Reviews for theater within the greater Los Angeles area.
Tag Archives: Justin Patrick Murphy
February 27, 2019Posted by on
The tricky bit about reviewing a play laden with suspense is how to discuss the show without committing the mortal sin of giving out spoilers. Even with a well-crafted but also well known play like Ira Levin’s “Deathtrap,” there is always a significant population of potential audience who does not yet know the whodunit, or even the why. With one as convoluted as “Deathtrap” is, the chances for over-explaining are even more present.
In discussing the Whittier Community Theatre production this is a particular problem. The play is done very well indeed. The set is suited to not only the stage but the needed elaborations necessary for the scary bits. The cast of confident, well-honed actors never telegraph answers before their time, and create fleshed out characters as much as possible. The intelligent direction does all the things needed for the tension to build appropriately.
WCT, currently in its 97th season, has a real reason to feel proud.
The story centers on playwright Sidney Bruhl, whose most famous, certainly most successful play – a mystery of considerable nuance – is in the rear view mirror of his career. Struggling to find some new thing which will spark the next great hit, he has had to resort to giving playwriting workshops to stay afloat, all the while living on his wife’s rapidly shrinking inheritance.
Now he has received a brand new script from one of the workshop attendees, which has all the elements of the best of his genre of work. Shall he convince the young man to let him fiddle with, and thus co-author it? Shall he steal it as his own? Or, shall he act the benevolent grandparent of the piece, and offer the younger playwright a chance to shine on his own? This is the first of many decisions which will have Bruhl and those around him twisted in knots.
Guy C. van Empel is a convincing Bruhl, fussing over his own career, plotting and planning to reclaim it one way and another. As the younger man, Mason Meskell vibrates with confidence and drive. Andrea Stradling manages the gentle, supportive, ethical wife whose presence can’t help but underscore Bruhl’s current situation. Todd Rew has a lovely time as Bruhl’s rather fussy lawyer, and Phyllis M. Nofts gives a standout performance as an internationally acclaimed psychic visiting a home nearby.
Director Justin Patrick Murphy has really taken apart the nuances of this play and found the essence of each. The surprises really are surprising. The characterizations bounce off of each other with just enough friction to keep one wary. The set, designed by the director, manages to fit the feel of a two-story restored colonial farmhouse onto the Whittier stage with just the right amount of room for each necessary action. The props are an impressive collection of miscellaneous weaponry, adding to the fun.
In short, this production of “Deathtrap” shows polish and the appropriate tension, and is a hoot to see, whether you’ve memorized the ending or have never seen the thing ever before. Well paced, well performed, and edge-of-your-seat fun, it will leave you with that nice balance of fear and laughter (yes, laughter) which proves a satisfying, and not particularly taxing, evening in the theater.
Note: WCT production runs are very short. This coming weekend is the last time to see this show. Take the time. It’s worth it.
What: “Deathtrap” When: one remaining weekend, 8 p.m. this Friday and Saturday. Where: The Center Theater, 7630 Washington Ave. in Whittier. How Much: $18 general, $15 seniors (62 and over), juniors (18 and under), and military with ID. Info: (562) 696-0600 or http://www.whittiercommunitytheatre.org
September 16, 2017Posted by on
Once upon a time, Damon Runyan was a household word. His stories, with their very specific form of dialogue and wry humor, celebrated the gamblers and chiselers of early 20th Century Broadway in a way nobody else has ever matched. Today, most who know of him at all do so thanks to the Broadway musical “Guys and Dolls,” based on two of Runyan’s stories by Jo Swerling and Abe Burrows, and set to music by Frank Loesser.
Now at Whittier Community Theatre, as the first production of their 96th season, “Guys and Dolls” is guaranteed to charm, as always. The songs are always fun, and the storyline is essential urban Americana. At WCT the cast is mostly up to the task of making the show shine, the band, though a bit uneven in timbre, handles the music well, and the flavor of the piece – best called earnest silliness – shows through.
The story follows two paths. In the first, longtime gambling promoter Nathan Detroit searches desperately for a venue for his floating crap game while holding off showgirl Adelaide, who dreams of marriage after 15 years of being Nathan’s fiancé. In the second, Nathan tries to raise funds by betting card sharp Sky Masterson he cannot take Sarah Brown, central figure of the local Save A Soul Mission, to Havana for dinner. What deal will Sky swing to make it happen?
Director Karen Jacobson has assembled a cast of WCT regulars and specific character performers to solid effect. Jason Miramontes makes a comparatively subtle Sky, and handles his songs well, with the exception of the particularly difficult “My Time of Day”. As his challenge, Sgt. Sarah, Ciara D’Anella warms to the part as the show goes on, and at her best sings with considerable charm, particularly on the silly “If I Were a Bell” and “Marry the Man Today.”
Still, the best of this production is the interplay between Nathan and his three minions, and between Nathan and Adelaide. Carlos Lopez gives Detroit the combination of business sense and innocent guile that makes him so endearing. His minions, the three “tinhorns” – Nicely-Nicely Johnson, Benny Southstreet and Rusty Charlie (Jay Harbison, Chris Mathews and Richard De Vicariis) – do a very solid job with the show’s signature introductory trio, “Fugue for Tinhorns” and Harbison continues to charm with “Sit Down You’re Rockin’ the Boat”. All three have engaged with their characters in very solid fashion.
Still, the real star of the piece is Mallory Kerwin, who all but steals the show as Adelaide. Her “Adelaide’s Lament” with its silly contention that being matrimonially frustrated can cause head congestion, is as delightfully silly as one could expect, and her consistent and very funny delivery throughout makes even otherwise dry moments in the show entertaining.
Also worthy of note are James Greene as Sarah’s missionary uncle, Greg Stokes and Justin Patrick Murphy as just edgy enough gangsters, and Andy Kresowski as the prowling Lt. Brannigan. The very versatile chorus manage a number street scenes and crowd moments with individuality and style.
Indeed, more than many other musicals, “Guys and Dolls” depends on dancing. Choreographer Emily Turner does what she can with a comparatively motley group of performers, finding ways to keep the musical moments engaging and atmospheric. Musical director Kevin Wiley manages the live musicians in ways which generally enhances the total production.
In short, this “Guys and Dolls” may have a few shaky moments, but the production is earnest and at times quite delightful. The music is among my favorite in the classic Broadway musical canon, and thanks to a few stirling performances it is one of the finer examples of true community theater in the area. And, frankly, you can’t beat the price. Go, sit back, and revel in the fact that any Southern California company has managed to survive for almost a century.
What: “Guys and Dolls” When: through September 23, 8 p.m. Fridays and Saturdays with one matinee 2:30 p.m. September 17 Where: The Center Theatre, 7630 Washington Ave. in Whittier How Much: $20 general, $15 seniors, students and military with ID Info: (562) 696-0600 or http://www.whittiercommunitytheatre.org
June 13, 2016Posted by on
In 2012, a send-up of the mystery genre by famed comic playwright Ken Ludwig, “The Game’s Afoot, or Holmes for the Holidays” won the Edgar from the Mystery Writer’s of America for Best Play. Ludwig, best known for delightfully ridiculous farces like “Lend Me a Tenor,” took that same approach to the classic whodunit, peppering it with references to Sherlock Holmes and his creator, and to Shakespeare. The resulting mashup is now on display at Whittier Community Theater, as the closeout to their 94th season, and it’s a hoot.
Based, in some measure, on the historic figure William Gillette, a famed American actor who became synonymous with Sherlock Holmes around the turn of the last century, the play is set in his castle-like estate in Connecticut. It’s a dark and stormy night, of course, and Christmas Eve. Members of his “Sherlock Holmes” company have come to join him for the holiday, as he recovers from having been shot at the end of a production his iconic play, by a still unknown someone in the audience. Then a most unpleasant theater critic/columnist arrives, sparking ire, unwrapping secrets and generally turning the house on its ear. What will happen next?
Norman Dostal makes a jovial Gillette, relaxed and carefree until the various disasters strike. Kathryn Hunter has fun as Gillette’s fussy and overprotective mother, while Justin Patrick Murphy vibrates with a kind of macho frailty as his fellow actor and best friend. Kensington Hallowell offers a somewhat brittle but practical rendition of this friend’s actress wife. Jay Miramontes and Amanda Joyce round out the house party as the young, recently wedded members of the troupe who carry secrets of their own.
Kerri Malmgren seems to be having the most fun of anyone in the company as the snotty and totally obnoxious columnist, whose mishap sparks much of the action and all of the best comedic moments. Candy Beck becomes the unexpected and rather distractible female detective who descends upon them all as the plot unfolds. All these characters not only deal with a genuine mystery, which has layers itself, but in the farcical silliness which ensues when there is a need to hide a body.
Indeed, under the direction of Suzanne Frederickson, the mystery – though interesting – takes a back seat to those farcical elements, as the piece is often very funny. The pacing is good and the director’s own elaborate stage design offers all the right bits to heighten the humor and move the story along. Costumer Nancy Tyler’s dependence on rather generic formalwear may not be exactly period (the piece is set in 1936) but isn’t exactly out of period either. In short, the whole thing works pretty well, right down to the startling, and very funny surprise ending.
Also possibly interesting to a theatrical historian, the production makes use of elements the real Gillette introduced into the American theatrical landscape: a realistic, fully working set, and sound and lighting effects (in this case, lightning and thunder) to contribute to the sense of drama. Gillette, a friend of Arthur Conan Doyle, who actually retired from acting in 1932, was considered the first realistic American stage actor. This creates a bit of extra humor for those in the know, as farce as a genre is never very high on realism, nor can its characters be.
So, go take a look. “The Game’s Afoot” is a lighthearted romp, with a couple of interesting plot twists and a lot of humor. It will make a good, and economical way to entertain oneself on a warm summer night.
What: “The Game’s Afoot” When: Through June 18, 8 p.m. Friday and Saturday Where: Whittier Community Theatre at The Center Theatre, 7630 S. Washington Ave. in Whittier How Much: $15 general, $10 seniors, students and military with ID Info: (562) 696-0600 or http://www.whittiercommunitytheatre.org
June 6, 2015Posted by on
In the long and impressive line of theatrical comedies by Neil Simon, few really qualify as farces. To be a farce the story isn’t really about rounded people, but about the silly juxtaposition of persons in compromising situations with unforeseen events. For Simon, the comedy was usually more organic, even when the results were very silly: the people and their personalities underscored the humor. Indeed, as his career progressed, it was much more about the people than the laughter and the plays became more real, more nuanced, and more powerful.
However, Simon did write one genuine, door-slamming, mistaken-identity-filled farce. Now that play, “Rumors” is at the Whittier Community Theatre, and the results are – for the most part, anyway – just as funny as they should be. The actors play the over-the-top characters with great energy and style. The setting is as fraught with exhausting drama as it should be, and the results are very funny. If, on occasion, the pacing of the comedic lines slows a bit, that is something that can be overcome.
Four couples arrive, in stages, at the home of a fifth couple having an anniversary celebration. Mystery ensues, as the help has disappeared, as has the woman of the house, and her husband is found upstairs, offstage, stunned and bleeding from a gunshot wound. As the first couple to arrive tries to cover for the disaster, gradually aided or thwarted by the rest as they arrive, the misconstructions, fabrications and frustrations wrap the eight guests in a series of ridiculous situations. And then the police arrive.
This whole silliness is led in every way by Jay Miramontes and Michelle Pedersen as the Gormans, first uncovering the mystery then balancing hair brained schemes with careful coverups, aided on occasion by more than enough vodka and a real sense of performance polish. Kerri Malmgren and Jason Falske provide the next comic element as a calm society woman and her husband, so obsessed over the accident which has damaged his brand new Mercedes the house’s mysteries are just an additional frustration.
The warm and homey Cleta Cohen and Richard DeVicariis provide the practical element, comparatively nonplussed by the silly situation and focused on more basic needs of the rest of the thwarted party-goers. Michael Moore and most particularly Lindsay Marsh provide yet one more layer as the politician who can’t be associated with the obviously developing scandal and his paranoid wife devoutly sure her husband is full of scandals anyway.
Under the direction of Justin Patrick Murphy, this silly piece starts just a bit slow, but seems to rev up as the stage fills. Every once in a while someone, particularly Moore, seems to wait just a bit long in a play whose lines must consistently appear with whipcrack speed, but the comedy definitely wins out and the characterizations are strong and a lot of fun. Kudos to Amy Miramontes for gathering clothing just right for the kind of evening these characters are expecting and the kind of people they are. The costumer doubles, along with Andy Kresowski, as the stern and precise police duo who show up trying to sort out the craziness.
In short, this “Rumors” is a lot of fun. I admit to being rather a fan of farces, as a particularly carefree way to slough off the pressures of the everyday. This one is definitely worth a look, and, in the hands of this company of players, stays satisfyingly silly to its unpredictable but equally funny end.
What: “Rumors” When: Through June 13, 8 p.m. Fridays and Saturdays, 2:30 p.m. Sunday, June 7 Where: Whittier Community Theatre at The Center Theatre, 7630 Washington Ave. in Whittier How Much: $15 Adults, $10 seniors (62+), juniors (18 and under), students and military with ID Info: (562) 696-0600 or http://www.whittiercommunitytheatre.org
February 26, 2015Posted by on
Over the past couple of years, one of the last of the strongly supported community playhouses, the all-volunteer Whittier Community Theatre, has produced several spunky productions of American musicals. Most particularly, their “Into the Woods” was quite stunning, and shows like “Quilters,” and “The Pajama Game” have garnered worthy praise. Thus, when I saw that their new production of the spoof of classic westerns, “Johnny Guitar,” leaves much to be desired, it does not come from the company’s amateur status, but from a misread on the part of those organizing the production.
“Johnny Guitar,” by Nicholas van Hoogstraten, Joel Higgins, and Martin Silvestri, takes the standard western formats and, if done right, plays them all with tongue firmly in cheek. Even the story sounds like all the B-westerns from the heyday of such things. Miss Vienna, a bad girl gone good, owns a bar outside a small western town – a town operated in tandem by Emma, the daughter of the founder of the town bank, and McIvers, the area’s largest landowner and rancher. Emma, holding a secret passion for the outlaw The Dancing Kid, is out to destroy Vienna for her supposed romantic connection to the Kid. Into all of this rides a man of height and heart bearing a guitar instead of a gun. But does he have a more violent past? Will he help Vienna?
Yes, it’s just that silly, and the staging should add more. Sound effects must be huge, choruses should appear from behind rocks, furniture, curtains, etc. Everything must be played large and melodramatically, resulting in almost constant chuckles and some significant outright laughter. Visual comedy can be emphasized, like constant references to Johnny’s being so tall, when the actor is not. It should be fast-paced, and moderately ridiculous. That’s what makes it work.
The production at WTC can’t seem to make up its mind whether it is going to play the thing straight, and thus awkwardly, or live up to the wry humor of the script. At the start, it shows promise, when the opening ballad has the chorus suddenly pop out from behind the saloon bar, and continue singing unphased when one of their number is gunned down. The sound effects are right, and the minimalist set has just the right elements. Some of the cast – most especially Jonathan Tupanjanin, as the youngest of the outlaws – can really sing up a storm, and for the most part all sing with enough energy and conviction to make it work.
But it’s uneven. They get serious too often, and that seriousness slows things down. Sometimes the chorus sings from offstage, when having them appear, sing, and disappear would have given more stage business, and more comedy to something which begins to feel drawn out.
As Vienna, Mallory Kerwin has the heart for the thing, and a powerful voice, but is visually wrong. She should look like a slightly more risqué Miss Kitty (for old “Gunsmoke” fans) but spends much of her time in an outfit more suitable to Dale Evans. Matt Berardi has great potential as Johnny. He has the swagger and the overly cool delivery down. There could be much comedy, though, as in his “playing” of a guitar which obviously has no strings, which is otherwise just kind of awkward.
Lindsay Marsh is solid – that is, slightly overdramatic and intensely repressed, just as she should be – as the vicious Emma, while Greg Stokes makes a stolid and gruff McIvers. Jay Miramontes truly enjoys his role as The Dancing Kid, though the dancing should be emphasized more, particularly if it’s going to be as intentionally unimpressive as it appears when he finally performs. Justin Patrick Murphy, Andy Kresowski and Richard DeVicariis have a lovely time playing henchmen, posse members, bartenders and the like, and, joined with Tupanjanin, becoming the chorus for song after song.
The live band accompanying them is small but good. The mics need to be balanced more, as some (especially Kerwin’s) are cranked up too high while others are very hard to hear. Special kudos to the stage crew who utilize the elements of Mark Frederickson’s very facile set design to change scene quickly and keep the pace going.
In short, this is good enough that it should have, and could have, been better. Consistency in the over-the-top melodrama of the piece would have let to more laughter (though there definitely were some funny moments) and made it all feel more cohesive. Director John S. Francis is experienced enough to know that this. What this show needs is real tongue-in-cheek everything, as the story line is just as light as the old Saturday serials, and the music is memorable more as a satire on musicals and westerns than as great art. Still, this company deserves the community’s support. Community theater, where volunteerism is prized, is always worth supporting.
What: “Johnny Guitar the Musical” When: Through March 7, 8 p.m. Fridays and Saturdays, and 2:30 p.m. Sunday, March 1 Where: Whittier Community Theatre at The Center Theater, 7630 Washington Ave. in Whittier How Much: $20 general, $15 seniors, students and military with ID Info: (562) 696-0600 or http://www.whittiercommunitytheatre.org
June 9, 2013Posted by on
Farce is an art form all its own. It demands a particular kind of rhythm, both from the performers and from the playwright. Ken Ludwig may be the best known farce-writer in America. His “Lend Me a Tenor” has become the gold standard of this kind of airy fluff. Now, at the Whittier Community Theatre, another of Ludwig’s silly pieces, The Fox on the Fairway,” offers up laughter, pratfalls and comic mayhem once again.
And once again, timing is everything. Fortunately, at WTC, the cast is – for the most part – up to the challenge. The play may not be quite as hysterical as “Tenor,” but it offers up plenty of laughs, snickers and a whole lot of golf humor. If you’ve got a golfer in the house, and want a laugh, this may be for you.
The plot – such as it is – is fairly simple. It is the day of the annual grudge-match golf tournament between Quail Valley Country Club and their arch-nemesis, Crouching Squirrel Golf and Racquet Club. Quail Valley manager Henry Bingham is sure he finally (after five years of losing) makes an unwise bet with his rival’s manager, only to find that his best player has defected to the other club. He thinks he is saved when he discovers that his new assistant, Justin, is an extraordinary golfer. The problem is Justin only plays well when not upset, something which may prove trickier than Henry thought.
Director John Francis has assembled a fine cast for this affair. Justin Patrick Murphy does everything but chew the scenery as the easily rattled Justin. MacKenzie Rae Campbell creates a delightfully volatile airhead as Justin’s fiance – the major cause of his upset. Lewis Crouse powers the piece as Henry – part bully, and part panicked investor. Greg Stokes, as the scheming head of the other club, really is as obnoxious and snotty as the character has to be.
Roxie Lee, as a club board member, and Toni Beckman as Bingham’s domineering wife, both have wonderful moments. However they both need to work on projection. Some of their funniest lines are quite hard to hear. Vincent Rodriguez – a young man for whom this show is a high school senior project – makes a fine tournament announcer, having also helped bring this production into being.
A nod must also go to Suzanne Frederickson for coming up with the perfect set for this kind of show, even if one of the swinging doors came loose due to all the slamming back and forth. Karen Jacobson must have had a ball with the costuming: finding all the truly obnoxious golf sweaters for Stokes’ character.
Indeed, there is a real sense of polish to this essentially amateur production. The sound effects are just right. The costuming is pretty much right. The set is created with farce in mind. The characters are well defined, and create the kind of ensemble which makes this particular kind of ridiculousness work. As with all of Ludwig’s plays, the humor builds: the crazy really comes out in the second half, so wait for it.
Try to catch this while you can. Sadly, WTC productions only last a couple of weekends – a part of their 92-year tradition.
What: “The Fox on the Fairway” When: Through June 15, 8 p.m. Friday and Saturday Where: The Center Theatre, 7630 Washington Ave. in Whittier How Much: $12 general, $10 seniors/children, $8 students/active military Info: (562) 696-0600 or http://www.whitttiercommunitytheatre.org