SAN DIEGO THEATRE SCENE
"CURTAIN CALLS"
By Pat Launer
03/17/04
You know what they always say:
Life is just a cabaret
But that thought warrants another look
When you're a boy who's fallen
into a book.
And I, 'mid all the rigmarole,
Just put myself in Cruz control
To greet a passionate 'Two Sisters'
And a confluence of Shakespearean
misters
Who, oddly, gave the week some starch
When 'Lear' died on the Ides of March.
CUBA (NON) LIBRE
Playwright
Nilo Cruz really believes in the power of art -- to enlighten, distract, amaze,
amuse, incite and inflame. In his Pulitzer Prize-winning "Anna in the
Tropics," a lector reads to factory workers and havoc ensues -- love,
lust, sex and death. In an earlier play (1999), passionate, confiscated letters
from a man to his wife are read by another man, and they ignite an equally
fiery (if second-hand) ardor.
"Two
Sisters and a Piano" is similar in many ways to the later, prize-winning
play. But it's less complex in terms of characters and interactions, though it
still boasts political adversaries, and an enticing juxtaposition of
subjugation and sensuality.
Set in his
native Cuba, in 1991, the play examines the relationship of sisters Sofia , a
pianist, and Maria Celia, a writer, both living under house arrest after
serving two years in prison for Maria Celia's politically incendiary writings.
Their confinement is made bearable by the music that pours from Sofia's beloved
piano and by the fantastical stream of letters that Maria Celia writes to her
husband who's trying to secure asylum for her. The story is loosely based on
the life of Mara Elena Cruz Varela, a Cuban poet who was imprisoned for two
years after making anti-Castro comments.
But Cruz
gives us the intriguing character of Lt. Portuondo, an officious official
charged with "inventorying" the women's home. It doesn't take long
for us to see that he's a bit off-guard, off-balance because of his infatuation
with Maria Celia, whose books he's read and secretly admired. When he gets to
know her heart and soul (through the eroticism of the letters and her provocative
independence of spirit) he's even more enamored. The letters excite her, too,
and for a moment, we actually believe that this relationship might actually
make some changes in the sisters' situation.
We share a
little voyeuristic thrill with the Lieutenant as he reads the impounded and
censored letters. But we also have a dark, disturbing awareness that this is
literary blackmail (he only reads a letter if she gives him another installment
of one of her dreamy, romantic stories) and that he is aroused not only by her
mind, body and imagination, but also by his power and control over her.
Meanwhile,
out on the streets pandemonium reigns, in response to the Pan American games in
Havana and a Kremlin coup that signals the imminent dissolution of the Castro-supporting
Soviet Union. Inside, there's danger and chaos, too. Contrapuntal emotions and
motivations underlie the erotic, language-drunk dance of these two ardent
adversaries.
The intimacy of
the Cassius Carter Centre Stage helps foster the claustrophobic feel Cruz's
plays demand. But the set (Kris Stone) gives little intimation of a
once-opulent colonial home. It's spartan and unadorned, and while the window
embedded in the floor serves several (sometimes contradictory) functions, the
door in the floor seems to serve no purpose at all. It seemed that I saw more
backs than faces, and every other person I spoke to, no matter where they'd
sat, felt the same. This is a problem of direction (Karen Carpenter) and
appropriate use of an arena space. But the sound design hits all the right
notes; Paul Peterson underscores the action with an aching piano soundscape
(performed by Karl Mansfield).
The cast is
skillful, the performances vigorous and convincing: Gloria Garayua is childlike
in her adolescent lust and wild imaginings, but forceful and steadfast at
critical moments. Jesse Ontiveros seems ingenuous, fearful, even amusing as the
piano tuner -- or is he a government spy? Or was his disappearance part of the
lieutenant's power-trip?
Philip
Hernandez is brawny and sad-eyed as the lieutenant whose motives are enigmatic
and whose anger is quick to flare. And as Maria Celia, Socorro Santiago manages
to be both controlled and explosive, heated and sizzling.
The language
of the play is lush and lyrical. There may be some implausible elements, but
the emotions are highly charged and the sensuality is palpable. "Two
Sisters" isn't as much about Cuba as about the power of art, and staying
committed to your values and beliefs, even in the face of sexual promise,
personal subjugation or political domination.
BOOK 'IM, DANNO
The Lambs have always been kind to kids
-- training them, going into schools with outreach programs, casting young ones
(such as Bix Bettwy and Sarah Zimmerman) and nurturing them into accomplished
pros. Now, they've begun a children's theater series, where adults perform
child-friendly plays. Dedicated to eschewing realism in order to stimulate the
imagination, the series, aptly called The Play House, just kicked off with the
U.S. premiere of Alan Ayckbourn's 1998 literary adventure, "The
Boy Who Fell into a Book." Better known for his rather acerbic
puzzler-plays for adults, Ayckbourn has written nearly a dozen works for kids
(including "Mr. A's Amazing Maze Plays," which was produced at the
Globe exactly ten years ago).
In this piece, "The Boy" in
question is Kevin, who falls asleep happily immersed in his favorite
page-turner. He wakes to find himself in the thick of the action, alongside his
hero, the somewhat goofy, streetwise detective, Rockfist Slim, protagonist of
the Green Shark mystery series. Together, they have to escape the Green Shark
and avoid the monstrous Monique. But in order to find their way home (well,
Kevin's home, that is), they must travel through all the books on Kevin's
shelf. So, they make a headlong dash through 'Grimm's Fairy Tales,''
Kidnapped,' a collection of Ghost Stories and even 'Chess for Beginners.'
The play is intended for audiences age 10-12 and up, but it was
certainly being enjoyed by kids a lot younger, and many of the adults as well.
Director James Saba brought his sly sense of humor to the piece, and there are
many amusing moments. He raises the bar for making use of an arena space (from
the catwalk to the traps; front, back and center). His cast is comical and
malleable; four of them (Karen Ann Daniels, Chris Bresky, Kelli Sides, Michael
Lamendola) play 16 roles, in the fabulous, fantastical costumes of Jeanne Reith
and Aina S. O'Kane.
When the story moves into a book left by Kevin's 4 year-old sister,
about the Wooblies (sort of a cross between the Teletubbies and the TV
personification of Jack in the Box), things get a bit… well, Woobly. But
nothing is taken too seriously, and we just roll with the puerile Punch-and
Judy comedy (and the more adult wink-nods to the grown-ups).
This is a great way to introduce kids to theater, to make them feel
like part of the action, to watch them get wide-eyed and frightened, to hoot at
the silliness, jeer the villain and applaud the hero (which Ian Gilligan, as
Kevin, surely is -- totally natural and credible). For an English play with
many Britishisms, it's kinda funny to see Paul Maley play Slim like a Jersey
Mafioso, but it brings in the laughs, and he's thoroughly engaging. Instead of
falling into the tube this weekend, encourage a child to fall into a book. At
Lamb's original National City space, the Playhouse on Plaza, through March 21.
LIFE IS A CABARET
Cabaret has
come to San Diego. It's been tried before, but I think Sher Krieger is really
gonna make it work and make it stay. She was a long-time employee of Mystery
Café and one of the original (albeit small, she says) investors in Old Town's
"Forever Plaid." She's been doing her "Nite Out" series at
the Hilton Del Mar, and she's continuing with that venue, as well as
establishing one in the Gaslamp district. As SMGO Productions, she's also
offering corporate team-building events, 'limo hunts' and custom mysteries. I
thought I'd better check out the DM site, since it's right in my neighborhood.
I also thought I'd get to see Bettina Warren perform (she's been the staple of
the series) but she was off that night, it being a CD release party for Scott
Dreier. The surprise guest of the evening was Leigh Scarritt, who did a searing
rendition of "Suddenly Seymour" (from "Little Shop") with
Scott. What a treat! Leigh will be doing her one-woman cabaret show for Nite
Out on April 24. Watch for details and the Gaslamp location (TBD). Also coming
up at the new venue: Sandy Campbell, Phil Johnson and other local (and
national) favorites.
Last Friday
night, his fellow actors in the Welk's "Dolly!" were there to cheer
Scott on, as was his Carlsbad High School drama teacher. He's a very engaging
performer, a veteran of "Forever Plaid" with a smooth, agile voice.
He could use a little more variety in his program; lots of earnest slow songs
or sentimental ballads that start to sound similar in tone and pace after
awhile. He's adorable in the comic numbers ("Parsley on Your Plate,"
"The Babysitter Song"). A more varied repertoire and arrangements
would be great; his pianist, Brett Simmons from Orange County, was excellent.
Scott interacts wonderfully with an audience and though these were mostly
friends and fans, everyone was charmed by his self-effacing sweetness and
supple vocal skill.
LEAR, JET
Sometimes,
staged readings are a tragedy; sometimes a travesty. The Actors Alliance
"On Book On Stage" production of "King Lear" (at the Lyceum,
Monday 3/15) was both. A tragedy because that's how Shakespeare wrote it --
though director Todd Salovey mined all the comic moments, which made the play
that much more rich and delicious. And a travesty to have such a terrific
production confined to only one performance.
There were so
many great things about it, it's hard to know where to begin. The cast list
read like Who's Who in San Diego theater, and everyone lived up to
expectations. At the center was Sam Woodhouse, heartbreaking as the misguided,
self-destructive King. This was by far the best work of his career; he put all
his guts into it, without becoming antic or maudlin, just totally believable as
an obstinate, arrogant man who grossly misjudges his offspring and as a result,
loses his daughter, his mind and his soul.
Ron
Choularton was wonderful as Kent (in both his incarnations); Mark Christopher
Lawrence brought nicely balanced humor and wisdom (and a bit of gospel
singing!) to the Fool; Jonathan McMurtry was outstanding as Gloucester, the
other gullible father deceived by his good and evil children (Edgar and
Edmund). At the outset, McMurtry teasingly highlighted the saucy banter about
his youthful sexual exploits. As staged, his blinding was a shocking moment;
his post-traumatic state was pitiful and moving.
Brennan
Taylor was delightful as Edgar (and his alter-ego Tom o' Bedlam); as his
malevolent half-brother, Francis Gerke was evil incarnate but he mugged too
much, went too far with his conspiratorial winks and grimaces to the audience.
His dastardly, villainous moments were more credible than his last-minute
recanting.
As Lear's
daughters, Linda Libby made an excellent demon (Goneril) and as Regan, Jennifer
Austin was not far behind. Julie Jacobs avoided a syrupy portrayal and was
instead solid and stalwart as the devoted Cordelia; a lovely, understated
performance. Jennifer Kraus bears mention as the ever-earnest Oswald, Goneril's
nasty servant.
Whoever
conceived of this project merits applause. Hooray to Salovey for his casting
and direction. The whole effort unequivocally deserves a reprise. Think about
it, Sam and Todd…
JURY REDUX
In case you missed my documentary when it aired last week on
KPBS-TV, "Trial by Fire: The Making of a Theater Professional"
will be shown on City-TV (cable channel 24 on Cox and Time-Warner) next week.
Or -- extra bonus! -- you can watch it streaming live on the
internet (sandiego.gov/citytv).
The documentary focuses on the SDSU Design/Performance Jury, which
is coming up next week, March 26, 9-2:30, in the Experimental Theatre on
the campus. You really shouldn't miss it; it's entertaining and informative.
This year's jury will include Marion Ross, Rosina Reynolds and others. The play
will be Edward Albee's "Finding the Sun" and this year, since the
Theater Dept. has merged with telecommunications and film, the third group will
make its presentation on film rather than as live theater. Cool! Watch
the doc and then attend the 21st annual Jury. Such a deal!
CITY TV (CABLE 24, Cox & Time-Warner) and will also STREAM LIVE
(sandiego.gov/citytv)
Sat. 3/20 at 6 AM, Noon & 8 PM
Sun. 3/21 at 6 AM, Noon
& 6 PM
Monday 3/22 at 6 PM
Wed. 3/24 at 6 PM and 7 PM
Thu. 3/25 at 6 PM
OBIT OMIT
Last week, I wrote about the untimely death
of Spalding Gray, but I neglected to mention another loss to the theatrical
community (thanks to Walter Murray for pointing it out): Paul Winfield Same age, too (62).
Winfield, who succumbed to a heart
attack in the wake of a lifetime of obesity and diabetes, was an Academy
Award-nominated actor known for his versatility in stage, film and TV roles,
including a highly praised, Emmy-nominated 1978 depiction of Martin Luther King
in a TV miniseries. In 1968, he played the boyfriend of Diahann Carroll in her
sitcom, "Julia," a role that many say helped open television to other
black performers. Four years later, his portrayal of the loving sharecropper
father in "Sounder" earned him an Oscar nom for best performance (the
award went to Marlon for "The Godfather"). Winfield and Ms. Carroll
reunited for "Love Letters" in the 1990s. In 1995, he won an Emmy for
his role as a federal judge on "Picket Fences." In 1998, he began
narrating the A&E crime documentary series, "City Confidential."
In his early years, gifted in both
violin and cello and winner of the Best Actor nod two years in a row (Southern
California Speech and Drama Teachers Association), he earned a scholarship to
Yale, but attended several West coast colleges instead. He left UCLA six credits
short of a degree, when he was cast in a professional production of "The
Dutchman and the Toilet," by LeRoi Jones (aka Amiri Baraka). Two years
later, Columbia put him under contract. In 1978, People magazine described
Winfield as "the most ubiquitous black TV/movie actor of the decade."
Onstage, he'd played in works by Shakespeare, Ibsen and Chekhov and starred
opposite Denzel Washington in Ron Milner's play, "Checkmates," in LA
and then on Broadway (1988).
In addition to his acting career, he
bred and showed black pug dogs. Though he'd had relationships with Cicely Tyson
and others, he never married, and lived alone in the Hollywood Hills -- with
seven pugs, each named for a Shakespearean character.
And now, for THIS WEEK'S 'DON'T
MISS' LIST
"Two Sisters and a Piano" -- passion and politics from Pulitzer Prize-winner Nilo Cruz;
steamy story, provocative performances; on the Globe's Cassius Carter Centre
Stage, through April 11
"Ashes to Ashes" and
"The Lover" -- dark, cynical, enigmatic,
delicious; wonderful performances by Ron Choularton and Cristina Soria,
directed by Robert May… At 6th @ Penn Theatre, through April 4.
"Macbeth" -- just as dark, spooky, intense and supernatural as you'd expect
from Sledgehammer; it doesn't disappoint. At St. Cecilia's EXTENDED through
April 3
Happy St. Pat's …and Spring!
Pat
©2004
Patté Productions Inc.