Friday, September 28, 2012

This North Coast Weekend

The San Francisco troupe called the Pi Clowns returns to the Arcata Playhouse with a new show, The Good the Bad and the Stupid, a Wild West romp with acrobatics, high speed horse races, dramatic duels, juggling, eccentric dance and live music. Members of the Pi Clowns include Bruce Glaseroff from Arcata and Tyler Parks from Fortuna.

Performances of this all-ages show are at 8 p.m. on Friday and Saturday, Sept. 28 and 29, and 2 p.m. on Sunday, Sept. 30. Arcata Playhouse impresario David Ferney cautions that last year’s shows sold out, so better advance tickets than sorry, at Wildwood Music, Wildberries, or 822-1575.

Continuing: The Fox on the Fairway at North Coast Rep.  My Journal review is here. 
Final weekend: Circle Mirror Transformation at Redwood Curtain.

Friday, September 21, 2012

The Fox on the Fairway

It was a chilly summer here on the North Coast but the early autumn is warm and sunny, so maybe it’s appropriate that the North Coast Repertory Theatre in Eureka has begun its 29th season with a summer stock comedy about golf, The Fox on the Fairway. 

 This 2010 play by Ken Ludwig is given the full farce treatment by director David Moore, especially with lots of doors entering onto scenic designer Calder Johnson’s set. (Though the game is golf, the action is inside.) People running in and out of doors, chasing and avoiding each other, entering unexpectedly and leaving inconveniently—it’s the signature of stage farce. It’s basically the same setup as in NCRT’s 2009 production of Ludwig’s more famous Lend Me a Tenor.

In this story, Bingham (played by Anders Carlson) runs a country club that holds an annual golf tournament with a rival club run by “Dickie” (Phil Zastrow.) The two make a huge bet on the outcome. But the player Bingham was counting on has changed sides, and all seems lost until Justin (Michael Pietrelli), the callow young man Bingham has just hired as his assistant, turns out to be a golf prodigy. But of course complications ensue, involving Bingham’s business manager, Pamela (Jennifer Trustem), his wife, Muriel (Gloria Montgomery) and a club waitress and Justin’s fiancé, Louise (Kyra Gardner.)

 These descriptions soon turn out to only scratch the surface of their tangled relationships. Their pasts are prologue to the quickly unfolding events. Director Moore keeps it all moving fast whenever possible. The dialogue scenes depend on the comedic characterizations of the actors. Jennifer Trustem’s Pamela is straight out of a 1940s movie, the sweetly hard-drinking and wittily sensual woman with an innuendo for every occasion. Michael Pietrelli is the energetic movie juvenile and Kyra Gardner the winsome ingénue: Mickey Rooney and Judy Garland, but with modern neuroses.

 At the center of the action and the story is Anders Carlson. He had a key role in Lend Me a Tenor but this production completely revolves around his performance. He plays Bingham with a controlled, rolling frenzy, as a man of constant outrage reminiscent of “the boss” character in TV sitcoms from the 50s onward. It’s a physical and vocal tour de force, and the wonder isn’t just that he pulls it off, but that he does it without becoming insufferable.

 This seems to be accomplished partly by his genuine interactions with the other actors. Together they manage to make something human out of a cascade of contrivances. That includes the contributions of the always believable Gloria Montgomery in her few scenes, and Phil Zastrow, who seems to play Dickie as an affected pretend Englishman breezily unaware of his malapropisms or terrible taste in sweaters.

 The pleasures of the production and the wit of the script (with contrivances from Oscar Wilde as well as I Love Lucy) must race past basic credibility problems, like everything hinging on a bet for very high stakes witnessed by nobody. (And who exactly is the fox of the title?)

 Some of the revelations are at least foreshadowed (pretty obviously), but some developments seem like a child’s improbable improvisations while inventing a story with dolls or action figures (possibly waving golf clubs.) The appeal of Pietrelli and Gardner as the young lovers, and the older four as the love springs eternal ones, mostly overcome the clichés. As a farce, this play adds nothing new except perhaps greater latitude in naughty talk. For farce that actually expands the form, something from early Tom Stoppard or Joe Orton’s What the Butler Saw more nearly fit the bill. But there are enough laughs here, plus charm and skill in this production, to extend a summery mood.

 Jenneveve Hood designed the strange and striking costumes. Michael Thomas designed the inventive sound, which is crucial to the story. The Fox on the Fairway continues at North Coast Rep Fridays and Saturdays through October 13 at 8 p.m., with a Thursday evening performance on October 11 and Sunday matinees at 2 p.m. on September 30 and October 7.

Saturday, September 8, 2012

Circle Mirror Transformation

Long ago and far away, I was party to a conversation between two multi-talented and wise women of American drama, Corinne Jacker and Patricia Cobey. Lingering by a stone wall, gazing at the Atlantic ocean in the fading light of a long summer day at the O’Neill Center playwrights conference in Connecticut, they talked casually about the importance of theatre in their lives. “Whenever someone I know is having problems,” Cobey said, “I tell them to take an acting class. It always straightens you out. That’s where you learn that you can’t lie.”
 In Circle Mirror Transformation, now on stage at Redwood Curtain in Eureka, four members of a small Vermont community gather for a creative acting class. We soon learn that Theresa (Wanda Stamp) is a recently transplanted would-be New York actress trying to get over an obsessive love affair. Schultz (Dmitry Tokarsky) is a recently divorced local, a bit awkward and secretly artistic. Lauren (Mira Eagle) is a high school student buried in her hoodie who wants to try out for West Side Story. James (Gary Sommers) is the still handsome gray-haired husband of the instructor, Marty (Adina Lawson.)

 After a few classes Lauren pointedly asks Marty if they are going to learn to act in a play. Marty says probably not. It’s fair warning for the audience, too. This is not the usual stage storytelling. But during the offbeat exercises as well as encounters before and after the six classes we witness, characters are excavated and discovered, relationships change, and there are consequences to revelations and self-revelations.

 Circle Mirror Transformations is one of four plays by contemporary American playwright Annie Baker that are set in this Vermont town. Three of them were staged in the Bay Area in the past year—this one just closed at the Marin Theatre. After successful productions in New York (where it won a couple of Obies), Washington and Los Angeles, it is becoming a regional theatre favorite.

 This play invites and also requires a different kind of attention. The actual plot is fairly simple, and even predictable in TV reality show outcomes. But the story is told by every movement, every stutter and change in body language. It’s in the silences, and the odd and sometimes wildly funny exercises.

These are theatre games—the play’s title is the name of one. Some involve one character pretending to be another. Some involve creating a group story. Others look like a cross between actors’ warm-ups and group therapy.

 Director Nathan Emmons and the cast make the necessary precision of depicting this look natural. There are short fragments and sustained scenes. The dialogue is mostly banal, laced with psychobabble. Some liken Baker’s work to Chekhov because nothing apparently happens, but I see more of Mamet and Pinter in the way the characters use dull received language as masks that reveal them anyway.
 (Considering my last column it is a coincidence however that Baker’s adaptation of Uncle Vanya was one of its New York productions this year.)

 It’s a different kind of comedy. But it is a comedy. At the end of all the accidental honesty there’s a happy conclusion of sorts. And it’s funny (despite the reluctance of the small preview audience I saw it with to join me in laughing.)

 I had problems with both the play and the production, but as long as audience members let go of conditioned expectations, this is an unusual and enjoyable two hours. The cast is skillful and endearing. I’d expect this is one that people will talk about.

 Daniel C. Nyiri designed the intentionally drab set (though maybe it didn’t have to be that drab.) Lighting is by Calder Johnson, the interesting sound design by Nathan Emmons, costumes by Laura Rhinehart.

 Circle Mirror Transformation continues at Redwood Curtain on Thursdays, Fridays and Saturdays through September 29 at 8 p.m., with a 2 p.m. Sunday matinee on September 23.

 More about the upcoming season: Ferndale Rep is going through a management shakeup but early indications are that they are sticking with their season as announced.

 At HSU, students are back and preparations are underway for Theatre, Film and Dance Department productions. The first is a special one-night reading on November 1 of 8: The Play by Dustin Lance Black, about the court case that overturned California Proposition 8 and its ban on same sex marriages. That case is on appeal to the U.S. Supreme Court. Clint Rebik directs a cast from the North Coast theatre community.

 In late November, Rae Robison directs the classic Sanskrit love story Shankutala in a new adaptation by Margaret Thomas Kelso. In February, Michael Fields directs Hater, Samuel Buggeln’s adaptation for the 21st century of Moliere’s The Misanthrope. Then after the spring dance production and Humboldt Film Festival in April, Michael Thomas directs David Auburn’s Pulitzer and Tony-winning play, Proof.  Find out more about them at HSU Stage & Screen.

 Coming Up: Fox on the Fairway, a tribute to the stage and film farces of the 1930s and 40s by Ken Ludwig, opens at North Coast Rep on Thursday September 20.

Saturday, September 1, 2012

Where Have You Gone, Uncle Vanya?

This is a considerably longer version of a column I wrote for the end of August, which was postponed due to space considerations until the Sept. 6 North Coast Journal.  But since the new theatre season is getting started by then, I thought I'd post this now, the traditional last weekend of summer.

As the 2011-12 theatrical season was ending, I took the opportunity to set aside the year's musicals, contemporary comedies and clown shows, for some different theatrical experiences.  Unfortunately my travel budget doesn’t even extend to Oregon, so I must bring contrasting productions home, where I can travel in time as well as space.

My interlude started when I ran across a movie version of The Seagull by Anton Chekhov on Turner Classic Movies. Featuring a young Vanessa Redgrave and David Warner, and James Mason in his prime, it is a luminous film directed in 1968 by Sidney Lumet. More famous for such movies as Dog Day AfternoonNetwork and The Verdict, Lumet also made definitive film versions of a number of plays, including O'Neill's Long Day's Journey Into Night and The Iceman Cometh, as well as 12 Angry Men and Equus.  Still, he regarded this as his best film (the TCM introducer said.)  TCM seems to be the only place it's available.

This prompted a kind of longing, especially when I realized that I hadn’t seen a Chekhov play ever on the North Coast, nor given the present configurations and situations of theatres here, is it ever likely I will. I checked around, and nobody could remember one here for maybe 25 years. Director, actor and professor James Floss recalled Pacific Art Center Theatre productions of The Cherry Orchard and Three Sisters (with Terry Desch, Toodie Dodgen and Bonnie Bareilles,) both decades ago.

  It doesn’t take long for conversations with veteran North Coast actors to turn to the late lamented Pacific Art Center Theatre. It’s clear now that it left a niche in the local stage ecology that’s never been filled, not just for Chekhov but an array of classic modern playwrights.

I’ve seen Three Sisters on stage at the Pittsburgh Public Theatre, and two productions of The Cherry Orchard: one by Bulgarian-born director Mladen Kiselov at Carnegie Mellon University, and one at the Oregon Shakespeare Festival in 2007, directed by Libby Appel, who did The Seagull at OSF this season.  I also was dramaturg for a production of several of Chekhov's short plays, directed by Margaret Thomas Kelso at a small college in central Pennsylvania where she taught before coming to HSU.

But the Chekhov play that grabbed me this summer was Uncle Vanya. Coincidentally (I later discovered on the Internet) there were two productions of Uncle Vanya in New York City this year, including a much-praised one at Lincoln Center featuring the film star Cate Blanchett, produced by her theatre company. Insert Chekhovian sigh here.

  My explorations were instead via DVD and VHS. I started with August, the 1996 film directed by and starring Anthony Hopkins. It transposes Uncle Vanya to Hopkins’ native Wales, pretty much intact. (It features Kate Burton, daughter of another famous Welsh actor, Richard Burton.) Outside the Russian milieu but in a corresponding context, it illuminates aspects of the play more sharply for English and American audiences. (Hopkins also composed the music.)

Next was Vanya on 42nd Street, the 1994 Louis Malle film of a production directed by Andre Gregory, starring Wallace Shawn (reuniting the trio that did the cult favorite My Dinner With Andre) and Julianne Moore, with lovely performances by Brooke Smith, Larry Pine, George Gaynes and Phoebe Brand.

The conceit here is that we’re witnessing a group of actors who’ve been exploring the play for many months in an abandoned old theatre. It starts with them arriving for a run-through, chatting with a few invited audience members, then with each other. And eventually you realize that this chat has actually become Chekhov—the play has started. Actor Peter Ustinov remarked that Chekhov’s characters are so self-absorbed that they don’t really relate to each other, and so the actors are all soloists. But in this intimate and low-keyed version, the actors and their characters do relate dramatically, even beyond a New York manner of exchanging accounts of their obsessions. It's a little like Chekhov as a Woody Allen movie.

This Vanya uses the adaptation by playwright David Mamet, as does a 1991 BBC version with Ian Holm, David Warner and Mary Elizabeth Mastrantonio which I’ve watched several times. Mamet gave the late 19th century dialogue a contemporary cadence, sharpening the humor and at times seemingly highlighting the relevance.  It's apparently the thing to do to use a new translation or version for a new production of any Chekhov, and a number of notable playwrights have done one or more versions, including Tom Stoppard.  Both Stoppard and Mamet have apparently done The Cherry Orchard, though I've seen or read neither.  (Stoppard's The Sea Gull is published in his collected works.)

The most startling contemporary relevance in Mamet's Uncle Vanya, is a speech by Doctor Astrov, who is passionately committed to saving the disappearing forest, partly because it moderates the climate:

“We have destroyed the forest, our rivers run dry, our wildlife is all but extinct, our climate ruined...but I pass by the woods I’ve saved from the ax. I hear the forest sighing...I planted that forest. And I think: perhaps things may be in our power. Perhaps the climate itself is in our control.”

It's startling of course because Chekhov was writing in the late 19th century, and people in our century are facing the consequences of ignoring even contemporary warnings.  But in the context of the play, it especially emphasizes for us now the themes of  dashed potential and waste throughout this play, and other Chekhov plays.  It also reflects Chekhov's including the future in the thoughts of a character in several plays.

So why multiple Vanyas, one after the other? Besides seeing and hearing how each of these great actors play these roles, there’s the experience of structure—not in the way directors may analyze it, but more like the way actors feel it. Acting in the same play multiple times in a run provides a unique sense of the play’s structure. Actors may see the play from their character’s point of view, but they experience the rhythm of it through their actions, their entrances and exits, and even where they take breaths. The structure of a Chekhov play in particular is difficult to absorb in a single performance, but it’s there. 

In 1958, the Moscow Art Theatre--originally, Stanislavsky's theatre that made Chekhov's plays famous--brought three of their latest Chekhov productions to London, where the great Kenneth Tynan reviewed them.  In considering the character of Uncle Vanya, Tynan zeroes in on his dignity.  "He clings to it even in the shooting spree, which becomes in its mad way a matter of honour, an assertion of principle rather than a display of temperament; and in tenacity like this there is a kind of heroism."  The actor's characterization in this production reminds Tynan of Don Quixote.  "This Vanya always looks capable of tragedy; his tragedy is that he is capable only of comedy."  This sense of Vanya does come out in these productions, particularly as played by Anthony Hopkins.

This Mamet version with Ian Holm is included in The Anton Chekhov Collection from the BBC, a multiple DVD set I've had on my Wish List for awhile and finally broke down and bought for myself.  There's also a 1970 production with Anthony Hopkins as Doctor Astrov, as well as a 1974 production of The Wood Demon, with Ian Holm.  This is an early version of Uncle Vanya with a lot of the same dialogue but very different structure.

There's something of a premiere here as well, of Chekhov's first known play, never produced in his lifetime.  Here it's called Platonov, starring Rex Harrison, broadcast in 1971.  It's long for Chekhov but much shorter than his original manuscript.  He wrote it in his 20s, about a kind of Russian provincial Don Juan.

There are several of Chekhov's early short comedies, including a one-act farce (The Wedding), in an English version by Eric Bentley.  Chekhov began as a writer of comic and satirical pieces for various periodicals, only gradually developing into the classic short story writer that made his literary reputation in Russia, and eventually worldwide. 

The first of Chekhov's great plays is The Seagull, represented here in a 1978 production, featuring Michael Gambon, Georgina Hale, Zoe Caldwell and Stephen Rea.  The ironies involved in Chekhov's experience with this play rival anything he wrote for the stage.  Early in this play, the son of a famous actress is staging an outdoor production of a play he's written, in revolt against the established theatre of his mother, and in favor of "new forms" for the future.  (This is a particularly effective scene in the Lumet movie, because Lumet could stage the outdoor scenes really outdoors.  This play within the play has the lake behind the country house as its backdrop, and Lumet shows us what this really looks like, with a makeshift stage in front of a real lake at sunset.)

But Chekhov's own new form of theatre had to undergo a year of struggle with official censors before it could be produced.  Then it opened with a theatre party celebrating a famous older actress who was not unlike the famous older actress in the play.  All her friends came, probably expecting to see her in the play.  But she wasn't, and it wasn't the kind of play she would have been in, or they were used to seeing.  So opening night was a disaster, and the production never recovered.  Chekhov vowed to give up the theatre forever.

But the Stanislavsky production two years later was a great success, and so Chekhov took another look at the manuscript for The Wood Demon, and quickly turned it into Uncle Vanya.

In this collection there's a 1970 production of Three Sisters with Eileen Atkins, Janet Suzman and Michele Dotrice (and I have another, an Actors Studio production, on VHS.)  There are two versions of The Cherry Orchard, Chekhov's last play. He died of tuberculosis not long after it opened in 1904, at the age of 44.  This play in particular has been interpreted in many ways.  The BBC collection has a 1962 production with John Gielgud, who also did the translation.  It also features a very young Judi Dench.  The 1981 production stars Judi Dench in a different part, and it won her several awards.

I ran across this paragraph about that 1962 production, which like several of these BBC television versions, was first done on stage.  It's about John Gielgud. " During The Cherry Orchard he became a kind of father-figure to some of the younger actors. Judi Dench had been bullied and mocked by [director] Saint-Denis in rehearsal, and was extremely nervous on the first night. As she prepared to go on again after the first act, Gielgud told her: 'If you had been doing that for me I'd be delighted.' From that moment she played it for him, and settled into the role. Dorothy Tutin also remembers his warmth: 'John was very sweet with Judi and me on stage, the way he put his arms around us, the way he looked at us, always in tears. Although he wasn't usually a physical actor, he was with us, he looked upon and treated us as children, and it was easy to nestle up to him and put your head on his shoulder.' "     The next time I watch this, I'll be thinking of this observation.

This collection also includes the dramatization of a Chekhov short story starring Patrick Stewart, and a few radio plays and short story readings.  So at least the year ahead will not lack Chekhov (or Shaw--I just got his BBC collection), if only on my screens.