Posts Tagged www.cltc.org
In “The Wickhams: Christmas at Pemberley”, Lauren Gunderson and Margot Melcon have brought back to life, delightful characters from Jane Austin’s Pride and Prejudice. The show also brings back fond memories of Downton Abby, with most of the action happening below stairs at Pemberley, home of Mr. and Mrs. Darcy (Keenan Flagg and Asha Kelly).
Action is again with George Wickham (Alexander Draa), the profligate, wayward, philanderer husband of Lydia (Barbara Jackson). Younger sister of Elizabeth Darcy and Jane Bingly, Lydia, it seemed, with her silly giggles and girlish exuberance, was incapable of maturity and wisdom that her older sisters displayed, in dealing with matters of the heart, but the show has a surprise for the audience. As the family gathers to celebrate Christmas, Mr. Wickham is expressly not invited to the gathering.
George Wickham arrives nevertheless, uninvited and unwanted, creating a headache for the below stairs residents, the housekeeper, Mrs. Reynols (Deb Anderson) and her assistants, Brian (Kyle Dayrit) and new hire, Cassie (Marlena Westley). Anderson is clearly the star of the show and her natural ease and stage presence is reminiscent of Downton Abby’s Mrs. Carson (Elsie Carson).
Writers Lauren Gunderson and Margot Melcon have moved along the story to fit into the 21st century narrative. Elizabeth Bennet, the dynamic protagonist in Pride and Prejudice, sought actual goodness over superficial goodness, especially when it came to choosing a life partner. That role is assumed by Cassie, and even good men sometimes require women to lead them in accepting role equality. Accordingly, Cassie tells her beau, “Love is about seeing someone and allowing them to be exactly as they are”.
In “The Wickhams”, George Wickham is certainly a flawed character, but can Jane Austen’s heroine remain flawed forever? If your curiosity is piqued, then don’t miss the play. “The Wickhams: Christmas at Pemberley” will be playing at Citylights theater in San Jose, till December 22. Tickets can be obtained at www.cltc.org .
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 .
The play “Mothers and Sons” by playwright, Terrence McNally and directed by Jeffrey Bracco is a funny and poignant tale of loss and love. When Katharine (Lillian Bogovich), Andre’s mother shows up unexpectedly on the doorstep of Andre’s former boyfriend, Cal (Damian Vega), 20 some years after losing her son to AIDS, she is bitter, angry, hurt and in search of a target. Cal has also gone through deep loss but has found love again, in his husband Will (Max Tachis), and they have a son Bud (Izaiah Gutierrez), they deeply love. Still mourning and reeling from the loss of her son, Katharine sinks deeper into gloom at seeing Cal’s life. She asks, “why did your life got better after Andre and why did mine get worst”?
As per my observation however, this story is less about mothers and sons and more about one mother and her son. It is Katharine’s nature and temperament that has put her into an indefinite period of gloom and bitterness. She describes herself as “I am not a joiner, I did not like to cook, I am a widow”. Katherine could not cultivate intimacy and closeness with either her husband or her son, Andre. She recalls Andre being “remote” and observes with some contempt that she was relegated to being a mere chauffeur. Many mothers might have experiences of similar moments but they put aside those moments and find more enduring closeness and love with their children.
While Katharine’s temperament may have precluded her from enjoying a close relationship with her son, this story is also wrapped in time when gays did not find acceptance in society and were subjected to biases and stereotypes. Katharine, found it hard to reconcile her preconceived notions about gays. She says, “I hate that word. It could be something nice, joyful. But we lost that battle too”. Sadly, her life is an endless series of battles she has brought onto herself. And sadly, reeling in her own misery, she misses completely how an entire young generation of her son’s age was lost to AIDS epidemic, “a living, breathing generation, not a footnote in history”. Just when it seems, there would be no hope for Katharine, then in the midst of sorrow, the characters find moments of compassion and glimmer of hope, and even love. Mothers and Sons is a heartbreaking, emotionally nuanced story of unending mourning and loss and it is also a tale of human compassion where it is never too late to reconcile with one’s loss, only to stumble onto enduring nature of love. Lillian Bogovich as Katharine is absolutely amazing. This is a must-see play if only to watch the brilliant cast playing out the complex human drama with all the emotional nuances and with deep sensitivity. Mothers and Sons is running at the CityLights Theater in San Jose, till February 17, 2019 and tickets can be obtained at www.cltc.org .
This play is set in Montgomery, Alabama, a place that has so much historical significance, both as the Cradle of the Confederacy and the Cradle of Civil Rights. “Alabama Story” is a powerful play by Kenneth Jones and is inspired by real events in “the Deep South of the imagination”.
The incident springs from an innocent children’s story book published in 1958 (one may say it hides an apparent message promoting diversity). Author and illustrator Garth Williams (best known for his illustrations in Charlotte’s Web and Little House On the Prairie) released a book called The Rabbits’ Wedding, where a black rabbit marries a white rabbit. This gentle children’s book created a massive stir and ignited the passions of a State Senator who harbored strong segregationist agenda. Senator Higgins (Erik Gandolfi) issued a request for the book to be pulled out of state’s library shelves on the charge that it promoted “race-mixing”.
The story would end there, if it was not for a no-nonsense State Librarian, Emily Reed (Karen DeHart). She counters him saying that the book is an important vehicle for educating the impressionable youth and young minds must get all the information available so they can make their own decisions about people and circumstances. She in fact, ordered the book to be pulled out of shelves and out of general circulation and instead put it in reserve circulation so that it would always remain available.
This public feud unfolds against the backdrop of intimate story of childhood friends, Joshua (Bezachin Jifar), son of a house slave woman and Lily Whitfield (Maria Giere Marquis), daughter of a slave owner.
This is a simple yet powerful play that makes a bold statement about how a character may be tested at critical times and those who can withstand the test of character are the powerful figures that reshape the community; reshape a nation. Reed faced tremendous political pressure from the state politicians and at one time she said, “We have had difficulty with the book…. But we have not lost our integrity”. Mixed in with the politically charged focus of the play, there is some courtroom drama, childhood love, hint of passion, and a glimpse into how history may have unfolded in so many different ways, big and small, in private and intimate recesses of one’s mind and in public arena, during one of the most significant periods in America. Superb direction is by Lisa Mallette, who is in her 17th season at City Lights.
I declare, this is a not-to-miss play of this theater season and will be running at City Lights Theater in San Jose, until February 18, 2018. For tickets, check the website www.cltc.org .
“Laugh about it, cry about it, but a job is a job”. But is it really, and at what cost of personal credibility and supply of #alternativefacts does one maintain a job with questionable ethics? In “Ideation”, playwright Aaron Loeb addresses the issue of morality and ethics, through a group of corporate consultants working together on a mysterious, exciting, well paying, and ethically ambiguous project. Hannah (Lisa Mallette) is the in-house corporate executive and most senior member in the room. Her job is to facilitate and drive the project but more in a conciliatory manner than by controlling. She is joined by external consultants, Brock (George Psarras), Ted (Tom Gough), Sandeep (Sunny Moza). Additionally Scooter (Max Tachis) is a young intern, pushed by Hannah’s boss JD to do odd jobs like take notes, get coffee, get required supplies and get the room ready.
While extremely short dead line creates some serious pressure, super secret hush-hush project with obscure mission about disposal of dead bodies lands the group into giant quagmire of ethical dilemmas. As the group questions the morality of the tasks, goal, and strategy, suspicions emerges about who might be in charge of the project, could there be several such projects, could each team be privy to only limited amount of information, and who would bear moral responsibility for such a mission. The paranoia quickly escalates to break down the team, as the members begin questioning who in the team has how much information and who could be a plant from the top and the ethical dilemma begins causing cognitive dissonance regarding their role in the entire affair.
Directed by Mark Anderson Phillips, the play is thought-provoking, devilishly dark, and infuriating (because most of the answers never come), but also funny. In Trump era, marked by secrets and lies, it is also very timely. The interesting and thought provoking idea is that when a head honcho, someone at the top of the food chain refuses to be transparent and share the vision and properly considered tactical steps then there is a cascading feeling of paranoia and eventual breakdown in the team. Several times the team decides to stick to the project at hand and adhere to logic. But quickly the resolve evaporates in the looming cloud of suspicion, because logic and transparency go hand in hand, and in the absence of one, the other cannot be sustained.
Great kudos to Director, Phillips and the entire creative team, to production manager, Ron Gasparinetti and Executive Artistic Director, Lisa Mallette, for bringing such timely and bold productions to San Jose, CityLights. For tickets, please go to www.cltc.org . Ideation will run till February 19, 2017.
Based on a feel-good true story, “Calendar Girls” is adapted by Tim Firth from his original screenplay, for Nigel Cole’s 2003 British film, by the same name. The play focuses on six women and their resolve to make a difference in the world, with meaningful contribution. Members in a women’s club, these six women, Chris (Anne Younan), Annie (Deb Anderson), Cora (Caitlin L. Papp), Jessie (Ruth E. Stein), Celia (Karen DeHart), Ruth (Mary Lou Torre) often spar with the club queen bee Marie (Patricia Tyler) about how their club could be a more meaningful group. Opportunity presents itself when Annie’s husband, John (Ken Boswell) passes away and in memory of John, the women decide to raise funds for a new couch in the waiting room of the local hospital.
They imagined that ordinary, run of the mill calendars with flowers and landmarks would not sell easily. Chris and Annie came up with a unique idea (something they had jokingly discussed earlier in John’s presence). They decided to do a calendar with pictures of their group of mature women doing traditional Women’s Institute activities like knitting and baking, with a little twist. The women would pose in nude as they do these activities, with discreetly placed props to cover specific body parts with little exposure but more of a titillating suggestion.
The women were not prepared for the notoriety and eventually international fame the calendar brought them. It took a toll on their friendships and personal lives. Sometimes they lashed out at each other and at other times in their frustration they lost sight of the fact that they had far exceeded their set goal. While they had imagined raising a few hundred pounds for the couch, they ended up raising nearly 3 million pounds that enabled building of an entirely new hospital wing.
Eventually, these classy women found their footing and solace in their friendship. They recognized that “out of John’s tragic death came something very special; and acknowledged that “everything we do is born out of love for him”. Clearly their little act stood as a symbol of something much bigger than they had imagined. It was sexiness combined with spunk, mixed with a dose of sass that set them free and enabled them to create a work of art, in favor of a worthy cause, and the world took notice and found inspiration.
While the story is played on world stage, Director, Jeffrey Bracco, Scenic Designer, Ron Gasparinetti and Stage Manager, Kimberly Scofield did a fabulous job in bringing the world to the women, on stage. Calendar Girls will be playing at City Lights Theater in San Jose, CA till December 18, 2016 and tickets are available at www.cltc.org .
Written by Michael Golamco, “Build” is CityLights’ Executive Artistic Director, Lisa Mallette’s yet another bold venture aimed to bring thematically relevant plays to the Silicon Valley audience. Set in the heart of Silicon Valley, in Palo Alto, CA, this is a story about — what else? A startup! And what could be more hot than a video gaming company?
I am going to skip a more typical review with detailed plot description, in favor of giving you a glimpse of the future envisioned in this production. To give a little background of the plot, Kip (George Psarras) and Will (Max Tachis) had earlier conceived a brilliant game that resulted in a grand success, leading to what appears to be a milestone based buyout deal. Unlike Will, dapper and immaculate, Kip, the creative genius, with disdain for money, and for following procedures, and grave dislike for documenting details to make hand off of work easier for others, has a harder time with monetary success, fast cars, suits and board and shareholder meetings. Kip spends his days cloistered in his home mourning the loss of his late wife, and has abandoned social life, in favor of staying indoors, in his cluttered apartment, working on his next big project; only this time to give it away via open source and cloud. And who else to keep him company but an “artificially intelligent” being, an AI robot, oddly resembling his late wife Allison (Morgan Voellger).
If you think that it might be too far fetched, think again. Sometime back, IBM’s AI computer, Watson made history when it appeared on Jeopardy, the popular game show beat most of the contestants http://bit.ly/JOZmwH . Watson is a computer system, capable of answering questions posed in natural language. This is no small feat. Human language is infinitely complex. That alone makes for a huge challenge in building an artificially intelligent, interactive being. Puns, idioms, and other contextual expressions, and even the tone of voice http://bit.ly/17FvMmW and a pause at a different place in a sentence, can completely alter the meaning. In medicine, AI computer like Watson is expected learn the nuances of the language to offer complex diagnosis, and even indicate the level of confidence it has in the diagnosis offered.
In “Build”, Kip’s AI being is keenly aware of her identity “16 terabytes of data”. But she is far superior than any ordinary machine and he has built it in human avatar. The robot takes on Allison’s personality, even the loneliness Allison experienced when she was married to Kip and Kip was occupied with his gaming venture. This AI machine made out of code is incredibly smart (beats Kip in the word game they play), is intuitive and curious, and even talks about her dreams. When Will discovers Kip’s secret AI being, he is both astounded and concerned that Kip will forever stay a prisoner of his home, as long as he has the companionship offered by the robot. Along with this ulterior motive, Will also has fond memories of Allison and is mesmerized by Allison-like-robot.
This is not stuff of idle imagination. Elon Musk, Stephen Hawking and Bill Gates have all said that we should be concerned about the future of artificial intelligence. Louis Del Monte, an entrepreneur, has said that some day, machines could surpass humans and could become the most dominant species, and Hawking has said that machines could eventually “outsmart financial markets” and “out-invent human researchers”. Days may not be far when machines will fulfill the roles of companions and caregivers.
While it is challenging to imagine the future, this production is tackling the challenges of reproducing that “future” on stage. It takes the audience into the fascinating world of video gaming as Will and Kip work on deliverables, cleaning out bugs, and packet drops. Then with the help of high tech design and lighting, the audience is introduced to the AI robot. Video designer, Nick Kumamoto has worked wonders with some scattered computer screens and lighting. While AI robot appears caring and concerned, and seems to be a perfect companion, the story revolves around three human beings, one who has passed away, leaving behind memories, and two friends who struggle through their growth and transformation, to keep the ties that brought them together in the first place; gaming, innovation, and their urge to “build” something, in the heart of Silicon Valley. “Build” will be running at CityLights in San Jose, till February 22, 2015. For tickets, go to www.cltc.org
In World Premiere of “Truce: A Christmas Wish from the Great War“, at CityLights Theater in San Jose, through telling of the story of the historic event that occurred in December 1914, both the mindlessness of war and the mindfulness of peace, become abundantly evident. Playwrights Jeffrey Bracco and Kit Wilder have made this historic story personal, by telling it through four main characters, George Krieger (Max Tachis), the German patriotic soldier, fighting for honor, glory, and fatherland; Anna Friedmann (Cailin Papp), the German nurse who questions the wisdom of war; Tommy Williams (Drew Benjamin) English poet who is compelled to go to war by parental pressure and also pulled to write and pulled by his love for his young wife and by his friendship with Krieger; and Maggie Williams (Allison Meneley), young wife of Tommy who encourages him to write and waits for his return from war.
A little piece of history along with the events in the play
This history was also expertly and succinctly narrated at the beginning of the play. The world was polarized and battle lines were drawn, long before the actual event that ignited the region, the assassination of Austrian Archduke Ferdinand, in Sarajevo in June, 1014. As Austria-Hungary declared war on Serbia, Russia (Serbian ally) mobilized its military. Like a game of dominoes, one by one the countries were pressured or pulled into the war, as Germany declared war on Russia, France, and Belgium; Britain declared war on Germany; soon thereafter, Japan, Turkey, and the Ottoman Empire entered the fight; and ultimately US entered the war in 1917. Ultimately, 70 million military personnel were mobilized.
While the obsession of the generals is with moving the pushpins on a map, war has an entirely different impact on the soldiers, in the trenches. As the characters recount, it was widely believed by common people that the “Great War” would be over within a period of months, if not sooner. Everyone expected their loved ones to be home by Christmas. Then Pope Benedict XV suggested a temporary halt in fighting for the celebration of Christmas, in December 1914, but the warring countries refused to create any official cease-fire. In fact, the generals declared penalties for what they considered amounted to fraternizing with the enemies.
During the four years that the world was at war, several deadly battles were fought. Nearly 27,000 French troops were killed in a single day, in the Battle of the Frontiers, in August, 1914. In the battle of Verdun in 1916, over one million soldiers were wounded or killed. In the end, more than 9 million soldiers and over 7 million civilians died, as a result of this “Great War”, making it one of the deadliest conflicts in history. It is then all the more remarkable that in the midst of the most deadly period of fighting, there was a brief period of calm, friendship, and camaraderie, moments of hope, reflection, and humanity.
This was a one time event. All future attempts to halt the fighting were squashed by generals’ threats of disciplinary action. It is even more astonishing that this period of calm emerged spontaneously, in the trenches. Those who were there, not to reason why, but to do and die, disobeyed orders, and for a brief shining period in history, humanity prevailed. The soldiers declared their own truce; they began singing Christmas carols to each other across the enemy lines. Entirely a different domino effect was observed, as soldiers in various places, crossed the no man’s land, and shook hands with the enemy soldiers and exchanged presents of cigarettes, plum puddings and beef jerkey and sang carols. Some soldiers even used this short period of “truce” to retrieve bodies of their comrades, from the no man’s land, between the enemy battle lines.
It is the brilliance of Jeffrey Bracco and Kit Wilder, in how this remarkable historical event is captured and reproduced on stage, in “Truce: A Christmas Wish from the Great War”. After deep research and from various documents and anecdotes, Bracco and Wilder put together the script. Ron Gasparinetti created the scenic design to conjure up images of the long ago war, Jane Lambert provided the costume design and Nick Kumamoto provided lighting and video projection to keep the time and place real. George Psarras composed music from popular WWI songs. (One popular song “pack up your troubles in your old kit bag” was one of the biggest hits of the Great War time).
This is truly a must-watch play of this theater season, and it beautifully captures the spirit of the holiday season. Truce will be running at CityLights Theater in San Jose, through December 21, 2014. For tickets, go to www.cltc.org .
In the aftermath of the #FergusonDecision, this respite is exactly what we need. Let us call “truce” and renew commitment to create conditions of
Posted by Darshana V. Nadkarni, Ph.D. in Hindi - Bollywood Movie Reviews-- Play Reviews-- NAATAK-- Poems-- Event Reports, Play Reviews on November 19, 2014
NAATAK company has exceeded all expectations in its production of “Andhera Hone Tak”, hindi version of Frederick Knott’s classic thriller, “Wait Until Dark”. The play is performed with English subtitles projected above the stage, and that makes it a must-see play, for a wider range of audience.
Stage versions of thrillers are rare because suspense and elements of a thriller, including murder, robbery etc. are hard to create on stage. Producer Surender Singh has made a bold attempt in bringing this production and the suspense filled thriller does not disappoint on any count. Clearly, Mukund Marathe has once again proved that he is simply one of the most brilliant directors.
Suneeta Saxena (Sareeka Malhotra) is a housewife, who is also blind, and is married to Sameer Saxena (Puneet) and they live in Shivaji Park, Mumbai. Sameer becomes an innocent transporter of a doll stuffed with contraband, when he brought it home, at the request of a woman, who is now surfaced as dead. Soon thereafter, Sameer is traveling again for business and Suneeta becomes target of three con-men, looking for heroin hidden in a doll. The doll is nowhere to be found because unbeknownst to anyone, a little girl, Aneesha, living in the apartment upstairs, has stolen the doll. The trio play initially manage to get Suneeta worried that her husband will be suspected of murdering the woman and the only way to protect him would be to enable them to have the possession of the doll.
Sareeka Malhotra’s performance as a blind heroine, is brilliant, both vulnerable and at the same time courageous and determined. The three con men, played by Varun Dua, Sanjay Apte, and Amit Sharma are so good at being bad that their performance holds you at the edge of your seats. Aneesha Nema, the little child star gives a phenomenal performance as a bratty but precocious kid. The set design is superb, easy for a supposedly blind person to navigate and yet complex for her to figure out the movements of the intruders. Juhi Mohan has done a great job with lights, helping create the perfect “dark”, that would give Suneeta an edge against the intruders.
Every theater season, I give my recommendation of a “must-watch play of the season” from among South Bay Theater companies, including (NAATAK – www,naatak.org, CityLights – http://www.cltc.org, San Jose Stage – http://www.thestage.org, Theatreworks – http://www.theatreworks.org, EnActe Arts – http://www.enacte.org etc.) and this season, unequivocally, I recommend NAATAK’s “Andhera Hone Tak”, as the “must-watch play of the season”. While the play is performed in Hindi, the English sub-titles, projected above the stage, make it easy for all to enjoy. So remember, you don’t need to understand Hindi to enjoy the suspense, heart stopping tension, spooky lighting, and climactic end, all delivered by flawless performance, in real time.
The musical, “Monty Python’s Spamalot”, a hilarious spoof on the motion picture, “Monty Python and the Holy Grail”, has been showing at the City Lights theater in San Jose, to sold out audiences. It is based on the book and lyrics by Eric Idle and Music by John DuPrez and Eric Idle, and is brilliantly directed by Jeffrey Bracco.
King Arthur (Ken Boswell) along with his squire, Patsy, gathers his knights, The Knights of the Round Table, and goes about in search of the Holy Grail, as instructed by God. When King Arthur encounters Dennis in the countryside, Dennis challenges his claim to the throne. King Arthur responds that the Lake Lady herself (who emerged from the Lake with an Excalibur), proclaimed him to be the king. Dennis says, “executive powers are bestowed by the masses, not derived from some strange acquatic ceremonies”. The tone is set for rip roaring and blunt humor that is daffily delivered.
In the quest for the grail, the king and his knights go to the French-controlled castle and try to sneak into the castle in a Trojan Rabbit. Only problem – they forget to hide themselves in the rabbit! As the quest continues, each of the knights encounters various perils, including Arthur and Bedevere’s strange encounter with the dreaded Knights who say Ni, and the Three-Headed Giant who calls Sir Robin to a fight, a challenge that Sir Robin resolves by running away, as his minstrel sings, “Brave Sir Robin ran away”. When they try to enter the caves where the location of the grail is written, they have to defeat the rabbit, and they can only do it by using the Holy Hand Grenade. They have to consult the book of armaments to figure out how to operate the grenade and with great pomp they read, “And the Lord spake, saying, First shalt thou take out the Holy Pin. Then shalt thou count to three, no more, no less. Three shall be the number thou shalt count, and the number of the counting shall be three.”
In Monty Python, the irreverence is extended to everything, including the religion, the monarchy, as well as the Broadway, and Spamalot is “lovingly ripped off from the classic film comedy”, with great music, lots of dance numbers and a fantastic and large cast that rises to the challenge. Special shoutouts to Ken Boswell (King Arthur), Clara Rose Walker (Lady of the Lake), Nick Manfredi (Sir Robin & the Guard), Josiah Frampton (Patsy), James Snell (Sir Galahard), and Jeremy Ryan (Sir Bedevere). The entire cast participated with aplomb, in the tomfoolery, delivering one-liners and puns with slapstick wit and the effect is, the musical will have you laughing from the opening scene to the very end.
Monty Python’s Spamalot will be running at the City Lights Theater in San Jose, till August, 31. Tickets can be purchased at www.cltc.org.