With all the sad news about Southern California theatre this weekend, it is a pleasure to talk about a strong theatre family—a well-run theatre that has consistently strong productions. This post provides me that opportunity, for this afternoon we went to the Repertory East Playhouse in Newhall to see the first production of their MMX season: “Lost in Yonkers” by Neil Simon.
For those unfamiliar with this play (it won the 1991 Pulitzer Prize for Drama), Wikipedia summarizes it as follows: “Lost in Yonkers is a coming of age tale that focuses on brothers Arty and Jay, left in the care of their Grandma Kurnitz and Aunt Bella in Yonkers, New York. Their desperate father, Eddie, works as a traveling salesman to pay off debts incurred following the death of his wife. Grandma is a severe, frightfully intimidating immigrant who terrified her children as they were growing up, damaging each of them to varying degrees. Bella is a sweet but mentally slow and highly excitable woman who longs to marry an usher at the local movie house so she can escape the oppressive household and create a life and family of her own. Her brother Louie is a small-time, tough-talking hoodlum who is on the run, while her sister Gert suffers from a breathing problem with causes more psychological than physical. Lost in Yonkers climaxes with a dramatic confrontation between embittered mother and lonely daughter that creates a permanent fissure in this highly dysfunctional family.”
Many in my generation are familiar with Neil Simon, who was one of the classic comedy playrights of the 1960s through 1980s. His plays are classic comedies (who here doesn’t know “The Odd Couple”, for example). Yet many of his later plays mixed the comedy with the semi-autobiographical drama. Certainly his trilogy (“Brighton Beach Memoirs”, “Biloxi Blues”, and “Broadway Bound”) did, as did this play. In a large setting, the closeness of the drama can be lost in the jokes. This is where the REP has a distinct advtange: their 81 seat venue provides the intimacy that permits the real drama of this production to shine through.
Under the steady directoral hand of Mark Kaplan, the cast achieves perfection and inhabits their characters. Nowhere is this seen better than in the two youth roles: Ross Mayer as Jay and JT Friedman as Artie Kurnitz. These two young men (aged 13 and 14, respectively) have their characterization and lines down pat, and were completely convincing as New York youths, not the Santa Clarita locals that they are. The other end of the spectrum was no slouch either: Nan Tepper emboded Grandmother Kurnitz (a role she has played before for Theatre 40). Although the stern teutonic grandmother, you could see there was some tenderness deeply buried. Tepper had the strength to play her such that you knew she wasn’t being mean just to be mean; she was being mean to protect both her children and her. However, the remainder of the ensemble made it clear that the damage had been done, from the adult child of Bella Kurnitz (played to perfection by Kelly Hawthorne, who I think could do well in Light in the Piazza), to the overcompensating tough hood of Louie Kurnitz (Daniel R. Wolfe), to Jay and Artie’s overly bullied father, Eddie Kurnitz (Michael Sollenberger), and lastly, to the withdrawn sister Gert Kurnitz (Laura Clark Greaver). All were excellent and a joy to watch.
The production was hightened by the excellent technical work. For those unfamiliar with the REP, they are a small black box space that they do the most with. The set, designed by regular set designer Jeff Hyde and lit by resident lighting designer Tim Christianson, was perfection: it captured the mid-1940s period well, with a painstaking attention to detail (we were on the side, and looking down a hallway that only we could see, it was done to perfection). The period sound was provided by resident Sound Designer Steven “Nanook” Burkholder. The period costumes were by Christie Hauptman. Johnny Schwinn was stage manager.
Going back to my opening paragraph: When we started subscribing at the Pasadena Playhouse back in 1987, they were a few years out of the rebirth, and over time, the people there became like family. Of late, that family grew cold and corporate. We started attending REP East back in 2006 (their second season), and they too have become family. We have gotten to know their artistic director “O”, their managing director Mikee, the president of the board Bill, and many others. We are impressed with the goodness and dedication to quality of the REP East team. If you are looking for a place to spend your season ticket dollar, this is one you should consider. They tend to put their tickets up on Goldstar, so give them a try. The remainder of the REP Season is On Golden Pond (March 12-April 10); 12 Angry Men (April 23-May 2); The Wedding Singer (May 21-June 19); The Last Days of Judas Iscariot (July 9-July 24); Side Man (August 13-August 28); Dr. Jekyll and Mr. Hyde (September 17-October 16); and Amadeus (November 12-December 11).
Upcoming Theatre. As for us, what’s upcoming on the theatre calendar? Next week brings our last production at the Pasadena Playhouse (their penultimate night): a reimagined version of “Camelot”. The following week (2/13) sees us at our other subscription home, Cabrillo Music Theatre, for “The Andrews Brothers”. The week after that (2/21) is the February installment of “Meeting of Minds”: Episode 23 with Jean Smart as Catherine the Great, Ian Buchanan as Oliver Cromwell, and James Handy as Daniel O’Connell. The last week of February is open, although I’m debating “Celedine” at the Colony Theatre. In March, I’m debating “The Story of My Life” at the Havok Theatre (2/25 – April), plus I have to schedule “On Golden Pond” at REP East. All I know for sure is that March 21 will be “Meeting of Minds”. April brings more of potential interest, mostly unscheduled, including “Damn Yankees” at Van Nuys HS, “See What I Wanna See” at the Blank (4/10-5/23), the So Cal Ren Faire (4/10-5/23), “12 Angry Men” at REP East (4/23-5/2), and “The 39 Steps” at the Ahmanson (4/27-5/16).
As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.