By Pat Launer, SDNN
Thursday,
July 9, 2009
READ REVIEWS
OF: “Coriolanus,” “Twelfth Night,” “Joseph and
the Amazing Technicolor Dreamcoat”
Big
Man, Big Pride
THE
SHOW: “Coriolanus,” Shakespeare’s final
tragedy, at the Old Globe
Caius Martius, a haughty
but honorable Roman warrior, defeats the Volscians at
Corioli and is given the name Coriolanus. He is then
persuaded, by his bloodthirsty mother, among others, to seek election as
consul, though the thought of currying favor with the masses repels him. When
two unscrupulous tribunes (champions and representatives of the people), incite
the commoners against the pompous patrician, Coriolanus angrily denounces the
plebian rabble. With encouragement, they turn against him and banish him from
the city. Enraged by this heinous, ungrateful treatment, Coriolanus craves
revenge; he swiftly joins forces with his sworn Volscian
enemy, Tullus Aufidius,
who’s preparing another attack on
Loosely based on a legendary Roman written about by
historians Plutarch and Livy, “Coriolanus” is atypical for a Shakespearean
tragedy, though it bears some elements of his other plays. The central
character is brought down by his own hubris. But he’s
not introspective at all; no second thoughts or self-reflective soliloquies for
this arrogant patrician. A fierce leader in battle, he has little ability to
interact effectively with others. He’s not as ambitious as, say, Macbeth, and
not as connected to his wife. But he is very strongly influenced by his
indomitable mother, though their relationship seems far less complex,
interesting (and sexual) than Hamlet and Gertrude’s. He is a boorish and
generally unlikable fellow, and he doesn’t change much over the course of the
play, which is, in many ways, more a disquisition on democracy and politics
than the vagaries of human behavior. All this and no comic relief; no wonder
it’s so rarely performed.
Darko Tresnjak, who has a penchant for neglected and
imperfect plays, has dusted off Coriolanus and placed him between the two world
wars. Interesting choice, since, during that time, both the Communists and the
Nazis co-opted the work and tried to make it bend to their way of thinking.
This is the only play of Shakespeare’s that was banned in a democracy in modern
times:
Although Shakespeare underscores the capriciousness
and herd mentality of the masses, he doesn’t take sides. And neither does
Tresnjak. You’re left to form your own opinions of whether Coriolanus was
unfairly abused, or whether his autocratic, anti-democratic stance got him what
he deserved.
Though the production takes the play and its issues
seriously, Tresnjak injects some whimsy – that doesn’t always work. The play
starts with a puppet/manikin, which also serves as the military-dressed young
son of the title character. There’s a fey party going on when Coriolanus
arrives at Aufidius’ digs. And most incongruous of
all, after he ends the piece with a stunning freeze frame of death, destruction
and a mother in shock, mouth gaping in horror as she recognizes that her
dictatorial entreaties have brought about the death of her son, he sends the
audience out with a light-hearted (if highly satirical) ditty, “Dear Hearts and
Gentle People,” crooned by Dinah Shore (and recorded in 1949, much later than
the setting of the play).
Though there are some breathtaking stage pictures,
the production is not fully satisfying. Greg Derelian
is a huge and commanding presence, a hulking, brawny force who
can lift smaller men with one hand; but he’s weak in terms of emotional range
and depth. As his mother, Celeste Ciulla, who’s been
so memorable in the past three Summer Shakespeare seasons (as Gertrude, Emilia,
Mistress Page, Mistress Overdone) doesn’t make much of a mark until her big
supplication at the end, where she’s loud and potent, but not as overpowering
as the role demands. As Coriolanus’ wife Virgilia,
USD/Globe MFA student Brooke Novak conveys minimal character, but she seems to
have an unexplained obsession with the radio. Charles Janasz
and Gerritt VanderMeer are
solid as Coriolanus’ friends, and Brendan Griffin does well as his arch rival, Aufidius.
The most fascinating characters are the tribunes
(Grant Goodman and James Newcomb), an eye-catching Mutt-and-Jeff pair who start
out slightly better dressed than the plebes (military and Depression era
costumes by Anna R. Oliver) and as their fortunes increase, thanks to their
self-serving machinations, they get better and better dressed, winding up like
an energized Didi and Gogo,
escaped from “Godot.”
Tresnjak has done an excellent job of condensing the
play, and interlacing battles scenes with the fretting womenfolk. The lighting
(York Kennedy) and sound (Christopher R. Walker) make a considerable
contribution to the bellicose proceedings (fight direction by Steve Rankin).
Those cascading red sparkles are especially striking as signals of the final
bloodbath.
There’s a great deal to command attention, but not
enough to hang onto, in terms of character and emotion. More nuance and
subtlety is called for in the individual performances. Still, you won’t be
seeing this play again any time soon. This might be your best chance to put
another checkmark on your Shakespeare viewing list.
THE
LOCATION:
The Old Globe’s outdoor Festival Stage, in
THE DETAILS: Tickets: $29-68.
Tuesday-Sunday at 8 p.m., playing in repertory
with “Twelfth Night” and “Cyrano de Bergerac,” through September 27.
THE BOTTOM LINE:
BEST BET
Sunny
“Night”
THE
SHOW: “Twelfth Night,” one of Shakespeare’s
most beloved comedies, at the Old Globe
The subtitle of “Twelfth Night” is “What You Will,
which suggests a sort of devil-may-care attitude. And that’s pretty much how
director Paul Mullins has approached the play. He drops his
The play begins with a shipwreck, and when Viola is
washed ashore, she’s sure her twin brother has drowned. The bereaved Lady
Olivia is grieving for her father and brother, both dead within the past year.
The Fool, Feste, is jocular but melancholy, singing
about death and “rain that raineth every day.” The
noble Count Orsino is despondent over Olivia’s
rejection of his suit (though his suit, in this production, is quite
attractive, and he’s not all that despondent). And then there’s Malvolio, Olivia’s supercilious steward, who’s
condescending to the eternal reveler Sir Toby Belch, the Lady’s uncle, and his
ridiculous sidekick, the silly squire and would-be Olivia suitor, Sir Andrew Aguecheek.
In the darkly comical subplot, Sir Toby and the
Lady’s maid, Maria, play a dastardly trick on Malvolio,
convincing him that Olivia adores him, and would love him to smile constantly
and cavort in yellow stockings with crossed garters, two things she actually
loathes. Not only does he make a total ass of himself, but he’s declared
insane, and locked up in a dungeon, visited by Feste
in various guises, thus heaping injury on insult. At the end, a disheveled and
deflated Malvolio furiously, ominously vows revenge
on the pack of them. But here, that heart-stopping moment passes without a
second glance, and all’s well that ends.
Which is to say that all the cross-dressing and
mistaken identity are righted and everyone finds the
perfect mate. Viola, who’s been disguised as a man, working for the Duke and
pleading his case to Olivia, is allowed to express her love for the Duke and
rebuff the love of Olivia, who’s thrilled to find that Viola has a double; and
her twin is both male and available.
The comedy is handled delightfully. Katie MacNichol is delectable as Olivia, dressed in gorgeous
black frocks (excellent costumes by Linda Cho); and becoming positively giddy
with lust for the young Cesario, aka Viola, deftly
and convincingly played by Dana Green (excellent on alternating nights as Roxane in “Cyrano”). James Newcomb, so
fine as the tribune in “Coriolanus,” is appealing as Feste.
Aubrey Severino, a USD/Old Globe MFA student, is
charming as the fun-loving schemer Maria, and as her partners in crime, Eric
Hoffman, also funny in “Cyrano,” and hilariously bumbling Bruce Turk, are a
hoot as Belch and Aguecheek. Patrick
Page, who gives a bravura performance as “Cyrano,” milks every moment of Malvolio’s comic antics – both as contemptuous twit and
absurdly grinning, cross-gartered fool for love. But at the end, a tad
more shading in his character, a momentary pall cast over the proceedings,
would have been nice.
At times, it seems like the setting and concept
overwhelm the play: the boats, the doo wop singing, the running up and down the
aisles, the shades and cigarettes and ‘50s bad-boy garb. But through it all, we
still see Shakespeare’s winking nod at the various forms of love – misguided,
conventional, self and true. If a light, frothy evening of fun and sun (sans
emotional clouds), is your cup of theatrical tea, this production will hit the
spot.
THE
LOCATION:
The Old Globe’s outdoor Festival Stage, in
THE DETAILS: Tickets: $29-68.
Tuesday-Sunday at 8 p.m., playing in
repertory with “Cyrano de Bergerac” and “Coriolanus,” through September 27.
THE BOTTOM LINE:
BEST BET
Go, Go, Go Joseph
THE
SHOW: “Joseph and the Amazing Technicolor Dreamcoat,” the Andrew Lloyd Webber perennial, at the Welk
Resort Theatre
This first
collaboration of Andrew Lloyd Webber and Tim Rice (which was followed by “Jesus
Christ Superstar” and “Evita”) lasted all of 15
minutes when it was initially presented in a
Told entirely in
song, this Biblical cantata, a wacky, eclectic mix of rock, country, disco,
calypso, French ballad and vaudeville romp, relates the Old Testament tale of
Joseph, the spoiled favorite of Jacob’s 12 sons. When Pop gives Joseph a
resplendent coat of many colors, the brothers are wildly jealous and plot to do
away with him, selling him into slavery. He gets in trouble with Potiphar’s seductive wife, but winds up in
The Welk Theatre production, energetically directed and
choreographed by Ray Limon, features a cast of nearly two dozen, half of whom
are members of Actors Equity. That’s more Equity performers than just about any
theater in town, with the exception of the Globe and the La Jolla Playhouse.
The singing and dancing skills are excellent; the numbers are fast-paced, fun
and engaging. The humor is wrung out of every corny moment, to fine effect.
As the narrator,
Anne Fraser Thomas displays an excellent voice, but not much spark of
personality. She also doesn’t move much, except up and down the center-stage
staircase (colorful set design by Gordon Richins;
clever props and costumes rented from Fullerton Civic Light Opera).
Carlos Martin is
comical as Pharoah; Kara Lynne Liotta
is sexy as Mrs. Potiphar. Still, the eyes are rarely
diverted from adorable, hunky Richard Bermudez in the title role. He has a
marvelous, mellifluous voice, and a set of washboard abs the likes of which you
won’t see too often on local stages. But he has a distracting habit of
retracting his lips when he sings, which makes it looks like he’s smirking or
smiling, even during the most serious of songs. I didn’t notice that when he
played Marius last year at Moonlight Stage Productions, but I wasn’t half as
close (and he wasn’t shirtless, to guarantee even closer attention). He’s a
compelling performer, and perfect as the gifted, vain and patronizing Joseph.
The musical accompaniment (three pieces, directed by Justin Gray) seems totally
synthetic and pre-recorded at the outset, but warms into a more live and
vibrant sound as it goes along.
The show is
silliness personified. But it lasts, because it’s a great story after all, and
it’s just tons of fun when it’s done well. And in Limon’s sure hands, it is.
THE
LOCATION:
The Welk Resort Theatre,
THE DETAILS: Tickets: $29-47,
performance only. $35-63 including buffet. Special
price for children age 3-15, $10. Tuesday, Thursday
& Saturday at 8 p.m., matinees at 1:45 p.m. on Tuesday, Wednesday,
Thursday, Saturday and Sunday, through August 30.
THE BOTTOM LINE:
BEST BET
NEWS AND VIEWS
… News from the Swan: Cygnet Theatre Company has announced
that the rock musical, “Hedwig and the Angry Inch,” originally scheduled
to run through August 9, will close July 12. The programming change is
reportedly “in part due to actor Matthew Tyler landing a role in the touring
company of ‘Mamma Mia’” “Hedwig” was initially slated to be Cygnet’s final
production in its Rolando space, but artistic director
… Baird is Back:
…More Shakespeare: The San Diego Shakespeare Society
continues its popular Open Readings series, starring… YOU! Anyone is invited to
participate, on the first Tuesday of every month. Coming up,
the Scottish play, “Macbeth.” You can join in, or just listen. Local Bardophile Jack Winans directs.
August 4, 6:45-8:45 p.m. at Upstart Crow Bookstore and Coffeehouse in Seaport
Village, 835 West Harbor Dr. Free admission and parking validation. www.sandiegoshakespearesociety.org
… Gay Pride: With Pride weekend coming up 7/17, the 23 year-old Looking
Glass Theatre is getting in the mood, presenting “Jeffrey,” Paul
Rudnick’s romantic comedy about the chaotic love-life of a gay man who swears
off sex. For the second year, Looking Glass will be an Arts & Culture
Partner of San Diego LGBT Pride, with all proceeds going to that organization. 7/9-11 at the
Out and About
…
…FUSION Theatre Company of
New Works
… New Voices: That’s what Vox Nova means, and the fledgling
company, dedicated to new works, is presenting its second new play festival,
Supernova 2, which premieres three creations: “El Jardin
Secreto,” adapted by founding artistic director
… Burt rides again: PowPAC,
Poway’s 28 year-old Community Theatre, is presenting the world premiere of “Ridin’ Through That Rainbow: A Tribute to Burt
Lancaster,” written and performed by Steve Oliver, an actor who’s appeared
locally at Sledgehammer Theatre, Vantage Theatre and PowPac,
and on TV in “Simon and Simon,” “Days of Our Lives” and “General Hospital.” The
solo show follows the movie legend’s life and career, from his humble start in
1945, through his 1960 Oscar for “Elmer Gantry,” to his final film, in 1990,
“Voyage of Terror: The Achille Lauro
Affair.” Over the 45 year timespan covered in the
play, Lancaster, who died in 1994 at age 81, appeared in 85 films and three
stage productions. The one-night tribute/retrospective will be directed by
Brooke Blue. July 26, 7 p.m., at the PowPAC Theatre,
… A Grand Old Flag: Get ready to salute a new patriotic musical
revue, “Let Freedom Ring,” created by
PAT’S PICKS: BEST
BETS
“Twelfth
Night” – not perfect, but perfectly good fun
The Old Globe’s
Festival Stage, in repertory through 9/27
“Coriolanus” – political and provocative
The Old Globe’s
Festival Stage, in repertory through 9/27
“Joseph and the Amazing Technicolor Dreamcoat” – funny, colorful, well sung and danced
The Welk Resort Theatre, through 8/30
“Cyrano de Bergerac” – stunning,
magnificent production of a timeless, heart-rending classic
The Old Globe’s
Festival Stage, in repertory through 9/27
Read review here:
http://www.sdnn.com/sandiego/2009-07-01/things-to-do/pat-launer-on-san-diego-theater-cyrano
“Over the Tavern“ –
Oh, those wacky Catholics! A laugh-a-minute comedy with a terrific cast
North Coast
Repertory Theatre, through 7/12
Read review here:
http://www.sdnn.com/sandiego/2009-06-24/things-to-do/pat-launer-on-san-diego-theater-tavern-west
“The Fantasticks” – musical, fanciful, delightful
Lamb’s Players
Theatre, through 7/28
Read review here:
http://www.sdnn.com/sandiego/2009-06-17/things-to-do/pat-launer-on-san-diego-theater-fantasticks#mini
To read any of
her prior reviews, type ‘