Theatrius
  • NOW PLAYING
  • All Reviews
  • Writers
  • Reflections
  • Millennial Notes
  • Join Us
  • About Us
  • Visit us on Instagram!
  • Search Icon

Theatrius

Theater Reviews – San Francisco and Beyond

“Ruthless! The Musical”: An Oddly Enjoyable Delight—at Altarena

“Ruthless! The Musical”: An Oddly Enjoyable Delight—at Altarena

April 5, 2023 Rachel Norby

Millennial Notes

Dana Anderson Imbues Psychopathy with Chilling Charm

by Rachel Norby

“Ruthless! The Musical” tells the story of eight-year-old Tina Denmark, a disturbed little girl who is intent on getting the lead role in “Pippi,” the school play. The innocence of her sailor dress, the cheery songs, and the 50s suburban setting hide the greed and violence lurking just beneath the American surface—which soon burst out of psychopathic little Tina.

Tina (talented McKenzie Lopezlira) fearlessly marches onstage as if she owns it. Like Tina, Lopezlira “has been blessed with a great deal of talent.” She belts out every song with unbelievable force, winning us over.

Forceful Sylvia St. Croix (magnificent Ronnie Anderson) presides brilliantly over this 50s nightmare. Sylvia, a competitive stage mom, claims that Tina’s mother Judy (superb Sarah Elizabeth Williams) “has no talent whatsoever.” In fact, Judy is quite talented. Williams’ voice rings out clear as a bell, singing her way through phone calls and visits. She’s a charming presence.

Despite little Tina’s and impressive Sylvia’s efforts, the lead has gone to Louise Lerman, a decidedly untalented classmate. Being the ruthless diva that she is, Tina ensures that their “competition” is over quickly and decisively. As she sings, “I’ll do anything to play this part,” we know she means it—with a vengeance!

Caroline Schneider is hilarious as the uncoordinated and tone-deaf Louise Lerman. Though her character is untalented, Schneider shines. She returns in the second act to play Eve, a prim and obsequious, yet double-crossing assistant, recalling the movie All About Eve.

Though Tina’s homicidal tendencies are obvious to us, it takes a while for her mother to discover Tina’s crime, a plot line that could be sped up.

Laura Morgan perfectly channels the disgruntled failed-actress-turned-schoolteacher, Miss Thorn. We commiserate with her, as Morgan sings “Teaching Third Grade.” She laments, “I need something to fall back on, from what I’ve fallen back on.” Morgan’s touching songs bring vibrant life to her innermost thoughts. We laugh and cry with her.

Lisa Appleyard is fantastic as Judy’s mom, theater critic Lita Encore. Encore swaggers across the stage with confidence and criticism. Anyone would dread her visits in real life—but onstage, Appleyard finds the humor.

Following her stint at the Daisy Clover School for Psychopathic Ingénues, Tina returns supposedly reformed and penitent. The moralizing goes overboard here, but just when you think they’re really all going to live happily ever after, Tina’s criminal bent returns and all hell breaks loose.

“Ruthless!” has great music, excellent acting, and phenomenal singing. The farce and clever references to 50s movies and fashions make us think about the 50s repression and secrets. I thoroughly enjoyed this witty, funny, and wise musical reflection on American life.

 

“Ruthless” –book & lyrics by Joel Paley, music by Marvin Laird, directed by Dana Anderson, musical direction by Armando Fox, and choreography by Laura Morgan, at Altarena Playhouse, Alameda, California. Info: Altarena.org – to April 30, 2023.

Cast: Ronnie Anderson, Sarah Elizabeth Williams, McKenzie Lopezlira, Ginger Dreicer, Anna Joham, Caroline Schneider, and Lisa Appleyard.

Banner photo: Ronnie Anderson, McKenzie Lopezlira, Anna Joham. Photo Grizzly De Haro

Sign up for FREE reviews
in your mailbox.

Check your inbox or spam folder to confirm your subscription.


Musical
Capitalism, comedy, Dance, exploitation, Family, feminism, friendship, Identity, justice, Musical, patriarchy, politics, power, Satire, social class, Wealth, wit, women, Women's Rights, workers

Post navigation

NEXT
“Kiss of the Spider Woman” in a Powerful New Revival—at A Noise Within
PREVIOUS
“Private” Tears A Marriage Wide Open—at SFBATCO
Comments are closed.

Current Shows

  • “What Is To Be Done?” Fights Depression & Fascism, Brilliantly—at The Marsh
  • “Romeo & Juliet” Illuminates Personal & Political Connections—at The Public
  • “A Few Good Men” Engages in Hard Struggle for Truth—at Royal Underground
  • “Tiny Beautiful Things” Reveals Healing Power of Listening Deeply—at Town Hall
  • “Flight Risk” Offers a Master Class in Empathy—at The Marsh
  • “Girl, Interrupted” Exposes Machinery of Madness—at The Public
  • “The Lunchbox” A Musical Triumph Over Loneliness—at Berkeley Rep
  • “The House of Bernarda Alba” Exposes the Tragedy of Absolute Power—at OTP
  • “Dracula, A Feminist Revenge Fantasy, Really” Bends Genders for Juicier Stakes—at SF Playhouse
  • “Hamnet” Looks at Shakespeare through Women’s Eyes—at ACT
  • “Pass the Nails & Shame the Devil” Lifts Up Black Women Changemakers—at The Marsh
  • “Drapetomania” ‘Disease’ of Freedom Calls Us to Action—at The Marsh, Berkeley
  • “La Cage aux Folles” Liberates True Love in Classic Drag—at The Rhino
  • “Shakespeare Over My Shoulder” The Bard on Tap—at African-American Shakes
  • “Pictures from Home” Exposes Myth of the ‘Good Life’—at Marin

Menu

  • NOW PLAYING
  • All Reviews
  • Writers
  • Reflections
  • Millennial Notes
  • Join Us
  • About Us
  • Visit us on Instagram!

About us:

If you want to see the best plays & performances around the San Francisco Bay or beyond, read our reviews. We promise to give you a true report on the best shows.
Bay Area Critics Circle

Barry David Horwitz, Editor of Theatrius, is a Voting Member of the San Francisco Bay Area Theatre Critics' Circle, SFBATCC.

Sign up for FREE reviews!

Check your inbox or spam folder to confirm your subscription.

© 2026   All Rights Reserved.