Skip to main content
Jun 25 2013
Love0

THIS IS HOW IT GOES is a racist infused 95 minutes of shocking theatre

By Kedar K. Adour

Belinda (l, Carrie Paff*) and Cody (r, Aldo Billingslea*) bicker during their barbecue picnic as an old high school friend (c, Gabriel Marin*) looks on in the Bay Area Premiere of This is How It Goes

This Is How It Goes: Drama. By Neil LaBute. Directed by Tom Ross. Aurora Theatre, 2081 Addison St., Berkeley. (510) 843-4822 or www.auroratheatre.org.

THIS IS HOW IT GOES plays at the Aurora Theatre in Berkeley now through July 28 (added performances: Tuesday, July 23, 7pm, Thursday, July 25, 8pm, Friday, July 26, 8pm, Saturday, July 27, 8pm, Sunday, July 28, 2pm).

 

THIS IS HOW IT GOES is a racist infused 95 minutes of shocking theatre.

If you are familiar with playwright/screen writer Neil LaBute and have seen his other  plays you know that the closing show for Aurora’s 21st season This is How It Goes could be a shocker. It is but the  saving grace is that this dark, edgy  and comic Bay Area Premiere is directed by Artistic Director Tom Ross and features Aldo Billingslea, Gabriel Marin, and Carrie Paff. These three superb actors under Ross’s thoughtful directional almost make this racist infused 95 minute play palatable.

Using the race card is not limited to the white population, the reverse is prevalent and LaBute’s play does not pick sides. Black Cody (Aldo Billingslea) is married to white Belinda (Carrie Paff ) a former high school cheerleader.  Cody is one of the few black faces in a small unnamed Midwestern town. He has built a very successful business and because he is not fully accepted in the town, he is a poseur who adopts an affected style and intimidating demeanor. Having been an Olympic quality star track athlete he maintains a rigid exercise routine keeping his taut physique. The mixed race couple have been married for a few years and have children who are never seen in the play but become significant cogs in the storyline. Trouble is brewing in the marriage.

The storyline begins with a white narrator, listed as Man (Gabriel Marin) in the program. He honestly tells the audience that the action/facts he relates may or may not true . . . “this is how it goes.” That line is oft repeated as Man breaks the fourth dimension and moves back and forth to the story. He may or may not be a playwright explaining why the back wall of the three sided stage is covered with typed script pages. There are only a few props that are swiftly moved on and off the stage allowing the action to flow while a plethora of twists and turns unfold.

Schoolmate Man has mysteriously returned after being away for 12 years and rents an apartment above the couple’s garage. Is his presence in the town accidental or is it to revive the spark he has for Belinda? He does not tell us because ‘this is how it goes’. As conflict builds, LaBute in his trademark manner introduces ugly dialog and action that will make you uncomfortable.

Billinsglea’s powerful acting conveys menace when menace is needed and in the few scenes where tenderness is required his shift in personality is believable. Diminutive Carrie Paff is a joy to watch as she moves Belinda from subservient wife to strong challenger to a bullying husband. Gabriel Marin’s professionalism makes him a perfect choice for ensemble acting. He is the master of milking humor from what appears to be a throw-away line yet slips into a dramatic posture when physically and orally challenged.

It is not a play that will engender love for your fellow man but it certainly will stimulate conversation.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

Jun 24 2013
Love0

KING LEAR Guest review by William (Bill) Deuell

By Kedar K. Adour

GUEST REVIEW by William (Bill)  Deuell of Arnold, California:

KING LEAR @ Oregon Shakespeare Festival, June 2013

King Lear (Michael Winters) thinks the only person loyal to him his his Fool (Daisuke Tsuji). Photo by Jenny Graham.

 I am not a student or fan of William Shakespeare. During my educational years, I had Shakespeare required reading which I believe was Romeo and Juliet. I found Shakespeare hard to read, difficult to understand, and I did not spend enough time to get to know how to enjoy Shakespeare’s works.

Nancy and I visited Ashland on the way home from a wonderful anniversary vacation in Gold Beach, Oregon. We had several choices of performances and chose King Lear since we had not seen it before and the reviews sounded interesting. We seemed to have overlooked the fact that the play was a “contemporary adaptation” of the original King Lear.

The theater was “in the round” and sold out. Our seats were in the second row from the front which put us as close to the action as you would want to be. Possibly, even too close as we felt almost part of the performance which at times became very violent.

Right from the start, the play held my attention, and also for the following four hours. The actors seemed to be the real characters Shakespeare had intended them to be. The sets were extraordinary, the sounds overwhelming, and the lighting truly unique. As in many Shakespeare plays, most of the characters die, and in this performance, have to be dragged from the stage. The makeup was so realistic, it actually made my stomach turn. At one point in the play, I looked at the audience in a beam of light, and one woman had the look of horror on her face.

Michael Winters played the role of King Lear. His performance was beyond my expectations. I cannot say enough regarding how he became the real King Lear and interfaced with the rest of the characters.

Daisuke Tsuji played the role of Fool. Probably because of the darkness of the play, his performance stood out as the only comedy relief. His performance was outstanding. 

Raffi Barsournian played the role of Edmund. He entered his part playing basketball which fit with the “contemporary” adaptation. He had a major role in this play, and did an exceptional job.

As for watching King Lear and others wandering around in their underwear, I cannot understand the point. Nancy says it is symbolic of dying and no need for clothes. That is good enough for me. You have to feel sorry for King Lear since he is now old and foolish.

Would I recommend attending the performance? Yes, I would recommend this play for anyone, whether the person is familiar with Shakespeare or not. There is something in this.

Jun 23 2013
Love0

The Gospel of Mary Magdalene — San Francisco Opera Performance Review

By Joe Cillo

The Gospel of Mary Magdalene

San Francisco Opera Performance

June 22, 2013

 

 

There are 13 mentions of Mary Magdalene by name in the canonical gospels.  I will list them here without quoting them. 

 Mark 15:40

Mark 15:47

Mark 16:1

Mark 16:9

Luke 8:2

Luke 24:10

Matthew 27:56

Matthew 27:61

Matthew 28:1

John 19:25

John 20:1, 2

John 20:11

John 20: 16

The woman in Luke 7:36-50 who washes and kisses his feet is sometimes assumed to be Mary Magdalene, but I don’t count this because she is not named in the passage.    

There is no other mention of Mary Magdalene in the New Testament and of these few references all but one of them is related to the stories Jesus’ death and resurrection.  Luke is the only gospel that mentions Mary Magdalene outside the context of the final events of his life.  About a third of the gospel accounts are taken up with the dramatic last week of Jesus’ life.  They are not particularly interested in recounting the details of his life or who he was as a person.  So it is curious that Mary Magdalene would appear to play such an important role in this crucial part of his life, which the gospels are supremely interested in, yet otherwise the gospel writers seem at pains to minimize her importance and even discredit her.  I can only conclude that Mary Magdalene must have played such an important role during the week of Jesus’ death and the immediate aftermath, and this was so well known among the early Christian groups that the gospel writers could not ignore or omit her, however much they would have liked to.  That immediately leads to the question of what role she might have played in Jesus’ life apart from the week of his death.  The gospels have almost nothing to say about this.  Luke mentions that Jesus cast seven devils out of her and that she was part of a group of women who supported Jesus and his (male) followers “with their own means.”  (Luke 8:3)  This must be the source of the opera’s portrayal of Mary Magdalene as a woman of some significant means.  I found this a rather incredible stretch and I do not think that Mary Magdalene was in any way or shape affluent.  

In the gospel accounts Mary Magdalene was the first one to discover the empty tomb and to “see” the resurrected Jesus.  The opera is ambivalent about the resurrection, but seems to come down on the side of skepticism.  As Mary is hunched over the body of Jesus he rises up from below the stage behind her as a kind of apparition.  They carry on a conversation wherein he exhorts her to go out and tell others what he has imparted to her, but she never faces him or interacts with him as in the gospel accounts.  He then disappears beneath the stage leaving Mary alone with the dead body of Jesus.  J. D. Crossan comments

The women’s discovery of the empty tomb was created by Mark to avoid a risen-apparition to the disciples, and the women’s vision of the risen Jesus was created by Matthew to prepare for a risen apparition to the disciples.  There is no evidence of historical tradition about those two details prior to Mark in the 70s.  Furthermore, the women, rather than being there early and being steadily removed, are not there early but are steadily included.  They are included, of course, to receive only message-visions, never mandate-visions.   They are told to go tell the disciples, while the disciples are told to go teach the nations.  (Crossan, p. 561)

The Gospel of Mary is a text from the second century, composed at least a hundred years after the relevant events.  It is fragmentary and there are only two manuscripts in existence, one, a Greek text from the second century, and a Coptic text from the fifth century ( Ehrman, p. 35)  This text indicates that some early Christian groups held Mary Magdalene in much higher regard than the writers of the canonical gospels did.  It also indicates some rivalry between the followers of Peter and those who held Mary in higher esteem.  This rivalry probably had to do with the basic direction and message of the movement.  I am skeptical of the opera’s depiction of this as a personal rivalry between Peter and Mary for the attention of Jesus and of clashes between Jesus and Peter over the basic direction and objectives of the movement.  I am equally skeptical of Peter’s opposition of Jesus marriage to Mary Magdalene, never mind the very idea of the marriage itself.

This opera is a fanciful rewrite of the gospel stories and message.  It takes considerable liberties with the traditional texts, and even with the Gnostic texts that it loosely draws upon.   I see it as an attempt by a disgruntled Roman Catholic to recast the basic message of Christianity into something a little more palatable for a modern audience.  If you are a lapsed Catholic, or a nominal Catholic, or a disgruntled, alienated Catholic, but unwilling to break entirely with the Church and your past, you might see something sympathetic in this.

I didn’t care for it and found it frankly rather dull.  I debated with myself about leaving at intermission, but I sat there so long thinking about it that I ended up staying for the whole performance.  The reason that it is dull is that there is not much action.  The characters share agonized ventilation of their inner lives and their relationships in a soap-operatic style, but nothing much happens.  There is no drama.  You have to be interested in these philosophical speeches or the whole thing drops dead.  The set is visually uninteresting.  It looks like a construction site or a rock quarry and it doesn’t change throughout the entire performance.  Usually operas are visually interesting and imaginative if nothing else.  Even if you can’t stand the music, the spectacle is worth the admission price.  But this one has little to offer in the way of visual spectacle, so an important element of audience engagement is removed.  It would have helped if the music was better, but I did not find anything memorable or interesting in the music score, the singing, and especially in the lyrics.  It was preachy, and the messages it was trying to impart I did not find particularly insightful or thought provoking.  Some of it was rather trite, in fact.  If you are Catholic or a traditional Christian, you might take umbrage at some of the departures from the traditional conception of Jesus, his life, and his message.  But this does not bother me at all.   I thought the conception was a little far-fetched in some respects, but the way I look at it, any reconstruction of Jesus, any artistic representation of any aspect of his life, is by definition an interpretation, and thus will be highly personal and idiosyncratic in nature.  This is fine with me.  It is the nature of art and it is what is interesting about art.  I welcome artists’ reinventions of stories, incidents, personalities, and images from the past in new and interesting characterizations.  My distaste for this performance has nothing to do with stodginess or conservatism.  I just didn’t think it came across. 

An opera about Mary Magdalene raises issues for the contemporary church that have a history going back to the beginning of the Christian movement:  the role of women, not only within the church, but relations generally between men and women.   Asceticism was major social and philosophical trend both within early Christianity and in the many Gnostic sects that soon followed and competed with budding Christianity.  Many of these writers despised women and especially warned men against sexual connection to women.  These people became the orthodoxy within Christianity.  But Mary Magdalene remained a thorny challenge to their authority.  If Mary had a special intimacy with Jesus (whether sexual or not), it would set a bad precedent and a bad role model for women and men within a church that exalted a de-sexualized existence, especially for men.  Women would have to be included in the leadership, their views would have to be taken seriously, sexual relations with women would be a legitimate concern and activity.  This was anathema to these early ascetics, as it is to ascetics today.  Necessarily, the role and significance of Mary Magdalene in the life of Jesus would have to be minimized and her authority on the teachings and mission of Jesus would have to be discredited.  And that is exactly what happened.  This opera brings these ancient controversies back to life.  It may resonate with you, if you are struggling with any sort of ascetic proscriptions weighing down your life, making you miserable, and destroying your personal relationships.  But if you have somehow managed to avoid all of that or freed yourself from it, then this opera will likely not have much to offer you, and you’ll find it rather tedious, as I did.  There were plenty of empty seats.  You can probably get tickets quite easily. 

 

Notes

Crossan, J. D. (1998)  The Birth of Christianity.  New York:  Harper Collins.

Ehrman, Bart D.  (2003)  Lost Scriptures:  Books that did not make it into the New Testament.  Oxford and New York:  Oxford University Press.

Jun 23 2013
Love0

OREGON SHAKESPEARE FESTIVAL: Non-Shakespearean Plays 2013

By Kedar K. Adour

OREGON SHAKESPEARE FESTIVAL (OSF) 2013, P.O. Box158, 15 South Pioneer Street, Ashland, Oregon 97520. 541-482-2111 or www.osfashland.org

OSF Part II: Non- Shakespearean Plays:

Three of the four non-Shakespearean plays are being given excellent productions with My Fair Lady and The Heart of Robin Hood leading the pack with Streetcar Named Desire a close third. The Unfortunates is appreciated by some audiences but not by this reviewer. To recap a paragraph from the introduction in Part I of these reviews: “The Unfortunates commissioned by OSF with book, music, lyrics by 3 Blind Mice (Jon Beavers, Ian Merrigan, RamizMonsef and Casey Hurt, with additional material by Kristoffer Diaz) is an unfortunate experience. It was put together by a committee and it looks it. It is dressed in grunge, the music fluctuates between Hip-Hop, blues, jazz and Gospel without rhyme or reason and the convoluted inanely excessive story line is difficult to follow.”

Rae (Kjerstine Rose Anderson), has been forced into prostitution at her father’s bar, but Big Joe (Ian Merrigan, center back) only has eyes for her. Photo by Jenny Graham.

Angus Bowmer Theatre:

Ensemble. Photo by Jenny Graham

MY FAIR LADY (2/17-11/3) Adapted from Book & Lyrics by Alan Jay Lerner. Music by Frederick  Loewe. Director Amanda Dehnert. Choreographer   Jaclyn Miller.  Scenic   Design David Jenkins. Costume Design Devon Painter. Lighting  Design M.L. Geiger. Music/Sound Kai  Harada & Johanna Lynne Staub.

George Bernard Shaw would certainly not be thrilled with the original staging of My Fair Lady the musical based on his play Pygmalion even though much of his dialog is intact in text and lyrics. But he surely could not fault the total concept of Amanda Dehnert’s staging that is receiving raves reviews and will probably be sold out for its run scheduled for the entire season. He certainly would appreciate Jonathon Haugen’s performance as a bullying Professor Higgins who is challenged by his Pygmalion Elisa the once “squashed cabbage” whom he brought forth from her chrysalis to become a beautiful butterfly. Haugen’s solid portrayal of a ‘tough’ Professor Higgins is balanced by a fine comic timing in word and deed creating a memorable character infused with ambivalence. Shaw, the feminist, may want Eliza to ‘win the day’ but there will be no romance and Eliza don’t forget to bring the slippers.

The present production is absolutely cleverly unique and may be startling for those who have seen the show many times before but they will stand up cheering for the entire cast who hardly ever leave the stage. Hurricanes hardly ever happen in Hartford, Hereford, and Hampshire but the certainly do on the Angus Bower stage.

The inventive Dehnert states in the program notes: “Life isn’t neat and theater isn’t clean,” Life is messy, so should theater be. You should see where the lights hang, see the clothes being put on and taken off, see how people transform through the power of imagination.”

To this declaration she has reduced the orchestra to two marvelous center-stage grand pianos played brilliantly by Matt Goodrich and Ron Ochs. They are occasionally accompanied by a solo violin especially for “I Could Have Danced All Night.”

Yes the actors do change their costumes on stage and they ascend and descend from stairs where they sit surrounding the action. A huge neon sign dominates the back wall proclaiming for all to know that this is “MY FAIR LADY” like no other. Would you believe that during the staging of the “Ascot Gavotte” the hats descend from the rafters to perfectly fit on the dancers heads?

Jonathan Haugen’s unstinting chauvinistic Higgins (“Why can’t a woman be more like a man?”) is matched word for word, song for song and body language by Rachel Warren’s scrappy Eliza. She has played the role many times across the U.S. and her stage presence matches her superb voice. Surprisingly Haugen, who is usually cast in a Shakespeare play, was brilliant as Brutus in Julius Caesar two years ago, has an excellent musical

Henry Higgins (Jonathan Haugen) explains the joys of the English language to Eliza (Rachael Warren).

comedy’s a voice to match.

No one upstages Anthony Heald and his show-stopping portrayal of Alfred P. Doolittle is proof of that. David Kelly does get his share of laughs as Colonel Pickering but Ken Robinson’s Freddy Eynsford-Hill singing “On the Street Where you Live” has the cast as well the audience cheering his performance.  Suggestion: Do Not Miss This Show.

 

 

A STREETCAR NAMED DESIRE (4/17-11/2) by Tennessee Williams. Director Christopher Liam Moore. Scenic Design Christopher Acebo. Costume Design Alex Jaeger. Lighting Design Robert Wierzel. Music/Sound Andre J. Pluess.

The Angus Bowmer Theatre has no curtain for its proscenium arch and observing the delicate see-through two-story structure set off alarms for this reviewer. Not long into the 11 scene play, being staged in three acts with two intermissions, it became apparent that director Christopher Liam Moore was emphasizing the poetic aspect of Tennessee Williams’ seminal play. In doing so the casting of the very popular Danforth Comins as the rough hewn Polish Stanley Kowlaski may have been appropriate. Comins is no stranger to Williams’ plays having been cast two years ago as Biff in Cat on a Hot Tin Roof where he gave stunning performances.

Stanley, however, is a different breed than the sexually ambivalent Biff. He is a macho working class man whose rough sexual manners are integral to the Stella’s attraction and Blanche’s revulsion of him. One should not expect the guttural speech made famous by Marlon Brando on Broadway and in the film but Comins does not grasp the viciousness of Stanley’s personality and his shift in speech accents suggests that he has not fully invested himself in the role.

Stanley (Danforth Comins) insists to Stella (Nell Geisslinger) that what he’s heard about Blanche (Kate Mulligan) is true. Photo by Jenny Graham.

This is not the case with the other three major characters. Kate Mulligan initially portrays Blance Dubois on a one-dimensional note but early on her time upon the stage is quite brilliant and mesmerizing as she gradually descends into madness. Neil Giesslinger as Stella Kowalski nails the role as a stable sister to Blanche with an animal magnetism to Stanley. You will not recognize her as Kate in The Taming of the Shrew where she is so marvelously different in comedy. Jeffery King is perfect in the role as Harold Mitchell (Mitch) the lonely man saddled with a sick mother. His performance, though unique is reminiscent of Karl Malden.

There are other perceived casting errors including the poker game players who are non-distinctive and interchangeable in their acting or possibly as how they were directed. Daniel Jose Molina’s turn upon the boards as the young newspaper collection boy that Blanche attempts to seduce is a joy to watch. That scene is one you will remember but double casting the youngster as the doctor who takes Blanche away with her unforgettable line, “I have always depended on the kindness of strangers,” is a serious flaw.

If you are unfamiliar with the plot go to your computer browser and type in: “A Streetcar Named Desire” and select the web site of your choice. Suggestions: Well worth seeing despite this somewhat negative review.

 

Elizabethan Stage/Allen Pavilion

THE HEART OF ROBIN HOOD (6/5-10/12) by David Farr. U.S. PREMIERE. Director Joel Sass. Scenic Design Michael Ganio. Costume Design Sonya Berlovitz. Lighting Design M.L. Geiger. Composer Paul James Prendergast.

Time to set aside filmdom’s Douglas Fairbanks (1922) and Errol Flynn’s (1938) portrayal of Robin Hood and add John Tufts in tights to the list of actors trekking around Sherwood Forest in the role of “people’s choice” who robs from the rich and gives (shares?) with the poor. But did he, Robin, really do that? David Farr’s take on that legend suggests otherwise. In doing so he has created a hilarious script The Heart of Robin Hood that even includes a rival Martin of Sherwood.

It just happens that Martin starts out as Maid Marion (Kate Hurster) and Farr stealing a directorial conceit from Shakespeare puts her in men/boys clothing to compete with misogynistic and less than altruistic Robin and his Merry Men. Although the plot is complex in structure it is a breeze to follow. In doing so you will admire Director Joel Sass’s skill at creating humor even when heads roll and bodies litter the stage. His ‘shake-down’ of a crooked Friar (Jonathon Haugen) who physically looses his head brings gasps and laughter. Being able to do that indicates great directorial ability. There are a multitude of such brilliant staging effects that also include puppets, sword fights (of course), and fine comic acting by an expert cast giving the term ensemble performance a boost.

Prince John (Michael Elich) is the leader of the bad guys and true to form he is hot to marry Marion. He also is over-taxing the populous ostensibly to finance the Crusade against the “Muslim Terror” in the Near East where some of the good guys are. Off Marion goes to the magical forest ot become Martin of Sherwood. He/she is the true altruist by sharing his/her booty taken from the rich. Her sidekick Pierre (Daniel T. Parker) who against his better judgement tags along as Big Pete. Before all this happens we get to meet “Little John” (Howie Seago) who reluctantly joins the band when he learns that women are not allowed.

Most of the major characters are in place, conflict and strife arises, good guys get caught, good guys get rescued and love triumphs. Of course, what did you expect? After all the title is The Heart of Robin Hood. Plug the Dog (Tanya Thai McBride) has a ball hopping around the stage. Tufts and Hurster play off each other with perfect timing and display a charming charisma. Another member of the ensemble that deserves an accolade is Tasso Feldman who plays a valet, Priest, Lord “Tubbington”, the Green Man and a Wild Boar.

The staging, lighting, music and sound effects are spectacular and the forest uni-set mentioned in the introduction is perfect for this play. Running time a short 2 hours and 20 minutes including the 20 minute intermission.

SUGGESTION: An absolutely must see production.

Kedar K. Adour, MD

Bay Area Reviewer for www.theatreworldinternetmagazine.com

NOTE: TheatreWorld does not publish Festival reviews and all reviews are archived on this web site.

 

Jun 23 2013
Love0

Off Broadway West Stages Comeback with Harold Pinter’s Betrayal

By Flora Lynn Isaacson

Brian O’Connor and Sylvia Kratins in Betrayal. Photo by Adam Simpson

Off Broadway West Theatre Company is delighted to present the revival of this great classic here on the west coast as its first full production after a year’s hiatus of successful staged readings.

Betrayal begins in 1977 with a meeting between adulterous lovers, Emma (Sylvia Kratins) and Jerry (Brian O’Connor), two years after their affair has ended.  The play ends as we move back in time through nine scenes of the play to 1968 in the house of Emma and her husband Robert (Keith Burkland) who is also Jerry’s best friend.

The betrayal Pinter explores is far more complex than the standard love triangle and Director Richard Harder exposes its multiple facets with the precision of a diamond cutter.  Betrayal is a wonderful introduction to Pinter’s innovative method of developing a play by dramatizing the behavior of his characters in such a way that the audience must patch together the full story and decide for themselves which character, if any, should have their allegiance.  This requires good listening skills for Pinter’s characters speak a dialogue filled with pauses that are often more meaningful than the spoken words.

Although all three actors do a marvelous job portraying their characters convincingly and consistently, Sylvia Kratins tackles the play’s more challenging role with striking emotional clarity. Her Emma is a woman torn between husband and lover who must justify lying to Robert, but more significantly, must justify lying to herself.  We see in Emma a dynamic character that evolves from an innocent girl into a haunted, bitter woman.  Burkland’s Robert is particularly impressive in conveying the darkness that makes him the sort of man who’s not above hitting his wife.  Brian O’Connor’s Jerry is charming but very much smug about considering anything beyond an affair impossible.

Bert van Aalsburg’s set is sparse-a pub, a sitting room, a hotel room–each is suggested only by chairs and a table.

By the final episode, which is the beginning of the story, but the end of the play, the three actors have infused their now youthful characters with glowingly exuberant energy.

Critics and audiences made Betrayal one of London’s most popular plays when it premiered in 1978. It won several major awards including the Olivier Award for Best New Play and the New York Drama Critic’s Circle Award.

Betrayal runs at Off Broadway West Theater Company, June 21-July 20, 2013.  The times are Thursday-Saturday at 8 p.m. The place is the Phoenix Theatre, Suite 601, 414 Mason St. (between Geary and Post), San Francisco. For tickets, call 800-838-3006 or go online at www.offbroadwest.org.

Coming up next at Off Broadway West will be The Weir by Conor McPherson, November 7-December 7, 2013.

Flora Lynn Isaacson

Jun 22 2013
Love0

OREGON SHAKESPEARE FESTIVAL 2013

By Kedar K. Adour

Elizabethan/Allen Pavilion for the 2012 Season

OREGON SHAKESPEARE FESTIVAL 2013, P.O. Box158, 15 South Pioneer Street, Ashland, Oregon 97520. 541-482-2111 or www.osfashland.org

The Oregon Shakespeare Festival (OSF) in Ashland has been under the Artistic Directorship of Bill Rauch for the last five years and each year there seems to be larger and more appreciative audiences. Rauch’s first foray into the OSF venue was in the 2006-2007 seasons when he received accolades for his directing of Romeo & Juliet and Two Gentlemen from Verona. He seems dedicated to the idea of “concept productions” of Shakespeare’s plays and the only ‘straight’ production in the last five years was the brilliant Henry VIII. The concept idea still dominates in 2013 and all three Shakespearean plays are parading the boards in very original and thought provoking style.

The least often produced Cymbeline and the ubiquitous A Midsummer Night’s Dream are gracing the outdoor Elizabethan Stage/Allen Pavilion and King Lear in the intimate theatre-in-the round Thomas Theatre (formerly the New Theatre). This year the evening performances begin at 8 rather than 8:30 p.m. which is a wise decision since many of the shows run three hours or more with King Lear ringing in at three hours and 15 minutes with two intermissions. Cymbeline takes second honors at three hours and 10 minutes with one intermission. The third play for the outdoor Elizabethan Stage is the U.S. Premiere The Heart of Robin Hood by David Farr an import from the Royal Vic of London that stole the hearts of the opening night audience. Most of the OSF plays receive standing ovations (whether they deserve them or not) but this one was the most spontaneous and deserved. It is ingeniously directed by Joel Sass who is no stranger to the Cal Shakes and the Bay area. Another familiar director is Amanda Dehnert who staged The Verona Project at the Bruns Amphitheatre also for Cal Shakes. Dehnert gets the brass ring for her imaginative, brilliant staging of Lerner and Loewe’s My Fair Lady. These last two mentioned plays alone are worth a visit to Ashland.

Another change for this year’s Elizabethan Stage is a “uni-set” used for all three productions. There probably is a cost savings but at a press conference the explanation was that Cymbeline, Dream and Robin Hood all have sylvan settings within their plots thus the unity of the set designs was appropriate. Sounds reasonable.

The final Shakespearean play is The Taming of the Shrew receiving a riotous rendition with the action taking place on an Atlantic City type board walk with a three piece onstage band. This production is part of Shakespeare for a New Generation, a national theatre initiative sponsored by the National Endowment for the Arts in cooperation with Arts Midwest. Its purpose is to attract younge audiences. This Taming of the Shrew will most certainly do that. It starts and ends with a hip-hop style dance with the amplified guitar, bass and drums bringing cheers.

The final two plays seen in this five day visit are Tennessee Williams’ popular A Streetcar Named Desire and the World Premiere of The Unfortunates. Whereas Desire is well worth, with a few caveats about the staging, since Kate Mulligan as Blanche gives a Tony Award type performance. The Unfortunates commissioned by OSF with book, music, lyrics by 3 Blind Mice (Jon Beavers, Ian Merrigan, RamizMonsef and Casey Hurt, with additional material by Kristoffer Diaz) is an unfortunate experience. It was put together by a committee and it looks it. It is dressed in grunge, the music fluctuates between Hip-Hop, blues, jazz and Gospel without rhyme or reason and the convoluted inanely excessive story line is difficult to follow.

SHAKESPEARE’S PLAYS:

Thomas Theatre.

KING LEAR by William Shakespeare (2/21- 11/3) Directed by Bill Rauch. Scenic design by Christopher Acebo. Costume design Linda Roethke.

Lightening design by Christopher Akerlind. Music and Sound Andre J. Pluess.

King Lear (Michael Winters) awaits answers to his question–a question that ultimately undoes him. Photo by Jenny Graham

The interpretations/analyses of King Lear are multitudinous. Director Bill Rauch waxed eloquent in the program notes “. . . of this masterpiece. As deep as the Mariana Trench, as high as Mt. Everest, as vast as the star-filled sky? You bet.” Taking this as his gospel one might be engulfed in the magnitude of his dark and powerful staging on the intimate theatre in the round Thomas Stage. You are part of the action yet you may withdraw with revulsion at the violence of man’s inhumanity to man and the thought that individual characters must virtually and actually be blinded in order to “see” clearly.

If you accept Rauch’s premise, and it is very reasonable, why after a precisely staged and acted first scene does he have the technical crew wheel a massive basketball backboard onto the acting area having Edmund (Raffi Barsoumian) enter dribbling a basketball and shooting hoops? After much thought Rauch may to suggesting that it is all a game to Edmund and that game will turn deadly. OK, that’s almost acceptable.

Michael Winters, who was a brilliant Prospero at CalShakes, will alternate in the role of Lear with former ACT favorite Jack Willis. Winters played the role in the production we saw. He gave a commanding and dominating performance ably supported by Vilma Silva (Goneril), Robin Goodrin Nordli (Regan), Richard Elmore (Earl of Gloucester) and Sofia Jean Gomez (Cordelia).

The technical effects, that sometime overpower the acting, are at times massive (an eight foot high metal gate and fence stretching diagonally across the floor), a staircase extending to the rafters,  appalling (Gloucester’s eyes being put out) and clever (four flashlights illuminating Lear’s face as he goes mad in the storm scene). The elevator conveniently lifting a portion of center stage with props gets extended use.   Suggestion: Reservedly recommend.

 

 

Petruchio (Ted Deasy) and Kate (Nell Geisslinger) affirm their love for one another as Bianca (Royer Bockus) looks on. Photo by Jenny Graham.

Angus Bowmer Theatre:

THE TAMING OF THE SHREW (2/15-11/3) by William Shakespeare. Director  David Ivers. Scenic Design    Joe Winiarski. Costume Design Meg Neville. Lighting Design Jaymi Lee Smith. Video/Projection Kristin Eflert. Music/SoundPaul James Prendergast.

In this age of political and social correctness The Taming of the Shrew becomes a problematic play as differentiated from Shakespeare’s problem plays. It is problematic because it treats women as chattel and has a misogynistic streak.  Fear not, David Ivers’ ingenious, hilarious staging is a joyful affair that will leave you laughing and is one of the must see productions at OSF.

You all know the story of rich Master Batista (Robert Vincent Frank) with two marriageable daughters. Elder shrewish Kate (Nell Geisslinger) and younger adorable beauty Bianca (Royer Backus) is being pursued by Gremio (David Kelly) and Hortensio (Jeremy Peter Johnson).  Alas along come Lucento (Wayne T. Carr) and his servant Tranio (John Tufts). They switch costumes in a screwball plot to get close to Bianca. But alas, no one gets Bianca until Kate is married off.  From Verona improvised Petruchio (Ted Deasy) with his servant Grumio (Tasso Feldman) come to Padua (A cue from Kiss Me Kate: “I’ve come to wed in wealthy in Padua”) and the fun begins.

Director David Ivers has set the action on an Atlantic City type boardwalk complete with neon everywhere and plentiful projections. A huge “Batista” sign blazes above his meat emporium that appropriately sputters when certain actions occur . Did I mention the three piece rock-a-billy band underneath that sign? Yep, they are there and with amplified sound accompany the denizens of the town in a hip-hop dance to start and end the evening.

The action is non-stop, the costumes garishly glorious, the acting spot on and funnier then hell. David Kelly as Gremio in robin-egg blue shorts is a hoot-and-a-holler stealing laughs from all. Deasy and Geisslinger are a perfect match and when the two newly married go off for their life together there is no doubt that Kate will win the day. Suggestion: Not to be missed.

Elizabethan Stage/ Allen Pavillion

The Queen (Robin Goodrin Nordli) gives a show of support to Imogen (Dawn-Lyen Gardner) and Posthumus (Daniel José Molina). Photo by Jenny Graham.

CYMBELINE (6/4-10/11) by William Shakespeare. Director Bill Rauch. Scenic Design Michael Ganio. Costume Design Ana Kuzmanic. Lighting Design David Weiner. Music/Sound Paul James Prendergast. Choreographer Jessica Wallenfels.

Bill Rauch’s directorial abilities are legion. His versatility and imagination are on display (again) with his mounting of Cymbeline. Consider that he has converted and made sense of Shakespeare’s convoluted plot that takes place in England, Wales and Rome. It is often played as a dark tragedy but Rauch visualizes it as a romantic comedy with eventual happiness abounding while death liters the stage. It works to perfection. All this includes a kidnapping of King Cymbeline’s (Howie Seago) two sons that took place 20 years ago by a trusted friend Belarius (Jeffery King). Then there is the King’s beautiful, beautiful daughter Imogen (Dawn-Lyen Gardner) who is in love with orphaned Posthumus (Daniel Jose Molina). Alas, a mean Queen (Robin Goodrin Nordli), step-mother to Imogen has a nasty son Clothen (Al Espinosa) that she is grooming to be King and therefore must marry Imogen. The queen puts out a contract on Posthumus who flees to Italy.

In Italy, not to bright love smitten Posthumus meets and makes a stupid bet with egocentric lothario Iachimo (Kenajuan Bentley) who travels to London to attempt a dastardly deed on Imogen. England is still under Roman rule and a sub-plot brings a Roman General (Jack Willis) to England to collect tributes that Cymbeline will not pay. That leads to Shakespeare’s obligatory fight scenes (Fight director U. Jonathan Toppo). You know that Shakespeare is fond of girls disguising themselves as boys, so Imogen gets do that as she heads off to Wales now named Fidele.

Back in Wales we meet Belarius and the rowdy/royal (but loyal) sons Guiderius (Raffi Barsoumian) and Ariviragus (Ray Fisher) and they get to ‘adopt’ Fidele as a brother. A magic potion enters into the plot, Posthumus shows up (don’t ask), confusion eventual reigns, the bad guys die off, the good guys win the day, lovers unite and peace between Rome and England is resumed. A pair of ghosts flit on and off the stage and add little to the evening, even though they are written into the script

Suggestion: A must see show.

A MIDSUMMER NIGHT’S DREAM (6/6-10/13) by William Shakespeare. Director Christopher Liam Moore. Scenic Design Michael Ganio. Costume

Puck (Gina Daniels) advises one of the Fairies as Oberon (Ted Deasy) and Titania (Terri McMahon) vow their love. Photo by T. Charles Erickson.

Design Clint Ramos.  Lighting Design David Weiner. Music/Sound Sarah Pickett. Choreographer Jessica Wallenfels.

What a difference five years makes in the production of A Midsummer Night’s Dream.  In 2008 the show was directed by Mark Rucker and it was a fiasco to this reviewer and to OSF audiences. It was a raucous, rock music infused and garishly lighted production with the woodland fairies as high-heeled drag queens straight from a San Francisco Folsom Street Fair. Happily Liam Moore who is the adoptive parent of two pre-teen boys asked them, and other youngsters, their opinions of what fairies looked like. They all agreed they should wings.

Moore has helmed a marvelous cast of youngsters and adults (with wings of course) to play the fairies and surrounded them with charming mortals but maybe “What fools these mortals be.” This is a gentle modern dress version that begins at the graduation within a Catholic Boarding School in Athens. A Catholic priest replaces Duke of Athens Theseus (Richard Howard) and Mother Superior replaces Hippolyta (Judith-Marie Bergan). They are to be married in four days.

When Egeus (Robert Vincent Frank ) complains that his daughter Hermia (Tanya Thai McBride ) is messing around with Lysander (Joe Wegner ) but is  promised to Demetrius (Wayne T. Carr ), she is offered an ‘or else’. Or else what? Or else be sent off to a nunnery and remain a virgin forever and ever. That’s not for Hermia so she runs off into the forest with Lysander. But wait, Helena (Christiana Clark ) is in love with Demetrius but he not with her. They end up in the forest in hot pursuit.

But then there are the rag-tag group of would be thespians, that includes egotistical Nick Bottom (Brent Hinkley), who are to perform the  Pyramus and Thisbe interlude at the wedding four days hence. Off to the woods they go to rehearse by moonlight. There is a charming scene of that moon rising in various increments to dominate upstage right and is reversed as the evening ends.

King of the fairies Oberon (Ted Deasy) is upset with his queen Titania (Terri McMahon) and concocts a fairy dust to make her fall in love with the first person she sees on awakening. This fairy dust will also be used on our runaway lover(s). More complications: Puck (Gina Daniels) has turned Bottom into an ass and he is the first person Titania sees. . . love blossoms. Puck also puts the dust into Lysander’s eyes and the first person he sees is Helena.

From here on in the acting is an over-the-top romp with marvelous visual effects, a bit of slapstick and the little fairies (Peaseblossom, Cobweb, Mustardseed and Moth) running around looking very cute. The greatest humor is provided by the acting troupe. Although Brent Bently has the most inane action and many of the laughs, Francis Flute playing Thisbe in drag and unbelievable costumes is hysterical. Not to be out done is

(L-R) Thisbe (Francis Flute) The Moon (K.T. Vogt) Pyramus (Brent Bently) perform the Interlude before the wedding guests.

marvelous K. T. Vogt playing the wall in the interlude. Director Moore wisely extends the slapstick of the acting troupe since they set the audience in a fit of laughter.Suggestions: Highly recommended and bring the kids. The coupling of Bottom the ass and Titania is very discrete.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

 

Jun 20 2013
Love0

BRIGHTON FRINGE REVIEWED

By Joe Cillo

NEWS FROM THE BRIGHTON FRINGE

SHORT COMMENTARY ON WHAT IS HAPPENING ON THE OTHER SIDE OF THE POND

I had the unexpected pleasure of stumbling on BITCH BOXER  written and performed by Charlotte Josephine.  I am not a sports fan and I particularly abhor boxing, yet this play with its fast moving dialogue, exquisite direction by Bryony  Shanahan and truly brilliant lighting effects by Seth Rook Williams captivated me from the moment Josephine stepped on the stage and brought tears to my eyes as I relived a young girl’s torment,  torn by her own determination to validate herself in her fathers eyes.   This is a play that must be seen because words cannot cast its spell.  I takes place in 2012 when women entered  the Olympic boxing ring for the first time.  We see Chloe training to compete in the event even as she is torn by cosmic events in her own life.  Through it all, we see her hanging on to a tattered faith in herself and reaching for a star she knows belongs to her.  It is Josephine’s performance that makes this production stellar.  She is an artist in every sense of that word and beyond

BITCH BOXER returns to the Marlborough Theatre May 25,26,& 27 7:30 pm

www.brightonfringe.org; 01273 917272

———————————————————————————-

THE SPEIGEL TENT IS THE PLACE TO BE ……

LA CLIQUE  happens every night but MOnday at 9 pm and iach performance is unique.  You will see Scotty the Blue Bunny charming you with is wagging little tail and marvelous repartee;  Shay Horay amaze you with rubber bands, Lilikoi Kaos spinning hula hoops in ways you cannot imagine and the Wau Wau Sisters doing a trapeze act that defies gravity.  The show is spellbinding from start to finish and for me a huge highlight is Paul Zenon’s combination of magic and comedy.  This is an hour and a half of superb entertainment…fun, exhilarating and spirit lifting.

 

My favorite performers ever are and have always been MIKLEANGELO AND THE BLACK SEA GENTLEMEN.   They perform at 5 pm in the tent from the 13-19 and are an experience not to be missed “These are performers at the top of their game,” says The Scotsman;  The Sydney Morning Herald says “They are not so much a band as a dream you cannot wake from.”

 

The show combines musical theatre and black humor in unexpected ways.  You will never see its like anywhere in the world. Mikelangelo has composed and arranged songs that blend Balkan melodies and European Kabaret with comedy and farce.  The Gentlemen are superb musicians and each has his own comedic sense. Mikelangelo is brilliant on every level as their leader and your host in the production.  When they play AN A MINOR DAY you laugh and yet you know just what they mean…and I defy you not to nod your head at the black humor in A FORMIDABLE MARINADE.  You will chuckle; you will dance and you will love every minute you spend with MIKELANGELO AND THE BLACK SEA GENTLEMEN.  That is a promise.  Tickets 01273 917272  www.brightonfringe.com.

 

THE BIG BITE-SIZE BREAKFAST: Fresh Fruit *****

This is a series of award winning one-minute plays delightfully presented with coffee and a croissant included in the 12.50/9.50 ticket.  Fresh Fruit is a collection of 5 vignettes directed and produced by Nick Brice/Sam Holland and Sophia Wylie.  Each play in this series gives us a new take on what it is to be human, mixing pathos with humor.  Of special note is Tegen Hitchens whose monologue Thin Air  about a tight rope walker who learns what courage is all about is mesmerizing and unforgettable.  Do not miss this delightful mid day hour. Tickets 01273 917272  www.brightonfringe.com.

 

THE BIG BITE-SIZE BREAKFAST: Interpretations  *****

It is rare to see a show that has an almost universal appeal.  The audience for this “menu” ranged from a rapt 3 year old to a woman of 80 and everyone there was captivated by the selection of plays that combine comedy with a dose of unvarnished reality.  Of special note was Becky Norris’s monologue VALENTINE’S DAY about a woman who receives a valentine from a most unusual stranger.  Norris’s characterization is multi-faceted and believable, yet laced with dead-pan humor.  Kudos to Nick Brice, Sam Holland and Sophia Wylie for their programming and expert direction.  Once again they have given us a delightful and unforgettable morning. Tickets 01273 917272  www.brightonfringe.com.

ROAD Written by Jim Cartwright and directed by Julian Kerridge *****

This award winning play is as moving today as it was when it was written in 1986.  “Now, 24 years later, as the gap between rich and poor grows ever wider….once again it is the very poorest in society who suffer,” says director Julian Kerridge.  Theater is our best vehicle for social outrage and this gorgeous piece will make you cry, laugh and ponder at what is happening now in our world.  Perfectly paced, beautifully directed and acted by an all-star cast, it is the most important piece of theater I have seen in a very long time. Tickets 01273 917272  www.brightonfringe.com.

 

THE BIG BITE-SIZE BREAKFAST: Desires.  The Latest Music Bar May 19, 2013 *****

Once again, the audience is beautifully entertained with five ten-minute plays, all  unforgettable because each is a commentary on the human experience.  The  play selection for all three menus (at Theatre Royal and The Latest) is superb.  We are given literary quality, spot-on direction and amazing acting.  These talented performers must switch from one character to another in a repertory of fifteen plays (for all 3 shows) and not one of them loses the narrative flow.  Each menu is well worth seeing both for its social commentary, its quality, humor and pace. Tickets 01273 917272  www.brightonfringe.com.

 

THE TREASON SHOW *****

This special Festival show is at the Sabai Pavilion at 9pm Tuesday May 21 until Thursday May 25. The very talented cast present fast moving acerbic commentary on the news in song and satire that cannot help but appeal no matter what your level of political interest.  This venue is very large and lacks the intimacy that works so well for the production at The Latest Music Bar, but the skits still get  laughs and leave the audience with unforgettable memories that poke holes in the public image of our all too pompous public officials. Most memorable in this production was Daniel Beales’ impersonation of Angela Merkell singing a parody of My Way.  This show runs monthly. If you missed this one go to www.treasonshow.co.uk for the next edition.

 

BIG BOYS DON’T DANCE *****

This show is a must see for every age. The music is superb, the dancing is mind boggling and the talent of the two stars amazing.  There is a recognizable and believable story line running though the hour about two brothers about to split up because one is getting married.  However, the show is held together with almost magical rhythm, dialogue and dance. The hour passes in an instant, so memorable are the performances of these two South African actors with unequalled comedic timing and pace.   At The Warren until May 24 at 6 pm  Tickets www.otherplacebrighton.co.uk or 01273 917272  www.brightonfringe.com.

 

QUA, QUA, QUA !! *****
Prepare yourself for a delightful, interactive experience creating comedy in the Jacques Tati tradition.  This charming hour sweeps the audience into the Tati experience highlighting the tiny absurdities that are life itself.  Chris Cresswell has created this gem of a piece and it is his comedic genius that propels the action.  He is supported by a talented cast who pantomime his words. Marion Deprez is outstanding in her characterizations of the conductor on a train, a frustrated sunbather and just another woman in the rain.    Do not miss this tribute to a moviemaker who saw what being human means.  Cresswell’s presentation is sensitive to every nuance that makes life worthwhile.  Tickets: emporiumbrighton.com.  May 30-June 1 @ 7:30    13.50 pounds

 

NIGHT AFTER NIGHT *****
Paul Shaw is a consummate actor, a thrill to see on any stage.  His performance in this touching and very wise production is nothing short of stellar.  The story begins in 1958 when homosexuality was considered a mental disease.  A married couple meet for theater and ponder on their future and the baby soon to be born.  Shaw who plays all the characters in Neil Bartlett’s profound script has an understated delivery that makes the dramatization all the more powerful.  His series of characters explore the need to accept who we are and what we have become as a fact of our lives.  The music composed by Nicolas Bloomfield only enhances the poetic rhythms of the monologue.  The tragedy is that this show was only performed May 31 and June first at the Marlborough Theatre and more people lost the opportunity to experience it.

 

THE WEATHERMAN *****

 

Kiki Lovechild proves how unnecessary words can be in his charming pantomime of how to amuse yourself in purgatory. His show is beautifully paced and combines movement with sound and lighting that sweeps his audience into a world of fun and fantasy unlimited by earthly notions.  Anything can happen on his stage and does from umbrellas swirling to multicolored lights flashing and unexpected gifts shared by a captivated audience.  Nothing verbal can describe the magic of this production and why should it?  The show is an unforgettable hour that cannot fail to make you laugh and love being alive.  Seen at the Marlborough Theatre May 30-June 1.

JULIAN CADDY SPEAKS ON THE IMPACT OF THE 2013 BRIGHTON FRINGE

This is the second year that Julian Caddy has been at the helm of the Brighton Fringe.  In that time, the number and quality of shows have increased by 60% as have the number of attendees.  The Brighton Fringe is the second largest festival in the UK.  Caddy made these comments after a spectacular performance of THE BIG BITE SIZED BREAKFAST: INTERPRETATIONS (reviewed in this article).  The Big Bite Sized Breakfast series was a group of delightful and very meaningful 10-minute plays, each one giving the audience a new view of our own life experience.  Caddy spoke to us after the show.  “What Bite Sized is doing is basic to what we are about,” he said.  “Over 200,000 come to The Brighton Fringe.  And the shows that come here reflect the values of the society that hosts it.”

The majority of the patrons that attend shows for this festival are from Brighton as opposed to The Edinburgh Festival Fringe where the majority of punters are visitors. Each production lives or dies on what they produce and the audience’s reaction to their work.  “That is why we should make more of what we have here, now,” Caddy said.  “The Fringe should continue to support the arts by giving vibrant offerings throughout the year.  That is my ambition.”

Nick Brice produced the Bite Sized Breakfast show.  “Showing people the choices they have gives them the power to make change happen,” he said.

Brice pointed out the parallel between theatre and business.  He creates similar productions to businesses to help both employees and employers empathize with one another and learn how to actually understand what the other person is thinking.  His goal is to show people how to do business in a different way through theater. “Building a brand is making a piece of theatre,” he said.

Theater then is a reflection of life in all its many phases.  Perhaps, this is why experiencing a fringe festival anywhere is so very exhilarating.  Suddenly, the arts take precedence over profit…even over our daily routines.  Instead of going home, eating dinner and watching television, we take in a play, listen to music, laugh at a comedy and experience live entertainment with people of like interests.  All the shows that came to The Brighton Fringe this year were forms of communication and so was the act of attending them.  Theater, be it a play, a dance, a concert…  indeed, in all its forms…. gives us  invaluable tools to keep us human.

 

 

 

Jun 17 2013
Love0

Farce takes off in Palo Alto Players’ ‘Boeing Boeing’

By Judy Richter

By Judy Richter

“We’re in for a bumpy ride,” the housekeeper says at the end of Act 1 of “Boeing Boeing,” Marc Camoletti’s hilarious, Tony-winning farce presented by Palo Alto Players. That’s an understatement.

It starts smoothly enough as Bernard (Michael Rhone), an American architect living in Paris, deftly juggles his engagements to three glamorous stewardesses, each working for a different airline.

The key to his success, he smugly says to the visiting Robert (Evan Michael Schumacher), is to make sure that no two or three of them are in town at the same time. It’s all in knowing the timetables, he tells his old school chum.

Then circumstances conspire against him. Between inclement weather and faster jets, schedules change. Soon Bernard, aided by his housekeeper, Berthe (Mary Moore), and Robert, is frantically trying to keep the stewardesses from discovering each other in his flat near the airport.

When Robert first arrives, he comes across as a Wisconsin rube, but as the play continues, he becomes the comic center of the action. He also finds himself attracted to the German woman, Gretchen (Robyn Winslow), and tries to fend off the attentions of Gloria (Damaris Divito), an American; and Gabriella (Nicole Martin), an Italian.

Schumacher’s expressive face and eyes carry much of the play’s comic momentum as Robert reacts to quickly changing circumstances and tries to help Bernard while trying not to succumb to his growing attraction to Gretchen.

Playing Berthe, Moore adds another dimension of comedy to the goings-on as she shifts from deadpan reactions to disbelief to resignation. Both she and Schumacher prove to be masterful comic actors.

Rhone’s Bernard is suave and self-assured until things start to unravel. Then he becomes ever more frantic as he tries to protect his deceptions.

 Divito, Martin and Winslow are all suitably attractive as the stewardesses, but Winslow’s Gretchen can be too strident.

Director Jeanie K. Smith deftly orchestrates all the madcap action with precise timing for every entrance and exit. She also keeps most of the hysteria under control, not an easy task in farce.

A farce would hardly be a farce without many doors. Patrick Klein meets this criterion with seven doors as part of the Mondrian-inspired decor of his set.

Shannon Maxham’s costumes, which feature sexy teddies for the stewardesses, are character-specific and suitable for the year, 1965. However, Robert wears his jacket and vest throughout the show, making him work up a sweat in this physically demanding role.

Running two and a half hours with one intermission, the show is lightweight but highly entertaining, just right for early summer.

“Boeing Boeing” continues at the Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto, through June 30. For tickets and information, call (650) 329-0891 or visit www.paplayers.org.

 

Jun 14 2013
Love0

Pina Bausch: Théâtre de la Ville, Paris

By Jo Tomalin
(above) KONTAKHTOF – PHOTO CREDIT Copyright : Olivier Look

Pina Bausch Tanztheater Wuppertal  KONTAKHTOF
(Photo Credit Copyright : Olivier Look)

Incomparable Pina Bausch Tanztheater at its Best!

Review by Jo Tomalin

Pina Bausch Tanztheater Wuppertal performed Kontakthof, June 11-21 2013, at the Théâtre de la Ville, Paris, France.

The legendary Kontakthof, premiered in 1978 by renowned choreographer Pina Bausch, is set in a dance hall and expresses the range of human emotions between men and women through humor, awkward seductions, tenderness, discomfort and sadness.

Starting with individuals standing close to the audience, a woman in a red cocktail dress checks out her side and front view in the imaginary mirror, a man checks his teeth and adjusts his hair,  someone chases a woman with a fake mouse across the stage…Kontakthof brilliantly explores the phobias of people in public.

A banal set comprises a large gray curtain with a high wall backdrop and several rows of chairs – Scenography and Costume Design by Rolf Borzik. Throughout two hour plus performance the women wear an array of beautifully tailored multicolored satin cocktail dresses and long flowy silk robes, the men wear elegant suits, complemented by lyrical and dramatic music selections by Juan Llossas and Jean Sibelius.

KONTAKHTOF
(Photo Credit Copyright : Olivier Look)

This is dance theatre at its best and there’s plenty of both in Kontakthof performed by this superb company.

Dancers enter and exit playing tricks on each other, dance together or alone, make suggestive gestures and undress – always with a wry smile. A chorus line of impressive dancers dynamically advances towards the audience, couples do discrete and sad yet saucy slow dances, and at times the entire ensemble dances with restrained fluidity with movement dissolving into stillness. Bausch’s choreography surprises us yet also has fascinating repetitive motifs and sequences performed by exceptionally well-trained and tuned in dancers.

Theatre is infused in relationships, dances and clever situations. Disappointment shows in body language of several characters when a child’s mechanical horse ride does not work – until realization that a coin is needed – so they approach audience members for coins. In another short scene actors sit in a row downstage and talk to the audience in their own language (english, german, french, spanish), while a dancer playing the stage manager holds a microphone.  A character walks around with a human size blow up doll getting reactions from onlookers…

These outstanding dancers are sexy, have perfect timing and invest themselves emotionally and believably in play and dance – transcending techniques to produce a piece of exciting visual sensory art that thrills audiences – the norm for this exceptional world-class company.

More information:
Théâtre de la Ville, Paris
Pina Bausch Tanztheater Wuppertal

   Jo Tomalin Reviews: Theatre, Dance and Movement Performances

For Critics World
www.forallevents.com

Jo Tomalin, Ph.D.
More Reviews by Jo Tomalin
TWITTER @JoTomalin

Jun 12 2013
Love0

ABIGAIL’S PARTY

By Joe Cillo

Reviewed by Jeffrey R Smith of the San Francisco Bay Area Theatre Critics Circle

The Award Winning San Francisco Playhouse is presently performing the riotous ABIGAIL’S PARTY by Mike Leigh as directed by Amy Glazer.

Susi Damilano, rightfully the first lady of San Francisco stage comedy, marvelously plays Beverly: a diabolical, deranged hostess reminiscent of the Stanford Prison Experiment, Mommie Dearest and Lindsay English.

Half hostess, half Nurse Ratchet, all evil; Beverly is the accidental devil herself; plying her guests, or captives, with alcohol as if it were mineral water, Beverly turns a perfectly wretched, boring party into a disaster and psycho-drama.

Even the audience is held captive because the play is gut-wrenchingly hilarious; insanely funny; but, you might catch yourself asking, “Should I be laughing at this?”

Neither a professional elevator operator, an evil spouse, nor a trained psychologist could ever push buttons as effectively as Beverly; tormenting her guests with gouging remarks which run the spectrum from careless, to tasteless, to tactless to ruthless.

Beverly shepherds her ovine victims into Dante’s stygian depths of tormented revelers.

Even a liter of gin won’t dull the mental anguish inflicted by Madame Beverly.

Ms. Damilano is the closest San Francisco is going to get to having its own Lucille Ball, Carol Burnett or Lily Tomlin; her comedy is nuanced to the rafters, her timing is to the nanosecond and her movements as salacious as they are comic.

Despite a supporting cast of four characters; this is nearly a one woman show; like a dominatrix, Beverly takes charge, rough riding her guests right into the fetid carpet stains.

A great set design by Bill English captures the very essence of chintzy kitsch, glitzy pretense and cheesy misguided intentions: superbly done; it induces a visual queasiness even before the house lights flicker.

If you are looking for a fun evening in San Francisco, then ABIGAIL’S PARTY is your ticket; this is art wrapped in bacon, wrapped in Velveeta, topped with Whip and Chill.

To reserve your night of laughter, surf over to SFPLAYHOUSE.ORG or call 415-677-9596.