The Beast In Me lyrics by Johnny Cash

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Richard Nixon meets Johnny Cash 

The Beast In Me lyrics Johnny Cash 

Written by Cash's in-law, Nick Lowe, The Beast in Me featured on Cash's American Recordings.

Lyrics

The beast in me
Is caged by frail and fragile bars
Restless by day
And by night rants and rages at the stars
God help the beast in me

The beast in me
Has had to learn to live with pain
And how to shelter from the rain
And in the twinkling of an eye
Might have to be restrained
God help the beast in me

Sometimes it tries to kid me
That it's just a teddy bear
And even somehow manage to vanish in the air
And that is when I must beware
Of the beast in me that everybody knows
They've seen him out dressed in my clothes
Patently unclear
If it's New York or New Year
God help the beast in me

The beast in me

Check out the lyrics to Cash's Drive On from American Recordings.

Let the Train Blow the Whistle lyrics by Johnny Cash

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Let the Train Blow the Whistle lyrics by Johnny Cash

A Johnny Cash original, released on his folk album, American Recordings.


Lyrics

I don't want no aggravation
When my train has left the station
If you're there or not,
I may not even know
Have a round and remember
Things we did that weren't so tender
Let the train blow the whistle when I go

On my guitar sell tickets
So someone can finally pick it
And tell the girls down at the Ritz
I said hello
Tell the gossipers and liars
I will see them in the fire
Let the train blow the whistle when I go

Let her blow, let her blow
Long and loud and hard and happy
Let her blow No regrets, all my debts will be paid
When I get laid Let her blow, let her blow, let her blow

You'll be left without excuses
For the evils and abuses
Down to today from years and years ago
And have yourself another toke
From my basket full of smoke
And let the train blow the whistle when I go

Let her blow, let her blow
Long and loud and hard and happy
Let her blow No regrets, all my debts will be paid
When I get laid Let her blow, let her blow, let her blow

Check out Johnny Cash's lyrics to The Beast Within.

Delia's Gone lyrics by Johnny Cash

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Cash at San Quentin prison

Delia's Gone lyrics by Johnny Cash 
A hit for Cash in the early 60s, Cash re-recorded this version for the America Recordings albums. 
Lyrics 
Delia, oh, Delia Delia all my life
If I hadn't have shot poor
Delia I'd have had her for my wife
Delia's gone, one more round Delia's gone

I went up to Memphis
And I met Delia there Found her in her parlor
And I tied to her chair
Delia's gone, one more round Delia's gone

She was low down and trifling
And she was cold and mean
Kind of evil make me want to Grab my sub machine
Delia's gone, one more round Delia's gone

First time I shot her I shot her in the side
Hard to watch her suffer
But with the second shot she died
Delia's gone, one more round Delia's gone

But jailer, oh, jailer Jailer,
I can't sleep 'Cause all around my bedside
I hear the patter of Delia's feet
Delia's gone, one more round Delia's gone

So if you woman's devilish
You can let her run
Or you can bring her down and do her
Like Delia got done
Delia's gone, one more round Delia's gone
Check out the lyrics for Cash's Let the Train Blow the Whistle

American Recordings lyrics by Johnny Cash

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American Recordings lyrics Johnny Cash

American Recordings was the first album in what became a hugely sucessful series of recordings for Johnny Cash. Featuring covers of Cash's own contemporaries, original songs written by himself and for him, American Recordings was a return to form for Cash and served as a brilliant bookend to an already brilliant career.

Lyrics:

• Delia's Gone
• Let the Train Blow the Whistle lyrics
• The Beast In Me
• Drive On lyrics
• Why Me Lord
• Thirteen lyrics
• Oh Bury Me Not (Introduction: A Cowboy's Prayer)
• Like a Bird
• Tennessee Stud
• Down There by the Train
• Redemption lyrics
• Like a Solider lyrics
• The Man Who Couldn't Cry

Jesus and God in Johnny Cash's lyrics

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Jesus and God in Johnny Cash's lyrics

Some might say Johnny Cash was bad guitar player, an alcoholic, a fire starter, a womanizer and a brawler. That's all arguable but you cannot deny that Johnny Cash was a god fearing man. He's quoted as saying:

"The Master of Life's been good to me. He has given me strength to face past illnesses, and victory in the face of defeat. He has given me life and joy where other saw oblivion. He Has given new purpose to live for, new services to render and old wounds to heal. Life and love go on, let the music play."

"Creative people have to be fed from the divine source. I have to get fed. I had to get filled up in order to pour out."

Cash sure fed him self on songs whose lyrics refer to Jesus, especially for the American Recordings series. Here's quick run through of some of them.

I Came to Believe's lyrics suggest a man who has been through some troubled waters and has found solace in God, perhaps through necessity to survive.

God's Gonna Cut You Down is a classic Cash song where lyrics are a particular warning to sinners that no matter how hard they try, they will not avoid God's judgment. The same should probably be said of The Man Comes Around which tells the tale of The Second Coming.

Personal Jesus is a quite a different song. The reference to Jesus is some kind of quasi love song where the other party substitutes in for Jesus.

The Wanderer was a song Johnny Cash did with U2 on their Zooropa album - it refers to a man who has been making a journey in a post-apocalyptic world where he's finally realised that he better get on home to Jesus.

Meet Me In Heaven is a tender love song where the singer knows he's going to Heaven and when his partner dies, they'll end up at their side.

That Lucky Old Sun tells the story of man who works real hard and is disappointed he's not getting any reward while the sun gets to play in the heavens all day - the character ask's the Good Lord if he can hear his concerns. Even more heavy on the asking God to fix a problem is The Kneeling Drunkard's Plea - once you're at the bottom, sometimes the only way out is to look to the Heavens for help. I Hung My Head echoes this sentiment - a murderer has realized his shame and asks God for forgiveness.

"D'Arc: Woman On Fire" at Main Stage West, Sebastopol CA

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"D’Arc: Woman On Fire"
by Amanda Moody and Jay Cloidt

Main Stage West, Sebastopol CA

Reviewed by Suzanne and Greg Angeo
Photos by Mark Estes


Saints Alive

For some, theatre is entertainment, but for others, it must offer more – a sense of gravitas, enlightenment, provocation, stimulation, revelation. “D’Arc: Woman On Fire” has it all.

Told by means of an abstract musical presentation, it’s the story of a chain of intercession that has its beginning in heaven: Saint Michael the Archangel reaches out to 13th-century teenage French peasant girl Jeanne d’Arc; she in turn reaches out to present-day Joanne, an American woman whose grown daughter has gone missing in a chaotic, faraway land. Saint Joan makes her presence known to mother Joanne - and to us - in uniquely unsettling ways.

After first being presented in its nascent form in January 2006 at the Women On the Way Festival in San Francisco, and going on to performances at other venues, Amanda Moody and Jay Cloidt’s powerful musical score was released on CD in 2009 to critical acclaim. The North Bay premiere of “D’Arc” at Main Stage West (formerly Sonoma Repertory Theater) is a renewed collaboration between playwright/actor/singer Moody and composer Cloidt, joined by noted cellist Elaine Kreston and director Melissa Weaver.

In this newest version of “D’Arc” there are but two performers onstage, Moody and Kreston, supplemented by recorded music and vocals that blend seamlessly. The passionate score plumbs the depths of the human soul and soars with saintly ecstasy in warrior ballads like “Skin of Iron” and “Born In Blood”, the contemplative “Prayers”, the touching “Miracles”, and the wailing gospel of “10,000 Silver Doves”. Most hauntingly unforgettable is “If I Leave the House”, Joanne’s frantic anthem of fear. Musical styles range from blues to classical, from eerie electronic dissonance to what could be Native American spirit music.

The talent is beyond impressive; it’s formidable. Cellist Elaine Kreston’s richly deep chocolate brown tones provide vivid contrast for the fierce gleaming silver of Amanda Moody’s vocals, fully showcasing her four-octave range. Moody’s voice can be insanely shrill, whispery soft, operatically sublime; the roar of a lioness, the shriek of a child. As an actress, she has the difficult task of pivoting from the role of Saint Joan to Joanne and back again, over and over, throughout the 90-minute piece. She is truly superb, as gifted an artist and performer as could be hoped for on any stage, from here to New York to the West End.

Director Missy Weaver chose simple staging, possibly due in part to the narrow confines of the venue. This serves the story well, as it takes place entirely in Joanne’s apartment which has become her prison. The recorded sound coordination by director Weaver and technician Brendan Aanes is perfectly synchronized with the performers onstage. The light effects by technician April George cast stark shadows and blazing colors on Joanne’s world.

After all is seen and heard, the final blessing from Saint Joan to Joanne is unclear, although one gets the sense that Joanne learns to face her own reality fortified by the warrior maiden’s courage. She can finally emerge from her shell, literally and figuratively, to carry on in our frightening world.

“D’Arc: Woman On Fire” burns fiercely bright, a gift to those who appreciate original musical performance and unconventional storytelling.

When: Now through June 5, 2011
8 p.m. Fridays and Saturdays
2 p.m. Sundays
Tickets: $15 to $20
Location: Main Stage West Theater
104 N Main Street, Sebastopol CA
Phone: 707-823-0177
Website: www.mainstagewest.com

"The Mystery of Irma Vep" at 6th Street Playhouse, Santa Rosa CA

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Reviewed by Suzanne and Greg Angeo
Photo by Eric Chazankin: Craig A. Miller (left), Ryan Schabach

Campy, Vampy Irma Really Hits the Spot

Charles Ludlam’s brilliant farce pays spoofy homage to just about every old mystery movie you can think of: “Rebecca”, “Laura”, “Nosferatu”, “The Mummy’s Curse”, “Wuthering Heights”, “The Werewolf” - a crazy quilt of fun and surprises that will keep you in stitches from beginning to end.

“The Mystery of Irma Vep” premiered in 1984 off-off Broadway to critical acclaim and awards. It was ultimately hailed by Time Magazine as one of the best plays of the year, going on to become one of the most widely produced plays in the United States. Included in the performance rights is an amusing clause that states the two actors that perform all seven roles must be the same gender, “to ensure cross-dressing”. Playwright Ludlam’s career included many adventurous off-Broadway productions under the auspices of his very own Ridiculous Theatrical Company, which fully lived up to its name. “The Mystery of Irma Vep” was his only hit, starring Ludlam himself and his romantic partner Everett Quinton.

Director Marty Pistone says his aim is to make his audience forget their troubles with laughter, and he hits his target. He comes from a family of New York vaudevillians and really knows his stuff, infecting his cast with his zany sense of the absurd, of slapstick, and of pure joy.

Craig Miller and Ryan Schabach play, in every sense of the word, a dizzying assortment of characters with quickie costume (and attitude) changes. These guys are so good you forget there’s just the two of them. We get to see them in dresses and trousers, flapping shrouds and stripper’s tassels. Even furry, pointy ears are donned at one point in the proceedings. Their chemistry and comic timing is impeccable, reminiscent of Laurel and Hardy, but perhaps a bit more on the subversive side.

After working behind the scenes as Sixth Street’s new Artistic Director, Miller takes the stage and it’s a pleasant surprise to discover he clearly belongs there. We hope he’s done hiding his light under a bushel, because he is nothing short of brilliant, a first-rate comic. The well-upholstered Miller sashays about in floor-length frocks and silly wigs, shattering the fourth wall time and again with comic bravado.

Schabach is superb, playing his several roles with perfection, making clever use of comic mugging, pratfalls and just plain shtick. The results are irresistible. His entrances and exits are particularly noteworthy and will make you smile days or even weeks later.

The amazing pianist and Foley artist extraordinaire Janis Dunson Wilson is fully involved in every bit of action from her station downstage left, providing a rich array of music, sound effects, cues, and more. The scenic designer David Wright deserves special mention for some really crafty set pieces integral to the story, from the stately manor to the Egyptian tomb and back. Can we say Mummy’s sarcophagus and moving bookshelves without giving too much away?

When the two gents and the lady finally come downstage center at the end of the show to take their bows, the audience jumps to its feet, whooping and cheering in a much-deserved standing ovation. This is one smart and funny feel-good show that everyone will enjoy. It's a scream!

When: Now through June 26, 2011
8 p.m. Fridays and Saturdays
8 p.m. Thursdays June 9, 16 & 23
2 p.m. Saturdays June 11, 18 & 25
2 p.m. Sundays June 5, 12, 19 & 26
Tickets: $15 to $32
Location: 6th Street Playhouse GK Hardt Theatre
52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

William Shakespeare's "The Tempest", Forest Meadows Amphitheater, San Rafael

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“The Tempest” by William Shakespeare

Marin Shakespeare Company
Forest Meadows Amphitheater
Dominican University, San Rafael CA


Reviewed by Suzanne and Greg Angeo

Photos by Eric Chazankin:
Top photo - two of "The Qualities" collective
Bottom photo - Robert Parsons (l), Michael Torres

A Thrilling Tempest Comes To Forest Meadows

Many people avoid Shakespeare for much the same reason others avoid opera – they can’t understand what’s happening onstage. Elizabethan English is, for them, like a foreign language. But with help from the right director and actors, this barrier can be overcome, and the pleasures of Shakespeare made accessible. In this regard, is Marin Shakespeare Company’s amazing new presentation of “The Tempest” successful? Yes, because of the stunning use of creative storytelling and stagecraft. And no, because at times the language barrier remains in place.

But whether you are a Shakespeare fan or not, this is one show well worth checking out. The newest incarnation of Shakespeare’s classic fantasy-romance takes inspiration from Victorian-era sci-fi and literary works, and some modern ones too. If you enjoy the far-out tales of Jules Verne and H.G. Wells, and groundbreaking TV shows like Star Trek and The Wild Wild West, you will love this bizarrely electrified version of “The Tempest”. It’s loaded with extraordinary visual and sound effects that must be seen (and heard) to be believed.

“The Tempest” is a rich source of such oft-quoted expressions as “brave new world”, “what’s past is prologue” and “we are such stuff as dreams are made on”. Multiple themes are explored: Is science magic, or is magic science? Is vengeance important, or even necessary? Are people enslaved by power or culture? And that old favorite - is there such a thing as love at first sight? Some Shakespearean scholars suggest that the real underlying theme of “The Tempest” is colonialism - of the New World in general and the Caribbean Islands in particular. Watch closely for this one, you may just see it.

In Shakespeare’s original, Prospero, the deposed Duke of Milan, is a wizard stranded for 12 years on a remote island with his now-teenage daughter, Miranda. Their only companion is a strange and monstrous humanoid called Caliban. Prospero plots revenge against those who took his title and property from him, using magic as a powerful weapon.

In visionary director Jon Tracy’s adaptation at Forest Meadows, it’s 1901, not 1601. Prospero (Robert Parsons) is a mad scientist, assisted by the beastly Caliban (Michael Torres), who lusts after wild-child Miranda (Sarah Gold). Parsons is impressive overall, but he is so opaque in the interpretation of his lines in the opening scenes that Prospero’s intentions are not immediately clear. It’s only in the second half of the play that we begin to understand the true nature of his character.

Michael Torres as Caliban delivers a riveting and articulate performance. He makes his semi-monster the most sympathetic and well-drawn character of the entire show. Sarah Gold’s Miranda is sweetly boyish and rough-hewn, easy to understand and to like. Marin Shakes Artistic Director Robert Currier delivers a sturdy performance as Alonso, King of Naples, who arrives on the scene with his handsome young son Ferdinand (Alex Hersler) after a shipwreck on Prospero's island (which turns out to be no mere coincidence). Their fellow castaways, all turning in solid performances, are Christopher Hammond as Gonzalo, Scott Coopwood as Sebastian, James Hiser as Prospero’s treacherous brother Antonio, and in a bit of comic relief, the delightfully drunken duo Trincula (Lynne Soffer) and Stephano (Cassidy Brown). In a meet-cute moment, the lovely Miranda is instantly smitten by Ferdinand, played by Hersler with enough sincere charm and strength to captivate even the wildest girl’s heart.

What may be the most entertaining character in the show, presented with jaw-dropping style, is the spirit Ariel taking form as a collective of six automatons dubbed “The Qualities”. They were created by Prospero to carry out some shady assignments. The six actors perform in perfect unison, including acrobatic back-flips into various trap doors. They speak in unison, too, mouthing their lines wordlessly, like cartoon characters in an old anime film. The costume designer, Abra Berman, deserves special mention for her spectacular work, especially in helping interpret “The Qualities” with such imagination. Sound designer/composer Brendan Aanes has created a truly original sound track for this production with certain effects that can lift you right out of your seat. The set design by Nina Ball, and lighting by Ellen Brooks, have many unique and transformational elements, fully integrating with the score, sound effects and actors.

Director Jon Tracy holds the audience spellbound with his bold and imaginative realization. His “Tempest” is a brilliant achievement. One thing - just a tiny thing, really - seems a bit odd, given the liberties taken with the setting and approach. That is, having the actors use the Elizabethan pronunciation “Millen” instead of the more recognizable “Milan”. Authenticity doesn’t seem to be an important consideration here, so why say Millen when you mean Milan?

This is not just any play, and certainly not just any Shakespearean play. It is an uncommon adventure to a brave new world, an experience not to be missed, or forgotten.

When: Now through September 25, 2011
Performances: Fridays & Saturdays 8 p.m.; Sundays 8 p.m. & 4 p.m.
Tickets: $20 to $35
Location: Forest Meadows Amphitheatre at Dominican University of California
1475 Grand Avenue, San Rafael CA
Phone: 415-499-4488
Website: www.marinshakespeare.org

"Kite's Book" at 6th Street Playhouse, Santa Rosa CA

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“Kite’s Book: Tales of an 18th Century Hitman”
by Robert Caisley

Presented at 6th Street Playhouse
GK Hardt Theater, Santa Rosa CA

Photo by Eric Chazankin:
(from left) Rahman Dalrymple, Adam Burkholder

Reviewed by Suzanne and Greg Angeo



Have Sword - Will Travel

It’s an ominous sight: three huge gallows looming over the stage, smoke hanging in the air and a young man about to be torn apart by wild horses, but it offers only a clue to what’s in store. The West Coast premiere of “Kite’s Book: Tales of an 18th Century Hitman” at 6th Street Playhouse is a delight-filled black comedy supreme. And yes, there is gallows humor and glorification of the macabre, just in time for Halloween.

Charming assassin-for-hire Harry Kite chooses his clients carefully, based upon his own strict personal code. He is also a vigilante of sorts, a hero of the lower classes who takes matters into his own hands when he sees those in power, like corrupt judges and politicians, getting off scot-free with their crimes. In Harry Kite’s book, murder is the rational, even moral, thing to do. Thus he has become a celebrity - and a wanted man.

The play was conceived in the heat of the sensational early 1990s courtroom dramas featuring the scandals of O.J. Simpson, the Menendez brothers and Michael Jackson. Playwright Robert Caisley was a young teacher at Illinois Wesleyan University at the time. He was struck by the fact that the mob reaction to the trials he saw on TV reminded him of the teeming crowds gathered to observe the very public executions in 18th century London. His response was to craft a play that, despite its 1750s setting, has a bright, fresh message and is brimming with fascinating conflicts: liberal versus conservative, class warfare, illicit love and social Darwinism.

The system of crime and punishment in a society is a barometer of its social justice. Throughout human history the “haves” have imposed their rule upon the “have-nots” in a seemingly endless vicious circle. “Kite’s Book” vividly reminds us of our own times, with the distance of time providing a disconnect: a new way to see what’s happening right in front of us, on the stage and in the world. This Brechtian approach (named after the hugely influential German playwright and director Bertolt Brecht) also uses characters to represent ideas, rather than people, and in unexpected ways. It allows the audience to focus on the larger issues presented, rather than the individual characters. The audience carries this experience out of the theater and into their lives, with a lasting effect.

Director Craig Miller’s connection to “Kite’s Book” dates back to his college days at Illinois State University, where he and playwright Caisley met in the early 1990s. When Caisley returned to ISU in 1996 to present his new play “Kite’s Book”, Miller recalls being “absolutely enthralled” by the story. In the years since, he has waited for the opportunity to direct it, and is pleased to present it now at 6th Street. Miller came on board as Artistic Director earlier this year, and in that short time has proven again and again that he has considerable talents to bring to the party. Miller imbues this work with sensitivity, energy and dark humor.

At the beginning and end of the play, the actors assemble onstage as a “canting crew”, a period term used to describe a group of gypsies and thieves who speak in unison with the rhyming slang of the day set to verse, vaguely reminiscent of today’s hip-hop. The effect is spellbinding, rather like a subversive Greek chorus. The music of “Danse Macabre” by French composer Charles-Camille Saint-Saens provides the perfect theme. The raked stage showcases duels with pistols and swords, heavy romance, intrigue, and one silent, powerful scene that is simply too intense to describe in words.

The cast of characters is worthy of the tale, and each performer is brilliant in their own right. We have a wicked judge, Lord Hardwick (Barry Martin), and his beautiful, abused wife Mary Summers (Courtney Walsh). Two public officials, associates of the judge, couldn’t be more different: the fair-minded populist Romilly (Guy Slater) and the scheming, pompous Welles (Larry Williams).

Then there’s the crazed pimp Jack Wyld (Tice Allison) and his lovely, desperate floozy Nelly Sweet (April Krautner). A young vagabond actor Will Carew (Clint Campbell) falls hard for Nelly and tries to defend what honor she has left. In the title role is Rahman Dalrymple as the charismatic killer, who takes young Carew under his wing, and teaches him the fine art of mayhem. There’s a hilarious French executioner Emile (Ray Morgan), and an appearance by Welles’ children (Kate Kitchens, Preston Sigrist), two ghoulish moppets who will make you think of the Addams Family.

The artistic staff that makes this a truly quality production include Scenic Designer Jesse Dreikosen, Lighting Designer Theo Bridant, Costume Designer Tracy Sigrist and Craig Miller who, in addition to directing, also serves as Sound Designer. Special mention should be made of the Fight Choreographer, Marty Pistone, who makes the fight scenes look like natural extensions of the storytelling.

There’s good, there’s evil…and then there’s Harry Kite. Crime and punishment have never been so much fun to watch. “Kite’s Book” makes for truly satisfying and entertaining theatre.


When: Now through October 23, 2011
8 p.m. Fridays and Saturdays; 2 p.m. Sundays
8 p.m. Thursdays October 6 and October 20
2 p.m. Saturday October 22
Tickets: $15 to $35
Location: 6th Street Playhouse GK Hardt Theatre, 52 West 6th St, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

“The Producers” by Mel Brooks at 6th Street Playhouse, Santa Rosa CA

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Photo by Eric Chazankin: From left, Jeff Cote, Mark Bradbury and Matlock Zumsteg doing the Hop-Clop Dance

 

Reviewed by Suzanne and Greg Angeo

6th Street Scores Big With Hitler (and Mel Brooks)

 

Comedian and filmmaker Mel Brooks has long understood the unique transformative power of comedy. Of tyrants Hitler and Mussolini he said: “If you can bring these people down with comedy, they stand no chance.” He’s absolutely right, of course. And during 6th Street Playhouse’s giddy presentation of “The Producers”, those trying to keep a straight face for even one minute will stand no chance, either.
Zany, boisterous and irreverent, “The Producers” was a smash hit on Broadway, starring Nathan Lane and Matthew Broderick. Actually, “smash hit” is quite an understatement. In April 2001 it opened to universal rave reviews and awe-inspiring box office. It went on to win a record-breaking 12 Tony Awards, sweeping the season. Its initial run alone saw over 2500 performances. The idea for this juggernaut of a show was first hatched in the late 1990s, when mega-producer David Geffen convinced Brooks to adapt his 1968 cult classic film into a Broadway musical. Inspired, Brooks composed the show’s music and lyrics himself, and wrote the book with Thomas Meehan. It was a gamble, but it paid off; he received Tony Awards for his work, and shared the Tony for the book with Meehan.
A complex musical satire of such formidable reputation would overwhelm many theatre companies, but the board members of 6th Street knew exactly what they were taking on, and knew exactly who they would call upon for their talent. They deliver a show with spectacular results in every element. It’s bright and raucously funny, loaded with fast-paced comic routines, iconic characters and truly delightful song-and-dance numbers. Timing between the cues for music, funny business and gag lines is flawless, so critical for a show like this to be a success. It’s the sign of a cast and crew that really knows their stuff.
The now-familiar story: It’s 1959 in New York City. A has-been Broadway producer, bombastic Max Bialystock (Matlock Zumsteg), is just about at the end of his rope. He hasn’t had a hit in years, and his last show flopped like a dead fish. One day, a local accountant, ultra-nebbish Leo Bloom (Jeff Cote), shows up to audit Max’s books. It soon becomes apparent that Leo is a basket case, but nonetheless he comes up with a brilliant scheme while musing over Max’s accounts. In between panic attacks, Leo suggests that a producer, under the right circumstances, could make more money with a flop than with a hit by raising a large amount of capital, putting on a show that closes after one night, and then pocketing the money. Max loves the idea and asks Leo to be his partner. Max says they can raise a fortune from his devoted investors – a coterie of rich, horny old ladies (who have a chorus number later on). When their show closes after the one performance, Max and Leo will run off to Rio with the loot and live happily ever after. What could be simpler? At first Leo refuses, but soon he succumbs to Max’s persuasive charms, quits his job, and together they begin their search for “the worst play ever written”. They finally find it, floridly entitled “Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden”. Madcap adventures ensue with Nazi playwright Franz Liebkind (Mark Bradbury), flamboyant director Roger DeBris (Larry Williams) and his equally showy assistant Carmen Ghia (Adam Burkholder). Max and Leo make an especially momentous acquaintance with Swedish bombshell Ulla (April Krautner), who becomes their “secretary-slash-receptionist”. But imagine Max and Leo’s dismay when their terrible play becomes a big, fat hit. Someone’s going to jail!

Photo by Eric Chazankin: Entire Cast

The entire cast is brilliant. Jeff Cote and Matlock Zumsteg create an unforgettable duo, playing off of each other with perfect chemistry. Adam Burkholder, April Krautner and Larry Williams, who were so fabulous in “The 39 Steps “ at 6th Street’s Studio Theatre early this year, are teamed up once again and dazzle onstage. It’s Mark Bradbury who steals the show, however, with his lederhosen, Hop-Clop dancing and robotic prop pigeons (complete with prop pigeon poop - Heil myself!). The ensemble cast joins with the lead players in rousing chorus numbers that would be at home on any Broadway stage.
The amazing Craig Miller has put his stamp upon yet another masterpiece. His professionalism, and his love of comedy - inspired by Brooks, Chaplin and the Marx Brothers, to name but a few – shines in every minute detail of his stage direction and sound design. Paul Gilger’s sets are very elaborate and spellbinding as they move back and forth, on and off stage on what must be hundreds upon hundreds of casters. Musical director Janis Dunson Wilson, Choreographer Vicki Suemnicht and Costume Designer Erika Hauptman all deserve special praise for making this show lively and fun.
“The Producers” closes 6th Street’s current season with a resounding bang. The only drawback: with a running time in the neighborhood of three hours (including intermission), by the end of the show you will hurt all over from laughing so hard, for so long. But your heart will be light. As Mel Brooks so famously said: “If you’re alive you've got to flap your arms and legs, you've got to jump around a lot, for life is the very opposite of death.” So get out and enjoy life, flap your arms and legs, and see some crazy jumping around onstage in one really extraordinary musical show.

When: Now through July 15, 2012 8 p.m. Thursdays, Fridays and Saturdays2 p.m. Sundays2 p.m. Saturdays June 30, July 7 and July 14 Tickets: $15 to $35Location: 6th Street Playhouse – GK Hardt Theatre, 52 West 6th Street, Santa Rosa CA Phone: 707-523-4185 Website: www.6thstreetplayhouse.com

 

“Tiny Alice” by Edward Albee at Marin Theatre Company, Mill Valley CA

To contact us Click HERE


Reviewed by Suzanne and Greg Angeo
Photo by Kevin Berne: Andrew Hurteau, Carrie Paff

Scary Good

Classic stories about deals with the Devil have always intrigued us, from “Faust” to “Damn Yankees” to “Rosemary’s Baby” and beyond. The spellbinding “Tiny Alice” by Edward Albee, which has inspired both outrage and admiration for almost 47 years, is one of the most original stories of this genre. In its newest production at Marin Theatre Company, “Tiny Alice” shines the spotlight on lofty distinctions: between heavenly faith, and that which passes for faith in the world of men; between the true God, and the god that man has created in his own image. But these concepts, provocative as they are in their own right, merely drive the story. The foundation of “Tiny Alice” lies in diabolical horror, pure and simple.

When it opened in December 1964, Albee’s eerie tale of God and Mammon with a supernatural twist was, to say the least, unexpected from the newest rising star of the Broadway scene. Albee was still being lauded for “Who’s Afraid of Virginia Woolf?” which in 1963 had captured five Tony Awards, including one for Best Play. As his newest work, “Tiny Alice” quickly became potent fodder for philosophical and theological discussion, but it was controversial and largely misunderstood despite six Tony nominations and the Award for Best Actress going to Irene Worth.

The premise revolves around the world’s richest woman, the mysterious and reclusive Miss Alice (Carrie Paff), who wishes to give away billions of dollars to the Catholic Church and every other religion as well. In the opening scene, her emissary, the unnamed Lawyer (Rod Gnapp), pays a visit to the Cardinal (Richard Farrell) to discuss how this huge bounty to the Church may be delivered. Verbal sniping between these longtime foes becomes a jousting match to see who can deliver the sharpest jabs. Farrell imbues the Cardinal with just the right amount of snarky pomposity to counter the primal viciousness of Gnapp’s Lawyer. In his role, Gnapp is the man you love to hate. He maintains a pedal-to-the-metal malicious intensity, all the while carrying a dark secret, no easy task for an actor.

It’s finally decided that the Cardinal’s trusted aide, the lay Brother Julian (Andrew Hurteau), will call upon Miss Alice at her palatial mansion to make the necessary arrangements to transfer the first billion dollars. Can Brother Julian serve two masters and still keep his faith? What happens next is impossible to describe without revealing too much and spoiling the fun.

Andrew Hurteau as Brother Julian displays masterful gifts not just as an actor but as a storyteller. Despite Julian’s meek demeanor, he is positively riveting in every scene. Carrie Paff’s Miss Alice is a Mephistopheles-like character, cool and ethereal one moment, a smoldering temptress the next, who is not what she seems. Her costumes (by Fumiko Bielefeldt) match her character, flowing like a choreographed dance of worldly seduction. Miss Alices’s Butler (Mark Anderson Phillips) is slyly aloof and dryly witty, less a butler and more a co-conspirator. His quirky, stylized mannerisms and cadence of speech give him an otherworldly quality.

The simple elegance of the set, by Scenic Designer JB Wilson, invokes an appropriately smoky sense of foreboding. The centerpiece of the entire show is the model house in Miss Alice’s library, designed by Wilson and detailed by Properties Artisan Seren Helday. This is one Dollhouse From Hell you won’t soon forget. It truly has a life of its own…more we cannot say. The original musical score by Chris Houston, with its atmospheric, pensive strings, essentially defines the story in sound.

We see director Jasson Minadakis as diamond-cutter, where one false move could mean disaster. Instead, the result is nothing less than a chilling triumph. After reading the play in college over 20 years ago, he became obsessed with staging it, and that obsession has really paid off. Under his guiding hand, the mysterious path of the story is clearly revealed facet by facet, scene by scene, and leads relentlessly to its nightmarish conclusion. Playwright Albee tells his audience to not analyze what they see and hear onstage – they should just “let the play happen to them”. Good advice, indeed. Mr Albee should be very pleased.


When: Now through June 26, 2011
8 p.m. Tuesdays, Thursdays, Fridays and Saturdays
7:30 p.m. Wednesdays
2 p.m. and 7 p.m. Sundays
2 p.m. Saturday June 25
1 p.m. Thursday June 16
Tickets: $32 to $53
Location: Marin Theatre Company
397 Miller Avenue, Mill Valley CA 94941
Phone: 415-388-5208
Website: www.marintheatre.org

"The Petrified Forest" at Novato Theater Company Playhouse, Novato CA

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“The Petrified Forest” by Robert E. Sherwood
Novato Theater Company Playhouse, Novato CA
Presented by The Marin Actors’ Workshop and Ken Bacon

Photo by Eric Chazankin: From left, Ariana Hooper and Ken Bacon
Reviewed by Suzanne and Greg Angeo

A New Look at an Old Classic

“The Petrified Forest” at the Novato Theater Company Playhouse is a fresh take on this iconic Depression-era American story set in a diner in a tiny Arizona desert town, where there are Petrified Forests both literal and symbolic. This story about saviors, the saved, and the consequence of personal choice was originally presented on Broadway in 1935, starring Leslie Howard and Humphrey Bogart. Playwright Robert E. Sherwood said he based the Duke Mantee character, played by Bogart in both the Broadway and film versions, on infamous criminal John Dillinger. In preparation for the role, Bogart studied film footage of Dillinger to inform his portrayal of the complex and psychotic Mantee.

Director Terry McGovern, multi-talented founder and creative director of Marin Actors’ Workshop, has forged a truly enjoyable theatrical experience. McGovern’s staging, and set design by Eugene DeChristopher, are picture-perfect to show the characters in their proper setting, although at certain times “Forest” doesn’t seem to know if it wants to be a period piece, a modern one, or both. True, there is a solid 1930s look and feel, with a nod to the social issues of the time that would please even Woody Guthrie. But occasional bursts of contemporary music can be a bit jarring, especially after you’ve settled in and convinced yourself you have traveled back in time

Excellent performances make this show well worth seeing. Ariana Hooper’s diner waitress Gabby Maple is a winsome caged bird in her personal petrified forest, with dreams that may never come true. A wordless opening sequence with Gabby shows a charming glimpse of her inner life in pantomime. Ken Bacon (also serving as the show’s producer) offers an appealing interpretation of Gabby’s romantic hero, the vagabond writer-adventurer Alan Squier. Vaguely reminiscent of Indiana Jones - minus the bullwhip - Squier is clearly jaded and world-weary, but retains the strong sense of humor and bitter irony that lie at the heart of the story.

Gabby’s affectionate grandpa, Gramps Maple (Wood Lockhart), supplies wisecracks that season the story like dashes of Tabasco. Lockhart displays keen wit and sustains credible empathy with the other characters. Other noteworthy performances: Stacy Thunes shows great style and comic timing as the fiercely sophisticated Mrs Chisholm; there’s also fine ensemble acting by Mantee’s gang of desperadoes.

Fledgling actor Daniel Flores as gangster-on-the-run Mantee has a compelling stage presence, but his performance comes off as monochromatic. To paraphrase 1930s-era critic and writer Dorothy Parker: his emotions run the gamut from A to B. More stage technique and nuance will give needed texture to this pivotal role. In a July 10th Sunday matinee performance, the first act started off uneven, with dialogue timing and pacing issues. But have no fear - the play takes off like a rocket and stays there, once the gangsters forcefully inject themselves into the story.

“The Petrified Forest” will satisfy anyone looking for an entertaining and uniquely timeless story with lots of action, romance and social awareness thrown in for good measure.

When: Now through July 31, 2011
8 p.m. Thursdays, Fridays and Saturdays
3 p.m. Sundays
Tickets: $20 to $24
Location: Novato Theater Company Playhouse
Pacheco Plaza Shopping Center
484 Ignacio Blvd, Novato CA 94949
Phone: 415-883-4498
Website: www.novatotheatercompany.org
Marin Actors’ Workshop: visit www.marinactorsworkshop.com or call 415-453-8858

“Kiss Me, Kate” at 6th Street Playhouse’s GK Hardt Theatre, Santa Rosa CA

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Music and Lyrics by Cole Porter
Book by Bella and Samuel Spewack
Directed by Craig Miller

Reviewed by Suzanne and Greg Angeo

Photos by Eric Chazankin:

Left photo, Taylor Bartolucci (l), Barry Martin

Right photo, Barry Martin and Cast



Sweet “Kiss” From 6th Street

For the “Curtain-Up!” season kickoff at 6th Street Playhouse, Artistic Director Craig Miller and Managing Director Michael Fontaine have raised the bar of excellence for local theatre. Their spectacular presentation of the classic American musical comedy “Kiss Me, Kate” is a skyrocket of a show, one that is sure to resonate with a bang throughout the Bay Area. It’s absolutely the best show they’ve staged, a bit of Broadway right here in Santa Rosa.

“Kiss Me Kate” first appeared on Broadway in December 1948 to great critical and popular acclaim. It went on to see over 1000 performances in its first run, and received 5 Tony Awards in 1949, including Best Musical – the first ever to win this award. The book by Sam and Bella Spewack is supposedly based on the real-life theatre couple Alfred Lunt and Lynn Fontanne, whose backstage bickering was the stuff of legend. Many of the songs, among the best - and last - ever to be written by Cole Porter, became instant hits and are still popular today.

The musical’s theme is the ever-popular showbiz back-story. Set in postwar Baltimore, the action takes place entirely at Ford’s Theatre, where a talented theatre troupe is putting on a musical production of Shakespeare’s “The Taming of the Shrew”. Their two recently divorced lead actors, Lilli and Fred, are playing Katharine and Petruchio. They are plainly still carrying the proverbial torch for each other, a torch that blazes up when it’s fueled by jealousy and those chips on their shoulders. The offstage sparring of Lilli and Fred parallels the onstage animosity of Katherine and Petruchio. This battle of wills is grand, glorious fun, and carries the show from beginning to end.

At 6th Street, “Kiss Me, Kate” opens on a theatre’s bare stage, a solitary light bulb glowing on a stand. The cast arrives one by one, and before you know it, the company is assembled for the high-energy “Another Openin’, Another Show”, led by Daniela Innocenti Beem, who really knows how to belt out a number. Then the non-stop entertainment begins. The entire show is so good that it’s hard to pick standouts. The haunting “So In Love” and the ferociously funny “I Hate Men”, were both sung by the amazing Taylor Bartolucci as Lilli/Katherine. The performances of Bartolucci, and co-star Barry Martin as Fred/Petruchio, deserve special mention not only for their musical talent, but for their strong characterizations reminiscent of great Broadway performers of the past, which makes them ideal for this kind of show. The smoldering, jazzy “Too Darn Hot” was performed with exceptional sizzle and sass by the Company. “Brush Up Your Shakespeare”, a witty and charming routine by Jeremy Berrick and Rahman Dalrymple, drew cheers from the audience. Side note: these two wiseguys should take their vaudeville act on the road. They brought down the house.

Kudos to Director Craig Miller, who brings new vision to 6th Street after his arrival just a few short months ago from Houston, where he founded the Texas Repertory Theatre Company. He combines his formidable experience and profound love of theatre to bring us this affectionate tribute to the traditional Broadway musical. He has inspired his cast and crew to new heights, with meticulous staging and playful, subtle touches. They are his trademarks and can be seen everywhere, starting with the ensemble cast’s spot-on timing, perfect vocals and flawless momentum. The cleverly complex and colorful set design is by Paul Gilger, the local architect who designed the 6th Street Playhouse and whose resume reads like a who’s-who of entertainment. Top-notch Musical Director and Conductor Janis Dunston Wilson leads the 11-piece orchestra with such a spirit of fun and energy that’s it’s a delight to behold. The choreography is by veteran hoofer Tony Gianchetta who whipped the frisky cast of 19 into excellent shape.

There’s romance and laughs with sexy sirens, goofy gangsters, great music and dancing. It’s hard to miss when you combine the fabulous music of Cole Porter and a classic Shakespearean comedy. When you add amazing hand-picked talent into the mix, the success of “Kiss Me, Kate” at 6th Street seems guaranteed.

When: Now through September 4, 2011
8 p.m. Thursdays, Fridays and Saturdays
2 p.m. Saturdays (beginning August 13) and Sundays
Tickets: $15 to $35
Location: 6th Street Playhouse
GK Hardt Theatre
52 West 6th Street, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

William Shakespeare's "The Tempest", Forest Meadows Amphitheater, San Rafael

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“The Tempest” by William Shakespeare

Marin Shakespeare Company
Forest Meadows Amphitheater
Dominican University, San Rafael CA


Reviewed by Suzanne and Greg Angeo

Photos by Eric Chazankin:
Top photo - two of "The Qualities" collective
Bottom photo - Robert Parsons (l), Michael Torres

A Thrilling Tempest Comes To Forest Meadows

Many people avoid Shakespeare for much the same reason others avoid opera – they can’t understand what’s happening onstage. Elizabethan English is, for them, like a foreign language. But with help from the right director and actors, this barrier can be overcome, and the pleasures of Shakespeare made accessible. In this regard, is Marin Shakespeare Company’s amazing new presentation of “The Tempest” successful? Yes, because of the stunning use of creative storytelling and stagecraft. And no, because at times the language barrier remains in place.

But whether you are a Shakespeare fan or not, this is one show well worth checking out. The newest incarnation of Shakespeare’s classic fantasy-romance takes inspiration from Victorian-era sci-fi and literary works, and some modern ones too. If you enjoy the far-out tales of Jules Verne and H.G. Wells, and groundbreaking TV shows like Star Trek and The Wild Wild West, you will love this bizarrely electrified version of “The Tempest”. It’s loaded with extraordinary visual and sound effects that must be seen (and heard) to be believed.

“The Tempest” is a rich source of such oft-quoted expressions as “brave new world”, “what’s past is prologue” and “we are such stuff as dreams are made on”. Multiple themes are explored: Is science magic, or is magic science? Is vengeance important, or even necessary? Are people enslaved by power or culture? And that old favorite - is there such a thing as love at first sight? Some Shakespearean scholars suggest that the real underlying theme of “The Tempest” is colonialism - of the New World in general and the Caribbean Islands in particular. Watch closely for this one, you may just see it.

In Shakespeare’s original, Prospero, the deposed Duke of Milan, is a wizard stranded for 12 years on a remote island with his now-teenage daughter, Miranda. Their only companion is a strange and monstrous humanoid called Caliban. Prospero plots revenge against those who took his title and property from him, using magic as a powerful weapon.

In visionary director Jon Tracy’s adaptation at Forest Meadows, it’s 1901, not 1601. Prospero (Robert Parsons) is a mad scientist, assisted by the beastly Caliban (Michael Torres), who lusts after wild-child Miranda (Sarah Gold). Parsons is impressive overall, but he is so opaque in the interpretation of his lines in the opening scenes that Prospero’s intentions are not immediately clear. It’s only in the second half of the play that we begin to understand the true nature of his character.

Michael Torres as Caliban delivers a riveting and articulate performance. He makes his semi-monster the most sympathetic and well-drawn character of the entire show. Sarah Gold’s Miranda is sweetly boyish and rough-hewn, easy to understand and to like. Marin Shakes Artistic Director Robert Currier delivers a sturdy performance as Alonso, King of Naples, who arrives on the scene with his handsome young son Ferdinand (Alex Hersler) after a shipwreck on Prospero's island (which turns out to be no mere coincidence). Their fellow castaways, all turning in solid performances, are Christopher Hammond as Gonzalo, Scott Coopwood as Sebastian, James Hiser as Prospero’s treacherous brother Antonio, and in a bit of comic relief, the delightfully drunken duo Trincula (Lynne Soffer) and Stephano (Cassidy Brown). In a meet-cute moment, the lovely Miranda is instantly smitten by Ferdinand, played by Hersler with enough sincere charm and strength to captivate even the wildest girl’s heart.

What may be the most entertaining character in the show, presented with jaw-dropping style, is the spirit Ariel taking form as a collective of six automatons dubbed “The Qualities”. They were created by Prospero to carry out some shady assignments. The six actors perform in perfect unison, including acrobatic back-flips into various trap doors. They speak in unison, too, mouthing their lines wordlessly, like cartoon characters in an old anime film. The costume designer, Abra Berman, deserves special mention for her spectacular work, especially in helping interpret “The Qualities” with such imagination. Sound designer/composer Brendan Aanes has created a truly original sound track for this production with certain effects that can lift you right out of your seat. The set design by Nina Ball, and lighting by Ellen Brooks, have many unique and transformational elements, fully integrating with the score, sound effects and actors.

Director Jon Tracy holds the audience spellbound with his bold and imaginative realization. His “Tempest” is a brilliant achievement. One thing - just a tiny thing, really - seems a bit odd, given the liberties taken with the setting and approach. That is, having the actors use the Elizabethan pronunciation “Millen” instead of the more recognizable “Milan”. Authenticity doesn’t seem to be an important consideration here, so why say Millen when you mean Milan?

This is not just any play, and certainly not just any Shakespearean play. It is an uncommon adventure to a brave new world, an experience not to be missed, or forgotten.

When: Now through September 25, 2011
Performances: Fridays & Saturdays 8 p.m.; Sundays 8 p.m. & 4 p.m.
Tickets: $20 to $35
Location: Forest Meadows Amphitheatre at Dominican University of California
1475 Grand Avenue, San Rafael CA
Phone: 415-499-4488
Website: www.marinshakespeare.org

"Kite's Book" at 6th Street Playhouse, Santa Rosa CA

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“Kite’s Book: Tales of an 18th Century Hitman”
by Robert Caisley

Presented at 6th Street Playhouse
GK Hardt Theater, Santa Rosa CA

Photo by Eric Chazankin:
(from left) Rahman Dalrymple, Adam Burkholder

Reviewed by Suzanne and Greg Angeo



Have Sword - Will Travel

It’s an ominous sight: three huge gallows looming over the stage, smoke hanging in the air and a young man about to be torn apart by wild horses, but it offers only a clue to what’s in store. The West Coast premiere of “Kite’s Book: Tales of an 18th Century Hitman” at 6th Street Playhouse is a delight-filled black comedy supreme. And yes, there is gallows humor and glorification of the macabre, just in time for Halloween.

Charming assassin-for-hire Harry Kite chooses his clients carefully, based upon his own strict personal code. He is also a vigilante of sorts, a hero of the lower classes who takes matters into his own hands when he sees those in power, like corrupt judges and politicians, getting off scot-free with their crimes. In Harry Kite’s book, murder is the rational, even moral, thing to do. Thus he has become a celebrity - and a wanted man.

The play was conceived in the heat of the sensational early 1990s courtroom dramas featuring the scandals of O.J. Simpson, the Menendez brothers and Michael Jackson. Playwright Robert Caisley was a young teacher at Illinois Wesleyan University at the time. He was struck by the fact that the mob reaction to the trials he saw on TV reminded him of the teeming crowds gathered to observe the very public executions in 18th century London. His response was to craft a play that, despite its 1750s setting, has a bright, fresh message and is brimming with fascinating conflicts: liberal versus conservative, class warfare, illicit love and social Darwinism.

The system of crime and punishment in a society is a barometer of its social justice. Throughout human history the “haves” have imposed their rule upon the “have-nots” in a seemingly endless vicious circle. “Kite’s Book” vividly reminds us of our own times, with the distance of time providing a disconnect: a new way to see what’s happening right in front of us, on the stage and in the world. This Brechtian approach (named after the hugely influential German playwright and director Bertolt Brecht) also uses characters to represent ideas, rather than people, and in unexpected ways. It allows the audience to focus on the larger issues presented, rather than the individual characters. The audience carries this experience out of the theater and into their lives, with a lasting effect.

Director Craig Miller’s connection to “Kite’s Book” dates back to his college days at Illinois State University, where he and playwright Caisley met in the early 1990s. When Caisley returned to ISU in 1996 to present his new play “Kite’s Book”, Miller recalls being “absolutely enthralled” by the story. In the years since, he has waited for the opportunity to direct it, and is pleased to present it now at 6th Street. Miller came on board as Artistic Director earlier this year, and in that short time has proven again and again that he has considerable talents to bring to the party. Miller imbues this work with sensitivity, energy and dark humor.

At the beginning and end of the play, the actors assemble onstage as a “canting crew”, a period term used to describe a group of gypsies and thieves who speak in unison with the rhyming slang of the day set to verse, vaguely reminiscent of today’s hip-hop. The effect is spellbinding, rather like a subversive Greek chorus. The music of “Danse Macabre” by French composer Charles-Camille Saint-Saens provides the perfect theme. The raked stage showcases duels with pistols and swords, heavy romance, intrigue, and one silent, powerful scene that is simply too intense to describe in words.

The cast of characters is worthy of the tale, and each performer is brilliant in their own right. We have a wicked judge, Lord Hardwick (Barry Martin), and his beautiful, abused wife Mary Summers (Courtney Walsh). Two public officials, associates of the judge, couldn’t be more different: the fair-minded populist Romilly (Guy Slater) and the scheming, pompous Welles (Larry Williams).

Then there’s the crazed pimp Jack Wyld (Tice Allison) and his lovely, desperate floozy Nelly Sweet (April Krautner). A young vagabond actor Will Carew (Clint Campbell) falls hard for Nelly and tries to defend what honor she has left. In the title role is Rahman Dalrymple as the charismatic killer, who takes young Carew under his wing, and teaches him the fine art of mayhem. There’s a hilarious French executioner Emile (Ray Morgan), and an appearance by Welles’ children (Kate Kitchens, Preston Sigrist), two ghoulish moppets who will make you think of the Addams Family.

The artistic staff that makes this a truly quality production include Scenic Designer Jesse Dreikosen, Lighting Designer Theo Bridant, Costume Designer Tracy Sigrist and Craig Miller who, in addition to directing, also serves as Sound Designer. Special mention should be made of the Fight Choreographer, Marty Pistone, who makes the fight scenes look like natural extensions of the storytelling.

There’s good, there’s evil…and then there’s Harry Kite. Crime and punishment have never been so much fun to watch. “Kite’s Book” makes for truly satisfying and entertaining theatre.


When: Now through October 23, 2011
8 p.m. Fridays and Saturdays; 2 p.m. Sundays
8 p.m. Thursdays October 6 and October 20
2 p.m. Saturday October 22
Tickets: $15 to $35
Location: 6th Street Playhouse GK Hardt Theatre, 52 West 6th St, Santa Rosa CA
Phone: 707-523-4185
Website: www.6thstreetplayhouse.com

Why You Should Upload Your Mind

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Eugen Spierer
May 9, 2012
http://hplusmagazine.com/2012/05/09/why-you-should-upload-your-mind

Space travel, particle physics, cosmology. These are just some of the endeavors humankind has embarked on, trying to understand the great mysteries of the universe. But why haven’t we been able to decipher those puzzles yet? Is it because they are vast and we are so small and insignificant? Well, yes.

In order to achieve these huge goals we need to change the very thing which is holding us back: Ourselves. Our mind has limits which we are only starting to be aware of and those limits are only made more restrictive by our fragile, sickened, mortal bodies.

How can we expect to learn the secrets of the world around us while trapped within a body which only lives for several decades, demands constant nourishment and attention, and dictates limits and desires beyond our control? This is why I think the first and foremost challenge we should “put our minds to” is mind uploading.

Once we have severed the link between our consciousness and the cruel joke someone has played on us by enclosing it in a mortal body, can we begin to really appreciate the beauty of the world around us. We would then be able to explore its secrets not just for a limited number of years, but for an eternity.

The first steps toward such a noble cause have already been taken in Switzerland. Scientists have already simulated a part of a rat’s brain with proven accuracy. It’s called the Blue Brain Project and it aims to use developing computer technologies in order to simulate an entire human brain and thus, hopefully, create a human personality which will be based on computer hardware rather than on the miserable excuse we have for a wetware body.

Just think of the possibilities! Eternal life. Easy and accessible space travel and colonization. Plenty of time for all human beings to grow and develop. Far less strain the planet’s limited resources. No more disease. No more suffering. No more death. A better understanding of the world around us, free of the constraints which currently bind us to a meager existence and a short life span.

No other research is this important, for this will be the base of our success as a species.

Feds say it's okay to lie about pomegranate juice

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Federal government says it's okay to lie about pomegranate juice, but not to tell the truth
J. D. Heyes
Monday, May 28, 2012
http://www.naturalnews.com/036000_pomegranate_juice_FTC_health_claims.html

Do you remember our recent story about Coca-Cola getting away with advertising one of its drinks as "Pomegranate Blueberry," even though it only contained a measly 0.3 percent and 0.2 percent, respectively, of each of those juices? Well, we now learn that the federal government not only sanctions lying about ingredients in drinks, but will punish companies who try to tell the truth about those same products.

To recap:

Beverage company Pom Wonderful which, as its name suggests, manufactures drinks containing lots of pomegranate, lost a federal false advertising suit it launched against Coca-Cola's subsidiary, Minute Maid, which manufactures the aforementioned Pomegranate Blueberry, because while the ingredients are prominently displayed on the labeling, there is very little of them actually in the drink.

But a federal appeals panel, citing federal Food and Drug Administration (FDA) rules, disagreed with Pom Wonderful. A three-judge panel of the 9th U.S. Circuit Court of Appeals in San Francisco ruled that said federal regulations say a company can name a drink after a "flavoring" that it contains, even if it's not the primary ingredient.

What makes the ruling even more incredulous, given the second part of this story, is the fact that Minute Maid's label on Pomegranate Blueberry says, "Help Nourish Your Brain" above a drawing of fruits. That, as you may have deduced, suggests a medical benefit from drinking this pomegranate concoction, even if there isn't much actual pomegranate in it.

What's 'deceptive' about the truth?

Enter Pom Wonderful, the company that actually puts pomegranate - which research proves can lower harmful LDL cholesterol levels, improve blood flow to the heart for cardiac patients, reduce thickening of arteries that supply blood to the brain, and lower blood pressure - in its drinks.

It seems the same federal court system thinks it's okay for Coca-Cola to sprinkle a little of the juice in its drinks and call it nourishment for your brain, but Pom Wonderful - whose drinks contain 100 percent pomegranate juice - can't tout the fruit's health benefits.

Just days after the 9th U.S. Circuit Court of Appeals shot down Pom's lawsuit against Coca-Cola, a Federal Trade Commission (FTC) judge ruled that health claims made by Pom were deceptive.

The ruling from Administrate Law Judge D. Michael Chappell came after hearing testimony for months, from May through November 2011 - testimony which included appearances by noted diet and coronary expert Dr. Dean Ornish, who - among other foods - recommends eating pomegranates to improve cardiac health.

Note, too, that Pom Wonderful, a Delaware company which is headquartered in Los Angeles, has spent some $35 million over the past 10 years studying the health benefits of pomegranates, and relied on the results of that body of research in advertising its products.

Not officially sanctioned research

Chappell, however, said Pom's advertising "would lead reasonable consumers to conclude that drinking Pom's juice or taking its supplements would treat, prevent, or reduce serious health problems, and that it was clinically proven to do so," according to Courthouse News Service.

What's more, Chappell said in his 330-page ruling that while Pom's research indeed showed a general health benefit in consuming pomegranate, "the weight of the persuasive expert testimony demonstrates that there was insufficient competent and reliable scientific evidence to support" the company's specific claims.

Huh?

Well, all of this is much easier to understand if you look at it from this perspective. It's all about the Leviathan telling you what is, and is not, "healthy," and what you can, and cannot say, about legitimate research if it is not conducted or sanctioned by the high-and-mighty in D.C.

Pom Wonderful spent tens of millions on research that proves consuming its pomegranate beverages improves overall health. But because the federal government didn't make this discovery, then it's not legitimate and, therefore, inadmissible.

Now do these conflicting rulings make sense?

For the record, pomegranate is quickly gaining favor in health circles for its nutritional value as an antioxidant-rich fruit. It's health benefits are well-documented now, even if you don't read about them in some government agency's literature.

You might say a company that does its own research is tainting the results, but on the other hand, if the same company is later found to have falsified data, what implications would that discovery have for a business that wants to stay around for the long haul?

Sources for this article include:

http://www.naturalnews.com

http://www.courthousenews.com/2012/05/23/46760.htm

http://www.ornishspectrum.com/proven-program/nutrition

New Dr. Hulda Clark Blog

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http://huldarclark.wordpress.com

Dr. Hulda Clark, PhD., N.D., was a remarkable scientist. She discovered that everything in existence emits a radio frequency or range of radio frequencies by which it can be identified. The new method of analysis she pioneered using that discovery is many thousands of times more sensitive and accurate than anything used by other scientists today.

Using this information, Dr. Clark identified the true causes of many diseases. She then determined that when those causes were removed, the diseases were cured.

Rather than submitting her findings for clinical trials for confirmation (which could have taken years), she made her findings directly available to the public by publishing them in books. There are many thousands of satisfied individuals worldwide who have used her information to cure their diseases or otherwise keep themselves healthy.

Unfortunately, Dr. Clark and her discoveries were targets of a massive disinformation and vilification campaign perpetrated by the highly-profitable mainstream medical establishment and its minions. Otherwise, her discoveries would be more widely known and many more people would be able to benefit from them. Her discoveries have the potential of positively affecting the health of everyone in the world.

Steven Swan has been studying and using Dr. Clark's health discoveries and health protocols for many years to keep himself healthy. He has also used them to cure his own asthma and his own psoriasis.

Swan has a Dr. Hulda Clark blog where he disseminates her discoveries, inventions, and protocols to others. It is located at http://huldarclark.wordpress.com.

Swan also has a consulting service for anyone wishing assistance in implementing Dr. Clark's discoveries and protocols to cure their own ailments or diseases. It is located at www.drclarkconsultant.com.

Swan has also updated Dr. Clark's cures for asthma, psoriasis, eczema, epilepsy, and seizures using information that Dr. Clark provided in her last cancer-curing book. They are located at www.clarkupdates.com. The cost is only $19.95 each.

Steven Swan
Email: contact@drclarkconsultant.com

'Mermaids: The Body Found'

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'Mermaids: The Body Found' On Animal Planet Argues Mythical Sea Creatures Are Aquatic Apes
David Moye
05/26/2012

The mermaid legend has been around since before the Romans ruled the earth, and even back then, guys were asking the same question: How did these womanly fish have sex?

It's a question that dogged filmmaker Charlie Foley when he started work on "Mermaid: The Body Found," a speculative documentary airing May 27 and 28 on Animal Planet -- from his own father, no less.

"It was the first thing my dad asked me when I told him about the special," Foley laughed to The Huffington Post. "We had to think about this, and I assume that mermaid sex organs would evolve like those of whales, seals and porpoises. Their bodies are streamlined, but those parts 'pop out' when needed."

Sorry, fish fetishists, the special doesn't show mermaids and mermen splashing around in icthyological intercourse, but there is a scene of a CGI mermaid giving birth.

Foley isn't saying that mermaids exist, but finds it fascinating that the comely sea creatures have been talked about for thousands of years and show up in the writings of numerous cultures -- even among cultures that had no contact with each other.

There has never been a confirmed mermaid sighting, and some researchers speculate that people who've claimed to have seen one outside of a movie theatre actually saw creatures like manatees or dugongs.

However, some researchers have suggested the "Aquatic Ape Theory." They claim that during a period of massive coastal flooding, some ancestors moved inland and others went into the ocean for food.

The theory forms the basis of the show and while the idea that mermaids might be real may sound absurd on the surface, filmmaker Charlie Foley says further study suggests it might not be all wet.

"There are cases of animals going from terrestrial to aquatic," Foley told The Huffington Post. "And when you look at what makes humans unique among other terrestrial animals, it raises some interesting questions on whether mermaids might be plausible."

Some of the evidence that Foley said could conceivably suggest a missing mermaid link include webbing between fingers, something other primates don’t have and the loss of body hair (which would create drag in water).

Other evolutionary steps that suggest a sea creature cousin include the fact that humans are the only land animal with subcutaneous fat, which helps insulate whales, seals and dolphins from the cold, and breath control.

"Humans can hold their breath up to 20 minutes, longer than any other terrestrial animal," Foley said. "In fact, we're the only land animal with an instinctive ability to swim."

Foley is quick to point out that he doesn't necessarily believe that mermaids existed, but, as he did with a previous special, "Dragons: A Fantasy Made Real," wanted to "plausibly imagine them."

To do that, he had to think about how a real mermaid would actually look -- and it's wouldn't be a red head like Ariel the Little Mermaid at all.

"Evolutionarily speaking, hair would be the first to go because it's a drag underwater," he said. "Also, we thought about the coloring. Sea mammals tend to have countershading. They are lighter on what, in layman's terms, would be the belly and darker on the back. This is so they would blend in with the water if you're looking at them from above and would blend in with the sun shining through the water if you're looking at them from below."

Foley hopes the special gets people interested in the Aquatic Ape Theory, but also admits that his goal isn't to win converts to the idea.

"This is meant for entertainment," he laughed. "We didn't submit this for peer review."