Octavio Solis’ richly imagined “Mother Road” combines his lyrical poetry into a captivating play which runs through July 21 at Berkeley Rep’s Peet’s Theatre.
The story reverses the migration in John Steinbeck’s “The Grapes of Wrath” with the last living members of the Joad family traveling from California back to Oklahoma in a never-ending search for home. In a nice touch, Solis’ reverse migration gains travelers, the opposite of Steinbeck’s tale.
Director David Mendizábal brilliantly interprets Solis’ work, finding a design crew to create the perfect atmosphere and forging a tight ensemble to portray the diverse characters.Tanya Orellana’s scenic design prominently displays fragments of old barn-like structures with Cha See’s lighting reinforcing that motif on the side walls. Jake Rodriguez’s sound design, however, is the crowning touch with his evocative original music.
The ingenious artisans in Berkeley Rep’s props department outdid themselves creating a smaller version of a 1977 Dodge truck that not only takes the Joads to Oklahoma, but also becomes a motel room with the hood cleverly transforming into a diner.
Revered local actor James Carpenter portrays Tom Joad’s son William, who has traveled from the family farm in Oklahoma to meet the last Joad relative in California. In ill health, William hopes to bring the relative back to the family farm and give it to him upon his death. Carpenter’s interpretation brings out all his character’s frustrations and anger at his father leaving him and his mother in Oklahoma and his growing tenderness to his young relative.
Emilio Garcia-Sanchez matches Carpenter’s rich, emotional life as Martin, the last of the Joads. A short-tempered young man, he shows a gentle side towards his close friend Mo (wonderfully portrayed by Lindsay Rico, who adds a nice comedic element) as well as a growing fondness for William.
With a new twist on the Greek chorus, the ever-present ensemble seamlessly comments on the action, moves the car around, sings and takes on a myriad of minor characters. This tightly knit group includes Cher Alvarez, Daniel Duque-Estrada, Branden Davon-Lindsay, Michael Moreland Milligan, Benny Wayne Sully and Courtney Walsh.
For tickets, call 510-647-2949 or go to berkeleyrep.org.
Walnut Creek: Synergy Theatre has taken on Shakespeare and Dickens to name a few. Now the unscripted comedy theater dives into daytime TV with “Spontaneous Soap: An Improvised Daytime Drama.”
Running Thursday through July 28 at Lesher Center for the Arts, the show is based on the early days of daytime drama.
“It’s when the soaps were sponsored by products such as dish and laundry soap — hence the name,” said show-creator/director Lynn Shields. “Our show takes place in the small town of Beaver Pines in the year 1960, and just like scripted soap operas it’ll be filled with scandal, intrigue, sex, romance, villains and dramatic pauses to die for.”
According to Synergy Artistic Director Kenn Adams, the performances will be like actual soap operas with each of the eight performances picking up exactly where the previous show left off.
“Each show will have its own exciting twists and revelations inspired by audience suggestions,” Adams said.
You might just want to catch more than one show so you can see how the story evolves. For tickets, call 925-943-7469 or go to lesherartscenter.org.
S.F.: The show-stopping anthem “Don’t Cry for Me Argentina” vibrated off the walls at SF Playhouse July 3 with the opening of a dynamic production of “Evita.” The Andrew Lloyd Webber and Tim Rice sensation runs through Sept. 7 at 450 Post St., San Francisco.
If you’re looking for a soft, romantic musical, this isn’t it. Here an ambitious young girl learns how to use her powers to ultimately become Eva Perón, the first lady of Argentina as wife of military leader/president Juan Perón. Soft, musical tunes are few and far between as Webber and Rice introduce one powerful musical number after another.
Director Bill English found a strong cast capable of belting out such songs as “Buenos Aires,” “High Flying, Adored” and, of course, “Don’t Cry for Me Argentina.” He also added such nice touches as Eva Perón handing out miniature houses to the poor during one number while projections of hills slowly being covered with houses appears on the backdrop.
Sophia Alawi’s Eva Perón infuses the stage with a fearless energy and ambition as she rises from poverty to become Argentina’s most powerful woman, helping her countrymen as well as herself. Alawi must have vocal cords of steel as she easily handles the demanding songs.
Peter Gregus brings a quiet dignity to Perón with Alex Rodriguez in the demanding role of the narrator Che and the beautiful-voiced Chanel Tilghman as Perón’s Mistress.
Nicole Helfer adds her own unique choreography ranging from exquisite tangos to mannequin crowd movements and Gestapo-like military marches.
As always Music Director Dave Dobrusky and his musicians provide inspired accompaniment.
For tickets, call 415-677-9596 or go to sfplayhouse.org.
Reach Sally Hogarty at sallyhogarty@gmail.com, and read more of her reviews online at eastbaytimes.com/author/sally-hogarty.
