her husband, getting down to his core. She wants to read Michael’s journals.

They’ve both kept a series of journals over the course of their 15 years together but neither had any desire to read the other’s before, whether out of respect or fear, but probably a little of both. Michael reluctantly turns over his journals, boxed in an antique captain’s trunk in chronological order with a laminated index under the lid, and leaves her to her reading.

After plodding through Michaels florid verbosity, acted out with comedic vigor by Eric Wheeler, Linda reads about Michaels meeting with Abby Drake, a woman he meets at a writer’s retreat shortly after Linda’s one successful book was published. Abby is a peculiar young woman with an intense stare. Stephanie Gularte plays her with an almost magnetic attraction. You’re not quite sure if she wants to rip his eyes out, or just ask him a question. But the attraction is there, and Linda reads of their affair for the next twelve years.

Janis Stevens (and I’ll say this right up front-I’m a Janice Stevens FAN) is an amazing presence on stage; cool, sophisticated, with a vulnerability seething just below the surface. Her husband’s betrayal strikes a devastating chord, and her attempt to hide her own ‘fiction’ is a tangible weight on her shoulders.

Eric Wheeler as Michael changes flawlessly from the flowery prose of his journal scenes to his devastated reality. He’s a man who’s about to lose his best friend and no matter what he does he can only make it worse. Eric plays a likeable, funny guy who only lies to himself. He also reminds us that this isn’t just a drama. He makes the tragic bearable with his charming presence.

Stephanie Gularte as Abby soars through a very difficult role. She has every beat, every quirk of this woman down to a T. This is important because you have to pay attention to what Abby does to understand and put all the pieces together later. Fortunately, Ms. Gularte makes this easy for us; you can’t help watching her every move.

‘Fiction’ is a complicated and sophisticated piece of theater. It deals with how we see ourselves, and how we wished others saw us. Do we remember what actually happens or do we remember what we wished actually happened? It’s also something of a ‘who-done-it’. It’s a piece where every sentence is a clue and every beat is an ‘A-ha’ moment. At the end of the night you have this adrenalin rush and you can’t just go home; you and whoever is with you HAVE to go get coffee and compare notes.

Fiction plays through February 28 at Capital Stage on the Delta King Riverboat in Old Town Sacramento, 1000 Front Street, Sacramento, CA 95814 http://capstage.org/

'Fiction' creating waves at the Capital Stage

2010-01-31T03:10:56Z

Trust and betrayal took the stage Friday with the opening of "Fiction" at the Capital Stage.

The play by Steven Dietz, follows a dramatic love triangle that took the audience on a trip through the characters pasts.

"Fiction" is about married writers Linda and Michael and how their lives were not what they seemed. Linda finds out she is dying and at her request, is allowed to read her husband's journals since he will read hers once she is gone. From there, the plot twists and turns, and as it moves between the past and the present their diaries reveal bits and pieces of their lives.

The play keeps the audience guessing, unfolding the truth with each scene.

I was expecting a more serious play but was caught off guard when the opening lines had me laughing. The humor throughout the script made "Fiction" enjoyable. But the play did have serious parts, including those regarding a women named Abby who emerged from the pages of Michael's diary. They made the action gripping and on the edge of your seat.

The language in "Fiction" was sophisticated while the lines were witty and thought provoking. It was written from the viewpoint of two published writers, so the metaphors and quotes from famous pieces of literature represent their creative world.

"Fiction" was directed by Peter Mohrmann. Janis Stevens and Eric Wheeler portray Linda and Michael, and Stephanie Gularte plays Abby. The actors show the struggle of reliving the past. The chemistry between the performers, especially between Stevens and Wheeler, made the play's themes of truth, betrayal and suspicion tangible.

In addition to "Fiction" being funny and entertaining, it provides a good look at relationships and human nature.

The play runs through Feb. 28, Thursdays through Sundays, at the Capital Stage, aboard the Riverboat Delta King at 1000 Front St.

Recommended for mature audiences.

Tickets are $12-$32.

Advance purchase recommended online or through the Box Office (916) 995-5464

Photo Credit: Charr Crail

Actors from left to right: Stephanie Gularte, Eric Wheeler, and Janis Stevens.

'Fiction' tells the truth about relationships

2010-01-27T02:09:48Z

Capital Stage is testing the boundaries of trust and suspicion in its new provocative drama "Fiction" by Steven Dietz.

The theater's description of the play tells of two married writers, Michael and Linda, who decide to read each others' diaries and find that their relationship is not as open as it seems.As a woman emerges from the pages, the realization that trust and betrayal both exist begins to change the way they understand the past and the present.

Production designer Jonathan Williams describes the twists and turns of "Fiction" best with a line from the play: "The lies begin when we lift the pen."

Dietz has written over 20 original plays since the 80's, many of which revolve around the theme of betrayal.

"Dietz is a vibrant voice in modern theater" Williams said

The play was selected for the Capital Stage because it falls into the theater's long-standing tradition of bringing newer works to Sacramento.

"'Fiction' is a highly theatrical piece told from the present, reflecting," Williams said.

Capital Stage's production is directed by Peter Mohrmann and performed by Janis Stevens, Eric Wheeler and Stephanie Gularte.

The play opens Friday and continues through Feb. 28 at the Capital Stage, which is aboard the Riverboat Delta King at 1000 Front St.

Performances are Thursday through Sunday and recommended for a mature audience.

Tickets range in price from $12 to $32 depending on the show's date and time.

Purchasing tickets beforehand is recommended.

Picture from Capital Theater

Santaland Diaries

2009-12-07T03:43:07Z

"I'm a 30-year-old man applying for a job as an elf," said the man in the gray hooded sweatshirt, looking less than thrilled about his new position.

It was Gary Alan Wright, telling the story of his elf alter ego, Crumpet, and the mischief he got into during his time in Santaland, the mall's winter wonderland. The stage looked the part, with a beautiful Christmas tree, toys and Santa's throne. The lone cast member of "Santaland Diaries" kept the people at the Capital Stage aboard the Riverboat Delta King laughing out loud at the play by humorist David Sedaris.

Wright transformed into Crumpet on stage, stripping down to his green knickers and candy-cane stockings. He accomplished this while explaining his elf training, complete with motivational cheers.

"Give me an "S! Where's my "A? How 'bout a big ol' "N? Did someone say "T?" Let's get a recall on that "A!" What's that spell? Santa! Who's the man? Santa! Come on elves, feel good about yourselves, let's raise the roof! Santa, Santa, Santa!"

The laughing audience obliged, yelling the chants and clapping.

Wright used the entire theater, walking up and down the aisles, squeezing into the rows of people and interacting with them as he passed. Wright told details of Santaland and its secrets, including tales of mothers who instructed their children to urinate in the fake snow in order to stay in line.

He detailed the craziness of Christmas Eve with an enthusiastic air guitar solo of "We Will Rock You" and a bad rendition of "Away in the Manger" that he said was requested by a persistent Santa of whom he wasn't fond.

"This is our naughty Christmas show," said Peter Mohrmann, marketing manager for Capital Stage. "Although we do have more family friendly shows like It's a Wonderful Life."

"Santaland Diaries" runs through Dec. 27 at Capital Stage, Riverboat Delta King, 1000 Front St. For more information visit the Capital Stage website.

A Little naughty with your nice this holiday

2009-11-26T03:15:43Z

Treat yourself to a tasteful helping of holiday humor with the wickedly truthful "The Santaland Diaries."

Presented by Capital Stage in Old Sacramento, "Diaries" focuses on the crazy, "insane things" the holiday season tends to bring out in just about everyone - parents and hired elves alike.

"This is an adult take on how adults act around Christmas," said Peter Mohrmann, Capital Stage manager. "We've told every Christmas story over the last few years, we really wanted to show something different."

Unlike cheery Christmas classics such as "It's a Wonderful Life," "White Christmas" and "Christmas Carol," "Diaries" has more of a "witty, sardonic and unpredictable" aftertaste, according to the Capital Stage website.

Before David Sedaris became the best-selling author and Grammy-award nominated humorist he is today, he was an unemployed, struggling writer in New York. In a desperate attempt to make a few bucks, Sedaris was hired as "Crumpet the Elf" at the famous Santaland Macy's display in New York City. Similar to the movie "Bad Santa," Sendaris experiences the other side of rosy cheeks and cheery Christmas tunes — exasperated holiday shoppers.

"[Sendaris] did a reading of "The SantaLand Diaries" in Chicago in the early 90s on National Public Radio," Mohrmann said. "That is really what brought so much attention to him, it launched his career."

The show became so popular, it is shown across the country and has become a National Public Radio annual tradition, Mohrmann added.

Capital Stage artistic associate Janis Stevens will direct Foothill Theatre Company member Gary Alan Wright in this one-man play. Also, this one-hour play has been recommended for "Mature Elves" due to some graphic language.

In the spirit of giving, Mohrmann hopes the comical play will excite people to see more local performances in and around the Sacramento area.

"It is important to really see all the great theatre performances going on," he said. "That is my wish for the holiday season."

Capital Stage is located at 1000 Front St. in Old Sacramento. "The Santaland Diaries" will hold previews starting Nov. 27 at 8 p.m. Opening night is Dec. 3 at 8 p.m. Ticket prices vary depending on the date and time. The schedule can be viewed here.

Capital Stage is also running "Dinner & Show" tickets, which features a three-course meal on the Delta King. Tickets range from $49 to $56, not including taxes or gratuities.

Group rates and ticket discounts (students, seniors, preview days) can be viewed here.

Tickets can be purchased here.

"The Santaland Diaries" will conclude on Dec. 27 at 2 p.m.

Photo courtesy Capital Stage website.

A Great Night on the Town in Sacramento

2009-07-12T06:18:15Z

Capital Stage has a history of delivering funny and clever new plays, and tonight's performance was no exception. "Erratica: An Academic Farce" written by the precocious Reina Hardy in her late teens is just that and more. A friend and I went to the opening "Preview" performance on Saturday, July 11th at 7 pm, and enjoyed walking from our parking place in a light warm rain along the Old Town Sacramento waterfront to the Delta King where the theater is located. We were lucky to get third row center seats, and the baroque music playing before the show was familiar and delightful. The audience was expectant and cheerful.

Managing Director, Peter Mohrmann gave his usual enthusiastic welcoming remarks covering how a "Preview" functions [it could be interrupted for corrections, and the play will change over the three preview nights], about the play and playwright, encouraging ticket purchases for next season's five plays, and asking for contributions to Capital Stage's 2500 $25 Campaign. This was a bit long, but his energy and happiness about their new play -- a World Premier -- was infectious, and we soon found out why.

It opened with a rock and roll number, and a stage set of bookcases, an office desk, and doors, all movable. The main character is heady college professor Dr. Samantha Stafford, played by Stephanie Gularte, also Capital Stage Producing Artistic Director. Reina Hardy describes her character as her ego ideal, "frighteningly smart, cathartically rude. She was everything a teenage girl wouldn't dare claim," from the Playbill. With a dark brown bun, a bright red tightly fitted business suit, and gorgeous long legs she enjoyed showing off, Stafford is a college professor of poetry, brilliant, pushy, cold, repressed, and at times a funny caricature of herself.

There is an interesting interplay of teacher-professor dynamics, head and heart, pretentious cautiousness, and hot shadowy animal lust in this play. The other four characters play off Stafford's lead with strength, and character portrayals that are well acted and larger than life. It is a farce, after all. Talented Danny Webber plays the imagined ghost of Elizabethan author Christopher Marlowe, as a foil for Stafford, who prefers William Shakespeare. His large presence in a black velvet suit and cherry red satin shirt amusingly dwarfs Stafford's small stature. This well-acted character continues to confound her and brings out the animal dimensions her mind's dominance forces her to hide.

The opening scene of the second act is a riotous culmination of these male-female tensions between Marlowe’s ghost and Professor Stafford, which brought amazement and belly laughs. Not to spoil the surprise I won't say who dances in tight jeweled sequined black briefs as an unforgettable Elvis-like lothario. This was one of the funniest scenes I have ever seen in live theater. It is a wonderful tour de force. Four other characters, a mousy virginal college student, a raucous manipulative publicist, a scholarly cowboy-styled head librarian, who discovers a rare historical manuscript, and a callow youth never onstage complete the cast. This play is a must see, bawdy, smart, and unforgettable. Go and enjoy it!

Capital Stage Founders to Star in American Buffalo

2009-03-13T20:13:43Z

David Mamet's breakthrough 1977 tragicomedy, American Buffalo, is about to receive a Sacramento revival at Capital Stage on Friday, March 27, 2009.

Performances for American Buffalo will begin with three previews on Saturday, March 21 at 7pm, Sunday, March 22 at 2pm, and Thursday, March 26 at 8pm, and will open on Friday, March 27, 2009 at 8pm. Performances continue through April 26, 2009. Showtimes will be Thursdays - Sundays as follows: Thursdays and Fridays at 8pm; Saturdays at 7pm , and Sundays at 2pm. Tickets prices range from: $24-$32. Discount tickets are available as follows: Preview tickets: $15; Thursday student tickets: $12; Sunday matinees senior tickets: $18; Group rates available for groups of 15 or more. Tickets are currently available at the Capital Stage Box Office, 916-995-5464 or online at www.capstage.org. The Pilothouse Restaurant offers a specially priced menu for theatre patrons; Pilothouse reservations can be made through the box office.

In a cluttered, run-down Chicago junk shop, three small-time crooks plot to steal a valuable buffalo nickel. As the heist unravels, the men's frustration and paranoia intensify. This groundbreaking American play weaves humor and menace throughout an emotionally charged struggle for identity and dominance. Capital Stage co-founders, Peter Mohrmann and Jonathan Rhys Williams play the now-famous duo of Donny and Teach and are joined by Capital Stage newcomer, Joseph Baldridge as young Bobby. The Times called David Mamet "the finest American playwright of his generation" and the New Yorker called Buffalo his "first masterpiece.". The Observer writes "This play is a parable about the US - not in the journalistic way but quietly, ... of a true work of art"

American Buffalo is directed by Janis Stevens who directed last season's critically acclaimed Capital Stage production, Fool for Love.
This production contains strong language and is intended for mature audiences.

Sexy, Scathing Comedy To Have Sacramento Premiere at Capital Stage

2009-01-22T22:49:56Z

If you have ever done something despite your better judgment, maybe chose to follow the crowd instead of following your gut to avoid hard, emotionally painful work, then you will understand Charlie, the provocative and complex protagonist in Theresa Rebeck's fierce, edgy, raw and scathing new comedy The Scene opening at Capital Stage on Friday, January 23, 2009.

The Scene will make its Sacramento premiere with three preview performances on Saturday, January 17 at 7pm, Sunday, January 18 at 2pm, and Thursday, January 22 at 8pm, and will open on Friday, January 23, 2009 at 8pm. Performances will continue through February 22, 2009. Showtimes will be Thursdays - Sundays as follows: Thursdays and Fridays at 8pm; Saturdays at 7pm , and Sundays at 2pm. Tickets prices range from: $24-$32; Pilothouse Dinner & show packages and Sunday Brunch and show packages are available. Discount tickets are available as follows: Preview tickets: $15; Thursday student tickets: $12; Sunday matinees senior tickets: $18; Group rates available for groups of 15 or more. Tickets are currently available at the Capital Stage Box Office, 916-995-5464 or online at www.capstage.org.

The Scene, is what Rebeck calls a "perverse retelling of (W. Somerset Maugham's) Of Human Bondage." The lives of four New Yorkers on the fringes of the entertainment industry are explored in this shrewd and racy comedy centered around Charlie, an out-of-work actor and his TV producer wife, Stella. When Charlie meets Clea, a gorgeous knockout - fresh off a bus from Ohio - his life is turned upside down. Using the surreal world of Manhattan party goers as its background, Theresa Rebeck's The Scene examines the empty narcissism of American pop culture. Charles Isherwood of The New York Times called The Scene "the most accomplished and rewarding play in the 2006 Humana Festival."

Capital Stage Artistic Director, Stephanie Gularte directs actors Christina Anselmo, Scott Coopwood, Ken Figeroid, and Elena Wright.

This production is intended for mature audiences.

About Capital Stage
Capital Stage Company's mission is to be a dynamic leader in the evolution of the contemporary live theatre landscape in the Capital region and to passionately engage audiences in the art of live story-telling with bold, innovative plays performed by professional artists, in an intimate, up-close setting. With a strong commitment to expanding the base of working artists in the greater Sacramento region, we shall develop a company of actors, directors, writers, designers, and technical staff who are dedicated to bringing dynamic productions of contemporary and classic plays to our community.