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Pat Launer on San Diego Theater
By Pat Launer , SDNN
Thursday, July 9, 2009
Big Man, Big Pride
THE SHOW: “Coriolanus,” Shakespeare’s final tragedy, at the Old Globe
Caius Martius , a haughty but honorable Roman warrior, defeats the Volscians at Corioli and is given the name Coriolanus. He is then persuaded, by his bloodthirsty mother, among others, to seek election as consul, though the thought of currying favor with the masses repels him. When two unscrupulous tribunes (champions and representatives of the people), incite the commoners against the pompous patrician, Coriolanus angrily denounces the plebian rabble. With encouragement, they turn against him and banish him from the city. Enraged by this heinous, ungrateful treatment, Coriolanus craves revenge; he swiftly joins forces with his sworn Volscian enemy, Tullus Aufidius , who’s preparing another attack on Rome . The friends of Coriolanus, wise Menenius and staunch captain Cominius , plead with him, unsuccessfully, to spare their city, but he remains obstinate and immovable. Until his mother arrives. Volumnia brings him to his knees. Coriolanus tries to broker a peace, but Aufidius accuses him of treachery and treason. After Coriolanus is demeaned and diminished by Aufidius (“thou boy of tears”), the Volscians brutally murder him.
Loosely based on a legendary Roman written about by historians Plutarch and Livy, “Coriolanus” is atypical for a Shakespearean tragedy, though it bears some elements of his other plays. The central character is brought down by his own hubris. But he’s not introspective at all; no second thoughts or self-reflective soliloquies for this arrogant patrician. A fierce leader in battle, he has little ability to interact effectively with others. He’s not as ambitious as, say, Macbeth, and not as connected to his wife. But he is very strongly influenced by his indomitable mother, though their relationship seems far less complex, interesting (and sexual) than Hamlet and Gertrude’s. He is a boorish and generally unlikable fellow, and he doesn’t change much over the course of the play, which is, in many ways, more a disquisition on democracy and politics than the vagaries of human behavior. All this and no comic relief; no wonder it’s so rarely performed.
Darko Tresnjak, who has a penchant for neglected and imperfect plays, has dusted off Coriolanus and placed him between the two world wars. Interesting choice, since, during that time, both the Communists and the Nazis co-opted the work and tried to make it bend to their way of thinking. This is the only play of Shakespeare’s that was banned in a democracy in modern times: France in the 1930s, because of the fascist links.
Although Shakespeare underscores the capriciousness and herd mentality of the masses, he doesn’t take sides. And neither does Tresnjak. You’re left to form your own opinions of whether Coriolanus was unfairly abused, or whether his autocratic, anti-democratic stance got him what he deserved.
Though the production takes the play and its issues seriously, Tresnjak injects some whimsy – that doesn’t always work. The play starts with a puppet/manikin, which also serves as the military-dressed young son of the title character. There’s a fey party going on when Coriolanus arrives at Aufidius ’ digs. And most incongruous of all, after he ends the piece with a stunning freeze frame of death, destruction and a mother in shock, mouth gaping in horror as she recognizes that her dictatorial entreaties have brought about the death of her son, he sends the audience out with a light-hearted (if highly satirical) ditty, “Dear Hearts and Gentle People,” crooned by Dinah Shore (and recorded in 1949, much later than the setting of the play).
Though there are some breathtaking stage pictures, the production is not fully satisfying. Greg Derelian is a huge and commanding presence, a hulking, brawny force who can lift smaller men with one hand; but he’s weak in terms of emotional range and depth. As his mother, Celeste Ciulla , who’s been so memorable in the past three Summer Shakespeare seasons (as Gertrude, Emilia, Mistress Page, Mistress Overdone) doesn’t make much of a mark until her big supplication at the end, where she’s loud and potent, but not as overpowering as the role demands. As Coriolanus’ wife Virgilia , USD/Globe MFA student Brooke Novak conveys minimal character, but she seems to have an unexplained obsession with the radio. Charles Janasz and Gerritt VanderMeer are solid as Coriolanus’ friends, and Brendan Griffin does well as his arch rival, Aufidius .
The most fascinating characters are the tribunes (Grant Goodman and James Newcomb), an eye-catching Mutt-and-Jeff pair who start out slightly better dressed than the plebes (military and Depression era costumes by Anna R. Oliver) and as their fortunes increase, thanks to their self-serving machinations, they get better and better dressed, winding up like an energized Didi and Gogo , escaped from “ Godot .”
Tresnjak has done an excellent job of condensing the play, and interlacing battles scenes with the fretting womenfolk. The lighting (York Kennedy) and sound (Christopher R. Walker) make a considerable contribution to the bellicose proceedings (fight direction by Steve Rankin). Those cascading red sparkles are especially striking as signals of the final bloodbath.
There’s a great deal to command attention, but not enough to hang onto, in terms of character and emotion. More nuance and subtlety is called for in the individual performances. Still, you won’t be seeing this play again any time soon. This might be your best chance to put another checkmark on your Shakespeare viewing list.
THE LOCATION: The Old Globe’s outdoor Festival Stage, in Balboa Park . (619) 23-GLOBE (234-5623) ; www.oldglobe.org
THE DETAILS: Tickets: $29-68. Tuesday-Sunday at 8 p.m. , playing in repertory with “Twelfth Night” and “Cyrano de Bergerac,” through September 27.
THE BOTTOM LINE: BEST BET
Sunny “Night”
THE SHOW: “Twelfth Night,” one of Shakespeare’s most beloved comedies, at the Old Globe
The subtitle of “Twelfth Night” is “What You Will, which suggests a sort of devil-may-care attitude. And that’s pretty much how director Paul Mullins has approached the play. He drops his Illyria onto the Italian Riviera, in the 1950s. It’s a very nautical setting (scenic design by Ralph Funicello ), with sunlight and gliding boats, cascading flowers and bright colors. But a shadow hangs over the action.
The play begins with a shipwreck, and when Viola is washed ashore, she’s sure her twin brother has drowned. The bereaved Lady Olivia is grieving for her father and brother, both dead within the past year. The Fool, Feste , is jocular but melancholy, singing about death and “rain that raineth every day.” The noble Count Orsino is despondent over Olivia’s rejection of his suit (though his suit, in this production, is quite attractive, and he’s not all that despondent). And then there’s Malvolio , Olivia’s supercilious steward, who’s condescending to the eternal reveler Sir Toby Belch, the Lady’s uncle, and his ridiculous sidekick, the silly squire and would-be Olivia suitor, Sir Andrew Aguecheek .
In the darkly comical subplot, Sir Toby and the Lady’s maid, Maria, play a dastardly trick on Malvolio , convincing him that Olivia adores him, and would love him to smile constantly and cavort in yellow stockings with crossed garters, two things she actually loathes. Not only does he make a total ass of himself, but he’s declared insane, and locked up in a dungeon, visited by Feste in various guises, thus heaping injury on insult. At the end, a disheveled and deflated Malvolio furiously, ominously vows revenge on the pack of them. But here, that heart-stopping moment passes without a second glance, and all’s well that ends.
Which is to say that all the cross-dressing and mistaken identity are righted and everyone finds the perfect mate. Viola, who’s been disguised as a man, working for the Duke and pleading his case to Olivia, is allowed to express her love for the Duke and rebuff the love of Olivia, who’s thrilled to find that Viola has a double; and her twin is both male and available.
The comedy is handled delightfully. Katie MacNichol is delectable as Olivia, dressed in gorgeous black frocks (excellent costumes by Linda Cho); and becoming positively giddy with lust for the young Cesario , aka Viola, deftly and convincingly played by Dana Green (excellent on alternating nights as Roxane in “Cyrano”). James Newcomb, so fine as the tribune in “Coriolanus,” is appealing as Feste . Aubrey Severino , a USD/Old Globe MFA student, is charming as the fun-loving schemer Maria, and as her partners in crime, Eric Hoffman, also funny in “Cyrano,” and hilariously bumbling Bruce Turk, are a hoot as Belch and Aguecheek . Patrick Page, who gives a bravura performance as “Cyrano,” milks every moment of Malvolio’s comic antics – both as contemptuous twit and absurdly grinning, cross-gartered fool for love. But at the end, a tad more shading in his character, a momentary pall cast over the proceedings, would have been nice.
At times, it seems like the setting and concept overwhelm the play: the boats, the doo wop singing, the running up and down the aisles, the shades and cigarettes and ‘50s bad-boy garb. But through it all, we still see Shakespeare’s winking nod at the various forms of love – misguided, conventional, self and true. If a light, frothy evening of fun and sun (sans emotional clouds), is your cup of theatrical tea, this production will hit the spot.
THE LOCATION: The Old Globe’s outdoor Festival Stage, in Balboa Park . (619) 23-GLOBE (234-5623) ; www.oldglobe.org
THE DETAILS: Tickets: $29-68. Tuesday-Sunday at 8 p.m. , playing in repertory with “Cyrano de Bergerac” and “Coriolanus,” through September 27.
THE BOTTOM LINE: BEST BET
Go, Go, Go Joseph
THE SHOW: “Joseph and the Amazing Technicolor Dreamcoat ,” the Andrew Lloyd Webber perennial, at the Welk Resort Theatre
This first collaboration of Andrew Lloyd Webber and Tim Rice (which was followed by “Jesus Christ Superstar” and “ Evita ”) lasted all of 15 minutes when it was initially presented in a London school in 1968. Five years later, it was expanded to 90 minutes, and played London ’s West End . The Broadway production (1982) ran for 747 performances.
Told entirely in song, this Biblical cantata, a wacky, eclectic mix of rock, country, disco, calypso, French ballad and vaudeville romp, relates the Old Testament tale of Joseph, the spoiled favorite of Jacob’s 12 sons. When Pop gives Joseph a resplendent coat of many colors, the brothers are wildly jealous and plot to do away with him, selling him into slavery. He gets in trouble with Potiphar’s seductive wife, but winds up in Egypt where he interprets the dreams of the Pharoah and becomes the leader’s Number Two Man, saving the country from famine. At the end, he’s reunited with his family, though he can’t resist staging a little prank on his formerly nasty, unrepentant sibs.
The Welk Theatre production, energetically directed and choreographed by Ray Limon, features a cast of nearly two dozen, half of whom are members of Actors Equity. That’s more Equity performers than just about any theater in town, with the exception of the Globe and the La Jolla Playhouse. The singing and dancing skills are excellent; the numbers are fast-paced, fun and engaging. The humor is wrung out of every corny moment, to fine effect.
As the narrator, Anne Fraser Thomas displays an excellent voice, but not much spark of personality. She also doesn’t move much, except up and down the center-stage staircase (colorful set design by Gordon Richins ; clever props and costumes rented from Fullerton Civic Light Opera).
Carlos Martin is comical as Pharoah ; Kara Lynne Liotta is sexy as Mrs. Potiphar . Still, the eyes are rarely diverted from adorable, hunky Richard Bermudez in the title role. He has a marvelous, mellifluous voice, and a set of washboard abs the likes of which you won’t see too often on local stages. But he has a distracting habit of retracting his lips when he sings, which makes it looks like he’s smirking or smiling, even during the most serious of songs. I didn’t notice that when he played Marius last year at Moonlight Stage Productions, but I wasn’t half as close (and he wasn’t shirtless, to guarantee even closer attention). He’s a compelling performer, and perfect as the gifted, vain and patronizing Joseph. The musical accompaniment (three pieces, directed by Justin Gray) seems totally synthetic and pre-recorded at the outset, but warms into a more live and vibrant sound as it goes along.
The show is silliness personified. But it lasts, because it’s a great story after all, and it’s just tons of fun when it’s done well. And in Limon’s sure hands, it is.
THE LOCATION: The Welk Resort Theatre, 8860 Lawrence Welk Drive , Escondido . (888) 802-7469) ; www.welktheatresandiego.com
THE DETAILS: Tickets: $29-47, performance only. $35-63 including buffet. Special price for children age 3-15, $10. Tuesday, Thursday & Saturday at 8 p.m. , matinees at 1:45 p.m. on Tuesday, Wednesday, Thursday, Saturday and Sunday , through August 30.
THE BOTTOM LINE: BEST BET
NEWS AND VIEWS
… News from the Swan: Cygnet Theatre Company has announced that the rock musical, “Hedwig and the Angry Inch,” originally scheduled to run through August 9, will close July 12. The programming change is reportedly “in part due to actor Matthew Tyler landing a role in the touring company of ‘Mamma Mia’” “Hedwig” was initially slated to be Cygnet’s final production in its Rolando space, but artistic director Sean Murray and managing director Bill Schmidt are now considering adding another show before they vacate the premises on October 1. In the meantime, “Hedwig” ticket-holders “are being contacted by the box office staff to assist with exchanges.” Stay tuned for further developments.
… Baird is Back: Richard Baird , the mega-talented actor and co-founder (with Nick Kennedy) of the much-missed Poor Players — which mounted so many provocative Shakespeare productions — returns to give the Bard another go. Fresh from a stint as Macbeth at the Kingsmen Shakespeare Festival in Thousand Oaks , Baird will reprise his terrific 2004 performance as Angelo in “Measure for Measure.” Though Baird left town a couple of years ago, the Poor Players haven’t lain dormant; they produced “Richard II” in Sedona and Phoenix last year. Some actors from Arizona will join the 8-member cast for “Measure,” which Baird directs. At the Off Broadway Theatre, 131 Main St in Vista . 7/23-8/16. www.poorplayers.com
…More Shakespeare: The San Diego Shakespeare Society continues its popular Open Readings series, starring… YOU! Anyone is invited to participate, on the first Tuesday of every month. Coming up, the Scottish play, “Macbeth.” You can join in, or just listen. Local Bardophile Jack Winans directs. August 4, 6:45-8:45 p.m. at Upstart Crow Bookstore and Coffeehouse in Seaport Village, 835 West Harbor Dr. Free admission and parking validation. www.sandiegoshakespearesociety.org
… Gay Pride: With Pride weekend coming up 7/17, the 23 year-old Looking Glass Theatre is getting in the mood, presenting “Jeffrey,” Paul Rudnick’s romantic comedy about the chaotic love-life of a gay man who swears off sex. For the second year, Looking Glass will be an Arts & Culture Partner of San Diego LGBT Pride, with all proceeds going to that organization. 7/9-11 at the First Unitarian Church , 4190 Front Street . Tickets are available at: http://tickets.sandiegoperforms.com/eventperformances.asp?evt=995&c-1&pg
Out and About
… Michael Mizerany , associate artistic director of Malashock Dance, has been commissioned for the third time by Michigan Dance Collective (MDC). He’s choreographing a new work that will premiere September 18 in Traverse City .
…FUSION Theatre Company of Albuquerque , the only all-Equity house in New Mexico , recently held its annual short-play competition, called “The Seven.” Seven plays are chosen for a full production from hundreds of submissions; this year, 418 scripts poured in, from 37 states and eight countries. The 2009 Festival was held in late June. And the winner of the Bob and Gail Bosser Audience Choice Award for 2009 was “Amy’s Wish,” written by San Diegan Jim Caputo .
New Works
… New Voices: That’s what Vox Nova means, and the fledgling company, dedicated to new works, is presenting its second new play festival, Supernova 2, which premieres three creations: “El Jardin Secreto ,” adapted by founding artistic director Ruff Yeager ; “Romeo, Romeo & Juliet,” also by Yeager; and “The Waves,” by former Sledgehammer artistic director Kirsten Brandt . 7/10-8/9 in The Mayan Hall Theatre on the campus of Southwestern College , 900 Otay Lakes Rd. , Chula Vista . Reservations at (619) 482-6372 or bkatzenstein@swccd.edu
… Burt rides again: PowPAC , Poway’s 28 year-old Community Theatre, is presenting the world premiere of “ Ridin ’ Through That Rainbow: A Tribute to Burt Lancaster,” written and performed by Steve Oliver, an actor who’s appeared locally at Sledgehammer Theatre, Vantage Theatre and PowPac , and on TV in “Simon and Simon,” “Days of Our Lives” and “General Hospital.” The solo show follows the movie legend’s life and career, from his humble start in 1945, through his 1960 Oscar for “Elmer Gantry,” to his final film, in 1990, “Voyage of Terror: The Achille Lauro Affair.” Over the 45 year timespan covered in the play, Lancaster, who died in 1994 at age 81, appeared in 85 films and three stage productions. The one-night tribute/retrospective will be directed by Brooke Blue. July 26, 7 p.m., at the PowPAC Theatre, 13250 Poway Road . Reservations at (858) 679-8085 or boxoffice@powpac.org .
… A Grand Old Flag: Get ready to salute a new patriotic musical revue, “Let Freedom Ring,” created by Eric Vest and directed by Paul Russell and Vest for Christian Community Theatre (CCT Musical Theater). Following one family’s multi-generational history in the armed forces, the show is an evening of music and memories from the war eras of the 20th century. A cast of young people will bring back songs such as “Over There,” “Boogie- Woogie Bugle Boy,” “ Blowin ’ in the Wind” (yup; that war, too), “God Bless the U.S.A. ” and many more. Most appropriately, performances will take place on the flight deck of the USS Midway Aircraft Carrier in San Diego harbor. August 21-30. Tickets and info at (619) 588-0206, (800) 696-1029 or www.cctmusicaltheater.org.
PAT’S PICKS: BEST BETS
“Twelfth Night” – not perfect, but perfectly good fun
The Old Globe’s Festival Stage, in repertory through 9/27
“Coriolanus” – political and provocative
The Old Globe’s Festival Stage, in repertory through 9/27
“Joseph and the Amazing Technicolor Dreamcoat ” – funny, colorful, well sung and danced
The Welk Resort Theatre, through 8/30
“Cyrano de Bergerac” – stunning, magnificent production of a timeless, heart-rending classic
The Old Globe’s Festival Stage, in repertory through 9/27
Read review here: http://www.sdnn.com/sandiego/2009-07-01/things-to-do/pat-launer-on-san-diego-theater-cyrano
“Over the Tavern “ – Oh, those wacky Catholics! A laugh-a-minute comedy with a terrific cast
North Coast Repertory Theatre, through 7/12
Read review here: http://www.sdnn.com/sandiego/2009-06-24/things-to-do/pat-launer-on-san-diego-theater-tavern-west
“The Fantasticks ” – musical, fanciful, delightful
Lamb’s Players Theatre, through 7/28
Read review here: http://www.sdnn.com/sandiego/2009-06-17/things-to-do/pat-launer-on-san-diego-theater-fantasticks#mini
Pat Launer is the SDNN theater critic.
To read any of her prior reviews, type ‘ Pat Launer ’ into the SDNN Search box.
