"CURTAIN CALLS"
By Pat Launer
09/08/06
Cygnet and BET are jumpin’
Fences
As their August Wilson series commences
And
the killer Dumb Waiters call it quits
While those in the know are blitzed on the Fritz.
STRANGE THINGS ARE
HAPPENING
THE SHOW: THE 13TH ANNUAL FRITZ BLITZ OF
NEW PLAYS BY CALIFORNIA PLAYWRIGHTS, Week 2, featured three plays,
thematically linked and excellently performed. There’s a slow build and an
element of surprise (some twists more predictable than others) in each play
Passing
Together,
Richard Markgraf’s fifth Fritz Blitz
production, focused on an intrusion into the life of a reclusive war vet,
deliciously played by John Garcia, with his usual scary intensity. Kara Hayes
was the provocateur, young Emily, who wheedles her way in, needles her way into
staying, and maddeningly annoying, manages to potentially turn Ray’s life
upside down and inside out. A UCSD alum, Hayes nearly but not quite nailed the
seductive, manipulative, emotionally varying tone of the mysterious young girl
who says she’s doing a college research project but after much enigmatic
dancing around, reveals that she’s trying to find out if this loser/loner is
her dad – and she’s after a blood sample to prove it (which, by underhanded
means, she manages to extract). Markgraf’s writing is strong; the piece is
sufficiently suspenseful, up until the very end. Nicely done, and well directed
by (a happily pregnant) D. Candis Paule.
In
A
View Unassisted, by
writer/actor Craig Abernethy,
another local Blitz returnee, the set-up is intriguing and misleading. A woman
(Wendy Savage) has a furtive rendezvous with a man (Duane Weekly) for the
purposes of a little ‘business transaction,’ which seems, at first blush, to be
a drug deal. But since the play is set “in the not too distant future, in an
all too possible reality,” we soon come to find out that what she’s after is
more precious than gold (or Acapulco Gold). It’s a
priceless gallon of oil, and she offers money, her body, whatever it’ll take.
But his price is a room with a view, all alone for just six hours, with no
intrusions, so he can indulge in the quiet, solitary reading of a magazine.
Deftly directed by Dane Stauffer, and perfectly performed, the production had
all the energy, urgency and humor the play demanded.
Vial, by San Francisco
screenwriter/journalist Nicholas Turner, was also at times gripping and
ambiguous, but it went on long (and repetitively) enough to become predictable.
It’s a classic English murder mystery, set in an opulent, isolated mansion. The
first twist is that no one knows who’s been murdered. A group of his
schoolchums (and assorted others) are invited to the home of a reclusive former
roué. After a pleasant dinner, the host cheerfully informs his guests that one
of the tasty little desserts has been poisoned; he doesn’t even know which one
or who got it. There is, of course, only one vial of antidote, which can only
be taken before the symptoms surface, within an hour. So we watch, in real
time, as straws are drawn, threats are made, secrets are (or are not) revealed.
The standout performance is by Walter Ritter, the ruthless Member of Parliament
who will stop at nothing to get that vial. It’s a yummy piece of acting, and
mellow-voiced Ritter is obviously relishing the role, his most assertive to
date. Many of the other characters, however, are ill-defined and/or
unnecessary. Jason Connors, making his Blitz directorial debut, keeps the
stakes and tension high. But he succumbs to the novice’s need to make fussy scene
changes; this one is long and pointless. But we do get caught up in the
mystery, even if we really don’t care who ultimately makes it and who doesn’t.
All told, another commendable Blitz week, with enough
weirdness and uncertainty for any taste.
THE LOCATION: Lyceum Theatre, through
September 17
DUMB AND DUMBER
THE SHOW: The Dumb Waiter Harold Pinter’s 1960
one-act about loss and betrayal – between killers
THE STORY: Two guys in a dirty subterranean
room. Waiting (not for Godot, though comparisons are inevitable). But these
aren’t hapless tramps; they’re guns-for-hire, itching for their next
assignment. They’re like an old married couple, niggling and nitpicking,
quarreling and ignoring each other, obviously treading conversational territory
they’ve trod many times before. One is a bit dim; the other is abusive (a
sinister Laurel and Hardy? There are
comic moments here, for sure). Suddenly, the dumb waiter clatters down the
shaft, and orders for increasingly absurd foods start streaming in. The duo have nothing to give. Perhaps this used to be a
restaurant; perhaps not. Things begin to go awry, in subtle, simple ways that
foreshadow bigger Troubles ahead.
THE PLAYERS/PRODUCTION: An auspicious debut from a
new troupe, Reconnoiter Theatre Company. These aren’t seasoned pros, but they
acquitted themselves well. They certainly conveyed the discomfort of the
situation, and the inherent enigma of this “comedy of menace.” There was
definitely some comedy in the stage business created by first-time
director/company co-founder John Lawler. What was missing was the menace. And the shock of the surprise ending. It takes a minute for
recognition and understanding, and the timing wasn’t quite right for the
audience to register exactly how the tables had just turned. However, Jaret
Patterson and Matthew Joyce made a fine pair, even physically: Patterson, lean
and edgy as the slick-haired, supercilious Ben and Joyce aptly rotund and
slovenly as the simple, slow-witted Gus. They didn’t quite master the Pinterian
pace, rhythm and pauses. But they are definitely a group to watch. The other co-founder, Kat MacKenzie, who attended Parsons School of
Design and has worked at Miracle Theatre Productions in
AUGUST IN AUGUST
Another
start of Something Great: Cygnet Theatre
and San Diego Black Ensemble Theatre inaugurated their exciting reading
series – of plays by the late, great August
Wilson, with Fences, one of the
master’s most gut-wrenching and accessible works. I attend a lot of readings, but I have to say that this was one of
the best I’ve ever seen. Under the direction of Antonio TJ Johnson, the casting was impeccable and the acting was
outstanding. Every character was credible, and the performers were often
off-book, which made the production that much richer. I don’t think I’ll ever
forget TJ playing the hulking ex-baseball player, Troy Maxson, in 1987 at
Southeast Community Theatre (directed by Floyd Gaffney). His performance was
spellbinding. It still is. Not only does he have a love and deep-down feel for
the character and the play (especially in light of Wilson’s tragically untimely
death a year ago), but he brings age and experience to his finely etched,
pained performance. And, as an extra bonus, he gathered together several actors
who were with him in that first production, including Sylvia M’Lafi Thompson, a
powerhouse as the indomitable Rose, Troy’s long-suffering, open-hearted wife;
and Grandison M. Phelps, III, who played the shiftless Lyons two decades ago,
but assumed the role of Bono, Troy’s best buddy, this time. He was excellent,
as were Mark Christopher Lawrence as
Next up in the series: Seven Guitars, directed by SDBET
artistic director Rhys Green. Oct. 23 and 24 at Cygnet and
Oct. 30 at
NEWS
AND VIEWS
… Another new theater
company -- following close on the heels
of Tonic Productions and Reconnoiter Theatre Company, which just premiered at 6th
@ Penn, and the upcoming late-night production of Plutonium Theatre Company, Hemingway’s Rose -- is The Collective, which bills itself as
“a planet earth multi-cultural theatre company,” founded and helmed by Peter James Cirino, professor of
directing and acting at SDSU. The group is mounting a multi-media update of
Marlowe’s classic, Edward II, the story of
… Sushi Takeout, the clever marketing
strategy for the peripatetic Sushi Visual and Performing Art, continues this
year, during the redevelopment of their new permanent home. This fall’s
International Takeout Series includes artists from
…Speaking
of UCSD ArtPower!, get ready for the
appearance of that fleet-footed maestro of tap, Savion Glover, Tony Award-winner for the Broadway hit, Bring in ‘da Noise, Bring in ‘da Funk, who
stops at Copley Symphony Hall on October 6 and 7. This time in town, he’ll be
backed by a string ensemble. www.artpowr.ucsd.edu
…The
Towel Lady is back! After a 10-year hiatus, the short play by
award-winning local playwright Janet S. Tiger, will be performed as part of the University
Heights Arts Open. This one-woman piece, about a woman hanging out her laundry,
telling her unusual views on towels – and life – has been seen internationally.
Now it’ll be seen for six performances at the Swedenborgian Hall (
…Center Stage Players artistic director Thomas M. Walker III reports that his group was asked to put together a USO-style show to perform at the reunions of two de-commissioned Navy ships (the USS Baltimore and the Samuel N. Moore). And they’ve already been booked for another de-com next year (the USS Albany). Looks like it’s all about kids and songs and gowns and aptly, South Pacific’s “Honey Bun.” These are private events, but for the curious and interested, Center Stage is presenting two free preview performances: Sept. 7 and 8 at 7:30pm. For directions, email: cspgeninfo@cox.net
... Shawn Ryan, who appeared on NBC's ‘
…Whether
you’re on The Far Side of Fifty or not, you should see the show,
which features words of wonder, wisdom and humor from 14 women, age 58-88 (my
mother’s the 88). The September 30 (2pm) performance at the Avo Playhouse in
Vista is a fundraiser for Operation HOPE, an emergency shelter for homeless
families in
…
Lanford Wilson’s touching, Pulitzer Prize-winning Talley’s Folly, will be presented
as in a staged reading, brought to you by Tonic
Productions, helmed by the Globe’s ace director, Rick Seer, and starring
Tonic’s Amy Biedel and North Coast
Rep artistic director David Ellenstein.
All signs point to a winning evening. Sept. 11 at 8pm at
…
The
Eunuch, written by the Roman
comedian Terence (186-159 B.C.) gets a staged reading that re-invigorates the
Classic Reading Series at 6th @ Penn, now under the artistic
directorship of George Soete, who
did such a fine job with this year’s Actors Festival. Five actors play 13 roles
in this fast-paced comedy. With all its masters and slaves, pimping and
prostitution, it may be B.C., but not PC – unless PC means ‘Pretty Comical.’
…
Okay, so what do you think are the best movie musicals of all time? AFI,
the American Film Institute, has just weighed in with its top 25. A jury of
over 500 film artists, composers, musicians, critics and historians made the
selections, and of course, there are some surprises, and a few omissions, as
with any Best Of list. But here are the top ten. Number one: Singin’
in the Rain, voted the most memorable. After that, in descending order,
it’s West
Side Story, The Wizard Of Oz, The Sound of Music, Cabaret, Mary Poppins, A Star
Is Born, My Fair Lady, An American In Paris and Meet Me In St. Louis. 1939 to 1972. So, what’s happened in the past 35 years???
Well, there was
'NOT TO BE MISSED!' (Critic’s Picks)
(For full text of all
past reviews, use the Search engine at www.patteproductions.com)
The Fritz Blitz of New
Plays by
At
the Lyceum, through September 17
Cygnet
Theatre, through September 24.
Forbidden
Broadway: Special Victims Unit – hilarious spoofs, now featuring an all-San
Diego cast (all alums of the SDSU MFA program in musical theatre). Get ‘em while they’re
hot!
At
the Theatre in
Lincolnesque – provocative, political and sure to get you thinking;
excellently performed
On
the Globe’s Cassius Carter Centre Stage, through September 10
Little Eyolf – a lesser-known play by
Ibsen, with dark underpinnings and some highly emotional moments; an auspicious
beginning for the new Tonic Productions
At
6th @ Penn, through September 10
Titus Andronicus – a lot of political
references and many laughs along with the gore; as director Darko Tresnjak puts
it, his production is “bloody good fun!” It’s inventive and terrific
In
repertory on the Globe’s Festival Stage, through September 30
Othello – potent production. robustly
acted and directed
In
repertory on the Globe’s Festival Stage, through October 1
Labor Day and summer are behind us, but there’s
oh-so-much theater up ahead!
©
2006 PATTÉ PRODUCTIONS, INC.