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Aurelia's Oratorio

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Have you had the one where you know you need to be somewhere, but you cannot get there? What about the one where everything that should be familiar has taken on a life of its own, becoming weird and unrecognizable? Then there's the one that puts a unique spin on everything you thought about that day, mixing up images and people in ways you could never dream.

But dream you did, and all those wacky scenarios turned a night's sleep into a disjointed series of adventures. All of those fantasies come to life in "Aurelia's Oratorio," a lively little circus showing on the La Jolla Playhouse Mandell Weiss Theatre stage. That's circus as in the very French cirque nouveaux, not as in the American Vargas or Barnum & Bailey.

Created by Aurelia Thierree, the star performer and Charlie Chaplin's granddaughter, and her mother Victoria Thierree, the director and Charlie Chaplin's daughter, this enchanting collection of illusions, delusions and topsy-turvy fusions explores and exploits the reveries and hallucinations that make us question our nighttime thought processes.

From the early tempest in a curtain, where her hammock over a calm sea becomes a spinning, dancing trapeze above an angry red ocean, to the later terpsichore coat dance and conducting her orchestra of clocks, Aurelia is like a bubbling life force that bursts forth in myriad ways. She emerges from a chest of drawers, one limb at a time. She's cradled by a mother goddess and chewed by a frightening lacey gator. She hides behind curtains that come to life and performs for puppets, one of whom is suicidal.

Joining the delightful fray is Jaime Martinez, the featured artist whose gymnastics include a marvelous hand-walking scene and whose energetic tumbling and dancing moves equal and complement those of his stage partner.

This show is 90 minutes of Carl Jung meets Alice in Wonderland, with music that ranges from calliope to cabaret and dance that moves from tango to apache. Clothing comes to life, a mouse drags in a cat and scarves stretch beyond the limits of the stage. Nothing you know is as you know it should be.

And, when it's over, you find that describing this show is as unsatisfying as telling about your wildest dreams. You really have to be there.

"Aurelia's Oratorio" plays on the Mandell Weiss Theatre stage of the La Jolla Playhouse through February 28. Tickets are $25-45. Show times: 7:30 pm Tues-Weds; 8:00 pm Thurs-Sat; 2:00 pm matinees Sat-Sun. Reservations: www.lajollaplayhouse.org or (858) 550-1010.

 

Spotlight

Laguna Playhouse Announces Ellen Richard as its Interim Executive Director

May 3, 2016…Laguna Beach, Calif…Laguna Playhouse Board of Directors announced today that, later this month, Ellen Richard will be joining Laguna Playhouse as its Interim Executive Director. The Playhouse announced late last year that it was undertaking a national search guided by Arts Consulting Group (ACG) for an Executive Director to succeed Karen Wood who had held this position for the past eight years.

Commenting on the appointment Joe Hanauer and Paul Singarella, Co-Chairmens of the Board of Directors, said “In the midst of our search we encountered this wonderful opportunity to engage Ellen while we continue to seek appropriate long-term leadership. To have found someone with the extraordinary qualifications that Ellen has is thrilling. She is the recipient of six Tony Awards as producer at New York’s Roundabout Theatre Company where she was Managing Director. Ellen also has strong successes in supervising the construction of theatres in New York and also in San Francisco at the American Conservatory Theater, a rare and valuable skill set considering the contemplated major remodel and expansion of the Laguna Playhouse.” Laguna Playhouse Artistic Director Ann E. Wareham adds, “We are pleased and proud to have Ellen Richard, truly a rock-star in our field, join us as our interim Executive Director who will help guide the Playhouse during this transition.” Comments Ellen Richard, “I have quickly grown fond of Laguna Beach and the Playhouse. I embrace this extraordinary opportunity to join one of the country’s top regional theatres at this time in its remarkable 95-year history. I look forward to helping the Playhouse and working with their incredible Board of Trustees and Ann E. Wareham.”

ABOUT ELLEN RICHARD

Ellen Richard served as Executive Director of the American Conservatory Theater in San Francisco from 2010 through 2015.  During her tenure, Ms. Richard negotiated a deal to buy the Strand Theater in tech corridor of Mid-Market San Francisco, helped raise the $34,000 million to renovate and operate it and steered the design and construction for the project which opened in May of 2015. The complex featured two performance spaces and has won multiple awards.  She opened the 50 seat Costume Shop Theater, a 49-seat “black box” venue used for the company’s Master of Fine Arts students and for shows by other local companies.  Ms. Richard was also credited with expanding the company’s educational efforts, coming up with programs like the San Francisco Semester, which brings undergraduate acting students to ACT from around the world, and Stage Coach, a community theater mobile unit that reaches into diverse neighborhoods

She was also Executive Director of The Second Stage Theatre in New York City. During her tenure at Second Stage, which began in 2006 (through 2009), she was responsible for the purchase contract of the Helen Hayes Theatre, growth in subscription income of 48 percent, and growth in individual giving of 75 percent, as well as conceptualization of a highly successful gala format and “Second Generation,” a giving program through which donors enable deserving New York City youth to experience live theater. Under Ms. Richard’s leadership, Second Stage provided the initial home for the Broadway productions Everyday Rapture, Next to Normal, and The Little Dog Laughed.

From 1983 to 2005, Ms. Richard enjoyed a rich and varied career with Roundabout Theatre Company. The Roundabout that Ms. Richard joined was a small nonprofit theater company in bankruptcy. By the time she departed as Managing Director, Roundabout had become one of the country’s largest and most successful theater companies of its kind, with net assets in excess of $67 million dollars. Ms. Richard is the recipient of six Tony Awards as producer, for Roundabout productions of Cabaret (1998), A View from the Bridge (1998), Side Man (1999), Nine (2003), Assassins (2004), and Glengarry Glen Ross (2005). As producer of more than 125 shows at Roundabout, she had direct supervision of all management and marketing functions. She created Roundabout’s “Theatre-PLUS” programs, which include singles, teachers, family, gay and lesbian, wine tasting, and the 7 p.m. “Early Curtain” series, all of which grew to represent more than 10 percent of Roundabout’s 40,000 subscribers.

As director of design and construction at Roundabout, Ms. Richard was responsible for more than $50 million of theater construction for 11 projects. She conceptualized the three permanent Roundabout stages — The Broadway venues of Studio 54 and the American Airlines Theatre, and the Off-Broadway venue The Harold and Miriam Steinberg Center for Theatre She directed the location search for Cabaret and oversaw the creation of the production’s environmental Kit Kat Klub. Prior to her tenure at Roundabout, Ms. Richard served as business manager of Westport Country Playhouse, theater manager for Stamford Center for the Arts, and business manager for Atlas Scenic Studio. She began her career working as a stagehand, sound designer, and scenic artist assistant.