Tara vs. Bilal: Bollywood Film Review

Tara Vs. Bilal – Bollywood Movie Review

Produced by John Abraham and T-Series, Bhushan Kumar, and directed by Samar Iqbal, film Tara vs. Bilal is not quite just a simple love story of opposites attract. Although the film, set in London, centers around romance between Bilal (Harshvardhan Rane) and Tara (Sonia Rathee), a couple of little side stories sets it apart from typical love stories. 

Tara has grown up in a loving family with a doting grandfather. When she announces her plan to find a husband who resides abroad, from an internet site, her family accepts her decision. Tara is devoted to the concept of marriage between a man and a woman and soon after her marriage, she relocates to London with her husband. There she learns some bitter truths about her husband, tries to find a footing in a new country where she has neither income, nor visa status. 

Bilal on the other hand, has been brought up by four women living together. Being proxy to the challenges of failed marriages of his mother and aunts, Bilal harbors no romantic notions about marriage. When his paths cross Tara and she asks, “vaise is ghar ke sare husbands kahan hai?”, Billal says, “don’t ask, it’s a train wreck”.  
Besides Tara and Bilal’s story, there are a couple of little side stories that I found more interesting. Bilal’s mother and aunts never gave up and picked up the pieces their lives were left in, got together and collectively managed a small business. Equally interesting is the fact that in the process of trying to find her footing, Tara meets some transgender and gay people, working in a gay bar. After getting over her shock, she asks one person, “tumhe yeh sab karte wakht bura nahi lagta hai?” and he tells her, “Mein karta nahi hun, mein hun” (meaning he IS gay. As the film progresses, Tara’s transition is complete where she promotes and encourages her gay friends to get together and eventually Tara vs. Bilal transitions to Tara and Bilal.

I rate the movie 4.3 on a scale of 1 to 5, with 5 being excellent.

KK: @naatak Play Review

Bay Area’s phenomenal @Naatak company has passed the mark of producing over 100 plays on stage. In it’s 101st production, the audience get a treat to travel through and re-discover iconic Indian city, New Delhi and meet a diverse group of busy people typical to be found in a large metropolis. 

The chief protagonist KK (fabulously played by Ritwik Verma) is a professor of Hindi literature and an ardent fan of 19th century poet, Bhartendu Harishchandra, famously revered as the father of Hindi literature. Poet Bhartendu was a fearless journalist, honest writer, and a passionate poet and refuted the religious orthodoxy of the time. KK lives a sheltered life, primarily engrossed in poetry. He says, “My time passes in consuming poetry” (“मेरा समय तो काव्यरस में बीत जाता है”).

One day, KK ventures out of his familiar routine presumably in search of what he treasures immensely. KK travels through Connaught Place or CP as it is fondly known in Delhi. CP is a shopping mecca, food haven, scene of many Bollywood films and CP runs in concentric circles around the lush green Central Park and serves as a backdrop to the play. As KK makes his way through Delhi, he loses his way, helps someone find their way, is overwhelmed by the hustle and bustle, makes several attempts to get someone to listen to him recite his poetry, confuses others with his naivety and is confused with the price of goods and complex value system that operates underneath all transactions. KK makes his way to Naveen Pustakalay (a bookstore with the name of new that sells old books). Bookstore’s ad says, “at Naveen bookstore, you can find old, voluminous, thin, torn, published, in pandulipi and books in many other conditions”) (“नवीन पुस्तकालय में पुरानी, मोटी, पतली, फटी हुई, छपी हुई, पांडुलिपि, और कई  अवस्थामे पुस्तके उपलब्ध है”).  

The props in the play are brilliant. Major kudos to prop leads, Anitha Dixit and Saurabh Jain, and the entire team. Listening to the finest, purest Hindi and poetry is another special treat. After watching phenomenal, spell binding acting by Ritwik Verma, it is hard to imagine anyone else in this role. However, the play is played by five different actors during its various showings in the Bay Area. Written by Sujit Saraf and directed by Vikas Dhurka, this incredible play is sure to keep the audience spell bound throughout KK’s many adventures that ultimately lead him to the center of a mysterious plot akin to Hindi film adventure. But as they say it is not the destination that matters, it’s the journey and how well the journey prepares one to step up to what awaits at the destination and this is a journey you’re destined to enjoy.  Visit www.naatak.org for tickets.

The Thanksgiving Play: Review

The Thanksgiving Play Review 

The Thanksgiving Play is currently playing in the Bay Area at City Lights Theater in San Jose. Written by Lariss FastHorse, it is a satirical play centered around attempts of four stage artists played by Sarah Dove, Keenan Flagg, Caitlin Gjerdrum, and Bryan Moriarty, to create, write and produce a play. These artists are attempting to create a perfect play that honors and recognizes Native American Heritage Month and also is an expression of gratitude around Thanksgiving celebration. Directed by Roneet Aliza Rahamim, this production is supported by Producers Jonathan Karpf and Kathleen Zaretsky.

The play explores several themes where questions of what may be morally appropriate collides with historical facts, what may be age appropriate collides with whether or not to omit historical details, political correctness collides with representation of multiple perspectives, and diversity and inclusion collides with who can and cannot speak on behalf of other present or absent.

“This play’s comedy comes from the awkward and cringy actions of four well-meaning white folk who realize the dangers of trying too hard”, Roneet Aliza Rahamim. One character muses, “entire thanksgiving celebration is a fiction to celebrate victory of capitalism over communism”, while another wonders aloud, “we can see color but should we even speak for them (Native Americans)” and yet another one laments, “I am a straight white male and it’s an endless minenfield”. At one point while dividing the work into two teams they fall into the quandary of whether it would be more appropriate to divide on the basis of gender or age or race as they cannot completely avoid it.

Central to the play is the issue of historical accuracy. The national narcissism, commercialization of the celebration, and effective marketing has turned the monumental and heart-breaking historical events of theft and genocide into feel good re-casting of the holidays as a celebration of feasting, family and friends; and of gratitude. 

What better way for a nation to erase the guilt? This performance is about performance activism. A note from the Director says, even theatergoers who watch the play, by seeking to learn along with laughter, make a contribution in the fight against Narive American erasure. It’s a worthy goal to place that responsibility on the audience. However, how does the play tackle that responsibility?

The play does an incredible job in bringing forth the hot button issues that have no clear answers like what constitutes diversity, what does genuine representation and cultural authenticity look like, can we celebrate, even perform, events that pertain to cultures not present, and do we have a right to speak on behalf of those not present. However, it provides no answers, no inspirational conclusion, no thoughtful insights to ruminate over. One leaves with a feeling of unease and perhaps that is the intention.  I would have greatly enjoyed a post-play discussion.  

The play will be running in San Jose, CA until December 18, 2022 and tickets can be obtained at www.cltc.org .

Gangubai Kathiawadi: Bollywood Movie Review

Based on a chapter of Hussain Zaidi’s book “Mafia Queens of Mumbai”, film “Gangubai Kathiawadi” revolves around the life of Gangubai Kothewali, who rose to fame and prominence, during 1960s and came to be known as the “Madam of Kamathipura”, the famous red light district of Mumbai. The film premiered at the 72nd Berlin International Film Festival and was then released in theaters on February 25, 2022 and is produced by Sanjay Leela Bhansali and Jayantilal Gada and Directed by Sanjay Leela Bhansali. I never mention before completion of the review, but I will make an exception and say that this is an absolutely beautiful and “must watch” movie for any serious movie enthusiasts. 

This is a biographical film and is loosely based on the life of Ganga Harjivandas, who was born into a reputed Kathiawadi family in Gujarat, in 1938. She had dreams of city life and having found the love of her life, at a young age of 16, she married and eloped with Ramnik Lal to Mumbai. That is when her life’s trajectory changed. Ramnik Lal sold her to a brothel for a paltry Rs. 500 and she was forced to enter the oldest trade in human history.

Ganga eventually emerged as Gangubai and became a powerful brothel owner herself. At a time when feminism wasn’t even a concept, Gangubai emerged as a voice for these women, and she demanded they get equal treatment, opportunities for their children, and legalization of their profession. Alia Bhatt has exceeded all expectations in the role of Ganga, as she evolves into Gangubai. When starring in a biopic, the actor is familiar with the story of the events that took place in the character’s life. But it is only an actor who can put life into the evolution of the character and bring to life their journey. This is the journey of how a young girl with dreams of starting her married life dealt with that betrayal, accepted the fact that there was absolutely no escape for her and to change her circumstances, she needed to change herself and get an upper hand over the life that was thrown at her.

Every dialog that Gangubai says, is uttered with masterful theatrics by Alia. 

When challenging her competitor in local elections, without a shred of doubt about her own potential win, Gangubai says, “ज़मीन पे बैठी बहोत अच्छी लग रही है तू, आदत दाल ले, क्यों की तेरी कुर्सी तो गयी”.

As she riles up her girls she says, “इज्जत से जीनेका, किसीसे डरनेका नहीं,  ना पोलिस से, ना मंत्री से, ना MLA से, ना भड़वो से, किसी के बाप से नहीं डरने का”. 

And “genius वोह नहीं होता है जिसके पास हर सवाल का जवाब हो, genius वोह होता है जिसके पास हर जवाब तक पहोंचनेका patience हो”.

And “अरे जब सकती, सम्पति, सदबुद्धी तीनो ही औरत है तो मर्दो को किस बात का गुरुर”?

Bhansali has said, “That belief in herself and that fight for dignity is what fascinated me” but then his challenge was to extract it out of his actors. Brilliant director that he is, the movie is incredibly emotionally and visually rich, with every scene loaded with meaning. When Gangubai finds a lover, she is skeptical at first and tests him to see if he respects boundaries. And then comes a surreal moment when she simply rests her head on her lover’s shoulder and in that moment her skepticism, the load of betrayal that she has carried for years on her shoulders, melts into deep love and trust towards this man. There are so many moments that portray genuine humanness, whether it is about aggression, betrayal, defiance, distrust, or concern and caring. And there are incredibly powerful dances by Alia to the beat of drums and songs that connect Gangubai to her Kathiwadi roots but also to her present. In the song Dholida, Alia dances with abandon, to the praise of Goddess Amba, powerful and savior of all. One can’t think of anything more apt. The lyrics go…

ખમ્મા, ખમ્મા મારી માવલડી
તું છે જગની તારણહાર
હે, ચોટીલા ના ડુંગરવાળી
ચંડી ચામુંડા બિરદારી

Item number by Huma Qureshi is also fantastic. Ajay Devgun as underworld Don and Seema Pahwa as brothel madam are fantastic. What is guaranteed to make the entire movie a memorable experience is Alia’s masterful performance during the speech she gave towards the end of the movie, where content meets creativity, actor becomes the character, words hold deep meaning and performance manifests it. 

As the person introducing her is about say Shrimati and then stops, apparently struggling how to introduce a brothel owner, Gangubai takes the mic from her and begins,

“कुंवारी आपने छोड़ा नहीं, श्रीमती किसीने बनाया नहीं”. 

She ends with, “लिख देना कल के अखबारमे, के आज़ाद मैदानमे भासन देते वख्त, गंगूबाईने आँखे झुकाकर नहीं, आँखे मिलाकर हक़ की बात की है भाई”. Looking straight ahead, Gangubai told the women gathered to protect women’s rights, “A few handful of women who cater to the physical needs of men are actually protecting all of you from being attacked. These women help blunt the bestial male aggression and they deserve legal protection and their children have a right to get education and other opportunities”. 

On a scale of 1 to 5 with 5 being excellent, I rate this movie 5.

Tehrir – Premchand Munshi’s Godaan serial review

“Godaan” is a famous Hindi novel by Munshi Premchand. Published in 1936, this novel is counted among the greatest novels of Hindi literature. Before talking about this novel and the series that is based on this novel and is streaming on Youtube, let’s talk a little about Munshiji. Munshi ji’s place in the world of Hindi literature is among some of the most outstanding writers. The novels he has written include famous and popular books like Godaan, Karmabhoomi, Gaban, Mansarovar, Idgah. He has written more than 12 famous books and over 300 short stories and his books have been translated into English and other foreign languages. I have written reviews in Hindi and Gujarati and will post them as well.

In 1963, a Bollywood film was made on “Godaan”, starring Raj Kumar, Kamini Kaushal, Mehmood and Sashikala. 

In 2004, Tehrir, directed by Gulzar, based on Munshiji’s Godaan, was aired on Doordarshan, starring Pankaj Kapur and Surekha Sikri.

This is a masterfully told story focusing on the lives of farmers in rural India of 1930s. These poor and largely uneducated farmers are caught in a cycle of poverty and debt. Various members of the upper classes including, jamindars, thakurs, members of the Panchayat, and brahmin priests take advantage of the fact that the farmers look up to them and deeply respect them. For real and imagined transgressions, fines are levied on the farmers, their animals (and sometimes their farms) are seized in return for loans given at exorbitant interest rates, receipts are never given of loan repayments leaving it to their will how much to extract from the poor farmers and thus continues the cycle of poverty for generations. Sometimes these farmers even become a target of the members of their own class, on account of jealousy. And when a farmer is fully driven into debt and there is nothing left to extract out of the poor man who has lost his youthful spirit and is well into his middle age, then he is cajoled into marrying his beloved young daughter to old man, twice her age, but one who is not likely to demand a dowry and may help the family financially. 

The serial is specifically centered around a farmer, Horiram and his wife, Dhania and their three children. Performances by Pankaj Kapur as Hori and Surekha Sikri as Dhaniya are absolutely flawless. The serial is heart-rending, flawlessly made with superb performances and engaging story, beautifully told. I watched it in Hindi but since Munshi’s stories are translated in other languages, I highly recommend that you try and find it and watch if possible.

Ek Tha Gaddha – Naatak Play Review

Ek tha gaddha urf Aladad Khan is a brilliant satire, penned by Shard Joshi. Vain and narcissistic leaders always provide much fodder to artists, writers, and performers.  The play begins with a foolish Nawab on the lookout for a perfect opportunity to provide help to his subjects. His search for this opportunity has less to do with genuinely helping his people and is more about satiating his oversize desire to attain glory and get his name entered into history books.

Naatak, a prominent and largest Indian theater company in the United States, has performed for over 25 years and their plays have been seen by more than a hundred thousand people. Naatak has been declared Best Live Theatre in Silicon Valley by the San Jose Mercury News for the past six years in a row. After closing due to the pandemic, Naatak opened for live performances, at the outdoor amphitheater in San Jose, with Ek Tha Gaddha, with the lead role played by none other than fabulous and beloved Harish Agastya. 

No court of a foolish leader is complete without philosophers who adorn the court, primarily to sing praises of the king and discuss and opine over a myriad of silly issues. Chintaks played by Tannistha Mukherjee, Jai Jhala, and Rohit Dube looked hilarious discussing with great seriousness such matters as whether the time arrived before them or they arrived before time.  Natraj Kumar as Kotwaal carried out his tasks of announcing the king’s arrival and his declarations with a proper air of haughty arrogance. Roshni Datta was marvellous in her role as Kotwal’s girlfriend, Ramkali. 

Dhoban, Anjali Kirloskar was genuinely grieving her beloved donkey Aladad Khan’s passing. However, Nawab was led to believe that Aladad Khan was a poor but much loved citizen. Nawab decided to use the opportunity to get involved, make speeches and mark his death with a national period of mourning. Thus progresses the play with song, dance and rambunctious humor. Gullible citizens are taken for a ride in this hilarious play, even as we get to witness the brute power of the state. 

To get tickets for this not-to-miss post pandemic play, performed in Hindi, go to www.naatak.org .

For here or to go? Movie Review

Not only do we humans get used to an easier life with some comforts, but when we begin to get settled in a place where we begin to build our career in our youth and make friends and build aspirations then we’re simultaneously not planning an alternate lifestyle. However, students who come to study in the US are stuck in a limbo of uncertainty for years, and among them are over a million young people from India. Pulled between a sense of cultural displacement, strong familial ties back home and climbing the career ladder of success in the US, their dreams are just beginning to come into a sharper focus as they enter the world of work, after completion of their studies. 

When the recession hit in 2008, young Vivek Pandit (Ali Fazal) with brilliant ideas for a tech startup, encountered problems with his visa renewal. Faced with the prospect of going home, his friends advise him that If the job is over then they have to be ready to leave. Life in a different society will call for different priorities and accordingly they say, “Go to the Golden gate, and take a few pics that you can also use for shadi.com (Indian matrimonial site)”.

Vivek’s accidental meeting with Shweta  (Melanie Kannokada), a second generation Indian or ABCD as they are called by desi circles, results in a sprouting romance. However, Vivek’s uncertain future suddenly ends a relationship that looked promising. Vivke laments, “Temporary is not how you feel living here, it’s also how others see you”. Meanwhile, Shweta’s author father Vishwanath Prabhu (Rajit Kapur) is on a speaker’s circuit advising young Indians to return home and make a difference in India.

Vivek’s townhouse roommates include Sam (Samrat Chakrabarti), a gay co-worker Lakshmi (Omi Vaidya), and Amit (Amitosh Nagpal). Their innocent mistake or allowing a friend who is an illegal immigrant, lands them on the FBI’s watch list. Each of them is also navigating a set of cultural and practical challenges. Omi is reluctant to visit his family back home, from the fear that he may be pressured to get married and they will not accept his being gay. Amit has to present his passport to the FBI but has misplaced it.

As the movie progresses it begins to become clearer that among the blessings these young people have are their families who care deeply for their happiness and love and support of friends who are stuck in similar moral dilemmas and navigating practical challenges. Amit bring many lighter moments. Living in a shadow of uncertainty he says, Zindagi sirf guarantee pe nahi, umido pe bhi chalti hai (life doesn’t just run on certainly, it also unravels on the basis of hope).

Writer-producer Rishi S. Bhilawadikar’s script is fast moving and hits a range of diverse points that highlight the complexities of living a life of uncertainty. Director Rucha Humnabadkar has avoided over-dramatizing any of these challenges, while maintaining focus. 

In the end, what you are impressed with is the quiet tenacity and adaptability of these bright young people. Vivek says, Akhir zindagi sirf umiddo pe nahi, apni nazariya pe bhi to chalti hai (after all, life doesn’t just unfold on the basis of hope, but also unravels as per your perspective and efforts).

Parasite: Movie Review

Parasite is an incredibly awesome film. Winner of best picture and 3 more awards at Oscars; Parasite has also won numerous other awards including at Cannes Film Festival, Academy Award, Golden Globe, BAFTA, Screen Actors Guild and more.

Sometimes I don’t get the time to write a review and then I watch something else and then give up on the previous show. But I heard criticism that Parasite was selected at the Oscars to promote diversity (by few who did not watch it). In effect, such criticisms take away from the phenomenal masterclass movie it is. 

 

So I decided to write the review. But how does one write a review of a movie that has already obtained a whirlwind of publicity, is already a box-office hit? And how does one write a review of a movie that is a tragicomedy mystery, without giving away anything? And how does one write a review of a movie that is an experience to be savored, an experience that touches the soul, broadens the perspective and offers moviegoer an opportunity to look at commonplace events with an alternative perspective than the one that we may be used to? 

Not wanting to just add to the hype, I will not write a lot about the movie here. But briefly, this movie has a rich cast of characters and there is depth in their performances. It offers an opportunity to consider the impact of class differences in a way that is not preachy and without romanticizing the goodness of one class over the other. The movie offers an opportunity to consider the impact of global warming and climate change that affects people differently, depending on their station in life. And then there is a deep innate desire to protect one’s family from the ravages of poverty on one hand, to the discomfort of poverty associated sights and smells on the other hand.  And if you choose to ignore all the messages, you can still enjoy the movie at its simplest level, where it is a mystery with many twists and turns, that keeps you on the edge of your seats and is insanely entertaining. The film is a masterful work of art that is also a mainstream crowd pleaser. It is simply impossible to pigeon hole the movie into any pre-determined slots. From the title chosen to the impossible ending, it imbues with meaning.

The Guardian describes the movie as the “cinematic equivalent of a Rorschach inkblot test” where you can decide to unravel the layers in the movie, at the depth that is comfortable to you. Kudos to director Bong Joon Ho for amazing direction in this Oscar winning tale with multiple messages. Entire cast is fabulous but specific mention to Woo-sik Choi and So-dam Park for truly phenomenal acting.

All I hope is that people not criticize the movie selection for the Oscars, until they see the movie. Lastly, there really is no point in reading the reviews because no review can do full justice to this soul-stirring tale of blended genres that is beautifully narrated, and is masterfully layered with depth and meaning. For a theatergoer, this is an experience, not to be missed. 

Chicago – Play Review

Come on babe
Why don’t we paint the town?
And all that Jazz…

If you’re intending to paint the town there’s no better place than at Chicago, the musical that is currently playing at the stage in San Jose and is the longest running American show on Broadway. The story is based on real events where in roaring twenties Chicago, Roxie Hart (Monique Hafen Adams), a nightclub dancer, lands on murders row. Her role as narcissistic, self absorbed and spoiled wannabe star is poignant and powerful. While she can be locked up forever or hanged for the murder, Roxie is enjoying the stardom, the notoriety has brought her.

The name on everybody’s lips
Is gonna be Roxie
The lady rakin’ in the chips
Is gonna be Roxie
I’m gonna be a celebrity
From just some dumb mechanic’s wife
I’m gonna be Roxie
Who says that murder’s not an art?
And who in case she doesn’t hang
Can say she started with a bang?
Foxy Roxie Hart!

Another famous nightclub star, Velma Kelly (Allison F. Rich) is also going through the legal system, having committed a prior murder.  Roxy and Velma compete with each other in spinning their stories, in getting jury’s sympathy and as their notoriety throws them into stardom, they compete to get the best roles in the nightclub shows.

The female driven murderer song and dance is full of energy romp through upcoming “not guilty” plea and “self defense” defense, along with the corruption characteristic of the court and prison system of 1920s.. 

He had it coming
He had it coming
He only had himself to blame.
If you’d have been there
If you’d have seen it

But you haven’t seen nothing yet, until you meet Mama Morton. Branden Noel Thomas is dazzling and commanding in his role as Mama Morton and….

When you’re good to Mama
Mama’s good to you!
And now ladies and gentlemen –
the Keeper of the keys,
the Countess of the clink,
the mistress of Murderers Row,
Matron Mama Morton!

My most favorite piece is the press briefing. The PR campaign reminiscent of what is currently going on in politics, is complete with word plays, spins and conniving and evil manipulation of the news. It seems media manipulation with an aim to influence public perception with false propaganda through suppression of information and outright deception was almost as devilish in the 20s, as it is today.

Give ’em the old razzle dazzle
Razzle dazzle ’em
How can they hear the truth above the roar?
Throw ’em a fake and a finagle
They’ll never know you’re just a bagel
Give ’em the old three ring circus
Stun and stagger ’em
Daze and dizzy ’em
Show ’em the first rate sorcerer you are
Long as you keep ’em way off balance
How can they spot you got no talents?
Razzle dazzle ’em

This show explodes with energy, wit, and fabulous music and dance numbers. Kudos to Randall King for superb direction. Chicago is a class act. Whatever happened to class? It’s all there in this show.

Why is it everyone now is a pain in the ass?
Whatever happened to class?
Now, no one even says “oops” when they’re
Passing their gas
Whatever happened to class?

 

Chicago is a not-to-miss show during this theater season and will be playing at the San Jose Stage Theater till March 15, 2020. Tickets can be obtained at www.thestage.org . 

 

“The Wolves” – Play Review

A team of young soccer players in Sarah DeLappe’s play “The Wolves” start out with routine banter, typical of young girls, as they do pre-match warm-up sessions. A Pulitzer Prize finalist, the play offers a rich insight into the minds and hearts of young girls. It is inspiring and emotional, funny and sad and juxtaposes the trials and tribulations of growing up as a young girl in a manner that creates a rich tapestry of varying colors of adolescent life. 

The play is not organized around a singular conventional theme. In fact, the points of tension are dispersed among many situations and issues and randomly emerge in the fast and fragmented girl talk. There is anxiety around being in love, getting recruited to a top college with athletic scholarship, being home schooled and moved around with a parent’s job, going for unsupervised parties with boys and more. Added to all the choices that young girls wade through, there’s the shame, guilt and secrecy around sex and sexuality. 

What emerges is a rich tapestry of adolescent angst, amidst glaring fundamental truths, the many choices that will have long term consequences and many responsibilities that they delicately seek to balance and navigate through, relying on each other, where only they can understand the depth of emotions. Should destiny require them to deal with loss and grief, what adult can fully understand or speak honestly about the emotional anguish that young girls standing on the dawn of adult life experience? But as the play unfolds, every adult is likely reminded of his or her mental turmoil of adolescence and of their young girls they raised, mentored or taught. There is a certain steady building of empathetic investment into the characters that we experience. By the end of the play, we want each of these girls to go to Harvard or Stanford or heck a community college, indeed any vocation of choice; be on a winning team or not play on one if they so choose; find a partner of choice or be happily single; indeed we want them to fulfill their dreams and grow into kind and happy women. DeLappe’s faultless dialogues on a diverse range of topics, makes these girls so real, we love them like our own. 

Big kudos to the talented cast, Leila Rosa, Carol Amalia ALban, Taylor Sanders, Alex Bokovikova, Alexandra Velasquez, Ariel Aronica, Annika Nori, Erin Southard, Beca Gilbert, and Janine Saunders Evans. Credits go to MacKenzie Blair and Sara Session for excellent staging. Director Kimberly Mohne Hill with assistance by Elena Maddy has done a fabulous job of giving on stage life to Sarah De Lappe’s The Wolves. This is an absolutely not-to-miss-play of this theater season and will be running The City Lights Theater in San Jose, CA until October 20, 2019. For tickets, go to www.cltc.org .