SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #271

By Pat Launer

www.sdtheatrescene.com

1/16/09

There’s foreplay and After-Play

When We Talk About Love.

And an American Buffalo

Crooks are covetous of.

Wooden Nickel

THE SHOW: American Buffalo, an early effort by David Mamet, which won the New York Drama Critics Circle Award for Best Play of the 1977 season. The play debuted in Mamet’s hometown of Chicago in 1975. This is Compass Theatre’s second foray into Mamet territory; they scored big with Glengarry Glen Ross in 2007.

THE STORY: Three small-time crooks (and big-time losers) plot to steal a coin collection, as an act of revenge. Donny, who owns a junk shop, inadvertently sold a Buffalo nickel for a lot less than it was worth. So retribution is due. At first, he’s going to let his young protégé, the dullard doper Bobby, do the job. But then Teach swaggers in with his foul-mouthed machismo, and he commandeers the entire enterprise. No one will wind up the better for it, and some people will get hurt. These guys actually convince themselves that this is their ticket out of Palookaville, but they ain’t goin’ nowhere.

THE PLAYERS/THE PRODUCTION: Director Ruff Yeager has captured all the humor, passion and tension of the piece. The pacing is excellent, and so are the performances. Walter Murray is the paternalistic Donny, trying to run interference between his two unruly surrogate sons: dim-witted Bobby and hot-headed Teach. Nathan Dean Snyder is a highly engaging presence as Bobby, perhaps a tad more lost than stoned or dense. But he’s got an endearing puppy-dog devotion to Don, who tries to instruct and protect him in the best way he knows how. They’re sweet together. But everything is thrown off-kilter when Teach enters the room. This is a terrific role for Matt Scott, who tears into the role with nervous, antic ferocity and seething anger. He’s oddly appealing and repulsive, convincing and delusional, all at the same time, which is the perfect mix for this brutal, self-serving misfit. The three play off each other extremely well, and slam Mamet’s barbed, vicious language against the walls of the overcrowded stage (nicely cluttered design by Chad Jaeger, the director’s brother; nifty props by Josh Hyatt).

The company has done a commendable job with this hard-nosed, hard-edged contemplation of friendship, loyalty, ‘business,’ and what ‘success’ really means. It’s a tattered postcard from the fringes of American society about the failure of the American Dream.

THE LOCATION: Compass Theatre, through 2/11

BOTTOM LINE: BEST BET

Short on Love

THE SHOW: What We Talk About When We Talk About Love, first of a two-part world premiere called He Said/She Said, focusing on the writings of a couple of great American authors: Raymond Carver and Grace Paley. Three Carver stories were adapted by local writer/SDSU professor-emeritus Federico Moramarco, who used to teach classes on Carver, arguably the most influential short story writer in America.

THE STORIES: Carver’s minimalist gems are less about plot and action than the “quiet desperation” (to quote Thoreau) of regular American lives. His American Dream is certainly fraying at the seams. Two couples appear in each of the short plays, which span three decades, from the 1970s to the 1990s (though Carver was actually gone by then, dead of lung cancer at age 50, in 1988). The pieces share existential angst, a long disquisition on life and love. Regardless of the age or marital status or apparent bliss of any given pair, there’s the sense that all is not well, that there is a profound and widening rift in the relationship, precipitated by a deep sense of loss, longing and despair. There’s also an inordinate amount of alcohol (marijuana, in the case of “Alaska”) consumed, as it was in Carver’s own life. What’s wonderful about Moramarco’s adaptations, coupled with his own and Glyn Bedington’s imaginative staging, is how much of the sly humor is brought out. We could be thoroughly enjoying an evening with some of these folks, if we didn’t feel the pull of dread and disappointment that underscores all their lives.

“What’s in Alaska?,” the most superficially amusing of the tales, features two young couples having something of a stoner party: trying out a newfangled bong, getting the munchies, laughing uncontrollably, rolling around on the furniture (which includes a beanbag chair). Non sequiturs abound. And then, an undercurrent of infidelity and secret plans disrupts the fun and tears at the friendships and relationships.

In “What We Talk About When We Talk About Love,” the couples (same actors, not the same characters) are somewhat older, more settled. One is a doctor. But the seemingly innocent stories they relate, the memories they recall, the reactions to each other, are seething with resentment and disappointment.

“Put Yourself in My Shoes” is the oddest and in some ways the most enigmatic of the three. A younger couple visits an older one, whose house they rented during a prolonged absense. Despite the surprise holiday visit, the older pair are gracious, over-solicitous hosts – until they unleash a tirade of pent-up ire and indignation.

THE PLAYERS/THE PRODUCTION: All around, this is an excellent showcase for Laterthanever Productions, a thinking-man’s theater of ideas. The two directors (Moramarco and Bedington) have done a masterful job of morphing one short play into the next. The actors dramatically alter their look and dress, as they simultaneously transform the set, turning a ‘70s pseudo-hippie lair into a sleek, upscale domicile (changing the carpeting and accouterments, switching out the “Hair” poster for one by Nagel), and then modifying it again into an Old World Germanic retreat (ingenious set design by David Weiner). And it all happens without an intermission.

The actors do an outstanding job of assuming varied guises and characters, not to mention wigs and costumes (delightful, era-defining getups designed by Jill Bennett and B.K. Phillips). Krista Bell has the ingénue looks, but in “Alaska” she’s quite the seductive, scheming spouse. Jude Evans makes his mark as a zhlubby nice-guy (who’s cluelessly being cheated on) and then a trapped lover and intolerant writer. The biggest dramatic (and comic) leaps are taken by Jacque Wilke and Neil McDonald. Wilke is a spectacular new addition to the local theater scene. She was fall-on-the-floor funny in North Coast Rep’s Don’t Dress for Dinner (a performance she’ll be reprising this summer), and she contributes a good deal of the humor here, too – as a giggly blonde stoner; a cynical, disaffected, middle-aged wife; and a cheerful (subtly livid) bent-over old biddy. Her facial expressions are a short story in themselves. McDonald, doing his best work ever, plays the most loquacious and instructive characters, who expound on life, love, discontent and disappointment.

Carver’s stories aren’t the easily resolved or feel-good type. They keep you thinking, talking and conjecturing. And that’s a good thing, brought effectively to the fore in this auspicious and satisfying opener to an intriguing and intellectually stimulating project.

THE LOCATION: Laterthanever Productions at the 10^th Avenue Theatre, through 2/1

BOTTOM LINE: BEST BET

Play on Words

THE SHOW: After-Play, the first produced play (1995) of Anne Meara, one-half of the Stiller and Meara comedy team that spawned, among other things, Ben Stiller. OnStage Playhouse is presenting the local premiere of the Off Broadway star vehicle.

THE STORY: Two couples swoosh in from a blustery night and a blistering evening of theater. But the chill never leaves (metaphorically speaking). These aging old friends haven’t been together in years; one pair of show biz veterans remains in New York; the other is doing the Hollywood thang. They arrive at Manhattan’s trendiest new restaurant, having just viewed the latest must-see play. These four don’t agree on anything, especially not the drama, which moved two of them to tears, while the other two saw only the seams, machinations and manipulations. As they quip and quarrel through the brief evening (it was written as an 80-minute one-act, but played here in two), the only thing they seem to agree on is disillusionment and regret, and the pain of ungrateful children. There’s a bit of otherworldly magic-making, and a twist at the end (if you haven’t seen it coming from the get-go).

THE PLAYERS/THE PRODUCTION: Meara is a comedian; this is a comedy. It unequivocally has a poisonous vein, laced as the play is with cynicism, racism, gay-bashing, nastiness and discontent. But it’s still a comedy, which has often been described as ‘hilarious.’ At OnStage Playhouse, it’s a drama, occasionally punctuated by laugh-lines. The balance is tipped in the wrong direction by director Steve Murdock and his cast. The pacing is slow, not the New York-minute, rat-a-tat tempo intended in the mouths of these high-strung, high-powered performing sharpies. Only Yvonne Lindroth Silva nails the timing and temperament, with her bitchy toss-offs and brittle barbs. As her husband, Michael Thomas Tower gets to tell a few Borscht Belt-type jokes, and he acquits himself well. As a male waiter of Middle Eastern descent, Rachel Bishop has a perfectly beatific face and ethereal manner. These larger-than-life narcissists should be engaging company, even if you wouldn’t want them for friends. But throughout, one refrain keeps repeating in your head: “Comedy?” Really?”

THE LOCATION: OnStage Playhouse, through 2/7

NEWS AND VIEWS

… Knockout, Sellout! The 12^th Annual Patté Awards for Theater Excellence have sold out once again, doubling the capacity in two years of being produced independently. That’s a terrific tribute to the theater community, and how important they know it is to get together, even in tough times, to celebrate the tremendous talent among us. If you weren’t able to snag a ticket, you can watch the show on Channel 4 – Friday, Feb. 6 at 8pm. Segments will be on youtube, and the webcast will be at www.thepattefoundation.org soon.

… Local Boy makes good… Eric Anderson, who performed in many local musicals, and was one of the House Performers for my Emmy Award-winning TV show, “Center Stage,” has just joined the cast of Lincoln Center Theater's Tony award winning revival of Rodgers & Hammerstein’s South Pacific. This is Eric’s Broadway debut; he takes over the role of 'Stewpot' from original cast member Victor Hawks. Anderson previously appeared as 'Merlyn' in the national tour of Camelot and as 'Burr' in the Los Angeles premieres of both versions of The Wild Party. His television credits include 'Law & Order: Criminal Intent,' 'Alias' and 'Dirt.' South Pacific opened on April 3, 2008. We hope it – and Eric – have a long and successful run!

.. 4x4 Returns… The presenter has changed, but the concept remains the same: a 4-foot by 4-foot stage and a 10-minute time limit for various types of performance (most often, dance) in the back lounge at Bluefoot Bar & Lounge. The inventive, artists’ showcase, which has been ongoing since October 2006, is now presented by BOUND. 8pm on the 2^nd Tuesday of each month. Admission is Pay What You Can. Coming up February 10: Liam Clancy, Monique Fleming, Jillian Chu and more.

… Arts Czar?? … There’s a petition going around that has purportedly been started by Quincy Jones, encouraging President-Elect Barack Obama to appoint a Secretary of the Arts, a cabinet position the U.S. has never had. As we all know, the country needs the arts now more than ever, and this is the President to deliver. Sign the petition at www.petitiononline.com/esnyc/petition.html

… Make a Scene… Point Loma Actors Workshop is offering an 8-week, in-depth advanced acting workshop, “Making Scenes 2009,” designed to help performers “develop character and find a personal acting technique.” The instructor is John H. Cochran. Limited to 12 registrants; begins January 19. info@pointlomaactors.com

… The Bishop is King!... Eric Bishop, Chair of the Performing & Media Arts Department at Mira Costa College, and winner of a 2007 Patté Award for Outstanding Direction, was a recent recipient of the Kennedy Center Golden Medallion of Excellence from Region VIII of the Kennedy Center American College Theater Festival. Only one person is selected for each of the eight national regions. Rock on, Eric!

… Recovery is Near!... After months of research, the San Diego Foundation announced that it is partnering with the United Way of San Diego County for a new initiative to help organizations survive the recession and thrive. The “Nonprofit Economic Recovery Initiative” includes workshops, assessments and customized implementation plans. “Survive and Thrive,” as it’s become known, is already in full swing. The Foundation is seeking $3-5million in community support to sustain the program. To contribute, contact Adrienne@sdfoundation.org.

Get in on the Ground Floor

… The San Diego Repertory Theatre and native San Diego writer/actor/director/producer Rick Najera are presenting a special workshop performance of a new Latino fatherhood comedy, Daddy Diaries. The Rep has previously hosted four of Najera’s original works: A Quite Love, Latins Anonymous, Latinologues and Sweet 15 Quinceañera. Daddy Diaries, about his experience as the father of three young children, is written and performed by Najera and directed by Gary Blumsack. One night only: January 27 at 7pm in the Lyceum Theatre.

… Local director/choreographer Javier Velasco and San Diego’s award-winning blues diva/activist Candye Kane are teaming up to present The Toughest Girl Alive, based on Kane’s vivid and dramatic life, which features some of the following highlights: ex-gang member, unwed teen mother, punk-rock, plus-sized, ex-adult filmstar; cancer survivor; bisexual blues phenomenon. Workshop performances of the new show with music will be offered to the public from 1/ 29-2/1 at Diversionary Theatre. Make reservations at http://www.facebook.com/group.php?gid=69987520183ref+ts.

'NOT TO BE MISSED!' (Pat’s Picks)

Cabaret Dances – smart, sexy, sultry and jazzy – in San Diego’s premier jazz venue

Jean Isaacs San Diego Dance Theatre at Anthology, Saturdays at 5pm through 1/25

American Buffalo – excellent production: intense, menacing and powerful

Compass Theatre, through 2/11

What We Talk About When We Talk About Love – superb writer/actor/director showcase, wonderfully executed all around

Laterthanever productions at the 10^th Avenue Theatre, through 2/1

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, extended again, through 2/15

Start the year off right – at the theater!

© 2009 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.