THEATRE REVIEW:
KPBS
AIRDATE: April 11, 2003
In the heart and on the stage, love is
a fickle, unpredictable business. At three different theaters, folks of varied
ages, customs and cultures battle with their emotions and societal constraints.
At Vantage Theatre, a very funny,
poignant production of "Frankie and Johnny in the Claire de Lune"
stars charismatic Daren Scott and Devlin as two lonely midlife lovers, past
their prime but surprisingly, not their romantic potential. D.J. Sullivan,
long-respected local acting coach, took a risk in casting a plus-sized woman in
the often-sexy role of Frankie. But the gamble pays off; Devlin is not only
vulnerable and skeptical, but also physically appealing. The antic Scott is
irresistible. Terrence McNally's witty script, with its multiple mentions of a
voracious appetite, make the against-type portrayal thoroughly credible. It's a
delightful production, teeming with talent, infused with hope.
Unexpected love emerges at an even
later age in "Knowing Cairo," the compelling new work by UCSD
graduate playwriting alumna Andrea Stolowitz. It's a rare treat for the Globe
Theatres to produce a world premiere by a young, untested writer. Stolowitz
rises impressively to the occasion, with her unerring ear, depth of insight,
and flair for humor and drama. Her intriguing characters are beautifully
brought to life -- especially Marilyn Chris as Rose, the cantankerous
German-Jewish octogenarian who's driven off all prior caregivers, and Regina
Hilliard Bain as her latest, the brittle African American, Winsom. Rose's
daughter Lydia, the envious Iago of the triad (stiffly played by Susan Wands),
sabotages the flowering friendship between Rose and Winsom. Or has something
much more sinister taken place? Stolowitz leaves the ending ambiguous, as she
tackles the conflicts between black and white, mother and daughter, have and
have-not, along with the challenges of caring for aging parents. David
Ledsinger's set is a fadingly elegant New York apartment, and Seret Scott's
spare direction reflects the clarity and sensitivity of the play. It's a
beautifully enigmatic, touching and thought-provoking evening of theater.
Love is even more ambivalent at
Diversionary Theater, in Guillermo Reyes' 1996 comedy-fantasy-romance,
"Deporting the Divas." It tells an important story of closeted Latino
gays and their 'inner diva.' Here, ironically, a married Mexican-American INS
officer falls in love with an undocumented immigrant. With all the clever
asides and arcane references, silliness overtakes seriousness and trivializes
the theme, making the play seem like one more amateurish coming-out saga from
the old Diversionary days. Guest director Kirsten Brandt and a game cast stop
just short of camp; maybe they should have gone all the way over the top. Even
with fine ingredients, including the set, costumes and lighting, love isn't always
a recipe for success.
©2003
Patté Productions Inc.