Registered Critic: Paul Myrvold - Theatre Notes

Paul Myrvold has been writing theatre commentary for over thirty years, first in the Bay Area covering every kind of performance including plays, musicals, ballet, opera, circus and even a Portuguese-style bull fight. He has written about theatrical performances at all levels in all kinds of venues from the premiere theatres, such as A.C.T., Berkeley Rep and TheatreWorks, to smaller, high quality venues such as San Jose Stage Company, City Lights Theatre Company and Pacific Repertory Theatre in Carmel. He has also covered community theatre productions, college and university productions and, on occasion, high school productions. Now residing in Southern California, Paul has been commenting on shows throughout Los Angeles County and has stretched his beat to Orange County and South Coast Repertory. An Equity actor for over forty years, Paul played Jonathan Jeremiah Peachum in San Jose Stage Company’s award winning production of The Three Penny Opera and the dual roles of Sir Walter Elliot and Admiral Croft in the world premiere of Jane Austen’s Persuasion also at San Jose Stage Company. He earned a Bay Area Theatre Critics Circle Award for “Outstanding Performance” in the supporting roles of J. V. “Major” Bouvier and Dr. Norman Vincent Peale in the musical Grey Gardens at TheatreWorks (2008). In the summer of 2018, he appeared in the highly acclaimed Open Fist Theatre production of Dylan Thomas’ Under Milk Wood as Reverend Jenkins and Narrator. Paul has performed on Broadway (most notably in the hit show Shenandoah with John Cullum), off Broadway, off-off Broadway, in regional theatres, summer stock and as a Guest Artist at colleges and universities from coast to coast. He has performed his signature role Cervantes/Quixote in Man of La Mancha eight times over four decades, the latest of which was an intimate, theatre-in-the round production at Pacific Repertory Theatre. Some other favorite roles include King Lear, Fred Graham/ Petruchio in Kiss Me, Kate, Trigorin in The Sea Gull, Fredrik Egerman in A Little Night Music and Caldwell B. Cladwell in Urinetown. Paul is never happier than when he is in the theatre, either on stage or in the audience, and he hopes to see you at intermission or after the show.
Feb

Forever Plaid

This production of Forever Plaid provokes giddy laughter from the audience before a word is spoken or a song sung. When I think of musical comedy from now on, this show will top the list.

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Feb

Beckett5

The cast of five protean actors — Alan Abelew, Diana Cignoni, Sheelagh Cullen, Elizabeth Hogan and the aforementioned Mr. Weisser — is superb. The performances, under the astute direction of Ron Sossi, are wonderfully detailed and very affecting as well as hilarious when hilarity is called for. Bravo!

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Feb

HANSEL & GRETEL BLUEGRASS

Directed by Debbie Devine, Hansel and Gretel Bluegrass is a bona fide hit.

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Feb

Plasticity

All the dazzle of the media elements aside, the story has a beating, human heart. The characters that Mr. Lyras creates are vivid and touching as they express the angst, frustration and love that surrounds the looming loss of a loved one. Staged in the intimate confines of the Hudson Guild Theatre and lavishly produced, Plasticity is mesmerizing. Get your tickets!

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Feb

The Found Dog Ribbon Dance

The Found Dog Ribbon Dance is a fast-paced crowd pleaser. It boasts a lean, tightly-written, serio-comic script enhanced by the savvy direction of Alana Dietze.

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Feb

Debussy: His Letters and Music

The performance is a fine homage to the life and works of Claude Debussy and when Ms. Migenes sings, it is with the nuance and power of the opera star she is. I only wish there was more of it.

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Feb

Future Sex Inc.

Artfully directed by Kiff Scholl, Future Sex, Inc. is a bawdy pop-musical spectacle rife with rough, naughty language and plenty of simulated sex acts of literally all kinds. It is not a show for straight-laced puritans. It's entertaining; it's fun, and it doesn't pretend to be anything else.

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Dec

GARDEL'S TANGO

The story of Carlos Gardel is certainly a reasonable, even desirable, subject for the stage, which is proven whenever Anibal Silveyra sings. With some changes, Gardel's Tango could very well be it.

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  • La Vie En Rose with Julia Migenes
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