Pat Launer: Spotlight on Theater

REVIEWS: ”Working,” “The History Boys,” “The Threepenny Opera,” “Killer Joe,” “Acts of Faith,” “Moon Over Buffalo”

Mini Reviews: “Peter and the Starcatchers,” “1001″ and Mendelssohn’s “A Midsummer Night’s Dream”

All Work, Some Play

THE SHOW: “Working”, a new re-imagining of the 1978 musical based on the book by Studs Terkel. At The Old Globe.

Pulitzer Prize-winning author, historian, actor and broadcaster Studs Terkel was a man of the people. The beloved writer, who died last October, relished time spent talking to everyday folks. His 1974 book, “Working: People Talk About What They Do All Day and How They Feel About What They Do,” was based on interviews with workers of all stripes, strata and backgrounds, and was made into a musical that had a very brief, 24-performance Broadway run in 1978, though that was enough for a number of Tony Award nominations, including Best Original Score and Best Book of a Musical.

The book was written by Stephen Schwartz and Nina Faso, with music by Schwartz (”Wicked,” “Pippin”) and an array of other song-crafters: Craig Carnelia, Micki Grant, Mary Rodgers and James Taylor. Lyrics were created by Schwartz, Carnelia, Grant, Taylor and Susan Birkenhead. In 2008, Schwartz invited composer-lyricist and recent Tony Award-winner Lin-Manuel Miranda (”In the Heights”) to contribute two new songs to a revised version that opened last May at Asolo Repertory Theatre in Sarasota, Fla., and has been further revised for this new production at the Old Globe.

The plotless revue chronicles a day in the life of some two dozen average American workers, including a waitress, a trucker, a stay-at-home Mom, an ironworker, a stone mason, a UPS delivery man, a teacher, a millworker and a retiree. All the songs and monologues come almost directly from the interviews, more of which were collected in the past year or two, to reflect changes in employment, adding a project manager, hedge fund manager and others. There is no narrative arc to the piece, but the scenelets segue smoothly from one to the next, sometimes overlapping into duets.

The six-member cast is extremely versatile and under Gordon Greenberg’s inventive direction, even the behind-the-scenes workers get into the act, so we actually see the stage manager and dressers do their work during the show. Highlights include Donna Lynne Champlin’s engaging turn at the funny proud- waitress anthem, “It’s An Art” (Schwartz), Nehal Joshi’s irresistible food delivery guy (”Delivery,” by Miranda), and his poignant duet with Marie-France Arcilla, “A Very Good Day” (Miranda) about people who do “what no one wants to do,” being caregivers for the elderly or the very young. Wayne Duvall is heartbreaking in the “Fathers and Sons” number (Schwartz) and as “Joe,” the retiree (Carnelia). Danielle Lee Greaves is touching as a housewife and one of the “Cleanin’ Women” (Grant), who wants better for her daughter. Adam Monley’s hedge fund manager won audience applause and jeers. There are tales of job-loving and loathing, anger, resentment, contentment and the wistful “If I Could’ve Been” (Grant).

Though the 90 intermissionless minutes go by fairly fast, there are several plausible endpoints, only to be followed by another story. The final, somewhat melancholy “Something to Point To” (Carnelia), feels anti-climactic.

The production is excellent. The set (Broadway/Off Broadway veteran Beowulf Boritt) is a tri-level interior, with open-face high-rise apartment rooms. On the top level are the stage manager, ‘calling’ the show cues at the outset, and the outstanding four-piece band, that eloquently masters musical styles from folk to rock to tango to country (orchestrations by Alex Lacamoire; musical director and keyboards, Mark Harman). In the center is a zigzagging, fire-escape-like staircase, used to fine effect. The lighting (Jeff Croiter) is enhanced by evocative projections (Aaron Rhyne, with additional material from Boritt). The character-defining costumes (Mattie Ullrich) and wigs are rapidly and efficiently alternated. The choreography (Josh Rhodes) is basic but clever.

This is a time everyone is contemplating work, whether they’re missing it, at peril of losing it or thankful to have it. And in the wake of Terkel’s recent death last October (at age 96), it’s the right moment to remember the great man’s legacy. Everything about this production hits the right notes.

THE LOCATION: The Old Globe Theatre, 1363 Old Globe Way, San Diego; (619) 231-1941; The Old Globe Theatre
THE DETAILS: Tickets: $53 - $79. Performances: Sun/Tue/Wed at 7 p.m.; Thu/Fri/Sat at 8 p.m.; matinees: Sat/Sun at 2 p.m.THE BOTTOM LINE: BEST BET

Wilkommen

THE SHOW: “The Threepenny Opera”, at the San Diego Repertory Theatre — the brilliant, revolutionary ‘play with music’ created by Bertolt Brecht and Kurt Weill, which ran for five years after it premiered in Germany in 1928. The inspiration for this darkly comic social satire was “The Beggar’s Opera,” written exactly 200 years earlier, by English poet/dramatist John Gay.

As lounge lizards have been telling us for decades, Good Ole Mackie’s back! That would be Macheath, AKA Mack the Knife, the notorious (fictional) thief, pimp and murderer who was the pride and scourge of Victorian London. The whores and felons love him, the law (well, most of it) hates him though Mack has always been able to rely on the protection of his former army buddy, now the Chief of Police. The women can’t seem to keep away from him. That even includes chaste Polly Peachum, daughter of the mercenary, nefarious leader/outfitter of all the panhandlers in town. When Peachum and his conniving wife find out that Polly has actually married Macheath, they’ll do anything to get Mack’s neck in a noose, including threatening to disrupt Queen Victoria’s coronation.

And they almost succeed. But Mackie has friends in high (and low) places. “Happy endings,” his final words smirkily tell us, “can be bought.”

The show skewers capitalistic greed, lust and corruption, which makes the timing particularly ripe for this revival. Sam Woodhouse, artistic director of the San Diego Repertory Theatre, employs the recent translation by Michael Feingold, theater critic for New York’s Village Voice. It’s filled with raw, raunchy language, which suits the material just fine. Woodhouse has assembled a stellar cast and he has given them just the right edgy attitude for this groundbreaking mix of satire, sarcasm, American jazz and German cabaret.

Though the direction is excellent overall, there are a few odd choices. For one thing, the most famous “Mack the Knife” number is at the top of the second act rather than being the signature opening of the show, and the lurid tale is presented by Mack’s three gals, instead of a ragged street singer. “Pirate Jenny” is sung by Polly, not the titular Jenny. The garish makeup (Missy Bradstreet) is more stylized and exaggerated than any other design element. The two-level set (Giuliuo Cesare Perrone), with catwalks above, as well as some of the musicians, is aptly urban ramshackle, though not geographically specific, despite the many London references. But it’s used effectively and very well lit (Trevor Norton).

As Macheath, Jeffrey Meek (memorable in prior Rep productions of “Dracula” and “Burn This”) is the ultimate murderous Bad Boy - seductively irresistible and decidedly dangerous. His antithesis is delectable Amanda Kramer as the wide-eyed, virginal, white-clad Polly, who turns out to be a lot tougher than she seems - as she clearly demonstrates with her superb voice and take-charge mien.

Leigh Scarritt is a delight as the manipulative Mrs. Peachum, and Lyle Kanouse, twice her size, makes a formidable Mr. P. Lisa Payton Jartu is soulful as Jenny Diver, Mack’s every-Thursday hooker who sells him down the river. Amy Ashworth Biedel is a knockout - vocally and dramatically — as pigtailed, pregnant Lucy Brown, another of Macheath’s conquests, the daughter of the police chief (Gale McNeeley, amusingly oversized in several roles). The competitive, cutthroat “Jealousy Duet” between Lucy and Polly is outstanding; Kramer triumphs with her long-held high B.

The score is marvelous in its conception and execution — angular, decadent, and excellently assayed by a seven-piece band, under the expert musical direction of Mark Danisovszky, who plays a mean harmonium, as well as piano and accordion. The musical numbers are inventively staged by Javier Velasco.

Beggars, prostitutes, panhandlers, murderers, gangs, crooked cops and a society on the take. Old-fashioned and out of date? I don’t think so.

THE LOCATION: San Diego Repertory Theatre, 79 Horton Plaza, San Diego; (619) 544-1000; San Diego Repertory Theatre
THE DETAILS: Tickets: $28-42. Performances: Wednesday at 7 p.m., Thursday, Friday, Saturday at 8 p.m., Sunday at 7 p.m., matinees Saturday and Sunday at 2 p.m., through March 29.
THE BOTTOM LINE: BEST BET

Don’t Know Much About History…

THE SHOW: “The History Boys”, a comic drama by Alan Bennett; at Cygnet Theatre.

It’s all about “the anarchy of adolescence.” Set in the 1980s, in a fictional boys’ grammar school in the north of England, a group of precocious, irreverent students is getting ready for the Oxbridge (Oxford/Cambridge) entrance exams. Along the way, they wrestle with their budding sexuality, pedagogical rivalry and even a bit of pedophilia.

The tragic comedy, which won six Tony Awards in 2006 and was named Best Play by every major critics’ organization in New York and London, was also made into a film (2006) with the original London cast. In his brilliant conception, Bennett is skewering the era and effects of Prime Minister Margaret Thatcher: conservatism and political correctness in education, and the manipulation of facts in history and politics.

It’s no weighty polemic though the fast-flying literary references are delightfully far-flung. The philosophical arguments are personified in an array of instructors, from the hidebound headmaster, whose sole concerns are results and scores, to the two influential teachers at the center of the piece.

Hector (Tom Stephenson) is big, brash, bold and inspirational. With unconventional style and considerable humor and panache, he imparts broad-based knowledge for its own intrinsic value, hoping his students will become cultured, well-rounded human beings.

The doltish, oversexed headmaster (Eric Poppick), who chastises Hector for fondling the boys (while chasing after his own secretary), brings in a young maverick, Irwin (Brian Mackey), to “teach to the test” so the school will improve its record of Oxbridge acceptances. Irwin encourages his charges to play fast and loose with the facts of history. Truth, he feels, is irrelevant; it’s more important to impress the examination board with a controversial “angle” on the past.

Ace director Sean Murray augments the intellectual vigor with equally energetic physical action; the boys cavort across the stage, rambunctiously moving furniture between scenes. It feels a tad hyperactive at times but the production seems to be saying that boys will be boys. They even tolerate Hector’s motorbike fondlings as just another part of his eccentricity.

In this coming-of-age story, there’s clear evidence of sexual confusion in the adults as well as the adolescents, from unhappily married Hector, to uncertain Irwin, to the love-besotted Posner (Tom Zohar) who’s enamored of the class lothario, Dakin (Bryan Bertrone), who’s attracted to the school secretary as well as to Irwin.

The cast is marvelous. Stephenson does his best work ever, a Falstaffian performance full of life, heart and humanity. As Irwin, Mackey is commendable, straightforward and subdued, convincing and even appealing until he’s revealed to be more icky than we thought (”the loss of liberty is the price we pay for freedom”). The always-effective Poppick manages to make the headmaster a fully-fleshed character rather than a cartoon. Bertrone is attractive and charming as the self-assured and seductive Dakin; and as poor, conflicted Posner, who never quite gets over Dakin, Zohar is terrific — singing, playing piano and acting with aplomb. As another of our sometime “guides” through the proceedings and their aftermath, Kevin Koppman-Gue is compelling. The rest of the ensemble does fine work in keeping up the hijinks as well as the high-stakes, multi-layered arguments. The interspersed songs offset the action, and the students’ re-enactments of old movies are an added bonus.

The black-and-white, graffitied set (Andrew Hull) is simple, well complemented by the lighting (Eric Lotze) and wildly varied musical soundscape (Matt Lescault-Wood). The costumes (Shirley Pierson) consist mostly of crisp school blazers, but these should be contrasted with a scruffier look for Hector.

Overall, this wonderful production of a provocative play offers plenty to laugh at and enjoy. And a good deal to think about, too.

THE LOCATION: Cygnet Theatre at the Old Town Theatre, 4040 Twiggs St. 
San Diego; (619) 337-1525; Cygnet Theatre

THE DETAILS: Tickets: $28-42. Performances: Wednesdays at 7:30 p.m., Thursday - Saturday at 8 p.m., 
Sunday at 2 p.m. and 7 p.m., through March 29.

THE BOTTOM LINE: BEST BET

Crime and Grime
THE SHOW: “Killer Joe”, a dark, deep, spellbinding drama at Compass Theatre by Chicago playwright Tracy Letts (”Bug,” “August: Osage County”), the current darling of Broadway.

You wouldn’t want to step onstage at Compass Theatre. The meticulously detailed set (Michael McKeon) is so filthy and rank, it makes your skin crawl. Doesn’t seem to bother the Smith family, though; they blithely toss beer cans and barbs across their foul, dirt-smeared domicile. Texas trailer-trash, indeed. Son Chris is a born loser, who can’t seem to make a go of anything, and has resorted to drug-dealing for his meager livelihood, which mostly goes up in smoke. Now he’s gotten in over his head and his life is in jeopardy. The only way out he can see is knocking his mother off for the insurance money. That doesn’t bother her creepy, cowardly ex-husband or his new spouse, a slutty, mouthy tart. And it doesn’t bother Chris’ sweetly dim-witted but insightful sister, Dottie. So they call in Joe Cooper, cop by day, killer by night. He’s soft spoken and cleanly dressed, and he has some semblance of couth - until he’s crossed. Then he becomes a ruthless, savage sadist. Once he realizes he’s not likely to be paid, he demands the virginal, sleepwalking Dottie as collateral. Things go significantly downhill from there, with increasingly ugly revelations, compounded by foul language, nudity, violence and blood. Lots of blood.

There’s not a false note in this riveting Compass Theatre production, from text to design to ensemble. We loathe these people, we wouldn’t want to spend two seconds with any of them. But we totally believe their gritty reality. Under the expert direction of Lisa Berger, with Don Pugh serving most effectively as fight coach, the ensemble is superb. As Chris and his father, Joe Baker and Mike Sears are terrific in their dangerous dance of filial competition and revulsion. Judy Bauerlein-Mitchell is wonderful as the trampy stepmom and Amanda Cooley Davis is heartbreaking as the spacey, aptly named Dottie. The apparent calm at the center of this raging storm is Don Pugh, in a superbly calibrated and controlled performance as the title character — sinister, obscene and absolutely terrifying. If you have the stomach for it, this is one bleakly spectacular little piece of theater. Miss it at your own peril.

THE LOCATION: Compass Theatre, 3704 6th Ave., San Diego; (619) 688-9210; Compass Theatre
THE DETAILS: Tickets: $20-23. Performances: Thursday and Friday at 8 p.m., Saturday at 4 p.m. and 8 p.m., matinee Sundays at 2 p.m.
THE BOTTOM LINE: BEST BET

Have a Little Faith

THE SHOW: “Acts of Faith”, a new work adapted from “The Collected Stories of Grace Paley,” presented by Laterthanever Productions at the 10th Avenue Theatre.

Her name was Grace and her character’s name was Faith. It wasn’t a coincidence though acclaimed poet/short story writer Paley said she regretted it later in life. Working from nine stories that focused on Faith, Kathleen B. Jones, co-founder of Laterthanever Productions and retired San Diego State University professor, created a memory play, with the collaboration of director/filmmaker Sharyn C. Blumenthal. This is part two of a “He Said/She Said” series. The first segment, which premiered in January, was a thought-provoking new work called “What We Talk About When We Talk About Love,” based on the stories of Raymond Carver. Both short story writers had a great deal to say about the conflicts and complexities of modern relationships.

In a series of brief scenes, we sprint back and forth through time, trying to follow Faith’s interactions with family, friends, husbands and lovers. It’s a jagged, snapshot approach to a life, complicated by the presentation. The scenic design (David Weiner), while inherently simple (a series of platforms and playing spaces), is mostly situated in front of a split screen and behind scrims. As a result, the projections, like the structure of the play itself, are fragmented and difficult to discern. Though the scrims serve effectively to evoke the past, the actors often have to be clunkily wheeled out from behind them. The sound (Andrew Pearson and Ryan McKeague) at times competes with the dialogue. The most compelling part of the design is a circular staircase crowned with leaves, representing the tree where Faith frequently sits to get some perspective on the world and her life. Though the script demands a good deal from the audience, the direction suggests less trust, with the light, sound and action leaning more toward indicating than complementing the text. All this makes it hard to connect to anyone, and sometimes (as in the case of the men who literally waltz in and out of Faith’s life), it’s a challenge to keep them all straight.

The cast is earnest but variable in dramatic skill and vocal projection. Kathi Diamant is most engaging as Faith’s wild Aunt Sarah and the meddling yenta in a wheelchair, Hegelshtein. As Faith, Linda Libby has to whip through so many scenes, men, friends and emotions, it distances her from us, but we do feel for her character, trying to balance it all - men, kids, pals and professional writing. Rhona Gold is fine as Faith’s mother and Robert DeLillo is touching as Faith’s Pa. The rest of the 12-member cast has moments but not necessarily cohesion. Clearly, this is a work in progress; future incarnations would benefit from further simplification and clarification.

THE LOCATION: Laterthanever Productions at the 10th Avenue Theatre, 930 10th Avenue; San Diego 92101; 619-235-9353; Laterthanever Productions
THE DETAILS: Tickets: $15-20. Performances: Thursday at 7:30pm, Friday at 8pm, Saturday at 4 and 8pm, Sunday at 7pm, through March 29.
THE SHOW: “Moon Over Buffalo”, a wacky farce by Ken Ludwig, at Moonlight Stage Productions in Vista.

The madcap comedy, written in 1995, has all the farcical requirements: fast-paced action and dialogue, mistaken identity, disrobing, hiding, bickering, hysteria, mass confusion — and multiple slamming doors.

It’s 1953, at the onset of the television onslaught, and stage actors George and Charlotte Hay are down on their luck, on tour in Buffalo. A surprise phone call reveals that legendary film director Frank Capra is considering casting the Hays in his upcoming film, and plans to come see the matinee performance.

Charlotte doesn’t believe George when he gives her the news. She’s a little distracted by the fact that a fellow actor, Eileen, is pregnant with George’s child. Charlotte plans to leave with their successful, if lackluster, lawyer. George goes on an alcohol binge.

By the time Charlotte realizes the truth and returns to the theater, George has disappeared. After a number of chases and missed connections, he finally comes onstage — reeling drunk and dressed for the wrong show. Mayhem ensues, before everything is straightened out (including George), the ingénues reunite, and Capra, whose plane was delayed, plans to attend another performance.

A valentine to the theater, “Moon over Buffalo” is one of those crazy, backstage, play-within-a-plays that makes the profession look both insane and irresistible. At Moonlight Stage Productions, the actors seemed to be posing and bellowing during the first act on opening night, and it was hard to buy their over-the-top performances or characters. But by the second act, it all kicks into high gear.

Guest director Eric Bishop, chair of the Performing & Media Arts Department at Mira Costa College, with help from Christopher Williams’ fight choreography, gives the ensemble some hilarious stage business, which they execute with crackerjack timing. The delightfully malleable set (N. Dixon Fish), with backstage morphing into centerstage, is complemented by pleasingly supportive lighting (Paul Canaletti) and sound (Chris Luessmann). The costumes (Roslyn Lehman) are attractive, especially for Charlotte, played quite amusingly by Jill Drexler, a master of deadpan and double-takes. As bombastic and inebriated George, Nils Anderson is a hoot. Howard Bickle also handles the comedy extremely well; everyone in the cast gets a turn to be loud, exasperated and larger than life. It’s a perfect escape from the doldrums of the daily news.

THE LOCATION: Moonlight Stage Productions at the Avo Playhouse, 303 Main Street; Vista; (760) 724-2110; Moonlight Stage Productions
THE DETAILS: Tickets: $18-26. Performances: Thursday-Saturday at 7:30 p.m., Saturday and Sunday at 2 p.m., EXTENDED through March 29.
THE BOTTOM LINE: BEST BET

QUICKIES
…“Peter and the Starcatchers”, the latest in the La Jolla Playhouse’s Page to Stage workshop productions (hence, no formal reviews allowed), was written by Rick Elice (”Jersey Boys”) with music by Wayne Barker (”Dame Edna: Back with a Vengeance”). The premiere was presented “by special arrangement with Disney Theatrical Productions,” which suggests that it has a promising future. The songs, scenes and text were being changed daily throughout the three-week run, but the Peter Pan backstory offers endless possibilities. The highly competent and amusing cast was composed of Broadway performers (including the spectacular Christian Borle as the nutty, Groucho-esque pirate king, Black Stache), locals (funnyman Ron Choularton and multi-talented Charlie Reuter) and UCSD MFA students (gifted, soon-to-be-graduating Johnny Wu and Irungu Mutu). Based on the book series by Pulitzer Prize-winner comic/column writer Dave Barry and award-winning crime novelist Ridley Pearson, under the co-direction of Roger Rees and Alex Timbers, the first act was sheer theatrical genius, so magical it defies description. The tweaking will undoubtedly continue on this new play with music. Further developments to be reported here.

…“1001,” ancient story, ultra-modern take. Jason Grote’s 2007 play transports Scheherazade’s tales of “One Thousand and One Arabian Nights” to contemporary Manhattan. Time blurs, reality is fractured, characters transmute from ancient to modern (Osama bin Laden, Alan Dershowitz and Jorge Luis Borges put in appearances). The UCSD Theater and Dance Department’s take was magical at times though protracted and repetitive (the intermissionless two hours felt a bit like 1000 nights in real time). The design elements were wildly imaginative. Rob Tintoc’s ingenious scenic design entailed hundreds of suspended, gently swaying, color-enhanced water bottles. The quick-change costumes (Allison Crutchfield) and lighting (Stephen Siercks) were effective. Toby Jaguar Algya composed evocative music and Rebecca Salzer created inspired choreography. Under the direction of Kim Rubenstein, head of acting, some of the performances were outstanding, especially Rebecca Lawrence as Scheherazade/Dahna, Hugo Medina as Shahriyar/Alan, and Zoë Chao, Adam Arian and Daniel Rubiano in multiple roles. The stagecraft was splendid but it got lost in the text’s excess of meta-theatricality and complexity.

… Happy Birthday, Felix! The San Diego Chamber Orchestra highlighted some of the best and most beautiful of Felix Mendelssohn’s work in three different venues (St. Paul’s Cathedral, Sherwood Auditorium, Del Mar Country Club), perfectly timed for the 200th birthday of the musical prodigy. The program opened with the stirring “Hebrides Overture (Fingal’s Cave),” inspired by a trip to Scotland in 1929. Charismatic conductor Jung-Ho Pak guided his wonderful musicians through an emotive performance of what he aptly called “the German equivalent of Debussy’s “La Mer”), which evoked the crashing waves and crescendo of a storm. Next came the magnificent Violin Concerto, with guest artist Joo Young Oh (known as Jay Oh), who demonstrated brilliant technique and emotional connection to the supercharged, challenging piece. Then, with energetic assistance from the women of the San Diego Master Chorale, and several actors from the San Diego Shakespeare Society, SDCO presented a whimsical and delectable “Midsummer Night’s Dream.” Director Bonnie Johnston made excellent use of the space at the Del Mar Country Club, as performers in striking headpieces gamboled about and the singers crept in as sprightly faeries. Lovely work all around. Coming up for SDCO: “Handel: 250 Years” (April 6, 7, 17) and “Beethoven: Rebel with a Cause” (May 11, 13, 15). San Diego Chamber Orchestra

NEWS AND VIEWS
… Something old, Something new — from Cygnet… Cygnet Theatre is bringing back two of its most popular productions: the quirky chamber musical, “Bed and Sofa” (5/1-31), and the off-the-wall rock musical, “Hedwig and the Angry Inch” (6/3-8/9). The latter will, it turns out, be Cygnet’s final production at the Rolando Stage they created six years ago. The lease is up in June 2010 and the company won’t renew; they’re currently in discussion with another arts organization for a sublet starting in January 2010. In the meantime, the 160-seat theater will be available for rental this fall 2009. Cygnet is now comfortably ensconced at The Old Town Theatre, a 250-seat house which they recently and impressively renovated. More news on further developments as they happen.

… Going to theater and Giving Back .. The POW! Foundation of the Poway Center for the Performing Arts is partnering with Interfaith Community Services for what they’re calling a “win-win” offer. For a limited time, you can take $3 off a regularly priced adult ticket for each canned good you bring to the box office. All donations go to helping needy families in North County. Youth tickets (18 and under) are always $5 at the theater, located at 15498 Espola Road. Poway Center for the Performing Arts

… Financial Advice for Nonprofits… The University of San Diego’s Caster Family Center for Nonprofit Research is offering what it hopes will be a very useful presentation: “Deciphering the Economic Stimulus Package and State Budget: What Nonprofits Need to Know and Do Next.” Saturday, March 21, 1-3pm. The discussion features Congresswoman Susan Davis, California Secretary for Service and Volunteering Karen Baker and noted author and nonprofit policy expert Rick Cohen. (619) 260-8839.

PAT’S PICKS: NOT TO BE MISSED!

“The Threepenny Opera,” - masterful re-creation of a musical masterwork.
San Diego Repertory Theatre, through 3/29.

“Killer Joe,” - dark, dirty, down-and-out and downright excellent.
Compass Theatre, through 4/5.

“Working”- charming and timely update of a musical on a timeless theme.
The Old Globe Theatre, through 4/12.

“The History Boys” - intellectually and physically exhilarating production.
Cygnet Theatre at the Old Town Theatre, through 3/29.

“Moon Over Buffalo” - wacky, farcical fun.
Moonlight Stage Productions, through 3/22.

“Shipwrecked!, An Entertainment: The Amazing Adventures of Louis de Rougemont (As Told By Himself)” - a rip-roarin’ good time; the magic of theater, the splendor of storytelling.
North Coast Repertory Theatre, EXTENDED through 3/22.

“Room Service” - fast-paced, side-splitting, screwball comedy.
Lamb’s Players Theatre, EXTENDED through 3/29.

Pat Launer is SDNN theater critic.

Tags: SDNN

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