Monthly Archives: September 2021

F.I.R.E. – Streaming On Demand

To end their inaugural season, New Normal Rep is presenting the world premiere of F.I.R.E. by talented new voice Julia Blauvelt.  Pronounced just like “fire”, the acronym stands for Financial Independence; Retire Early, the ultimate goal of Hutch.  The hotshot accountant has landed his dream job at a prominent hedge-fund that comes with a summer drinks night and free pretzels in the break room.  The only young white male in the department, he appears to have been uniquely embraced by the executive floor and consequently can’t wait to get out and mingle.  He is the newest member of a diverse team led by the emotionally intelligent Shauna.  She brought the devoted Jazz from her previous job to add to the brilliantly inventive Noel and old timer Chris and she has since hired temp Penny, a mediocre actress with huge potential to be the best accountant among them.

It takes 30 minutes of a play filled with clever banter, great humor, and sly character development to get to the first reveal in the plot.  Someone has opened an off-the-books account to funnel money out of the company and Danika, to whom Shauna reports, needs the team to find the culprit.  A team member will have to be fired, and not in Hutch’s unique meaning of the word.  If they fail to get answers, she’ll simply have Shauna sacrifice Chris — the only family man among them.  Act Two moves more swiftly towards the ultimately satisfying conclusion.

Director Heather Arnson does little to help with the pacing of this psychological whodunit.  While she interjects camera movement and makes the presentation visually interesting, she doesn’t seem to have given enough guidance to her fine cast.  Without the action that would be included in a live staging, there needed to be more variation in the dialogue to follow the build up of numbers-oriented incidents and consequences.  Instead, the energy present in the lines is muffled, and the performers are kept at a fairly constant hum.  Aaron Matteson infuses Hutch with the same high voltage boom throughout.  And though clearly capable of much more, Ella Dershowitz keeps Penny’s intelligence and the essential nature of her character clouded with a Valley Girl drone and nervous hair twirling.  These two characters who could be opposing swirling vortexes are firmly anchored like two metal poles with the rest of the cast hung between them.  Carol Todd’s appearances as Danica are at a constant boil, though that might be fitting as a woman who often repeats her origin story.  Jeffrey Bean is given some opportunity for breadth beyond fuddy-duddy through Chris’s phone calls with his unseen wife. Shauna also has story outside of the office, which Kierra Bunch leverages in the latter half of the piece.  (Her explanation of how work works is priceless.)  Jazz has one dramatic moment that Nathaniel P. Claridad uses to best advantage.  And Nygel D. Robinson brings appropriate warmth and smoothness to Noel, though he too could obviously provide more range.  

Kierra Bunch, Ella Dershowitz , Aaron Matteson, Nygel D. Robinson, Nathaniel P. Claridad, Jeffrey Bean in F.I.R.E.; Photo by Dora Elmer

As with the other NNR offerings, the production is enhanced with a virtual contiguous set that makes the characters appear to be in different sections of the same room.  This one is designed by Edward T. Morris complete with simulated florescent lighting, modern room dividers, and a city view.  The ensemble is well outfitted by David Woolard with the men all in shades of blue and grey, the two managing women in black, and Penny in the sole pop of red.  The sound by Lindsay Jones — who also provided transitional music — is unevenly mixed and Hutch is particularly difficult to hear.

While the entire creative community continues to struggle with the consequences of a global pandemic, it is promising that that New Normal Rep has presented an entire season of quality streaming theater not as a substitute of anything but rather as its own art form.  F.I.R.E. is a satisfying example of what can be achieved within the confines of Zoom boxes.  This production streams through October 20 at NewNormalRep.org. Runtime is an hour and 47 minutes with a brief intermission.  Tickets are $25; $10 for students, educators and theater professionals, and can be purchased on the company’s website.

Starting Here, Starting Now – SF Playhouse and On Demand

Closing out the San Francisco Playhouse’s 2020-2021 season is Starting Here, Starting Now, comprised of 24 songs with lyrics by Richard Maltby Jr. and music by David Shire.  The lively and upbeat musical review was originally created to save the Manhattan Theater Club’s then-new nightclub space.  The songs are taken from shows that either never got produced or closed prematurely, so they have that familiar-yet-not feel.  Maltby directed the original production while Shire shored up the work with newly created connective tissue.  Performed in this instance by a cast of four (one more than the original production) the show is an often humorous exploration of relationships of various dimensions, some made modern with a gender-bending twist.  Each piece is sung in character — though those change throughout — so they require solid actors to make them work.  Equally important to their success is the jazzy trio, placed behind them right on the stage.

Directed by Susi Damilano with choreography by Nicole Helfer, this incarnation moves breezily along for 90 minutes not including intermission.  Though the cast members are all seasoned performers, it is Keith Pinto who demonstrates the most strength from his perfect articulation of rapid lyrics to his physical antics and sincere engagement with the audience.  He elicits laughs in We Can Talk to Each Other and knowing nods in I Don’t Remember Christmas. Wilson Jermaine Heredia, who won the Tony Award for his turn as Angel in Rent, provides a gentler and more touching tone in solos including A Girl Should Know.  Rinabeth Apostol adds bad ass energy in I’m Going to Make You Beautiful and several duets.  Melissa Wolfklain rounds out the ensemble with quick wit, though she sometimes missed a note. (She sings my favorite in the line-up, Crossword Puzzle.) 

Starting Here Starting Now Cast sings “I Don’t Believe It”; Photo by Jessica Palopoli

Costume designer Rachael Heiman has wisely outfitted the cast elegantly in pure white, the better to project whatever is needed as they move swiftly from character to character.  The set designed by Heather Kenyon has a touch of nightclub flair, especially as lit by Kurt Landisman in an array of rainbow shades.  The musical trio, under the musical direction of David Dobrusky on piano with Amanda Wu on bass and Russ Gold handling percussion, is top notch and well suited to sharing the spotlight.

Like aural chicken soup for your tired soul, Starting Here, Starting Now goes down easy and leaves a warm feeling behind.  There is no twisted plot to follow or deep roles to keep straight, just pleasing harmonies, light movement, and plenty of charm.  It is playing at the San Francisco Playhouse at 450 Post Street in San Francisco with strict COVID-19 protocols in place ( https://www.sfplayhouse.org/sfph/covid-safety/. )  It is also available to stream online, which is how I was able to enjoy it all the way in New York City.  Tickets are available for either format at sfplayhouse.org for performances though October 2.  In-person tickets are $30-$100; with access to the On Demand video starting at $15.