SAN DIEGO THEATRE SCENE
"CURTAIN CALLS"
By Pat Launer
08/25/04
A beautiful weekend for taking a chance
On Two Noble Kinsmen and Celebrating
Dance.
And since the Park was where we Boomers
began,
We paid a little visit to the Music
Man.
WHAT A PIECE OF WORK IS MAN! HOW NOBLE
IN REASON!
"The Two Noble Kinsmen" is an enigma within a puzzle. It is a unique instance of
tragicomedy that ends in simultaneous death and marriage. It’s the only time
that Shakespeare collaborated with a ‘lesser’ playwright, John Fletcher. The
question of Shakespeare’s share in the creation has evoked more discussion than
all the other ‘doubtful’ plays put together (that is, those of uncertain
authorship, attributed to Shakespeare). The drama has elements of classic legend,
medieval romance, Elizabethan comedy and Jacobean masque. Though it remains one
of The Bard’s least popular plays, it was, surprisingly, chosen by the Royal
Shakespeare Company to inaugurate the new Swan Theatre in 1986. All this makes
it fit perfectly into director Darko Tresnjak’s penchant for “bruised
beauties,” the less-than-stunning wallflowers of the dramatic/literary world.
As artistic director of the Globe’s
summer Shakespeare Festival, Tresnjak chose “The Two Noble Kinsmen” as one of
the plays he’d direct. In some ways, it was an easy choice, since he’d directed
a production last year for the Public Theatre in New York’s Central Park.
The New York Times called that
smaller-scale production "compulsively watchable."
As he did in his glorious production of “Pericles” at the Globe in
2002, Tresnjak creates gorgeous stage pictures, and keeps the action, language
and story clear, visually varied and consistently appealing. And that is no
mean feat, since there’s a lot going on.
The main story source is “A
Knight’s Tale,” the first of Chaucer’s “Canterbury Tales,” which Shakespeare
had already tapped for “A Midsummer Night’s Dream.” The co-authors followed the
source material about as closely as an Elizabethan drama could be expected to
follow a 14th century verse romance. They reduced the level of
divine intervention at the end, and added the subplot of the Jailer’s Daughter,
barely hinted at in Chaucer and generally attributed to Fletcher. Only the
first and last acts are credited by most scholars to Shakespeare.
Okay, so what’s it all about? The
rather melancholy play pits love against friendship, and exalts the chivalric
ideal. It takes place in Athens after the defeat of Thebes by Theseus. At the
beginning, just as in “Midsummer,” Theseus is about to wed Hippolyta, the
Amazon queen he has defeated in battle (Tresnjak even has them speak the same
lines). The two kinsmen of the title are the incarcerated Theban cousins,
Palamon and Arcite, who spy Theseus' sister-in-law, Emilia, from their prison
window. Each immediately falls in love with her, and their vowed "eternal
friendship" instantly turns to enmity. Meanwhile, the Jailer's Daughter
has fallen in love with Palamon and helps him to escape. As a result of duels,
threats of exile and death, rape and unrequited love, the Jailer's Daughter
loses her mind. But hers is a more
dark, potent and interesting madness than Ophelia’s; plus, she gets a lot more
stage-time (and, Bonus! She doesn’t die!). The story twists and turns as the
two men continue to vie for Emilia’s attention, until one of them wins her
while the other dies (chivalrously, still vowing loyalty to his cuz). In the
end. friendship and gallantry triumph over rivalry and enmity and only the
insane are happy in love.
One of the problems of the play is
character development. Except for the Jailer’s Daughter (never given a name,
alas) each of the people in the story is fairly one-dimensional. The Two Nobles
are often indistinguishable and virtually interchangeable. And each character,
again with the exception of the Daughter, remains generally unchanged from
beginning to end.
It’s not a wholly satisfying play or
production. Tresnjak’s vision is compelling, as is Ralph Funicello’s set, with its
stately pillars and trees and its birdcages behind the human cage/jail in which
the two Kinsmen climb and cavort like monkeys. As Arcite and Palomon, Brian
Sgambati and Graham Hamilton are more physically than vocally agile. Both tend
to trumpet and declaim to excess. But their physical business is impeccable and
often comic. As Emilia, Karen Zippler is beautiful but vacant, and vocally
weak. Dan Snook’s Theseus is regal and heartless; Sara Surrey’s Hippolyta is
equally majestic though more sympathetic. Ultimately, it’s Bree Elrod, as the
Jailer’s Daughter, who captures – and breaks – our hearts. She is not only
jilted, she’s sexually violated. And the crazy ‘cure’ for her poor, damaged
mind, thanks to a quack doctor (amusing Charles Janasz) is lots of sex and a
Wooer who pretends (in a goofy, ragmop wig) to be the man she really loves.
Amazingly, it works.
It is Tresnjak’s
skill and inventiveness, coupled with Linda Cho’s creative costuming, York
Kennedy’s lovely, multi-layered lighting and Christopher Walker’s evocative,
often-romantic soundscape, that pull it all together and keep us engaged. The
play was probably written in 1613, just three years before Shakespeare's death.
Whether that factors into the bleak view of love and human nature remains a mystery,
one of the many shrouding “Two Noble Kinsmen.” But if you love Shakespeare,
you’re very likely fascinated by anything he had a hand in… and Tresnjak’s the
guy to take you on this dark, shadowy ride.
WHO SAID HE DOESN’T KNOW THE TERRITORY?
Brain Wells, producing artistic
director of Starlight Theatre, knows Harold Hill – and he knows his brass from
his oboe. He just became "The Music Man" again, a role he last
played at Starlight in 1997 – and he did a luscious job of it. Meredith Willson’s musical classic, set in
River City, Iowa, 1912, is chock full of delectable songs – and in this
production, a wonderful array of dance numbers. Director/choreographers Jack
Tygett (who trained Wells at USIU) and his wife, Joyce Schumaker (a Starlight
performing veteran in her own right) have cast wonderfully: Wells nails the
snappy talk of the Professor, and has credible chemistry with lovely,
golden-voiced Laurel Peterson Wicke as Marian the Librarian. Equity actor Jeff
Asch is a funny little fireball as Marcellus Washburn, Hill’s former partner in
crime. The barbershop Quartet is played by a bona fide barbershop quartet, the
finely tuned Tuesday Night Alibi, who also appeared in Starlight’s last “Music
Man.”
The secondary characters are all
first-rate actor/singer/comics: Linda Libby sparkles with quick wit and a thick
Irish brogue as Mrs. Paroo; Melinda Gilb is riotous as the Mayor’s wife; John
Polhamus, he of the glorious voice, as Mayor Shinn (unfortunately not a singing
role) and then there’s adorable, talented, 8 year-old Ari Lerner (who happens
to have played my young son in “Mendel, Inc.” a few months back — another cute
kid with a lisp!). What a voice! And what stage presence! His two older sibs,
Jessica and Lev, were onstage with him. Delightful musical family.
There was another juicy backstage story
in this production. The actor originally cast as Tommy Djilas, the ‘bad boy’
from the other side of the tracks who’s mad for the Mayor’s daughter, took sick
on the Sunday night of the first weekend of the run. There was no understudy,
so for the second act, three chorus guys stepped in for the dance numbers and
Aaron Marcotte was thrust into the limelight as Tommy. With only two hours of
real rehearsal time after that, he fully assumed the role and did a wonderful
job. His dad, KPBS News Director Mike Marcotte, should be right proud. Aaron is
charming onstage and off, and deserves to be seen a lot more on local stages.
The 15-piece orchestra, under the baton
of musical director/conductor Parmer Fuller, sounded aptly brassy and robust.
The singing and dancing were outstanding, and everyone looked great in Kathy
Auckland’s enchanting costume and wig designs. Somehow, the freezes were more
amusing than annoying in this show, and they were implemented with crisp, drill-team
precision. All in all, a highly satisfying and extremely well executed
production -- one of Starlight’s finest -- packed with gifted kids, dynamic
adults, and of course, an unforgettable score.
BABY, DO YOU WANNA DANCE?
It was really a walk in the park to
experience Eveoke Dance Theatre’s free Celebrate Dance Festival, which
ran over the weekend in several indoor and outdoor venues. More than 70 groups
were featured, but in a few hours’ time, I caught six of them. Since any group
can participate, the level of skill and performance varied widely, from young
kids doing Mexican or Irish step dance to older women trying their hands (er,
feet) at tap. And then there were the real pros… Sarmishtha Sarkar, for
instance, a classical Indian dancer possessing extreme beauty, grace and
expertise. Her hands alone are a wonder to watch. And the Butterworth Dance
Company, a four year-old local group performing the eclectic modern
choreography of Traves Butterworth. Though he came to dance late, his young, graceful
and attractive company has had a lifetime of experience. I’ll be looking to
attend other performances by this Company (next is at the JCC in La Jolla,
Sept. 11) – and, in case you’re interested, they’re having open auditions on
Sept. 19 at the APA Studios in Mission Valley.
During the Festival, Eveoke
founder/director/choreographer Gina Angelique was her usual ebullient and
inspirational self, encouraging the audience, motivated by what they’d already
seen, to attend more dance performances in the coming year. It was heartening
to see how many people came into the Casa del Prado on a spectacular summer
day, and how many gathered outside at the fountain and at the lily pond of
Balboa Park for performances and workshops. One of the latter was conducted by
two young Eveoke veterans, both of whom have blossomed under Angelique’s
guidance, rhythms and social awareness. Both Anthony Rodriguez and April Tra
were extremely shy when they began, but last weekend, they were so
self-assured, engaging and interactive, leading the workshop and teaching loads
of people fun hiphop moves. It was a thrill to see them come so far, both
socially as choreographically. Rock on, Eveokers!
BOOMER BUMMER
In this hot political climate, it’s a
shame that the creators of “Boomers” (at Lamb’s Players Theatre) didn’t
add a little edge to the revamped version of their popular, perennial hit
parade of nostalgia. Menopause is a welcome addition (onstage, if not in life)
and that dreaded post-50 letter from AARP. But there are so many resonances of
the emotions – and even the anti-war activism – of Boomers Then and Now that I
was sort of offended it wasn’t even alluded to.
When I first saw the show in 1993, it
was sweet and sentimental. But the world has changed… a lot, since then. And if
Kerry Meads and Vanda Eggington were going to revisit the piece for the new
millennium, I think they could have taken a tad more risk. Now, it feels a bit
frayed, a little like cutoff jeans. And a mite sappy, though divorce does enter
the picture along with multiple mates, single motherhood, Alzheimer’s,
entitlement and Social (in)Security. It really struck me this time (the third,
I think, that I’ve seen it) that many of the raunchiest, hardest-rocking songs
and singers are glossed over or omitted.
Also, though the many, brilliantly-interwoven
medley/mosaics are admirable, when some songs are especially well done or
energizing, they’re truncated way too soon.
There are other disappointments in this
incarnation. Keith Jefferson, an enormously talented actor/singer, seems miscast
and out of place. The Beamer-driving Yuppie, Preston, has become a Buppie, but
it doesn’t quite work. And Jefferson seems to be singing out of his range
(vocally and stylistically) in the first act. In the second, he finally gets to
let loose a bit, in a knockout rendition of “Heard it Through the Grapevine”
and in some spectacular dance-moves. Lisa Payton-Davis is a knockout with
Aretha’s “Respect” (reminiscent of her star-turns in the long-running “Beehive”
at the Theatre in Old Town). Susan Berkompas is a solid and credible presence,
but she doesn’t get much solo time. Chris Turner, a Lamb’s co-founder, is
consistently comical as the hippie/druggie Boomer who can barely remember the
‘60s, and he does a bang-up job with all the hardest-hitting rock numbers.
David Cochran Heath, who adds gravitas to any proceedings, is a hoot as the
stuffy professor of the ‘class’ in Boomers 101—chronicling the rise and fall – and recent rise?? – of
those born from 1946-1964. Co-creators Kerry Meads and Vanda Eggington alternate
the role of former Prom Queen, Susan, who gets most of the solo numbers. Meads
does some of her best work ever; her voice is perfect for these songs, and she
really makes them sing. It felt a little creepy, though, when she kept being
paired up with her ex-husband, Rick Meads (still cute, if gray – artificially?
– and still in excellent voice), especially in songs like “Lost that Lovin’
Feelin’,” “Too Late, Baby,” and “If Ever You’re in My Arms Again.”
The band is terrific – G. Scott Lacy on
keyboards, percussion by David Rumley, Rik Ogden on guitar, Oliver Shirley on
bass and Adrienne Nims playing a killer sax (as well as flute and percussion) –
under Vanda Eggington’s musical direction and with her fabulous arrangements.
As always, Jeanne Reith’s costumes are spot-on, though Jefferson could look a
lot Yuppier. So, if you just want a pleasant walk down memory lane, don’t miss
it. But if you think you’ll feel the absence of the pebbles in the path and the
political thorns that prick you every day in the news, take a different route
to the homesick restaurant. At the Lyceum, through September 12.
GURNEY BEATS BUSH!
The typically refined, reserved,
crowd-pleasing playwright A.R. “Pete” Gurney is going after GWB with a machete.
His latest play, a scrumptiously seditious political comedy, "Mrs. Farnsworth," is making its West coast
premiere in San Diego in October.
Writer/professor/actor/director
Federico (Fred) Moramarco, who snagged the local
rights under the banner of his Laterthanever Productions, held a fundraiser on Sunday
for the upcoming production at the ARK Theatre. The classy, red-white-and-blue
event was well attended, and guests were treated to food from Little Italy, (a
few too many) young, budding opera stars of tomorrow, and a sneak preview of
the show, which stars Rosina Reynolds, Jim Chovick and the producer/director’s
actor-son, Steve Moramarco. Very tantalizing and provocative. (See my article
about the play in the September issue of On Air magazine).
Most
rousing and motivating speaker of the afternoon: Congressman Bob Filner, who
said the situation in Washington is far worse than we imagine: “There is no
democratic process in D.C.,” he avowed, urging everyone to do everything
possible to enhance regime change at home, using, as Fred is, his or her own
personal skills, talents and abilities to make a difference. Filner and
Moramarco go back a long time; they were first-year professors together at SDSU
34 years ago. Now, Filner is a proud part of the “MAD Dogs” in Congress – a play
on the ‘Blue Dog Democrats’ of yore, and an acronym for Move All Democrats now.
Amid all the hand-wringing, he sounded a note of optimism, citing recent polls
that show Kerry way ahead in projected electoral vote tallies. And, he added,
“If he does well, we can win in the Senate, and even the House.” Any good
political news these days is a pleasure… and Air America coming to the San
Diego AM radio dial (even if it is supported, oddly enough, by Clear Channel –
a clear indication that they anticipate success), is a very good thing indeed.
Listen for Al Franken from 9-noon daily at 1360AM. Best bumper sticker banner
of the “Farnsworth” event: Lick Bush -- Stop Unwanted Presidencies.
THE POLITICS OF DANCE
L.A.-based Michael Mizerany, frequent
lead performer in Malashock Dance productions, has formed his own modern dance
company, MizeranyDance! A powerhouse performer, Mizerany was nominated
for an Emmy in the award-winning Malashock film, “The Soul of Saturday Night.”
He’ll be bringing his latest choreographic work, “Kruel Summer,” an allegory of
government run amok, to St. Cecilia’s Playhouse before it heads to L.A. for an
official world premiere. Watch for news here about the January production,
which is so explicit and graphic, no one under 16 will be allowed in. That
should attract young people in droves.
THE RETURN OF THE VAMPIRE
By
now, you’ve probably heard about the godawful reviews that the La Jolla
Playhouse-sprung "Dracula, The Musical" received after its
opening last week on Broadway. Critics spared no vitriol in pen or pun. The
best of the lot came from the NY Times’ Ben Brantley, who said, “Think of every
appropriate variation you can involving the verbs to bite and to suck.” Ouch.
Director Des McAnuff reports that business is good and the fans keep coming. An
article in one of the NY papers last week speculated that, if repeat offenders
for composer Frank Wildhorn’s “Jekyll and Hyde” were called Jekkies, the
followers of this show should be called Drekkies. How many of them there are,
and how long they’ll fly to the Bat’s side, is anyone’s guess. Last week’s
grosses (for three previews and five post-opening performances) indicated that
the Belasco Theatre, where the Bloodsucker’s in residence, had only 54% of its
seats occupied, down 24% from the week before. (Just as a point of reference,
“Hairspray,” playing in a somewhat larger theater, was running at 82% capacity,
down 7% from last week).
Let’s make it an all-theater
team! Melissa Supera Fernandes and Manny Fernandes have organized a group for
AIDS Walk 2004. John and I are going; why not join us, September 26 in Balboa
Park, for San Diego’s largest one-day HIV/AIDS fundraiser. It only costs $25 to
be part of the team, but you can get others to contribute and pay your way.
We’ve done the Walk before and it’s really fun… a leisurely stroll, really, but
a kick with all the people, entertainment, cheering-on and goings-on. To sign
up, go to:
http://www.kintera.org/faf/home/default.asp?ievent=45685
and select the Time Warner Team). If that link doesn’t work, go to www.aidswalksd.org.
You know it’s a great cause – and it’s a great day in the Park. Hope to seeya
there!
NOW,
'DON'T MISS':
"Two Noble Kinsmen" – director Darko Tresnjak offers us a beautiful production of a
less-than-perfect, partly-Shakespearean tragicomedy. Not all the cast is up to
the task, but the creative team does stellar work, and even rarely-seen
Shakespeare is worth seeing. Outdoors at the Globe, in repertory with “As You
Like It” and “Antony and Cleopatra.” Last “Kinsmen” performance Sept. 24.
"Saturday Night at the
Palace" -- intensely brutal play about South
Africa during apartheid. Tautly directed by Claudio Raygoza, with outstanding
performances by Paul Araujo, Quardell Scott, and -- especially chilling --
Andrew Kennedy. Don't miss it -- if you can take it. At 6th @ Penn
Theatre, through September 11.
"Twelfth Night" -- The Globe's Brendon Fox directs a local all-star cast in a
lovely outdoor production set in the 1920s.
Special benefit performances on August 28 and 29 at "The
Folly" in La Jolla.
The Fritz Blitz – last week to catch this year's Blitz – one of the best ever! Comedy,
drama, magic and mayhem. At the Lyceum Theatre, through August 29.
"Las Meninas" -- Sean Murray does it again! Gorgeous production, wonderfully
designed, acted and directed. Comic but unsettling, a shockingly fact-based
historical tale. At Cygnet Theatre, through September 12.
"Art" -- a lovely pas de trois from a trio of Lamb's favorites, in an
intelligent, thought-provoking play. At Lamb's Players Theatre, through
September 19
Grab the tale-end of outdoor summer
fun -- at the theater!
Pat
©2004
Patté Productions Inc.