Bat Boy’s adventures in the magazine were varied at best, but now you all can see his origination in musical form – “Bat Boy: The Musical” premiered at Cal State Fullerton March 12, and quite successfully at that.

It’s important not to approach this musical in a serious mindset – it’s not a piece that should be taken as anything more than good fun. There are some deeper social commentaries within the story (I can’t count the number of times I was able to make a connection to racism and bigotry), but that’s to be expected from a piece completely surrounding a character searching for acceptance from people who are clearly not used to tolerating anything remotely different.

The play itself surrounds the town of Hope Falls, West Virginia in the mid-1990’s. Something is killing all their cows – they refuse to believe it’s just the fact that they’re attempting to raise cows on a mountain – and when three siblings discover the Bat Boy in a cave within the town, citizens are quick to assume it’s him. The Bat Boy is soon brought to the family of the town veterinarian, the Parkers, so that he can be “taken care of” (aka killed) – but the loving mother is adamant in her wishes to treat him humanely. She names him Edgar and, with the help of her daughter, teaches him to speak and act sophisticated. The members of the town are still not convinced of his civility, however, and so unravels a tale filled with intrigue, mystery, and, of course, acceptance of things outside the norm.

The acting, though overdone to a degree by some, is quite engaging. The fact that some scenes are overacted only seems natural for the piece – it’s not a dramatic play, so there’s no need to drag scenes down by being anything less than enthusiastic. Jill Jacobs shines as Meredith Parker, the caring mother with a dark secret, and Maxwel S. Corpuz is hilarious as Mrs. Taylor.

Musically, the show was very effective. There is no fluff between the lyrics, and no songs drag on past their welcome. In its composition they display emotion, and in their lyrics the storyline, which is pretty much the goal of all tracks for musicals. There isn’t one number that seems out of place or awkward, they just all seem to fit. Don’t let yourself miss any lines from the songs, though, as most of them are absolutely hilarious.

From technical standpoint, the show is brilliant. Lighting effects are pleasantly abound, the sound is perfection, and the set is, in it’s minimalism, quite effective. The same stage was transformed with a few simple props from scene to scene, and the fact that not much actually changed was hardly noticeable.

While it’s a ridiculous concept, it’s an enjoyable one, cemented even further by an overall great production.

“Bat Boy: The Musical” runs through March 28 in the Young Theatre.

Photo courtesy of Jeff Vespa

By Damon Lowney
Daily Titan Online Editor

Let’s get this out of the way right now: I didn’t watch Pee-wee Herman when I was a kid, nor did I watch it when it appeared on Cartoon Network’s Adult Swim in 2006. Yes, I caught an episode here and there, but I just don’t enjoy him that much.

“The Pee-wee Herman Show,” his live show at the Nokia Club in downtown LA, which I attended last Thursday night, didn’t change my mind, which is a good thing for fans of the show, but not so good for non-believers like myself.

In fact, the live show was almost exactly how it is on the tube: bright and kid-friendly with blatant humor. Unfortunately, I can’t bring myself to laugh at jokes that aren’t funny, a fact the audience seemed to oppose.

That night’s secret word was “fun,” so every time one of Pee-wee’s friends said that word, the audience would answer with a hearty roar; the show was interactive to an extent. But, as I said, I don’t get it. I don’t understand why people watch this show and react to every corny antic. However, It was refreshing to go to a play that filled its intermissions with a classic cartoon, another mainstay of the show.

I think what draws people to this show is unexplainable. If a fan tried to explain why he or she likes Pee-wee Herman, I would probably lose myself in a flurry of half-baked theses. By the way, baking before the show might be a requirement to understand the madness.

It’s not a very deep show and it’s predictable, but it’s also unique because of it’s weirdness. What other show features a black cowboy dressed in purple and pink? This weirdness is trademark Pee-wee Herman, but there was some subtle adult humor thrown in for the older crowd to relate to.

Jambi the genie appears as the bodiless head that grants Pee-wee his wish, but before that happens, he receives a set of hands that he uses for something he “hasn’t done in a long time.” I wonder what that might be?

By the way, the audience wasn’t a bunch of kids watching their favorite television personality. The people in attendance were almost exclusively adults who grew up watching his TV show, Pee-wee’s Playhouse. Taking that into account, this production is obviously aimed at adults. Someone like me, who never paid attention to the show, could never be converted unless the appeal wasn’t for five-year-olds.

The funniest scene of the show featured a bear and Pee-wee sitting on a bench. He was mourning about his unselfish decision to give up his wish to his friend, Miss Yvonne. The bear wasn’t actually a bear; he revealed himself to be a man in a bear suit who had made some “mistakes” in his life. The bear made it clear that little Pee-wee could confide in him as he scooted closer to the gray-suited, white sneakered “boy.” I almost felt as if a van would roll up and abduct Pee-wee on set.

But if you are already a fan of the show, there’s a lot to like here. It doesn’t stray far from the tried and true Pee-wee formula that netted so many fans in the ’80s and ’90s. Paul Reubens, who plays Pee-wee Herman, is wise to cater to the generation that grew up watching him.

“If I could fly, I would be the luckiest boy in the world,” Pee-wee Herman stated shortly after the show commenced, but I’m not so sure this show will fly above the rest. In the end, well, I’m not going to tell you. If you are new to the show and you think $29.50 is not a fair price to pay to watch Pee-wee’s story, you shouldn’t go. Let the fans enjoy this one.

Not many family men have it in them to wake up early, go to work and make time for their kids; Jim Breuer is the exception.

Breuer, the stand-up comedian and actor who rose to fame as a cast member on Saturday Night Live as well as appearing in the stoner flick Half Baked has a new focus these days: his family. His new comedy show, “Family Man,” makes use of colorful impressions to illustrate life with his wife, children and his elderly parents.

“The new show is like Bill Cosby in a Metallica shirt,” Bruer said.

Breuer knew he wanted to be a comedian ever since he was a child. He did some sketch comedy in his senior year of high school and started to perform at comedy shows in 1985, drawing influence from Steve Martin, Richard Pryor, Eddie Murphy and George Carlin.

“I knew in 1989 this is what I’m doing for the rest of my life. I’m an entertainer,” he said.

Breuer recounted his favorite memory from his career thus far.

“Probably the first time I got to do a sketch with Joe Pesci and Robert De Niro.” One of Breuer’s consistent sketches on SNL involved him doing an uncanny impersonation of Joe Pesci alongside Colin Quinn as De Niro. “They’re the ones that wanted to do it. They were there just to do one sketch with me.”

Breuer noted that he only does impressions of people he is a fan of. “I’m a storyteller,” he remarked.

His break on SNL was a two-month process, which included three meetings, “comedy club fate,” and three auditions. He was the last new cast member at the start of the 1995 season.

Breuer said, “My first big break was the Uptown Comedy Club. My next big break is yet to be seen.”

Breuer’s relationship with his father plays a significant role where Bruer is headed nowadays. He does a very convincing, hysterical portrayal of his father in his stand-up including re-enacting embarrassing moments such as the incident where his father had an accident in his pants. His father doesn’t seem to mind and he even accompanied him on his tour last year.

“I make sure I have enough time (with my family). I take them on the road with me,” he said.

Another project Breurer is working on that includes his father is a documentary film. His other future plans include the live action comedy film, The Zookeeper, in which he plays a voice alongside with Adam Sandler and Kevin James as zoo animals who help their zookeeper woo a woman. Breuer also has a TV pilot in the works with NBC, which characterizes his current standup show. He is currently seen in an ad campaign for Pizza Hut.

When asked about the commercials, Breuer remarked “It came out of the clear blue sky. No audtioning.”

Breuer also had time to write a book.

“It’s an autobiography – what was going on in my life while you were watching Half Baked, this is what was going on at home.”

Breuer also has a radio show on Sirius Satellite called “Fridays with Breuer.” The show is about real life, no talk of news or media is involved in the show.

“The stage is much different than radio. Radio is a well-oiled machine, flying off the top. At home (the stage), it’s just dad and son.”

Breuer has appeared in two one-hour Comedy Central stand-up specials Hardcore and Let’s Clear the Air which was re-aired on Nov. 25 with a special segment called Thanksgiving with the Breuers. It was filmed with his family a few weeks ago.

With such a busy schedule, it’s a wonder what leisure time he has, if any. However, at the end of the day he’s still very much a family man. When asked about what he does in his free time he said, “I play with my kids.”

Jim Breuer performed at the Brea Improv Nov. 19 – 22. His current tour will end Dec. 12 in New York.

The days of stoner jokes and “Goat Boy” may be gone, but a new comedic era of family hijinks is here to stay.

“Peanuts” comic strip’s Charlie Brown and Sally equivalents, CB (Ben Sargent) and CB’s Sister (Grace Ann Murphey), star in the new production of “Dog Sees God” in Grand Central Theatre in Santa Ana. Photo courtesy Christine Drew Benjamin.

“Dog Sees God: Confessions of a Teenage Blockhead” follows an adolescent and copyright infringement-free Charlie Brown (now simply called “CB”) as he journeys through his teen years. After his beloved dog dies of rabies (and takes a familiar yellow bird with him), he is left to question life, love, and the torments of high school. We see older versions of some nostalgic characters, and being a huge Peanuts fan myself, I was able to catch every single playful jab and inside joke that the show had to offer.

Although the show primarily focuses on CB and his hunt for truth, every character was fully fleshed out and I had no problem accepting them as real people. People with serious problems, sure, but real people nonetheless.

CB’s sister is busy transforming into every identity she can think of, his old best friend has been constantly stoned ever since he smoked the ashes of his beloved blanket, his new best friend is too distracted by slutty cheerleaders to care and his ex-girlfriend has been institutionalized ever since she set the little red-headed girl’s hair on fire. Like I said, they have serious problems, but I sincerely cared about each and every one of them, especially the abandoned friend who spends his lunches playing piano in an isolated room.

Be warned though, for as wonderful as this show is, it is definitely not a show to bring your grandmother Prudence to next time she is in town.

The themes of drug abuse, sexual identity and teen violence are intended for mature audiences, and the show will not apologize for any hurt feelings. It is uncensored, unadulterated performed without an intermission, and it was my favorite theater experience of the semester without a doubt.

Every single detail, from the simplistic set, to the molding of the characters, to the outstanding performances by the ensemble, even right down to the music that was chosen to play during scene changes was brilliant. Scenes between CB (Ben Sargent) and Beethoven (Garret Hummel-Esparza) in particular were absolutely stunning, and a scene between Hummel-Esparza and Ryan Johnson left me breathless. Director Patrick Pearson really got to break loose with this show. His excellence in scene sculpting and his truly gifted eye gave “Dog Sees God” the raw kick in the teeth that the show begs for, and yet he was able to retain the softer and sweeter moments that had me in tears by the curtain call.

“Dog Sees God: Confessions of a Teenage Blockhead” is a spectacular show that should be seen by everyone who is not afraid of a little controversy. Even through all the show presents, it is hard to imagine anyone who couldn’t see the good in all this grief.

“Dog Sees God” will continue in the Grand Central Theatre this week and next. Tickets are $5 for students purchasing them at the CSUF box office next to the Nutwood Parking Structure, and $10 at the door (cash only for door tickets).

The theater is located within the Grand Central Art Center 125 N. Broadway in Santa Ana.

Stanley, played by Brian Rickel, and Blanche, portrayed by Bethany Mangum, have a conversation in Tennessee Williams’ “A Streetcar Named Desire” in the Young Theatre. Photo by Chad Uemura.

I never really liked reading “A Streetcar Named Desire;” I was forced to read it in high school, in college and again when I auditioned for the role of Mitch in a community theater version of the play.
This brings me to a total of three times I have read “Streetcar.” I saw the film adaptation as a freshman in college and still didn’t develop an interest in the story.

However, Cal State Fullerton’s production of “Streetcar” has made me fall in love with the play. It is possibly the best show of the season so far.

The play follows Blanche DuBois, an aging Southern belle, as she falls into poverty and moves in with her sister, Stella, in New Orleans. Although Stella welcomes her sister with open arms, her husband Stanley is not as gracious. As rifts form between the characters, the plot grows stronger and stronger before eventually reaching a fiery climax.

The story is absolutely unbelievable. Every word went toward strengthening the story, which was already quite strong. Although some may criticize its length, I found every moment to be as dramatic and fresh as the last. Time just zoomed by for me; every acidic stare and tiny flirt held my attention.
Each scene was incredibly well-crafted, and none of Tennessee Williams’ beautiful prose was wasted. The cast understood the brilliantly-painted picture that the story tells, and the director was smart enough to find the humanity within the characters.

As each scene progressed, I found that it was hard to evaluate the actors’ performances. Each character was well-defined and multi-dimensional, and I began to see the characters instead of the actors.

Instead of worrying about how the actor who played Stanley was able to produce such a great performance, I worried about Stanley’s relationship with Stella. This was a crucial part of the success of “A Streetcar Named Desire.” Each character was complex and complete enough to be given their own play.

Director Kari Hayter, teamed with scenic designer Fred Kinney, produced a all-encompassing experience for the audience. My seat, AA 27 Right, was right in front of the Kowalski dinner table and comes highly recommended.

Speaking of character immersion, Bethany Mangum fully transformed herself into the aging beauty Blanche DuBois. The script requires her character to be eccentric enough to border on lunacy, and she gave a raw performance that I did not disbelieve for a moment.

Molly Stilliens offered a magnificent performance as Stella, delivering a sweet yet fiery character who could be anyone’s older sister.

Finally, Brian Rickel gave his Stanley an almost-lovable vigor despite his beastly actions.

Too many actors portray Stanley as a monster, but Rickel successfully explored the human animal in Stanley. The audience was on their feet when the actors appeared onstage for their curtain call.

This performance of “A Streetcar Named Desire” is a trim, lovely and raw story that will keep you talking for hours afterward.

The story can’t be beat; the cast is excellent and the re-imagining of the show was polished to a high shine by Hayter.

“A Streetcar Named Desire” will run for the next two weeks in the Young Theatre on campus. General admission is $10 and $9 for students. Tickets are available in the box office located by the Nutwood Parking Structure or online at Tickets.com.

By Maureen Fox
Daily Titan Staff Writer

“A Streetcar Named Desire” stars, Brian Rickel (Stanley), left, Bethany Mangum (Blanche) and Molly Stilliens (Stella) wear costumes befitting 1940s New Orleans. Photo by Chad Uemara.

The costume shop in the Performing Arts Building at Cal State Fullerton is where costumes for all of the university’s productions are created. Costumes help bring characters to life and establish the mood, setting and locale for performances.

For the upcoming production of “A Streetcar Named Desire,” which opens Nov. 13, an estimated 49 costumes have been collected. Some reused from previous shows, some are original clothing from the 1940s, and others are designed and made completely by hand.

Abel Zeballos, a professor of theater and design who has taught at several universities and has worked in costume, hair and make-up design for many professional theaters in the area, is the costume designer for “Streetcar.” He began working on the play almost six months ago.

“I’m one of those designers that it doesn’t matter what I do; it’s the process that I like,” Zeballos said.

Zeballos said he gets his inspiration from the actors themselves, but that most of his ideas come from his conversations with the director, who gives an idea of what concept they want to go with. He said that “Streetcar’s” director is experimenting with the set but that she wants realistic costumes.

“Certainly we want the period look. It’s very important that we do it in the time Tennessee Williams says this is happening,” Zeballos said.

While Zeballos has been coordinating with the director for several months, the process for creating new costumes starts about six to eight weeks before opening night. The steps for putting together all the costumes for a production are time-consuming.

Costumes to be worn by the characters Stella and Blanche in the upcoming production. Photo by Chad Uemara.

“Streetcar” takes place in New Orleans in the 1940s. Because of the time period, Zeballos was able to reuse several costumes from previous productions. He then rented a few and located several original 1940s garments. He also found some dresses that he had altered to fit the time period. In the end, Zeballos only had to design and create three garments from start to finish.

After he sketched out his designs for the three outfits, Zeballos went in search of fabric.
He explained that designing and making costumes is all about the details.

Zeballos has to take into consideration how fabrics will look under stage lighting. He also has to make sure the costumes match the time period of the play. The fabric choices and styling must have the feel of the 1940s. Several actors will also change onstage, so even the underwear needs to be authentic.

Because of the time period and Blanche’s Southern-belle background, Zeballos is using a variety of silks, silk chiffons, silk taffetas and cotton for his fabric choices. Zeballos said he gets most of his fabrics from the garment district in Los Angeles, where the prices are cheaper and the selections are bigger.

Once they are designed, Zeballos then turns to his shop manager, Pam Bradley, to build the outfits.
Bradley, who has been working at CSUF for 19 years, said she loves the technical aspect of sewing. She takes Zeballos’ finished designs and turns them into the finished costumes. Of the three dresses being made from scratch, she is sewing two of them.

Zeballos explained that after she gets his designs, Bradley creates a pattern for the outfit, known as a mock-up, using leftover material from the shop. After the pattern is finished, Bradley sews the garment with the chosen fabric. For one of Blanche’s dresses, the pattern consists of white and blue scraps, but the finished product will be a rich, deep red.

Besides his shop manager, Zeballos relies on other shop assistants and graduate students to help him complete his projects.

One shop assistant is Chelsea Isaacs, who is working on altering a dress Zeballos found to make it look like it’s from the 1940s. She graduated from CSUF with a degree in theater acting in 1999 and has been working part time in the shop since 2001.

Isaacs said she loves working on the different projects and enjoys the company of her fellow workers.

“We have a good time,” Isaacs said. “We keep ourselves busy.”

Bradley Lock is another helper, a graduate student and costume stitcher who does a lot of alteration work. Lock graduated with his bachelors from the University of Southern Indiana and is working on his master’s in costume design.

Lock said he hasn’t decided if he wants to design costumes for theater or movies, but that he often gets his inspiration from the plays themselves. Lock said his favorite part is “seeing the finished product.”

Besides finishing up the costumes for “Streetcar,” the costume shop is also working on costumes for next week’s dance concert.

Lock laughed when asked how much work they have left to complete.

“I don’t even know. A lot,” Lock said. “But we’ll get it done.”

To finish in time for the shows, Zeballos said they will have to start working nights beginning next week.

They took the news well and joked about their workload. Despite the growing pile of costumes to make, the staff said they are optimistic about the finished products. Isaacs said she thinks the completed costumes for “Streetcar” will look “magnificent” on stage.

Some of the biggest stars on Broadway come together in a charity concert for the Make-A-Wish Foundation Orange County/Inland Empire chapter. Performers include: Eden Espinosa, Megan Hilty, Tim Howar, Norm Lewis, Laura Osnes, Seth Rudetsky, Kate Shindle, Laura Bell Bundy and Paul Canaan

Jacqueline Nguyen (who plays Kim) and Jesse Abeel (Chris) star in “Miss Saigon” which is presented in the Little Theatre at Cal State Fullerton through Nov. 8. Photo courtesy Jim Volz.

“Miss Saigon” follows the story of a young, orphaned Vietnamese bar girl named Kim.
When she is sold for the night to an American soldier named Chris, they fall in love and Chris promises to bring her back to America with him.

When complications about her negotiated husband and the rise of the Viet Cong arise, the bond of the two lovers is tested in a horrifyingly tragic manner.

Director Jon Lawrence Rivera’s revamped and minimalistic version of “Miss Saigon” brought the audience to a standing ovation by the end of the night.

Although I enjoyed most of the show, I found a deep disconnection in the story and many times I couldn’t understand what was happening.

Odd things occur without explanation, and although there may have been messages behind them, I couldn’t find any. It all just seemed so anti-climactic.

Some choices were powerful, and the interpretation of the helicopter landing was actually quite brilliant as long as you weren’t relying on seeing a helicopter.

The story simply needed to take more of a precedence over the spectacle of the show. It is a powerful story, there was no reason to hide it behind the lights and effects.

That isn’t to say it was a bad show. Quite the contrary, the performance of the principle roles were absolutely spectacular.

Jacqueline Nguyen offered a quiet and powerfully submissive Kim who broke my heart. I found a deep connection to Nguyen’s Kim, and although it is easy to fall into the traps that the role offers, Nguyen stepped over those pitfalls and gave Kim a silent strength that packs a powerful punch in the dramatic ending. I honestly cannot say enough about Nguyen and her co-star, Jesse Abeel.

Abeel’s solo of “Why God Why?” won me over in the first 20 seconds, and his fantastically honest portrayal brought me to my feet when he came out for his curtain call.

Chris Duir brought much needed laughter to the heavy show with his fiendish engineer. His final number, “The American Dream,” had the audience in an absolute uproar of laughter, and I found myself loving his character despite his slimy and rat-like ambitions. I just wish that the ensemble had been given the opportunity to shine as well.

Although the ensemble pieces were well-choreographed and the actors in the ensemble itself were quite good, they felt very under-directed.

Scenes that relied on communicating the brutality of war (or maybe the absurdity of war, the message was unclear) came across as sloppy and under-rehearsed. It just needed to be tightened up a bit.

Speaking of the music, have I mentioned yet that the show contains non-stop music and singing? It is one of the few musicals like “Rent” and “Phantom of the Opera” that contain little to no spoken words throughout. If there was one area that the cast and director absolutely pulled through on, it was creating an absolutely stunning auditory experience.

Every vocalist was absolutely fabulous, and the music coming from the pit was just heavenly. From beginning to end, the music was perfect.

Although “Miss Saigon” needs some polishing, it has a great story, fantastic performances and a musical score to die for. The play will be running until Nov. 8 in the Little Theatre on campus. Tickets are $20 for general admission and $18 for CSUF students.

TJ Mundy-Punchard (John) and Chris Duir (Engineer) in Cal State Fullerton’s production of “Miss Saigon,” with music by Claude-Michel Schonberg and lyrics by Alain Boublil and Richard Maltby Jr. The show runs Oct. 23 – Nov. 8 in the Little Theatre at CSUF. Photo courtesy Jim Volz.

“Miss Saigon” tells the tale of a Vietnamese bar girl named Kim who meets an American GI stationed in Vietnam during the war.

I will spare you the details to keep the show a surprise, but just know that Kim has a few horrifying skeletons in her closet, and the American is scheduled to be shipped back to America soon. The show runs through rivers of drama, culminating in a famous finale.

When the show first previewed on West End in 1989, it was critically hailed as the best musical of the year, and when it moved to Broadway in 1991, it was showered with the same praise.

It was nominated for every major award (including Best Musical) at the 1991 Tony Awards and won the majority of the acting merits that night. It has been performed in hundreds of cities across the nation, has been translated into 12 languages and is arguably one of the most recognized musicals worldwide.

Hopefully, now you can begin to see why people are buzzing with excitement about this show.

Last year, when the higher-ups were still choosing the shows to occupy this season, they set out on a quest to find a guest director that would be capable of helming the show.

“I remember the e-mail,” said Jon Lawrence Rivera, the show’s director. “They were looking for someone to re-envision ‘Miss Saigon.’ I had a couple of ideas already.”

Rivera’s re-imagining includes many unique and never-been-done ideas. He plays around with the juxtaposition of the characters and events within the show in a way that has never been introduced to a mainstream theater audience. Rivera also had a few words to say about his stellar cast.

“The talent pool is so good; I had no problem casting every role,” Rivera said. “They are an amazing group of actors, from the ensemble to the principles.”

Rivera said that during auditions, he was told by the head of the department, Jim Taulli, that there were certain actors who needed to be cast to fulfill the requirements of CSUF’s Bachelor of Fine Arts program. After auditions were over, Rivera said that he was just blown away by the level of talent in the program.

“(Taulli) didn’t tell me how good they all were,” Rivera said.

This production has also allowed a few actors to play roles that they have dreamed of playing for years.
“I’m really nervous because I’ve never had a huge lead, and this is the biggest part I’ve played in my entire life,” said Jacqueline Nguyen, who plays the main character, Kim.

Although nervous, Nguyen is confident that her training at CSUF has prepared her for the role.

“‘Saigon’ is an opera which has basically no dialogue, which is pretty straining on my voice,” Nguyen said. “But thankfully I’ve had great acting and voice teachers that have guided me and trained me well enough so that it isn’t as scary as I initially thought it would be.”

Jesse Abeel, who plays the GI who falls in love with Kim, was excited to collaborate with Nguyen.
“It has been fantastic working with Jackie,” Abeel said. “She is just a fantastic actress.”

Several of the themes that run through “Miss Saigon” deal with incredibly controversial issues such as race, sex and the rules of a war-torn country that is going down in flames.

Abeel really appreciates the rather intense themes that run through “Miss Saigon.”

“It’s not something you normally see in a musical,” Abeel said. “This is really serious stuff.”

Rivera wants the audience to leave understanding the message of love in “Miss Saigon.”

“I hope they can find a world where you can embrace people of all colors and all backgrounds,” Rivera said. “Their love exists even though there is war and that stuff in the background. I’d love them to understand the love that these people have. They probably do.”

Tickets are $20 for general admission and $18 for CSUF students.

Would you like to get out of Fullerton for just one night and enjoy a few drinks, maybe some dinner, followed by a night out at the theater? Evening of One Acts had the pleasure of opening in Grand Central theater last Friday, where it provided a splendid getaway from the everyday Fullerton nights. The location in Santa Ana isn’t that far away, in fact it is only a fifteen-minute drive from the Cal State Fullerton. Still, Grand Central proves to be a veritable mecca of culture, and its theater will have a short run of three CSUF-produced shows. For the next two weeks, the double feature of Woody Allen’s God and For Tiger Lillies Out of Season will be headlining at the Grand Central Theatre.

Every year, the graduating class of CSUF directors receive the honor of being offered the chance to direct a one act play at the Grand Central theater for the annual Evening of One Acts. The directors chosen this year were Theresa Elliot, who will open the night with Andrea Green’s For Tiger Lillies Out of Season, and Ric Perez-Selsky who will close out the evening with Woody Allen’s God.

For Tiger Lillies Out of Season follows Justine Danieu, a young woman who has been diagnosed with breast cancer. The show follows her strength through the ordeal and the strength of her friends and family as she battles the difficult decision of treatment. “It really places the power back into women” said Tiffany Toner, who will be portraying Justine Danieu in this heartbreaking account. For Tiger Lillies promises to be a breathtaking, eye-opening one act.

Woody Allen’s God follows Tiger Lillies showcases an incredibly non-sequitor idea of bringing an ancient Athenian actor and an old Greek writer together to discuss how to begin and end a play. The show switches back and forth from the present day to ancient Athens and spoofs many theater classics, including A Streetcar Named Desire. In fact, the entire show is one gigantic spoof on the theatrical tradition. “The audience is made very aware of their surroundings,” said Vernon Taylor, who will play The Writer. Indeed, the script was minorly tweaked by Perez-Selsky and the cast to suit its Grand Central home. It makes references to being located in Santa Ana, as well as being right next to The Gypsy Den, a cafe of many students. “I wanted to do something that was just incredibly funny, so I looked to Woody Allen,” said Perez-Selsky.

Grand Central Theatre is located off of the I-5 freeway. For further directions and parking information, visit www.grandcentralartcenter.com. Tickets are $10 for general admission and $5 for CSUF students.

Anna Ivanov, center, (Svetlana Efremova) discovers her husband, Ivanov (Ben Lambert) with Sasha (Hannah Parsons), with whom he is having an affair, in a scene from “Ivanov” by Anton Chekhov. The play continues in the Hallberg Theatre through Nov. 1. Photo courtesy Jim Volz.

The play opened to a nearly sold out crowd last Friday, and the Saturday night performance received a standing ovation at the end. I was absolutely blown over by this gem of theater.

The Hallberg Theatre’s intimate seating (I was an arms length from the actors at least 10 percent of the time) suited the show perfectly and brought the intensity that the play needed. And it was intense.

Before going into plot details, I must first commend Svetlana Efremova for her elegant and majestic turn as Anna. She gave her character a tired, fun-loving, yet viciously fiery coloring that illuminated her performance and brought a beating heart to the production. Every moment she was on stage, I found my heart drawn to her, and it cried to her on more than one occasion. If Efremova is the heart of the show, director Maria Cominis must have been the brain.

Cominis offered a feast of delicious imagery, ending with one of the most beautiful moments I have seen in theater. People, use the term “visionary director” way too often to describe mediocre helmers these days, but Cominis stepped up to the plate and delivered a chillingly gorgeous theater experience that refused to let me go. Her vision, combined with the outstanding work of set designer Natalie Rich allowed the show to explore hidden dimensions and brought the audience into the labyrinth of “Ivanov’s” complex story.

“Ivanov” follows the story of Nikolai Ivanov, a man who has grown tired of his life and seeks to renew it. His wife, Anna, has resigned from her Jewish heritage, Jewish family and even her Jewish name to be with him. And yet, Ivanov leaves Anna in her sickly state to attend parties in the city. When Ivanov meets a young Sasha and falls in love with her, he makes plans to leave the dying Anna to marry her. The public reacts in an outcry, claiming that he only wants to marry Sasha for what would surely be a large dowry.

Ben Lambert was terrific as the incredibly twisted and confused Ivanov.

You can tell he is a talented actor when you can sympathize with a character who leaves his dying wife for a younger woman.

And this is only the first half of the show. It is after the intermission that the tensions break like an enormous dam, flooding the audience with a wave of drama that they just did not see coming.
When I read the play in my freshman year of college, I had always seen it as just an incredibly sad show. I was delighted when I saw it to find that in addition to being the first tear-jerker of the fall season, some parts were really quite funny. Leave it to Cominis and guest artist James Young to lighten up this otherwise macabre and tortured piece of work.

Young plays Ivanov’s heart-warming, yet cranky uncle, and he brought the audience’s spirits up whenever he merrily trotted onto the stage.

Although Efremova and Young were the highlights of the show, the entire company was terrific, and I was hard-pressed to find a real weak link in the cast.

The show found its share of faults, however. A few scenes had dramatic issues that took me out of the show, and a few stylistic choices confused me and brought a nervous laugh from the audience. These were minor speed bumps.

By the end of the shows breath-taking finale, I had no doubt that what I had experienced was magical.

“Ivanov” will continue its run in the Hallberg Theatre on campus this Thursday, Oct. 15, continuing through Nov. 1.

Tickets are $9 for students, and $10 general admission.

Ben Lambert, playing the title character Ivanov, and Andrew Campbell, Borkin, in Anton Chekhov’s “Ivanov” performing Oct. 9 – Nov. 1 in the Hallberg Theatre on the Cal State Fullerton’s campus. Photo courtesy Jim Volz.

On second thought, you may want to save “Rumors” for after you have already seen Anton Chekhov’s “Ivanov;” you may need the laughter.

“Ivanov” (pronounced i-vawn-awv), follows the brilliant Nikolai Ivanov through the hardest moments in his life.

His wife, Anna, has been diagnosed with tuberculosis, and he has found himself in love with another woman while his wife is on her deathbed.

“He is in a tremendous amount of pain,” said Ben Lambert, a graduate student who has been given the tremendous task of mounting the complex character of Ivanov.

Director Maria Cominis wants to flesh out the script to its full potential.

“My hope is the audience will experience a play that is not entirely American,” Cominis said. “And while they enter into a world of Russian customs, they will find compassion for the weak, laugh at the absurdity of society’s judgment and be moved by beautiful storytelling.”

Cominis has the opportunity to direct Svetlana Efremova-Reed in the heartbreaking role of Anna, Ivanov’s wife. Efremova is an award-winning Russian actress who has also appeared in Chekhov’s “Uncle Vanya” on Broadway, as well as appearing in dozens of movie and television roles. Efremova offers more to “Ivanov” than just her acting ability; she also doubles as Cominis’ scene coach.

“Working with her and the students has truly been an enlightening collaboration,” Cominis said. “She has taught all of us about the Chekhovian style as well as Russian ways of life, especially how to drink vodka the right way, which you will see skillfully done in our production.”

Cominis and Efremova have been trying to get this show produced at Cal State Fullerton for years.
“We pitched it for many play selection committees,” Efremova said.

According to Cominis, the themes in “Ivanov” are incredibly “pertinent to current headlines.”
Indeed, a good deal of the play also deals with money, the health care that Anna receives and the lack of fidelity that has plagued society.

“This time in America is what the play is about,” Efremova said. “It’s a very thought-provoking play.”
In addition to the troubling subjects of money and health care, the show also deals with subtler and close to home topics of self-betrayal and sticking to one’s own principles.

Cominis has been blessed enough to not only receive one spectacular guest artist, but two. James Young, the very first chairperson for the CSUF Department of Theatre has stepped in to play Shabelsky, Ivanov’s cranky uncle. Young is also the person for whom the campus’ Young Theatre is named.

Cominis has claimed to have her “dream team” for this production, and it certainly seems as though this talented group of people will leave the Hallberg Theatre in pieces. “What a tremendous collaboration this has been,” said Cominis. “You just wish you could bottle it and keep it, but that is not the nature of theater. It is a living and breathing event, and there is always a beginning and an ending.”

“Ivanov” will begin its theatrical run tomorrow, Oct. 9, in the intimate Hallberg Theatre on campus. The show will only be running for four weeks, and the tickets are already selling out.

Tickets may be purchased at the box office near the Nutwood Parking Structure, or at Tickets.com. Tickets are $9 for students, $10 general admission.

So the word about Cal State Fullerton’s production of “Rumors” has hit the streets, and, although the show isn’t without its problems, it has proven to be well worth the money.

In case you aren’t familiar with the show, it follows the evening of four couples who fight tooth and nail to keep the truth of the night’s wild events from each other, and eventually from the police. Since they are all incredibly notable and wealthy couples, and the night’s events include an attempted suicide and a possible affair, the importance of keeping the events under wraps keeps the tension (and hilarity) ever mounting.

The lies, mistaken identities, sudden deafness and lack of information fuel the comedy in this farce, and even if you are unfamiliar with this kind of comedy, you may very well end up enjoying it. It was after all, written by the king of American comedy: Neil Simon.

The problems with the show did not come from the script, but rather the lack of rehearsal time that this particular show had to cope with. I have no idea who thought it would be a good idea to schedule a farce to be the first play out of the gate, but four weeks was simply not enough time to produce a show of this caliber. This is the type of show that needed at least another week of fine tuning to turn it into the masterpiece that “Rumors” should be. If it had been given that extra week, I am confident that this more than capable team could have reached that height of praise.

Segments ran slower than they should have, a few lines were flubbed, and an occasional joke was missed, but the other 75 percent of the show kept me and the audience in stitches. You really have to hand it to director Kevin Slay who managed to get the show up and running in its absurd four week time frame. It was staged fantastically, and Slay managed to flesh out the funnier bits that were not in the script. It is easy to see, then, why an amount of the more “showy” bits seemed odd and unfunny. “Farce” does not have to mean “forced.” This did not happen often, but when it did happen, the joke did not land, and the audience simply ignored it and waited for something else to catch their attention. Then something else would quickly jump in to make them laugh.

The show is simply structured that way. Hit, hit, miss. Hit, hit, miss. If a joke doesn’t land, it doesn’t matter because an even better one is on the way.
The play throws one joke after another because it is a joke machine. That is what Simon intended with “Rumors,” and this production is still a joke machine, a very good one that just needs a little maintenance and a few bolts tightened. And by bolts, of course, I mean actors.
The actors in this incredible ensemble piece really pulled this through, and it was easy to see what gags had originated from the actor’s instinct and which came from Slay’s incredibly creative mind. Now, because the show is a very good example of an ensemble piece (a show that has no real “lead,” but rather depends on a small cast to come together to make it work) and because space is constrained, I only have enough space to mention two actors.

That being said, let us discuss Collin Hurst’s performance as Lenny. He was fantastic. Every word out of his mouth kept me laughing my head off, and I know why. He was not only outrageous, but he was completely justified in being outrageous. Many inexperienced actors jump to the emotions needed for a scene without stopping to figure out what circumstances would bring them to that place. Hurst did the grunt work, and it positively shined in his performance. He made the farce real for him, and acted out of a place of total reality that allowed the natural comedian in him to jump out and make the audience roar with laughter. I never once questioned the validity of his character because I was just too damn busy laughing. This is Hurst’s first major role at CSUF, and I can promise everyone reading that it will not be his last.

Another actor who absolutely floored me was Ruby Hanger as Cassie. Her sharp and precise performance kept me laughing, even though her character was an utterly delicious bitch. She made me enjoy watching a wife attack her husband, which is something that most TV sitcoms have failed to do.
I can’t even place exactly how she did it, but she absolutely inhabited the character, every single move she made animated and colored her actions further.

If I may say it in a general statement rather than an in-depth analysis of each actor, the cast was fantastic. Only two members of the cast didn’t seem to bring their A-game, but no names will be mentioned for courtesy’s sake.
Although “Rumors” had its share of shakes and jolts, it was mostly an enjoyable show with a very talented cast. A little tightening, some closer directing, an extra rehearsal or two and a little more vocal work would take this play a long way. On the brighter side, the show was infinitely funnier than sitting at home watching “Family Guy” re-runs or watching “Superbad” for the hundredth time.

“Rumors” runs until Oct. 18 in the Young Theatre on campus.

The stars made their way down the black carpet toward the screaming fans for the premier of Fame, last Wednesday at The Grove in Los Angeles.

The evening kicked off with a live performance by cast member Asher Book’s band, V Factory, followed by an introduction of the cast. Naturi Naughton, who plays Denise Dupree in Fame, performed the film’s title song with pitch-perfect vocals and got the crowd going.

With the live performances and crowds of people gathered around the enormous stage set up in front of the theater, many who didn’t know about the event were drawn over to see what was going on. Kristina Turner, 25, of LA was shopping with friends when she saw a sign promoting the Fame premiere. “I told my friends that I was just going to stay by myself and try to get into the screening. I knew it was a long shot but I was so excited when I ended up getting a ticket.”

When the concert was finished, stars and fans alike were ushered into one of the Pacific Theater’s 14 auditoriums. By the time the movie began, every seat in the house was filled with excited fans enjoying their complimentary popcorn and soft drinks.

After the movie ended, people congregated in the lobby of the theater where the film’s cast was happy to take pictures and sign autographs. Many fans, including Pam from LA, were pleasantly surprised to be in such close and casual proximity to the stars. “I was in the restroom and saw Megan Mullaly in there. I was just sort of taken aback that there I was, washing my hands next to this movie star.”

The general buzz afterward was positive. Attendees seemed excited about the film. Lauren Park, a Cal State Long Beach student who won tickets to the premiere from KIIS FM, had mixed feelings about the movie. “I really love the music and dancing in the movie. The overall energy was great. The story line was a little weak and I was a little disappointed that they left out important characters from the original film, but overall I liked it.”

Fame, a remake of the ’80s musical, follows a talented group of dancers, singers, actors and artists over a period of four years at New York City High School of Performing Arts where they must compete for a chance to live out their dreams and achieve fame. The story weaves in and out of the lives of several individuals during their four years of high school while they endure immense pressure from teachers and parents, heavy workloads, and the everyday struggles that come with being a teenager, all the while striving for his or her moment in the spotlight.

The ensemble cast is made up of familiar types. Among them is Denise (Naturi Naughton), a classically-trained pianist trying to break free of her controlling father and pursue singing. Jenny (Kay Panabaker) is a young aspiring actress who is self conscious, but is coaxed out of her shell by Marco (Asher Book), who is comfortable in the spotlight. Other characters include overzealous dancer Alice (Kherington Payne), aspiring film director Niel (Paul Iacono), and the misunderstood rapper-actor Malik (Collins Pennie).

While the film is certainly entertaining, it was difficult to connect with the characters due to the plot switching back and forth and jumping from freshman, sophomore, junior and senior years. Overall, the film was entertaining, keeping the audience engaged with excellent music, talented musicians and wonderfully-choreographed dance numbers.

Glen, played by Nick Rocz, right, laughingly realizes he has mistaken Ernie, portrayed by Richard Curtis, as the butler in a scene from Neil Simon’s “Rumors,” opening Oct. 2 at the Young Theatre on campus. Photo by James Bean.

According to director Kevin Slay, “Rumors” is a “masterpiece of comedy” that has been performed thousands of times in hundreds of theaters across the nation. The show has earned every morsel of praise it has received. When it hit Broadway in 1988, it was hailed as “not only side-splitting, but front and back splitting!” by NBC TV.

The students began rehearsal the week the cast list went up, the first Friday of the semester, and although the schedule was cramped, the students worked hard and had no difficulty finding time to laugh on set.

“The cast has made it fun,” Slay said. “They are just dynamite, and they make me laugh every day.”

Slay received his master’s degree in directing from Cal State Fullerton last year, and has been invited back to direct “Rumors” this semester. His past credits include last semester’s “Some Girls” at the Grand Central Theatre in Santa Ana, and his ACTF nominated “As You Like It” last year. Slay has had a blast with his cast for the past month, and looks forward to inviting patrons in to laugh with him and the cast.

Indeed, the set seemed to provide freedom for comedic exploration. Everyone in the cast had something to say about the rehearsal process. “We are really good at making each other laugh,” said Alexandria Harris, a bachelor of fine arts recipient. “Making people laugh is something I love doing, and I finally get to do it.”

Although the subject of a major political figure attempting suicide only to end up with a hole in the ear lobe may seem macabre, the show’s focus is much lighter.

“It isn’t a heavy, deep play,” Slay said. “It’s doors slamming and phones ringing. It’s zany, and it’s electric.”
The script is the very definition of a farce – though, through the door slamming, temporary deafness and mistaken identity, there is a second creamier layer of a subtler comedy.

Lenny (Collin Hurst), left, and Claire (Erica Sinner), right, try to pry the information of what happened to Charlie and Myra out of Ken (Jeff Martin) in “Rumors.” Photo by James Bean.

The cast wholeheartedly trusts the comedy of Neil Simon, and recognize his “masterpiece” as a landmark of American comedy.

“I defy you to find someone who wouldn’t enjoy the show,” said Richard Curtis, a junior theater major. “You will have fun at this play … you will have a phenomenal time, and quote it, and possibly want to see it again.”

The show will begin its run Friday night, Oct. 2, which is reportedly nearly sold out.

Rumors of the show’s success have reached the student population, and they are beginning to respond.

“I saw the show when I was just starting to get into theater,” said sociology major Kristina Van Hoogmoed. “And I laughed so much my face hurt.”

“Rumors” will be running Thursday through Saturday night at 8 p.m., and Sundays at 2 p.m. through Oct. 18 in the Young Theatre on campus.

“It’s really a two hour show,” Martin said. “But those two hours to Joe Theater-goer will be the best two hours of his week.”

Tickets are on sale at the Performing Arts box office near the Nutwood parking structure, or on www.tickets.com.