October to November Bay Area Theatre Reviews September to October 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
September to October Reviews
Marin Shakespeare Ends 06 Season on a Mirthful Allegro Note
In Jim Dunn's seventh stage direction at Marin Shakespeare, the award-winning
veteran director concocts a hilariously up dated rendition of the Bard's
Comedy of Errors. In one of Shakespeare's most improbable farcial situations
revolving around mistaken identity, two sets of identical twins, consisting of two
masters and their servants, appear in the same town to create havoc when
mistaken for one another.The twins undergo accusations of betraying their wives
with other women, owing money, losing their minds and other misunderstandings.
Director Dunn and his fine cast of eighteen comedians play to the hilt confusing
bits such as one brother asking his servant to bring him gold only to receive
a rope ordered by his twin. In another scene the servant is covered by kisses
by a woman who has mistaken him for his twin. Each scene becomes more
ludicrous as the mistaken identity broadens.
To further enliven the farcical aspect of the play Dunn gives free rein to
his actors to improvise and insert modern day fads such as drinking coca cola
out of cans and wearing large horn-rimmed eyeglasses, sneakers and wrist watches
that never jar but harmonize well with the production's stylized delivery of
the text and use of some traditional costumes.
Contrary to other regional and national Shakespeare productions, Dunn, in
combining contemporary elements of staging and modern day scenery (Bruce
Lackovic) and costumes( Abra Berman) with the more traditional aspects of staging
Shakespeare, never goes overboard for the sake of innovation at the expense of
obliviating the Bard's prose. He allows us to savor Shakespeare's wisdom and
lyricism as well as succeeds in" contemporizing" the work and freeing it from
becoming an unimaginative, staid interpretation.
In this season's stagings of King Lear, Alice in Wonderland and The Comedy of
Errors, Marin Shakespeare has.offered a highly varied reperoire of tragedy,
fantasy and comedy.
For information on the upcoming Marin Shakespeare season visit
www.marinshakespeare.org
Trials! Oy Vey! Trials! at the Fringe
Best of Fringe 05 awardee for his Sperm Warfare, David Rouda's next play,
Pomp and Circumstance, at the 06 Fringe offered a unique experience for critics
who were formally subpoenaed to be present at a pomp reception on opening
night, after which they were conducted by a court baileff to the play's opening at
the Exit Theatre. Midst the excitement of crowds attending multiple Fringe
stagings, Rouda's play got under way. We learn that a young adventurous and
imaginative lawyer is challenging his father, an established criminal defense
lawyer, as the former takes on a personal injury case. The action revolves around
sex and love and religious and civil law when, to please his young bride, a
Jewish husband overdoses on pills to increase his virility.
A second trial is based on an actor's reliving of his role of Othello off
stage that causes him to murder the actress with whom he is playing.Although this
shorter second trial spoofing silly court cases enhances the satirical humor
of the play some spectators may be confused about its relationship to the rest
of the production.This could possibly be remedied by a fuller development of
the second court case and by tying it more closely together with the ensemble.
Throughout Rouda incorporates a Jewish flavor utilizing Jewish characters,
names and cultural allusions that add to the comedic value of the work and that
in its rapid change of action and pace also recalls the playwright's
experience as a writer of T.V. drama.
All in all David Rouda's play is staged with careful directon by Rouda,
simple set design by Rouda and Sergio Sepulveda, and performed by a fine cast of
largely Bay Area actors. Although written in the style of a lively and light
diversion, the play has the makings of a meaningful satire on the absurdity and
pomp and circumstance of civil and religious law in courtroom trails as well as
on lawyer ambitions.
.
War and Motherhood in Brecht's Mother Courage at Berkeley Rep
As Mother Courage forges ahead with her cart pulled by herself and her
children selling goods to soldiers during the 30 years war to feed and clothe her
family, she intrepidly survives all the impediments that she encounters,
including the military officers who lure her sons into a war that she well knows will
take them from her for good. And yet because of the war she and her children
are able to survive."As long as there is a war it (like love) will find its
way," she says. After the war takes her sons' lives she continues onward with
her daughter until war removes this last child from her. At play's end we see
Mother Courage struggling to push her heavy cart alone and we leave the theatre
wondering how much more this courageous mother can sustain.
This tale of the horrors of war is softened somewhat by songs sung by cast
members, including a lullaby by Mother Courage to her dead daughter that is both
moving and thought-provoking. Leishman's original compositions combining
military, circus and cabaret music for piano, accordeon and tuba provide a
refreshing change from the harpooning on war that reoccurs throughout the play.
Brecht's piece was triggered by his own experience fleeing the Nazi invasion.
Although he intended through his theories on epic theatre to spark spectators
to revolt against the absurdity of war rather than move them emotionally on
the fate of a strong willed mother struggling to protect her children, this
production, as well as others, cannot completely avoid an emotional (rather than
an exclusively reasoned) reaction to the human losses of the heroine.
Well directed by Lisa Peterson (aside from what may be an intended slowness
of pace), the cast offers some excellent characterizations a la Brecht. Ivonne
Coll in the principal role adds a Hispanic flavor to her part as she ignites
our feelings against war in her determined and indignant outcrys against it.
Katie Barrett follows suit in her fine creation of the loud-mouthed, promiscuous
Yvette. Patrick Kerr's chaplain and Jan Monroe's cook are colorful
characterizations and Katie Huard is a sensitive mute Kattrin, aware of her mother's
every need.
Sets by Rachel Hauck and costumes by David Zinn, mostly modern, along with
Alexander V. Nichols' varied lighting effects, blend with the action to
wonderfully convey the dramatic content.
The Berkeley Rep production is a tribute to Brecht's vision of a theatre that
empowers us to reevaluate the validity of war, the heroism of which may bring
at the very most statues and banners of one's heroism but not without the
higher price of the perdition of human lives.
Mother Courage continues thru Oct. 22. For info, call 510-647-2949 or visit
www.berkeleyrep.org.
The Challenge of Caricature in Stoppard's Travesties
After Carey Perloff's announcement of the official renaming of the Geary
Theatre as the Actors Conservatory Theatre, later followed by a champagne toast
during intermission, Stoppard's Travesties took off with audacious visuals of
tableaux frames, a librarian flying across the stage while placing books on a
bookshelf, and furniture and props circulating about that sparkled the curiosity
of an audience dazzled by this opening presented in Dadaist style. Then there
appeared the elderly figure of Henry Carr in a wheelchair who attempts to
recall his memories of encounters in 1917 in Zurich with novelist James Joyce,
Dadaist Tristan Tzara, Bolshevik leader Lenin and his fellow Marxist wife along
with two English females involved with these personalities. Interspersed with
Carr's lengthy, but well enacted narration, are scenes that illustrate these
figures' farcical interchange of ideas on art and politics.
Well directed by Carey Perloff, the play is comprised of intellectual
discussions and judgements of the artist's role in worldwide political conflicts
(such as World War 1) along with the evaluations of the works of Joyce and Tzara
and the politics of Lenin presented in light bantering back and forth of witty
conversation. These playful interchanges of ideas take precedence over
humorous human intrigues, one of which involves English librarian Gwendolen's
relationship with Tristan Tzara, who is madly in love with her but whose affection
she will not accept until he, like herself, admires the genius and talent of her
mentor James Joyce.
Geordie Johnson delivers the long solo passages of the elder Carr with his
failing memory and manages to hold audience attention admirably well.
Anthony Fusco as the sometimes reserved, sometimes firy James Joyce is
convincing. Geoff Hoyle moves with ease from his role as the stylized, serious
butler Bennett (at one point juggling scarves while serving) while beneath his
serious allure scoffing all he sees about him to the role of the dictatorial
Bolshevik leader Lenin played in a delightful clownesque manner. Joan Mankin as
Lenin's wife and political follower commands our attention with her military-like
vaudevillesque stance. Renee Augesen as Gwendolen and Allison Jean White as
Cecily offer portraits of charming frivolous English ladies. Gregory Wallace's
colorful farcical caracterization of the Dadist artist is somewhat over the
top.
Scenic effects by Douglas W. Schmidt, costumes by Deborah Dryden with
lighting effects by Robert Wierzel are visually breathtaking.
As the play's title suggests (derived from the French travestir meaning to
disguise, extended to signify "caricature"), the play caricatures noted artists
and political figures residing in Zurich in 1917 who bounce about ideas on
their role in the shadow of the 1st World War. This production well captivates
intellectual exchanges, games of clever witticisms and light argumentation that
reflect Stoppard's verbal talent and mastery of jeux de l'esprit or play of
the mind.
Travesties continues through Oct. 22. For info. call 415-749-2228 & online
www.act-sf.org.
Charles Mee's Bouncing Big Love by Fool's Fury at Traveling Jewish Theatre
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 the women who abandoned them at the altar they 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, falling hard on the mats, somersaulting and
performing circus acrobatics along with the use of modern dance and mime that soon
has the staging resembling a multi media production.
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 in this production, physically 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 strong 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 highly 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.
Big Love plays through Oct. 21. For information call 1-800-838.3006 or visit
www.browntickets.com.
The Many Proofs in the Ross Valley Players' Proof
Back again to direct with the Ross Valley Players, Chris Cassell's newest
theatre adventure is David Aubun's Proof, an intriguing play revolving around the
proof of a deceased math professor's mathematical discovery that involves his
family members and a student working with him.The action continues around the
professor's daughter Catherine who attempts to salvage the research of her
father whose efforts to continue were arrested by mental illness and cancer.
When Hal, her father's math student, asks to see his professor's notebooks and
Catherine, suspecting Hal's intentions to steal his father's findings, refuses
the drama intensifies. And when Hal proves his honesty and that her father has
achieved an imortant breakthrough in math, the play finds its resolution but
not without posing another mystery that requires proof. Is Catherine's
declaration that despite her limited knowledge in math it was she that who the proof
of the theorem while helping her father true? And is Catherine's secret
undertaking of searching for the proof of the theorem not evidence of her love and
faith in her father's ability to do so?
Proof 's production value lie in Cassell's careful, nuanced direction along
with motivated physical movement and in the concentrated acting of Katherine
McDowell as Catherine, Wood Lockhart as Robert, Michael Abts as Hal and
Jeanette Harrison as Claire. Set design by Don Cate and prop design by Lnda Dunn
appear simple but can one prove that the arch leading to the rear of the house is
not symbolic of a mathematical form that challenges our imagination? Costume
design by Michael A. Berg conforms with the reserved attire of an academic
ambience.
The production excites the spectator's curiosity throughout with its multiple
mysteries needing proof in the domains of mathematics and concerning the
human relationships involved in searching for other proofs.
Proof plays until October 22 at the Ross Valley Players' Barn. For
information call 415-456-9555 or visit www.rossvalleyplayers.com.
In Character: Actors Acting Exhibit at S.F. Performing Arts
In honor of photographer Howard Schatz's book, In Character: Actors Acting,
the San Francisco Performing Arts Library and Museum is featuring an
exhibition by the same name, which opened with a reception attended by Schatz on
Thursday, September 21, 2006. For the book, Schatz invented scenarios and then
photographed 105 well known actors doing what they do best; acting. Each actor was
given a direction, a character to play, a scene, and, at times, even dialog;
and Schatz photographed them as they developed their parts. The exhibition is
open free to the public Tuesdays-Fridays, 11 a.m. to 5 p.m. and Saturdays from
1 p.m. to 5 p.m. through February 24, 2007 at PALM on the fourth floor of the
Veteran's Building, 401 Van Ness Avenue, San Francisco. Phone 415-255-4800.
By Flora Lynn Isaacson for Annette Lust
Arthur Miller's Ride Down Mt. Morgan or "Who Gets the Husband?"at the
S.F. Playhouse
S.F. Playhouse's fourth season opened with Miller's so-called last play,
The Ride Down Mt. Morgan, centering around a tantalizing conflict between
bigamist Lyman Felt's two wives, one devoted and boring after 32 years of
marriage, and the younger one passionate and sensual who renews the hero's lust for
life. After Lyman has an accident on a Mt. Morgan hill and finds himself in a
hospital bed, the two wives meet at his bedside to discover that they have the
same husband who has been living the lie of being the husband to each..
Miller succeeds in stretching this premise into a drawn out conflict that
offers truths about the disillusionment of marriage. "Why do people stay together
once they realize who they are with?" asks the playwright at one point. And
Lyman's contention to his wives that the simultaneous gift of each wife,
loyalty on the part of one and passion on the part of the other, mutually create the
happiness of both of them as well as that of Lyman because the hero's
contentment with having both looyalty and passion has repercussions on their
contentment.
In response to these supposed truths, the dramatic action provokes several
questions. Did Lyman rationalize his egocentric desires to ease his moral qualms
about being a bigamist? And is the accident he has had (and did he really
have one?) and the medication he has taken cause him to fear and fanticize the
possibility of two women with whom he is involved confronting one another at
his bedside? In director Joy Carlin's program notes, she mentions that in
Miller's play the line between reality, memory and fantasy is blurred.
Expertly directed by B.AT.C.C. awardee Joy Carlin with good all-around acting
interpretations by Victor Talmadge as Lyman, Karen Grassle as wife #1, Nancy
Carlin as wife #2, Keith Burkland as the lawyer, Kristin Stokes as daughter
Bessie and special mention for Marjorie Crump-Shears as the warmhearted Nurse
Logan.
Both Miller and the S.F. Playhouse have done it again with the writing and
production values of an intriguing, imaginative and truthful depiction of how to
beat the darker side of the ethics of married life.
The Ride Down Mt. Morgan continues thru Nov. 4. For information call
415-677-9596 or visit www.sfplayhouse.org.
Shepard's God of Hell, Political Farce and Beyond
Sam Shepard's response,in the form of a political farce to Bush's invasion of
Iraq now playing at the S.F. Magic Theatre starts out on a very low key when
we meet Emma and Frank living on a Wisconsin farm peacefully caring for their
heifers and having taken in a former friend of Frank's who resides in their
basement. When Frank tells Emma that the friend (Mr. Haynes) used to work for
the government and that he had a job in which he was tortured, Emma's curiosity
peaks. With the sudden appearance of an individual (Welch) who sells
patriotic flags and banners and asks who is living in the basement, she begins to be
disturbed by their visitor's presence. After she rids herself of the salesman,
we learn that Haynes gives off static shock when approached and that the
salesman could be a government agent looking for Haynes. The dramatic action mounts
when Welch returns and, utilizing fear tactics, claims that their home could
explode any time due to a force that the government if fighting. After
succeeding in finding Haynes, gruesomely tormenting him (by tying a rope to his penis
and pulling him around the living room), Welch marches off with Frank who now
is converted to Welch's ideas. Emma is left alone to resist against
government intrusion on their farm, desperately pulling on the cow bell she used to
call her husband in their stable with his heifers.
Directed by award-winning Amy Glaze the play is performed by a strong cast
with Anne Darragh and John Flanagan realistically depiciting a farm couple,
Michael Santo as a caricature of Bush, and Jackson Davis convincing as the
tormented victim.
Shepard's play has wonderful potential in content and form with the
possibilty to create interesting characters. Yet it could be still stronger if both the
production and writing could move beyond political farce directly targeting
our present president and refer to all leaders who manifest their dictatorial
nature and ask such telling questions about their honesty such as "you didn't
think that you could ride on the back of democracy forever, did you?" Although
this is the playwright's intent, a less pointed finger at our present
situation with a more universal reference to all tyrannical government take-overs
could render the piece more meaningful than restricting it to a political farce
referring to one leader and one incident in history.
God Of Hell continues at the Magic through Oct. 22. For information call
415-441-8822 or visit www.magictheatre.org.