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Dezart Performs’ artistic director Michael Shaw has chosen to kick off Greater Palm Springs Pride and the company’s 10th season with The Legend of Georgia McBride—and I can’t imagine a better play for him to choose. Matthew Lopez’s hilarious yet touching romp through the world of small-town drag shows hits all the right notes and is enormously entertaining.

The show opens with Casey (Sean Timothy Brown) entertaining a small crowd at a Panama City, Fla., bar with his Elvis impersonation. Though Casey is not a bad Elvis, the nightly audiences are dwindling steadily, and the bar owner, Eddie (Chet Cole), is not happy. Deciding that a drag show just might do the trick, Eddie calls his female-impersonator cousin Tracy (Michael Mullen) to help save his business. Casey is out of a job—and at the worst possible time: His young wife, Jo (Brianna Maloney), is pregnant, and their latest rent check has bounced.

Tracy soon arrives, with fellow drag queen Rexy (Hanz Enyeart) in tow. The two are a hit with the bar patrons (much to Eddie’s relief), but temperamental Rexy (short for Miss Anorexia Nervosa) has a problem with booze. When she passes out drunk one night right before her Edith Piaf number, Tracy and Eddie enlist Casey to take her place—and the financial pressures of impending fatherhood cause the initially resistant Casey to eventually give in.

Tracy’s efforts to prepare Casey for his drag debut are a hoot. Dubbing him “Georgia McBride,” Casey admonishes him to “Suck it in, bitch … beauty hurts!” while struggling with a waist-whittling corset. Her advice on what to do if he forgets the words to his lip-synced song is priceless.

After a shaky start, Casey begins relishing his new female persona, and the crowds love him. Not everyone is pleased, however. Rexy is angry about being replaced, and Jo is shocked to discover that the wads of cash her young husband is bringing home come from him prancing around onstage in sequins and lipstick.

Director Michael Shaw has once again proved his skill at casting. Each actor in The Legend of Georgia McBride is terrific. There really is not a weak link.

Chet Cole hits all the right notes as Eddie. He’s a likable, jovial and charismatic emcee for the nightly shows at his bar, but when it comes to the bottom line—what’s in the till—he can be tough as nails. When his unrecognizable cousin Tracy shows up in full drag and appears to come on to him, Eddie blurts out: “Look. I’m sure we had fun, but I’m sterile!” Eddie’s increasingly flashy attire, including his holiday-themed sunglasses and toupee, are perfect.

Brianna Maloney is adorable as Casey’s long-suffering wife, Jo. We can see how much she loves him, and their chemistry is strong. But we also understand that, with unpaid bills piling up and a baby on the way, her belief in his talent may not be enough. Maloney’s acting is quite good; however, there were times during opening night—particularly early in the play—when some of Maloney’s lines got lost. Stronger vocal projection is the answer. It’s one tiny flaw in this production, and one that can be easily remedied.

In dual roles as Rexy and Casey’s buddy and landlord, Jason, Hanz Enyeart is superb. When he makes his entrance as Rexy—clad in a leopard jumpsuit and Elton John-esque rhinestone sunglasses—it’s hard to take your eyes off him. His Amy Winehouse number, “Rehab,” is flawless. Enyeart proves he has some serious acting chops, too: His monologue recalling a severe beating he endured in his early days as a drag queen is riveting.

Sean Timothy Brown is excellent as Casey. We can feel his sincere love for Jo, his drive to succeed as an Elvis-tribute artist, and his initial hesitance about performing onstage as a woman. The audience goes along for the ride as he blossoms into a bona fide drag star, and we root for him every step of the way. It’s hard to choose a favorite among his musical numbers—they are all laugh-out-loud funny—but his Edith Piaf, and, later, Tammy Wynette’s “Stand By Your Man” stood out for me.

If there is a standout in this stellar cast, it would have to be Michael Mullen as Tracy. First of all, he makes a damn good-looking broad. Though he’s been knocked around by life as a drag queen, he has a kind, maternal side to him, especially when he’s coaching Casey on the finer points of performing as a female. Mullen is one of the best drag queens I have seen: He looks great as a woman; dances well, even in 4-inch heels; and really captures the sass, attitude and humor necessary when portraying pop divas like Cher and Diana Ross. He is a fine dramatic actor as well. When he challenges Casey in an intimate scene to be honest about who he really is, you can hear a pin drop.

Huge kudos go to both Doug Graham for his amazing choreography and Kara Harmon for her costume design. James Geier’s wigs and Timothy McIntosh’s makeup design are also spot-on. The set design, sound and lighting are also top-notch.

Shaw gets the best out of everyone in the cast. The glitz and glam of the drag numbers is appropriately over-the-top, yet the emotion and humanity of the characters is very real.

Dezart Performs has offered the Coachella Valley fine theatrical productions over the past 10 years—but this is among the company’s best shows. The cast had the audience members on their feet, cheering and clapping along with the final musical number. There is only one word that sums up this incredibly entertaining night of theater: Bravo!

The Legend of Georgia McBride, a production of Dezart Performs, is performed at 7:30 p.m., Friday and Saturday; and 2 p.m., Saturday and Sunday, through Sunday, Nov. 12, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $28 to $32. For tickets or more information, call 760-322-0179, or visit www.dezartperforms.org.

Published in Theater and Dance

What better way to rev up Greater Palm Springs Pride than with a play about a struggling Elvis impersonator who finds great success … as a drag queen?

That was the thinking of Dezart Performs artistic director Michael Shaw when he chose The Legend of Georgia McBride—a play he described as heartwarming and “funny as heck”—as the opening production of the theater’s 10th anniversary season.

The Legend of Georgia McBride debuted in 2015 and has been performed successfully several times, including runs in New York, Los Angeles and San Francisco. Dezart is using the costumes from the San Francisco production—and costuming has been very challenging, Shaw said. There are three drag-queen characters, requiring a total of 19 wigs and 20 dresses. The staging, including multiple lip-synced musical numbers, has also posed a challenge on Dezart’s relatively small stage at the Palm Springs Woman’s Club.

The story revolves around Casey (aka Georgia McBride), a beleaguered young Elvis impersonator who is barely making a living. Bill collectors are calling, and Casey has just learned that his young wife, Jo, is pregnant. Then he loses his Elvis gig at a run-down Florida bar; the owner, Eddie, brings in a mediocre drag queen named Rexy as the new entertainment. When Rexy gets too drunk to perform one night, his companion Tracy tutors Casey on the finer points of female impersonation—and a star is born.

Shaw says he easily cast the roles of Casey (Sean Timothy Brown), Jo (Brianna Maloney) and Eddie (Chet Cole) right here in the desert; the two more-seasoned drag-queen characters, Rexy (Hanz Enyeart) and Tracy (Michael Mullen), were harder to find.

“I auditioned several excellent drag queens here in the valley—and there are some darned good ones—but there is some serious dramatic acting required in this play, and being a fabulous drag queen wasn’t quite enough.” Shaw said.

So far, the cast has meshed well. “They adore each other!” Shaw said.

When asked what is unique about this play, Shaw paused. “Casey is a lost young man; he throws himself into Elvis and other characters because he really doesn’t know who he is. Casey hides behind the other personas because they are more together than he is. He is a man-child who cannot even balance his checkbook.” However, Tracy takes Casey under his wing and makes him an amazing drag queen—and a better person, too.

Just two years out of high school, young Brianna Maloney said she is thrilled to be performing in her first play with Dezart Performs. She did quite a bit of musical theater at Palm Springs High School with David Green, who introduced her to Shaw. Brianna calls her character, Jo, “the boss” in the marriage with Casey. Jo loves her husband, but she is frustrated by his irresponsibility. She knows the Elvis thing is his passion—but it’s not paying the bills, which is an even bigger problem now that a baby is coming. Still, she gets a kick out of Casey’s Elvis performances, and to some degree lives vicariously through him.

Sean Timothy Brown calls his character, Casey, a simpleton. ”He’s not the sharpest knife in the drawer,” Brown said. But Casey is passionate about performing, and loves being onstage. He takes to the drag stuff quickly, and finds that “Georgia McBride” has traits he wishes he had himself.

Brown—who had never done drag before this show—worked with Shaw previously in the cast of Dezart’s production of Clybourne Park. Local audiences have also seen him in Bad Jews, by Desert Ensemble Theatre Company, and as Daddy Warbucks in Palm Springs High School’s recent production of Annie.

Shaw says that with all of the musical numbers, The Legend of Georgia McBride is unlike anything Dezart has ever done. There is no particular theme to this year’s 10th anniversary season, which will be celebrated with an anniversary party and fundraising event hosted by Eight4Nine Restaurant and Lounge on Sunday, Jan. 14.

Shaw said he’s looking forward to starting the season on Pride weekend with The Legend of Georgia McBride.

“It’s a play with a heart of gold,” Shaw said. “It’s so much fun!”

Dezart Performs’ The Legend of Georgia McBride will be performed at 7:30 p.m., Friday and Saturday; and 2 p.m., Sunday, from Friday, Nov. 3, through Sunday, Nov. 12, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $40 for opening night with a post-show reception; $32 for evening performances; and $28 for matinees. For tickets or more information, call 760-322-0179, or visit www.dezartperforms.org.

Published in Theater and Dance

Michael Shaw, the artistic director and co-founder of Dezart Performs, had no idea what he was getting himself into when he helped start the theater company back in 2008.

“I was living in Los Angeles, so I was running the theater with my co-founder at the time,” Shaw said. “I went back and forth … and was still holding down my job in Los Angeles. I realized for it to grow, I needed to be here full-time. I needed to be entrenched in the community, because in order to be successful, you need to be in the community and get support for a nonprofit.

“I thought going into it that it was an avenue to explore new scripts. I really went into this thinking, ‘No stress; it’ll be fun. It’ll be an outlet to explore my creative side as an actor’—and the first four years, it was exactly that. But when you decide to take it to the next level, there are responsibilities that come with that. Things mushroomed and grew.”

Things mushroomed and grew so much, in fact, that Dezart Performs is outgrowing its home, the Pearl McManus Theater at the Palm Springs Woman’s Club. That’s why Shaw recently announced Dezart was embarking on a campaign to raise money for a new and bigger theater to call home.

Dezart Performs is not alone. Coachella Valley Repertory announced last year it had agreed to purchase the Desert Cinemas movie theater building in Cathedral City and turn it into the company’s new home, after outgrowing spaces in The Atrium shopping center in Rancho Mirage. Meanwhile, Desert Theatreworks outgrew its space at the Arthur Newman Theatre at the Joslyn Center in Palm Desert and just moved into a new space at the Indio Performing Arts Center.

Yep: Local theater companies are on the move.


Michael Shaw (far left) and the company of Dezart Performs' Casa Valentina watch as makeup artist James Geier demonstrates makeup techniques on actor Dale Morris. COURTESY OF CLARK DUGGERWhen Shaw (pictured here, at the far left) and co-founder Daniela Ryan began Dezart Performs, the company placed an emphasis on finding and developing brand-new plays. However, in recent years, Dezart Performs has shifted its focus away from new plays, and toward edgier fare. For example, the 2016-2017 season included Harvey Fierstein’s Casa Valentina, a play based on a real-life haven for transvestites in the 1960s, and Bruce Norris’ Clybourne Park, a play that tackles issues of race, housing and gentrification.

“Our season has an obligation to deliver socially relevant and provocative story lines. We’ve always tried to do that—and our audiences didn’t expect that in our little town a few years ago,” Shaw said. “They say, ‘I really love A Chorus Line,’ and didn’t expect to see Clybourne Park, which not only uses the F-word quite often, but also uses the C-word. When I read the script, I thought, ‘Oh my God! They’re going to pull out pitchforks and torches!’ (But audiences) loved the fact they were challenged and, in the context of the storyline, felt (such language) was necessary. The audience is there with you. That’s exciting. Five years ago, I wouldn’t have done Clybourne Park, and wouldn’t have expected that.”

Shaw said he’s enjoyed watching the Coachella Valley theater world grow and prosper.

“All of the theater directors are friends,” he said. “We all communicate; we all get together and see each other’s shows; and we all support each other. We make an effort to support each other, because we need more than one theater. You can’t have just one hamburger joint or one grocery store. We all have that same belief in supporting theater in the community.”

Dezart’s fundraising campaign for a new facility is in its initial stages, Shaw said.

“What we’re doing is announcing the pledge drive and setting in motion the path to achieve all of the things we need to for us to say, ‘We have now secured a facility, and we’re now in renovation,’” he said. But we’re a few years off from that. We’re establishing a position for a director of development, fundraising, and consulting to put us in a place where we, as an organization, can solidify the foundation and the people we need to make it happen. It means bringing on more staff, funding that staff, and taking a number of things off my plate so I can continue to grow in my role as the artistic director. I wear many hats, but I’m also only one person. Even with the support of volunteers, we need to start thinking ahead and ask, ‘What do we need to do to allow us to grow our programming?’”


CV Rep's Ron Celona and Gary D. Hall (left) sign the option agreement to purchase the former IMAX theater in Cathedral City with city officials Joe Giarrusso and Tami Scott (right).The Coachella Valley Repertory, currently based at The Atrium in Rancho Mirage, was also founded in 2008. It’s the only company in the valley that has Small Professional Theatre status with the Actors’ Equity union.

Founder and artistic director Ron Celona said the theater has grown well beyond what was originally planned.

“We were 2 years old, using outside venues, before we were able to rent our own space,” Celona said. “Our first big milestone was moving into (a space in) The Atrium in Rancho Mirage, which was an empty shell. We hired a contractor to build our 86-seat theater, lobby and box office. We expanded to the next unit, building offices for staff. … The first hire was a box-office staff member, and little by little, we have grown to be an eight-full-time-staff company. It might be called show business, and it’s certainly a business—and it needs to be run like a business.”

Celona said business success led to CV Rep’s current status.

“We started as a non-union theater that contracted Equity actors. A few years back, the accomplishment of the company as a business allowed us to become a full-fledged Equity house. It makes Coachella Valley Repertory the only Equity house in the Coachella Valley,” Celona said. “What that does is gives us national coverage.”

Celona said the CV Rep production of Terrence McNally’s Master Class in 2013 marked a key moment in the company’s history.

“That particular production was a turning point for Coachella Valley Repertory. Why? Because of the recognition of its production values and the cast,” Celona said. “Basically, we got a wide word of mouth, and it spread like wildfire. People who had never heard of us started to check us out. Prior to that, it was very much a small, contained following. Our subscription base was around 300, and afterward, we shot up to 700 to 800 subscribers the following year. Each year since, we’ve grown by about 200.

With that increase in subscribers, and 8,000 people attending the 2016-2017 season shows—in an 86-seat theater—it’s time for CV Rep to move into a bigger space.

“We have signed an option with the city of Cathedral City to purchase the old IMAX movie theater and two adjoining restaurants—the building and the land,” Celona said. “We have until June 2018 to execute that option. Basically, what that means is we’ve had a capital campaign since October 2016 to raise the money we need. The total campaign is a $6 million campaign. We’re just shy of our first $1 million as of right now. We need at least a percentage of that ($6 million) campaign to enter the agreement and break ground and build a state-of-the-art playhouse.”

Celona said he’s proud of the mark that CV Rep and the valley’s other theater companies have left on the valley.

“I think any arts organization in the community … we’re all making a difference,” Celona said. “The difference is to enlighten, inspire and educate our community to be a better place to live in, and (for us to be) better human beings in the world. Theater has always been a mirror to its community.”


Desert Theatreworks has grown in popularity and size since the community-based theater company was formed 2013, in part because the company produces a wide variety of shows, according to artistic director Lance Phillips-Martinez.

“In our first season, we had around 2,000 people who came through and bought tickets. Last year, we had 8,000 people who bought tickets,” Phillips-Martinez said. “We’ve tried to do a diverse amount of productions, and not just things that are interesting to us. What we try to do is broaden our audience with every show that we do, or pick a different type of show in our season that will bring in different audiences and keep them coming back.”

Phillips-Martinez cited a 2015 production of Sarah Ruhl’s Dead Man’s Cell Phone as a show that furthered Desert Theatreworks’ reputation.

“We did it in September that year, when the audiences aren’t always bountiful, and it was nice to get that critical response—and the audiences just kept coming back,” He said. “It was a big hit for us, and it was a different type of show. … We staged and choreographed nearly every number and theme transition. It was all original and a lot of fun.”

Phillips-Martinez said he’s had to battle commonly held assumptions about community theater.

“The public perception that community theater is of a lesser quality is a challenge,” he said. “… The work will speak for itself. If you focus on quality, you can put on whatever you want in your space, and your audience will trust you. That’s what the original challenge was—changing the perception of what community theater is.”

I could hear the excitement in Phillips-Martinez’s voice when he talked about Desert Theatreworks’ move from the Arthur Newman Theatre in Palm Desert’s Joslyn Center to the Indio Performing Arts Center.

“We had outgrown the (Desert Theatreworks space at the Arthur Newman Theatre). We had asked for more space, and they had more to give, but for whatever reason, they were not willing to do that, and it’s fine,” Phillips-Martinez said. “Our customers wanted us to stay there and wrote more than 700 letters to the city of Palm Desert, but after much deliberation and trying, it didn’t happen.

“The city of Indio offered us the space. A solution was made quickly, and the show must go on. We love the space, and the city of Indio is our partner in producing our shows. They’re helping us promote our shows as well. It’s very nice to get a municipality’s support in producing shows, because it gives (us) some new support that we didn’t have before.”

The Indio Performing Arts Center has long had challenges attracting tenants and audiences. However, Phillips-Martinez said that it’ll work out just fine for Desert Theatreworks.

“One of the advantages that we have is we have such a good track record of producing shows, and (a large) number of shows we’ve presented, which is 32 main-stage productions,” he said. “Most theater companies that are local only do three or four a year; we produce eight to 10. If you’re looking for viability and sustainability, (the larger number of shows) is more attractive in sustaining a place like that. The possibilities are good.”

Published in Theater and Dance

Dezart Performs’ description of Chapatti, now playing at the Palm Springs Woman’s Club, includes one actor, one actress, one dog and … HOW MANY cats? Oh, my aching allergies!

Of course, they don’t have actual cats on stage … remember that expression about “herding cats”? They’d be all over the room. And even a dog is … well, an unreliable performer. So fear not, my fellow feline-allergy sufferers: All the animals are mimed in this show. However, with great names like Prudence, Salvadore and Indiana, they seem very much alive and real. Chapatti is also a dog, named after an East Indian dish—and you’ll find out why in the play.

And you’re going to love it—the play, that is: Chapatti is the surprise of the season, a two-person show that will reach even the most hard-hearted, cynical, world-weary, super-sophisticated audience. It is an emotional shocker that only the Irish could create … and I can’t imagine any other two actors than Dana Hooley and Dale Morris playing these roles. Set in modern-day Dublin, Chapatti reaches deeply into the lives of two ordinary working-class people and their pets.

The author, Christian O’Reilly, has created a most masterful script. Just when you think you know everything about these two characters, he drops a bomb, and then another, and then another that changes everything, making the characters ever more complex and infinitely more precious. O’Reilly has brilliantly brought to life two characters you will never forget. He reminds us how much pain is hidden in most people, and how much our wounds define us. How often do we rush to judgment about people without knowing their full story? This play teaches us to look deeper before reaching conclusions. It’s a lesson worth remembering.

O’Reilly also gives us some very interesting information about pets. Having recently adopted an African spurred tortoise, we were most eager to learn these nuggets of wisdom, which hopefully apply to all creatures great and small.

Michael Shaw’s direction is perfect. He craftily unfolds the pace and intensity of the script so that we are rapt for the full 90 minutes. You can’t take your eyes off these actors because of the play’s flawless rhythm. You won’t consciously notice it, but you’ll sure feel it. The actors’ moves are minimalized and thoroughly motivated, and the blocking gets full marks.

Part of the reason for that lovely rhythm goes to the amazing lighting by Phil Murphy, who has truly surpassed his own genius with this work. He focuses the attention exactly where it’s needed, and as a result, the sweeps from one location to another are not just efficient, but enhancing. The rich colors are glorious, and I particularly loved his “warm” lighting when it was used.

Yet more kudos go to the set designer, Thomas Valach. His creation of a multi-use stage works magnificently with the lighting and the direction to create a variety of locales that blend smoothly and effortlessly. He expands the stage into a teahouse, a graveyard, a veterinarian’s office, a dark and lonely bachelor’s apartment, and a home overrun with cats—all seamlessly. I particularly loved the invisibly supported window.

But the actors! Let’s talk about the performances of Dale Morris and Dana Hooley. First, they have chosen to use that lilt in their voices that defines Irish speech, rather than affecting heavy accents—an interesting choice which works and makes every word understandable. Second, these are not gorgeous Hollywood-glamour types or dazzling feature-perfect TV stars. These actors look their parts: two simple people of humble means whose working life is now behind them. Everyday people, I guess they could be called. Great casting! Yet their spirits rise to make them so very special—and you will find them fascinating. Third, the script is nonstop verbiage composed of monologues or conversations, and the body of work is a feat of memorization—which these actors breeze through without breaking stride. The variety of emotions they, and we, experience are as many as The Emerald Isle’s famous 40 shades of green. We were not prepared to be so moved by these very skilled performers, and the experience is one that will captivate you. Bring a hanky.

Let’s also praise the work of Diane McClure, the production and stage manager; Jim Lapidus the costume designer (who has a surprise of his own up his “sleeve” in the final scenes); and Clark Duggar, a producer who also designed the sound.

Shaw tells us that Dezart is “moving on” and beginning to look for a new home of their own as the company concludes its ninth season of shows in the Coachella Valley. The Desert Theatre League has bestowed 147 nominations and 55 awards on Dezart, which has mounted four world premieres.

Afterward, I came home to hug my tortoise.

Chapatti, a production of Dezart Performs, is performed at 7:30 p.m., Friday and Saturday; and 2 p.m., Saturday and Sunday, through Sunday, April 9, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. The play is 90 minutes long, with no intermission, and tickets are $25 to $30. For tickets or more information, call 760-322-0179, or visit www.dezartperforms.org.

Published in Theater and Dance

Frankly, I was uncomfortable going to see Clybourne Park, Dezart Performs’ latest production.

The setting for this “Black (and White) Comedy by Bruce Norris,” as the play’s poster says, is Chicago—in 1959 for Act 1, then fast-forwarding 50 years to the same house in 2009 for Act 2. The show won the Pulitzer Prize for Drama in 2011, as well as the Tony Award for Best Play in 2012, and it requires a cast of eight—a sea change for Dezart, which until previous show Casa Valentina, always kept the cast size small (possibly because of those dressing rooms?).

The play deals with the always-awkward topic of race and real estate. My husband, Ted, was born in Chicago, and we have discussed the way his city divided up into enclaves dominated by Italians, Greeks, Germans, Scandinavians and African Americans. For those who can remember the bad old days of segregated neighborhoods and the “blockbusting” that took place, this play could serve as an unpleasant reminder. Yes, it’s important for the generations who have followed to be informed of this country’s often-dark history, lest we romanticize the past by forgetting how life really was back then … but I concede I was uncomfortable seeing a play tackle such an awkward topic.

But … what a surprise: This production is amazing! The writing is just astonishing. The conversation is completely realistic, with people butting in, cutting each other off, misinterpreting and talking when they should be listening. Clybourne Park is a magnificent example of playwright Bruce Norris’ magisterial command of the language and his shrewd understanding of people.

The direction by Michael Shaw is incredibly impressive, with his steady hand guiding the actors to performances even and strong throughout. He gets credit for total success with the extraordinarily difficult lines. (He confided to me afterward that the greatest part of their rehearsals was spent perfecting the speeches and dialogue, some of which require a language warning.) Each of the actors was allowed to develop his or her character(s) so the “voice” of each role is clarion clear. But it is the director’s prodigious talent and multiple skills that create the play’s consistency of tone. The blocking is also textbook perfection. Wow.

And the acting … oh my! Everyone is a “character”—well, actually, two. The whole cast (with one exception) plays two roles: One in 1959, and a different individual in 2009. One of the delights of this production is seeing the characters the actors have developed. We watch a complete person in each act—the good, bad and ugly. We see their pain, their tempers, their sweetness and their struggles. We glimpse their past history and get to know them more intimately than you’d think the time would permit.

David Youse opens the first act and dominates it; he’s a lit fuse we fear will explode—but when? His Russ is a man-in-a-grey-flannel-suit type, but we see so much more danger simmering beneath his surface. We search for a clue about his repressed anger, but dread finding it. His second-act role of Dan is a chameleonic contrast—he’s a blasé construction worker with a totally different voice, stance and attitude. What fun! Now THIS is acting.

Playing his wife, Bev, in Act 1 is Theresa Jewett. She’s a perfect product of 1950s-era women’s magazines and advertising—not just in her voice and appearance, but also in her dizzy attitude and even her belief system. But watch that heart-shaped face manage an enormous range of emotions—the way she handles a distancing husband, her black housekeeper, or her painful memories. She transmogrifies for Act 2 into Kathy, a feisty blonde lawyer with attitude—a delicious contrast, and equally believable.

Desiree Clarke in Act 1, plays Francine, a black maid who expertly balances the subservience of a domestic with her own dignity and her inborn sense of right and wrong. She is beautifully complex, and she gains our respect. In Act 2, Clark becomes Lena, a new-millennium woman with power and a strong sense of self which she asserts fearlessly but quietly. Her flawless diction is lovely.

Robert Rancano is Jim, a hapless cleric whose rigid adherence to his teachings and rather poor understanding of his parishioners makes him, despite his great voice, an ineffective and predictable minister. Rancano creates this memorable character by making him forgettable. In Act 2, he’s Tom, who is supposed to be leading this meeting about the contract, but is preoccupied and distracted. Rancano gives a subtle performance that required a lot of thinking.

Robert Ramirez creates the role of Albert, the husband of Francine, striving to appear at ease in this Act 1 white household. Ramirez gives a multi-layered performance almost entirely with his extraordinarily expressive eyes. He draws our attention with few words but plenty of reaction. In Act 2, he becomes Kevin, married to Lena, a smart and confident professional with nothing left to prove about himself. You like him in both of his well-developed roles.

Rob Hubler appears as Karl in Act 1, and earns our great admiration thanks to his willingness to appear foolish. A well-meaning bungler, his friendship is almost a liability, despite his sincerity and his fine voice. Hubler adroitly switches to Steve in Act 2, playing a stronger person who comes to surprise us—and his wife—with his odd and previously unexpressed views.

The extraordinary role of Betsy, played by Phylicia Mason, gives us a dear character who is not only pregnant, but deaf. She is very credible, including the gentle forgiveness she shows her husband, Karl, as he misspells his sign language (yes, I caught that), and to people who thoughtlessly turn away from her while speaking—or who stupidly yell at her, hoping to be heard. Lovely acting! In Act 2, she is uncomfortably pregnant AGAIN, but this time as Lindsay, married to Steve, and now is a very vocal, assertive and even sometimes shrill creature.

The lone character who plays just one role is Sean Timothy Brown, who is Kenneth. He appears as a perfect military prototype—handsome, tall and fit, looking fabulous in uniform. We don’t know him long enough to appreciate all of his subtleties, but he is hugely affecting with his air of tragedy in this flashback. Again, we are reminded how effective even a small role can be.

Kudos to the cast, the director the entire supportive crew of this play for a job superbly done. Clybourne Park is the surprise of the season, with its controversial, occasionally offensive and sometimes hilarious script. Don’t doubt that you will be surprised by it, too.

Clybourne Park, a production of Dezart Performs, is performed at 7:30 p.m., Friday and Saturday; and 2 p.m., Saturday and Sunday, through Sunday, Jan. 22, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $25 to $30. For tickets or more information, call 760-322-0179, or visit www.dezartperforms.org.

Published in Theater and Dance

How far should spousal loyalty go when your mate’s creative expression causes you emotional pain? When does a risqué hobby become deviancy—and who decides what’s deviant, anyway?

These are the questions examined in Dezart Performs’ production of Casa Valentina. Harvey Fierstein’s provocative play earned four Tony nominations, including one for Best New Play, in 2014. The time in Casa Valentina is 1962—a more innocent yet much less tolerant era. A group of professional heterosexual men gather at a bungalow in the Catskills to relax and blow off steam. They eat, drink, dance and laugh—all while dressed as women.

This haven for transvestites really existed, at a resort called Chevalier d’Eon, named after an 18th-century cross-dresser. The story was revealed when antiques dealer Robert Swopes stumbled across a box of pictures at a Manhattan flea market. Each photo captured these men in all their feminine glory: Bewigged and clad in dresses, heels and pearls, group members were shown doing mundane things like sipping coffee and playing cards. Intrigued, Swopes purchased the photos and put them together in a book called Café Susanna in 2005.

In the play, the establishment (here called “Casa Valentina”) is run by George (aka Valentina), played by Scott Smith, and his long-suffering wife, Rita (Tammy Hubler). As the show opens, they are preparing for yet another weekend of hosting men who relax by taking on their female personas for a few days. The couple is anticipating the arrival of a new guest, Jonathan (Cameron Shingler), also known as Miranda.

The strong bond between Rita and George is apparent. They banter back and forth while she lovingly pins on his wig cap as he begins his transformation into Valentina. It’s clear that Rita long ago accepted her husband’s predilection, and adores him in spite of it. “There’s no secret to being popular with men … just never say no,” she says. Smith is excellent as Valentina. You can feel both his devotion to Rita and his compulsion to express his feminine side.

Soon we meet Albert/Bessie (Jeffrey Norman), resplendent in an over-sized housecoat and hot pink turban. A plus-sized cross-dresser, Bessie relishes every moment as a woman. Norman is a hoot as he tosses off some of the best lines in the show. When someone brings up the inadequacies of the male form, Bessie quips, “I once had a male form; I filled it out and mailed it back!”

A pivotal character in the play is the judge (the exceptional Bruce Cronander), who strides in with a shotgun. His professional position and penchant for firearms are irrelevant when he slips off his robe to reveal a floral satin dress and coos, “Hello, Amy, I’ve missed you!”

When Theodore/Terry (the fabulous Garnett Smith) must jump up shortly after perching on a chair, he complains, “Just when I got my skirt to lay right on the first try.”

Cameron Shingler ably captures the awkwardness and insecurity young Jonathan feels as the newcomer to the group. Getting settled in his room, he clutches a flowered frock, seemingly not knowing what to do with it. The other “girls” soon rally around him, giving him a proper makeover, complete with phony breasts and hips, cosmetics and jewelry. Their enthusiastic efforts to transform him into Miranda are touching.

The cast is excellent across the board, but San Diego resident Dale Morris as Isadore/Charlotte deserves special mention. Looking stunning in his gold lame blouse, designer suite and heels, he clearly revels in the freedom to express his inner diva. But he also knows the risk involved in theses activities, and chafes at society’s disapproval. As he admonishes one of the group’s younger members, “I’ve gone to jail so you don’t have to!”

Kevin Coubal (Michael/Gloria) is the most traditionally attractive woman of the group, by far. Statuesque in his heels, he flips his long auburn curls constantly and really works it. He is the standout when the girls perform a cute lip-synced version of “Bye, Bye Blackbird” with the jukebox.

Louise Ross appears briefly toward the end of the play as Eleanor, the judge’s daughter. The always-dependable Ross ably conveys the pain, anger and resentment as she deals with her cross-dressing family member.

Things turn serious when Charlotte announces that the “sorority” has incorporated as a nonprofit organization and needs to appoint officers. Some members aren’t thrilled about that, preferring to just keep things as they are. Their weekend escapades are harmless, they say, and the fewer people who know about them, the better. But Charlotte argues that secrecy is the enemy. Then things really get crazy when Charlotte asks each member to sign a document barring homosexuals from joining the group. In 1962, it seems, cross-dressers believed that putting on a dress was OK, but actually having sex with a man was true deviancy. The guests at Casa Valentina are divided on the issue. Since the gay community often accepted “the girls” when no on else would, they feel the need to return that loyalty. The booze-fueled tension finally explodes in an act of violence.

The costumes, makeup, wigs and lighting are all right on the money. There was only one problem with Dezart’s Casa Valentina on opening night, but it was distracting: There were many occasions when some of the actors could not be heard. In a theater the size of the Pearl McManus, one would not think that body microphones should be necessary. The hum of the building’s air conditioning unit was a factor, but it really comes down to projecting: Actors of this caliber know how to project, and did so during much of the show. But at several dramatic moments, the actors were inaudible. It was particularly annoying when much of the audience could not hear the last two or three lines of the play, delivered by the otherwise-superb Tammy Huber.

This an important play and a terrific production. Michael Shaw’s direction is spot-on. I only hope he corrects the sound issue so valley audiences can enjoy Casa Valentina in its entirety.

Casa Valentina, a production of Dezart Performs, is performed at 7:30 p.m., Friday and Saturday; and 2 p.m., Saturday and Sunday, through Sunday, Nov. 13, at the Pearl McManus Theater (inside the historic Palm Springs Woman’s Club), 314 S. Cahuilla Road, in downtown Palm Springs. Tickets run $25 to $30. For tickets or more information, call 760-322-0179, or visit www.dezartperforms.org.

Published in Theater and Dance

Dezart Performs has developed a reputation for presenting bold and avant-garde theatrical productions—so it means something when artistic director Michael Shaw says that the 2016-2017 season is Dezart’s boldest yet.

Shaw says he has a fondness socially relevant yet “wacky” plays. Casa Valentina, Dezart’s season-opener, certainly fits that bill.

Written by Harvey Fierstein, Casa Valentina received four 2014 Tony Award nominations, including a nomination for Best Play. Set in the Catskills in 1962, the play offers a peek into the lives of heterosexual men who enjoy dressing up and behaving like women. During the week, they pursue respectable careers as ad execs, lawyers and sales reps—but when the weekend rolls around, they cut loose and take on their female personas. Casa Valentina is owned and operated by George—whose alter ego is Valentina—as well as George’s wife, Rita.

The play is based on a real-life haven for heterosexual transvestites that was originally called Chevalier d’Eon, named after an 18th century cross-dresser and spy. The story of the place, later named Casa Susanna, came to light when antiques dealer Robert Swope bought a box of 100 photographs at a Manhattan flea market; the pictures all depict men dressed as women watering the lawn, playing bridge, etc. In 2005, Swope published the pictures in a book, Café Susanna.

Shaw says the play intrigues him, because he learned a lot from it—especially about transvestites.

“It’s a community that I am totally naïve about,” Shaw says. “I think there’s a perception that transvestites usually relate as gay. That’s not the truth.”

Shaw says authentic, realistic hair, makeup and costumes are crucial to the play. He cites a quote from the character of Bessie, talking to newbie Jonathon/Miranda: “… Our goal is to assimilate. The more you look as if you just stepped away from a bridge table, the higher we grade you. Passing undetected is our zenith.”

There’s no dress or makeup in the play that’s over the top. Wig and costume fittings were done early in the rehearsal process, and the actors have been working in high heels and skirts since the rehearsals began. The male cast members got lessons in how to apply makeup with a softer touch—the way real women do.

Dezart Performs received a huge assist from the Pasadena Playhouse, which produced Casa Valentina earlier this year: The renowned company is lending Dezart all of the costumes and jewelry used in the play.

Shaw says that due to the show’s rich dialogue and well-written characters, Casa Valentina is one of the strongest season openers Dezart has ever produced.

“It teaches us that it’s very important to learn about those around you,” he says. “The transvestite group saw themselves as normal while viewing the gay community as deviants. They saw what they were doing as simply creative expression; they were fulfilling a desire to show their feminine sides. The crux of the play is the conflict between two factions of the transvestite society—one sympathetic to the gay community, and one most definitely not.

“One of (character) Charlotte’s lines is quite telling: ‘Fifty years from now, when homosexuals are still scuttling about as the back-alley vermin of society, cross-dressing will be as every-day as cigarette-smoking.’”

Casa Valentina also marks another first for Dezart: The nine cast members make up the largest cast the company has ever had. Shaw also says the cast is one of the best.

The second he saw San Diego resident Dale Morris, Shaw says, he knew Morris would be perfect as Charlotte; Shaw even applauded after Morris’ audition, he said.

Morris says that being cast in the play is a blessing—although he added that playing an unlikable character can be challenging. A theater veteran, Morris lists performing in His Girl Friday at La Jolla Playhouse in San Diego and playing George in Who’s Afraid of Virginia Woolf? as two of his career highlights.

Though Morris claims there has been no competition among the male cast members as to who is the best-looking “woman” onstage, he admits he wanted to look pretty when he first got the gig.

For what it’s worth, he apparently pulled it off: Shaw says that when Morris first walked across the stage in high heels, he was impressed with the actor’s calves, and notes that Morris is “stunning” in his gold lame blouse.

Shaw says there are two good reasons Palm Springs theater-goers should see Dezart’s production of Casa Valentina. One is the superb cast. The other?

“If you think you’ve seen cross dressing before, you ain’t seen nothin’ yet!” he said.

Casa Valentina, a production of Dezart Performs, will be performed at 7:30 p.m., Friday and Saturday; and 2 p.m., Sunday, from Friday, Nov. 4, through Sunday, Nov. 13, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $25 to $30. For tickets or more information, call 760-322-0179, or visit www.dezartperforms.org. Below: Actors in Casa Valentina pose for a photo in a rehearsal scene that includes Garnett Smith, Kevin Coubal, Dale Morris, Scott Smith, Jeffrey Norman and Tammy Hubler. Photo courtesy of Clark Dugger.

Published in Theater and Dance

A number of plays have moved me while I’ve been doing theater reviews in the Coachella Valley—but none have pierced my heart and shaken me to the core the way Dezart Performs’ The Outgoing Tide did.

That’s due, in large part, to its subject matter: Alzheimer’s disease. It’s a hideous, devastating illness—one which took my mother’s life nearly five years ago. She spent her final years in an assisted-living facility on the East Coast, so I was spared the daily trauma of seeing my mother wither into a mere shadow of who she once was. That pain fell to my dear, devoted father, who drove to the facility and fed her lunch every day for years. When I did visit, it was deeply painful to observe this once-vibrant, articulate woman rendered nearly speechless following two strokes and the dementia. Nothing scared her more … the thought of ending life in an institution, incapacitated and in a wheelchair, feeling helpless and alone.

It’s something we all fear. Many of us studiously avoid talking about the possibility that it could happen to us. But talk about it, we must.

Written by Bruce Graham, The Outgoing Tide tackles this tough subject matter head-on. The play centers around Gunner (Michael Fairman), who is battling the scourge of Alzheimer’s; his wife of 50 years, Peg (Judith Chapman); and their son, Jack (Scott Smith). Gunner is aware that his disease is rapidly progressing, which makes him grumpy and fearful. The situation is often humiliating, as when, after a tirade over a broken television, Peg points out that Gunner is trying to watch Cops on the microwave.

Things are really going downhill: Peg has begun securing the gates at night so her husband can’t wander, and he almost burned up his newspapers after placing them on the stove. Peg is considering an assisted-living facility where both she and Gunner can take up residence; they can be together, and she can still care for him as long as possible.

Both Peg and Jack (visiting at his father’s request) think it’s a good idea—but Gunner won’t hear of it. After touring the place and noting the condition of some of the current residents, Gunner quips, “It’s like a roach motel. You check in, but you don’t check out.” Gunner adamantly refuses to consider selling his house and moving to such a place, even though he admits to Jack that his condition is worsening: “I feel like it’s starting to show.”

Instead, Gunner has an alternative plan—one that would end his suffering and set up his family financially. It’s radical and controversial, and Peg is totally against it. Jack (currently going through a divorce) is often stuck in between his two strong-willed parents, and doesn’t know what to do. When Jack asks Peg if she really wants to spend the rest of her life taking care of her husband, she responds: “What else am I good at?”

Though the play’s theme is gut-wrenching, there’s plenty of humor as well. Peg dismisses the possibility of a suicide pact with Gunner: “He’d probably shoot me and then forget to shoot himself!”

The acting is absolutely superb across the board. As Gunner, Michael Fairman is flawless. We feel every bit of the fear, anger and frustration his deteriorating mental condition triggers. Though he’s made some mistakes as a father, he’s funny, charismatic and lovable, yet ultimately tragic. His Gunner makes us wonder about our fathers, grandfathers or uncles…what would they do in this situation? Could we support their choice, even if it meant we’d lose them?

The amazing Judith Chapman does not disappoint. As the long-suffering Peg, she is the glue that keeps the family together. She’s strong and level-headed, and seems to be able to keep it all together despite the gradual loss of her husband. But Chapman lets us see the heartbreak just beneath the surface. Does she love her husband enough to let him do what’s right for him … or will her fear of being alone stand in the way? There is not one false note in her performance.

Scott Smith is terrific as the returning son who loves his parents, but feels he’s in a no-win situation. Beyond the drama of Gunner’s advancing Alzheimer’s disease, Jack’s visit home reveals some long-held family secrets.

Once again, artistic director Michael Shaw proves his mettle as a director. He moves his cast members around ably on Thomas L. Valach’s outstanding set, and draws out award-worthy performances from each of them. Clark Duggar’s sound was spot-on, as was Phil Murphy’s lighting (after a couple of brief glitches early in the play).

I have seen a number of very good plays from Dezart Performs, but The Outgoing Tide is in a league of its own. The opening-night audience gave the show a well-deserved standing ovation. The play forces us to think about end-of-life issues and personal choice. Most of us, at one point or another, will be touched by the tragedy of Alzheimer’s disease. A parent, a spouse, a friend or even we ourselves will experience the mind slowly slipping away. What would you do?

The Outgoing Tide is the most profound theater experience I have had in quite a long time.

The Outgoing Tide, a production of Dezart Performs, is performed at 7:30 p.m., Friday and Saturday; and 2:30 p.m., Sunday, through Sunday, May 8, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $24 to $28, and the show is just more than two hours, with a 15-minute intermission. For tickets or more information, 760-322-1079, or visit www.dezartperforms.org.

Published in Theater and Dance

I’m now in my third season as one of the Independent’s theater reviewers. I have seen many excellent productions here in the valley, and some … well … that were not so good. But I don’t know if I have ever been as emotionally affected by a play as I was by Dezart Performs’ world premiere of Suicide Dogs.

Jess Honovich’s play, which won the theater’s 2015 Play Reading Festival, chronicles how one family deals with the aftermath of a suicide of a man named Barry. Chief among the loose ends which must be tied up is what to do with Barry’s ailing dog, Driver.

Barry (Michael Shaw, who also directs), who was gay, was a successful golf pro—hence the dog’s name. In flashbacks, we learn that in his youth, Barry was insecure and a bit melancholy; he also had a somewhat difficult relationship with his mother. Perhaps the thing that brings him the greatest pleasure in lifeother than golfis the deep bond he has with his dog, which he adopted from a shelter.

As the play opens, Barry’s sister Amelia (Yo Younger); her husband, Dave (Rob Hubler); and their daughter, Frankie (Rachel Silverman) arrive at Barry’s home to prepare for his funeral. Soon after, Barry’s pushy neighbor, Podgy (Stan Jenson), drops in; not long after, Barry’s other sister, Dori (a very well-cast Denise Strand), unexpectedly shows up.

Shaken that her only brother has taken his own life with a bullet, Amelia valiantly tries to organize the funeral service while dealing with the media throng desperate for more details on the tragedy. Then there’s Driver, who is howling nonstop and puking all over the neighbor’s yard.

The always-stellar Yo Younger does not disappoint as Amelia. We feel her shock and grief at the loss of her brother. “Sometimes I feel like Barry’s playing some kind of joke on us—like he’s really in the hall closet or watching us on some computer somewhere,” she notes. She’s the anchor who holds the hold family—and the play—together.

Some of the strongest scenes are those featuring Amelia and the uptight, overly religious Dori. Dori, who has spent the last three years in rabbinical school, feels suicide is a sin, and announces that she will not be attending the funeral. Stunned, Amelia tries to understand Dori’s mindset while throwing a few barbs her way: “Everything you say sounds like it’s written on a pillow somewhere.”

Though it focuses on suicide, the play is billed as a “dramedy,” and it does have some very funny moments. Much of the humor is provided by Ron Huber, who is quite entertaining as Amelia’s harried husband, Dave.

Stan Jenson’s Podgy also gets a number of laughs. He’s nearly perfect as the nosy guy next door who good-naturedly insinuates himself into the drama a bit too often. He and Barry were clearly close friends—at the very least.

Rachel Silverman is a real find as Frankie, a precocious 16-year-old who swears a blue streak and often disrespects her parents. In an exchange with her self-centered Aunt Dori, Frankie boldly blurts out: “So … what’s wrong with you?” It’s a question everybody else in the family must also be thinking.

Doing double-duty, Michael Shaw succeeds admirably. He appears often in flashback as the likable but troubled Barry. We want to call out to him: “Things will look better tomorrow, Barry. Don’t do anything rash!” As the director, Shaw brings out strong performances from his cast.

Thomas L. Valach’s set, the lights (Phil Murphy) and sound (Clark Dugger) are all top-notch. Stage manager Blanche Mickelson also deserves a mention.

Suicide Dogs hit close to home. I’m in the midst of packing up the house of my ex-husband—a retired golf pro—who recently passed away. My partner and I had to put down a beloved, aging dog not long ago, and depression and suicide have touched me personally.

I’m certainly not the only person who will be moved: Everyone will find something to relate to in this play, which will have you laughing through your tears. It just may make you pick up the phone and call that family member you haven’t spoken to in years. It will certainly remind you that, as Podgy says: “Happiness is fleeting. Hang on to what you’ve got.”

Dezart Performs’ Suicide Dogs is being performed at 7:30 p.m., Friday and Saturday; and 2:30 p.m., Saturday and Sunday, through Sunday, Jan. 31, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $28 for evening shows, and $24 for matinees. The running time is just less than 2 hours with one 15-minute intermission. For tickets or more information, call 760-322-0179, or visit www.dezartperforms.org.

Published in Literature

Anyone who’s worked as an office receptionist knows it can be a thankless job, but it’s not normally all that dangerous.

Well, danger certainly lurks in Dezart Performs’ current production, The Receptionist, a dark comedy by Adam Bock.

In the first part of the play, the title character, Beverly (Deborah Harmon), goes about her daily duties with great efficiency. It’s a seemingly normal day at the North East Office, as Beverly cheerfully handles the phones, relegating unwanted callers to the voicemails of co-workers. She sorts mail, tidies her desk and dishes out romantic advice to officemate Lorraine (Theresa Jewett). Beverly’s maternal warmth is clear as she calms her upset daughter over the phone—as is her irritation when her husband announces he has spent the money allocated for the family phone bill on yet another collectible teacup. It’s the boss’ birthday, so Beverly takes on the job of ordering a cake, and proudly shows Lorraine the card she’s purchased, which features a pony smoking a pipe.

Everything seems to be running smoothly until Martin Dart from the Central Office arrives to see the boss. Dart (Lou Galvan) appears to be a likable guy. He chats amiably with Beverly and responds to Lorraine’s blatant flirting with gusto. When the boss, Mr. Raymond (Hal O’Connell), finally shows up, the two men disappear into his office. After several minutes of shouting behind a closed door, the grim-faced pair emerges—and Dart escorts Mr. Raymond out of the building.

Apparently Mr. Raymond did not follow proper procedure when torturing and interrogating a client. He’s now facing the consequences.

As Act I ends, the audience is left wondering whether Beverly and Lorraine might also be marched down to the Central Office for questioning. And just what does this company do? It certainly seems ominous. Given the threat of worldwide terrorism (especially with opening night coming on the same day as the horrific attacks in Paris), this play seems quite timely.

Under the masterful direction of Dezart’s artistic director, Michael Shaw, the cast is uniformly excellent. Like an evenly matched tennis foursome, they volley the dramatic ball back and forth with great skill. As Beverly, Deborah Harmon is perfect. There is not one false note in her performance. Early on, she’s funny, witty and totally in control of the kingdom that is her reception desk. Later, as the reality of what her fate might be sets in, we see her composure melt away into a puddle of fear.

Theresa Jewett is fabulous as Lorraine. Vampy and flirty, yet insecure, she reminds us of that one woman we’ve all worked with who just can’t get it together in the romance department.

Lou Galvan is spot-on as the mysterious Martin Dart. After initially coming across as a friendly guy, he sends a chill up our spines when his menacing side emerges. Equally as good is Hal O’Connell as the beleaguered Mr. Raymond. He also strikes us as a nice guy who got caught up in his company’s dark business, and is ultimately resigned to his fate.

Thomas L. Valach’s set is superb, while Phil Murphy’s lighting and Clark Dugger’s sound are just right.

The Receptionist is a relatively short play—just 75 minutes—but it will keep you pondering its themes for days.

The Receptionist, a production of Dezart Performs, will be performed at 7:30 p.m., Friday and Saturday; and 2:30 p.m., Sunday, through Sunday, Nov. 22, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $28, or $24 for matinees. The show runs just less than 90 minutes, with a 15-minute intermission. For tickets or more information, call 760-322-0179, or visit www.dezartperforms.org.

Published in Theater and Dance

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