Embracing a varied array of remarkable adaptations and imaginative choices
It would seem that each year, this list gets longer lol. I reviewed 75 plays/productions and saw over 100 this year as I saw theatre in Cuba, Mexico City, Los Angeles -of course, my Tijuana- and New York. Whew! that is a lot!
From Another Zero also won San Diego Press Club Awards for the first time, and that was amazing.
This rich and filled San Diego theatre year included wonderful adaptations, imaginative choices, and variety. Highlighting companies, actors, and creatives’ hard work is truly important. The titles are categorized because, in my world, I cannot put a musical piece in with a straight play; I just cannot…
The one-act plays dominated due to budgets, short attention spans, and addicting scrolling. I love it when stand-up comedians have phones in pouches with zero tolerance. I hope theatres can follow…It also has to be said that, according to a report conducted by the University of San Diego, San Diegans donated (time and money) only 13% during the year for Arts and Culture. I will use this as a talking point everywhere I go and I urge you to do the same.
The following hefty list includes From Another Zero’s best in theatre for 2024.
PLAYS
English–The Old Globe. Starting the year strong, The Globe presented the Pulitzer prize-winning piece by Sanaz Toossi filled with soul, heart, and much truth. Set in a classroom outside Tehran in Iran, four students are enrolled in classes in English for a proficiency exam. Createviley resolved between English and Farsi, the one-act play directed by Arya Shahi truly captured the struggle when being different or having an accent when speaking in another language.
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MISERY–Backyard Renaissance Theatre. This company has proven to be a master of the mysterious and rip-roaring. Directed by MJ Sieber, the stage adaptation of Stephen King’s novel had thrills, chills, and spills. Well crafted and directed, it also weirdly delivered a fun experience at the theatre.
Murder on the Orient Express
–The Old Globe. Edit: I had put this under the Touring Productions category but was made aware that it was not. I did not put it in this category because it was a unique co-production done a few years prior… One of Agatha Christie’s top ten novels came to life with a stunningly beautiful and enchanting design where the Orient Express appeared on stage to unfold and show the inside of the train rotating to reveal different parts. Paul Tate dePoo III’s scenic design is a true work of art. Not only did it complement the stage, but it was also realistic. The audience felt like another passenger.MUSICALS
Natasha, Pierre & The Great Comet of 1812–Cygnet Theatre. San Diego audiences were gifted an authentic Broadway experience with this musical adaptation of part 8 of Leo Tolstoy’s novel War and Peace, focusing on romance and the search for the meaning of life. Written by composer/lyricist Dave Malloy, Cygnet’s premiere is directed by the company’s artistic director, Sean Murray. Patrick Marion was in charge of the musical direction, and Katie Banville oversaw the choreography. The cast was hot, hot, HOT! No weak link in this production as Sean Murray’s direction had a strategic blockage that used the entire house, having the actors move around and interact with the audience.
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CAMELOT–North Coast Repertory Theatre. CAMELOT saw the stage in 1960, adapted from British writer T. H. White’s novel The Once and Future King, with music by Frederick Loewe, lyrics, and a book by Alan Jay Lerner. The story references how young Arthur, nicknamed “wart,” forgot his cousin’s sword, and when going back to get it, he finds one in a stone that he pulls with minimum effort, making him the new king of Britain. The cast performed the 17sh song list with new orchestrations by Steve Orich aligned and with harmony. Music director Daniel Lincoln played the piano live on the stage left.
Midnight at The Never Get– Diversionary Theatre. A West Coast Premiere with Book, Lyrics, and Music by Mark Sonnenblick, was conceived by Sam Bolen, Max Friedman, and Mark Sonnenblick and directed by Stephen Brotebeck. The story was powerful, and the interpretations activated that power with a two-actor cast and a cathartic reveal.
Next to Normal–Oceanside Theatre Company. The entire cast made their Oceanside debut with this production. Frankie Errington’s direction was paced and punctual, guiding the actors to sync in the role, truly articulate each dialogue, and have it set in. A story that takes place with a family of four that is crumbling. And, doing justice to the beautiful music of this piece, OTC took the live route under the musical direction of Dr. Randi Rudolph, who stood out in the background with a lively conduction and piano playing that was visibly being enjoyed thoroughly.
Jersey Boys–CCAE Theatricals. Seeing big blockbuster musicals get a new local flare through our regional theatre companies always warms my heart. With Jersey Boys, it is a unique, full circle moment as the musical was a La Jolla Playhouse debut in 2004. Lindsay Brooks’s casting was on point, and Nicholas Alexander is the most realistic Frankie Valli I have seen, from the look to the voice. Taubert Nadalini as Bob Gaudio is also freakishly close. I also liked Stephen Gifford’s set as it stayed close to the original and famous two-story design instead of having it stripped down. The musical came back home to San Diego, making it right.
Fun Home–New Village Arts. The Carlsbad-based company gave new breath to the multiple award-winning musical to reach new audiences and give another opportunity to those who know and love it. Based on Alison Bechdel’s 2006 graphic memoir, which she chronicles growing up in Pensilvannya, her strong bond, and her relationship with her dad, Bruce, and her mother, Helen, while exploring her sexuality. Kym Pappas’s careful direction, along with Kandace Crystal’s intimacy direction in delicate scenes, guided the cast members to embrace this powerful work and deliver.
The Evolution of Calpurnia Tate–LAMB’s Players. Omri Schein, LAMB’S associate artist, performer, and playwright, adapted Jacqueline Kelly’s young adult novel into a musical, writing the libretto and the lyrics along with composer Daniel Lincoln. With a plot set before the turn of the century in 1889, the soon-to-be 12-year-old Calpurnia Tate lives with her family in a small Texan town. Calpurnia is not interested in learning to sew, bake, or play the piano; she wants to be a scientist and explore! Like anything new, world premieres require marinating, getting worked on, and softening the edges, especially with new songs. In the case of Calpurnia‘, the songs flow and are catchy.
The 25th Annual Putnam County Spelling Bee–LAMB’s Players. In New York’s Putnam Valley, six unique teenagers compete in the county’s spelling bee moderated by former bee champion Rona Lisa Peretti. The competition begins and is a heck of a time with challenging words, recurring lisps, and fierce edges that bring out character and interesting confessions. The mix of the six students is stimulating enough. At the show’s top, four actual audience members are chosen to compete in the Bee. The one-act, no intermission piece was lively with amazing rhythm, the improvs were hilarious, and the wrapping of the true message was strongly present.
TOURING PRODUCTIONS
DUO– 0471 Acro Physical Theatre-WOW Festival La Jolla Playhouse. From Taiwan, SUN Cheng-Hsueh and HSIA Ling performed an incredible piece with amazing control, strength, and feeling, having flips, twists, jumps, and anything you can think of with LIU Tzu-Chi’s music design that framed the experience beautifully. As challenging as it is, showing the level of difficulty and danger, SUN Cheng-Hsueh and HSIA Ling did it gracefully. WoW marked their first time performing in the United States, which made it even more special.
Kimberly Akimbo–Broadway San Diego. Kimberly, about to turn 16, ages four times faster. Her family comprises not-that-responsible or present adults, yet Kimberly aims to make the most out of life and live, live, live, no matter what! Carolee Carmello Is a total gem as Kimberly displays heart while truly embodying a high school girl. The cast is solid, and despite the tears, the show’s comedic relief is on point. The score is by David Lindsay-Abaire and Jeanine Tesori, who made history as the first female composer to win two Tony Awards for Best Score. The first was for Fun Home.
OUTSTANDING PERFORMANCES
Frank Corrado as Alfieri in A View From the Bridge. His rendition of the keen and endearing lawyer was flawless, with an eloquent and perfectly timed voice that graced the stage in each appearance, showing the seasoned performer he is.
Daniel Patrick Russell as Christopher in The Curious Incident of the Dog in the Night-Time was definitely outstanding. The intention, the physicality, and the delivery were perfection.
Megan Carmitchel in How I Learned to Drive. Carmitchel evokes many emotions in her portrayal of Li’l Bit, never letting go of this character’s humanity and confusion from childhood to adulthood, giving truly moving work in Paula Vogel’s raw and suspenseful story.
Nathan Madden as Frank N. Furter in Richard O’Brien’s The Rocky Horror Show is fantastic with an energetic, naughty personality that interacts with the audience, flowing through the whole theatre space while rocking Jennifer Brawn Gittings’s hot, sexy costume design complete with garters, stockings, thongs, leather, and of course, stilettos. Plenty of stilettos in all sizes and colors (I salivated). Jacob Caltrider as Dr. Scott, the only returning cast member from the 2016 production, was awesome, mastering that wheelchair with a spot-on interpretation and impressive vocals.
Holly Stephenson as Gloria in Gloria. This is a nail-biting piece by Branden Jacobs-Jenkins, who, through the work, is continuously reporting society’s flaws. Stephenson plays the title and another “key” role, displaying histrionic contrast and heart-pounding moments.
James P. Darvas as Chuck in The Harvest. When Darvas hits the stage, there is no playing around. With just the simple trace of preparing a cup o’ noodles, the scary church leader gave chills, which was pretty amazing.
Aubriella Navarro as Calpurnia Tate in The Evolution of Calpurnia Tate in her LAMB’S debut did a fantastic job that drew the audience into the story along with the rest of the cast delivering a nice blockage and rhythm as the piece as well as the music, flowed, and was very charming.
Lena Palke as Small Alison in Fun Home gave a beautiful rendition of “Ring of Keys” with Rae Henderson-Gray where the house just came down as it is such a revealing and powerful song. Palke was lively and articulate, moving everyone’s heart.
Nancy Snow Carr as Rona Lisa and Geno Carr as Douglas Panch in The 25th Annual Putnam County Spelling Bee. Nancy had impeccable comedic timing and creative improv skills, with hilarious descriptions on the spot for the guest spellers that just brought laughing tears. She also picked up interaction with the audience and any sneeze, cough, or bathroom break that came about. Geno Carr teamed up with Snow Carr, and the real-life married couple sometimes could not contain the laughs! All the cast was amazing, but the Carrs took the -Spelling Bee- cake.
Nick Daugherty as Ray in The Beauty Queen of Leenane. Daugherty had a more set stage work that showed a good balance between accent/dialect, comedy, and rapport. He was really funny as Ray, and with hardly articulating a smile, he truly grasped the role, reflecting the page-to-stage accomplishment.
SAN DIEGO THEATRE EXPERIENCE HIGHLIGHTS.
I am adding this special and new category because there were two unique, new highlights in San Diego this year, and they deserve their own category:
Henry 6–The Old Globe. One of the most ambitious production projects in theatre, a series of three history plays by William Shakespeare condensed into two: One: Flowers and France and Two: Riot and Reckoning. I admit to having serious doubts about this production, but credit where credit is due because not only is this one of the highlights of the theatre year in San Diego, but it is also a milestone that marked the completion of the Bard’s canon at the Globe. Actors and industry personalities came throughout the run, which was a lot of fun.
MOXIE Theatre enduring repertory venture with a musical and a play. Different formats with contrasting plots. Only a couple of theatres in San Diego have ventured into this stage pilgrimage, and I am definitely here for it as it adds special value. Credit where credit is due to the MOXIEs and these impressive actresses, who not only demonstrated skill, ability, and amazing memory but also showed what badass performance looks like.
We haven’t had these types of dynamics since Cygnet’s production of Angels in America. It is not an easy task, which is why it was so special.
HONORABLE MENTIONS
Fiddler on the Roof – San Diego Musical Theatre’s production of the Timeless Tale, directed by Omri Schein, was captivating with its heartfelt portrayal. SDMT is known for the amazing performance skills of its actors, with an emphasis on choreography, and this production definitely attested to that with challenging numbers that were performed beautifully.
Pásale, Pásale–TuYo Theatre. A very engaging musical where audiences were greeted with a folding chair/shopping cart and five dollars to spend at the different puestos or stands, from pre-loved clothes to raspados and piñatas; the vendors narrate through mostly song, what is happening at the swapmeet with the owner, Señor Muchascosas, who is raising the vendor’s fee. This immersive experience included well-written and fitting songs that created a unique and fun experience.
