“Critic's Pick of the Year!”
Geri Garner, Kaleidoscope Radio
 

I have been covering Santa Monica Playhouse productions for more years than I would want to admit to, and they do extremely fine work, but "Love In Bloom," is one of their most ambitious and satisfying shows I have ever seen there. It is a spoof on the Bard as Faerie King (Chris De Carlo), and the Queen (Evelyn Rudie), who must grapple with human affairs. 

This new musical comedy written by Rudie and De Carlo get the concept of Shakespeare's musical lyrics, and illicit exceptional performances by this phenomenal cast of eight (Serena Dolinsky,Liz Eldridge, Melissa Gentry, Jake Levy, Zach Medway, Tyner Pesch) who are working with very challenging material.

The Hamelot kingdom's fate rests in the balance on an event that occurred 10 years ago  Two damsels in distress, must disguise themselves as men. One so she will not have to marry a prince her parents promised her to, the other is her sister searching for her, and always just one town away from her. Even when they meet they have no idea who the other one is. The elegant rogues, and lusty wenches who occupy this fairy tale town, in this magical and elegant production, as the King and Queen confront destructive mysterious forces.

Once again the Bard's usual fops, fairies, mistaken identity, romances, and humor highlight this farce, with original music, and lyrics by Rudie, and Matthew Wrather. Best of all along with this incredible evening of sublime theater, at intermission there is complimentary dessert and nibbles buffet. Truly it doesn't get any better than this.  Bring the kids they will love it.

This is our critic's pick of the year for original, and innovative musical theater, that  truly is a classic.
 

 “Captivating!”
Carol Kaufman Segal, stagehappenings.com
 

It was as if we were watching Shakespeare set to music with its Faerie King Orion (Chris DeCarlo) and Faerie Queen Talia (Evelyn Rudie) at the helm of Love in Bloom at the Santa Monica Playhouse. Written by these two brilliant and talented Co-Executive Directors of the Playhouse, they have, once again, created a production that brings magic to their theater. Love In Bloom, not only brings Shakespeare to mind, but some of the music is a take from Gilbert and Sullivan; some of the scheme of the play is definitely theatre of the absurd and we then think of Ionesco. The creativity behind the book and the performances of the cast are captivating. The innovative set design by Tim Chadwick, James Cooper and George J. Vennes III adds enchantment to the production, as well as does the lighting by James Cooper. The story, likewise, is enhanced by projections at the back of the set. The costume designs by Ashley Hayes are all made by the members of the Santa Monica Playhouse.
 

The play takes place in Hamelot where Prince Hamelot (Tyner Pesch) is scheduled to marry a bride chosen for him. Naturally, he wants to find true love, but if he refuses to marry at the set time, he will lose his kingdom. When he chances upon a lady who he never actually lays eyes on, he falls in love, unbeknownst to him that she is Constance (Serena Dolinsky) the lady to whom he is betrothed. She too, falls in love with the man she encounters, but does not look upon. Constance is also upset at being betrothed to someone not of her choice, so the merriment begins when they both try to prevent the wedding. While the show is presented with a small cast (that also includes Liz Eldridge, Melissa Gentry, Jake Levy and Jack Medway) they change characters by donning wigs, and by clever and skillful maneuvering, they also become the objects of the sets. The original songs are fun, humorous and well done. All of the performers are expert in the brisk singing ala Gilbert and Sullivan.
 

“Delightful, tuneful, picturesque!... A remarkable piece of theatre!”
Rich Borowy, Accessibly Live Off Line

The Santa Monica Playhouse proudly presents the world premier of the musical fantasy LOVE IN BLOOM, a fairy tale about a prince, a princess to be, along with heroes, villains, cherubs, nymphs, and other forms of characteristic merriment set in a time where sprites and knaves ruled all the land.

The setting is a sphere called Hamelot, located somewhere between hither and yon. Young prince Hamelot (Tyner Pesch) has been set to an arranged marriage with Constance (Serena Dolinsky) a maiden dwelling within the kingdom. There is another damsel, Cortina (Melissa Genrtry) that seeks his attention. To add a few other characters ranging from Constance's parents, a selection of reprobates, adding a healthy mix of pans, naiads, magic spells, along with a favorite to save the moment, and what one has is a whimsical tale set to music where things that can happen do, and the moon is always full with love, humor, and all points in between! And while all of this occurs, the king and queen of the fairies Orion (Chris DeCarlo) and Talia (Evelyn Rudie) provide the narration and play-by-play!
 
This charming and amusing piece is a pleasant hybrid mix of classic fantasy, mythical legions set to light, Shakespearian musing (without the long winded prose), with a satisfying touch of a Gilbert & Sullivan operetta added for good measure! Chris DeCarlo & Evelyn Rudie's story (i.e. "book") has everything one needs to present a tale where princes and princesses reign, identities are switched, magic forces are applied (both sparingly and with pugnacity), and along with such tales, everyone does live that happily ever after! The musical score by Evelyn Rudie and Matthew Wrather is just as colorful and picturesque. Although this is a genuine fairy tale, it's more geared toward adults. Whereas some of the humor to a degree leans toward a bawdy stance, (nothing really offensive, just slightly suggestive), its level can be too diverse for kids. However, those aged twelve and up would find this work very satisfying indeed!

In addition to the rest of the talent seen on stage, the set design and creation by Tim Chadwick, James Cooper, and George J. Vennes, III enhances the fantasy level to the themes and treatments that this musical brings forth. Upon viewing the setting, one can nearly see the mythical personas that each character presents itself, no matter how much magic is applied (or not) as each little circumstance is performed!
 
Rounding out the cast is Liz Eldridge as Lady Merrymount (described as a "interim regent"), Jake Levy as "monster" Calabasas and Mother Frisbe, mater to Constance (as a duo role), and Zack Medway as rogue Frivolio and Father Pyramid, Constance's patriarch. (Another duo role!)
 
Directed by Chris DeCarlo, LOVE IN BLOOM is delightful, tuneful, picturesque, and holds a lot of sophistication when it comes to cherubs and other forms of physical beings of spirit. The title, though it fully describes this stage work's keynote threads, may suggest to have one being reminded of a now standard song holding the same title that was used as the theme song of a comedian that kept his same age for many years! However, the only "age" used in this case is the timeliness notions of when the world can become a stage and all its players take their own unique part. The Bard may have composed those lines many centuries before, but those same words still keep up to this very moment! This remarkable piece of musical theater holds its head high into the heavens—with just a bit of that enchantment to boot!
 

“The presentation is uniquely their own, and delightfully so…Hilarious!”
K. Primeau, L.A. Theatre Review

Standing around outside of Santa Monica Playhouse's The Other Space, chatting up cast members and munching on mini cream puffs on opening night of Love in Bloom, I couldn't help but be reminded of Theatre's tradition as a meeting space within a community. The playhouse, which will be celebrating its 50th Anniversary next year, boasts an international artist exchange program and countless hours devoted to outreach and education. All of this, combined with their charming space on 4th street and the generous hospitality of each cast and production team member I met, made for the perfect environment in which to indulge in the world premiere of a new musical. Built on the traditions of commedia del arte and the whimsy of fairy tales, the union of like-minded artists was greeted in good cheer by the theatre's patrons.

Devised in somewhat Shakespearian fashion during a period of six weeks, the Actors' Repertory Theatre ensemble turned a ten-page outline into a full musical production, replete with thirteen original numbers. Narrated by the Queen and King of the Faeries (Evelyn Rudie and Chris DeCarlo), we learn that everything is askew in the little kingdom of Hamelot, and all must be settled by the stroke of midnight. Thus ensues the chase to resolve an arranged marriage, unite two long-lost sisters, uncover mistaken identities, and bring justice to all of the bad guys. An ensemble of six literally changes hats to portray the story's twenty-eight characters, changing from character into bit of scenery only to burst out in song minutes later. An undercurrent of allegorical nods to the virtues of love and collaboration rises and subsides amidst healthy doses of humor, miming, and classic musical theatre bits. While the story's components seems familiar, the presentation is uniquely their own, and delightfully so.

Standout moments include the hilarious number, "She Likes You," in which Constance and Cortina (Serena Dolinsky and Melissa Gentry), disguised as male commoners, teach Prince Hamelot (Tyner Pesch) how to discern whether a girl likes him or not. Indeed whenever the three were together, the action flowed with great charm. Equally clever was the way the ensemble created the landscape of the play through their form, flitting their fingers to portray a campfire and crashing on the ground in a wrecked ship. The intricate choreography inspired admiration, and was articulated with agility and comedic panache. Where the occasional song or phrasing fell flat, the next song would redeem it, sending chills up my spine and a smile to my face. And Zach Medway’s miming Frivolio kept me laughing throughout.

In a world of nymphs and frogs and magic, the logical mind can get confused, but thankfully the second act opened with a comedic recap of previous events… Tim Chadwick and James Cooper designed a malleable playing space, with simple ramps, stairs and open space draped in netting for the cast to play upon. Up Center of the action, a projector flashed computer-generated images that, while adding to the surreal quality of the world, were distractingly Clip Art-y at times. The humorous wigs and hats and suggestive detailing on the costumes was beautifully carried out by Ashley Hayes, although I do wonder if she meant for Orion to look so astonishingly like David Bowie in Labrinth. 

All’s well that ends well, and Love in Bloom ended beautifully on "A Rose By Any Name." Recollecting the witty character names (Lady Merrymount, the monster Calabasas), I wonder what other references and love notes to the theatrical canon I may have missed. Thankfully, the complimentary coffee and dessert buffet was calling my name, so I didn’t worry long.
 

“Superlative!... It certainly deserves as long a run as it can handle.”
Lynne Bronstein, reviewplays.com

“A pastiche of characters and situations found in several of Shakespeare’s comedies…A Midsummer Night’s Dream…Twelfth Night…The Tempest…blended with commedia dell’arte touches and more than a dab of Gilbert and Sullivan (especially in the songs by Rudie and Matthew Wrather. Wow! Can anyone these days write a word-crammed lyric like Rudie can-and who else than her ensemble at the Playhouse can sing these songs?)…What Rudie and DeCarlo have here is a light-hearted musical that compares to The Fantasticks. It even does The Fantasticks one better because it has a higher consciousness in regard to gender roles. Some of the songs are superlative- “Quicker,” sung by Dolinsky and Rudie, is the tongue-twister of all time, while Eldridge’s song as Lady Merrymount recounting her sex life, “The Bonny Lad,” is hilarious and gets well-deserved applause. It certainly deserves as long a run as it can handle.”
 

“A production in which each exquisite cast member blossoms
and nourishes the soul. Live, love, laugh at this true labour of love, sheer
delight, played out from beginning to end.”
Bonnie Piever, The Tolucan Times
 

“All the wonder, mirth and fancy of the Bard come to life, at Santa Monica Playhouse, as ‘Love in Bloom’ unfolds Shakespeare’s orb into contemporary times. Through an eclectic mix of creative, expressive movement, music, lyrids and poetry, the eight member ensemble of fairies, damsels in distress, cherubs, princes, and royalty reveal themselves in a commedia-carnival style, truly in the spirit of ‘All the world’s a stage. Inspired and influenced by the genius works of favorites – Shakespeare, Gilbert and Sullivan, Ionesco, and Marcel Marceau – playwrights Chris DeCarlo and Evelyn Rudie invite the audience on a whimsical journey into the enchanted garden of Love in Bloom…Just as “A rose by any other name would smell as sweet,” Love in Bloom is a production in which each exquisite cast member blossoms and nourishes the soul. Live, love, laugh at this true labour of love, sheer delight, played out from beginning to end.”
 

“It soars!”
Daniel Boden, Daily Bruin

“There is something unabashedly Shakespearean about “Love in Bloom.” From the Faerie King and Queen who must meddle in human affairs to save themselves to the headstrong damsels who must disguise themselves as men to achieve their goals, traces of – and even blatant shout-outs to – the Bard are rife in this play…The story is well-written and seems very familiar to any theater savant. Indeed, the story’s nymphal frame is right out of “A Midsummer Night’s Dream.”…The play uses its resources well and leaves a large impression…The cast sings well and the songs are funny, heartfelt and lexically amusing. “She Likes You” is perhaps the play’s most clever song, if only because it humorously and honestly explains how easy yet confoundingly hard it is to know when a girl is actually into a guy. The closing numbers of both acts, “A Modest Proposal” and “A Rose By Any Name” hit home the love-conquers-all theme that runs through the production… “Love in Bloom,” as an original work, is good. As homage to Shakespeare, master of pantomime Marcel Marceau, Commedia dell’arte and conventions of classical theater in general, it soars. And by the time the lights fade to black, you will not be able to fight the feeling that all you need is love.”