When Michael Vigilant was writing Bear Country, he knew he had to get it right; after all, Coach Paul "Bear" Bryant is idolized in Alabama, and there are a lot of people who knew and worked with him and had versions of virtually any episode in Bryant's life that might make it to the stage. And he had to capture the character of the man beyond the football field.
Brought back for a third run in the Alabama Shakespeare Festival's intimate Octagon Theatre [seen previously in 2009 and 2011], Bear Country again features Rodney Clark in the role, with Matt Clevy as a Young Bryant and a Young Coach Bryant, and Seth Andrew Bridges, and Clinton C. Lowe playing all the other characters.
It opens as Coach Bryant is packing up his office on his retirement from the University of Alabama, looking around and picking up an assortment of footballs, photographs, magazine articles, and other items that trigger memories that become the backbone of Vigilant's narrative. -- There are mixed feelings, of course: fond ones as he remembers coach-mentors who gave him sound advice, football triumphs, humorous episodes galore; and unpleasant recalls of interrogations regarding alleged game-fixing and betting, accusations of racism, and the deaths of parents and athletes who meant the world to him.
Time here is not chronological -- memory is like that; and Peter Hicks' set has strategically placed furniture and props [desks, the famous viewing/coaching tower, a chalkboard showing the famous "wishbone formation", Coca-Cola and Golden Flake, etc.] that allow for fluid staging of these memories.
But it is Vigilant's script and the talented ensemble that give it vigor. Mr. Clevy, Mr. Bridges, and Mr. Lowe create vivid depictions of their assigned characters, stamping each of them with individual traits that credibly impact Coach Bryant.
At the center is Mr. Clark, who has played "the Bear" off and on for almost a decade. He appears so comfortable in Bryant's skin, that one imagines the man himself on the ASF stage. -- Throughout the play, Mr. Clark philosophizes with the confidence of a man who has lived a full life. His reflections on his mentors' significance, the many life lessons he inspired in his athletes, the value of family, the differentiation between "losing" and "loss", and the fact that "It doesn't cost anything to be nice, to be honest, and to be a man of your word", are things that any audience member can take to heart.
Sunday, March 18, 2018
Thursday, March 15, 2018
ASF: "The Miracle Worker"
It would be a disservice to William Gibson's The Miracle Worker to focus exclusively on the relationship between young Irish immigrant Annie Sullivan [Marina Shay] and Helen Keller [Brooklyn Norstedt], and the effort that went into an eventual breakthrough moment for the blind-deaf-mute Helen. It is that, of course, but a lot more besides.
Set in post-Civil War Tuscumbia, Alabama, Gibson's episodic storytelling has a lot to say about family, patriarchy, behavioral psychology, gender roles, race, social class, bullying, 19th Century medical practices, and disabilities that resonate across time and have audiences reflecting on their own experiences.
At the Alabama Shakespeare Festival, director James Bowen gives attention to each of these by placing the action on James Wolk's skeletal minimalist set; and his acting ensemble, dressed in Pamela Scofield's detailed period costumes, enhance the timeliness of these subjects through naturalistic rendering of relationships and dialogue.
From the outset, we learn of the disease that afflicted Helen in infancy, and then fast-forward eight years to a time when the family are resigned to catering to the young girl's tantrums, thereby enabling her to rule the roost. -- When Dr. Anagnos [Louis Butelli], the head of the "Perkins Institute for the Blind", sends the yet untested Annie to be Helen's teacher/governess, the stakes are high and expectations low. But Annie is no pushover, and with her own vision impairment, she uses unconventional tactics that challenge the patriarchy of Captain Keller [Timothy Carter], and the well-intentioned yet destructive enabling of Mrs. Keller [Jenny Strasburg] and Aunt Ev [Toni DiBuono]. -- The only family member who seems to approve of Annie's methods is Keller's son James [Sean Hudock], a youth who is trying desperately to speak up for himself and earn his father's respect. -- Household servant Viney [Ginneh Thomas] observes everything going on around her, and quietly demonstrates a dignity that needs no approval.
Gibson's 1959 script is based on Helen Keller's book The Story of My Life, and the 1962 film that followed it secured its popularity; several iconic scenes are indelibly marked in our collective consciousness: dining room sequences where Helen throws food and steals from others' plates; Annie teaching Helen sign-language words to associate with objects; and the climactic scene at the water pump that has Helen speak for the first time. -- Yet, there are a number of other instances that show the frustrations of the family and their relationships with one another as they deal with the impact of Helen's progress on them: Keller's reluctant capitulation to the wisdom of the women who want to give Annie a chance; James finding an unexpected ally and friend in Mrs. Keller; the powerful bonding between father and son. The actors give credible interpretations that target the most human responses to the challenges they face.
Through persistence and consistency, Annie teaches Helen discipline and earns the approval of the Kellers. The changes that Ms. Norstedt registers -- from the wild feral battles with Annie at the start to the thrill in understanding the meaning of words that will become her salvation -- are impressive; and Ms. Shay is unflinching in showing Annie's determination to do what is right regardless of objections to her methods. Her mantra of "discipline without breaking her spirit" and her determination to get authority for herself for fear that the family might undo Helen's progress ("She's testing you", she says when they return to placating Helen's outbursts by offering sweet-treats and affectionate hugs), center the action and have Annie emerge triumphant in Ms. Shay's capable interpretation of the role.
In the current season's plays, ASF is featuring "some of our native heroes whose triumphs and trials are woven into the fabric of Alabama's history": the Tuskegee Airmen, "Bear" Bryant, and Helen Keller. This iteration of The Miracle Worker is a fitting tribute.
Set in post-Civil War Tuscumbia, Alabama, Gibson's episodic storytelling has a lot to say about family, patriarchy, behavioral psychology, gender roles, race, social class, bullying, 19th Century medical practices, and disabilities that resonate across time and have audiences reflecting on their own experiences.
At the Alabama Shakespeare Festival, director James Bowen gives attention to each of these by placing the action on James Wolk's skeletal minimalist set; and his acting ensemble, dressed in Pamela Scofield's detailed period costumes, enhance the timeliness of these subjects through naturalistic rendering of relationships and dialogue.
From the outset, we learn of the disease that afflicted Helen in infancy, and then fast-forward eight years to a time when the family are resigned to catering to the young girl's tantrums, thereby enabling her to rule the roost. -- When Dr. Anagnos [Louis Butelli], the head of the "Perkins Institute for the Blind", sends the yet untested Annie to be Helen's teacher/governess, the stakes are high and expectations low. But Annie is no pushover, and with her own vision impairment, she uses unconventional tactics that challenge the patriarchy of Captain Keller [Timothy Carter], and the well-intentioned yet destructive enabling of Mrs. Keller [Jenny Strasburg] and Aunt Ev [Toni DiBuono]. -- The only family member who seems to approve of Annie's methods is Keller's son James [Sean Hudock], a youth who is trying desperately to speak up for himself and earn his father's respect. -- Household servant Viney [Ginneh Thomas] observes everything going on around her, and quietly demonstrates a dignity that needs no approval.
Gibson's 1959 script is based on Helen Keller's book The Story of My Life, and the 1962 film that followed it secured its popularity; several iconic scenes are indelibly marked in our collective consciousness: dining room sequences where Helen throws food and steals from others' plates; Annie teaching Helen sign-language words to associate with objects; and the climactic scene at the water pump that has Helen speak for the first time. -- Yet, there are a number of other instances that show the frustrations of the family and their relationships with one another as they deal with the impact of Helen's progress on them: Keller's reluctant capitulation to the wisdom of the women who want to give Annie a chance; James finding an unexpected ally and friend in Mrs. Keller; the powerful bonding between father and son. The actors give credible interpretations that target the most human responses to the challenges they face.
Through persistence and consistency, Annie teaches Helen discipline and earns the approval of the Kellers. The changes that Ms. Norstedt registers -- from the wild feral battles with Annie at the start to the thrill in understanding the meaning of words that will become her salvation -- are impressive; and Ms. Shay is unflinching in showing Annie's determination to do what is right regardless of objections to her methods. Her mantra of "discipline without breaking her spirit" and her determination to get authority for herself for fear that the family might undo Helen's progress ("She's testing you", she says when they return to placating Helen's outbursts by offering sweet-treats and affectionate hugs), center the action and have Annie emerge triumphant in Ms. Shay's capable interpretation of the role.
In the current season's plays, ASF is featuring "some of our native heroes whose triumphs and trials are woven into the fabric of Alabama's history": the Tuskegee Airmen, "Bear" Bryant, and Helen Keller. This iteration of The Miracle Worker is a fitting tribute.
Monday, February 26, 2018
Millbrook: "Sister Act" (musical)
The stalwart cast of Sister Act (the musical) bumped their way through the opening night performance by the Millbrook Community Players; beset with illnesses, and with long scene changes and sound imbalances, they managed to produce a charming and sometimes vigorous show. -- Things ought to settle down soon.
Based on the popular 1992 film starring Whoopi Goldberg, the 2006 musical debuted in London before crossing the Atlantic to mostly favorable reviews. -- It tells the unlikely story of lounge-singer Deloris Van Cartier [Desirae Lewis] who is put into witness protection custody by policeman Eddie Souther [Dre Massey] after she witnessed a gangland murder by her then boyfriend Curtis [Calvin Johnson]. Deloris is placed where nobody would think to find her -- in a convent, with the reluctant cooperation of the Mother Superior [Lavonne Hart], a rigid disciplinarian, and the well intentioned Monsignor O'Hara [Roger Humber].
Her secret safe for the time being, Deloris is introduced to the resident nuns as Sister Mary Clarence; but, after an assortment of renegade mishaps, Sister Mary Clarence's musical abilities are used to transform the nuns' choir into a solid ensemble.
Curtis has sworn to hunt her down and kill her, so when he gets wind of Deloris' whereabouts, he sends his goons to do her in; Joey [Lee Bridges], TJ [Matthew Mitchell] and Pablo [Michael Mims] are stumblebums of the first degree, and provide a good amount of the play's humor.
Director Angie Mitchell and her cast of 36 keep the focus on Deloris and Mother Superior, opposing forces who learn from one another that they can get along and actually respect one another despite their differences. Warnings are given to Deloris to "be inconspicuous", and hopeful refrains like "God has sent you here for a reason", often frustrate Mother Superior into exclamations for God to "give me a sign" that all will be well.
Subplots of a past relationship between Deloris and Eddie the cop that grows into romance, and of Sister Mary Robert's [Morgan Patrenos] doubts about her vocation and wanting to have some life experiences, are glossed over in this production that seem like an afterthought here.
The musical score runs the gamut of musical styles from disco to Motown to soul, and are given appropriate choreography to match. -- Haeley DePace on keyboard and Mark McGuire on drums accompany the cast and set the scenes, but they often drown out the solo voices and even some chorus numbers; they are more restrained in a few introspective songs, letting the actors and their voices do the work.
Ms. Hart does a fine job interpreting her solo songs, with a good amount of irony and questioning of her position in charge of the welfare of the convent. -- The aforementioned gangster trio have a terrifically upbeat time of it.
But, let's face it, the star of the show is Ms. Lewis. She is vivacious from start to finish, and takes command of the stage on every entrance. Plus, her ability to embody Deloris/Sister Mary Clarence, with all her contradictions, is admirable. And it doesn't hurt that she can belt out a song with the best of them. She is the "real deal" in this production. Hats off to her.
Based on the popular 1992 film starring Whoopi Goldberg, the 2006 musical debuted in London before crossing the Atlantic to mostly favorable reviews. -- It tells the unlikely story of lounge-singer Deloris Van Cartier [Desirae Lewis] who is put into witness protection custody by policeman Eddie Souther [Dre Massey] after she witnessed a gangland murder by her then boyfriend Curtis [Calvin Johnson]. Deloris is placed where nobody would think to find her -- in a convent, with the reluctant cooperation of the Mother Superior [Lavonne Hart], a rigid disciplinarian, and the well intentioned Monsignor O'Hara [Roger Humber].
Her secret safe for the time being, Deloris is introduced to the resident nuns as Sister Mary Clarence; but, after an assortment of renegade mishaps, Sister Mary Clarence's musical abilities are used to transform the nuns' choir into a solid ensemble.
Curtis has sworn to hunt her down and kill her, so when he gets wind of Deloris' whereabouts, he sends his goons to do her in; Joey [Lee Bridges], TJ [Matthew Mitchell] and Pablo [Michael Mims] are stumblebums of the first degree, and provide a good amount of the play's humor.
Director Angie Mitchell and her cast of 36 keep the focus on Deloris and Mother Superior, opposing forces who learn from one another that they can get along and actually respect one another despite their differences. Warnings are given to Deloris to "be inconspicuous", and hopeful refrains like "God has sent you here for a reason", often frustrate Mother Superior into exclamations for God to "give me a sign" that all will be well.
Subplots of a past relationship between Deloris and Eddie the cop that grows into romance, and of Sister Mary Robert's [Morgan Patrenos] doubts about her vocation and wanting to have some life experiences, are glossed over in this production that seem like an afterthought here.
The musical score runs the gamut of musical styles from disco to Motown to soul, and are given appropriate choreography to match. -- Haeley DePace on keyboard and Mark McGuire on drums accompany the cast and set the scenes, but they often drown out the solo voices and even some chorus numbers; they are more restrained in a few introspective songs, letting the actors and their voices do the work.
Ms. Hart does a fine job interpreting her solo songs, with a good amount of irony and questioning of her position in charge of the welfare of the convent. -- The aforementioned gangster trio have a terrifically upbeat time of it.
But, let's face it, the star of the show is Ms. Lewis. She is vivacious from start to finish, and takes command of the stage on every entrance. Plus, her ability to embody Deloris/Sister Mary Clarence, with all her contradictions, is admirable. And it doesn't hurt that she can belt out a song with the best of them. She is the "real deal" in this production. Hats off to her.
Monday, February 19, 2018
Theatre AUM: "Weightless"
Theatre AUM and the Playwright's Lab at Hollins University in Virginia have established an on-going working relationship. AUM's Neil David Seibel has mentored students at Hollins for a few Summers, where he and colleagues from around the country nurture emerging talents.
Last year at AUM, Mr. Seibel mounted an imaginative production of a Hollins product called Coupler, and is following up with another this season. Weightless by Meghan Reimers is a 70-minute fantasy from a playwright who shows much promise, and Mr. Seibel's inventive choreography and clever staging enhance this production's treatment of a young woman who "has no gravity" -- in fact, she "falls up" instead of down -- an interesting premise that goes on to explore real world environmental issues as well as various human relationships to demonstrate the power of compassion, understanding, and love.
It seems that Lucie [Kaylee Baker] has been cursed to live without gravity, and spends all her time in a lake; her mother Marie [Amy May] protects her at all costs, from both Lucie's untrustworthy free-spirited aunt Julie [Faith Roberts] and Caleb [Tony George], a young man who attempts to rescue the young woman from drowning and help reverse the curse so she can fall "down". Searching for a cure, Marie takes Lucie to Tarek [David Moore], a kind of hippie/New Wave "healer" who nonchalantly orders a variety of dangerous treatments.
Mike Winkelman's abstracted set [a large circle on the floor with pie shaped painted elements: fire, air, earth, water], and Val Winkelman's evocatively complimentary costumes, plus active use of fabric to represent the lake, give Mr. Seibel's actors a fluidity of motion to assist in telling the story; and his addition of actors playing the "Elements" uses inventive ways of showing how Lucie "falls".
Ms. Reimers's script keeps audiences guessing about relationships and responsibilities, but demonstrates clearly that people can connect on simple levels of friendship and more complex ones of parental protections for their children. Though we might question Marie's methods in caring for Lucie, and even more the sibling rivalries between Marie and Julie that are complicated by their use of magic, there s no doubt about the sincerity and innocence of the friendship between Lucie and Caleb that grows into love.
This production of Weightless has audiences engaged, though they miss several important lines of dialogue from Mr. Moore and Ms. Roberts, who either speak too softly or mumble words though they seem to be committed to the emotional aspects of their roles.
New voices in theatre are important, and Theatre AUM is again giving an opportunity to an emerging talent.
Last year at AUM, Mr. Seibel mounted an imaginative production of a Hollins product called Coupler, and is following up with another this season. Weightless by Meghan Reimers is a 70-minute fantasy from a playwright who shows much promise, and Mr. Seibel's inventive choreography and clever staging enhance this production's treatment of a young woman who "has no gravity" -- in fact, she "falls up" instead of down -- an interesting premise that goes on to explore real world environmental issues as well as various human relationships to demonstrate the power of compassion, understanding, and love.
It seems that Lucie [Kaylee Baker] has been cursed to live without gravity, and spends all her time in a lake; her mother Marie [Amy May] protects her at all costs, from both Lucie's untrustworthy free-spirited aunt Julie [Faith Roberts] and Caleb [Tony George], a young man who attempts to rescue the young woman from drowning and help reverse the curse so she can fall "down". Searching for a cure, Marie takes Lucie to Tarek [David Moore], a kind of hippie/New Wave "healer" who nonchalantly orders a variety of dangerous treatments.
Mike Winkelman's abstracted set [a large circle on the floor with pie shaped painted elements: fire, air, earth, water], and Val Winkelman's evocatively complimentary costumes, plus active use of fabric to represent the lake, give Mr. Seibel's actors a fluidity of motion to assist in telling the story; and his addition of actors playing the "Elements" uses inventive ways of showing how Lucie "falls".
Ms. Reimers's script keeps audiences guessing about relationships and responsibilities, but demonstrates clearly that people can connect on simple levels of friendship and more complex ones of parental protections for their children. Though we might question Marie's methods in caring for Lucie, and even more the sibling rivalries between Marie and Julie that are complicated by their use of magic, there s no doubt about the sincerity and innocence of the friendship between Lucie and Caleb that grows into love.
This production of Weightless has audiences engaged, though they miss several important lines of dialogue from Mr. Moore and Ms. Roberts, who either speak too softly or mumble words though they seem to be committed to the emotional aspects of their roles.
New voices in theatre are important, and Theatre AUM is again giving an opportunity to an emerging talent.
Sunday, February 11, 2018
WOBT: "Driving Miss Daisy"
Alfred Uhry's 1988 Pulitzer Prize winning Driving Miss Daisy is playing at Prattville's Way Off Broadway Theatre to sold-out audiences. The play has been a popular offering at River Region theatres; it and the 1989 film it inspired make box office success almost guaranteed.
Set in Atlanta, and covering some 25 years from 1948-1973, Driving Miss Daisy is both an affectionate story about companionship and aging, and a study of civil rights and segregation in a changing world that even today has got a long way to go.
As the play opens, wealthy 72-year-old Daisy Wertham [Michon Givens] has just wrecked yet another car, prompting her son Boolie [Eric Arvidson] to hire a "colored" chauffeur in the person of Hoke Coleburn [Tommy King]. -- Daisy is a fiercely independent former teacher who guards her independence, and though she claims she is not prejudiced, she refers to all African Americans as "them" and is suspicious of Hoke's behavior.
In a series of vignettes, Daisy grows from her initial mistrust of Hoke, to reluctant acceptance, and in her old age to an eventual admission to him that "you are my best friend"; this is largely due to Hoke's ability to remain dignified in spite of her whims and insults, and his ability to forge a trust through his honesty and perseverance.
Though an exasperated Boolie often excuses his mother's behavior with an affectionately placating "You're a doodle, Mama", and his excuse for not attending a Martin Luther King, Jr. dinner is that doing so might jeopardize his business with white Atlantans, he understands and accepts both Daisy and Hoke better than either of them expect.
The three-person ensemble give strong and believable performances and are generous to one another on stage. They also age convincingly from scene to scene, with subtle adjustments to movement and voice, supported by gradual age make-up. -- Solid work from all.
Usually performed without a break in order to sustain the story's arc and audience involvement with the characters' developing relationships, here director Sam Wallace has chosen to break the tradition with an intermission; this choice, and the lengthy scene changes during blackouts, challenge audiences to remain engaged, and challenge actors to sustain energy from scene to scene.
This notwithstanding, the WOBT production of Driving Miss Daisy clearly received audience approval and identification with its characters.
Set in Atlanta, and covering some 25 years from 1948-1973, Driving Miss Daisy is both an affectionate story about companionship and aging, and a study of civil rights and segregation in a changing world that even today has got a long way to go.
As the play opens, wealthy 72-year-old Daisy Wertham [Michon Givens] has just wrecked yet another car, prompting her son Boolie [Eric Arvidson] to hire a "colored" chauffeur in the person of Hoke Coleburn [Tommy King]. -- Daisy is a fiercely independent former teacher who guards her independence, and though she claims she is not prejudiced, she refers to all African Americans as "them" and is suspicious of Hoke's behavior.
In a series of vignettes, Daisy grows from her initial mistrust of Hoke, to reluctant acceptance, and in her old age to an eventual admission to him that "you are my best friend"; this is largely due to Hoke's ability to remain dignified in spite of her whims and insults, and his ability to forge a trust through his honesty and perseverance.
Though an exasperated Boolie often excuses his mother's behavior with an affectionately placating "You're a doodle, Mama", and his excuse for not attending a Martin Luther King, Jr. dinner is that doing so might jeopardize his business with white Atlantans, he understands and accepts both Daisy and Hoke better than either of them expect.
The three-person ensemble give strong and believable performances and are generous to one another on stage. They also age convincingly from scene to scene, with subtle adjustments to movement and voice, supported by gradual age make-up. -- Solid work from all.
Usually performed without a break in order to sustain the story's arc and audience involvement with the characters' developing relationships, here director Sam Wallace has chosen to break the tradition with an intermission; this choice, and the lengthy scene changes during blackouts, challenge audiences to remain engaged, and challenge actors to sustain energy from scene to scene.
This notwithstanding, the WOBT production of Driving Miss Daisy clearly received audience approval and identification with its characters.
Saturday, February 10, 2018
Cloverdale Playhouse: "A Doll's House"
Disclosure: the reviewer is a member of the Board of Directors of The Cloverdale Playhouse.
The Cloverdale Playhouse opened its 7th Season -- "A Season of Game Changers" -- with a provocative production of Norwegian playwright Henrik Ibsen's classic A Doll's House. Though Ibsen insisted his play was not a feminist tract (rather it was about "humanity") from its 1879 Copenhagen production to today much of the critical focus and stage performances around the world have been on the central character Nora's breaking with tradition in her quest to be regarded on an equal footing with men both in marriage and in the greater society.
The risk Nora takes at the end of the play -- a watershed moment on how women were portrayed on stage -- shocked a patriarchal society who expected the stage to reinforce their standards. Fast forward to 2018 and the power of #MeToo and #TimesUp, and Nora's heartbreakingly courageous decision reflects an understanding that sexual harassment comes in various guises and that there is still a lot to be done to galvanize gender equality.
Director Caroline Reddick Lawson's passion for the play recognizes "that 2018 is the perfect time for as revival of A Doll's House"; and though there have been several memorable productions over time, and contemporary playwrights Theresa Rebeck and Rebecca Gilman have given Ibsen's play a contemporary spin and Lucas Hnath's masterful A Doll's House, Part II continues Ibsen's story some 15-years later, Ms. Lawson has chosen to stage a new version by Irish playwright Frank McGuinness, a translation whose language is accessible to contemporary audiences.
Staged on J. Scott Grinstead's detailed "dollhouse" set, and with Danny Davidson-Cline's character driven period costumes, audiences are transported to 19th Century Norway at Christmastime in the seemingly idyllic home of Torvald [John Selden] and Nora Helmer [Sarah Adkins]. -- They are an attractive and loving couple with three children. Torvald is about to get a promotion at the bank and is focused on his reputation, insisting on complete honesty at all times; she is a charming and vivacious spendthrift with a deep secret that ultimately comes to light and pushes their relationship to its catastrophic end.
Complications intrude this dollhouse world, and Nora is not the only one with a secret: Torvald's friend Dr. Rank [Christopher Crockett] secretly loves Nora and is suffering from a disease that will end his life soon; Nils Krogstad [Michael Buchanan] keeps Nora's secret through bribery, and attempts to clear his name of past actions; Nora reveals her secret to her long absent friend Kristine's [Mariah Reilly] and secures her friend's confidence. -- But all these secrets are destined to be exposed.
The ensemble acting is strong and credible. Mr. Crockett is sympathetic in the role of a man misunderstood by both Torvald and Nora, and whose pride keeps him from revealing anything personal. -- Mr. Buchanan's sinister demeanor initially reviles us; yet, his concerns for his family and reputation are more passionately human than Torvald's robotic ones, and his change of heart, brought about by re-invigorating a past relationship with Kristine, saves him from complete villainy. -- The understated complexity that Ms. Reilly brings to Kristine is admirable: she assuredly assumes the role of confidante to Nora, while quietly cajoling her to be honest with Torvald; and her ability to deal with real-world problems as a go-between for Nora and Krogstad is convincingly conflicted.
Ibsen puts Nora at the center of almost every scene, placing great demands on the actress playing this now iconic figure. All the action revolves around her, and Ms. Adkins imbues her portrayal with an honesty and grounding that impresses throughout. She can be flirtatious and coquettish, and yet switch to disarming introspection. Her frustration with the cards dealt to her is matched by her determination to become her own person. Her selfless devotion to husband and children is countered by a selfish need of attention and compliments. We witness Nora's gradual understanding of her position over the play's three acts [with one intermission], as Ms. Adkins subtly adjusts her physical demeanor and vocal range to support the changes in Nora's life: one scene in which she frantically rehearses a tarantella to distract Torvald from finding out her secret contrasts with a later one in which she removes her gypsy costume's corset, symbolically unbinding herself from the lies and deception of the past.
It is important that audiences believe that Torvald loves his wife, no matter how passive-aggressive he is in frequent references to her in diminutive terms ["little songbird", "dove", "doll", "child"], and no matter how condescending Mr. Selden seems with instructing her behavior, his male privilege blinds him to Nora's needs. But she, too late, admits her complicity in bending to his will and subjugating her own desires to his. When Nora demands that they finally have a serious conversation, their first one in an eight-year marriage, the realizations on both of them are devastating. -- Both Ms. Adkins and Mr. Selden achieve the necessary responses to their new-found honesty with one another: his in assessing his responsibility for the break-up of their marriage, hers in the knowledge that her independence, though necessary, comes at a cost.
The Cloverdale Playhouse opened its 7th Season -- "A Season of Game Changers" -- with a provocative production of Norwegian playwright Henrik Ibsen's classic A Doll's House. Though Ibsen insisted his play was not a feminist tract (rather it was about "humanity") from its 1879 Copenhagen production to today much of the critical focus and stage performances around the world have been on the central character Nora's breaking with tradition in her quest to be regarded on an equal footing with men both in marriage and in the greater society.
The risk Nora takes at the end of the play -- a watershed moment on how women were portrayed on stage -- shocked a patriarchal society who expected the stage to reinforce their standards. Fast forward to 2018 and the power of #MeToo and #TimesUp, and Nora's heartbreakingly courageous decision reflects an understanding that sexual harassment comes in various guises and that there is still a lot to be done to galvanize gender equality.
Director Caroline Reddick Lawson's passion for the play recognizes "that 2018 is the perfect time for as revival of A Doll's House"; and though there have been several memorable productions over time, and contemporary playwrights Theresa Rebeck and Rebecca Gilman have given Ibsen's play a contemporary spin and Lucas Hnath's masterful A Doll's House, Part II continues Ibsen's story some 15-years later, Ms. Lawson has chosen to stage a new version by Irish playwright Frank McGuinness, a translation whose language is accessible to contemporary audiences.
Staged on J. Scott Grinstead's detailed "dollhouse" set, and with Danny Davidson-Cline's character driven period costumes, audiences are transported to 19th Century Norway at Christmastime in the seemingly idyllic home of Torvald [John Selden] and Nora Helmer [Sarah Adkins]. -- They are an attractive and loving couple with three children. Torvald is about to get a promotion at the bank and is focused on his reputation, insisting on complete honesty at all times; she is a charming and vivacious spendthrift with a deep secret that ultimately comes to light and pushes their relationship to its catastrophic end.
Complications intrude this dollhouse world, and Nora is not the only one with a secret: Torvald's friend Dr. Rank [Christopher Crockett] secretly loves Nora and is suffering from a disease that will end his life soon; Nils Krogstad [Michael Buchanan] keeps Nora's secret through bribery, and attempts to clear his name of past actions; Nora reveals her secret to her long absent friend Kristine's [Mariah Reilly] and secures her friend's confidence. -- But all these secrets are destined to be exposed.
The ensemble acting is strong and credible. Mr. Crockett is sympathetic in the role of a man misunderstood by both Torvald and Nora, and whose pride keeps him from revealing anything personal. -- Mr. Buchanan's sinister demeanor initially reviles us; yet, his concerns for his family and reputation are more passionately human than Torvald's robotic ones, and his change of heart, brought about by re-invigorating a past relationship with Kristine, saves him from complete villainy. -- The understated complexity that Ms. Reilly brings to Kristine is admirable: she assuredly assumes the role of confidante to Nora, while quietly cajoling her to be honest with Torvald; and her ability to deal with real-world problems as a go-between for Nora and Krogstad is convincingly conflicted.
Ibsen puts Nora at the center of almost every scene, placing great demands on the actress playing this now iconic figure. All the action revolves around her, and Ms. Adkins imbues her portrayal with an honesty and grounding that impresses throughout. She can be flirtatious and coquettish, and yet switch to disarming introspection. Her frustration with the cards dealt to her is matched by her determination to become her own person. Her selfless devotion to husband and children is countered by a selfish need of attention and compliments. We witness Nora's gradual understanding of her position over the play's three acts [with one intermission], as Ms. Adkins subtly adjusts her physical demeanor and vocal range to support the changes in Nora's life: one scene in which she frantically rehearses a tarantella to distract Torvald from finding out her secret contrasts with a later one in which she removes her gypsy costume's corset, symbolically unbinding herself from the lies and deception of the past.
It is important that audiences believe that Torvald loves his wife, no matter how passive-aggressive he is in frequent references to her in diminutive terms ["little songbird", "dove", "doll", "child"], and no matter how condescending Mr. Selden seems with instructing her behavior, his male privilege blinds him to Nora's needs. But she, too late, admits her complicity in bending to his will and subjugating her own desires to his. When Nora demands that they finally have a serious conversation, their first one in an eight-year marriage, the realizations on both of them are devastating. -- Both Ms. Adkins and Mr. Selden achieve the necessary responses to their new-found honesty with one another: his in assessing his responsibility for the break-up of their marriage, hers in the knowledge that her independence, though necessary, comes at a cost.
Sunday, February 4, 2018
Wetumpka Depot: "Greater Tuna"
Ed Howard, Joe Sears, and Jaston Williams began what was to become a cottage industry in 1981 with their creation of Greater Tuna [A Tuna Christmas, Red, White, and Tuna, and Tuna Does Vegas followed in quick succession]. -- Their popularity relies on an affectionate humor, some biting satire, and the fact that the 20+ characters are to be played by two actors.
Director Kristy Meanor opens the Wetumpka Depot Players' 38th Season with an assured production of Greater Tuna by casting a man and a woman in the roles, losing none of the play's bite, and allowing David and Brooke Brown numerous opportunities to display their ample talents impersonating the broadly eccentric men and women who populate the fictitious town of Tuna, Texas, the State's 3rd smallest town with a population of twenty-four.
Though there are some dated references in the script, its strengths are that it skewers many stereotypical characters and situations that are not confined by time, and that the actors continuously keep audiences entertained by their quick-as-lightning costume changes. Most of the characters are broadly drawn rubes who seem content with being insulated from the greater world, and most of these social misfits are instantly recognizable: over-zealous religious fanatics, families with a lot of skeletons in their closets that are actually known by everyone else in this tiny community, dialogue that spouts a lot of homespun philosophy, naive and not-so-innocent individuals who beg for audience understanding and compassion. Just like real life.
A plot device that holds everything together is a radio program hosted by Arles and Thurston, whose sole purpose seems to be informing the locals about the goings-on in town, engaging with various residents in call-ins to the station, and commenting on their odd behavior. -- We see among others: the "Smut Snatchers of the New Order" attempt to censor offensive textbooks and words while remaining oblivious to their hypocrisy; a man who sees UFOs shaped like a giant chalupa; an overweight teenaged girl desperately attempting to become a cheerleader; a woman who poisons dogs; a reform school bully who unrepentantly takes the law into his own hands against the judge who sentenced him; and a sincere young man who leads the "Greater Tuna Humane Society" against the odds stacked against him.
Hats off to the hard working backstage dressers who assist the actors with their many costume changes; but mostly to the actors who create distinct characters that make us laugh and cry, applaud and cringe, and leave the theatre with a bit more understanding of our fellows.
Director Kristy Meanor opens the Wetumpka Depot Players' 38th Season with an assured production of Greater Tuna by casting a man and a woman in the roles, losing none of the play's bite, and allowing David and Brooke Brown numerous opportunities to display their ample talents impersonating the broadly eccentric men and women who populate the fictitious town of Tuna, Texas, the State's 3rd smallest town with a population of twenty-four.
Though there are some dated references in the script, its strengths are that it skewers many stereotypical characters and situations that are not confined by time, and that the actors continuously keep audiences entertained by their quick-as-lightning costume changes. Most of the characters are broadly drawn rubes who seem content with being insulated from the greater world, and most of these social misfits are instantly recognizable: over-zealous religious fanatics, families with a lot of skeletons in their closets that are actually known by everyone else in this tiny community, dialogue that spouts a lot of homespun philosophy, naive and not-so-innocent individuals who beg for audience understanding and compassion. Just like real life.
A plot device that holds everything together is a radio program hosted by Arles and Thurston, whose sole purpose seems to be informing the locals about the goings-on in town, engaging with various residents in call-ins to the station, and commenting on their odd behavior. -- We see among others: the "Smut Snatchers of the New Order" attempt to censor offensive textbooks and words while remaining oblivious to their hypocrisy; a man who sees UFOs shaped like a giant chalupa; an overweight teenaged girl desperately attempting to become a cheerleader; a woman who poisons dogs; a reform school bully who unrepentantly takes the law into his own hands against the judge who sentenced him; and a sincere young man who leads the "Greater Tuna Humane Society" against the odds stacked against him.
Hats off to the hard working backstage dressers who assist the actors with their many costume changes; but mostly to the actors who create distinct characters that make us laugh and cry, applaud and cringe, and leave the theatre with a bit more understanding of our fellows.
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