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About
By Pat Launer
07/15/05
Quite a varied theatrical feast:
Two Shakespeares , a satire, a Beauty and a Beast.
And if you’re not turned on to these escapades,
Go see ‘Evita’ or ‘The Maids.’
Something wicked (and wonderful) this way comes. Paul Mullins, of the Shakespeare Theatre of New Jersey, offers us stunning, imaginative and dramatic direction of “Macbeth” at the Globe. The set (Ralph Funicello) is stark, wood, multi-leveled, unadorned. At the opening, we hear drums, thunder, battle sounds, and women screaming (eerie, otherworldly music and sound by Christopher Walker). The Weird Sisters appear, in bat-wing, blood-red dresses (beautiful costumes by Linda Cho ). Their coven is a rotating circle of light (excellent design by York Kennedy). The first witch (Leah Zheng ) has a weak voice, but in unison and with reverb, they’re quite fearsome. When Macbeth (Tom Hammond) makes his first appearance, it’s hard to believe he’s a victorious general. He seems ineffectual and equivocal for a warrior. But over the course of his brutal decline, Hammond gains stature and gravitas, and he’s marvelously mad by the end. Deirdre Lovejoy is potent and seething as Lady Macbeth, the power-mad monster who goads her lord into heinous deeds and then crumbles herself at the end. She’s a more internal Lady M than some, but forceful and intense in her nuanced performance. Michael A. Newcomer is a no-nonsense Macduff , and the powerful silence with which he greets the news of his family’s demise is heart-rending.
Mullins makes excellent use of silence and pauses throughout. He allows the story to unfold at an unhurried pace (except for the exhilarating battle scenes), letting the horrors (and the response to them) build steadily and inexorably. In the pivotal role of Banquo, the ‘conscience’ that haunts Macbeth, J. Paul Boehmer is robust and convincing; his ghost scene at the banquet (when he appears to Macbeth as a delusion, here walking blithely if precariously across a table laden with food) is deliciously spooky and creepy. Jonathan McMurtry adopts a brogue and does a comic turn as the drunken Porter but becomes quite sober and subdued as the logical, methodical Doctor, brought in to treat the hand-wringing, sleepwalking Lady Macbeth. Charles Janasz is stalwart as the concerned nobleman, Ross.
The underlying theme of fate vs. free will is highlighted by the provocative ending Mullins has added. The witches reconvene, circle once more in that ominous way, and repeat their opening refrain: “When shall we three meet again?” Does this hint at the sinister consequences of fatalism? Or serve as a warning not to seek to know the future? See this scrupulously directed production and take away from it what you Will.
In repertory on the Globe’s Festival Stage, in repertory, through October 2.
JUST (TOM) FOOLIN’
Tom Lehrer has been called ‘the most brilliant song satirist ever recorded.” (That’s Barry Hansen, aka Dr. Demento , speaking). If you’re old enough, you might recall hearing some of his creations on that wonderful, weekly, NBC prime-time topical-political comedy/satire show, “That Was the Week That Was” (aka ‘TW3’). I’ve been a long-time fan of his hilariously sarcastic, somewhat cynical ditties. So, when George Flint said he was looking for a light show to direct at North Coast Rep this summer, I suggested “Tomfoolery.” And now, here it is, in a co-production with Flint ’s Renaissance Theatre.
The entire Lehrer canon amounts to only 50 songs, and 25 of them appear in the show. The MasterMind stopped writing ‘em in 1965 (though he did pen one extra, “I’m Spending Chanukah in Santa Monica,” in 1990, and it makes for a lovely encore). According to the musical, a clever revue adapted in 1980 by musical theater producer Cameron Mackintosh and Robin Ray, “Political satire officially became obsolete when Henry Kissinger won the Nobel Peace Prize.” Ever since graduating from Harvard — at age 18 !, — Lehrer has been teaching college math (first at Harvard and MIT, and since 1971, at UC Santa Cruz ). At age 77, he still helms an undergraduate math class. But his songs have never gone out of print – or style. The issues are as timely as they were 30 years ago – pollution, pigeons (Woody Allen called ‘em “rats with wings”), the nuclear threat, the Marines, multicultural tolerance and religious fervor (represented by the incredible, indelible “Vatican Rag”).
It’s easy to get sucked into the show – if you’re not laughing too hard. The revue’s commentary/script (which is blessedly minimal) is replete with puns, as is Lehrer’s work. But his wordplay is so damn clever, it’s hard to imagine that his songs have been translated into so many languages – like Hungarian and Norwegian, among others. Go figure. Lehrer himself has said his lyrics endure because it “might be that there is a vestigial desire for literacy in certain quarters…” Indeed, Lehrer his songs have sold well over 2 million copies – but that took 45 years to achieve.
[Musical theater factoid/footnote: Tom Lehrer and Stephen Sondheim went to the same summer camp (1937-1939). fyi , Lehrer considers Sondheim “the greatest lyricist that the English language has ever produced.”]
Now, on with the show. Director George Flint, with the able collaboration of Ole Kittelson (musical staging) keeps the show humming along amusingly. Set in a clubby bar (designed by Marty Burnett), the play features a bevy of comical costumes (Jeanne Reith) and props (Bonnie Durben ). The musical accompaniment is great; ace pianist Cris O’Bryon serves as musical director of the excellent 4-piece band, and he also takes his own super turn at the mic, singing the high-speed patter song, “The Elements,” which enumerates the Periodic Table.
Center stage, the four versatile actor/singers introduce and explain the songs, their creator and whatever background is needed. Most of the numbers stand quite well on their own. Flint has updated a few outdated items (e.g., in the song about former California Senator George Murphy, a replacement of just 12 words and presto change-o! The ditty cleverly concerns Ahhhhnold (a more familiar actor-turned-politician).
Each of the performers gets at least one moment in the sun: Priscilla Allen is a hoot with the murderous “Irish Ballad, “ ‘sing rickety- tickety tin,’ as her confreres provide deadpan backup with Irish step-dancing. Ed Hollingsworth is funniest in “The Hunting Song” and the macabre “I Hold Your Hand in Mine.” But all the vocal heavy-lifting is done by the multi-talented David S. Humphrey and the knockout Kristen Mengelkoch (she of the putty face, sultry moves and killer voice). They’re terrific together and exceedingly entertaining alone. Humphrey honed his comic skills in revues like “Forever Plaid” and “I Love You, You’re Perfect, Now Change.” Mengelkoch is a 2004 graduate of the SDSU MFA program in musical theater, where she’s now teaching part-time. Remember that name; she’s definitely someone to watch!
“Tomfoolery” is well worth watching, too. Don’t leave your humor – or cynicism – at home. At North Coast Repertory Theatre, through August 7.
THE LIGHT SIDE OF DARKO
“The Comedy of Errors” is not a subtle play. Although Shakespeare’s early farcical work (c. 1592) is well constructed and amusing, it is populated by stock characters with minimal flesh on their bones (or interior lives). The humor is broad, both in action and language, and it demands a light touch. The enormously talented Darko Tresnjak, artistic director of the Globe’s Summer Shakespeare Festival, proves that he’s not only a master of deep, dark dramas. He shows his silly and whimsical side in this production, which is fastidiously directed and extremely well acted, by the summer resident ensemble.
The story was taken from everyone’s favorite comic source material, Plautus, whose Latin play, “The Twin Menaechini ,” followed the misadventures of twins separated at birth. Shakespeare ups the ante (borrowing from another Plautus play, ‘ Amphitryon ’), to add another set of identical brothers who bear the same name. So we have two Antipholuses ( Antipholi ?) and their servants, Dromio. There’s Antipholus of Ephesus (swaggering Michael A. Newcomer), a not-so-happily (not-so-faithfully) married man. Antipholus of Syracuse (engagingly naive Bruce Turk) is less jaded, less citified and more romantic. Their respective Dromios (Evan Zes and Liam Craig) are pratfalling clowns who, in this antic production, are bowler- hatted Charlie Chaplins , all loose limbs, big shoes and hair-trigger timing.
In many ways, the production is reminiscent of the “Comedy of Errors” presented two years ago at the La Jolla Playhouse by the New York/London-based Aquila Theatre, even including a puppet show to illustrate the complicated backstory. Tresnjak goes one further, adding a wild Bollywood musical number. And he makes a sly political statement in the characters of the sidelocked Jew and burka -ed Muslim (Jon A. Sampson and Melissa Condren ) who beat on each other throughout the seamlessly condensed, 90-minute version of the play, but end up arm in arm, a peace-loving couple.
As is customary, the coarse humor is underscored (the crude orifice-identifying sucking noise is the least attractive part of an otherwise hilarious sound design, by Christopher Walker); there is always the tendency and temptation to take things over the top. But Tresnjak remains in control, and the evening passes swiftly, deftly and entertainingly. The malleable set (designed by Ralph Funicello for all three summer productions), morphs into a wild Turkish bazaar, with a bar, a home, an abbey and a whorehouse colorfully sharing the stage. Laurie Churba’s amusing costumes are attractively lit by York Kennedy.
The females are second-bananas in this tale of repeatedly mistaken identities, but their perceptions and contributions are pivotal. Adriana ( Deirdre Lovejoy) is Antipholus ’ cuckolded wife-turned-shrew, and she isn’t particularly sympathetic or likable here. Her more engaging sister, the nerdy, bespectacled Luciana (delightful Katie MacNichol ), is a bookish romantic who will, of course, turn into a swan – and get a guy. Kandis Chapell, always a welcome onstage presence, does a funny, imperious turn as the Abbess. As the aggrieved and beleaguered father of the Antipholi , Charles Janasz makes a solid and sympathetic Egeon .
Summer heat (or the political climate?) getting you down? This is the perfect, frothy, fun-filled antidote.
In repertory on the Globe’s Festival Stage, in repertory, through October 2.
HOT DAMN, M’DAM
Listen up, theaterlovers ! Here’s one you absolutely shouldn’t miss. Three ultra-talented Columbia University graduate students in acting (and their professor), under the banner of NU Classic Theatre, are presenting a stunning production of Jean Genet’s 1948 one-act, “The Maids,” for three more performances only (there were just six in toto ). No wonder they come with the blessings of renowned experimental directors Anne Bogart and Andrei Serban . The direction, by Ulla Wolcz , is meticulous, precise and stylized. The performances, particularly by Laura Butler and Rebecca Henderson, as the titular sisters who play deadly games when Madame is not about, are spellbinding. The intensity and suspense build to a fever high. Kelly Eubanks, a San Diego native, plays Madame as a flighty rich-bitch, not an icy one, which might have been more effective given the heat and fiery passion of the ritualistic sisters. In this deadly sport of pretend and pretension, the play underscores class distinction and is filled with vengeance, spite, jealousy, sexuality deceit and self-loathing. L oosely based on the 1930s murder of their mistress by two incestuous domestics, the play questions reality and identity. The production catches you in a stranglehold that won’t let you move – or breathe – for its 50-minute duration.
At Adams Avenue Studio, July 19-21 only, at 7:30pm.
A NEW ARGENTINA
Don’t cry for Kate Manning. The diminutive powerhouse had a fantasy evening on the opening night of “Evita” at the Civic Theatre (Broadway/San Diego). She went on in Act I as the young Mistress of Juan Perón, who gets to sing the heartbreaker, “Another Suitcase in Another Hall.” (She looked to be about 17 years old). Then, at the end of the intermission, it was announced that she’d be taking over the role of Evita in the second act (she’s the listed understudy). I had noticed that the headliner, Kathy Voytko , had been having considerable difficulty reaching any high notes in Act I, screaming her way though them. Perhaps she was ill. But petite little Manning (who no longer looked 17) took charge and took control, knocking the life (and especially the death) of the power-mad Argentine, Eva Perón, right outta the park. Other highlights of the production: adorably kinetic Bradley Dean as Che, the cynical commentator, who provided rock-music highs and excellent ‘ tude ; and as a smarmy-looking if somewhat weak Perón, Philip Hernandez (whose bio claims that he’s “the only man in Broadway history to have played both Jean Valjean and Inspector Javert in “Les Miz”). The entire show was nearly stolen by the fabulous footage of the REAL Eva Perón, with her adoring fans and outrageous hats.
The production overall was a bit of a disappointment, especially since it was overseen by legendary director Harold Prince, who won a Tony Award for directing the 1979 premiere of the Andrew Lloyd Webber/Tim Rice blockbuster. The staging (a collaboration with choreographer Larry Fuller) is less spectacular than one might hope, and the company less agile and precise. The singing is generally of good quality. In any case, it’s far better than the embarrassing 1996 Madonna/Antonio Banderas movie. So if you need an Evita or Lloyd Webber fix, check it out.
At the Civic Theatre, through July 17. ( special audio described performance, for the visually impaired, on Saturday, July 16 at 2 pm).
BEAUTY IS IN THE EYE OF THE BEHOLDER
I caught the last weekend of “Beauty and the Beast” at Moonlight Stage Productions, and quite an elaborate production it was. With sets and costumes rented in, all the glitz was there (including electric ‘hands’ for Lumiere ). However, the piece proved too a bit too showy for its own good. The ever-changing scenery tended to get in the way at times, especially at crucial dramatic moments, when there had to be yet one more drape/drop change or set-piece rotation. But the performances were wholly satisfying. Jennifer Shelton made for a smart and lovely, crystal-voiced Belle. Robert Townsend was aptly tough-and-tender as the Beast, and his supple voice served him well. Randall Dodge was obviously having a field-day as the blustery, bullying Gaston and Omri Schein , a current student in the SDSU musical theater program, was funny (if strangely gnome-like) as Gaston’s battered sidekick, Lefou . Frank Romeo ( Lumiere ), Kurt Norby ( Cogsworth ), Athena Espinoza ( Babette ) and Lisa Dyson (Mrs. Potts) were noteworthy as the talking houseware .
The direction, musical staging and choreography (David Brannen) were well designed and well executed, as were the lighting (Eric Lotze ) and sound (Peter Hashagen ). But why the religious turn at the end? I have enough trouble with Linda Woolverton’s book (though Alan Menken’s music, with lyrics by Howard Ashman & Tim Rice are quite engaging). Belle, as you may recall, is considered ‘odd’ because she’s an inveterate reader. Gaston, a browbeating terror, who beats on all the guys and condescends to women, is for some unknown reason, beloved by all. But I drew the line when the Beast was transformed into a prince, and he hung there in mid-air, arms outstretched, in an obvious crucifixion-resurrection image. The story, which originated in the 16th century, bears a moral (as all fairy tales do), but it doesn’t require religious underpinnings. Though this may be hinted at in the Disney version, I’ve never seen it portrayed so blatantly, and I found it out of place. But otherwise, the show was quite enjoyable, and was appreciated by kids of all ages (I was accompanied by a precocious, theater-loving 7 year-old, who was totally enthralled).
GONE TO THE GREAT STAGE IN THE SKY
It’s with great sadness that we mourn the passing of Jack Banning. He was a marvelous man, warm and optimistic, a friend to many, a wonderful actor, teacher and director. He died Sunday at home, surrounded by his loved ones. He will be sorely missed by the entire theater community. In 2003, I gave him a Patté Award for his heartbreaking performance in “Children of Heracles” at 6th @ Penn. He was so touched and touching when he came up to accept the honor. He said that, in his 70 years, this was the first award he’d ever received. I’m so happy I was able to be the one to give him a fraction of the tribute and respect he so richly deserved. Earlier this year, he did a superb turn as the aging, one-handed Candy in “Of Mice and Men” for Renaissance Theatre. Last summer, he was the hit of the Actors Festival in his dotty duet with Jim Chovick in David Mamet’s “Duck Variations.” I remember him, too, ten years ago, playing the Rabbi in Mark Harelik’s “The Legacy” at the Gaslamp Quarter Theatre Company, the same year he directed the quirky “Missing Persons” at the Fritz. This time, dear Jack, you jumped your cue, and made too hasty an exit. We want an encore – but hope you rest in peace.
A celebration of Jack’s life is in the planning stages. More as we know it….
OTHER NEWS AND VIEWS….
YOU SAID IT, SISTER!
Sister’s out to getcha . Maripat Donovan, the playwright/producer and original star of “Late Nite Catechism,” will be making a one-night appearance as the punishing (but uproarious) Sister at North Coast Rep for a special taping of the production. This is guaranteed to be a kick in the pants. Don’t miss it! Tuesday, July 19 at 7:30pm. Bring your Catholic School stories, your stigmata and your guffaw.
TOOTHLESS AND GUM-LESS
Just before it was scheduled to open in what promised to be a stellar production at Lynx Theatre, the rights were pulled on Karen Hartman’s play, “Gum.” There was one preview of this thought-provoking play — starring Linda Libby, Dulce Solis and Claudio Raygoza (among others), and directed by Al Germani — and then the Cease and Desist order arrived. Sad situation. I don’t know any other details, but hope the production can be re-mounted some time in the very near future.
WACKY Fest-BEST
Nutcases all. Three wacko winners of Best of the Fest, from the Actors Festival 2004 and 2005, will be grouped together as “Funny in the Head,” and presented as a bon voyage, one-night-only performance to raise money for the performers’ trip to the Minnesota Fringe Festival in August. Matt Scott and Jason Connors’ “The Two O’Clock ,” Todd Blakesley’s “Sick in Love” and Allyson Collins’ “Serial” will join their cuckoo craziness on July 19 at Diversinary Theatre (8pm). Reservations strongly suggested (619-640-3900).
NOW, FOR WHAT’S ‘NOT TO BE MISSED!‘ (i.e., Critic’s Picks )
“The Maids” – beautifully directed ( Ulla Wolcz ), excellently performed (by Columbia U. grad students who make this dark 50-minutes absolutely riveting.
At Adams Avenue Studio, through July 21.
“Tomfoolery” – great comical/cynical/musical fun. Tom Lehrer’s satirical songs are timeless… and versatile, irresistible performer Kristen Mengelkoch is definitely someone to watch!
A Renaissance Theatre co-productions , at North Coast Repertory Theatre, through August 7.
“Macbeth” – marvelous direction (Paul Mullins), costumes (Linda Cho ) and truly spooky, chilling moments make this “ Macb ” a standout.
In repertory on the Globe’s Festival Stage, in repertory, through October 2.
“The Comedy of Errors” – Director Darko Tresnjak shows his sillier side, with a farcical, slapstick production that’s precisely directed and humorously performed.
In repertory on the Globe’s Festival Stage, in repertory, through October 2.
“ 42nd Street ” – glorious celebration of Bway’s glory days. Wonderful performances, outstanding choreography and dancing. Sheer delight!
At the Welk Resort Theatre, through August 28.
“The Male Intellect: An Oxymoron” – a fun date night, which shows both genders a few of their more amusing and infuriating foibles.
At the Theatre in Old Town , closing (after >250 performances), on September 4.
Are these the Dog Days of summer? Lap ‘em up — at the theater.
Pat
©2005 Patté Productions Inc.
