Well, dear readers, I am sitting here like so much fish, listening to Mr. Ormandy’s album, Fantastique, a program of ballet suites – Rossini/Respighi’s Fantastique Boutique, Adam’s Giselle, and one other I can’t remember. It’s a nice compilation. But let’s talk about the motion picture I just finished watching, an Amazon/Prime premiere motion picture entitled G20, starring and produced by Viola Davis, a good actress in a project that might make you question her sanity. She plays the President of these here United States in what will probably end up being the worst movie of the year. If they’d actually released this in theaters, the audience would have hooted and hollered this right off the screen, so relentless dumb is it. Every scene and the story structure is copied from much better movies. Every line of dialogue is a howler. A gang of what might be called crypto terrorists, invade a G20 summit conference with world leaders. Guess who has to save the day? I won’t spoil it for you in case you’re in the mood for kitsch and unintentionally funny everything. Horrible CGI, and apparently Ms. Davis took all the cast money, because the supporting cast is pretty dire. The “direction” is strictly action movie cliché city, the score is one of those droning things, and a villain that chews gum and shmacts his way through the film. The poster child for how to play a villain in this kind of film is Alan Rickman in Die Hard. Nothing I write here will prepare you for how stupid this movie is. You will, I promise, sit in wonderment that anyone would have read this script and thought that greenlighting it was a good idea. I suppose they thought Ms. Davis would carry it, but while she’s fine, the movie is just a complete embarrassment on every level. It’s the kind of movie where we get a little action, then the characters regale us with monologues about their past – over and over again. All the supposed action scenes are very repetitious. Anyway, this comes highly recommended by the likes of me IF you want to see how low movies have fallen. But let’s talk about something fun, like yesterday’s matinee to a mostly full house and wonderful audience and a cast that delivered what was probably our best show. I’d added a couple of bits that they tried and they worked so in they go. Our very own Kevin Hall was with us, and he brought a whole gaggle o’ folks. It was lovely to see him again and he said he really enjoyed the show, but he’ll post about it. Also in attendance, Kerry O’Malley, Adrienne Stiefel and daughter, and a few others I knew. Lots o’ laughs, hefty mitts and cheers for the musical numbers and especially the curtain call.
After the show, a few of us went to Dino’s Pizza – we shared a good salad and a pepperoni pizza – that’s what Doug and I had, anyway. I couldn’t get beyond two pieces, they were so filling. It wasn’t quite as good as usual – a little too thick and doughy – still, it was fine. I brought my other two pieces home and ate them here after a couple of hours had past. There was another lovely review for our show waiting for me, so here it is.
ArtsFront Page
Review: The Group Rep’s ‘Drat! The Cat!’ Is Fiendishly Fun & Frolicsome
By:Imaan Jalali
Date: April 13, 2025
“Now in its 52nd season, The Group Rep has delivered a delightful West Coast premiere of Drat! The Cat!, a 1965 musical that flopped on Broadway after only 8 official performances but shines anew at the intimate Lonny Chapman Theatre. Director Bruce Kimmel, fulfilling a longtime promise to his friend Ira Levin, the show’s writer and lyricist (with music by Milton Schafer), infuses this revival with cheekily spirited energy, transforming a forgotten gem into a snappy, family-friendly crowd-pleaser. With a talented cast and sharp creative choices, this production offers two hours of masked intrigue, laughter, romance, and nostalgic appeal.
Set in 1890 New York City, Drat! The Cat! spins a whimsical tale of crime and love. The plot kicks off with a red-gloved jewel thief known as “The Cat,” who, with an impressive sleight of hand, brazenly swipes treasures — an opera singer’s gems mid-performance, Tiffany’s jewels, even an idol artwork’s diamond eyes — leaving only a calling card in their place. With the police confounded and Chief Detective Roger “Bulldog” Purefoy (Lloyd Pedersen) on his deathbed, his bumbling but ambitious son, Bob Purefoy (Alec Reusch), takes up the chase as promoted “acting” detective. Deducing “The Cat” might strike at a masquerade ball hosted by the affluent Lucius and Matilda Van Guilder, Bob visits the family. He’s immediately and graciously offered help by the couple’s daughter, the exceptionally nice Alice Van Guilder (Sydney DeMaria), though he’s unaware that the already rich girl is the thief herself. Instantly smitten — despite Alice absent-mindedly calling him “Tom”– Bob’s pursuit turns into a romantic cat-and-mouse game as Alice objects to the good Bob sees in her. With heart and hijinks en masse, the musical eventually reaches its finale in a tremendously cute courtroom scene.
The cast of 19 sparkles with geniality and wit. Sydney DeMaria is a revelation as Alice, balancing mischief and innocence with an angelic (and powerful) voice along with charismatic expressions — conveying confidence, anxiousness, cynicism, and heartfulness. Clad in seductively pink-and-black, Catwoman-esque attire, DeMaria’s Alice “meows” after each heist and moves like a matador in “Wild and Reckless,” twirling a chiffon scarf to flaunt her thieving hobby, all the while crackling with playful energy. Alec Reusch, as Bob, nails the naïve, hopelessly in-love do-gooder officer with boyish sincerity. His tender “She Touched Me” captures Bob’s lovesick devotion, comparing Alice to life’s joys like ice cream and birthdays.
The supporting ensemble adds depth and hilarity. Lloyd Pedersen, whose physical presence and comic timing evoke Walter Matthau, shines as the mustachioed Roger Purefoy, comically battling death while urging, “My Son, Uphold the Law.” Pulling double duty as the clean-shaven Lucius Van Guilder, a money-obsessed patriarch (except for old and wrinkly bills), Pedersen’s funny repartee with Constance Mellors’s Matilda is ceaselessly entertaining. Mellors, who is effortlessly funny, is unimpeachably on point as the stressed, fainting-prone wife, her and Pedersen’s turn on stage peaking in “It’s Your Fault,” where they trade accusatory finger-points with rapid-fire zing.
Lee Grober, as the action-demanding Mayor, Rob Schaumann’s inept Chief of Police, and particularly Doug Haverty, as the exacting Police Superintendent Pincer who doesn’t shy away from drawing on myriad synonyms to communicate “A Pox Upon the Traitor’s Brow,” bring laughs to the unfolding chaos. Hisato Masuyama’s Butler, who expresses himself with predominantly non-verbals, steals scenes with drink-mixing antics, and April Audia’s Irish-accented mother to Bob, stubbornly believing in her son’s virtuousness, provides a recurring chuckle. Amy Goldring hits tough notes as a soprano, Steve Young earns smiles as a quack doctor (as well as an extraordinarily compassionate judge), and the remaining ensemble — Ben Anderson, Maxwell Oliver, Melissa Strauss, Nicole Slatin, Angie Lin, Riley Croman, Lareen Faye, and Savannah Mortenson — shines as oblivious high-society members and comically confused cops who don’t disappoint with their baton-smacking slapstick.
The creative team elevates this humorous caper, too. Bruce Kimmel’s direction keeps the show breezy and harmlessly enjoyable. Cheryl Baxter’s choreography sparkles in company numbers such as the waltzing “Dancing With Alice,” “Today is a Day for a Band to Play,” and a blinking-lights heist sequence where helmeted cops, guarding a precious idol artifact, become so disoriented they uproariously knock each other out. Gerald Sternbach’s musical direction, as pianist and conductor of a five-piece band seated upstage — also comprised of Tim Christensen (bass), Paul Cotton (flute/clarinet), Tom Marino (trumpet), and Craig Pilo (drums, adding extra oomph) — fills the space with a lavish, buoyant sound that complements Schafer’s score.
Audrey Szot’s scenic design, with versatile foldout boards morphing into the blue-collar Purefoy abode, the palatial Van Guilder residence, or a rustic cabin in the middle of nowhere, shifts seamlessly. Shon Le Blanc’s costumes dazzle, especially at the masquerade ball, capturing the turn-of-the-19th-century opulence with gowns and suits galore. Krys Fehervari’s wigs capture a bygone era audiences are happy to be transported to. Echo Brejcha’s warm-toned lighting and Terrie Collins-Grant’s props — like the shimmering jewels, long-stemmed cigarette, and flitting mouse — tie the visuals together between scenes.
Drat! The Cat! may lack the profundity of modern musicals, but it’s not meant to impart moral lessons except for perhaps that one could change their stripes if they indeed wish to; in fact, it’s the easy-to-follow narrative that is part of the charm. The Group Rep’s revival, led by director Kimmel, embraces the frivolity of Levin’s musical, offering a refreshing and comforting escapade — no different than an old-fashioned and thoroughly inoffensive classic film. For families and theatergoers seeking unpretentious fun, this purr-fectly splendid romp proves this once-forgotten show deserves a second look.”
Earlier, I got around seven hours of sleep, got up, shaved and showered, answered e-mails, and then moseyed on over to the theater, completely forgetting to stop at the mail place. The rest you know.
Today, I’ll be up when I’m up, I will have me a real old-fashioned ME day, I will absolutely get to the mail place, I’ll probably get something at Gelson’s and make food here, and then I’ll watch, listen, and relax.
The rest of the week is solidifying the dates for the upcoming Kritzerland shows, starting to figure the first of them out, some meetings and meals, maybe a bit of writing, doing whatever needs doing, and then it’s on to week five of our show. At this point, I only know for sure that I’ll see the Sunday matinee, as dear reader Jeanne will be seeing the show. If I don’t know anyone on Friday night, I may go see a friend’s show, and if I don’t know anyone for Saturday night, I may just stay home. Or I may see all three shows – who knows?
Well, dear readers, I must take the day, I must do the things I do, I must, for example, be up when I’m up, have a real old-fashioned ME day, go to the mail place, Gelson’s, eat, and then watch, listen, and relax. Today’s topic of discussion: What serious movies were so ludicrous that the audience ended up howling with laughter AT them? Let’s have loads of lovely postings, shall we, whilst I hit the road to dreamland, happy to have another rave review.