SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #229

By Pat Launer

www.sdtheatrescene.com

2/8/08

German and Persian poets, forsooth!

And the plays of California youth.

This is Our Youth

THE SHOW: Plays by Young Writers, winners of the 23^rd annual statewide competition, presented by Playwrights Project

THE PLAYS/PLAYERS: So far, I’ve seen two plays and a reading. And they were all something to see. The readings are short pieces by the younger writers -- in the case of King of the Couch, 14 year-old Rory Gallagher, a student at Carlsbad High. Delightfully performed by Sherri Allen, Paul Bourque, Pat Moran and Pauline Rulla, the play had a ‘grass is greener’ theme, that also concerned autonomy versus security. A scruffy, scrambling outdoor cat dreams of a cushy life indoors – until he actually gets what he asks for, and longs for the freedom and unpredictability of independence. Moran and Bourque are highly amusing as the feline rivals, and Allen is funny as the schizo German cat-lady.

Mister Wade is Dead is the first play by 17 year-old, Israeli-born Niv Brook, a freshman at Chapman College. It ventures into tough territory – farce – and succeeds quite well. The high school audience was in stitches. In addition to the funny situations (feigning death, mistaken identity, multiple eccentric characters), the production benefits from a talented cast, expertly directed by Liz Shipman. The production perfectly captures the high-speed zaniness the genre demands. Anthony Misiano is adorable as the sort-of slacker artist with an aggressive, ambitious wife (Kristie Kahlweiss), who decides to fake his death so they can collect the insurance money and pay their rent. Michael Frederick steals the show as the wacky Greek neighbor. The pace and physical comedy are spot-on, and the production is thoroughly enjoyable, though it does have more than a slight whiff of sitcom. But for a first playwriting effort: amazing!

Things took a much darker turn in Hawaii, an intense and discomfiting piece by 17 year-old Justin Kuritzkes, a senior at the Harvard-Westlake School in Los Angeles. Based on his own experience, the play focuses on two teens in an uncomfortable situation: his divorced mother is about to marry her divorced father. Thrown together in a Maui resort the night before the wedding, they’re attracted and repelled, as they rip into their parents’ values and motivations, and try to come to grips with their own feelings of anger, resentment, betrayal, rejection, fear – and sexuality. Beautiful, statuesque, 16 year-old Jess Jacobs and hunky 18 year-old Trevor Bowles (who just got cast as Jesus in the Diversionary Theatre production of Corpus Christi) are terrific together. Excellently directed by Christian Lebano, they are completely credible in their adolescent pushme-pullyou angst and confusion. The writing is sharp and biting; several barbed lines elicited audible gasps from the young audience. After the performance, the actors reported that the response from adult theatergoers was far different, less pronounced. I prefer seeing these shows with the peers of the playwrights; most enlightening. An impressive effort all around; these writers show genuine promise.

THE LOCATION: Playwrights Project and the Lyceum Theatre, through February 10

BOTTOM LINE: BEST BET

Minstrel Show

THE SHOW: Tannhäuser, Richard Wagner’s 1845 epic (famously revised for an 1861 Paris production). It provided a stunning opening of the San Diego Opera’s 43^rd season. This first production of the work in four decades is a detailed re-creation of the Metropolitan Opera production of 1977, designed by Günther Schneider-Siemssen.

THE STORY: Wagner can be a problem for many people in many ways: his rank anti-Semitism, the length and seriousness of his works, the dark romanticism of the lush, soaring music. Tannhäuser adds something else to the mix: the libretto (written by Wagner) is off-putting as well, in view of the composer’s socio-political context and our own.

Set in medieval, 13^th century Germany, the story is based on the legend of a minstrel torn between lust (pleasure, carnality and hedonism with the goddess of love) and the pure, God-fearing love of a virgin. A Madonna-whore dichotomy. When Tannhäuser publicly reveals his long-term experiences in the much feared and reviled lair of Venus, his colleagues draw their swords. His punishment is death, his sin is unpardonable – at bottom, because he has different beliefs and practices from the majority. In the end, he finds redemption because he does extreme religious penance, turns away from the pagan ways, embraces the Pope and mainstream Catholicism, and is championed by the chaste and angelic Elisabeth. She dies praying for his salvation, and he dies on her bier.

This Tannhäuser is no mere victim of circumstances, however. He is fully committed to each of his passions (the chaste and the unholy), and he has twice betrayed both women, leaving them bereft. Many elements of the complex story and its context don’t sit easily. Maybe, as is often the case in opera, it’s best just to concentrate on the music.

THE PRODUCTION: The new, nearly $3 million production, built at the San Diego Opera (scaled down from the Met’s design by James Mulder), is breathtaking. Especially noteworthy is the jaw-dropping first-to-second scene transition. We’re taken from the smoky underground bacchanalia of Venus’ mountain abode (suggestively referred to as her ‘cave’ or ‘grotto’) to a bucolic valley and its lonely shepherd. Sheer magic (with the help of effectively-employed scrims and projections).

British choreographer Nicola Bowie’s ballet for the first scene is sensual and erotic (with intra-gender coupling and provocative, audience-facing, mid-air splits). The second act scenes in the Minstrel’s Hall of Wartburg Castle represented a replica of the real edifice. The costumes (rented from the Met) were lavish and opulent, created by three-time Tony Award winner Patricia Zipprodt, also a frequent opera designer. The lighting (Marie Barrett) was subtle and beautiful.

The PLAYERS: The glorious look of the production did not overpower the spectacular, soaring voices. Robert Gambill, American-born German heldentenor (a “heroic tenor” with a huge vocal range) has made Tannhäuser his signature role, having sung it around the world. His brilliant top register, coupled with rich, potent lows, were underscored by nuance and stamina. His dramatic skills were quite convincing, as was his connection to both his leading ladies. Finnish soprano Camilla Nylund exhibited crystalline clarity as Elisabeth, and German mezzo-soprano Petra Lang oozed seduction and sensuality as Venus. German bass Reinhard Hagen was a powerful presence as Landgraf Hermann, uncle to poor lovelorn Elisabeth. As the rival minstrel, Wolfram, Canadian baritone Russell Braun was more vocally than dramatically sturdy. The chorus, 79 strong, was robust and impressive throughout. Michel Hampe’s direction featured gripping staging and striking stage pictures. Under the baton of Gabor Örvös, the 65 members of the San Diego Symphony Orchestra got off to a slow start at the final, matinee performance. The horns sounded muted and distant in the famous (here, languid and lugubrious) Overture. But they soon got into the romantic spirit and carried us all away, to fanciful locales and flights of luxuriant musical fancy.

A Matter of Life and Death

THE SHOW: Chronos Theatre Group presented a reading of The Rubaiyat of Omar Khayyam, a small part of the extensive collection of Persian poems (about 1000 of them) attributed to mathematician and astronomer Omar Khayyám (1048–1123). The ‘Rubaiyat” or quatrains (four-line verses), may be selected and rearranged subjectively to support one philosophical orientation or another, and this has led to widely differing versions of the poems. The various interpretations have created religious controversy; some have seen signs of mysticism, or even atheism in Khayyam’s work, or conversely, devout and orthodox Islam, or signs of Sufism. Chronos used the classic translation of Edward Fitzgerald, which has a distinctly fatalistic spin, focusing on the transience of all things.

For a reading, the production, conceived and directed by Celeste Innocenti, was very elaborate. And for a reading, less would have been more. The look was lovely, with three playing areas (in the Lyceum Space) and bright, colorful (uncredited) costumes by Gail West. The constant movement, the sometimes silly, drunken ‘acting-out’ of the words undermined the poetry, which should be the primary focus, and require more attention than distraction.

he piece was grounded by the understated, orotund tones of Linda Castro (making a welcome return to San Diego stages), joined by Innocenti as ‘Voices’/narrators and Walter Ritter as Khayyam. The other eight performers were encouraged to cavort and overact, which lent an amateurish quality to the production. As the symbolic Nightingale, Nana Kim displayed a haunting voice and lovely dance moves. The recorded Persian music was supplemented by live performance by Jason Connors (who composed his own Persian-inspired score for the occasion) and Charles Wallace (who also served as dramaturge). It was a prodigious effort, but more than a bit of overkill. The post-performance discussion, with active participation and explanation from members of the Persian Cultural Center, really enhanced the experience.

As Chronos producer/managing director Doug Hoehn put it: After a brief, 35-minute performance, “the forum was seen by the audience as the second part of a two-part educational experience, which really sums up what Chronos is all about. One of our long-term goals is to take material like this (albeit with three performers, not thirteen) into schools.” Great idea. Keep it simple, keep it clear.

Another Opening, Another show…

It was quite a gala opening… the newly refurbished Balboa Theatre. Fourth Avenue was closed down for an exuberant block party, which was filled with food, drink, music, vintage cars, machine-gun-toting gangsters and glammed-up gals in ‘20s-themed getups, commemorating the 1924 opening of the original theater. At the appointed moment, there was a countdown to the ceremonial lighting of the marquee that officially put the building back in business.

Dark for nearly 20 years and lovingly restored to its original glory (at a cost of $26.5 million), the theater was the star of the show. The legendary acoustics didn’t get a sufficient workout, but the stage-flanking, waterfall friezes demonstrated their trickling capability. The lobby, though small for such a large house, is attractive, as are the soothing colors that are true to the original look of the place.

The opening show itself, like the first round of performances coming into the 1300-seat space over the next few months – was underwhelming, a really mainstream, middle-of-the-road affair. The lame script for the evening, gamely presented by emcees Kimberly King (KNSD-TV) and Mario Lopez (“Dancing with the Stars”), was intended to highlight the entertainment history of the Balboa, decade by decade (“A Musical Journey Through Time”). That included a little vaudeville comedy, ballet ultra-lite (though meeting a 103 year-old former Balboa dancer was inspiring), a very earnest tribute to Kate Smith (“God Bless America” with scores of singers and the Navy Marching Band) and a medley of songs from “The Sound of Music,” with the movie itself as backdrop. Kind of an embarrassing gig for Jung-Ho Pak and the San Diego Chamber Orchestra. The entertainment highlight was San Diego native Steve Gouveia, currently part of the national tour of Jersey Boys, who ripped into “Unchained Melody” and “Hold Me, Thrill Me,” revealing the killer chops that got him where he is. It was a delicious little coincidence that Jan Hicks Manos, whose grandfather, Robert Ernest Hicks, built the Balboa Theatre – was Gouveia’s high school drama teacher. Sweet.

Overall, it was a fun party followed by a ho-hum production for a landmark that’s been a long time coming, a stellar addition to the San Diego theater scene. Now let’s fill it with worthy performers and Laissez les bons temps rouler…

NEWS AND VIEWS ….

… If you missed the Patté Awards event or the TV broadcast, don’t despair. The photos are uploaded… and the SHOW can be viewed on the Patté website: www.patteproductions.com. Watch it and catch the passion!

…More August in February… Black History Month is a great time to see an August Wilson play. Cygnet Theatre and the San Diego Black Ensemble Theatre are presenting a full (and fabulous) production of Fences (extended through March 2), and they’re continuing the series of readings of Wilson’s 10-play cycle. Two Trains Running runs Feb. 11 (downtown Library) and 12 (Cygnet Theatre). Jitney and King Hedley II to come. www.cygnettheatre.com

… Mark your calendar: the 25^th annual Design/Performance Jury at SDSU is set for Friday, March 28, 9-2:30 in the Experimental Theatre. Besides being a ‘big’ anniversary, this is a special edition of the wonderful jury experience, where students, in front of a general audience, present to an esteemed panel their plans and designs (and a scene) for a proposed production (stage or screen). This year, the play, selected by the faculty, is Edward Albee’s The Death of Bessie Smith. Once again, Albee will be on the panel, just in time for a special commemoration of his 80^th birthday, which occurs two weeks before the event. Theater, TV and film star (and SDSU alumna) Marion Ross will also be on the jury. And Beeb Salzer, the design maven who created the Jury 25 years ago, will be retiring this May. So this bittersweet affair might be the final incarnation of the Jury as we know it. You won’t want to miss it.

…Meanwhile, at UCSD, there’s Tango, written by Slawomir Mrozek, the most prominent political satirist and playwright of the postwar period in Poland. In this tale of conflict between generations, youthful idealism turns into an unscrupulous struggle for power, which paves the way to despotism. Six performances only, February 15 – 23, 2008, in the Mandell Weiss Forum Theatre. Tix at the door (if available) or in advance: 858-534-4574.

Also on the UCSD campus, consider a V-Day celebration that’s totally off-the-beaten-track -- the “Teeny Tiny Film Series,” where the Patté Award-winning sound wizard Scott Paulson will lead his Teeny-Tiny Pit Orchestra in accompanying a series of Valentine-appropriate silent films. The audience will assist, using Scott’s endless array of soundmakers: train whistles, coconut shells and even the odd-looking phonviolin. Champagne and chocolate, too. February 14 (8pm in the Calit2 Black Box Theatre). http://www.artpower.ucsd.edu

… Artists affected by the Fires… What was the impact of the October wildfires on San Diego’s arts and culture community? The City of San Diego Commission for Arts and Culture and the San Diego Foundation want to know. They’ve developed a brief survey to determine the needs and gaps in support within the arts/culture community, and how arts/culture organizations can be mobilized to assist in the recovery and rebuilding. The results will benefit ALL of us! For a copy of the survey, contact Sylvia M’Lafi Thompson: smthompson@sandiego.gov.

'NOT TO BE MISSED!' (Pat’s Picks)

Plays by Young Writers – winners of the statewide competition, these young folks have some heavy (and even farcical) things on their minds. Hawaii is a knockout

Playwrights Project at the Lyceum, through 2/10

Fences – stunning production, stellar performances. Don’t miss it!

Cygnet Theatre (in collaboration with San Diego Black Ensemble Theatre), EXTENDED through 3/2

The Pillowman – very dark, intermittently funny, brilliantly executed

Ion theatre, through 2/16

This is Our Youth – disaffected young folks in Reagan-era New York. Unlikable characters, compulsively watchable performances

New Village Arts, through 2/17

In This Corner – interesting, if flawed play, wonderfully acted; more history than character, but it’s a knockout boxing story

Cassius Carter Centre Stage, through 2/10

(For full text of all of Pat’s past reviews, going back to 1990, use the Search engine at www.patteproductions.com)

Hop off the political roller-coaster … there’s terra firma in the theater!

Pat

© 2007 PATTÉ PRODUCTIONS, INC.

For more than 20 years, Pat Launer has been the only regular broadcast theater critic in San Diego. An Emmy Award-winner with a Ph.D. in Communication Arts & Sciences, Pat sees and reviews more than 200 local theater productions every year. For the past decade, she has hosted and produced The Patté Awards for Theatre Excellence, a gala community event that honors local theatermakers (“San Diegans making theater for San Diego”) and celebrates the broad diversity of San Diego theater.