October to November Bay Area Theatre Reviews

Bay Area October to November Reviews

Fringe of Marin Commemorates Dean Goodman
Submit One-Acts for Spring 07 Fringe By December 1
The fall Fringe of Marin is producing eleven new short plays and solos, one
of which is Winter Meeting by the late Dean Goodman, a nationally recognized
figure in Bay Area Theatre, who submitted his last play to the Fringe of Marin
before his passing. After a life of acting, directing, reviewing theatre and
films and writing his book on San Francisco Stages; a Concise History,1949-1986,
Dean settled in the Bay Area in 1955 where he founded the BAAC (Advisory
Committee) to Actor's Equity and was a founding member of the Bay Area Theatre
Critics Circle as well as performed in films (Francis Ford Coppola's Tucker)
and on T.V. and acted in and directed his own plays.
The other Fringe plays range from drama and tragicomedy to satire, comedy,
absurdist theatre, and musical comedy with themes touching on family ties,
social and moral issues, theatre careers, life regrets and more.
Most of the Fringe community writers, directors, and actors have had their
Fringe plays subsequently performed in Bay Area schools, hospitals, community
organizations, and appeared on local television (Channel 26, Pacifica Community
T.V.). We are now seeking short new plays and solos, actors, directors and
production volunteers for the spring 2007 festival. For information on the Nov.
10 to Dec, 3 Festival call (415) 673-3131.

Roaring Rock and Roll Musical Theatre at Berkeley Rep

Billed as a wild new musical, Berkeley Rep's premiere of Passing Strange is
not that far-out content wise and is not limited to the story of a young L.A.
black boy growing up in America but relates to the universal experience of all
youths who have the itch to leave home. In this simple story, when a naive,
creative young song writer tires of his Mom's nagging and his boring church
choir and leaves for Amsterdam, he discovers a new warmer, much friendlier world
of drugs, sex and rock and roll. He then moves on to Berlin where he sharpens
his political views with a group of political dissenters who listen to his
accounts of the evils of being black in America while he continues to create song
gigs for them that deepen his artistic growth. But when his Mom calls for him
to come home it may be too late for him to realize what family and a Mom can
mean.
While the dramatic content may be deja vu for some, it is what the
narrator/actor/ singers do with this simple story that grabs the spectator. The musical
numbers are rendered with such melodic spirit and freshness of performance that
spectators, swaying to the soulful lyrics, are soon mesmerized.
Both band and cast give their all. Among the fine cast of singer/actors,
Colman offers an eccentric Franklin, a pastor who admits his sinner's side to the
naive youth (played by Daniel Breaker who is a perfect fit for the role), and
Eisa Davis creates the ideal caring Mom.
Directed by and in collaboration with Annie Dorsen, the book and lyrics are
by Stew, an acclaimed singer, songwriter, playwright, composer and his
partner/co-founder of the multi-interdisiplinary cabaret ensemble "Stew." In the
musical, Stew is the dynamic narrator that creatively and spontaneously combines
original music and lyrics, verse rimes and theatrical dialogue with a minimum
of political irony. The one drawback is that in its overwhelming energetic
spontaneity the piece tends to be too lengthy and not connected in sections (such
as the Berlin scene). In sum, the piece would gain to be tightened.
On opening night at the play's end the musical received a full house standing
ovation that would make it difficult for any reviewer to contest. Kudos to
Berkeley Rep for hosting creations that vibrate with such gusto and freshness.

Spear Ensemble at Fort Mason Tackles Shakespeare's Titus Andronicus

The newly founded Spear Ensemble Company begins its theatrical debut with one
of the Bard's most challenging adult works, Titus Andronicus, that
opened at the Young People's Theatre in Fort Mason in October. This pared
down 75 minute staging renders the long, complicated dramatic conflict and
multiple character intertwinings and sub plots more digestible than the complex
reading of the program's play synopsis. The play is about revenge in a multitude
of forms such as massacres, betrayals, beatings, physical and emotional abuse,
rapes, physical dismembering, and the devouring of humans. The warrior Titus
Andronicus, back from the war with the Goths, is at the center of these
graphifically horrifying acts concerning his daughter, sons, the Emperor and a host
of others in which revenge takes revenge upon revenge unceaseingly.
In respect to our modern era of military capability and of growing violence,
this play depicting the endless process of revenge along with the accumulation
of physical and mental acts of cold-hearted rancour, makes us wonder if our
own place as a world power will not follow in the footsteps of the Bard's
example of the ancient military-oriented, power hungry people he describes.
To communicate this complex dramatic action and characterizations, the actors
wear leather commedia-like masks which not only allow them to
switch characters but also lend an ancient stylized element to the play. This
and the neutral styled attire in black and grey tones, along with several
choral movement scenes, bring out the ancient stylized quality that nonetheless
blends well with the televised scenes of the Emperor in modern clothes.

Directed by Diane Jackson, the Spear Ensemble cast create physically adept
caracterizations, with Michelle Barton mastering the duel roles of Tamora and
Lavinia with a high emotional appeal that drives the drama onward. Armond
Dorsey's Titus evokes the anger and vindicative nature of the character but could be
empowered by a more upright rather than a crouching posture to represent the
warrior.
The set (Emily Zwissing, JulianaVan Meter) is simple with levels upstage and
ample space for well choreographed combat scenes (Brian Levy and Armond
Dorsey) and acrobatics (G. Randall Wright).
Although no piece of dramatic literature could be more trying for a young
company's debut, Spear Ensemble has succeeded in presenting a well coordinated,
emotionally appealing and physically compelling adaptation of Titus Andronicus.
Tutus Andronicus runs through Nov. 5. For info on this and other shows call
415-439-2456 or visit www.SpearEnsemble.com.

Charles Mee's Bouncing Big Love by Fool's Fury at Traveling Jewish Theatre
Extended

Charles Mee's award-winning Big Love at the Traveling Jewish Theatre has
Fool's Fury's cast bouncing about on mats as fifty American brides (performed by
three actresses) who escape from arranged marriages to fifty Greek males flee
to the shores of Italy where they encounter Piero, the owner of a villa, and
convince him to give them refuge. But when their husbands arrive by heliocopter
to recuperate their future wives who abandoned them at the altar, the women
are faced with Piero's order to go through with their wedding in his villa.
Resolved to murder their future husbands during the ceremony, in the scenes that
precede the wedding both the males and females illustrate their male female
frustrations by throwing about their bodies, somersaulting and performing circus
acrobatics along with the use of modern dance and mime that soon has the
staging resembling a multi- media production of theatre, acrobatics, dance,
clowning and mime.
However, all of this bursting of action does not exclude passages of poetic
philosophy that reveal Mee's ideas on male female relationships, sexuality,
love, marriage, justice and the meaning of life and happiness. These spontaneous
verbal passages take us by surprise and spark his interest throughout.
The actors, well trained and adept as movement theatre artists, are applauded
for their versatility and perfected technique (even if at times their
physical virtuosity takes precedence over the verbal richness of the text and has
some spectators cringing for the actors' safety). In contrast, Linda Ayres
Frederick as Piero's Italian mother with a perfect Italian accent, creating a warm,
down-to-earth elderly woman, and Josiah Polhemus as the authoritative Piero,
acting as observers of the tumultuous physical action, offer forceful
interpretations central to the main action.
Sets by Sean Riley with valises and wine glasses along the walls and a real
vintage bathtub and piano are innovative and Ambra Sultzbaugh's costumes are
both attractive and allow for physical movement.
Directed by Anne Bogart trained Laley Lippard of the Fool's Fury company, the
staging brings out the many facets of movement stemming from movement
theatre, dance-mime and clowning. It also recalls the movement of Greek chorus, one
of the sources of Mee's play being Aeschylus' Suppliant Women. Lippard has
successfully combined Fool's Fury movement aesthetic and the intensive physical
training of Anne Bogart's SITI Co.with the poetic, philosophic and
psychological truths concerning the male female relationship that Mee imparts in his
highly imaginative and original theatre.
For information about Fool's Fury upcoming productions visit
www.foolsfury.org.

Torn Ribbons at Traveling Jewish Theatre Reveals Ravages of War

Torn Ribbons, a new work by Naomi Newman was directed as a stage reading by
Jane Wenger, performed by eight talented actors at the S.F. Traveling Jewish
Theatre on October 23 and at the Berkeley Ashby Stage on Oct. 24. This strong
anti-war play, explores the ravages of war on the human soul. Influenced by
Brecht and TJT's eclectic style, part fable and part parable, Newman's new play
tells the story of a group of people torn between the demands for retribution
and the hope of reconciliation.
Moving by Israeli playwright Ro'i Rashkes and Aaron Davidman, about a love
story in New York City on the eve of 9/11and that recommits TJT to an ongoing
Israel-Diaspora dialogue, was presented on Oct. 30 at the S.F.Traveling Jewish
Theatre. Discussions with the playwright and the director followed the play
readings.
The Fall New Play Workshop Readings was co-commissioned by the Magic
Theatre/Z Space New Works Initiative.
For information about future New Play Workshops or Martin Sherman's Rose
featuring Naomi Newman and directed by Joan Mankin to be staged

in Jan. and Feb. 07, call
415-522-0786 or visit www.atjt.com