Pat Launer on San Diego Theater
By Pat Launer, SDNN
June 17, 2010
http://www.sdnn.com/sandiego/2010-06-16/things-to-do/theater-things-to-do/pat-launer-theater-things-to-do-things-to-do/harvey-tonys-plus-more-theater-reviews-news
FOR
THURSDAY, 6/17
The
Bunny Hop
THE
PLAY: “Harvey,” a classic American comedy, at Lamb’s
Players Theatre
Let’s
say you’re walking down the street, and you see a 6’3” rabbit leaning on a
lamppost, calling your name. Would you answer? Would you befriend him? Would
you interrupt your sister’s soirées to introduce him around?
Meet
Elwood P. Dowd, who admits that he “struggled with reality for 40 years,” and
“I’m glad to say I finally won out over it.” His family’s distraught. Neighbors
call him “the biggest screwball in town.” But he’s happier than any of ‘em.
“In
this world,” says Elwood, “you need to be either oh so smart or oh so pleasant.
I was smart for 40 years.” Now he’s unflaggingly, unflappably pleasant. And
that’s a problem for his overwrought, social-climbing sister, Veta Louise (Kerry Meads) and her unhappily unmarried
daughter, Myrtle Mae (Carly Nykanen).
It’s tolerated by the family attorney, Judge Gaffney (Jim
Chovick). It’s appalling to snooty Mrs. Chauvenet
(Glynn Bedington).
And it’s grist for the headshrinking mill of
psychiatrists Chumley (John Rosen) and Sanderson
(Lance Arthur Smith). Mrs. Chumley (Cynthia Gerber,
very funny in her cameo appearance) and Nurse Kelly (Kelli Kelley; whew! that’s
a lotta Kellys!) are rather
smitten by Elwood’s charming, gentlemanly ways. The sanitarium orderly (Brian Barbarin) would as soon break his neck as his spirit. Only
the cab driver (Greg Good) really ‘gets’ Elwood; after the psychiatric
‘treatment,’ he tells Veta, “your brother’s gonna be a normal human being – and you know what bastards they can be!”
Yes,
driven to desperation, Veta decides to have Elwood
committed to Chumley’s Rest. But when she confesses
to occasionally seeing Harvey herself, it’s she who’s carted off, kicking and
screaming.
Harvey,
you see (or do you?), is a pooka, a mythical prankster
of Celtic folklore, a shapeshifter who has the power
of human speech, which he uses to give advice and keep people from harm. He’s
done well for Elwood. After a daft comedy of errors in the farcical second act,
the head psychiatrist sees the error of his ways (“”I’ve been spending my life
with flyspecks, when miracles are leaning on lampposts”), but Elwood makes it
clear that, no matter how much you may want Harvey, or someone like him, “you
don’t find him; he finds you.”
Margaret
Chase’s 1944 classic ran for 1775 performances on Broadway, earned a Pulitzer
Prize, and provided a terrific screen vehicle for Jimmy Stewart (1950). There
are some serious themes beneath the silly surface, including friendship and
loyalty, sanity vs. lunacy, reality vs. delusion and the appeal of
eccentricity. The Lamb’s Players’ Elwood (David Cochran Heath) is not the
harmless town drunk of earlier productions; under the direction of Robert
Smyth, the focus is all on the overblown, over-the-top comedy. There’s a good
deal of unchecked overacting and hysteria, more caricatures than full-bodied
caricature. Perhaps things will settle down over the course of the run. This is
a very talented cast; they just need to pull back a bit. The situations can
carry the humor.
Heath
is splendidly understated, thoroughly affable and likable, the calm in the
midst of the maelstrom. Mike
Buckley’s set morphs magically – and humorously, with hopping, skipping
choreographed moves – from the family mansion to the psychiatric clinic, a
hotbed of overheated emotions. The costumes (Jeanne
Reith), especially the hats, are delicious. In the end, Harvey helps bring people together. But
playing it straighter might make it funnier.
THE LOCATION: Lamb’s Players
Theatre, 1142 Orange Ave.,
Coronado. (619) 437-6000; www.lambsplayers.org
THE DETAILS: Tickets: $28-58.
Tuesday-Thursday at 7:30p.m., Friday-Saturday at 8 p.m., Saturday at 4 p.m.,
Sunday at 2 p.m., through July 18
Bottom
Line: GOOD BET
NOTE: Lamb’s Players Theatre is also presenting their perennial
bluegrass/gospel favorite, “Smoke on the
Mountain,” at their other space, The Horton Grand Theatre in the Gaslamp
Quarter, through 6/27.
MINI REVIEW
… Last chance to
catch “Master Harold … and the Boys,” Athol
Fugard’s chilling, 1982 drama of the evolution and
legacy of apartheid, is being presented as an superb staged reading by San
Diego Actors Theatre. The last of three site-specific performances takes place
at 7 p.m. on June 17 at Sushi Performance, 390 11th Ave., downtown San Diego. The searing
play was originally banned in South
Africa. An excellent local trio of actors,
under the direction of Patricia Elmore Costa,
brings the piece to vibrant life, with vocals and guitar by Teresa “Tess”
Henning. Set in 1950, the play follows Master Harold (Morgan Hollingsworth) a
young white boy, as he devolves into the harsh taskmaster he’s destined to be,
turning his back on the two black men who helped raise him, tried to teach him
how to be a man, and were his only childhood companions in a loveless
household. Laurence Brown and Antonio “TJ” Johnson are spectacular as the two
who try to maintain their dignity in the face of abject, inherited racism.
Don’t miss it!
…As part of the 17th
annual Lipinsky Family Jewish Arts
Festival, Malashock Dance premiered three sections of “Chagall,” which is evolving into a full-scale dance musical, a
collaboration between choreographer John
Malashock and composer/musician Yale
Strom. The three performances also featured the pair’s first collaborative
effort, “Tribes” (1996). The new pieces represent scenes from the life and
loves of the iconic artist, Marc Chagall, who came from humble beginnings in Vitebsk, Belarus.
The first section was the most whimsical, a reflection of the fanciful,
color-drenched work of the painter, who depicted poor but vibrant shtetl life. It ended with the agile artist (Michael
Mizerany) holding a paintbrush aloft. The second two segments were snapshots
from the artist’s love life – his budding sexuality, his two first loves – Thea (Lara Segura) and his early muse, Bella (tiny, featherlight Christine Marshall), vying for his attention.
Both the trio and the pas de deux are highly sensual.
The choreography is often angular, jagged, athletic.
The vocal accompaniment, with lyrics drawn from Chagall’s and Bella’s own
poetry, was sung by Elizabeth Schwartz (Strom’s wife), Trevor Hollingsworth and
Lisa Hightower. In this tricky score, created in English, Russian, Yiddish and
Hebrew, the sound was intriguing, but the lyrics could have been more
intelligible (perhaps a sound problem). It will be fascinating to see how this
work evolves over time.
… This week, I did
something I can’t recall having done before: I caught an elementary school
musical theater production: “Pirates”
at Kate Sessions Elementary in Pacific
Beach. I was invited by
the lead actor, Adira Rosen, who is definitely a face
and talent to watch. This one-hour show, one of several created by John
Jacobson and Roger Emerson specifically for elementary school students, marked Adira’s musical theater debut. Coming from a highly
artistically evolved family (her mother and grandmother are symphony/concert
musicians and her uncle is an L.A.
actor who’s appeared at the Old Globe), she’s got the genes, the chops – and as
her invitation revealed, the requisite chutzpah. With more training and
experience, she has the promise of becoming a performing knockout. Kudos to
music teacher Matt Fowler, for directing more than 60 fifth graders, including
special needs students. And this was only his second musical theater
production! I’m not a great fan of glorifying the plundering, brigand’s life;
the young man Adira played wanted, more than anything
on earth, to be a pirate. And that’s before s/he learned that the pirates
engage in an annual singing competition. “Glee” meets “American Idol,” heavy on
the arrrrrrr.
NEWS AND VIEWS
… TONY FEVER!!
The big news
this week for San Diego was the four Tony Award wins for “Memphis,”
which premiered locally at the La Jolla
Playhouse, under the direction of Playhouse artistic director Christopher Ashley.
Three other theaters (TheatreWorks, Palo
Alto; North Shore Music Theatre, Beverly,
Mass.; and the 5th Avenue Theatre, Seattle) contributed to
the development of the race-mixing 1950’s rock ‘n’ roll musical, which began in
2004, and was presented here in 2008. Four was the magic number for “Memphis.” The show won four Drama Desk Awards,
including Outstanding Musical; four Outer Critics Circle Awards, including
Outstanding New Broadway Musical; and four Tonys (of eight nominations),
including the Big One, Best Musical. Though Ashley didn’t capture Best
Direction of a Musical, and the show’s choreography wasn’t even nominated (big
mistake), “Memphis”
snagged Best Original Score (Bon Jovi keyboardist
David Bryan), Best Book of a Musical (Joe DiPietro)
and Best Orchestrations (Daryl Waters and David Bryan). “Memphis” joins an
ever-expanding list of productions or premieres that have gone on from La Jolla
to Tony glory: “Jersey Boys” (Best Musical, 2006), “I Am My Own Wife” (Best
Play, 2004); “Thoroughly Modern Millie” (Best Musical, 2002); “The Who’s Tommy”
(five Tonys, 1993); and “Big River” (ahead of all the rest, with seven Tony
wins, including Best Musical, 1985).
This
was a banner year for Hollywood
at the Tonys. Scads of Tinseltown Big Names were
nominated, and many of them won, including Denzel
Washington and Viola Davis (Best
Actor and Best Actress in a Play, for “Fences”), Scarlett Johansson, making her Broadway debut (Best Featured
Actress in a Play, for Arthur Miller’s “A View from the Bridge”); and Catherine Zeta-Jones (Best Actress in a
Musical, for “A Little Night Music,” though her performance of “Send in the
Clowns” was decidedly underwhelming). It was the first time in Tony history
that black performers won best actor and best actress in a play. And Denzel
Washington was the first black actor to win for a leading performance in a play
since James Earl Jones won in 1987 – for the same role in the same play,
“Fences.” Too bad August Wilson couldn’t have lived to see it (the
groundbreaking playwright died in 2005, and a Broadway theater now bears his
name).
Sean
Hayes, nominated for his role in the musical, “Promises, Promises,” acquitted
himself well as comical, costume-changing host, and the production numbers were
pretty exciting. There were even two killer performances from “Glee’s” Broadway
veterans: Lea Michele (Rachel, looking wayyy more
mature than her TV high schooler) and Matthew Morrison (AKA Mr. Shue, who can certainly sing and cut a rug). They were
among the few who belted ‘traditional’ Broadway songs; the evening was
dominated by a range of non-Broadway styles: the punk of “American Idiot,” the
Sinatra stylings of “Come Fly Away,” the Afrobeat rhythms of “Fela!” and
the early R&R/R&B of “Memphis”
and “Million Dollar Quartet.”
Some
of the concerns about this year’s Tony Awards included the paucity of original music
(“Memphis” was the only show nominated for Best Musical that had an original
score), the lack of creative – or Lifetime Achievement – awards on the national
broadcast (they were presented at a prior event), and the fact that the 100
theater critics and journalists were banned from voting. Though the Tonys are
Broadway’s highest industry honor, it’s a notoriously insider event, with many
of the 769 voters -- Broadway producers, directors, designers -- having a vested
interest in the outcome. Some of this will be partly rectified next year:
selected drama critics will be allowed to vote. So Congratulations, San Diego! Here’s to a
great year of local theater – and continued high-profile visibility at next
year’s Tonys!
…
A&C in America’s
Finest: At a press conference this week, Mayor Jerry Sanders unveiled the latest Arts and Culture Impact Report, at which he conceded that “no city
can be a great city without a thriving arts and culture community.” Once again,
he said, we had a highly successful year, and the future looks bright for San Diego’s arts and
culture.’ The FY 09 report revealed that the 76 arts and culture organizations
funded by the City of San Diego
Commission for Arts and Culture’s Organizational
Support Program stimulated the economy by employing more than 7000 San Diegans
and generating over $181 million in expenditures, including $87 million in
salaries. Economic activity created by cultural tourists -- visitors who tend
to stay longer and spend more – pumped more than $750 million into the local
economy. Our region, home to nearly 4300 arts-related businesses, both
non-profit and for-profit, ranks 8th among the top largest U.S.
cities – ahead of Denver, Boston and Philadelphia, according to Americans for
the Arts. These businesses employ almost 23,000 individuals, placing San Diego 9th
in the country. And Dalouge Smith, chair of the San Diego Regional Arts and
Culture Coalition, reminded us not to forget the more than 12,000 arts
volunteers, 1200 of whom serve on boards of directors. Over the course of the
year, he reported, more than 5500 program visits were made by local arts
organizations to local schools, libraries, community and senior centers. We
are, concluded the Mayor, “a world-class city.”
…
A Snapshot of the Globe: In celebration of its 75th
anniversary, the Old Globe has
opened a permanent visual art exhibit comprising photos, custom wall-mounted
illustrations, motion-activated digital picture frames and lenticular
printing that allows images to change when viewed from different angles. The
displays, which are located in the Cohn
Education Center
and the Old Globe Theatre lobby, focus on the creative artists who have
contributed to the development of the Globe, as well as the theater’s
historical and cultural significance over time. The exhibit can be viewed by
the public as part of regularly scheduled, 90-minute “Behind the Scenes” tours,
which take place Saturdays and Sundays at 10:30 a.m. The cost is $5 ($3 for
students and seniors); no reservations needed.
… ‘sup, Dude?:
Patrick Page, who was such a
stunning “Cyrano de Bergerac” at the Old Globe last summer, sorely disappointed
local fans by bowing out of his announced appearances in the Globe’s Summer
Shakespeare productions of “King Lear” (he was to play the Fool) and “The Madness
of George III” (title character). Now, it’s been revealed that, due to
scheduling conflicts, he has also pulled out of the Shakespeare Theatre Company
(Washington, D.C.) production of Pirandello’s “Enrico IV,” a play and role that were chosen specifically
for him. As a result, the play has been removed from the STC summer season.
Patrick, we love you, but you definitely need a better calendar, or a
calendar-keeper.
…What Dennis
did: In most of the obituaries and memorials of actor/filmmaker/artist Dennis Hopper, who died May 29, there
was mention of his having gotten his stage start at the Old Globe. In case you
were curious, here’s what he appeared in, and when: he was a caroler in “A
Christmas Carol” (1949), and in 1954, he acted in “Twelfth Night,” “Cheaper by
the Dozen,” “Othello” and “The Merchant of Venice” (he played Lorenzo, who
marries Shylock’s daughter, Jessica).
… Sounds of
Music: San Diego Musical Theatre,
winner of several Patté Awards for their outstanding productions, is returning
after a one-year hiatus, to present a three-show season, beginning in
September. The shows will be: “Smokey Joe’s Café,” directed and choreographed
by L.A.-based Ron Kellum
(SDMT’s “Dreamgirls”), followed by the San Diego
premiere of “The Story of My life,” a tribute to the power of friendship,
written by Neil Bartram and directed by Nick DeGruccio
(SDMT’s “The Full Monty”); and “A Chorus Line,”
directed/choreographed by Kay Cole, who originated the role of Maggie on
Broadway. All performances will be at the Lyceum Theatre. Tix
and info at sandiegomusicaltheatre.com
PAT’S PICKS: BEST
BETS FOR THE WEEK
v
“Dog Sees God” – the Peanuts
gang grows up – badly; darkly comic
InnerMission Productions at
Diversionary Theatre, through 6/27
v
“Private Lives” – bitter, acidic
and deliciously irresistible
Cygnet Theatre, through 7/3
v “Summer and Smoke” – early Tennessee
Williams, wonderfully evocative
New Village Arts, through 6/20
v “The Voice of the Prairie” – sweetly
nostalgic, marvelously acted
North
Coast Repertory Theatre, through 6/20
v “Frankie and Johnnie in the Clair de Lune”
– poignant, funny and excellently acted
ion theatre, extended through 6/19
v “Footloose” – footloose and fancy free;
high energy, fine singing and dancing
Welk
Resorts Theatre, through 6/27
Read Review here: http://www.sdnn.com/sandiego/2010-05-12/things-to-do/theater-things-to-do/frankie-and-johnny-moscow-plus-more-theater-reviews-news
v “Gam3rs” – LOL funny
ion theatre, extended through 6/20
Read Review here: http://www.sdnn.com/sandiego/2010-05-05/things-to-do/theater-things-to-do/goldas-balcony-plus-more-theater-reviews-news
To read any of her prior reviews, type ‘Pat Launer,’ and the name of the
play of interest, in the SDNN Search box.
Pat Launer is the SDNN theater
critic. She can be reached at patlauner.sdnn(at)gmail.com