Pat Launer on San Diego Theater
By Pat Launer, SDNN
April 1, 2010
Barber-ous Butchery
THE
SHOW: “Sweeney Todd,
The Demon Barber of Fleet Street,” the 1979 Stephen
Sondheim musical classic, at Cygnet Theatre
Behold Victorian London, where extreme class distinctions meet the
cannibalizing effects of the Industrial Revolution. That’s the environment that
spawned Sweeney Todd. For two centuries, the saga of “the demon barber of Fleet
Street” has captivated the public, a dark revenge tragedy about a victim of
society, driven mad by his fixation on vengeance and his rage at the inequities
of his uncivil civilization.
Sweeney’s story first appeared in a penny-dreadful serial entitled “The
String of Pearls” (1846-1847), which was quickly re-worked as a melodrama,
billed as “founded on fact.” But no historical evidence has ever been found;
Sweeney is an English urban legend that Americans have hungrily embraced (we do
love our blood-lust). A 1973
Five movie adaptations appeared from 1926-1970, leading up to 2007’s slasher film starring Johnny Depp.
A ballet version was performed by the Royal Ballet in 1959.
But it was the music and lyrics of Stephen Sondheim that immortalized the
tale of the butcherous barber who returns to
In a climactic moment in the musical, Sweeney has the judge in his
specially outfitted chair, biding his time, wistfully singing about “Pretty
Women,” when the magistrate is suddenly called away. The barber snaps, and his
fulminating wrath turns indiscriminate; he begins to systematically slit the
throats of all his tonsorial customers, whose bloody bodies are then ground
into meat pies by his enterprising accomplice, the cheerfully barbaric baker,
Mrs. Lovett.
There are several side-stories: a love affair between Anthony (engaging,
sweet-voiced Jacob Caltrider), the young sailor
Sweeney meets on his return trip to London, and Sweeney’s beautiful young
daughter, Johanna (lovely, golden-voiced Ashley Fox Linton), a ward/prisoner of
Judge Turpin; the self-important, self-flagellating Judge (
Of course, center stage, there’s Sweeney and Mrs. Lovett. Cygnet artistic
director
Deborah Gilmour-Smyth, the associate artistic director of Lamb’s Players Theatre,
is stupendous as Mrs. Lovett. With her wide-ranging vocal prowess and acting
acumen, she’s expansive and expressive; romantic and flirtatious; motherly and
tormenting; vicious, protective, playful, imaginative, and very, very funny.
It’s a knockout performance. Their duets, especially the deliciously wicked “A
Little Priest,” are sheer delight.
All the singing is outstanding, as is the musical accompaniment, under
the direction of
The evocative, bi-level set (Sean Fanning) features sooty brick walls and
rusty double-doors that open to a smoggy
In execution, the production is traditional; there are no outrageous
liberties taken or new perspectives offered (in John Doyle’s acclaimed 2005
Broadway revival, in which the ten actors also served as the show’s musicians,
the entire tale was told as a remembrance, by a straitjacketed Tobias). Here,
the ‘dead’ (or characters who don’t actually belong in a scene) rise to sing
chorus parts, but the dim lighting helps, and the conceit generally works. In
fact, everything works here -- like crazy.
This is one glorious, gory, musically miraculous production. Do not miss it.
THE LOCATION: Cygnet Theatre,
THE DETAILS: Tickets:
$17-$49. Wednesday-Thursday at 7:30 p.m., Friday-Saturday at
8 p.m., Sunday at 7 p.m., Saturday-Sunday at 2 p.m., already extended
through May 9
THE
BOTTOM LINE: Best Bet
BSA
THE
SHOW: “Speech and Debate,” a 2006 comedy, at
Diversionary Theatre
It begins with a little voyeurism. The first thing we see is a projection
of an evolving conversation in a gay online chat-room. An older man (36) is
setting up a meeting with an 18 year-old. At the same time, a wacky, friendless
female is video-blogging (in song!) about the drama teacher in her high school,
who goes after boys. A third student, a geeky would-be
journalist, wants to write a school paper exposé on the Mayor, who seems to be
a pedophile.
Ultimately, they all come together in the Speech and Debate club. Each
has a sexual secret. In this coming-of-age tale, they all learn about privacy
rights and public humiliation, when it’s okay to speak out and when it’s best
to clam up. As they explore the heinous hypocrisy of the adult world, they’re
forced to confront some of their own. Ultimately, they explore their own
emerging identities.
Playwright Stephen Karam created the play when
he was just 25, working from actual transcripts of online chats between the
former mayor of
The characters are quirky, the dialogue is quick, quippy
and clever – and, according to a gay high schooler I spoke to, very close to
the bone and true to reality. We learn that BSA doesn’t just stand for the Boy
Scouts of America; it’s the “Bathing Suit Areas” the students are taught about
in the school’s ‘Stranger Danger’ lecture. These kids are having sex and
obsessing about sex, considering exposing a scandal focused on sex, but the
parts put to use for it are called Bathing Suit Areas.
The oddball Diwata (wildly funny Rachael VanWormer), a talentless, wannabe musical theater starlet,
can’t get cast in the school play (by the same drama teacher she’s already
exposed online – by name). She’s convinced that the various Speech and Debate
team presentations will showcase her talents. Howie (Markuz Rodriguez, solid, underplayed), the new gay boy in
school, wants to form a GSA, Gay-Straight Alliance. Solomon (Kevin Koppman-Gue,
funny in his seriousness), the brainy, nerdy, alligator-logo shirt-wearer,
wants to get his articles about the sex scandal published. In the end, in some
way, they all get what they want.
But first, these misfits come together for a wild interpretive
performance, after they share their secrets and their dreams -- about Mary
Warren, the weak-willed witch-exposer in Arthur
Miller’s “The Crucible,” in Diwata’s case; for Howie, it’s a fantasy about a young, gay Abraham Lincoln.
The play is amusing, enjoyable, a little off-the-wall, fun and
informative, an intriguing reflection of the youthful zeitgeist, the plight of
the high school outcast, the search for identity and developing an ability to
communicate. The adult perspective is provided by a rule-following teacher and
a probing public radio reporter (both well played by Wendy Waddell).
There are a few unconvincing moments: What 18 year-old wouldn’t know what
ROFL means, for one thing? (Rolling on the Floor Laughing,
for you non chat-roomers, Facebookies or tweeters).
Structurally, the Speech and Debate meeting is far more effective than the GSA
gathering, which is followed by an awkward (not in a good sense) scene between
the two boys.
But the Diversionary Theatre production is delightful, under the assured
direction of Jason Southerland (the artistic director of Next Theatre in
The play is young and hip, a sometimes startling,
if accurate, consideration of high school outcasts and the effects of the
internet’s unique brand of communication. Take a trip back to high school (if
you dare); you’re sure to have a few (uncomfortable?) laughs.
THE LOCATION: Diversionary
Theatre,
THE DETAILS: Tickets: $25-$33;
Wednesday-Thursday at 7:30 p.m., Friday-Saturday at 8:00 p.m. Sunday at 2 &
7 p.m. Special added performance on Monday, April 5 at 7:30 p.m.;
through April 11
THE
BOTTOM LINE: Best Bet
War-time
Romcom
THE
SHOW: “Alive and Well,” a co-world premiere, at
the Old Globe
“Alive and Well,” alas, is neither. A flawed play in a flawed production.
It seems that the primary interest of playwright Kenny Finkle was trying his hand at a romantic romp in the mold of
“It Happened One Night” or ”My Man Godfrey,” with their hard-boiled dolls doing
battle with a diametrically opposed male; the quippy
conflict leads inexorably to love. The Civil War part just appears to provide
an untried setting, for no deeply discernible reason.
Zachariah (James Knight, charming and likable) is a Civil War re-enactor,
a coarse, rugged kind of guy who chews loudly, with
his mouth open (that’s how we first see him). Zack’s (mis)match
is Carla (Kelly McAndrew), a Yankee city-girl (though,
except for her Blackberry, there’s absolutely no way to know that. McAndrew’s look screams Girl Next Door – down to the
ponytail).
Why a man with machismo, ensconced in a macho Southern culture, would be
a big old crybaby is beyond credulity. But it’s only the first of many
cognitive-emotional stretches in the piece.
Carla’s supposed to be a feminist – but she loves James Bond movies. And
she’s a journalist who says she’s not good at asking questions, and admits that
she hasn’t done any prep for this assignment. Oh, and while we’re talking
realism, what freelancer gets $5000 sight-unseen for a magazine piece, with
$2500 provided up-front?
So, here’s the setup: Carla’s an out-of-work writer who’s been hired to
spend a week tracking down an elusive Lonesome Soldier, the oldest living Civil
War veteran, and Zachariah is to be her guide. Wait a minute! Wasn’t the Civil
War over in 1865? Since the play is set in the present, that would make this
Confederate 165 years old. Didn’t that cross Carla’s mind? Or is she too self-absorbed (yes!) to do the
math?
Of course, they get off to a bad start. On first sight, she criticizes
his eating habits; very refined manners on her part. She is, overall, an
annoyingly persnickety type who can never be wrong – about anything. She looks
down on him and his country ways. Then his compass goes kerflooey
(can that really happen?) and they get lost and stranded in a storm.
Conveniently, they’ve both just been dumped by their mates. But
even at the end, there’s little real chemistry or connection between them.
Perhaps they’re supposed to be emblematic of the North/South divide.
They’re not. He’s way too hypersensitive and weepy, and she’s too… unbelievable
(except when she gets drunk on his moonshine; that’s McAndrew’s
finest and most credible moment, by far). There are many character
inconsistencies. He’s a cab driver (“I do re-enactments to feel alive”), who
keeps a journal and uses words like “snarky” and “ironical,” but has no idea
who Georgia O’Keefe is. And she never heard of “hardtack.”
For the journey, she wants to use her GPS and stay in hotels that have WiFi. He’s all for roughing it, so she can get a real feel
for this “sacred” land, and for the significance of the surrender at
Appomattox, where they’re headed (about 100 miles away). But when they get
there and view the little courthouse, there’s no payoff. We aren’t given enough
to make us understand why he’s so impassioned by this place, and why she
becomes so enamored of his passion. Speaking of passion, there’s no romantic
payoff. It’s fine, and cute, that she keeps interrupting his attempts to kiss
her, but can’t they finally get the job done at the end, so we get a little
closure, too?
Even the couple’s comeback contest (of the “You’re so stupid…” variety) is
uninspired, and features nothing but old, worn “rankouts.”
This ‘Anything You Can Do’ competition scene might’ve been a lot more
imaginative if Finkle had actually come up with his
own fresh, new comebacks.
There are problems with the direction as well. Jeremy Dobrish
doesn’t make the greatest use of the arena stage. It seemed like every time
Zack was slobbering over food, it was directed at just one side of the house.
Same side as when he helpfully removes Carla’s clothes, when she’s too drunk to
do it herself. Fortunately, we were seated on that side. But I think other
theatergoers missed some of the good stuff. And how about
that rifle? How’d it appear at the end, when it didn’t seem to be with
them in the cabin after the storm?
The production values, as always at the Globe, are excellent.
I’m all for theater collaborations – this is a co-world premiere with
Virginia Stage Company in
THE LOCATION: The Sheryl and Harvey White Theatre at the Old Globe,
THE DETAILS: Tickets:
$29-$62. Tuesday-Wednesday at 7 p.m., Thursday-Saturday at 8 p.m., Sunday at 7
p.m., Saturday-Sunday at 2 p.m., through April 25
NEWS
AND VIEWS
… Back to the Bard: The fifth annual
Student Shakespeare Festival,
organized by the San Diego Shakespeare
Society, is a free, one-day outdoor festival that will showcase the talents
of more than 500 local students as they perform 10-minute scenes from the
Bard’s timeless plays. Among the dozens of presentations, you might see
Shakespeare done with puppets, in American Sign Language, or danced to Latin
jazz. It all begins at 12:30 on April 24, with a parade of costumed performers
starting at the Organ Pavilion in
…
… Bunny Buds: The Moonlight Cultural
Foundation is hosting the New York-based youth company Theatreworks/USA and its touring production of “Max and Ruby,” a new musical based on the books and animated TV
show about animal sibs. Max is a rambunctious and determined
3-year-old bunny while his big sister, Ruby, age 7, is a goal-oriented,
sometimes restrictive rabbit. The uplifting stories show Max and Ruby
exercising respect in resolving their conflicts. The new show’s music and
lyrics were created by Carol Hall (“
MUSIC AND DANCE
... Mixed Media: Art of Élan is presenting the world
premiere of “
… Earth-Dance: Stella Nova Dance Company premieres “Prajna Within,” a journey through the human psyche and its relation to
Mother Earth. Taking the audience on a trip into the complexity of the human
mind, the piece captures the human condition and the importance of emotional
well-being. Seventeen dancers from the Stella Nova youth company portray the
connection between thoughts and emotions. In commemoration of Earth Day, info
from local green businesses will be on display in the lobby. April
23 at 8 p.m. and April 24 at 2 and 8 p.m., in the Garfield Theatre of the
… City Slick: “Urban
Moves” features world premiere works from four local dance companies: The
PGK Project, Eveoke Dance Theatre, somebodies dance
theater and Jennifer Curry with dancers of The California Ballet. At the
… Studio Moves: Malashock Dance once again invites the community to a
work-in-progress studio series. Watch choreographer
PAT’S PICKS: BEST
BETS
v “Sweeney Todd” – a glorious production
of Sondheim’s goriest (and most gorgeous) musical
Cygnet
Theatre, extended through 5/9
v “Speech and Debate” – hip, young, and
very well done
Diversionary
Theatre, through 4/11
v “An American Duet” – two provocative
plays in repertory, both excellently executed
ion theatre, through 4/17
Read
the Review here:
http://www.sdnn.com/sandiego/2010-03-24/things-to-do/theater-things-to-do/american-duet-boeing-boeing-plus-more-theater-reviews-news
v “The Pirates of
The
Welk Resorts Theatre, through 5/2
Read
the Review here: http://www.sdnn.com/sandiego/2010-03-24/things-to-do/theater-things-to-do/american-duet-boeing-boeing-plus-more-theater-reviews-news
Pat
Launer is the SDNN theater critic.
To read any of her prior reviews, type ‘Pat
Launer,’ and the name of the play of interest, in the SDNN Search box.