Out with ACT: Major Barbara

In cooperation with Canadian Theatre Calgary, ACT has staged an engaging production of George Bernard Shaw's Major Barbara. In the titular role, Gretchen Hall (extensive stage and television credits) makes her ACT debut and does so with a strong and engrossing performance. She manages to straddle the prim and purposeful mission of Barbara with her generosity of spirit and genuine familial affection, and carries the the narrative with great strides. The academic banter between her, her betrothed (played by Nicholas Pelczar) and her father (played by Dean Paul Gibson) is lively and well-timed and much fun, but maybe more fun for me as that's kind of my thing. The interplay of the three ideologues—missionary daughter, infatuated academic, and weapons-manufacturing patriarch—is wonderfully accomplished by these actors, and the supporting cast rises more to the level of ensemble as they light up each of their lines in turn. The show is superbly acted all around. And as always for ACT, a second round of applause for the wig mistress, costumer, and set designer. All well played.


Kandis Chappell as Lady Britomart Undershaft may not "steal" the show per se, but only because you are gladly giving up your wallet and cell phone for just one more of her officious lines and stern looks. Love her. While Elyse Price may play a smaller role as "the other sister" Sarah Undershaft, she shines with every line. The men about the house round out the family charm with a comic brightness and plenty of handsome.

Seriously:


(Later, I was slightly abashed about my familiarity with young Stafford Perry, until I noted his recent, scantily-clad role as "Harrianus Testosteronus.")

As the "ACT's Favorite Gays," we were given the challenge discovering "the one gay actor." We were barking loudly up the wrong trees until our new friend paused our introductions with, "Honey, I need to get some chocolate and I'll be right back." New best friend.

The Out with ACT nights give us a wonderful opportunity to meet the cast and discuss the production, theater life, and an actor's view of San Francisco. One last hand to Randy Taradash for always putting together such an engaging night Out at ACT.

Underneath the Lintel

Kevin and I took in ACT's Underneath the Lintel last week, and it was an intense 90-minute monologue from an engaging David Strathairn. It is, production aside, a one-man show, and I never cease to amaze that actors can deliver a powerful performance plowing through an entire play and hundred of pages of dialog by themselves. I always like to go into ACT performances as ignorant of the play as possible and let the story unfold for me without prejudice, but I don't think it will be spoiling it for anyone to say that it is a librarian's journey into compulsive answer-seeking regarding an ancient mystery he may be witness to.

I can relate.

And the mystery he has stumbled upon is that of the Wandering Jew. Which was cool for me as I have recently re-engaged with the DC character The Phantom Stranger, who is the comic-book telling of the tortured sinner. And The Phantom Stranger was the costume I wore for my first Halloween with Kevin so many years ago.

Again, cool.

As usual there were lovely people were around for the Out with ACT reception, and our usual thanks and applause to Randy Taradash for making it happen.

Out with ACT: 1776

Wow. This was written in the 60s, and revived in 2012, and it still every bit as relevant today: Congress is a bunch of fucktards who can't get along and the private, corporate interests will always sway the compromise from liberty and American ideals. ACT's 1776 is well done, if a bit like an overly long civics lesson. And whether it is true or not it appeared to be by far the largest cast I've seen on the ACT stage. And a well-assembled cast of talent it is. It is not so much a "musical" as a "drama with some songs in it." History buffs and general citizens alike will enjoy it, but the history-types will appreciate it a bit more. Unfortunately my take away is that Pennsylvania is a colossal dick and South Carolina will obstruct anything to get its way, which in this case was slavery of the African people. Soooo...not much has changed.

Fine acting all around. And a super sexy Thomas Jefferson to boot. Good writers are always sexy, Brandon Dahlquist just fleshed it out. So to speak.








Kevin and I were our usual ACT Fabulous.

Thanks as always to Randy.

And poor, poor Tom...

Kevin and I started theater night with drinks at the Burritt Room and pulled Amy, the Oracle attendee, single-mother-of-three from rural Pennsylvania into our madcap trolly and she was happy to jump on board. I love meeting fun people temporarily on their own, andI think we gave her a San Franciscan experience.

And a new title.


Meet Amy. Or QUOTA.

Because she is the Queen of the Amish.

We bookended the night with the two extremes of tourists: the cool and the clueless. No matter how messy we may have been on the way home, we were still better off that this person, who drove her car down the closed part of Powell Street and into the cable car turnaround.


And finally a shout out to Mr. Brown: a never more delightful case of mistaken identity.

Amazing Arcadia

I don't have time for a full review. But Arcadia may my favorite play I've ever seen. And that is saying something. Or at least it is my favorite that I can think of right now. I'm not even a Stoppard fan. I'm actually the opposite really. Yes, for some it may seem like an academic lecture, but I'm an academic, and this was so fully engaged and engaging as to spring life from the stage. I actually got chills at the end of the first act.

The cast and company truly shine in this. If you are a thinking person who likes the theater, this is the play for you. Although it does help to have a familiarity with archival research, literature, and iterative mathematics. But don;t let those words scare you off—it's funny. And tragic. And brilliant.

And I really don't think even the Broadway production could hold a candle to this cast. I truly wish we had been able to make an Out night and chat up the cast.

The reviews are almost as much fun as the show itself.

ACT: Black Watch

As a Scottish descendant, former resident of Stirling, and general lover of Scotland, I was entirely predisposed to love Black Watch, making it to San Francisco via ACT.

It did not disappoint. And the drill court in the Armory was the perfect place to stage it. I will let the other rave reviewers rave instead of a lengthy and thoughtful review here, but I will say this: Go. Now. Go get tickets. I consciously go into theater performances trying to know as little about it as I can as not to bias myself or learn spoilers, but a little background history regarding the Black Watch might add to the enjoyment of this story.

It's a new story, one not told, and both riveting and emotional. Superbly acted and brilliantly staged. Robert Jack's manages to embody two completely opposite characters and personalities in this show, many people don't realize both parts are played by the same actor. And he plants both roles deep. And Stuart Martin carries the lion's share of the drama, and makes you are eager to follow him along. The visual history of the Black Watch's uniforms is wonderfully portrayed, and my friend from Glasgow told me that the changing historical/regional Scottish accents were brilliant—I'm fairly decent at identifying regional brogues, but not that good.

And being the Out with ACT night, the lads joined us for a drink or four afterwards, and I was a bit beside myself with so much Scot. I'm wishing I had made it a later night and joined them for after- after- drinks in the Mission.




And shouts to Cameron, the piper who can act, his love of Texas (which I will outshine when I introduce him to Tennessee-prepare the other cheek) and to all the lovely lads in town for the show. SUCH a pleasure.

ACT (The American Conservatory Theater) has installed some serious renovations to the Armory space and intends to host more productions there. Enjoy the new acoustics and upgraded bathrooms. And when (not "if") you go to Black Watch, plan your libations ahead of time. The show runs nearly two hours (1:50) and there is no intermission, and if you leave you may not be reseated. Although I (surprisingly) made it through the performance without having to get up to pee, it was a distraction throughout the whole show (Do I have to pee? Will I have to pee? What about now? How will I get out if I need to pee?)

However, if you can void your bladder first and have a strong bladder, do have a pre-show drink at the Armory Tavern across the street beforehand. It's owned/managed by the same Kink.com which owns/manages the Armory, and it may be my new favorite bar——gorgeous with deliciously crafted cocktails. Just like my company.


And after the show, be sure to check out the Art-O-Matic! Five bucks for an original work.


Even more to love.

Out with ACT: Stuck Elevator

Stuck Elevator, a libretto about an undocumented Chinese delivery guy stuck in an elevator for a weekend, and afraid to call the police for fear of deportation, is an interesting musical romp through Guang's imagination and fears as he suffers his confinement. Many are offering rave reviews.

Personally, I thought it was creatively staged and deftly performed, but only mildly interesting. Stuck Elevator is artful and perhaps topical, but I couldn't get into it, and failed to rise above my inclination to tell him to just ring the bell and get out already. But many of the ditties and the drama of his internal world were delightfully, or tragically, executed. It was certainly some people's cup of tea. For my tastes, it should never have left the black box.

But as usual, Randy and ACT make an Out with ACT night much fun! And shout out to the charming Demetrius who livened the after party.

Out with ACT: Dead Metaphor

It's only running through Sunday, so if you get the chance go see the world premiere of Dead Metaphor at ACT. GREAT show. The staging is beautifully executed, the acting superb, and the story engaging—dark, topical, and funny. Young George Hampe does a superb job with the central character, playing him almost effortlessly, and with enough immersion you can forget at times how much he reminds you of a young Topher Grace.

And honestly, any time you get the opportunity to see René Augesen AND Anthony Fusco on stage together is a real thespian treat! Anthony Fusco does is usual job, which is to say he's a just wonderful, but René really brings a light to her horrible politician and details such as the foot twitch are not lost on the audience. How much would I love to introduce her as this character to her as the character she played in November?


Dead Metaphor, the tale of a young unemployed Gulf wars veteran, a sniper, seeking employment and a place in the world and those who would advantage or take advantage of him while he tries to care for his pregnant fiancé and quickly deteriorating father, is topical, darkly comical, and an absolutely thoroughly good time. It runs through Sunday, March 24.  It really gives new meaning to the phrase "job hunt."






If you have time and if it's a nice night get a rooftop cocktail at 620 Jones beforehand. But take our advice: get dinner first. We sort of really enjoyed ourselves during and after the performance. Afterward, we tried the killer diner as recommended by 7x7, but found it a bit meh for all the hype and food porn they display on their website. Kevin, however, appreciated the twisting maze you had to take to find the men's room, which had it's own touch of noir.

And finally, a shout out to the wig shop at the American Conservatory Theater.  They are the unsung heroes of this house and always produce excellent work.

Update:  The theater is running a special promotion if you order a ticket through March 22:  $45 orchestra, $35 mezzanine, use code CANDIDATE online or call 415-749-2228. Show must close Sunday, March 24.

Out with ACT: 4000 Miles

And I would walk 500 miles and I would walk 500 more just to be the man who saw 4,000 miles and waited by the stage door.
Rumor has it that the estate of Tennessee Williams, which has a wide reputation for just being dicks, put the kibosh on ACT's planned performance of A Street Car Named Desire because it might dilute the interested in a potentially possible tour, someday, of the all African-American version of Streetcar which closed in New York. Whatever.

Best thing that could have happened.

Amy Herzog's 4000 Miles, directed by Mark Rucker, is a throughly engaging new play that manages to fill every scene with warmth, or laughter, or pain, or emotional fear. All in one room, with two actors almost never leaving the stage. As the Seattle-ite grandson arrives at the Manhattan apartment of his windowed, slightly socialist grandmother at three in the morning after riding his bike the 4,000 miles from the west coast, the archetypes are quickly established. I should say stereotypes as these characters in the abstract are not old enough to be archetypes, but they are much deeper than that, and their typeness is set quickly so that we may recognize each of them for what we may think we know so readily, and they grow from their. Their characters are revealed, as all family characters are, through their relationship with each other. And even in the stereotype language used to establish the baselines are used to great comic effect, as if to say "Yes, we know this is a stereotype, but these people exist, and he's one of them. Now let's move on from that and get going." As Leo ends his bike ride, his real journey, and ours, begin.

Reggie Gowland embodies the character of Leo so smoothly you'll expect to see him biking in the Mission, and Susan Blommaert is a tour de force as Grandma Vera (which may be to be expected from someone with her resume. Damn.). The caliber of acting in this play is as best as I have seen, and their timing and physicality are impeccable. Rounding out the cast in two smaller roles of the younger women in Leo's life—more relationships in which he himself is revealed, are two more talented actors Julia Lawler and Camille Mana.

It might be easy to say that the play is just about ordinary people in an ordinary life, but the story which unfolds, and the people revealed before you are extraordinary. We see so much of the familiar, and the familial, and the drama evokes the pathos so essential to good theater. Sure, I teared up more than once, but I laughed raucously when I wasn't.

Again, the cast was kind enough to join us at the Out with ACT reception afterwards. Great crowd and great cast.

Camille Mana, Susan Blommaert and Wilson Hardcastle

Julia Lawler and Kevin

Wilson Hardcastle and Reggie Gowland

A special treat for us was the return of Randy Taradash, in town only for a brief time before returning to New York to close his wildly successful production of Bare.

Julia Lawler, Randy Taradash and Reggie Gowland

And a final special treat—the lovely Brianna. Kevin and I tend to be the last people in the theater who do not actually work there, and so we get to meet some of the fun late night staff. Randy knew we would get along—


She has a Joss Whedon/Mutant Enemy tattoo!


The next production at ACT requires some complicating set construction and so the theater is strictly constrained for extending this production of ACT. They've been playing to sold-out houses and have only been able to add a day or two. 4000 Miles runs through Sunday, February 10. It's worth the trip to take the ride.

Out with ACT: Elektra

"Ph Lord,"  I thought, "Here she goes again."  I have said for eyars that ACT's productions are hit or miss.  That the hits are freakintabulously awesome and the missed are Oh Dear God In Heaven Would You Stop With the Inaccessible High Art.  I have a similar love/hate relationship with the theater's Artistic Director Carey Perloff.  She has a great eye for amazing shows to bring to the theater, and a destructive bent to put on excruciatingly boring arty works herself.  I am reminded of the Mark Twain quote (at least I think it was Twain) that "Literature is a book that everyone wants to have read but no one wants to read."  Or about like that.  The sentiment holds for Perloff's personal productions.  I feel like she puts this on because she thinks we should see it.  Like it is artistically good for us like a matron forcing us to eat the broccoli.  But here's the thing, you can prepare tasty broccoli.  Just because it is Literature does not mean it cannot also be entertaining.

In their review, the SFist really nailed my consisent sentiments of such shows: "an uninspired museum piece on a contemporary set... But all told, like 2010's gloomy and stilted Phedre, it's once again hard to see past Perloff's desire to educate us, to restage a canonized work for its own, unadulterated sake, to find any new theatrical revelation."

All that aside though, Eleketra was pretty entertaining and not at all soporific. While I am sure that the brevity of the show and the energy drink I shot beforehand may have had something to do with it, the relatively simple story and lack of extensive undulating monologues helped. But what really saved this from being yet another museum piece was the stellar acting from all involved. Rene Augesen always gives a strong performance and I would probably sit and watch her read a grocery list on stage (and feel that I have), but Caroline Lagerfelt really plays the mother with layers of pathos and empathy. I share the SFist's Jay Barmann's appraisal of her performance: "We come away seeing the character not as the evil adulteress of myth, but a woman buffeted by the wills of various men, and in search of redemption."


It's always nice to have Tony Fusco make an appearance in a role no matter how small, and Allegra Rose Edwards brought to life the easily lifeless sister Chrysothemis. I would link to all of these actor's bios on the ACT site but their site isn't set up that way (only pop-up bios).

Olympia Dukakis has been brightly billed as the star of this show as the Greek Chorus, but our performance featured the understudy Omozé Idehenre. Kevin and I have been fortunate enough to experience performances from Omozé before and were lucky to catch her tonight. The star turn would have been fun to see, and even more fun to meet, but I can't imagine even Olympia's star could outshine Omozé Idehenre's performance.

Speaking of understudies, Nick Steen does a nice job with the brother Orestes, but you would also be fortunate to catch the talented understudy Patrick Alparone. Although you may not notice either of their performances as both are so distractingly handsome.

Out with ACT: The Normal Heart

Larry Kramer may be an angry man, but he has every reason to be. And frankly, all things considered, it's not that we're "normal" and he's "angry", but rather he's the sane one for being passionate and furious and we are the lesser, damaged people for not being as angry as he is. It's like the adage, "If you're not outraged you're not paying attention."

The Normal Heart is a tour de force and every bit as relevant today as it was during the dawn of the AIDS epidemic—a time of the suffering and dying of innocent loved ones met with callous disregard, a time of futility of medical care, and the travesty and tragedy of inaction by public officials and those who could help but would not, and instead turned a very willing eye blind and all shoulders cold.

Surprisingly, The Normal Heart is also a love story. And a funny as it is sorrowful. But almost always angry. Rightfully so.

ACT's production was powerful and amazing. I looked at some photos of previous productions later and really appreciated the stage design for ACT's production-stark white with headlines regarding the plague and our reactions to it in type relief. The direction is near flawless. And the acting? Out of the park. This is a stage of talent and they knock you out.

One of my favorite character sort of actors whom you'll recognize from a variety of things plays the lead role and Kramer's surrogate. It is no small feat for Patrick Breen sustain the anger and indignation of his character, while also making him endearing and tragically heroic. Almost Cassandra. And he embodies the physicality and the inflection of a Need Weeks with apparent ease. (Although I have to say I loved him as Quellek in Galaxy Quest!) The rest of the cast is as talented and bring much to each role. Jordan Baker is a joy to watch in her raspy blunt acerbity, and as possible as it can be to steal the show in a play such as this, Sean Dugan steals each scene he is in and leaves you hoping for a return. Although that might have something to do with the fact that his role offers much of the emotionally-needed comic relief, but that in no way diminishes the skill with which Sean Dugan brings Tommy Boatwright to life.  And Matt McGrath lives and dies as Felix as well.

Also a treat was the surprise in seeing Bruce Altman in a supporting role as he is easily recognized from his prolific film television character work.

The play is doubly painful in its truth, and while the final scenes evoked tears from most and sobs from some, we were all on our feet for an ovation at curtain. Striking however, was after the final bow and the last clap, the audience began to slowly exit in complete silence. There no no usual chatter and commentary as we filed from our rows, but rather a tragic quiet, as if we had all been hushed filing from pews at a funeral. It was quite remarkable.

We were fortunate that most of the cast were able to join us at the Out with ACT reception after the show. The actors were kind enough to engage in personal conversation beyond the usual pleasantries. The material did lend itself to meatier topics, and I was touched to learn that this was an important play for two of the actors who are more popular in the more lucrative world of television and film as they each had a brother die of AIDS in New York City during the early days chronicled by this play.

The best play anecdote came from Jordan Baker. This play is physically and emotionally exhausting and I was amazed that they perform nine shows a week, and they have matinees during the week for school groups. I was impressed by that, as this is such an important play for young people,and I shudder to think how many other cities and all the other states would have fits over the idea of performances of this subject for students.

I asked how the students reacted to the material, and her stories were fascinating. The stand out one though was this: A student wanted to know about "the book" mentioned in the play. "What was the book? Was there a secret book of gay men? What was this secret book?"

The reference was made during the meeting of the two characters who would become (unfortunately lifelong) lovers. Before parting, Felix asks Ned, "Are you in the book?" "Yes." "I'll call you."

They were talking about the phone book.

Kids these days.

An entirely different history lesson.

Humor Abuse returns to ACT

For a limited engagement, the absolutely entertaining and thoroughly wonderful laugh out loud one-man show Humor Abuse returns to ACT for a week in August. If you missed it the first time, don't miss it the second.

Some seats are also available at a discount via Goldstar. But better seats available from the ACT box office. See ACT's pages on the current run.

And Lorenzo's own page on the show.

Also, he's one hot clown.

ACT: The Scottsboro Boys

I never wrote about the excruciating pain that was our last Out with ACT adventure, which was the Beckett plays directed to soul-killing numbness by Carey Perloff. Word was it got rave reviews from Beckett fans in the NYC literary scene. Theater-goers, not so much. I felt bad falling asleep during the beginning of the second play (the first play ran under 15 minutes), until I realized I was enjoying memories of Belize much more so than the show, despite the amazing actors on stage. Kevin poked me awake and I was afraid I had been snoring, but he was just directing my attention to the many, many other sleepers in the audience—one near us had crossed his arms against the seat in front of him and put his head down completely. It may have been artistic, but it was not remotely entertaining.

We left early. We could't even bear staying for the reception. I texted our friends to apologize that we couldn't stand any more and would miss seeing them afterwards. Their reply, "We're almost home." They live in San Rafael.

We missed the Out night but rescheduled to see the acclaimed The Scottsboro Boys. As is my habit, I went into the show blind to its premise and content and avoided reviews other than the raving words postered around town. I had no idea of the backstory.

And wow, was that a powerful and deeply disturbing story, made all the more so by it's telling as a racist Vaudeville minstrel show complete with tap dancing and blackface. The cast is superbly talented (and as evidenced during a wardrobe change, ripped). And Hal Linden is just perfect for this role, as frankly is the entire ensemble, with strong applause to Jared Joseph JC Montgomery. There was a whole lot of disturbing behind the singing and dancing, and Kevin and I would have loved the opportunity to discuss it with the cast after the show had this been an Out night.

I feel about this show how I felt about Scorched: It is unbearable ugliness beautifully rendered.

Out with ACT: Maple and Vine

The run of great shows at ACT continues with west coast premiere of Maple & Vine, which is an intersection in an old part of town just waiting for a collision.  I love going into shows knowing as little as possible, and for this one I was particularly glad I did.  On the surface, it's an interesting dramedy about leaving the distraction and distance and stress of modern life for a gated community in an unidentified land locked midwestern state where the year is always 1955.  The stress that high-pressure careers, technology and urban living take on the human condition is left behind in pursuit of simplicity, which will hopefully lead to happiness.

This is rich material for social commentary as well as humor.  We see the transition through the world of a high-powered couple in NYC who rarely have quality time together, are super-stressed at their jobs (plastic surgeon, publishing house editor), and are still reeling from a miscarriage.  The first act includes asides from the couple who serve as ambassadors and even recruiters for the alternative lifestyle.  I enjoyed these intercuts a lot, especially since I didn't know where they were going with this.


Wilson Hardcastle, Julia Coffey, Jamison Jones, Nelson Lee and Randy Taradash
I loved the show all the way around.  A couple of my friends found it a little heavy handed with its point, but I have to disagree as I believe there were multiple and conflicting points to be made.  The material here is rich for thought and discussion, which made for a lively intermission, but it wasn't just the play that was excellent—it was the entire production.  The acting was again a stellar performance on the ACT stage, with the wonderfully dry Julia Coffey returning from her skilled turn in Once in a Lifetime (the show I was calling "High Waisted Fast Talkers!").  She seems made for early/mid 20th century period pieces.  Her timing is perfect.  It should not be a competition, but there are only so many roles for strong women on the stage, and Julia Coffey is giving Rene Augesen a run for her money.  Maybe they should try a performance of All About Eve.

The acting in this show really was some of the best I've enjoyed, so much so you I didn't notice that what felt like a crowded New York and a busy little town were populated only by these five actors.  There were other stars of this play besides the talent: the set design and the lighting.  There's an argument to be made that, like special effects,  good design should go unnoticed. But Ralph Funicello managed to create fully rallied scenes with only minimal ingredients. The New York City scrim was just unbelievable in its entirely believability, and the interiors both apartment and house required only two or three pieces, which glided effortlessly into place, to create the setting for the scenes. I was impressed how he was able to paint an entire scape with only a few gestures. Similarly well executed but often unsung was the lighting design by Russell H. Champa—both scenery and lighting were so well done as to be invisible and immersive. Additional applause to the ACT wig shop. That woman is just incredible.

But back to the show: fun and funny with unexpected (well, I saw the big one coming, but that's me) twists.  How would you fare in 1955: no technology, overt racism, and severely defined gender roles. From one point of view, those are all good things. There are things you talk about and things you don't—and you know what they are. There is confidence in knowing what you are supposed to do, even it if it hard work—being the breadwinner at a factory or spending eight hours making chicken stock and having dinner on the table for when your loving husband gets home. The couple we follow down the road to Maple and Vine are a mixed race couple, and just after the internment camps of WWII, life in 1955 America is a little different for an "oriental." But even the challenges of adjusting to 1955 are seen as a good thing. Striving for "authenticity" together brings couples closer, and creates a shared bonding experience through the struggle. And then there is the issue of homosexuality. We don't talk about that. Which makes it much more exciting. There are things we talk about, and things we only talk about in innuendo. One of the ideas of the play is that some things have become too easy, and so they have lost being worthwhile.


Danny Bernardy and Kevin Koberle________________Darrin Martin and Matt Sudbury
Unfortunately, I have been too busy to write up my experiences and get this post up before the show closed on Saturday. They had hoped to be extended but the stage is reserved for something else. ACT's marketing was pretty clever for this one too, with some cleverly conceived post/e-cards.

A few more notes on the cast: with an ensemble of five they populate the stage with a great deal of talent. I've already said how much I love Julia Coffey and I look forward to what she does next, but I hope she stays with this production for its continued success. Leading Man Jamison Jones is a skilled man's man on stage as well, with the strong handsomeness that will take him far (curse his married heterosexuality!). As with almost all of the actors in this show, I was taken with how large they seem on stage, compared to how incredibly minuscule they seemed in person. Granted I'm pushing 6'3" and at 250 lbs., most of them could hide inside me for warmth like an unconscious Luke Skywalker in a dead tan-tan if entirely necessary. The diminutive Nelson Lee makes up for whatever inaccurately perceived shortcomings of height in his fluid ability to fill a role. I recognized him from his television work playing walk-ons in network fare from Law & Order: Criminal Intent to Covert Affairs. Jones too has an extensive television CV as well as his weightier stage work. Danny Bernardy rounds out the cast with flexibility and brazenness which is often a joy to watch. And he handles the balance of drama and comedy quite well. These were incredibly fun people to watch on stage and I was glad they joined the Out with ACT patrons after the show.

One last cast note. I did not write about Once in a Lifetime as I saw it the night before I had to fly home for my father's ultimately final trip to the hospital. But it was an extensive and incredibly well produced show. Looking at the program for Maple & Vine, I noted that Nick Gabriel is an understudy for this show. I imagine for Danny Bernady as the guy has some seriously sharp comic chops. According to the notes, Nick Gabriel was in Scorched (again, another recent ACT fuck-yeah of a show with an incredibly minimal cast). I didn't really take note of his performance in Scorched as we were all a bit distracted by the Holy Shit which was the story line. But the program bio also tells me he was Miss Leighton in Once in a Lifetime. Miss Leighton was the 20s movie mogul's receptionist, played in drag, and stole the fucking show lock, stock and barrel. Oh Lord I hope he stays with this new play as it becomes a national success as I would love to see what he does with the role.

There are some truly clever lines in Maple & Vine, and the cast turn them adroitly. Even the careful dropping of a couple F bombs when you least expect them. Kevin and I were almost giddy after the first act. After getting our intermission cocktails and returning to our seats, I leaned over and said, "I am loving this show." To which he replied, "I know. I can't wait for it to go off the rails!"

The pins had been set up in Act I, and we knew the strike was coming in Act II.

We were not disappointed.