SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #233

By Pat Launer

www.sdtheatrescene.com

3/7/08

Every Shayna Maidel wants a loyal spouse,

A loving sister and a nice Clean House,

A life that’s totally spic ‘n’ span:

It’s all part of The American Plan.

Mommie Dearest

THE SHOW: The American Plan, the belated West coast premiere of an early (1990) work by Tony Award-winning playwright Richard Greenberg (best known for Take Me Out and the Pulitzer Prize finalist Three Days of Rain).

THE PLAY: Greenberg wrote The American Plan early in his career, not long after he graduated from Yale Drama School. He himself calls it a “gothic-melodrama-high-comedy-problem play.” It has elements of his later works – the clever repartee, literary references, sometimes self-congratulatory tone. It’s a comedy underscored with pain (so what else is nu? it’s a Jewish comedy!), but like bubba’s sofa, it’s overstuffed -- with revelations and complications. And even though I know full-well that you can’t impose autobiography on every literary creation, I couldn’t help but wonder if Richard weren’t having a particularly bad time with Mom when he wrote this. The mother in the play is a high-class, white-gloved harridan, an ogre with a slick veneer, hell-bent on controlling (read: destroying) her daughter’s life, all in the name of love. From the vantage point of 2008, the play reverberates with echoes of other works, old and new, from Henry James’ “Washington Square” (known onstage as The Heiress) to “Brokeback Mountain” and The Light in the Piazza, from “Delta Dawn” to “Dirty Dancing.”

The second-act coda, set ten years later, brings the proceedings to a somber conclusion, but the late-‘60s anti-war demonstrations outside the window of this elegant Manhattan apartment feel inorganic, unrelated and tacked-on to provide a political backdrop. And in the ‘unsatisfying finish’ department, despite the multiple disclosures and confessions in the twisty plot, we never do find out the backstory on all the characters; we learn about the tragic tribulations of handsome, hunky Nick, and the Holocaust horrors of Eva and her anti-Semitically undermined husband. But what about Lili? Is there really something mentally unstable about her, or have her mother’s Munchhausen-like ministrations crippled her for life? And what’s lurking behind the mask of Olivia? What keeps her in this rat’s nest? We’ll never know.

THE STORY: Set in the eat-till-you’re-sick Catskill Mountains (aka the ‘Borscht Belt’), the play is all about outsiders, and the double standards of a supposedly open-minded America. The title refers to the three-gargantuan-meal-a-day regimen at the upstate New York resorts that were heavily populated by middle- and working-class Jews, trying to get away from the City’s summer sizzle. Meanwhile, on the other side of Kaimesha Lake, a family of a whole other class looks down on the “lower life forms” who come to feed. The Adlers, after all, are German Jews, the supercilious upper-crust of Jewish immigrants. One has to wonder why they keep coming back to their pastoral summer place. But everyone here has ulterior motives, no one here is who s/he seems, and each of the five characters has his/her own ‘American Plan’ --- whether it’s the pursuit of money, control, a mate or escape.

Ethereal Lili stays at the family retreat with her imperious, overbearing mother, Eva. While Mom looks disdainfully and derisively at the nearby riffraff, Lily gazes longingly at the other side of the lake, dreaming of some mythical Prince who’ll whisk her away. And then, from out of that very lake, he rises… a handsome WASP who’s come to the quiet side to get away – from the food, the family, the shuffleboard tournaments -- and the fiancée. Lili lures him away, Eva accepts (and then manipulates) the budding relationship, while Olivia, the long-term, long-suffering maid, looks on silently (though she repeatedly reports Lili’s clandestine doings to her boss). When another attractive young suitor shows up, things get even more complex. And as the various stories unravel, truth becomes ever more slippery and elusive.

THE PLAYERS/THE PRODUCTION: The production is stunning. Wilson Chin’s set is beautifully bucolic, all grass, rocks and flowers, with a weathered wood walkway, an old rowboat, even a functional pond (ostensibly part of the lake). It’s a little tricky to navigate around the arena theater, though, since the set comes so close to the seats. Chris Rynne’s lighting is lovely and evocative, as is Paul Peterson’s sound (crickets and all). Kim Rubenstein (head of the UCSD undergraduate acting program) has cast and directed a marvelous ensemble, each a stellar character creation.

Kate Arrington is superb as wraithlike Lili, a strange and fragile young woman with an overactive imagination and a frightening mix of the odd and irresistible, the willing victim and family captive, the romantic dreamer and rational operator. She’s heartbreaking, from start to finish, and especially chilling in her final act. [Arrington is currently pregnant, which is completely hidden by her loose-fitting wardrobe, part of Emily Pepper’s excellent costumes. Later in the run, it may be difficult for her to look quite so virginal]. As her mother, Sandra Shipley is aptly austere and commanding, a gracious and refined monster. Patrick Zeller is handsome, affable and believable as Lili’s love interest, Nick Lockridge, and as the ‘other man,’ Michael Kirby also makes for a dashing presence. Sharon Hope is a bit of a cipher as Olivia, though that’s due in good part to the writing; we know so little about this character, or her loyalties. But like Arrington, she ages most attractively for the second-act coda.

The play may be flawed, but the production is flawless.

THE LOCATION: The Old Globe’s Cassius Carter Centre Stage, through March 30

BOTTOM LINE: Best Bet

Family Reunion

THE SHOW: A Shayna Maidel, by Barbara Lebow, opened in 1985, at which time the American Theatre Critics Association called it one of the best regionally produced plays of the season. Seventeen years ago, David Ellenstein directed the piece as part of the erstwhile Streisand Festival of New Plays. Now the artistic director of North Coast Repertory Theatre, he’s returned to the play that “had a profound effect” on him years ago.

THE STORY: ‘A Shayna Maidel’ is the Yiddish expression for ‘a pretty girl,’ but the term has as much to do with character as looks. In the Weiss family, Rose was the pretty one -- and the lucky one. She was able to escape from Poland during WWII, along with her father. But Lucia, sick with scarlet fever, was forced to stay behind with their mother. Financial circumstances prevented the father from getting the rest of the family out. Lucia and her mother were carted off to a concentration camp. Now it’s 1946, the war is over, and Lucia comes to New York to re-connect with her family, having lost her mother, best friend and baby daughter. She’s convinced she’ll find her missing husband in New York. Lucia is a hollow-eyed, haunted woman, a shadow of her formerly ebullient self (which we get to see in several intriguing flashbacks). She speaks broken English, she’s an alien to her sister (a very Americanized career girl), and she harbors anger toward her stern and forbidding father, for not being able to save or rescue his wife.

THE PLAYERS/THE PRODUCTION: The production starts off at a sluggish pace; we keep waiting for something to happen, just as Rose and her father wait impatiently for Lucia to arrive. The fantasy and flashback moments are bright spots: Lucia with her high-spirited husband (Christopher M. Williams), her playful best friend (Maya Baldwin) and her maxim-spouting Mama (D. Candis Paule). These secondary characters are less well defined, but nicely portrayed. Under David Ellenstein’s direction, it’s the awkward moments that fare best: Lucia and Rose, circling each other with ambivalence when they first reunite; Lucia and her father, comparing their carefully compiled lists, ticking off the names of the family dead (a stunningly understated scene); and the meeting of Lucia and her long-lost husband, Duvid (she can’t even look at him, the encounter is so overpowering; it’s a wonderful moment). As the highly assimilated Rose, Christy Hall grows in stature, empathy and credibility as the play proceeds. Ralph Elias nails the uncompromising nature of the patriarch Mordechai, who seems overly proud and unsympathetic (but who carries a picture of his dead wife every day of his life). Showing just a tad more of his subdued sensitivity and submerged pain would make the portrayal even more potent.

At the center of all the action and attention is Jessica John’s Lucia, a broken woman with a bent back and pallid, frightened face, who still retains the family sense of honor, pride and principle, even in her degraded state. John morphs magically from the grim solemnity of her present-day self to her jubilant, carefree youth. It’s a dazzling performance, guaranteed to move the hardest of hearts.

The title may be off-putting (by no means do you need to know Yiddish to appreciate the play), and the mere mention of the word Holocaust sends some folks running for the exit. But this touching, poignant drama is ultimately about resilience, reconciliation and hope. And it’s certainly worth seeing.

THE LOCATION: North Coast Repertory Theatre, through March 23

BOTTOM LINE: Best Bet

Comic Comadres

THE SHOW: A Clean House, the 2005 Pulitzer Prize finalist by MacArthur “Genius” award-winner Sarah Ruhl. It premiered at Yale Repertory Theatre, won the Susan Smith Blackburn Prize for Best Play by a Female Playwright, and after its Lincoln Center run, became the country’s second most produced play in regional theaters.

THE STORY: Lane, a supercilious and self-satisfied physician, has hired a Brazilian maid, Matilde, who it turns out, can’t stand cleaning. Instead, she spends all her time trying to come up with the perfect joke – in her native Portuguese – a joke that she thinks will have the power to make someone die laughing (which is exactly what happened to her mother, as we see in various mimed flashbacks). Enter Virignia, Lane’s depressed, disappointed and unfulfilled sister, who loves to clean and happily, secretly, takes over Matilde’s duties. When Lane is blindsided by her husband’s infidelity, and painfully confronted by his one true love, her world turns upside down (she even allows the house to get dirty). But when the free-spirited new wife, Ana, is diagnosed with cancer, all the women become inflamed with her passion, and they bond in an affecting display of amity and solidarity. This quirky comedy is laced with fantasy, humor, devotion and an affecting sense of sisterhood.

THE PLAYERS/THE PRODUCTION: The production (directed by Sam Woodhouse) gets off to a slow start. The real, risible comedy doesn’t kick in till the second act, which also has all the heart. There’s a whole lotta exposition and setup in the first act, and not enough payoff. But once we get to know this array of eccentrics, we grow to appreciate their unpredictable nuttiness, and the characters are free to do their wacky, off-the-wall thing.

As Lane, Rosina Reynolds, clad all in white (excellent and whimsical costumes by Jennifer Brawn Gittings), lives in a modern, starkly white house (lovely design by Victoria Petrovich, beautifully lit by Christian De Angelis). She wants her home immaculate and her emotions under control. As revelations unfold, she unravels. Ron Choularton has a small role as her husband, but his South American and Arctic mimes, during fantasy sequences, are great fun. Ivonne Coll is filled with fervor as the flashback mother and fiery Ana (but that gray wig doesn’t do her, or her character, justice). Claudia Vázquez is a hoot as Matilde, with her energetic acting-out of the Portuguese jokes we can never understand. But it’s Annie Hinton who just about steals the show, with her brilliant comic timing (that backwards tumble over the couch is a riot!) and side-splitting deadpan humor.

This kind of fantastical, unconventional comedy isn’t for everyone. But if it’s your cup of theater, it’ll go down smoothly.

THE LOCATION: San Diego Repertory Theatre, through March 22

BOTTOM LINE: Best Bet

THE READING CORNER

St. Patrick’s Day celebrations onstage:

…New Village Arts: Brian Friel’s Molly Sweeney, timed to coincide with the mainstage production of Friel’s Dancing at Lughnasa. 7:30pm on March 16 in NVA’s Carlsbad home. www.newvillagearts.org

… Chronos Theatre Group: two classic Irish works: J.M. Synge’s Riders of the Sea , The Gaol Gate by Lady Gregory. 7:30 on March 17^th at the Lyceum.

…, Carlsbad Playreaders: The Loud, Red Patrick, by John Boruff and Ruth McKenney. March 17, 7:30pm in Carlsbad’s Dove Library.

NEWS AND VIEWS ….

… Back where I belong… This Friday, 3/7, I happily return to my weekly Friday morning radio reviews -- at KSDS Jazz 88.3, a fun, welcoming, genuinely arts-friendly public radio station. Tune in at 9am every Friday, and take “Center Stage with Pat Launer,” at 88.3 FM. The web-stream runs a few minutes behind; check it out at www.jazz88.org

… Touching Tribute … The late Dr. Floyd Gaffney, professor emeritus in theater and dance at UCSD, founding member of the Department, and the father of African American theater in San Diego, was honored at UCSD last Friday. The highlight of the “evening of theater, music, song and dance” was a hilarious turn by TV actor and UCSD alum James Avery (seen here last year at the Globe in Two Trains Running). He was so funny, in fact (laughing and crying in his Gaffney remembrances) that master of ceremonies Jorge Huerta had to haul him off the stage, to give other folks a chance. There were laughs and tears, great stories (and a few spot-on imitations), and a gracious statement from Floyd’s ever-dignified widow, Yvonne. Floyd would’ve loved it all.

… A Cycle of August… and a Capitol idea! The Kennedy Center in Washington, D.C. is presenting the full, 10-play cycle of the late, great playwright August Wilson, in chronological order. The month-long series of readings will present Wilson’s decade-by-decade story of African Americans in the 20^th century. The Festival, featuring guest artists and directors, is being called “August Wilson’s 20^th Century.” “August wasn’t just any old playwright,” festival artistic director Kenny Leon told the New York Times. “He was up there with Shakespeare and Ibsen and Chekhov. He’s earned his place. I feel we should do our part to keep his words alive.”

Locally, Cygnet Theatre and the San Diego Black Ensemble Theatre have been doing their part, too, with staged readings of the cycle plays. Their presentation of King Hedley II will be re-staged at Moonlight’s Avo Theatre on Monday, March 10. www.moonlightstage.com

… Luna-tics… I was invited to the 4^th annual Lunafest at UCSD, an evening of short films by, for and about women. This national film festival, funded by those friendly makers of Luna bars, has been going on for seven years. Locally, 100% of the proceeds were donated to the Breast Cancer Fund. Inspiring to see all these young college women taking an active role in the arts and charitable giving. A few of the films, which ranged from 1-19 minutes in length, weren’t bad, either! The standout was “The Guarantee,” a dancer’s comical story about his prominent nose and the effect it had on his career. This 11-minute film was directed by Jesse Erica Epstein of New York, and intriguingly told with speeded-up, in-progress illustrative drawings. It was named Best Short at the Newport International Film Festival. I second the motion. Watch for (and attend) next year’s LunaFest. These enthusiastic students are trying hard to make this a high-power event.

…. And more films: As part of Women’s History Month, Eveoke Dance Theatre, in association with The Cultural Worker, continues Voices: A Women’s Human Rights Film Series, with dances, discussions, photography and more. Screening at 6pm on March 8: “Soraida, Woman of Palestine,” which asks the question: How to preserve one’s humanity in the midst of oppression? Showing on March 15: “Keep Not Silent: Ortho Dykes,” winner of the Israeli Oscar for Best Documentary and 8 other international awards. This film (which I’ve seen and reviewed) documents the spiritual struggle of three orthodox Jewish women, clandestine lesbians who are members of a secret support group called the Ortho-Dykes. Fascinating and troubling. At Eveoke Dance Theatre, 2811 University Ave. www.eveoke.org

… Behind the curtain… Malashock Dance continues its ‘Studio Series’ with another preview of its upcoming world premiere, Stay the Hand, a meditation on conflict and harmony, expressed through movement, Persian music and poetry. March 7-9, Dance Place San Diego. www.malashockdance.org.

… Myth-Making…. The Patricia Rincon Dance Collective presents its site-specific Myth Project III: American Dreaming, March 15-16 (8pm in a downtown San Diego warehouse) and March 29-30 in a historic 1883 schoolhouse in Encinitas). Details at: www.rincondance.org/events.html

.. And more dance: City Ballet presents a double bill this weekend: Carmina Burana, an abstract depiction of 13^th century poems discovered in the library of an ancient Bavarian monastery, set to music by Carl Orff; choreographed by elizabeth Wistrich. Also, “The Kingdom of the Shades” from La Bayadere, music by Leon Minkus, choreography by Marius Petipa (1877). In The Kingdom of the Shades, the warrior Prince Solor dreams of eternal love with his murdered lover, Nikaya, a temple dancer. At the Birch North Park Theatre, 3/7-9. www.cityballet.org

… Catch a Rising Star… “Rising Stars,” from the SDSU School of Music and Dance, will perform a concert Sunday, March 9 at 3pm in Smith Recital Hall on campus. Featured performers include Canada’s Cecilia String Quartet, soprano Maria Lozano, pianist Lois Kim and mezzo Victoria Robertson.

… Voices of the Angels … The Vienna Boys Choir is coming to the Balboa Theatre for one performance only: Sunday, March 16 at 3pm. The incomparable, pure-toned choir, founded in 1498, features an elite group of 100 grammar-school boys, gifted musicians who are rigorously trained. Tix at Ticketmaster or the Balboa Theatre and Civic Theatre box offices or www.sandiegotheatres.org.

… Dinah Was.. and ever will be… Obie Award-winning singer Yvette Freeman returns to North Coast Repertory Theatre to perform songs from her award-winning Off Broadway show, Dinah Was. This abridged version, Life and Loves of Dinah Washington, will be performed March 11 and 12 at 7:30 pm. www.northcoastrep.org

… Actors, Start Your Engines, Mark Your PDAs: San Diego State University is presenting a “Stage, Screen and Television ACTORS’ Conference,” April 26, 8am-5:30pm in the Extension Conference Center on the SDSU campus. The all-day event is geared for actors age 11 and up, and includes networking with top casting directors, agents and artistic directors from stage, film, TV, commercials and voiceovers. There will be lectures, master classes and audition appointments, with “professionals looking for talent right now.” The keynote speaker is Marcia Ross, executive vice president of Feature Casting at Walt Disney Studios. Local casting directors will include Steven Elton (NCRT), D. Candis Paule, Tina Real and Samuel Warren, as well as artistic directors Sam Woodhouse (SD Rep) and Brian Wells (Starlight). There will be reps from USC, and the Casting Society of America, among many others. Check out all the details, and the full Faculty list, at actorsconferences.com.

'NOT TO BE MISSED!' (Pat’s Picks)

The American Plan – flawed but intriguing play, gorgeously designed and performed

Old Globe’s Cassius Carter, through 3/30

The Clean House – quirky comedy, with dark undertones and some fine performances

San Diego Repertory Theatre, through 3/22

A Shayna Maidel – poignant play with a star-turn at its center

North Coast Repertory Theatre, through 3/23

Tick, Tick… BOOM! –energetic, rock-infused identity angst, from the creator of Rent

Stone Soup Theatre Company at the Academy of Performing Arts, through 3/30

Permanent Collection – provocative play, excellently presented

Mo’olelo Performing Arts Company at the 10^th Avenue Theatre, through 3/16

Rhubarb, or How to Play With a Rollergirl – delicious performances, intriguing new play

Moxie Theatre at the Lyceum, through 3/9

The Seven – hip and hip hop; young, fresh, exciting, and wonderfully performed

La Jolla Playhouse, through 3/16

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

Ahhhh…. Daylight Savings Time … an increased opportunity to enjoy the Great Outdoors before you duck into a theater. Spring Ahead!

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.