ts080229.htm

SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #232

By Pat Launer

www.sdtheatrescene.com

2/29/08

What’s a feminine predilection?

And what’s a Permanent Collection?

Can Rhubarb make a fine perfume?

And will life end in a Tick, Tick… BOOM?

Art for Whose Sake?

THE SHOW: Permanent Collection, a provocative 2003 play by Philadelphian Thomas Gibbons

THE STORY/THE BACKSTORY: This fictional account is based on fact. The Barnes Foundation in Philadelphia suffered from a long-running battle after the death of its founder. His trust granted control over his Foundation to the historically black college, Lincoln University. In 1990, the school’s trustee and general counsel assumed the presidency of the Foundation, and fur began to fly. The discord resulted in accusations of racism and a series of court cases which brought the Foundation to the brink of ruin.

On the surface, the play is framed as a head-to-head confrontation between two obstinate, mulish men, with a couple of women caught in between. But the underlying themes involve art, race, media and multiculturalism. It all takes place in white suburban Philadelphia, site of a small art foundation whose private collection contains masterworks of the impressionists. The Foundation’s autocratic founder, Alfred Morris, bequeathed control of his art and galleries to Haywood College, a historically black university. Morris, who was white (so’s the playwright, by the way), was a visionary of sorts, repeatedly thumbing his nose at the art establishment. His will stipulated that no changes could be made at the Morris Foundation, not in the collection, painting placement or facility location.

As soon as lawyer Sterling North, the Foundation's first African American executive director, arrives, he’s ready to make changes. Especially when he finds a trove of African art in storage. He immediately begins to butt heads with Paul Barrow, the institution's (white) education director, who has devoted his life to the Foundation, but was passed over in the search for an executive director. Sterling wants to display eight of the African pieces; Paul is appalled, staunchly defending the ‘no change’ policy. Sterling’s new, African American assistant, Kanika, is trapped between the two pig-headed men. And there’s one more person in the mix: a curious and persistent (white) journalist. Plenty of fodder for conflict, confrontation and racial epithets. It’s a juicy situation that considers all sides of the argument.

THE PLAY/THE PLAYERS/THE PRODUCTION: The provocative play is given an impressively thoughtful, balanced airing under the direction of Seema Sueko, founder/artistic director of Mo’olelo Performing Arts Company. She has teased nuanced performances from her capable cast, even when the situations or speeches become stilted or two-dimensional. There may be two too many characters. Do we really need to see the original secretary that Sterling immediately moves out of his office – even if she makes a brief return at the end? Or, for that matter, do we need to be haunted by the ghost of Alfred Morris, who continues to watch over his collection and periodically pontificates? Still, much of the writing is real, refreshing and thought-provoking, and the clashes of the main characters are startling and even breathtaking at times. No matter what side you come down on (and some people did think there was an angle or slant to the play; I wasn’t among them), you’re likely to spend a good deal of time thinking about the situations and divergent views of them.

Walter Murray is excellent as Sterling, who starts out supremely self-satisfied and arrogant, and gradually reveals his gnawing insecurities. His 7-minute opening monologue is especially terrific, providing a little context for the world of African Americans, no matter how rich and ‘uppity’ they become (while cruising along in his Jaguar, he’s stopped by a cop, as Sterling puts it, “for DWB”). It’s an eye-opening opener. John Tessmer does his best work ever as Paul, a self-righteous and sanctimonious devotee of the Foundation and its art. Running interference between them (and becoming collateral damage in the crossfire) is a solid Tanya Johnson as Kanika. As the journalist, Debra Wanger is credible, if not muckrakingly aggressive, despite her character’s unmistakably manipulative, incendiary approach to the conflict. Joe Powers doesn’t register as a despotic Morris, and his presence isn’t always welcome or informative; the details of his backstory in the art world don’t necessarily enhance the proceedings. Valerie Ludwig is fine in the thankless role of the loyal but shunted employee, Ella.

The minimalist set (designed by David F. Weiner, excellently lit by Jason Bieber) comprises several playing spaces, revealed or concealed by scrims. Only one large Cézanne is on view. The rest of the collection has to be imagined; all we see are the frames. The costumes (Michelle Hunt) define character; the sound design is heavy on “Amazing Grace.” There’s little grace here, of course, or understanding, forgiveness or reconciliation. The play asks us, as it asks its characters, to take another person’s perspective. That’s a huge challenge, and the drama will have you debating the various points of view long into the night.

THE LOCATION: Mo’olelo Performing Arts Company, through March 16

BOTTOM LINE: Best Bet

An Odd Couple

THE SHOW: Rhubarb, or How to Play With a Rollergirl, the world premiere of the first play written by acclaimed, multiple-award-winning local director Esther Emery. It’s been several years in the making, and it underwent considerable changes during the rehearsal period, but it’s an extremely impressive first effort.

THE STORY: “When two bodies collide, they shatter and become fragments.” That may be true in physics, but it doesn’t quite apply here, though the two bodies do come apart and come together. Tight-assed, repressed/oppressed Cecilia, a blocked artist (currently painting only vegetables, most of which she loathes) is on hiatus from life. She’s under the thumb of her mother, and she rarely leaves her apartment. But when she advertises for a roommate, she gets a lot more than she bargained for with Karen, an assertive, hard-hitting, foul-mouthed, bisexual, irresistible rollergirl who tears into life like a rabid dog (a “high-impact athlete,” her competitive name is ‘Pussy Avenger’). There are bound to be conflagrations and repercussions as these two opposites attract, moving closer to each other intellectually, emotionally and physically.

THE PLAY/THE PLAYERS/THE PRODUCTION: Moxie, always prepared to surprise and delight, gleefully presented a Roller Derby name to each member of the audience entering the pre-performance reception. Moxie co-founder Liv Kellgren was amazingly clever at coming up with apt monikers. (I got two: ‘Glitter Goddess’ and ‘Boa Babe.’ John was’ Lover Boy’). That opening exercise got everyone in the mood for this quirky romantic comedy on skates.

Emery is super-smart; her language is often lush and luscious. But the piece could still use some trimming. The only part that might need to be re-thought is the predictable ending. The play careens along, taking sharp, unexpected turns, and then screeches to a halt with a rather unsurprising, too-neatly-tied conclusion. The extended monologues get a tad prolix at times, though some of the images are stunning (a newborn baby with “a teeny tiny freckle, who… broke her own ribcage and cut her body into seven pieces so in the future it would be easier to manage”). Fragmented females; that’s what it’s all about.

A good deal of the science, philosophy and humor comes from above… well, from the upper level of Nick Fouch’s attractive set, anyway (beautifully lit by Eric Lotze). Two Oracles -- delectably sensible, nonsensical and otherworldly Tim Parker and M Susan Peck, who’s making a very welcome return to the San Diego stage -- are funny in their trance-states and pronouncements. But most of our attention is on brash Chrissy Burns as tough-girl, sexy, ever-skating Karen and endearing Jeannine Marquie as fragile/confused Cecilia (both cutely costumed by Judy Watson). Under the expert and assured direction of Delicia Turner Sonnenberg, the characters become more than types or caricatures. We really root for these polar opposites; we want each one to rub off on the other (though not necessarily literally). Emery is exploring the many faces of femininity, and she paints an intriguing picture of some pretty ripe tomatoes.

THE LOCATION: Moxie Theatre at the Lyceum, through March 9

BOTTOM LINE: Best Bet

Tempus Fuggit!

THE SHOW: Tick, Tick… BOOM!, the San Diego premiere of the intimate musical by Jonathan Larson, who became famous for creating Rent (and equally famous for tragically dying at a very young age, just before the opening, of his Great American Musical in 1996).

THE STORY: The decidedly autobiographical piece was originally written as a one-man show, which Larson himself performed Off Broadway in 1990. After the composer’s sudden death from an aneurysm, the producer of the show asked David Auburn (author of the Pulitzer Prize-winning Proof) to reconfigure the musical. He both trimmed and expanded it, making it into a 3-actor show.

The plot (such as it is) concerns an aspiring composer (appropriately named Jonathan), who’s scraping by in 1990 Manhattan. His friend, a talented actor who’s already thrown in the artistic towel and climbed onto the corporate ladder, is earning big bucks. Jon’s girlfriend is ready to settle down and move to the suburbs of New England. The ticking of the title is Jonathan’s internal time clock (he’s about to turn 30) and the Boom is the impending explosion (or, in his case, implosion). He doesn’t know if anything he’s doing is right: his relationship, his friendship, his career choice. Thematically and chronologically, the rock musical bears a passing resemblance to Stephen Sondheim’s Company (about another confused man/child, soon-to-turn-30). Sondheim, it turns out, is Larson’s idol; he can barely whisper the name of the Great One (whose actual voice, delightfully, is part of the production).

THE PLAYERS/THE PRODUCTION: This is a totally engaging, enchanting production, excellently sung. Almost all the cast and crew are from the SDSU MFA program in Musical Theatre. The set (Peter Adams) is a mere suggestion, with black pipes and platforms at various levels. Up top, there’s a rock ‘em/sock ‘em band knocking out those thrumming tunes: Thomas Hodges on piano, Andrew Hoffman on drums, Zach Pyke on bass and killer guitarist Kenneth Dumlao, all under the musical direction of Charlie Reuter. Down below, two actors – cute-as-a-button Briona Daugherty, with her gamine mien and platinum-pixie look, and affable Eric Vest, mostly corporate as friend Michael – play multiple characters (often amusing, some better defined than others). They provide variety, harmony and ballast, but really, it’s all about Jim Chatham, who by day is theater director at Granite Hills High School, and by night, a hugely compelling performer. He’s superb as Jonathan, capturing all the angst and uncertainty, the anguish, joy, fear, humor and cynicism of reaching that fateful decade birthday. (In the ‘60s, you may or may not recall, we said “Never trust anyone over 30.” It’s always been a biggie – but trust me, 40 is far worse!). Under Lindsey Gearhart’s direction, the actors are charming, talented and appealing; their duets and trios are potent and well executed.

Stone Soup scores! And they’re really savvy, too, marketing the show to young people via youtube and myspace. But you don’t have to be twentysomething to enjoy the show; if you’ve already passed 30, you can relish having made it through.

THE LOCATION: Stone Soup Theatre Company, at the Lab at the Academy of Performing Arts, through March 30

BOTTOM LINE: Best Bet

THE READING CORNER

…Living Doll… A Doll House, the second installment of ion theatre’s Intimate Ibsen series of readings, was a knockout. Wonderful cast, excellent translation (Rick Davis and Brian Johnston). A.C. Harvey, the Sweden-born SDSU theater professor emeritus, who moderated the fascinating talkback after the show, has explained the chosen title (normally listed as A Doll’s House), as follows: “It parallels the original Norwegian… Rather than “A Doll’s House,” which would mean Nora’s house, Ibsen used “A Doll House” (or “A Dollhouse”) as a metaphor for society – all of the inhabitants of this “house” being “dolls” or limited beings with roles imposed on them.”

Glenn Paris, co-artistic director of the cycle and co-founder of ion theatre (with Claudio Raygoza), studied Ibsen with translator Brian Johnston at Carnegie Mellon. It was Johnston’s idea, riffing on George Bernard Shaw, that Ibsen’s twelve plays, what her refers to as the Realist Cycle, should be seen in the order in which they were written, which is just how as ion is presenting them. Ibsen himself saw "mutual connections between the plays," according to Johnston. “Characters, scenes, actions and images repeat themselves like variations on musical themes” Paris plans to bring Johnston to San Diego for the reading of The Wild Duck at the Lyceum in May, to present a symposium on the play and the cycle. The series, helmed by co-artistic directors Paris, Raygoza and Rosina Reynolds, is intended to expose audiences to these rarely-seen plays in ways that make them more absorbing and comprehensible (Johnston’s Doll House translation was wonderful).

Jo Anne Glover was spectacular as the proto-feminist Nora, the little “doll” of her controlling, chauvinistic/patriarchal husband, Torvald (Claudio Raygoza, superbly stodgy and condescending). Jeffrey Jones was aptly creepy/scary as the conniving Krogstad. Monique Gaffney was solid as friend Christine and Walter Ritter gave a perfect world-weariness to Doctor Rank. This outstanding reading deserves a full production.

It’s exciting to watch the full cycle of Ibsen plays unfold. Next up is a reading of Ghosts on March 31 (also at Diversionary Theatre), directed by Glenn Paris and featuring Rosina Reynolds, Claudio Raygoza, Jim Chovick, Matt Scott and Sara Beth Morgan. An Enemy of the People comes after that, on April 28, directed by Kristianne Kurner, at New Village Arts Theatre in Carlsbad.

… Go Green! Celebrate St. Pat at the theater:

…New Village Arts will present a reading of Brian Friel’s Molly Sweeney, featuring Kristianne Kurner and Joshua Everett Johnson, directed by Amanda Sitton. NVA’s production of Friel’s magnificent, Tony and Olivier Award-winning Dancing at Lughnasa will be in production then, too (3/8-3/20) at their new home in Carlsbad. www.newvillagearts.org

… Chronos Theatre Group will present staged readings of two classic Irish works, directed by Doug Hoehn: Riders of the Sea , a tragedy by the acclaimed Irish playwright J.M. Synge, and The Gaol Gate by the Irish dramatist and folklorist, Lady Gregory. 7:30 on Monday, March 17^th at the Lyceum.

… Also on St. Paddy’s Day, Carlsbad Playreaders will present The Loud, Red Patrick, by John Boruff and Ruth McKenney, directed by Jim Hall. Based on a book by Ruth McKenney, who also wrote My Sister Eileen, the play concerns a battle of the wills between a proud, Irish-American father and his four strong-willed daughters (ages 7-17). March 17, 7:30pm in Carlsbad’s Dove Library.

NEWS AND VIEWS ….

… Back on the airwaves … Yippee! I’m about to resume my weekly Friday morning radio reviews -- at KSDS Jazz 88, a genuinely arts-friendly station that wants to become THE broadcast hub for the arts in San Diego. Tune in at 9am every Friday, and take “Center Stage with Pat Launer,” starting March 7. Introduce yourself to 88.3 FM; you’ll be glad you did.

… Tribute to a legend… The late Dr. Floyd Gaffney, professor emeritus in theater and dance at UCSD (he was a founding member of the Department), and the father of African American theater in San Diego, will be honored at UC San Diego on Friday, Feb. 29 at 7pm in the Weiss Forum Theatre. The Evening of Theatre, Music, Song and Dance will be preceded by a reception from 6-7pm. Theater professor Jorge Huerta will serve as master of ceremonies; performers will include Gaffney’s daughter Monique, dancer Sandra Foster King and actor Karole Foreman. The events are free and open to the public. Info at (858) 822-2199.

… While we’re on the subject of mega-talented Karole Foreman, she’s currently the Thurgood Marshall College Artist-in-Residence at UCSD. And she’ll soon be “Reinventing Josephine Baker” on the campus -- March 4, 6-7pm. She’ll be performing her tribute to the groundbreaking chanteuse with pianist/vocalist/composer Randy Reeman, in the Visual Arts Performance Space in the Visual Arts Facility on Russell Lane, next to Pepper Canyon Hall. Admission is free. Last year, Foreman starred in Josephine Tonight!, the final production directed by the late Dr. Gaffney. Look for The Princess and the Black-Eyed Pea, the soulful, fairy-tale-based musical comedy Foreman created with Andrew Chukerman, coming to the San Diego Repertory Theatre this season. The woman is on the move!

… Eveoke Yourself… That’s Eveoke Dance Theatre’s motto, and they’re starting the new year off pursuing their social-activist ways, with “Voices,” a collaboration with The Cultural Worker, in celebration of Women’s History Month. This women’s human rights film festival will be augmented by dance performances, poetry readings, community discussions, a photographic exhibit and a creativity workshop. The films, which will be shown every Friday in March, include “God Sleeps in Rwanda” (3/1), “Soarida, Woman of Palestine” (3/8), “Keep Not Silent: Ortho-Dykes” (3/15) and “A Woman’s Word (Palabra de Mujer) 3/22. The closing workshop, “finding Your Voice,” takes place at 6pm on 3/28. www.eveoke.org.

… Get back, Honky Cat… The J*Company has snagged the Southern California Youth Theatre Premiere of Elton John & Tim Rice’s AIDA (you can check out the pop version before seeing the ‘real thing’ at the San Diego Opera, 4/12-23). The youth version is directed by Joey Landwehr, with musical direction by Tim McKnight and choreography by Jean Isaacs, founder/artistic director of Jean Isaacs’ San Diego Dance Theatre. Tickets at 858-362-1348 or www.lfjcc.org/jcompany

. The J*Company has also just announced the winners of its Teen Musical Theatre Competition. The county-wide contest culminated in a Final Concert Round where 15 teens sang their hearts out in front of an overflow crowd at the Garfield Theatre in La Jolla. The five professional judges, from New York (vocalist/pianist W. John Bainbridge), Boston (actor Richard Buckley) and San Diego (La Jolla Playhouse associate artistic director Shirley Fishman, director/choreographer Carlos Mendoza, and Landwehr) had their work cut out for them. Ultimately, Coronado High School student Elisha Moore, 15, was awarded the grand prize $1000 scholarship. Second and third place went to Bethany Slomka, 17, from the San Diego School for the Creative and Performing Arts, and Avery Henderson, 17, of Rancho Buena Vista High School. Congrats to all.