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16 San Diego Uptown News | Feb. 4-17, 2011 FROM PAGE 6


“The economy is still recov- ering slowly,” he said, point- ing out that attendance has dropped from 90 percent to 70 percent in recent years. Less attendance also equates

to less revenue. Currently, Lyric Opera spends approximately


each month between mortgage, staff and utility expenses, he said. Once a buyer is found, those expenses will reduce to about $32,000. Lyric Opera plans to use the savings to start up an endow- ment fund, which will be utilized to help sustain the company through times of economic un- certainty. The first campaign to start an endowment fund had been planned for 2008, but those plans were thwarted by the start of the current recession. “The timing of the economic

downturn couldn’t have been more ironic,” Natker said. The ideal buyer, he said, is one which will partner with the company, who will allow them to stay on as the managing tenant, and who has ties with a national promoter to help route acts through the theatre. “We’re looking for a genuine

partner,” he said. “We’re look- ing for someone who not only wants to make the investment, but someone who wants to be a partner in continuing to bring North Park back to life.” The theatre is listed through

Prudential California Realty at $5.5 million. Natker is hopeful the sale will be finalized later this spring.u


naturalness of DeMunn’s per- formance. Only John Procac- cino in the small role of Charley does that.

Think of it this way: De- Munn’s performance is that of a diamond. Normally, directors surround a diamond with other precious gems, not pearls or turquoise. These stones are beautiful, but they don’t sparkle like a diamond.

The show also starts with a huge misstep. This is not a play that works in the round. Set designer Marion Williams does her best to create the illusion of multi-levels and spaces with different uses (and the audi- ence gasped when the whole set moves at the top of the show). But the set design never feels natural or smooth on the cramped and awkward stage. Add to that a script that re- ally needs to be trimmed. This production runs close to three hours. That’s three hours about a loser of a man who, after buy- ing into the notion of the post World War II American dream, has built up so much self-decep- tion about himself and his family that he cripples his sons in the process. Sure, this length is typi- cal of a play written in the '40s, but is difficult to sit through today, especially as there is little humor in the show.

“Death of a Salesman” is a classic and this production boasts a powerful and memo- rable performance by DeMunn. But as far as diets go, it’s a little too healthy to be thoroughly enjoyable.u


Indie dramedy, "Every Day," stars Helen Hunt and Liev Schrieber. (Courtesy of Image Entertainment) FROM PAGE 15 DAY

widowed father-in-law Ernie (Brian Dennehy) about to move in with the family. With a screen that’s wider than 100-inches in diameter as his canvas, one would hope that even a TV mentality would rejoice in all the extra space afforded them instead of playing out gags in a manner resem-

bling a jackhammer. When Jeannie (Helen Hunt) wheels her father through the airport the camera deliberately zeroes in on incontinent Ernie’s soiled trousers. No sooner does Ned meet them at the gate, the same gag is played out in an identical manner just in case you missed it the first time. “Every Day” is not without its

share of insightful moments and the cast—particularly Schreiber and the perpetually underused

Denney—does its best to elevate the formulaic material, but this is another film that would consider itself a failure were it not for its ability to make audiences feel like crap. Ernie’s bitter, profane (and lame) asides are as close as we get to comic relief as sorrow quickly piles upon tragedy leaving an unrelentingly depressing soap opera in its wake. “Every Day” is currently play- ing an exclusive engagement at Reading Cinemas Gaslamp 15.u


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