SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #264

By Pat Launer

www.sdtheatrescene.com

11/07/08

 

History was made this week,

And other past stories came back to speak:

A Class Act from the musical realm,

And 1984, which can still overwhelm.

 

 

 

Ignorance is Strength

 

THE SHOW: George Orwell’s 1984, a dramatization of the 1948 classic by George Orwell (né Eric Blair), adapted in 1963 by Robert Owens, Wilton E Hall, Jr. and William A Miles, Jr. 

 

THE STORY: We’re in a totalitarian superstate, in London. The ruling Party is called IngSoc (an Orwellian riff on English Socialism). We hear a voice reading from a diary: “To the Past or to the Future. To an age where thought is free, from the age of Big Brother. From the age of Thought Police, from a dead man, Greetings.” A chilling start to a still-unsettling story. The tale of Winston Smith, a low-level functionary who works in the Ministry of Truth; his job is falsifying facts, expunging and changing history. He does not love Big Brother, though everyone is fiercely encouraged to do so. When he meets Julia, he realizes that she feels the same. They fall in love and join the underground resistance. They set up a secret hideaway and share clandestine meetings. She even goes so far as to acquire a dress, and black-market coffee. And then, as is encouraged in this tyrannical society, someone accuses them of Thought-Crime, and they’re taken to the ironically-named Ministry of Love, where they’re tortured and forced to un-think impure thoughts, commit themselves to Big Brother – and renounce each other in the bargain. Everyone has his/her own Room 101, the most horrifying thing you can imagine (for Winston, it’s rats… hungry, horrifying, pacing in a cage strapped to his face)…. With fear, intimidation, cruelty and barbarity, you can get anyone to say/do anything. But does it cleanse their mind and soul? That’s for you to determine for yourself.

 

THE PLAYERS/THE PRODUCTION:  OnStage has mounted a forceful, compelling production. There’s a little fussiness in the scene changes, and a few lines were less than stable on opening night. But the dark, menacing intensity of the world Orwell created is effectively conveyed. It’s a quite different take from the production that came through on tour last year, from Tim Robbins’ L.A.-based Actors’ Gang. They were making a strong political statement with the piece, and staged the entire play in the interrogation room, more than casually reminiscent of both Guantanamo and Abu Ghraib.

 

But this production is more straightforward storytelling, and it lets the horrors unfold in the onlookers’ minds. There is, in fact, very little of the physical abuse that scorched the novel and the prior production. But as Hitchcock taught us years ago, what we conjure in our imaginations is often far worse than what actually transpires. And director James (Mike) McCullock gives enough suggestion to make us feel the intensity and terror. An expository slideshow opens the show, describing the tightly controlled world we’re about to see. It isn’t necessary; the story unfolds quite clearly. But the slide presentation does point to 1984’s relevance to today, and that’s potent. So are the performances. Rob Conway is spellbinding as Winston, a man who tries to hang onto his ability to think and feel, in the midst of ghastly mind-control. And Nicole Hagameyer is wonderful as Julia, strong and loyal, thoughtful and courageous, but still retaining the ‘look-at-me-I’m-wearing-a-dress’ needs of a woman in love. A.L. Haynes and Dan Feraldo are fine as other workers, and Bob Christiansen gives to O’Brien, the interrogator, a frightening, unnerving emotionlessness.

 

The set is stark and simple, the costumes simple but effective (workmanlike unicolor coveralls). Orwell is timeless; two new collections of his essays are being published this season, one provocatively entitled “All Art is Propaganda.” OnStage Playhouse has brought one of the writer’s seminal works to life; a potent, shiver-inducing story, powerfully conveyed.

 

THE LOCATION: OnStage Playhouse, through 11/29

 

 

 

Classy

THE SHOW: A Class Act, a musical with book by Linda Kline and Lonny Price; music and lyrics by Edward Kleban. The show was initially produced Off Broadway (Manhattan Theatre Club) in 2000, and then transferred to Broadway, where it ran for 105 performances in 2001. It was nominated for five Tony Awards, including Best Musical, Best Book of a Musical and Best Original Score.

THE STORY: A tribute to the life of Edward Kleban, created by friends of the composer-lyricist, weaving his songs through the biographical action. It starts at a memorial celebration (Kleban died of cancer in 1987, at age 48) and flashes back with remembrances of his lovers and friends. Kleban won a Tony and a Pulitzer for the lyrics of A Chorus Line, but he was a neurotic obsessive, who’d spent time in a psychiatric hospital and had many lovers but not that much happiness, and no success after the groundbreaking musical, though he wrote scads of songs. All he wanted, all his life, was to write the music and lyrics to a musical that would be produced. He never achieved that dream. But using Kleban as something of a symbol, the show is a paean to all those Broadway babies who feel compelled to write for musical theater, and how challenging and often unrewarding that path can be.

THE PLAYERS/THE PRODUCTION: This is a wonderful opportunity for San Diego State University’s graduate program in Musical Theatre to showcase its ten new MFA students. And a hugely talented group they are, one of the most gifted sets of newbies (though many already have impressive credits) in recent memory. And they fill their roles (musically and dramatically) remarkably well. At the center is Ira Spector as Kleban, nebbishy and convincing in his various phobias, manias and compulsions. Also his charm. Spector can sing and tap-dance, and exude an irresistible likability. Amy Fritsche is strong as the bitchy music exec, and Kyrsten Hafso, Katie Alexander and Nancy Snow are perky and genial as the other women in Kleban’s life. Joe Joyce is fine as the legendary Lehman Engel, who led the BMI Musical Theatre Workshop where Kleban met all the friends/lovers/admirers who populate the show.   And then there are the two theater superstars who make amusing appearances: Michael Bennett, director/choreographer of A Chorus Line, and Marvin Hamlisch, its composer. Billy Thompson, a gifted pianist as well as actor/singer, is a prancy, demanding hoot as Bennett. And self-aggrandizing Hamlisch is wonderfully portrayed by his youthful lookalike, Brandon Joel Maier, an alumnus of SDSU’s undergraduate theater program, and a staple in many musical productions (including a wonderful turn as Lockstock in Urinetown). The contentious relationship between the prickly composer and lyricist wasn’t dimmed by their mutual respect, or the outstanding result of their thorny collaboration.

 

The stage of the Experimental Theatre is nearly bare (scenic design by Kristine Kerr), but brilliantly punctuated by projections (designed by Dominic Abbenante & Kristine Kerr), displaying split-screen scenes of Paris and New York, and a sweet image of Kleban himself. Wonderful backdrop to the heartfelt proceedings, further enlivened by the period-perfect costumes (Jonathan Southwell), saddle shoes, ‘60s fringe-and-beads and all. Kleban’s touching, funny, often moving (but alas, unproduced) songs tell stories that perfectly illustrate his life: “Light on My Feet,” “Better,” “The Next Best Thing to Love,” “Self Portrait.” The accompaniment (keyboards and acoustic piano by Billy Thompson and Wendy Thompson, percussion by Jeremy Reinbolt) is just right, with that simple, raw, musical theater/backers’ audition feel.

 

This is a tricky musical to pull off, and under the direction of Paula Kalustian, SDSU does it proud – and shows off a group of performers it will be a delight to watch over the next two years.

 

THE LOCATION: SDSU Experimental Theatre, through 11/9

 

 

 

NEWS AND VIEWS

 

… New collaboration: The Actors Alliance of San Diego (AASD) and Compass Theatre/SD Theatre Scene. In a joint effort to better inform the local theater community, and take mutual advantage of the 500 paying members of AASD and 7000 subscribers to the SDTheatrescene (SDTS) newsletter, AASD will put a link to www.sdtheatrecom on the homepage of its newly expanded website (www.actorsalliance.com), so visitors have easy access to weekly previews and reviews. SDTS will increase the visibility of local performers by linking each actor’s photo to AASD’s full résumé and bio. Future collaborative plans include actors from AASD working with developmentally disabled adults, culminating in a small show at Compass Theatre; actors developing a ‘reading hour’ program for children, with stories read at Compass Theatre; bussing seniors to Compass to hear actors read from Shakespeare, sing musical classics, etc. The meetings and plans continue. Stay tuned….

 

… Perfect Pairing: Shakespeare and Music… The San Diego Shakespeare Society is holding its 2nd Annual Music Event, The Shakespeare Musicale, at the Neurosciences Institute in La Jolla, with a tuneful evening helmed by Sandra Ellis-Troy. The focus will be on the court music of Shakespeare’s plays, including Clown Songs, Drinking Songs, and “all manner of other Courtly frivolity.” Performers include Vox Nobili and the early music group, Courtly Noyse.  7:30pm on November 17. www.sandiegoshakespearesociety.org

…Master Class… with a Musical Theater Master… He’s spreading his wealth – of knowledge -- while he’s in town to present his wonderful solo, musical autobiographical show, Page by Page (at the Poway Center for the Performing Arts, 11/22; www.powayarts.org). Ken Page, star of the original casts of The Wiz, Ain’t Misbehavin’ and Cats  (and the voice of Audrey II in Little Shop of Horrors), will be offering a Master Class to the MFA Musical Theatre students at SDSU…. And the public is invited! Friday, Nov. 21 1-3pm, in the Experimental theatre. Further info: 619-594-8262 or mtarch@mail.sdsu.edu.

 

 Dance Corner

…Danceology… Try something new… and get a jump on an eclectic show that might be wending its way to Las Vegas. OLIO, The Show is a variety entertainment that traces the evolution of jazz in music and dance, from African rhythms to body percussion, spoken word to tap, spoons to hip hop.  One night only. November 8 at Danceology, 16625 Dove Canyon Rd., Ste 105, SD 92127. 858-613-1155. www.myspace.com/Oliosd

 

… Join the International Dance Exchange Alliance (IDEA). That invitation comes from Liliana Cattaneo Artistic Director of Xdrop. She took on the role of organizing the Alliance, she says, “due to my own frustrations with producing and presenting art internationally on an almost non-existent budget.” IDEA is a free network that “creates a platform for independent artists and companies to promote their work… cultivate social and cultural awareness… create a dialogue and exchange with artists from different arts background. Everyone is offered free information and contacts.” www.xdrop.org.

 

... Get an early taste of Patté… Reserve your tickets NOW for the 12th annual Patté Awards for Theater Excellence. www.thepattefoundation.org.

 

… Arts and the election… Americans for the Arts Action Fund President and CEO Robert L. Lynch said the following this week: “The historic election of Sen. Barack Obama to be the 44th President of the United States will have tremendous impact on the nation’s arts community, public schools and creative workforce. His commitment to arts and arts education on the campaign trail is just a preview of what his administration can accomplish. President-elect Obama demonstrates the leadership and vision to advance the arts in American through investing in more arts education in public schools, advocating for increased funding for the National Endowment for the Arts, promoting cultural diplomacy and supporting artists’ rights. {The} election results also expanded the base of support for the arts in Congress.”

 

Then, there’s a Call to Action, encouraging arts supporters to do the following:

  1. Send a letter of congratulations to the new Obama administration … and appeal to them to begin working on their campaign pledges in support of the arts and arts education.
  2. Ask all freshman members of Congress to join the Congressional Arts Caucus.
  3. Request that new members become a co-sponsor of the important Artist-Museum Partnership Act, which President-Elect Obama has cited as a priority in his pro-arts platform
  4. Call on Congress to support increased funding for the nations’ cultural agencies in the new budget year.

This could be a watershed time for arts. Stay involved. Help make change happen. www.artsactionfund.org

 

 

'NOT TO BE MISSED!' (Pat’s Picks)

 

George Orwell’s 1984 –  powerful and frightening; a scary story, well told

OnStage Playhouse, through 11/29

 

A Class Act – charming production, impressive talents

SDSU, through 11/9

 

Water and Power –  intense, suspenseful, political and expertly performed

San Diego Repertory Theatre, through 11/16

 

Don’t Dress for Dinner –  wacky farce, wonderfully done

North Coast Repertory Theatre, EXTENDED through 11/23

 

The Light in the Piazza – beautiful, lush, luscious and romantic

Lamb’s Players Theater, EXTENDED through 11/9

 

Boomers - you gotta love it, even if you aren’t one. Fabulous band, super songs, high-energy performances

Lamb’s Players at the Horton Grand Theatre, an open-ended run, now selling through 12/31

 

 

 

Celebrate a New Era for America… support the arts and go to a theater!

 

 

© 2008 PATTÉ PRODUCTIONS, INC.

 

For nearly 25 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 and celebrates the broad diversity of San Diego theater.