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Last updateTue, 18 Sep 2018 1pm

Q: What is a “tuna?”

A: Well, snort, obviously, a fish.

Q: And what else?

A: HUH?

OK, here it is, confidentially from me to you: A tuna, my darlings, is a kind of prickly pear cactus found in the desert! And there really was once a town called Tuna … in the Texas desert. It doesn’t exist anymore—well, except it’s still “real” in the theater world.

And this brings us to Coyote Stageworks’ production of Greater Tuna at the museum’s Annenberg Theater at the Palm Springs Art Museum in Palm Springs, directed by the steady and inspired hand of Larry Raben. Written by Jaston Williams, Joe Sears and Ed Howard, this production of the first play in the four-part Tuna series is one of the most unforgettable shows you will ever see. Why? Because here, the cast of about 20 characters is played by only two men!

It’s an acting tour de force. I have seen this same play done elsewhere with a cast of 20 actual actors, each playing just one part, so this production goes beyond genius. You want to see quick changes? Stars Chuck Yates and Alan Denny transform themselves in split seconds to move from one role to another—and not just by slapping on a different outfit or wig, but by totally changing. More about this later.

The Josh Clabaugh set that greets us is moodily lit by Danny Durand. A prototypical Western setting of three barn-tall plank flats with angled roofs is sparsely decorated by a Lone Star, a pair of Longhorn horns, a dusty old Texaco sign, two tables with chairs … and, under the spotlight at center stage, a huge free-standing console radio so old-fashioned it will date you if you recognize it. It is 1978, and we are in the “third smallest town in Texas”: Greater Tuna.

The stage-right flat contains a midsection which revolves to create the background for radio station OKKK to start the show. Everything is broadcast live, and we open with two local yokels smart-talking their way through the morning news, giving the audience instant belly laughs. Thurston Wheelis and Arlis Struvie (not made-up radio names, clearly) give us rapid-fire patter and signature banter before announcing a weather forecast from a roving reporter.

Now here is where it gets interesting: Both of our actors are already busy playing the announcers. Who is going to be the weather person? Well … with timing that would make a magician turn emerald with envy, throughout the play, an actor vanishes and then re-appears as another character with no resemblance to the one he was just playing. And just as quickly, he returns to update the prior role, or even goes on to a different one! This happens over and over; each actor plays 10 different parts, and he plays many of them multiple times! Yes! They play bratty kids. They are in drag as the ladies of the town. They play a cliché-spouting preacher, a sullen youth just emerged from reform school, a sheriff, a grandma, the town drunk … practically everyone in Tuna!

We find out about the relationships, the secrets, the ambitions, the shame, the problems, the vanities of these characters—and they will capture your heart even as you laugh. The costuming deserves mention, as some were hoarded from Coyote Stageworks’ first-ever Tuna show back in 2009, with Alan Denny and Chuck Yates then playing these roles and creating the costumes. Wardrobe master Frank Cazares and Jim Lapidus have updated and augmented them. And the wigs! Cazares has created some of the most outrageous and hilarious looks ever.

However, it is all about the acting. Wigs and costumes certainly help change an actor physically, no question, and they have simplified their labors by miming the props. But both Yates and Denny take this show to a higher level by transforming themselves for each role in ways that chameleons only dream of. Each voice was unique. They grew tall or shrank; they gestured differently; their postures and spines were different; they changed their very face shapes—they seemed to even change their skin textures. They breathed in different ways. This is beyond acting—it is becoming someone else, inhabiting roles so completely that the audience could be forgiven for thinking that they were watching a huge cast of actors. I’ve played multiple roles in a show, and it is an enormous challenge—but it was nothing like seeing the accomplishments of these two amazing thespians. This is what actors yearn to do all their lives—and here it is, performed perfectly. There is considerable physicality involved (wait until you see the high school cheerleader—yikes) as well as an intellectual process of creating the characters plus the emotions of playing them, but in this show, you will see the actual spirit of each character on display. That’s how deeply mined this script has been by Denny and Yates.

You could tell by the frequent spontaneous applause and the waves of laughter that the audience totally enjoyed the show, but there were also moments of breathless anticipation when we all cared very much about what was happening. There’s not much of a storyline, but we learn about small-town life and the sometimes horribly misguided attempts to better or control their tiny world. The radio blithely plays Tammy Wynette or Patty Page or Hank Snow, set against the heart-wrenching struggles of Petey Fisk from the Humane Society or that innocent-looking but murderous grandmother. Contrasts.

This is a show not to be missed, and it so deserves the standing ovation it earns. Every actor should see it as a master class in classical technique. Non-actors should see it because it’s such great fun and an extraordinary experience. And it’s not just laughing at hillbilly silliness; it twangs your heartstrings like a good country tune.

And you, personally, can feel superior, knowing what a tuna really is.

Greater Tuna, a production of Coyote Stageworks, is performed at 7:30 p.m., Wednesday, Friday and Saturday; and 2 p.m., Thursday, Saturday and Sunday, through Sunday, March 31, at the Annenberg Theater at the Palm Springs Arts Museum, 101 Museum Drive, in Palm Springs. Tickets are $45 to $60. For tickets or more information, call 760-325-4490, or visit www.coyotestageworks.org.

Published in Theater and Dance

Honky Tonk Laundry, presented by Coyote StageWorks, has boot-scooted into the Annenberg Theater in Palm Springs.

Are you ready, darlin’? Because the laughter, the music, and the sheer fun of this production will gallop off with you to Nashville.

Yes, it’s a romp.

The Wishy Washy Washateria (!) is owned by the overworked Lana Mae Hopkins (Bets Malone), and she hires redheaded Katie Lane Murphy (Misty Cotton) to help her out. What ensues is plenty of chaos, country Western music, soapsuds—ؙand a few surprising cleaning hints). A two-woman show is a great rarity in theater, and these actresses know how to use their special stuff to make us appreciate their differences.

The author of this wild ride is Roger Bean, who also directed the play. It gives a satisfying cohesion to a show when it is created and then directed by the same person—the voice is stronger and clearer when another person doesn’t “interpret” the words of the other. Artistic director Chuck Yates has already treated his audiences to Bean’s work via The Andrews Brothers, a delightful Coyote StageWorks success back in 2014, written about entertainers in USO shows during World War II.

The set, created by Tom Buderwitz, is the aforementioned Wishy Washy Washateria, and center stage is dominated by four looming washer-dryers of industrial strength and lemon-colored ugliness. The always-subtle lighting, created by Moira Wilke, provides some excellent effects.

Lana Mae and Katie Lane both struggle in the relationships with their men—well of course! It’s a prerequisite for country Western music, y’all. Both Lana Mae’s husband, Earl, and Katie Lang’s sort-of boyfriend, Danny, we learn, are cads unworthy of these good women, so the stage is set for the girls to burst into frequent song expressing their feelings. They manage to mix up the standards we all know, such as “Stand by Your Man” and “These Boots Were Made for Walkin’” with some new titles such as “I Need a Vacation” and “Potential New Boyfriend.” Yee haw!

Both of these belles get to strut through some entertaining choreography, designed by James Vasquez. He gives a line-dance feel to these steps, and the girls move smoothly through their dancing.

But what truly fascinates is one major characteristic of this kind of music: close harmony. In this show, both gals have chosen to use a hard-edged voice, holding the end-of-phrase notes with admirable breath control before segueing into their vibrato—and when they blend their voices together, the effect is magical. They merge their sounds perfectly, and the timing and their attacks on the notes is flawless. It is a breathtaking and too-rare experience in music. Brava, ladies!

Katie Lane and Lana Mae, both facing relationship ruin due to the “moral flexibility” of both their men and certain predatory females (whom we never meet), elect to comfort themselves and satisfy Lana’s unfulfilled ambitions by putting on a show. They choose to use the laundromat as their stage. This gives costume-designer Renetta Lloyd a chance to bedeck our heroines in classic faux-cowgirl-style boots plus crimson and white-trimmed skirt outfits. Oh … and keep an eye out for some outrageous second-act hair styles; they’re more fun than a rodeo.

The girls’ show pays tribute to many of the queens of country-Western music such as Loretta Lynn, Kitty Wells and Tammy Wynette. Even during the intermission. we are treated to famous songs by Dolly Parton and Patsy Cline. One of their showy numbers, in which Lana Mae and Katie Lane break out in yodeling—a mystifying skill if there ever was one—will leave you astonished.

The script features an endless barrage of charming country-fried sayings and intentionally adorable provincial slang. They inspired most of the play’s hearty laughs. There is some fancy cussin’ and a goodly amount of name-callin’, but the undercurrents of the solid values of these rural people permeate their songs with hints of gospel music and its beliefs, an influence never too far from country songs. Family is everything. Heartache is to be expected. But love can conquer all … and we’re all going to heaven. Yahoo!

Frankly, the show surprised on several levels. First, it is cute. Yes, cute … something it’s not possible to say about very many productions. You will leave the theater smiling, which also doesn’t happen that often, doggone it.

Second, you will definitely agree that these are two of the hardest-working actresses you have ever seen. Their handling of these vocally demanding songs is truly impressive—nearly entirely done using their chest tones, only sliding up into head tones on a rare couple of notes (and the yodeling). The energy level is relentlessly high, excepting maybe a ballad or two, one of which had some echo added to the sound—but these ladies sing and dance and banter and move almost constantly. They will lasso your heart.

Third, I had expected much more caricature—the names alone!—but Malone and Cotton turned in fairly realistic interpretations of these roles. Perhaps choosing over-exaggeration and outrageousness would have been the easy way out, if sometimes more hilarious. There is even a serious note injected into the script, with some pill-popping, drug abuse and drinking, about which nothing, alas, is funny, provoking, at best, some laughs borne out of shock. I guess it happens, even in country settings, but since it didn’t advance the plot, I couldn’t help wishing we had been spared this, as the current news about our opioid crisis has left us all so raw that it briefly depresses the energy level of the show.

Despite that, this is, as I say, a romp, and you will have a great time. On opening night, the theater rocked with satisfying belly laughs, and the actresses were awarded a joyous standing ovation.

And as Lana Mae and Katie Lane their ownselves might say: Dang! It don’t git better than that.

Honky Tonk Laundry, a production of Coyote Stageworks, is performed at 7:30 p.m., Wednesday, Friday and Saturday; and 2 p.m., Thursday, Saturday and Sunday, through Sunday, Feb. 10, at the Annenberg Theater at the Palm Springs Arts Museum, 101 Museum Drive, in Palm Springs. Tickets are $45 to $60, and the show runs two hours and 20 minutes, with one intermission. For tickets or more information, call 760-325-4490, or visit www.coyotestageworks.org.

Published in Theater and Dance

Until now, I was always haunted by the line about “first-nighting” in that song “Autumn in New York.” But after seeing Coyote StageWorks’ newest show at the lovely Annenberg Theater in Palm Springs, The Understudy, I think we’ve got New York beat: Mix a gorgeous mellow fall evening, a packed house of enthusiastic theater-goers, the presentation of a citation celebrating the achievements of Coyote Stageworks from city of Palm Springs, and the excitement of opening night for a new play … can it get better than this?

The Understudy is the 10th-season-opener for Coyote StageWorks and Chuck Yates, the founding artistic director. The company has garnered more than 80 Desert Theatre League Awards—and if that’s not success, what is? Alas, not everyone goes to the theater—a pity, because no electronic experience can duplicate the thrill of live theater. When a show is a success, there is an electricity in the audience … and you will never feel that sitting in front of your TV or movie screen. If you have never gone to the theater, and would like to try it, The Understudy is a perfect place to start.

Of course, not everyone has been in a play, either—and this show will let you peek into the process of building a scene and a character, and the relationships and tensions among the actors. For those at the other end of that spectrum, it’s a wonderful luxury to watch others navigate the changing (and sometimes shark-infested) waters of a rehearsal.

So here’s the play: Harry (David Youse) arrives at a theater to understudy a role in an ongoing show … by Franz Kafka. Oh, stop groaning. We get to see snippets from the play as the actors work, but it’s not enough to make you Kafka-crazy. The ugly bare stage on which they begin their work slowly comes to life—and what a fabulous set Thomas Valach has designed here. Moira Wilke Whitaker’s lighting is just fantastic, and the two work together beautifully as the play unfolds.

Harry arrives to rehearse with Jake (Alex Best), a successful but minor action-movie star who is desperate to establish himself as a real and serious Actor by appearing in this play. The two men vie for alpha-dog rights immediately. The stage director, who is running the rehearsal, is Roxanne (Robin McAlpine), a feisty middle-aged former actress. Two characters we hear about but never see are Bruce, who has the lead role in this show and is a big-name movie star whose celebrity sucks in huge crowds nightly; and Laura, the evidently totally stoned lighting and sound tech up in the booth.

The Understudy is written by Theresa Rebeck, who has been showered with awards, teaches writing at Brandeis and Columbia, and was a finalist for a Pulitzer Prize. Laughs abound in this comedy—on many levels. There is truly something for everyone’s sense of humor in this script, and your involvement with these very believable characters will grow as you giggle. The first-night audience roared and applauded with gusto throughout. The writing contains a magnificent arc, as the relationships among these characters grow and change.

The acting is simply superb. Yates’ always-formidable directing includes flawless blocking, which always balances the stage beautifully, and he moves his actors with perfect motivation—so that we never see it happen. The characters wear slightly grungy rehearsal garb, thanks to costumer Frank Cazares, but it adds to the realism. These actors show us their “acting,” as they have been schooled, in the play—with suddenly heightened voice projection, new and different posture, and exquisite diction … and then they break character to discuss what they are doing—while still, of course, acting for us! It’s wonderful. These skilled players augment the script with some marvelous touches, such as Jake’s constant filling of any spare time by dropping to the floor to do breathtaking push-ups; Harry’s layered and infinitely subtle facial expressions; and Roxanne’s spellbinding hand gestures. Bravo!

The play delves into some nearly-untouchable topics, such as: Are actors crazy? Who is really responsible for a play’s success or failure? What is the “biz” in Showbiz; is salary a true measure of an actor’s worth? The show flirts with personal and professional jealousies, every actor’s constant nagging worry about the future and the next job, and concern about how much of one’s success is due to one’s “contacts,” while how much is about their own real talent? Agreed, much of this applies to many other professions, but it all seems magnified in the theater.

Youse is a veteran actor, producer and director in his own right, and he brings a wealth of experience to his role as Harry. His complex character, who puzzles us a bit at first, grows to reveal a smart but unlucky aging thespian who hides his insecurities and personal flaws behind the roles he plays.

Best, a shining young tiger who works in stage, film, TV and commercials, shows us Jake, a creature of necessary vanity, who never stops fussing with his cell phone (“It’s my agent!”) or his obsession with the physical fitness demanded by action films—though he only flashes his rock-hard abs briefly. (Don’t blink.) He is unexpectedly likable, and is we grow fond of him as we see that even he can experience ups and downs in both his career and his personal life.

McAlpine, herself a successful Shakespearean actress, has created a fascinating character in Roxanne. We are initially impressed by her efficiency and her command of the frustrating and challenging job as stage manager. Murphy’s Law rules, however, and everything possible goes hilariously wrong. But as we get to know her, she reveals her self-doubts and her pain-filled past. I couldn’t take my eyes off her hands, which she brilliantly uses to tell us everything.

You will love this play, whatever level of theatrical experience you bring to it. In fact, I’m hoping you will gather up your friends and neighbors to visit this production, as Chuck Yates has created an ingenious 2-for-1 price for those who bring used ticket stubs to the box office. Take advantage of it! Enjoy!

The Understudy, a production of Coyote Stageworks, is performed at 7:30 p.m., Wednesday through Saturday; and 2 p.m., Thursday, Saturday and Sunday, through Sunday, Nov. 11, at the Annenberg Theater at the Palm Springs Arts Museum, 101 Museum Drive, in Palm Springs. Tickets are $45 to $60. For tickets or more information, call 760-325-4490, or visit www.coyotestageworks.org.

Published in Theater and Dance

Spring has sprung, and here’s to yet another sneezy season of searching for allergy relief. Ker-choo! But to take our minds off our misery, Coyote StageWorks’ The Cocktail Hour has opened at the lovely Annenberg Theater at the Palm Springs Art Museum.

Now, as for what happened on opening night …

Before the curtain parted, the director David Youse appeared and frankly explained to the audience that “one of the cast” had fallen ill a couple of weeks ago, and might have to carry a script to help him get through the show. When the play began, it became obvious that said actor was Jeffrey Jones, whom you will remember as the wonderfully dumb emperor in the overwhelming movie Amadeus. He was forced to rely on his script through almost all of the show—and to add to the problem, he had to don reading glasses to read its words. It’s a shame, as this threw off everyone’s timing, but he has to be saluted for being game enough to go through with opening night.

I’m sure that every alternative had been investigated by those in charge—alternative show dates, cancelling the whole play, finding some quick study to replace him—but the decision was made to go on with the performance, in the celebrated tradition of theater. (Cue Ethel Merman belting out “There’s No Business Like Show Business.”)

The supportive opening-night audience gave what they could, and the other three actors bravely soldiered on. The set—designed by Josh Clabaugh, stage-managed by Phil Gold, and lit by David Simpson—earned applause when the curtains opened up. The play is set in the 1970s, in the comfortable living room of an upper-class Eastern American home. The costumes by Frank Cazares; the sound designed by David Engel; and the props, by Chuck Yates himself—also the founder of Coyote and producer of this play—contributed nicely to the show.

But I am committed to honesty, so here it is: The play just simply wasn’t ready.

I’ve given nothing but raves to Coyote StageWorks for professionalism, so we must understand that the problem is not some inherent flaw in the mix. Nobody did anything wrong, and there is no blame attached. I’ve actually been in a play in which the lead character was unable to perform (which is a nice way of saying “tossed into the slammer,” ahem, but that’s another story), and the director stepped in to play the part with script in hand. So it can happen—not often, thank heavens, but it happens.

Jones is playing the role of Bradley, the stuffy family patriarch. His wife, Ann, is played by Lee Bryant, a petite dynamo just right for the role. Their privileged children are played by Chuck Yates and Yo Younger, winners of multiple Desert Theatre League awards; they are enjoying flourishing careers, and are well-cast in these roles. The resumes of all four actors are amazing.

The play is written by A.R. Gurney—and if the name doesn’t ring a bell immediately … is there anyone on the planet who hasn’t seen his play Love Letters? I’ve seen it four times, for goodness’ sake. His list of works is stunning.

The play is an incisive and comprehensive look at a family. They meet for cocktails before dinner every evening, and on this autumn day, their son, John (Yates), and daughter, Nina (Younger), join their parents at home. The dialogue mines their conversations to reveal their opinions and feelings about each other and about how they see themselves—both their place in the world and in this family.

John has come home to seek everyone’s blessing for a play he has written … about them. Of course, their reactions are as varied as their personalities. Bradley, the hypochondriac father who is convinced he’s dying, hits the ceiling. Nina, the neurotic and self-centered sister, feels she deserves to be celebrated in print, but wants it on her own terms. Ann, the mother and peacemaker, just doesn’t want any waves made. The “family feelings” become very complicated.

The play goes on to explore how memory works for some, and how one person can remember something differently from another—or might even have forgotten it. Of course, much depends on having all the facts, and when the façade is dissolved by alcohol, this turns out to be a family of secrets.

Yes, another invisible but always-present member of the family is booze. We see people trying to control alcohol by making rules about when and where one can drink, or by putting off drinking time as long as possible, or minimizing their drinking by referring to it as “just a splash.” We watch personality changes occur after drinking. We see opinions change, and we see secrets revealed. We see sibling rivalries emerge and “birth order” stereotypes challenged. We see their views of each other, and even of their servants, transform as cocktails are consumed.

Is it real life, or is it just another cocktail hour?

It’s a play that has considerable power, and is full of insights about the relationships in many families. It shows that even in a family which might look like it has everything, people can experience challenges, confusion, shame, misinterpretations and problems.

If this show can find its feet during its short run, it will most likely be terrific. As I said before, it’s nobody’s fault that it isn’t ready yet, and upcoming performances should be fascinating. (Oh, they should re-think some hair colors, as the son is a silver fox, but daddy still has brown hair.) It’s just that opening night wasn’t ready, and there is some work ahead for Coyote to fulfill this play’s potential.

And who knows—the cool, conditioned air inside the Annenberg Theater might even help with your allergies.

The Cocktail Hour, a production of Coyote StageWorks, is being performed at 7:30 p.m., Saturday, March 24; 2 p.m., Sunday, March 25; 7:30 p.m., Wednesday, March 28; 2 p.m., Thursday, March 29; 7:30 p.m., Friday, March 30; 2 and 7:30 p.m., Saturday, March 31; and 2 p.m., Sunday, April 1, at the Annenberg Theater at the Palm Springs Art Museum, 101 Museum Drive, in Palm Springs. Tickets are $45 to $60. For tickets or information, call 760-325-4490, or visit www.coyotestageworks.org.

Published in Theater and Dance

In the program notes for Dirty Blonde, Coyote StageWorks Founding Artistic Director Chuck Yates mentions he has wanted to present this play, which focuses on Mae West, since the theater’s inception 9 years ago. Since 2018 has been dubbed “The Year of the Woman,” he chose the perfect time to do so: Whether or not you’re a Mae West fan, it’s impossible to deny that she was an icon of womanhood, in her own way.

Written by and starring Claudia Shear, Dirty Blonde ran Off-Broadway in 2000, and on Broadway in 2000 and 2001. (Interestingly, it’s one of just a few plays in Broadway history to have its entire cast nominated for Tony Awards.) The show explores the phenomenon of West through the eyes of two devoted fans—aspiring actress and office-temp Jo, and public-library film archivist Charlie. They meet while visiting West’s grave, and develop a warm friendship based on a mutual love of the bawdy sex symbol.

Both Charlie and Jo are lonely and seem to be missing something in their lives, so finding in each other a fellow Mae West groupie seems like coming home. Jo idolizes West as an example of female strength, confidence and sexual liberation; after all, West spoke her mind and didn’t care a whit what anyone else thought. Mild-mannered Charlie, who actually got to meet and spend some time with West in her later years, is simply in awe of the star, describing her as “blonde and tough and ready for sex.” He basks in her flirtatiousness, and some of her sexual confidence even seems to rub off on him: When in her presence, he becomes the man he’s always wanted to be.

The scenes between Charlie and Jo are interspersed with vignettes from West’s career, from her early days in Vaudeville to her decline into parody while she was in her 80s. The audience is reminded of what a trailblazer she really was. Her battles with censors were legendary; she defied orders to tone down her hip swiveling in dance numbers, and even spent 10 days in jail for public lewdness during the run of her self-penned play Sex on Broadway.

Director James Gruessing has assembled a stellar cast; each member plays multiple roles with great skill. As Mae West and Jo, Bets Malone is simply superb. She perfectly captures both the sweet insecurity of Jo and the bold outrageousness of West. Though prettier than West herself, Malone nails it when it comes to West’s toughness—including the “don’t mess with me, but jump into bed when I snap my fingers” message to men. Of course, she has some of the play’s best lines: “I’ve seen more men than you’ve had hot lunches.” When an assistant is dismissed by West’s suggestion that he run down to the corner, he challenges her by asking, “What’s down on the corner?” Her answer: “YOU!” A strong actress, Malone also exhibits great pipes during the musical numbers.

Also an outstanding actor, Steve Gunderson plays Charlie with subtlety and tenderness. His growing affection for Jo is touching and believable, as is his conflict over whether he’s simply attracted to Mae West … or does he actually harbor a desire to be her? The onstage chemistry between Gunderson and Malone—crucial to this play—is quite strong.

Rounding out the cast is the fabulous Larry Raben, who portrays multiple characters, including West’s little-known husband, Frank Wallace. An actor knows that jumping back and forth between characters (and costumes) throughout a production is not easy, but Raben handles it with ease. He has great comic timing (as does the entire cast), and owns the stage whenever he appears.

Josh Clabaugh’s lovely set and Moira Wilkie’s lighting design are spot on. Special mention must be made of Bonnie Nipar’s lush costumes: The bright colors, sequins, glitter and boas are perfect for West’s larger-than-life persona. The hair and makeup are quite well-done in this production as well.

The musical numbers (the original score is by Bob Stillman) are a delight, especially “Dirty Blonde” and “Oh My, How We Pose.”

Kudos once again to Yates for choosing to mount this production now. It is so relevant to the current national conversation (long overdue) about what kind of sexual banter is and is not appropriate, and the movement for women to finally have both equal power in the workplace and complete control over what happens to their bodies.

I have a feeling Mae West would have quite a bit to say on the matter. Thank you, Mae, for your courage, your bluntness and your refusal to be anything other than what you were. And thank you, Chuck Yates and Coyote StageWorks, for giving valley audiences such a compelling and enjoyable evening of theater.

Dirty Blonde, a production of Coyote StageWorks, is performed at 7:30 p.m., Saturday, Feb. 3; 2 p.m., Sunday, Feb. 4; 7:30 p.m., Wednesday, Feb. 7; 2 p.m., Thursday, Feb. 8; 7:30 p.m., Friday, Feb. 9; 2 and 7:30 p.m., Saturday, Feb. 10; and 2 p.m., Sunday, Feb. 11, at the Annenberg Theater at the Palm Springs Art Museum, 101 Museum Drive, in Palm Springs. Tickets are $45 to $60, and the show runs one hour and 40 minutes, with no Intermission. For tickets or information, call 760-325-4490, or visit www.coyotestageworks.org.

Published in Theater and Dance

So, off you go to the theater to see Loretta Swit. The question in your subconscious, or even in the forefront of your mind, has to be: Am I going to spend the evening with Maj. Houlihan?

Hey, she played the iconic role for an incredible 11 years. You know her. You have watched her for hours of your life. You have suffered with her, howled at her outrageous comedy and grown with her. You know Margaret “Hot Lips” Houlihan better than certain members of your own family. Even though it’s been decades since M*A*S*H originally aired, there are DVDs and endless reruns on TV, so she is always with you.

The endlessly creative Coyote StageWorks has brought her to the Annenberg Theater at the Palm Springs Art Museum for Six Dance Lessons in Six Weeks. So here you sit, breathlessly waiting, this giant unspoken question in your head.

Here’s the answer: Loretta Swit delivers! No, you will not spend the evening with Hot Lips. Swit proves herself to be the ultimate actress, transforming herself completely into Lily Harrison for this play, and making you forget all about that military nurse.

There’s nothing that fills the seats of a theater like the appearance of a celebrity, and Loretta Swit’s name, plus the proven reliability of Coyote to deliver stellar shows, brought out a bustling audience for opening night. If you want to exhaust yourself, read through the dizzying credits in the program, where everyone associated with the production lists their phenomenal career successes, educations, awards and honors. Whew.

Produced by the always-amazing Chuck Yates, Coyote’s founding artistic director, Six Dance Lessons in Six Weeks will captivate you with its terrific music, the tension between the two actors, the witty dialogue and its quirky creativity. The director, Larry Raben, is a co-founder of Coyote who has masterminded many of their shows. Direction for this show had to be a challenge, as one setting with two characters doesn’t give one a lot of variety to work with. However, Raben has managed to mine opportunities everywhere. We won’t go into detail for fear of ruining the surprises for you, but we promise you’ll be really delighted.

Co-starring with Swit is the superb David Engel as Michael Minetti, the dance instructor. Also a co-founder of Coyote, he smoothly and skillfully glides through his multifaceted role with apparent ease. Lily has hired Michael to teach her to dance with private lessons at her home, but despite his breeziness and jokes, the two lock horns immediately—and the relationship nearly craters at the start. The dialogue turns snarky. She fires him. That’s obviously not the end of the play; the complexity of their relationship is aggravated by old baggage, scars and some outright lies. Add politics, pain and some prejudice, and watch what happens. The two strut and stumble and grope their way through the choreography of their strange friendship … which is contrasted with the dance styles that they explore weekly, from Viennese waltz to cha-cha to tango and beyond. Engel is beautifully cast here.

Playwright Richard Alfieri has created an unforgettable script. A Floridian himself, he sets the action in a St. Pete’s Beach high-rise condo, and then creates two characters whose worlds would otherwise be unlikely to intersect. This play has been translated into 14 languages, and has been performed in 24 countries. It opened at the Belasco on Broadway; in Los Angeles, it starred Uta Hagen; his self-penned screenplay starred Gena Rowlands. Now Loretta Swit plans to tour in it! Nothing succeeds like success.

Let’s talk about Loretta Swit and her transformation into this role. Lily is an older character, but, of course, so is Swit, now 79. So how did she transmogrify into Lily from the role we all know so well? She gives us a master class in acting. First, vocal quality: Her voice is different because of her breathing, which changes everything. Lily speaks in short puffs, fragmenting her sentences into strings of phrases. Anyone over retirement age will tell you that your lungs can indeed change as your years progress, and Swit shrewdly uses this. Next, although she is still slim and youthful in appearance, we see that her very energy is changed, depleted, giving her posture the impression of advancing years. Her gestures, too, are different—here, she is more fluttery and feminine, a far cry from her severe portrayal of Houlihan. Physical changes include different hair (a rather heavy look, with bangs hiding or shadowing half of her face), and signs of aging such as dry skin, which she dismisses with self-deprecating humor. We view a lot more of her profile than of her full face, but Swit certainly knows her way around a punch line, no matter in which direction she is gazing.

Yates has chosen his staff with care, and the results are pleasingly wonderful, due to stage manager Diane David, scenic designer Josh Clabaugh, and Moira Wilkie’s scenic elements and lighting design (whose set earned instant applause at the first curtain), as well as the costumes of Bonnie Nipar. They all share in the compliment of a standing ovation at the show’s end.

Any problems? Not really, because the few little first-night stumbles will be ironed out by the time you see this play. Swit’s tight black cocktail dress revealed the outline of the microphone battery’s fanny pack, giving her a lumpy side view; perhaps it could be covered with a light jacket (or as they say in warm climes, “a little sweater”)? Other than these barely-worth-mentioning points, Six Dance Lessons is a show with which everyone can identify, and it is marvelous. There are laughs aplenty, counterpointed with some painful shocks and surprises. You will be charmed, moved and touched by the final scene.

At the Annenberg, you’ll always be treated to comfortable seats and most excellent sound quality—basics not present in every venue. Add this to the fabulous experience of the play itself, and you’ll treasure the experience of seeing Six Dance Lessons in Six Weeks.

And there won’t be an Army major in sight.

Six Dance Lessons in Six Weeks, a production of Coyote StageWorks, is performed at 7:30 p.m., Wednesday, Friday, Saturday; and 2 p.m., Thursday and Sunday, through Sunday, Feb. 12, at the Annenberg Theater at the Palm Springs Art Museum, 101 Museum Drive, in Palm Springs. Tickets are $45 to $60. For tickets or more information, call 760-325-4490, or visit www.coyotestageworks.org.

Published in Theater and Dance

As a lovely female voice sings in the background, a professionally dressed woman walks to the front of the stage and begins a monologue.

She likes to believe that every story has a happy ending, she tells us. She wants to believe in “alternate reals.” As a child, she saw Greta Garbo’s film Camille several times, and always dreamed that, hidden in a vault somewhere in Hollywood, there’s a film reel with an ending in which Garbo doesn’t die of consumption.

As Dr. Martha Livingstone (Marsha Waterbury) talks, a woman in a nun’s habit, who we later learn is the Mother Superior (Laura Julian), approaches and interrupts. The two begin a discussion—and we soon find out what’s going on.

The details are horrific: Several months before, a young nun, Agnes (Britt Adams), was found unconscious in her room. She’d just given birth—and her child was found dead in a trash can, with its umbilical cord wrapped around its neck. Blood was everywhere.

The young nun is being charged with manslaughter, and she claims to have no recollection of the birth (nor, for that matter, the conception). It’s Dr. Livingstone’s job to evaluate Sister Agnes—often under the watchful eye of Mother Superior, Agnes’ staunch defender.

John Pielmeier’s Agnes of God is the second and final production in Coyote StageWorks’ current season. After the criminally underattended Friday-night show, founding artistic director Chuck Yates told a small group of people that he saw the play back in the early 1980s, when it was a Tony Award-winning Broadway production. (In 1985, it was made into a film starring Jane Fonda, Anne Bancroft and Meg Tilly, which received decidedly mixed reviews.) It left a strong impression on him, he said—and he’s always wondered why it hasn’t received a significant revival.

After seeing Coyote StageWorks’ fantastic production, I understand what Yates is talking about. Agnes of God is a powerful, disturbing work about the power of faith, and the gray areas that often emerge when trying to determine “right” and “wrong.”

Scenic designer Josh Clabaugh’s set on the Annenberg Theater stage when the play starts is simple. It primarily consists of an office chair, a wooden chair, and a cigarette-laden ashtray on a stand. Off to the side is a see-through standing screen, and sheer white fabric hangs, curtain-like, from ceiling in several spots. However, that’s all the decoration this show needs: It’s all about the performances of the three women who perform in Agnes of God—and director Don Amendolia did a fantastic job of casting.

Britt Adams plays Agnes for much of the show as a one-note character. She’s naïve, untrusting and easily frightened, yet surprisingly sweet; she’s always singing. However, as Dr. Livingstone begins to earn Agnes’ trust and unravel all that’s happened to this 21-year-old, Adams begins to add layers to Agnes—especially in a shocking scene during which Dr. Livingstone finally gets Agnes to talk about what happened in her room on that fateful night. It’s a fine performance.

Martha Waterbury is excellent as Dr. Livingstone. We learn early on that Dr. Livingstone passionately dislikes nuns, because her sister became a nun and died at a young age due to a neglectful mother superior. It’s no surprise that she initially wants little to do with Agnes’ Mother Superior—but it is something of a surprise when she begins warming up to Agnes so quickly.

(An aside: While I’d never seen Agnes of God before, I saw the show with a friend who watched the early ’80s Broadway production. He mentioned that he was surprised at how quickly Waterbury’s Dr. Livingstone began showing her softer, more sympathetic side; he felt this performance choice made the character’s eventual emotional crisis less powerful than what was depicted in the Broadway version. So, take that for what it’s worth.)

However, it’s Laura Julian who deliver’s the show’s top performance. Her Mother Superior is fiercely protective of Agnes, calling her special—citing her amazing singing voice as proof—and an innocent. She is mistrustful of Dr. Livingstone, in part because she fears what the doctor will determine: If Agnes is sane, she’ll go to prison for manslaughter, and if she’s insane, she’ll go to an institution; Mother Superior believes Agnes will not survive in either case. While Mother Superior doesn’t trust Dr. Livingstone, she’s surprisingly understanding of her: These two strong women have a lot in common, including—later in the play—a love of Anges. Some of the play’s best moments come when Dr. Livingstone temporarily suspends her dislike of nuns (and, therefore, Mother Superior), and Mother Superior puts aside her mistrust of Dr. Livingstone, and the women find common ground—with even a shared laugh or two. Julian is masterful as holes begin to develop in Mother Superior’s story, and her emotions begin to crack just a little.

A warning: This show is not a feel-good piece at all. In fact, it is dark and disturbing. At the end, you’ll find yourself relating to Dr. Livingstone’s sentiments expressed at the beginning: You’ll wish the show had an alternate happy ending.

Alas, it does not. At least you’ll leave the theater knowing you’ve just seen a fantastically performed piece of theater.

Coyote StageWorks’ Agnes of God is performed at 2 p.m., Sunday, April 24; 7:30 p.m., Friday, April 29; 2 and 7:30 p.m., Saturday, April 30; and 2 p.m., Sunday, May 1, at the Annenberg Theater at the Palm Springs Art Museum, 101 N. Museum Drive, in Palm Springs. Tickets are $45 to $60, and the show runs about two hours with one 10-minute intermission. For tickets or more information, call 760-325-4490, or visit annenbergtheater.org.

Published in Theater and Dance

Coyote StageWorks, now back home at the Annenberg Theater at the Palm Springs Art Museum, earned a richly deserved standing ovation from the opening-night audience at ART. This one-act comedy runs about 1 1/2 hours, and earns the highest marks in every aspect of the production: set, lighting, costumes, direction, sound and acting. It’s so great in every department that it leaves your mind free to explore its unusual and beautiful theme: friendship.

Does art imitate life, or does life imitate art?

Before the play even begins, we can ponder the eternal question of life vs. art, because we know the three characters in the play, all best friends, are also friends off the stage. Chuck Yates, the founding artistic director of Coyote StageWorks, is joined by fellow actors Larry Raben and David Engel, both founding members and original board members of CSW. This gives their onstage friendship just a little extra frankness and intimacy: There are some things that are beyond acting.

Read their résumés in the program. It shows experience beyond talent—and they’ve done it all: Broadway, films, TV, screenwriting, directing, acting, singing and dancing, regional theater. Whew!

The script of ART comes from Yasmina Reza, creator of seven plays and six novels. She’s based in France, and her original French language has been translated by Christopher Hampton. They both deserve credit for the success of the writing, which is witty, snappily paced and hugely satisfying.

Though the play is set in modern-day Paris, director Don Amendolia has chosen to completely Americanize it. There’s not so much as a Gallic shrug or a French lilt to his interpretation, and never a Gauloise in sight. But the theme of friendship is universal, so it plays perfectly anywhere in the world. Amendolia’s fabulous blocking keeps the stage magnificently balanced at all times, making marvelous use of Josh Clabaugh’s delightful set, which uses obtuse angles and clean lines. The décor includes only two modernistic white leather chairs and a matching hassock, with a white section rug. Upstage are two display shelves which can be lit from behind or can look solid. The versatile set rises up like a little mountain range upstage, with a riser running by in front to create two levels. The extraordinary lighting, designed by Moira Wilke, blends with Amendolia’s inspired direction, best of all by highlighting the monologues in pools of light on a suddenly dark stage, breaking down the Fourth Wall when the actors speak directly to the audience. Huge kudos to the actors, and stage manager Diane David, for everyone flawlessly hitting their marks in the dark … gulp.

We must also applaud the fascinating pacing that the director has masterminded. The hills and valleys of intensity give such variety that both chaos and peaceful times are intensified by their contrast. It’s classic, and it’s lovely to watch such professionally guided timing, especially in moments of rapid-fire AK-47 dialogue.

We get to know the three characters quickly. Part of this is due to Bonnie Nipar’s beautifully thought-out costumes, which immediately tell us a lot about them. The overall comic energy of the play is hugely appealing—the actors start earning hearty laughs early, and it never stops.

It’s worth it to take a moment to analyze the quality of the comedy in ART. If you ask comedians, “What’s funny?” you’ll get a variety of answers. Here, it seems that the amusement comes from this play holding up a mirror to humankind in general, because we are never more ridiculous than when we’re stubbornly defending our righteous point of view. This comedy plays off the three different personalities—their opinions, vulnerabilities and vanities. (Watch them each eat an olive.)

It starts when Serge (Larry Raben) buys a painting. There aren’t many topics that divide people like modern art does, and with these three friends, their feelings about this painting are strong ones. Interestingly, this painting is completely white. (One of my art professors actually did this! Through the year of studying with him, we grew to understand and appreciate what he was doing, and he taught us to see art with different eyes. His white-on-white work looked different to us at the end of the year. However the characters in this play didn’t get to learn from my teacher, and so their opinions are … well, theirs.)

What the painting actually does is this: It touches off discussions—OK, arguments—that whip away the thin veneer of civility that covers the unexpressed hurts, misunderstandings and misinterpretations that can occur between people. Emotions, which have been suppressed in the name of friendship, suddenly bubble up to the surface. Because they now disagree, this opens up old wounds about the past, as well as some surprising thoughts and ideas about each other’s present situations. For example, Serge is divorced; Ivan (David Engel) has a significant other/life partner; Mark (Chuck Yates) has a fiancée busily planning their impending nuptials. Opinions about each other’s partners blurt forth, too, with tragicomic results. We see the ebb and flow of power in their relationships, with which everyone in the audience will identify.

The highlight of the play is a breathtaking monologue by Engel that caused an eruption of spontaneous and gleeful applause from the entire audience. However, all three actors are wonderfully cast. Their perfect diction is so rare nowadays (alas) as to demand a mention. You’ll be treated to some delightfully inspired gestures. They are each well-schooled and creative, and every one of their theatrical choices is awesome. Their highly sharpened skills allow the audience to relax into the story of the play, because Raben, Engel and Yates are so very convincing.

There is absolutely nothing to criticize in this work—and that’s the stuff that earns spontaneous joyous standing ovations.

ART, a production of Coyote StageWorks, is performed at 2 and 7:30 p.m., Wednesday; 2 p.m., Thursday; 7:30 p.m., Friday; 2 and 8 p.m., Saturday; and 2 p.m., Sunday, through Sunday, April 3, at the Annenberg Theater at the Palm Springs Art Museum, 101 Museum Drive, in Palm Springs. Tickets are $45 to $60. For tickets or more information, call 760-325-4490, or visit annenbergtheater.org.

Published in Theater and Dance

Chuck Yates and his Coyote Stageworks are back!

They have a great new show, Buyer and Cellar, with a spectacular new script, in a gorgeous new venue—the theater at the Helene Galen Performing Arts Center. Coyote Stageworks completely dominated the win list in last season’s Desert Theatre League awards, leaving all the rest of us coughing in his dust. When Coyote Stageworks suddenly found itself homeless at the end of last season, it made for a surreal contrast.

Thank goodness Yates landed on his feet.

Jonathan Tolins is the author of Buyer and Cellar, which was named “Best Unique Theatrical Experience” by the Off-Broadway Alliance. However, this information did not prepare me for the surprise of this play. None of the publicity gave away what we were about to see, either. Chuck Yates mentioned to me that although Tolins’ play is now running in New York, and will open soon in San Diego and Los Angeles, our little Coyote Stageworks is the second place to acquire the rights in the country.

Turns out Buyer and Cellar is a one-man show. The actor, Emerson Collins, currently appears as one of the stars of Bravo’s The People's Couch. His extensive history with the infamous Del Shores is beyond interesting; Collins played Max in Sordid Lives: The Series and appeared in Shores’ Southern Baptist Sissies, plus he produced Shores’ play Yellow, and then directed AND produced DVD live tapings of Shores’ one-man shows. His credits go on and on.

It’s hard for me to keep quiet about the subject of this play; part of the fun is the surprise you’ll get, and I only hope other critics will not give away the topic. Let’s just say that Emerson Collins plays all the parts, including the female characters, and that the play is about an American “megastar” of stage, film and recordings. It was even more interesting to me because I just happen to be reading a book about this very megastar’s early years and influences. Go figure.

Collins starts off playing the role of Alex More, a luckless actor forced to seek other employment when he loses his job in Anaheim at The World’s Happiest Place, as a result of an indiscretion at work. Maybe this would be the time for me to slip in a small language warning—frankly, it’s hardly worth bothering with, and it’s used more for humor than shock. Alex comes out of the closet early in the show, and we soon get to meet his new boyfriend, Barry—also played by Collins, of course. The humor is often Southern California stuff, like cracks about “the 405” and Malibu, so the denizens of our area might find even more to appreciate than, say, a New York audience. We watch Alex go off to apply for a new job, which brings him into contact with more new characters, all played by Collins. It is an extraordinary job, which he gets. And so it starts.

Collins immediately grabs the audience and never lets us go. He keeps everyone on the edge of their seats with his rapid-fire delivery, instantly morphing from character to character—with no props, wigs or costume changes, do you mind. For almost two hours, without intermission, he bounces, slides, flops, struts, flirts, sashays and even dances. Every character has its own voice. The laughs are so original and surprising that the first-night audience broke into spontaneous applause three times—and this does not include his lengthy standing ovation at the end. The sole criticism I could offer is that he dropped his voice on the last words of a punchline a couple of times, so we didn’t get the joke. The other 99.9 percent is flawless.

How much of the performance was Emerson Collins, and how much credit belongs to director Larry Raben? Impossible to tell, as always, but both deserve the very highest praise for the results.

The brilliance is breathtaking. We have no sense of time going by, which speaks not only to the comfortable seats of the Helene Galen Performing Arts Center theater, but also to the brisk pacing, the wonderfully fluid writing, and the astounding memorization challenge of what is basically a two-hour monologue on an almost-bare stage: It’s dressed with only one armchair and one coffee table. Collins changes the scenes by changing the angles of the “furniture.” We should mention there’s some help from back-lit upstage panels which display sketches, too. The props consist of one book—everything else, he mimes. Emerson has a masterful command of facial expressions, amazing body language and—so rare for many actors—a fantastic use of gestures. Like in hula, his hands tell the story. It’s fun; it’s fascinating; it’s overwhelming to watch him work.

Yates, when asked about the new 600-seat Helene Galen Performing Arts Center, which is now Coyote Stageworks’ home, responded by enthusiastically praising the high school students who volunteered their time and effort to run the lobby and box office during their spring break to make this show a success. Throughout the year, he gives them the chance to learn from him. What an opportunity for these kids! The young lady who showed us to our seats admitted to being a junior, and hopes to spend her life in theater. Good luck!

By the way: Other attendees joined me in experiencing brief panic while trying to find the new Galen Theater. It’s so new that our GPS (we named her Amelia Earhart) hasn’t yet heard of the place! It’s north of Ramon Road, between Bob Hope and Duvall drives, at Rancho Mirage High School. Look for the traffic lights at Rattler Road.

Do find it. Not only is it the newest, cleanest theater around; it’s home at last for Coyote Stageworks and Chuck Yates. Huzzah!

Coyote Stageworks’ Buyer and Cellar is performed at 7:30 p.m., Thursday through Saturday; and 2 p.m., Saturday and Sunday, through Sunday, April 5, at the Helene Galen Performing Arts Center, 31001 Rattler Road, in Rancho Mirage. Tickets are $45 to $60. For tickets or more information, call 760-202-6482, or visit www.coyotestageworks.org.

Published in Theater and Dance

For me, it was a one-shouldered floral pink tunic.

I wore it to the premiere of an independent film in which I was featured. Accompanying me that evening was an older female producer friend I was living with while she recovered from an injury.

The film, alas, was a bomb; the friend, who had always been competitive with me, seemed to enjoy my humiliation. At the after-party, I discovered she had betrayed me professionally in a huge way. We had a screaming fight on the way home. I moved out the next day, and our friendship was over.

I could never bring myself to wear that pink top again.

Nearly every female has a similar emotionally charged story or two about articles of clothing, which is part of what makes Coyote StageWorks’ Love, Loss, and What I Wore so satisfying. Men (straight men, at least) may not get it, but women do: What we’re wearing during a major life-changing event can never be separated from the event itself.

Love, Loss, and What I Wore, written by Nora Ephron and Delia Ephron, is based on a book by Ilene Beckerman. The play is a series of monologues using a cast of five women. When it was produced off-Broadway in 2009, the cast included Tyne Daly and Rosie O’Donnell. In 2010, it won the Broadway.com Audience Award for Favorite New Off-Broadway Play.

The five women, all dressed in black, sit on chairs downstage and occasionally refer to their scripts while relaying tales of first dates, bad marriages, divorce, death and fashion-challenged mothers.

Gingy (Gloria Loring) serves as the narrator. Gingy shares with the audience the way her wardrobe has marked important times in her life—starting with her Brownie uniform—and how easily such memories can be triggered. We learn of her three marriages, the death of one of her six kids (“Your son has expired,” the hospital tells her in a phone call), and her contentment in becoming a grandmother.

Loring—known to many as Liz Chandler on Days of Our Lives, to others for singing the hit duet “Friends and Lovers” with Carl Anderson, and to yet others as the mother of pop-sensation Robin Thicke—is wonderful. She exudes warmth and humor throughout the production, and pulls off the dramatic moments with skill. (Her breezy handling of a malfunctioning microphone at the top of the show on opening night set just the right tone.)

Mo Gaffney, who plays Gingy’s mother, among other characters, is hilarious. One of the evening’s highlights is her diatribe on purses, and how she can never keep hers tidy and organized. Her description of a friend who was trapped in a Paris café during a rainstorm so her $6,000 Grace Kelly handbag wouldn’t get ruined is priceless. Gaffney, a stage and film veteran, is the definition of a seasoned professional.  She’s magical onstage and makes it look easy.

Olympic gymnast-turned-actress Cathy Rigby is also terrific in multiple roles. She’s vulnerable and effective in a scene with Bets Malone as her lesbian lover, during which the two are deciding what to wear for their wedding. At another point, she recalls every stitch of clothing her character had on when she followed an abusive boyfriend to Seattle, begged him repeatedly to stay, and then finally mustered up the guts to dump the jerk.

Though not as well-known as the headliners, Malone is an amazingly versatile actress. She makes the most of a vignette comparing the loss of a favorite shirt to the end of a romantic relationship (“I just had to cherish the time I had with the shirt and move on”) and rivets us as a cancer survivor who decides to get a tattoo on her reconstructed breast.

Rounding out the cast is Elaine Hayhurst, also in several roles, including the girlfriend of a Chicago gang member. She shines in bits about choosing between wearing high heels or “thinking” shoes, and the trauma of having an unwanted audience of saleswomen help her buy a new bra. (All five women share amusing dressing-room angst: ”Oh my God, my butt fell!” and “This doesn’t fit, but I always lose weight in May.”)

Director Toni Kotite brings out the best in the cast. Each actress creates believable, likable characters whose stories draw us in, and the chemistry among the group is genuine. The tasteful lighting and simple set are perfect. Artistic director Chuck Yates once again has turned in a top-notch piece of theater, with a stellar cast and fabulous production values.

One of my pet peeves when attending plays these days is the tendency for audiences to jump to their feet at the end of every show, even when it’s mediocre or just plain awful. But the standing ovation Coyote StageWorks’ production of Love, Loss, and What I Wore received the night I saw it was richly deserved.

This play will make you laugh and cry—and perhaps make you wonder why you’re REALLY hanging on to those bell bottoms from junior high.

Coyote Stageworks’ Love, Loss, and What I Wore is performed at 7:30 p.m., Wednesday, Friday and Saturday; and 2 p.m., Wednesday, Thursday, Saturday and Sunday, through Saturday, April 5, at the Annenberg Theater at the Palm Springs Art Museum, 101 N. Museum Drive, Palm Springs. Tickets are $39 to $55, and the running time is 90 minutes, with no intermission. For tickets or more information, call 760-325-4490, or go to www.annenbergtheater.org

Published in Theater and Dance

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