Drat! The Cat!
“It's the late 1890's in New York. A clever, stealth cat burglar is lifting diamonds from society's wealthiest patrons. The most-respected sleuth is engaged, but suddenly dies. The police turn to his good-hearted yet inept-but-earnest son, Bob. His bumbling attempts to follow in his Dad's foot-steps do lead him to the “Cat” but he falls head over heels with … her. So he tries to reform her while she thwarts him at every turn. Will goodness and love triumph? Can they return the diamonds and be forgiven?” – By A.A. Cristi, Mar 07, 2025
Reviews
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"The ensemble was a well-oiled machine of timing and singing. Director Bruce Kimmel gets kudos for his playful touches of the era. The Keystone-esque Kops who, when knocked on their police helmets, would elicit a crack from the drummer's wood block. These Kops also would march across the stage like an early silent film, with shutter flash and stutter-step. And Shon Le Blanc's costumes were perfect. It seemed the cast members were always appearing in something new. And the cat with her black tights, ears and tail was playfully evil."
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“It’s a fun story heavily populated with hilarious characters and roof-raising musical numbers. The valiant folks at the Group Rep give it their all and sing their collective hearts out, and the result is a brilliantly authentic and fun-filled production.”
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“A note on the ensemble: Their portrayal of the cops was very much in Keystone Kops style of policemen. Kids these probably have no idea what I’m talking about. Look it up on your favorite search engine. But this is a particularly Mack Sennett style of comedy from the 1920s of the bumbling cop, with the twirling baton. It served the comedy of the story well, and provided support for the dance in the Ballet sequence. The style takes a lot of skill to pull off, and the company did reasonably well with it.”
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“A five-piece band plays all of the show’s music, and the cast rides the energy of these live instruments beautifully. Any number involving the entire ensemble is excellent. The cast demonstrates a uniformity and coordination that blows the theater wide open. I saw this with a rather withholding audience, but that did not deter this cast from attacking their scenes and music with peppy commitment.”
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“Now in its 52nd season, The Group Rep has delivered a delightful West Coast premiere of Drat! The Cat!, a 1965 musical that flopped on Broadway after only 8 official performances but shines anew at the intimate Lonny Chapman Theatre. Director Bruce Kimmel, fulfilling a longtime promise to his friend Ira Levin, the show’s writer and lyricist (with music by Milton Schafer), infuses this revival with cheekily spirited energy, transforming a forgotten gem into a snappy, family-friendly crowd-pleaser. With a talented cast and sharp creative choices, this production offers two hours of masked intrigue, laughter, romance, and nostalgic appeal.”
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“Skillfully directed by Bruce Kimmel, who actually knew and respected Ira Levin in the “good old days” of Broadway super hits, DRAT! THE CAT! gives a run for the money while earning the respect of contemporary audiences. He is aided in no small part by a talented cast who are clearly having a lot of fun bringing this show to life.”
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"Featured players Ben Anderson, April Audia, Riley Cromer, Lareen Faye, Amy Goldring, Lee Grober, Doug Haverty, Angie Lin, Hisato Masuyama, Savannah Mortenson, Maxwell Oliver, Rob Schaumann, Nicole Slatin, Melissa Strauss, and Steve Young add plenty of verve as assorted high society members and crime fighters, and not since Mack Sennett has there been a more ragtag bunch of comedic police officers as the ones spotlighted in a couple of slapstick sequences to do the Keystone Cops proud."
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"And what an assemblage of Keystone Cops they are, portrayed by ensemble members (Ben Anderson, Riley Croman, Lareen Faye, Amy Goldring, Angie Lin, Savannah Mortenson, Maxwell Oliver, Nicole Slatin, Melissa Strauss, and Steven Young) who, in various combinations dart about but accomplish nothing other than hilarity as they crash into each other while wildly attempting to locate and arrest the evasive burglar who has turned one of their own into her accomplice."
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"This is a rare opportunity to see the talent of Ira Levin as a musical writer. Combined with the fine musical taste of Milton Schafer, [this] is a fantastic display of dance, comedy, and music ... an excellent band directed by Gerald Sternbach, and a dynamic choreography by Cheryl Baxter, Director Bruce Kimmel stages a vibrant performance that infuses new life to this hidden gem."
Network
Howard Beale, beloved and trustworthy news anchorman, isn’t pulling in the viewers anymore. In his final broadcast, he unravels live on screen. But when the ratings soar, the network pounces on their newfound populist prophet, and Howard becomes the biggest thing on TV. The audience becomes part of the play as a studio audience. The distance between fact and fiction is reduced, mimicking the blurring of truth and fiction in contemporary news media.
Reviews
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"Lazarus has the advantage of working with such a talented pool of performers, to essentially recreate the movie on Group Rep’s mainstage. But producer and performer Stevie Stern wrangles an equally talented second group of professionals to bring the show to life."
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“The stage presentation invited the audience into the action as diners of a three-course meal and the studio audience, effectively decreasing the distance between the audience and the performers, as well as the distance between fact and fiction in contemporary news media.”
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“I immensely enjoyed this repurposing of Chayefsky’s satirical, inspired insanity in its, shall we say, “altered state,” seamlessly shifting from screen to stage.”
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"The Group Rep’s physical and dramatic representation of a 70s TV newsroom is spot-on… A veritable hive of production staff descends on the anchor to touch up his makeup, adjust the position of a water glass (or whatever is in there), remove extraneous towels, etc. just before the camera rolls."
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“A great story can only work if those who tell it tell it well. As usual, the wonderful folks at the Group Rep outdo themselves. I am always so excited when I hear they are doing a film adaptation…they are ridiculously good at it. But I have to say this one really is a stand out for me. And not just because of its pertinence. Every single actor is absolutely phenomenal and the set! Wow…60’s TV studio! Gorgeous.”
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“With over twenty members of the cast, director Tom Lazarus (who also designed the set) has his hands full… As we tumble into a climax, the combination of the excellent tech by Sammy Strittmatter and some fine performances from a dedicated cast brings the show off ultimately: well done.”
Motel 66
7 brand spanking new, short plays that all take place along Route 66; different cities, different years; same set.
Why Route 66? What relevance does an old highway going from Chicago to Santa Monica bring to light? Route 66 starts in the heart of the country and goes west like the path of the dreamer where you run into all types of people and all kinds of stories as humans take to the highway; sometimes in search of something; sometimes transitioning; sometimes reflecting.
Reviews
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"Brent Beerman’s Baby Day (directed by Lee Redmond) gives us a trio of cosplaying ComicCon attendees (Angie Lin’s Jennifer, Sam Logan’s Will, and Danny Salay’s Christian), one of whom is bound and determined to get pregnant tonight, sperm donor TBD... the similarly quirky Baby Day tickled my fancy as well as did its three stars."
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"From a sister trying to talk her brother out of what she considers is the biggest mistake of his life. To a woman returning to the worst night of her life and finding her long-dead boyfriend waiting to forgive her. A young woman traveling to find a safe place for a scary medical procedure without judgment. Siblings fighting. Lovers rekindling. Intergalactic heroes. Tough love. These stories run the spectrum of our lives and do it with fantastic writing, wonderful, compelling performances and The Group Rep’s usual finesse. "
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"And lastly, Baby Day, written by Brent Beerman and directed by Lee Redmond. Three fans of comics interact with each other. Comic con, costumes, and bodily fluids create this microcosmos of resistance to adulthood. Another fun situation to entertain your road trip."
The Altruist
The Altruist is a new satirical play with music about a happy, seemingly healthy bachelor who discovers via his annual physical, that he has at least two terminal diseases. Seeking positivity, he decides he will donate all his organs (while they are still good) and save multiple lives. But this is not allowed, so he sues the state. The media goes berserk and before you can say The Great White Way, a Broadway producer shows up wanting to turn his story into a great, big money-making musical with lots of heart…and lung…and kidney.
Reviews
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"The cast is game and committed to the show’s off-kilter humor, and there are genuinely amusing twists and turns along the way, including the last-minute sudden derailment of Sean’s organ-donation quest. The pacing, especially in the first act, is also strong and leans into the story’s quickly-escalating absurdity. One can sense the bones of a sharper, funnier show beneath the surface."
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"The Altruist asks a lot of questions about our freedom while it entertains, using parodies of some of the very best songs from the American songbook: Give My Regards to Broadway, Yes, We Have No Bananas, Toot, Toot, Tootsie (Goo’bye), andCalifornia, Here I Come. But although the themes are deep, the entertainment is as light as a feather. Everyone is fabulous and full of joy, dancing and singing with beautifully choreographed abandon! Another hit from the always surprising and wildly talented Group Rep Theatre!"
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"Director Bruce Kimmel does his best to handle this mishmash of styles. Where he stumbles is in some of the casting and the multitude of transitions. However, kudos must go to his casting of Larry Toffler, a real pro in his portrayal of Mark, and Angie Lin as the court stenographer/ensemble. She shines whenever she is onstage."
Applause
The musical is based on the 1950 film ALL ABOUT EVE which received (at that time an unheard of) 14 Academy Award nominations and took home six wins, including “Best Picture” and “Best Adapted Screenplay.”
The basic showbiz story is about an earnest, respectful understudy who endears herself to a Broadway actress, and then engineers a way to go on in place of the star and steal all the thunder. The musical adaptation team is topflight: Strouse (wrote ANNIE) and Adams who wrote BYE BYE BIRDIE. Comden and Green also wrote many hits for stage and screen, including the classic SINGIN’ IN THE RAIN.
Reviews
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"Most impressive among supporting players are the Group Rep newbie Darrell Mondaine as Margo’s sharp-tongued hair stylist and confidant, and Angie Lin, whose “Angie” sells the musical’s title tune with the same blend of vivacity and verve that turned Bonnie Franklin’s “Bonnie” into an overnight Broadway star."
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"Be that as it may, the vivacious, petite Taiwanese actress Angie Lin, who has numerous stage and screen credits, is a standout in Applause’s ensemble of about ten thesps. Group Rep’s Artistic Director Doug Averty does double duty, also portraying playwright Buzz Richards, who becomes besotted (“Buzzed”?) with the far younger Eve and rewrites his script to fit her specs. (I’ve had some demanding editors over the years but Eve takes the cake!)"