SAN DIEGO THEATRE SCENE

"CURTAIN CALLS" #274

By Pat Launer

www.sdtheatrescene.com

02/06/09

There’s ritual in Since Africa

And there’s magic in Pippin,

While the hypocrisy of humans

has The Misanthrope flippin’.

Cross-Cultural Communication

THE SHOW: Since Africa, a 2005 drama based in fact, by Chicagoan Mia McCullough. It was a finalist for the prestigious Susan Smith Blackburn Prize for female playwrights. Mo’olelo Performing Arts Company produced the play’s West coast premiere, at Diversionary Theatre, in 2006, directed by founding artistic director Seema Sueko. The stellar production marked her directing debut. She now reprises that role at the Old Globe, in their interim arena stage setup, in the auditorium of the Museum of Art in Balboa Park.

THE STORY: The fictional character, Ater Dhal (based on real-life “Lost Boys of Sudan”) has been transported to Chicago from a refugee camp in Kenya. He’d walked, barefoot, 1000 miles, like other young boys in his Dinka tribe, to escape the civil war in his country. It was a perilous journey, averting death with every step. The survivors, no longer ‘boys’ at all, are said to be “emotionally dissociated.” Ater is just trying to adjust to his new life, getting sick from the unfamiliar food, getting in trouble for his honesty and work ethic on the job. He’s being aided in his acculturation by do-gooders like the wealthy dilettante Diane, a recent widow (whose husband died in Africa), and the mild-mannered deacon of the sponsoring church, Reggie Hudson (who’s always wanted to go to Africa). Each of the three, as well as Diane’s 23 year-old daughter, Eve, is struggling with her sense of self and her place in the world. Myriad themes are explored: Religious and secular concerns; ritual and traditional perspectives; trivializing native beliefs; separating from one’s parents – or one’s culture; and the intricacies of inter-cultural communication. By the end, every character is forced to make decisions and undergo change. Weaving her way in and around the proceedings, unseen by all but the audience, is The Nameless One, a spirit guide who represents the old ways, the African traditions, what’s left behind and yet to be retrieved in terms of culture and ritual.

THE PLAYERS/THE PRODUCTION: There was something exciting in the tense, taut intimacy of Sueko’s original production at Diversionary. In the temporary digs of the Old Globe, the piece is performed in the round, and the challenges of that opening-up are formidable, and not successfully surmounted. The Nameless One (wonderful Kristin D. Carpenter), in white face-paint and traditional African garb, is forced to dance around in circles, endlessly circumnavigating the stage. Though she watches and facially reacts to the action, she is sometimes cast in very dim light.

Several scenes take place in a car, enacted on a turntable in one corner of the playing space. It has to be moved by the ‘driver’s’ feet, which is often distracting; not only that, but there are times when the backseat driver (Diane), screams something like ‘Turn left!’ and the ‘car’ moves decidedly to the right. What keeps the play from being as heartfelt and moving as it was in its first local incarnation is the lack of subtext. The characters are played primarily on the surface, and some of the most telling moments from the original go by without notice. Chief among these are the subtle interactions between mother and daughter, and the seminal phonecall – the first in 14 years – between Ater and his mother, recently ‘found’ alive in Africa. The role was originally played by a real Sudanese ‘boy,’ Alephonsion Deng, who had recently reconnected with his mother in Africa; so he was able to bring an ache that anyone could understand, despite the language barrier. Here, the scene was a toss-off, a non-event.

Linda Gehringer, who was so wonderful last year in The Women at the Globe, plays one shrill, grating note as Diane. Willie C. Carpenter’s deacon Hudson underplays the character’s nascent racism; his Reggie is a kind of bumbling nice guy, trying to decide whether he wants to know where he really comes from, or not. The revelation of his shared history with Diane is another scene that should be shocking, but falls flat. Ashley Clements is most natural and credible as daughter Eve, grappling with her independence, her mother’s overprotection, her own past and her father’s death. She shows more annoyance with her mother than true intergenerational conflict. Warner Miller is engaging as Ater, but he never really succeeds in drawing us deeply into his inner turmoil.

Nick Fouch’s set is functional (though there is that ‘car’ problem) and Jason Bieber’s lighting is lovely (except for The Nameless One). Paul Peterson’s sound is effective, and Charlotte Devaux’s costumes are apt. Overall, though, this production seems to underscore the play’s weaknesses, and it engages the head more than the heart.

THE LOCATION: The Old Globe, in the Museum of Art, through 3/8

Phonies and Fakes

THE SHOW: The Misanthrope, Molière's 1666 classic about a pathologically honest (but hypocritical) detester of society's flatterers and phonies. The play was intended to skewer French aristocratic society, but it clearly and amusingly enumerates the flaws all humans possess. Though not a commercial success in its time, the satire survives as one of the master’s best-known works.

THE STORY: Alceste, the people-hater of the title, is quick to cite the flaws of those around him, and to disdain their false and fawning behavior. But at the same time, he cannot help himself from loving Célimène, whose every action is the antithesis of everything he stands for and believes in. She’s a flighty and flirtatious young woman, primarily concerned with appearances, conventions and tittle-tattle. The play gleefully attacks the injustice of the justice system and the social games people play. Ultimately, Alceste’s inability to cope with society’s inescapable affectations causes him to forsake Célimène and “this bitter world where vice is king.”

THE PLAYERS/THE PRODUCTION: Using the lovely, amusing, poetic Richard Wilbur translation, director Jim Winker (a UCSD professor, Old Globe associate artist, and outstanding actor too rarely seen on local stages) has created a marvelous production, set in the filmic ‘30s. Most striking are the stunning costumes of Christine Crook, who justifies her recent Patté Award for Outstanding Costume Design. Her sumptuous, elegant creations for Célimène (Cate Campbell) defy description, with their feathers and froufrou, huge bows and perfectly matched accessories. Simply gorgeous. And Campbell wears them with elegance. This first-year MFA student will be delicious to watch over the next two years. Here, she displays a delightful insouciance, a playful, seductive mien. And her final moment in the spotlight is inspired. Far from distressed at being abandoned by all her competing suitors, she looks in the mirror, likes what she sees, and erupts in a silent explosion of sheer exaltation.

All the actors handle the poetic language well. Joel Gelman is fine as Alceste, but he leans too heavily on anger and yelling. As the self-aggrandizing dandies pursuing Célimène, Johnny Gill, Patrick Riley and Nathan Turner are hilarious, and each one’s foppish outfit is more outrageous than the next. Josh Wade is convincingly sensible as the rational, compromising Philinte, friend of Alceste, who expounds on the necessity of self-censorship and polite flattery. Pearl Rhein, though too youthful for the older, moralistic Arsinoe, is perfectly rigid and snooty in the role. The set (Thomas George) is a fascinating combination of ornate and austere: nine high panels of woven reflective plastic, adorned with mirrors, plus a chandelier and five chairs. James Tan’s lighting design bathes the proceedings in warm colors. But the themes can be icy cold, and that’s what makes it chilling… and thrilling. A glorious production.

THE LOCATION: UCSD Theatre and Dance, in the Weiss Forum Theatre, through 2/7

BOTTOM LINE: BEST BET

The Picaresque Prince

THE SHOW: Pippin, the early musical by composer/lyricist Stephen Schwartz (Godspell, Wicked), that was actually written when he was still as student at Carnegie Tech (originally titled, Pippin, Pippin, it was first performed by Carnegie's Scotch'n'Soda theatre troupe). But it wasn’t until the success of Godspell that Pippin was professionally produced, and Roger O. Hirson was brought in to tweak the book. Bob Fosse was added as director-choreographer, and he also served as uncredited co-librettist. Fosse added all the dark, sexy choreography and the unforgettable razzle-dazzle, as well as the god/demon character, Leading Player, reportedly inspired by the Master of Ceremonies in Cabaret, a role that garnered a Tony Award for Ben Vereen. The show, which ran for nearly five years beginning in 1972, was nominated for 11 Tonys (including Best Musical), and won five.

This is the second collaboration of Deaf West Theatre and the Mark Taper Forum. Their first joint venture, the spectacular Big River, wound up going to Broadway in 2003, and won a special Tony Award for Excellence in Theatre. Deaf West has been presenting musicals for the past ten years. For this production, composer Schwartz created a new song, “Back Home Again.”

THE STORY: The son of Charlemagne, King of the Franks, 8^th century emperor of the Holy Roman Empire, Pippin can’t seem to find his own place in the world. Like Candide, he seeks glory – and meaning in his life -- first in war, then as a lover, and finally as a defender of social justice. He feels unsatisfied with all three, and ultimately finds happiness in settling down to middle-class domesticity with a widow and her son.

The musical is constructed as a vaudeville/commedia/magic show. The Leading Player directs all the action, and controls the lights, costumes and players, in a meta-theatrical conceit.

THE PLAYERS/THE PRODUCTION: From the first moment of this bilingual production (American Sign Language and English), hands are prominent. The initial image, emerging from a dark stage, spotlit in fiery red (stunning lighting by Donald Holder) is two lithe arms, sprouting from holes in the floor, signing. Then the opening number, the best and best-known in the show, “Magic to Do,” bursts forth.

At the center, throughout, is the (Machiavellian) Leading Player, Ty Taylor, bare-chested and hot, charismatic and commanding, attired in red and black and feathers. Though he moves well, he doesn’t dance much (there’s a paucity of choreography throughout the production, and high-octane dance was the signature of Fosse’s original), but he signs and sings simultaneously with sharpness and facility, as do other high-profile performers such as Sara Gettelfinger (seen, hilariously, in San Diego in Dirty Rotten Scoundrels at the Old Globe, a role she also played on Broadway) and Harriet Harris (who appeared at the La Jolla Playhouse – and on Broadway -- in Thoroughly Modern Millie and Cry-Baby). Both are wildly funny, Gettelfinger as the conniving Queen who just wants to get her son onto the throne, instead of Pippin; and Harris as Pippin’s wise, raunchy, big-skirted Grandma, whose costume hides many human surprises (the imaginative sets and costumes are by Tobin Ost). James Royce Edwards is a hoot as hunky, lunky step-brother Lewis, and Troy Kotsur is wonderfully droll and compelling as papa Charles (aka Charlemagne). Dan Calloway does an excellent job as the deep, rich, sarcastic voice of Charles (especially funny in “War is a Science”). The role of Pippin is played by two actors – one deaf, one hearing – an approach that worked extremely well in Big River. Here, instead of virtually ignoring the double-casting, they sometimes display individual personalities, and even conflict at the end over whether or not Pippin should stay with Catherine (Melissa van der Schyff, endearing) and her young son (L.A. 7^th grader José F. Lopez, Jr.). A very effective choice. Both Pippins, Tyrone Giordano and Michael Arden, are engaging, wide-eyed naifs, and Arden has a lovely voice. Several performers are veterans of Big River: Kotsur, van der Schyff and the Pippins (Giordano and Arden played Huck Finn and Tom Sawyer, respectively).

Still, with all the glitz and energy, talent and enthusiasm, something’s missing. The integration of sign doesn’t work as seamlessly as it did in Big River. And the most thrilling moment in that production, when “Waiting for the Light to Shine” was sung multiple times and then signed without sound, doesn’t succeed half as well here. The song is less memorable, and without that repetitive familiarity, the audience has a harder time filling in the lyrics when the music is removed. The precision drill-team signing was more noticeable in the prior production as well. The sign translation itself seemed less lyrical and poetic, perhaps as a function of this show’s text and lyrics.

Still, there are many magical moments, including a fascinating instance of four-handed sign. The cast looks good (especially the scantily-clad female Magician Assistants), but inventive director Jeff Calhoun could have added more dance; Fosse’s decadent undertones are represented in other ways, such as an debauched orgy for the two Pippins. But the accent here is less on the darkness of the piece, more on the journey to self-discovery. This production didn’t induce rapture like Big River did. But it has many delights, and experiencing a bilingual sign language musical is exciting in and of itself. And the imagination brought to the production is impressive. See it if you can. The cast has “magic to do.”

THE LOCATION: The Mark Taper Forum, through 3/15

BOTTOM LINE: BEST BET

Quickie….

The Toughest Girl Alive, a world premiere musical based on the wildly dramatic life of blues singer/activist/punk rocker/ex-gang member and former porn star, Candye Kane (music and lyrics), directed and arranged by Javier Velasco, director of San Diego Ballet. In the brief, one-weekend airing of the new piece at Diversionary Theatre, award-winning pianist Sue Palmer was on the upright, with Kane’s son, Evan Caleb, on drums, abetted by guitarist Laura Chavez and bassist Paul Loranger. To convey the story of rape, alcoholism and other personal and familial horrors, the acting and singing responsibilities were shared with the charismatic Kane by talented Amy Biedel and James Vasquez. I was glad I got to see it, though I can’t really write about it, since this was a workshop production. But the house was full, and ‘scouts’ from several local theaters were there to scope it out. Keep a lookout for it at a theater near you….

NEWS AND VIEWS

… A video of the 12^th Annual Patté Awards for Theater Excellence will be up on The Patté Foundation website soon (www.thepattefoundation.org)… as will a clip on youtube. Watch for ‘em!

… Meet the Playwright… The Old Globe is presenting a special one-night Post-Show Forum with John Guare, who created Six Degrees of Separation, currently running at the Globe (through 2/15). The Obie and New York Drama Critics Circle Award-winning playwright (House of Blue Leaves, Landscape of the Body) will chat with Globe Executive producer Lou Spisto. In the Old Globe Theatre, February 10 at 8:30pm, following the 7pm performance. Tickets at www.theoldglobe.org.

… Schroeder returns… Schroeder’s, San Diego’s cabaret patterned after clubs in New York, L.A. and San Francisco, is gearing up again in new digs, after a hiatus searching for a space. They’re now located at Tango Del Ray, and re-opening with a bang on Valentine’s weekend. An impressive roster of some of their long-time favorites will be performing, including Bettina “Pixie” Warren, Debra Wanger, Phil Johnson, Melinda Gilb, Rayme Sciaroni, Ole Kittleson, Sandy Campbell and Leigh Scarritt. Check ‘em out at http://tangodelrey.com.

Transitions

… After 16 brief but fruitful months, Maria Glanz, artistic director of the Playwrights Project is, sadly, returning to Seattle. In view of the current economic climate, she and her husband have decided to return home, to be near family and friends. Managing Director Cecilia Kouma will assume leadership responsibilities, while the board weighs long-range options. Maria displayed a delightful demeanor, and a wonderful way with kids. We wish her all the best back home.

… In view of the current political climate, Cygnet Theatre has decided to postpone, indefinitely, its production of Assassins. In its place, they’re bringing back the little gem of a “silent movie musical,” Bed and Sofa, which they presented, as the Southern California premiere, to enormous acclaim in 2004 (the show won a Patté Award for Outstanding Production). The run dates are the same as previously announced: April 23-May 31 on the Old Town stage. www.cygnettheatre.com

… A little good news in bad times… It isn’t exactly local, but we’ll take any good financial news for any theater. Pasadena Playhouse announced a $300,000 grant from Wells Fargo Bank, to become the naming sponsor of the theater’s Diversity Project. The multi-year grant will fund the project for three years. Bravo, Pasadena! Good fortune for one theater is good news for all.

… Ready and on a Roll… The delightful indie film, Ready?OK!, written and directed by San Diegan James Vasquez, has been making the rounds of film festivals. It just played the Palm Springs International Film Festival (with Kaye Ballard, now a huge fan, in the audience). Last fall, the flick won the Seattle Gay and Lesbian Film Festival…and now moves on to international fests. The DVD will be out March 23. Support your local director and actors (lots of familiar faces onscreen in this one, including Jim Chovick, Sandra Ellis-Troy, Ari Lerner and Steve Gunderson). Buy it, see it, savor it. http://www.readyokmovie.com.

… Changing Hats… Steven Oberman, Marketing Coordinator for Moonlight Stage Productions takes on a new role as playwright. His world premiere comedy, Claire Voyant, a comic-book spoof about psychic superheroes, will run at the Avo Playhouse May 7-17. Former Moonlight managing director Jim Strait directs.

…Theater inspires Dance… This weekend only, Diversionary Theatre experiments with a new inspiration/collaboration called Dance/Theatre. Six local choreographers were invited to create new dance works inspired by past Diversionary productions. The creators and their inspirations are: Javier Velasco/Torch Song Trilogy; Peter G. Kalivas/M. Butterfly; Deven P. Brawley/Bent; Bradley Lundberg/Jeffrey; Daniel Marshall/Women Behind Bars; and Jessica Humphrey/Pulp. Thursday through Sunday only, 2/5-8. 619-220-0097.

… Speaking of dance-theater, the Patricia Rincon Dance Collective is staging “The Myth Project IV: Fairy Tales from the Fringe.” Inspired by the fairytales of the 15^th-18^th centuries, the new creation delves into themes of heroism, morality, beauty and poetic fantasy. Set in two very different, site-specific locations -- a cathedral and a library – using dance-theater, storytelling, music, visual art and “a little magic.” Feb. 20-21 at St. Paul’s Cathedral; March 6-7 at the Encinitas Library. www.rincondance.org.

…and more dance… Javier Velasco keeps keeping busy… with Dance/Theatre at Diversionary, The Toughest Girl Alive world premiere play with music (see above), and now a choreographic world premiere: his own Romeo and Juliet. Velasco’s version was created for former San Diego Ballet principal Chelsy Meiss, who’s currently with the National Ballet of Canada. SDB principal Pali Udvarhelyi will dance the role of Romeo. The new ballet focuses on “the intimacy of two young people in love,” says Velasco. February 13-15 in the Lyceum Theatre. www.lyceumevents.org.

…The Road to Coronado… In conjunction with its production of The Wizard of Oz (through March 8), The Coronado Playhouse has teamed up with the Hotel del Coronado for a special event called “Follow the Yellow Brick Road through the Del.” The event, to be held in the hotel gift shops, will feature live actors in costume from the show, and a historian to discuss the relationship between “Wizard” creator L. Frank Baum and the Hotel Del. The event is free, with various ‘specials’ for theater ticket-buyers. February 14, 2-5pm www.coronadoplayhouse.com

… A San Diego favorite hits big-time in London… Italian bass Ferruccio Furlanetto, who is about to open in the title role of Don Quixote at the San Diego Opera, has been nominated for an Olivier Award (London’s Tony Award) in the category of “Most Outstanding Achievement in Opera,” for his portrayal of King Philip in Don Carlo. Furlanetto performed the same role in the San Diego Opera’s 2004 production of Don Carlo. The upcoming production of Don Quixote, which also features renowned mezzo soprano Denyce Graves, opens Valentine’s Day and runs for four performances, through 2/22. www.sdopera.com.

… Get your tickets now for The Vagina Monologues, presented by InnerMission Productions, in association with Triad Productions and StepUp Theatre. Carla Nell directs, for the 8^th year in a row, and I’m thrilled to be part of the large cast, which also includes actors Jo Dempsey, Kym Pappas, Wendy Maples, Wendy Savage and KUSI’s Kristen Cusato. The performance, which takes place on February 26 at the Birch North Park Theatre, will be followed by a gala at Claire de Lune, across the street. Two days later, on February 28, you won’t want to miss the San Diego premiere of the male counterpart, The MENding Monologues (conceived by Derek Dujardin, directed by Christopher Burger), at the 10^th Avenue Theatre. The beneficiary of the performances and fundraiser is the San Diego Center for Community Solutions. Tickets and info at: http://www.innermissionproductions.org.

'NOT TO BE MISSED!' (Pat’s Picks)

The Misanthrope – stunning production, wonderfully directed and delightfully amusing

UCSD Theatre and Dance, in the Mandell Weiss Forum, through 2/7

Pippin – exciting, inventive, bilingual production (English and American Sign Language)

Mark Taper Forum, L.A., through 3/15

Love Song – quirky, dark comedy, excellent performances

Cygnet Theatre, through 2/22

Doubt – stellar performances, thought-provoking play

San Diego Repertory Theatre, through 2/8

The Dresser – a tour de force at the center of this theatrical drama, with fine performances surrounding it

North Coast Repertory Theatre, through 2/8

Six Degrees of Separation – wonderful ensemble, intriguing play, excellent production

The Old Globe Theatre, through 2/15

American Buffalo – excellent production: intense, menacing and powerful

Compass Theatre, through 2/11

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

The fruit trees are in bloom… celebrate the coming of spring!... with theater tix!

© 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.