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March/April Reviews

A Modern"Hedda"at A.C.T.

In Ibsen'smasterpiece Hedda Gabler at A.C.T., René Augesen creates a
modern version of the playwright's rebellious heroine constrained in a
loveless marriage with researcher husband Jorgen Tesman, more
passionate about his findings in Domestic Economy than about his young
wife. Hedda's spirited resentment to her husband's conventional
thinking, her secret passion for the adventuresome Lovborg, Aunt
Juliane's accusative eye and the tight moral values of those who
surround her turn her into a tigress. In his works Ibsen revolts
against a hypocritical society crippled by religious values that
prevent the individual from achieving his ideal truthfully. Here Hedda
lives the lie of being in a marriage that society approves of rather
than realizing her passion for a man condemned for his immoral life
style.

Ibsen artfully develops the self-destructiveness of his heroine who in
this production falls short of provoking the spectator's empathy for
her suffering and her inability to realize her passion. Rather here the
heroine, willful and slightly hysterical, resentfully gives into the
pressures of society. Otherwise Rene Augesen brings Hedda into the 21st
century in her interpretation of the playwright's modern heroine well
aware of her dilemma.
The process of moving into the 21st century is aided here by Ibsen's
efforts to react against the limitations of the popular melodrama of
his time. It is fortified by Paul Walsh's new translation as well as by
Richard T. White's animated direction of a highly verbal dialogue
through the use of a good amount of stage movement (although at times a
bit overdone).
Anthony Fusco’ Tesman represents the conventional researcher. Sharon
Lockwood creates a vivacious meddling aunt. Finnerty Steeves is the
compassionate Thea in love with Lovborg. Jack Willis offers a masterful
interpretation of the controlling commissioner Brack. Stephen Barker
Turner‘s Lovborg is Hedda’s self-destructive love interest. Barbara
Oliver’s Berte, the faithful elderly servant, possesses an accomplished
stage presence.
Kent Dorsey’s sets on several levels are breathtaking; luxurious
lighting by Alexander V. Nichols and elegant costumes by Sandra Woodall
enrich the production.
A.C.T.’s Hedda Gabler succeeds in updating and rendering relevant
Ibsen’s drama that upholds the individual’s cause against the
conventions of society.
For information about ACT’s production of Philip Gotanda’s After the
War (March 22-April 22) call 415-7492ACT or visit www. Act-sf.org

Jesus Hopped the A Train Rocks the SF Playhouse

Stephen Adly Guirgis’ Jesus Hopped the A Train, originally produced in
New York and staged in S.F. in the intimate space of the Church of the
Fellowship, offers a striking contrast between a grim look at prison
life along with the spiritual bent of prisoners praying to regain their
freedom and facing death. First time killer Angel still may be freed
for an unintentional crime through the humanistic efforts of lawyer
Mary Jane, who has taken his case to heart. Serial killer Lucius,
facing death, persists in calling on God for reassurance. The play by
Guirgis, who worked in the New York prison system, also takes a hard
look at our police, justice and prison system.
Directed by Bill English with a lively pace, the challenge of
interpreting lengthy verbal passages is well met. During Lucius’ long,
passionate Jesus speeches and Angel’s repeated resistance to the
latter’s aim to make him a Jesus fan, one’s interest never wanes.
Forceful interpretations are rendered by the entire cast -from Carl
Lumbly as the serial killer, mesmerized by the Christ figure as he
approaches death row, Daveed Diggs as the nervous, confused Angel, Susi
Damilano as the compassionate lawyer out to salvage the life of an
unjustifiably condemned Angel, Gabriel Marin as the ebullient guard to
Joe Madero as the kindly officer D’Amico.

Bill English’s impressive, authentic prison set is enough to make the
show worthwhile. Lights by Jon Tracy, costumes by Prem Lathi along with
sound effects by Chris Houston all add to the puissant dramatization of
the ensemble.
The content of Guirgis‘ play stirs our souls and wins our empathy. The
dramatic intrigue combines the plebian, sometimes humorous, street
language of the condemned with the uplifting tone of a morally stricken
public defender and the spiritual awakening of a serial killer as he
approaches deathrow attempting to bring faith to his fellow inmate.
Jesus Hopped the A Train plays until April 21 at the SF Playhouse, 533
Sutter St.. Call (415) 677-9596 or visit www.sfplayhouse.org.

The Challenge of Staging Virginia Woolf

The world premiere staging of Virginia Woolf’s novel To the Lighthouse
at Berkeley Rep, adapted by Adele Edling Shank, represents a heroic
endeavor to suit the author’s literary brillance to stage dialogue and
movement. Director Les Waters, the cast and the musical ensemble do
their best to succeed in this difficult task. However, in this
depiction of the Ramsey family revolving around a wife in a loveless
marriage raising numerous children and a female painter who captures
the surrounding landscape, there are some scenes that project well
dramatically (such as the dinner scene in Act I placed downstage so
that the mumblings of the inner thoughts of the guests reach the
audience). Then there are other scenes placed upstage on a deep and
wide stage, with emphasis on striking décors and projections, in which
much of the poetic and philosophical dialogue is lost. So when in the
second act the dramatic action reverts to the musical string quartet
rendering of Paul Dresher’s new score, that includes singing by some of
the actors, relief is provided to those spectators who could not catch
the nuances of the dialogue in Act I. Yet this shift may confuse rather
than enlighten other spectators taken aback by this sudden mixture of
genres that weakens rather than strengthens the ensemble of the piece
that should celebrate rather than obscure the novelist’s talent.
Monique Fowler as Mrs. Ramsey, Edmond Genest as Mr. Ramsey and Rebecca
Watson as Lily the painter project well despite the absorption of the
voices on a wide and deep stage with grandiose scenic effects by Annie
Smart. Christal Weatherly’s costumes respect the period ambience. Matt
Frey’s lighting portrays the lighthouse but could avoid the recurrent
flashing of the revolving light directly into spectators’ eyes.
Aside from the drawbacks of this effort to dramatize Woolf’s stream of
consciousness talent, even if the result does not measure up to her
literary contribution, the effort is a worthy one, if only to remind us
of her grandeur as a writer.
For information about the upcoming Blue Door by Tanya Barfield April 6
to May 20, call 510-647-2949 or visit www.berkeleyrep.org

Micheline’s Book Everybody Lies About Their Sex Life Adapted For the
April Dominican Fringe of Marin
The April One-Act Fringe Festival at Dominican University will feature
one of Micheline’s 21st century collection of women’s satire on
sexuality in her newly published Everybody Lies About Their Sex Life,
The Vagina Whine-O-Logues, first staged as a one-act play at the
Dominican Fringe in the nineteen nineties.
Micheline’s essay in her book, If Her Purse Could Talk, is adapted into
a play and directed by Linda Vito. It opens with the line “A woman’s
purse always reflects her vagina, “ and goes on to examine the
different purses worn by the female members of a family that reflect
their attitudes on sex. This hilarious adaptation ends with “I swear I
will never, ever look at another purse without wondering about the
inner dialogue of the owner’s vagina. God, if her purse could talk, I
just wonder what it would say?”
If Her Purse Could Talk plays along with 5 other short one-acts Fridays
April 20, 27 at 7:30 p.m.; Saturdays April 28 at 2 p.m. and May 5 at
7.30 p.m. and Sunday April 22 at 2 p.m. at Meadowlands Hall on the
Dominican campus. For information call (415) 673-3131.

A Unique Birthday Party at the Aurora

An older couple running a seaside boarding house; a deranged
out-of-work boarder; two mysterious callers who rent a room at the “on
the list” boarding house; an unusual birthday party for the disturbed
boarder; a still more unusual ending comprises this dramatic intrigue.
And the characters are: Meg (Phoebe Moyer), a blissful, ignorant middle
aged woman running the boarding house with her withdrawn husband Petey
(Chris Ayles); Stanley, a disgruntled former pianist boarder who rarely
leaves his room; Goldberg (Julian López-Morillas) and McCann (Michael
Ray Wisely), a Jew and an Irishman who belong to the “Club” and rent a
room at the boarding house; Lulu, a sexy girl attracted to Stanley and
all males. These are the simple components of Pinter’s award-winning
Birthday Party that grow into a complex dramatic intrigue of violence
and abuse after the two strangers arrive and help Meg arrange a
birthday party for Stanley. The dramatic action then takes on a
metaphoric allusion to the climate of terrorism and political and
social pressures that face us today. As the play develops Meg’s gentle
protective nurturing of the disenchanted Stanley, who resents her
advances, it is eclipsed by the two strangers’ brutal persecution of
the latter. After drinking whiskey and playing a morbid game of blind
man’s bluff, Stanley is probed with questions about his past and why he
left the organization that continues on through the night until he is
mentally and emotionally numb. The one tiny gleam of hope is Petey’s
words to the robot-like Stanley to not let them tell him what to do!
What Pinter is saying here is that the individual must stand strong
against the menace of social and political dominance.

Directed by veteran Pinter director and artistic director of the
Aurora, the intimately staged Pinter masterpiece is performed by the
entire cast with a fine balance between careful verbal delivery and
expressive silent movement and pauses prescribed by the playwright,
that are often more
eloquent than the dialogue. Characterizations by the entire cast are
strongly created. James Carpenter’s convincing creation of the
alienated Stanley in the first half turns to Kafkaesque exaggeration
and caricature of a broken down terrorized victim in the second half
and McCann and Goldberg’s violent attacks on Stanley grow grotesquely
violent.

An intimate feeling is captivated by Richard Olmsted’s simple sets with
the audience sitting on three sides. Costumes by Cassandra Carpenter
suit each character and subtle lighting by Christopher Studley
contributes to the intimacy and mystery of the play.
Aurora’s production of Pinter’s masterpiece offers a haunting rendering
of the present and future universal struggle for individual freedom.
For info about Aurora’s upcoming productions call 510-843-4822 or visit
www.auroratheatre.org.

A Look at The Younger Generation at Crowded Fire

Crowded Fire’s West Coast premiere of Mickey Birnbaum’s Big Death,
Little Death at the Traveling Jewish Theatre offers an honest
frightening look at teenagers‘ world today. This look is softened by
the naively hilarious reactions of a teenage brother and sister
attempting to cope with their father’s disturbed conduct and strained
relationship with his wife, who confesses having been intimate with
another man while her husband was at the Gulf War, followed by the
incomprehensible death of their mother in a car accident. The play
reveals teenagers’ lack of parental communication, drug and alcohol
abuse, rampant sex, manipulative counselor guidance, and more. “To whom
can they turn for help” And if there is no help, why not blow up their
apathetic world?
The first half of the play exposes the life style of this dysfunctional
family with teenager Gary as younger sister Kristi’s moral and parental
support. Meanwhile Gary is lured into a relationship with his older
female counselor. The second half brings these conflicts to a head in
an abrupt wrapping up of what is a tightly written piece that gives us
a compelling frank view or today’s youth.
High school senior Carter Chastain is a natural in the role of Kristi’s
brother Gary and Mandy Gladstone plays a lively Kristi (but needs to
articulate better). Mick Mize as the dog is a show stealer and Ben
Freeman is a convincing Harley, Gary’s faithful friend bewildered over
his crush on Kristi.
Sean Daniels’ tight direction has the play moving at a quick pace.
Simple lighting (Heather Basarab) and scenic design by Chloe Short
allow for miming of props and quick set changes.
Crowded Fire bravely continues to present provocative and relevant
theatre that is well staged as well as entertaining.
For info about Crowded Theatre’s upcoming productions and 10th
anniversary October 13th visit www.crowdedfire.org

Tennessee William’s Rose Tattoo Updated at the Actors’ Theatre

If Williams’ 1951 Rose Tattoo has been considered dated in the past
years, the Actors Theatre of S.F. has done a good job updating it. This
ethnic gem portraying Sicilian life style comes to life with a mixed
cast of actors of Latin American, Italian (one direct from Sicily) and
Americans of several generations. The play centers around catholic
seamstress Serafina’s continuing passion for her truck driver husband
with whom she realizes she has conceived a child when a rose tattoo
appears on her breast. After her husband is killed in an accident she
retreats into solitude to remember her passion for him and to pray to
the Virgin Mary. Meanwhile she encounters truck driver Alvaro whom she
drives away along with a young sailor courting her fifteen-year-old
daughter. When she learns from her female neighbors that her husband
had been seeing another woman, she has second thoughts about continuing
to pray to the Virgin and about seeing Alvaro.
Well directed by Christian Phillips and Jennifer Welch, Maggie de Vera
as Serafina brings a voluminous voice (if you are sensitive to a
powerful voice do not sit in the first two rows) and a dynamic stage
presence to her role. De Vera’s buxom heroine commands the stage and
she lives her role intensely throughout. Other cast members who add to
Serafina’s vivid passion are Jessica Coghill as her 15-year-old
daughter Rosa, and Eddie Donlan as Alvaro, along with the entire cast
who offer credulous characterizations.
For information about Actors Theatre of SF future productions visit
www.actorstheatresf.org
Biz Duncan’s set and Phaedra Starr’s costumes succeed in colorfully
portraying the life style of the Sicilian family.
With this stimulating Tennessee Williams’ production, the Actors
Theatre of San Francisco continues to fulfill its mission to stage
meaningful works and gems of classic American theatre.

Our Town Triumphs at Ross Valley Players

Why is Thornton Wilder’s Our Town performed more often than any other
play? Because it has the reputation of being the greatest play by an
American writer. And why it has this reputation as the greatest play is
perhaps due to the gentle true to life simplicity with which the play
portrays the life cycle of human beings. And the Ross Valley Players’
production of Our Town directed by Robert Wilson honors the
playwright’s and the play’s reputation
The play takes place in Grover’s Corners, New Hampshire and depicts
thirteen years of the lives of two families. In Part One, the stage
manager describes the town’s population, history and the activities of
two families, including the love of teenagers George Gibbs and Emily
Webb. Part Two revolves around Emily and George’s marriage, and Part
Three depicts a visit to a cemetery where several of the characters who
have passed away interact with the living.
This simple story of youth, love, marriage and death of the townspeople
of Grover’s Corners captivates our interest because in its description
of the lives of everyday Americans it compels us to reminisce about the
course of our own lives and reveals truths about the life long trials
and tribulations of all human beings.
Director Robert Wilson and the cast have respected the simplicity of
Wilder’s directions for minimal sets and props that are replaced by the
miming of objects to allow the lyrical and philosophical content to be
given due importance. Veteran actor Wood Lockhart as the stage manager
plays a low key narrator who gently leads us through the different
stages of life of the inhabitants of Grover’s Corners as well as
integrates the different phases of play. The remainder of the cast
create believable characterizations. Vivian Kane portrays a vivacious
young Emily. Kathleen Gerard is a motherly Mrs. Gibbs. Keith Jefferds
creates a convincing Mr. Webb and Jennifer Reimer stepped in to replace
Susan Suomi and admirably play Mrs. Webb four days before the opening.
Ian Swift created the set design, Michael A. Berg the period costumes,
Billie Cox sound and original music, and Les Lizama the lighting design.
To top this successful production, this year the Ross Valley Players,
one of the oldest theatre companies in the Bay Area, have won a Special
Bay Area Theatre Critics Circle award for 75 years of staging plays.
For info about the play performing thru April 22, call 415-456-9555.

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