Stage Struck Review

Reviews for theater within the greater Los Angeles area.

Tag Archives: Kasey Mahaffy

“Man of La Mancha” at ANW: Valid tinkering with a classic work

Geoff Elliott and Kasey Mahaffy, as Don Quixote and Sancho Panza in “Man of La Mancha” at A Noise Within [photo: Craig Schwartz]


When one first hears that A Noise Within has reset the powerful 1960s musical “Man of La Mancha” in a modern prison in the developing world, it can make one nervous. After all, it is based not only on one of the great works of international literature, but a historical figure who actually did end up imprisoned by the Inquisition for a segment of time. How can one take the piece out of its historical context? Yet, it is one of the hallmarks of a theatrical work that it can stand up to being reset, both in time and location. The new physical trappings of the tale can inform a wider understanding of the impact of the piece, even if the actual language stays the same.

As a consistent modern interpreter of Shakespeare, ANW co-Artistic Director Julia Rodriguez-Elliott knows this. Indeed, a work like “Julius Caesar,” about ancient Roman politics, has been reset by various great companies in Mussolini’s Italy, in JFK’s America, or even in a dystopian future without losing its integrity. So, her decision that “La Mancha” can handle the same treatment seems particularly apt.

What may be less wise on Rodriguez-Elliott’s part arises from the demands of this particular work. As musical director Dr. Melissa Sky-Eagle states up front, “Despite the folk-inspired nature of the music itself, the voices required [in “Man of La Mancha”] need to be almost operatic in nature.” While many of the performers – a number of them new to ANW – are very much up to this demand, some of ANW’s stock players are not, really. This creates an imbalance which sometimes distracts from not only the original message of the show, but the additional intent of this new staging.

The story is, of course, a story-within-a-story. Don Miguel de Cervantes, the poet, playwright and novelist seen by many as the Spanish equivalent (at least in literary impact) to William Shakespeare, has been thrown into prison by the Inquisition while awaiting trial. There he must defend himself against the other prisoners, who are out to steal what goods he has. He does so by enacting for them the tale he carries in a manuscript – the manuscript for his finest work, “Don Quixote de La Mancha.” Interrupted on occasion by the guards, he pulls his hearers into his story, both literally – to create the needed characters – and figuratively, as they come to appreciate his view of the world.

For those who know more traditional productions of this work, there are a few things missing. For one, there is no dancing and thus no faux horse and mule. Rather, Don Quixote and Sancho ride mops as if they were hobby horses. The props are less things that Cervantes has brought with him, and more found objects from the prison itself. And that transformative moment when Cervantes becomes Quixote is dulled a bit, in that this Cervantes already has so much facial hair there is little need to add much.

Still, the grime of the prison, the seediness of the inn, and the grim lives of those Quixote encounters are still very much in evidence, and the music – particularly at certain moments – proves as wrenching and powerful as ever. But there is inconsistency in this. Geoff Elliott is Cervantes/Quixote, and his speaking voice has the force and grandeur needed, but this character must be able to sing in a commanding and heartfelt way that Elliott really cannot master. His breathing is often labored, his vocal tone goes chesty, and some of the important lyrics – and the lyrics are particularly important throughout this show – become comparatively unintelligible.

On the other hand, Kasey Mahaffy’s Sancho can sing in a bright and tinny way, and it works, in part because it emphasizes the character’s simple, practical approach to the world. Indeed, one of the few cuts one truly regrets is the shortening of Sancho’s last song, which takes away some of its humor – a humor Mahaffy emphasizes to good effect throughout. Cynthia Marty, as both the nervous housekeeper Quixote has left behind and the annoyed wife of the innkeeper, creates two solidly interesting characters, matched by Gabriel Zenone’s fatalistic innkeeper.

Michael Uribes creates two strong characters, as the reputed leader of the prisoners, and as the pseudo-intellectual fiancĂ© of Quixote’s niece, more worried about what he will inherit than about the man he will inherit from. Cassie Simone sings beautifully as the Quixote’s deeply embarrassed niece. ANW regular Jeremy Rabb has a somewhat less successful time as the gentle padre, who must offer tender songs in a rich tenor voice that Rabb has to work to reach.

Cassandra Marie Murphy (l.) proves a stunning Aldonza at A Noise Within


By far the finest performance of this production is Cassandra Marie Murphy’s passionate, bitter Aldonza, creating in her portrayal that combination of despair and curiosity which makes Aldonza so interesting, and singing those deep, powerful, angst-ridden songs with a fire you cannot look away from.

Kudos to ANW for using a live orchestra, and one which uses the original orchestration (no strings except a bass and guitars) which gives the enterprise such a direct, and folk-Spanish feel. Fred Kinney’s scenic design gives a sense of space and enclosure – the dual demands of such a dual tale. Angela Balogh Calen’s costumes are largely supposed to look frayed and dirty (as well as reflecting a non-specific prison garb) and all of this comes off well. Lighting is key in this story, and Ken Booth’s design helps carry the story forward in very specific ways, as do Erin Walley’s “found object” props – essential in this prop-heavy show.

In the end, with the new underscore of continuing spaces of despairing imprisonment and horror in our world, the main sentiments of “Man of La Mancha” come through: hope may seem madness, but can lift up those who choose it. And that is just as apt today as it was for the original creators of the musical, or Cervantes himself. It could have been more even in presentation, but it is definitely there.

“Man of La Mancha” plays in repertory with “King Lear” and “Ah, Wilderness”.

What: “Man of La Mancha” When: through May 21; 7 p.m. April 16 and 30, May 21; 7:30 p.m. April 6; 8 p.m. April 7, May 6, 12 and 13; 2 p.m. matinees April 16, 22 and 30, May 7, 13 and 21 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: from $25 Info: (626) 356-3100 or http://www.anoisewithin.org

Blind Folly or Alzheimer’s? – A Noise Within’s questionable take on King Lear

Geoff Elliott’s “King Lear” with Erika Soto’s Cordelia in the final scene at A Noise Within [photo: Craig Schwartz]


It is an interesting new spin on Shakespeare’s “King Lear” to look at the downfall of this unwise king from the lens of Alzheimer’s Disease. That is what director Julia Rodriguez-Elliott does in the production now in repertory at A Noise Within. It turns the focus almost exclusively on Lear, and allows for his admittedly conniving daughters to seem legitimate in their frustrations and outrage with him (at least at first). As someone who has watched a parent dissolve into this dread disease, I can say that the concept makes for interesting conversation.

However, when taken as a whole, to dismiss his behavior as the result of this condition is to negate much of the rest of what Shakespeare has to say about familial love, envy, and lust for power. It could (though actually does not) make a uniquely wrenching star turn for Geoff Elliott in the title role, but at what cost? It is too easy on Lear, for one thing, and twists the focus away from other important themes.

Essentially, Lear is a foolish man. Having ruled his country with intensely loyal people around him, he is used to expecting richly voiced praise. When he insists his daughters say how much they love him, he gets two fulsome answers and one honest, practical one, and turns on this last as a sign of disrespect. Thus, he hands over power to the two women who have his interests least at heart, and their own greed at the fore. He becomes an inconvenience and they whittle away at his dignity and even ability to defend himself until there is nothing left. Madness, thus, becomes a thing of circumstance, playing on a weak mind but not on a disabled one, as one can tell when he comes to himself toward the play’s end.

In the ANW production this last thing is made tricky by the disease itself – one which is emphasized over and over by projections of MRIs of slices of the brain which add color to the intentionally bleak set. When you descend into Alzheimers you forget who you are. No coming back from that.

Still, the larger loss is to the importance of and subtext about the moral decay present in daughters Goneril and Regan, and in the villainous Edmund, who determinedly destroys his legitimate brother Edgar and his father, the Earl of Gloucester. It also makes the dogged, sacrificial devotion to Lear by the banished Earl of Kent make less sense, and it makes the king’s Fool occasionally rather superfluous.

Finally, this interpretation leaves Elliott’s Lear without much room to expand. By making him significantly altered even at the start, he blossoms into what becomes (in this interpretation) an unreasoning fury so early that the rest of his long journey becomes a certain amount of emotional station-keeping. Still, as expected, Elliot uses Shakespearean language as if it was his own, and consistently stays true to the concept of this particular form of human disintegration.

Indeed, the cast itself is splendid. Trisha Miller and Arie Thompson advance the two older sisters from a radiation of privilege and power to a sense of self-focused obsessive, destructive behavior. In this they are matched by Jeremy Rabb as Regan’s noble, but easily vicious husband, while Christopher Franciosa provides an increasingly empowered foil for Goneril as her equally high ranking spouse. Freddy Douglass radiates evil in every tone as the deadly Edmund, and Rafael Goldstein handles desperation well as the maligned Edgar.

Apollo Dukakis gives the Earl of Gloucester some of what one hopes to see in a Lear: a happiness born of power and authority which dissolves thanks to his undeservedly horrifying fate. Perhaps most memorable, in this production, is Kasey Mahaffy’s wry, tuneful and audacious Fool – whom Rodriguez-Elliott has given a most spectacularly apt exit.

Fred Kinney’s bleak but extremely adaptable set design underscores the militaristic nature of the piece, which has been reset as if in the mid-20th century. Angela Balogh Calin does her best work in designing the dresses worn by the royal women, while Robert Oriol’s music sets the sense of doom throughout the piece.

In short, this is a good production of “King Lear,” except that in one important way, it isn’t. All the parts are there, but in service to a somewhat skewed interpretation which denies the larger play much of its power. “King Lear” plays in repertory with “Ah, Wilderness” and the soon-to-open “Man of La Mancha”.

What: “King Lear” When: in repertory through May 6, 7:30 p.m. April 13 and May 4; 8 p.m. April 8, 14, 23 and May 5; 2 p.m. matinees April 8, 23, and May 6 Where: A Noise Within, 3352 E. Foothill Blvd in Pasadena How Much: from $44, $20 student rush Info: (626) 356-3100 or http://www.anoisewithin.org

“You Never Can Tell” at ANW: Shaw masterpiece done masterfully

Erica Soto, Deborah Strang and Richy Storrs as 3/4 of the irrepressible Clandons in You Never Can Tell at A Noise Within

Erica Soto, Deborah Strang and Richy Storrs as 3/4 of the irrepressible Clandons in You Never Can Tell at A Noise Within

I confess. I love the plays of George Bernard Shaw. When well done, even the most prosy of them can be a fun, and his best work shines with a kind of internal delight, as his objective of entertaining while saying something societally important proves a success. Such a play, and such a production is the newly opened “You Never Can Tell” at A Noise Within. Gifted with virtually perfect casting, the intelligent and lively direction of Stephanie Shroyer, and solid visuals, it just works. And when Shaw works, you’re in for a treat.

To be frank, the play is one of Shaw’s better discussions of “the modern woman,” circa 1897: tackling their right to independent thought, the assumption of male supremacy in marriage, and the ability of forward thinkers to fit into British society. That some of its essential themes are still relevant today proves why such plays are still staples of English-speaking theater.

Deborah Strang is Mrs. Clandon, a writer famed for books on “The 20th Century Woman” who has returned with her young adult children from Madeira to a local British seaside resort. Strang gives her character that kind of inborn confidence which makes her sure she knows not only what is good for women in general, but for her own children: older daughter Gloria and somewhat younger twins Dolly and Philip. Whether they, especially Gloria, can live up to those expectations, or even want to in the end, is another matter of course.

Kasey Mahaffy and Jill Renner as the reluctant lovers [photos: Craig Schwartz]

Kasey Mahaffy and Jill Renner as the reluctant lovers [photos: Craig Schwartz]

Richy Storrs and Erika Soto are a hoot as the twins, completely unable to hold their tongues on any subject, ferociously curious and absolutely untamable. Jill Renner gives Gloria a wonderful combination of staunchness and indecision, as she gradually falls for a penniless dentist with comparatively old fashioned ideas she reaches to challenge. Jeremy Rabb, as Mrs. Clandon’s old friend and solicitor personifies the staid narrow-mindedness of the matured free thinker, while Apollo Dukakis finds great humor in the sour old man who is both the dentist’s landlord and Mrs. Clandon’s abandoned husband.

Still, the best performances of this splendid company have to be Kasey Mahaffy, complete in tone and body language as the very Shavian dentist – swayed by passions, yet convinced he understands women, and Wesley Mann as the tolerant and intensely observant waiter who cares for the Clandons at their hotel. Also worthy of note in a brief but delightfully “deus ex machina” role is Freddy Douglas as the waiter’s barrister son.

Yet to list the individual performers and their fine work is only the half of it. The sense of ensemble is palpable. The timing is right on point throughout. The cleverness of the direction extends even to a needed shift in Don Llewellyn’s elaborate and very three-dimensional set, which becomes almost a character during the move. Angela Balogh Calin gives the costuming a solid polish, and in general the atmosphere places the play in just the right point in time.

“You Never Can Tell” is intelligent, and very funny. Though Shaw’s focus is on the artificial and damaging understanding of women as a lesser sex, he couches the whole thing as almost a farce – a terrific spoonful of sugar for his more serious message. The result is a production well worth seeing. “You Never Can Tell” plays in repertory with “Romeo and Juliet” and soon with “6 Characters in Search of an Author.”

What: “You Never Can Tell” When: Through May 15, 7 p.m. March 20, April 24 and May 15, 7:30 p.m. April 14 and May 5, 8 p.m. April 9 and 30, with 2 p.m. matinees March 20, April 9, 24 and 30 and May 15 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: $44, with student rush $20 Info: (626) 356-3100, ext. 1 or http://www.anoisewithin.org

A Noise Within’s “The Tempest” – When a formula fits the product

Deborah Strang is Shakespeare's magical Prospero [photo: Craig Schwartz]

Deborah Strang is Shakespeare’s magical Prospero [photo: Craig Schwartz]

If you have encountered the works of Shakespeare enough times at A Noise Within, you begin to see certain patterns emerge. Any of them which have ANW artistic directors Geoff Elliott and Julia Rodriguez-Elliot as co-directors of the production will have reoccurring central elements from show to show, as well as certain guaranteed casting choices which you can almost bet on.

These elemental moves include concepts borrowed from Asian and Classical Greek theater traditions, and there will also usually be an odd whimsy, often involving the injection of a carnival-like moment, at some point in the show. Sometimes this all feels like a non sequitur to the plot, but in their new production of “The Tempest” their signature moves gel, and help sell the play itself.

From the very start, the hovering “ensemble,” anonymous in Greek-like masks and acting similarly to the pseudo-invisible stage hands of Chinese opera, makes a huge impact. As the magical Ariel (Kimberleigh Aarn) tosses a ship about, the fabric sea is made menacing by this chorus. Indeed, the very magical nature of the tale of Prospero, an overthrown noble with magical powers who wreaks his revenge through the use of spells and spirits, benefits from the eerie otherworldly quality of this production.

In a bit of a twist, though not a precedent-setting one, ANW stalwart Deborah Strang is Prospero. It’s an interesting choice, in that it redefines the parent-child relationship Prospero has with Miranda, the innocent daughter who will become the love interest of a young man tossed by Prospero’s magic onto the island’s shores. Still, though solid, it is not Strang’s finest performance, mostly because one expects more from someone that strong. The dependence upon magic and the gradual rejection of it, not to mention the internal war between revenge and forgiveness, would seem to give her a greater palate to work with than that which is is used.

Eliza Kiss (who also sings the best of the original music), Kimberleigh Aarn and Dekyi Ronge as Ariel and her ensemble spirits [photo: Craig Schwartz]

Eliza Kiss (who also sings the best of the original music), Kimberleigh Aarn and Dekyi Ronge as Ariel and her ensemble spirits [photo: Craig Schwartz]

Aarn’s enslaved spirit, on the other hand, seethes with that odd combination of duty and desire for freedom. She enjoys her magic, yet chafes at the control over her life. The Elliots have chosen to have Geoff Elliot play the monster Calaban more as a grotesque human than as a truly monster-ish monster. It certainly makes his situation more pitiful, and the comedy which surrounds him more approachable. Alison Elliot’s Miranda proves as sweet and openly joy-filled as one could want, while Paul David Story’s earnest Fernando has the right kind of boyish charm to make the romance between them a sweet balance to the oddity of their environment.

Indeed, the rest of the company shipwrecked upon this strange place also offer up fine performances, especially William Dennis Hunt’s touchingly antique Gonzalo. One sometimes wishes they had more to do, as they spout long explanatory passages about the strangeness of their environment. Still, the silliness of Kasey Mahaffy’s Trinculo and Jeremy Rabb’s Stephano, as they get Calaban drunk, makes up for much of the rest.

Kudos to Peter Bayne for the fascinating original music – some of which sets Shakespeare’s lyrics – and the general sound design. Angela Balogh Calin’s costumes set this fantasy piece solidly in the “English gentleman” period of the late 1800s. The whole thing has an air of calypso about it, but a subtle one which suits the vagueness of Shakespeare’s location just fine.

In short, though I cannot say this is the finest rendition of “The Tempest” I have ever seen, I appreciate the way it establishes a sense of mystery, and the way in which things which have become Elliot signatures continue that “presence” as the ancient tale unfolds. And then, of course, I always like a chance to root for Ariel, waiting for her freedom as these silly mortals sort out their dramas.

What: “The Tempest” When: Through November 22 as part of their repertory season, 8 p.m. Oct 3, Nov. 1 and 22, 7 p.m. Oct. 26 and Nov. 16, 7:30 p.m. Nov. 6 and 20, and 2 p.m. Oct. 4 and 26, and Nov. 16 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: Single tickets from $40, $20 for student rush Info: (626) 356-3100 ex 1 or http://www.anoisewithin.org

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