May to June Theatre reviews
May to June Theatre Reviews: ACT, Berkeley Rep., Dell' Arte Players,
Ross Valley Players, Fringe of Marin in San Rafael and San Francisco.
First Love in ACT's Blackbird
Award-winning Scottish playwright David Harrower's Blackbird at ACT
begins as a mystery in which Ray is working in an industrial warehouse
late one night when a young woman enters to suddenly confront him. We
wonder why this total stranger is there asking questions as if she has
every right to do so. Bit by bit we discover that twelve years ago Ray
seduced (and was seduced by) Una when she was twelve years old. She has
tracked down Ray to find out why he left her and never returned the
night after they made love in a guesthouse. He, in turn, explains how
he had returned to find her gone. The rest of the dramatic conflict is
based on the emotional conflict that develops between the two
characters in their search for answers.
Harrower's writing style is delightfully spare and direct and the
content unadulterated by the way it gets to the fundamental truth of
the characters' feelings and motives of their acts. The moral or
political consequences of their acts are never brought to the fore.
What imports here are the characters' hurt and suffering. The
playwright is a master at penetrating into the psychological depths of
Ray haunted by cowardice and shame regarding his seduction of Una and
Una by love, deception and resentment concerning Ray's disappearance.
The spectator gradually becomes empathetic to the inner motives of both
characters without judging them, which gives psychological and
emotional strength to their characterizations.
Directed sensitively by Loretta Greco in respect to the psychological
relationship, timing, projection and movement, the play moves along on
a high-tension level with moments of dramatic confrontation. Jessi
Campbell is believable as the 24 year old who could be keeping her
little girl allure and mentality because she is reliving her past love
for Ray with whom she has had her first love affair.
The power of this well written play is that we are permitted to enter
into the most intimate motives of the character's feelings to the point
of forgiving them for their their acts despite the social and moral
consequences of their motives.
Next up at ACT is The Imaginary Invalid playing from June 7 to July 8.
For information call 415-749-2250 or visit www.act-sf.org.
Honoring Charles Dickens Oliver Twist at
Berkeley Rep
The Berkeley Rep West Coast premiere of British theatre artist and
novelist Neil Bartlett's Oliver Twist does more than sentimentally
winning the hearts of all who were privileged to see this dazzling
interpretation. The curtain rises on a chorus clothed in period cloaks
that silently look out at the audience, setting the atmosphere for this
dark and sometimes comical tale of the little orphan Oliver in search
of a home. An animated narrator reads the original Dickens tale that
"needed to be told" about how little Oliver was born in a work house to
a dying mother and, after growing to be a delicate ten year old orphan
who was always hungry, was auctioned off for a few pounds to a cruel
funeral director and his wife. After fleeing the couple's abuse, little
Oliver finds his way to London where a member of a gang of robbers
offers him room and board with Fagin, the leader of a gang. Set up and
blamed for the robbery of the elderly Mr. Sowerberry, he is found
innocent and adopted by the latter. After Oliver is abducted by the
robbers and undergoes other adventures, in Dicken's words "Good
triumphs in the end and hope flourishes where all hope had departed."
Bartlett's adaptation and direction of Dickens's novel is not only
sentimental in its content but dramatically stunning in its form. While
the content respects Dickens's original language, Barlett's staging
offers a harmonious balance of dramatic narrative and dialogue, choral
songs, Victorian music hall, and movement. The work moves along at a
lively pace with a continual play of these elements with each other,
providing a rich and varied ensemble that one could describe in part as
expressionistic mimodrama, reminiscent of Brecht style music-hall and
verbal and choral productions. One understands Bartlett's use of
movement theatre through his early work with the Théâtre de Complicité,
influenced by the teaching of mime teacher Jacques Lecoq, as well as
through his collaboration with Robert Lepage.
Added to these elements is the scenic design of Rae Smith's dirty den
of robbers and period costumes that enhance the visuals along with
Scott Zielinski's and David Remedios's varied lighting effects and
sound designs. And last but not least is Struan Leslie's rich movement
choreography that renders the piece so visually captivating along with
Simon Deacon's suitablemusical adaptation.
Among the 13 actors who harmoniously play more than 50 roles, strong
and polished characterizations are offered by Karen MacDonald as Mrs.
Bumble, Carson Elrod as the narrator and the Artful Dodger, Ned
Eisenberg as Fagin and Remo Airaldi as Mr. Bumble. Although Michael
Wartella's Oliver lacks variety and nuance, his physical allure suits
the role. This touring production of Oliver Twist is one of Berkeley
Rep's all-around finest hosted by Berkeley Rep that continues its
mission as experimental and open to multiple forms of theatre
worldwide.
Oliver Twist plays through June 24. For information call 510-647-2949
or visit Berkeley rep.org.
Dell Arte's Artmesia at
the Magic
Dell' Arte Company from Blue Lake has come to the S.F. Magic Theatre
for two weeks to present a visually appealing movement theatre piece
that dynamically develops the aftermath of the rape of a seventeeth
century Baroque painter, Artemesia Gentileschi, one of the first women
to be recognized for her work in the post Renaissance period. The
dramatic action centers around the heroine's struggle to redeem her
identity and independence after being dishonored at twelve years old by
her painter tutor who, after promising to marry her, abandons her. The
piece makes a parallel with the Bible figure of Judith when Artemisia's
model she is painting plays Judith taking revenge on her abductor whom
she beheads. This
parallel of Artmesia's abduction with that of Judith manifesting both
women's suffering and torment over rape empowers the piece with a
unique dramatic intensity.
Since this piece may appeal mostly to movement theatre or dance theatre
adepts and thus deter some spectators because it is considered largely
esoteric in nature, one should not look for explicit explanations of
its meaning. It should be seen as a work that offers poetic visual
beauty in its movement patterns, scenic designs, and costumes that
accentuate the sensuality of the female body. Along with this is the
lyrical and dramatic content of the script created by stage director
Julio Cesare Perrone and Barbara Geary, who also passionately
interprets Artemisia, as well as the unctuous music by Youn Joo Sim.
Artemesia is performed throughout with flowing highly stylized
movement, contrasted by moments of intensely dramatic outbursts, such
as when Artemisia's model Giulia (dynamically performed by Keight
Gleason) replays Judith slaying her abductor the Assyrian General
Holofernes, or when Artemisia replays the seduction and rape by her
tutor. One of the most gripping moments is when Artemesia strips off
all of her clothes and performs in the nude to convey the possession of
her young body that brought her public shame and that she presently is
vehemently cleansing with water from a suitcase. This scene along with
Giulia's bare breasted performance adds to the elegant sensuality of
the ensemble.
To appreciate this piece and avoid the frustration of not comprehending
its meaning, one has to read the story of Artmesia's demise, as well as
that of Judith (partially provided in the program) and then after
seeing the piece reflect on it. It may then be appreciated as a
poignant and sensual movement and dance theatre rendering of the
physical violence and psychological torment resulting from the act of
the male invasion of the female body.
Artmesia plays until June 3 at the Magic Theatre. For more information
on the piece and on the Dell'Arte July performances at the Mad River
Festival in Blue Lake, Ca. visit www.delarte.com.
A Whacky Updated 1910 Underpants at the Ross Valley Players
Steve Martin's adaptation of Carl Sternheim's 1910 German comedy Die
Hose is revived by the Ross Valley Players in a staging in which a
housewife's underpants fall down while everyone is saluting the Kaiser
in a military parade. We witness the young housewife, Louise, and her
husband discussing the scandal for which the Kaiser may fire him.
Meanwhile the couple rent rooms in their home to a number of gentlemen
who are seduced by Louise and make overtures to her while her husband
is absent.
Set in period scenic and costume style, the play is a spoof on the
original early 20th century comedy that combines a feeling for the
older version revived in a lively manner nearly one hundred years later
by Steve martin and updated in broad farce this spring by Marin
Shakespeare Bob Currier's direction.
This combination of a bawdy early twentieth century play revolving
around a simple scandalous incident of a woman's underpants dropping in
public along with stand-up comedian's Steve Martin's spirited
adaptation and veteran Marin stage director Currier's hilarious
farcical direction makes for a uniquely whacky staging.
Aside from moments of overly loud screaming by some cast members, for
the most part the play is performed in exaggerated movement style with
colorful characterizations by Michelle Pava Mills as Louise and Maureen
O'Donoghue as Gertrude.
Costume design by Jan Koprowski and scenic design by Bruce Lackovic
along with original music and sound design by Billie Cox enhance the
period ambience and comic bawdiness of the piece.
One of the oldest theatre companies in the Bay Area, the Ross valley
Players, who have recently received a Special Bay Area Critics Award,
continue to offer a variety of quality comedies and dramas acted and
directed by Marin County community members.
The Underpants plays until June 17. Watch for Fully Committed by Becky
Mode opening July 13 through August 19. For information visit
Fringe of Marin Plays To Perform at the S.F. Exit and the Marsh
Among the twelve plays performed at the Fringe of Marin the following
two will appear at the Exit and the Marsh.
Peas Porridge . . . , a drama that won first place at the Fringe of
Marin, written by S.F. writer/actress/critic Gaetana Caldwell-Smith
and directed by Alek Litovchenko, concerns two women, Agrafina (Kay
Simon) and Zoey (Susan Donnelly), who find themselves in the aftermath
of a disaster of unknown cause that has decimated San Francisco. Unable
to "get their bearings" by locating familiar landmarks, they trudge
along, disheveled, filthy, and barefoot, hoping to reach Zoey's place
where Agrafina had left her car, its trunk packed with emergency
supplies. Fear and paranoia prevail, and there's a struggle over a
half-filled bottle of water. Though post-apocalyptic, the play is not
without humor. The piece will be performed at the Exit Theatre from May
31 through June 2. For information visit www.jumptheatre.org
In Temporary Illusion, a solo performance written and performed by Zoe
Sheli Sameth, directed by David Ford and billed as a comedic drama
piece, the protagonist relates her early 1980's experience of being on
her own in a foreign country, Bali, with the leader of a group of
truth-seekers. Zoe is both delightful, funny, and believable as she
speaks of confronting the religious icons, lingham and yoni, advised
not to tempt monkeys and elephants, meeting a good-looking guy and
distinguishing a pick-up line from the Eastern religious adage: "We
have met before in a past life." Best of all, we see what she sees as
she describes the magical flora and fauna surrounding her, her
metamorphosis into a giant moth, the dream in which she wakes up to
find: "Me!" Sameth's piece will be performed at the S.F. Marsh on July
9 and 30. For information visit Zoeplanet.com
Players, who have recently received a Special Bay Area Critics Award,
continue to offer a variety of quality comedies and dramas acted and
directed by Marin County community members.
Women in the Sppring 2007 Fringe of Marin
As in the past nineteen seasons, the Dominican University Community
Players' Marin Fringe plays were divided into two programs of six plays
or solo performances.
Program One saw playwright Carol Marshall's comedy That's
Entertainment? directed by Fringe regular Robert Estes. The play put
Entertainment on trial to decide the motive for the existence of
Theatre. Various entertainment figures - -Ibsen (Al Badger); an actor
versed in several roles (Alma); and a Mime (Hector Zavala). acted as
defendants declaiming their talents. Rich-voiced Mike Morrow played the
Prosecutor while the Jury was represented by a didactic Flora Lynn
Isaacson.
Playwright Norma Anapol's sweet but raunchy, comedy The Certificate,
directed by Steve North, concerned a couple of teenage boys, Howie
(Alma) and Charlie (Hector Zavala), who go to a sleazy hotel top find
some "action." They try to pull a scam on the manager (Rick Arietta),
but it backfires. Flora Lynn Isaacson played Flo, the hotel's "action,"
as a trench-coated, mystery woman hiding behind a newspaper in the
lobby who makes a dramatic change with wig, garters, and dressing gown
in attempting to fulfill the boys' dreams.
If Her Purse Could Talk, an essay written by Micheline and directed by
Linda Vito (Assistant Artistic Director)is adapted as a "sexy farce"
from Micheline's recently published book, "Everyone Lies About Their
Sex Life." "Purse" featured a cast of five women: a Mother of Four
Painter (Sally Hagstrom), whose works are on display at a gallery;
Narrator (Heather Shepardson), Sister-in-Law (Nicole Lundeen), a
Tattooed Poetess Sister (Patricia Finn), and a Real Estate Aunt (Lola
Moloney). Abstract collages representing the contents of women's
purses, are on easels. As the Narrator interviews the attendees, she
alludes.to the metaphor that a woman's purse reflects her vagina. As
each woman holds up her purse, ranging in size from a roomy, shiny,
patent leather to a tiny clutch, she gives a short, droll monologue
expanding on that idea.
Linda Vito and Jessica Vito played Ice Tea and Spicy Chai respectively
in Attack of the Cappuccinos. This charmingly clever comedy, boasting a
perfect ending, concerns vying caffeinated beverages. It was written by
Guy Biederman and directed by Robert Estes, who not only has a flair
for directing comedy but, along with Mike Morrow, comic acting, playing
one of twin Expressos.
Program Two began with The Last Stance of Mildred Tipps, a poignant
solo performance by Mwanza Furaha with a great script by Joice Wells.
Directed by Suresa Dundes, Furaha, well-groomed, in black and gold
tunic and black pants, pours from a bottle into the glass, an avowed
alcoholic who doesn't apologize for her failings in life, but is proud
of her survival despite her family's chastisement for not succeeding as
they had. Still, she raised a successful daughter despite an absent
husband, having turned to the bottle as a substitute for his company.
As she speaks to her (unseen) guest, she picks up and talks to a
picture of her daughter as she composes what may be a suicide letter.
Furaha imbues her character with consummate dignity.
Scotch on the Rocks, a comedic drama about infidelity, written and
directed by Nlorth Bay writer Kathy Rueve that starred Susan Tuttle as
Carol and Susan Donnelly as her sister, Sally, and takes place in a
bar. First-time actor Tom Burns was a natural as Joe, the bartender.
Jeff Taylor was Andy, who's been sleeping with both women, cuckolding
Max, the unseen husband. The sisters rake Andy over the coals as he
writhes in chagrin until Joe brings them all together in a group hug,
implying, "Can't we all get along?"
Simone Peront, a senior at Dominican University, gave an animated
portrayal of a spoiled teen today. But she is Antigone from 400BC in a
brilliantly clever solo piece, Antigone Tells All From Hades, written
and directed by David Bintinger. She was saucy and comedic in a riff on
an ancient tale brought up to the 21st Century that relates the history
of her father's and uncle's war, her taboo burial of her brother, and
her consignment to Hades where the fashions are way cooler than "up
there". Trying unsuccessfully to seduce her sandal-wearing,
short-skirted guard, she alludes to the sexual proclivities of Grecian
soldiers. She describes a hilarious scene of standing on the bank of
the River Styx watching a boat bring her mother with whom she'd now
have to spend an eternity. But maybe it won't be so bad, with all the
wars, there'll always be an endless supply of cute soldiers.
Peas Porridge . . . a drama written by Gaetana Caldwell-Smith and
directed by Alek Litovchenko, concerns two women, Agrafina (Kay Simon)
and Zoey (Susan Donnelly), who find themselves in the aftermath of a
disaster of unknown cause that has decimated San Francisco. Unable to
"get their bearings" by locating familiar landmarks, they trudge along,
disheveled, filthy, and barefoot, hoping to reach Zoey's place where
Agrafina had left her car, its trunk packed with emergency supplies.
Fear and paranoia prevail, and there's a struggle over a half-filled
bottle of water. Though post-apocalyptic, the play is not without
humor. The piece will be performed at the Exit Theatre from May 31
through June 2. For information visit www.jumptheatre.org.
Shelly Richardson played a compassionate wife, Nancy, in Stephen
Gutierrez's drama, Shoes, directed by Alek Litovchenko. Nancy's
husband, Ray (Jeff Taylor) has an obsessive-compulsive disorder over
shoes and buys several identical pairs. Richardson strikes the delicate
balance between rock-hard and putty in dealing with her husband's
unpredictable emotions. Gutierrez brings out that Ray had been teased
growing up as an "ugly Mexican" with big ears and big nose. Ray is also
fixated on his deceased father's wing-tip shoes. We get a strong sense
of the humor and deep love that keeps this couple afloat.
Program Two closed with a solo performance written and performed by Zoe
Sheli Sameth. Billed as a comedic drama, in Temporary Illusion,
directed by David Ford, Zoe relates her early 1980's experience of
being on her own for the first time in a foreign country, Bali, with
the leader of a group of truth-seekers. Zoe is both delightful, funny,
and believable as she speaks of confronting the religious icons,
lingham and yoni, advised not to tempt monkeys and elephants, meeting a
good-looking guy and distinguishing a pick-up line from the Eastern
religious adage: "We have met before in a past life." Best of all, we
see what she sees as she describes the magical flora and fauna
surrounding her, her metamorphosis into a giant moth, the dream in
which she wakes up to find: "Me!" Sameth's piece will be performed at
the Julia Morgan Center in Berkeley on May 29 and at the S.F. Marsh on
July 9 and 30. For information visit Zoeplanet.com
Women in the Spring 2007 Fring of Marin by Lee Smith for Annette Lust
Spring 2007 Fringe of Marin Awards
Theatre Critics Awards for Best Work, Actor, Actress
and Director were presented on May 6 at the Fringe of Marin
Awards Ceremony as follows:
For Best Play. Peas, Porridge.... by Gaetana Caldwell-Smith won 1st
place.
2nd Place winner was Shoes by Stephen Gutierrez. 3rd
Place went to Temporary Illusion by Zoe Sheli Sameth,
and 4th place went to Last Stance of Mildred Tipps by
Joice Wells. Nominations for Best Play went to If Her
Purse Could Talk by Micheline Birger
adapted by Linda Vito, Attack of the Cappuccinos by
Guy Biederman, Antigone Tells All from Hades by David
Bintinger and Scotch on the Rocks by Kathy Rueve.
Next up were the awards for Best Director. 1st Place
honors went to Sacha Litovchenko for Peas,
Porridge.... and Shoes. 2nd Place winner
went to David Ford for Temporary Illusion.
There was a tie for 3rd Place between Suresa Dundes
for Last Stance of Mildred Tipps and Steve North for
The Wheelchair and The Certificate, and 4th Place for
Best Director went to Linda Vito for If Her Purse
Could Talk.
Nominations for Best Director included Michael-Paul
Thomsett for Battle Prayer, Kathy Rueve for Scotch on
the Rocks, Robert Estes for Attack of the Cappuccinos
and David Bintinger for Antigone Tells All from Hades.
There was a tie for 1st Place for Best Actress between
Zoe Sameth for Temporary Illusion and Kay Simon for
Peas, Porridge.... 2nd Place honors went to Susan
Donnelly for Peas, Porridge..... There was a tie for
3rd Place for Best Actress between Mwanza Furaha for
Last Stance of Mildred Tipps and Shelley Richardson
for Shoes. 4th Place honors went to Alma who was in
three productions, That's Entertainment, The
Wheelchair and The Certificate.
Nominations for Best Actress went to Linda Vito for
Attack of the Cappuccinos, Flora Lynn Isaacson for The
Certificate and Simone Peront for Antigone Tells All
from Hades.
David Kester won Best Actor award for Battle Prayer.
2nd Place went to Jeff Taylor for Shoes. 3rd Place
went to Michael Perlmutter for Attack of the
Cappuccinos and 4th Place went to Hector Zavala for
That's Entertainment. Nominations for Best Actor
included Steve North for The Wheelchair, Hector Zavala
for The Certificate and Charles Grant for Attack of
the Cappuccinos.
Flora Lynn Isaacson and Linda Vito both received
Certificates of Completion for Theatre Production
Workshop at Dominican University and Simone Peront, as
a graduating senior from Dominican University,
received a special Certificate Award from
Dominican University.
Fringe Awards article by Flora Lynn Isaacson for Annette Lust
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