Category Archives: Theatre

Double-take: ‘Rhinoceros’ at PRT

Courtesy Pacific Resident Theatre

The November 8th tragedy and the ascendance of the mephistocracy guaranteed the revival of Ionesco’s ‘Rhinoceros.‘ The play’s well-known humanist and anti-fascist themes make it an obvious, almost reflexive choice, guaranteed to please progressive audiences but this simple explanation does not do justice to the crackling rendition recently opened on Pacific Resident Theatre’s main stage.

Director Guillermo Cienfuegos, a skilled cast, and a top-notch production team deftly imbue subtlety and nuance while staying faithful to a brash, repetitive, and yes, absurd text in Derek Prouse‘s translation. Weak-willed alcoholic everyman Berenger sees his provincial town replete with its well-dressed residents, charming bistros, and local businesses overrun step-by-step and inch-by-inch by rhinos. His friends and neighbors are first alarmed, then intrigued, and ultimately co-opted. When the movement spreads worldwide he is left alone to declare his resistance in a final act of defiance.

Sweet coincidence had Ionesco releasing the play the same year that Rod Serling began ‘The Twilight Zone’ on American television. Berenger’s (Keith Stevenson) transformation from milquetoast to man begins with a thorough scolding and airing of his shortcomings from  putative friend Jean (Alex Fernandez who looks suspiciously like Cienfuegos). A stampeding animal, unseen but definitely heard, interrupts this cafe intervention and draws the notice of all including local costermongers, residents, a logician, and a busking mime. The slapstick first act concerns itself with disbelief and some humorous attempts at analysis. Academics are funny and mimes are annoying in any era and in any circumstance.

Ionesco’s purposefully repetitive and clichéd dialogue can tire even a focussed reader. Fortunately, the cast delivers the needed dimension and shade bringing the words to vigorous life. Characters speak to and not at one another, conversations ebb and flow while pulling the viewer purposefully to a destination. Not all productions of absurdist material can manage this. Themes of desire and transformation are on par with the conventionally political. The long play does take time to find its feet and explodes in a riveting second of three acts. Berenger goes to Jean’s apartment to make amends for their quarrel only to watch his friend mutate before his eyes. Fernande-fuegos towers over Stevenson physically and vocally, bringing palpable rage to several minutes of sustained, mesmerizing terror. Later, Dudard (Jeff Lorch), Berenger’s rival in love and for advancement stands tall on the sidelines rationalizing the rhino onslaught,  until Daisy (Carole Weyers) chooses against him. A simple slouch, a growl, and he too is off.

PRT’s mainstage is not large by any means and it would have been understandable had this been a minimalist, black-box affair, striking while the political iron was still hot. The company however committed to twelve performers, costumes (Christine Cover Ferro), lights (Justin Preston), full sets (David Maurer), and an  evocative soundscape (Christopher Mosciatello).   Several wildly clever stage transformations in the tight space rightly drew loud applause on opening night.

It would have been easy to map current faces onto Ionesco’s lecherous bosses, armchair socialists, deplorables, ladder climbers, and wonks. Cienfuegos wisely does not take the bait and manifest these to make any particular topical statement. It is also very easy to see the play as a blow for a pluralist, inclusive, and heterogeneous society against the reactionary. In actuality, the excellent but decidedly monochrome characters and cast are under concerted attack by dark, malevolent Asiatic and African forces. Nudge nudge, wink wink. Look back at the grisly campaign and grislier aftermath, a large segment of the US and the world views itself as stalwart Berenger refusing to capitulate to the invading other. There are many of them, they vote, and the division is not going away.  That this ‘Rhinoceros’ speaks across the spectrum including both extremes is its triumph.

'Rhinoceros'
by Eugène Ionesco
Directed by Guillermo Cienfuegos

Pacific Resident Theatre - Mainstage
13 July to 10 September 2017
703 Venice Blvd., Venice, CA 90291

Thursday – Saturday 8pm;
Sunday 3pm
Tickets $25 to $34
Purchase online or through the Box Office:  310-822-8392

All roads lead to (Mental) home – ‘The Physicists’ at the Hollywood Fringe Festival

Courtesy last tape productions

 

“In some sort of crude sense which no vulgarity, no humor, no overstatement can quite extinguish, the physicists have known sin; and this is a knowledge which they cannot lose.”
— J. Robert Oppenheimer (1947)

Physics has been unreasonably effective over the centuries in periodically overturning life as people know it. Newton and Einstein loom large in this history along with Galileo. Less well-known but no less important are Carnot, Maxwell, and Planck. Their work, driven by curiosity,  led to inventions of their own and others devising of substantial practical importance and lasting consequence. Most of us are thankful on balance for the engines and electricity, satellites and semiconductors spawned by these discoveries while we fret about the disasters, bombs, and savagery equally enabled by them.

Friedrich Dürrenmatt’s darkly comic ‘The Physicists’ trenchantly looks for the lines separating the pure from the applied, the moral from the immoral, and, not finding them, shows they never existed in the first place. Knowledge always comes at a price. Three physicists are interned in a posh asylum. Beutner thinks he is Einstein, Ernesti claims to be Newton. Möbius, brightest of all three, thinks he is himself but his frightening discoveries are inspired by visions of King Solomon. The game is to find, in a series of one-on-ones, Möbius’s  secrets and extract them from him.

The production under Ye’ela Rosenfeld’s direction is unexpectedly well-mounted with a large cast, set, costumes, and plotted lights. Surprising because Fringe shows share their space with others and each has to set up before and break down after every performance. The setting may be a posh Swiss sanatorium but some actors mumble in American accents, others stomp in German ones, and the rest interpolate, favoring the comic over the tragic. A two-piece band accompanies entrances and exits with guitar, percussion, recorder, and kazoo but crucial sound cues of Kreisler and Kreutzer are barely audible. A few of the play’s punches land but the overall impact is wildly uneven.

‘The Physicists’ can’t help but be timely – its subject is timeless. As creatures of Prometheus and children of Daedalus the blessings  and the curses of discovery have confronted us for centuries. Dürrenmatt’s deftly voices different aspects of the scientific (and artistic?) process – reason for some, revelation for others – while never taking his jaundiced eye off of the results. What happens once a discovery has been made? Not the workaday findings of workaday minds but the once-in-a-generation revolutions that change the world at a stroke. Can the discoverer hoard the knowledge, direct it, or withhold it at will? History says no. Once started, a fire can’t be unburnt.  Möbius, horrified by his findings, institutionalizes himself, impoverishes his wife, abandons his children, and murders – all for naught.

Fortunately in this instance, Josh Mann as Möbius and Cecily Glouchevitch as Nurse Stettler stand out, especially at the crucial moment when he tosses plausible deniability aside and traps himself forever in the web of the institution’s authentically crazy director.  Jacque Lynn Colton is fine in a Strangelovian turn as Fräulein Dr. Mathilde von Zahnd. While the variability in style and pacing doesn’t affect the dark comedy it takes a toll on tension and menace, the latter appearing suddenly toward the end of both acts rather than building up in stages to them.

And yet the play is worth a visit as much for place as for time. Los Angeles County is home to three major research universities, a passel of defense contractors, two Federal R&D centers, and an Air Force base. These are dwarfed by the so-called creative industries. The pursuit of art or science for its own sake, however, is in full retreat with the artists and scientists increasingly pressured for practical, commercially viable results and the attendant profits.  A cursory search shows that ‘The Physicists’ is seldom performed here. The European sensibility, European popularity, overtly political themes, and theatrical possibilities are all in City Garage‘s wheelhouse yet that company has never staged Dürrenmatt.

So, we return to the intractable problem of reaping the benefits of scientific discovery without the remorse. The easy out is to claim that where there is no solution, there is no problem. This is a false simplicity. It is not possible to work in science without a great deal of optimism, it is the only way to survive the constant setbacks. Good scientists are generally their own harshest critics, examining and re-examining the assumptions underlying their theories, experiments, models, and conclusions. In that sense, periodically examining one’s assumptions about the impact of one’s work is equally part of good science.   It can be dangerous (it sank Oppenheimer) but it is nevertheless the right thing to do.  The production deserves  thanks for the reminder.

The Physicists by Friedrich Dürrenmatt
directed by Ye’ela Rosenfeld
at the Sacred Fools Theatre (Mainstage) /Hollywood Fringe Festival 2017
1076 Lillian Way, Los Angeles, CA 90038
Final Performance: Friday June 23 2017, 7:00 PM
Visit http://www.hollywoodfringe.org/projects/4624 for tickets

Orchestre de Chambre Pelléas
Benjamin Levy, conductor
via the Green Room Creatives channel

Two near-misses: Sci-Filosophy at Sacred Fools and ICT

Courtesy: Sacred Fools Theatre Courtesy: International City Theatre

“Sirens of Titan” and “Uncanny Valley” at the triple point of science, philosophy, and fiction are currently on stage at The Sacred Fools and International City Theatre, respectively. “Sirens,” adapted from Vonnegut’s 1959 novel, is sci-fi a la Bradbury: Mars-centric on the outside, fully optional physics, and Earth-facing at its core. Wealthy Winston Rumfoord and his large dog travel space for the hell of it and get caught in a dimensional swirly that puts them everywhere at once and localized on Earth  on occasion. Rumfoord’s role is to make the lives of his wife Beatrice, sybarite Malachi Constant, and thousands of other dispensable earthlings a living hell. He press-gangs this lot into forced military servitude on Mars and dispatches most of them back to Earth to be annihilated in an intentionally futile war. A united and victorious Earth then congeals around a faith where God is entirely apathetic and humankind does what it can with itself. Beatrice, Malachi, and their son Chrono are interplanetary Jobs suffering torments at Rumfoord’s hands through a fixed and unalterable timeline, ending up on the largest moon of Saturn. Vonnegut has issues with free will and everyone is more-or-less along for a nasty ride in an uncaring Universe where Earth exists as a spare-parts depot for an Extremely Advanced Civilization from Far Far Away™.

Meanwhile, “Uncanny Valley,” a much more recent effort by Thomas Gibbons, looks at a mid-21st century  where the very sick and staggeringly wealthy can offload their memories and essence into a robot body. It’s immortality of the kind that throws wrenches into the family machinery, especially when children are seeking their share of a giant inheritance. Asimov’s “I Robot” explored synthetic evolution through Susan Calvin, crusty robopsychologist to fifty years of U.S. Robots products. Her counterpart here is far less crusty but a psychologist all the same – Clare Hillis’s job is to oversee the commissioning of Julian, a ‘non-biological human,’  whose emergent personality will soon be subsumed by the tycoon who funded his creation to the tune of $240 million dollars.

“Sirens of Titan” the novel is relatively easy-to-read and occasionally engaging thanks to Vonnegut’s dry, cynical prose and gimlet eye on religion.  The threads are hard to braid without periodic revisits to past chapters – who did what to whom and when?  We can safely abandon ‘why’ because it is never satisfactorily addressed.  A theatrical adaptation can’t offer flashbacks on demand and it is difficult to follow let alone decode the underlying philosophical argument – if it exists – linking the vignettes.  “Sirens” may have influenced Douglas Adams with prescient references to infinite improbabilities and hyperintelligent pandimensional beings running a planet-sized simulation for their own ends.  The excellent stagecraft and mostly solid performances, staples of The Sacred Fools and carrying well into their new space, can’t fully frame the meandering story which caps off with a One Tin Soldier ending.

Vonnegut unfortunately can’t compete with a future he helped to create,  Gibbons has to compete with  exceptionally fine prior art in android sentience.   The first act of “Uncanny Valley” is  low-conflict set up.  Clare and Julian flip  Pygmalion  as she teaches him the fine points of being a convincing gentleman while realizing that true societal acceptance may never come.  Act two has  Julian, imprinted with the past and the DNA of a now-dead man, visiting Clare on the eve of her retirement.  He dredges Clare’s own painfully buried  memories of an estranged daughter as his son asserts  legal claims to his fortune and  questions his continued existence.  This all fizzes up towards the last quarter of the play and comes off as a contrived end to justify the beginning and the middle.  Julian is now blessed with eternal life and eternal youth.  Tithonus and the Struldbrugs would be jealous.  There’s a fascinating question of whether he should merely continue as before or  renounce the past, strike out in new directions, fully embracing his rebirth.  Unfortunately, it comes too late  to explore.  Asimov and Dick, among others, have taken this general idea a lot farther.  The second season of then fledgling Star Trek: The Next Generation  had a dying genius impose his consciousness onto  the android LCdr.  Data (“Schizoid Man”).  Three episodes later, Data had his status and rights as a sentient being legally challenged by an ambitious Starfleet officer with ulterior motives (“The Measure of a Man”).  ICT’s stagecraft and cast are also reliably attractive although we are asked to believe that people in 2042 dress, talk, and use smartphone technology as they do today.  In the end, Gibbons has dug himself a hole with his premise and can’t quite climb out of it.

But, one man’s miss can be another’s bulls-eye.  Vonnegut devotees will undoubtedly appreciate a no-holds-barred attempt to stage a foundational story.  Similarly those not fully co-opted by Star Trek and other science fiction staples may be able to engage with Gibbons on the offered terms.

Sirens of Titan
adapted by Stuart Gordon from the novel by Kurt Vonnegut, Jr.
directed by Ben Rock

March 31 – May 6, 2017 at The Sacred Fools Theatre
Fridays & Saturdays @ 8pm
plus Sundays, April 23 & 30 @ 7pm
Purchase tickets online

Uncanny Valley
by Thomas Gibbons
Directed by caryn desai

April 19 – May 7, 2017 at International City Theatre, Long Beach
Thu. – Sat. at 8pm
Sun. at 2pm
Purchase tickets online
or call the Box Office at 562-436-4610 (M-F 9am to 5pm)

 

Father to the Man: ‘Titus Andronicus’ at Theatricum Botanicum

Marie Françoise Theodore and Michael McFall Photo by Miriam Geer

Marie Françoise Theodore and Michael McFall
Photo by Miriam Geer

More politics than Caesar, intrigue than Macbeth, madness than Lear, racism than Othello, petards than Hamlet, and victim-blaming than Winter’s Tale. Theatricum Botanicum‘s boisterous, unsparing staging of ‘Titus Andronicus’ delivers the goods to those with constitutions strong enough to handle the carnage. This is early Shakespeare, possibly a collaboration, introducing themes that would be fully developed in future standalone plays. The plot: Vanquished Queen Tamora of the Goths is elevated to stature in her captor’s country and takes her revenge from within.

‘Titus’ has had a checkered history and isn’t produced nearly as often as his other tragedies. The savagery and gore make it hard to stage and equally hard to stomach.  The open-air setting alleviates what could be a claustrophobic experience in a traditional venue. Director Ellen Geer smartly associates perpetual war, double standards, backroom dealings, fluid loyalties, and mindless violence in fictional Rome to the present day. Her cast of the usual family members, friends, and newcomers offers unusual depth in difficult roles. Melora Marshall and Willow Geer adeptly play male roles renamed and reworked for women.  Geer the younger, usually at her best in comedy, ratchets up to play Lucia, one of Titus’s soldier children who stays just one step ahead of the slaughters. Sheridan Crist nicely handles Titus’s descent from conquering hero to loyal subject to madness.

Michelle Wicklas and Marie Françoise Theodore Photo by Miriam Geer

Michelle Wicklas and Marie Françoise Theodore
Photo by Miriam Geer

The blood flows early, it flows freely, and a good chunk of the rough stuff is in plain view.  The company is known for its anti-war stance yet is quite sympathetic to soldiers who are mustered into battles of questionable value or sense.   As Titus is pushed lower and lower by the state he served, two of his sons are framed for murder, and he offers his hand in a futile attempt to ransom their lives. Lavinia, his favorite daughter, is stalked, raped, and mutilated by Queen Tamora’s own two sons. Lavinia begs Tamora to call off the attack only to have the mother egg her boys on. It is as pitiless and merciless as anything in the repertoire including Sarah Kane’s Blasted or Jacqueline Wright’s Eat Me and mesmerizingly played by Michelle Wicklas and Marie-Françoise Theodore.   And there would it sit except for Michael McFall’s rich, resonant turn as Aaron, Tamora’s lover, the inciter of all the mischief, and the embodiment of pure, unrepentant evil.   McFall keeps his proudly unredeemable character center-stage and on a fine dramatic edge – oozing hate, lust, and vengeance without once overplaying it.

The production values are well-designed to set off the gore.  The costumes and sets are relatively spare but the stumps and blood inevitably draw the eye.  The performers move throughout the audience and those on the aisles will see it close-up.  The cast mostly avoid overemoting although a couple of scenes generated unintended laughter due to assorted staging choices.  Marshall McDaniel and Ian Flanders’s eerie scene-intro soundscapes got lost in the wash of opening night conversations but what did leak through heightened the experience.

It is easy to wonder about the setup:  How does  a spoil of war get into a position to cause such damage?  The allegory to modern times answers it.  The powerful look the other way and take care of their own, then as now.  It also raises the uncomfortable question of whether it is a good idea to show any mercy to a defeated enemy, no matter how just or unjust the war.

Titus Andronicus
in repertory through 25 September 2016

Will Geer’s Theatricum Botanicum
1419 N Topanga Cyn Blvd.
Topanga, CA 90290

Season Brochure: http://theatricum.com/wp-content/uploads/2015/06/2015Brochure.pdf

BOX OFFICE 310-455-3723
Tickets online at http://theatricum.com/tickets/

You Done Messed Up A-Aron!

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Abjured Magic: ISC’s Richard III

The highs and lows average to solid in ISC’s Richard III on until the 24th July at Griffith Park.  Impresario David Melville assumes the mantle and a couple of other positions surrounded by an often amazing cast and disturbing electrification.   Director Melissa Chalsma codistills the original and Colley Cibber‘s once-popular adaptation amplifying the action but wisely restoring some of Cibber’s deletions.   Melville forgoes the hump for a limp,  is convincing when raging and scheming, and less-so when sweet-talking and seducing.  Amid the new faces is the welcome return of company veteran Lorenzo Gonzalez  whose own Richard dazzled at Barnsdall Park in 2005.

There’s a lot of ground to cover in the first half, mostly with corpses.  Not short by any means, it feels rushed and it is often a strain to figure out who is doing what to whom and why.  With so much real and implied gore, we wonder if nibs of the Merrie Olde were bound by any laws at all.  Post intermission fares better especially in a superb scene redolent of the Trojan Women in which exhausted ladies of war-ravaged houses contemplate a grisly future.  Bernadette Sullivan, Mary Goodchild,  Aisha Kabia, and Kalean Ung swim this 4×100-m hatred relay brilliantly and it is a good job that it was part of the restoration.   That anchor leg is a pipterino and further marks Ung as one to watch.

ISC is rightly proud of the number of people it reaches through the summer fest.  But, pursuing and serving that metric isn’t free.  The kit grows every season.  2016 features a large lighting rig courtesy of a foundation grant, more microphones, more speakers, a NASA-sized mixing board, ever fancier costumes, and stage fog.  Some of the tech does afford the leeway to cast actors with differing levels of vocal preparation but it grows farther from the no-frills aesthetic the company brought to LA back in 2002 and preserved until the past few seasons.  Most intrusive is the addition of a loud rock band that strikes up  to crush the magic the moment a scene ends.  The Duke of Buckingham pleads with King Richard, “Give me some little breath, some pause, dear lord.”  We know where he’s coming from but we too aren’t requited.  There’s no time to savor the words because a quartet of the play’s supporting cast occasionally supplemented by Melville shred the air with guitar and drum.   To be fair, most of the crowd ate it up.

ISC takes care to survey its audiences and perhaps this is what it has to do to keep people coming to the Old Zoo.  The festival audience could be of the growing belief that silence of any kind is not to be trusted.  Maybe we’ll see two distinct sets of offerings in the future: Old school ISC indoors at its studio and a flash-bang summer season for the Internet generation at Griffith Park.

The Tempest begins July 30th.

RICHARD III

Adapted by Independent Shakespeare Co. based on the work of Colley Cibber
Begins Saturday, June 25 and Sunday, June 26 Then plays Wednesday – Sunday until July 24
Performances at 7:00 pm  at
The Old Zoo, Griffith Park

FREE (donations gratefully accepted)

http://iscla.org  

Bei Mir Bist Duchenne: ‘Lunatics and Actors’ by The Four Clowns

 

“Honesty. That’s the thing in the theater today. Honesty … and just as soon as I can learn to fake that, I’ll have it made.”
Anonymous

Grab the speedometer and move it, the car does not speed up. Mock up an airport, planes will not come. We are conditioned to causality and that the mere appearance or measure of a thing is not (usually) a handle into the thing itself. We smile when happy, cry when sad, and believe that we can tell when emotions are genuine or contrived. It comes as some surprise that this may not be entirely true. There is evidence that outward expressions, real or fake, may drive physiological processes instead of merely being driven by them. This two-way street is at once interesting and lucrative. Demagogues and marketeers profit by inventing stimuli to induce specific responses. A big part of culture and its preservation is in the transmitting feelings and emotions through performance.  Authenticity – whatever its definition – is considered essential.

Click image  to enlarge: G.-B. Duchenne de Boulogne, Synoptic plate 4 from Le Mécanisme de la Physionomie Humaine. 1862 – Wikimedia Commons: Public Domain

Playwright David Bridel takes on the latter in ‘Lunatics and Actors’ mounted through the end of May by The Four Clowns at Shakespeare Center LA. Scientist Guillaume Duchenne de Boulogne (Thaddeus Shafer) asserts that he can evoke performances from his trio of patient/inmates (Tyler Bremer, Andrew Eldredge, and Alexis Jones) that surpass in intensity and authenticity those by conventionally trained actors. His electrochemical method will find gleeful interest from results-oriented directors tired of having Stanislavski flung back at them. The intriguing premise draws from nineteenth century events. The historical Duchenne performed early research in connecting human physiological and physiognomical reactions to electrical stimuli. He applied shocks to patients, photographed their faces, and in time could evoke specific expressions from them at will. Much of this work would be frowned upon today for ethical reasons but it came with other results in different areas that persist. Duchenne laid the foundations for modern neuroscience. The bidirectionality of emotion has since been intensively and controversially studied by Ekman, Zajonc, and others.

(standing) Thaddeus Shafer as DR. DUCHENNE (seated from left to right) Tyler Bremer as BON-BON, Alexis Jones as FIFI, and Andrew Eldredge as PEPE. Photo courtesy of Andrew Eiden

(standing) Thaddeus Shafer as DR. DUCHENNE (seated from left to right) Tyler Bremer as BON-BON, Alexis Jones as FIFI, and Andrew Eldredge as PEPE. Photo courtesy of Andrew Eiden

The setup requires actors in the audience to volunteer for light onstage duty. This being Los Angeles, it isn’t a problem. Duchenne runs through an interview followed by exercises and a compare/contrast. Meisner, Linklater, and Alexander may help the aspiring actor but a healthy zap from the glowing Volta pile invokes a style of its own. The inmate trio, all experienced clowns, win the intensity fight in a walk. Director Jeremy Aluma has to take his time churning the cream and the laughs hide a somewhat lengthy introduction. It snaps into butter when the contest shifts to ‘Hamlet’ and its endless opportunities to test authenticity (or anything else of interest to artists). Convention holds its own for subtlety but not for pain, fear, or terror. A change from funny to harrowing occurs in a tight, disturbing vignette to rival ‘Clockwork Orange’ or ‘1984’. A final distillation of ‘Hamlet’ to a delicate touch of ‘Pagliacci’ is a marvel. Focussing on the terrifying, it is entirely different from the troupe’s recent reimagining. Give substantial credit to the large design team. Their coherent efforts drive a fanciful story which might fall flat in less skilled hands. The Clowns don’t skimp on production and one wonders how they balance the books against a batguano-crazy $15 ticket price.

There are inside jokes aplenty within the world of the play. Theatre in Los Angeles is considered the domain of the insane.  Are the three inmates victims of an unscrupulous workshop-monger?  Bridel is the incoming Dean of Theatre at USC. Does this foreshadow his plans for the school?  Perhaps only artists can or will get the full scope of it. But, the promise and threat of machines has been a staple of storytelling from ‘Frankenstein’ to ‘Blade Runner’ and beyond. Can we controlled by electrodes? Yes but we’re attached enough to our screens to make such a physical connection unnecessary. A more unnerving question is what form the next evolutionary step will take once we or our algorithms figure out what makes us tick. The reductionist approach claims that once we find the root of the structure that everything will follow. Others argue for multiple processes that compete with and against one another in a sort-of roshambo. Either way, the tacit assumption is that machines would then emulate us, only much much faster. Why stop there? The Melancholy Dane may have been overly optimistic about the Godlikedness of man – we are most likely just another step along the path. That’s what make these clowns the ones of nightmares. Go see them but leave the kids at home.

Four Clowns presents
Lunatics & Actors
by David Bridel
directed by Jeremy Aluma

A WORLD PREMIERE

April 29 – May 28, 2016
at The Shakespeare Center of Los Angeles
1238 W 1st Street
Los Angeles, CA 90026

Performances start at 8pm
Street parking in the neighborhood

Stage Manager Ashley Jo Navarro
Assistant Director Amaka Izuchi
Set Designer Fred Kinney
Lighting Designer Azra King-Abadi
Costume Designer Elena Flores
Sound Designer Kate Fechtig
Propsmaster Niki Mercs
Technical Director Matt MacCready
Producers Jeremy Aluma and David Anthony Anis
Associate Producers Jennifer Carroll and Julianna Stephanie Ojeda

ILHAMA feat. DJ OGB – Bei mir bist du scheen

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Agreement Clinic: ‘A Walk in the Woods’ at ICT

Courtesy International City Theatre

Courtesy International City Theatre

Lee Blessing could not have forecast in 1988 that the Cold War would take an abrupt turn for the weird just two years later. ‘A Walk in the Woods’ at ICT through 22 May has nevertheless enjoyed a successful life despite drastic shifts in superpower status and the methods of war. It isn’t surprising. It is easy to look back wistfully at Mutually Assured Destruction as nation states veer on collapse and real power is concentrated in a few hidden hands.

The play’s setup is simple and historically informed – two arms negotiators, veteran Botvinnik and newcomer Honeyman, try to achieve in the Swiss woods what they can’t over the bargaining table. The amiable Russian tries to engineer a friendship, the formal American worries that he’s being worked. That can happen when one’s opponent is the namesake of a legendary Russian grandmaster. The four evenly timed acts alternate between Pythonesque rhetorical posturing (“I came here for an agreement! No you didn’t!”) and moments of genuine connection when it looks like our heroes may have given their masters a face-saving way back from the brink.

This, however, isn’t a documentary or even intrinsically theatrical. Blessing strives for a duet of ideas, some more compelling than others. ‘Walk’ shines when the younger American slowly realizes what his older counterpart has learned: Neither side wants an agreement – MAD is too good for business on both sides of the curtain. The corrosive stalemate on the large scale is recapitulated on the small and all levels in between. The interwoven buddy comedy lives well with Tony Abatemarco (Botvinnik) and David Nevell (Honeyman) under John Henry Davis’s direction on a stark set (Christopher Scott Murillo) and subtle lighting (Donna Ruzika). But, cynics have the advantage in these situations and Blessing’s asymmetrical characterization keeps Honeyman on the back foot until the very end when he figures out that what’s real and what’s virtual in the world of diplomacy.

The monsters in ‘Walk’ are less frightening today than the one in Blessing’s equally popular ‘Going to St. Ives.’ Nations may treat one another poorly but they reserve true brutality for their own. Both have characters doubling as ideologies (and vice versa) reminiscent of Shaw’s theatrical polemics. Although the premise and the balanced characterizations give ‘Ives’ the edge as a play, ‘Walk’ is an evening of theatre worth the trip.

A Walk in the Woods
by Lee Blessing
at International City Theatre
27 April to 22 May 2016
Thu. – Sat. at 8pm
Sun. at 2pm
Long Beach Performing Arts Center
330 East Seaside Way
Long Beach, CA 90802

Tickets: Online and at the Box Office 562-436-4610 (M-F 9am – 5pm)

Argument Clinic – Monty Python's The Flying Circus

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Nice Work if You Can Get It: ‘Lear’ at City Garage

Playwright Young Jean Lee has a Guggenheim, two Obies, a couple of Duke Foundation awards, a basketful of government and private grants, multiple commissions, a screenplay, a Berkeley degree, and her own theatre company whose mission is to produce the work of Young Jean Lee.

God help us.

http://www.citygarage.org for details of her take on King Lear

Ella Fitzgerald & Louis Armstrong – I Got Plenty O' Nuttin'

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