May Reviews Continued
May Reviews Continued
Shepard's Timely Beyond Realism Message at A.C.T.
If naturalism depicts life without "idealization or the avoidance of
the ugly", Sam Shepard's "Curse of the Starving Class" that just opened
at A.C.T. is a model example. In his 1977 play, expertly directed by
Peter DuBois regarding the play's naturalistic tone, Shepard presents a
family in which the members do not relate to one another but even
attempt to destroy one other both physically and emotionally. The
alcoholic father has kept his family frigidaire empty. Frequent opening
of the door to view its empty shelves symbolizes the content of the
piece in which Shepard's message about the impossibility of achieving
the American Dream is developed. There are still other naturalistic
effects that make the audience cringe. Wesley, the young son's pissing
on stage on his sister's posters for a presentation she is preparing
about how to cut up a chicken and the hungry Wesley's arrival on stage
with bloody hands after killing a lamb (a real one baaing away appears
on stage before he kills it) are a few examples. All of these gruesome
effects demonstrate the disintegration of a family in which the
alcoholic father has indebted them to the point of being forced to sell
their house and land to swindlers. Throughout Shepard keeps pounding
his frightful message about the impossibility of throwing off the curse
of the American common people as they persist in believing in their
fantasy of rising above their demise.
Pamela Reed as the "not in touch with reality" mother, Jud Williford as
Wesley the beaten down son attempting to hold up the disintegrating
family, Nicole Lowrance as the rebel daughter taking revenge on her
father's creditors by shooting bullets all over the club where he
drinks, Jack Willis as the father moving from alcoholism and violent
despondency to recovery and back again to despondency, all offer along
with the other cast members strong characterizations.
Scenery by Loy Arcenas, lighting by Japhy Weidrman and costumes by
Lydia Taji reflect the exaggerated realism of the play.
Shepard's 1977 play exceeds realism to enter into stark naturalism in
which he presents a sordid tableau-so timely today- of what is
happening to the illusions of the everyday American family.
"Curse of the Starving Class" plays through May 25. For information
call 415.749.2228 or visit www.aact-sf.org.
Off Broadway West Brings "Ladies of the Camellias" to the Phoenix
San Francisco's Off Broadway West Co, established in S.F. two years
ago, presented award-winning playwright Lillian Groag's European
flavored farce, "Ladies of the Camellias" at the Phoenix Theatre in
early May. It is inspired by La Dame aux Camelias by Alexandre Dumas
Fils, adapted for the stage from his novel in 1852 and the subject of
Verdi's La Traviata in 1853, based on Dumas' relationship with life
long lover Marie Duplessis.
Under the guise of a "rollicking farce," Groag's play provides a
glimpse of the 19th century behind the scenes theatre world and
particularly that of the two greatest drama queens, the American idol
Sarah Bernhardt and the great Italian actress Eleanora Duse in a
make-believe confrontation over their very different interpretations of
Dumas' Dame aux Camelias performed by both actresses in Paris. A number
of historical/literary references are made to Chekhov, d' Annunzio, and
other literary figures as these two " grandes dames" of the late 19th
century face one another to play out their contrasting
temperaments-Bernhardt living in an artistic dream world and the Duse
reigning over the European stage from her Italian throne.
Beyond this confrontation of their histrionic temperaments, we are
taken on a roller-coaster ride as a young Russian anarchist actor
arrives to attempt to take the group as hostage in exchange for the
freedom of one of his anarchist comrades.
Beyond being cleverly and elegantly directed by native San Franciscan
Joyce Henderson, who makes good use of the intimate protruding Phoenix
space (and also plays the role of an imposing Duse), the entire cast
offers colorful characterizations of these theatrically eccentric
characters. Barbara Michelson-Harder gracefully plays the temperamental
Bernhardt; Richard Harder believably interprets the frustrated writer,
Alexander Dumas, Fils; Graham Crowley as the elderly stage manager who
flits about managing mostly the whims and eccentricities of the actors;
Karen Anne Light is the ambitious young actress who disdains her role
as servant; Vlad Sayenko plays the intense young anarchist, Randy Hurst
and Nicholas Russell are the mannered male actors, and Chris Beale
assumes the comic role of actor Benoit Constant Coquelin appearing as
Cyrano de Bergerac.
Costumes (Hemihar) and scenic design (Ensemble,) with props and
furniture kept to a minimum to gain playing space, evoke the rich
ornamentation of the period.
Lilian Groag's farcical French fantasy played by the Off Broadway West
Theatre Company as a delightful light comedy is both entertaining and
highly imaginative as this committed new company continues to present
the best of actors, playwrights, and directors from the East and West
coasts.
The Ladies plays through May 31 at the Phoenix Theattre. For
information call 510-835-4205, reservations 800-838-3006 or visit
"Brooklyn Boy" and the Ties to Home at the Ross Valley Players
Pulitzer awardee Donald Margulies' "Brooklyn Boy" at the Ross Valley
Players delves into the cost of literary fame when it entails the
renouncement of one's faith and ethnicity. Here, after the Jewish
author's book achieves triumphal success that takes him to Hollywood to
have his best seller filmed, receive big pay checks, experience
glamour, and the admiration of a young female student, he remains
indifferent to having become a star author. Rather he grows more and
more troubled about his relationship with his dying father and his
Jewish heritage that he feels he has been forced to abandon.
Attempting to portray this dramatic conflict within the main character,
who remains introverted and unable to express his feelings overtly, is
not an easy task. Matthew Lai as Eric Weiss rises to the difficulty of
expressing this dilemma physically and emotionally as best as he can.
Phoebe Moyer's direction brings out this interior conflict in the
introverted character of Eric through the use of several contrasting
characters such as the outgoing typically Jewish Ira Zimmer (played by
Timothy Beagley) and the exuberant Hollywood agent Melanie Fine
(uproaringly played by Safiya Arnaout) along with young enthusiastic
fan of the writer (Allison Porto-Yale), Eric's wife Nina (Robin
Steeves), and Tyler Shaw (Joseph Rende).
Sets by award-winning veteran Ross Valley set designer Ken Rowland are
marvelously simple and practical, leaving considerable space for
movement on the sparsely furnished stage.
Costume design by Michael Berg, that ranges from everyday modern to
extravagant and exotic attire (Hollywood agent Melanie Fine), well
suits each character.
In this thought provoking production, the challenge of expressing the
inner struggle of the main character, that requires a special effort on
the part of the director and actor to establish and exteriorize in
order to communicate the play's basic dramatic conflict, is taken up
and well tackled by Moyer and Lai along with the rest of the cast and
production crew.
"Brooklyn Boy " runs through June 15. For information call 415-456-9555
or visit www.rossvalleyplayers.com
Annette Lust
21st Anniversary Fringe of Marin Awards Ceremony
With grateful thanks to Dr. Annette Lust, Artistic Director and
Festival Coordinator, the Dominican University Community Players and
the Fringe of Marin have just completed their 21st Anniversary Season.
Theatre Critics Circle Awards for Best Play, Actors and Director were
announced Sunday, April 27 at Meadowlands Assembly Hall at Dominican
University.
The first awards presented were for Best Play. "Flashlight" by Ruth
Kirschner won the $100 first place award. The second place winner was
"Soul" by Sasha. There was a tie for third place between "Aria" by Jena
Hunt and "Heroes" by David Talley. Nominations for Best Play went to
"Here I Am" by Lynn Ruth Miller, "The Bar Scene" by Robert Estes,
"First Impressions" by Helen and John Gomez and "Board Stiff" by
Michael-Paul Thomsett.
Next stop were awards for Best Actor. David Moore won the award for
Best Actor in "Flashlight." Second place for Best Actor went to John
Clevenger for "Heroes," and third place to Dusty Poole for "Board
Stiff." Nominations for Best Actor went to Robin Schild for "The Bar
Scene," David Shirk for "The Bar Scene" and Johann Schiffer for
"Heroes." There was a tie for first place for Best Actress between
Molly McCarthy for "Leonard and Virginia" and Emily Surface for "Aria."
Second place for Best Actress went to Jena Hunt for "Aria" and third
place honors went to Brianne Kostielney for "Flashlight." Nominations
for Best Actress went to Sandy Steinman for "Seymour and Santa," Erica
Badgeley for "Horn of Vengeance," Shawn Michelle Creighton for "First
Impressions" and Marion Durham for "The Bar Scene."
The last of the Critic's Circle Awards went to the Best Director.
First place honors went to Rich Baker for "Flashlight." Second place
went to Sasha for "Soul," third place winner was Jena Hunt for "Ariel
and fourth place went to Albert Goodwyn and Michael Paul Thomsett."
For the second time, the People's Awards took place. Here are the
results. "Flashlight" by Ruth Kirschner also won first place as Best
Play. Second place went to "Leonard and Virginia" by Roberta Palumbo.
Third place honors went to "First Impressions" by Helen and John Gomez.
David Moore won first place again in the popular vote for Best Actor
in "Flashlight." John Clevenger won second place again for "Heroes."
There was a tie for third place actor between David Shirk for "The Bar
Scene" and Byron Lambie for "First Impressions."
Molly McCarthy won the People's first place Award as Best Actress in
"Leonard and Virginia." Second place went again to Jena Hunt for "Aria"
and third place honors went to Lynn Ruth Miller for "Here I Am."
Jena Hunt was the People's Choice for Best Director for "Aria."
Second place for Best Director went to Flora Lynn Isaacson for "Leonard
and Virginia" and third place honors to Rich Baker for "Flashlight."
At the conclusion of the awards ceremony, two very special framed
awards went to both Jena Hunt and Emily Surface for Outstanding Drama
Student at Dominican University.
Bravo to Dr. Annette Lust for maintaining the Fringe Festival of Marin
for 21 seasons.
Flora Lynn Isaacson