VERA WILDE

SHOTGUN PLAYERS PRESENT:VERA WILDE; Book, Music & Lyrics by Chris Jeffries, directed by Maya Gurantz, musical director Dave Malloy. The Ashby Stage, 1901 Ashby Avenue, Berkeley California 94703 Tel 510.841.6500 FAX 510.841.7468 E-mail info@shotgunplayers.org.
September 19 through October 26

VERA ZASULICH & OSCAR WILDE ON A WILD RIDE

It is certain that most of you know Oscar Wilde but wonder who Vera Zasulich was and why their names are intertwined. Would you believe that Oscar Wilde’s first play was “Vera or The Nihilist” and it was a colossal flop? Vera was an orphaned Russian growing up to earn the title “mother of terrorism” after she shot a Russian military general in the groin, was acquitted for her crime, then going on to be a leading figure of the pre-1917 revolution. Oscar was in the forefront of the gay “movement” long before the Stonewall riots. Both ended up destitute. I guess that that says something about bucking social and political injustice.

Featured (LtoR): Tyler Kent, Alexandra Creighton, Sean Owens. Photo by Jessica Palopoli.

It certainly meant something to the creativity of fringe icon Chris Jeffries who fashions a small gem in this play with music. He has taken pages from Tom Stoppard (“Travesties”) and Stephen Sondheim (“Merrily We Roll Along”) combining a “what if” scenario with very creditable music, including blue grass, London music hall and even an a ccapella number. The guitar, banjo, violin, drum and bass orchestra under Dave Malloy's baton is in great form and it alone is worth a visit to the Ashby stage.

Jefferies main interest seems to be the similarities between Vera and Oscar. The highlights of their lives are told in parallel with a clever twist. Vera’s story progresses forward from Russia in 1875 and Wilde’s unfolds backwards from his self-imposed exile in Paris in 1897. Statements such as “never more calm”, “hypocrisy” and “obstinacies” and others are used to describe their similarities and their individual fling the judicial system(s) as “the trial of the century.” The action plays out on a split stage in front of tilted, askew white and black buildings, probably meant to mimic the screwed up lives of the protagonists whom he identifies with the Joan of Arc and Galileo.

Although Vera ( Alexandra Creighton) and Wilde (Shawn Owens) are the main characters, there is an ensemble effort with Edward Brauer, Tyler Kent and Danielle Levin in multiple roles. You know you’re in for fun with an early number “Midnight in Russia” and you’ll end up clapping in the second act when Danielle Levin and Edward Brauer belt out “That’s How a Show Should Go” in classic music hall tempo ino the musical version of Wilde’s play “Vera”. The appalled look on Wilde’s face is priceless.

Creighton does a very creditable acting job but is up against the fine flamboyant performance of Owens. This occasionally detracts from her role. The entire cast performs admirably but their singing abilities occasionally do not match their enthusiasm.

Jefferies sums up the futility of being leaders of social/political change since both Vera and Oscar ended up destitute: “No one asked to be heroes.” That being said, the Shotgun Players have a winner in this production that runs just under 2 hours with intermission.

Courtesy of TheatreWorld Internet Magazine.