SAN DIEGO THEATRE SCENE
"CURTAIN CALLS"
By Pat Launer
02/18/04
History, tragedy, drama and death:
Hamlet, Richard, Henry, Macbeth.
It's obvious; it's very clear
It's shaping up to be a Shakespeare
year!
But there's also so much more at play
From Uncle Tom to Georges Bizet.
From Zandra to Malashock and Eveoke:
Plenty to amuse, enlighten, provoke.
SUIT THE ACTION TO THE WORD,THE WORD TO
THE ACTION
Well, if Shakespeare's looking down, he must be a most happy fella.
And if you're a Bardolator, you are, too. Not only are we up to our Elizabethan
ruffs in provocative plays, but at the same time, KPBS is airing a spectacular
documentary series on the life of Shakespeare that is -- incredibly --
unearthing NEW information. Michael Wood has written, produced and hosted this
spectacular blending of ancient and modern times. It plays like a mystery (and
the Life of W.S. certainly was one). Ken Burns, eat your heart out. This is an
absolutely irresistible production. Four-part series and two more to go. DON'T
MISS IT! This Wednesday and next, 8-9pm on KPBS-TV (channel 15/cable 11). And,
in case you miss(ed) it, it's also available in book and DVD/VHS at pbs.org.
Enjoy!
Last week, I talked about 'Hamlet." This week it's "Macbeth"
and "Henry IV" and next week I'll tackle Richard (if I can get over
the hump).
Sledgehammer Theatre, long-time lovers of blood and gore,
supernatural stirrings and weird occurrences, is tailor-made for The Scottish
Play. And director Kirsten Brandt really seems to be in her element. The
wonderfully evocative sound design (Jeff Mockus ) is perfectly eerie and
ominous. The set (Nick Fouch) is a multi-level series of ragged black drapes
supported by poles (which serve as trees, ramparts, weapons), supported by
David Lee Cuthbert's ghostly lighting. The Weird Sisters (ranging from 3to 5 in
number, played by both men and women) are certifiably weird. Dressed in
diaphanous white, with faces gauzily covered and kabuki-like hand positions,
they jerk and hiss like short-circuited electronic marionettes maniacally
controlled by Hecate, their patron/high priest (usually a woman, here enacted
by a man, the most malleable Ruff Yeager).
Brandt, as always, plays fast and loose with gender. The noble Banquo is portrayed as a stalwart,
sexy commander by Laura Lee Juliano. Not only does her ghostly form appear at
the banquet, but she hovers over all the later proceedings, draped in a 'tree.'
Yeager's King Duncan is a bit odd, dressed in a maroon velour running suit when
he makes his first appearance, when the rest are in cargo pants, camouflage,
leather or drapey long dresses. The costume design (Mary Larson) is the least
integrated (and least comprehensible) part of the production. The rest flows
well, and is generally well articulated, if occasionally declaimed. Brandt has
rearranged parts of the text to excellent effect: The witches reiterate
"Fair is foul" at the very end; there is a silent enactment of the
brutal murder of MacDuff's family as it is reported to him; and most interesting
of all, during Macbeth's Banquo-fearing musings ("To be thus is
nothing"), Lady M stands high above, murmuring the same words as he,
either egging him on or shadowing his
forebodings and intents.
Donald McClure makes a brawny, intelligent/emotional MacDuff --
potent, credible, sympathetic. But nothing is more potent than the highly
physical, sensual interactions of Macbeth and his wife. Being a genuine
offstage couple, David Tierney and Janet Hayatshahi exude a palpable sexuality.
Tierney's growing anguish is convincing. He starts out brash, aggressive and
militaristic (if a bit bellowy), but, in this tightly strung script, he quickly
begins to lose his soul. His Lady starts on an up note, strong and willful --
"a smiling villain" (Oops! wrong play), not as evil as many but still
self-assured and calculating at first. Her madness seems to come on suddenly,
but it is frightening and convincing. Their growing physical/sexual distance
could have been highlighted, especially in view of their early sensuality, but
it is certainly intimated.
In a multi-role ensemble of nine, Yeager makes the most profound
changes, from the casual/regal Duncan to the sloppy-drunk Porter, to the
crotchety, kimono-clad Old Man with flowing white hair and beard, to the
be-hatted Earl of Northumberland, Siward, here played as a dapper English
businessman-cum-Inspector-Clouseau.
All the parts add up to a deliciously sinister evening. More than
ever, "Macbeth" seems a cautionary tale. What better time than this
election year to remind us that power corrupts, in the most heinous and
damnable ways. All hail Macbeth!
"Henry IV"
Like "Macbeth," "Henry IV, Part I" is also a
leadership back-story. But here, the trajectory is reversed: a young,
profligate man becomes greater with power. Prince Hal takes his growing
responsibility seriously and is willing to put aside his puerile preoccupations
to assume the mantle of a decent and dignified king. This year, the play could
be seen as an object lesson, for pretenders or ascenders to the throne. Perhaps
it IS possible not to have absolute power corrupt absolutely. At least we can
hope.
Founded in 2000, The Poor Players mount classics that are true to
their name only in production values. The bare-bones creations make Shakespeare
relevant, current, lively and comprehensible -- to aficionados and novices
(especially young ones) alike. There are some delectable elements in this
"Henry." First is the clarity of the text and story, despite the many
political/military machinations. Second is the precision of speech, which is
more or less consistent throughout. Third is the edgy tone and take, which
underscore the relevance and youth of the players and the protagonists. The
performances are energetic and engaging.
The play deftly melds comedy and history, weaving scenes of court
and military matters with bawdy antics. It's the story of the rise and/or fall
of three compelling characters. Henry, Prince of Wales (aka Prince Hal), the
reckless, feckless youth who ultimately (in Part 2) morphs into a noble King
Henry V. Then there's that other Henry, Percy (aka "Hotspur"), his
quick-tempered counterpart in the enemy camp. And of course, there's Sir John
("Fat Jack") Falstaff, one of Shakespeare's greatest creations, a
colossal personality in a gargantuan body, a witty, swigging, whoring rascal
who'll get his comeuppance later.
This vigorous triumvirate is powerfully portrayed by Poor Player
regulars. Artistic director Richard Baird, who recently wowed audiences and
critics as Hamlet, is terrific as that hot-head, Hotspur. He is dynamic and
charismatic, both in his fiery rages in the face of battle and his teasing
amorousness with his wife (sexy-playful Tara Denton). Baird is certainly a face
to watch, and should be seen on local stages a lot more frequently.
As Prince Hal, Jeff Sullivan starts out a beer-swilling,
dope-smoking, rock-music-listening slacker and practical joker but, like his
character, he evolves over time, gaining enormously in stature and gravitas. In
his Falstaff, Max Macke is channeling Michael Keaton's 'Beetlejuice' with a
whiff of W.C. Fields. But it works like crazy. He's funny and quick-witted,
appealing and sometimes appalling.
The rest of the cast of nine portrays some two-dozen characters, in
director Baird's hip, muscular, upbeat and updated production. The language,
mercifully, remains intact. The fight choreography is excellent (Baird again,
and Keith Hall, who plays several roles, including, hilariously, Falstaff's
right-hand man, the drooling stoner/drunkard, Bardolph).
Just one caveat about this surprisingly satisfying, if spare,
production. It features a bit of olfactory overload. LOTS of cigarette smoking
(in a very small space), and then there's the air freshener spray. And for the
auditorially sensitive, there's also gunshot. But for the staunch of sense and
sensibility, the show has all the
history and comedy, action and emotion anyone could desire in the theater.
PRETTY IN PINK.. Hair?
No one could miss Zandra Rhodes in the audience. She's the one with
the hot-pink hair, of course, and the equally colorful outfit. And her scenic
design for Georges Bizet's "The Pearl Fishers" at the San
Diego Opera was likewise unmistakably hers.
Just as David Hockney's designs (for the jaw-dropping
"Turandot") were extremely painterly, each a stunning, frameable oil
in its own right, Zandra's creations are distinctly identifiable as textile
designs. More abstract suggestions than direct representations, her trees are splashes
of color, her rainstorm a series of light and dark gray slashes, her ocean a
succession of undulating blue curves of varying hue. And her costumes! Orange
and pink are frequent mates. But there are also saris of turquoise and
multi-colored men's wraps. But the most self-referential are the hot-pink,
cotton-candy turbans that made no mistake who'd designed them and who'd be
likely to wear them herself.
The glitzy opening night was Valentine's Day, and many sported pink
to honor the designer. Many others were wearing her couturier designs… one most
apt, sported by Erica Torre of the Athenaeum, adorned with hearts and lips.
Luscious.
And oh yes, there was an opera, too. Not typically considered Bizet's best ("Carmen," penned
12 years later in 1875, is still one of the world's most popular operas),
"The Pearl Fishers" has a somewhat silly story, unaccountably set in
Ceylon. But the San Diego Opera has turned the infrequently-produced piece into
a masterwork. The detail of the production is outstanding, starting with the
design, continuing with the orchestra, under the assured direction of Karen
Keltner, and the chorus, which was in excellent voice. Not to mention the
angular, athletic and decidedly Asian-influenced dance interludes created by
John Malashock. The high point of the choreography is the "wild dance of joy" in Act III, complete with wonderfully
fanciful animal-head masks (even if the festivities are in celebration of the
impending death of the doomed lovers).
Amid all this color and pageantry, the most dazzling part of the
evening, by far, is the soprano -- lithe, lovely and gorgeous-voiced Isabel
Bayrakdarian. She plays a demure priestess overcome with love, while the tenor
(a hunter) and baritone (leader of the fishermen) duke it out over her. We all
know the tenor always gets the girl, but the first-act duet between the two men
("Au fond du temple saint") is especially excellent. By the end,
tragedy seems imminent, but baritone Russell Braun reneges on his promise to
have the lovers killed for betraying his trust and inciting his envy, though it
brings on his own demise. Full-voiced tenor Michael Schade is a robust and
loving huntsman who escapes the funeral pyre with his priestess just in the
nick of time.
The cast makes the most of the score, which boasts some beautiful,
lyrical melodies. All three Canadians
are vocally and dramatically impressive, but Bayrakdarian could break your
heart with her glittering high notes and sumptuous lows. However hard that name
may be to spell and pronounce, you're bound to be hearing more of it.
The only complaints I had about the production were a bit of visual
overkill, especially in the opening, what with trying to take in the music, the
supertitles, the set, the costumes and the dancers; it seemed a little
hyperactive. Rhodes' designs, Malashock's dances and Andrew Sinclair's
direction all became more focused and less flamboyant as the evening wore on.
But then, there was that anachronistic gunshot at the end. Throughout the
production, this seemed like a fairly primitive or fanciful society, with
knives and spears and staffs as weaponry. And then all of a sudden, this
gunshot comes out of nowhere. It certainly made for a stark and shocking
ending. It was the final auditory image, but the evening's other sights and
sounds left a more lasting impression.
GET DOWN, GET FUNKY
It was two years ago when I first saw Eveoke Dance Theatre's "Funkalosophy." It blew my mind. Maybe you can't go home
again; this revised version just didn't get to my gut in the same way. There
seemed to be less hip-hop than I remembered, more of that evocative chain-link
dance ("Fences"), less of the adorable and charismatic Anthony
Rodriguez (performing his own choreography, 'Hip-hop is Everywhere"). But
the dark and painful, woman-killing piece, "Bonnie and Clyde '97,"
performed first by Eminem from the male POV and then by Tori Amos from the
woman's, remained as heart-wrenching as before.
The dances in the 90-minute evening were created by Gina Angelique
or Ericka Moore. Moore is always striking as a dancer; her "Niggas Way
Back" was especially stirring. And when she teamed up in other pieces with
April Tra and Elizabeth Marks, their years and comfort together really shone
through.
If you haven't ever seen this evening of Eveoke, it will open your
eyes to the variations and applications of hip-hop, whether or not it develops
in you a 'Funkalosophy' of life. The introductory remarks by Angelique, showing
people how to move to the music, and the later audience participation, seemed
gratuitous.
Angelique and company, always making potent political statements,
are effective in unearthing a female empowerment perspective, even in the
hip-hop/rap world, an often-violent/ugly/misogynist realm. Her use of props
(fences, balloons, apples) is imaginative, although sometimes it wears out its
welcome. But she always ends on an estrogen-energized high-note (in this case, "Your Revolution," by Sara
Jones and DJ Vadim), which leaves us all (male and female) uplifted, energized
and inspired.
Extended through March 14.
CRY UNCLE!
UCSD Theatre and Dance is a busy busy place. Three openings in one
week: "I Ain't Yo' Uncle!," "Richard III" and
"Eurydice." Hold onto your historical/satirical hat!
By the end of the week I will have
viewed all three, but for now, I can only report on one production. What can I
say? I've already seen five shows this week.
"I Ain't Yo' Uncle!" was created over a
decade ago for the San Francisco Mime Troupe, the country's most renowned traveling
political comedy company, which is hellbent on debunking the 'official story'
of any issue they set their sights on. Many moons ago, in its early heyday, the
show made its way to San Diego.
In the piece, the target of playwright Robert Alexander is "Uncle Tom's
Cabin," that 1852 classic that gave us the immortal and much-maligned
characters of the eponymous Uncle Tom (a latter-day Oreo) and the murderous
Simon Legree (archetype of the white supremacist).
The play takes Harriet Beecher Stowe's abolitionist novel, which
she claimed to have been written by God, turns it inside out and smacks it
upside the head. Her tired old stereotypes get to meet their maker, as Uncle
Tom, Topsy, Eliza and company put Beecher Stowe on trial for perpetuating negative
images and failing to get their story right. Each has the opportunity to
reinvent him/herself and to tell the
tale as they believe it should be told, retooling the story from an
Afrocentric perspective. In the process, the narrative retains a good deal of
its original power but also makes piercing comments on matters of race past and
present. The bottom line is that, though the Civil War is long gone, the
racial/ethnic battles are far from over. The UCSD production underlines the
point, with its minstrel-show setup and 'performances' of
racist/sexist/homophobic jokes interspersed throughout. Some of this material
is ugly and awful, but that, of course, is the intention.
There's a lot of fun here, accompanied by some wonderful stage pictures
in Bill Fennelly's direction. There's also more than a bit of amateurish
excess. Images are piled up in a Watts-Tower-like heap. Every black stereotype
is highlighted and reiterated -- onstage, in projections, in jokes, in multiple
incarnations. All right, already, we get the point. Some of it's amusing or
pointed or painful; some not. Malcolm X and Martin Luther King find their way
into the mix, as do police brutality, race riots, Civil Rights sit-ins,
Affirmative Action. There's Richard Pryor onscreen, and Chris Rock, presenting
some of their unexpurgated material. There's a hip-hop number, and a tap-dance.
Blackface. Comments on the LAPD. The National Anthem to start it all off
(everyone stood, and no one seemed to see the irony). The set, costumes,
lighting and sound were all appropriately over the top.
But there was a disturbing conclusion here, too: The suggestion, by
Beecher Stowe herself, that the book should not only be forgotten, it should be
burned. Censorship is a surprising and unsatisfactory solution. But then, the
piece goes on to an even more shocking ending. Topsy goes into the audience,
gets aggressive, offensive, in people's faces. And then, the pacifistic Uncle
Tom turns to the spectators, who are by this time becoming noticeably
uncomfortable, and he says, "Y'all think she came from nowhere? Y'expect
she just grow'd?,' making mockery of a line in the original text. Then, as if
in response, the glaring, searching spotlight is shone directly into the eyes
and faces of the audience, to underscore the point that we are all complicit in
the plight of modern African Americans.
It's agit-prop, all right. Making lots of points (too many, maybe)
without a shred of subtlety. But the ensemble is terrific (12 actors playing
some 25 roles), with standout performances by Quonta Beasley as the anti-social
orphan, Topsy; Bradley Fleischer as the monstrous Legree; Owiso Odera as
peacemaker Uncle Tom and Abdul-Khaliq Murtadha as the renegade freedom fighter,
George.
If you like your political satire on the grand, exaggerated scale,
with a huge injection of collective guilt and culpability, you're gonna clap
yo' hands and stomp yo' feet for this one.
THIS
WEEK'S 'DON'T MISS' LIST
"Macbeth" -- just as dark, spooky, intense and supernatural as you'd expect
from Sledgehammer; it doesn't disappoint. At St. Cecilia's through March 21
"Kimberly Akimbo" -- spectacular, uproarious, poignant, incredibly well acted and
directed; at 6th @ Penn Theatre, through Feb. 22 (extra matinee
added 2/22).
"Women Who Steal" -- deliciously wicked,
wonderfully acted, directed and designed. At the San Diego Rep through
Feb. 22
"Fully Committed" -- a genuine tour de force by David McBean; he's a knockout: 40
characters -- and a whole lot more! At Cygnet Theatre, EXTENDED through March 7
Pat
©2004
Patté Productions Inc.