CVIndependent

Fri12042020

Last updateMon, 24 Aug 2020 12pm

Before everything went to hell, the Coachella Valley theater community was enjoying, by far, its most successful season ever.

CVRep was reveling in its first full season in its gorgeous new home, the CVRep Playhouse in Cathedral City. Dezart Performs and the Desert Rose Playhouse were in the midst of sold-out seasons. Coyote StageWorks was getting settled into its new digs at the Palm Springs Cultural Center, while Palm Canyon Theatre and Desert Theatreworks were packing people into shows in downtown Palm Springs and Indio, respectively.

“We started off our ninth season like a rocket,” said Shawn Abramowitz, the executive director and board president of the Desert Ensemble Theatre Company, which shares space at the Palm Springs Woman’s Club with Dezart Performs. “We had not just record attendance, but record donations—and we were really growing, which allowed us to invest more.”

The weekend of March 13-15 was going to the biggest weekend during this most successful season ever: Four of the six aforementioned companies were opening shows, while LGBT-focused Desert Rose was entering its second weekend of Beautiful Thing, which had received rave reviews, and Palm Canyon Theatre was embarking on the final weekend of a successful production of The Pajama Game.

But as that weekend approached, the reality of COVID-19 began to set in. The BNP Paribas Open tennis tournament was postponed, while Coachella and Stagecoach were delayed until October (before being cancelled altogether for 2020). Disneyland closed—as did all of the shows on Broadway.

Desert Rose Playhouse, Dezart Performs and Desert Ensemble Theatre Company (which, appropriately, was preparing to open a show called How to Survive an Apocalypse) chose to cancel the weekend’s shows, while Desert Theatreworks and Palm Canyon Theatre shut down after Friday’s performances. Only CVRep would make it through the weekend—and on Sunday, March 15, the company’s production of The City of Conversation would become the final full theatrical production the valley has hosted since.

The cancellations devastated the local theater community, both emotionally and financially.

“I will tell you, the amount of frustration and disappointment in coming right up to opening night and having to cancel—I do not want to go through that again,” said Chuck Yates, the founding artistic director of Coyote Stageworks. “We shut down The Velocity of Autumn the day before we were supposed to open. It’s too hard.”

Now, more than four months later, all of the valley’s theater companies remain in limbo. None of them know what the 2020-2021 season will bring—even though some companies have optimistically announced seasons starting as early as September.

In other words, the theater world is a mess—but the mess has had a silver lining, of sorts: It’s brought the local theater community together.

Some—but, notably, not all—of the desert’s theater companies have banded together to launch the Alliance of Desert Theatres, “a cooperative of producing theater companies in the Coachella Valley that network and take action in order to nurture a vibrant performing arts community,” according to the website. The effort started with a Zoom call back in May, and continues with weekly Zoom calls and subcommittees that look at various initiatives.

“I felt that (the alliance) was going to be a great resource and offer a sense of community and camaraderie to get through this horrible time,” said Michael Shaw, the artistic director of Dezart Performs. “We’re sharing our woes; we’re sharing our strategies. This was an opportunity to really get a sense of what we need to do to survive as a theater community.”


David Cohan, the vice president of the board of directors at CVRep, serves as the Alliance of Desert Theaters’ spokesman. He explained that the alliance grew out of internal conversations taking place at CVRep.

“With everything that is (happening), we felt that this is the time and place where we need to come together,” Cohan said. “Joe Giarrusso, the president of the (CVRep) board, and I started discussing this. I suggested that if nobody was doing it, maybe we should be the ones to organize it. So we put out emails to all the other theater groups and set up an initial meeting. That was the starter.”

Cohan said the alliance’s weekly meetings give participants the opportunity to share information and ideas, and the group is working on possibly pooling some resources. As an example, Cohan said, the alliance has discussed the feasibility of filming productions and streaming them.

“That’s not as simple as it sounds,” he said. “For instance, for CVRep, we are a union theater company, and there are two different unions—one that covers live theater, and one that covers, basically, broadcast theater. … If you’re recording a live performance, but then wanting to stream it, you’re talking about two different unions and two different sets of rules.

“Then you get into technology—how could you do it? How do you do it in terms of equipment? A lot of theaters don’t have recording equipment—and how expensive is it? Besides cameras, what do you need? … There are some people who are much more technically oriented and have been doing research on recording. Could we buy some recording equipment and share it among the theaters? That’s one of the things we’re discussing.”

While it’s been helpful to exchange ideas and share information, Cohan said the sense of community the alliance has fostered has been its biggest benefit.

“The camaraderie has been nothing short of amazing and heartwarming and astounding,” he said. “We’re all working really well together—and it makes for a stronger arts community. We all have a much better appreciation for one another.”

Desert Ensemble’s Abramowitz agreed.

“It’s really a huge support system for theater companies,” Abramowitz said. “Even the groups that aren’t necessarily a part of the alliance, it doesn’t mean that the alliance wouldn’t have resources available for those other theater companies. There’s been a need for a very long time for groups to come together to figure out how we can combine resources in a way that is non-competitive and that allows us to grow. We’re all doing great work, and we all support each other, and we all love each other—even though we’re also all very competitive.”

Abramowitz said the Alliance of Desert Theatres fulfills a different purpose than the long-established Desert Theatre League—best known for its annual Desert Star Awards, honoring the best in local theater each year. (Incidentally, Desert Star nominations are slated to be announced on Aug. 1.)

“The Desert Theatre League’s mission is to highlight the work that is being done in the valley,” Abramowitz said. “What’s not a part of their mission is helping us expand, in terms of resources and availability.

“I think the common thread among all of us is … how can we best help each other out when we do not know what our reality is going to be like? The alliance itself is supposed to be equal in terms of participation. That there’s no specific leader; there’s no specific hierarchy. We’ve formed subcommittees to help each other out, whether it’s regarding fundraising, or what possible grants are out there for us, and who could possibly use them. What are the (standard operating procedures) for reopening? What do we think it’s going to look like? Where can we get the best deal on hand sanitizer?”

Shaw said one of the alliance’s goals is to help educate the public about local theater.

“The fact that we are speaking weekly, it’s good that all of our patrons and all of our donors know that we’re doing that, because what we’re also doing is educating the public,” Shaw said. “‘Did you know that there is a LGBTQ theater in the valley? Did you know that there’s a very successful theater in Indio at the Indio Performing Arts Center? Did you know that?’ There are a lot of people who don’t know that. It’ll help open the eyes and educate the public about what the offerings are in the community once we get back up and running. It would have been great to have something like this before, pre-COVID, but we’re all so busy.”

That busy-ness is one of the reasons some of the valley’s theater companies have declined to participate in the alliance—at least for now. Take Coyote StageWorks, for example; the company was listed as a member in the news release first announcing the formation of the Alliance of Desert Theatres, but Yates said he later decided that he needed to take a step back.

“I applaud them. We were in the first three Zoom conversations about setting it up and what it could be,” Yates said. “David Youse is my board president. We talked a lot about it. … It was taking away our focus from keeping our own business alive. It also seemed to be heading in a different direction from what we initially thought the alliance was going to be. We just decided that at this particular moment, it was imperative that we focus on Coyote.

“Some of the talk was in getting buying power on hand sanitizer and that kind of stuff for the theaters. Well, we already have that covered with being at the Cultural Center.”

Yates said he may at some point decide to rejoin the alliance.

“Things may change. I may go back to them and say, ‘All right, now we’re ready,’” Yates said. “But at the time it was all happening, there was too much unknown. We had people saying that they were definitely starting up in November, and I was like, ‘I can’t support that.’ An alliance means that you’re aligned.”


Meanwhile, the theater companies are all trying to figure out how to handle their 2020-2021 seasons—if the pandemic even allows a 2020-2021 season.

Palm Canyon Theatre and Desert Theatreworks, as of this writing, are selling tickets for fully announced seasons, starting in September. Desert Rose is in the midst of a move from Rancho Mirage into a new home—the former Zelda’s nightclub space, on South Palm Canyon Drive, in Palm Springs.

Most of the other theater companies have their eyes set on 2021.

“Gosh, we are definitely not opening up this year,” Desert Ensemble’s Abramowitz said. “There’s just no way, especially without state or federal guidelines on how a theater company or a performance-art center should operate. We don’t want to give hopes to any of our patrons and then cancel. Right now, we are thinking of the beginning of next year. We’re changing our gala event—which would normally be an event with food, and drink, and song, and a ton of people—to something a little bit more quaint.

“We are (hoping to do a season starting in the first part of 2021), but it will be very short. Instead of doing the gala event and then three full-stage productions, we would be doing a gala event and two stage productions. One of them would be (company founder) Tony Padilla’s show that we want to do for our 10th anniversary, that we did a reading on back in December of last year. Then, we also hope to redo How to Survive an Apocalypse. We have the set; we have everything.”

Dezart Performs’ Shaw is also setting his sights on a scaled-down season in 2021, starting with the show he was never able to open back in March—presented, perhaps, in an unconventional manner.

“Our goal is to produce three shows this season, and start with Every Brilliant Thing, where we left off; how we’re going to present it comes down to money,” Shaw said. “We are looking into various streaming platforms. We’re looking at filming it live and then streaming it as a recording.

“Our second show—for the first time, we’re actually producing a musical. It’s only two actors. … Then we’re doing a brand-new drama by Paul Coates called The End of It.”

Chuck Yates, at Coyote StageWorks, said the set for The Velocity of Autumn remains onstage at the Cultural Center.

“Our plan is, when it is safe for people to come back to a theater, we will do that show,” he said. “We have a couple of other titles in a holding pattern if we get to do more than one show—but at the moment, nobody seems to know when we’re able to do what we do.”

In the meantime, Yates said he’s working with the Cultural Center—which recently started hosting drive-in movies—to possibly hold smaller events outdoors.

“I won’t say they’re full productions, but they’d be some concerts and some other sorts of fun outdoor events for Coyote StageWorks,” he said. “All of that’s in the works right now, just so we can keep doing some things. … We’ve also talked about doing our play-reading series outdoors when it gets cooler.”

Over at CVRep, which has been hosting a steady series of virtual events, the plan is to reopen with The City of Conversation, hopefully in January 2021—but even if that can happen, Cohan said it will be a big challenge to actually pull it off, barring a miracle cure for COVID-19.

“We’re making all sorts of plans,” Cohan said. “We have multiple calls a week where we’re coming up with plans A, B, C, D and E; it just keeps going. One of our plans is, if it is safe enough, and if we think we’ll have the patrons to be able to do it, we will invite people to come back to the theater with enormous modifications to how we do in-person shows—with a very limited seating capacity and socially distanced seating. We’re also talking about making it safe for the actors by having their dressing rooms and rehearsal rooms separated with Plexiglass and all kinds of other things. We’re trying to figure all that out—and then having particular protocols for how people will actually come to the theater, everything from going to fully paperless ticketing to having people arrive at the theater at staggered times so people aren’t waiting together in our lobby.

“We’re thinking about everything. There are very extensive cleaning protocols to the actual seats and every surface, and restrooms, both during the shows, when restrooms will get cleaned multiple times before the show and intermissions, and after the show, as well as all the seats being sprayed down and disinfected between shows. … And then what happens as we approach a show, if an actor comes down with the sniffles, which is not an unusual thing? Can we still run the show? We used to be able to. An actor used to be able to muscle through. But now if an actor has the sniffles, can we still do that?”

Below: Josh Odsess-Rubin and Martha Hackett in CVRep’s The City of Conversation—the final show to be performed in the valley before the March shutdown.

Published in Theater and Dance

Ron Celona looked weary as patrons entered the CVRep Playhouse in Cathedral City for the Saturday, March 14, matinee performance of The City of Conversation.

This was supposed to be a bustling, packed weekend of theater in the Coachella Valley. At least four theaters were opening new productions, while two more companies continued successful shows.

But as of that Saturday afternoon, The City of Conversation was the only show still open. Before we entered the theater—not even one-third full—Celona confided that after the Sunday show, CVRep, too, would be going dark.

Barring a miracle, we were watching the last play to be performed in the Coachella Valley by our fantastic theater companies in quite some time.

The production of The City of Conversation was a fantastic. Thanks to a great cast, led by Martha Hackett as old-school liberal activist/socialite Hester Ferris, the play showed how political differences can rip a family apart. It was compelling and riveting—so much so that it managed to make at least some theater-goers temporarily forget the unprecedented weirdness going on outside.

That is, until one of the characters made a joke about an expired toilet-paper coupon.

Celona’s angst over whether or not to let the show go on encapsulates the dilemma our valley’s producers faced heading into the weekend: On one hand, out of an abundance of caution, they could do societal good by closing the theater doors and having people staying home. On the other, they could take precautions and let the amazing, expensive work they’d rehearsed, built sets for and toiled over for weeks and months be seen and enjoyed by people who badly needed a distraction from the outside world.

As of Thursday, March 12, when the Independent started reaching out to local theater professionals, all six shows were slated to go on as scheduled—with the aforementioned precautions.

“We are offering hand sanitizer to people who have bought tickets,” said Chuck Yates, whose Coyote StageWorks was set to open The Velocity of Autumn the next night in the company’s new home at the Palm Springs Cultural Center. “For those who haven’t bought tickets yet, we don’t know if they will come.

“It’s a huge financial impact. Theater is never easy, and this is particularly hard. … There are a lot of people who don’t know what to do. All of the small theaters here, like us—nobody is in a financial situation to handle this, so we are opening The Velocity of Autumn. … It’s got heart; it’s funny; it’s beautifully written. It’s perfect for our community.”

The play—about an 80-year-old artist who’s barricaded herself in her Brooklyn brownstone with Molotov cocktails (!) to keep her family from removing her—would have been a lovely distraction for people who needed it. But these are unprecedented times.

Yates called back later in the day on Thursday to let us know he’d changed his mind.

“Of course I’m disappointed,” he said. “But we will try to figure out alternative dates. Right now, we’re biding time, waiting to see what the news brings. Maybe we can do it in a few weeks or months, or maybe next season.”

Robbie Wayne, the producing artistic director at the LGBT-themed Desert Rose Playhouse, told us on Thursday he intended to continue the run of Beautiful Thing, which had opened to rave reviews the weekend before.

“You’re not given a class on how to do this. Nobody knows how to handle this, so we are learning as we go,” he said. “I’m trying to be as informed as possible about this—everyone’s trying to figure it out. We haven’t had a large number of refund requests, but we are trying to figure out how to do this—it’s a dilemma. We don’t want it to be about the money, but that has to be taken into consideration for the venue. As of right now, we are removing snacks; we offer hand sanitizers; we are scrubbing the place down; and we are telling people stay home if you don’t feel well. But we also want to keep some normalcy in our lives.

“We want to be responsible for helping to curb this outbreak … It’s a hard place to be in. I have the TV on all the time. I go with whatever my gut tells me at the end of the day, because 24 hours can change everything. It is minute by minute now, because there is so much to consider.”

Wayne’s words were spot-on: The next day, he made the decision to suspend the weekend’s shows.

“We have staff members and patrons with compromised immune systems, so I went with my conscience. There are no winners in a situation like this, unfortunately,” Wayne said.

Over at Desert Ensemble Theatre Company, the same dilemma played out: After announcing on Wednesday that the “curtain will go up!” on the weekend’s opening of—yes, really—How to Survive an Apocalypse, the next day, executive director Shawn Abramowitz and artistic director Jerome Elliott announced the show would not go on, at least for opening weekend.

“We are so proud of our team for their magnificent work on this play,” they said. “This was a hard decision, but we feel it is the right call during this unsettled and confusing time.

That meant that as of Friday night, three of the six shows were still open: Palm Canyon Theatre’s The Pajama Game, and the opening night for Desert Theatreworks’ The Producers went on as scheduled, along with CVRep’s The City of Conversation.

“We have scrubbed the theater down,” Celona said on Thursday, March 12. “We have a cleaning crew coming in after every performance. We have purchased professional wall-mounted sanitizing dispensers for the lobby and the theater area. Our theater is 208 seats, so we are less than the 250-seat gatherings that are being cancelled, and we are about 50 to 60 percent of capacity. The bottom line is, when our accountants say we have to close, we close, and when the county of Riverside says we have to close, we close.”

The morning after those Friday-night shows, both Palm Canyon Theatre and Desert Theatreworks announced they would go dark. CVRep followed two days later.

“I hope if someone has a ticket to a live theater event, and the show is closed due to the virus, that they would consider donating the money to the theater instead of asking for a refund,” Coyote StageWorks’ Yates said. “This is the kind of thing that kills arts organizations.”

Published in Theater and Dance

Creating suspense has to be one of the most difficult effects for a play to achieve.

In movies, the complex use of sound effects, special lighting and music can all heighten that tension, along with some camera-lens trickery and a lot of cleverly timed editing. Yet at the Pearl McManus Theater in Palm Springs, the Desert Ensemble Theatre Company has produced one of the most jaw-dropping, edge-of-seat, suspenseful live plays you will ever see—with absolutely none of those fancy assists.

Adoption Roulette uses only three actors and a black-box theater setting … literally: There are four black wooden boxes that get shuffled around the stage to be used as imaginary chairs, a desk, or a seat on an airplane, against the black-curtained background. There is no scenery except a minimalist white-pipe impression of a couple of rooftops to imply an urban setting. The show uses the most basic lighting, zero sound effects, no props and few costume changes.

But Adoption Roulette will fry your mind.

To accomplish this kind of theater experience, you obviously require a great script—and artistic director Jerome Elliott can take credit for its discovery. At the theater, we were introduced to one of the playwrights, Joel Vig, and we chatted briefly about his bringing to life this true story, authored along with the woman who actually lived it, Elizabeth Fuller. The result is a magnificent and tightly written play that starts off so innocently that you can’t possibly dream of what lies ahead.

This nice American couple, Liz and Reuel (pronounced “rule”), want to adopt a child—specifically, a little girl. They find intolerable roadblocks and insufferable delays with the adoption system in the United States, so they investigate adopting a child from Russia, where it is apparently a little easier and faster. What happens to them during the winter of 2004 as a result is … unthinkable. This is truly one of the most surprising scripts you will ever see—and DETC is presenting it for the first time ever: This is Adoption Roulette’s world premiere!

Shawn Abramowitz directs this two-hour, two-act show, and for his cast, he has shrewdly collected the considerable talents of Yo Younger, Fergus Loughnane and Adina Lawson. Younger plays the key role of Elizabeth (Liz) Fuller, while Loughnane plays her husband, Reuel—as well as four other parts. Lawson gets to play a total of seven supporting roles.

The bulk of the work falls on the delicate shoulders of Younger. As the hope-filled Elizabeth, this actress must make us empathize with her decisions and accept her rationalizations, regardless of whether life is sunny or otherwise. She draws us in slowly but surely, gradually raising the tension of her frustrations to a pitch that becomes almost unbearable. Watching her, particularly in the second act, you forget to breathe; you forget she is an actress; and you forget you are watching a play. Some of Younger’s lines are spoken directly to the audience as a narration of the events, and she makes it seem perfectly natural for her to step outside the action and explain it to us, then slide effortlessly back into her role. Younger’s extraordinary performance is not to be missed—and I pray that her vocal cords can stand up through the run of the play. Just to watch her hands is a study; it is beautiful work.

Loughnane plays her husband as an engaged and reasonable man with naturally sound instincts and the good judgment that is born of experience. He is fully believable as Reuel, and his concentration and focus are admirable. In sharp contrast, he also plays Igor, a cab driver with attitude. He creates a colorful and likable character—a chain smoker and a Willie Nelson aficionado (Psssst! Don’t forget to exhale that smoke!)—who pops up frequently through the play. He also plays a smoothly handsome airline pilot and a scary agency official as well, though they are less-explored characters.

Adina Lawson has waaaay too much fun romping through her seven yummy roles. Some are better defined than others, but her strange blonde, Olenka, is unforgettable. It is her largest part, and she has mined it well, creating a rich character who keeps us baffled as to whether she is friend or foe. She also brings to life a briefly hilarious Nurse Blatovsky and a fascinating Russian judge (an homage to Judge Judy) we wish had more stage time. She also plays several American ladies and a spokeswoman, characters who appear too seldom for us to get to know very well. It’s fun to see an actress relishing her creations.

Abramowitz’s direction is to be admired. The skillful and measured increase in the play’s tension is meted out perfectly; I shudder to think of what the director and his cast went through in rehearsals. The only possible criticism to make involves the use of mime, a staple of black-box theater and staged readings. As they speak on the phones, some actors are “holding” a phone, while others are just talking out to the audience … in the same conversation. Usually, the actors all do it the same way, with “phones” or without. It’s a small point, but worth mentioning, as it happened frequently. Other than that, the blocking is beautiful; the actors speak clearly; the theater’s new lighting is well-used; and the show is … amazing.

If you have ever experienced what qualifies as a living nightmare, this play will wring memories and feelings out of you. If you haven’t, it will horrify you to observe what you luckily have been spared. Either way, you cannot watch this cautionary tale without reacting to it—it’s that involving.

As adoptive parents of an endangered (and darling) desert tortoise, we went to the theater expecting a play that would make us feel all warm and fuzzy about the good we were creating through participating in adoption, even with “just” an animal.

Wrong. Go see this play … and brace yourself for a goose-bump-raising experience beyond your imagination.

Adoption Roulette, a production of Desert Ensemble Theatre Company, is performed at 7 p.m., Friday and Saturday; and 2 p.m., Saturday and Sunday, through Sunday, Feb. 9, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $28. For tickets or more information, call 760-565-2476, or visit www.detctheatre.org.

Published in Theater and Dance

The script is the star.

Desert Ensemble Theatre Company has produced eight plays written by Tony Padilla during its eight seasons. And get this: English is his second language!

There are precious few authors who can achieve this kind of success, let alone in a second language. Joseph Conrad, who wrote Heart of Darkness, which later inspired the movie Apocalypse Now, spoke Polish as his cradle tongue … and frankly, I can’t think of another example off the top of my head. Padilla comes from Cuba, where at age 11, he and his family escaped during the historic exodus from Castro’s fiefdom. Today, he not only speaks flawless English, but writes as playwright-in-residence for DETC.

At the Pearl McManus Theater at the Palm Springs Woman’s Club, a venue the group is sure to outgrow soon, award-winning Padilla’s newest work is titled For a Reason. “It’s very different,” he said about the new work. “It’s not personal—I didn’t experience this. It comes from research, from becoming passionate about the subject of relationships, from reading and seeing other people in their relationships, and learning about them. That’s what moves me.”

Frankly, isn’t how we treat our fellow man the essence of our development? Look at how you act when you’re mixed in with other people—and that will show you who you really are, especially in intimate relationships. Look at how many court cases there are because of the problems! In the case of For a Reason, Padilla’s script sparkles with not just brilliant writing, but also with his tremendous insights about people and how they interact.

A glance at the printed program might make one anticipate a musical, since these actors are so well known for their singing—but no, it’s a straight-up play, despite well-known local music-biz names like Charles Herrera, Leanna Rodgers and my dear colleague, the Independent’s own Bonnie Gilgallon. Interestingly, Shawn Abramowitz directed the play (with Sierra Barrick as assistant director), and then had to step in to play a role on the stage—which he does perfectly, never missing a word. In other words, everyone in the cast boasts multiple talents.

The open stage shows us a casual and slightly messy living room/den, designed by Lauren Bright, containing a big globe and souvenirs, artwork and tchotchkes from around the world. Artistic director Jerome Elliott greets the audience and informs us that this is a world premiere! The lights, designed by Ashton J. Bolanos, come up, and we begin. Sandra (played by Rodgers, an actress with the most beautiful eyes and smile), is the live-in daughter-in-law of the aging but successful writer Pablo Luna (a cane-stumping, grey-haired, grumpy but lovable Hererra). They are interviewing for a position of companion/caretaker for him, as he suffers from an unnamed degenerative disease. Aaron Watson, cleverly played by a black-bearded Abramowitz, is the last applicant of that day.

It is revealed that Pablo is “isolating,” and we see that the patient is indeed trying to push everyone away from him. But Aaron proves to be bright and feisty, and the verbal jousting begins. Pablo is deemed “a difficult client,” but Aaron is more than a match for his wit and wisdom. The two actors swat lines at each other with complete believability, on the topics of happiness, loneliness, choices, success, mothers, artistic virtue, social masks, balance, sex, youth versus age, writer’s block, men’s animal magnetism, and movies. There is great charm in their mind games, and this is where Padilla’s script shines brightest. He manipulates the language joyfully and curiously, giving us inventive and refreshing results. The two actors have mined the script deeply, and their shades of meaning, even when trading some rude insults, are beautifully thought out.

The men eventually arrive at an impasse in their philosophical swordplay, and have to call in an adjudicator. Enter Gilgallon as Gisele. She’s a dream girl in stiletto heels, black hose on her long legs, and a clingy scarlet dress that hugs her eye-popping curves. (Kudos to costume designer Frank Cazares.) We are led to believe that she is a Lady of the Night … but watching her moves and listening to her talk, we begin to wonder. She is way too shrewd, too literate, too thoughtful. She keeps us guessing. Gilgallon’s focus in this role is beautiful to behold, and she is totally believable as this mystery woman (with the exception—forgive me—of the wig). Her warm and musical voice is shown to its best advantage in this role.

There are some smart theatrical choices made in this play, such as bringing in the champagne already poured instead of the time-wasting, not to mention dangerous, pouring in front of an audience … but we need to hear the offstage POP! of the cork to make it real.

This is an extraordinary play, and it runs smoothly. The theme of the play—relationships—posits the idea that people are brought together to affect each other’s lives with the chance that they will be better persons as a result. It is a lovely thought—even though some of us might be able to think of a few people we wish we’d done without. All these characters do experience an arc as a result of meeting each other, with Sandra’s change possibly being the most dramatic.

The play runs 60 minutes with no intermission, and says everything it has to say with such lovely conciseness that it makes you wonder why other plays have to go on for hours to achieve the same results.

Angelantonio Padilla’s words and thoughts will stay in your head. Whose lives have you met and changed … for a reason?

For a Reason, a production of Desert Ensemble Theatre Company, is performed at 7 p.m., Friday and Saturday; and 2 p.m., Sunday, through Sunday, Feb. 17, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $25. For tickets or more information, call 760-565-2476, or visit www.detctheatre.org.

Published in Theater and Dance

How auspicious to open a show on Chinese New Year. Gung hay fat choy, by the way, and welcome to the year of the dog. People born under this sign are loyal, honest, just, socially popular, helpful and decisive—and they keep all their worries and anxieties buried deep inside. Famous dogs include Winston Churchill, Mother Teresa, Elvis, Madonna and Michael Jackson.

That’s the good news. Election Day, presented by the hardworking, clever and talented people at Desert Ensemble Theatre Company, is our topic, but all the news regarding this play is not so good.

We now live in a world where humor, and particularly political humor, has changed drastically. Of course, who could ever have predicted that the show’s opening night would follow the ghastly reality of the school shooting in Parkland, Fla., just two days before? With that and other recent horrors, in my mind, there just wasn’t much to find that’s funny about this play’s hostage mutilation, car bombs, violence or assault weapons.

That’s not to say there aren’t some amusing lines and situations in the show. I’m sure the script, by Josh Tobiessen, read well when DETC was making the decision about presenting this play. Many in the opening-night audience may disagree with my feelings, as the audience offered a lot of support and encouragement.

The greeter at the front door pasted cute little stickers on all of us as we arrived, reading “I VOTED TODAY.” It reminded me of all the kerfuffle and excitement and emotion of our 2016 elections. Election Day’s program-cover illustration was totally adorable. It set us in an enthusiastic if cautious frame of mind for the upcoming presentation. We were curious and intrigued to see what was to follow.

The story concerns a mayoral election in a northern California city. This is not a Republican-Democrat-independent political thing—this is about people trying to select a mayor from two choices: “the right guy” or the hated “Jerry Clark.” That was a relief—even for non-political me, as emotions still seem to run high every day on the news about American two-party politics.

The play opens on Brenda, an attorney, played by real-life TV weather person Kelley Moody, and Adam, her graphic-artist boyfriend, played by Sean Timothy Brown, who is moving into her apartment with her. The next scene introduces us to Adam’s sister, Cleo (Maricela Sandoval), and an activist hippie type, Edmund, or Eddie (Brian La Belle). Both are trying to look cool while slumped on a park bench and making plans for an act of protest about the election … with Molotov cocktails. None of these people come off as very likable, but when candidate Jerry Clark himself shows up for some desperate last-minute campaigning, the oily politician with his spiel of knee-jerk stock rigmarole, slickly played by Shawn Abramowitz, makes them look much nicer by comparison.

Directed by the legendary Rosemary Mallett, the action moves right along, and the actors are all on top of their rapid-fire lines. The show runs 90 minutes with no intermission, and as the play bowls along, we watch some of the characters change—most notably Brenda, who ingests a batch of drugs and becomes hugely entertaining when high. In contrast, Sandoval’s Cleo—who loses some good lines through poor diction—comes off as an annoying teen rather than the young adult she’s supposed to be, despite drinking wine. (Note to young actors: It’s OK to turn your back on the audience, but not while speaking, especially in a room like the Palm Springs Woman’s Club, where the acoustics are so famously difficult.) Though Edmund smokes dope, he shows little change after—yes—inhaling, missing out on a great chance to mine the sure-fire comedy of portraying the stoned pothead, although his gravelly Nick Nolte-style voice is a great choice.

In contrast to that, observe Jerry Clark as he swallows a bottle of painkillers and shows us how it’s done, thanks to Abramowitz’ superb timing. Adam comes alive in a refrigerator bit, but otherwise stays pretty much the same. Good theater is all about the arc.

It’s interesting to see how the comedy that comes from the script compares and contrasts with the comedy that comes from the play’s director. Mallett has upped the pace with a lot of physical stuff, while the script throws out lines like the deadpanned, “You don’t need a truck to vote”—lines which come from situations and logic. Sometimes one works, sometimes the other, sometimes both. Unfortunately, sometimes neither.

Thirty years ago, this play probably would have been screamingly funny. How sad it is that today, at least for some of us, our laughs have been compromised by reality. Professional speakers tell me that about the only really safe topic to make fun of any more is yourself. While there are things to like about this production of Election Day—some of the humor does work, and Abramowitz is fantastic—there is just too much that rips the scabs off sensitivities to terrorism, bombs, victimization and harming other people to advance someone’s personal cause.

Election Day, a production of Desert Ensemble Theatre Company, is performed at 7 p.m., Friday and Saturday; and 2 p.m., Sunday, through Sunday, Feb. 25, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $20. For tickets or more information, call 760-565-2476, or visit www.detctheatre.org.

Published in Theater and Dance

Angst over the current political climate seems to be leading many people to seek escape in a variety of ways—and live theater is a popular choice. While Desert Ensemble Theatre Company’s Expressions is a well-executed play, and it may take your mind off the details of what’s going on in the White House for a while, make no mistake: It’s no light-hearted diversion.

Its themes—post-traumatic stress syndrome (PTSD), alcoholism and family dysfunction—are quite serious, indeed. Written and directed by DETC’s executive director, Shawn Abramowitz, Expressions is a stark and unflinching look at all of those issues.

As the play opens, we meet cousins Paul (Cameron Keys) and Joseph (Nick Wass) as they prepare for a family party to celebrate their graduation from high school. Each young man is contemplating what his next step in life should be. While Paul is thinking about attending community college and a film career, Joseph has decided to join the Army, largely due to his admiration of his Uncle Steven, a Vietnam vet. Steven’s stories of adventure and heroism have convinced young Joseph that a life in the military is the way to go. However, Paul has experienced a much different side of Steven over the years: His father’s alcoholism and emotional neglect have left their scars. Paul is hurt and bitter, and does not view his dad as the war hero Joseph does.

Joseph’s parents, Emily (Kelley Moody) and Karl (Fergus Loughnane), arrive home with supplies for the party. Karl is also a Vietnam veteran, and has a bad case of PTSD. He is emotionally withdrawn, and loud noises send him into a panic. The last thing he would want is for his son to become a soldier and face the horrors of war. He and Emily know their son has applied to several colleges, and feel confident he will be safely ensconced in university life come fall.

When Uncle Steven (James E. Anderson III) shows up, he heads straight for the bar. The tension between the adult brothers is thick: Despite the damage the war did to his soul, Karl has managed to keep his professional and family life together, at least on the surface. Steven, meanwhile, drowns his sorrows in a bottle. His wife walked out shortly after he returned from the war, and he has virtually no relationship with Paul.

Steven applauds his nephew’s choice to join the Army, telling him: “America needs you. You’d make a great solder!” He even tags along when Joseph secretly enlists. When the secret comes out during the family celebration, all hell breaks loose. There are several twists and turns in the plot, which I won’t give away here.

The acting is strong across the board. Wass and Keys have great chemistry as the young cousins, and both ably convey the combination of uncertainty and bravado typical of 18-year-old boys.

Moody (also the morning weather anchor at CBS Local 2 News) is compelling as the wife struggling to deal with her husband’s illness (“I love you, but you’ve got to get your shit together!”) and terrified of losing her only son. She has many nice moments onstage with Loughnane, who is terrific, as always. He’s one of the valley’s strongest actors, and seemingly never gives a bad performance. The audience feels his love for his wife, his fears for his son’s safety, and his anger and frustration over what he sees as his brother’s failures.

As the troubled Steven, Anderson is fabulous. The climactic scene in which Steven comes clean to young Joseph about what really happened in Vietnam should be required viewing for every acting student. There is not a single false note.

Kudos to Abramowitz for his directing skills here. He elicits strong, emotional performances from each cast member, and no one ever goes over the top.

Abramowitz wrote Expressions partly as an homage to his own father, a Vietnam vet who lost three fingers in combat. His dad spent 35 years battling with Veterans Affairs to get the treatment he needed. Both father and son agree something that needs to change.

No, this is not a warm, fuzzy, feel-good play—but it is definitely worth seeing. It will move you, make you squirm, make you think and possibly even make you cry. Isn’t that what good theater is supposed to do?

Expressions, a production of Desert Ensemble Theatre Company, is performed at 7 p.m., Friday and Saturday; and 2 p.m., Sunday, at the Pearl McManus Theatre at the Palm Springs Woman’s Club, 314 S. Cahuilla Ave., in Palm Springs. Tickets are $20, and the running time is just more than 90 minutes, with a 15-minute intermission. For tickets or more information, call 760-565-2476, or visit www.detctheatre.org.

Published in Theater and Dance

Squabbles over family heirlooms following the death of the patriarch are not new—but they are taken to a whole new level in the Desert Ensemble Theatre Company’s latest production, Bad Jews.

Written by Joshua Harmon, the play received an Outer Critic’s Circle nomination for Outstanding New Off-Broadway Play in 2012-2013. It’s set in a New York City apartment the evening after the funeral of Poppy, the aforementioned patriarch. His three grandchildren—Diana (she prefers her Hebrew name, Daphna), her cousin Jonah, and his brother Liam (who does NOT like his Hebrew moniker, Schlomo)—are spending the night, as is Liam’s girlfriend, Melody.

The word “dysfunctional” does not even begin to describe the dynamics of this group. Things start out tense and deteriorate steadily from there. Diana is angry at Liam because he and Melody (a shiksa!) missed the funeral after Liam dropped his iPhone from an Aspen ski lift. But the bad blood between the two cousins goes way back: Diana professes deep devotion to her Jewish faith, while Liam takes a much more casual approach. His propensity to date non-Jewish women really sticks in Diana’s craw; she thinks they’re “beneath him.” Liam, on the other hand, mocks what he calls Diana’s temporary religious fanaticism, and does not believe that her Israeli fiancé truly exists.

But the real drama of the play centers around a piece of jewelry Poppy wore for most of his life. It’s a chain with the Hebrew word “chai” (living) spelled out in gold. He kept it safe from the Nazis while in a concentration camp by hiding it under his tongue. He later proposed to his wife with it, because he could not afford a ring. Diana desperately wants this memento of her grandfather, and feels that it’s rightfully hers—especially since she’s always been a devout Jew. What Diana doesn’t know is that the chain has already been passed down to Liam (sent to him by his mother), and that he intends to give it to Melody this very evening when he proposes.

Each member of the four person cast is terrific. Though he does not have many lines, Cameron Shingler skillfully portrays Jonah’s anguish and discomfort at being thrust into the middle of his family members’ battles. He sits quietly absorbed in his iPhone or with his head in his hands as the verbal artillery flies around him. You get the sense he’d rather the floor open up and swallow him. Actively listening onstage and believably reacting (or NOT reacting as appropriate) requires great acting skill. Shingler pulls it off.

Kyrsten Watt is equally as good as Melody, the meek, squeaky-voiced former opera student. After just two professional auditions, Melody bagged a classical music career and is now working for a nonprofit—but she sports a tattoo of a treble clef on her calf (which Diana describes as “the size of a tumor”) as a sentimental reminder of her former life. Like Jonah, Melody tries valiantly to avoid being drawn into the Diana-Liam war. In an attempt to relax everyone when the yelling gets too intense, Melody sings an absolutely hilarious, off-pitch version of “Summertime” from Porgy and Bess. It’s one of the highlights of the show.

As Liam, Sean Timothy Brown ably captures the character’s shallow, smug and entitled demeanor, and matches Diana insult for insult. Some of their verbal sparring is quite loud and sometimes frightening. Being Jewish does not seem to mean all that much to him. We learn that once during Passover, Liam apparently consumed a forbidden cookie, proclaiming “I’m a bad Jew”—hence the play’s title. But Brown also shows a tender side; he makes Liam’s love for Melody seem quite genuine.

The MVP Award for this production of Bad Jews goes to Jordana Simone Pepper as the verbose, hot-tempered Diana. With the exception of the first 30 seconds or so, when she could have used a little more vocal projection, she’s nearly flawless. Once this girl gets started talking, it’s hard to get her to stop. (You know the type.) Whether she’s shouting at Liam over their religious differences, chastising Jonah for not taking her side, or grilling poor Melody about where her people were from “before Delaware,” Pepper makes every note ring true. She’s often a hoot, sometimes irritating, occasionally touching, and always real.

Rosemary Mallett’s direction is spot-on. She gets strong performances from everyone, while a terrific set and great costumes, sound and lighting all help bring this thought-provoking play to life.

Kudos to Desert Ensemble Theatre’s founding director Tony Padilla and executive director Shawn Abramowitz for another excellent production. (Full disclosure: I acted in Desert Ensemble’s previous show.) Bad Jews is not bad; it’s damn good.

Bad Jews, produced by the Desert Ensemble Theatre Company, is performed at 7 p.m., Friday and Saturday; and 2 p.m., Sunday, through Sunday, April 17, at the Pearl McManus Theatre at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $20, and the running time is just more than 90 minutes, with no intermission. For tickets, call 760-565-2476 or go to www.detctheatre.org.

Published in Theater and Dance

Imagine you are walking down the street, and suddenly you see … YOU, yourself, coming toward you. Your hair, face, hands, height and weight. It’s not a trick or illusion. It’s you.

What do you do?

A Number, presented by the Desert Ensemble Theatre Company, has opened at the Palm Springs Woman’s Club. It’s a one-act, five-scene, two-man, 55 minute play, written by Caryl Churchill and produced by Tony Padilla. Which fact is most surprising: A female playwright created a work for two men? The provocative topic of the show? Or the fact that you’re back out on the street before 8 p.m., when some other theaters’ curtains are just going up?

The actors, Shawn Abramowitz and James E. Anderson III, work on a bare stage with only two tan leather chairs as the set. The color palette is limited to blues and some earth tones. Director Jerome Elliott has made the most of the space, with clever blocking that keeps the action natural-looking and emotion-motivated. The play is a talky one, with lines that interrupt each other and “telescope,” bedazzling us with speed and brevity. Yet thanks to the actors’ good diction, we rarely miss a word. (Learning these lines had to be a labor of love, for sure.) Everything looks simple—but your earth is about to be shaken.

For the audience: Don’t worry if you are confounded. The playwright delights in using half-sentences and incomplete thoughts. Interesting writing … very much like the way people really do talk. The actors accordingly have adopted a natural and realistic acting style.

We open with an ongoing conversation between two gentlemen: One younger, dark-haired, in jeans; the other silver-haired and silver-bearded, wearing glasses and a cardigan. We see them slouch, swipe at the nose (the “allergy salute,” so common in our desert), sulk, snark, get in each other’s faces—in other words, we are the fly on the wall watching the real-feel action as we struggle to understand the meaning of their conversation.

Finally, it becomes clear, and I will reveal it to you so you don’t have the duhhs quite as long as we did (and seeing as this information is included on the ticket-purchase website, it’s not a spoiler): The conversation is about cloning. Gasp! This play premiered in Britain in 2002, back when Dolly, the cloned sheep, was still alive. But A Number is about human cloning. Even creepier! In the play, some people are referred to as “The Others,” and as the conversation progresses, we find out who “they” are. Paranoia abounds: Why?

We eventually face another psychological conundrum: the “nature versus nurture” argument. Which is more important: what you inherit before birth, or the way you are raised? What determines how we turn out? The characters, whom we learn are father and son, walk us through all the stuff moaned about on a psychiatrist’s couch: the bitterness from unfair treatment, the differing memories of remembered cruelties, the new facts that alter one’s history. So who gets the blame for the flawed person that we all turn out to be? Genes, or environment?

The son has had the experience of seeing “himself” on the street, and confronts his father. The father, it is revealed, is not without problems of his own: He lies about the boy’s mother; he drinks too much; he plots lawsuit revenge. So how does his son react to events or information: the same as dad, or differently? Now it gets really interesting, because in the next scene, we get to meet the other son, physically identical to the first—and we see his personality interacting with the same father. What created those differences?

We won’t reveal any more, so that you can be surprised by what happens … and you will be surprised. If you enjoy intimate theater, this is an excellent example of it. The Palm Springs Woman’s Club is an appropriate size for such a show (now if only we could do something about those creaky floorboards onstage), as presenting such a work in a huge arena would be unthinkable: The closeness of the audience to the actors is mandatory for our involvement in, and concentration on, the play.

The actors do a wonderful job of luring us into their characters’ lives, with all of the complexity, denial and peculiarity. The play throws us into a world where we probably will never go, yet forces us to think about it: What if you found out you had been cloned, without your knowledge? How would that feel? What would you do? See, this is what theater can do: permanently expand our consciousness in a way that nothing else can.

Kudos to Jerome Elliott for his lean-and-clean style of directing, and to Abramowitz and Anderson for their memory of the lines and their shrewd interpretation of this script. Thanks also to Padilla for finding this thought-provoking play and bringing it to our valley.

The only possible change I could suggest involves wardrobe: The audience might understand more easily that Son No. 2 in Scene No. 2 is actually another person if he wore a jacket with a contrasting color. Here, both sons wore blue—obviously to make a statement about how they are The Same In So Many Ways—but although the actor even changed shoes, it wasn’t readily apparent that this wasn’t just another scene with the same actor at another time, dressed differently. This point is successfully addressed in Scene No. 5, which I’m really trying to not give away.

A Number is a very cerebral experience, but then, thought always precedes action, so you must see this show to clarify your thoughts about it. It’s a must-see play about, maybe, YOU.

So … Imagine you are walking down the street, and … ?

A Number, a production of the Desert Ensemble Theatre, is performed at 7 p.m., Friday and Saturday; and 2 p.m., Sunday, through Sunday, Feb. 21, at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $20. The show is 55 minutes long, with no intermission. For tickets or more information, call 760-565-2476, or visit www.detctheatre.org.

Published in Theater and Dance

For many years, Coachella Valley audiences have enjoyed the works of award-winning playwright Tony Padilla. He was co-founder of the Playwright’s Circle with Marilee Warner, and is now enjoying success with his own company, Desert Ensemble Theatre.

A member of the Dramatists Guild of America, Tony has won many local awards, including the Desert Theatre League’s Bill Groves Award for Outstanding Original Writing for his play Becoming Ava. Knowing his impressive background, I always look forward to seeing a new play by Tony with great anticipation. His latest offering, Two by Tony, is a couple of one-act plays now on stage at the Pearl McManus Theater at the Palm Springs Woman’s Club.

The first is Family Meeting, directed by Desert Ensemble Theatre Company’s artistic director, Rosemary Mallett. It’s a drama peppered with dark comedy which takes place in the home of Daniel Mann (Alan Berry), a bitter, washed-up playwright now reduced to writing B-movie scripts. He’s planning to relocate to New York to get back into the live-theater scene, where he feels he belongs. Daniel’s 20-something grandson, Jason (Shawn Abramowitz), has stopped by to ask if he can move in for a while. Armed with an Internet law degree, Jason is also planning a long-distance move to get his career rolling. He’s anxious to move out of his parents’ home, because their constant bickering is driving him crazy.

Soon, his father, Ed (Rob Hubler), shows up, looking for advice from Daniel on whether or not to divorce his wife, Karen (Denise Strand). Ed calls Karen to join them, and the whole clan is soon gathered in Daniel’s study, swigging red wine and trading barbs. The marriage between Karen and Ed is beyond strained—he’s got an Internet porn addiction, and she’s banging the contractor. Everyone has buried resentments and baggage, but the animosity between Karen and her father-in-law is particularly intense.

The acting is uniformly strong, though there were some volume issues at the top of the show. At first, I thought Berry seemed a tad too young to be cast as Ed’s father, but that reservation faded eventually away. Berry’s Daniel clearly bears the scars of having been beaten up by life over the years. Abramowitz is quite likable as Jason; he spends a lot of time engrossed in computer games on his cell phone, partly to drown out the sound of his battling parents. As Ed, Hubler ably communicates the disappointment and frustration many of us face in middle age. Nothing’s going right—and now his son wants to get away from him. Denise Strand is terrific as Karen. The energy picks up noticeably when she enters the scene. She has fabulous mother-son chemistry with Abramowitz in some of the play’s few tender moments. Occasionally uncomfortable because it mirrors some of our own dysfunctional families (this group sure does drink a lot!), Family Meeting is thought-provoking and worth seeing.

If I had to pick a favorite, though, the second play, The Comeback, would get my vote. A farce directed by Padilla set in the mid 1950s, it’s reminiscent of 1940s films like Blithe Spirit and Here Comes Mr. Jordan. The play tells the story of Nora Raymond (Lee Rice), a Norma Desmond-esque, aging film actress attempting a comeback with the help of her loyal assistant, Thelma (Theresa Jewett). Nora receives a mysterious message urging her to contact a Count Orca (Theo Nowicki). The count later arrives at her home to conduct a séance in hopes of contacting Johnny Bellini (Stephen McMillen), Nora’s long-missing and presumed-dead husband. When Johnny appears, much hilarity ensues. There’s lust, greed, schemes-within-schemes and characters who are not who they seem to be. Everything’s a bit over the top, and laughs abound. The cast is uniformly terrific.

As the dramatic, self-important Nora, Rice is perfect. Cute and petite, but exuding the egomania typical of Hollywood, Rice has the audience routing for Nora’s success, both in the movies and in love. Jewett is a scream as Thelma. Wise, wry and wary, she trusts almost no one, and does not suffer fools gladly. At one point, she advises Nora’s man-servant, Morgan (Nowicki, in a dual role), “Don’t try to be mysterious; you’re no good at it.” Jewett is known to many as an amazing singer; she’s one hell of an actress as well. This is an award-winning performance.

Equally as funny is Nowicki, particularly as Count Orca. Sporting a heavy accent and an obviously fake mustache, Nowicki romps through the role, having a great time onstage, and tickling the audience’s funny bone nonstop. McMillen is quite good as Johnny; he has just the right mix of good looks and comic acting chops.

Kudos to director Tony Padilla … and to playwright Padilla, for a nice evening of theater.

Two by Tony, a production of the Desert Ensemble Theatre Company, takes place at 7 p.m., Friday and Saturday; and 2 p.m., Saturday and Sunday, through Sunday, March 22, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $22, or $18 for students, seniors and members of the military. The running time is just more than two hours, including a 15-minute intermission. For tickets or more information, call 760-565-2476, or visit www.detctheatre.org.

Published in Theater and Dance

The word “inspiration” came up a lot.

I was talking with composer and orchestrator Saverio Rapezzi, and Shawn Abramowitz, the executive director of the Desert Ensemble Theatre Company, about the creation of a one-night-only production of a new musical which has taken 10 years to bring to life.

Desert Ensemble will present Esperanza: The Musical of Hope as a concert performance at 7 p.m., Saturday, Jan. 24.

How did it all start? Writer Ken Luber, a TV and movie writer living in Idyllwild, began writing Esperanza’s book and lyrics in 2005—about sports figures, of all things. The work deals with the falls from grace of these once-worshipped creatures and their hopes to return to their former glory. When Saverio Rapezzi arrived in Los Angeles, Luber was one of the people he contacted while looking for work. The rest, of course, is history.

Shawn Abramowitz came into the picture when Luber contacted the DETC, because of the company’s interest in performing new works.

DETC started years ago as a theater-and-writing group, headed up by Tony Padilla and influenced by Rosemary Mallett, a legendary name in Palm Springs theater. The group offered students not only technical training, but also scholarships—a unique approach. As a theater company, DETC is now in its fourth season.

Esperanza has been in rehearsals since October, and Abramowitz promises theatergoers “a polished piece, with great music and a compelling story.” The cast includes Keisha D., Charles Herrera, Theresa Jewett, Phillip Moore and several others.

Saverio Rapezzi—don’t you love the name?—lives in Los Angeles half the year. The other months are spent in Italy’s Tuscany region, where his musician wife conducts choirs and teaches at the conservatory where they met. In L.A., his company Film Scoring Lab creates music for movies. On his website, he offers examples of various sounds to express the different moods of the films; it’s a great tutorial on this very special skill.

Rapezzi cut his teeth on short films, but has gone on to score feature-length movies as well. “If it’s a good film, it’s easy,” he muses. “It inspires you—you pick up on the rhythm. And if I like the story, each scene’s music is already in my mind by the time it’s finished. I play the scenes back two or three times, and then start writing it out.”

Rapezzi is one of those rare and special composers who can hear music in his head and write it down without having to pick it out on an instrument. His main instrument is the guitar, and he holds degrees in classical guitar and composition from the Royal Philharmonic Academy of Bologna. He also studied film-scoring with stellar names including Ennio Morricone, and continued his graduate studies at UCLA. But his first influence, as with so many musicians, was his father. He was a classical guitarist, and at age 13, young Saverio followed his papa’s lead, eventually using the guitar “to compose what was in my heart.” Rapezzi then became a respected concert performer.

However, writing music for the movies was always his goal. His first big film was a Mexican psychological thriller, The Echo of Fear.

“It was so exciting to see my name on the screen in a cinema!” he remembers. The same director hired him again for his next movie—the ultimate compliment. He recently finished scoring Ignatius Lin’s The System Is Broken. In 2015, Rapezzi’s new opera will debut—in Hungary, even though it’s in Italian.

When Rapezzi teamed up with Ken Luber to create Esperanza, he wrote about half the show—just enough to use in an audition. When they brought it to DETC, and the answer was a resounding, “YES!” he immediately wrote the rest of the music.

What’s in store for the future of Esperanza? Abramowitz, who also works both as an actor and as an account executive for KESQ-TV, dares to dream: He wants to take it all the way to Broadway!

“Even if it changes one person’s life, that makes a huge impact,” he said.

Summing up, I couldn’t resist asking Rapezzi what he thought of Americans. He took time to reflect seriously, and announced, “They are the best at getting things done. They know how to make things work. Italians are creative, but … .” Then he shrugged.

Will the performance become the first step on the long road to Broadway? “It takes time,” Abramowitz said. “But the message is strong—it’s one of hope, no matter where life takes you.”

Can’t wait. It sounds like … an inspiration.

The concert reading of Esperanza: The Musical of Hope takes place at 7 p.m., Saturday, Jan. 24, at the Pearl McManus Theater at the Palm Springs Womans Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $22, with discounts. For tickets or more information, call 760-565-2476, or visit www.detctheatre.org.

Published in Theater and Dance

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