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photos © Richard K. Hogle

Albuquerque Theater Year in Review
By Barry Gaines / For the Journal on Sun, Dec 26, 2011

Independently, FUSION Theatre Company premiered Williams’ 1939 one-act Once in a Lifetime at The Cell. I doubt that many cities can match our yearlong observance of Tennessee Williams’ birthday. One of these productions was among my year’s best.

The FUSION Theatre Company continued to present some of Albuquerque’s finest theater at The Cell. Its productions of God of Carnage by Yasmina Reza, directed by Gil Lazier, and Red by John Logan, directed by Jacqueline Reid — both direct from success on Broadway — were audience treats. My favorite FUSION play, however, was The 39 Steps [from 2010-2011 season], adapted by Patrick Barlow from Alfred Hitchcock’s 1935 British film. Robb Sisneros directed only four actors — Ross Kelly, Jacqueline Reid, Paul Blott and Bruce Holmes — to play dozens of characters. There was the surreal silliness of sight gags, deliberately missed sound and light cues, and whacky physical comedy that resulted in almost nonstop laughter.

Clauses’ Discord to Our Amusement
By Barry Gaines / For the Journal on Sun, Dec 11, 2011

If you are looking for something different in Yuletide entertainment – a dramatic offering without “Christmas” in the title – the FUSION Theatre Company is serving up a helping of holiday silliness at The Cell. And it’s a world premiere! Jacqueline Reid directs some FUSION regulars and a few newcomers in You Can’t Get a Decent Margarita at the North Pole by Matt Hanf, winner of two short-play contests at The Cell. This one is as frothy as whipped eggnog and fun to watch. It appears that there is trouble in chez Claus. Mrs. Claus (Marjorie to her friends) is tired of living at the North Pole and having a workaholic for a husband. Santa (Nick) Claus works the year ’round to provide gifts for the children of the world, and things are especially hectic during the last two months of the year. Mrs. Claus thinks, however, that her jolly old elf may be getting his jollies with his cute assistant Rita (short for margarita?).

Unhappy Marjorie is taking shooting lessons from – wait for it – the Tooth Fairy. They share some drinks at a local bar where Arthur (aka Tooth Fairy) listens to her problems and offers his services in areas beyond oral hygiene. Meanwhile, Rita has her heart set on being the second Mrs. Claus.

Cynically observing these love triangles is none other than Rudolph, the reindeer of red nose fame. Rudolph dislikes his work and files a workman’s compensation claim against Santa. He also quotes Shakespeare (Iago and Rosalind) and uses a rasp instead of an emery board. Rudolph manages to get everyone to Mexico, where everything is resolved.

Richard Hogle’s scenic design is simple. Minimal furniture is brought on and off stage – Santa’s desk, a cocktail table at and under which characters sit, a palm tree and oversized beach chair, for example. Jaime Prado’s costumes are memorable. Mrs. Claus wears two dresses in red poinsettia patterns, Tooth Fairy has pastel wings, Rita wears a short, pink, fur-trimmed outfit with frilly undies, and Rudolph sports brown fur pants and bib and antlers. Laurie Thomas’s Marjorie is a stylized virago, and Georgette Reeves is pleasant enough as Rita. Bruce Holmes is rather restrained as Santa, but he does a great drunk scene. Jody O’Neil gives a refreshingly outrageous portrayal of Rudolf, and Gregory Wagrowski is fun as a Mafioso Tooth Fairy. In the clever script and lively performances there is plenty to ho-ho about.

You Can't Get a Decent Margarita at the North Pole
By Rob Spiegel/ TalkinBroadway.com/

Things are getting a bit out of control at the North Pole. Rudolph is in a foul mood. He's in the process of filing a workman's comp claim for a minor injury. Rita, Santa's Girl Friday, is trying to dissuade Rudolph, who is firmly set in deep persnickety.

Rita wants to save Santa the burden of a claim partly because Rudolph has no real claim and partly because she's in love with Santa and wants to protect him. She also sees it as a way to keep Santa at the office. She's the main reason Santa can't get home on time.

Meanwhile, Santa is overwhelmed with Christmas preparations, and a neglected Mrs. Claus is just about ready to throw her always-at-the-office husband under the bus. All the while, the Tooth Fairy—who is an East Coast mobster by day—is batting his substantial lashes at Mrs. Claus, trying to line up a regular nooner.

Mrs. Claus (Laurie Thomas) just wants a little attention from her distracted husband. She adores him, and he can't even see her. In Mrs. Claus' hurt and frustration, she's vulnerable to anyone who might sense her distress and take advantage. Thomas nicely brings a 1940s saucy leading lady style to the character.

Santa (Bruce Holmes), of course, hasn't a clue. He's a well-meaning doofus, easily manipulated by Rita. Holmes nails Santa's voice, big and broad with hollow authority. His long-pining elf Rita (Georgette Reeves) only wants to be with Santa. She wants to fix up the messes in Santa's shop, i.e. Rudolph, and see to all his needs, while trying to keep him in the shop and by her side for as many hours as possible.

The Tooth Fairy (Gregory Wagrowski) keeps pressure on Mrs. Claus, mostly by plying her with alcohol. Wagrowski does an inspired turn on Paulie Walnuts of the The Sopranos, played by Tony Sirico. Wagrowski even looks like Sirico. The Tooth Fairy is part of the Shakespeare-ish twist at the end, and he handles it wonderfully.

In a bizarre scheme by Rudolph, the whole bunch heads off to Mexico for a week, half not knowing the other half is going to show up. Of course, everybody crashes into everyone else and all pretenses break down. As the whole mess gets straightened out in a sit-com calamity, it's very funny.

Rudolph (Jody O'Neil) is the twisted center of the romp. O'Neil balances a number of roles: scapegoat, jester, and the humorous conscience of the story. Most of all, O'Neil is always funny, from open to close.

Playwright Matt Hanf borrows heavily from Shakespeare's comedies. He even has Rudolph quoting the Bard in goofy soliloquies. Wise choice. If you're going to steal, steal from the greats. You Can't Get a Decent Margarita at the North Pole is showing as a world premiere at FUSION. This Elk Grove, California, playwright has placed twice in FUSION's The Seven one-act play competition. Hanf scores well with this debut. While he's not blazing new ground, he does turn in a funny play.

Direction by Jacqueline Reid keeps things moving at a tight clip. The pacing is part of what makes the script funny. There is a whole world of comedy here that doesn't come directly from the script. I would guess the source of those laughs is Reid. She has a good bead on this script, finding laughs hiding in the corners.

The costumes by Jaime Pardo are ridiculous, which is the heart of their charm. The mobster Tooth Fairy is a particularly hilarious vision, from his fluttering wings to his tough-guy tutu. Rudolph's get-up is a disaster, which perfectly fits his grumbling personality. The staging (Maria Lee Schmidt) and lighting (Richard Hogle) are simple, clean and effective. This is a fun play; catch it if you want a good laugh.

 

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You Can't Get a Decent Margarita
at the North Pole Cast

Bruce Holmes	BRUCE HOLMES* (Santa) most recently appeared with FUSION in two roles in our world premier of Once in a Lifetime by Tennessee Williams this season and the only-temporarily civil husband in God of Carnage. Previously, he was one of two multi-faceted "Clowns" in Alfred Hitchcock's 39 Steps and "Bill Fordham" in August: Osage County. He had the principle role in The Seven's Jury and Bosser Award-winning Hiding From Adults by Greg Kalleres. He also appeared in Jen Silverman's award-winning The Education of Macoloco as part of The Seven: New Works, which recently won the Samuel French Off Broadway New Works Festival. Previously, he was "Brother Timothy" in The Mandrake, "Ned" in Parlour Song and "Teddy" in The Homecoming. He made his debut here as "Christy" in Martin McDonaugh's The Lieutenant of Inishmore. In Seattle, he worked at A.C.T., Center Stage, AHA!, N.W. Shakespeare Ensemble, and The Empty Space Theatre. Favorite roles at The Space include “Pat” in The True History of Coca-Cola in Mexico, “Jess” in The Complete Wrks of Wilm Shakespeare Abridged, “Horace” in The School for Wives, “Bertozzo” in Accidental Death of an Anarchist and “Sgt. Match” in What the Butler Saw. In Idaho, Bruce performed with The Idaho Repertory Theatre as “Leon” in Voice of the Prairie, “Max” in Lend Me a Tenor, “Trevor” in Bedroom Farce, and as “Andrew” in I Hate Hamlet. In Washington D.C., he appeared as a longshoreman in Arena Stage’s Anna Christie, and “Pee-Wee” in Orpheus Descending. At the Washington Shakespeare Theatre, he appeared as “Sampson” in Romeo & Juliet. In Virginia, Bruce appeared as “The Narrator” in For the Pleasure of Seeing Her Again at The Metro Stage Theatre. Recent film/tv credits include the USA series In Plain Sight, the feature film Fright Night and the lead in Ultimatum Pictures’ Voiceover. He received his B.F.A. from the University of New Mexico and his M.F.A. from the Professional Actor’s Training Program at the University of Washington.
Jodie O'Neil	JODY O'NEIL* (Rudolph) made his acting debut with FUSION this past September in their world premiere production of Tennessee Williams’ Once in a Lifetime at the 6th Annual Tennessee Williams International Theatre Festival in Provincetown, MA. Earlier this year, he appeared as “Ivan” in Provincetown Theater Company’s critically acclaimed production of Art by Yasmina Reza. In April, he portrayed “Stumpy MacPhail” in CTEK Arts’ production of The Ballad of the Sad Café for the Edward Albee Festival at Arena Stage. Next year, he will appear as “Ivan Zamir” in the premiere episodic television series, OFFSEASON, created by Nathan Butera for Provincetown’s PTV, for which he is also a contributing writer. He is a member of both SAG and the Dramatists Guild. Jody has been a proud member of the Actors’ Equity Association since 2002.
Georgette Reeves	GEORGETTE REEVES (Rita) most recently performed with FUSION in Status Update as a part of The Seven: Tangled Webs. Georgette holds a Bachelor of Arts from the University of New Mexico Theatre and Dance program, and has been active in the theatre communities in Albuquerque and the Washington, DC area. Most recent roles include: “Rita” in Prelude, “Bernadette” in Raised in Captivity, “Maria Galino” in Tony n Tina’s Wedding, “Puck” in A Midsummer Night’s Dream as well as An Evening with Christopher Durang and The Oldest Living Graduate.
Laurie Thomas	LAURIE THOMAS* (Mrs. Claus) is a co-founder and Artistic Associate of FUSION Theatre Company. She is a director, actor, writer and member of Albuquerque Academy’s Performing Arts Faculty. She has performed professionally at California Shakespeare Theatre, Book-It Repertory Theatre, On the Boards, A Contemporary Theatre, Berkeley Stage Company, The Empty Space, Bay Area Playwrights Festival, and Playwrights Horizons. She was honored to represent FUSION at the Provincetown Tennessee Williams Festival last September in the premiere of Once in a Lifetime. Last season, Laurie played "Violet" in August: Osage County, "Winnie" in Samuel Beckett's Happy Days and “Annette” in God of Carnage. Most recently she directed FUSION's production at the Albuquerque Museum, George Bernard Shaw's Overruled. She is excited to be directing FUSION’s New Mexico professional premiere of Donald Margulies’ Time Stands Still. Laurie has been a proud member of the Actors’ Equity Association since 1990.
Gregory Wagrowski	GREGORY WAGROWSKI* (Tooth Fairy) returns to FUSION having played two roles in this season's Once in a Lifetime: Tennessee Williams Celebration and the pater familias in last season's August: Osage County. He has been working professionally as an actor and director for over thirty years. He served as the Artistic Director for both the Smokebrush Theater and The Colorado Actors Theater. He has performed a variety of roles in theaters all around the country including the Public Theater in New York, the St. Louis Repertory Company, the Magic Theater in San Francisco, the Mark Taper Forum, and the Los Angeles Theater Center where he was an Artistic Associate for seven years. He was a founding member of two theater companies, The Old World Theater Company in Chicago and The Noe Street Theater in San Francisco. He has also worked extensively in both film and television where his most recent credits include, Mad Men, The Unit, Criminal Minds, and ER. Mr. Wagrowski is also a sometime writer, poet, and educator.

* Member Actors' Equity Association, the union of professional actors and stage managers in the United States
† Equity Membership Candiddate