Washington captures holiday spirit in My Three Angels

By Pamela Rosen
Staff Writer

Washington High School’s production of My Three Angels has a lot of heart—both in the story, and in the cast. This offbeat Christmas story takes place in 1910 in French Guiana, where the Ducotels, a family of French ex-pats, try to eke out a living as merchants on the steamy colony. They share their tropical paradise with transported French convicts, and the prison system permits the convicts to serve as manual laborers for the citizens. It’s a society where citizens mingle freely and without much fear with convicted felons. My Three Angels makes the audience consider (and reconsider) their own interpretation of morality and justice.  If that doesn’t sound like lovely holiday fare, think again.

At the beginning of the play, we meet the Ducotels—Felix, an incompetent businessman with more heart than business sense. He’s running the family’s store into the ground by offering too much credit, losing inventory, and shoddy bookkeeping. His wife, Emilie, puts on a brave face.  Finally, there’s Marie Louise, the Ducotel’s young daughter, a romantic in love with the timid and naïve Paul, a man above her station but below her quality. Paul is about to visit Marie Louise to break the news to her he’s going to marry someone else.

On Christmas Eve, all the Ducotels stand on the verge of ruin. Coming ashore with Paul is Felix’s wealthy and unpleasant cousin, Henri Trochard, who’s bringing more bad news: he’s been financing the Ducotel’s business, and he’s about to pull the plug and send the family back to France, penniless.

That’s when three convict workers, who’ve been working on the Ducotel’s roof, get involved. Felix has kindly invited the convict laborers to spend Christmas with the Ducotels, and the prisoners-- Joseph, Jules, and Alfred— decide to repay their host’s kindness by solving all their problems for them. The Ducotels find their Angels charming and magical, as one by one, their problems disappear. What they choose not to see is the method to their magic—after all, these are convicted felons with no chance of reprieve, nothing to lose, and a sense of island prison justice all their own, where they serve as judge, jury, and executioner.

As the Ducotels, Nick Inman is adorable as Felix in his spats and frock coat. Director Matt Ballin skillfully took Inman’s inherent cuteness and added it to Felix’s bumbling charm. Even when he’s succumbing to the temptation of creative accounting and allowing the thief Joseph to cook his books, you can’t help rooting for him. Jordyn Morgan displays a stiff-upper-lip maturity as Emilie, and Jessica Watson is a storybook fresh-faced ingénue as Marie Louise (though in the small Husky Theatre, where every detail is visible, she should check some decidedly 2012 accessories, like neon blue nail polish, before stepping into 1910.)

The real highlights of the show are the performances of the three young actors playing the Angels. Andrew Del Fierro gives a surprisingly mature performance as the philosophical murderer Jules, a man who has accepted his fate and deeds with grace and serenity. Andrew’s dreamy-eyed expression draws the audience into Jules’ longing for romance and into the calm bubble he’s created for himself to survive his real-life hellish existence. Jace Michael’s smooth-talking Joseph is a mathematical genius who misses the finer things in life; the enjoyment he gets from the smallest pleasures radiates to the back row. Most complicated of all is the role of Alfred, and Christopher LaBarbera brings out Alfred’s outrage and feelings of injustice in a more subtle, subdued performance. He’s the most physically violent of the three, and still learning how to manage his anger. Joseph and Jules look after him with almost the same affection with which they care for their pet snake, Adolph. He’s just as vulnerable, and every bit as lethal. Christopher plays these levels well.

Henri Trochard, the villain of the show, is played with evil relish by Vincent Steger. He would be at home in any old-fashioned melodrama, his performance giving a nod to the acting styles in vogue in the early years of Washington High’s 100+ year old drama department. Vendat Bhatt and Kim Harp give nice performances in the supporting roles of the milquetoast Paul and the manipulative customer Madame Parole. Grant Beall as the Lieutenant, tall and handsome and athletic in his white military uniform, is an unexpected Deus ex Machina who brings the only Christmas miracle that the Angels can’t manipulate. He gives the show the punctuation of holiday spirit, a welcome ending after the audience comes to realize they’ve just spent two hours hoping for heinous mischief at Christmas.

The new Husky Theatre
Kudos to the cast and director of My Three Angels. The production itself is a bit of a Christmas miracle. It’s performed in a theatre that was never meant to be a theatre, with some actors who never dreamed they’d get a shot on stage. Against all odds, Washington High School’s small but mighty drama club is bringing a bit of magic to the holiday season.

My Three Angels continues through December 21 at 7 PM at Washington High School’s new Husky Theatre. Tickets are available at www.whstheater.com

Be sure to look at the WHS Performing Arts Center wish list! Click here to see what you can do to help, even if it is small!

Too Many Candles

We have all been touched by the tragedy in Connecticut in one way or another. What do we do now? Come together. Please watch, listen, share, donate to worthy causes if you can, and take the time to truly be a better person for yourself and others as we go into the holidays and the new year. Thank you to Justin Llamas for joining on vocals for this project.
Please donate to any cause that you feel is worthy.

"Is This Thing On", written by Less Than Jake
Performed by:
-Paul Sawyer (Guitars, Vocals)
-Justin Llamas (Vocals)

Voices ring true in The Fantasticks at Pioneer

By Siobhan Thompson
Guest Writer

Dustin Hanna as El Gallo
The Fantasticks!, an allegorical musical written in 1960, follows two fathers as they trick their children into falling in love by feigning a feud and building a wall between their two adjacent properties.  Also in the mix is a narrator who addresses the audience directly and the players interchangeably, a troupe of mutes (traditionally only one mute is in the show), and an old actor and his trusty side-kick.  The second half of the show depicts how life changes after the children are allowed to be together and how life isn’t so sweet.  The show is a challenge both dramatically and musically with harmonies in most numbers.

Technically, the show was very smooth thanks to the Director, Steve Dini, and Stage Manager Zoё Beaman.  The lighting, designed by Danny Kipp, Isaac Robinson, and Alex Morcate, kept the mood of the show fluid and matched the happenings on-stage.  There was a series of lighting transitions in the scene set up for the opening that looked rushed, but the cast was smooth in their movement and final tableau.  The sound design and management by Jordon Ananmalay was a brilliantly blended combination of instrument and voice.  The set, designed by Laurie Biviano and Jim Wolk, and costumes designed by Svetlana Sitnikova, were very well put together, sticking to the simple nature of the show.  While costume changes were done with ease, there was some confusion when Matt returned from enduring his adventure. Having dirt, or tatters, or a black eye or something to show his road weariness could have been added – though that would have been an added cost and change, and it is understandable why the choice was made to not have his appearance altered.  

At the outset the musical quality of the cast/musicians, all led and directed by Jeremy Harris, was exceptional.  The balance between the individual instruments and the cast was wonderful. Each cast member could be heard clearly, and the individual contributions of the musicians were distinct and beautiful.  Mr. Harris did wonders showcasing the quality of each voice and instrument.  He brought out the best sound from everyone.  The harpist, Ruthanne Adams, added the whimsical and magical elements that are integral to this show, in addition to being a strong piece of the trio.  At intermission, I learned that bassist Ryan Abusaidi is a student at Pioneer, and I was pleasantly surprised as he performed with an ease and intensity that I would not expect from a younger musician.  

Johnson (The Boy) and Beaman (The Girl)
The musical challenge was met head on by each of the lead vocalists: Dustin Hanna (El Gallo), Isobel Beaman (Luisa), and Jacob Johnson (Matt).  They were strong and performed confidently with their difficult parts. The harmony between Dustin Hanna, Max Biggs (who played Bellomy, Luisa’s father), Daniel Quint (Hucklebee, Matt’s father), and Isobel and Jacob was absolutely lovely.  The show received a standing ovation for their closing show; well-deserved praise from the receptive audience of parents, students, and teachers.

Austin Hanna was magnetic in his audience interaction as Mortimer. He played all of his laughs with blithe ease and came across as a natural comic.  The Cockney dropped a couple times, but that accent is very hard to perfect when speaking quickly.  Also praise-worthy was the focus the Mutes showed throughout the show.  Being onstage, mute or still, for nearly the whole show and remaining engaged not only with the characters but the audience as well is a tall order.  They did very well in looking at the appropriate character(s) while they had their business in the forefront, drawing the audience to that character too. During the transitions or dance numbers, they engaged the audience with their faces.  With the other characters having archetypal characteristics to drive their development, the Mutes could have easily been lost in the background, but they maintained their own purpose in the performance and did well individually and as a chorus.  Each character was distinct, and stayed on their path consistently through the show. The show moved along well, and kept a good pace.

Michelle Edwards (Mute)
With such a challenging text to work with, the cast had their work cut out for them in character development, most likely due to the complex nature of the archetypal characters. There is great nuance in the script, and references to literature that a novice cast most likely were not privy too. Some fairly in-depth research and understanding of the genres that contribute to the nature of the play (vaudeville, archetypal literature, Shakespeare, etc.) is needed to effectively deliver the messages in the story and it seemed that some characters at some point or other did not fully grasp the words they were speaking. Additionally, the fantastic (pun intented) whimsy of this first act challenges the actors to completely romanticize the dangers of forbidden love to an almost goofy degree. This required performative investment paired with the perplexing text add up to high-stakes for the cast. Constant attention must be paid to your vocal and physical choices when in the moment as well as when a performer is secondary to the more prominent action on stage.

It is a truly enjoyable production. The voices were incredible and the music and technical production were very well done, so much so that I don’t think I can give them adequate credit in writing. This show is nuanced and difficult as well as vocally challenging, going from more whimsical musical phrasing to jazz minor chords while each singer rose to the challenge.  My final note to the cast and crew is: please keep performing, because you brought a difficult show to life and you did a marvelous job.  With each production, the acting talent of Pioneer’s theatrical corps will just keep getting better. Yet even now, the standing ovation says a lot.

You can see more great work by the talented students/staff at Pioneer High School during their spring musical production of HELLO DOLLY! See them at 1290 Blossom Hill Road, San Jose.

-Siobhan Thompson is an accomplished Bay Area theatrical professional who's credits include stage management with Shady Shakespeare, Hillbarn Theatre, makeup artistry with West Bay Opera, as well as the USITT Award and the James Clancy Dramaturgy Fellowship from San Jose State University. She is also currently serving on the board of the Orchard Valley Fine Arts Association which organizes the annual Santa Clara Arts Walk: a fundraiser for all Northern California non-profit & student arts groups who participate.

Irvington's The Diviners impresses on many levels

By: Pamela Depper

Jacob Rosen as Buddy
The Diviners, an engaging slice-of-life play by Jim Leonard, Jr., explores beliefs and religion in a light Biblical allegory set in rural Indiana during the Great Depression. Told through a series of vignettes, rather than through a linear plotline, The Diviners is entertaining and thought-provoking. Under Scott Di Lorenzo’s thoughtful direction, the characters are well drawn, and each young actor is given an opportunity to explore a new depth of emotion. 

The story begins as CC Showers (Robert Ritchie) arrives in town. CC is a former preacher in search of work, and in search of himself. He finds the Layman family—Ferris, a widowed father, (Matt Hong) his affection-starved, dutiful daughter, Jennie Mae, (Katie Kelly, who shares the role with Rachel  Ho) and her fourteen-year-old brother Buddy, (Jacob Rosen) a mentally-challenged, emotionally damaged boy with a deep phobia of water--and the gift of divining, finding unseen water.  It’s a gift that’s needed by the farmers whose livelihoods are ravaged by the Dust Bowl. 

Water is their salvation, but the townspeople of Zion believe it’s their souls that need saving. The town has been without a preacher for a decade, and their thirst for religion makes them look to the reluctant CC Showers as their savior.  Water is also on Showers’ mind. He develops a close relationship with Buddy, and discovers that the boy has been too terrified of water to wash himself. He makes it his mission to help Buddy overcome his fear and regain his health.

The three leads, who are the most seasoned performers in the cast, carry the show’s emotional depth. Senior Robert Ritchie gives a sensitive, mature performance as CC, and he has a strong rapport with each of the other actors.  Senior Katie Kelly plays Jennie Mae with a heartfelt beauty, alternating between school-girlish innocence and world-weariness with aplomb.  She has a face and voice made for the stage. Angelic-looking freshman Jacob Rosen gives an impishly endearing, yet ultimately gut-wrenching performance as Buddy. These three actors transcend the high school level and deliver thoroughly satisfying, exceptional performances.

The rest of the cast warms into their roles as the play progresses.  In their thirst for spirituality, each townsperson has an encounter with the preacher that they take to be a religious experience; but CC claims “he spent his whole life doin’ for the Lord; he’s doin’ for himself now.” Everyone is certain that there is something holy about CC—yet they ignore the inherent holiness of the filthy “idiot boy” Buddy, who truly has a heavenly gift.

The supporting characters work together to portray a different point of view toward CC and Buddy. Norma Henshaw, played by Samantha Liu, (who shares the role with  Kyra Halpenny ) longs so much for a preacher that she sees miracles in everyday interactions with CC.  Skeptical Luella (Thao Le, who shares with Savanna Benedetti) has become so devoid of beliefs that she cannot accept Buddy’s powers even when they’re proven to her. Goldie, (Savannah Riddle, shared by Cheyenne Genberg ) who owns the town’s diner, portrays the archetype church woman who’s lost the thread of the meaning behind Christian charity. She gives a spirited performance, and is fun to watch. Matt Hong as Ferris Layman projects a little more age and world-weariness without resorting to common high school clichés.

Other notable performances include Frances Ramsel (who alternates in the role with Mina Baldovino) as Darleen, Norma’s rebellious niece who longs to dance and enjoy the company of men.  She has a nice sense of the time and style of the piece. Zachary Lew as Melvin embodies a local boy who has the self importance of having seen a little of the world and thinks he knows it all. The supporting cast needs to enunciate a bit more to make their otherwise lovely portrayals even better.

Beautiful scenic painting and a sepia wash to the lighting design gives a sense of time; the muted costuming color palette gives the sense of the poor farmers of the Dust Bowl and a feeling of looking at a distant time.

The cast needs to speak louder over the scene changes, because we lose some dialogue during them. A bit of music would help dampen the sound of the rolling set pieces and might make the changes smoother.

The emotional conclusion leaves the audience shattered as the townspeople discover the terrible toll their thirst for redemption has taken.  As a biblical allegory,  The Diviners asks the audience to always question who is the saved and who is the savior, and reminds us that angels are always around us.

The Diviners will be performed November 29, 30 and December 1, 6, 7, and 8 at 7:00 p.m., with additional Saturday matinees at 2:00 on December 1 and 8. Tickets are $12. Contains mild profanity.  For tickets, visit www.irvingtondrama.com or call 510-656-5711. Tickets are also available at the door at Irvington High School’s Valhalla Theatre, 41800 Blacow Road, Fremont, CA.

300 Hours: Falcons Making Theatre

Help out this Holiday Season

Local charities NEED holiday help. Donations of food clothing, toys, and even small cash donations. I know times are hard for us all, but even a $10 donation to a worthy cause can mean everything to a suffering family. Donations of FROZEN TURKEYS are especially needed! Please watch and SHARE SHARE SHARE this as much as possible, and let's make the holidays better for others. Again, please. Thank you everyone.

Second Harvest Food Bank

Sacred Heart Community Service

Terra Linda's Laramie Project does it right

Steve North
Guest Reviewer 

I just spent an extraordinary evening viewing Terra Linda High School’s production of The Laramie Project, written by Moises Kaufman and directed by Christina Stroeh, Terra Linda’s acclaimed drama teacher. The play is based on more than 200 interviews conducted by members of Chicago’s Tectonic Theater Group.  The interviews recount the tragedy and its aftermath of young Matthew Shepard’s brutal and tortured death on a fence on the outskirts of Laramie, Wyoming in 1998. Never reluctant to take on challenging and difficult projects, Terra Linda’s production was both breathtaking and courageous.

The play is not divided into scenes but into moments; each moment represents the response of the person or persons being interviewed.  There are 50 moments in the play. The progression of the moments traces the sordid story and its heart rending conclusion that was so eloquently delivered by Jake Weidner who plays Matthew Shepard’s father.
Originally written for 8 actors, Christina Stroeh cast 21 students giving that many more actors the opportunity to showcase their talents. By playing multiple roles the actors portrayed over 60 citizens of Laramie ranging from the Baptist minister holding a up a placard saying God Hates Fags to the rough, ironic humor of Doc, the town’s taxi driver, to the two perpetrators of the crime, their girlfriends, their parents, the prosecuting attorney and many of the other interesting and colorful people some straight, some gay. I wish I had the time and space to mention the contribution of each individual actor.  Just let me say their acting was honest and convincing, reflecting the tremendous effort put forth to master the blocking and to learning their lines. Veteran theater goers can certainly appreciate the complicated logistics of moving 23 actors on and off the stage, but all was performed without a hitch and nary a garbled line. The ebb and flow of the actors entering and exiting ran as smoothly as a ballet dance, culminating with the final scene when all the actors appear on stage wearing black, a remarkable visual and emotional display.

A note about the set designed and constructed by Jasper Lyons.  The stage resembles a theater in the round, surrounded on three sides by the audience.  Hanging from the stage’s backdrop were two sections of a fence constructed from scrap lumber and suspended between the sections was a dilapidated chair symbolizing the tortured Matthew Shepard. Up stage center was an open trunk containing the costumes that depicted the various characters of the play. As the actors changed roles they would dip into the trunk and change into their appropriate costumes. Down stage center was a large chair occupied by whatever character was most crucial at the moment. On either side of the stage was placed a stool where the actors sat while being interviewed.

But most impressive was the subject matter:  the tragic consequences of homophobia brought into stark reality. The courage of the actors to undertake such a controversial subject is to be greatly commended.
I did though have some trouble hearing all the lines. However, that could be that I my hearing is somewhat diminished.  I always exhort my students to remember the deaf old lady in the back row. I’m afraid I may have become that deaf old lady’s first cousin.

As with all other productions I have attended at Terra Linda High School, I left the theater with a sense of awe and pride.  How lucky the students are to have the opportunity to perform under the expert guidance of Christina Stroeh and how privileged is the community to have such a treasure in their midst.

Santa Cruz County teens make Berlin breathe in Cabaret

The Kit Kat Girls
It is not easy being a director. You have to have a firm grasp of a show's concept, aesthetics, text, dramaturgy, scheduling, and a knack for working with all types of people. You have to be the consummate project manager and bring everything together in the right order and at the right time. This is a challenge, make no mistake. However, when you take this journey and put it on the shoulders of teen directors who are working with their own peers, it elevates an outsider's respect for the process. For the members of Santa Cruz Performing Arts Teen Theatre, their pride should rest in the fact that their journey is not only noteworthy because of their approach, but because the bar was not lowered when it came to the product they created.

"It has been surprising, feeling the respect from my peers", says director Lexie Farr. "It has also been great to push myself and gain abilities I never had before." Farr, a junior at Aptos High School, beamed with pride as the house began to fill for their evening performance and she assumed her position behind the sound desk. From the first notes by the onstage orchestra, it was obvious that the production was not going to play it safe.

Ryland Gordon as the Emcee
The darkness, the tension, the sex and the political turmoil were all on full display as the Emcee (Ryland Gordon) sashayed into the Kit Kat Club, tapping into the more modern Alan Cumming style of the character rather than the classically angular Joel Grey version. Gordon's voice is all at once smooth and smarmy while also violent and unpredictable; an Emcee you wouldn't want to encounter in a dark alleyway. Matching his intensity was an impressive line-up of Kit Kat Girls, including (Texas) Satarupa Thyme, Fritsy (Allysha Leonard) and Helga (Enya Murray) who embodied the spirit of shameless indulgence in this quasi-underground world.

The effect in the famous opening number "Wilkommen" is thick, with stylized choreography from Sadie Rose and costumes by Farr, Rose and Thyme. The seediness and raw reality of the setting is furthered by some clever staging, and by the straightforward character work of John Wasielewski as Clifford Bradshaw and Jessica Pierini as Fräulein Schneider. The two find an entertaining repartee in their scene work, venturing further into the characters and out of the rigid framework of the text. While there were some moments of disconnect mostly due to occasional spacing issues, the actors kept the pace tight through the many busy entrances and exits in the show. Wasielewski also paired beautifully with London Murray's Sally Bowles, both showing endearing vocal acumen in "Perfectly Marvelous". Murray brings a precocious quality to the role, opting out of the wearied and traveled portrayal that would not have worked for such a young actress. The result is a Sally Bowles that is fresh and energized which helps with the pace the long first act of the show.

Rispoli and Pierini as Schultz and Schneider
Bright spots abound in this production with many young performers getting a moment to show some very impressive skills. Alex Garrett (Ernst Ludwig) showed impressive range and triple-threat skills, bringing energy and focus to the stage in his entire performance. Travis Gorham's work as a Hitler Youth was hauntingly touching during "Tomorrow Belongs to Me" as he almost reluctantly transformed from innocent boy to tool of oppression. In the role of Herr Schultz, Kyle Rispoli found an honesty not often seen in a character so distant from the age and life experience of the actor portraying him. Often this distance can bring an unavoidable disconnect to an actor's work, but Rispoli was consistently heartfelt and pure without becoming maudlin. Also impressive was the energetic dance work and vocal power of Megan Fabry (Frenchie) who rounded out the Kit Kat Girls with great skill and presence, Halley Rhouault (Fräulein Kost) and her unapologetic brashness paired with strong vocal chops, and the strong on-stage piano work of pianist Ben Dorfin and musical director Naomi Gorham who traded off throughout the show.

There is an infectious sense of fearlessness in this production, possibly due to the high stakes of the venture. Safe choices are thrown by the wayside as the cast and creative team gambles on moments that would make more seasoned directors' hair stand on end. However, their gutsy approach often paid off with moments of unexpected power and fun. Artistic Director and choreographer Sadie Rose added that "the actors were not intimidated by [the directors] or by the process. It was very honest, democratic, and collaborative." The result is something special as these students have climbed the mountain and firmly planted the flag at the top under their own power.

It is an impressive feat, especially given the fact that their show selection is not a "gimme" in any way. For them, it was a perfect choice. A gutsy show for a gutsy group of Santa Cruz County's finest up-and-coming theatrical talents. The power of this production will resonate far beyond the run of this show and into the many schools and local theatre companies who are lucky enough to have these burgeoning professionals as a part of their ranks.

Santa Cruz Performing Arts Teen Theatre presents Cabaret
Aptos High School Theatre - 100 Mariner Way, Aptos, CA 95003
See Facebook event page for more info
Through September 15, 2012

Hillbarn Theatre's Ragtime shows off High School talent

Kyra Bowser (Left, pink scarf) and the Harlem Ensemble
While the main focus of The High School Theatre Spotlight is obvious, sometimes an opportunity presents itself to see a more professional production which showcases younger talent while they work alongside more seasoned adult performers. Last night I accompanied Susannah Greenwood (of Artsalot) to Hillbarn Theatre in Foster City to see the second night of their production of the McNally/Ahrens/Flaherty piece, Ragtime. The show and the company producing it provide a great experience for the younger actors in the cast, especially those in high school who are making the conscious choice of becoming artists and getting serious about their craft.

For many school-aged performers, there seems to be a vicious trend of getting stuck in a perpetual cycle of childrens' theatre and school productions. Each has definite merit and are invaluable to a young artists progression, but there comes a time when the next step needs to be taken and a performer needs to get out and work elsewhere. This broadens their scope, creates new connections, and makes them take risks which will push them outside the more approachable aforementioned realms of theatre. This is why it was so refreshing to see many young performers jumping into deeper waters last night.

 Jon Toussaint (center) and Will Palomares (right)
Alongside impressive local talent, including Equity actors Carmichael Blankenship (Coalhouse Walker) and Annmarie Martin (Mother), thirteen young performers (high school or younger) have accepted the challenge of performing in a truly challenging production with a high-caliber company. Among them are Kyra Cherie Bowser and Will Palomares of Woodside High School, Cairo Spencer of San Mateo High School, Katherine Green of Everest Charter High School, and Jon Toussiant of Saint Francis High School. Each of them should be applauded for taking a leap into a bigger world and testing the skills they acquired in their school programs and through childrens' theatre.Beyond the kudos for their bravery, each of them (along with even younger performers in the show) get high marks for their talent. Bowser's extensive dance experience shows in her work as a part of the Harlem Ensemble, Green's work in the same group was always engaged and very strong, and Toussaint brought fantastic energy and strong timing to the role of Little Boy.

W.C. Fields famously said, "Never work with animals or children". While the first may be true (to a certain extent), I believe that the latter should be ignored. Young performers bring energy, passion, and a delightful impetuousness to the theatre. For them, the magic is still there and there is often no restraint to their energy. While this can create challenges for directors, the final product can be even more powerful thanks to the investment of these burgeoning thespians. They in turn grow in this noble craft, becoming stronger participants in the process and more savvy about the artistic world. This is clearly evident at Hillbarn where they have capitalized on some of the great talent our schools have to offer.

Hillbarn Theatre presents Ragtime
1285 East Hillsdale Boulevard, Foster City, CA 94404
Through September 23

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