Alone with a Cast of Thousands

It was in a shared dressing room that I first met Phil Johnson during an actors' festival. These one-ring circus's bring out the giddiness in actors and occasionally a generosity. Mr. Johnson displayed both. While listening to his work via intercom, it was obvious he drew from a deep well of technique and impeccable comic timing. Where actors played one piece, he ambitiously played two pieces both of which he co-wrote. The audience was putty in his hands. 


Now in his adaptation of The Hound of the Baskervilles he mashes-up Victoriana and mayhem playing all Sir Arthur Conan Doyle's characters. Here is a glimpse of Mr. Johnson's monomaniacal creativity.

TV: How did you end up in San Diego?

PH: I was doing a lot of touring shows and on the road, Les Miz in New York, Miss Saigon, Sunset Blvd., and I came to know that I really wanted to do comedy, not that I didn't love those shows all about “dead people and guns,” but I wanted the cheap tasteless theatrics of LA comedy. I did a lot of sketch comedy with a great place there, ACME Comedy Theatre. I was there for three years. So, LA was where I started first and I began splitting the time between here and there. Steve Gunderson's replacement in Forever Plaid was my first job here.

Don't Dress for Dinner, NCR

When did you know you wanted to become an actor?

Yikes. Maybe when I started making puppet shows out of refrigerator boxes, last year. No! That's when I was seven, I think. I learned so much from the great old 30's & 40's black and white movies they used to show when I got home from school and TV shows: Carol Burnett, Flip Wilson, remember him?

“The devil mad me do it.”

Sonny and Cher--all those great comics from those days-- those great lines, Burnett as Scarlet wearing the drapes, “I saw it in the window and I just had to have it.”

What took you to the next discipline of writing sketch comedy and playwriting?

My days at ACME Comedy Theatre taught me a lot about what works in comedy, how to write fast. I started doing a one-man show that I debuted at Actors Art Theatre in LA with my great acting teacher Jolene Adams. It was, strangely enough, about a singer/ actor who was auditioning for the latest mega-musical, but with a crazed maniac at the helm, loosely based on Nicolas Hytner, our director on Saigon. He was fascinating. I wanted to do shows that were loose and conversational and there weren't many I liked, so I had to write (them).

The Hound of Baskerville, NCR

Sir Arthur Conan Doyle wrote during Queen Victoria's reign as did Dickens. Do you see a similarity in their work?

There was this wonderful morbid fascination with death and freak shows at the time, those wonderfully suppressed people did the most amusing act-out things! There was something called memento mori, I believe photographs were fairly new then, and people would photograph pictures of themselves with newly dead loved ones, really. They would make these little vignettes, with the live people, like the dead people weren't even dead; like painting their eyelids, or sticking their arms and hands up with pins. Fun. Sometimes it was the only a photo people had taken of themselves. Brrrrr.

Doyle wrote over 50 short stories. Why Hound Of The Baskervilles?

It's probably the most popular, everyone has a recollection of it. It's common to a lot of people. You can't imagine the different things people have done to the story over the years! It's an adventure story- I love that about it.

Doyle practiced Spiritualism. Does the metaphysical figure into Hound?

Yes! The MGM movie with (Basil) Rathbone added a séance that isn't in the book, and people loved it so much, it's been in every version since then. This was another of those weird wonderful Victorian delights, séances. It's a big climax for me in my play. It heightens the anxiety so well! People love to be scared. Strange, isn't it?

Sounds intriguing. Do you have superstitions when in the theatre? Ever see a theatre ghost?

Not really. My insane friend Eileen Bowman seems to see ghosts coming out of every broom closet in theatres, but I have not joined that particular club. I don't say the “M word” though. Should I?

Little Shop of Horrors, Cygnet Theatre

The other side of Phil may ask you dispel the curse; exit the dressing room and turn around three times. You received a $15,700 San Diego Foundation Creative Catalyst Grant for Hound. Congratulations. Was the competition tough? What was your response on hearing the news?

I was overjoyed. It was wonderful to have that support for something you think is good and someone else does as well- that's the best. I've always wanted to be able to write a one-man show that was elegant and well-produced and could

tour. This is a very big dream of mine and that's what this is. I believe the competition was quite tough. I couldn't believe what prestigious organizations didn't get picked and I did. Does that mean a mistake (was made) somewhere?

How did your collaboration with your director Cynthia Stokes come about?

We had worked together on a very funny comedy Mike Sears and I wrote a few years back called Nemesis, and we were lucky enough to get this big S.D. Opera director, Cynthia. It was a real laugh-riot, the funniest thing I've ever worked on.

She suggested the project to me at that time and I didn't give it much thought, but what a wonderful experience it's turned out to be. She is a great “actor's director.”

Is it difficult to incorporate cuts and changes?

No. I think that's the easiest. I know my own rhythms so well and when I write, almost everything is written the way I would say it playing that character. A 76-page solo show though is quite another matter.

Playing multiple roles in a one-person show is an audacious endeavor. What does it take to synthesize research, writing and performance?

You just stew with the story for a while, read everything. Watch some movies, look for inspiration and something will start bubbling up, that's what happened for me. I started saying “Here's this very famous classic that I am going to destroy. How can I possibly start (writing)?” But I did and I let myself off the hook about the whole thing. Hopefully Mr. Doyle hasn't noticed.

Comedy is one of your fortes. What are your three rules of comedy?

Location, location, location. I think comedy is about averages, like baseball? People try so hard, but what makes you a comic really, I think, is your always present “intent to amuse” and a love of people. When your intent is unwavering, you will be funny and hopefully not annoying more often than not.

And not ignoring the reality, maybe pushing it a little. Oy.

Who would you like to be seated next to on a flight to newark?

Newark? Don Rickles? Alan Rickman? Maggie smith? The President maybe? Can you arrange that?

I’ll get back to you on that. How would you finish this sentence: New work in the theatre is _____.

Essential. You have to keep putting your voice out there somehow. And hopefully retelling old stories well is included in there too.

Are merde and “break your legs” still terms of good luck backstage?

You better believe it. I'm buying a full body cast right now.

                                                                                                                                            

Phil Johnson’s sketch comedy video: http://www.philjohnson.net/comedy.html

Hound of The Baskervilles

May 3^rd through 6^th
Box Office: 858-481-1055
http://www.northcoastrep.org

Return of Super Star

“Always hoped that I'd be an apostle
Knew that I would make it if I tried
Then when we retire we can write the gospels
So they'll still talk about us when we've died”
The Apostles post Last Supper aka Passover



Des McAnuff's Stratford Shakespeare Festival production of “Jesus Christ Superstar” smolders at the La Jolla Playhouse. The 1970s pop opera concept album cum musical is a brooding tragedy that pay's off with a theatrical punch McAnuff is always sure to deliver.

Playhouse musicals aspire to Broadway ascension. “Superstar” is already blessed to open at the house of Neil Simon in March 2012. Modestly budgeted by current Broadway standards, the production is not slick and laminated and still proves highly theatrical even when compared to Tom O'Horgan's over produced original Broadway incarnation.

Originated at Canada's national theatre where the classical text is paramount and classical performance values (they provide ongoing company classes) are maintained. “Superstar's” story and detailed characters remain in the foreground with articulated non-verbal story telling giving rise to its vocal narrative.

In part resonant with the Arab Spring, we see Jesus's followers pop frenzy riding the robes of the his star status. A lesser local example are Terry Cole Whittikar followers chanting “prosperity is your divine right” at her Sunday matinee service.


The Stratfordians prove incandescent in rendering Jesus Christ's last seven days. I must be quick to note the Shakespeare Festival actors are triple-threats, so triple the wattage. The company's vocal richness and diversity careen's from aria-like wailing to opera buffo into traditional musical ballad and belt.


McAnuff's intelligent direction keeps the story grounded in pathos even with Bruce Dow's vaudevillian turn in “Herod's Song.” Dow brightens act two's downward trajectory with desperate self-preservation disguised in visceral mockery of the doomed Jesus. His Charleston is a dance of the dead. What could have been played for easy laughs, “Herod’s Song” continues the story's emotional complexity.

Paul Nolan's draped-in-white Jesus pulls us through his inevitable tests with premonitions mixed with vocal pyrotechnics. Chilina Kennedy as Mary Magdalen, a favorite J.C. Groupie, brings in a low-key but intense performance.

Josh Young's Judas Iscariot proves magnetic as Jesus's favorite boy and betrayer. The love triangle of JC/Mary/Judas is less than conspicuous. Young's conflicted Judas galvanizes the evening. His swarthy good looks and underplaying are ideal for the role as are his golden pipes. I wager that Mr. Young will be a shoo-in for best supporting actor nomination come next year's Tony Awards.

Des McAnuff and set designer Robert Brill's collaboration echo's his design for “Jersey Boys” with its battle ship grays and minimalist industrial motifs. Howell Binkley's emotional expressionistic lighting blends with Sean Niewenhuis's video design that aids in setting locations.

Paul Tazewell's costume design integrates circa 4 B.C desert garb with contemporary urban and military styles. Mr. Tazewell breaks away from the dominant grays and blues with amped-up glitz in the temple and court debauchery numbers that prove a visual relief. Lisa Shriver's choreography supports the narrative.

Reviewed November 23rd, 2011 matinee.

* * *
Surviving 17 years of Catholic schooling and still recovering, the production redefined my understanding of Jesus's final days.

* * *

Jesus Christ Superstar

A Stratford Shakespeare Festival production of a musical in two acts with lyrics by Tim Rice & music by Andrew Lloyd Webber. Directed by Des McAnuff.

Jesus Christ - Paul Nolan
Judas Iscariot - Josh Young
Mary Magdalen - Chilina Kennedy
Pontius Pilate – Jeremy Kushnier
King Herod - Bruce Dow
Caiaphas - Marcus Nance
Annas - Aaron Walpole
Simon Zealotes - Lee Siegel
Peter - Mike Nadajewski

With: Mark Alfano, Mark Cassius, Ryan Gifford, Kyle Golemba, Stephen Patterson, Jason Sermonia, Julius Sermonia, Jonathan Winsby, Sandy Winsby, Mary Antonini, Jacqueline Burtney, Kaylee Harwood, Melissa O'Neill, Laurin Padolina, Katrina Reynolds, Dominique Roy.

Musical direction, Rick Fox; choreography, Lisa Shriver; sets, Robert Brill; costumes, Paul Tazewell; lighting, Howell Binkley; sound, Jim Neil; video, Sean Nieuwenhuis. 1 hr, 50 min.

November 18 - December 31, 2011
Weiss Theatre
(858) 550-1010
www.lajollaplayhouse.org


PHOTOGRAPHS:

Josh Young, Chilina Kennedy and Paul Nolan make up the cast of Des McAnuff's Jesus Christ Superstar. (Andrew Eccles)


Paul Nolan (center) as "Jesus Christ" and the cast. Photo by David Hou.

Bruce Dow (center) as "King Herod.” Photo by David Hou.

Josh Young as "Judas Iscariot" (front) and Paul Nolan as "Jesus Christ." Photo by David Hou.

Previously Engaged

George Weinnberg-Harter is featured in Talent to aMuse's "Engaged," June 11-27 at Swedenborg Hall in San Diego. This little known one act by W.S. Gilbert (of Gilbert & Sullivan) that premiered in 1877 is said to be an inspiration for Wilde's "The Important of Being Earnest."
For more information: www.talenttoamuse.com












Photos: George Weinnberg-Harter (O.P. Hadlock); original artwork.

Departure Delayed

“Boeing Boeing” idled in the gate at the Old Globe theatre delayed for take-off. The 1960s French farce (more a comedy of manners) about a swinging American bachelor in Paris juggling three girlfriends roared through long runs in Paris and London and a moderate run in its New York engagement.

Clunky with exposition till forty minutes into Act 1, it is with the entrance of Stephanie Fieger, an Alitalia air hostess, that this biplane of a comedy starts to taxi toward the runway.

The evening finally moves down the tarmac with the entrance of Caralyn Kozlowski, Lufthansa hostess Gretchin, and “Boeing Boeing” takes flight. Ms. Kozlowski's voracious comic energy rattles boyfriend Bernard's plush towering bachelor pad. Her muscular chaos sets the play aloft with a delightfully maniacal lust for love, always playing against her driving sexual appetite.

Rob Breckenridge as Bernard appears to be in a different play, a sit-com perhaps. As his best friend, Robert, Joseph Urla, serves as the captain of the show's cockpit. Mr. Urla's eventual engagement in Ms. Kozlowski's dare devil diving approach to comedy finally pay's off in the long awaited for hilarity of Act 2.

As Bernard's maid, Berthe, Nancy Robinette's French dialect sounded more German than French and missed numerous comic opportunities. Liv Roth turns in a serviceable performance as the manipulative American sex kitten cum tigress.

Designed by Rob Howell and handsomely painted by Carole Payette, Mr. Howell's design offers up eight doors. The production never achieves the door slamming rhythm de rigueur to farce.

Mark Schneider recreated Britt director Matthew Warchus's original direction of the 2008 Broadway revival.

Photos:

Caralyn Kozlowski and Joseph Urla. Production photo: Craig Schwartz.

Caralyn Kozlowski

BOEING-BOEING
By Marc Camoletti and Beverley Cross
Directed by Mark Schneider

March 13 – April 18, 2010, Old Globe Theatre

Production overseen and originally directed by Matthew Warchus.

CREATIVE TEAM: Rob Howell (Scenic Design and Costume Design), Chris Rynne (Lighting Design), Paul Peterson (Sound Design), Simon Baker (Original Sound Design), Claire van Kampen (Original Music), Dan Rosokoff (Stage Manager) and Annette Yé (Assistant Stage Manager).

(619) 23-GLOBE [234-5623]

http://www.theoldglobe.org

Love's Labour's Lost in Santa Monica

Dominic Dromgoole the Artistic Director of the Royal Shakespeare company's recreation of London's Globe Theatre carries the rare features of success in things artistic, the pound at the box office and fund-raising. His production of "Love's Labour's Lost," a hit of the Globe's 2007 season, is one of Shakespeare's early romantic comedies set in France and plays at Santa Monica's Broad Stage November 19th -29th.

Considered by some a difficult play to produce with its "complex word games, literary parody and pedantic verbal jousting," Mr. Dromgoole's production is noted for its physical comedy, "full of brio" and "robust." In the following interview the director discusses aspects of the play's background, notes on-the-road and advice to first-time directors of the Bard's work.

Espresso-Refill: What was your first experience of Shakespeare in a professional setting?

Dominic Dromgoole: Lord, can't remember, have dim memories of Brook's "Dream" when I was about six years old, a very intense "Macbeth" in a small studio theatre, and a wonderful trip to Stratford with my mother.

ER: What were the greatest challenges working the recreation of the Globe theater?

DD: Getting as much of the detail right as possible, and most importantly getting the spirit right, a place where people meet and instantly get excited.

ER: Why is LLL of particular interest to our 2009 audience?

DD: Because it is fun, and fresh and human, and reminds us of the healing powers of merriment.

ER: What was LLL’s appeal the Elizabethan and Jacobean audiences? Do the royal court references present a challenge?

DD: It is the filthiest play ever written, rammed with puns, innuendos and sexual allusions so dirty that they make most modern comedy seem tame. It was a popular hit in its day, and that must have been the reason. The court references are fun and cheeky, but not really of much interest to anyone but academics, so it's not worth worrying them too much.

ER: Do you identify with any of oaths in LLL?

DD: No, they seem absurd to me now, as I'm sure they did to the audience then.

ER: How often is the company given notes while on tour?

DD: They just got a whole wodge yesterday. About once a week - each new venue throws up new thoughts.

ER: Do you see generational differences in actors skills or values? Habits?

DD: Younger actors find it easier to embrace the Globe ethos - lights up, direct address, robust playing - than older actors who still live more in the shadow of Victorian Shakespeare and that whole tradition.

ER: What are the most common mistakes actors make when approach acting Shakespeare?

DD: Forgetting the audience. Shakespeare wrote for an audience, and it is important for actors to remember that their moment, or line, or scene, or journey, is not about the effect it has on them, it is about the effect each has on the audience.

ER: One of Shakespeare’s early comedies and set in France, did you find relevant information that relates to Shakespeare’s French landlords the Mountjoys? Was it playable?

DD: Eminently playable, and full of joy. Charles Nicholls' new book, The Lodger, is full of good stuff abut the Mountjoy's. It is remarkable how many strong and vibrant French women there are in Shakespeare's early plays. He was clearly very impressed, and slightly intimidated by someone in that household.

ER: Did you explore the play’s anti-immigrant sentiments?

DD: I think Shakespeare started out with one idea of what Armado was going to be - a satirical portrait of a comical and silly Spaniard/foreigner - but then the moment Armado opened his mouth, something shifted, and he started writing something rich and complex and sophisticated, as he always did.

ER: Two of Shakespeare’s sonnets appear in play. Does the acuity of the sonnet’s verse contrast with the play’s prevalent verse style?

DD: They are funny, and slightly extraneous set-pieces, but actually rather than being acute, they both introduce moments of quite startling tenderness in quite a robust comic world.

ER: Do you see any similarities of the “little Achademe” illustrated in the play in today’s society?

DD: Not really. Madrassas maybe, but to set the play near one of those would skew the comedy rather heavily.

ER: What is your advice to directors on their first outing with Shakespeare?

DD: Read the play twenty times, try not to read about other productions, make the actors feel comfortable and playful, and, above all, treat it as a new play.


# # #

Photo: Mr. Dromgoole, © Sheila Burnett

"Love's Labour's Lost"
at
The Eli and Edythe Broad Stage

Santa Monica College Performing Arts Center
1310 - 11th Street, Santa Monica, CA 90403

310. 434. 3412


www.thebroadstage.com

Fun Tricks at Swedenborg

Step on the Wild Side

The “39 Steps,” currently at the La Jolla Playhouse, offers the fine Ridiculous Theatre styling of Hitchcock’s classic film of the same name. The difficult directing and acting style that didn’t work with the current Old Globe production of Charles Ludlam’s “The Mystery of Irma Vep” works splendidly in Maria Aitken’s restaging of her Tony Award winning production.

Each of the four actors in this excellent production is a facile comic ballet dancer in a buffo masquerade that squeezes Hitchcock’s chase movie to the stage with over 100 characters.

Catch it while you can before the show trots off to Seattle.


(l-r): Eric Hissom, Claire Brownell, Scott Parkinson and Ted Deasy


The 39 Steps
Directed by Maria Aitken

Adapted by Patrick Barlow
Based on an original concept by Simon Corble and Nobby Dimon
Based on the book by John Buchan

Through September 13, 2009

With:
Claire Brownell
Ted Deasy
Eric Hissom
Scott Parkinson

Scenic/Costume Design: Peter McKintosh
Lighting Design: Kevin Adams
Sound Design: Mic Pool

http://www.lajollaplayhouse.org