By Felíz Torralba

“You will laugh, cry, and face mortality with these characters.”

Unsettling dialogue, misconceived references, two people with incurable diseases, two couples titled Jones, two painfully realistic marriages altering with each passing moment. The Realistic Joneses is about life and fear of death. Melancholy, stiff and sometimes funny – a strange story of looming existential crisis.

A couple, Bob and Jennifer Jones played by Christopher Younggren and Avis Judd, live in a small town with a view of the mountains. One evening they’re sitting on their patio enjoying the warmth and sounds of the evening when their new neighbors stop in. John and Pony Jones played by Josh Parra and Hannah Turner. The couple brings a bottle of wine as a gift to introduce themselves – what unfolds next, is for you to find out.

We open on a simple, straightforward set designed by Taryn Wintersteen that feels lived in, yet remains clean and natural throughout the play and each location it represents. The audience seating is situated in a thrust formation which offers a set of unique pros and cons. The positives being a fresh side perspective if a character says something under their breath or gives a scoff to the side. The negative being that more often than not, the actors had their backs to half of the audience. This was especially noticeable for the iconic tableau of all of the couples sitting around side by side in the backyard. That being said, the vision of the play directed by Sam Rush was refreshing. The basics are done well. Clean cues, blocking, and rhythm. This set the actors up for success. Each and every player had strengths. They all contrasted and complemented each other well. All enveloped in warm light that fluctuated and captured every moment effortlessly by lighting designer Richard Gremel.

Of the four castmates, Avis Judd (Jennifer Jones) carried this play. Her natural, vulnerable approach to this character is incredibly rare to experience in local theatre. Complimented by the energetic Hannah Turner (Pony Jones), they both created lives, homes, and stories for their Mr. Joneses. Christopher Younggren (Bob Jones) brought a bluntness and realistic approach to his character which was a much needed rooting against the flighty, light-hearted approach brought by Josh Parra (Josn Jones). I loved watching these characters interact and develop – even when the moments get hairy.

Everyone has a loved one facing an illness. Everyone faces their own mortality at one point or another. This play is a mirror of the human experience. You will laugh, cry, and face mortality with these characters.

The Realistic Joneses is playing at Live Theatre Workshop through February 4th. LTW is located at 3322 E Fort Lowell Rd, Tucson, AZ 85716. For tickets, please visit livetheatreworkshop.org, or call (520) 327-4242.

by Mara Capati

Taylor Rascher and Samantha Cormier photo credit to Nicci Radhe

“The talents of these actors alone, would be justification enough to support this production”

Reasons to Be Pretty is a Tony Award nominated and Drama Desk Award winning American play, written by Neil LaBute. It first premiered on Broadway in 2009. The play centers its focus on the friendships and romantic relationships between working class friends Greg, Stephanie, Carly, and Kent. Egregious and deceptive actions and conflicts test the loyalties of their relationships. How egregious are these actions truly? The men and women in this play seem to have polarizing perspectives on that matter. This play challenges not only the standards of beauty or the “locker room” culture and toxic masculine beliefs in our society, but the power of words and communication. What are the consequences of “intention” and “impact”?

Director Mark Klugheit does not mince words in this uncensored “look behind the curtain.” He provides the audience insight into conversations and beliefs amongst hetero men – spoken and unspoken, that are still very prevalent in our society today. The distinction from the men’s “performative” displays to their partners as well as the public eye, strike a stark contrast from their dialogue when they believe that no one else is listening. Who gets to decide what makes a woman beautiful or valuable to anyone? Klugheit’s approach imposes a confrontational atmosphere that manifests as lively and uncomfortable consequences on stage. Along with necessary, but palpable discomfort within the audience. 

On the technical end, the Temple of Music and Art was the perfect venue to accommodate this intimate production. The set and lighting was minimalistic, with a one-dimensional backdrop covered in a collage-like arrangement of panels, projecting shadows of various scenic and prop elements. Simple seating and table arrangements were utilized and repositioned to effectively imply location changes. Witty song choices ushered smooth transitions, between scenes that were at times very intense and jarring. The dialogue of the play and the technical elements successfully placed us in the early 2000s. These simpler elements did not necessarily do anything to add or detract from the 2000s setting, however, it was still effective. 

Actors Taylor Rascher (Greg), Samantha Cormier (Stephanie), Lucas Gonzales (Kent), and Taige Lauren (Carly) succeed in a powerhouse delivery of characters and intricately woven relationships that read clearly on stage and were consistent throughout the production. The talents of these actors alone, would be justification enough to support this production. I had the unique opportunity to engage with the production’s director and actors in a talkback, following the showing. One comment from actress Samantha Cormier particularly stuck out to me especially when juxtapositioned with the very male dominant perspective and voice presented through this production. The question was about the experience as an actress having to portray the female characters in a play where their physical appearances were constantly being judged by their male character counterparts. Cormier had shared that, “As a female actress, you’re used to it. It isn’t uncommon to be in that position as an actress; having a man telling you what to do with your body.” This insight is consistent with the pervading gender dynamics in relationships in many settings. Society has long imposed standards of beauty and perceptions of the woman’s role for centuries – often informed by the objectification of women by men. Also, not uncommon is the sexualization of young under-aged women – a concept of which is also briefly referred to in this play. While these conversations and social constructs have since been acknowledged and discussed in our society today – we still have a significant way to go in changing this culture and attitude around physical beauty and the perceived value of women. I think it’s also important to highlight that these stories and ideals often center around heteronormative discourse, ideals of beauty, and relationship dynamics. Leaving unaddressed altogether where those who do not identify as heteronormative. In this way the play is of its time and doesn’t fully reflect the spectrum of gender identity for non heteronormative people. 

I think the most startling takeaway from my experience watching this production was through the reactions of some of the audience responses. Although the derogatory language and toxic-masculin trope was effectively and accurately portrayed on stage through the character of Kent, it was slightly disturbing to see audience members respond with genuine laughter to the derogatory language in the script itself. Including LGBTQ slurs and female targeted slurs. There were some scenes containing domestic violence behaviors from a woman towards a man but were played off in a way that was minimizing and dismissive of these behaviors. Yet uncomfortably, it was also met with light-hearted laughter from audience members. With some of those observations and insights in mind, I think we can all take away something from this production by asking ourselves what unconscious beliefs we may hold about people, gender, and sexual orientation, and what those relationship dynamics look like in our lives today. How can we listen and have a positive impact, rather than hiding behind the notion of “having good intentions?”

With those content disclaimers in mind, I recommend that those who have not yet seen this production come and support Next Stage Theatre Southwest. Get your tickets for Reasons to be Pretty and future shows at https://www.nextstagesw.com/. The show runs until November 19th, Th-Sat at 7:30 p.m., Sun at 3 p.m at the Temple of Music and Art on 330 S. Scott Ave Tucson, AZ 85701. There will be NO showing on Friday, November 10^th. General tickets are $25 and $22 for Students, Seniors, and Military.

By Annie Sadovsky Koepf

Photo credit to Tim Fuller

“This story is artfully and skillfully staged by the wonderful ensemble cast that Dawn McMillan directs”

October is the month for all things fantastical and otherworldly. It is a perfect time for Scoundrel and Scamp’s production of A Wrinkle in Time, the beloved children’s science fantasy novel from Madeleine L’Engle. Two children go on a quest to search for their missing father, and go through time and space in order to find him. Along the way we are introduced to the three Mrs. W___s who aid in their search. Not only is this a hero’s journey for the children, but a classic good versus evil tale. Meanwhile, science as well as fiction help them achieve their goal.

The novel itself is second only to Charlotte’s Web in its popularity as a childrens’ novel.  Dr. Betsy Labiner gave a wonderful opening performance lecture on the history of women as writers of science fiction. This made the afternoon even more instructive to the audience, and furthered the mission of Scoundrel and Scamp as being an educational theatrical company. The company is the leader in the Tucson theatre community for their outstanding contribution to education to children, and now includes adult theatre education as well.

In addition to being at the forefront of arts education, the company excels in storytelling. That is the core of what theatre is all about. The props, the sets, the costumes, the lighting, and the music are all wonderful additions, but at the heart is a story well told. From ancient times we have loved and longed to gather with others to listen and be transfixed by a well-told tale. 

This story is artfully and skillfully staged by the wonderful ensemble cast that Dawn McMillan directs. Each actor is masterful in creating their character to tell the tale. The three Mrs. W___s (played by Carol Osborne, Kat McIntosh, and Samantha Severenson) were enchanting, each totally encompassing a very different aspect of a witch. I especially loved their makeup and costumes, but it was their unique work as actors that most engaged the audience.

The two young Murry children (played by Allison Akmajian and Merik Brown) were entirely enchanting as brother and sister. Merik captivated the stage whenever he was on. I look forward to many future wonderful performances by this very talented 12-year-old.

I did indeed love the costumes and especially the make up of the three Mrs. W___s. The effect was to really make them seem ephemeral and ethereal. I must say that although I understand the use of minimal sets in many productions, I felt that a more enhanced and fully-realized set, rather than minimalist staging, would have provided the otherworldly feel that a fantasy needs for a staged play. The lighting and music were effective, but again, if they had been more dramatic I feel it would have given more of that same idea of traveling to other dimensions. In the end though, it is a story well told by a fabulous ensemble cast and sure to enchant all who see it. 

This family friendly production is suitable for children aged 7 and up.  I highly recommend it to all lovers of magic, hope, and resilience. You will leave the theatre uplifted and renewed. Not a bad thing for Spooky Season: a treat not a trick! 

A Wrinkle in Time is playing at The Scoundrel and Scamp Theatre through November 12th. The S&S is located in The Historic Y at 738 N. 5th Avenue, Suite #131. For tickets, please visit scoundrelandscamp.org, or email or call the box office at boxoffice@scoundrelandscamp.org or 520-448-3300. 

By Zach Wetzel (guest reviewer)

Kyra Kennedy as Corie Bratter and Harry Bouvy as Victor Valasco photo credit to Tim Fuller

“Gayton Scott, playing the Mother Ethel Banks, and Harry Bouvy, who played Victor Velasco the outrageous neighbor, were a joy to watch and had excellent chemistry. Their timing was spot-on, and they immediately stole whatever scene they were in. I found myself wanting them to come back onstage anytime they left the stage!”

Barefoot in the Park is considered one of Neil Simon’s funniest plays. As someone who is married, I did indeed laugh at this play about marriage and all the challenges that come with it. Corie and Paul Bratter, recently married, experience a rollercoaster of emotions in this story, and the audience is along for the ride. Corie and Paul have just been married and have returned from their 6 day honeymoon to move into their first apartment together, a top-floor brownstone in New York City. They soon encounter more personality differences than similarities as they belatedly get to know one another. Corie is adventurous and carefree, while Paul is much more reserved, and anxious. When Corie’s Mother Ethel and the upstairs neighbor Victor Valasco enter into the mix, the comedy is dialed up to eleven.

There were many hilarious and exceptionally delivered comedic moments in this production of Barefoot in the Park. The play is funny regardless of one’s marital status. However, some of the jokes have not aged well, and not all of them landed, but when they did it was undeniably funny. 

The acting in this production was polished. In particular, Gayton Scott, playing the Mother Ethel Banks, and Harry Bouvy, who played Victor Velasco the outrageous neighbor, were a joy to watch and had excellent chemistry. Their timing was spot-on, and they immediately stole whatever scene they were in. I found myself wanting them to come back onstage anytime they left the stage! Kyra Kennedy and Tyler Lansing Weaks, playing Corie and Paul the newlyweds, successfully portrayed a marriage in freefall, and were convincing. I did find myself wanting Weaks to project more and sometimes I could not hear all of his lines. Both actors did tremendous work and made me laugh. The direction by Michael Berresse was crisp and kept the action moving. The lighting design by Robert J. Aguilar, set design by Tim Mackabee, costume design by Kish Finnegan, and sound design by Mathew DeVore was polished and first-rate.

Watching Barefoot in the Park made me want to see Neil Simon’s The Odd Couple. I feel that The Odd Couple would have been a better play to produce in this day and age and it may have been more enjoyable to watch. I believe that The Odd Couple’s subject matter has aged better than Barefoot in the Park’s. Barefoot in the Park is a fine play, and a funny play, but it doesn’t offer much in the way of innovation or introspection. That said, it was a fun night at the theater. You will be entertained and leave with a smile on your face. I recommend seeing this production. I hope that Arizona Theatre Company ventures to dive into deeper waters with their play selections in the future; having said that, though, our audience gave the show a standing ovation and was supremely entertained. For a night at the theater, sometimes that is enough.

Disclosure: The Author Zach Wetzel would like to disclose that he is the Executive Director of a local theatre company, Saguaro Foundation Community Theatre.

Barefoot in the Park runs at Arizona Theatre Company through October 13. For details or to purchase tickets, visit https://atc.org/show/barefoot-in-the-park/ or call 1-833-ATC-SEAT. 

By Mara Capati

The Cast of ‘Puffs’ photo credit to Ryan Fagan.

“This production is an ensemble show and a strong one at that.”

Puffs (One Act for Young Wizards) is a fast-paced, comedic parody of an oh so familiar seven-part-series world of wizardry and magic. This play was written by Matt Cox and originally premiered in 2015.  It was later nominated for the Off-Broadway Alliance Award for “Best Unique Theatrical Experience” in 2017. It introduces and focuses on the perspective of new heroes Wayne, Oliver, Megan and their band of “misfit” badgers, while navigating the challenges of honing their skills and finding their place in the wonderful, yet admittedly rather alarmingly dangerous, school of magic. Certain familiar students, professors, and villains also make an appearance with a unique twist that reimagines and indulges in all the “behind the scenes” events that perhaps unfolded, in order for our much more well-known hero’s canon events to unfold.

Director Richard Gremel immerses the audience in an enchanting world that invokes nostalgia for long-time fans but also transports young wizards and mudbloods alike, through quick but effective world building. Gremel utilizes the stage effectively and clearly, through the significant milestones and misadventures of our heroines…er Badgers. I cannot praise the work and thought that went into the stage and set design- eye catching posters, school club flyers, banners, cauldrons, books, and candles – all decorate the formidable castle walls that feel inviting and familiar. You may even catch an easter egg or two, if you look closely enough. 

This production is an ensemble show and a strong one at that. Live Theatre Workshop productions consistently deliver strong character work in their children’s theater series and this one is no exception. Every actor embraced their character(s) unique quirks and mannerisms while effectively leaning into comedic opportunity and audience interaction. While familiar characters have their place in this story, characters Wayne, Oliver and Megan (as portrayed by Jake Montgomery, Eduardo Rodriquez, and Zuleyl Castro) really capture the heart of this tale through the development and testing of their relationships and loyalties. Several of the actors also play multiple characters on stage, a difficult and impressive approach – common on the Live Theatre Workshop stage –  and all the more hilarious in this production, credited by eerily similar impressions of characters we know and love (love to hate).  

As a Potterhead myself, there was no shortage of hearty laughter and snorts coming from my direction. I can’t speak from the perspective of a mudblood who hasn’t read the source material that inspired this play, if this production would be enjoyable without understanding the original magical context. So if by chance – you the reader or your loved ones have not yet been exposed to a certain series containing wizardry and magic, I would highly suggest you do so before watching this production in order to fully appreciate all it has to offer. Bear in mind as well that this is a one act show and will not have an intermission, so prepare accordingly.

I highly recommend that those who have not yet seen this production, come support Live Theatre Workshop and spend an hour and half or so (maybe a little more), laughing and spell casting the night away. 

To purchase tickets for ‘Puffs’ (One Act for Young Wizards) visit Live Theatre Workshop’s website at  https://www.livetheatreworkshop.org/shows/att-now.html.  ‘Puffs’ runs until July 30th, Fri-Sat at 7 p.m., Sun at 3 p.m at the Live Theatre Workshop Children’s Theatre Stage on 3322 E Fort Lowell, Tucson, AZ 86716. Tickets

By Mara Capati

Rachel Pazos(Claire) and Gia Ndoye (Catherine) photo credit unknown.

“Director Gianbari Debora Deebom impresses with a strong directorial debut. She provides the audience with an intimate look into the lives and intricacies of bold characters whose interests and perspectives clash in a perfectly dissonant harmony, all throughout the production.”

Proof is a Pulitzer Prize and Tony Award winning American play written by David Auburn that premiered in the early 2000s. The play takes place during the same period of its original premiere in Chicago, Illinois and sets its focus on Catherine, the daughter and caretaker of Robert, a mathematical genius and former professor at the University of Chicago in his fifties. Robert passes after some time battling with mental illness and Catherine is faced not only with the death of her father, but the concerns and pressures from her sister, Claire, who has other ideas – incongruent to Catherine’s perspective – on what Catherine should or shouldn’t be doing to heal and find fulfillment in life. Hal, a former doctoral student of the late professor, also plays an integral role in the aftermath of Robert’s death, through forms of mathematical discourse and romance. Throughout Catherine’s grieving process, she faces scrutiny of her own genius and mental state, and is confronted with the complex problem of proving her capabilities, mentally and mathematically. This thought-provoking play explores themes of genius and mental instability, family and legacy, genetics, sexism, and credibility. 

Director Gianbari Debora Deebom impresses with a strong directorial debut. She provides the audience with an intimate look into the lives and intricacies of bold characters whose interests and perspectives clash in a perfectly dissonant harmony, all throughout the production. There are no frills or distractions here, as Deebom’s approach is direct and to the point. The audience is moved through every stage, after the fallout of Robert’s death, from the grieving process to the settling and resolution. Deebom’s interpretation of the heart and struggles of the twenty-something young adult and the aging father figure create a relatable space for adult children and their parents to reminisce and explore the challenges of young adulthood, aging, and how family dynamics evolve over time. 

On the technical end, Pima’s Black Box Theatre was the perfect space for this play to really shine. The actors could be clearly heard and felt in this setting. The audience is transitioned scene after scene through every season with the help of atmospheric music and simple but clever projections, all within the up close and personal staging of a porch and a single family brick home. The technical design for this production is a great testament to the “less is more” approach.

The production is double casted, presumably due in part to the small cast size the production calls for. I applaud this approach from the educational perspective as it provides more opportunities for student actors to shine and delve into both lead and supporting roles. The cast performing at the showing I attended were Gia Ndoye, Preston Campbell-Cueva, Mike Sultzbach, and Rachel Pazos. All of the actors did a phenomenal job on their delivery overall. Sultzbach’s interpretation of Robert embodied all the makings of a mathematical genius and a loving father. The range and development of this character in and out of the phases of mental stability was very well executed, leaving the audience to genuinely question the reality and semantics of Robert being deemed mentally ill versus other relative classifications with which he had never been formally diagnosed. The tension and back and forth through some of the more confrontational conversations between Catherine and Claire created a lingering tension and feelings of resentment and frustration between the characters’ competing interests and perspective. Ndoye and Pazos did an excellent job of portraying a realistic look into that sister relationship dynamic where one clearly feels they know better than the other. The level of contrast demonstrated in these characters was incredibly effective. While early on in the first act, I was a little skeptical and not completely sold on the chemistry between Catherine and Hal, portrayed by Campbell-Cueva, the more I witnessed their relationship develop and their individual character strengths and flaws arise, one particular realization came to mind: these are two mathematical prodigies for all intents and purposes, who do not necessarily subscribe to the dialogue or social behaviors that are perhaps more commonly depicted and romanticized when it comes to relationship initiation and attraction, early expression of feelings, sexual exploration, relationship building, and so on. My mind was changed by the conclusion of the play; their interpretations of the characters, in many ways, were really suited for each other – with total disregard for the unfortunate development that I will not mention to avoid any storyline spoilers. I enjoyed Ndoye’s take on Catherine and how she portrayed her dealing with the invasive inquiries and suggestions of her sister as well as the unique relationship she had with her father, clearly of genuine love and loyalty. 

As a behavioral health professional in the field, I couldn’t help but find myself deducing the factual behaviors of Robert and Catherine in regards to the suggested and stated implications of their “mental health state.” An important question as an audience is: whose perspective and reality are we viewing this through? And is this scope of experience factual or subjective? How can we separate perception from reality? In a social climate where discourse on the impacts of mental health risk factors is so prominent, I think this play is incredibly relevant and important, particularly when considering the objective examination of human behaviors and the factors which make someone clinically appropriate to diagnose as having a mental illness or disability versus a degenerative disease or a cognitive impairment, or neurodivergence, or something else. It’s easy to throw around diagnoses and words like “crazy” or stick individuals into stereotypes like the old man gone insane from his genius discoveries. For me, this production calls into question the differences in others, the fine line of autonomy, lucidity, and cognitive function, as well as how misinterpretations of the clinical definitions of these very serious diagnoses and stereotypes can cause significant harm and trauma to an individual when these dialogues are pushed onto a person or when appropriate interventions and treatment are not utilized. Thankfully, we have come a long way since the writing of this play in making evidenced-based and informed decisions about our loved ones when it comes to mental health and capacity and the rights of the patient. The character of Claire stands out to me the most in this regard and I think her behaviors and approach to try to “help” and “fix” Catherine, are still an echo in the mirror for many in our society, and one that we can learn from.
I highly recommend that those who have not yet seen this production, come support the Pima Theatre program and its students.

Get your tickets for Cabaret and future shows at Pima Community College | Ticketing – Ticket Office Home (universitytickets.com). The show runs until April 23rd, Th-Sat at 7 p.m., Sun at 2 p.m at the Proscenium Theatre on 2202 W Anklam Rd, Tucson, AZ 85709. General tickets are $15 and $10 for Students/Seniors/Military/Pima Employees/Groups.