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Oct 30th
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Theatre

A&E - Theater

Green Piece

Green Piece

Embrace all things amphibian in Shakespeare Santa Cruz’ and the UCSC Theater Arts Department’s new offering

Move over Kermit, there’s another famous frog in town for the holidays. But instead of a motley muppet, this one is based on a character from the beloved children’s tales, “Frog and Toad.” Though officially the winter production of Shakespeare Santa Cruz, the local theatrical powerhouse has teamed up with the UC Santa Cruz Theater Arts Department to produce a Broadway-endorsed musical treat.

Based on a series of children’s books written in the 1970s by Arnold Lobel, the “Frog and Toad” stories outline the adventures and misadventures of a friendly frog and a cantankerous toad as they negotiate the ups and downs of living a woodland life. A loveable assortment of forest creatures join them on occasion to create a panoply of engaging characters that entertain as well as teach various life lessons. The effect is that the story creates the perfect opportunity for adorable little animals to sing Disney-esque show tunes. But it wasn’t until 2002 that Lobel’s daughter Adrianne, saw the characters’ musical potential, that she commissioned the production. Thus, “A Year With Frog and Toad” was born. The peppy, G-rated musical quickly became a hit, finding its way to Broadway and becoming nominated for not one, but three Tony Awards, including Best Musical, in 2003. Since then, the production has remained a family-centric favorite in regional theater circuits across the country.

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A&E - Theater

The Reason to Be

The Reason to BeLocal Jewish Theatre company connects people with the Jewish experience

Every time they stage a new play, she’s remembered. Liliana Moraru, in many ways, was at the forefront of getting Santa Cruz’s Jewish Theatre launched, along with renowned local director/teacher Wilma Marcus Chandler and Claire Cameron. In 2009, Chandler gathered a group of actors and crewmembers, many connected with Temple Beth El in Aptos, and asked if they would be associated with putting together large-scale productions at the temple. However, the temple’s schedule wasn’t able to accommodate mounting major theater productions.

The next year, in 2010, the fledgling group morphed into a legitimate company with its first major production, “Crossing Delancey.” Moraru was supposed to be a part of the project, but sadly, she passed away before seeing the play. The company, now on its feet, knew its official name—The Liliana Moraru Santa Cruz Jewish Theatre. From there, the community theater group has been performing and producing steadily, with work that is either written by a Jewish person or has at the heart of the play a topic important to Jewish life.

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A&E - Theater

The World Accordion to Al

The World Accordion to Al

He’s lampooned hernias, morbid obesity and surgical catastrophies. Now Weird Al shows us the lighter side of the apocalypse.

It’s tempting to read between the lines of “Skipper Dan,” a Weezer-esque pop-rocker off “Weird Al” Yankovic’s latest album, Alpocalypse. Here, the veteran musical satirist sings from the perspective of an actor who starred in every high school play and graduated first in his class at Juilliard, only to end up as the tour guide on the Jungle Cruise ride at a Disney Park: “Now I’m laughing at my own jokes, but I’m crying inside … I should’ve listened when my grandfather said, ‘Why don’t you major in business instead?’” In light of Yankovic’s own academic creds (after scoring straight As throughout high school and graduating as valedictorian at age 16, he earned a degree in architecture at California Polytechnic State University), could this song be a veiled confession that he’s fed up with playing “My Balogna” and “Eat It” night after night?

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A&E - Theater

Big Issues, Bold Work

Big Issues, Bold Work

‘The Letters’ explores life beneath state control in Soviet Russia

While some will stop at nothing to hide the truth, others will let nothing stop them from revealing it. Either way, there is a price to pay.

John W. Lowell’s play, “The Letters,” takes viewers back to Soviet Russia, circa 1931. When love letters surface between a famous Russian composer and his various homosexual paramours, the government embarks on a campaign to hide the evidence so as not to bring disrepute to the State. Anna, a ministry employee, is mysteriously called into the director’s office, where she is at first offered a promotion—but the exchange subtly morphs into a deadly cat-and-mouse game.

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A&E - Theater

Tangled Up in 'Blue'

Tangled Up in 'Blue'

Outstanding performance highlights Jewel Theatre's 'House of Blue Leaves'

There's a lot going on in the new Jewel Theatre production of John Guare's "The House of Blue Leaves." A visiting Pope, surprise appearances by a Hollywood filmmaker and a famous movie star, a gaggle of comic nuns, spontaneous piano duets, and a bomb-wielding malcontent all figure into the plot that director Susan Myer Silton has tumbling in and out of the play's single set with farcical speed. Not to mention the thematic cacophony of mid-life disappointment and shattering dreams.

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A&E - Theater

Full House

Full House

Jewel Theatre debuts “The House of Blue Leaves”
The Pope is coming to town. OK, not the real Pope, and not this town, but that’s the premise of a play debuting at Center Stage and produced by Jewel Theatre. “The House of Blue Leaves,” written by John Guare and directed by Susan Myer Silton, tells a compelling story about celebrity worship, not listening to other people, family and even humiliation.

The story unfolds in Queens, New York, on Oct. 4, 1965, when the Pope is coming to America. Our cast is a wild bunch of characters: There’s Artie, a zookeeper, who hopes to strike it rich as a songwriter. He’s married to a woman named Bananas. And yes, she really is fruity. She’s a homemaker whose son, Ronnie, just joined the Army. Meanwhile, Artie is having an affair with his neighbor, Bunny, who’s trying to push Artie to make contact with an old Hollywood friend. And on top of all that, Ronnie is planning to blow up the Pope.

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A&E - Theater

Dance of Life

Dance of Life

Tandy Beal & Company invites you on a journey to the other side of death

Let’s say you’re walking along the path near Seacliff Beach. You look fantastic. It’s a brilliantly sunny day, and you happily observe that the bounce in your step is in perfect synch with that song in your heart.

No. Scratch that. You’re walking down Pacific Avenue, and you’ve just stepped in gum. You’re being panhandled, and a creditor is ringing your cell phone.

Whatever.

In any event, that’s when it happens. A runaway bus. That heart attack you’ve been dreading. A wad of genetically modified yam gets lodged in your throat.

However it transpires, you’ve just managed to achieve the inevitable—you’re dead.

Now what?

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A&E - Theater

Henry IV visits Santa Cruz

Henry IV visits Santa Cruz

The theater season ends with a spectacular version of ‘Henry IV, Part 1’
In an instant everything changes: the dusky convivial sounds of an expectant audience give way to the blare of trumpets and the martial din of running boots as a troop of young men pours onto the stage to circle it, stamping their wooden staffs with a shout. Enter the king.

Thus Shakespeare Santa Cruz and its audience join an unbroken line of four centuries to perform and hear the tale of a crown taken in rebellion, nearly lost in pride, then won in just battle; of a wastrel who becomes worthy of his noble heritage, and of a dazzling hothead who burns too bright.  Shakespeare’s most popular play during his lifetime, the story behind “Henry IV, Part 1” was as familiar to Elizabethans as the Kennedy story is to modern Americans.  But for today’s theatergoers, Shakespeare’s “History Plays” are burdened with obscure references whose significance eludes us.  As written, the opening scene of “Henry IV,” wherein the king and his confidants converse at length about incidents and characters we haven’t met and do not yet understand, threatens theatrical death upon arrival in the 21st century.

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A&E - Theater

The History of Henry

The History of Henry

Shakespeare Santa Cruz closes its summer season with a production of ‘Henry IV, Part I’
Shakespeare Santa Cruz Artistic Director Marco Barricelli and dramaturg Michael Warren can be found in a darkly lit office on the UC Santa Cruz campus conversing about Shakespeare. Both men are more than knowledgeable on the subject; most importantly, however, are their respective skills in transferring this knowledge to the milieu of the stage.

The conversation quickly turns to “Henry IV, Part I,” the final show in this summer’s Shakespeare Santa Cruz season. It’s a play Warren believes to be the most popular play of Shakespeare’s time. When asked why, he points to the fact that Shakespeare’s first folio alludes to the popularity of “Henry IV.”

Barricelli chimes in about the character of Falstaff in “Henry IV.” He explains that the play acquires its popularity from that character.

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A&E - Theater

Double Your Fun

Double Your Fun

SSC scores with Scheie's 'Comedy of Errors' reboot


Longtime local theatergoers may remember Danny Scheie's original staging of “The Comedy of Errors” as possibly the single funniest production ever mounted at Shakespeare Santa Cruz. Premiered in the 1988 season and encored in 1993, it made full use of the outdoor Festival Glen, including a bicycle-built-for-four that came roaring down the hillside, and a massive upstage wall with Laugh-In style open-and-shut windows that turned Shakespeare's frolicsome early comedy about two sets of twins, mistaken identities, and male-female relations into a literal slamming-door farce.

In celebration of SSC's 30th Anniversary season, Scheie returns with a lively reboot of “The Comedy of Errors.” Although scaled back for the indoor Mainstage with John Iacovelli's single, functional wall and a couple of chairs for a set, and eight intrepid performers handling some 20 speaking parts, this “Comedy” retains all of the laughs.

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Jawing

Monterey Bay scientists are working to crack the mysteries of—and dispel the myths about—great whites. But in the highly contentious world of shark experts, there’s a fin line between love and hate

 

Altars of Remembrance, Forgiveness & Rapprochement

We’re in Scorpio now—things mysterious, ageless, hidden, sometimes scary. Friday is Halloween; Saturday, All Saints Day; Sunday, All Soul’s Day. Sunday morning at 2 a.m. (after midnight), Daylight Savings Time ends. Clocks are turned back. Tuesday is the General Election. Our vote is our voice. Each vote matters. Applying freedom of choice—Libra’s teachings. It’s time to build Halloween, All Saints and All Souls altars—with marigolds, pumpkins, sugar skeletons, copal (incense), pomegranates, persimmons, candy corn and cookies, orange and black. It’s so Saturn (now in Scorpio). Saturn is the dweller on the threshold (like St. Peter at the gates of heaven). Saturn can look like a Halloween creature—a gargoyle—a fantastic dragon-like creature protecting sacred sites. The dweller (Saturn) stands at the door or threshold of sacred mysteries, wisdom temples, inner sanctums of churches, offering protection, scaring evil away. The last day of October and first two days of November, when veils between worlds thin and spirits roam about, are times of remembrance, forgiveness, reconciliation and rapprochement. These actions liberate us. At death, when reviewing our lives and the consequences of our actions if we have forgiven, then we are free, less encumbered with grief and sadness. We place forgiveness on our altars. Happy Halloween, everyone! It’s good to dress up as what we’re afraid of. Or whom we would mentor. Then we become one with them. Note to readers: by Thanksgiving I will need a place to live (with purpose). Please contact me if you know of a place where I can rest for awhile. Teach and build community. [email protected] I will be leaving my mother’s home for the last time.

 

The New Tech Nexus

Community leaders in science and technology unite to form web-based networking program

 

Not Cool

Even Bill Murray’s hipster cred can’t elevate ‘St. Vincent’
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