By Shari Barrett
After Iris’ intriguing encounter with a psychic in Monica Wood’s The Half-Light, the college secretary asks herself if certain people can be trained to see the dead. Iris’s pursuit of an answer leads to a more earthbound challenge when her beloved colleague, Andrew, is suddenly felled by grief due to a tragic accident involving his family. Armed with her own intuition and the enthusiasm of her overly zealous friend Helen, Iris attempts to coax Andrew back to the land of the living by opening him up to the possibility of a relationship with her.
In the meantime, Helen faces off with her daughter, Teresa, who believes her house is haunted. Their strained Mother-Daughter relationship, based on Teresa’s alternative lifestyle living with a young man her mother thoroughly dislikes, winds up almost causing another family tragedy. But that’s when Iris’ ability to contact and release the dead from haunting saves the day.
Directed at a too-slow pace by Ann Hearn Tobolowsky, the cast features Ivy Khan whose facial expressions fully embody all the emotions faced by Iris as she figures out how to move forward with her life; Stephanie Erb as the busybody matchmaker Helen; Grinnell Morris as Andrew, portraying the grief-stricken professor’s confusion and self-imposed isolation so effectively you can’t help but feel sorry for him; and Abigail Stewart as the drug-addicted Teresa who spends years frightened at the strange noises and movements happening in her home, especially after giving birth to Helen’s first grandchild. The four talented actors inhabit and present three-dimensional characters from their hearts and souls, pulling us into each situation they face through love, fear, and curiosity.
But what’s lacking is a script that can hold your attention during the first act of verbal exposition with little else taking place. Act 2 is more satisfying, especially for Iris as her new love affair begins to blossom just as she is finally able to prove her psychic ability and free Teresa from the ghost inhabiting her home. But the slow pace of the dialogue and action, and script in need of major editing down to a 90-minute play, create a rather tedious experience until just before the very end. Known as a Maine-based best-selling novelist, this is one of Monica Wood’s first two plays, and her drawing out of the story via dialogue speaks more to her novelist writing abilities than to a stage play meant to be seen in far less time than it takes to read a book.
The four-scene set design by Jeff G. Rack for this modern play is more basic than his usual highly-detailed sets, with sound design by Nick Foran and lighting design by Derrick McDaniel who do their best to create the scary atmosphere needed as Iris explores her spiritual powers. What’s really needed is MORE special effects to hold the audience’s interest by enhancing the moodiness and terror often felt throughout the “search for self” storyline.
Michael Mullen’s costume design works well to convey each character, but why does Iris always wear the same gorgeously designed green dress during the play’s entire year and a half timeline while the other actors change costumes often? It is understood the color green attracts ghosts, but surely Iris should have many green outfits.
Produced for Theatre 40 by David Hunt Stafford. The Half-Light continues through December 17 on Thursdays through Saturdays at 7:30 p.m., and Sundays at 2 p.m. in the Mary Levin Cutler Theatre at Theatre 40, 241 S, Moreno Drive, Beverly Hills 90212 (on the campus of Beverly Hills High School). Free parking in the adjacent lot, accessed through the driveway at the intersection of Durant and Moreno Drives. Tickets are $35, available by calling (310) 364-0535, online at http://theatre40.org, and at box office prior to performances.
The Group Rep has opened its 51st Anniversary Season with 70, GIRLS, 70, a zesty musical caper with music by John Kander and lyrics by Fred Ebb, book by David Thompson and Norman L. Martin, based on the play Breath of Spring by Peter Coke, adapted by Joe Masteroff and directed by Bruce Kimmel with loving musical reverence for the many entertaining songs. The musical centers around what happens when a charming group of clever, enterprising senior citizens take matters into their own hands when their residence hotel is about to be sold, banding together to take life by the bootstraps by going to extraordinary creative measures to save their home.
This long-buried gem of a musical sparkles with glorious, catchy music, comical lyrics, and energetic seniors who prove you are never too old to sing and dance your way across the boards. The cast features the talents of Cynthia Bryant, Regan Carrington, Fay DeWitt, Dawn Halloran, Doug Haverty, Hisato Masuyama, Barbara Minkus, Judy Nazemetz, Cynthia Payo, Lloyd Pedersen, Leota Rhodes, Rob Schaumann, Sara Shearer, Danica Waitley and Carol Weiss, with live music accompaniment by Carol Weiss (Piano), Thomas Silcott (Drums), Tim Christensen (Bass), and Cierra Lundy (Percussion).
The lively and energetic team of older actors may forget a line or two (Fay DeWitt as Gert is the eldest at 91, who dazzles during her “See the Light” solo), but the enthusiasm and talent with which they perform the clever choreography under Bruce Kimmel’s creative direction, got the audience laughing from start to finish. Barbara Minkus takes the lead as Ida, who comes up with the idea of stealing furs to fund the residents’ goal to purchase their retirement home. After all, she shares, “who is going to arrest a bunch of old people?” Certainly not the store security guards led by Hisato Masuyama whose comic facial expressions highlight every scene in which he appears.
Recently fired coffee shop waitresses Melba and Fritzi (Regan Carrington and Judy Nazemetz) harmonize beautifully during “Coffee in a Cardboard Cup” with Danica Waitley and Hisato Masuyama joining in as tap-dancing coffee cups! And Eunice and Walter (Cynthia Payo and Lloyd Pedersen) add a touch of romance to the storyline, especially during their duet “Do We?” (and you can guess to what activity that refers!), while she always worries that he will find out exactly what she up to with the other ladies. But, as it turns out, Walter has a previous history with the law and forgives Eunice for her wrongdoings. Barbara Minkus claims Ida’s place in the spotlight during Eunice and Walter’s wedding at the end, reminding everyone to just say “Yes” to taking opportunities when presented to fully enjoy every single day we have.
The Group Rep’s Artistic Director Doug Haverty creates lots of laughter each time he takes the stage as Harry, especially when dressed as a woman in a bright pink dress, ready to assist with the group’s goal to steal furs. Eddie and her Grandmother (Danica Waitley and Sara Shearer) remind us to “Go Visit Your Grandmother” which Ida then requests each audience member to do on their way home from the show. I truly hope many did just that!
Along with director Bruce Kimmel, assistant director Leota Rhodes, and musical director Carol Weiss, the production team includes musical staging by Kay Cole and Bruce Kimmel, tap choreography by Cheryl Baxter, set design by Will Maizel, colorful 1970s costumes designed by Michael Mullen, lighting designed by Nick Foran, with special kudos to stage manager Cassidy LeClair for keeping the actors’ costume changes and entrances on target.
Co-produced by Doug Haverty and Suzy London for The Group Rep, 70, GIRLS, 70 runs for one more weekend (December 15-16-17) on Friday and Saturday at 8 p.m., Sunday at 2 p.m. at the Lonny Chapman Theatre, 10900 Burbank Blvd., North Hollywood, 91601. Approximate running time is two hours plus a 15-minute intermission. General Admission: $40. Seniors/Students with ID: $35. Groups of 10+: $30. For tickets call 818.763.5990 or visit www.thegrouprep.com. Please arrive early for parking in an early bird lot to the left of the venue, with free side street and residential area parking. Be sure to read all parking signage and be mindful not to block other businesses in the area.
