Reviews

A Tale of Two Uprisings

Review of Bulgaria! Revolt!, Yale School of Drama

In Bulgaria! Revolt!, the wildly imaginative thesis show by third-year Yale School of Drama director Elizabeth Dinkova and her co-creator, third-year playwright Miranda Rose Hall, parody might seem the dominant mode. Parody of the traditional musical, certainly, but also of the more avant-garde versions that have come along at various times, including the Brechtian, and, in that vein, parody of the committed political drama. There’s a tongue-in-cheek quality that keeps us amused by a tale that traverses some unsavory aspects of 20th century history. In creating a musical that clearly favors the underdog—here the committed leftist poet Geo Milev, a casualty of a fascist regime, and his wife the actress Mila—Dinkova and Hall see clearly how difficult it would be to play the story with a straight face. Ours is a time best suited to burlesque.

And yet, it would be wrong to see the show as entirely parodic. Rather, Dinkova and Hall, with their composer and sound designer, Michael Costagliola, have concocted a musical that sustains its dramatic intentions while keeping its ironies in play. And that makes for a rather mercurial evening of theater, full of surprising turns and tones. The show incorporates the political history of Bulgaria, a deal with the devil, and the shameful working conditions in the Chicago meat-packing district in the 1920s. Ambitious? Yes, but that’s just another word for having a lot on its mind.

Ostensibly set in the 1920s, the story begins with its rather mild-mannered hero, the poet Geo (Leland Fowler), who is beside himself at the fact that his poem, September, about a recent brutally-suppressed peasant uprising, may cost him his life. His wife Mila (Juliana Canfield) sticks up for his poem’s value, but Geo wishes he could undo it. And, presto!, there to take advantage of his moment of weakness is the devil herself (Elizabeth Stahlmann), who casts them in her own version of a morality tale: As the poet Yanko, Geo will have the chance to undermine his own poem, meanwhile, as Miroslava, Mila will play the very soul of insurrection among the people.

The target of their revolt is now The Butcher (Dylan Frederick), a gleefully dissolute character who has his eye on Miroslava while imposing his whims on a gaggle of workers who seem as if they’ve stepped out of a Marx Brothers version of an Eisenstein classic: the Drunk (Ben Anderson), the Farmer (Sebastian Arboleda), an Old Witch (Marié Botha), the Historian (Anna Crivelli), an Old Priest (Jonathan Higginbotham), a Milkmaid (Courtney Jamison), the Tobacco Lady (Stephanie Machado), and a School Boy (Patrick Madden). Each is amusing in his or her own right while being forged into a collective by Miroslava’s spirited rebellion.

Canfield shines in her song of insurrection, like a rabble-rousing force of nature, and she’s matched by Crivelli’s dance of the many suppressions as the Historian reels off a chronology mind-boggling in its catalog of the many times hope for democratic freedoms has been beaten down in Bulgaria. And those are just some of the strengths of Act 1, which includes Frederick’s big number “The Butcher,” the comic highpoint. He’s attended by Stahlmann, who shape-shifts between brash devil and Toma, a fawning elder.

Yanko, shaken by the forces of violence aimed at The Butcher, takes the devil’s bait and decides to decamp for the U.S. Seemingly a victory for the devil, Act 1 ends with Mila insisting on another round, this time in Chicago, where everyone will be recast in a tale of her recounting.

The notion of America as the land of the free is swiftly given the lie when we’re introduced to a host of immigrants from various lands—Poland, Ireland, South Africa, Italy, Mexico, to name a few—who toil under distressing conditions in the meat factory of Frank’s Famous Franks. Frank (Frederick) is, of course, “The Butcher” under new auspices, aided by his assistant Patty (Stahlmann, as the moral equivalent of a concentration camp commandant). A harrowing situation in Act 2 almost strips aside all the comic burlesque in favor of the most abject horror, and it’s a great tribute to Dinkova’s resources as a director that the show can shift toward the bathetic and recover its humor. In fact, the situation Dinkova and Hall create is a sharp commentary on the dehumanization of capitalist production at its most callous. And the cast—particularly Madden and Arboleda—are emotionally convincing in their grisly discovery.

Act 2 also boasts the most lyrical moment as Geo/Yanko and Mila/Sally sing a touching duet to their love, despite all. Indeed, Act 2 serves to vindicate Mila enough to rally the show into something like an upbeat register.

The scenic design by Emona Stoykova places the show on a platform surrounded by seats, making the action accessible in many directions, with, at one end, a hard-working pickup band being put through its paces and, at the other, an incredibly imposing portal. Lights and costumes and wonderfully involved projections—at times surveillance-style taping of the proceedings—add many lively effects, including childlike paintings that capture the folkloric quality of this varied tale.

Standouts in the show are Fowler’s pleasant singing voice, Canfield’s inspired ardor, Frederick’s zany villain, Crivelli’s rhapsody of history, and Stahlmann’s striking shifts among three characters, but it’s also a great ensemble show, and I’d be remiss not to mention Higginbotham’s brief-exposing pratfalls as the Old Priest and Machado’s Tobacco Lady saddled with a bevy of babies in slings. It’s the sort of show that has so much going on you’re bound to miss some of it in a single viewing.

It's unusual for a thesis show at YSD to be an original work, though it sometimes happens. Michael McQuilken’s Jib, an original musical from 2011 I remember fondly, is currently onstage in Philadelphia. May Bulgaria! Revolt! also find legs for future productions.

 

Bulgaria! Revolt!
Created by Elizabeth Dinkova and Miranda Rose Hall
Books and lyrics by Miranda Rose Hall
Music by Michael Costagliola
Directed by Elizabeth Dinkova

Choreographer: Christian Probst; Music Director: Scott Etan Feiner; Scenic Designer: Emona Stoykova; Costume Designer: Sarah Nietfeld; Lighting Designer: Krista Smith; Sound Designer: Michael Costagliola; Projection Designer: Wladimiro A. Woyno R.; Production Dramaturg: Maria Inês Marques; Technical Director: Kelly Pursley; Stage Manager: Shelby North

Cast: Ben Anderson, Sebastian Arboleda, Marié Botha, Juliana Canfield, Anna Crivelli, Leland Fowler, Dylan Frederick, Jonathan Higginbotham, Courtney Jamison, Stephanie Machado, Patrick Madden, Elizabeth Stahlmann

The Band: Alexander Casimiro, percussion; Allen Chang, clarinet; Ginna Doyle, violin; Scott Etan Feiner, piano; Jiji Kim, guitar; Adam Matlock, accordian; Ian Scot, bass

“Three Chains a Slave” performed by the Yale Slavic Chorus

Yale School of Drama
December 9-15, 2016

It's Not Too Late

Review of A Christmas Carol, Hartford Stage

This year, Hartford Stage’s beloved Scrooge will take his final bow and make his final “Bah, humbug!” Bill Raymond has been experiencing Charles Dickens’ seasonal reclamation project for 17 years, and if you haven’t caught his act, there’s no time like Christmas present. It’s a propitious time to see the annual favorite even if you already have, for this year the show is directed by Broken Umbrella’s own Rachel Alderman, which makes for a nice New Haven-Hartford bridge.

Bettye Pidgeon (Johanna Morrison), Scrooge (Bill Raymond) (photo: T. Charles Erickson)

Bettye Pidgeon (Johanna Morrison), Scrooge (Bill Raymond) (photo: T. Charles Erickson)

At the show I attended, Raymond was pulling out the stops, having a grand old time. His has always been a slyly comic take on Scrooge and now the old boy is getting a bit zany. Scrooge has often been played by actors who were better at the grasping “old screw” than the “giddy as a schoolboy” convert to Christmas cheer, but Raymond’s Scrooge is more curmudgeon than scourge. When he encounters the creditors who will later become the Christmas ghosts who haunt his uneasy sleep, he seems almost to be winking at them, since he knows—and we all know—what’s going to happen.

This Ebenezer is really in his element as the unseen guest and enthusiastic reveler at his nephew’s party, and when he has to face the final reckoning presented by the Ghost of Christmas Yet to Come, it’s easy to feel sorry for the old gent. Other than being irritable and not forgiving debts or forking over charity, the old skinflint doesn’t seem so bad. There are worse examples running around these days in dire need of some Christmas comeuppance. As the Ghost of Christmas Present reminds us, the worst ill besetting mankind is ignorance.

Ebenezer Scrooge (Bill Raymond) (photo: T. Charles Erickson)

Ebenezer Scrooge (Bill Raymond) (photo: T. Charles Erickson)

The open stage at Hartford keeps everything nipping along smartly, so we move easily from Scrooge’s ponderous four-poster to Fezziwig’s premises, from the Cratchits’ frugal feast to the nephew’s sumptuous spread. The various levels of the stage add visual interest and each ghost gets a big entrance.

The children of Bert, a fruit and cider vendor (photo: T. Charles Erickson)

The children of Bert, a fruit and cider vendor (photo: T. Charles Erickson)

An endearing draw of the show are the child actors who fill out many scenes, reminding us that Christmas is for the kids, and also letting the youngsters in the audience exalt in seeing their own generation on the stage. And then there are the ghosts.

The ghost of Jacob Marley (Noble Shropshire), Scrooge (Bill Raymond) (photo: T. Charles Erickson)

The ghost of Jacob Marley (Noble Shropshire), Scrooge (Bill Raymond) (photo: T. Charles Erickson)

The Hartford Stage version never lets us forget that A Christmas Carol is one of the most venerable ghost stories there is. The parade of skull-topped figures who open the show, some of whom fly about, make for a dramatic charge. Not only is Scrooge guided by spirits representing the Christmas season in the past, the present, and the future, but he also is haunted by people already gone—beginning with Marley, but including his sister Fanny, his old boss, and, eventually, himself, to say nothing of the sad possibility of Tiny Tim’s untimely end. A Christmas Carol isn’t about tying one on and feeling good about yourself; it’s about realizing that time is short and that you should do more for others while you have the chance. To that end, the Hartford Stage is hosting “Tiny Tim’s Holiday Food Drive”* to benefit Hands on Hartford’s MANNA program.

Tiny Tim (Fred Thornley IV), Bob Cratchit (Robert Hannon Davis) (photo: T. Charles Erickson)

Tiny Tim (Fred Thornley IV), Bob Cratchit (Robert Hannon Davis) (photo: T. Charles Erickson)

My favorite version of Ebenezer’s journey to beneficence is the old British version from 1951 starring Alistair Sims. The Hartford Stage version retains the use of the lovely tune “Barbara Allen” used so effectively in the film as well as here. In the Hartford’s version, the songs and comedy—such as Scrooge knocking about with a huge dummy turkey, and Noble Shropshire as the irrepressible Mrs. Dilber—and the handsome production values help to make the show bright.

-- A final talkback with Bill Raymond will take place after the 7:30 show on Wednesday, December 14, and, if you can’t make that but want to express your appreciation of his long tenure in the role as a part your Christmases past, postcards are provided in the lower lobby for “Letters to Bill.”--

A Christmas Carol, A Ghost Story of Christmas
By Charles Dickens
Adapted and originally directed by Michael Wilson
Directed by Rachel Alderman

Choreographer: Hope Clarke; Scenic Design: Tony Staiges; Costume Design: Alejo Vietti; Lighting Design: Robert Wierzel; Original Music & Sound Design: John Gromada; Original Costume Design: Zack Brown; Music Director: Ken Clark; Dramaturg: Fiona Kyle; Flying Effects: ZFX, Inc.; Vocal Coach: Ben Furey; Associate Lighting Designer: Robert W. Henderson, Jr.; Youth Director: Shelby Demke; Production Stage Manager: Martin Lechner; Assistant Stage Manager: Kelly Hardy

Cast (in order of appearance): Bill Raymond, Buzz Roddy, Noble Shropshire, Nate Healey, Robert Hannon Davis, Terrell Donnell Sledge, Flor De Liz Perez, Charlie Tirrell, Joey Heimbach, Daniel Shea, Johanna Morrison, Hannah Dalessio, Alan Rust, Michael Preston, Cara Rashkin, Vanessa R. Butler, Billy Saunders, Jr., Troyer Coultas, Spencer S. Lawson, Margaret Anne Murphy, Jillian Frankel, Madeleine Stevens, Greg Seage, Eve Rosenthal

The Children: Charlize Calcagno, Hunter Cruz, Emma Kindl, Julia Weston, Luciana Calcagno, Nicholas Glowacki, Brendan Reilley Harris, Timothy McGuire, Addison Pancoast, Tilden Wilder, Miguel Cardona, Jr., Ankit Roy, Ella Rain Bernaducci, Sophia Rose Tomko, Sophia Friedman, Lily Girard, Celine Cardona, Ava Lynn Vercellone, Atticus Burello, Jack Wenz, Fred Faulkner, Max McGowan, Norah Girard, Andrew Michaels, Ethan Pancoast, Fred Thornley IV, Aiden McMillan, Dermot McMillan

Hartford Stage
November 25-December 30, 2016

*Founded in 1969 as Center City Churches, Hands On Hartford’s programs focus on food, housing, economic security, engaging volunteers and connecting communities. MANNA provides direct relief to thousands of Hartford neighbors each month. Patrons may drop off non-perishable goods at Guest Services in the Geo & Laura Estes Lobby on performance days for A Christmas Carol or at the box office during regular business hours. Suggested food items include:

  • Boxed cereal
  • Canned fruit and vegetables
  • Drinks (coffee, tea, 100% juice)
  • White or brown rice
  • Pasta and sauce
  • Canned tuna
  • Canned soup
  • Peanut butter and jelly
  • Backpack-friendly snacks

For more information about Tiny Tim’s Holiday Food Drive, contact tmacnaughton@hartfordstage.org or call 860-520-7114.

There Was an Old Woman Who...

Review of Mrs. Galveston, Yale Cabaret

The final play of the first half of Yale Cabaret’s 49th season is an entertaining look at the at- times fraught world of elder care. Mrs. Galveston, by third-year Yale School of Drama playwright Sarah B. Mantell, enjoys some easy laughs at misunderstandings between an old woman and the young people assigned to impose some kind of regimen on her stubborn existence, then develops more interesting narrative devices. These include a big white pop-up book that Mrs. Galveston treats like a precious heirloom and an array of Post-It Notes that a young man’s grandmother berates him with.

An interesting conflict in the play comes from a somewhat surprising correspondence. Jim (George Hampe) visits the elderly Mrs. Galveston (Sydney Lemmon) because a Mr. Sanford has requested she be looked after (though she doesn’t welcome the intrusion), while, at home, Jim is not doing such a good job of taking care of his grandmother, though also refusing any care-givers from the organization both he and his cousin Liz (Aneesha Kudtarkar) work for. The highest-rated caregiver is Mark (Edmund Donovan), but neither Mrs. Galveston nor Jim have any interest in accepting his services. The frustrations Mark faces are expressed comically, and that helps to keep things light. And the irony of Jim’s situation—he’s failing with his own grandmother but succeeding with Mrs. Galveston—opens up the implied theme that, sometimes, families do need professionals, that the familiarity of blood ties can cause more tensions than they ease. While Mrs. Galveston is never quite comfortable with having a stranger in the house, she eventually is pacified by Jim’s ability to concoct a story that goes with the pop-up images in her big white book.

Mrs. Galveston (Sydney Lemmon), Jim (George Hampe) (photo: Elizabeth Green)

Mrs. Galveston (Sydney Lemmon), Jim (George Hampe) (photo: Elizabeth Green)

The book, and the scenic design by Claire Marie DeLiso, add elements of charm and visual cohesion to the story. The living room Mrs. Galveston resides in is situated in a charming little house that echoes the paper house in her book. A step down and across a connecting space of paneled floor sits the table festooned with Post-Its where Jim attempts to meet his grandmother’s demands. Both spaces are united with framing posts that situate the action within a homey interior that expands to join both houses.

Mrs. Galveston (Sydney Lemmon), Mark (Edmund Donovan)

Mrs. Galveston (Sydney Lemmon), Mark (Edmund Donovan)

The play, directed by dramaturg Rachel Carpman, is particularly nimble in its transitions and in dialogues that find characters mostly having to feel their way. Mantell’s script registers the caregiver’s ups and downs and confusions, the good intentions that go awry, and, in its sweetly realized conclusion, the comfort of the familiar. Along the way, there are the tensions of dealing with elders as though they were children, of trying to anticipate concerns, of trying to make time in one’s prime of life for a life past its prime, and, in a speech Liz directs at Jim, the fact that, in most families, the care of parents is left to female family members. Mrs. Galveston provides a touching corrective to that perception when we finally meet the mysterious Mr. Sanford (Edmund Donovan).

The neat doubling of the situations means there’s potential for confusion about who Jim really cares for. Playing the role with a kind of nervous distraction, Hampe’s Jim wants all to go well but seems to wish he could be doing something else. Donovan’s Mark is a bit unctuous and we don’t really fault Mrs. Galveston for preferring Jim. Kudtarkar’s Liz seems mostly at a loss—her scene with Mrs. Galveston is the funniest of the attempts to fathom the big white book because the least patient. And, as the chair-hugging Mrs. Galveston, Lemmon plays the title role as a mistress of her detachment, a woman defiantly herself and with a child’s sense of entitlement in deciding what works and what doesn’t.

As a family dramedy, Mrs. Galveston seems well positioned in the season as a reminder of the bonds of home and the allegiance owed the elderly as the holiday visits begin.

 

Mrs. Galveston
By Sarah B. Mantell
Directed by Rachel Carpman

Co-Dramaturg: Davina Moss; Co-Dramaturg: Molly Fitzmaurice; Set Designer: Claire Marie DeLiso; Costume Designer: An-Lin Dauber; Lighting Designer: Samuel Chan Kwan Chi; Sound Designer: Ian Scot; Technical Director: Harry Beauregard; Production Manager: Scott Keith; Stage Manager: Rebekah Heusel; Calling Stage Manager: Paula Clarkson; Co-Producer: Jaime Totti; Co-Producer: Adam J. Frank

Cast: Edmund Donovan; George Hampe; Aneesha Kudtarkar; Sydney Lemmon

Yale Cabaret
December 8-10, 2016

That's Shoe Biz!

Review of Kinky Boots, The Palace Theater, Waterbury

Harvey Fierstein’s and Cyndi Lauper’s Kinky Boots is a crowd-pleasing tale of how difference saves the day. Or, rather, how difference-driven niche markets do. In any case, its message is progressive and its songs full of the moxie for which Lauper is well-known. The best thing about the show, though, are the drag queens—or “angels”—led by Lola, played with a winning understatement by J. Harrison Ghee who seems born to be charismatic and show-stopping.

Lola (J. Harrison Ghee) and the Angels

Lola (J. Harrison Ghee) and the Angels

The story concerns Charlie (Adam Kaplan), the heir to his father’s show factory in Northampton, England, who has plans to live the life of a Yuppie in London with his svelte and fashion-shoe-struck fiancée Nicola (Charissa Hoagland). But, like a latter-day George Bailey, Charlie can’t give up on the little folks at home. If he doesn’t step in and find a workable solution to get the ailing factory—which has been eating its unsold inventory—solvent, then it’s the dole for all the workers so loyal to his late Da. A chance encounter in the street—where Charlie tries to come to the aid of Lola, a drag-damsel in distress otherwise known as Simon—leads to the idea to save the day by developing the glitzy thigh-high boots beloved of queens, thus inaugurating Lola’s career as a designer of kinky boots.

A strong suit in this tale of working lads and lasses putting their collective noses to the grindstone, for higher than high heels able to support a cross-dressing male, is how well-oiled the machinery is. The big production numbers have many moving bodies and moving parts—including conveyor belts on “Everybody Say Yeah”—and it all works wonderfully well on the Palace Theater’s old school stage. Many a Broadway house looks tawdry compared to the Palace’s well-kept sumptuousness, and Kinky Boots fills it with Broadway-style pizzazz. The orchestra is tight, and many songs have a familiar Eighties feel that really starts to work after a while.

The action bits—such as the boxing bout between Simon and Don (Aaron Walpole), the manly bloke distressed about working for a cross-dresser—are well-staged and add some drama to a second act that otherwise doesn’t have much to do, except create some faux suspense over whether or not the boots will be ready for Milan. It’s Act One that really cooks, with standouts like the aforementioned “Everybody Say Yeah”—its big finish—“Sex is in the Heel,” a manifesto for the libidinal charge of accessories, “Not My Father’s Son,” a touching duet between Simon and Charlie, and “The History of Wrong Guys,” a snappy comic relief tune in which Lauren (Tiffany Engen), a factory worker with a crush on Charlie, puts out there a love-struck feminine view as only Lauper could, and which Engen puts across with show-stealing brio.

As the lead male dressed as a male, Kaplan’s Charlie is a little too timid to be interesting and a bit too earnest to be amusing. He’s got looks and a voice, but could open a bit more in his movement, particularly on his big Act 2 number “Soul of a Man.” As his intended, Nicola, Hoagland looks great in a thankless role that feels a tad unfair, as if it’s fine for the “angels” to be all about couture but we should see Nicola as shallow for harboring similar tastes. Meanwhile, no one seems to wonder why men and women alike, at the factory, are content with a rather unisex look of dungarees and pull-overs. Glamor, it seems, is for those who pursue it as an identity, though, in the end, everyone gets to sport a pair of kinky boots.

As a progressive tale about having the courage to be yourself in a hostile world, Kinky Boots still rings true and is a welcome reach-out to soften the heart of the glowering Dons of the world. Though it could also be said that the threat of violence or ostracization is rather anodyne here, and, by the same token, the kinkiness is rather mild. A plot in which Charlie ends by giving Lola/Simon a go would make for a kinkier show and a more surprising case of “the girl” getting the guy.

In any case, if—as the saying goes—you can’t judge someone until you walk a mile in their shoes, that goes double for taking a few steps in their kinky boots. Kinky Boots is at its best bringing home the camaraderie of people stirred by a common purpose, so that the design, production and marketing of Lola’s creations feel as rewarding as the creation of Lola herself, or of a show about her. In each case, it’s worth our time to see how it’s done and why that should matter to our general self-esteem.

 

Kinky Boots
Book by Harvey Fierstein
Music and Lyrics by Cyndi Lauper
Based on the Miramax motion picture written by Geoff Deane and Tim Firth
Directed and choreographed by Jerry Mitchell
Music supervision, arrangements and orchestrations by Stephen Oremus

Starring: J. Harrison Ghee, Adam Kaplan, Tiffany Engen, with Aaron Walpole, Charissa Hoagland, Jim J. Bullock

Scenic Design: David Rockwell; Costume Design: Gregg Barnes; Lighting Design: Kenneth Posner: Sound Design: John Shivers; Hair Design: Josh Marquette; Make-Up Design: Randy Houston Mercer; Associate Choreographer: Rusty Mowery; Associate Director: D. B. Bonds; Music Director: Roberto Sinha; Music Conductor: Michael Keller

The Angels: Joseph Anthony Byrd, Sam Dowling, Ian Gallagher Fitzgerald, JP Qualters, Xavier Reyes, Sam Rohloff

Cast: Meryn Beckett, E. Clayton Cornelious, Tami Dahbura, Alfred Dalpino, Madge Dietrich, Alex Dreschke, Annie Edgerton, Jhazz Fleming, Collin Jeffery, David Jennings, Ellen Marlow, Ciarán McCarthy, Ashley Moniz, Sebastian Maynard-Palmer, Casi Riegle, Andrew Scanlon, Tom Souhrada, Harrison Wright, Sam Zeller

The Palace Theater, Waterbury
December 6-11, 2016

A Dream Deferred

Review of Seven Guitars, Yale Repertory Theatre

August Wilson’s Seven Guitars is a powerful, questioning play. It introduces us to a cast of characters in Pittsburgh’s Hill District who mostly seem well inured to life there. But it opens with words about one among them who has just been buried, and some who attended his funeral claim angels were present to carry him off. Floyd “Schoolboy” Barton, the deceased, was bent upon leaving Pittsburgh for Chicago where he had once recorded a song finally getting airplay and where he hoped to record more and make his name.

For our introduction to Floyd (Billy Eugene Jones), we see his homecoming to his estranged lover, Vera (Rachel Leslie), who upbraids him for abandoning her for another woman, earlier. Floyd is contrite, and Jones lets us see the pride of Floyd, his charm, and also his deep need for Vera’s love and support. He’s a man confident in his talents but also still trying to prove something. As the play goes on, we get a better sense of how this close-knit world of friends can bind and impede. “Lord, we know what we are but not what we may be,” mad Ophelia says, and Wilson’s characters in Seven Guitars make gestures toward what they may be, but with only one another to give a sense of what they are.

Red Carter (Danny Johnson), Louise (Stephanie Berry), Hedley (Andre De Shields), Vera (Rachel Leslie), Floyd (Billy Eugene Jones), Canewell (Wayne T. Carr)  (photo: Joan Marcus)

Red Carter (Danny Johnson), Louise (Stephanie Berry), Hedley (Andre De Shields), Vera (Rachel Leslie), Floyd (Billy Eugene Jones), Canewell (Wayne T. Carr)  (photo: Joan Marcus)

Vera, who has good cause to doubt Floyd’s affections, if not his talent, vacillates about making the return trip to Chicago with him. Floyd’s band members have their doubts about Floyd’s follow-through and are also reluctant to make the trip. Canewell (Wayne T. Carr) is easy-going and can most likely be persuaded—all he needs is a harmonica anyway. Red Carter (Danny Johnson) is quite willing to leave his drums at the pawnshop until he really needs them. Only Floyd believes in music as a true identity, something that distinguishes him from the run-of-the-mill, and his thwarted need to be distinguished is what makes him a tragic figure.

Floyd "Schoolboy" Barton (Billy Eugene Jones) (photo: Joan Marcus)

Floyd "Schoolboy" Barton (Billy Eugene Jones) (photo: Joan Marcus)

A figure key to Wilson’s vision is Hedley (André De Shields), a Haitian vendor of chicken sandwiches, cigarettes and sundries, who makes the yard outside the house where many of the characters live or stay his place of production. His given name is King Hedley and he holds a mythopoeic view of the world in which “the black man is king.” His musings, often trenchant and full of an Old Testament feel for the prophetic mode, add symbolic associations to the mix of jokes, songs, rhymes, old stories, anecdotes, grievances and hopes that comprise Wilson’s wonderfully compelling dramatic language. These are people it’s simply fun to hang out with. But Hedley keeps before us the troubling sense of their place in the world, where slavery is something to be joked about—by Canewell—but harassment by white police is an irritating given.

Wilson’s plays are usually staged with naturalistic verisimilitude, putting onstage detailed settings that feel lived in, and that generally equates to a kind of genteel poverty. Director Timothy Douglas’ production eschews that tendency in favor of a much starker and stripped down staging. Fufan Zhang’s scenic design is unattractively harsh and, with a high-rise of stairs that would only exist on a stage, deliberately theatrical. On a high platform sit seven chairs, one for each character or “guitar.” And the production begins there with cast members speaking to one another as though in proclamation. The deeply lived naturalism we tend to think of as part of Wilson’s mode gets a firm shock, and entrances and exits throughout the play keep us focused on an unusually amorphous dramatic space.

It’s as if a great wind of change has swept through and left this little unit of fellowship grasping at a memory of more familiar times. In the play’s own setting—1948—the great force of change was World War II, an event that began to crack the racial barriers of the U.S. somewhat. But for us, watching in 2016, the starkness seems to align itself with Hedley’s apocalyptic views. And that makes for a final scene that is breath-taking in its power.

Hedley (Andre De Shields), Ruby (Antoinette Crowe-Legacy) (photo: Joan Marcus)

Hedley (Andre De Shields), Ruby (Antoinette Crowe-Legacy) (photo: Joan Marcus)

Wilson’s play is very well structured, letting the relation of one scene to another create a forward thrust that is usually the job of plot. The most obvious correspondence is between Hedley’s shocking act at the end of Act 1 and his even more shocking act late in Act 2, but more subtle elements are constantly at work as well, as for instance the refrain about Buddy Bolden, or structural features like the “three ages of woman” enacted by the trio of Louise (Stephanie Berry), the elder, Vera, in her prime, and Ruby (Antoinette Crowe-Legacy), in her youth. This trio is matched by Hedley, Red Carter, and Canewell—though all three men, characteristically, take a shine to Ruby upon her arrival. This doubling of triads isolates Floyd as the unique individual he wants to be and which racial oppression makes it difficult to become. The promise of Chicago is the promise of a kind of cross-over success, difficult for these characters to imagine

Canewell (Wayne T. Carr), Vera (Rachel Leslie), Floyd (Billy Eugene Jones), Red Carter (Danny Johnson), Louise (Stephanie Berry) (photo: Joan Marcus)

Canewell (Wayne T. Carr), Vera (Rachel Leslie), Floyd (Billy Eugene Jones), Red Carter (Danny Johnson), Louise (Stephanie Berry) (photo: Joan Marcus)

The cast is excellent, ensemble style, which means all contribute in striking ways. Highest praise goes to De Shields’ staggering shifts in the role of Hedley, a man who can go from matter-of-fact comments to a kind of personal language whose significance often perplexes the others; to Rachel Leslie’s deliberating Vera, who delivers the “he touched me here” speech as though being ignited by a candle; and to Jones’ Barton, a high-strung ball of conflicts trying very hard to walk the walk. He’s never entirely graspable, and our uncertainty about him keeps our interest.

Written the year Wilson turned 50, and set in the year he turned 3, the play has a full command of a formative moment in his cycle of 10 plays, completing, chronologically, the first half of the 20th century. The child that Hedley still hopes for would be of Wilson’s own generation, making us feel more fully the portent of what’s to come.

Most plays are entertainment, with some shades of depth. Seven Guitars has the nerve to be great literature. Timothy Douglas’s production gives us access to the play that is both intimate and epic. It’s a memorable event to see this play done so well.

 

August Wilson’s
Seven Guitars
Directed by Timothy Douglas

Music director: Dwight Andrews; Scenic Designer: Fufan Zhang; Costume Designer: An-Lin Dauber; Lighting Designer: Carolina Ortiz Herrera; Production Dramaturg: Catherine María Rodríguez; Technical Director: Ian Hannan; Dialect Coach: Ron Carlos; Fight Director: Rick Sordelet; Casting Director: Tara Rubin Casting, Laura Schutzel, CSA; Stage Manager: Helen Irene Muller

Cast: Stephanie Berry; Wayne T. Carr; Antoinette Crowe-Legacy; André De Shields; Danny Johnson; Billy Eugene Jones; Rachel Leslie

Yale Repertory Theatre
November 25-December 17, 2016

Say What You Think

Review of Kaspar, Yale Cabaret

As a one-man show of a single character pitted against the problem of identity, Peter Handke’s early play Kaspar, translated from the German by Matthew Ward and directed at Yale Cabaret by Ayham Ghraowi, seems at times like a more than usually active Beckett monologue. There’s a similar disconnect from immediate context—no particular where or when but only an abyss lurking around and behind and beneath each statement. The drama is a lengthy grappling with verbalizing, as though repeating a phrase often enough will confer meaning. And as if words are an object to throw against the body’s cage until either the body breaks or the self breaks through.

Kaspar (Josh Goulding) (photo: Elizabeth Green)

Kaspar (Josh Goulding) (photo: Elizabeth Green)

On a stage that acts as a cell, Kaspar, played with amazing physical abandon by Josh Goulding, is trying his utmost to articulate a view of himself that would be authentic to his experience. But his main struggle is to make his own experience intelligible. He is tortured or taught—it comes to the same thing—by voices that speak dispassionately and provide instructions and cautions and even bits of wisdom. Kaspar can treat these speakers as oracular or as simply part of the environment, like air or light, or an object to be used or ignored, like a broom.

The culprit of consciousness, for Handke, is language itself as it normalizes the flow of time and being as an interplay between sentences and otherwise inchoate moments. Handke’s text, which makes a virtue of repetition, circles around a single sentence that Kaspar Hauser, the German misfit who inspired the play, was able to speak when he was first discovered, a teen who, he alleged, had lived for most of his life with no human interaction.

The background to Kaspar is germane to the play but not really necessary to viewing it because, in any case, we are forced to interpret how it is that Kaspar can seem to mean what he says and not understand it, simultaneously. Handke can trust to the theatrics of his creation’s mannered grasp of speech to sustain our fascination. Seemingly articulate though not coherent, Kaspar struggles to master his body, objects—such as a chair, a table heaped with printed pages, a broom—and, most naggingly, the relation between the presence in his head and the words he has learned to shape into intelligible if often cryptic sentences.

The repeated sentence, “I want to be a person the way someone else was once,” is Handke and Ward’s variation on the actual Hauser’s single sentence of introduction, "I want to be a calvaryman as my father was." The statement floats through the play like a mantra but also as a claim upon language itself. The speaker announces his condition as a claim based on feeling—“I want”—in which the object “a person” stands for a desired identity—“to be”: “I want to be a person,” but this simple and very complex statement is further modified by a perception of a past state—“the way . . . was once”—that suggests as well the non-identity we all have with earlier selves. The way we might say: “I want to be the person I once was,” though that’s not quite it. For Kaspar, there’s a “someone else” who was a person the way he would like to be, which carries with it a sense of succession, as though saying, “I want to be a man (or a person: both “Mann,” in German) the way, for instance, an ancestor or relation was.” In other words, there’s a number of differing but related intentions embedded in the statement, together with a kind of untranslatable disjunction born of the vagueness of its denotations: “a person,” “the way,” “someone,” “once.” And this array of uncertain objects is brought together by a desire for identity stated by someone for whom the statement is his only identifiable intellectual trait. It’s all he knows, whether or not it actually corresponds to anything he wants or believes. And that, as they say, is the rub.

Brought to us by a quire of dramaturgs—eight are listed in the playbill and includes everyone connected to the production but for its director—Kaspar is a play that drowns in text. Kaspar is almost always talking, whether or not he’s saying something, and the voices speak almost as much; then there are the pages full of writing sharing his cell, and the words cycling on a trio of teleprompters, often distracting the viewer from Goulding as he reads aloud what we can read as well. If we look on, the words of the text enter our consciousness both by vision and hearing, just as they do for Kaspar who hears himself read them. At some points, we may find ourselves trying to articulate to ourselves what it is we think we are hearing.

There are moments when Kaspar seems to be speaking only to himself and other moments when he is proclaiming to us all, and other times when he seems to want desperately to address us and be acknowledged. It’s a fascinating and tiring performance, as Goulding falls about the stage, knocks things over, topples, hurtles, strips, and occasionally performs quirky rhythmic movements as if to an inner tune. His expression is often puzzled or deeply concentrated, and a segment of inarticulate grunts and growls is as comical as a child’s effort to mimic other creatures, or even other humans, can be.

Indeed, Kaspar is, in some ways, a cosmic child, a kind of poetic Id at play in the fields of indeterminate psyche, where he has all of language before him. Though he is not in a joyous state, Kaspar does not seem to be despairing either. Rather, he seems caught up in the solving of an endless puzzle. Mostly frustrated, he seems to exist on the hope that something may become clear—if only he can get past the words in his way, or if only he can find the array of words that will illuminate, in an unprecedented way, what he has in mind.

 

Kaspar
By Peter Handke
Translated by Matthew Ward
Directed by Ayham Ghraowi

Composer: Jiyeon Kim; Dramaturg: Ashley Chang; Dramaturg: Abbey Burgess; Dramaturg: Erin Fleming; Dramaturg: Josh Goulding; Dramaturg: Jiyeon Kim; Dramaturg: Chad Dexter Kinsman; Dramaturg: Ariel Sibert; Dramaturg: Matthew Ward; Lighting Designer: Erin Fleming; Stage Manager: Abbey Burgess; Producer: Chad Dexter Kinsman

Cast: Josh Goulding

Yale Cabaret
December 1-3, 2016

 

 

 

 

Winner Take All

Review of Other People’s Money, Long Wharf Theatre

The sign of a good play is that viewers can read different things into it at different times, and directors can find new relevance in it. Jerry Sterner’s Other People’s Money, at Long Wharf, directed with sharp transitions by Marc Bruni, could easily seem a trip back to the late 1980s when business liquidators were an up-and-coming breed, “mergers and acquisition” became practically a household phrase, and old production standbys like automobile manufacture became ailing dinosaurs of the corporate world. While the period aspect of the play is still very much prevalent, it’s hard to watch the play in 2016 and not think of the recent election. Allegory may be in the eye of the beholder, but I think not.

We’ve got Wire and Cable, an all-American company that cares about its employees and their families, owned by Mr. Jorgenson (Edward James Hyland), a conscientious and somewhat loquacious elder who admires Harry Truman and treats the business like family. He’s got a very loyal assistant, Bea (Karen Ziemba), who sees no divide between work and her personal life. Both are dedicated to “the American Dream” as a solvent business that makes a good product and provides decent lives for all involved, debt-free. They don’t even have any outstanding fines with Environmental Protection. The manager, Coles (Steve Routman), is a canny heir apparent, serving his time until the old man steps down and he can take over and modernize a bit.

Garfinkle (Jordan Lage), Kate (Liv Rooth) (photo: T. Charles Erickson)

Garfinkle (Jordan Lage), Kate (Liv Rooth) (photo: T. Charles Erickson)

Into their cozy little world comes crass, big league player Garfinkle (Jordan Lage), a self-satisfied man of business who exists to make money, legally. He’s rapacious, avaricious, and even charming in a cold-blooded way. He’s buying up shares not because he wants Wire and Cable to make him money as a satisfied stockholder, but because he wants to gut the still breathing carcass and make his money off its dismemberment. The only person who might figure out a way to stop him is a blonde female lawyer, Kate (Liv Rooth), Bea’s daughter, who dresses sharply and is tough-as-nails, and who is more than equal to any “grab ‘em by the pussy” innuendo that might come her way. In an amusing sequence, she gets Garfinkle to grab his own crotch and give it a stern talking to.

What’s at stake? Well, if you’ve been wondering what it means to put the fox in the henhouse, by democratic consent, then this play might be the kind of entertainment to light your day. It shows us how vulnerable are core values—like loyalty and dedication—in the face of the almighty buck and the historical inevitability. A world where naked self-interest makes the wheels go round, and the devil take the hindmost. And, though Wire and Cable is in Rhode Island, we’re watching the predatory tactics that helped destroy jobs in the dissatisfied Rust Belt.

In Bruni’s taut direction, the play is even better than the script, and that’s because his crackerjack cast has a sense of the pace of TV drama, say, The Good Wife. There are still speeches that fall a little short of crisp, and the second act has too many scenes and way too much speechifying, but this cast does all it can to sell it. And the set by Lee Savage makes it all feel real.

Bea (Karen Ziemba), Jorgenson (Edward James Hyland), Garfinkle (Jordan Lage) (photo: T. Charles Erickson)

Bea (Karen Ziemba), Jorgenson (Edward James Hyland), Garfinkle (Jordan Lage) (photo: T. Charles Erickson)

As Garfinkle, Lage is no doubt way better-looking than Sterner envisioned—the script seems to call for a bit of a donut-popping schlub, maybe even with a bad toupe—but he plays the part with a kind of greased ease that recalls, at times, Pacino as Roy Cohn. Garfinkle is never quite that foul, but he tries. And he gets to comment, in a winning, “get a load of this” way, on the other team’s efforts to undermine his intentions (it’s almost like he’s hacking their strategy). Lage plays large, but there are lots of nice touches, as when he first takes in and sums up in a glance the proud but unpretty site and Jorgenson’s sentimental grasp of business.

Hyland is quite good as Jorgenson, giving the head man a very lived-in feel. He seems sort of doddering but can lead when his back’s to the wall. It’s clear that Sterner wants us to feel something more is at stake than a “seen better days” business, and Hyland makes us feel the heat of the man who watches what little legacy he had go under.

Kate (Liv Rooth) (photo: T. Charles Erickson)

Kate (Liv Rooth) (photo: T. Charles Erickson)

Best of all may be Rooth, who acts the hell out of Kate. It’s a role that requires considerable presence of mind as Kate plays the pressured go-between, trying to outsmart Garfinkle, while shamelessly flirting with him, and trying to get Jorgenson to fight for his life with strategy, even if it means going low when the other side goes low.

The scene where Kate gives the other three the what’s-what on how to survive—with “shark repellent” and “poison”—is a masterful riff on how the system can be worked to advantage. Typically, the good guys think of themselves as too good to think of even playing at bad. And then there’s the possibility that, good or not, some will sink the ship to save themselves.

Garfinkle (Jordan Lage), Coles (Steve Routman) (photo: T. Charles Erickson)

Garfinkle (Jordan Lage), Coles (Steve Routman) (photo: T. Charles Erickson)

Coles gets the first and last word, and Routman plays it with the clear sense of a man who never takes his eye off the balance sheet, managing to humanize the pro who supports a thing not because it’s right or better than another thing, but because he’s paid to. Ziemba’s Bea is the other side of the coin; she supports Jorgenson, not because he’s right, nor because she’s paid to, but because she loves him, giving a venerable veneer to the office romance.

Sterner draws the lines of attack and retaliate very carefully for all the characters and it’s a treat to see them treated to such well-crafted performances. Sure, it’s fun to spend other people’s money, and it’s also fun to spend time with Other People’s Money.

So, what d’ya think of that payoff?

Bea (Karen Ziemba), Jorgenson (Edward James Hyland) (photo: T. Charles Erickson)

Bea (Karen Ziemba), Jorgenson (Edward James Hyland) (photo: T. Charles Erickson)

 

Other People’s Money
By Jerry Sterner
Directed by Marc Bruni

Set Design: Lee Savage; Costume Design: Anita Yavich; Lighting Design: David Lander; Sound Design: Brian Ronan; Production Stage Manager: Peter Wolf; Assistant Stage Manager: Amy Patricia Stern; Casting by Calleri Casting; Assistant Director/Drama League Directing Fellow: Jesca Prudencio

Cast: Edward James Hyland; Jordan Lage; Liv Rooth; Steve Routman; Karen Ziemba

Long Wharf Theatre
November 23-December 18, 2016

No Time Like the Future

Something for Cyber Monday?

Review of Labor Day by Joseph Farley

With Labor Day, Joseph Farley, a longtime fixture in Philadelphia’s underground literary scene, has raided parts previously unknown and come back with a science fiction novel, of all things, worth a second and even third reading. Of course, for those familiar with Farley’s poetry, it’s hard enough to imagine the poet behind the emotionally complex yet dispassionately composed Longing for the Mother Tongue working in common prose, let alone the most popular of popular genres. And yet, despite the whiff of pulp inherent in genre fiction, we should remind ourselves that on the same shelves where so much of tomorrow’s hamster bedding resides we also find the works of Philip K. Dick, Arthur C. Clarke, George Orwell, Anthony Burgess and Ray Bradbury.

Of course, this is only to say that even the most sophisticated readers among us should keep an open mind. And, indeed, in the case of Farley’s novel, they won’t be disappointed if they do. What is delightful about Labor Day is, in a word, how thoughtful a book it is, without sacrificing an inch of plain, giddy Twilight Zone-style dystopian fun. Farley seems to have had a hilariously good time upending the conventions of both speculative fiction and literary pretension, without letting these ends eclipse the kinetic drive of a book with enough pulse to stir those looking for an exciting read over the holidays.

But perhaps the most interesting part of all this is how Farley strikes this balance: science fiction, like all genre work, has its conventions, and its fans expect, nay, demand them—to the point that (as yours truly can attest, having worked as a pro comic-strip writer) such readers will often react ferociously if a story swerves even slightly from the comfort zone of their cozy clichés. Farley, however, fiddles with the convention of convention itself, assembling Labor Day from a hodgepodge of smart readings and re-renderings. We find bits of 1984 in how the novel’s protagonist, Tom Fried (and do notice the dual pronunciation here, by the way), finds himself under constant surveillance; we also have something of an homage to The Metamorphosis, insomuch as Fried’s world is dominated by man-size cockroaches; and we even discover random references to key scenes from other works, as when a couple of police in Labor Day kick the bejesus out of an old drunk, à la A Clockwork Orange.

Still, to merely name these easy allusions isn’t to do Labor Day full justice. Labor Day ’s middle-age author, it seems, wasn’t satisfied until he had appropriated pieces of everything he grew up with, including one work that is about as sci-fi as an alarm clock: Guess Who’s Coming to Dinner. Nor is this allusion nearly as oblique as that made to Burgess’s “bit of the ol’ ultraviolent.”  Arguably, any reader who isn’t reminded of the Draytons by Fried’s near apoplexy at learning of his daughter's plans to bring a cockroach home isn’t actually reading. Moreover, the scene comes after Farley makes it expressly clear that the world of Labor Day is, quite literally, post-racial as far as homo-sapiens are concerned; Fried, for instance, is described as having a “flat nose … almond-shaped eyes … [and] black curls,” as are all the other humans we meet throughout the novel. So, while at first glance it might seem Sidney Poitier’s Dr. Prentice is being compared to a man-size cockroach in Labor Day, Farley’s book is quite obviously aiming for something else altogether.

No doubt, race is a standard theme in American sci-fi. Don’t believe me? Consider whether ET is just an extraterrestrial, or whether our several definitions of alien are coincidental. No, by convention the bulk of today’s mainstream American sci-fi seemingly can’t keep itself from pitting a majority of lily-white humans against a malevolent minority of humanoids with a few features unnervingly dissimilar from humans’ (think Star Trek’s Klingons); at its softest, this implicit racism takes the form of a token alien friend like, say, Star Wars’ Chewbacca. But we must also remember that Han Solo wastes a good number of other others at the Mos Eisley Canteen before picking up Luke and company.

In Farley’s Labor Day, in contrast, the humans, including the protagonist, are the disenfranchised, oppressed minority segregated to the outskirts of civilization by man-size cockroaches. What’s more, the roaches are themselves, absurdly enough, descended from human scientists who spliced their genes with cockroach DNA to help their offspring survive a nuclear war. As for roach behavior, in Labor Day a cabal of elite roaches introduced late in the novel can only be compared to how the characters in the soap opera Dallas behave; these malevolent roaches are not so much a race in Farley’s novel but a class, more akin to Russian oligarchs than anything else.

Thus, it is important to clarify here that Farley’s treatment of race in Labor Day isn’t just a great example of how to turn a genre convention on its head but of how to do so while remaining socially conscionable. Granted, the novel opens with a scene in which Fried dines on putrefied rat yet is more nauseated by the sight of a fellow diner, a cockroach with “multifaceted eyes like an insect” who “slobber(s) a dark liquid onto (his) lobster.” But Farley eventually pushes Fried past his fear of the other: in an attempt to visit his soon-to-be in-laws at their high-rise apartment, he witnesses the deplorable conditions the building’s roach residents deal with daily. Not only is the elevator a death trap; the building’s security guard isn’t even remotely interested in guarding the place, and there’s filth strewn everywhere. Indeed, the prospects look so bleak for these roaches that Fried’s own poverty pales in comparison. (And that’s saying a great deal, considering Fried’s luxuries consist of eating a rotted rat once a month and occasionally buying a patch for his battered shoes).

So, eventually, the novel shows us that not all roaches are equal, and not all are the affluent oppressors Fried initially assumes they are, a revelation that has plenty of real-world resonance not only in terms of race relations but because of what Fried subsequently realizes on the heels of this epiphany: in actuality, his fight always was with economic exploitation and the select few in his world who benefit from oppressing the rest of the population, be those oppressed individuals human or roach. Furthermore, the lucky few in question consist of those Dallas-style roaches mentioned above: a handful of roach plutocrats planning a Nazi-like final solution for Fried and his fellow humans. So if we sum the entirety of Labor Day’s retake on standard sci-fi treatments of race, only Farley’s rich roaches have anything in common with the lily-white humans of mainstream sci-fi; in contrast, our protagonist, his friends, his family, and most of the roaches we meet decidedly do not.

Then again, all this talk of Labor Day’s racial themes might give the false impression that it is exclusively a serious book. In fact, it’s not, or rather, it is only serious insofar as you want it to be. If you’d rather forego focusing on all the poignant and socially relevant subtext, Farley so expertly pushes social satire into the realm of laugh-riot you’ll be far from bored. For example, early on he offers this bit of over-the-top absurdity:

 

The horizontal [subway] cars were filled with horizontal tubes. The cars resembled rolling beehives. Riders were forced to slide into tubes headfirst. They rode in stacks to the next station, smelling the sweat and other human excretions of former tube occupants. If the passengers wished to be discharged at a station, they had to push a button. If it worked, they were ejected at the station. If it did not work properly, there was an emergency button that could be pushed. If that button was also broken, a commuter could end up riding inside his or her tube for hours or days before anyone noticed. It was not infrequent for passengers to pass out or become hysterical from claustrophobia. This was not always a bad thing, for if the passenger was subsequently diagnosed as truly being claustrophobic or having post-traumatic syndrome, that individual was issued a special pass, enabling future transport on a car with seats.…

 

All this is to say, then, that Joseph Farley’s Labor Day isn’t just a book that riffs on and mines the best of the past half century’s literature, film and pop-culture; it plays with these pieces in such a way that we’re made to think even as we’re laughing ourselves silly.

Labor Day
By Joseph Farley
Peasantry Press
$29.99 HC; $10.99 PB
206 pages

A Showman's Show

Review of He Wrote Good Songs, Seven Angels Theatre

Anthony Newley, subject of actor/singer Jon Peterson’s dazzling one-man show, “…He Wrote Good Songs”, in its CT premiere at Seven Angels in Waterbury, was a colorful entertainer who achieved his greatest successes in the 1960s and died in 1999. I recall seeing him on variety shows in my childhood—he was unforgettable—while many were introduced to him either as a child actor playing the Artful Dodger in David Lean’s non-musical version of Oliver Twist (1948) or in his role as Matthew Mugg in the musical Dr. Doolittle (1967) for which he co-authored the songs.

Newley’s songwriting is no doubt better-known than his performances, as he co-authored—with his primary writing partner Leslie Bricusse—the songs to the cult classic film Willy Wonka and the Chocolate Factory (1971), which included “The Candy Man,” a song that seems inescapable. Newley and Bricusse also had their hand in the well-known James Bond movie theme “Goldfinger,” and Newley’s songs—such as “Who Can I Turn To” and “What Kind of Fool Am I”—have been successful hits for various singers, including Nina Simone and Sammy Davis, Jr.

Peterson, who first created “…He Wrote Good Songs” in 2014, was last at Seven Angels in 2009 in his show Song and Dance Man, in which he performed songs by a number of noted singers, Newley among them. The current show—its title comes from a line Newley said should be carved on his tombstone—presents Newley’s story as he himself might tell it, as a mix of his greatest hits held together by a freewheeling narrative of his life.

Jon Peterson as Anthony Newley

Jon Peterson as Anthony Newley

 

Peterson’s Newley is a consummate showman who lets us in on his somewhat checkered career and his string of marriages and infidelities with endearing charm and feckless egotism. This is the world according to Newley—or Tony—and there’s not a lot of soul-searching. It’s more like a view of life as a series of trials, where some things—a song, a show, a marriage—are successes, for awhile, and others aren’t.

The ups and downs are recounted colorfully in Peterson’s off-hand manner. We learn of Newley’s difficult childhood East of London and during the Blitz, of encouragement along the way, of early breaks, of the heady world of a child star in pre-Beatles Britain, and of his ongoing lust for the ladies, which leads him into three marriages—including to British actress Joan Collins—and a host of affairs. Newley, it seems, simply can’t turn off the charm, either in real life or on stage. There’s a lot of success, with Broadway hits and a popular Vegas show, but time keeps moving on and eventually he’s older, accused of being “a self-parody” at one point, and hailed as a genius at another. There are affecting moments, such as a reconciliation with the father who abandoned the family when Tony was a child, and lots of little Borsch-Belt-style asides served up for a chuckle—Newley paid his dues in venerable Catskill venues too.

Daniel Husvar’s set is a bright version of the tough Hackney streets where Newley’s life began, augmented by a comfy chair and clothes trunk, and Peterson runs through numerous costume changes before our eyes, always while chattering on. The songs, though not as familiar as they might be to some, are a constant delight; they are clever, catchy, and, at times, the stuff of soliloquy—“Pure Imagination,” “Oh What a Son of a Bitch I Am,” “The Joker”—while elsewhere they give us a chance to bask in Newley’s knack with a hit—“Pop Goes the Weasel.” He throws away big numbers like “Goldfinger” and “Candy Man” as if too well-known (and admits to disliking the latter), and shows an agreeable ability to take whatever life hands out. The show ends, as it must, with “What Kind of Fool Am I?,” the standard that closes Newley’s first major musical, Stop the World—I Want to Get Off, and serves as commentary on a life dogged by many foolish moves.

Peterson’s showmanship is the star here, as he gets to live out for us a life and talent that was meant for the limelight. Newley comes across as a born performer with Peterson giving an uncanny sense of the singer’s unique vocal style, in spare but effective arrangements by Bruce Barnes. And Peterson’s take-offs of those whom Newley encounters punctuate the show with artfully rendered mannerisms, making Newley an accomplished mimic as well.

Newley wrote good songs, indeed. And many are inherently theatrical in being written for shows. Peterson’s brilliant use of the songs to structure Newley’s life story makes this more than just a revue of hits while also serving to remind us of Newley’s way with a song, and way with a story. The best feature of the show is how winning Peterson is, providing the kind of interpersonal thrill that comes from finding oneself, as the saying goes, “in the palm of his hand.” It’s a showman’s show. One imagines Newley himself would be tickled by it.

 

“…He Wrote Good Songs”
Written and conceived by Jon Peterson
Directed by Semina De Laurentis
Musical Direction by Bruce Barnes
Vocal Arrangements and Orchestrations by Bruce Barnes and Jon Peterson

Scenic and Prop Design: Daniel Hsuvar; Lighting Design: Scott Cally; Sound Design: Matt Martin; Production Stage Manager: Elizabeth Salisch

Musicians: Musical Director/Arranger/Conductor/Pianist: Bruce Barnes; Bass/Guitar: Louis Tucci; Percussion: Mark Ryan

Seven Angels Theatre
November 3-27, 2016

Only Collide!

Review of Collisions, Yale Cabaret

Collisions, a collaboration between music, theater and visual projections now playing at the Yale Cabaret, co-directed by Frederick Kennedy and Kevin Hourigan, is a multimedia extravaganza. No two shows will be exactly the same, as the projections and other effects by a team at a tech board in the center of the space respond to what is happening on stage, and the music played live by a four-man band is improvised. It’s the kind of show for which the Cab is uniquely suited, with a range of meanings and sensations happening almost spontaneously.

Brontë England-Nelson, Sydney Lemmon (photo: Elizabeth Green)

Brontë England-Nelson, Sydney Lemmon (photo: Elizabeth Green)

So, the performers are sometimes interpreting music, sometimes being supported by music, sometimes performing a song, and the music is sometimes the main focus, sometimes background, and the projections are sometimes extending or amplifying the stories and sometimes seem to have gone a bit rogue. It’s a wonderful mix of effects and routines and jazz workouts whose effect will be mostly in the eye and ear of the beholder.

The set is a mélange of actual instruments to be played and a kind of electronics dump of obsolete bric-a-brac—a dusty old VHS deck c. 1980 is a treasure. The band—Evan Smith, saxophone and woodwinds, Kevin Patton, guitar, stage right; Frederick Kennedy, drums and percussion, Matt Wigton, bass, stage left—are placed amidst the visual cacophony to create a variety of musical textures that can be at times a hypnotic groove, at other times, celestial sounds, and at times a hot jam.

Baize Buzan, Brontë England-Nelson, Sydney Lemmon (photo: Elizabeth Green)

Baize Buzan, Brontë England-Nelson, Sydney Lemmon (photo: Elizabeth Green)

The performers—Baize Buzan, Brontë England-Nelson, Sydney Lemmon—are clad in different costumes of white. Buzan has the knit cap, England-Nelson, the baseball cap, Lemmon is hatless. At times they narrate what they’re doing, as in Buzan’s “bit at the podium,” a kind of Ted talk to open the piece. Other times, they wordlessly interact with the music—which can mean expressive slow-mo or very physical jousting with chairs, much of it designed to play with the various ways we might experience “collision”: something hitting something else, an idea meeting an obstruction.

Brontë England-Nelson, Sydney Lemmon, Baize Buzan (photo: Elizabeth Green)

Brontë England-Nelson, Sydney Lemmon, Baize Buzan (photo: Elizabeth Green)

Here and there, dialogues sprout up—one, particularly amusing, has Lemmon as a tensely serious art-maker talking about her collage deconstructions as England-Nelson skeptically quizzes their purpose. At one point, Lemmon sings a song and the others join in, breaking up the jazz score with simple melody and, yes, feelings. A favorite segment for me was England-Nelson leading a meditation class more apt to cause anxieties than allay them (“what’s that, is that the water level rising to engulf us all?”), and Lemmon sounding off in a kind of lecture that skewers some of the pretensions of our particular cultural moment (“how can we make violence safe again?”).

Brontë England-Nelson (photo: Elizabeth Green)

Brontë England-Nelson (photo: Elizabeth Green)

There are a lot of meta moves, where the three are commenting on what it is we’re all experiencing—at one point, as they consult their snapchats or tinders, the camera man at the tech board pans the audience to let us appear in a projected cellphone frame. The interaction between the trio never feels portentous, and they can be remarkably eloquent even when—or especially when—they aren’t saying anything.

Frederick Kennedy (photo: Elizabeth Green)

Frederick Kennedy (photo: Elizabeth Green)

The point of mixing media is in the mixing, generally. Here, one is often struck by the wherewithal to sculpt with sound and image and physical performer. Collisions can be a very immersive or contemplative experience, and, in the best tradition of live performance, it makes you glad you were there.

 

Collisions
Conceived and written by Frederick Kennedy
Developed in collaboration with the entire company
Co-directed by Kevin Hourigan and Frederick Kennedy
Additional text: Jeremy O. Harris
Additional music: Molly Joyce

Choreography: Jake Ryan Lozano, Emily Lutin, Gretchen Wright; Dramaturgy: Ashley Chang, Jeremy O. Harris; Set Design: Choul Lee, John Bondi-Ernoehazy; Costume Design: Cole McCarty; Lighting Design: Elizabeth Green, Krista Smith; Sound Design: Christopher Ross-Ewart, Frederick Kennedy; Assistant Sound Design: Haley Wolfe; Projection Design: Yana Biryukova, Michael Commendatore; Technical Director: Rae Powell; Stage Manager: Paula R. Clarkson; Producer: Rachel Shuey

Cast: Baize Buzan, Brontë England-Nelson, Sydney Lemmon

Musicians: Frederick Kennedy, drums/percussion; Kevin Patton, guitar, custom interactive system design; Evan Smith, saxophone/woodwinds; Matt Wigton, bass

Yale Cabaret
November 17-19, 2016

Mature Attraction

Review of The Last Romance, New Haven Theater Company

Joe DiPietro’s The Last Romance is a quiet little drama about taking a chance, late in life. Its best feature is attention to the kind of small distinctions that can make a big difference in how people learn to accept and trust one another.

NHTC member John Watson plays Ralph Bellini, an Italian-American widower who suddenly, in his 80s, becomes sweet on a woman he sees with her pet dog in a park he ventures into by chance. Soon he’s trying his best to chat her up, using all his resources of gentle joshing and kidding, turning on the charm. The object of his interest, Carol Reynolds, played by NHTC member Margaret Mann, is not so warm or inclined to be charmed. She’s a bit prickly, a bit distracted. But she’s not indifferent to the attention.

As played by Watson, Ralph is indeed a likeable guy, the kind we would expect to have many casual friends. In fact, the only other major person in his life at this point is his sister Rose Tagliatelle, played by Janie Tamarkin, a bossy but also needy woman who never married. Ralph and Rose are the only siblings left of a large family. They’re settled in their ways and Rose can’t help wondering what’s up with her brother in taking a shine to a complete stranger.

And it’s not just doubts about the value of romance so late in life that Rose shows. There’s a subtle sense of this odd couple coming from different walks of life that she is well aware of. Mann’s Carol is WASPY and more than a bit uptight—her repeated phrase “for shame!” should give you an idea. She speaks of having cared for a husband struck down by a stroke. The main connection between her and Ralph seems to be that they are survivors. They paid their dues in marriages, and they’re still here, and that means, maybe, that something good may yet come their way.

For Ralph, dreams of romance seem to always come back to opera. He auditioned once at the Met, and director Trevor Williams handles effectively the operatic moments in the play, so that we get a strong impression of the youth and gifts that Ralph looks back on (with thanks to a cameo from Christian Shaboo). Mann’s Carol is a harder sell. It’s not clear exactly what she sees in Ralph, since she’s so slow to open up. But she does make it clear—and here changes in her wardrobe help to make the case—that she greatly appreciates being romanced again, after having pretty much given up on it.

As such there’s a nice contrast between Carol and Rose, both still hopeful—in Rose’s case, it’s hoping that the husband who left her will return—and both trying to live without illusions. Which generally means they’re quick to spot others’ unreal hopes. The question hovering in the air, as with any romance, is whether this is going to end happily ever after or whether some kind of deal-breaker will surface.

New Haven Theater Company finds in this simple and direct story a good vehicle for its actors, with Janie Tamarkin’s support adding a touch of authentic Brooklyn. In the end, DiPietro’s play seems to suggest we’re creatures of habit, but if so, it shows how some habits come from stronger ties than others. The Last Romance is a realistic romance that shows that getting what you hope for might not be for the best.

Three more shows: tonight, tomorrow and Saturday.

The Last Romance
By Joe DiPietro
Directed by Trevor Williams

Cast: Margaret Mann, Janie Tamarkin, John Watson

Additional voices and video by Christian Shaboo & Peter Chenot
Lighting Design: Peter Chenot

New Haven Theater Company
November 10-19, 2016

Sly Oneupmanship

Review of Sleuth, Music Theater of Connecticut

Two men playing head games in an English country estate may seem far removed from the pressures of our times. Indeed, Sleuth, Anthony Shaffer’s captivating comic drama of sleight-of-hand twists and flexible identities dates from the 1970s and tweaks genteel detective fiction. But it also traffics in something that never ceases to fascinate: power, as in, what you can do to others when you have it, and how to get it from others when you don’t.

Sleuth is a whodunit that has been called, more properly, a whodunwhat. Milo Tindle (David Brickman), a London-based travel agent for well-to-do clientele, visits the very successful and very high-handed author Andrew Wyke, a murder mystery writer, at his Tudoresque pile. Milo has been summoned by the elder man, it turns out, in order to discuss how Milo might successfully keep his mistress, Wyke’s wife, in the manner to which she has become accustomed. The scheme involves burglary and an insurance settlement, but before you can say fraud, Wyke is having Milo choose a costume for a kind of fancy-dress felony. And then he proceeds to complicate matters further.

Milo (David Brickman), Andrew (John Little) (photo: Joe Landry)

Milo (David Brickman), Andrew (John Little) (photo: Joe Landry)

The repartee between the two is swift and sure in Pamela Hill’s well-paced production. As Tindle, David Brickman squirms with poise and even manages to take his host off-guard at times by playing to his vanity. John Little’s Andrew Wyke is a carefully controlled turn as someone who is always toying—with his prose, with his verbal sallies, with his plots and with putting Milo through his paces. Though neither actor plays the scenes of emotional extremity as forcefully as they might, their handling of the quid pro quo jousting over who has the upper hand keeps things lively. The role of Inspector Plodder, in the second act, is particularly well played, and Wyke generally comes off as more cheeky than sadistic, which keeps us a bit sympathetic to his intentions. His is an intelligence always ready to find amusement in the way that events play into familiar patterns of narrative. And it’s Wyke’s level of meta-archness, displayed throughout, that keeps us guessing as to his ultimate motives and even as to how much he is taken in.

How much the audience is taken is is also a key question. For the full effect of the play, it’s best that viewers not already know where it’s going, so if you’ve seen it, don’t tell others much about it beforehand, but do tell them to go. Sleuth, as a play, is a kind of parlor trick that is well worth seeing done well, its ending arriving with all the aptness of a mousetrap’s satisfying click.

Milo Tindle (David Brickman), Andrew Wyke (John Little) (photo: Joe Landry)

Milo Tindle (David Brickman), Andrew Wyke (John Little) (photo: Joe Landry)

The detailed set, by Jordan Janota, makes more of MTC’s modest playing space than one could expect, and the audience’s closeness to the many props and other visual features adds a compelling intimacy. The themes of the play—such as class tensions between an up-and-comer and a lordly eminence—play out with a fluidity of affect so that sometimes we side more with one, then the other. Eventually, the play seems to shift for the underdog, but, even so, how much one sympathizes with the painfully deliberative Plodder over the high-and-mighty ironies of Wyke, the skilled plot manipulator, will be a matter for the individual viewer. Shaffer writes like a dream of self-consciously pretentious prose, so that much of the battle of wits here is verbal, having to do with a cruel eye for characterization, in Wyke, and a canny eye for loose ends, in Plodder. Milo, on the other hand, offends at the start by being too agreeable and one is in hopes that he’ll get his own back.

Milo Tindle (David Brickman) (photo: Heather Hayes)

Milo Tindle (David Brickman) (photo: Heather Hayes)

Cunning and crafty, Shaffer’s Sleuth serves up diverting escapist entertainment.

Sleuth
By Anthony Shaffer
Directed by Pamela Hill

Costume Design: Diane Vanderkroef; Set Design: Jordan Janota; Lighting Design: Michael Blagys; Fight Direction: Dan O’Driscoll; Stage Manager: Jim Schilling

Cast: David Brickman, JohnLittle, Philip Farrar, Harold K. Newman, Roger Purnell

Music Theater of Connecticut
November 4-20, 2016

Three on the Street

Review of Thunder Above, Deeps Below, Yale Cabaret

A. Rey Pamatmat’s Thunder Above, Deeps Below plays in some ways like a fairy tale, but what the playwright has in mind, given the title’s reference to Pericles, are the plays, often called “romances,” that Shakespeare wrote later in his career. The possibility of tragedy is present, but a certain saving grace, often beyond the bounds of the merely human, carries the day.

Gil (Bianca Castro), Hector (Ricardo Dávila) (photo: Elizabeth Green)

Gil (Bianca Castro), Hector (Ricardo Dávila) (photo: Elizabeth Green)

In Pamatmat’s play, the tragic dimension comes from the hand-to-mouth life on the streets of an unlikely trio: Teresa (Francesca Fernandez McKenzie), sort of the den-mother of the bunch, a Filipina who still mourns the mixed-race child her parents wouldn’t allow her to have; Hector (Ricardo Dávila), a Puerto Rican youth who sells sexual favors on the street and who has become the obsession of Locke, (Jason Land), a married black man; and Gil (Bianca Castro), a transexual who wants to trade her male equipment for female. Together, they’re trying to raise the money for three bus tickets to California, to escape the encroaching cold of another Chicago winter. They hang out near, and sometimes take shelter in, a coffee shop where Marisol (Patricia Fa’asua) waits tables and lends a helping hand when she can. A further device, where Shakespearean romance comes into view, poses James Udom as Perry, a figure from Teresa’s past who seeks his Perdita, so to speak, and imagery of a ghostly boatman (Fa’asua), and, for Gil, the hope that one day her prince will come.

In the Cab production, the play's tone can be hard to pinpoint. That might be deliberate, but for the romance elements to surprise us, the hard scrabble elements have to be convincing. The street characters here are all easily likeable, and that very quality makes their desperation feel a bit like an after-school special about “choices.” The bonds these three feel for each other are best perceived under duress, as in the final show-down in the coffee shop, when Marisol confronts Hector with his past. Other scenes of struggle, such as the love-hate relations between Hector and Locke, are the most vivid aspects of the drama. Also on the plus side is Gil’s big number, providing show-stopping charisma that earns her either an admirer or a stalker (Armando Huipe) whose intentions create further drama.

Teresa (Francesca Fernandez McKenzie), Marisol (Patricia Fa'asua), Hector (Ricardo Dávila) (photo: Elizabeth Green)

Teresa (Francesca Fernandez McKenzie), Marisol (Patricia Fa'asua), Hector (Ricardo Dávila) (photo: Elizabeth Green)

Director Sebastian Arboleda, working with non-actors in some key roles, makes the most of the play’s potential for open staging. The cast move easily between imagined street, imagined lakeside, imagined coffee shop, imagined swanky apartment; the main set element, a large, transparent curtain at the back, is used effectively to set off some incidents from the immediate action. One also has the sense that, to make this full-length play fit a Cab show’s running time, certain cuts have perhaps thinned-out elements of characterization that might help us inhabit this world more fully. Pamatmat’s text can be rather lyrical, and that quality needs a certain pacing to be developed fully.

Teresa (Francesca Fernandez McKenzie), Gil (Bianca Castro) (photo: Elizabeth Green)

Teresa (Francesca Fernandez McKenzie), Gil (Bianca Castro) (photo: Elizabeth Green)

A compelling element here is that the production combines impersonation and authenticity. Dávila, always a very capable actor, makes us see Hector as the changeable teen he is, while Castro is not an actor playing a transgender character—she is herself a trans performer and becomes Gil for the play’s purposes. Her role asks her to be acutely discerning, sympathetic, quick-witted, and dreamy, by turns. It’s a tall order. As Teresa, McKenzie frowns and scowls like a harried mother of wayward children, though her pay-off scene at the end is conveyed with winning joy.

A complicated stab at giving us a sense of lives lived on the edge, while also buttressing such lives with deliberate romance elements, Thunder Above, Deeps Below is best at registering the mystery of friendship.

 

Thunder Above, Deeps Below
By A. Rey Pamatmat
Directed by Sebastian Arboleda

Assistant Director: Jamie Farkas; Dramaturg: Amauta Marston-Firmino; Set Designer: Riw Rakklulchon; Lighting Designer: Elizabeth Green; Costume Designer: Cole McCarty; Sound Designer: Tye Hunt Fitzgerald; Fight Choreographer: Jonathan Higginbotham; Technical Director: Matt Davis; Stage Manager: Sarah Thompson; Producer: Trent Anderson

Cast: Bianca Castro, Patricia Fa’asua, Jason Land, Francesca Fernandez McKenzie, Armando Huipe, Ricardo Dávila, James Udom

Yale Cabaret
November 3-5, 2016

Disaster Management

Review of Current Location, Yale Cabaret

When you hear a rumor of unusual, threatening occurrences, how do you react? Do you buy into the speaker’s sense of panic? Do you try to distance yourself from the situation, perhaps undermine the report’s veracity?

Japanese playwright Toshiki Okada’s Current Location—translated by Aya Ogawa and directed by Josh Goulding at Yale Cabaret—implies that, in today’s world, we are all under threat in a generalized way: climate change, pollution, military interventions, the testing of weapons and chemicals we know nothing about. We might say that our ability to soldier own, despite our intuited sense of how toxic is our environment—not least the one the media creates—is our lives' main dramatic situation. The phrase used as the play’s title echoes its general use in describing a threat—whether a killer on the loose or a natural disaster. Everyone is concerned about a threat’s “current location,” so as to differentiate those people “there” from us, “here.”

the cast of Current Location (photo: Elizabeth Green)

the cast of Current Location (photo: Elizabeth Green)

In Okada’s play, the sense of generic threat we all live with, at some level, becomes real for a group of women in a village where everyone sort of knows everyone else. Which means, ostensibly, there should be some solidarity in how they react to odd events—a glowing blue cloud, a remarkable drop in the lake’s water level, unusual behavior among other villagers—and yet. . . .

As the play goes on we mainly encounter what may be called different coping mechanisms. Cassie (Molly Fitzmaurice) is the most panicky, but then she’s the one who saw that huge, glowing cloud, while out with her boyfriend who, to add to her stress, wanted to view the phenomenon “romantically.” Like Cassie, Hana (Bianca Boragi), also freaking out, comes to two sisters, Irina (Chiara Klein) and Katrina (Emily Reeder) for advice. The sisters are presented as the bedrock dispensers of practical viewpoints. They are not easily swayed to hysterical outbursts, evincing a patient sense of the plausible and the practical, what is usually called, in sci-fi or horror movies, “a logical explanation.” Of the two, Irina seems more sympathetic; Katrina, more imperious and flinty. Eunice (Eunice Amo), another neighbor, expresses her gratitude for the kinds of heart-to-hearts the sisters provide.

Katrina (Emily Reeder), Hana (Bianca Boragi), Irina (Chiara Klein) (photo: Elizabeth Green)

Katrina (Emily Reeder), Hana (Bianca Boragi), Irina (Chiara Klein) (photo: Elizabeth Green)

Whether there is an explanation or not is something that Okada keeps us guessing about. And so, as viewers, our sense of implication becomes a matter of how we react to such provocations. Are the sisters so rational we want to scream? Is screaming Cassie or Hana so extreme we want to stifle her? How do we get to the truth? And, even if we know the truth, how should we act on it?

One way to deal with what we don’t understand, Okada suggests, with a sense of satire, is to satirize it. Maya (Amber Koonce) and Audrey (Caitlin Crombleholme) attempt to put on a play that mimics the kind of dread and dread-defeating rationales to which all the characters are susceptible. But it proves too much for Cassie. Art is no refuge, if in fact the entire village and its environs are contaminated. (Okada wrote the play in the wake of the 2011 nuclear reactor crisis in Japan, following the Tohoku earthquake, so that the play within the play is very much apt to the author’s situation in writing Current Location.)

Audrey (Caitlin Crombleholme), Maya (Amber Koonce) (photo: Elizabeth Green)

Audrey (Caitlin Crombleholme), Maya (Amber Koonce) (photo: Elizabeth Green)

The Cab’s staging takes place in the round, the set itself consisting of two chairs that face each other as on a talk show. The actors open and close the play seated amidst the audience, which of course has the effect of including us in “the village.” In fact, the way in which the action includes the audience is much to the point here. Goulding’s cast make us feel their discomfort; they aren’t acting so much as reacting, and, it’s implied, how can we remain so detached when lives are at stake? With an all-female cast, the play deliberately avoids the presentation of males in authoritative roles, so that our sense of the crisis is filtered entirely through how these women speak to each other.

In the middle of the play or thereabouts an act of violence perpetrated by Katrina is staged with a kind of matter-of-fact solidarity by the others (except Irina). It’s not a do-or-die moment, where a definite threat must be suppressed, and the act feels almost ritualistic, a kind of group mind enactment we are suddenly complicit with. As with the final imagery of the play, we are asked: are you in or out—on the ship looking back at the deluded fools who remain behind, or, secure in the only world you’ve ever known, looking on at deluded fools who try to escape their own fears?

Current Location is a thought-provoking play, a stab into the complacency of the onlooker, an effort to suggest that catharsis should occur in real life. This production’s immediacy and lack of distancing helps make the play’s point.

 

Current Location
By Toshiki Okada
Translated by Aya Ogawa
Directed by Josh Goulding

Composer: Molly Joyce; Music Director: Chiara Klein; Dramaturg: Kari Olmon; Set Designer: Joo Hyun Kim; Lighting Designer: Erin Fleming; Costume Designer: Cole McCarty; Sound Designer: Megumi Katayama; Fight Director: Michael Commendatore; Stage Manager: John Carlin; Technical Director: Brian Pacelli; Assistant Technical Director: Jenna Heo; Producer: Chad Dexter Kinsman

Cast: Eunice Amo, Bianca Boragi, Caitlin Crombleholme, Molly Fitzmaurice, Chiara Klein, Amber Koonce, Emily Reeder

Yale Cabaret
October 27-29, 2016

Next up at the Cabaret this week:  Thunder Above, Deeps Below, by Yale School of Drama MFA and celebrated playwright A. Rey Pamatmat, directed by third-year actor Sebastian Arboleda, who also directed last’s season’s intriguing Cloud Tectonics, which also featured elements of magical realism, as does Pamatmat’s play. As the last play this season to be staged before the 2016 election, Thunder Above, Deeps Below asks us to look at the “quintessentially American lives” of characters who are “disenfranchised, queer, trans, or immigrants.” November 3-5.

Send in the Clowns

Review of Goldfish, Yale Repertory Theatre No Boundaries Series

Viewers expecting the bare stage typical of a dance troupe may be surprised by the prop room-like setting of Goldfish, a touring show by The Inbal Pinto & Avshalom Pollak Dance Company at Yale Repertory Theatre. The choreography of this 60 minute show is precise and often set to music, but it’s a choreography that features clowning and manipulating objects and costumes more than interpretive dance routines. Zvi Fishzon and Ella Rothschild are a white-clad couple who display a bizarre array of tics amid the give and take of what seems a domestic world—tea cups are heavily featured, and a box that recalls a TV set, except that it houses Noga Harmelin’s screaming head.

Early on, one has the sense that we are watching the animation of a costumes wardrobe, as a pair of legs sticks out from a rack of white clothes to dance in the air and to be washed by attendants. That sense becomes more definite late in the show when Harmelin performs an erratic dance in an outfit still upon its hanger. The routine has the look of a puppet controlling its own movements. Indeed, the relation between movement of one’s own volition and movement as a result of another’s actions plays out in interesting ways in many of the routines. The degree to which any relationship—between adults, between parents and child, between humans and pets, and so on—is primarily “about” action and reaction is key to much of what occurs here. The show’s title is meant to make us think of how circumscribed our own habits are, like goldfish in our little bowls.

Zvi Fishzon, Ella Rothschild in Goldfish

Zvi Fishzon, Ella Rothschild in Goldfish

Setting up the show, and providing its visual climax, is the role of Avshalom Pollak, in baggy black with a comic mime’s ability to convey emotional cruxes with a glance, a frown, a lifted eyebrow. At times he seems to be only a spectator, off to the side of the stage, but his reactions at other times are more interactive.

The poetic and comic dimensions of the show are unlikely to strike any two viewers alike. The effects play upon the poetics of gesture, and the way that costuming and attitude and body language can communicate volumes. The music is mostly “old time,” which gives the show the air of vaudeville and of Big Band era romanticism. The Chaplinesque feel of some of the movements recalls silent film comedy, but placed in a more surreal context, where, for instance, an ostrich can emerge from the rack as easily as a maid or butler. Sound effects are also an important element of the whole, as Pollak sets the stage early for intense listening as he reacts to sounds in the theater and imitates bird calls.

A collection of mysterious and inventive humoresques, Goldfish is a theater of visual effects, rich in implication and suggestion, delightful in its odd surprises and jaunty grace.

 

Goldfish
Inbal Pinto & Avshalom Pollak Dance Company

Choreography: Inbal Pinto, Avshalom Pollak; Scenic and Costume Design: Inbal Pinto, Avshalom Pollak; Sound Design: Asaf Ashkenazy; Master Carpenter: Gilad Banneau; Tour Manager: Ofer Lachish

Performers: Zvi Fishzon, Noga Harmelin, Avshalom Pollak, Ella Rothschild

Yale Repertory Theatre
October 28 & 29, 2016

 

 

A Haunting Heirloom

Review of The Piano Lesson, Hartford Stage

Of August Wilson’s ten-play American Century Cycle, tracing African-American life through each decade of the 20th century, The Piano Lesson, which won the Pulitzer in 1990, is one of the most popular, and in this very handsome and involving production at Hartford Stage, directed by Jade King Carroll, it’s easy to see why. The show has clear themes of haunting and legacy, boasts enthralling musical numbers that help create the sense of solidarity among characters with disparate intentions, and offers its actors lots of room to stretch out in, discovering nuances of character in dialogues that seem to move backward—into a past that hovers over everyone here—and forward—into a future still to be forged—simultaneously. It’s wonderfully rich writing, and Wilson is in no hurry to get the play where it’s going. These characters need to steep awhile before the tensions can get ironed out. The fact that most do helps as well.

Boy Willie (Clifton Duncan) (photo: T.. Charles Erickson)

Boy Willie (Clifton Duncan) (photo: T.. Charles Erickson)

Boy Willie (Clifton Duncan) shows up unexpectedly at the house his sister Berniece (Christina Acosta Robinson) shares with their uncle Doaker (Roscoe Orman) and her daughter Maretha (Elise Taylor) in the Hill Section of Pittsburgh. Accompanied by his friend Lymon (Galen Ryan Kane), Willie's intention is to sell a truckload of watermelons. Boy Willie’s secondary intention, he soon reveals to his uncle, is to sell an heirloom piano that sits in the parlor of the house. With the money from both sales, together with what he has saved, he plans to buy land that his family worked, first as slaves and then as share-croppers, back home in Mississippi.

Doaker, Berniece, and even Lymon have no interest in returning to the South, but Boy Willie’s dream of being a man of property in the town where his ancestors were treated as property is the main tension driving the play. But the piano has been decorated with the carved faces of ancestors—including Willie and Berniece’s grandmother and father, sold to pay for the piano—and polished with their blood. As such, the fate of the piano becomes an allegory about the relation of the present to the past and the question of what should constitute a basis for identity—historical, racial, familial.

Boy Willie (Clifton Duncan) and Lymon (Galen Ryan Kane) (photo: T. Charles Erickson)

Boy Willie (Clifton Duncan) and Lymon (Galen Ryan Kane) (photo: T. Charles Erickson)

To compare the production to the Yale Rep’s revival in 2011, directed by Liesl Tommy, the main difference, noticed at once, is how much better the Hartford Stage playing space delivers the feel of a real house, one that gives the audience very direct access to the action. Alexis Distler, who designed the Delaney sisters incredibly detailed home last season for Long Wharf’s Having Our Say (also directed by Jade King Carroll) has created a space for the Charles family that looks homey and accommodating and even features a glimpse of a neighboring house, styled after Wilson’s own family home on Bedford Avenue in Pittsburgh. “The Hill” is home to most of the plays in Wilson’s cycle and the Hartford production maintains a sense of place that surrounds the action.

Key moments, like the four men—Willie, Lymon and Doaker are joined by the latter’s brother Wining Boy (Cleavant Derricks)—bonding in a blues learned from doing hard labor at Parchman Farm in Mississippi, are placed front and center and are fully involving; the effects of the presence of Sutter’s ghost—the death, from falling down a well, that leaves the land free for Willie to buy—are subtle but strong in the final confrontation.

Berniece (Christina Acosta Robinson), Wining Boy (Cleavant Derricks) (photo: T. Charles Erickson)

Berniece (Christina Acosta Robinson), Wining Boy (Cleavant Derricks) (photo: T. Charles Erickson)

The development of this production shows a distinctive grasp of each character’s trajectory: Berniece, harsh and unwelcoming, becomes a figure of strength and pathos as we realize all she has lost and all she wants to hold onto; Boy Willie, essentially a smooth-talker looking out for number one, gradually gains stature as he speaks of how he wants to turn the tables and overcome his family’s past; Doaker, with his speech recalling the piano’s history, is an older and wiser figure, removed from the fray, until his threat to protect the piano brings out an almost forgotten strength of will; Lymon, at first a laconic sidekick for Boy Willie, becomes capable of enough romantic eloquence to sway Berniece to tenderness; and Wining Boy, a piano player tired of being a piano player, commands a towering voice in his rendition of a song he wrote for his wife, now deceased (Baikida Carroll, composer).

Lymon (Galen Ryan Kane) (photo: T. Charles Erickson)

Lymon (Galen Ryan Kane) (photo: T. Charles Erickson)

One of the most beguiling aspects of Wilson’s drama is how the characters interact with one another. Though at times at loggerheads, they still have a lot of shared experiences, assumptions, and expectations. They are mostly related, and the others they know all about—like Avery (Daniel Morgan Shelley), an elevator-operator who aspires to be a preacher and also aspires to be Berniece’s husband, whom Boy Willie remembers well and vice versa. Wilson’s deep sense of how these folk scrape along and make plans and entertain their dreams—such as Lymon’s hope, inspired by Wining Boy, that a silk suit and sharp shoes will immediately earn him respect and female interest—makes for many revealing moments of truth.

Doaker (Roscoe Orman) (photo: T. Charles Erickson)

Doaker (Roscoe Orman) (photo: T. Charles Erickson)

Of special mention should be Orman’s Doaker, whose speech patterns and silent reactions conjure a character somewhat in hiding from his own past, and Kane’s Lymon, whose strong, silent-type manner makes him memorable as a figure key to Wilson’s intentions in the play: to depict the newcomer in the North, capturing the contrast between the more gentlemanly southerners and more callous northerners. There’s also the sense of a grand style fading as Wining Boy helps us imagine figures of the glamorous Twenties becoming has-beens in this post-Depression era world. As the spatting brother and sister, Clifton Duncan and Christina Acosta Robinson register well the deep familiarity and stubborn differences that make all the characters seem peripheral to the struggle of the family’s younger generation—now in its thirties—to cope with its past and find its future.

Through it all the star of the show is Wilson’s ear for the rhythms of speech, rendered well by this top-notch cast.

 

August Wilson’s
The Piano Lesson
Directed by Jade King Carroll

Scenic Design: Alexis Distler; Costume Design: Toni-Leslie James; Lighting Design: York Kennedy; Sound Design: Karin Graybash; Wig Design: Robert-Charles Vallace; Composer: Baikida Carroll; Music Director: Bill Sims, Jr.; Fight Director: Greg Webster; Dialect Coach: Ron Carlos; Dramaturg: Fiona Kyle

Cast: Toccarra Cash, Cleavant Derricks, Clifton Duncan, Galen Ryan Kane, Roscoe Orman, Christina Acosta Robinson, Daniel Morgan Shelley, Elise Taylor

Hartford Stage
October 13-November 13, 2016

On a Knife Edge

Review of Blood Wedding, Yale School of Drama

Federico Garcia Lorca’s Blood Wedding receives a gorgeous staging at the Yale School of Drama. The thesis show for third-year director Kevin Hourigan—and the first of the three thesis projects this season—Blood Wedding invites us to consider the elemental force of human passion. Lorca’s three act play is here staged as two acts, an intermission, and a short final act. The division of the material is made eminently sensible given the stark change in mood that follows the close of the play’s second act, here the first part curtain.

The first part has the feel of a folkloric exploration of the mores of an Andalusian village in rural Spain in the 1920s. Cole McCarty’s handsome costumes seem so authentic, we feel ourselves in a naturalistic depiction, while Choul Lee’s scenic design gestures toward the play’s more modernist elements that will come forward in the second part. The set combines a strikingly lit tree and tall, cathedral-like panes of glass, and, in the second part, poetic lighting to suggest the influence of the moon.

Lorca eschews character names (but for Leonardo), and that lets us know that we’re in for something more stylized than naturalistic. Yet director Hourigan presents the mounting drama of the play’s first two acts with strongly delineated characters. Sebastian Arboleda plays The Groom as likeable, if none too exciting, something his Mother (Lauren E. Banks) realizes, trying to persuade him that his proposed marriage to The Bride (Sydney Lemmon) may not be in his best interests. The girl has been tainted by the reciprocal desire between herself and Leonardo (Barbaro Guzman), a horseman and the town’s resident heart-throb; his Wife (Stephanie Machado) is already pregnant with his second child, even as he has begun to suffer jealousy at the prospective marriage of a woman he wants for himself. It’s not a healthy situation, and we feel the entire village—suggested by ensemble parts played by Marié Botha, Patricia Fa’asua, Rebecca Hampe, Francesca Fernandez McKenzie, and Jennifer Schmidt—looking on to see what develops.

In the early going, the play’s tone lets us hope all may work out well. Despite The Mother’s misgivings—and Banks seethes with barely contained emotion—and her mourning for men in her family who have died by the knife over quarrels, The Groom and his Mother pay the requisite visit to the Bride’s Father (Jake Ryan Lozano, benignly patriarchal) and events pass without quarrelsome words. The Groom is encouraged because the Bride seems eager for their coming nuptials, which is reassuring given the fact that she also finds it difficult to resist Leonardo’s importunate visit. These days, it’s easy to think ill of alpha males like Leonardo, but his headstrong passion, and his efforts at self-control, are well-rendered by Guzman, in a very becoming outfit.

Lorca infuses the situation with a brooding sense of fate, as the passions presented seem elements of nature more than of individual character. The play gives rise to qualities that might make us think of a folktale, based in a collective mythos. Songs sung by the Wife and her Maid (Elizabeth Stahlmann), and the Wife’s Mother (McKenzie) create a sense of these women as a Chorus from Greek tragedy. They perceive the sorrow that the unfaithful husband adds to the Wife’s woe, but they also recognize—and this is perhaps the most telling element in Lorca’s play—the inevitability of the town’s most desirable man claiming the town’s most desirable woman. To stand between a couple in such necessary eros, Lorca’s play suggests, is to invite tragedy. Stahlmann’s just so manner as the Maid is particularly effective at conveying a knowing sense of the smoldering undercurrents here.

Key to what transpires in the second part is the unmooring of The Bride. Lemmon, regally tall in her sumptuous black costuming, seems a figure of almost uncanny power, totemic even. The hoofbeats that thunder past at one point—credit to Ian Scot’s original music and sound design—can double as her heart’s resolve overflowing its restraints. And on her wedding day, the Bride’s testiness undermines the fragile sense of unity the wedding was intended to create.

In the second part, three girls (Botha, Hampe, Schmidt) are presented in the image of the three Fates, complete with skein, visited by a mysterious enrobed figure (Banks) who dallies with them over the fait accompli of a double death. Banks’ doubling as The Mother and this more arcane figure suggests how much The Groom’s bride all along was death, to give the Mother another cause for mourning.

Also key to the more phantasmagoric elements of the second part is the monologue by The Moon, played with an affecting sense of lunacy by Lozano. The Moon’s part in all this we might understand as the mythic idea of the evil genius of a place. The Moon creates a situation where men must lose their heads, and violence inevitably results. Lorca gives us a world where moonlight is a knife, and the fact of knives leads to inevitable blood-letting. In the end, whatever sense of justice exists becomes the concern of the women—the Mother, the Wife, the Bride—bereft of their men.

With many subtle effects—not least from Erin Earle Fleming’s lighting—Blood Wedding is a stirring autumnal tale, a chronicle of deaths fore-ordained.

 

Blood Wedding
By Federico García Lorca
Translated by Nahuel Telleria
Directed by Kevin Hourigan

Scenic Designer: Choul Lee; Costume Designer: Cole McCarty; Lighting Designer: Erin Earle Fleming; Original Music and Sound Design: Ian Scot; Technical Director: Alexandra Reynolds; Production Dramaturg: Josh Goulding; Stage Manager: Caitlin O’Rourke

Cast: Sebastian Arboleda, Lauren E. Banks, Marié Botha, Patricia Fa’asua, Francesca Fernandez McKenzie, Barbaro Guzman, Rebecca Hampe, Sydney Lemmon, Jake Ryan Lozano, Stephanie Machado, Jennifer Schmidt, Elizabeth Stahlmann

Yale School of Drama
October 18-22, 2016

Suffer in Silence

Review of The Slow Sound of Snow, Yale Cabaret

A family huddled together in their home, fearing to make a sound. Are they in hiding from oppressive forces? Yes, but in The Slow Sound of Snow, adapted by Jaber Ramezani and Payam Saeedi from Turkish playwright Tuncer Cücenoğlu’s The Avalanche, directed by second-year director Shadi Ghaheri at Yale Cabaret, the force of oppression is the threat of avalanche for these mountain dwellers.

Yashar (Courtney Jamison), Sayrash (Antoinette Crowe-Legacy) (photo: Elizabeth Green)

Yashar (Courtney Jamison), Sayrash (Antoinette Crowe-Legacy) (photo: Elizabeth Green)

As the play unfolds, almost in slow motion at times, in a silence so pervasive the breaths of the characters are quite audible in Tye Hunt Fitzgerald’s arresting sound design, its action is intense and hypnotic. Yashar (Courtney Jamison), a pregnant woman, lies on the floor in an abode shared with her husband Talaz (James Udom), her father-in-law, Eli Arkha (Seta Wainiqolo), and his mother Sayrash (Antoinette Crowe-Legacy). The concern of the entire family is when her child will be born. In this country, births are only permitted in the non-winter months, which number at most two or three. The sound of giving birth and the cries of the baby, the folk here believe, will bring on an inevitable avalanche.

The play’s folkloric quality is enhanced by the visitation of a young girl (Stefani Kuo) who flits in and speaks loudly about herself, rattling on into the other characters’ oppressed silence. Her manner is so different from theirs, her role in all this seems questionable. And Kuo doubles as an odd talismanic figure, with a wolf’s head, carrying a white suitcase that, we’re told, Eli Arkha’s wife took with her when she left. Leaving, in what are apparently the trackless wastes of winter in this locality, is deemed “madness.” What isn’t considered madness, in a kind of Shirley Jackson manner, is burying pregnant women alive or smothering them so they don’t give birth during winter. Like a “just so” story or myth or folktale, the situation, in Ramezani and Saeedi’s telling, must be accepted. The more remarkable aspect of the play isn’t in “the set up” per se, but in how it is conveyed.

The logic of the actions is left for us to intuit. It's the relations between the characters, even when almost wordless, that are vivid and persistent. The actors playing the family are uniformly excellent, keeping the situation close to its existential core. The weariness in Crowe-Legacy’s every move; the furtive guilt of Udom’s Talaz, who knows it's his fault his wife will give birth in the interdicted season; the intensity of Wainiqolo’s patriarch who seems so burdened by life, his every move and thought feels constricted; the deep, unspoken misery of Jamison’s Yashar, a woman who should be happy and who seems the most burdened of all. Late in the play, a struggle between the two men and a simultaneous suppression of the younger woman by the elder seem not only matters of life or death but a writhing battle of the life force against an unbearable repression (kudos to fight choreographer Jonathan Higginbotham).

Eli Arkha (Seta Wainiqolo), Talaz (James Udom), Sayrash (Antoinette Crowe-Legacy), Yashar (Courtney Jamison) (photo: Elizabeth Green)

Eli Arkha (Seta Wainiqolo), Talaz (James Udom), Sayrash (Antoinette Crowe-Legacy), Yashar (Courtney Jamison) (photo: Elizabeth Green)

What audiences might find in this tale, beyond some vague notion of what it’s like to live in mountainous wastes, is left open-ended by the play’s rendering. Each character is oddly moving, an exhibit of humanity circumscribed by extremely limited bounds, and each is put across as an actual fact. A telling of the story could seem parable-like; Ghaheri’s staging of the tale, with actors fully inhabiting these roles, is a spellbinding glimpse into that abyss where the living choose to preserve their own lives at whatever cost.

Talaz (James Udom) (photo: Elizabeth Green)

Talaz (James Udom) (photo: Elizabeth Green)

Lighting, sets, costumes, all help create a believable world. And many elements in the telling—the rumble of a possible avalanche, the sound of a baby crying, the musical instrument that Talaz threatens at one point to strum, the visiting girl’s ululation, the dripping of a carcass hung up to dry, the sweet cooing of Talaz and Yashar, Eli Arkha’s attempt to bond with his son by talking of the local circumciser, Sayrash’s long-suffering face, the surreal wolf in a skirt with a suitcase—add up to a fully wrought and fascinating night of theater, not soon forgotten.

 

The Slow Sound of Snow
By Jaber Ramezani and Payam Saeedi, adapted from The Avalanche by Tuncer Cücenoğlu
Directed and translated by Shadi Ghaheri

Dramaturg: Ariel Sibert; Set Designers: An-Lin Dauber and Stephanie Cohen; Lighting Designer: Carolina Ortiz; Costume Designer: Sophia Choi; Sound Designer: Tye Hunt Fitzgerald; Fight Choreographer: Jonathan Higginbotham; Props Master: Michael Schermann; Stage Manager: Michael Schermann; Producers: Trent Anderson and Armando Huipe

Cast: Antoinette Crowe-Legacy, Courtney Jamison, Stefani Kuo, James Udom, Seta Wainiqolo

Yale Cabaret
October 13-15, 2016

The Cabaret is dark this week, then returns October 27-29, with Current Location, by Toshiki Okada, directed by Josh Goulding, inspired by Japan's attempts to deal with a nuclear disaster in the wake of the 2011 Tohoku earthquake.

A Fleeting Wisp of Glory

Review of Camelot, Westport Country Playhouse

I don’t think of myself as a sentimental type, but something about the story of King Arthur gets to me. That may be because it’s a story that almost defines “romance.” Set in the legendary kingdom that supposedly created chivalry, Lerner and Loewe’s Camelot shows us Arthur as the epitome of a principled leader. A boy who becomes king—in the version of the story made popular in T.H. White’s The Once and Future King, the novel that serves as the basis for the musical—because of his virtues and valor, as decided by the test of the sword in the stone.

Guenevere (Britney Coleman), Arthur (Robert Sean Leonard) (photo: Carol Rosegg)

Guenevere (Britney Coleman), Arthur (Robert Sean Leonard) (photo: Carol Rosegg)

The story also contains the love affair between Arthur’s best knight, Lancelot du Lac, first introduced into the Arthurian tales by Chrétien de Troyes in the 12th century, and Lady Guinevere, Arthur’s queen. That element of the story is what makes Camelot—if not a tragedy—a touching tale of rise and fall. Nostalgia for a Golden Age is perennial, and of old. Camelot, as conceived by modern treatments of Arthurian legend, seems a feudal utopia, a world led by a first among equals, of great hearts and good deeds. The point, of course, is that legendary Arthur is remembered because he was able, for a time, to curb the usual greed and viciousness of warriors, making their “might serve right” as dedicated knights of his Round Table. Lerner and Loewe brilliantly integrate this merry and melancholy tale into the modern musical, and Mark Lamos’ lyrical and rousing version at the Westport Country Playhouse does David Lee’s more spare adaptation of the work full justice.

Start with Robert Sean Leonard as Arthur. Some notable actors have assayed this role—Richard Burton, Richard Harris among them—so we can assume it has some attraction. Here, it’s easy to see why. Leonard shows us that acting can be, first and foremost, the task of finding a voice for a character. His rolls and dips, riding a tone that feels grand and humble at the same time. It’s a marvel. He portrays Arthur as affable and kind, a bit absent-minded like a retiring elder statesman, and cautious like a man of war unable to fathom what it’s like to win a queen—“I Wonder What the King is Doing Tonight.” But Leonard’s boyish good looks, into his late 40s, make him an excellent choice for the role, and he handles “How to Handle a Woman” with requisite tenderness.

Arthur (Robert Sean Leonard), Guenevere (Britney Coleman) (photo: Carol Rosegg)

Arthur (Robert Sean Leonard), Guenevere (Britney Coleman) (photo: Carol Rosegg)

Arthur’s rapport with his Guenevere, Britney Coleman, seems one of mutual admiration, and his championing of the headstrong Lancelot (Stephen Mark Lukas), even after he has reasons to suspect the pair’s fidelity to him, adds a chastened air to Arthur that Leonard wears well. It’s an affecting grasp of a character who comes to us now as an even more legendary ideal in a time when pure and selfless leaders seem fewer than ever. Leonard’s rendering of the title song feels almost off-the-cuff, finding inspiration as he warms to the theme.

For all that, Arthur is not the prime singing role here. That falls to the lovely and graceful Guenevere, given a subtly modern rendering by Coleman, whose command of an array of moods scores throughout the show, with fun romps like “Then You May Take Me to the Fair” and “Lusty Month of May,” as well as romantic ballads like “Before I Gaze at You Again,” and more musingly in “Simple Joys of Maidenhood” and, with Leonard, “What Do the Simple Folk Do.” She’s a commanding First Lady indeed, and the affair with Lancelot, beginning with haughty taunting, grows by the end of Act I into mutual ardor. It all seems fated, and Coleman makes Guenevere not simply a prize between men but a full heart won by both.

Guenevere (Britney Coleman), Lancelot (Stephen Mark Lukas) (photo: Carol Rosegg)

Guenevere (Britney Coleman), Lancelot (Stephen Mark Lukas) (photo: Carol Rosegg)

Stephen Mark Lukas delivers the prime part of Lancelot; he begins as a conceited newcomer with “C’est Moi”—and Lukas plays the comic aspect of the overzealous knight well—but he’s also clearly heart-throb material and shows off a fluid baritone for Act II’s high-romantic opener “If Ever I Would Leave You.” Lest we think the show is going to be all about a romantic triangle, a villain—Mordred, played with scheming brio by Patrick Andrews—arrives in Act II to bring about the events that end the dream of Camelot. He wins over Arthur’s knights (Michael De Souza, Mike Evariste, Brian Owen, Jon-Michael Reese) with “Seven Deadly Virtues,” a clever song that plays to the open cunning of political battle. A word too for charming Sana Sarr as the boy playing with his knight figurines and as Tom of Warwick, who, knighted, receives his king’s hopes for a future.

Arthur (Robert Sean Leonard), Tom (Sana Sarr) (photo: Carol Rosegg)

Arthur (Robert Sean Leonard), Tom (Sana Sarr) (photo: Carol Rosegg)

The staging, with the oh-so-graceful scenic design by Michael Yeargan and sound design by Robert Wierzel, and Domonic Sack’s superb sound and Wade Laboissonniere’s sumptuous costumes (what can I say, I have a thing for capes), makes this Camelot a pleasure throughout. Granted, it’s very much a male-heavy cast and one could wish for a few more damsels to celebrate the lusty month of May, and a bit more skirmishing to give us a sense of the desperate rescue of Guenevere, but keeping the cast size and effects economical makes sense and makes for a swift and sure evening for celebrating tarnished ideals.

The cast of Camelot as Revelers (photo: Carol Rosegg)

The cast of Camelot as Revelers (photo: Carol Rosegg)

Throughout, the songs are the strength of this show, proving again that the team of Lerner and Loewe were for the ages, and Lee’s new book and Steve Orich’s new orchestrations make the show swift-moving and free of bombast.

See Westport’s Camelot if only to renew some of your faith in human ideals. God knows we need heroes now.

 

Camelot
Book and Lyrics by Alan Jay Lerner
Music by Frederick Loewe
Original production directed and staged by Moss Hart
Based on The Once and Future King by T. H. White
Book adapted by David Lee
New orchestrations by Steve Orich
Directed by MarkLamos
Choreographed by Connor Gallagher

Scenic Design: Michael Yeargan; Costume Design: Wade Laboissonniere; Lighting Design: Robert Wierzel; Sound Design: Domonic Sack; Dialect Coach: Shane Ann Younts; Fight Director: Michael Rossmy; Music Director: Wayne Barker; Props Master: Karin White; Casting: Tara Rubin Casting; Production Stage Manager: Frank Lombardi

Cast: Patrick Andrews, Britney Coleman, Michael De Souza, Mike Evariste, Robert Sean Leonard, Stephen Mark Lukas, Brian Owen, Jon-Michael Reese, Sana Sarr

Orchestra: Wayne Barker, piano; Angela Marroy Boerger, violin; Alan Brady, reeds; Simon Hutchings, reeds; Deane Prouty, percussion; Joseph Russo, string bass; Fred Rose, cello; Marshall Sealy, French horn

Westport Country Playhouse
October 4-30, 2016; extended to November 5

Represent!

Review of Caught, Yale Cabaret

Playwright Christopher Chen’s Caught plays like a behind-the-scenes look at conceptual art, while at the same time positioning itself as an effort to “catch” the current political climate concerning race and art. In formulating that sentence I found myself cutting-off certain possible phrases, in the spirit of Wang Min, the artist played by Ashley Chang, who at one point launches into the rhetoric of calculated intellectual subterfuge: it’s not about “role” or “staging,” it’s not about “story,” and, yes, all stories are lies, or, if you like, possible versions of the truth. Why do we need a conceptual language of pre-digested terms? This isn’t Fox News.

What Caught does best is create what is often called “mise en abyme,” that tricky territory where an image mirrors itself, or a literary work reflects on its own composition, or, as here, scenes which seem to be “happening”—in some fictive version of our world—are actually happening in an actual version of the play we’re watching. Or, more properly, the play and the actors playing its characters are often playing with the level of reality we should engage with. The deliberate disorientation begins with turning—wonderfully successfully—the Cab space into an art gallery, complete with images that capture the alliance of art and commodity, commenting on art’s commercial, “productlike” existence, while also gesturing to one of the big topics of our time: China’s effect on the global economy and on the U.S. dominance of the latter. As such, the show is remarkably timely the very month that the yuan has joined the International Monetary Fund as a reserve currency.

Lin Bo (Eston Fung) (photo: Elizabeth Green)

Lin Bo (Eston Fung) (photo: Elizabeth Green)

What’s that have to do with art and theater? Deep in the “process” of this play, we might say, is concern about the artist’s relation to capitalist and media “appropriation,” as well as to the semiotic system that treats racial distinctions as the basis for identity tagging. Lin Bo, the artist/brand enacted by Eston Fung, begins what is billed as a “gallery talk” by talking about his incarceration at the hands of the Chinese authorities. He speaks to us—Americans—as an example of a dissident artist finding, in the land of social and artistic freedom, a kind of new age vindication. He’s instantly a hero, his art a provocation that lets us feel good about ourselves.

No sooner do we accept the horrors of his imprisonment and his gratifying release into an art world eager to receive his conceptual performance pieces that involve the internet in virtual protest gatherings that never take place, then an editor (Steven Lee Johnson) and a writer (Anna Crivelli) at The New Yorker, once disposed to coddle Lin Bo, begin to question his facts, à la, on This American Life, Mike Daisey’s apology for distorted facts in his theater monologue about working conditions at Apple. Armed with the kind of fact check so prevalent in our digital age—for evidence of verbal imagery or details lifted from other sources—the interrogation becomes even more brutal than the questioning Lin Bo told us he received in China. In other words, be a dissident artist all you want and question political reality, racial identity, and conceptual cliché, but don’t fuck with the facts. The scene between Fung, Johnson, and Crivelli is very well-played and structured, and, with the gallery talk, creates an amusing and wry commentary on “the discourse” surrounding the liberal championing of art.

Editor (Steven Lee Johnson), Author (Anna Crivelli), Artist (Eston Fung) (photo: Elizabeth Green)

Editor (Steven Lee Johnson), Author (Anna Crivelli), Artist (Eston Fung) (photo: Elizabeth Green)

But Chen’s play—directed with skilled pacing by Lynda Paul—doesn’t stop there. We next enter into a televised talk between an art critic played by Elizabeth Harnett and Wang Min (Ashley Chang). In their increasingly tense discussion, Wang Min, ostensibly the author of the play we just saw, attempts to disabuse her interlocutor of every dearly held expectation about what her art is trying to say and how it should be received. Lots of terms get tossed around in this very funny scene, but one thing Wang Min (and, behind her, Christopher Chen) never gets into is the reason for the focus on facts in the interrogation of Daisey and Lin Bo and other such artist provocateurs: our legal system is based on case histories, and every case has to maintain a strictly conceived regard for the facts, even if we don’t really believe it’s possible to ever “tell the truth, the whole truth, and nothing but the truth.” “Artistic license” is just a figure of speech; there is no authority capable of issuing or revoking such a license. Here and there, Min’s naivete becomes its own mise en abyme, a mirroring of the role media—and all art is a medium, theater as well—plays in trying to construct plausible versions of things that happened or might happen or could have happened. Mostly to see what it can get away with, in my view.

Interviewer (Elizabeth Harnett), Wang Min (Ashley Chang) (photo: Elizabeth Green)

Interviewer (Elizabeth Harnett), Wang Min (Ashley Chang) (photo: Elizabeth Green)

Eventually we get what might be called a reflection on “process” itself as the practitioners of conceptual art—or theater—might experience it, particularly when the creative partners played here by Fung and Chang were simultaneously—unbeknownst to both—lovers to the same master/mentor. The wryness of this segment opens up the slippery nature of not only emotional relationships, but also the vacillating commitment to one method or another that every artistic career undergoes. The point, for such, is to “capture” what’s happening when it’s happening.

Art partners (Eston Fung, Ashley Chang) (photo: Elizabeth Green)

Art partners (Eston Fung, Ashley Chang) (photo: Elizabeth Green)

Chen’s play catches its audience up in what is often called “the problematic” of art itself in its double jeopardy of being “tried” simultaneously in the not dissimilar but not identical courts of fact and fiction, or art and actuality. As a stimulating and entertaining treatment of the conflation, Caught, in this sharp enactment at the Yale Cabaret, catches its moment off-guard.

 

Caught
By Christopher Chen
Directed by Lynda Paul

Assistant Director: Francesca Fernandez McKenzie; Set Designer: Joo Kim; Costume Designer: Haydee Zelideth Antunano and Sophia Choi; Lighting Designer: Caroline Ortiz; Sound Designer: Fan Zhang; Projections Designer: Adam O’Brien; Stage Manager: Paula R. Clarkson; Technical Directors: Harry Beauregard and Michael Hsu; Producer: Kathy Li

Cast: Ashley Chang, Anna Crivelli, Eston Fung, Elizabeth Harnett, Steven Lee Johnson

Yale Cabaret
October 6-8, 2016