SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #265

By Pat Launer

www.sdtheatrescene.com

11/14/08

Prometheus and the Cyclops made much ado

About The Last Night of Ballyhoo.

Georgia on My Mind

THE SHOW: The Last Night of Ballyhoo, the Tony Award-winning, Pulitzer Prize-nominated 1997 play by Alfred Uhry (“Driving Miss Daisy”). Inspired by the playwright's childhood memories, the piece was originally written as a series of vignettes, each featuring a different family from Atlanta's exclusive Standard Club. After the premiere at the Alliance Theatre in Atlanta, Uhry revised the play for the New York opening, opting to focus solely on the Freitag family, expanding their story into two acts.

THE STORY: It’s December, 1939, and Hitler is making inroads into Poland. But in Atlanta, the Freitag family is more concerned with the Ballyhoo cotillion and the opening of “Gone with the Wind.” Though they’re Jewish, they have a Christmas tree in their parlor. And the main focus is on the two young girls in the household (Lala and Sunny) and whether or not they’ll have dates for the big dance on the last night of Ballyhoo. But the two widowed aunts, and a never-married uncle who holds the household together, are oblivious to more than the world political situation. Though they’re subject to bigotry by their non-Jewish neighbors, they also don’t realize their own hypocrisy, prejudice and self-loathing. They’re German Jews, who look down on the ‘other’ kind of Jews, whom they won’t even admit into their country club. Those are the Jews from Eastern Europe, the ones they perceive as lower class and lesser than. When Joe Farkas, the patriarch’s employee, comes to the house, the two young women are intrigued, but their mothers are less impressed; after all, he’s one of ‘them,’ with a New York accent and a lack of Southern manners. Over the course of the play, the family is forced to confront its own narrow-mindedness and learn a little tolerance – and a lot more about their own religion.

THE PLAYERS/THE PRODUCTION: The play is a comic drama, with plenty of laugh-lines, but many touching moments and a number of unsettling scenes (and unnerving language; typically, when one aunt calls Joe “kike,” there’s an audible gasp from the audience. On opening night, the line inexplicably drew laughter). Talented director Tim Irving, who doesn’t work nearly enough on local stages, brings his gift for comedy to the fore, but he also underscores the dark underbelly of the piece, the internal racism that haunts so many minority groups. His attention to the shadowy elements pays off well, because it makes the play more disquieting and thought-provoking.

Irving has chosen an excellent cast to flesh out his ideas -- and each of the characters, each of which is carefully etched. Danny Campbell is avuncular as long-suffering Adolph, who’s besieged by the four women of the family. Only he notices what’s going on in Europe, and he’s also smart enough to hire Joe and see his worth. Campbell brings a wistful sadness to Adolph’s touching speech, when he recalls the only woman he ever loved, whom he never even had the nerve to talk to. Jill Drexler is comical as the overbearing and overprotective Boo, mother of the dilettante/fantasist Lala (spot-on DeNae Steele), who fancies herself a modern Scarlett O’Hara, and even dresses like her for Ballyhoo. Lala is a pitiful character, an oddball social outcast who has to deal with her mother’s stifling disappointment, as well as competition with her smarter, less-Jewish-looking and more accomplished cousin, Sunny (Morgan Trant, excellent). Sunny’s mother, Reba (Dana Hooley, highly amusing) is a bit dotty, but more accepting of differences than Boo. By the end, Lala marries well, if wealth and Southern status are the criteria, which they unequivocally are for her mother. Boo pushes relentlessly for a match with well-to-do Peachy Weil (Jude Evans, funny and brash, without being over the top), an obnoxious bigot whose condescensions nearly break up the budding romance between Sunny and Joe (wonderfully earnest Alex Chernow, fresh out of high school).

Overall, it’s a superb mix of veteran actors (Hooley, Drexler) and newcomers (Chernow, who will soon be headed for David Mamet’s New York training program, the Atlantic Acting School). The set (Tim Wallace) is a family parlor, perhaps not as opulent as this wealthy upwardly-aspiring family would like. The design makes a simple conversion for the train scenes (a piece of leather thrown over a bench). The costumes (Mary Larson) are period-perfect. But most notable about this production is the ensemble acting; kudos to Irving and his crackerjack cast for that.

THE LOCATION: Scripps Ranch Theatre, through 12/6

Bound and Gagged

THE SHOW: Prometheus Bound and The Cyclops, a pairing of two ancient one-acts in San Diego’s newest theater space. Plays by two of the Grecian Greats: a tragedy by the dramatist Aeschylus and a satyr comedy by Euripides.

THE BACKSTORY: In ancient Greece, tragedies like Prometheus Bound were often offset by comic relief, in the form of satyr plays. They were tragicomic in their storylines, but played like burlesque. The chorus comprised satyrs, the part-man/part-goat followers of Dionysus, god of wine, ritual ecstasy and theater. They were boisterous creatures of the woods, dedicated to drinking, pranks, merriment, overt sexuality (typically sporting large phalluses) – and cowardice. The material for the satyr plays, like the tragedies, was taken from mythology. The Cyclops, by Euripides, is the only complete satyr play to survive.

THE STORIES: In Greek mythology, Prometheus was a Titan (i.e., a god) known for his wily intelligence. He stole fire from Zeus and gave it to mortals for their use, prompting the despotic Zeus to punish him mercilessly; his greatest crime was challenging the omniscience and omnipotence of the tyrant, by teaching and protecting humans. Prometheus was tied to a rock, while an eagle ate his liver every day, only to have it grow back (since he was immortal), to be eaten again the next day. In the play, the long-suffering Prometheus also claims that, in order to help save mortals from Zeus’ intention to obliterate them, he taught humans writing, mathematics, agriculture, medicine and science. Io, another victim of the Zeus’ anger and violent retribution, is anachronistically injected into the story. In this version of the myth, Prometheus is the benefactor of humanity, and Christ-like (in modern interpretations), he sacrifices himself for Man and suffers for his sins. This play is considered by many to be Aeschylus’ best; the heroism of the title character inspired many subsequent writers (Goethe, Byron and Shelley among them).

The tale of the Cyclops is part of the mythical travels of Odysseus. At the beginning of the play, Silenus, the aged leader/father of the satyrs, explains the backstory: the satyrs went searching for Dionysus and on their journey, a storm blew their ship off course, stranding them in Sicily, in the land of the Cyclops, near Mt. Etna. Now they are slaves to Polyphemus, the huge, one-eyed, man-eating monster. Hungry and lost, Odysseus appears, and negotiates with Silenus for food. The hero turns out to be quite the trickster, effectively seducing the satyrs with wine. Nevertheless, Silenus betrays him and the Cyclops still eats some of the sailors. In a humorous moment, the Cyclops also chides Odysseus for the foolishness of the Trojan War (fought over a woman). When the brute is in a drunken stupor, Odysseus rams a sharp stake into the one eye; he, his ship’s survivors and the satyrs escape.

THE PLAYERS/THE PRODUCTION: The Theatre, Inc.’s intimate new space is charming, and the seats (capacity of 62) are cushy and comfortable. And onstage, artistic director Douglas Lay has done a fine job with both plays, straightforwardly (and in the case of The Cyclops) amusingly translated by Dr. Marianne McDonald.

In Prometheus, the projections (digital design by animation professional Tom Christ) are outstanding and add terrific dimension to the proceedings: the craggy cliff; the tumbling boulders; the streaks of lightning; the magical flying approach of the winged horse, Pegasus, carrying Hermes; the cavorting dolphins in the kingdom of Oceanus. The costumes (designed by Lay) are whimsical and fanciful (low-budget but engaging). Lay knows how to create compelling stage pictures; there are many visually striking moments. Not all the actors emote equally well, and they’re often facing upstage, wearing masks (Melissa Hamilton is the most clear-spoken of the women). Bianca Chapman does a commendable job of portraying the tormented Io. Rhys Green is more understated as Hermes than as Oceanus; his voice tends to overpower the small space. In all ways, the tragedy belongs to Brian Abraham, a towering presence who’s potent in retelling his story (though alas, we’re forced to hear it too many times). His suffering is palpable, evoking the crucifixion, his feet crossed and nailed, his arms outstretched (attached to the walls by chains), bloody scrapes on his body. The image and the portrayal leave an indelible impression.

Abraham is also forceful and towering as the Cyclops, both a menace and a buffoon. Green shines here as the devious and disloyal Silenus (Daddy Satyr); Greg Lawson, Devin O’Neill and Marcuz Rodriguez are comical as his salacious ‘sons.’ Chris Fonseca is a strong presence as the cunning Odysseus.

The two plays take only 90 minutes, and they underscore the extraordinary range of Greek entertainments. Although death also occurs in the satyr play, the antics definitely provide comic relief after the relentless agony of Prometheus. An auspicious opener for a new theater space (with an impressive 6-year lease). Just one word of advice as The Theatre, Inc. moves into the future: proofread.

THE LOCATION: The Theatre, Inc. (899 C St., downtown San Diego), through 12/14.

This double bill runs in repertory with a reprise (new and improved!) of Euripides’ Helen, starring Robin Christ, which shows on Sunday nights at 7pm, November 23-December 14.

A Fitting Tribute

As executive director Deborah Salzer steps down (but not away) from the Playwrights Project she founded, a throng of appreciative and adoring folks came to honor her retirement, and her commitment to literacy, writing, storytelling, theater education, and developing young writers and theater artists, many of whom she gave a first chance. The event was called Lights Up! Playwrights Take the Stage, and featured a VIP reception, followed by delightful excerpts from some of the most memorable winners of the Plays by Young Writers statewide competition Salzer initiated. My favorite over the years remains Forty Miles to Tel Aviv (2003), about a Palestinian suicide bomber, written by the gifted Brandon Alter when he was just 18. I’d still give it a Patté Award for Best New Play! The acting in the scenelets was wonderful; one selection came from New Village Arts’ staged reading of Simply Maria by Josefina Lopez (who created the stage and screen versions of Real Women Have Curves), which had taken place the night before. The evening’s most touching tributes came from the playwrights themselves, including Lopez (very teary and grateful) and Annie Weisman Macomber, who went on from her 1992 production at Playwrights Project, We’re Talking Today Here, to have her plays mounted at the La Jolla Playhouse (Be Aggressive) and the Old Globe (Hold, Please), among other prestigious venues. Actor Linda Libby sang a funny riff on “If I Were a Rich Man” (“If I Were Deb Salzer”), written by playwright Karen Hartman (In My Mother’s House, 1986). The winners of this year’s annual statewide contest were announced and introduced; in the 11-14 year old category, one of those whose scripts will receive a reading is Leah Salovey, daughter of the San Diego Rep’s associate artistic director, Todd Salovey. Guess the theater-blood runs in the family. I was privileged to be a presenter of the first annual Deborah Salzer Excellence in Arts Education Award, which quite appropriately, went to Deborah herself. She was, as always, humble and gracious. It was a lovely, warm, heartfelt evening, honoring one of San Diego theater’s true luminaries.

NEWS AND VIEWS

… Brushing up its Shakespeare (twice)… The San Diego Shakespeare Society is holding its 2^nd Annual Shakespeare Musicale, overseen by the inimitable Sandra Ellis-Troy. November 17 at the Neurosciences Institute in La Jolla… The next week, there’s a staged reading of The Tempest, featuring the fabulous Kandis Chappell, associate artist at the Old Globe, in the magical role of Prospero. Her former drama teacher, Jack Winans, directs. November 24 at Westminster Presbyterian Church in Point Loma. www.sandiegoshakespearesociety.org

…Masterful!… Broadway celeb Ken Page, star of the original casts of The Wiz, Ain’t Misbehavin’ and Cats, will be offering a Master Class to the MFA Musical Theatre students at SDSU…. and the public is invited! He’s in town to present his stellar musical autobiography, Page by Page (at the Poway Center for the Performing Arts, 11/22; www.powayarts.org). And we all benefit from this added bonus! The Master Class will be held Friday, Nov. 21 1-3pm, in SDSU’s Experimental Theatre. Info at: 619-594-8262 or mtarch@mail.sdsu.edu.

… Fired and Tired?... Here’s some comic relief: The Carlsbad Village Theater is presenting a one-night-only interactive show called Thank You for Firing Me! The production spotlights comedians, some of whom were former executives, and local comic Vickie Barbolak, voted ‘America’s Funniest Mom.’ Malibu Mike plays “Dick Tator,” the ‘idiot boss’ who will ‘fire’ theatergoers as they enter the venue. Also in the lobby: a job placement table, a CD with info on new careers in emerging green industries, and more. As the producers put it: “The grim news about the economy is nothing to laugh at. Or is it??” Performance on Saturday November 22 only. www.after5comedy.com.

… Radio Drama… Scott Paulson, the Patté-winning soundmaking mastermind, who’ll do his wildly inventive thang again in Cygnet Theatre’s It’s a Wonderful Life: A Live Radio Play, is presenting his own radio drama at UCSD. The family-friendly show, which takes place at the Geisel Library, where Paulson works as outreach coordinator, will be staged in front of an exhibit of turkey-related items he put together. The bird array includes a number of turkey feathers, which oboists like Paulson still use to clean and dry out their instruments during performances. Who knew? Wed. Nov. 26 at lunchtime (12:30pm). Bring the kids.

… From stage to screen… A film adaptation of the knockout Tony and Pulitzer-winning August: Osage County, is in the works. Playwright Tracy Letts has been commissioned to write the screenplay.

… Getting young folks into the theater… The Broadway League has decided to extend its Kids’ Night on Broadway program, which allows children age 6-18 to attend certain Broadway shows for free. It will now become a year-round program, with different shows taking part each month. Something for the next incarnation of the San Diego Performing Arts League to consider.

… Kids onscreen… Coming this weekend: Film School Confidential 2008: A Showcase of San Diego Student Films. Hosted and curated by film critic Beth Accomando, the 7^th annual festival features short films by budding filmmakers from high school through grad school. The films were chosen based on teacher recommendations. Following the presentations, there will be a dessert buffet with the filmmakers. November 16, 6pm, at the Museum of Photographic Arts in Balboa Park.

…Post-election Shakeup in Sacramento... The artistic director of one of the premier musical theater companies in northern California, the California Music Theatre and Sacramento Music Circus, Scott Eckern, angered the theater community nationwide when it was revealed that he donated $1000 to support Prop 8, the anti gay-marriage amendment. Outraged emails flew through the blogosphere, from Tony Award-winning Hairspray composer March Shaiman, Tony-nominated actor Susan Egan (Triumph of Love, Beauty and the Beast) and Tony-winner Jeff Whitty, librettist for Avenue Q. All were calling for theater artists and theatergoers to boycott the theater. Many bloggers called for Eckern’s ouster.

In response, Eckern released a public apology, stating that he had mistakenly “understood that in California domestic partnerships come with the same rights that come with marriage…. I now have a better idea of what the discrimination issues are… and I am deeply saddened that my acting upon my religious convictions has been devastation to those I love and admire.” Eckern, a practicing Mormon, and a graduate of BYU, noted that his sister is a lesbian in a domestic partnership. Duly chastised, he went on to donate $1000 to the Human Rights Campaign, which works to achieve GLBT equality.

The LA Times' Culture Monster blog noted that Avenue Q’s Whitty accepted Eckern's apology. Hairspray's Shaiman suggested that a gay-rights benefit at the theater would help repair the damage. In the meantime, Eckern, who also serves as president of the League of Sacramento Theatres and sits on the board of the National Alliance for Musical Theatre, resigned his position. He released a statement saying that he quit "after prayerful consideration to protect the organization and to help the healing in the local theatergoing and creative community." He had been with the California Music Theatre for 25 years.

Said Sacramento theater critic Kel Munger, “This is a mess. It's bad for theater and bad for LGBTQ folks… Threatening boycotts and costing him his job doesn‘t help Eckern see that he was lied to by the people who told him that marriage equality would somehow cause harm to his religion. Instead, it justifies their lie… Here‘s a fact about fighting fire with fire: It leaves everything in ashes.”

…. Preview of Patté… Reserve your tickets or table NOW for the 12^th annual Patté Awards for Theater Excellence. www.thepattefoundation.org.

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'NOT TO BE MISSED!' (Pat’s Picks)

The Last Night of Ballyhoo – funny and thought-provoking play, lovely performances

Scripps Ranch Theatre, through 12/6

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

OnStage Productions, through 11/29

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

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

Honor our Veterans.. take one 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.