'The Spitfire Grill' Sizzles at Cabrillo Playhouse - Review
“'The Spitfire Grill,' at Cabrillo Playhouse is sharp, humorous and heartwarming this summer in San Clemente, CA.
There are when you go to the theatre to solely be entertained and then there are performances that quietly worm their way into your heart. “The Spitfire Grill,” at Cabrillo Playhouse in San Clemente, CA, is the latter. Directed by Ella Wyatt, this intimate production based on Lee David Zlotoff’s 1996 film of the same name, with music by James Valcq and lyrics by Fred Alley, and the duo responsible for writing the book together. Unlike the recent production mounted by American Coast Theater Company (‘The Spitfire Grill’ Simmers at ACTC - Review), this interpretation leans into the show’s more edgier themes.
The story follows Percy Talbott, a young woman recently released from prison, who arrives in the small town of Gilead, WI, seeking a fresh start after discovering the town’s name in an old travel book. She finds work at the struggling Spitfire Grill and, through unexpected friendships and acts of kindness, helps a community heal from old wounds while searching for redemption herself.
One of the evening’s greatest accomplishments is the minimalist, yet somehow immersive scenic design. Alberto Hernandez’s beautifully constructed set, along with Jeremy Plant’s lighting design, Andrew Cervero’s costuming enhanced by the thoughtful decorating of Michael Lopez and Wendy Harris, gave the illusion that we too were patrons sitting inside the Spitfire Grill itself. Rather than simply watching the story unfold, we became a tiny part of the restaurant’s daily life as these deeply human characters navigated grief, hope, identity, forgiveness and redemption.
I had not realized what an accomplished tenor Ramy Alhawari is, delivering a wonderful performance as Sheriff Joe Sutter. In previous musicals where I had seen Alhawari, his characters’ vocal stylings were primarily recitative [(sing-speaking) a new term I learned this morning]. Here he is finally given the opportunity to fully display the richness and power of his voice, making his musical moments especially memorable.
Sam Murie’s Caleb gives a deeply affecting performance. Murie pours every ounce of that pain into Caleb’s journey and imminent downfall. His portrayal of this tragically insecure man living in the shadows of a ghost who never was, reminded me of my last teaching position. A former colleague with the same character defects brought up memories of his poor conduct where I pondered, “How much prison time will I get for kicking this ginger midget through that window?” Instead, I made the wiser chose and resigned. Murie’s Caleb, at least early on, has you wanting to kick him through that preverbal window.
English actress, Mimi Franks is tremendous as Percy. She portrays her as hopeful yet distrusting, not someone exactly running from her past but someone searching for redemption while unsure whether she deserves it. Franks balances vulnerability with resolve, making Percy’s transformation believable.
Kathy Villanueva’s Effy is the kind of town gossip you actually kind of like. Rather than making her merely nosy, Villanueva finds the humor beneath the character’s over curiosity. She is entertaining and possesses a terrific voice. If this performance is any indication, one should expect to see her taking on larger roles in the future.
My own bias will show here, but seeing my friend Mary Grant as Hannah was one of the evening’s pleasant surprises. I knew Grant could act, but I had never seen just how accomplished she was onstage. Watching someone you know disappear into the role of a cranky, stubborn woman with such conviction was an absolute joy. She made Hannah far more than comic relief, revealing the loneliness and vulnerability hidden beneath her rough exterior.
Having previously seen Je LaRosa at Cabrillo Playhouse in “A Midsummer Night’s Dream,” (Cabrillo Playhouse’s Contemporary Rendition of a Shakespeare Classic is Joyous – Review), I appreciated the different approach taken with The Visitor. The role is often portrayed as a weathered drifter carrying the scars of war. LaRosa instead humanizes the character with a quiet compassion and just enough humor to make his presence feel comforting rather than mysterious. It is a refreshing interpretation that serves the story beautifully, making him this productions scene stealer.
Now comes our showstopper; MiKayla Thomas-Turner as Shelby. Entering her senior year at the University of California, Irvine (UC) to complete her Bachelor of Fine Arts, she delivered such an incredible performance they might as well hand her a Master of Fine Arts as well. Thomas-Turner is an extraordinary soprano whose vocal control is absolutely astonishing. Even while soaring through demanding high notes, she never sacrificed Shelby’s physicality or facial expressions. Too often performers unconsciously break character during technically difficult passages. Thomas-Turner never does. Even from behind the counter when Joe and Percy are having a bit of a spat, Thomas-Turner shares true facial expressions implying her intrusive thoughts of, “Huh, what was that all about?” There are a couple of other nuanced moments, in her performance, like removing a couple of accessories, representing the characters growth.
Every twitch, every facial expression, every instance of her body tensing, every quivering lip and every furrowed brow convinced me Thomas-Turner herself was living in a genuinely abusive relationship. After the performance I joked with her, “You made me want to beat up your real-life husband.” She laughed, thanked me and reminded me she isn’t married. That’s how convincing her performance Thomas-Turner delivers.
The three-piece band is another entity altogether. Music Director Marc Marger demonstrates an excellent understanding of both the theater’s intimate space and its acoustics. Conducted by Arthur Abadi, who also performs on keyboard, alongside Christopher Drake on guitar and mandolin and Hannah Glass on violin, the ensemble never overwhelms the actors. Instead, the music is its own character, underscoring emotions without ever competing with the dialogue. It is exactly the balance this score requires.
Equally deserving of recognition is Lisa Garcia’s masterful stage management. In a production where pacing and atmosphere are essential, Garcia ensures every transition is seamless. The audience never has an opportunity to step outside the world of Gilead because each scene flows effortlessly into the next.
Wyatt has assembled a company that understands the quiet power of “The Spitfire Grill.” This production succeeds through heartfelt performances, honest storytelling and an atmosphere that invites the audience into the lives of its characters.
“The Spitfire Grill,” reminds us that healing often begins with simple acts of compassion and that redemption is possible for those willing to accept it.
“The Spitfire Grill,” at Cabrillo Playhouse running now through August 2, 2026.
To purchase tickets for “The Spitfire Grill,” at Cabrillo Playhouse visit: https://cabrilloplayhouse.org/ or call the box office at: +1-949-492-0465.
Cabrillo Playhouse is located at:
202 Avenida Cabrillo
San Clemente, CA 92672
4.5 out of 5 ⭐️⭐️⭐️⭐️½