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Oct 18 2012
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AN ILIAD brilliant at Berkeley Rep

By Kedar K. Adour

(At Berkeley Rep, bassist Brian Ellingsen accompanies Henry Woronicz’s searing performance in a visceral new version of An Iliad. Photo courtesy of kevinberne.com)

AN ILIAD: Adapted from homer by Lisa Peterson and Denis O’Hare. Translation by Robert Fagles. Directed by Lisa Peterson. A co-production with La Jolla Playhouse. Berkeley Repertory Theatre (BerkeleyRep), Thrust Stage, 2025 Addison St, Berkeley CA. 510-647-2949 or www.berkeleyrep.org.  October 12–November 18, 2012

AN ILIAD brilliant at Berkeley Rep

Is it possible for theater to exhilarate and depress simultaneously? It certainly can and the proof is on Berkeley Rep’s Thrust stage where Henry Woronicz as The Poet and Brian Ellingsen Bassist enthralled the full house eliciting a spontaneous well earned standing ovation. Using Lisa Peterson and Denis O’Hare’s resplendent adaptation, Homer is brought into the 21st century and this production of An Iliad should not be missed.

There are questions about the origin of The Iiad , if the Trojan War was fact or fancy and even if there really was an author named Homer. Never-the-less there is the fact the story exists and has been translated into many languages and has many parallels in today’s world. During the Vietnam War the chant of the protestors was, “Hell no, I won’t go!” During the time of the Trojan War it was Achilles, part god, part man and the greatest Greek fighter ever who picked up the chant raising a scepter high, crushing it the ground vowing not to fight. The gods took the blame for everything including the waging of war.

It all began when Trojan Paris stole the most beautiful girl in the world Helen, the wife of the Greek Menelaeus. That was a no-no and Agamemnon, the king of all Greece launched the “thousand ships” starting the siege of Troy.  The Trojan War lasted for 10 years but An Iiad details the action involving the battle of the Trojan Hector and Achilles and the involvement of a handful of germane characters. With Achilles on the side line the war is being won by Hector’s Trojans and the intervention of the gods is evoked on both sides. Achilles’ return to battle, specifically the duel with Hector and the final outcome is horrific.

Woronicz  has played the role of the poet in many productions across the U.S., handles the transition between each character with superb timing and inflection. He also manipulates the audience with asides that offer a touch of humor needed to relieve the intensity. The flashes of humor from the asides are supplemented with amusing depiction of Paris as a self-centered fop and Helen as bitchy slut. Could such a war be fought over two such insignificant people? Probably not but the legend persists.

Late in the evening the litany recitation of all the wars from farthest past to the present is shocking to the point of being depressing. He compares the young dead Greeks and Trojans with those who have died and are dying in the mid-east and around the world. This is further compounded by the chilling effect on the women and children of the combatants.  Consider the tragedy that there has not been a day of peace in the known history of the world.

Brian Ellingsen Bassist, is magnificent with the range of sounds he is able to extract from the Bass fiddle. It is absolutely astounding, adding depth and emotion to the spoken word.

After the limited run here to show moves on to the La Jolla Theatre. Running time is 90 minutes without intermission.

Three cheers to the production crew: Rachel Hauck, Scenic Design; Marina Draghici, Costume Design; Scott Zielinski, Lighting Design; Mark Bennett, Original Compositions / Sound Design; Bradley King, Associate Lighting Design; Chris Luessmann, Associate Sound Design; Shirley Fishman, Dramaturg; Telsey + Company, Casting; Kimberly Mark Webb, Stage Manager; Anthony J. Edwards, PhD, Classical Language Consultant.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.

 

 

Oct 15 2012
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BLOODY, BLOODY ANDREW JACKSON weird and loud at the new SF Playhouse.

By Kedar K. Adour


Ensemble with Jackson (Ashkon Davaran) celebrating decision to run for President.

BLOODY BLOODY ANDREW JACKSON: A Rock Musical. Book by Alex Timber, music and lyrics by Michael Friedman. Directed by Jon Tracy. Music Director: Jonathan Fadner. The SF Playhouse, 450 Post Street, (2nd Floor of Kensington Park Hotel, b/n Powell & Mason), San Francisco, CA. 415-677-9596 or www.sfplayhouse.org. October 9 – November 24, 2012

BLOODY, BLOODY ANDREW JACKSON weird and loud at the new SF Playhouse.

For the start of their 10th season the powers that be at SF Playhouse have selected another off-the wall play that fills their new 200 seat theatre space with punk-rock music to assault your ears and at the same time give you something to think about. As a former hearing consultant for the defunct American Can Company research studies confirmed the deleterious effect of noise in the work place. Studies by other colleagues confirm the hearing damage of rock music and a significant number of the younger generation have decreased hearing levels of their elders. (Have you ever noticed the increasing number of ads for hearing aids?)

With that bit of moralizing, and confirming that this reviewer has a bias about punk rock, this review is extremely ambivalent. The storyline that depicts the life of Andrew Jackson, our Seventh President is absolutely fascinating proving again that what is old is new. . . politics have not changed very much since 1828. The energy of the cast is infectious and it is a perfect vehicle for director Jon Tracy’s physical style of moving his actors around the stage and occasionally overturning some furniture.  He also has the benefit of Nina Ball’s three-level metal scaffolding set to keep all in perpetual motion and psychedelic lighting by the brilliant Kurt Landisman.

The music is described as ‘emo rock’ and Wikipedia informs me that it is a style of rock music characterized by melodic musicianship and expressive, often confessional lyrics.  It certainly is that since the lyrics are sort of confessionals by Andrew Jackson and the cast. They are very clever and often macabre. Credit must be given to Alex Timber’s astute lyrics that define character and carry the story forward.

His ability is recognized by the New York critics who heaped praise on all three productions beginning with its 2009 origin at the Public Theatre and eventually moving to Broadway garnering along the way a Lucille Lortel, Drama Desk, and Outer Critics Circle Awards.

This is the regional premiere and it is almost a perfect vehicle to inaugurate the new theatre. The audience was filled with who’s who in the theatre world and other luminaries including a laudatory dedication speech by former Mayor Willy Brown. When the show begins there is a rousing blast by the onstage band. You may be pleasantly surprised that William Elsman who has been a mainstay at Marin Shakespeare Company doubles as John C. Calhoun and is an accomplished at the drummer.

In the early scene Jackson’s Tennessee family are killed by Indians and then goes on to be a military hero and founder of Populism and later the Populists became the Democratic Party. The ‘platform’ they espoused was rule by the common man challenging the rule by the elitist Northerners. When he first ran for president in 1824, even though he won the popular and electoral vote, the House of Representatives elected John Quincy Adams. In 1828 it was a different story and he won by a landslide.

He carried his Indian hatred well into his Presidency even to bucking the Supreme Court decision about the illegality of relocating the Eastern Indian Tribes to areas west of the Mississippi. He also believed in manifest destiny insisting that the whites had the right to claim all the land defined as America. The storyline is clearly outline in song and dialog including a Storyteller (Ann Hopkins) who enters and exits the stage on a mini-motor scooter until her ‘truths’ are silenced by Jackson and eventually thrown into a dungeon under center stage. This ploy adds to the humor needed for the evening.

Humor actually abounds and Ashkon Davaran, who is a rock star in his own right, is a charismatic Andrew Jackson with a great voice and charming stage presence knows how to milk the audience just as Jackson does his populace. El Beh, who plays the cello, has a show-stopper solo describing the killing of “10 Little Indians.” She also does a fantastic  jig while playing the cello.

The eleven member ensemble does heroic duty without a weak character in the bunch. They are: Michael Barrett Austin, El Beh, Angel Burgess, William Elsman, Jonathan Fadner, Safiya Fredericks, Gavilan Gordon-Chavez. Luca Hatton, Ann Hopkins, Olive Mitra, James Smith-Wallis and Daniel Vigil. (Running time is 90 minutes without intermission. Photos by Jessica Palapoli)

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

 

 

Oct 14 2012
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ACTORS THEATER HAS A WINNER

By Lynn Ruth Miller

SPEED THE PLOW

David Mamet

Directed by Carole Robinson & Christian Phillips

Starring Joseph Napoli, Dean Shreiner & Sydney Gamble

PHOTO BY MAXUDOV

Actor’s Theatre never fails to amaze me.  Christian Phillips manages by some miracle of talent and determination to put up truly compelling productions of American classics that speak to every generation.  He does this  on a minuscule budget in a tiny, spare theater void of any pretentious décor.

 

In this production of SPEED THE PLOW, he and his co-director Carole Robinson have gone far beyond their previous successes.  Their interpretation of David Mamet’s classic tale of unscrupulous greed and ambition has elevated this excellent script into a work of art that cannot help but mesmerize with its rapid fire dialogue across a stark almost empty stage. There is very little movement on stage, but every gesture makes an impact.   The program notes tell us that “Mamet’s plays often deal with the decline of morality in a world which as become an emotional and spiritual wasteland,” and the bleak stage with its bare walls is the ideal setting for a play whose central theme is how easily our souls are bought . All three characters in the play are merciless and narcissistic human beings  without a shred of compassion for one another.

 

Let us talk first about the actors.  It is hard to believe that these three people are not among the top performers in the bay area, so professional were the interpretations of their characters.  Dean Shreiner’s Bobby Gould is right on the mark.  He is a self-serving, greedy movie producer whose eye is always on profit at the expense of art.  As the play develops, we see beneath his brittle crust to the insecure, needy man beneath.    When, in the third act, we realize he has succumbed to Karen (Sydney Gamble)’s seduction, he says, “She understands that I suffer,” and his persona visibly softens.  The audience can see his vulnerability and feel his desperate need to do something “good” with his life. ”You look forward to your life and you think it’s never going to happen.  Deep down inside I never thought it would,” he says.

 

And Charlie (Joe Napoli)  replies “You’re a whore, Bob.” And he is right. The reality is that Bobby has compensated for that need to be special by being rapacious and hard- nosed in an industry where sentimentality is a death knoll.

 

Joe Napoli’s Charlie is perfection times ten.  His verbal pace is amazing, his expressions validate his words and his presence on the stage is mesmerizing.  He obviously sees himself as he really is and he likes his image.  ”If I’m just a slave to commerce, I’m nothing…” because for him, the selling and making movies is an exciting and dangerous game that he intends to win no matter what the cost. “We all hope,” he tells Charlie.  “That’s what keeps us alive.”

 

Sydney Gamble is a student at The Academy of Art in San Francisco but in this production she has the professional polish of an actress twice her age and four times her experience.  Her Karen combines an innocence with a hard core that is fascinating to watch and always believable.  When she visits Bobby to talk about the vapid script she just read, one senses that she knows as well as he does that it is not commercial. Her purpose in going to his flat was to better herself, not to report on the script.  She  has set her sights on producing that film with him and so she hits him where he is weakest: his self esteem.  “We are all frightened, she says.  “I listened to your heart and I saw you.  You were put in the world to make movies people need to see.“ (In direct contrast to Charlie’s pronouncement in the first act when he tells Bobby, ”Your job is to make movies that make money.”)

 

Karen knows she has scored a hit with Bobby when she appeals to his better self and she pursues her advantage by telling him she knew why he asked her to his apartment and she is willing to pay the price.  She knows it will get her exactly what she wants.  She says, “You asked me to come.  Here I am.”

 

There is not a trace of the coquette in her interpretation of her role.  Her speech seems innocent and altruistic and yet everyone in the audience knows exactly what she is.  We see in her very presence that she has a goal and that goal will serve her purpose, alone.   That is acting taken to its best level.

 

“When the curtain falls on this short and unsparing study of sharks in the shallows of the movie industry, it’s as if you had stepped off a world-class roller coaster. The ride was over before you knew it, but you’re too dizzy and exhilarated to think you didn’t get your money’s worth,” says Ben Brantley in his New York Times review of the production of the play in 2008 on Broadway.  “The slangy, zingy patter of exaggerated insult and tribute swapped by the studio executives Bobby Gould and Charlie Fox isn’t just air filler; it’s the existential warp and woof of their lives. ….”Speed-the-Plow” is about what happens when the shiny bubble produced by this talk is punctured by someone who doesn’t speak the language.”

 

And that sums up this Actors Theatre production, as well.  It is a polished, glistening gem of a play that shows us what we are beneath the veneer we assume in public.  Mamet sees us all as base creatures ready to sell every value for a pot of gold.  One walks out of one of his plays furious at the human condition and perhaps it is that fury…and that fury alone…that will spur us on to make ourselves better.

 

If you love theater, you will want to se this production of SPEED THE PLOW again and again.  It is everything fine dramatization should be from the first words spoken on that stage until the last.

 

Plays until November 10th, 2012; Wednesdays through Saturdays at 8pm.

Venue: Actors Theatre of San Francisco, 855 Bush St, Between Taylor and Mason

Box Office: (415) 345-1287 or online at DramaList.com

Tickets: General: $38, Students & Seniors: $26

 

 

Oct 11 2012
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A Poignant MTC Topdog/Underdog

By Guest Review

A Poignant MTC TopDog/Underdog

Pulitzer Awardee Suzan-Lori Parks portrays the compelling and touching relationship between African American brothers Lincoln and Booth manifestiing their brotherly love and fraternal resentment as they live miserably in room without water and a toilet. The audience feels compassion for these brothers who have only themselves to find their way through the poverty they face as well as share their sense of humor throughout. Abandoned first by their mother and later by their father at an early age, younger brother Booth (Biko Eisen-Martin), a clever, swift moving thief, looks after older brother Lincoln (Bowman Wright), a tricky three card monte hustler who is divorced and without means to rent a place. Booth looks up to Lincoln, an addicted card hustler fighting to lose his addiction by wearing Lincoln’s top hat and cape to enact the main events in Abraham Lincoln’ life at a store front. His struggle to obliterate his addiction by playing a moral Lincoln helps him feel good but intensifies his conflict with going back to hustling the card tricks.. Booth’s relationship with girlfriend Grace menaces to have Lincoln find a place of his own. There are less tense moments when the brothers look back at the happier times in their early family life. But these moments are soon buried by the realization that first their mother and then their father left them to their own destiny. “Then it was you and me against the world,” says one brother to the other.
Can they survive if they give up making illicit money or robbing? And when Booth succeeds in getting Lincoln to show him the card moves Lincoln’s requires they play for big money. This leads to one brother losing his only savings given to him by one of his parents that will bring the action to a stirring melodramatic climax.

Expertly directed by Timothy Williams, the actors’ use of physical movement is well utilized in this piece consisting for the most part in a dialogue between two actors.

Stage sets by Mikiko Useugi and costumes by Callie Floor display the poverty surrounding the brothers and play an essential role in the dramatic action

Along with the realistic and gripping portrayal by Wright and Eisen-Martin of two poor jobless brothers presented in colorful street slang with lyrical rap during the card playing scenes., the piece is a heart wrenching presentation of fraternal warfare and love as well as a revealing testimony of the hardships of the African American struggle for economic and social survival.

TopDog/UnderDog plays until October 28st. For info call 415-388-5208 or visit www.marintheatre.org

Oct 10 2012
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OF THEE I SING at 42nd Street Moon

By Lee Hartgrave


 

OF THEE I SING

 

The musical score is by George Gershwin with lyrics written by Ira Gershwin. The book is by George S. Kaufman and Morrie Ryskind. This musical romp lampoons American politics as wild and scathing as National politics can get. Hey, once in a Zoo – you stay there! What is it they say? Oh, yes – money, money, money!

Here’s the laughable story: John P. Wintergreen, runs for President of the United States. This all takes place in the 1930’s and a Parade is assembled to nominate “Wintergreen for President.” His Vice President is barely noticed by the higher ups. You know, just like it is in Washington now. Alexander Throttlebottom (the VP) is of little importance. Actually, no one can remember who he is. But he is the funniest. Here’s a note about the music: The Campaign song “Wintergreen for President” includes parts of folk and patriotic songs such as Sousa’s “Stars and stripes Forever”, and “Hail, Hail, the Gang’s All Here.” That song was adopted by the Harvard University band as a pep song. The music introducing the French and their ambassador includes the opening bars of Gershwin’s own “An American n Paris”. I’m sorry to say – the play just didn’t make me want to jump right out of the seat. My take is that it needs to be tightened up. Trimming some of the show would not hurt – it would improve the energy.

In those days this musical was considered one of the most sophisticated Gershwin shows. Most songs included a large ensemble. And that was fun – but there is more talk on the stage than there is music. The original Broadway production, directed by Kaufman, opened at the Music Box Theater in 1931. That was followed by Broadway revivals at the Imperial Theatre and at the Ziegfeld Theatre. A concert production of the musical appeared at the Barbican Centre in London in August 1996.

There was an effort to make a musical sequel called “Let ‘Em Eat Cake”. It was produced on Broadway in 1933 with some of the music from “Of Thee.” Alas – it was a critical and box office failure. The show delightfully manages to show what suckers people are: I think it was Abraham Lincoln that gave the pronouncement “about not being able to fool all of the people all the time.”

As old as this musical is – it still shows us how ridiculous politicians are. What we see is what we get – “Fantasy on the Throne!” And of course, “there is the sex, drugs and rock ‘n’roll!” NAW! – That’s another show.

The Huge Cast was absolutely wonderful! Here they are: Noel Anthony – Brittany Danielle – David Fleishacker – Lexi Hart – Stewart Kramar – Ashley Jarrrett – Peter Budinger – Ashley Rae Little – Johnny Orenberg – Michael Rhone – DC Scarpelli – Stephen Vaught – Kelly Britt – Katherine Leyva – Anthony Rollins-Mullens – Skye Violet Wilson

Artistic Director: GREG MacKELLAN – Producing Director: STEPHANIE RHOADS —Managing Director: JOE MADER

RATING: Three Glasses of Champagne!!! –trademarked-

(((Lee Hartgrave has contributed many articles to the San Francisco Chronicle Sunday Datebook and he hosted a long-running Arts Segment on PBS KQED)))

 

Oct 10 2012
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SHOCKTOBERFEST 13 = THE BRIDE OF DEATH

By Lee Hartgrave

LOOKING FOR SOMETHING SCARY ARE YA? Well we’ve got just the horrors that will give you a feeling of arousal.

The opaque furnishings and the gothic look do exude that creepy feeling of eeriness from the moment of entering. Hey, people come here to endure terror. Being shocked gives you a lovely tingle. Yes, I’m talking about that thing between your legs. Even Nuns have found it to be exhilarating.

Most people get the humor – others might become a little faint. It’s the blood you know. It’s a Scream! But, get over it. A little graphic brain surgery being done on a hallucinating semi-zombie is no big thing. Just let the lover hammer a chisel into his brain. But, I’ve got great news for you. To heighten the effects – the horror plays often alternate with comedy.

Here is what you get at “Thrillpeddlers – Shocktoberfest 13 = “Coals of Fire” (by Fredrick Whitney – Directed by Flynn DeMarco. Leigh Crow is the Wife. The Companion is Zelda Koznofski and the Alternate Wife is Nancy French. You’ll really dig this: This playlet is called “I’m A Mummy.” It took some digging there. Music and Lyrics by Douglas Byng – Directed and Choreographed by Cindy Goldfield and Accompanied by Steve Bolinger. You will get to meet Mr. And Mrs. Mummy. (Jim Jeske and Annie Larson.)

Maybe you would like a little of “The Bride of Death”? Of course you would. I see you’re makeup – you’re already biting your lips. This play is by Michael Phillis. Based on Characters & Story Ideas by Flynn DeMarco & Michael Phillis and Directed by Russell Blackwood. Large Cast – more blood to spill. Meet Nancy French (Mrs. Offal) – Rory David (Ignatius) – Flynn DeMarco (Randolf Holcombe) – Michael Phillis (Timorth Truman) – Dalton Goulette (Alistair Maxwell) – Jim Jeske (Dr. Stygian) “Hey Doc – that hurts!” Andy Wenger (Roger Buntz) – Zelda Koznofski (Cynthia) – and the weird Governess Annie Larson. Do you mind if I take an intermission? O.K. I’m back.

Death defying Part Two. Oh, you’re here already – “Those Beautiful Ghouls” are just to fast. That’s what you get with Music and Lyrics by Scrumbly Koldewyn. Directed by and Choreographed by D’Arcy Drollinger and Accompanied by Steve Bolinger. Performed by Leigh Crow, Annie Larson, Nancy French, Zelda Koznofski, Bonni Suval, Michael Phillis, Andy Wenger, Dalton Goulette, Jim Jeski and Bruna Palmeiro. Next are “The Twisted Pair” but wait till I wipe the blood off of my clothes.

(l-r: Flynn DeMarco, Russell Blackwood,

Yes, I’m one of the Twisted. But not of “The Twisted Pairs” by Rob Keefe. And of course, Directed by the Master Russell Blackwood & Flynn De Marco. Here’s the Cast that brings the darkness of the night: Russell Blackwood, Flynn DeMarco, Lisa Appleyard, Michael Phillis, Rory Davis (Flies and Rats). Yes, that’s what they are. Oh, back to the list Bonni Suval, Nancy French, Bruna Palmeiro, Dalton Goulette and Andy Wenger. If you see that there names appear more than once – it’s because they died and came back again. Dam those Flies and Rats, all ways nibbling at my toes! Oh well – the cast does get hungry. But, I’ve lost a lot of blood. Yes, the talented cast pulls out all stops, with an extra bucket of blood thrown in when necessary. Never mind the screwing of the Master! He likes it!

RATING: Four Glasses of Champagne!!!! (highest rating) – trademarked-

Oct 09 2012
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A Forceful “Strange Case of Citizen de la Cruz” at Bindlestiff Studio

By Guest Review

A Forceful Strange Case of Citizen de la Cruz at Bindlestiff Studio

The world premiere of poet, essayist, and literature and language professor at Hunter College and New York University Luis H. Francia’s first full length play depicts the demise of Bayani de la Cruz, a Philippine patriot during the Marshall Law under the Marcus Regime. Francia describes the events of this period with authenticity and a talent to bring to the stage the horrors of the human abuse that took place.in his country. Strengthening this portrayal of the dehumanization of the country’s inhabitants is the description of the loss of virility on the part of those subjected to this severe regime.

Quack Doctor Mang Kiko (colorfully created as an eccentric character role by Percival Arcibal) is kept busy selling a potion to cure impotent husbands. One spectator queried as to whether Mang Kiko’s potion symbolized the revolution as a cure against the regime. And psychiatrist Dr. Santiago is receiving requests from wives (emotionally well portrayed by Christine Jugueta as Nena de la Cruz) to help their husbands uplift their morale or regain their potency. Meanwhile militant Captain Rivera (performed with the use of violent physical tactics by Tasi Alabastro) is willing to save the doctor from the regime’s condemnation of his revolutionary views if he can cure the Captain’s own impotency.

We also witness several scenes of violent and brutal physical and mental torture. The overly patriotic De la Cruz (believably played by Ryan Morales),who once kept numerous flags of his country in his bedroom, is caught stealing passports in his work place and viciously tortured by Captain Rivera and his staff before our eyes. There are also some excellent combat fight scenes.

Directed by Jeffrey Lo with an able cast handling the high points, the production grasps the audience’s attention in an intimate stage space with well chosen musical selections accompanying the action.

This play depicts the extremist forces under the Marcus regime that served as a tool to strengthen the ruling class and demoralized the country’s citizens. The author also subtly warns of the dangers of extreme patriotism that forces citizens into blind submission.

The Strange Case of Citizen de la Cruz reveals a candid and forcefully dramatized account of the events that the citizens underwent in the Philippines during the Marshall Law.

Bindlestiff Studio is the epicenter for Pilipino and Filipino performing arts that provides Filipino Americans access to diverse artistic activities and engages artists of different arts and disciplines to evolve community theatre that offers creative new works and talent.

The Strange Case of Citizen de la Cruz plays until Oct. 13th. For information call 415-255.0440 or 800.838.3006 or visit www.bindlestiffstudio.org..
Annette Lust

Oct 09 2012
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Top Dog/Underdog: Lincoln & Booth–A Tale of Two Brothers at MTC

By Flora Lynn Isaacson

 

Bowman Wright as Lincoln and Biko Eisen-Martin as Booth in Top Dog/Underdog at Marin Theatre Company

With this play, Suzan-Lori Parks won the Pulitzer Prize for Drama and was nominated for the 2002 Tony Award for Best Play and the 2002 Drama Desk Award for Outstanding New Play.

Lincoln (Bowman Wright) and Booth (Biko Eisen-Martin) are brothers trapped in a dangerous sparring match fueled by their poverty, race, family history and prophetically, their very given names.  This two-handed family play centers on the love/hate relationship of these two Black brothers.  Lincoln, homeless since his marriage dissolved, shares his brother’s tenement dwelling and works in an arcade where, in white face, cloaked in a stove pipe hat, frock coat, fake beard, he plays the Lincoln who gets shot.  He is doing this because he has gone straight and rejects his former profession as master of the street con called three-card monte.  Art, his younger brother strives to learn the game and keeps practicing as the play progresses.  As the brother’s reveal their individual needs and reflect on their family history of abandonment, a cumulative tension develops between them.

The play works best of all in the strength of the performers, Bowman Wright and Biko Eisen-Martin, who are both undeniably excellent and the sharp direction of Timothy Douglas, rather than the writing which often attempts to be more profound than it is and could be less repetitious.

I strongly recommend the play for the professionalism of the cast and direction, Mikiko Uesugi’s realistic run down apartment, Callie Floor’s imaginative costumes and Kurt Landisman’s impressive lighting.  Top Dog/Underdog is destined to remain memorable. Susan-Lori Parks aims for the sky and often succeeds mightily.

Top Dog/Underdog continues at Marin Theatre Company through October 21, 2012. Performances are held Tuesday, Thursday-Saturday at 8 p.m., Wednesday at 7:30 p.m. and Sunday at 7 p.m. Matinees are held Sunday at 2 p.m and Saturday, October 20 at 2 p.m., and Thursday, October 11 at 1 p.m. For tickets, call the box office at 415-388-5208 or go online at marintheatre.org.

Coming up next at Marin Theatre Company will be It’s A Wonderful Life: A Live Radio Play by Joe Landry and directed by Jon Tracy November 23-December 6, 2012.

Flora Lynn Isaacson

Oct 08 2012
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“Race” explores dirty little secret

By Judy Richter

By Judy Richter

Most Americans like to think of themselves as nonracist — at least in public — but the dirty little secret is that racism is still woven into the fabric of our society whether intentionally or not. Playwright David Mamet brings this issue to the forefront in “Race,” the 90-minute, one-act drama being staged by San Jose Stage Company. Sexism and ageism also figure into this provocative 2009 work.

The action takes place in the law office (set and lights by Michael Palumbo) of Jack Lawson (artistic director Randall King), who is white, and Henry Brown (L. Peter Callender), who is black. A wealthy, white, married man, Charles Strickland (David Arrow), comes to their office saying he has been falsely accused of rape and asking them to defend him. His alleged victim is a much younger black woman, who says the attack took place in a hotel room.

Although the attorneys aren’t necessarily interested in whether or not he’s guilty, they know that taking the case to a jury trial could be tricky because jurors will probably assume that he’s guilty, but they also don’t want to appear to be prejudiced against him. Also figuring into the attorneys’ discussions is their attractive, young, black associate, Susan (ZZ Moor). She has her own opinions about the case and about the ways black women view white men and vice versa.

Like so many of Mamet’s plays, such as “Oleanna,” “Speed-the-Plow,” the Pulitzer-winning “Glengarry Glen Ross” and others, there are no clear-cut answers or resolutions. Ambiguity and anger reign as the two partners and Susan explore the ramifications of race in their own situation as well as their client’s.

Director Tony Kelly keeps the action flowing smoothly. The costumes (kudos for Susan’s outfits) are by Jean Cardinale. The sound design by John Koss features songs played too loud before the play starts and between scenes.

All four actors handle their roles well in this tense, topical drama that gets the company’s 30th season off to a strong start.

“Race” will continue at San Jose Stage Company through Oct. 28. For tickets and information, call (408) 283-7142 or visit www.thestage.org.

Oct 08 2012
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33 VARIATIONS brings Moisés Kaufman back to the Bay Area

By Kedar K. Adour

Beethoven (Howard Swain, front) is inspired to compose variations on an unassuming melody in 33 VARIATIONS at TheatreWorks at the Mountain View Center for the Performing Arts. Musical director William Liberato at the piano. Photo credit: Mark Kitaoka

33 Variations: Drama by Moisés Kaufman, directed by Robert Kelley. TheatreWorks, Mountain View Center for the Performing Arts, 500 Castro Street (at Mercy), Mountain View, CA. 650-463-1960 or www.theatreworks.org. October 3 – 28, 2012

33 VARIATIONS brings Moisés Kaufman back to the Bay Area

This reviewer has a special interest in Beethoven’s deafness since multiple articles have appeared in our Otolaryngology medical journals speculating on the cause. The two widely held theories are that is was due to neurological syphilis leading to a sensori-neural loss and the other to progressive otosclerosis causing a conductive loss. This reviewer holds with the later since it is documented (not in the play) that he would place a wooden rod between his teeth and touch it to the piano thus being able to ‘hear’ bypassing the middle ear using conduction through the bone.

But enough of that, in Moisés Kaufman latest opus the disease of the month is amyotrophic lateral sclerosis (ALS or Lou Gehrig’s disease) and like Beethoven’s deafness is inexorable. Beethoven (over played by Howard Swain with his usual gusto) is not the major character but the catalyst fueling the mind of an obsessive musicologist Dr. Katherine Brandt (fine intense performance by Rosina Reynolds) who travels to Bonn seeking the archives of Beethoven’s life. Her Holy Grail quest is to unravel the mystery of why he spent years of his life writing 33 variations of a modest waltz written by a music publisher and sometimes composer Anton Diabelli  (Michael Gene Sullivan who is a joy to watch).

Anton Diabelli (Michael Gene Sullivan) writes the unassuming waltz that inspires Beethoven (Howard Swain)

The play is somewhat linear, but the inventive Kaufman who wrote Gross Indecency: The Three Trials of Oscar Wilde and The Laramei Project uses the device of having a parallel past time frame (1790s-1800s) unfolding in sync with the present action. It works very, very well and in some scenes the lines are identical, further tying together the disparate eras. The real glue that holds the play together is the piano playing of musical director William Liberato sitting on elevated area ‘attached’ to the grand piano playing the riffs being described in the text.

Along with the major plot of Dr. Brandt attempting to prove her thesis before her time runs out, is the discord between mother and her daughter Clara Brandt (charming Jennifer Le Blanc) that, of course, becomes resolved when the chips are down. That resolution involves a nurse Mike(Chad Deverman of SF Playhouse fame) and a Germanic keeper of the archives Gertrude (solid acting by Marie Shell).

Integral to the 17th century era is Beethoven’s longtime friend and secretary Anton Schindler (Jackson Davis) who in real life falsified some of the archives. Davis, Sullivan and Swain play off each other creating an intriguing ménage a trios’ in the theatrical sense that addsneeded humor to the evening.

Usually TheatreWorks production values are superb but the staging for this production is confusing with sheets of paper that comprise the semicircular off-white background and used for projections were falling off the wall. There may have been some significance but it escaped many of the audience discussing the set during intermission. Running time 2 hours and 25 minutes.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com.